"The pictures are out there: You just have to see them." What does my credo mean in practice? Maybe you are walking around in a city. Suddenly you see a scene that attracts your attraction, and you think: This would be a nice picture. – You have to take the picture now, immediately giving up what you are doing. Because what you see may be gone in a few seconds, because human beings are involved, or because it's the light that makes this scene extraordinary.
But even if I miss the picture I saw a few minutes ago, what matters is that my brain has switched on to photography: I am completely focussed on the visual world. Often what I see next is even better than what attracted my attention in the first place. This state of mind is absorbing, because I have to make a few decision quickly for each picture i am taking with my camera. If I neglect to control the capturing carefully, the picture is lost. To name the maybe most annoying lack: Either the image is on focus – or it is not.
A different world
For my STREET ART series, sometimes I strolled around in Manhattan for hours. Although I was photographing in neighbourhoods familiar to me, I was in a different world looking to see if one of these small spots would reveal an image to me. Being so focussed, being one with what I am doing, makes photographing intense, kind of like being in a trance state. But sooner or later I will get the feeling: I have seen it. This thought will bring me back to real life.
Photography and music were already my passions when I was a teenager. During my college years the Montreux Jazz Festival became my Mecca. This was the place in Switzerland to discover new music, renowned musicians, and great bands. Despite my modest funds, I really wanted to go to
these concerts, not only once in a while but regularly. And I wanted to be part of the world of music – somehow.
My real goal
Hanging posters for the Montreux Jazz Festival in my hometown of Berne was a nice start. But my real goal was ambitious: I wanted to be one of those guys in the front row photographing. A friend showed me how to process black and white film and print photographs. Working in the darkroom, seeing my images emerging, was fascinating to me. Occasionally I took pictures of local bands.
Who gives me a chance?
In 1975, at the age of 22, I started working as a freelancer, covering all kind of concerts for an agency based in Zurich: PRESSphoto. This had a very important side effect: I received a Press card – my ticket for an accreditation at the Montreux Jazz Festival! In the summer of 1975 I was photographing for the first time at this famous venue. In 1976 I came back with an assignment from a major daily newspaper.
In 1977 I received a special prize for "outstanding photography" at the international exhibition "Jazz Salon" in Burghausen, Germany. With these experiences I started realizing that I have an eye, and that professionals like what I see with my camera.
But I was just starting. Going through the pictures I took almost 40 years ago, I find a couple I still like. But to be honest, the negatives are showing one fact above all: I was learning! That is what really matters: do something, getting better and better, taking one step after the other.
I had no strategy, nor a distant big goal; I was doing what I liked to do. Following my passions I learned something essential: What you do has an impact and it might allow you to push through new doors. Some years later I would come back to Montreux as a TV producer.
You can get it
Quite audatious how I became a jazz photographer, one might think today. I would rather say that I had the chance to grow up in the spirit of the late sixties and early seventies: "You can get it if you really want,” as Jimmy Cliff sings in his famous song. Our parents encouraged us to adopt this attitude. Once it has become yours, you cherish it forever.