“Photography is a strange occupation. As you press the shutter release button on the camera you think that you are witnessing a current moment. In reality, this moment has already become history and is beginning to fade away, never to be repeated. I suppose this makes photographers dealers in secondhand impressions.”

My work is about perceptions of reality. The question is always the same: What do you see when you look? Our personal interpretation of what we believe to be true has a profound impact not only on our individual lives but on our collective culture. My work is intended to engage the viewer as a co-conspirator in creating meaning and layers of thought and associations.

I am an Austrian photographer. After living in some ‘glamorous’ cities in different countries, I now reside in rural England, where I can indulge my passion for gardening.

I started out in photography using film. I was given my first camera when I was not yet eight years of age. It was not an expensive camera but a good one because I had to set everything manually: Exposure, aperture and focus. One step at a time I learned how to use a camera and set out to discover the ways in which I could experiment with it.

This was a long time ago. Today, photography seems to have changed beyond recognition. Or has it? Whilst I love the immediacy of digital photography, the way I see (and think) is still rooted in film. I do actually miss the physical handling of a roll of film and, you may find this strange, the smell of darkroom chemicals.

The Medium & Process

I compose my photographs in camera. This means that the framing, exposure and focussing have to be correct at the time of pressing the shutter release button. This is the moment when the photograph is made. The conceived photograph is the basis for interpretation but not alteration.

Post exposure, I do not do anything that would not also be routine in a traditional darkroom - adjustments to exposure, contrast, colour correction and occasionally some dodging and burning (holding back exposure or increasing it in parts of a photograph).

The ever increasing technical perfection of digital photography is creating too much of an artificial hyper-visuality. The focussing is sharper than the eye can see and colours are more saturated than in real life, aided by software’s broad assumptions of what a particular scene should look like. It is the photographer’s job to roll back this amplified, artificial ‘standard’ to a level less exaggerated and more authentic, organic almost.

Read my essays on photography

Archival Integrity: Museum-Quality Photography

Prints are sold as limited editions, numbered and signed by hand.

Every print is created in-house to strict exhibition standards. Using archival premium materials, the work is designed for longevity and physical presence in private and corporate collections. The choice of papers is as important as the photograph (the image) that it carries. Both, the image and the paper, combine to create the physical object that is the print.

The Record: Selected Exhibitions & Press

My work has been exhibited and published internationally, featured on the radio and national television, and used as book covers and in magazines. Prints are held in collections in several countries.

• Exhibitions: Galerie Biesenbach (Germany), Sashay Gallery (UK), Sunprint Gallery (USA), Atelier Café (Austria).


• Press: British Journal of Photography (BJP), Tatler, Digital Photographer, Rondo, Kehrseite.

• Television & Radio: Featured on BBC 1, ITV Westcountry, BBC Wiltshire.

Published Books

My latest book publishing project, An Imperfect Garden, was born out of my passion for gardening. It combines gardening and photography with a deep sense of responsibility for nature and the wildlife.

The book Night Sky presents experiments with collected time and harvested light.

My art-philosophical text Photography and Realism and collection of essays on reality in photography was well received. My captioned photography series I Object, published as a book, was instrumental in overturning the building of a quarry by documenting the resulting environmental destruction.

Read reflections from clients and collectors living with the work