RENE HABERMACHER, JANNIS TSIPOULANIS: THE WAY WE FUNCTION
Dear iDEALS, enjoy the following text, written by my dear friends Rene and Jannis for the following issue of ISTEROGRAFO coming out on MAY 27th 2007." When we start with a new project, again and again we wonder what it is that we want to see and it must be something that will thrill the onlooker of today, the onlooker that is flooded with new imagery constantly in his life. What could it be that is telling him something new? From our perspective, how we see things.....To get to figure out where to start is always a very intense process, including many factors and moments of filtration. It’s all about setting up a frame that allows us to move within, grow into new directions. Being a photographer today involves so much more than just being the "eye" on the shutter- and decides when to click. It’s a complex way of life and requires all senses- and as well a good team one can rely on…In fact setting up a shoot is like finding the perfect cast for all positions to let communication and creativity flowing 
freelyAs the business works today, the days before a shoot is like building an island of sand in tempestuous waters- one wave and half of the shore is gone- to be built freshly at the other side. This is making it especially difficult for casting the right model- as we much focus on the character of the person to be depicted, mannequin or persona, the interaction of camera and its "object" of focus is all. Sometimes when the chemistry goes well, it’s like having sex- each shutter-click equals with a small orgasm. It may be that either one of us develops a better connection with the person we photograph, so he is naturally taking over. Meanwhile the other one takes the position of a voyeur, staying in the back with the second camera, as we started to work with lately. It may well happen that something like a dance of two cameras evolves around the person being photographed. Some of them said this feels very unique. It is like one camera is suspending, neutralizing the power of the other and leaving unclear where to focus for the photographed object. It contains rehearsed poses and "faux expression" and no more work in these circumstances. Automatically tension releases. When this happens, all becomes one: model, camera, photographer and all the other aspects as styling, hair make up, light; They all looks effortless and credible and at its best, feels like magic. I remember one day, at the Hotel Crillon, closing the yellow curtains just to block off the strong sunlight. The atmosphere in the suite got warm and gentle. We had Eva Herzigova on the bed waiting for us to get ready. 
One could tell she felt the light on every pore, like it was caressing her and with every movement she controlled it, very aware of the way it made her look, no mirror needed. We loitered and tumbled between the cushions, shared moments of great intimacy...without words. This you could see on the resulting images, making them very emotional and intense…Another one of my all-time favourites was a moment with Naomi Campbell.
We were commissioned to shoot a story for Vogue’s Olympic issue in Athens that turned out to be extremely difficult as hordes of paparazzi were hunting us down wherever we went. It seemed like the press had some intern information we had to overcome in order to being able working undisturbed. We ordered the limousines and bodyguards to the front door of the studio, to catch attention. The camera lenses lurking through the curtains of neighbouring buildings disappeared as expected and the bulk gathered
in order to escort the cars wherever the dross would go. Meanwhile at the backdoor we sneaked with Naomi, her personal body-guard and hair and make up people in the van that was parked very close outside. We took off and headed for Philopapou that late afternoon, taking the deserted mud-roads from the back side (used by the fire brigades) and walked up the last stretch to the cliff, where a guard was already awaiting us, asking for permission, which of course had not been arranged. We told him every tourist would be able to take his shots here- and so would we now…He hesitated and radioed his superiors. When they showed up, they certainly recognized Naomi (as being on every newspaper cover and TV-channel these days in Greece) and gave us 4 minutes until they would call the police. Meanwhile we continued setting up and asked Naomi to go to the verge of the cliff. She was afraid because it seemed steep. She asked for shoes but finally walked there barefoot. We had two minutes left on that hot evening to conceive perfection with the temperatures still at high-rise above 40 Celsius and the sun about to set. Suddenly, that moment a strong breeze came up, flaring through the drapes of her HERMES skirt, loosing her hair letting it float in the air above the city. She stood like a re-born ancient goddess above the panorama of Athens, in a sea of buildings like white foam... Her body shining, glowing in the sun like an eternal icon, until we had to grab our 
