excelled in both, a bold unique vision and the appropriate carefully crafted technique that would give justice to that vision, thus become essential. Even a seemingly sloppy technique can hide mastery or a technically perfect image lack in depth.
4. WHAT WAS THE HARDEST PART ABOUT DECIDING TO BECOME A FULL-TIME PHOTOGRAPHER?
I come from a culture in which landscape photography and exploring nature not only was almost un-heard of, but certainly not something anyone would associate with making a living with. Breaking that barrier was not straight forward, but then again I always enjoyed going against the tide.
5. WHAT MOTIVATES YOU IN YOUR WORK AND WHAT IS DEMOTIVATING?
From early childhood on, I had a strong calling to seek out the often perceived as unwelcoming land-scape and find inspiration there. Art and nature always made sense to me. I come from a family of great musicians and grew up listening to lots of music, so music always made sense to me. However, the so-called civilized world failed to register with me the same deep satisfying understanding. To this day I maintain a relation with both wild nature and urban life. I seem to take away things from living in that contrast, even though I occasionally feel quite demoralized by life in the organized world.
6. WHAT ARE THE MOST PASSIONATE MOMENTS IN YOUR WORK?
I enjoy the process, the struggles along the way, the quiet moments as well as the rush of being out in nature and actively being involved with taking photographs. It’s when the possibilities feel limitless and I get to become a collector of my own impressions of the landscapes in front of me.
7. WHAT ARE THE MAIN CHALLENGES IN YOUR WORK?
Practical issues aside (many of those I’m afraid), it’s the creative challenge that is the most essential to me. Putting myself in a position to be surprised, remain curious and playful are some of the im-portant elements that trigger the necessary intensity in my work.
8. HOW DID YOU DEVELOP YOUR ARTISTRY?
I began photography long before the digital era; in the days of film, which I still use to this day. The darkroom was a place where I realized magic happened; spending countless hours through the years there. Naturally, I became fascinated with printing, a passion that has lasted 25 years; thus far with-out much change since my migration to the digital darkroom. Despite this long standing relationship, I remain a student. I study, discuss and above all practice printing constantly.
9. WHAT IS YOUR MAJOR PERSONAL LEARNING IN PHOTOGRAPHY THAT YOU WOULD CONVEY TO A „NOVICE“?
Study the greats before you and not just the photographers, but artists across the board. In the end, education plays a big part of the equation. Photography is an extremely popular art form; yet it is the one where so many greats are totally ignored. Even a non-musician knows and has heard the music of Bach or Mozart and all painters have studied the works of Rembrandt, Van Gogh, Da Vinci and Picasso just to name a few. Yet, in photography the equivalent masters like Kertez, Bresson, Eugene Smith, Kudelka and Weston are little known to the vast majority of practicing and aspiring photographers. Perhaps the perceived ease of photography causes this epidermic approach to the need of education beyond the technical aspects. And this obscurity of the great masters might very well maintain the false idea that photography is a lesser form of art.
10. WHICH ARE THE DRIVING FORCES FOR YOU PERSONALLY AND IN YOUR WORK?
Both photography and nature tap into my curiosity and sense of wonder. There is also a tremendous sense of freedom, from being out in the wild nature. Despite the fact that I carefully study the places I visit beforehand and I think of what directions I will be taking, in the end, it’s a lot of unknowns. I will still be surprised and the images will take a life of their own.
11. WHICH FEELINGS DETERMINE YOUR WORK WHEN OUT IN THE FIELD?
A great part of my works deals with the sense of stillness, emptiness and vastness. I also often merge the feelings chaos and balance in my abstract and intimate works.
12. ON WHICH CRITERIA DO YOU JUDGE YOUR OWN WORK AS SUCCESSFUL?
The composition obviously has to fall right into place. That is, the arrangement of the elements and the lighting, which makes those elements what they are in a photographic sense. Then comes the printed interpretation, which I consider a crucial part of the process. Tonal articulation is something I obsess about. In order to hit the notes that will guide perception of the print in the right direction.
13. YOUR PHOTOGRAPHIC WORK AND THE BEAUTY OF OUR PLANET, NATURE: WHAT CONNECTION DO YOU SEE?
My notion of beauty has evolved through time, as my own personal impressions of nature became rather complex. I find that the perception of order, when everything falls into place, to be the kind of beauty that interests me most.
14. ASSUMING YOU WOULD HAVE 15 MINUTES ON A TV BROADCAST AND PEOPLE ALL OVER THE WORLD COULD LISTEN AND UNDERSTAND WHAT YOU WERE SAYING, WHAT WOULD BE THE CORE OF YOUR MESSAGE TO THE PEOPLE?
We are all people of nature, whether our modern lives have stripped so many of us from acknowledging this reality or not. Even those with lacking interest for nature will draw energy, inspiration and strength from gazing into a distant horizon. Wilderness and nature can be places where humans remove all the static noise from their life, look clearly within themselves and discover amazement about who they are. Seeing the possibilities that exist around them, renew their sense of being alive and breathing. Nature in my view is not to be thought of, it is not approached by logical conclusions. It is rather an experience that transcends and defies theorizing. Most people who seek to have deep experiences in nature will attest to its powers, which is ignored by an ever growing number of people on this planet. When we look at nature, when we look at the earth, we have nothing less of a miracle; a possible connection to something greater, right here in front of us.