RENÉ SCHÄDLER - featured photographer in the ON LANDSCAPE magazine

In this interview, René Schädler talks to us about the inspirations and experiences that have shaped his photography, from a fascination with art to the landscapes of Switzerland and beyond. Through solitary travel and an increasingly minimalist approach, he aims to reflect the emotional resonance of large scale, peaceful spaces in his carefully composed images.

Would you like to start by telling readers a little about yourself – where you grew up, what your early interests were, and what you went on to do?

I grew up in Switzerland, more precisely in central Switzerland, in the city of Zug, where I still live today. My childhood was characterised by a lot of freedom and proximity to nature. Growing up near the lake, and the countless hours I spent in the nearby mountains and in the forest, awakened my thirst for discovery and my imagination at an early age. During my teenage years, I developed an increasing interest in creative forms of expression, be it drawing, painting or photography. I suspect that this freedom and the many experiences I had were the basis for my preference to be creatively active.

At the same time, sport played an important role in my life. With the ice hockey stadium just around the corner, I developed an enthusiasm for this team sport at an early age. This passion led to a career of several years as a professional player at the local ice hockey club. Back then, it was still common to combine professional sport with a business career. In my case, this path led me from graphic design to architectural illustration to interior design and later to marketing, where I still work today. About eight years ago, the time was ripe for me to once again dedicate myself intensively to my original passion, photography. This rediscovered love has been with me ever since and has become an essential part of my life.

You write on your website that you began photography (in earnest, perhaps) 7 years ago. What was the spark or incentive for this?

I developed an interest in photography in my youth. I often roamed the neighbourhoods of my home town with my camera. I was interested in the newly constructed buildings, especially the modern forms and the diverse structures of the architecture. These visual impressions also inspired me to create little fantasy worlds at home. Using a mixture of different materials, I built detailed miniature scenes, which I then photographed. In the years that followed, photography initially took a back seat as sport, work commitments and family duties increasingly took up my time. Nevertheless, I realised that the right moment would come to revive my passion. This turning point came eight years ago when I spontaneously booked a photography trip to Tuscany. At the time, I didn’t have the necessary photographic equipment, nor was I familiar with digital technology. The trip was, therefore, not only a new beginning but also an intensive learning phase that motivated me to thoroughly familiarise myself with modern photography. I was actually fascinated by the idea of photographing neon lights in urban environments. To deepen my technical understanding of the new equipment, I travelled to Miami for a week. There, I had the opportunity to familiarise myself with the camera and gain my first experience with digital image composition. However, the following trip to Tuscany awakened my enthusiasm for landscape photography – a passion that continues to this day. Above all, landscape photography means freedom to me. Nature itself then becomes my studio, and my models are the majestic mountains, the endless coastlines or the mystical expanses of desert landscapes. Quiet urban places and special locations, such as quarries, also cast a spell on me. It is crucial for my work that the photographs have a certain aesthetic quality and, at the same time, convey a sense of tranquillity and timelessness.

Who (photographers, artists or individuals) or what has most inspired you, or driven you forward in your own development as a photographer?

I have been fascinated by creative work since my earliest childhood, even though I still can’t explain exactly where this drive comes from. In my youth, I copied paintings by famous artists and decorated my exercise books with ornaments and drawings. I unconsciously absorbed all the impressions that inspired me in any way - a behavioural pattern that continues to this day. I visit museums from time to time to be inspired by paintings from different eras. Although these experiences are not directly and consciously incorporated into my photography, I am convinced that they shape my photographic view. My creative process is characterised by an intuitive but targeted sifting through a wide variety of visual sources. I let myself drift and attach particular importance to shapes, colours and structures. However, the composition of the image takes centre stage. For me, it forms the foundation of a successful work. A coherent composition is crucial to ensure harmony within a picture. Even the best lighting mood cannot ‘save’ a shot if the composition is not convincing. It is, therefore, of central importance to me to carefully structure each image and to precisely harmonise the balance of the elements.

What directs your travels and draws you to new places?

