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© Balz Kubli, When help comes from the air - transport of tribal elders and doctors, Darwan Afghanistan, 17.April 2013
Balz Fridolin Kubli. Balz describes himself as a passionate adventurer who travels in the Alps, but also in distant mountain regions. A camera is always with him. After 12 years of self-taught photography, the photographer (1984) opened a business with a photo studio in Frauenfeld in 2010. In 2014, Balz graduated with distinction as a designer HF specialising in photography and has been a member of the SBF since 2017.
Currently, Balz works in commissioned photography in the areas of portraits, people and reportage. Once a year he accepts a reportage assignment probono for a humanitarian aid organisation. He tells the SBF about his assignments, about the challenges and dangers. They are his constant companions.
Why do you do such assignments? They are special and at the same time relaxing, because they take me out of my classic everyday life as a photographer in Switzerland. Every time I experience, observe and photograph a new culture, it is a huge benefit for me. At the same time, I support aid organisations and NGOs without a budget for professional photo reportages with my pictures. In the end, what counts for me is the smile when I print out a picture on my pocket printer for someone I met during the reportage.
How do you decide which country to travel to? I have been working as a photographer for one or another aid organisation for a few weeks for free almost every winter. I guess word has got around and I keep getting requests for projects throughout the year. It is very important to me that I can help with my pictures. Whether it's Afghanistan or a project in Europe is not important, as long as the pictures support the work.
What about your security? For me, the development of the security situation in a country is always decisive. How intact is the infrastructure, how is the cooperation with the staff of the respective NGOs and how are the media professionals treated? As a photographer, I may also have to be careful not to get caught in the crosshairs of governments.
How do you prepare for the missions? The backbone of my planning is the aid agency staff on the ground. I plan my stay with them. Often I don't travel alone for the reports, but am accompanied by someone who lives and works in the country and also serves as a translator. It is important for me to learn a lot about the culture and language of the country beforehand. Often a correctly pronounced greeting formula or the question "May I take your picture?" in the local language is decisive for acceptance as a photographer by the people.
Taking photos in other cultures - is that possible? I try to find out a lot about the subject of "photography" in the cultures of the respective countries. One thing to take into account is that the way they deal with the subject is different from the way we do. For example, among the Aborigines in Arnhemland, Australia, it is forbidden to take a photo in and of a village during a funeral. Otherwise, the spirit of the dead person is disturbed during his or her journey. In Afghanistan, on the other hand, until recently, possession of a portrait of oneself or others was punished. After this law was repealed, the value of a printed picture increased enormously.
What equipment do you travel with? Equipment-wise, I travel light and compact. But I rarely travel without my mini mobile studio with two flashes and softboxes. Too often it has been worth taking along for portraits in the bush.
Were there any dicey situations? Yes! In Liberia I was arrested by the secret service. Allegedly I was a spy. Primarily it was about bribes for the police. I have also saved myself by running away. In Afghanistan, for example. I ran away because there was shooting. An angry husband thought I had photographed his veiled wife, although I was photographing in the opposite direction. Something can always happen, but I rely heavily on the sensitivity and knowledge of local staff. That can also mean not taking photos.
What do your photos show? They show the work of the aid workers and the impact of their work on the ground. Whether my reportage documents a microfinance consultant's day in Liberia or a bush pilot flying a pregnant woman to hospital, it is always about being as close to the action as possible. There is often the moment that clearly shows what the aid means to the people. It's important to capture that moment.
How did your autodidactic path go? At my confirmation I received a small, wonderful camera from my father. This was the beginning of my fascination with photography. From then on, I spent a lot of my free time on the road with my camera. Whether at concerts or in landscapes - it was always with me. My main profession was bicycle mechanic.
What was it like for you to start a business? For a long time I was panicked about portraying people. The fear of doing something wrong or upsetting someone shaped me for a long time. Thanks to a good friend and professional photographer Leon Seierlein, who founded a first photographers' collective with me back then, I got closer to the subject of reportage and portraiture. The fear gave way - and I started my own business. The HF photography degree came later and was a valuable addition. Even today I learn a lot with every shoot. The moments behind the camera are a gift.
https://balzkubli.com/