by Yvette Depaepe
Published the 10^th of June 2024

To Andy Bauer, street photography offers the opportunity to connect with the world, to immerse himself in colours, structures and situations. Feeling that pulse is really exciting to him. He quotes:  'Every street corner, every passer-by and every fleeting moment can tell a story. It is the people who breathe life into the streets. What is particularly fascinating to me is the play with light and shadow. That's why southern countries, especially Cuba, inspire me so much. The light there always blows me away. It often adds depth, emotionality and a sense of mystery to the everyday.' Andy's photographic vision is shaped by an interest in people and their stories. Let's walk with him through the streets and admire his excellent and strong street photographs.

Dear Andy, to begin, please introduce yourself and tell us about you, your hobbies or other jobs/projects you are involved in!

Hello Yvette, thank you for the invitation. I live in Frankfurt, Germany, I spent quite a bit of time at university when I was younger, studying cultural anthropology, art history, theatre, film and media studies, and journalism. Today I am an editor for the news site of a public broadcaster.

'Streetball'

Photography is my true passion. I invest a lot of time into this. If there's anything left, I'll try to improve my Spanish. It's a lot of fun, even if I have to admit that my seven-year-old daughter can already do it better than me. She is growing up bilingual.

Your work is full of vivid colours, combined with exceptional light and shadows. Most of your photographs are street action shots. All your images undeniably wear your signature.  What does street photography mean to you?

'Streetplay'

Street photography offers me the opportunity to connect with the world, to immerse myself in colours, structures and situations in the here and now, to be completely with myself and at the same time to be open to everything that comes. It's about being present, having patience and being open to the unexpected. It's about finding the special in the chaos and the order in the randomness. Feeling that pulse of a situation is really exciting.

Every street corner, every passer-by and every fleeting moment can tell a story. It is the people who breathe life into the streets. What is particularly fascinating to me is the play with light and shadow. That's why southern countries, especially Cuba, inspire me so much. The light there always blows me away. It often adds depth, emotionality and a sense of mystery to the everyday. Added to this are the strong colours that increase the dynamism.

'Childhood'

In short: it is street photography that can put me in a flow. Then I actually walk through the streets for hours until I eventually notice how exhausted I am and how my feet hurt. My photos tell of these experiences. The German word for experience “Erfahrung” expresses this quite well. Because it has “fahren” (going or driving) in its root word, which shows that you have to move, that you have to go out in order to understand something.

There is one more thing I have to say: Although colour is very important to me - I love the look of Kodachrome film - I sometimes convert the photos to black and white. That always depends on the motive.

'In the mirror'

What first drew you to street photography and how did you discover it?

I had always had a latent interest in photography. But I had a real awakening experience when I flew to Cuba for the first time in 2010 with my Nikon D300. It was so different than anything I had seen before: a real journey through time to another planet: the lively streets, stages of life, joy and sadness, love and passion. It all seemed so authentic to me, sometimes cheesy, but still so powerful. I wanted to capture this with the camera. This was the start. This passion has never left me since then. This one is one of the first pictures I made in Cuba:

'Inside travelling – outside history, Havana, Cuba'

What do you think makes a memorable street photograph?

Good street photos have emotional depth, meaning they show a human experience such as joy, passion, sadness, loneliness, surprise or even boredom. There are also aesthetic components. Lines and shapes that guide the viewer's gaze. Light and shadow are also included.

And of course a good street photo depends on the authenticity  and uniqueness of the moment. When all of these come together and reinforce each other, then that's great. A great street photo tells something about ourselves, captures something like the essence of human life - and shows it in a visually appealing way.

'Curious'

Can you describe your overall photographic vision, Andy?

My photographic vision is shaped by an interest in people and their stories. I see the street as a stage on which human life in all its facets is performed. It's about capturing these special fleeting moments that go beyond the purely everyday and relate to our nature as humans - our conditio humana: our passions, contradictions and imperfections.

I look for shapes, lines and textures that support the message. Authenticity and spontaneity - the decisive moment. I'm not trying to orchestrate or influence anything. Ultimately, my photographic vision is a continuous journey of discovery, inspiration and reflection on life itself.

'Waiting'

How important is content versus form in street photography? Do you personally think one plays a stronger role than the other?

There are certainly cases in which the content is more important: I'm thinking of the more documentary street photography. But even that doesn't come without any form. Likewise, there are cases in which aesthetics take centre stage and become so powerful that it becomes meaningful content.

'Umbrella'

I don't want to separate it all like that. What is depicted in the picture – the people, the scenes, the stories - play a central role for me in street photography. They are what captivate the viewer and offer narrative depth. But it is the composition, light, shadows, lines, patterns and colours that organize the image and raise it to an artistic level that makes it easier or even possible for the viewer to grasp the message of the image. I think both are important.

