In her book, published in 2022 «99x ein­zig­ar­tig» Melinda Blättler shows unfiltered photographs of people with a flaw, a taboo subject or an illness. At the Pho­to Mün­sin­gen presents a selection of them. With the pictures, the photographer from Nidwalden wants to build bridges, show beauty and create understanding.

Melinda Blättler, how did the idea for your book come about?

I noticed that many people on social media don't present themselves as they actually are. With filters and photoshop, with fake breasts and spray-on lips. That annoyed me because teenagers take exactly these people as role models. In my opinion, that's not exactly what they are, because obviously they are not satisfied with themselves. More and more customers came to my studio with specific requests, for example that I should retouch their wrinkles. If I convince them to take the picture first and then decide, most of them are more than satisfied. Against this background, I started the book project two years ago.

How did you find suitable people for the book?

I launched an appeal via social media, radio and television. The echo was tremendous. From the messages I received, I selected them in such a way that as many “flaws” as possible could be depicted in the book. These include not only people with illnesses or the consequences of accidents, but also homosexuals or couples with different skin colors. I looked for people who in some way didn't conform to the norm that others point the finger at. During the course of the project, I had the idea of ​​specifically looking for a 99-year-old person, so that the book now shows 99 people aged between a few months and 99 years.

How did you go about removing people's inhibitions about focusing on their "flaws"?

First they told me their story in a conversation. By listening and observing attentively, I registered where and how they reacted when telling stories. My approach to the shoot was correspondingly individual. A woman who had told me that she liked to dance, I let her dance in front of the camera to break the ice. I asked the man who had the accident to close his eyes and think back to the moment of the accident. When he opened his eyes, I pulled the trigger. The result is a very intense photo. When someone lets go and just be themselves and you can capture that in the photo, the picture will be good.

What were the reactions of those portrayed to the shooting?

Many said they felt very comfortable with me, even to the point of asking if I had any psychological background. For some, working on the project had a certain therapeutic effect. After she couldn't imagine it at first, the overweight woman asked me at the end of the shoot if we couldn't take the bikini photo now.

Are you still in contact with the people?

Yes, we have a common chat. Sometimes we organize a meeting with the aim that those portrayed can get to know each other and exchange ideas. Friendships grew out of this. Some will be present at Photo Münsingen and report on their experiences.

How did you deal with the often painful stories yourself?

Of course they affected me, but the project also made me stronger and gave me a new perspective. Some of the stories, especially those related to psychological impairments, stayed with me for a few more days. Through the shooting I was able to process what I heard to a certain extent.

All photos in the book are black and white and taken in your studio. Why?

It was important to me that the person is in the center, neither colors nor the background should distract. I wanted to make classic pictures. That is why everyone portrayed is dressed simply and wears neither make-up nor jewellery.

How were the reactions to the book and the exhibition in Stansstad last summer?

Very positive. At the exhibition, where some of those portrayed also told their stories personally, the reactions were very emotional. I also keep getting feedback on the book, the pictures got under your skin and made you think. If I can achieve that with the project, I'm very happy.

How optimistic are you that social rethinking will take place in the future?

Lately I've noticed that social media stars are increasingly presenting themselves without make-up and without filters. If I see something like this or topic-related posts, I post it on my channels so that these topics remain present. I think something is happening, but unfortunately the thinking in society will not change that quickly.

Interview: Raffael von Niederhäuser

Melinda Blättler at the Pho­to Mün­sin­gen 2023:

• photo exhibition 99x ein­zig­ar­tig #un­ge­fil­ter­te Portraits
• Lecture 99x ein­zig­ar­tig #un­ge­fil­ter­te Portraits

For the series "Je te regarde et tu dis" Thomas Kern photographed 61 people from all areas of the canton of Fribourg. In the interview he talks about the creation of the series, his working method and the selection of the portrayed.

Thomas Kern, you are at home in Aargau, but for the 12th edition of the "Photographic investigation: Freiburg theme" you portrayed the people of Freiburg for a whole year. how come

I have to digress a bit. The Enquête Photographique Fribourgeoise is a competition that I have known for a long time. However, I didn't realize for a long time that it was also open to photographers from outside the canton and that I could apply there. After my exhibition about Haiti in 2017, I didn't have any major projects. So I found it interesting to apply here.

So you were looking for a topic.

Yes. It wasn't that easy, because I'm not from Freiburg. I don't have a large income. It quickly became clear to me that I wanted to do portraits - because I just like doing it. I didn't want to impose a theme on the whole thing, though. For example, I didn't want to photograph a certain ethnic group or a certain type of people. I wanted to leave that open. When applying, the great art was to describe the project on three pages in a comprehensible way without telling the jury which people in the canton of Friborg I would ultimately be photographing. At the time, I didn't even want to know myself, I just wanted to leave it to chance.

So how did you choose the people for your portraits?

As part of my research, I read a book by Jean-François Haas, a writer from Fribourg. In these novellas, Haas unspectacularly described the lives of random people in very beautiful stories. I immediately had the feeling that they were from Freiburg, even though it wasn't declared anywhere. That was like a guide for me. So I started with him. Then I had a few more people to connect with. For example, a tobacco farmer I once did a report about. I asked these people to pass me on to someone next. About 80 percent of the contacts came about through references.

Elsewhere you mentioned the concentration between you and the sitter. What do you mean by that?

When photographing, a moment should arise in which there is nothing between me and the photographed person. No image, no mask. I wanted to get as close to the people as possible. Create a common focus. It was important to me that people's views were unobstructed. Because that allows viewers to look inside the images. As soon as I take a portrait where the facial expression is the result of an interaction between me and that person, then as a photographer I own that moment. However, I wanted the people looking at these pictures to be able to look inside the pictures. And that the people I photographed look at the viewers exactly as they looked at me.

How is it possible to achieve this concentration?

This is very individual, there is no recipe. It was important to me that I talked to people about the project beforehand: I'll come to your house and there's no reason. Except that someone called your name. We don't know each other and I don't want you to represent anything - even if you're in a football club, I won't come and photograph you as a footballer. I just come to you as a human. I want to leave everything else out of the picture. People understood that.

What role does technology play here?

I took the pictures analogue, that was clear to me for various reasons. On the one hand, I grew up with it. It's a technique that doesn't scare me. On the other hand, as a photographer, it forces me to be more careful, especially with portraits. It's a slower process. After twelve frames I have to change the film. The rhythm is different than when I expose 1500 images. It's also important: I don't have to see what I'm doing and, above all, I don't want the person portrayed to see what I'm doing.

We are all constantly being photographed these days. So much so that taking pictures is no longer perceived as the actual action. But if you take pictures so slowly, then it suddenly becomes an act. That leads people to the moment when I say, "Now, that's fine, the light is right, now don't think about anything".

How did you choose the location of the portrait and the position of the portrayed?

I didn't really care what background appeared in the picture. Nevertheless, my goal was always to take an interesting picture. Since I was working with natural light, the choice in terms of location was mostly minimal. I needed a bit of space and the light had to be there. So that's what happened. For posture I give very light instructions, watch the body language to see if the person is comfortable. At the end there are very few instructions. “Look into the camera, look directly, please shut your mouth”. I didn't want people to laugh because it's a strong gesture that immediately puts them at a certain distance.

To what extent were those portrayed able to have a say?

Actually, I didn't even ask her. Although I feel like it's something very collaborative we're doing. It was clear from the start that I would take the photo.

To the exhibition by Thomas Kern…

To the lecture by Thomas Kern…

Cover picture: © Luca Zanetti