Hans Martin Doelz: Photographer of the week
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by Yvette Depaepe
How has your history and life experiences affected your photography?
What first attracted you to photography?
Describe your overall photographic vision.
Why are you so drawn by Architecture and Abstract Photography?
What gear do you use (camera, lenses, bag)?
What software do you use to process your images?
Can you tell us something more about your work flow ?
What is your most important advice to a beginner in Architecture and Abstract Photography and how do you get started?
Who are your favourite photographers and more importantly, how has your appreciation of their work affected how you approach your own photography?
Another name I would like to mention is Vivian Maier. She definitely belongs to the best street photographers and left behind a lot of masterpieces of street photography.
Last but not least, there is the German born Fred Herzog who emigrated to Canada in the 50s and recorded life in Vancouver for more than five decades. He used Kodachrome slides at a time when colour photography was more or less frowned upon among art photographers. Fred Herzog, whose work was not widely appreciated until 2010, had a keen eye and an excellent sense for colour and composition.
Lately Fred Herzog’s photographs influenced my own approach to photography as I currently move from pure architectural photography to street photography.
To me, street photography is everything that happens in front of the camera that wasn't planned or set up. Quote: „It became a photograph because I happened to be there and was ready with my camera.“
Is there any specific photo taken by another photographer that has inspired you a lot and why?
An image with a completely different message is „Children at a Puppet Theatre, Paris, 1963“ by Alfred Eisenstaedt.
There are three frames in existence (33, 34 and 35) from which I think, frame 34 is the best one.
When I saw this photo for the first time it became immediately one of my favourites.
Are there any specific directions that you would like to take your photography in the future or any specific goals that you wish to achieve?
Mannequins have always been much more than an elaborate coat hanger parading the fashionable clothes of the day, but also mimicking the fashionable body shape of their era and appearing in displays that reflect the trend topics of the times. First they have been modelled on royalty, film stars, musicians and fashion models, nowadays they primarily embody an ideal of beauty. They are an ever present feature of every high street and shopping centre in the developed world.
Many of the well known photographers of the 20th century (Lee Friedlander, Walker Evans, Vivian Maier, to name only three) have shot at least a few photos where mannequins can be seen.
By the way, the photographer certainly faces interesting challenges when he devotes himself to this topic. Looking from the street into the shop window, he usually will see layer upon layer with varying intensities of light, the interior of the shop, the mannequins in the window display, the reflections of the street, the shop fronts opposite, and this mix of interior and exterior, of reflection and reality will in the end be visible in the photograph.
An article with 20 pictures from my Mannequins-series was recently published by the Spanish photo magazine DODHO.
Describe your favourite photograph taken by you and why it is special to you?
1. „Book temple III“, a photograph taken in February 2014 in the Stuttgart City Library is my most successful image so far with lots of appreciations and a publish in the Print Issue of National Geographic Magazine (USA), July 2018. The photograph is now part of the permanent collection of the National Geographic Society.
2. Another photo I like much is one of my very early shots. I was fortunate to meet Eric Clapton and Ginger Baker in 1967 sitting in the canteen of Radio Bremen, a German TV station. On that day there was a recording session of the legendary TV show Beat Club where Cream (Eric Clapton, Jack Bruce and Ginger Baker) performed „Strange Brew“. I’m proud that I could save this photo from the analogue era of photography.
This photo was already shown above.
Is there anything else you wish to add and what do you think about 1X as a home base for your work?
And I’m not afraid to take photos that don't fit the 1X style. It’s never too late to leave the well-trodden paths and to break new ground.
Finally: Thank you very much, dear Yvette, for giving me the opportunity to present my images and thoughts in this interview.
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