Schlagwort-Archive: Fotografie International

#FacesOfPhotography – Teil 146: Jenn Ackermann und Tim Gruber aus Minneapolis

Jenn Ackermann und Tim Gruber denken, dass die Trageweite der Pandemie den Menschen erst durch die Fotografie tatsächlich bewusst geworden ist. In ihrem fotografischen Alltag freuen sie sich mittlerweile darüber, dass ihre Assignments immer weniger von Covid-19 beeinflusst werden. Woran sie gearbeitet haben und was sie sich fotografisch wünschen, darüber haben sie mit den #FacesOfPhotography gesprochen:

Jenn and Tim, how are you?
All things considered, we’re doing much better over here since last spring when COVID first hit and we didn’t know much about the virus. We are both vaccinated now so it feels like a huge burden was lifted off our shoulders.

A billboard encouraging people to wear their makes in Linton, N.D., 2020.

What is the current situation in the USA?
I feel like we’re all seeing the light at the end of the tunnel. The vaccine has brought a lot of hope and the COVID numbers continue to fall daily so hopefully, that’s a trend that continues. Hopefully before long there will be a sense of normalcy waiting for us if we can just hold tight for a little bit longer.

Sunisa Lee, an olympic hopeful, trains at Midwest Gymnastics, in Little Canada, Minn., 2020.

How do you see the role of photography in these times?
Obviously, as photographers, we’re a bit biased but we feel like photos have helped take us into the severity of this pandemic. While facts, data, and the written word hold great value there’s an emotional impact a photo or photo series can have that words and numbers will never be able to rival. Hopefully, this will be the last global pandemic we all experience in our lifetimes. Whether it’s photos of being in lockdown with your family or out documenting a COVID-19 testing site all the photos in the years and decades to come will be of great historical value.

Health care workers administer a COVID-19 test outside the Edgeley Ambulance building in Edgeley, N.D., 2020.

Has the pandemic (and all the other big issues in the US) changed photography?
We think it’s safe to say 2020 was a very trying year for everyone. Before COVID-19 we never gave much thought to our normal everyday interactions with people. While we cherished being able to go out and spend time with the people we photographed we never imagined that for over a year that simple interaction would be completely changed. On top of that we live in Minneapolis and only five blocks from where George Floyd was killed so it feels like we all have on an emotional rollercoaster for the past year.

A sign on the roof of a home says „In God We Trust“ in Sioux Center, Iowa, 2020.

What have you personally experienced job-wise in the last weeks and months?
For the past year, a lot of work has had a heavy COVID factor to everything we were photographing. Meaning most of the stories or projects we were working on were about something dealing with COVID or closely tied to it. In the last few weeks, we have gotten a few assignments that have had nothing to do with COVID which has been so refreshing. We are looking forward to the day where we can photograph people inside their spaces again rather than outside their front door.

Dancers with Northern Plains Dance wait backstage during their performance of The Nutcracker at the Belle Mehus Auditorium in Bismarck, N.D., 2020.

Did you have time and leisure to work on free topics?
Shortly after the pandemic hit and after our lockdown we started a personal project looking at our food supply chain here in the States. That led to a magazine commission so that was great luck, but that rarely happens. Otherwise, thankfully we’ve been able to stay busy enough with commissioned work that we didn’t have as much free time as we originally thought to work on the project. But like all our personal projects we’ll probably keep working on it for years until we feel like we have completely exhausted the topic. For our personal well being we have also made a point of getting outside more often this past year which is something we plan to continue even when the pandemic is over.

Butchering a steer in Bowlus, Minnesota, on Thursday, May 7, 2020.

What is your personal photographic wish for the future?
We’ve been extremely fortunate to be able to do what we love for years and through this pandemic. While it’s a pretty simple goal our hope is to continue doing what we love. We have that same passion for photography that we did when we first picked up a camera which is mainly thanks to amazing clients sending us out to do our thing. So between commissioned work and personal projects, the hope is to simply keep creating work and meeting fascinating people along the way.

A hotel pool surrounded by the darkness of night in Bemidji, Minn., 2020.

