• IRK Magazine


Iris Brosch is one of the greatest photographers of our time and with love in her heart and not anger she champions feminism for all humanity showing feminine, charismatic and strong women in her photography. For her, women are heroines. The soul and the spirit of women are the focal point of her photographs.

Iris photographs fashion, nude and art photography and creates artistic videos and performances. Her art photography and films have been exhibited at the Venice Biennale, Canne film festival, World Expo in Milan, Goethe Institute in Washington, Palais de Tokyo in Paris... Iris's fashion photographs have graced top magazines including Vogue, Elle, Harper's Bazaar and Marie Claire. She has photographed numerous celebrities such as Claudia Schiffer, Sophie Dahl, Benedict Cumberbatch, and Heidi Klum. Some of her clients are YSL, Hugo Boss, Pantene, Tommy Hilfiger, Escada, Jaguar, and Lancel.

Iris graces our new issue "LOCOMOTION" with her incredible shoot "Metro Boulot Dodo". It was shot at several metro stations in Paris with two amazing twins. Getting to know Iris and watching her shoot has been one of the highlights of being the co-editor-in-chief of IRK Magazine. Her generosity with sharing her knowledge and talent have been an amazing opportunity for our magazine and this interview with her is a gift to you our readers. Enjoy!

MIA: How did you get started as a photographer and what was your big break?

IRIS: I am a completely autodidact. I wanted to go to art school in Germany but they refused me. I had presented a portfolio with traditional drawings, paintings and sculpture but the school thought it was too traditional and they told me in a letter that I should learn something manual. I tour the letter apart and went to Paris which was the best art school I could give to my soul. I came from post war Germany where everything was destroyed so Paris felt like being in heaven.

Maybe I should have been demoralized by not being accepted at university and being told I was not good enough but I didnt and instead dove into photography on my own. I started to do a lot of tests with actors and models. I photographed a lot of people and I made some money too. It was a time you could still make money shooting headshots and model tests. Not a lot but enough to survive. By doing this I could earn money and I was able to educate myself by taking photos with a lot of different people.

MIA: How did you get into the fashion and modeling world in Paris?

IRIS: As I was lucky to be tall and blond I was scouted to be a model. That was how I got in touch with the fashion industry. However, I wasn't a model for long because I never understood their way of thinking. I was told to be beautiful but I was not allowed to talk. I even felt that I was not allowed to be smart. They gave me advice on how to dress and I thought that I already had a great style. Plus I thought I was going to make a lot of money flying on around the world but when you start you don't make much money at all. One of my last modeling jobs was for Jeanloup Sieff at French Vogue as Ophelia.

I became a photographer pretty quickly there after. I photographed none stop and I learned a lot of technical knowledge on my own. My photographer friends told me to read a book so I did and I learned. I probably learned the most by making mistakes. For example, I heated developer and I shook the developing reel tank so the grain exploded and it looked like an impressionist painting. It was not what one was supposed to do but it was great.

Do you know what is great, when you have no teacher, you have no limits!

MIA: So did you create a darkroom in your apartment?

IRIS: Yes in my kitchen and I had a great apartment and I rented out a room in it. All my roommates were complaining a little but it was my apartment so they could go or stay. I was in my darkroom a lot. Daytime photography and nighttime darkroom, daytime photography and night time darkroom and over and over again.

I also made my own paper using liquid light which is an emulation that one puts on paper. I made my own silver emulation and I created my own paper on different supports. I miss these moments where I spend my time in the darkroom and created things and developed pictures.

MIA: I see nothing has changed. You work as hard as ever.

IRIS: Yes you are right! I should change something. I am 52 and I should relax a little but I don't know how. I think whatever you do in life if you are passionate about it and you work you will succeed. On one level or another.

Just a lot of work and passion mixed.

MIA: Do you think there are any icons in photography who have influenced you?

IRIS : Not so much in photography. It is nearly too young a medium. I am very influenced by paintings. I like the Italian Renaissance, especially. I like the beauty and the smartness of it. These were the first paintings which showed the body completely naked. They were so beautiful that even the church could not say something against it. I like the powerful messages in these paintings.

Photographer Iris Brosch, Paris Fashion Editor Mickael Carpin with Tom Folwarkow, Hair Stylist Kim Chincholle, Makeup Artist Walter Denéchère, Production Stephan Blanc, Photography Assistants Katalin Szaraz & Ines Hantzberg

​​MIA: My favourite shoot in the LOCOMOTION issue is the “Metro, Boulot, Dodo” shoot, your shoot. It is just amazing! We know that it is almost impossible to shoot in the Paris Metro. How did you make it happen and can you tell us about the shoot?

IRIS: That it is a good thing about being a woman. Nobody takes you seriously! In the Metro nobody thinks that you are a professional. They think you are just a decorative woman taking some pictures. So that was good.

We had a short time of a maximum of 10 minutes in each station. In every station we had the pleasure that security came and said we could not shoot in the metro. Of course I expected that to happen so we moved on. We shot in 7 stations and 7 people told us to stop.

Security and police are usually pretty nice when they see models. Especially in Fran