Hanns Zischler combines the métier of author and photographer; which both are comparable to ice-skating: vectorially diverging they unify, when successful, in a motion whose direction is just as much determined as it is arbitrary. To converge through translation always is part of the game.

“As to me, working with a Rigby pin-hole camera signifies research, meditation, and evocation.” This is how Hanns Zischler contours his own approach to photography. Research means access to the surprising and scarcely weighable manifestations of time and nature: from this point of view, wind, water, and clouds are more than meteorological phenomena. Meditation relegates to a state of patient contemplation, enabling time to be lured into a dark chamber where a process of domestication and metamorphosis manifests as and also in pictures. And lastly, evocation is that precipitating infiltration of light onto film, as it is the manifestation, which, since John Herschel, we come to understand as ‘photography‘. “’The sun will bring it to light!‘ is what Chamisso said. This is the guideline for my work with color film.”