
It was born over a century ago as a healthy “18×13″.
Just booked a summer workshop in England to learn how to feed it with Collodion … and I have yet to find out how to get the chemicals here in Germany.
Cannot wait!!!
Lassal – photography

It was born over a century ago as a healthy “18×13″.
Just booked a summer workshop in England to learn how to feed it with Collodion … and I have yet to find out how to get the chemicals here in Germany.
Cannot wait!!!
Robert Morat Gallery is announcing a 3 day workshop “Das Fotobuch” (probably in German language) from August 27th until 29th, 2010. It is the first time that Peter Bialobrzeski and Andreas Herzau offer a joint workshop that deals with the preparation and production of photobooks. So it will probably we extremely interesting.
There is a restriction to 12 participants.
The location will be somewhere between Hamburg and Berlin, Germany, and the workshop fee is 400 EUR (excluding accomodation).
For more information please write an email to Robert Morat Gallery. And hurry up!! The info just came in a second ago …
I got a totally nice Skype message from David Alan Harvey the other day, telling me that one of my images from the workshop with Antonin Kratochvil in Transylvania was up on BURNmagazine. I had totally forgotten about that submission and my first thought was that there was some mistake or mix-up. But there was none and I am very happy to see this image up on BURN.
The Transylvania workshop was an amazing experience for me. Very intense. It gave me a lot to chew. I wanted to force some decisions and for that I needed additional oppinions. The workshop in Transylvania was just one of these lucky things that happen at the right time. Not only did Transylvania sound perfect, Antonin Kratochvil did sound perfect too. Back at that time I was reworking the concept for A Stranger’s Wish and thus very interested in portraiture. I have to admit – hopefully without sounding arrogant – that most portraiture I see around strikes me as utterly boring. Along my researches I stumbled across Antonin’s old portraiture photographs and they left me with a deep longing and curiosity, which made me constantly want to go back to them to try to grasp “it”. It was like I was feeding on them. And this kind of excitement is one of the things I expect from photography/art. On top of that Antonin was said to be ruthless, mean, direct, sincere, not sparing, only caring about photography and not about someone’s feelings – exactly what I was looking for!
I do not mean to say that I am a masochist. But I wanted some slaps of truth in my face. I had not found photography as a toddler neither did I grew up with it in any way. I was a trained architect and working on filmprojects for several years before it struck me. LATE! If I wanted to do something with photography, I needed to see where I was standing and I needed to just suck in whatever information possible to see if this path made sense at all for me …
David Alan Harvey was already helping me enormously by throwing the right questions into the arena, but you need more than one star to be able to define your position when you navigate. And I was looking for another star. A dark star. I found it.
Ok, the biggest drama here is that my original post is gone. And with it the thread of facts that was holding the individual images together. You think I write these blog entries for you?! Well yes, I do :):):) but not only – actually I write them for myself just as well. As a reminder. I still have thousands of pictures from that ten days in May that I spent on the workshop with Antonin Kratochvil in Transylvania but … names? Places? Numbers? All gone with the post. So yesssss … I AM upset a little (very). I will have to change the way I document my personal stuff – just in case this happenes again.

I remember I was totally curious about Romania before getting there … The workshop was called “The Lost Villages of Transylvania” and during the first days of orientation and introduction by our guides we could see what that meant: a disappearing world. People between anguish and hope – with changes that come too fast for most of them to grasp. There was a foreshadowing in the faces that I met, that reminded me of faces I saw in Berlin after the opening of the wall – I was there when the wall came down in Berlin, and the faces I met ate me up from the inside. Especially the ones from the older generation – whilst the younger ones were partying the elderly had already collected life experience enough to know that this was not going to happen without a greater sacrifice … In Transylvania I saw this expression again, but differently than in Germany I saw it on younger faces too. I wanted to capture that, I decided. But where could I do that without being noticed? In a train, I told myself … passing all the shut down industries, all the signs that sang the happy-Europe-song … In a train, where I could press the shutter of my old and worn down point&shoot without anybody taking note.