Website von Jenn Ackermann und Tim Gruber
Instagram-Feed von Jenn Ackermann und Tim Gruber
Twitter-Kanal von Jenn Ackermann und Tim Gruber

Natürlich können Sie auch gerne über Fotogloria Kontakt zu Jenn und Tim aufnehmen – melden Sie sich jederzeit unter 040 609 42 906 -0 oder info@fotogloria.de

#FacesOfPhotography – Teil 145: Tobin Jones aus Nairobi

Im März des vergangenen Jahres wurden alle Jobs von Tobin Jones innerhalb eines Tages abgesagt. Rückblickend hat er in den Monaten danach etwa die Hälfte seines sonst üblichen Jahresvolumens fotografiert, hat an freien Strecken gearbeitet und macht sich Gedanken darüber, wie auch in Zukunft mit der Fotografie Geld verdient werden kann – über all das hat er mit den #FacesOfPhotography gesprochen:

Tobin, how are you?
As I’m sure has been the case for freelance photographers its been a fairly tough year, but all things considered I can’t complain too much. I’ve been lucky enough to have been able to ride most of the pandemic out in Kenya, where the restrictions have been considerably less draconian that in Europe. As a result I’ve still been able to photograph, though probably at only about 50 percent capacity of what I’m used to.

What is the current pandemic situation in Kenya?
Kenya has been faring reasonably well. The country enforced wearing masks very early and, although it never went into a full lockdown, a curfew and restrictions on bars and restaurants has helped to stem the pandemic to a certain degree. We are in our third wave now, however, which feels like it may be a lot worse than the first two. There’s a lot more anecdotal evidence of people catching Covid and I believe the hospitals are just about at capacity. There’s no telling whether we’re at our peak already, or if there’s more to come, so at this point we’re all just keeping our fingers crossed that the rate of infection starts to decrease soon.



What have you experienced professionally in the last weeks and months?

Professionally the last twelve months have definitely been difficult. I remember in March last year having about four different clients all cancel jobs on the same day and then having virtually no work for the next four months. Things did pick up towards the end of the year however, so to a certain extent I was able to still photograph quite a bit – albeit in a much shorter time frame.

How did you get into photography and what does it mean to you?
I first started photographing right after I graduated from high school and took a year off before university to travel. I really took to the medium and about half way through the year got the idea that perhaps this was something I could one day make a living doing. As a person I think I’ve always been attracted to pursuits that are both technical and artistic, which is a line I think photography straddles quite well. I like the idea in photography that you’re not quite creating something out of nothing, but rather using your camera to interpret what’s already there. It gives you confines in which to work in, kind of like an architect gets when having to build something to work in a specific location or site, rather than just a blank canvas an artist gets on which they have to create something wholly new.

Did you have time, capacity and leisure to work on free projects?
A little. I have to admit, I think I became the quintessential lockdown cliche. I started running, then took up baking, adopted a dog, made kombucha, and enrolled in an online course. The only thing I think I didn’t do was try making sourdough bread! I did work on some personal photography projects as well though. One of these has been a series of typologies on everyday homemade objects I’ve found while working in Africa – flip flops made out of tyres, footballs made out of plastic bags, and knives welded together out of scrap metal. Its been really fun working on something more conceptual and also something that doesn’t require I interact as much with actual people.

What is your personal photographic wish for the future?
I think the pandemic has really shown most photographers and a lot of other creatives how vulnerable their industries are. Photography has been suffering for a while now and I think the industry really needs a sea change when it comes to how it monetizes itself. I can’t claim to have the answer to this, but personally its really made me think about how to diversify and expand my revenue streams – going from depending on clients for commissions to looking how I may be able to sell my photographs through stock footage services, selling my photography as fine art, and keeping an eye out for any new technological innovations (e.g. NTFs) that I may one day be able to use as a way to make money.

Website von Tobin Jones
Instagram-Feed von Tobin Jones
LinkedIn-Profil von Tobin Jones
Twitter-Kanal von Tobin Jones

Natürlich können Sie auch gerne über Fotogloria Kontakt zu Tobin aufnehmen – melden Sie sich jederzeit unter 040 609 42 906 -0 oder info@fotogloria.de

#FacesOfPhotography – Teil 141: Rodrigo Cruz aus León

Rodrigo Cruz‘ Wunsch ist es, auch in Zukunft noch fotografische Aufträge zu bekommen – die Magazine in Mexiko sind entweder dank Digitalisierung auf deutlich mehr Videoproduktionen umgestiegen oder schlicht nicht mehr existent. Was die Fotografie ihm bedeutet und wie er die Rolle der Fotografie in der Pandemie einschätzt, darüber hat er mit den #FacesOfPhotography gesprochen:

Rodrigo, how are you
I’m well, fortunately with good health and waiting for the activities to be fully reactivated.

A couple and other people during a soccer game in Boca Colorado, a town formed by mining activity.

What is the current situation in Mexico?
At the beginning of the year the situation was very complicated, there were many infections of COVID-19, the newspapers gave information that the hospitals were full and people were desperately looking for oxygen tanks for their relatives, but now several cities have begun to reactivate activities.

