Daniel Kobi

Gotthard

Dec 18, 2023

Daniel, a Swiss photographer and art director, finds joy in meandering with his medium format cameras. His photographic creations embody a fusion of a visual diary and artistic compositions, characterized by an acute focus on intricate details.

Through his compelling series 'Gotthard,' Daniel offers a captivating glimpse into the legendary Swiss Pass, a historical gem deeply intertwined with the narrative of this magnificent country. Within fog-laden landscapes and minimalist frames, he encapsulates the essence of mountainous exploration while also prompting contemplation on the future of our environment. Daniel's work serves not only as a portrayal of scenic beauty but also as a catalyst for reflection on our ecological prospects.

- First of all thank you very much for your contribution to our project. Can you please introduce yourself for us?

I completed my apprenticeship as a graphic designer in Basel, Switzerland in the 90s. I then moved to Zurich, where I’ve been working as an art director in the advertising industry ever since. In my daily work, I love to tell stories through ads. In my photography, on the other hand, my goal is to evoke a specific mood rather to tell a story.

- How did you start in photography?

It all started in 2015, when I happened upon a Rolleiflex in a local shop window. It immediately caught my eye, and I’ve been under its spell ever since. I now have my own dark room and all kind of classic cameras, from 35 mm to 8×10". I have the advertising photographers I’ve worked with to thank for that. Every now and then, they’d offer me an analogue camera they no longer needed. Like this, more and more cameras have found their way into my collection.

- What is ‘Gotthard’ about?

Last May, two friends and I spontaneously decided to drive over the Gotthard Pass right when it opened for the season. We set off in heavy rain and were greeted by a dense fog at the top. We met a group of classic Mini drivers on their way to a Mini meet in Florence.

The Gotthard Pass (Passo del San Gottardo) is legendary. From the Middle Ages until modern times, it was the shortest connection between northern and southern Switzerland as well as Italy. The old pass road used to be in operation all year round and was heavily used by stagecoaches. It's hard to imagine what an arduous journey it must have been to cross it in winter.

In a way, the Mini drivers we met are the modern version of the olden coachmen. Instead of taking the much safer and easier route through the tunnel, the drivers decided to take their classic cars over the wintry pass road.

What’s turned the Gotthard Pass into a national symbol isn’t only its natural landscape. It’s also what humans have made of it – through roads, tunnels, bridges, fortifications and power plants, as well as through their mind’s eye. This is what I hope to showcase in my Gotthard series.

- In general, what inspires your work?

Nature.

- What is your favourite Medium Format Film to work with?

That's a tricky question for someone who can't make up his mind. But I’ll do my best. For colour, it’s the Fuji Pro 400H, which was unfortunately discontinued last year. I still have a freezer full of it. It’s the most neutral of all colour films and suitable for every shot, be it low light, bright sun, landscape, city or portrait. It’s also cooler in colour than the Portra 400, which has been en vogue for many years now. For black-and-white photos that I scan, the Fuji Acros100 is my go-to. It’s very fine-grained and I’ve adapted my development process to it. For enlargement, however, I prefer the Kodak Tri-X 400 because of its beautiful grain. Grain on a scan looks a bit strange. On paper prints, though, coarse grain produces a beautiful structure thanks to how the enlarger scatters light.

Long story short, I think that for every situation, there’s a suitable film – one which will emphasise the mood and desired colours or shades of grey.

- Who are your favourite photographers / artists?

I love the multifaceted and intimate work of Sally Mann, the haunting portraits of Latvian photographer Inta Ruka and the street photography of Willy Spiller, which is simultaneously art and photojournalism. In particular, I love the series "Pedestrians" by Raymond Meier from 1975. He mounted a Linhof camera with flash on a motorbike, frightenening pedestrians as he snapped his shots. You can view the series here: http://raymondmeier.com/portfolio-projects

- What is your favourite photo book?

"Modern Color" by Fred Herzog, because colour photography will never be the same after Kodachrome and its elaborate process were discontinued. His photos were proof that artistic photography doesn’t have to be black and white – a misconception that persists to this day.

- Thank you very much for your time and your contribution to analog magazine.

Thank you very much for the feature!