AN INTERVIEW WITH KlAUDIA NODOBRA

Combining her love of portraiture and film photography Polish photographer Klaudia Nodobra exploits the beauty of the analogue process in a nascent photographic journey that, for me, truly penetrates and compliments her creative vision.

• Klaudia, firstly tell me a bit about you?

Hello, first of all, thank you for inviting me to your analog space here! I was born and raised in Poland, where I also currently work and live. In addition to being a photography enthusiast, I'm an academic teacher and researcher in social sciences, I also run several branding/design/communication projects. Some people probably see me as a crazy cat lady, stubborn feminist and the ultimate ice cream eater.

• How and when did you discover photography?

I wish I had a better story, but honestly, I was just bored at home during lockdown. But to explain it I have to go back a few years. My first attempt with film photography was around 2012/2013 – I wanted to start shooting because I felt that photography was something for me. A friend of mine recommended an analog camera since they were way cheaper than digital and at the time film cost as much as a bag of chips. Being a true Slavic girl, I obviously bought a Zenit camera, but the one I got was broken so I was really discouraged and I immediately abandoned the idea and gave the camera to someone else. A few years later my boyfriend brought home an old point-and-shoot camera just for fun and I was occasionally using it, mostly during vacations or parties as a cooler alternative for photos from my phone. Those were the times when I shot one, maybe two rolls a year. And during the pandemic this camera had some frames left and I was simply bored because literally the whole world stopped functioning for a while and people were locked in their homes for weeks. So I finished this roll mostly shooting my cats and plants. These photos were terrible, but I had a lot of fun taking them and I felt a new type of excitement waiting for the scans so I decided to do it more often. For a year I carried this camera with me very often, mostly taking random photos of my friends and our city. The “breakthrough” was the year 2021 when I bought my first (at least first working) SLR camera and it changed everything for me. I started thinking about framing differently, I started to experiment more and most of all I started spending more money on gear and film stocks ;).

• Most of your work centres around portraiture, what does a portrait mean to you?

Portrait photography appeals to me the most, I have always felt that, but at the beginning of my analog adventure I was too scared to try it. It took me quite some time to set up my first portrait session because this type of photography carries a lot of emotional baggage and that terrified me. Today this emotional baggage is something I truly love – I like to pack, unpack and reorganize these emotions in my own way while still leaving some space for the audience. Capturing emotions of any kind that are hidden in faces, eyes and body parts is something that fulfils me on many levels.

• If I could imagine a portrait shoot with you, how do you choose locations, what light to work with and interact with your subject?

The location of the shooting is very important to me, as I often try to capture it as a part of the photo. I search for various locations, both in nature and in the city. Sometimes when I'm biking or driving and something catches my eye, I stop and save the location on Google Maps – I have a list of possible shooting places that inspired me in some way. I always try to match the right person to the location or vice versa. And when it comes to light, I prefer the natural one; I like to play with the light and shadows and include them into the composition.

• I love the sense of serene intimacy in your portraits, what are you searching for when you shoot a person?

I’m not the most effusive person, I’m emotional though and photography is my way to express emotions or thoughts that I usually keep for myself. And I hope that my shooting sessions are such an opportunity for people I photograph as well. I’ve met different people over the years; some of them have been very quiet and calm, others energetic, chatty and extroverted. I know that posing is kinda like acting – sometimes you have to play a certain role, but I think, or at least I hope, that my photos always show even the smallest element of a person’s personality.

• I notice that your portraits are not always only about eyes and faces, often you shoot back to the camera, obscured heads and body shapes, can you tell me more about your approach to this view of portraiture?

I really wish to shoot even more photos of body details, because I find them more mysterious. I like to leave things unsaid and such photographs give a lot of opportunities to interpret them in your own way. I also like to hide faces behind hands and pieces of clothes or in the shadows.

• How did you start shooting with film, what were the characteristics of film photography that appealed to you at first?

As I mentioned earlier, film photography was my first choice, both in 2012 and years later on my second attempt. Everything I learned comes from analog techniques and gear. After gaining some basic knowledge I started to shoot digital as well from time to time, but it was for work purposes only and certainly not that often as shooting film.

• Ongoing, why has it become your chosen method of photography?

Film photography slows me down and gives me a lot of energy at the same time. I think that’s the beauty of it. Also not knowing what will come out of the roll is very exciting (and frustrating sometimes). Learning from mistakes made during the process may be painful but on the other hand, these lessons are extremely valuable. And besides, sometimes the moment of taking a photo on film is more memorable than a photo itself, because you remember every detail of that particular scene and I think it’s really important to collect feelings in the era of images.

