Interview by Francesco Gallarotti.
Edited by Stacy Ericson.

Hope

Tranquility

Martin, your work has a depth that is usually found only in the work of very mature artists with a strong artistic background. It was surprising for me to learn that you are only 25 years old, that you have just a few years of experience in photography and that you don’t have any art school  preparation. What do you think allowed you to reach this level of complexity and depth in your creative vision this early in your career?

Yeah, it is true, Francesco. Many people are surprised that I am only 25 years old, even more shocked when I tell them I started to take pictures only three years ago. Even more when they learn that I have never studied photography. I think life is the best teacher and school of our life. We all are like mushrooms. We absorb everything that happens around us and we have to live with all these experiences. Some people express themselves by drawing, some by singing or even just screaming. I feel that I have to take photographs. So the answer to your question is quite simple for me. It is life. And don’t get me wrong, don’t take it like a cheap phrase. Basically, I said it already in a previous interview for The Pandorian. I lost someone very close to me 3 years ago and that experience has changed me a lot. That’s a well of my inspiration, as well as many happy moments in my life.

Rejected

Reborn

On The Edge

Browsing through your exciting portfolio I can’t help but ask myself about the story behind certain images. One picture in particular comes to mind, “On the Edge.” How do you come up with such interesting visions and how do you go from the concept to its implementation?

The stories. That’s one of the most important thing that I need in my photos. I need to know the story behind the photo. I need to feel the stories that brought me to the idea. Many people tell me that they have found themselves in these pictures. They say that my pictures feel strangely familiar. Photographs as mirrors? Yes, they should be a mirror of our souls. We all are living these stories. But we only keep them hidden in our mind, in our inner world.
On The Edge was taken in Italy. It was a local lighthouse. I visited that location many times but I finally got the idea for this scene later. I had to realise that. The idea is quite simple and it is again connected with our own stories. We all have stood there, on the edge, something like a crossway. When we ask ourselves whether to Jump or Stay, Do It or Leave It. That was the point of my view. We always have the possibility to decide.

Breakable

Frozen

I Have Been Distant

Let’s talk a little bit about you. The other night, while I was going through your portfolio, I noticed that your work feels very musical to me. Maybe it was because, at the same time, I was also listening at one of my favorite albums by Sigur Ros, “Heima,” but it felt a lot as if your images were tuned to the music, and so I started wondering how do you get your creative juices going? What are your inspirations?

Yeah, you hit it. Music is my never ending inspiration. And Sigur Ros? Damn, they are fabulous. I cant imagine to take photos or post-process my photos without music. Silence is unique, but music gives me a strange feeling that makes my mind stronger. Even now, I am answering your questions while listening to Hanz Zimmer. All this music and all these sounds make me calm and concentrated. So you are absolutely right, Francesco.
Some of my favorite musicians are Sigur Ros, Lisa Gerrard, Anthony and the Johnsons and an absolutely unique song called Dominique by Gus Gus—highly recommended. Try listening to them, Francesco.

Behind My Curtain

Since You Are Gone

Wrong Line

If I had to describe the style of your photography with one single word, that word would be “cinematic.” In my opinion this applies to all your images, but it is particularly true with your portraits, “Since You Are Gone” comes immediately to mind. I’d like to better understand how do you achieve the look that you consistently give to your work. Can you talk about your techniques? Do you prefer film or digital? 35 mm or larger formats? Do you do your own post processing, if any?

Many people have asked if I am involved in cinematography because my pictures seem like movie scenes. As if they were cut from a film. They look like our own faded memories. Something that we have all lived through. That’s true. I really love this analog movie look. It has a unique magic. In reality, I only use digital cameras.
Yes, I do post-process my images. I understand that there are two groups of people, some love and other hate post-processing. In my opinion post processing is the only way to finalise my images into my original vision. In the end, it is always a real photo which then I bring to be the final work through post-processing. It works for me pretty much the same way as with the chemical darkroom for analog pictures.

With All My Lies

More Than This

I Was Falling High

Wikipedia says “Fine art photography refers to photographs that are created to fulfill the creative vision of the artist. Fine art photography stands in contrast to photojournalism and commercial photography.” You seem to manage to bring your creative vision also into your commercial work. Having such an intense and rich vision, how do you handle working on commercial photography? Do you prefer being a fine art photographer or are there other kinds of photography that equally interest you?

This is true. There are two lines to my work. I still continue to do my own work for the album called “My Stories.” These images are completely and purely my own visions and views. Something like my own art world.
At the same time some people have asked me to work on some commercial projects based on my own style during the last year. These projects include CD covers for bands, book covers, etc. So, I am so happy I can create commercial work still based on my own vision. For example, my latest commercial work has been commissioned by authoress Yu Liu, who has asked me to create the cover for her new book “Send You A Bullet,” published in China and world wide. This is commercial work which absolutely correlates with my own style. It is really an heartwarming experience for me to know that I can create photographs for a living and still stay true to my own vision.

It Was A Snowy Night

But I Would

Visit Martin Stranka’s website at www.martinstranka.com

All photos are property of Martin Stranka and may not be used without permission.