With the decline of analogue photography in commercial and home use, it seems it still has its presence amongst art. More and more photographers are returning to the point and shoot 35mm cameras for social documentary. When doing this the focus of attention upon an image is not about is technical ability but rather its individual or collective narrative. Marie-Louise Häfner is no stranger to this as she chose a little Canon Prima Super as her weapon of choice.
Hit the jump to see the rest of her work.
Marie-Louise Häfner’s Canon is a constant companion seeking out the strange and beautiful World as it unfolds around her. Marie-Louise doesn't care much for post processing, as if taking a cue from Cartier-Bresson himself she seeks the perfect photographic scenes as they profess themselves to her camera.
Through studying languages, Marie-Louise Häfner is particularly interested in the way images serve as a way of storytelling. During the editing process Marie-Louise will choose images that excite, surprise or puzzle the spectator.
The photograph something is to imply interest and quite often photographers will photograph things without ever looking at the images. For instance, at the time of his death, Gary Winogrand had over 2,500 undeveloped films and over 6,500 developed but not proofed. A process that pulls all emphasis upon the act of taking the photograph rather than the final image. To be a photographer can often feel like a performance, for Marie-Louise Häfner the sensation of releasing the shutter is still the same as when she received her first camera from her father.