In the spring of 2026, some old and tall trees were cleared from a short stretch of shoreline at Lake Zwischenahn in Germany. Right away, I noticed several beautiful fallen branches resting in the water just a few meters away. As they floated, their graceful shapes created a perfect composition and seemed to interact quietly with the tree silhouettes on the far shore. At that moment, I realized I needed to wait for the perfect morning mist, a magical atmosphere that would bring the scene to life and let these trees finally share their stories.
A few days later, the morning turned out to be pure magic, absolutely perfect for landscape photography. A thick mist blanketed the lake’s shores.
Spending so much time along the shores of Lake Zwischenahn, I’ve come to know them intimately. I often shape my compositions entirely in my mind, visualizing what a specific location needs under various weather conditions. I shoot with my camera set to a 1:1 (6×6) aspect ratio.
I never crop my photographs during post-processing. Everything that remains in the final image is exactly what was captured in camera, which demands absolute compositional precision at the moment of shooting.
I meticulously edit every single frame myself using Adobe Camera Raw and Adobe Photoshop. I do not use any artificial intelligence tools.
My post-processing workflow is entirely bespoke. I completely reject standard preset filters that alter the whole image with just a click or two to deliver a finished look in seconds. For me, editing a photograph is a deeply deliberate, time-consuming process.
I never composite elements from other shots into my work – such as adding birds, a person, or replacing the sky to make it more dramatic. My editing workflow is straightforward and deeply rooted in traditional darkroom techniques: shifting specific tones by dodging and burning to give the image depth and atmosphere. I firmly believe that post-processing is just as vital to the final piece as capturing the image itself.
Long-exposure photography is a core part of my practice. In the field, I rely on a variety of ND and ND Grad filters to balance the exposure and achieve the exact shutter speed I want. Occasionally, I also use fog filters. They can be incredibly challenging to work with, but under the right conditions, the results are deeply rewarding.
My goal in camera is always to imbue the work with a surreal atmosphere, capturing the scene in a way that engages viewers and invites them to contemplate the deeper processes and quiet beauty of nature. Ultimately, like so many photographers before me, I believe it all comes down to four vital elements: the weather, the light, the composition, and the definitive moment.