A man watches through a hole the movements of the U.S. Border Patrol and overnight waits patiently for the right moment to jump up the wall that separates Mexico from the United States, in Tijuana, Mexico.

What means photography for you?
I’m a visual artist and photography was the medium that I chose and that has allowed me to see more deeply the world in which I live, it’s something that I do with passion every day. Even after many years, I’m still fascinated by the moment when all the compositional elements and emotions come together and an image is created.

A child looks out through back window of a bus. Many children are recruited from their communities to work with low salaries in agricultural fields of Culiacan, Mexico.

How do you see the role of photography in these times?
The role of photography continues to be to communicate, to preserve in each photograph a fragment of history, it’s an art form, the only difference is that now millions of people carry out this activity on a daily basis.

Indigenous families stay during all night at the cemetery to celebrate Day of Dead in Cochoapa el Grande, Guerrero.

Has the pandemic changed photography?
Each specialty within photography has been affected in some way, it seems to me that we will have to take more precautions when working in public spaces, the way of approaching people will have to be modified for the health of ourselves and the people we are going to photograph. As time goes by, I hope we return to what it was before.

The Fire Walk is the celebration held by the indigenous communities of Michoacán every February 1 to celebrate the Purépecha New Year.

What is your personal photographic wish for the future?
My wish is to continue having work as a photographer, at least in Mexico several magazines have disappeared and others have made the complete transition to digital, video production has undoubtedly increased and I have perceived firsthand that photography assignments have been seen reduced.

Website von Rodrigo Cruz
Instagram-Feed von Rodrigo Cruz
Facebook-Profil von Klaus Rodrigo Cruz
LinkedIn-Kanal von Rodrigo Cruz
Twitter-Feed von Rodrigo Cruz

Natürlich können Sie auch gerne über Fotogloria Kontakt zu Rodrigo aufnehmen – melden Sie sich jederzeit unter 040 609 42 906 -0 oder info@fotogloria.de

#FacesOfPhotography – Teil 138: Suzan Pektaş aus Istanbul

Nach einer Phase der Konfusion und Unsicherheit hat Suzan Pektaş die durch die Pandemie entstandenen Freiräume offensiv für ihre Fotografie genutzt. Sie hat ein Buch herausgebracht, arbeitet bereits am nächsten und bereitet eine neue freie Arbeit vor. Über all das und noch mehr hat sie mit den #FacesOfPhotography gesprochen:

Suzan, how are you?
In those unpredictable days, I try to stay well by being active, producing, writing, photographing, assembling things and so on. I push myself to see the good and the beauty that resides in this chaotic environment. I close my eyes to see the light and pull it out of the darkness into my work. If I can’t find the light, I move on and come back later.


What is the current pandemic-related situation in Turkey?

The situation in Turkey is no different than the rest of the World. In a sense, the pandemic reminded us all that we are on board of the same ship and no different than one and other. This has a good side and a bad side. The good side is that we are not much different, the bad side is that neither of us stand close to the good. I was expecting that the awareness that raised globally during the first months of the pandemic would be lasting. I was expecting that we would be more patient, more innovative and creative, more respectful to each other as well as to the planet but I am proven wrong. I have been reading a lot of news about gender crimes towards women, hate crimes to minorities, tortured and killed animals and so on. I am afraid the hope I had in the first days of the pandemic was a dream and the humankind will go on from where he/she has left before the pandemic. I wish we did hold on life itself with love, which everyone seemed to embrace just a year ago. It looks like a missed opportunity for us all.

How does the situation affect photography and photographers in Turkey in general?
We are going through times that will have a lasting impact on the future. The political unrest that is somewhat a characteristic of our geography, has not been into our lives as much as it is now. It may be due to an increased awareness, but anyhow we continue to create with an ever-increasing passion and pace, building digital alternatives for creating, interacting and sharing. As the saying »Art is for hard times« goes, this situation boosted creativity and activity, maybe, in an unprecedented way. We had fairs, festivals, auctions, competitions, exhibitions all in digital media. We use this opportunity to revitalize the belief and hope in art for all the good it will bring. I believe, this period will have its own memory and impact the future of arts. Online digital media has come into arts permanently and will accompany classical media even after the pandemic. The online platforms that connected artists, who used to have their own closed circles, will be actively used from now on. And this increased interaction will have a lasting and positive effect on all forms of art. Art is a strong hold on life and that’s what I held on. During the first months of the pandemic, I was very concerned, confused and uncertain. I questioned to find a meaning in existence in such a world. Those were my tidal days. Then, I gradually grasped the control. I focused on the changes. The new life practices we built offered me open spaces and escape points, which I used all for photography. And it fed me back. I already had the first maquette of my book and the pandemic gave the time to concentrate on it further. Some of the images in my recently published book were shot during this period. I had the chance to closely watch the physical and spiritual changes that my daughter and I went through. It was a unique experience in this respect.