• As a film shooter you are clearly comfortable with both black & white and colour films, how do you feel about the difference and what pushes you to shoot either?

I like both types of films and it’d be hard to choose only one, because they are very different for me. Color can be really appealing, but also it can be very distracting. On the other hand I know that many people find b&w films boring, but for me they are timeless and nostalgic but most of all they offer the audience way more room for interpretation. So I can say that color films are aesthetic and eye-pleasing, while b&w films are all about emotions.

I choose b&w films for portraits more often because everyone can tell their own story about the particular photo as they please. And besides, I develop b&w films at home, so it’s reasonably my first choice because it suits my bit of an impatient personality. When I go on a trip where I mostly shoot landscapes and local surroundings I always have color film and sometimes in addition b&w film, but color is a must, because this way I can capture the place as it is.

• You mention shooting landscapes, what do you enjoy most about this genre and what do you get from it that’s different from portraiture?

First of all I mostly shoot landscapes and streets during my travels. Such photographs are some kind of visual diary for me, helping me store my memories. Unlike portrait photography landscapes/streets are less overwhelming, because I take them for myself, so if something doesn't work out, the only person who can be pissed or upset about it is me. The other thing that distinguishes the two fields is the approach. I always have a general idea for portraits – the theme, the location, the outfit, the emotions I like to capture. Of course, I leave some room for the improvisation and ideas that come up during shooting, but overall I plan the basics. When it comes to landscapes, scenery and street photography it’s all about spontaneity. I just capture the moment. I always try to find something interesting in the frame. Sometimes I experiment with perspectives and framing, sometimes with colors or sometimes with the motion/action. And finally: I like when people “interfere” with my frames – that is, I like to photograph strangers, but unfortunately I try not to violate their personal space, so mostly I end up with photos that I don’t like. They would be better if I had the guts to come closer. I mostly act weird trying to hide my camera or pretending I’m shooting something else. But maybe someday it will be easier for me.

• Do you have a favourite camera and lens combination or even film stock?

Considering the fact that I’m still quite new “in the game”, I haven’t had much opportunity to try a lot of gear, but I do own a few cameras of different brands. And from my personal collection I like the Bronica ETRSi + 75mm f/2.8 lens the most. From my 35mm cameras I usually go for Pentax Me Super + SMC Pentax 50mm f/1.7.

When it comes to film stocks… This is a tough one, because I like so many of them, but I’ll try to categorize them and smuggle few of them with my insights:

● Kodak Tri-x 120 – favorite medium format film (but not my favorite to develop to be honest)
● Kodak Tmax 400 – it gives the sharpest and most clear image
● Ilford HP5 – best for experimenting with shooting and developing + I love to shoot it at ISO 800
● Rollei Retro 400S – very good value for the money
● FujiFilm Pro 400H – favorite medium format film
● Kodak Ultramax – the only color film that has never let me down
● Lomo 100 – the biggest surprise and beautiful vivid and yet natural tones
● Portra 160 – beautiful skin tones, but I don’t recommend it for cloudy day

• I see you have used Kodak Vision 3, Could you share any insights or recommendations when using these films?

Actually I’m quite new to this field too. I’ve shot only a few rolls, always at box speeds, but I’ve tried them all. My favorite one is the Vision 250D, but I also really like the 50D. Last year I started to develop motion films at home and it took me 5 attempts to receive decent, but far from perfect results. The amount of frustration I experienced at that time left a scar on my analog soul, mostly because I still didn’t figure out what went wrong that my photos looked like they were on a strong acid trip.

• Who and what are your photographic influences?

The list is very, very long, but as a first photographer I have to mention Vivian Maier, not only because of her work, but also (or maybe most of all) because of her humble personality and lifestyle. She didn't fit into stereotypical patterns or female roles, she led a life that was ahead of its time. Below is a list of other photographers that I admire (I selected few in random order):

● Saul Leiter
● Nan Goldin
● Fred Herzog
● Francesca Woodman
● Ernst Haas
● Lars Tunbjörk
● Helen Levitt
● Harry Gruyaert

• What are your photographic plans for the next year or so?

As always – trying new films and experimenting with them also in the developing process. I’d like to play more with double exposures and long exposures as well. And of course I plan to keep working on my portraits, because this is the type of photography that resonates with me the most.

• Finally, what, where or who is your dream shoot?

If I could choose one person to photograph, it would be David Lynch most definitely as he’s one of my biggest inspirations. Maybe my photos are nothing like Lynch’s frames but I really admire his way of thinking about art, life and people.

You can see more of Klaudia’s work on her Instagram gallery at nodo.bra