stuff and escape from the upcoming police that surely would have had us all arrested....The incident seemed that as there has been a silent agreement between Naomi, ourselves and GOD. One after another hot shooting day at the seashore we were hungry on the way back because we had not eaten all day. Vogue was concerned as there seemed no appropriate catering nearby that could keep up with the possible standards of Naomi, something they were expecting to be difficult. We stopped in a olive grove. Imagine several limousines and production cars stopped on the stretch in nowhere land. Pericles,of our production brought us a tray with Greek salad and cheese, fried potatoes, olives and bread. We opened the back of a van, placed the food and called for snack break and there we stood and ate with hands, and Naomi claimed excited: "the best tomatoes and cheese of my life"! And these all in the fields, with the bodyguards spread, relieving them, black suit and tie like they were waiting for mister Tarantinos further instructions...It’s not always possible to pull out something sincere off a person in a short time given. Especially when working with celebrities or other fashion personas that their schedule s held tight and would only allow a short session of not much more than an hour or two. as this following example of an interview with Albert Elbaz at the Lanvin headquarters in Paris,shortly before the presentation of the new collections. In the meanwhile he answered questions to the journalist that was with us.Jannis crawled under the table and photographed mister Elbaz feet. Slightly irritated the conversation turned to what was happening under the table and revealed a whole string of unexpected incidents that they were all cursing around the subject of fetishism and there we had our leitmotiv that was missing, much to the amusement of mister Elbaz... Sometimes even the positions switch. In every shooting comes the moment where things don’t seem to move on properly, everything feels wrong and usually that’s when we decide its time for a break. Of course this is not always given, especially on expensive productions that also have a tight time schedule and other pressing aspects that rather suggest continue
and overcome this difficult moment. As there was one freezing cold day in Berlin
at a late afternoon in November. We had occupied the bathhouse on PrenzlauerBerg for hours which turned out to be a splendour arrangement of neo roman arcades under the dome spamming over the empty pool. We have gotten tired of the cold, carrying the portable heaters around that would not help much (as it turned out) and the numerous flash heads to light the extensive building.
Whatever we set up felt awkward,- and this following shot would just not happen, until Nadja Auermann restrained from taking instructions and suggested "May I inspire you this time?" She demanded a look on the monitors that were adjusted to
the digital cameras, went back to the spot we set up lights for her- tried two three poses she checked on the displays, meanwhile turned to her… and there it was: THE PERFECT POSITION FOR THE LIGHT. All the problems negated with the perfect "kraft durch freude" figurine as inspired by Leni Riefenstahl and this is the difference when working with experienced models (or as we call them "mannequins"- when they are at their best). Its like driving a fast car that reacts to the slightest command... intuitively, as perfectly engineered. Like Natasha Vojnovic, another one on our favourite models list. For this shooting we had to move our dates several times in order to meet Natasha’s timetable. Usually one would change the girl see it like a carousel with options whirling which when stops one drops off, but it was impossible for us imagining the “story” with anybody else than her. She finally flew in that morning from New York. Natasha can grasp the most complex diffuse idea and form it into reality in such a speed that the camera can barely follow. She would offer even plenty of variations and interpretations for each pose. Sometimes leading to a “coup de foudre” leaving every one speechless…Especially when the model performed a 10 minute lasting
screaming session at the "MONUMENT OF NOW" of Dakis Ioannou, where she seemed out
of her mind acting as a hysterical "dame de bourgeoisie" but at the same time being aware of her body in such a manner that she surely was conscious on what her smallest finger would look like. ….Or Leticia Birkheuer staring into the gleaming August sun in Monemvassia, without even batting until tears would run down her cheeks and we've got the shot.…Or Andres Segura in a burnt down forest on mount of Parnitha, freezing in the breeze with a young goat on his shoulders that just would not want to look at its best- bleating constantly, trying to get off him, floundering hoofs all over but again a force came and made the wind stop as did the goat from moaning. It lay his head to Andres cheek- as in rest, one shot it was, we knew that was it, we had planned this image for years- carried the idea with us- and everything was
perfect and gone again…But Andres as well, he had rarely looked so sensual in a photograph before and since......