How and what are you currently working on photographically?

I have an ongoing project since 2017 about a young immigrant African woman living in Istanbul, Naomi. I have been accompanying her in different settings ranging from Sunday masses to boat parties. I want to tell her story from inside, crisscrossing with my personal immigration story. During the course of the project, we built a strong connection and the project evolved into a collaborative creation, a joint narrative about Naomi. I am currently making arrangements and editing. I plan to publish a book on this specific project.
There is also a new photo research project about a mining town in Turkey which had its heydays more than a 100 years ago. It will be an inter-disciplinary work focusing on the relations and mutual interactions of society, individuals and environment. We will seek to uncover the traces of the past in today. It’s a very new project and we are currently in preliminary research phase.

What is your personal photographic wish for the future?
I am constantly pushing myself to think differently, to work with new mediums and collaborate with other artists to involve new dimensions into my work. I want my work to have depth and a transforming momentum. Moving forward from this point of view, I aim to be more productive in a collaborative and inter-disciplinary setting. I, also, have long been dreaming of spending some private secluded time in an artist residency. Now, it looks more feasible than ever and I hope to realize this.

Website von Suzan Pektaş
Instagram-Feed von Suzan Pektaş

P.S.: Die Arbeiten von Suzan sind ab dem 28. Mai 2021 in der Leica Galerie in Zingst zu sehen.

Natürlich können Sie auch gerne über Fotogloria Kontakt zu Suzan aufnehmen – melden Sie sich jederzeit unter 040 609 42 906 -0 oder info@fotogloria.de

#FacesOfPhotography – Teil 135: Peter Nitsch aus Bangkok

Peter Nitsch hat in den Monaten der Pandemie die Stille wiederentdeckt und aus ihr heraus ein Buch aus seinem Langzeitprojekt »Tango in The Big Mango« realisiert. Worüber er sonst nachdenkt und was die Kultur- und Kreativwirtschaft für die Bruttowertschöpfung bedeutet, darüber hat er mit den #FacesOfPhotography gesprochen:

Peter, wie geht es Dir?
Danke, jetzt wieder besser. Ich hatte sechs Wochen mit mehreren eingeklemmten Nerven zwischen dem zweiten und fünften Lendenwirbel gerungen – dehnen, schreien, dehnen, schreien, dehnen, Entspannung. Dadurch habe ich auch wieder gelernt mich an vermeintlich kleinen Dingen, wie das Packen der Kameratasche, was ohne Schmerzen nicht möglich war, zu erfreuen und zu schätzen.

Aus: »Tango In The Big Mango’« – a Baudelaire-like photo documentary about Bangkok.

Wie ist – mit Blick auf die Pandemie – die aktuelle Lage in Bangkok und Thailand?
Von den Infektionszahlen aus gesehen ist die Lage gut in Bangkok. Seit Ausbruch der Pandemie vor einem Jahr waren bis dato 27.000 Menschen infiziert. Aktuell sind es etwa 80 neue Infizierte pro Tag in ganz Thailand. Ich glaube das liegt auch daran, dass Thailand eines der wenigen Länder war, die sofort nach Ausbruch einen Einreisestopp verhängt hatten. Danach wurde dieser dahingehend gelockert, das man nur einreisen darf, wenn man sich 14 Tage in selbstbezahlte – für Ausländer – Quarantäne begibt. Bis heute ist diese Regelung in Kraft. Demnächst soll aber die Einreise erleichtert werden. Wenn man eine Covid-19 Impfung vorweisen kann, würde die Quarantäne wegfallen.

Warum bist Du Fotograf?

Für mich ist Fotografie Erinnerungskultur. Ich mochte schon immer gerne Biografien lesen und Menschen beobachten. Von beiden kann man viel für sich und über sich selbst lernen. Fotografie vereint für mich beides in einem und gibt mir die Möglichkeit Menschen und ihre Lebensweisen kennenzulernen.

Aus: »Tango In The Big Mango’« – a Baudelaire-like photo documentary about Bangkok.

