Brando’s fascination with photography …
…struck me from the very first moment I met him years ago in London. His home is swelling of photography books including editions on Juergen Teller, William Klein, Danny Lyon to Stephen Shore and William Eggleston. You get him started on any of those guys, you’re bound to see him excited for hours. And that kind of enthusiasm is contagious. I’ve found a new appreciation for contemporary photography thanks to him.
© Brando Wild, Fools will be fooled, 2017
Since moving to Berlin, you rarely see Brando without his camera, experimenting with finding his own aesthetic. As a continuation from my article on photography by Valentina von Klencke, I sat down together with Brando to talk about his photography a bit more.
When did you first get into photography?
I can’t refer to a precise moment. However, I know my interest started when I was quite young, trying to understand how my dad’s cameras worked. That in turn led to many more questions.
© Brando Wild, A Matt and it’s Car, 2017
© Brando Wild, Anthropocene: Epilogue, 2016
Now, years on, what camera do you use and why?
Right now, I’m using a Contax T2. Its wonderful Carl Zeiss lens and integrated flash opens up so many opportunities to experiment. I’m very interested in how different cameras and lenses affect the message of a photograph, so I try and use different cameras too.
What is your creative process for taking photographs?
I analyse my photos thoroughly once they are developed. Because I don’t have any formal education in the subject I am void of any imposed conceptions. Actually I find it liberating as I’m an autodidact at heart.
© Brando Wild, Finnish McDonalds, 2017
A lot of your photography features still lives. What is it about that that captures you most?
Some elements, such as light and composition, are universally interesting to every photographer. But beyond the fundamentals, I don’t necessarily recognise what it is that interests me in a picture before I actually take it. Once the photo has been developed I can see what interests me.
I’ve noticed recently that I am attracted to human impact on everyday mundanity. As I studied environmental economics, that the interest derives from there is understandable. I subconsciously do not photograph people directly. Instead, I focus on the impact that people have on objects and how they are a reflection of people’s stories.
© Brando Wild, The End, 2017
How do you determine a “successful” shot?
I use many differing criteria stemming from various photographic practices. Photojournalism, portraiture, new topographics… all have different benchmarks. William Eggleston once said
“a good picture should look just as good when turned upside down”.
I think that’s a wonderful statement, albeit a bit of a subjective simplification. In any case, the question what makes a good photograph deserves a lot of attention. There are a lot of great books trying to bring some clarity to the discussion. I’m still trying to find my preferred answer. However, put simply, I would say that a good picture has to spur an emotion within the viewer. And in doing that, it should not be pretentious or misleading, but honest.
© Brando Wild, The End, 2017
© Brando Wild, Sans Souci, 2017
© Brando Wild, First of May, 2017
Which young contemporary photographer do you think is defining photography today?
In my opinion, anyone who is developing their own visual language is helping define photography. All great photographers of the past are still shaping photography today; Robert Frank, Martine Franck, Eugene Smith to name a few. Of the younger generation I admire the work of JH Engström, Jason Fulford, Todd Hido, Roe Ethridge, Yann Gross, Taiyo Onorato & Nico Krebs, Alec Soth … I couldn’t name you all, there are so many talents out there!
How do you feel about digital photography and iPhones?
Technology has re-defined photography and I support its democratising aspect. However at the same time mobile photography is also pushing people to search for a constant sense of fulfilment – which I personally reject. The digital age is making it easier to mislead viewers in ever more subtle ways through its manipulative practices. Also, the overwhelming flow of images online makes people less willing to stop and understand a picture. I think these factors detract from the positive social value photography can have in showing facets of humanity, social struggles and environmental problems.
© Brando Wild, Simo Hayha, 2017
However, products of digital age, such as Instagram, have also allowed some great photographers to come into the limelight. My good friend Piero Percoco is a great example of that. What is important is that a picture enriches our collective consciousness, no matter if it was made with an iPhone or Hasselblad.
© Brando Wild, San Pasqual, 2017
As a grand finale – where can we best see and follow your work?
On instagram! @brandowild.
The humble artist himself © Brando Wild