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| © Martin Schoeller |
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The photographic community is incredibly diverse, made up of photographers that shoot from the sky to the sea and everywhere in between. Each month we look at a different segment of the industry, interviewing top professional photographers about life, their careers, and what sets their piece of the photographic industry apart from the rest.
This month we focus on Martin Schoeller, a world-renowned portrait photographer based in New York City. Schoeller is best known for his "Close-Up" portrait series, for which he has photographed a slew of politicians, celebrities and everyday people over the last 10 years. As an editorial portrait photographer, Schoeller's clients include the New Yorker, GQ, and Rolling Stone, among others. He also has several commercial clients including Goldman Sachs, Nike and Citibank. Schoeller, who began his photographic career as an assistant for Annie Leibovitz, provides an intimate look into his work.
Can you remember your first experience with photography? What aspect of photography pulled you in enough to consider it as a profession?
After graduating high school I was at a loss until a friend of mine got me interested in photography. We applied together at a technical school in Berlin. He helped me with my portfolio and explained the basics to me. He didn't get into the school, but they took me. We are still friends; he is a very successful documentary filmmaker now.
Have you always been a photographer? What was your early career like?
No, not at all. I only got interested in photography while working on the portfolio that I needed to apply for this school. I always thought photographers are nerds and tech geeks, constantly talking about cameras and equipment. They just go to a party to take pictures, while not initiating anything.
After finishing school I assisted many different photographers in Germany, some more successful than others. Being an assistant is a lot of work and I decided it is time to work for somebody whose work I really respect. I had seen a big exhibition of portraits by Annie Leibovitz in Hamburg and was very impressed. I came to New York in 1992 and called up Irving Penn, Steven Meisel and Annie Leibovitz, trying to find work as an assistant. Nobody offered me anything; my broken English probably didn't help. I went back to Germany, took more pictures and worked as a waiter. Half a year later I came back and ended up working with Annie Leibovitz for three years.
It was a great experience, I learned so much. It opened my eyes and took me to another level. Sometimes it wasn't easy, she gave me a lot of responsibility, which at times was overwhelming. Photographing portraits on assignment comes with a lot of limitations and pressure. Watching her deal with all of the elements that have to come together -- subjects, lighting, production, weather, styling, location -- gave me an insight into what it takes to be a portrait photographer.
It's clear that you've developed a unique style for capturing subjects in a natural state as seen in your book, "Close Up." Who or what inspired you to photograph people in this way?
Bernd and Hilla Becher's work inspired me to take a series of pictures, to build a platform that allows you to compare. Thomas Ruff's images fascinated me when I saw them at a museum in Frankfurt. Richard Avedon's images encouraged me to just photograph people the way I see them and not to worry if they will like their picture or not.
How do you get your subjects to open up to you? Do you spend time getting to know them well before a shoot or do you get right down to business?
Most of the time I have a very limited amount of time with my subjects. I do talk to them continuously while I take their picture and put on music that they might like. I always research my subjects, and watch their most obscure movies whenever applicable, if I think that might help me with ideas.
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