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PHOTOGRAPHY ART 風格攝影 PHOTOGRAPHY ART 還記得小時候做過什麼夢嗎 ? | Jan von Holleben 帶你張開夢想的萬能翅膀傳承自父親的攝影魔法 dpi 13 沒有 23 www.photodebut.org. dpi: Please tell us how you got involved with the photographic world? Who inspired you to become a photographer? My father studied photography and eventually became Director of Photography at a German Television Station. In his early years, before he started working with moving images, he produced a lot of very exciting photography which was rather personal and non commercial. He experimented a lot with the technologies of photography and his work was always on display at home. I was fascinated by the magic of it and was keen on learning more about it, I wanted to become the wizard’s apprentice and learn everything about the medium, tell stories, work with people and make even greater magic! With the age of 13 I got my first camera and started shooting. For the next 10 years I spent an enormous amount of time, energy and money on documenting not only my entire environment and my friends, but also learning the trade, the techniques and the secrets of photography. I researched and enjoyed many great photographers and tried to understand their visual voices. I assisted a commercial photographer for 3 years and learned the technical skills and how to run a business. He was a brilliant commercial photographer and teacher. For him: No idea or commission was too difficult or impossible. Age 23 I went to University in England and studied: ‘History and Theory of Photography’ .. that was it.. I was lost and found in photography. After that I moved to London and started working in photography as picture editor in a photo-agency, photographic director for a magazine and later on at an exciting agency for photographers and creatives. I set up my own photographers collective: www.photodebut.org. From my very first day in the UK I already did smaller editorial commissions.. and over the years they became more and more. 45 67 dpiWhen did your current photographic style begin? How did you come about it? During my Assisting Years (20-23 years old) and at University I tried everything in photography I could think of.. and then, suddenly.. I was fed up with all techniques. I wanted to reduce everything.. just work on my ideas and my visual grammar. I picked up a snapshot camera and started shooting without looking through the view finder… just guessing the picture.. I did this for a year.. and just worked very hard on the editing of the images afterwards. .. that was an amazing practice and trained me in distancing myself from my work. Then I started looking through the viewfinder again… and I found a style which I liked.. but still needed to work on it for another 3 years until I really understood what I was doing and why I was doing it. It became a very personal and emotional journey (All these years I kept working with 4x5inch cameras, 6x7 and Digital alongside my own snapshot-camera experiments… I didn’t feel confident enough to test my newly discovered style on editorial, commercial or test shoots) 按下快門前的自我思辯 dpi dpiWhat elements of a picture do you care the most about when you take it? It’s the entire image as a whole. I neglect the technicalities (as I can rely on them anyway). I just think: THE PIC- TURE and the VIEWER. I think with every image I do: Does this picture work for someone else? Do they understand what I want to say? Would I understand this picture if someone else would have show it to me? … Why does it not work just yet.. ahhh .. that’s how it works. And then I have a new picture! 關於「飛翔之夢」系列作品 dpi dpiRegarding your ‘Dreams of Flying’ Series: What’s your main motive for this series? It is that the idea of ‘Childhood’ is always a joint experience between grown ups and children. Children do not know what it means: Childhood - they are in the middle of it and don’t really care about it. Grown ups have purely nostalgic memories of that time of which they are no longer part of. It is also about the amazing time of life when everything is free and amazing and great and new and everything is possible. I believe that we don’t need to loose that freedom when we grow up. We can still keep it. Just in a different frame work... BUT WE CAN KEEP IT FREE and AMAZING and can learn something new every day and have adventures every day! dpi 1530 逃出技術的牢籠 dpi 2023 03 04 02 05 02 Wir werden immer grösser stuck 03 Dreams of FlyingThe Superman 04 Dreams of FlyingThe Strong Men 05 Dreams of FlyingThe Tarzan and Jan 64 dpi | 2007 dpi | 2007 65
PHOTOGRAPHY ART 風格攝影 PHOTOGRAPHY ART 還記得小時候做過什麼夢嗎 ? | Jan von Holleben 帶你張開夢想的萬能翅膀 dpiIn your work, the scene of every picture is really unique; would you please tell us how you create a scene? Do you always premeditate a story before taking a picture? Yes. I always have the idea of a story first. Then I spend a lot of time sketching out the image and thinking about the best trick how to do it. I try to make it a worthwhile picture with a hint of magic, for people to stay with the image for a bit and maybe even understand something of what I want to say. I don’t want to avoid creating any image that has been taken before. That’s a waste of time and too many people waste their energy copying others. I need sketches to be sure about what I do – it’s a visual rehearsal. Looking at my sketches: The better they turn out, the more confident I am taking the picture afterwards. With a sketch in my hand, a shoot usually takes 15 to 30 minutes only. dpi dpiNone of your work is taken in a straight forward way, but you make children act like they are really moving! That’s really amazing and interesting! How do you direct them? Do you have any secrets in order to get them involved in your scene? What’s the most important aspect while directing your children? We are friends, they are my neighbors, and we trust each other and we know that we can only manage this work together. It is a game and they understand the rules perfectly. They have loads of fun and usually come running as soon as I am home and ask when we take the next picture. Another vital aspect is that before studying photography I was involved with a different education. Over years I wanted to become teacher for handicapped kids (my mum being a child therapist). I thought photography is too tough and challenging, but hey, at some point I suddenly understood that Photography is it. Nowadays I can use my skills to work with kids really well! I also understand that teaching can be much tougher at times than photography! dpi Wir werden immer grösser dpiiDo you always choose children as your actors? Have you ever thought about choosing adults? Why or why not? I work a lot with grown ups. See my work: ‘Wir werden immer grösser’ But it is a very different way of working. However both ways of working inform each other. Kids teach me ‘Freedom’ and with grown ups we exchange ‘Knowledge & Experience’. Mixing both is a great pleasure and both are essential parts of my work. It always depends on the concept of the recent work. I am very anal about the details.. and the casting for my images is very vital. So sometimes kids are the best, sometimes grownups… sometimes my best friends.. or sometimes complete strangers.. it really depends on the project! 06 07 08 09 06 Wir werden immer grössersuper roly 07 Wir werden immer grösserbig fat white lady long leg 08 Wir werden immer grösserThe Muckiest 09 Wir werden immer grösserfeeeeeet 66 dpi | 2007 dpi | 2007 67
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å¸¶ä½ å¼µéå¤¢æ³çè¬è½ç¿è - Jan von Holleben