Phone +43 650 / 250 260 7
Ennser Strasse 37 ▪ A-4407 Steyr ▪ Austria
Reinfried Marass, Austrian, professional photographer, born 1960 in Vienna. At the age of 18 I took a journey for several months to Egypt and the Sudan. With no camera at hand, I allowed the things I saw and experienced to become the inspiration for my future. Upon my graduation as a Mechanical Engineer, I started photography and the affair has continued since.
One would think that a photographer finds the images but the truth is the images should find the photographer. This happens when one is receptive, being alert and curious, keeping an open mind. The photographic skill is reflected in the photographer’s ability to create an experience of the image and successfully convey it to the viewer in that single frame. Actually you photograph what you know is there, not what you can see.
Visualization is a contrary process of design. It is another format used and it requires the most creative effort. The idea is conceptualized and then it has to be set up. This is a very demanding process and it takes time and effort. Once complete to perfection the shot is framed. Visualization is more rewarding as the shot reflects one-hundred percent a photographer’s vision.
Image composition is another layer in my photographic work, an element that adds structure to a photograph. It is influenced by the 'German Bauhaus' as well as Wassily Kandinsky’s rules 'From Point To Line To Plane'. Beyond that, to some extent, I use 'Fibonacci Harmonic Levels'. Black and white allows the eye to appreciate the composition of the photograph because there is no distraction that is created by the use of color. When I do use color, I use it to highlight the main subject in the photograph.
I am a traditional photographer who celebrates 'a still photograph still being a photograph' -- unaltered and truthful with the analog touch. A body of work that is varied yet distinctive with a classic and passionate style. Diverse photography with a vision on each image, created to take on a journey and to give a glimpse or private insight into a life, a moment, a history. Each image tries to be special, unique and very memorable. Timeless. There are elements to photography that remain despite the modernization of the art, it all reverts back to the photographic eye and the ability to capture the image.
Film makers have numerous frames in a second. They have minutes or hours, actors and background music to tell a story. As a photographer you have a single frame only and you have to trust the image to tell the story. Photographs can never be an accessory to the story, they must contain it so the best pictures contain a whole war within one frame. A photograph must reflect the truth. This is the unwritten contract between the photographer and the viewer. A photographer must be credible. No lies. No fakes. Pure, raw and honest.
The camera can write poetry. In visual storytelling a narrative places the viewer in a world within a single frame, a set of images or in a small photo essay. The story that is portrayed could be fiction or fact but it always should add depth. The written word and photographs complement each other. A title, sub-title and a narration - a micro novela - assists to decipher a photograph's sometimes heavily encoded visual language. It also creates depth, narrative reveals the complex and hidden layers of included metaphors in many of my photographs. Photographs, like women, should most certainly challenge and intrigue.
A person’s experience of a photograph varies depending on age, education, experiences of life, cultural heritage, origin and finally, sex. This is why the way a particular photograph is interpreted is not as important to me as the fact that it ignites some interaction. The best photographs continually speak but without revealing all their secrets, they are like sophisticated women and they are truly addictive because the addicted viewer shall be rewarded.
I’m a photographer, less an artist. As the word ‘art’ might scare people off. Creative vision? Sorry, this is gallery nomenclature. I take a photograph because it’s there, and I’m there, and because I can do it. It’s a passion. A life’s journey seen through the lens, for all to see and feel as they each will, personally. In my opinion a camera is a mirror of a photographer’s soul, reflected in the work done. The 'click' of the camera signs the work. My work is signed with a heartprint -- without heart photographs would be mere images.
I am rarely satisfied with my photographic work. A great many photographs are deleted in favor of a prime one. My personal favorite? The one yet to take! It will forever be 'The Next One'. I don’t strive for the perfect image. I prefer photographs with some imperfections, mostly they are more simpatico. Perfection is a boring end and is dishonest if we are to believe that photography reflects life, so my illusive favorite photo would be slightly imperfect. Nowadays I am more and more selective in what to picture to keep my published work 'as rare as a Vermeer'.
A photographer should be able to interchange various genres and styles. This does not mean mastering one style so that you are recognizable, predictable and boring for yourself as well as your viewers, becoming stagnant in the process. A photographer should remain unpredictable and so always stay true to your promise to take the viewer on a suspense-filled journey of discovery.
I take photographs by reading the available light. I have never owned a flash or similar equipment but have used numerous cameras and lenses and I still do use DSLR equipment. I favor a simple rangefinder camera with only a single 35mm lens attached for my personal photographic work. Using minimal equipment allows me to focus on the scenery or subject in front of the camera.
Women are the make-up for photography. They are by nature the greatest storytellers around. A woman can reflect her complexities in a single expression making her a perfect photographic narrator. I use this distinctive characteristic and let women tell their stories, from their own female point of view, in storytelling photography. I photograph everyday women, who deliver more credible poses. I have therefore never made the use of makeup artists or professional models. So I can represent the lady in her raw true form.
