I am the bare horror for most models, “says Michael Papendieck about himself and states,” I almost never get down beforehand, do not plan and improvise out of the trunk while shooting Br>
Photographer and model
Michael Papendieck's pictures are born the moment the model is first seen. They are the essence from the individual first impression that it leaves behind. "Existing images of the model are not important, because as a person who has danced for many years, I have to see a person move, speak and act in order to be able to photograph with her," he explains. A model that can not do anything with Michaels already recorded dance pictures and "improvisation theater" will never want to shuffle with him, he is sure.
Equipment and recording technology
He advises: "Anyone who can not work with my work will stay better at home, which may sound arrogant, but consistent, because I am not a one-sided supplier of ideas, but at least 50% of the work for free projects is at the model." If you only want to have your ideas implemented, you have to book it as a service provider, then it prepares itself differently for the shooting. So he fixes only one appointment in the student calendar and then improvises.
Picture gallery
A minimum of studio equipment is enough for Michael Papendieck. He usually only photographed with a large softbox, which illuminates the set from an oblique top to an old master's model a la Rembrandt on a gallows stand. He describes his approach: "I do not move the light behind the model, but it moves in the light."
Model management like Paartanz
Thus the connection model photographer never tears off. He explains, "The moment a photographer puts the camera down to light the light, the tape is cut between the photographer and the model, and the model mutates into a photo object that is to be illuminated, With individual photography this has nothing to do with me. "
In the case of camera equipment, too, he is restricted to a 50 mm fixed focal length. The camera is not a protagonist in his recordings, but records only in short moments what he wants to see or see. Since he selects the light in the studio, exposure time and aperture are almost always the same - 1/125 second with aperture 2 to 5.6.
The studioblue, depending on the lightformer, is adapted accordingly. Because his lighting setting is limited to these operations, it is so important that he and the model improvise together.
Michael Papendieck introduces a step, the model follows and interprets this in his personal form and thereby creates from his side again a starting point for Michael, the next step or just the opposite. This only works if model and photographer communicate 100% with one another directly or nonverbally.
He says, "I move a lot about shooting, and my position in the room influences my counterpart, or the model takes a position in space and light, which in turn controls my own." If the model management were a couple, Michael Papendieck would have the male part and the model would have to trust that Michael knows where to put the next step.
The motif always determines Michael's design. He often portrays portraits of medium-sized photographs in the middle to cut the photographs into a square. Otherwise, he uses common design tools such as diagonal or golden cut. However, he also likes to break through existing rules to solve the viewer's habit.
To 99 per cent his model looks as a sort of abstraction not into the camera, rarely addresses the viewer directly. This creates a sometimes sterile atmosphere in which a model can be completely undressed without being offensive, naked or voyeuristic. "Human forms meet graphic image design," adds Papendieck.
As he mostly photographed in the studio, venues on the pictures of Michael Papendieck rarely appear. Only for a dance show, where all sorts of dancers perform at different places / places in the city, he shifted the shoot outside.
In doing so, he chose places with a representative recognition value to establish local references. Otherwise, he is looking for outdoor locations according to individual needs. However, the environment must always be without a model. The model is then only a decorative element.
Also interesting is
The postprocessing of Michael Papendieck is limited to corrections. He cleans walls or floors and retouches on the model only common wishes like pimples, mosquito bites or bruises.
Michael Papendieck's pictures are the point of view of the way he perceives them at the moment of the recording or choreographically in connection with the dance. Portraits, on the other hand, are intended to represent individuals individually. He does not gloss over anything and presents people as they please. He works only with what the people are ready to show.
Image composition and composition
In nude photos, he is not concerned with the transport of erotic content. His pictures do not offer the naked body. Our series "People behind the camera" presents photographers of fotocommunity and their extraordinary pictures. "For me, undressed body modeling clay, like a knet, just more handsome," he comments with a wink. The individual personality of the model reverts to the act behind its physical peculiarities, which serve as a creative means of image composition with light.
The viewer is therefore looking for meaning-pregnant content in Michael Papendieck's photographs in vain. In addition, picture titles for online appearances are intentionally wholly drawn to the hair or not made visible to the viewer, from conversations, spinning, or small, well-groomed fancy shoots.
Locations
Retouch
More images of Michael Papendieck
Image expression
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