It’s the anticipation of finding something new. It is the ‘tingling’ sensation that arises when I stand in a special place, camera in hand, surrounded by countless possibilities that open up in all directions. This fascination for the unknown and the associated uncertainty as to whether I can find the desired motif and capture it in the way I had hoped is a special attraction for me. It is the moment of adventure combined with the pure state of flow - a state in which time and space no longer play a role for me. Only the natural conditions, such as the weather and the course of the day, determine my direction and my decisions. In order to realise a photographic vision in the best possible way, I strive to plan specifically and give myself sufficient opportunity for several attempts. This means that I consciously limit myself to a clearly defined and manageable region instead of squeezing as many different locations as possible into a narrow time window. This way of working allows me to delve deeper into the surroundings, to perceive details and to carefully work out the essence of the landscape. My preferences tend towards minimalist and barren landscapes that are characterised by vastness and silence. These regions hold a special fascination for me, as they convey both visual and emotional clarity. To find this type of landscape, I plan one to three photo trips abroad every year. There I find the vast, almost unspoilt areas that serve as my motifs and suit my visual language. In my home country of Switzerland, it is more difficult to find such places, at least in the lowlands, which I often find too densely populated and characterised by human intervention. In the mountains, on the other hand, especially above the tree line, comparable scenery reveals itself. For my classic landscape photographs, I aim to avoid any trace of civilisation as far as possible in order to focus on pristine nature. The pursuit of tranquillity, simplicity and timeless aesthetics characterises not only my choice of subject, but also my entire photographic approach.

Tell us a little more about your local area. Have you found a ‘heart’ place, somewhere that you find especially resonant?

I feel very lucky to have been born and raised in central Switzerland. Within a radius of just one or two hours by car or public transport, I can reach a variety of breathtaking landscapes, mainly in the mountains or in the Italian-speaking south of Switzerland. I am often drawn to the east, to the canton of Graubünden (Canton of Grisons), where I find myself surrounded by the Alps. In these areas, I spend the nights in a tent during the warm summer months, which offers me ideal conditions for taking photos in the early morning or late evening hours. In the beginning, it took a certain amount of effort, but now it’s a real pleasure to spend the night alone in the mountains and to be able to take pictures in peace without any time pressure. When time is limited, for example, on a Saturday or Sunday morning, I am often drawn to the nearby upland moor. Especially in spring and autumn, when a mysterious mist covers the plain, the place offers a perfect backdrop and is also good for time-lapse shots. These experiences are always extraordinary and unique. The high moor is also in an ideal location to create unforgettable moments in winter with snow and a suitable foggy atmosphere - moments that are invaluable even when the camera is not in use. I have also grown fond of Ticino, which is in the south of Switzerland, near the Italian border. I’m often out and about in the valleys there, be it at waterfalls or in narrow gorges. Alternatively, I use cable cars or hike up to enjoy breathtaking views of the wooded mountains and valleys. With over 40 per cent forest cover, the canton of Ticino is a true oasis of nature.

Would you like to choose 2 or 3 favourite photographs from your own portfolio and tell us a little about why they are special to you, or your experience of making them?

AT THE MOOR

One picture that has a very special significance for me is At the Moor, taken in the early hours of a spring day on the moor. The scene was captured just before sunrise, when the grass was still fresh and damp, and the mist had already lifted enough for trees and a few huts to emerge with mystical clarity. This picture hangs in our living room and every time I look at it, the memory comes back vividly. I can literally smell the fresh grass and feel transported back to the cow enclosure where I was standing. The cows, unimpressed by my presence, noisily tore tufts of grass

from the ground behind me, while the soft chime of the cowbells permeated the silence with an almost meditative melody. A moment full of silence and originality—pure home. The colour scheme of the picture is deliberately restrained and thus reflects the quiet soul of this special place.

Over the years, I must have visited this place over thirty times and know every nook and cranny, every nuance of the landscape, which fascinates me time and time again.

