Reinfried Marass Austrian, professional photographer, born 1960 in Vienna. At age of 18 I went for several month to Egypt and the Sudan. I had no camera with me, but was so inspired I started photography upon my return and after my graduation as mechanical engineer. Years ago my analogue work was destroyed by my former wife and all my existing photographs are done digitally.
 

Image composition is one of the basics in my photographic work. The positioning and relationship of points, lines and areas in my photographs is influenced by the ‘German Bauhaus’ that combined crafts and the fine arts and operated from 1919 to 1933. Beyond that I use ‘Fibonacci Harmonic Levels’ for composition.
 

There exists an unwritten contract, a form of a codex, between the photographer and the viewer. A photograph must reflect the truth. A photographer must be credible. No lies. Raw and honest.

I take pictures by reading the available light. I never have owned a flash or similar lighting equipment. I love to work with minimal equipment, thus I can keep focused on the scenery. I have used numerous cams and lenses, but for my personal work I favor a simple Leica M Rangefinder equipped with only one lens.
 

I’m rarely satisfied with my work. A vast number of images are deleted again in favor of a prime one. My personal favorite photograph? – not yet done. I don’t head for the perfect image. Far from it. I prefer photographs with some imperfections, mostly they are more simpatico.

Creative vision?  Shrug, sorry. I leave this talk to gallery openings. I take an image because it’s there, and I am there, and because I can do it. It’s a passion. A life’s journey seen through a lens.

In my opinion a camera is a mirror of a photographer’s soul, reflected in the work done. My work is ‘signed’ with a heartprint. Without heart photographs would be mere images.

A photograph should talk. Over and over again, varying each time it is viewed. Sometimes I use a title to give a hint, but solely leave it to the viewer to analyze. I believe the interpretation also depends on age, education, experiences of life, culture area, origin or sex. I do not really care ‘how’ my work is seen – as long as the photograph does interact at all.
 

Like a lady, a photograph should keep it’s secrets for a fairly long time. Unveiling the myths to the addicted viewer only. Otherwise one would call it just slutty.

I always have been in touch with classic and exotic cars. In my automotive photography females are used to add a slice of life and story telling. And to add a touch of style and beauty. Or to drive the viewer back in time. I prefer ladies by cars over car girls. I cover everyday women and neither make up artists, nor professional models ever have been involved.

My work was acknowledged at some prestigious photographic contests around the world. But faked, staged and digitally altered work seems to be favored today. No more room for a traditional photographer. Time to skip.

My photographs have been published in international magazines, primarily covers, full pages or double-spreads. As well as used for advertisements and commercials. Today I’m more focused on my personal work. I like to create something of more constant value.