Schlagwort-Archive: internationales Netzwerk

#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.

Website von Mattia Balsamini
Instagram-Feed von Mattia Balsamini
Facebook-Seite von Mattia Balsamini
LinkedIn-Kanal von Mattia Balsamini

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

#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.

Website von Stefen Chow
Instagram-Feed von Stefen Chow
LinkedIn-Kanal von Stefen Chow
Facebook-Profil von Stefen Chow

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

#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.

Website von Daniel Hager
Instagram-Feed von Daniel Hager
LinkedIn-Kanal von Daniel Hager
Facebook-Profil von Daniel Hager

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

#FacesOfPhotography – Teil 114: Vidhyaa Chandramohan aus Abu Dhabi

Vidhyaa Chandramohan konnte durch die Krise keine Aufträge mehr fotografieren, hat sich anstattdessen ausführlich ihren freien Arbeiten gewidmet. Darüber und was ihr die Fotografie bedeutet, hat sie mit den #FacesOfPhotography gesprochen:

How are you and how is the current situation in Abu Dhabi?
I am doing great; things are getting back to normal; the Abu Dhabi government has taken several precautionary measures to prevent the residents, and several programs have been postponed to 2021.

How have you been – concerning your job – in the last weeks and months?
Yes, it’s a very tough time, I was unable to travel countries for any projects, but worked on my personnel projects and published some. Hopefully this situation will change around the world and believe once we get the vaccine for COVID-19, things will be back to normal.

Will the crisis change photography?
The crisis may change the world up and down, reaching into every aspect of our lives, but not creativity, so as a photographer we can always find ways to explore various things, this is only for now, slowly things will be back to normal.

Did you work on free topics or are you planning something?
I am planning to work on conservation related stories around the UAE and Middle East, my goal is to explore the UAE of a world of new relationships, new opportunities, new beginnings and, most importantly, new stories.

Emirati women are ­»pushing the boundaries to break stereotypes« in Falconry – Many women are not practicing falconry in the Middle East , these are few Emirati female falconers from UAE are indication of the boldness, the initiative and independence of Arab women. Perhaps the falcons were a symbol to these women of limitless freedom, as well as of power at Abu Dhabi, UAE.

How was your photographic journey so far?
In the year of 2014, I started working as a freelancer in the leading news agency in Abu Dhabi and everyday i am exploring and learning something new in this field. In 2017 I signed for a Diploma in Photography project with Danish Media and Journalism at Amsterdam, after completing the course, I was induced to work on Documentary projects which helps me to understand various subjects, apart from photography too. Throughout the journey there were ups and down, I always take failure as an experience and learn from that.

What does photography mean to you?

Photography is part of my life, it’s a kind of meditation in my everyday life, I can’t imagine my life without Photography and it’s everything to me.

Home quarantine – a range of emotions during the covid-19 pandemic.

Website von Vidhyaa Chandramohan
Instagram-Feed von Vidhyaa Chandramohan
Facebook-Seite von Vidhyaa Chandramohan
LinkedIn-Kanal von Vidhyaa Chandramohan

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

#FacesOfPhotography – Teil 110: Vassilis Triantis aus Amsterdam

Sein Langzeitprojekt in Europa und den USA konnte Vassilis Triantis in diesem Jahr nicht fortsetzen. Anstattdessen hat er den Lockdown und die Zeit danach intensiv für neue Ideen, neue Strecken genutzt. Mehr dazu hat der den #FacesOfPhotography erzählt:

Vassilis, how are you doing?
I am well considering the circumstances. Trying to keep optimistic that soon we will be able to regain the good aspects of our pre-COVID era and live along with the learnings that came with it.

What have the past weeks and months meant for you photographically?
Some things had to stop or come to a pause. I am shooting a long term ongoing project in the USA and Europe and this year I was not able to continue with all the travel bans imposed. However, that gave me time to research more on the project and re-shape some ideas but also come up with new ones of what to photograph and how. At the same time, I am participating in the FUTURES platform and the annual physical meeting and ensuing exhibition in Amsterdam was cancelled. The program of the platform moved online and was organised very well, still I missed the physical interaction with the rest of the artists and the organisers that would bring so much more in terms of informal discussions and creativity.
We were lucky enough to have the technological means to stil connect and communicate but there are certain limits to the virtual that cannot be compensated.
On the other hand, due to the pandemic and all that was happening around, I found lots of inspiration to start a new project called »1 1/2 Life«. So photography never stopped, just the way I dealt with it changed.



Did you work on a topic during the lockdown? And since then?

Indeed, the socio-political and emotional turmoil of the pandemic brought many ideas forth especially in the beginning, where the situation hit us like a cannonball. First thing I did was to grab my camera and start photographing randomly in order to keep myself and my mind off the gloomy atmosphere that settled by the media and the isolation. Slowly, ideas were translated into images and I started photographing more constructively and more targeted. I refused to document empty streets, or burdened hospitals in Amsterdam as I felt that such scenes are experienced by everyone and I did not want to appropriate or direct other people’s experiences. It would be redundant as well. I wanted to form more of a photographical essay related to what is the pandemic, how it came upon as, what led to the burden of the health care system globally, what is the impact on a social level and how we are going to walk out of it.
Therefore I started photographing the project “1 1/2 Life” which is a combination of text and images depicting my research and personal ideas on the above topics. Having a scientific background, I tried to familiarise the viewer through photography with scientific aspects of the pandemic, but also ideas on what is happening to public and private space, the consequences on social discussion and the abolishment of urban as a political and social platform but also the opportunities we gained into resetting our way and pace of life. The whole project was shot during the first wave of lockdown here in Amsterdam.
But as I mentioned before as well, being more at home and having more time to myself, many ideas came along about current and new projects. Some of these ideas already started taking shape. On the other hand, I am also planning some exhibitions for next year as well as looking into possibilities in publishing my first photo books with two projects that I completed in 2020.



Are the experiences of the pandemic decisive for your photography and photography in general?

I think the way we deal with Art in general will change. Until the time we will be able to regain physical contact, our interaction remains online and that has a big impact on what, how and why we photograph. Beyond that, experiencing photography and discussions around photography have moved also a lot to digital platforms. That has put constraints on the tangible character of photography. Viewing exhibitions, creating new bodies of work had to be reshaped. I think the learnings from this whole situation will not allow us to move back to what we had before. Which is not necessarily a bad thing altogether. Since many festivals moved online, we had the opportunity to view more than before. Portfolio reviews and discussions became more accessible online. I think many of those aspects are here to stay and can give a new boost to artists, curators and audiences altogether. We were forced to find new creative ways to expand and we should use those. However, all this should be in balance and should augment the physical experience of photographing and enjoying photography and not replace it.

For the time that will come: What is your photographic wish?

As I just said, I hope to learn from the hardship the pandemic brought upon and to use it to expand our horizons but not replace the actual and the physical. I would like to see more people being exposed to photography, and having more photographic voices coming up and democratising the medium, but also cherish the absence of visiting exhibitions, festivals an talking with each other face to face.
Personally speaking, I am investing more right now in producing photo books for the two projects I finished but also planning exhibitions for 2021. I cannot wait of course to go back to the USA and continue on the project I started there, but let’s see how the pandemic will progress and how we adapt to that as well. We have to take one step at a time.

Website von Vassilis Triantis
Facebook-Seite von Vassilis Triantis
Futures-Portfolio von Vassilis Triantis

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