THE PHOTOGRAPHER ANDREAS GERHARDT
The fascination of photography caught me early on. Nights in the darkroom followed the reading of pioneering books by great masters such as Anselm Adams and Andreas Feininger. The movie Blow Up was not my thing, too exalted. There were the years of study – a formation as photographer with certificate (Gesellenbrief) and then years of travel as an assistant. At Burda, I met the world of fashion in almost homeopathic excerpts. Sure, we felt important and yet only on the fringes of the universe. It was enough when Aenne Burda floated through the corridors to give a glimpse on Lagerfeld’s universe. My way took a curve. I wasn’t unsuccessful in advertising. Time passed and digital technology arouse. Yet, to me, analogue is never dead.
As a photographer, I’m an explorer, observer, a custodian. The material I paint with is the light in all its colours, tonalities and shapes. I would describe myself as minimalist. I like the essence of Bauhaus art. I like many Scandinavian filmmakers. That’s how I discovered Dogma95. Lars von Trier, first and foremost the most famous, has enthused me with his works and still does. I took up this idea of guidelines and reformulated it for photography.
My great passion is to tell stories in pictures. For me, perfection is achieved in non-perfection. Before I unpack my camera, there’s a process that leads to an idea and a concept. Peoples’ personalities are above all and are part, if not the essence of my images.