People photographer Karl Knerr comes in quite different ways to his subjects. Often, the topic depends on what the models or “customers” expect or what own ideas they bring. The more accurate he knows, the better he can get it.
Topic finding
He recently photographed three classical musicians on a stage with wings, and shortly afterwards an Argentine Charango player who needed portrait pictures with an instrument for a CD project, then commercials with guests for a restaurant or a biker on a Harley while driving. The photographic challenges vary, of course, depending on the subject area.
Improvisation
Private shoots with friends run rather loose. If the basic idea is, he agrees with them time and place, and the actors think about what they would like to see in pictures. Then creatively improvised. Karl Knerr adds: "This is a good opportunity for me to try out something new because we are not under pressure."
Equipment
The caravan on some of his recordings belongs to some friends. She and Karl Knerr agreed on the use of this retro design. Since Karl wanted to test his compact flashes in an outdoor shooting for a long time, they met the preparations together.
Picture gallery
For him is absolutely indispensable of course his camera, because without these there would be no photos. In self-portraits, tripods and tripods are also very useful because they can be photographed more conveniently. For portrait shootings in the studio, a flash with a screen or softbox and a reflector are often enough for expressive recordings.
The choice of equipment (wide angle, telephoto, autofocus speed) always depends on the requirements of a shoot and the desired picture. Sometimes, a low-light lens makes it possible to achieve an adequate picture quality.
In principle, Karl Knerr examines everything that is to be used in photography before shooting, whether it is batteries, lightning, lenses or cameras. Sometimes he also puts together various utensils to create a certain ambience. For example, if he wants to see his actors in a particular attire or a small "stage".
Karl Knerr would like his pictures to look uncoated and to have a light situation that is manageable for the observer. In his "1945" picture he chose, for example, special clothing, a narrow cut, an insight into the emptiness and the black-and-white transformation.
Karl Knerr explains: "When looking at the recording, the viewer is supposed to convey a suggestion of air raid shelters, bunkers, hunger, bent, crouching attitude, inner emptiness and hopelessness - and thus a sense of the years towards the end of the second world war." >
Karl Knerr treats his pictures very differently and always depending on the motif. Standard is the choice of the exact image section, the possible conversion to black and white, the improvement of contrasts and the optimization of color and color saturation. The desired image expression justifies the means.
How did you get to photograph people?
Even as a child I liked to photograph people. First my parents and other family members, then my friends and classmates, later my partners. With my Minolta Z1 I tried then 2003 in the targeted light setting. I quickly realized what potentials are in it. This is how I've dealt more intensively with the issue of light since buying my first DSLR 2005.
What are your favorite motives and why?
Shooting preparation
When I'm on the road, for example, I love to pick out small scenes with the telephoto that reflect the private feeling. Since I almost never use a flash-on flash, I can act very subtly from the background.
You registered in November 2006 in the fc. How did you get to the fc and what functions of the fc do you particularly appreciate?
Image expression
Under my bourgeois name "Karl Knerr" I own since August 2004 an fc account. I had already countless insect macros on my hard drive and was noticed by a friend on the fc. After uploading first pictures and numerous positive comments, I was very quickly infected by the fc virus. I would love to exchange ideas with people of the same kind, and I am pleased with the criticism and recognition.
The "orange" button is still one of the functions that I value most. So I'm always up to date, what my friends in the fc so drift. Over the next two years, my priorities have shifted towards portrait and nude photography. That is why I placed a second account as Karl Feldmann in November 2006.
What influence does the fc have on your photograph?
Also interesting is
Postprocessing
Karl Knerr in the interview
More images of Karl Knerr
At first I got suggestions. Fc natural photographers such as Markus Gebel or Thomas Block helped me and inspired me to improve my technical level. On the other hand, the photographer Ivy O Donoghue, who taught me that technique is only one side of the photographic medal, was the other, while heart and soul adorned the other side. Nowadays it is among other things fc photographers such as don ricchilino or Corwin von Kuhwede, whose works I like to look for inspiration.
What is your relationship to the works of Joseph Beuys?
Personally, I see no relation. Some viewers, however, discover similarities to Beuys in my self-portraits. Others feel again reminded of Karl Valentin. Finally, Hugh was called Laurie.
What is your personal handwriting for you?
I like to scratch the surface and look behind facades. I do not like prefabricated poses. I often like the pictures that come next, in breaks or around the actual shooting, if no excitement prevails. I like to work with people who do not want to look good at photos at all costs, but can also be allowed. I use a light or a flash light.
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