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Manfred Baumann
Manfred Baumann
Manfred Baumann

Manfred Baumann

Country: Austria
Birth: 1968

Manfred Baumann was born in Vienna in 1968. The Leica photographer has since presented his works worldwide in the form of exhibitions, books, and calendars. His photographs are displayed in museums as well as in international galleries. Over the past years, Baumann has taken his place among the most influential photographers of our time. Via social media his range is more than 1 million!

He lives and works in Europe and the USA, and has already photographed such greats as Kirk Douglas, Sandra Bullock, Olivia Newton John, Martin Sheen, Don Johnson, Danny Trejo, William Shatner, Jack Black, Natalie Portman, Tony Curtis, Paul Anka, Lionel Richie, Kathleen Turner, John Malkovich, Bruce Willis, Juliette Lewis, Angelina Jolie, Toni Garrn, Michelle Rodriguez, Leah Remini, Evander Holyfield, as well as many international top models.

For Manfred Baumann, the fascination of photography lies in departing from the familiar and capturing an impression of the moment. He loves to explore the world through the eyes of a photographer.

To make visible that which others have not seen has been the objective of Baumann's exhibitions, such as End Of Line, in which he documented the final journey of death row inmates in Texas; Alive, where he photographed homeless persons on the street for one year; and his current project Special, which showcases Baumann's portraits of intellectually disabled persons. His ambition is to break with tradition and the conventional perspective.

The viewer of my photographs should discover the soul and history they embody and recognize that photography is the only language that can be understood all over the world. As an ardent animal welfare activist, vegetarian, and goodwill ambassador for Jane Goodall, he also ventured into the world of animal photography for the first time with the project Mustangs. The project's works and exhibition were shown in the Natural History Museum Vienna and the Leica Gallery in Los Angeles.

He teaches for the Leica Academy worldwide and does worldwide lectures & workshops. Manfred Baumann was 2017 Testimonial for Huawei international alongside with Robert Lewandowski. His Book and exhibition Vienna were shown at the Grand Hotel Vienna.

From February 2019 to May 2019, Baumann exhibited for the first time in Australia (in Melbourne and Sydney). In 2020 two new books will appear, the Lipizzaner the white horses and a Best of book with the name a photographer's life. It is the 15 and 16 illustrated books which have been published worldwide. Among Manfreds role models are great Master of Photography such as Alfred Eisenstaedt, Helmut Newton, Henri Cartier-Bresson, Richard Avedon, Herb Ritts, and Ansel Adams.

Manfred Baumann also photographed the late Tony Curtis. This was the Hollywood star's last official photo shoot and did much to bolster Baumann's considerable fame in the USA.

For more than 25 years, Manfred has been drawn to the most distant places in the world, where his breathtaking landscape photographs are created, and it is only natural that since 2013, he has cooperated with and photographed for National Geographic.

He lives and works in Vienna with his wife and muse Nelly Baumann, although his sojourns to his second home, Los Angeles, have become increasingly frequent and of longer duration. His clientele, however, come from all over the world.

Statement
"I GIVE THE MOMENT DURATION"
"Photographs are like songs that you sing into the world."
"HEART AND MIND – THE TRUE LENS OF THE CAMERA"
"The truth is the best picture!"


 

Manfred Baumann's Video

Selected Books

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More Great Photographers To Discover