So much for my plans.
They were actually reasonable. Most of the other workshop participants were in Roma villages and needing guides and translators for that. We did not have enough helpers and I would either have to stand in line or do something where I did not need translators.
And so I started with this (along with 3 backup ideas – just in case)
As the train rides took up much of my day I soon had to cancel my parallel essays – there was no time for them and a good first day (which was the only good day the “foreshadow”-essay had) falsely convinced me that it was the path to follow.

The next day came and all of the sudden I was waiting for hours on the empty stations only to get into empty trains … Where was everyone? I was doing something wrong and I had no way to ask because I had not met anyone up to that point who could speak English. I was hasseling with my Portuguese to understand what the matter was, and was just about to change the name of my essay into “Empty Train Stations of Transylvania” when things changed again. From the afternoon of day 3 on I was not alone in the trains anymore. Interestingly enough, I started to always see the same faces, even if I was travelling ceaselessly back and forth between stations. And the associated bodies were sitting right next to me. So it became impossible for me to proceed with the “foreshadow”-essay. Especially because everybody else in the train seemed to be acutely aware of what was going on. Silence reigned but eyes were eager.

I did the only thing I thought I could do at that moment without giving up. I started to take pictures “under cover”, meaning: while I pretended to have a look at whatever I had shot already on my little monitor – making the appropriate faces to it – I was actually taking pictures through my fingers. From the outside it looked like I was covering the lens – and I was, partially at least. This way I was watching those who were watching me. Sounds fair, does it not?
As Antonin Kratochvil insisted in doing the whole final edit of the essays alone, and I was not really sure if he would go along with my last approach, I presented “foreshadow” as well as “trains /stations” and “under cover”. His edit? He decided to show all three of them.
Nice one!
While on the Antonin Kratochvil workshop in Transylvania in May 2009, there were a lot of quick shots – meaning that there were these sudden chances that appeared on the horizont and which you could just jump on right that moment or forget about it alltogether. Due to my workshop focus (train travel) I am sure I missed quite a lot of interesting chances, but then again I managed to go to this one: a visit to THE historical horsemarket of the region, which apparently is the last remaining of it’s kind.
I am certainly not the most well informed person on horse markets, but hearing from our guide that this one was not only the last of it’s kind but also probably about to be closed down itself, did in fact surprise me. If you travel along Transylvania you just have to notice how important horses and horse carriages are as a means of transportation. Closing the old markets down did seem very odd to me. But from what I saw, it looked like it was run 100% by Roma – and sadly this might be one of the reasons for it’s disappearance.
…
(click here or on the image to see & read more)

(There was a slideshow and some more text attached to this post – I will try to retrive it)

My friends at Vektorrausch have started to programm me a separate site for “A Stranger’s Wish” and first results were tested today. Apart from 1mio things still missing, I already find it quite impressive! The countries, which I have already visited, will be shown in cyan. Once you click on them you will see a zooming effect and the visited cities will appear. Going into those you will find the portraits. And the stories.
Still struggeling with some of the intendet additional information. I will be changing my plans because I now saw a site that unfortunately is quite similar … On top of it all from a pretty famous photographer … It is all similar on the net, if you use the same features. But … I will try to find another way nontheless. It really bothers me!
I decided to take the restrictions off this project and to make it a more universal approach about communication and commitment. So now I accept “applications”! If you think you want to be a part of this project (including a possible exhibition, book and whatever might come out of it) AND we do not have met before, then please have a closer look here!
Just returned from a magical week in the breathtaking hills of Tuscany, where I had the chance to participate in a workshop by David Alan Harvey. It definitely changed the way I look at photography and … I do not only have a new ongoing project now but also a lot to think about.
Thanks David and everybody else.
Here is a little slideshow for you … Nothing big, nothing planned, nothing finished … just some pictures to get back into dreaming-mode.