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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 become the inspiration for my future. Upon my graduation as a Mechanical Engineer, I started photography and the affair has continued since.
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. My life’s journey seen through the lens, for all to see and feel as they each will, personally.
I’m rarely satisfied with my photographic work. A vast number of images are deleted in favor of another. My personal favorite photograph? Not yet done, forever 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.
Image composition is one of the basics in my photographic work. The positioning and relationship of points, lines and areas in my photographs is influenced by the ‘German Bauhaus’ and Wassily Kandinsky’s rules ‘From Point To Line To Plane’. Beyond that, to some extent, I use ‘Fibonacci Harmonic Levels’ for photographic composition.
I take pictures by reading the available light. I have never owned a flash or similar lighting equipment. I love to work with minimal equipment, thus I can keep focused on the scenery. I have used numerous cams and lenses, but for my personal photographic work I favor a simple Leica M Rangefinder camera, equipped with only one lens.
Pictures can’t be accessories to the story. Pictures must contain the story within the frame. The best pictures contain a whole war within one frame. As a filmmaker you have numerous frames a second, and minutes or hours, to tell a story. As a photographer you have one single frame only. A photographer can’t write a dialogue. No talking actors. You merely have to trust the image to tell the story.
Photographs are a neat slice of time. Each still photograph is a privileged moment turned into a slim object that one can keep and look at again. But there exists an unwritten contract – a form of a codex – between the photographer and the viewer: a photograph must reflect the truth, a photographer must be credible. No lies. No fakes. Raw and honest.
In my opinion a camera is a mirror of a photographer’s soul, reflected in the work done. My work is signed with a heart print. Without heart, photographs would be mere images.
A photograph should talk. Over and over again, varying each time it is viewed. Sometimes I use a title to give a hint, but solely leave it to the viewer to analyze. I believe the interpretation also depends on age, education, experiences of life, culture area, origin or sex. I do not really care ‘how’ my photographic work is seen – as long as the photograph interacts with the viewer in some way.
Like a lady, a photograph should keep its secrets for a fairly long time. Unveiling their myths to the addicted viewer only when the time is right. Otherwise one would call it just slutty.
I have always been in touch with classic and exotic cars. Women are the makeup for photography and in my automotive work females are used to add a slice of life to the story telling. And to add a touch of style and beauty. Or to drive the viewer back in time. I prefer ‘ladies by cars’ over ‘car girls’. I cover everyday women. Makeup artists nor professional models ever have been involved. So I can represent the lady and car in their raw true form.