After all the moments that we are given this makes the working and the work precious to us. In the best case circumstances can transport and evoke an emotion to the onlooker that he won’t forget so quickly. At times this moment captured lasted just a fraction of a second…And at times something magical embraces us for all the period we gather together
with the team working on a project.....". NOTE: All images by Rene Habermacher and Jannis Tsipoulanis. The copyright of the test belongs to Filep Motwary and Un nouVeau iDEAL
freelyAs the business works today, the days before a shoot is like building an island of sand in tempestuous waters- one wave and half of the shore is gone- to be built freshly at the other side. This is making it especially difficult for casting the right model- as we much focus on the character of the person to be depicted, mannequin or persona, the interaction of camera and its "object" of focus is all. Sometimes when the chemistry goes well, it’s like having sex- each shutter-click equals with a small orgasm. It may be that either one of us develops a better connection with the person we photograph, so he is naturally taking over. Meanwhile the other one takes the position of a voyeur, staying in the back with the second camera, as we started to work with lately. It may well happen that something like a dance of two cameras evolves around the person being photographed. Some of them said this feels very unique. It is like one camera is suspending, neutralizing the power of the other and leaving unclear where to focus for the photographed object. It contains rehearsed poses and "faux expression" and no more work in these circumstances. Automatically tension releases. When this happens, all becomes one: model, camera, photographer and all the other aspects as styling, hair make up, light; They all looks effortless and credible and at its best, feels like magic. I remember one day, at the Hotel Crillon, closing the yellow curtains just to block off the strong sunlight. The atmosphere in the suite got warm and gentle. We had Eva Herzigova on the bed waiting for us to get ready. One could tell she felt the light on every pore, like it was caressing her and with every movement she controlled it, very aware of the way it made her look, no mirror needed. We loitered and tumbled between the cushions, shared moments of great intimacy...without words. This you could see on the resulting images, making them very emotional and intense…Another one of my all-time favourites was a moment with Naomi Campbell.We were commissioned to shoot a story for Vogue’s Olympic issue in Athens that turned out to be extremely difficult as hordes of paparazzi were hunting us down wherever we went. It seemed like the press had some intern information we had to overcome in order to being able working undisturbed. We ordered the limousines and bodyguards to the front door of the studio, to catch attention. The camera lenses lurking through the curtains of neighbouring buildings disappeared as expected and the bulk gathered
in order to escort the cars wherever the dross would go. Meanwhile at the backdoor we sneaked with Naomi, her personal body-guard and hair and make up people in the van that was parked very close outside. We took off and headed for Philopapou that late afternoon, taking the deserted mud-roads from the back side (used by the fire brigades) and walked up the last stretch to the cliff, where a guard was already awaiting us, asking for permission, which of course had not been arranged. We told him every tourist would be able to take his shots here- and so would we now…He hesitated and radioed his superiors. When they showed up, they certainly recognized Naomi (as being on every newspaper cover and TV-channel these days in Greece) and gave us 4 minutes until they would call the police. Meanwhile we continued setting up and asked Naomi to go to the verge of the cliff. She was afraid because it seemed steep. She asked for shoes but finally walked there barefoot. We had two minutes left on that hot evening to conceive perfection with the temperatures still at high-rise above 40 Celsius and the sun about to set. Suddenly, that moment a strong breeze came up, flaring through the drapes of her HERMES skirt, loosing her hair letting it float in the air above the city. She stood like a re-born ancient goddess above the panorama of Athens, in a sea of buildings like white foam... Her body shining, glowing in the sun like an eternal icon, until we had to grab our stuff and escape from the upcoming police that surely would have had us all arrested....The incident seemed that as there has been a silent agreement between Naomi, ourselves and GOD. One after another hot shooting day at the seashore we were hungry on the way back because we had not eaten all day. Vogue was concerned as there seemed no appropriate catering nearby that could keep up with the possible standards of Naomi, something they were expecting to be difficult. We stopped in a olive grove. Imagine several limousines and production cars stopped on the stretch in nowhere land. Pericles,of our