Hello Julian, tell us a bit about yourself. Where are you from and what do you photograph?
I was born in Düsseldorf and have been living here again for nine years now – before that I lived in Aachen for my computer science degree and then for nine years afterwards. Incidentally, my time in Aachen also influenced my photography, as there was a great community of photographers there at the time, with whom I met regularly and exchanged ideas.
Julian Meichsner. Photo: Jannis Mattar
In terms of style, you could probably describe my photography as portrait or lifestyle photography, as well as “sensual”, “boudoir” and sometimes even erotic. To be honest, I have never really thought about what name I would give my style. I usually talk about portrait photography. I also always take a camera with me when I travel to do landscape photography – but here I mostly work digitally.
Where do you find inspiration?
On the one hand, by looking at photography in all possible styles, regardless of whether it matches my own style or not – for example in photo books, photo exhibitions in museums or on social media. On the other hand, through personal exchanges with other photographers, be it through communities, at events or with photographer friends. When shooting “on location” I like to be guided by the given conditions: Where does the light create exciting contrasts that I can use? Is the sun in a good position for backlighting? Can I incorporate light sources into the foreground or background as an effect? It is also exciting to photograph people, as the model also brings inspiration and their own ideas.
How do you find your models and how does a shoot work, including in advance?
I now often find models on Instagram. In about half of my shoots, the model finds me, and in the other half I actively write to them. When I travel to other countries, I look for models either through local modeling agencies or on social media.
I only shoot on a “Time for Print/TfP” basis (a term that is now somewhat outdated). Photography is not my job, but a passion and a balance to work. First, I clarify mutual wishes and ideas with the model and discuss the location. It is important to me to clarify in advance which outfits are possible and how much skin will be shown.
Before photos are published after the shoot, the model naturally has the opportunity to sort out pictures that they don’t like. Ultimately, in a TfP shoot, both the photographer and the model should be happy with the results, especially with photos with less clothing.
You photograph digitally and analogue. How do these media differ in your photography and why do you choose film for some sessions?
I appreciate the flexibility and the image look of my digital Leica and therefore work a lot digitally. At the same time, analog photography still has something special for me: While I take quite a lot of photos of a setting digitally in order to select the best ones later, with an analog photo the concentration is higher due to the natural restriction to a limited number of photos per film. I approach each individual photo much more carefully, taking more time for the composition and exposure settings.
With analog photos in particular, I like the imperfection that arises from a certain random factor: visible traces of static charge on the film (especially with CineStill films), the edges of the last image on the film that cannot be planned precisely and the effects of flares that can only be predicted to a limited extent via the viewfinder. Then there is the anticipation of the final scans of the films. Depending on how quickly I send the films to My Film Lab after a shoot, it takes a certain amount of time before I can see the results. The whole process of dealing with film, from putting it in the camera to rewinding it, has something calming, almost meditative, about it for me.
And of course the contrasts and colors of analog film material are a dream! While I still change a lot of things in the photo digitally to achieve the look I want, I am very happy with the films I use as they are. Especially with monochrome shots, converted digital photos don’t come anywhere close to the detail of analog film material. For me, analog and digital photos complement each other during shoots, which is why I often have cameras for both with me.
Which film do you prefer to use and why?
Since I started taking analogue photos, I’ve always enjoyed trying out new films. In recent years, some manufacturers have added exciting films, although unfortunately many good films, such as the Fuji Pro 400H, have been discontinued. A few “favorites” have emerged over the years as favorites:
For monochrome, I usually use the Kodak Tri-X 400. I like the balance between visible but fine grain and good detail. For color films, I often use the CineStill films 400D and 800T. Both have rich contrasts and their halo effects, which are created by the lack of a Remjet layer, contribute to the style of image I want. I work a lot with backlighting or other (natural) light, for which the CineStill films are ideal.
Otherwise, I usually have Kodak Portra (either 400 or 800) in my camera bag. These films are very flexible in terms of exposure, deliver beautiful skin tones, offer plenty of room for push exposure and have soft but still well-reproduced colors. When traveling on vacation and no portrait shoots are planned, the camera is usually loaded with Kodak Ektar 100, as this film delivers beautiful contrasts and crisp colors.
What technique do you use?
I started with analogue with a Minolta Xg-M, which I took over from my father when I was young and he no longer needed it. At some point I got a Pentacon Six TL and a Mamiya RZ67 as medium format cameras. I never really warmed to the square 6×6 look of the Pentacon, but I still use the Mamiya a lot for shoots today. I really like the look of the images and the detailed scans of medium format negatives. Handling 120 roll film and the Mamiya’s huge light-trap viewfinder for image composition make taking photos fun. Together with the heavy mirror slap of the camera, you get a “handcrafted” feeling.
I have also had an old Leica M6 for a few years now, which is now my first choice when the Mamiya can’t keep up due to its size and weight. I use Leica and Canon cameras for digital.
You are working with available light. How do you expose under natural lighting conditions?
When I’m working purely analogue, I often use a handheld light meter to measure the exposure. How accurately I measure depends on the light and the result I want. For example, if I want hard contrasts between dark and light areas in strong light and I accept dark areas on the model, I measure the highlights. If, on the other hand, I want a well-lit or exposed body, I measure the darker areas on the side of the model that faces the camera. Depending on the film, I adjust the exposure a little – I often overexpose many colour films, such as Kodak Portra, by 1-2 stops.
I now trust the built-in light meters in my analogue 35mm cameras more and more, as I have developed a good feeling for how they measure and how I can interpret the results displayed. Since I often have both digital and analogue cameras with me, I often use the exposure values from the digital camera and then adjust them for the analogue photos, depending on the film and camera. This saves me from having to measure the exposure twice when switching between the two systems, even though some might call that cheating.
How do you find a location?
For indoor shoots, this is a good mix of rented daylight studios, hotel rooms or Airbnbs, and private apartments. Together with the model, I consider beforehand what types of locations are possible and then search online for suitable locations.
Where can people see and possibly buy your pictures?
I have to admit that I haven’t updated my website for several years. Since then, I’ve posted almost exclusively on Instagram (@julianmeichsner) and Facebook. The photos aren’t available for purchase yet, but if someone is interested, a solution can certainly be found through personal contact!