DESERT TREES

In October last year, a three-week trip took me to Namibia - a place that, for me, is the embodiment of vastness, silence and space. The sand dunes at Sossusvlei, in particular, left a lasting impression. The drive there takes about an hour, with the last section of the journey leading

through soft sand. Despite an excellently equipped off-road vehicle and state-of-the-art technology, the passage required extreme caution, as I was travelling alone, and there were no tourists or park officials in the vicinity at the time. But it was worth the effort: the opportunity to walk effortlessly into the centre of the dune landscape was simply fascinating. I spent over two hours looking for the perfect vantage points. The light in the evening was unique - a light breeze carried fine sand through the air, bathing the scenery in pastel, desaturated tones. There, I took what I consider to be a very special picture, the photograph Desert Trees. The combination of the warm yellow of the ground, the cool green of the trees and the vibrant orange of the dunes gives the image an almost surreal aesthetic that is both graphic and illustrative.

PONTE BROLLA

In addition to working on individual shots, I am also interested in creating small series of images that are linked by their composition or visual harmony. Here, I specifically look for fragments that - for a certain reason - correspond with each other and can be combined into a series of four shots. One example of this is the image Ponte Brolla No.4 from the Ponte Brolla series. This imposing gorge in southern Switzerland impresses with its turquoise- blue-green water and the weathered rock faces, whose shapes have something mystical about them. The unique colours and textures inspired me to create the image using a special screen printing process. Together with Lorenz Bögli, a highly respected screen printer in specialist circles, we realised the work in a limited edition of five copies. With the help of five different screens and iridescent colours, the image was interpreted in a way that impressively expresses both the visual experience of the gorge and its aesthetic complexity.

Can you give readers a brief insight into your set up – from photographic equipment through processing to printing? Which parts of the workflow especially interest you and where do you feel you can make the most difference to the end result?

My photographic goal is to create images that are ultimately suitable for physical printing as a high-quality mural. In my visual world, I differentiate between images that are optimised for digital viewing and those that are particularly suitable for physical presentation on the wall. This distinction has evolved over the years, and over time I have developed a sense of how to differentiate between the two on location. My first reflection when choosing a subject is, therefore, often: ‘Would I hang this scene as a mural in my own home, or is it an aesthetically pleasing shot for the digital screen?’ My photographic approach can basically be divided into three main phases: 1) planning, 2) shooting and 3) post-processing, including printing and framing. Each of these phases takes up about a third of the entire process and fulfils me in its own way. Planning involves searching for suitable locations, dealing with lighting conditions and visualising possible compositions. The actual shooting phase - usually during a trip - is characterised by intense concentration, patience and the joy of active photography. Finally, I devote myself with equal dedication to the post-processing, the careful preparation of the print and the selection of suitable framing. These three areas reflect my many years of creative endeavour, and they complement each other to form a comprehensive overall creative process. As soon as a picture is finished, I can already vividly imagine in which room and in which surroundings it could be shown to its best advantage. My technical equipment is not characterised by spectacular innovations or state-of-the-art features. As a so-called ‘slow photographer’, I deliberately work with comparatively classic equipment. I shoot with a Nikon D850 SLR camera and use four lenses that cover the entire range from wide-angle to 400mm telephoto lenses. The majority of my shots - around 95 per cent - are taken from a tripod. This allows me to work precisely and have full control over the composition.

One factor that should not be underestimated in my work is the overall weight of my photographic equipment, especially when travelling in the Swiss Alps. The backpack, which contains a camera and lenses as well as a tent and other equipment, can easily weigh over 15 kilograms. This weight is particularly noticeable on a steep ascent lasting several hours, especially if I also have to carry water if there are no water sources available on the way. I place the central focus of my work on the composition of the shot. It forms the core element of my photographic expression. Of course, light plays a decisive role, but a poor or unbalanced composition cannot be saved even by the best light. If I am dissatisfied with the composition, I stop the shooting process and look for an alternative angle. Nevertheless, I always keep an eye on the dynamics of the change in light because it can happen that a previously unspectacular scene is suddenly transformed into an exciting composition by the change in lighting conditions.

How do you feel that your photography has evolved? I spent some time looking through your social media feeds and picked up an appreciation that your processing and presentation have been stripped back, simplified… quietened even.