Classic cars and beautiful women – the beauty and form of the classic car complemented by an equally beautiful woman. Female grace, beauty and lifestyle combine with timeless cars to create images that are sensual with an atmosphere of the golden era of movies to imply a sense of elegance and mystery. In my automotive work women are used to add a fragrant or spicy story, a slice of life and storytelling. They add a touch of style and beauty, drive you back to past automotive eras -- I frame women not automobiles, women are the allure that vintage cars accentuate.
Apapacho Gallery: Rope | Riding With Cicciolina – A Hitchcockian Journey To Italy ▪ Happy Bondi: Reinfried Marass - An Interview With One Of The Great Photographers Of Our Time ▪ Apapacho Gallery: Reinfried Marass Interview - The Camera Can Write Poetry ▪ The Palette Pages: Interview Reinfried Marass ▪ MOAB: MOAB Master Reinfried Marass ▪ Create: Reinfried Marass Photography ▪ Notes About Art: Cannes Film Festival ’62 - Paparazzo Reinfried Marass Chasing Mrs. Columbo ▪ Apapacho Gallery: Reinfried Marass - The Wounded Woman Story: A Biography, A Martyrdom, A Tragedy And The Overcome ▪ Impressione Fotografiche: Reinfried Marass ▪ Auto Classic Brasil: Reinfried Marass - Fotografia, Requinte E Sensibilidade ▪ Photo Vogue Italia: Reinfried Marass Portfolio ▪ Apapacho Gallery: Reinfried Marass - El Fotógrafo Elegante ▪ Famous Birthdays: Photographer Reinfried Marass ▪ ART & Thoughts: Famous Photographers: Self Portraits In Mirrors ▪ Fibonacci Met Reinfried Marass, But Who Is Fibonacci? ▪ Schiele’s Ghost By Reinfried Marass ▪ Egon Schiele Poems / Reinfried Marass ▪ De Cueva Fotografia: Arte Para Coleccionistas De La Mano De Reinfried Marass ▪ Reinfried Marass - El Fotógrafo Elegante ▪ Articulos Para Pensar: Soy Cuba: Mikhail Kalatozov - A Reinfried Marass (Re)view ▪ Il Grande Silenzio Revisited By Reinfried Marass ▪ El Degüello: Reinfried Marass ▪ Reinfried Marass - The Story Of Girafinha ▪ Foto Hits: Fine Art - MOAB, Canon, Reinfried Marass ▪ Reinfried Marass: 4 Children For Sale - Chicago 1948 ▪ Winter’s Bone - The Story Of Reinfried Marass’ White Trash by Shadia Alem ▪ ART & Thoughts: Jack Kerouac / Reinfried Marass - Bowery Blues ▪ Eduardo Galeano / Reinfried Marass - La Pobreza Como Delito ▪ Jacques Prévert / Reinfried Marass - How To Paint A Bird’s Portrait ▪ Robert Frost / Reinfried Marass - The Woods Are Lovely, Dark And Deep ▪ Erich Fried / Reinfried Marass - Without You ▪ Fine Art Printer Magazine: Sea Of Life - MOAB Fine Art Papers ▪ Automotive Artists: Reinfried Marass ▪ Fandango Libri: Harold Brodkey - Storie In Modo Quasi Classico ▪ Lussori: Pebble Beach - Concours De Luxe ▪ Travel Weekly: Aspire Magazine Cover - Go Far In Utah ▪ Healey Marque Magazine: The Winding Roads Of Austria - Healeying The Austrian Alps ▪ How We Chose Our Marque ▪ Woman Magazine: Wounded Woman Aisha - Model Trotz Narben ▪ Video Flicks: Reinfried Marass / Karen Souza - Creep ▪ Reinfried Marass / Lana del Rey - Ride ▪ Reinfried Marass / Chelsea Wolfe - I Let Love In ▪ Janelle Brown: Alles Wat Wij Wilden Was Alles ▪ Auto Motor Sport Magazine: Gentlemen Edition - Auto & Sex ▪ Articulos Para Pensar: Guy de Maupassant / Reinfried Marass - Yvette ▪ Ramblin’ Jack Elliott / Reinfried Marass - Kerouac’s Last Dream ▪ Søren Kierkegaard / Reinfried Marass - Either Or, The Stages Of Life ▪ Hugo von Hofmannsthal / Reinfried Marass - Take Wings, North Wind ▪ Rainer Maria Rilke / Reinfried Marass - Mountains Of The Heart ▪ Reinfried Marass - Cadillac And Dreams ▪ Spin Tunes: A Picture's Worth A Thousand Lyrics