Jens Edinger often reworked pictorial images of already taken analog photographs. He likes to compare his approach with a good whiskey, which first receives its fullness. Even if he always inspects his environment with a photo-view, the motif finds him and not vice versa. He explains, “I see what is happening and the preview of a possible series is created in my head.” I do not shoot single images. “
Shooting preparation
Before a photo tour the bag contents are checked, batteries are charged and memory cards are counted - nothing may be missing. Often, Jens Edinger also has a lot of paper - printouts of rail connections, maps and much more. The mobile phone could give up the ghost.
Equipment
His "good old lady", the Sony R1, with now 150,000 releases, he always has. This can be operated with one hand completely, and with it photographed without a tripod up to 1/20 second almost blur-free. From a purely technical point of view, it covers 99% of its focal range with its focal range of 24-120 mm.
Location Search
Jens Edinger has tried many cameras, but only this has remained permanent. For some series, however, he uses fixed focal lengths on system cameras, so the cut and image effect remain the same. In addition, the image quality of the fixed focal lengths is much better. But the brand of a camera is important to him, it is important that the photographer is mastering the technique and the camera as an extension of the hand to the eye. Good pictures can be shot with mobile phone or hole camera.
Picture gallery
The light situation and the location form the basis for Jens pictures. He researches a lot in advance, for example, using Google Earth and Streetview and is already analyzing the environment and the light situation at home.
Gallery: Portfolio - Jens Edinger
On the spot, he shoots test images and exposure sequences. Sometimes everything fits immediately, the photographer develops with a growing experience a feeling for the light. Even in street recordings, he often tries to integrate the same background or objects. For example, he has been photographing people standing cross-legged on the street for years. The concept, place and light are secondary.
Jens Edinger mainly shoots one shot and does not create exposures for HDR images. In low light conditions, it selects the RAW format. As a rule, however, the very good JPEG processing of his camera is enough. He always photographed in manual mode and rarely uses ND-POL or IR filters.
The image design results from the concept - in a series, the main motif always has to be in the same place, the horizon or marked lines are the same. Series can also be based on colors. He likes the square image format. Panoramabilder is composed of two or three squares.
By an exact camera alignment, and the design of the image in the viewfinder minimizes the post-processing. On the computer he crops the image only to the square, and with Photoshop straightening lines. For the SW conversion, he always uses the same self-created profile. There is also a workflow for the color and brightness adjustment. Here and there he stole sensory spots. As a rule, it takes only a few minutes.
Jens Edinger
Equipment
How do you address a topic?
Shooting
I always go photos conceptually and have a solid idea of what I would like to print. Before the shoot, I set the focal length, image format, the position of the object and above all the light. Then everything stands and falls with the right moment.
What are your favorite motives and why?
Recording technique
A quote from Karl Valentin describes my idea very well: "Everything has been photographed already ... but not yet by everyone." I can get something from every motif.
How did you come to the motif metro stations?
In 2003 I read the book "On the whole line" by Keith Lowe. This is a man in 24 hours the entire subway network from London depart and shoot as evidence photos of the station signs. In 2007, with my oldest son, an absolute subway fan, I tried to transfer the process to Munich. The first station images were created.
Picture composition
Postprocessing
Jens Edinger in the interview
More Portfolios
At home, the wrongly exposed and blurred pictures disappointed me. I researched and found out that there are few really good underground photographers out there - that kindled my ambition.
What else fascinates you about this motif?
In the subway station you can sit, read or play with your mobile phone on the train, without perceiving its surroundings. However, if you look at the subway station as an independent motif, you suddenly realize its architecture. In 2009, I saw an article on architectural photography, as a photographer explained that a pure architectural image shows only the art of the architect, not that of the photographer.
Creative architecture photography works only when the viewer perceives the architecture from a different, unfamiliar viewpoint, becomes aware of its dimensions, and connects to the user of the architecture.
I came to the frog perspective, because I had to take a picture of an underground photojournal with my miniature tripod, because my normal had not been damaged. This perspective combined with a 24mm focal range is sensational. Thus the concept stood: at least one human being, an exceptional perspective and, if possible, both in combination.
What parts of your equipment are indispensable for your subway pictures and why?
Important is a really good lens, which has hardly distortions and a good edge sharpness. The Zeiss lens of the R1 performs very well for this purpose. Also is ideal that I can with the R1 unbemerkt over the display above photographed. A tripod with remote release is important to play with blurring. Also a pair of neoprene fishing gloves, with thumb and index finger free, are part of my equipment, but it will get cold when cold.
Do you have any photographic models, and if so, which ones?
I have no direct role models. I like the Düsseldorf school around Bernd and Hilla Becher. Gursky, Ruff and Robert Voit are representatives of conceptual photography, which I like very much. But also the New York street photos of Vivian Maier I find fantastic.
Hiroshi Sugimoto captivated me with his long-term exposures. But I like the photographers of the 1920s around Moholy-Nagy and the Bauhaus class. Even filmmakers like Stanley Kubrick or David Lynch influence me.
Do you get suggestions in the fc? And what influence does fc have on your photography?
Yes, I watch a lot of profiles and I like to look at photographs. So I got acquainted with recording techniques, which were completely alien to me. But it is important to me to meet people in the real life of the photo object. So I had many beautiful shoots with other fc photographers, and there are intense friendships grown from it.
The fc has strongly influenced the way I look motifs, as well as my picture design and camera technology. Now I try to reduce my own emotional vision and create images that move many neutral viewers.
Fc profile; flickr profile; website
Cameras: Leica Digilux 2, Leica D-Lux 4, Sony R1, Fujifilm X-E1, mobile phone, 25 built-in analogue perforated cameras
Lenses: Zeiss Vario-Sonnar T 24-120 mm, Zeiss Distagon T 2,8 / 12 mm, Zeiss Planar T 1,8 / 32 mm Fujinon XF 2,0 / 18 mm, Fujinon XF 1,4 / 35 mm
Accessories: tripod manfrotto, remote release, rain protection, pole, ND, IR filter
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