Wie sieht die Fotografieszene in Thailand aus?
Die Fotografieszene Thailand und speziell Bangkok ist auf jeden Fall sehr lebendig und vielschichtig. In Südostasien ist fotografieren und fotografiert werden in jeglicher Form im Alltag integriert – man fotografiert nicht nur sondern lässt sich auch gerne fotografieren. Neben kommerzieller Fotografie ist in Thailand die Straßenfotografie weit verbreitet. Portraitfotografen bin ich eher selten begegnet, dafür aber vielen Bloggern, die gerne mit einer Leica Q2 sich selbst oder ihr Essen fotografieren.

Wie schätzt Du die Auswirkungen der Pandemie auf die Fotografie generell ein?
Die Folgen der Coronavirus-Pandemie hat der Kreativbranche die größte Krise seit dem Zweiten Weltkrieg beschert. So würde es die Politik ausdrücken, wenn die Fotografie die Autobranche wäre, um dann im Anschluss einen Investitionsschub anzubieten. Doch seit Ende der 1980er Jahre entwickelte sich die Kultur- und Kreativwirtschaft zu einem der dynamischsten Wirtschaftszweige der Weltwirtschaft. Ihr Beitrag zur volkswirtschaftlichen Gesamtleistung (Bruttowertschöpfung) in Deutschland betrug im Jahr 2019 106,4 Milliarden Euro (Anteil am BIP: 3,1 Prozent). Das muss man sich vor Augen halten. Damit übertrifft die Kultur- und Kreativwirtschaft laut BMWi (Bundesministerium für Wirtschaft und Energie) in Sachen Wertschöpfung inzwischen andere wichtige Branchen wie die chemische Industrie und Energieversorger. Nur der Fahrzeugbau erzielt mit aktuell 162,1 Milliarden Euro eine deutlich höhere Bruttowertschöpfung. Da liegt für mich der Hase im Pfeffer! Meiner Meinung nach ist die Fotografie Kulturpolitisch völlig unterbewertet. Aber wer als Fotograf Glück hatte, so wie ich, der konnte das durch die Pandemie entstandene Vakuum erst einmal für sich nutzen und inne halten. Die Stille wieder zu entdecken war für mich die wertvollste Erkenntnis der Pandemie.

Aus: »Tango In The Big Mango’« – a Baudelaire-like photo documentary about Bangkok.

Wie ist Dein persönlicher fotografischer Wunsch für die Zukunft?
Das aus der Pandemie-Zeit herüber gerettete »mehr Zeit haben« um eigene Projekte zu verwirklichen. Dieses Zeit-Vakuum war für mich äußerst befreiend. So konnte ich auch mein Langzeit Projekt »Tango in the Big Mango« mit Hilfe von Kickstarter-Unterstützern als Fotobuch realisieren und im Anschluß den Verlag Hatje Cantz als Herausgeber gewinnen. Demnächst wird noch eine Collector’s Edition im Acrylschuber mit signiertem Print bei Chromfeld erscheinen.

Website von Peter Nitsch
Instagram-Feed von Peter Nitsch
LinkedIn-Kanal von Peter Nitsch

Natürlich können Sie auch gerne über Fotogloria Kontakt zu Peter aufnehmen – melden Sie sich jederzeit unter 040 609 42 906 -0 oder info@fotogloria.de

#FacesOfPhotography – Teil 133: Giulia Marthaler aus Zürich

Giulia Marthaler hat ein Kochbuch realisiert und hat dank der Entschleunigung ihren fotografischen Blick wieder geschärft. Darüber und über mehr hat sie mit den #FacesOfPhotography gesprochen:

Giulia, wie geht es Dir?
Knapp ein Jahr nach dem kompletten Lockdown fühle ich mich heute wieder frisch, voller Tatendrang und Zuversicht. Doch diese unbestimmte Zeit lange Flaute ist eine Herausforderung und unterscheidet sich stark von den gewohnten Wellen.

Wie ist aktuell die Lage in der Schweiz?
Wir sind mitten in der zweiten Welle im Shutdown und es herrscht eine Art verhaltene Stimmung des Abwartens. Die Leute sind »coronamüde«, wie wohl überall auf der Welt auch.

SK 2017/02 Apfel&Zimt

Welche Auswirkungen der Pandemie hast Du beruflich gespürt?
Nach Anordnung des Lockdowns im Frühling 2020 flatterte eine Jobabsage nach der anderen rein. Projekte, die bereits ins Detail geplant waren, wurden gecancelt oder auf unbestimmte Zeit verschoben. Das war eine unangenehme Erfahrung: Termine aus dem Kalender zu löschen, empfand ich als sehr deprimierend. Andererseits blieb mir nichts anderes übrig, als anzunehmen, was ist und das Beste daraus zu machen.