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I'm always amazed at colleagues who walk up to people with a 28mm lens and a flashgun banging away in their faces. It certainly creates a style but adds artificiality that I find unpleasant, both visually and in terms of aggression towards the subject. I think a style on the street should be created by a vision rather than a technique. Also the benefit of today's digital cameras to boost the ISO has enabled me at least to ditch a flashgun altogether during the day. Once in a while a new photographer joins Magnum with a totally different vision, like Russian Gueorgui Pinkhassov, who really excites me and makes me want to go out and shoot, not to recreate his style but rather to reinvent myself. I love to shoot with two fixed focal length lenses on two quiet Olympus cameras hanging around my neck, partially concealed under a vest or jacket. Only partially concealed because I don't want it to appear as if I were trying to hide the fact I am a photographer. The lenses I use are a 28mm and a 50mm, which are small, light and fast. I prefer fixed focal length lenses because I like to know exactly what is going to be in the frame, and it's far easier to take half a step forward or backward than fiddling with a zoom. In Magnum the jury is out among the street shooters over whether a DSLR or a range finder is the better choice, but nearly all use single focal length lenses. The other plus of a small camera is that you are often perceived as an amateur photographer and therefore less of a threat to the people you're photographing. Shooting with a long zoom on the street is a definite no-no, as you will be viewed as a voyeur. Curiously, I find I can be 3ft or 4ft from someone, shoot with a 28mm lens and pass by unnoticed and yet be obvious at 15ft. A recent fashion trend I don't think works is trying to carry equipment in a rucksack. It's great for the countryside or getting to or from a location but on the street every second counts and by the time you get a camera or lens out of this sort of bag, night has fallen and everyone has gone home. I find that a soft bag of the Domke variety will hold a body with longer lens inconspicuously but within quick reach. Whatever your kit set-up, however, the same creative needs apply. The ability to recognise a potential situation and produce an elegant composition in a fraction of a second on the street is what separates the great photojournalists such as Eugene Smith, Sebastião Salgado and Alex Webb from the rest of us. I've noticed that with that ability comes the physical stamina and professionalism to pound the streets for 12 hours on the trot. The basic elements are either to grab the decisive moment on the hoof, to see a potential situation and hover unseen until it develops, or spot a potentially great background and be prepared to hang around for an hour or more until the right juxtaposition of people slot into place in front of you. This is something I frequently do, especially in a foreign environment; simply wait until you become part of the fixtures and fittings so that when you raise the camera slowly and smoothly to the eye, no one's attention is drawn by an unusual movement. One of the great things about growing up photographically in Magnum was the words of wisdom dropped casually on occasion by Henri Cartier-Bresson. For example, "A great photograph is not an intellectual result, the only intellectual involvement is being there in the first place. The actual moment is purely intuitive, like squeezing the trigger of a gun when your subject is in exactly the right place in the frame." On another occasion as we were wandering around in Paris, "Walk softly and slowly. If you are moving quickly and stop suddenly, the people you are about to photograph will react to the change of pace in their peripheral vision and become aware of you." Street photography in Britain has become another issue. Years ago when travelling from Istanbul to Beijing by train, I'd passed from Iran into Turkmenistan and was shooting in the capital, Ashgabat. Most of the main buildings had 15ft-high portraits of the President in true personality cult style and after wandering around I chose what I thought was the most interesting building architecturally. I then stood for quite a while waiting for interesting people to pass by to make up the shape. After a short time a couple of guys came out of the building and watched me, then came over and ‘invited' me into the building. It transpired I was photographing the equivalent of the FSBheadquarters. One of the men spoke excellent English and after quizzing me in a not unpleasant way, asked that if he were to come to London would he be allowed to photograph Scotland Yard? In response I invited him to call me when he was next in London so we could photograph it together. Sadly I could not do that any more, we are no longer that relaxed a society. So what to do when you're in front of the Bank of England trying to shoot an essay on the City and an officious PCSO or a jobsworth from the nearest sock shop arrives to tell you to desist, or worse, delete your images? The advice of lawyer Rupert Grey, who knows a thing or two about photographers' rights, is to keep your cool, be polite and explain that you are perfectly entitled to take photographs in a public place without being hassled. The public are more sensible on the whole, although it's still best to avoid photographing children. Years ago when shooting for my book, The English, I was able to go into school playgrounds with the teachers' approval and thought nothing of it; and it was the same in shopping centres, even hospitals, but no longer. Having said that, not too long ago I was passing an African-Caribbean church and stopped outside to take a few pictures of people milling around, only to be invited in to photograph the service – a pleasurable experience in this age, which tells me that one should not give up on recording life in Britain. Ian's words of wisdom "Know your camera inside out. Walk with your finger on the release. Have your lens pre-focused (Josef Koudelka had bits of matchsticks glued to Olympus lenses at different points to focus by feel). A single focal lens is best. I shoot on aperture, only adjusting as light conditions change. Don't be intimidated, most people are happy to be photographed. If nervous walk with a friend, although they are always distracting and get in the way. Buy a waistcoat or jacket a size too big to keep your camera concealed inside. Look around you constantly. Be discreet; looking beyond the subject after shooting often helps. If confronted, good-humoured banter and a smile always work."
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