Yes, your impression is correct. My entry into photography was initially characterised by getting to know the technical possibilities and the desire to make the most of them. Added to this was the urge to get to know Switzerland better. The results of these first years were so-called ‘beautiful shots’, which I like to call postcard pictures. As I gained more experience and travelled more intensively, my way of thinking gradually changed. In particular, being alone during my photographic travels - whether in the mountains or on the coast - gives me the time and peace to reflect on fundamental questions about my life. In these moments, far away from the distractions of everyday life, I realise more and more clearly what is really important for a balanced and fulfilled life. A central need in my personal endeavours is to reduce the excess of information and externally determined activities. This endeavour to reduce can be described as minimalism in daily life. Interestingly, this minimalism directly influences my visual language. Over time, I have begun to reduce the photographic elements to the essentials. Instead of complex compositions, I strive for a clear, uncluttered and yet aesthetic image design. This reduction not only helps my photographs to achieve a calm effect but also reflects my love of design, in which less is more. In combination with carefully selected framing, my photographs are intended to enrich a room - through visual warmth, harmony and stillness. These solitary moments in nature - for example, on a summit or on a deserted coast - have an even deeper dimension: they invite me to reflect more consciously on my own existence. Far away from any distractions, I realise how privileged I am to have grown up in a safe and sheltered environment. The feeling of contentment, that it is good the way it is, and humility towards life itself increasingly accompany me. I find it exciting to observe how this personal development will affect my photographic work in the coming years. Will the trend towards reduction continue? Will my images be even more minimalist in ten years’ time, or will there perhaps be a new, unexpected stylistic twist? Such questions motivate me to continue my photographic journey - always open to new insights and changes.

Scale and solitude play a bigger part. You refer to these, but they are manifest in your subject choice and composition too?

When I stand in front of a vast, open landscape, an incomparable feeling of freedom and tranquillity spreads through me. At such moments, I stretch out my arms and take a deep breath, trying to anchor the indescribable feeling of vastness and stillness within me and - as best I can - transfer it to the picture. This feeling forms a clear contrast to the often hectic and intense everyday life. In my photographic practice, vastness and stillness are central values that I seek and want to capture on my excursions into nature. In the Swiss Alps in particular, I find ideal conditions to experience this state. The Alps offer a multitude of ways to reach the peaks, be it through long hikes or with the help of the numerous cable cars. As soon as I stand on one of the peaks, I feel sublime in a way, almost high above Europe, with a clear view of the endless expanse. At such moments, I lose myself in exploring the landscape, often for hours, while pointing my telephoto lens at the mountain peaks and searching for aesthetic compositions. When the composition is right, I pause and wait patiently for the perfect light. If it doesn’t provide the desired conditions at that time, I accept it and come back later. I tend to find harmony and avoid the hustle and bustle. With photography, I have learnt to travel alone, wait alone for the good light or eat alone in a restaurant. These time-outs, which I consciously plan, have become an important part of my life. Nevertheless, I value the return to my family and friends all the more. The balance between moments of isolation and socialising is essential for me. As a socially well-connected person, I enjoy the company of others, but these times of retreat in nature offer me a valuable opportunity to rediscover myself and enjoy the peace and quiet.

We start off thinking that our photography is about place, subject, season… only at some point to realise that we are intrinsically part of it in what we respond to, and what we choose to show. What have you discovered through photography?

In fact, the geographical location of a picture is not decisive for me. Rather, it is the emotion and the form that drive me. If I manage to combine these two elements, I create a particularly successful picture. For me, an important indicator of the success of a shot is when a viewer sees the picture for the first time and doesn’t immediately ask where it was taken. This is confirmation that the work has been successful, as the image has a universal effect beyond the specific location. Over the years, however, I have also realised that the location does play a role for some viewers. The picture is often linked to a personal memory or story, which gives the viewer a deeper connection to the picture. In such cases, this makes me very happy and a little proud, as the image then takes on an individual, emotional meaning for the viewer. As my experience as a photographer has grown, I have developed a clear idea of the impact of my work. I endeavour to avoid topicality in the image to ensure that my pictures appear timeless. For example, bright blue skies are a typical feature for me that symbolises topicality, as are striking elements such as architecture, people or cars that lend an image a certain time-bound quality. Instead, I look for more subtle colours that create a melancholic or calmer mood. Earthy, pastel tones are often the aim as they convey a greater sense of depth and calm.