production brought us a tray with Greek salad and cheese, fried potatoes, olives and bread. We opened the back of a van, placed the food and called for snack break and there we stood and ate with hands, and Naomi claimed excited: "the best tomatoes and cheese of my life"! And these all in the fields, with the bodyguards spread, relieving them, black suit and tie like they were waiting for mister Tarantinos further instructions...It’s not always possible to pull out something sincere off a person in a short time given. Especially when working with celebrities or other fashion personas that their schedule s held tight and would only allow a short session of not much more than an hour or two. as this following example of an interview with Albert Elbaz at the Lanvin headquarters in Paris,shortly before the presentation of the new collections. In the meanwhile he answered questions to the journalist that was with us.Jannis crawled under the table and photographed mister Elbaz feet. Slightly irritated the conversation turned to what was happening under the table and revealed a whole string of unexpected incidents that they were all cursing around the subject of fetishism and there we had our leitmotiv that was missing, much to the amusement of mister Elbaz... Sometimes even the positions switch. In every shooting comes the moment where things don’t seem to move on properly, everything feels wrong and usually that’s when we decide its time for a break. Of course this is not always given, especially on expensive productions that also have a tight time schedule and other pressing aspects that rather suggest continueand overcome this difficult moment. As there was one freezing cold day in Berlin
at a late afternoon in November. We had occupied the bathhouse on PrenzlauerBerg for hours which turned out to be a splendour arrangement of neo roman arcades under the dome spamming over the empty pool. We have gotten tired of the cold, carrying the portable heaters around that would not help much (as it turned out) and the numerous flash heads to light the extensive building.
Whatever we set up felt awkward,- and this following shot would just not happen, until Nadja Auermann restrained from taking instructions and suggested "May I inspire you this time?" She demanded a look on the monitors that were adjusted tothe digital cameras, went back to the spot we set up lights for her- tried two three poses she checked on the displays, meanwhile turned to her… and there it was: THE PERFECT POSITION FOR THE LIGHT. All the problems negated with the perfect "kraft durch freude" figurine as inspired by Leni Riefenstahl and this is the difference when working with experienced models (or as we call them "mannequins"- when they are at their best). Its like driving a fast car that reacts to the slightest command... intuitively, as perfectly engineered. Like Natasha Vojnovic, another one on our favourite models list. For this shooting we had to move our dates several times in order to meet Natasha’s timetable. Usually one would change the girl see it like a carousel with options whirling which when stops one drops off, but it was impossible for us imagining the “story” with anybody else than her. She finally flew in that morning from New York. Natasha can grasp the most complex diffuse idea and form it into reality in such a speed that the camera can barely follow. She would offer even plenty of variations and interpretations for each pose. Sometimes leading to a “coup de foudre” leaving every one speechless…Especially when the model performed a 10 minute lasting
screaming session at the "MONUMENT OF NOW" of Dakis Ioannou, where she seemed out
of her mind acting as a hysterical "dame de bourgeoisie" but at the same time being aware of her body in such a manner that she surely was conscious on what her smallest finger would look like. ….Or Leticia Birkheuer staring into the gleaming August sun in Monemvassia, without even batting until tears would run down her cheeks and we've got the shot.…Or Andres Segura in a burnt down forest on mount of Parnitha, freezing in the breeze with a young goat on his shoulders that just would not want to look at its best- bleating constantly, trying to get off him, floundering hoofs all over but again a force came and made the wind stop as did the goat from moaning. It lay his head to Andres cheek- as in rest, one shot it was, we knew that was it, we had planned this image for years- carried the idea with us- and everything was
perfect and gone again…But Andres as well, he had rarely looked so sensual in a photograph before and since......After all the moments that we are given this makes the working and the work precious to us. In the best case circumstances can transport and evoke an emotion to the onlooker that he won’t forget so quickly. At times this moment captured lasted just a fraction of a second…And at times something magical embraces us for all the period we gather together
with the team working on a project.....". NOTE: All images by Rene Habermacher and Jannis Tsipoulanis. The copyright of the test belongs to Filep Motwary and Un nouVeau iDEAL