Hattest Du Zeit und Muße an freien Themen zu arbeiten?
Ich nutzte die Gelegenheit, mich der Überarbeitung meiner Website zu widmen. Dank der allgemeinen Ruhe konnte ich relativ störungsfrei und fokussiert an dem seit Jahren vor mir hergeschobenen Task arbeiten. Ausserdem startete ich schon vor dem Lockdown ein freies Kochbuchprojekt, welches wir nach der ersten Schockstarre weiterführten. Ich schätze es sehr, während dieser außerordentlichen Zeit ein Projekt am Laufen zu haben, das mir Sinn und Energie gibt.
Ich genoss es zudem, wieder mehr Zeit fürs Kochen zu haben oder um all die spannenden Websites anzuschauen, die ich mir »für später« gespeichert hatte…

Hat sich Deine Fotografie generell mit der Pandemie verändert?
Inhaltlich nicht. Jedoch ist meine ursprüngliche Sensibilität für die alltäglichen Details wieder erwacht. Insofern hat die auftragsfreie Zeit ihr Gutes, als dass ich meinen fotografischen Blick wieder schärfen konnte, um achtsam und bewusst meine Umgebung wahrzunehmen.

Siehst Du langfristige Auswirkungen auf die Branche?
Die langfristigen Auswirkungen in der Kreativbranche schreibe ich eher der Digitalisierung als der Pandemie zu. Zu nennen wären da Inhouseproductions, die gesunkene Wertschätzung für Bilder, Zufriedenheit der Endkunden mit mässig qualitativer Arbeit…
Womöglich erfährt die Branche langsam eine Abflachung dieser Welle. Trotz oder gerade wegen der massiven Bilderflut, gibt es das Bewusstsein, dass authentische Bilder zentral sind für Kommunikation und Verkauf.

Was ist Dein persönlicher fotografischer Wunsch für die Zukunft?
Ich wünsche mir, weiterhin mit inspirierenden Menschen gemeinsame Projekte und Ideen zu verwirklichen und mich dabei von Freude und Neugierde leiten zu lassen.

Website von Giulia Marthaler
Instagram-Feed von Giulia Marthaler
LinkedIn-Kanal von Giulia Marthaler

Natürlich können Sie auch gerne über Fotogloria Kontakt zu Giulia aufnehmen – melden Sie sich jederzeit unter 040 609 42 906 -0 oder info@fotogloria.de

#FacesOfPhotography – Teil 130: Ruslan Asanov aus Plóvdiv

Neben seinem Job als Fotograf organisiert Ruslan Asanov Fotoreisen – die Pandemie hat ihn beruflich schwer getroffen. Darüber und über das, was die Pandemie für die Fotobranche in Bulgarien und allgemein bedeutet, hat er mit den #FacesOfPhotography gesprochen:

Ruslan, how are you
I’m great, while still breathing.

What is the current situation in Bulgaria?
We have the lightest lockdown version here in Bulgaria among all European countries, so it is quite OK, considering, that it is still pandemic. It’s possible to travel all-around the country without any restrictions and our daily personal duties are almost the same as before-the-COVID era. Some business branches are heavily affected, because Bulgarian economy has quite a big dependence on tourism and hospitality sphere.

How do you live through the pandemic photographically and job-wise?
I run tourist company, aiming photography trips to Europe and Asia, and the biggest problem for me is the lack of travel abroad with impossibility to invite other photographers from abroad to Bulgaria. Whole 2020 was lost as a business opportunity and all trips since March, 2020 so far are cancelled. Fortunately, I have some other business projects out of the tourism sphere, that help me to withstand this situation, but many companies are just bankrupting, because it is hard to get through the lockdown within our weak Bulgarian economy.

Are you working on free topics?
Being carried away by the landscape photography, I was always spending most of my photography time on free topics, enjoying the nature and looking for the new interesting places or catching different light at the locations, that I’ve been shooting many times. Passioned in the landscape photography are practically always on free topics.

Will the pandemic experience change photography and the photographic business?
Any experience, that happens in our history, always more or less changes things in our life. This recent pandemic will definitely change the photography. We can already see the new wave of online photography instruments and acceptance of this idea by the commercial photographers, who started making income this way.

What is your photographic wish for in the future?
We are »social animals« and It would be great for me to travel again, without any restrictions, gaining new social experience meeting new people in new photography locations all over the world.