'Playing Basketball'

What do you want your viewers to take away from your work?

What I would like to show the viewer is the beauty in the ordinary, the diversity of life, the liveliness on the street, the joy and strength of its protagonists, perhaps sometimes their struggle and loneliness. If the viewer pauses for a moment and takes part, I would be happy.

'Green Facade'

What do you think are some clichés in street photography you steer away from yourself?

You probably mean something like reflections in puddles, those shadows all the time, people walking past walls and crowded streets. Sure, a lot of this has been seen many times before and it can seem shallow. Still, I don't think about it much. The fear of clichés can have an inhibiting effect. I try to create authentic, captivating photos that don't just scratch the surface. If there are shadows and reflection, then so be it.

Homelessness is a difficult issue. Not that it isn't important to solve the social problem. But I don't want to show people in a helpless state. What I also don't like is excessive editing, exotic filters and HDR effects that give the impression of depth of content.

'Walking on the Wall'

What were the difficulties you encountered first starting street photography and what advice would you give to beginners?

When I started Street, I was worried about how people would react to me. It helped me look for places that visually appeal to me. I was basically lying in wait there. With this approach I didn't have to follow people with my camera, they just walked past my lens. This has the advantage that I was noticed less. This is still a technique I use.

'Malecon'

My advices for beginner? Have fun and be curious. Find a camera you like. Go out and see what grabs you. Try not to think too much and let the flow take you away. Experiment. Look at how the shadows go, where the interesting colours are. Be patient. You have to take a lot of shots to get a few good ones. Be respectful. Accept when people don't want to be photographed.

Be inspired by great photographers like Henri Cartier-Bresson, Steve McCurry, William Eggleston or Ernst Haas. And show your pictures to your friends and/or on sites like 1x.com. Become part of a photography community.

'football'

Who are some of your favourite photographers, and how did they influence you?

I'm very impressed by Ernst Haas's pictures. What I find fascinating are his dynamic, often very experimental compositions, the play with light and shadow, his diversity and the way he handles colour. Steve McCurry is also one of my heroes. What I find particularly impressive about him is his ability to tell a whole story and capture emotions with one picture. I was also impressed by the approach of German photographer Torsten Andreas Hoffmann, who combines photography and Zen meditation - mindfulness, presence and simplicity, inner peace and focus.

'Malecon'

When you are out shooting—how much of it is instinctual versus planned?

I have favourite places that I visit again and again. There are a few places in Havana, for example, that I always go to when I'm there. These are places where something happens, which have a special light or a very specific texture. But I also like to drift through the streets like a stroller and see what catches me. When you don't have an orientation, you're more receptive, Walker Evans once said. I think there's something to it.

'Futbol'

What gear do you use (camera, lenses, bag)?

I take photos with a Sony Alpha A9. I like the camera because it has an analogue feeling with its many manual adjustment buttons. I usually attach the standard 24-70mm, 2.8 GMII lens to it. On longer tours, my Peak Design bag (10l) also includes the 70-200mm 2.8 GMII, the Sony 16-35 mm F4/PZ and the 35 mm 1.4. GM. I like the bag because it's discrete and doesn't immediately reveal what's inside.

'Red Car Number 3'

What software do you use to process your images?

I use Lightroom, Dxo PureRaw 4 and Silver Efex for black and white conversion. Rarely Photoshop.

'Distracted'

Can you tell us something more about your work flow?

Out on the street I take a lot of pictures and hardly delete any. A complex selection process begins for me on the computer, which can take weeks or months and which I really enjoy. For me, composition and framing are very important. Sometimes I look through my image archive and discover the potential of a photo I took years ago. It's like taking a photo twice, once on the street and later on the computer.

'Taxidriver'

Are there any specific directions that you would like to take your photography and can you share with us your future plans or projects you would like to be involved in.

I would like to work more consistently in series. And I would like to design photo books.

How has social media played a role in your photography?

I like looking at what other photographers post on Instagram. I'm not quite as diligent there myself. But social media offers a great opportunity to get feedback and become part of a larger community.

'Havana Blue'

What is one question nobody has ever asked you—that you wish they asked you?
Maybe this: Can you say that street photography has changed your view of the world? I think yes, photography - and street photography in particular - has made me more open, more attentive and perhaps more empathetic. I have learned to live more in the moment.

'Driving fast'

Now, since we have almost reached the end of this interview, I would kindly ask you to tell us how you discovered 1x and what do you think about it as a home base for your work?

I admit it: I discovered it once on Amazon. As I was browsing photo books, I discovered a book put together by the curators at 1x. That was around 2014. Back then there was still this wonderful photo book series. I was electrified, bought the book and became a member. 1x has become a photographic home for me. Hardly a day goes by when I don't visit the website several times.

'Basketball'

'Woman passing Crosswalk