Available Light Photos by Jörn Stubbe

In our portfolio series, we present individual photographers and their work. This week is about Jörn Stubbe and his analogous Available Light photos.


Location


At Jörn Stubbe many pictures are spontaneous. When he looks at people, then usually in their environment. So he always takes new backgrounds. At previous meetings, he tries to find out about the person, their hobbies or interests, whether they are musicians or dancers, for example.


Shooting preparation


If the portraitist is a friend or part of the family, he usually exposes the images out of the situation. Photography is for Jörn everyday documentation. The camera is always ready to handle so that it can react quickly to the light and situation.


Equipment


If the models had never been before his camera, a previous meeting is almost unavoidable. The mutual learning before the shooting creates trust. Pictures and wishes of the photos to be made can be discussed. Jörn always shows some of his references to convey his style to the other, and how he chooses motifs.


Picture gallery


For photography, Jörn Stubbe mostly takes cameras with different film formats. This allows him to deal with changing situations and locations. The reason for this is that he shows all his pictures in full format and never cuts them afterwards. Its images are created when you press the shutter button and not afterwards on the PC.


Gallery: Analog images of Jörn Stubbe


Jörn can also refrain from using a flash unit, but he is shooting exclusively with ambient light - also called available light. Regardless of whether he is photographed in the apartment, at the workplace, around the model or in a dance or concert hall.


Slowly and little pressed Jörn the trigger. By the choice of the analogue material, the portrait photographer is limited in the number of shots. He explains, "I am forced to check whether the settings, the motif and the section are correct before triggering." In addition, the slowness of the recording process is also dictated by the mechanical cameras without any electronics.


Light measurement and focusing, Jörn Stubbe individually takes a manual step, so there is plenty of time for the conversation with the photographer. Jörn decides: "This operation relaxes the shoot, because there are always breaks between the individual recordings and no permanent release pressure on the model." As a result of the conversations, the photographer learns a lot of what can be an inspiration for future recordings.


Jörn Stubbe is the emotional and graphic depth of his paintings important. He wants to create three-dimensionality by means of line guidance, choice of background and focus point. The environment should at best be related to the portrayed and provide additional information to the viewer.


When removing the images in the darkroom, only contrasts are adjusted and image parts are post-exposed or lightened. The processing of the recordings on the PC is limited in the case of scanned negatives to the control of the contrast and the removal of dust particles. The motifs are neither trimmed analogically nor digitally.


Jörn Stubbe


Equipment


Light


How did you get to the black-and-white photograph?


After I soon noticed that color pictures represent to me too much of information, I began to photograph on black-and-white film. For me, the minimal - the reduction to the essentials - was more fascinating than any color. That is why I use color films today rather seldom.


Recording technique


What is the fascination of portrait photography?


For me the encounters, the conversations, the shared experiences, the interaction, which ultimately leads to the portrait make the fascination. It is exciting to work with people in front of the camera, perhaps to get to know him (differently), to tickle something out of him, which allows him to look into his soul.


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Image composition


Postprocessing


Jörn Stubbe in the interview


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The most important thing is my eye. This decides on image design and triggering time. Ultimately it does not matter which camera, which lens or tripod a photographer works. Without a good eye, there is no good motive.


What are your favorite motives and why?


My favorite motifs are those of everyday life. I think that everyday life is underestimated as the motive. I find these old photos of street scenes, family life or work incredibly exciting. In them, there is so much to discover, which fades in memory with time.


The present day-to-day life is so unconcerning. One does not notice how the time passes by and the beauty of the moment remains undervalued. All of a sudden, today's everyday life is that of ten years ago, and it is annoying that you did not photograph more of the now interesting scenes.


How do you address a topic?


I'm basically a spontaneous guy who does not really plan anything. Therefore, I always go with a backpack full of different format cameras, so as not to miss a motive. Much then develops during the photographing. Some ideas for picture series come only when first photos have been created or randomly made contacts. Often I photograph people who tell about their hobbies, or they know someone who makes something interesting, which then arouses my curiosity.


You registered in October 2003 in the fc. How did you get to the fc and what functions of the fc do you particularly appreciate?


I came to the fc about an acquaintance who was already an active member. What I particularly value the fc, is the possibility of the exchange off the pure picture shop. The function of the Fotomail is very successful, as you can discuss a photo in the narrow-range area.


Do you get synonymous suggestions in the fc? And what influence does fc have on your photography?


At the beginning of my membership the fc influenced me a lot. All of a sudden, contacts were made with photographers who would hardly have been otherwise. The view over the bounds of her own work was very inspiring. The photographers, whom I still maintain close, personal contact, I got to know at the time. So I started to develop my own films and revive my darkroom.


It was very exciting to meet photographers of the same spirit. Today, the fc does not play such a big role for me anymore. I share the thought exchange with face to face with my esteemed photographers. This has become much more important than the presentation in a virtual community.


Do you have photographic idols and if so which ones?


I do not have role models, because model has something of "Nachmachen want" has. I try instead to find my own style. But there are, of course, photographers whose photos I like to look at: Jock Sturges, Henri Cartier-Bresson, Robert Cappa, Sebastiao Salgado, Sallymann, Richard Avedon, Anton Corbijn, Albert Watson and a few more

What is your personal handwriting?


I am a friend of unruffled and natural motifs. I like it reduced and photograph people as it is. I usually do not change it for a photo. I like the authentic and the absurd, the personality behind the facade.