Website von Ruslan Asanov
Instagram-Feed von Ruslan Asanov
Facebook-Seite von Ruslan Asanov
LinkedIn-Kanal von Ruslan Asanov

Natürlich können Sie auch gerne über Fotogloria Kontakt zu Ruslan aufnehmen – melden Sie sich jederzeit unter 040 609 42 906 -0 oder info@fotogloria.de

#FacesOfPhotography – Teil 126: Mattia Balsamini aus Venedig

Mattia Balsamini reist für seine Aufträge durch Italien und hat das Jahr der Pandemie für ein Buch genutzt, das demnächst erscheinen wird. Darüber, über die Rolle der Fotografie und darüber, wie er arbeitet, hat er mit den #FacesOfPhotography gesprochen:

Mattia, how are you?
I’m happy to say I’m doing relatively good. Last year I moved from Milan to my hometown near Venice. It is a place very dear to my heart. I did this right before the beginning of this radical crisis and change we are still facing, and I found a more balanced pace between urgency and calmness. I decided a smaller town, for now, suits absolutely the situation. At the moment I travel nationally for work, but I put all the international trips temporarily on hold.

What is the current situation in Italy?
Italy decided to give a »grade”« to all regions – red, orange or yellow. Depending on a set of parameters like hospital performance, quantity of patients and many other factors, a region is allowed to be relatively functional or basic in full lockdown. Traveling is basically allowed only for work or urgent matters. Luckily as a freelance I am often in this situation yet of course I cannot stop thinking about the impact we will be having in the upcoming years.

How do you see the role of photography in these times?
Photography can be a mean of communication as it has always been. It can perform at different levels, from informative, to leisure, from social to eye candy. All of this in the realm of being culturally relevant and educative. For me during last year first lockdown experience it has brought out an introspective side of my interests. I focused on making my interest in forms, colors and atmospheres the subject itself of my photography. This exercise helped making sense of older images in my archive that I kept going back to. Almost a year later a my first book about this process is about to be published. I worked with publishing house Skinnerboox on a »In Search of Appropriate Images” – we are working to make it available around mid March 2021.

What means photography for you personally?
My approach to the photographic medium stems from a contrast between two ways of representing the subjects that attract me. On the one hand, the need to understand what is in front of me, a fascination with the beauty and content usefulness of a didactic representation of things – I believe also dictated by the editorial and commercial context for which I often make commissions. On the other hand, there is the need for abstraction of reality – a sort of inability to accept things as they are, intervening and forcing a gaze that is always painstakingly new for me towards familiar subjects. Sometimes it can happen that these two strands meet fortuitously, producing the images I’m most interested in. Over the past seven years, working on editorial assignments, alongside my personal work, I have decided to partially demystify the situations related to the commercial work I was carrying out, many of which related to experimentation, new technologies, industrial and highly automated processes. I used the photographic medium to break down what I was looking at, working on the aesthetics of functionality, looking for simpler and at the same time magical and mellow concepts, more easily associated with my childhood memories.

What have you personally experienced job-wise in the last weeks and months?
I’ve experienced a rollercoaster of emotion from being still and wanting to be active, then I’ve active while perhaps some of us were forced to be still, then I’ve been pretty work free and worried and then things started to pick up again. Basically it has been the same up and down as usual in this type of career, but with larger excursions. I plan to stay extremely flexible and focused on quality but most importantly on interest.



What is your personal photographic wish for the future?

I want to keep producing work that matters to me – as it is clearly the only ethically sustainable method. And I hope my interest match the needs of commercial and editorial commissioners to keep making this job possibile.

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#FacesOfPhotography – Teil 121: Stefen Chow aus Beijing

Stefen Chow ist in normalen Jahren rund um den Globus unterwegs. 2020 hat er China nicht verlassen, hat aber die Möglichkeit genutzt, um im Land selber Aufträge und freie Arbeiten zu fotografieren. Darüber, über die aktuelle Situation in Beijing und über seinen Wunsch für die Zukunft hat er mit den #FacesOfPhotography gesprochen:

Stefen, how are you
I have been good. It could have been a lot worse. I have been based in Beijing, China since March of 2020, and I have not left the country since.
My wife and my children are with me, so I have spent more time with them compared to all my past years as a Photographer and Director.

Li Jingliang »The Leech«, one of the highest ranked Chinese UFC fighter.

What is the current situation in China?
Things started becoming more normal from the second half of 2020, but a second wave hit Beijing and we lost another month and a half.
China has contained the pandemic quite well due to very strict rules surrounding new cases and transmission. We are able to lead lives rather normally now – we can eat out, watch movies, meet friends, but the monitoring is still very strict. There is a new cluster of cases in Beijing recently and everything has been very tense again.

How did you live through the pandemic photographically and job-wise?

