An approach:
5 aspects that define my photographic work
– not mutually exclusive, often overlapping, and in no particular order.

Clicking on each link will take you to 5 sample photos.

1. Disturbance
   Disturbing elements – not only in the foreground – act as brakes on observation, slowing down perception. For me they serve as anchors for the eye and emphasize the position of the observer.
2. Shift
   I work almost exclusively with old film that expired long ago. What appeals to me is the unpredictability of the result.
   Image composition is important to me, but I like to be surprised by everything else.
   I also develop positive film (slide film) using the negative process (cross-processing), massive color shifts can occur, particularly with this type of film. Even with negative films, however, the way their sensitivity to different colors has changed unevenly over the years often leads to astonishing results.
3. Repetition
   I frequently create multiple exposures
   a) of the same scene, shot handheld. The slightly shifted camera position for each exposure (the shutter must be cocked again between the shots) creates a surreal effect reminiscent of painting.
   b) of different objects or of the same scene from different angles – for instance, by rotating the camera or using varying focal lengths or distances – resulting in a certain degree of abstraction.
4. Geometry
   Lines, surfaces, structures, and textures appeal to me.
   Often, it is these elements – rather than a specific subject – that determine the composition of the image.
5. Pictorialism
   Pictorialism involves adopting stylistic elements from classical painting into photography, such as an emphasis on composition.
   Furthermore, the inherent characteristics of photography – film, camera lens, shooting technique, developing process, etc. – can be deliberately employed to alter or reinterpret so-called „reality.“
   For the photographs presented here, I employ a hybrid approach: following an analog process that concludes with the developed negative, the image is scanned and converted into a digital file.
   Generally, my digital editing process does not go beyond what would be possible when making analog prints in a darkroom.
   An exception arises with very old films, where the base material has darkened so significantly over time that analog projection with an enlarger would no longer be feasible.