How important a part of the process for you is printing an image and what, for you, makes a good print?

For me, the printed image is the culmination of my photographic work. As I mentioned at the beginning, my aim is for a picture to unfold its full effect - in a room, on a wall, in the optimum size and harmony. The process of fine art printing is a special challenge. I don’t print my pictures myself but rely on a print shop that I work closely with. The decisive factor in the creation of fine art prints lies in the exact synchronisation between my calibrated screen and the final print result. It is essential that what I see on my screen is reproduced correctly in the printed image. In many cases, I first have test strips printed on the desired paper to ensure that colour deviations or other irregularities can be corrected at an early stage. I pay particular attention to avoiding the smallest errors, such as lens flare, which can be very noticeable in the printed version of the image. The printed image brings to light every little imperfection. My aim is to create a flawless and professional mural. Ultimately, however, the context in which the picture is presented is also decisive. The choice of frame, both in terms of style and colour, is largely determined by the interior design of the room in which the picture is placed. For me, the project is only complete when the picture hangs on the wall, creates the right atmosphere in the room and everyone involved, from the photographer to the buyer, is satisfied.

Do you have any particular projects or ambitions for the future, or themes that you would like to explore further?

The barren, often deserted regions in countries such as the Canary Islands, Greece, Iceland and most recently, Namibia have significantly influenced the direction of my landscape photography. These places offer a unique combination of vastness, tranquillity and nature, which influence my photographic perspective. However, there are still many other favourite destinations, particularly in the USA and South America, which correspond to my preference for wide, tranquil and aesthetic landscapes. Photographing familiar areas from a completely new perspective is also appealing. One such example is Zermatt with the iconic Matterhorn, a destination I have in mind for this winter. There are probably few mountains that have been photographed so frequently, which presents me with the challenge of finding something unique. Planning photo trips requires both time and precision. I am currently able to take one to three trips abroad per year. Whether the USA will be the next destination has not yet been finalised. During the winter months, I also dedicate myself to a long-term project in which I photograph the historic part of Switzerland’s cantonal capitals in their quiet, deserted form - preferably on Sundays in the early hours of the morning and in black and white, in order to visually capture the stillness here too. Another exciting project I am pursuing is entitled ‘Marmo Bellissimo’ and takes me to the white marble quarries in Carrara, Italy. The industrial landscape of the quarry there fascinates me just as much as the aesthetic qualities of the material itself. I would like to pursue this project further. Italy, as our southern neighbour, still holds many photographic treasures that I would like to explore in the coming years. The diversity of nature and ancient architecture in Italy promises to continue to be an exciting source of inspiration.

If you had to take a break from all things photographic for a week, what would you end up doing? What other hobbies or interests do you have?

I would probably go hiking in the Swiss mountains. The hike would not only be for exercise but also for creative inspiration to find new perspectives and image motifs. The contact with nature, the silence of the mountains, and the vastness that always opens up there offer an ideal environment to free the mind and develop new photographic ideas. Recently, I have also been painting more pictures again, which is an exciting return to a former passion. Painting helps me to look at visual ideas from a different angle while also creating a deeper connection to the shapes and colours in my environment. I can well imagine that painting will become an even more frequent part of my creative process in the future. Away from photography and art, I am interested in sport in general, as it provides a welcome balance to calm and focused work with paintings. But holidays by the sea with my family are also extremely valuable to me. Places where you can enjoy both the silence and the vastness and where the sun provides a soothing warmth attract me. Such moments of relaxation and togetherness not only strengthen the family but also give me the time out I need to recharge my batteries for future projects.

And finally, is there someone whose photography you enjoy – perhaps someone that we may not have come across - and whose work you think we should feature in a future issue?

I let myself be inspired by all sorts of things. It doesn’t necessarily have to be photography. Painting, or art in general, advertising, but also live situations in everyday life. In terms of photography, I am inspired by the two greats Petros Koublis for his melancholic, location-independent landscape shots and Bruce Percy with his reduced, graphically aesthetic style. Thank you, René, for sharing your insights and experiences with us. We look forward to seeing how your photographic narrative continues to evolve.

ON Landscape Magazine - Januar 2025