Born and raised in Swabia, studied biology and spent many years in business development.
Fascinated by people and the idea of using photography to make the emotional state of people visible.
Born on the Neckar (1959) and grew up in a strongly value-oriented parental home. My youth was shaped by my parents' carpentry business, embedded in the typical Swabian agricultural environment, which offered almost everything from the chicken coop to the sauerkraut fir (= barrel) to wine pressing.
Fascinated by all living things, I studied biology and eventually earned my doctorate in biotechnology. This fascination has not left me until today, especially since fundamental new findings are still waiting for us in biology.
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I have an irrepressible urge to create. What appeals to me is trying out new perspectives and bringing to light things that would otherwise remain hidden.
I want to encourage viewers to question their perceptions and spark a desire for something new: new perspectives as a starting point for change.
I am fascinated by the fact that we humans have the ability to connect with each other, to create images in our minds that trigger something new, sad or beautiful on both sides. Each person is a world of experience in their own right, so that encounters become journeys of discovery. And I am deeply convinced that you can look at people's experiences from the outside:
My photography is about bringing this out, making it visible and thus making it effective
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I use analog photography, specifically “optomechanical” techniques: I expose silver gelatin film in an analog camera (Olympus OM4 or Canon EOS3) and then develop it in complete darkness. With the resulting negative, there are two possible next steps:
Traditionally, the image is projected in the darkroom under red light onto silver halide baryta photo paper (which is not sensitive to red light) using settings adjusted to the conditions; this paper is then also developed in the dark/under red light (now becoming the “positive”), rinsed, wet-mounted, and dried flat.
This time-honored process (since 1866) stands for maximum authenticity: what is in the field of view at the moment the photograph is taken is captured; there is no cut/copy/paste. Each image becomes a unique piece through this artisanal processing; a maximum of 25 prints are made from each negative, which are numbered sequentially and signed by hand.
In the modern alternative, the negative is scanned and further processed on a computer. Regardless of how the digital post-processing is carried out, it is based on an analog initial step that gives the image a lasting, distinctive character.