Like many others, I was initially lost but production and shoots starting coming back in the second half of the year. Towards the end of the last quarter of 2020, I was on back to back assignments in different parts of China, doing directing and photographing still campaigns for Fortune 500 companies. It has been a fortunate end to the year. Things are obviously affected, but its still good.

Print campaign shoot for Zhende Medical, with advertising agency Ogilvy.

Did you work on free topics?
I did do some personal work on the side, and I contacted professional athletes, restaurants to collaborate on interesting projects. However, I would also do this every other year so it didn’t feel that different from other years.

Will the pandemic experience change photography and the photographic business?

Absolutely. I am not too keen how it will turn out once we are on the other side of the tunnel.
For one, I started doing a lot of assignments where there is a remote element in the production – my client, creative directors, other decision makers could be on the other side of the world, communicating with me through a iPad, computer while we are undergoing production. I was never that comfortable with that, but during the pandemic year this was the only way it will happen, and I have gotten used to it. This is what made a lot of production still possible.

Portraits at the restaurant Huda in Beijing, China. Many of the staff are migrant workers within China, coming from smaller villages across the country to seek better job prospects in the country’s capital. Due to the Covid-19 pandemic, 3 of the 5 Huda restaurants had to be temporarily closed.

What do you wish photographically for in the future?
I wish we can still do what we love.

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#FacesOfPhotography – Teil 120: Daniel Hager aus Zürich

Daniel Hager hat die vergangenen Monate genutzt, um sich fortzubilden – so hat er etwa viel Zeit im Bereich Drohnen-Aufnahmen investiert oder hat sich um die Vertiefung im Bereich Film-Postproduction gekümmert. Darüber und über einiges mehr hat er mit den #FacesOfPhotography gesprochen:

Daniel, wie geht es Dir?
Mir geht es sehr gut, trotz der nicht ganz einfachen Situation.
2020 war beruflich anders als sonst herausfordernd. Grundsätzlich brauche und suche ich Herausforderungen, dieses mal halt nicht freiwillig.
Das Jahr hat dafür aber andere Qualitäten mit sich gebracht wie mehr Zeit für interne Projekte oder die Familie. Ich habe sehr viel gekocht, war im Garten, habe auf der Alp eine Mauer gebaut und habe gelernt meinen Mac zu reparieren.

Wie ist die derzeitige Lage in der Schweiz?
Ernst, aber wir haben mehr Freiheiten als in anderen Ländern. Die Stimmung ist daher größtenteils entspannt.

Wie hast Du fotografisch und jobmäßig bis hierher die Pandemie durchlebt?
Nach der Absage eines großen Film-Projektes und weiteren Aufträgen im Frühling hat sich die Situation ab Mitte des Jahres verbessert. Ab der zweiten Welle im Herbst hatten die Kunden Schutzmaßnahmen implementiert, so dass viele Aufträge trotzdem möglich sind. Die Situation erfordert von uns allen weiterhin Flexibilität, Spontanität und Kreativität, aber das macht es auch spannend.

Hast Du an freien Themen gearbeitet?
Nachdem ich 2019 für die Lufthansa Group im Bereich Aviation Bilder gemacht habe, habe ich 2020 für eine lokale Segelflugschule als freie Arbeit Bilder gemacht.
Daneben habe ich viel Zeit in die Weiterentwicklung im Bereich Drohnen-Aufnahmen investiert. Neu dazugekommen sind FPV-Drohnen (First Person View) für Filmaufnahmen. Das hat sehr viel Zeit in der Recherche und im Zusammenbauen der Drohnen gebraucht, macht aber unglaublich Spaß, auch wenn der Aufwand immens und die Lernkurve sehr steil ist.
Und generell war ich mit meinen anderen Drohnen viel in der Luft.
Ich habe auch im Bereich Film-Postproduction sehr viel gelernt und mich weiterentwickelt, weil es Spaß macht und ein steigender Bedarf an Fotografie und Bewegtbild ist.

Wird die Pandemieerfahrung die Fotografie und das Business verändern?
Kurzfristig wird es vielleicht zu Budget-Restriktionen bei einzelnen Unternehmen kommen, doch ich denke nicht, dass sich die Fotografie dadurch längerfristig sehr stark verändern wird. Kommunikation mit authentischen Bildern wird nach wie vor wichtig bleiben für Unternehmen.

Was wünschst Du Dir fotografisch für die Zukunft?
Ich wünsche mir, dass ich weiterhin viele menschliche, persönliche und interessante Geschichten erzählen kann. Gerne würde ich auch mehr Bewegtbilder in meine Projekte integrieren.

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