(February 6, 2007)

 

On February 1, 2007, Andrejsala saw the unveiling of Imagine, a photographic studio created by two photography experts Ilmārs Znotiņš and Viesturs Koziols. Together with their colleagues, they introduced the guests to the rather spacious premises of a former warehouse, which has now been transformed and adapted to the needs of a modern photographer’s workshop. Appropriate equipment has been brought in and the complete photographic imaging process can take off!

 

Visitors on the opening night of Imagine had an opportunity to experiment with taking pictures by using the studio's high-grade pro-level cameras, while a few actual models could be seen basking in the spotlight, ready to be taken on film. To wrap up the cycle, there were demonstrations of digital image processing on a computer, which allows obtaining the final visual product.

 

Suitably for such an elegant event, the opening of Imagine was concluded with a colourful fireworks display against the clear winter sky. It was even suggested that February the 1st should become the yearly Photographers’ Day – and why not with some pyrotechnics each time? The answers to this and to a number of other questions were provided by Viesturs and Ilmārs, the two founders of the new photographic studio.

 

Where does the idea of creating your own studio come from and why is it called Imagine?

 

Ilmārs Znotiņš: The idea came to both of us simultaneously. Viesturs needed a place for studio shots, and I wanted a lab for developing my pictures. Imagine, because imagination is one of the key aspects in photography.

Viesturs Koziols: There's also an alternative name in Latvian for our studio: Iztēles laboratorija (Lab of imagination), which came about when I first saw these premises. I have long since wanted to do my work in a loft setting. For quite some time already, loft studios have been popular around the world; it may cost you a great deal of money to move into a loft; and here we have an authentic industrial one! I was looking for studio space in Rīga for some eighteen months: I went to see a number of attics, basements, flats, factory premises… and none of them would even compare to this place. When we finally chanced upon this place, I realised I wanted not just a photographic studio but also a lab of imagination. For instance, the bigger space here has now been converted into a conference room, a theatrical stage and an area for fashion shows, seminars and even small-scale rock concerts. It is therefore an entire ‘multimedia centre’, but to avoid such a bombastic name, I think that Lab of imagination says it all. The more choice you have, the better art you can come up with.

 

Why have you decided to settle specifically in Andrejsala?

 

V. K.: The main reason here was the very suitable premises. In less than two months time we managed to reshape and redecorate the former warehouse to fit our needs: whitewashed the ceiling, changed the partition walls, painted the walls. It used to contain several rooms divided by walls and shelves.

I. Z.: And loads upon loads of dust.

V. K.: Some four [metric] tonnes of dust.

 

What sets Imagine apart from other photographic studios in Rīga?

 

I. Z.: There exist no comparable studio complexes in Rīga – Imagine is a laboratory in the wider sense of the word. We have a photo lab, including for the black-and-white (b&w) process, powerful computer workstations as well as all the mod cons for our models – a make-up room and a dressing room – also an exhibition hall and conference space. In theory you can, without leaving the building, shoot, develop and exhibit.

V. K.: I don’t think there’s anything similar in the entire Baltics.

I. Z.: We would want to welcome here as many young people as possible who are into photography or study it.

 

Would this mean a type of training?

 

I. Z.: What we can teach to the budding photographers is to think while shooting and to realise what they want to achieve. Equipment doesn’t matter. In the words of a famous photographer, the most important thing is the person behind the camera.

V. K.: Ilmārs and I do the photography work for the Republika.lv weekly magazine. There, we also organise photo competitions and publish the contestants’ best shots.

I. Z.: The way we select the winners ought to demonstrate the principles for cultivating one’s visual perceptivity. The winning shots are examples of what the photographers should strive for.

V. K.: We gradually increase the challenge. At one of the stages they had to submit photos of ‘cold weather’, however shooting cold weather is not as obvious in comparison to, let’s say, shooting weddings. The tasks become more intricate each time.

 

Are they excited about these competitions?     

 

V. K.: Definitely. There are about one thousand submissions every month.

I. Z.: Yeah, a couple of hundred per week. People do enjoy photography.

 

At the unveiling of the studio, the guests were also shown the lab equipped for developing of black-and-white prints.

