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Champagne within the Cellar – The Leica digicam Weblog

With a number of humour and originality, Nina Röder locations herself and her mom amid memorabilia taken from the house of her deceased grandparents. The grotesquely absurd tableaux reveal a coming to phrases with problems with loss and mourning, which she expresses in an unsentimental method. Röder spoke with us about who and what has impressed her, the idea of the theatre of the absurd, and why she considers the sq. format preferrred.

How did the Champagne within the Cellar sequence come about?
When my grandparents handed away three years in the past, we needed to filter out and promote their home inside per week. We rapidly packed most of their belongings and put them in my mom’s cellar. With ambivalent emotions, caught between amazement and melancholy, I began to undergo all of the objects, furnishings and, particularly, my grandmother’s garments, at first of 2020. Through the corona lockdown, my mom and I used the cellar to stage portraits, self-portraits and nonetheless lifes for the digicam, and thus created a stage for a theatre of the absurd.

Please clarify extra in regards to the concept of a ‘theatre of the absurd’. How did you combine it into the photographic course of?
Figuratively talking, Samuel Beckett mentioned the next about absurdity: it’s the means we now have, after we are confused. In my view, this additionally applies to the lack of individuals. His work can also be about non-functioning communication – a communication that takes place in a void. That’s why the theatre of the absurd typically has tragi-comic options, which I needed to convey in my images. I did so by combining, for instance, my grandparents’ dentures with objects which are far faraway from any significant context.

The non-public objects grew to become props for a theatre of the absurd. Did all of it occur spontaneously, or did you are taking a conceptual strategy?
A mix of each. There have been concrete ideas for a number of the images, however the outcomes that you just see had been largely the results of an open performative course of. You’ve bought to contemplate the truth that this cellar was stuffed with objects. A small space was cleared for the backdrop and for the flash tools. If a motif didn’t persuade me utterly, I simply dove into the mountain of belongings once more, to search out one thing that will complement the motif.

Had been the objects all authentic finds, or did you organise extra equipment?
All of the objects that you just see within the footage are objects that got here from my grandparents. After the Second World Struggle, they fled from Böhmen to Bavaria. Like so many others belonging to the battle era, they had been unable to throw something away, in order to be ready for any “dangerous occasions” forward. That’s why my grandmother, particularly, had stored all the pieces because the fifties.

What was the most important problem you confronted whereas photographing?
I typically begin a challenge, or a person motif, with a selected concept or concrete picture in thoughts. Generally, after I realise the picture, it seems that the mounted concept I had in thoughts wasn’t significantly thrilling. That’s why I would like the potential for one thing unplanned occurring through the photographic course of. One of the best instance of that is my mom, whom I photographed often for Champagne within the Cellar. She is unpredictable as a portrait topic and, whereas I used to be photographing, typically got here up with concepts and poses that I hadn’t anticipated. So, not changing into bored, whereas discovering and permitting the rising – the defining factor – to come up, is what I think about the best problem.

You like to work with a sq. format. Why?
In my view, a sculptural side in {a photograph} is emphasised by a sq.. On this sequence, I not labored with a direct flash. For a lot of of my sequence I’ve discovered it applicable, as a result of the aesthetics of a sure “cheapness” produced by a direct flash approach, mixed with emotional themes, can result in an thrilling friction. On this event, nevertheless, I opted for a distinct lighting scheme; one which was adequate for the tragi-comic side of the content material. Moreover, I work rather a lot on the poses. I typically discover it extra attention-grabbing when poses present extra of a paused sequence of actions, than a deliberate pause.

You labored with the physique of an SL2 and the APO-Summicron-SL 90 f/2 ASPH. How was your expertise with this method?
I have to say that I fell in love with the digicam. Coming from medium-format analogue, I discovered the operation and the navigation menu very intuitive, and never too overloaded with features. Improvising and performing for the digicam are central to my method of working. Because of this, for instance, the continual capturing perform and the focussing choices enabled a technical relationship that gave me a number of freedom.

Do you will have an concept of how you want to your visible language and types of expression to evolve sooner or later?
Two teams of themes have crystallised in my portfolio: images that had been taken in pure areas which, amongst different issues, connect with a discourse on post-romanticism; and sequence that cope with biographical narratives regarding my household. The images I soak up pure areas cope with completely different elements of psychological states in reference to the phenomenon of individuals letting go. Right now, I’m engaged on a challenge in Marienbad, Czech Republic, which goals to mix each of those parts.

Born in Neuendettelsau, Germany, in 1983, Nina Röder first studied Theatre, Media and Literature at Bayreuth College; after which Media Artwork and Design, with a deal with Pictures, on the Bauhaus College in Weimar. She has been a Professor of Pictures on the College of Europe for Utilized Sciences (former BTK) in Hamburg, since 2017. In 2020, she accomplished her Doctorate within the area of Creative Analysis. Her work has been displayed at worldwide festivals and exhibitions, together with the GoaPhoto Pageant in India, the European Pictures Month in Berlin, and the Format Pageant in Derby, UK. You’ll be able to see extra of Nina Röder’s work on her website and on Instagram.

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