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| I live in Schwedt, a small industrial town near the Polish border, embedded in a wonderful national park. I earn the money for my bread and wine at Uckermärkische Bühnen Schwedt, the local theatre, where I work not only as a photographer, but also as designer. Practice had been my vocational training as a photographer. I did not study nor learned photography. So – all I know I taught myself. I began in 1989, with a Practica and a 50 standard optical system. Then I learned all the darkroom and laboratory stuff. I tried to make bromoil prints and was going on trying new things. And this is what I still would call my moving spirit. I get bored very quickly, I am always collecting new angles of vision. Working as a theatre photographer was the best practical school, because a theatre photograph is reportage and art photograph at the same time. There is always the need of very quick reaction – to quickly changing light conditions, moves and motives. It shows a sequence, gives a documentary statement and, at the same time, is closely linked with artwork. It was the time of analogue systems, when you could not check immediately whether you had pushed the shutter button at the right moment and with the right aperture, but could see the results in the lab only, and in general they had to be perfect – because you were always pressed for time and people were waiting for high-quality prints. Errors used to be inexcusable. I was in the position to check out my abilities on various things, I gave photography lectures at a school of arts, designed stage settings and costumes, made layouts of posters and brochures, made oil paintings, bodypainting and makeup … In my free works I try to create pictures, one should not comprehend as a pure photograph. Before my time as a photographer I did a lot of painting, on some paintings I spent up to a year. Sometimes there were several layers of paint on the preparatory drawing. For me, this was an intensive process of meditation, too. And this is what I try to incorporate into my digital pictures. So, it happens that the photographic original, which can be sharp as a razor, by times of the ruminant-pictorial translation becomes my picture. I don´t have a real idol, but I admire Rudolf Koppitz very much. On occasion I work with professional models, mainly for my contract works, for free works I try to get amateurs in front of the camera, hoping to find rough diamonds  I cannot imagine my life in 5 years – and I even don´t want to. My work as photo-designer at Uckermärkische Bühnen Schwedt leaves hardly any time for my free works, so that I´m happy even with small partial success. My next big goal is a personal exhibition, that will take place in Schwedt at the end of the year. I am delighted with every twinkling of an eye, captured by my camera and then releasing something new in the viewer´s head. My style is to have none. Very soon there is the risk to commit oneself or to let oneself committed to a certain handwriting, and for me that would be boring and tiring. As colourful and diverse our world is, as multi-faceted is our view on it. Everybody developes his own view of things and expresses it in his photographic work. And this could be my advice to all young, but also experienced photographers: Be always ready to press the shutter button at the very moment. If you don´t have a camera at your fingertips, let your head be the shutter button, since our memory is an essential driving power of our creativity. |
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- Email: deviantart@subart.de
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