Jochen Holz & the Controlled Chaos of Glass: Filming the Second “Modern Makers” Episode
The second film I made for The Modern House’s Modern Makers series back in 2021 took me into the East London studio of glassblower Jochen Holz. It was a project rooted in craft, patience, and process, and in many ways a marker of transition for me too.
A New Camera, an Early Test
At the time, it was one of my first paid jobs using the Canon C70. I was still unsure whether I wanted to fully commit to a new camera system, and this shoot became an early proving ground. The brief was intimate and observational, with no room to hide behind spectacle. If the camera couldn’t keep up on a standard shoot, it would show.
Working with Heat and Intuition
Jochen’s practice revolves around lampworking, a form of glassblowing that is highly tactile and instinctive. Working with flame rather than furnace, he shapes molten glass directly by hand, responding in real time to the material as it moves and cools. The studio is compact, hot, and constantly in motion, a challenging environment for both sound and camera, but also one that rewards close observation.
Filming During Lockdown
We filmed during the height of COVID restrictions, which added a strange layer of tension and focus to the day. Access was limited, and every decision had to be considered carefully. In a way, that constraint suited the subject. There was something quietly appropriate about documenting a solitary, hands on craft at a time when so much of daily life had been reduced and slowed.
Visually, the approach was simple. Let the process lead. The glow of molten glass, the rhythm of breath and movement, the small gestures that accumulate into a finished object. The C70 handled the dynamic range of flame and shadow with ease, and its compact form allowed me to stay close without interrupting Jochen’s flow. By the end of the shoot, any uncertainty I had about the system had largely disappeared.
A Portrait, Not a Demonstration
What I’ve always valued about the Modern Makers series is its refusal to over explain. These films aren’t tutorials or sales pieces. They’re portraits. The aim is to understand how a person works, and why that work looks the way it does. In Jochen’s case, the film reveals a balance between control and play, technical mastery paired with an openness to surprise.
Looking back, this film feels like a quiet milestone. Not just because it captured a maker at work during an unusual moment in time, but because it marked a period of recalibration in my own practice. New tools, new constraints, familiar instincts. Sometimes that’s exactly what a project needs.
If you’re looking to document creative work with a considered, observational approach, you can get in touch via my contact page.