 

I. Z.: This is our special for supporters of the old technique, for the gourmet artists who prefer to make photographs with their own hands and create the only copies of their work. Thus, each black-and-white photo remains unique because you can never make two identical ones. Digital photos can be multiplied infinitely, but, when developing several takes from one and the same black-and-white frame, the final photograph will always be different.

 

Which means, that if I have some leftover black-and-white film and a matching camera then I can shoot on it and here, at Imagine, process it and print my own stills?

 

I. Z.: Yes, you can.  

V. K.: Actually, we focus not so much on merely providing services as on our objective to get the studio going and to obtain certain results. Speaking of the b&w film processing, there might be photo shops in Rīga that still offer it, however for me it will be more important that people become interested in coming here to develop their own pictures. To put it differently, we’d like to see people getting involved with the imaging itself.

I. Z.: In my view, the b&w photography experience is what makes the master – because, while working on your prints, you have to compensate for the errors made during the shooting. This is where you analyse and see what has been done right and what’s wrong and become able to apply the lessons learned at your next session.

 

Do you often do b&w photography? When was the last time?

 

I. Z., V. K. (laugh): Did we have a place for it?...

 

Oh you do now!

 

I. Z.: Sure. I have been considerate enough to keep a reserve of photographic paper and to purchase the chemicals – so I won’t be left empty-handed! There are ideas waiting to be realised in the b&w technique.

V. K.: If any scrap silver is left over, we can mint it into medals. (Our visit at Imagine happens to coincide with the Latvian nameday of Rihards, therefore it is not surprising to see that the two Rihards working here are awarded silver medals in recognition of their good work.)

 

What kind of events do you plan to organise?

 

I. Z.: Most definitely, there will be exhibitions. About four shows, actually, in 2007. In the summer we intend to take our shows to other places as well.

V. K.: Number one on our agenda will definitely be to photographically document the present Andrejsala: its people, buildings, indoor scenes and various activities because in the coming 15 years this place will see one of the greatest transformations not only in Latvia and the Baltic countries but in the whole of Eastern Europe. It is the photographer’s mission to capture changes, and I believe that our presentation of Andrejsala in photos will create special interest.

I. Z.: In twenty years time, the obtained material will have become even more valuable and peculiar.

V. K.: Three years ago, about 60 photographers came together for a photo event dedicated to Rīga. There was a glass bowl filled with little paper lots bearing the names of various quarters of Rīga for which there were real-estate development projects – the area around Sporta pils (“Sports Hall”), Tērbatas Street, Krišjāņa Barona Street, and so forth. The photographers had to draw these lots. When I took my turn and drew Andrejsala, the people around me started laughing: "Viesturs, just don't say this was unintentional!" But I can swear it was. And it meant that already three years ago I had to explore Andrejsala on foot, and I have approximately 90 black-and-white photos created at that time.

Ilmārs, same as me, is interested in the lives and daily jobs of Andrejsala locals: locomotive engineers and workers who, on a cold winter day, inspect the state of railway tracks by walking around and knocking on them with little hammers. This urban area already bristles with life, but in about five years it will have changed enormously.

I. Z.: The older a photograph, the more meaningful it can become. We can shoot something that today may seem unimportant, however in twenty years time it may appear very valuable.

 

Do you plan to partner with foreign photographers?

 

I. Z.: We haven't had time for making such plans, but this may eventually be possible. It’s not really my field but I seem to have heard about a plan by the Ministry of Foreign Affairs to endorse a workshop led by a major Turkish photographer that had to be postponed because of a lack of premises appropriate for the photographical process.

V. K.: But here we have both space and ideas.

 

At the Imagine's unveiling party it was proposed to turn February the 1st into the yearly Photographers’ Day. Any plans in connection with that?

 

I. Z.: Good idea to start with. The Photographers’ Day, in practical terms, should be celebrated when the lighting is the most favourable... but since this is completely unpredictable in Latvia, it might as well be on February the 1st.

 

Thank you for the conversation, and let me wish you a lot of days with favourable lighting conditions throughout the year!