The view through the lens
our photographer Urs Bigler in conversation with my team mate Simon Jacomet
In the last weeks, we presented the portraits of our employees on the zai Facebook page. An excellent reason to introduce the photographer, Urs Bigler, in more detail. I arranged an interview with him. Just before the meeting, I was surprised by nervousness. Probably in deference to his work, paired with the anticipation of an exciting conversation. At the manufactory, we exchanged our thoughts on current work, pushed the unread sheet with my highly intellectual questions all over the table. “Let’s drive to Surrein, to your house, while the light is good“, said Urs.
2015, I read in a report that Urs had won the Swiss Photo Award for architecture. Spontaneously, I asked back then, whether he would document the process of my house being built. Architectural photography had affected my designs to a considerable extent. So, why not surrender the project during the development phase to a master? I asked myself, whether the project would keep him entertained, or whether he would turn away from it. “I am not quite sure, how the building is going to be realized”, was already a good start. Likewise, the statement, “actually, I don’t do things like that at all”.
Urs kept going. On the eve before our interview, I had removed scaffolding into the night and exposed the results of nearly two years of work. This time, while Urs took photos, I even dared to look over his shoulder.
The first pictures he took two years ago, as well as his working method, had already impressed me and led to the question of taking photographs for zai as well. After sunset, we went to eat at Bizochels. Urs put the questionnaire unopened on the table, and we started our “Blog conversation”. After moon rise, when the beloved mountain silhouette drew a razor-sharp line on the left valley side, all the way to Disentis, and when we said good-bye, we did not have necessarily all answers, but a recording would have gone beyond the scope of the conversation.
Eventually, we managed to do it by mail!
The photographer Marcel Gautherot, who also studied architecture, said: “Photography is architecture.” Someone without an understanding about architecture won’t be able to take good photographs.
Yes, and no! I have a good understanding of Gautherot’s words. I construct a picture starting with a foundation. Composition, position, light, sharpness, etc. A large part of my photography develops according to those. Architecture is, however, offering another dimension.
There are iconic pictures in architecture, e.g. “the case study house 22” photos by Julius Shulman. What are iconic pictures for you?
Very often, the moment turns a photo into an iconic photo. Most of these icons, which are in my head, are photos which are capturing the spirit of the time. Mostly, these are pictures of reportage or fashion photographers. But the probably most famous photo is an architectural photograph by Joseph Nicéphore Niépce, “La cour du domaine du Gras”, which dates back to 1826. This is the first successfully taken photography.
To what extent does product photography differ from architectural photography in your opinion?
I try to express myself my way in my photography. Whether this is now architecture, still life, or a portrait, is of lesser importance to me.
The past zai photo style and even the design of our products have been copied more frequently in the last years by the ski industry. Something which one can understand, on the one hand, as a complement, which is also annoying, on the other hand, because with our product philosophy, the optic is one of different important elements. Our strength is innovative technology and application of materials. We look for the clear distinction in the future, in order to do the products justice. How can photography convey this approach?
I try to express the complexity of your skis in a photo which is pushing me close to abstraction. For me, this is a balancing act between showing too much and too little information.
Where do you see the creative space for you to put your stamp on zai products, apart from the classic product illustration?
With product photography, I surely managed to implement my minimalist graphic style. And the upcoming planned picture world for zai will be in this style. I am very grateful that you are granting me this creative and free space. This is a big privilege for me!
Apart from the necessity to provide product photos, this process is also always a critical examination of the product for me. You see the product with your eyes, and I am always looking forward to the results. Does the product unfold an aura, which leads us to forget about the feat from the prototype to the serially produced product? In the best case scenario, the product alienates itself from me and moves on to a new level. Then, I can really let go. How do such processes take place for you?
It is not my goal, to take a one-to-one photo of your ski. I see and understand your ski actually rather as objects or sculptures. And that is also my approach when I take my photographs of the ski.
Is the process similar, when you, for example, take photographs of the church in Hérémence by Walter F?rderer?
I didn’t take photos of the church as such, but created spheres in the picture, worked with cutouts. Tried to break it down and abstract it once more. The process in my head is similar, the technical execution, however, differs.
While you were taking photographs, you mentioned a few times: your skis are not easy to photograph – which I always regarded as a complement. What were the reasons?
I am very much fascinated by the exclusive materials you are using. These are very complex and react differently to the light, which doesn’t make my work as a photographer necessarily easy. Therefore, my approach involves a variety of photos, in order to get the final photo. Combine those afterwards in the computer, in order to receive the desired result. That doesn’t work equally well with each ski. Sometimes, I also need several approaches. It is, however, very nice, if the tip of the Moncler ski also reminds of a butterfly.
When I saw your first pictures of our ski, I discovered the process therein, which I had gone through during the developmental phase. As if you saw the ski with my eyes. You identified, what makes the product interesting at second glance, and separates us – in my opinion – from the others.
Fortunately, we speak the same language!
Your father was a photographer, and you grew up with this profession. Would you have become a photographer, if the conditions had been different?
This is a difficult question. Probably, I would have ended up as a photographer, however, with detours. I owe my father a lot. I learned the tools of the trade from him, and he showed me that a passion can be a profession.
Are there any photographers, who have influenced you?
Edward Steichen, Erwin Blumenfeld, Irving Penn, Walker Evans, Herb Ritts, Andreas Gursky, Thomas Ruff ……., etc. There are so many great photographers I admire.
You won numerous awards and have been represented a few times in the photo book of the 200 world-best photographers in the last years.
A good self-marketing is crucial these days, and this is not really my strength. Therefore, these awards and publications are always a good platform to advertise oneself.
You experience it and experience it through the digital transformation one-to-one. By now, automobile photography/advertising is an over-pixelated artificialness. The products mutate to a virtual mash. How does the technological development affect your creativity?
Technology is a tool for me. At the end, the photo is the only crucial factor for me. For me, digital possibilities are a functional instrument. This technology is in fact fun because the possibilities are endless.
For me, emotions are left behind though in the automobile photography, despite, or because of the perfect use of available technology. Would you take different photographs with creative freedom?
Yes.
I find the photography in the watch industry more emotional, converted in a more interesting way from the technological point of view.
This, however, has to do with the industry rather than with us photographers. Often, we are the ones, who take on and convert concepts.
Your mobile phone also serves as a camera. Where is the difference to the professional camera? Is it a different way of taking photographs for you?
The best camera is the one you have with you. And I have my mobile phone always at hand. Which, however, doesn’t mean that it is the best camera. I keep a kind of diary with photos, and the mobile phone camera is perfect for that.
Today, every second mobile phone user feels like a good photographer. How does today’s flood of photos affect your work?
An outstanding project by Eric Kessels shows this flood of photos very well: https://www.kesselskramer.com/exhibitions/24-hrs-of-photos
In my spare time, I keep paging through my photography books, I look for inspiration. When will you publish a book of your work?
No idea. ??
More information see:
?Urs Bigler: https://www.ursbigler.com