Black_amp_amp_White_Photography_-_January_2016_

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B+W



me to think over every single shot before

I take it. That means the whole setting,

the model, the light, the exposure time.

And it’s always such a joy to be working

with a very simple camera and beautiful

antique handmade lenses.

JS: With your storytelling photographs,

where do your ideas come from, and how

do you develop them?

AT: That’s always the most difficult thing to

explain. There are two possibilities: the first

one is when I see something that inspires me.

For example, with The Kite Runner, it was

enough for me just to see a kite in the sky.

Then my brain starts painting the picture

I would like to make. That part of the

process can take weeks or even months, and

if the idea isn’t fully formed I put it aside

and start on another one. Mostly it’s the

final details that take the longest time.

JS: So a lot of the work is thinking about

the image?

AT: I am a real daydreamer, as some

members of my family will tell you. But when

I finally make the picture I know exactly

what I want, there is hardly any room for

experimenting; it needs to be exactly what

I have in my mind.

JS: And what’s the second possibility?

AT: Sometimes I come across a beautiful

location that I’d like to use in a story.

With The Rain Maker there was an old

greenhouse that was being restored and,

during the work, a lot of rain fell so that

it became flooded and the water acted

like a huge mirror. At this point the whole

Above To The End Of Nowhere Opposite The Kite Runner

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