Interviews with Martin Hoffmann

I have been interested in design since my youth. My ability to draw formed the basis. Drawing and photography were fun and challenged my imagination. Early on, I developed an affinity for logos and fonts, for creative experiments.
After finishing school and other courses of study, I decided to study communication design at university.

Priorities: The first step is to learn as much as possible about the topic. Only when I understand and internalise what it is about, what I am designing for, can I develop new ideas and create a design that is exactly right. (1st aspect)
It is important to me to design freely, without scissors in my head, to go further and to cross boundaries. To be the toughest critic myself and to always scrutinise the designs. (2nd aspect)
The technique: For free designs, the first scribbles with pen and paper. Then, depending on the design object, the designs with the appropriate programmes.
The style: Clear forms, clear design according to the principle "less is more". Pay attention to the details. I often remove elements to see whether it is better or worse afterwards. (3rd aspect) The result is a clearly designed style that is nevertheless customised to the theme and conveys the right amount of emotion.

Rousseau, reluctance, curiosity, obsession, frustration, elation, criticism of one's own designs, questioning one's own abilities, motivation, flow, lightness, enthusiasm, perfectionism, satisfaction.
The whole journey is exciting, the development, the struggle, the beginning solution, the sudden rush of work, the emerging results, the satisfaction of the final work.

Discipline and organisation at work: Creative work requires a lot of discipline. Especially when developing ideas, they often don't just come to you but have to be worked out step by step. It makes sense to optimise your own work with appropriate organisation.

Analytical thinking and scientific research of background information: In order to develop the right design, it is essential to familiarise yourself with and understand the context.

Economic thinking and acting as a self-employed person: Design is a creative process, but it must also be calculated accordingly in order to earn money successfully.

Growth also based on continuous training and learning new design technologies. My future plans include expanding the client structure, e.g. working with design studios and participating in international design competitions.
My dream design project in the field of design would be to work for large, renowned clients. Developing the visual identity and brand strategy in collaboration with specialised departments.

Be free in your thoughts. Don't allow any scissors in your head (they will come anyway). Go further than you think you have to/can go. Be your toughest critic. Be an expert in your field, if you don't know something get information. Be open to other impressions, other approaches. Pay attention to the details and don't forget the big picture. Be authentic.

Believe in yourself and don't let your work be criticised, but be your harshest critic. Always question yourself and your work. Think through your work completely and you can explain it everywhere. Get to the bottom of things before you make a design. Recognise your value and don't let yourself be paid less than you're worth.
Put your heart into it.

Cappuccino, check emails, check the day's to-do list and rush into work, realising that the hours have flown by and it's already lunchtime again. Or the project is so exciting that lunchtime is also postponed. In between, you check and answer emails and make phone calls. If there is not so much deadline pressure, switch to another project to clear your head. Oh, it's closing time again?

When it comes to design or software websites, I constantly follow the information on trends. Basically, I keep my style, but I'm always optimising it with the latest design elements or typography.
I also experiment with new styles in illustration and now also draw with very reduced, two-dimensional elements.
In photography, I use or develop presets that give my pictures a contemporary look, but without changing my style as such.

Formal perfection, coherence of content and the ability to create a feeling.
Is it aesthetically coherent, functional and does it appeal to me?

A design is finished when nothing needs to be changed, adapted or corrected for me. When every detail is right, when nothing has been forgotten. When the visuals work, when the content is conveyed appropriately and understood. When it fits even after some time and when I look at it again.

It is a medical illustration of the musculature using the female body as an example. A novelty. The illustration shows all the muscles in a spatial, realistic style. The poster is almost 130 cm high. However, I have kept the entire illustration in a very pleasant aesthetic that radiates a beauty of its own. The face in particular shows graceful features; the mouth, nose and eyes radiate a feminine delicacy. The interesting thing about it is that this delicacy neither covers nor disturbs the anatomical details, but pleasantly overlays them and makes the picture a pleasure to look at. This picture won a bronze award, but cannot be published.

Otl Aicher, David Carson, Neville Brody, Ansel Adams, Peter Lindbergh, Annie Leibovitz

I run my office as a solo freelancer. I get support when needed. We also work as a creative team on client projects. It's important for me to be able to rely on others. On quality, reliability, team spirit, respect and honesty. The same applies to business partners. The challenge is to be a creative designer on the one hand and a planning businessman on the other.

1. taking part in the competition gives you the opportunity to look at your own work again from different perspectives, including in theory. Writing down and formulating ideas, thoughts and feelings allows you to experience the design process once again in a very intense way. Describing details, procedures and intentions and writing them down in an understandable way is very intensive work and a deeper identification with the work.
2. winning a prize is a wonderful confirmation of the quality of your own work. It acts as an energy boost for creativity and leaves a very positive feeling.
3) I see the prize as the perfect support for the customer's reputation and appreciation. The customer is satisfied and feels more than ever that they are in good hands and will continue to be looked after by an award winner. For your own reputation and presentation on the website or in corresponding media channels, the award gives you an invaluable reputation.

The seemingly bleak, grey, and shapeless is deliberately brought into focus in order to visualize a calm, atmospheric aesthetic through reduced motifs and subtle visual and color moods. The photographic exploration connects external circumstances with inner emotional states, creating new and reconciliatory perspectives that invite an inner reconciliation with the grey days.

The photographs are intended as part of a photo book featuring impressions and snapshots that represent both an exploration of and a declaration of love for this region.

The images were taken over the course of several days. Image selection, post-processing, visual style, and related work required approximately another two to three days.

The idea emerged from the personal experience of long, fog-covered winter weeks in which a heavy grey atmosphere seems to suppress all lightness. Through a more differentiated way of looking at this almost depressive mood, I sought to escape it and discover within it a new, atmospheric, and reconciliatory aesthetic.
The works were originally created as a personal project.

The plan is to produce this photo series independently.

The view out of the window on yet another dull and gloomy Sunday morning prompted me to capture precisely this atmosphere with my camera.

Inspiration continually comes from the outstanding work of other photographers.

Anyone who knows the effect of the dark season from personal experience, who has an eye for these motifs, and who appreciates the idea behind them.

The more open approach to the subject of fog, the careful choice of motifs, the moods created, and the visual style together result in a more positive overall character.

The title describes the content while deliberately leaving room for interpretation. What does one expect from a grey winter morning in the fog - or is it possible to discover much more within it when one truly engages with it?

Camera: Leica Q3, fixed lens Summilux 1:1.7/28 mm, post-processing with Adobe Lightroom (corrections, presets) and Photoshop if necessary.

The images are like the real scene in the fog: one needs time to find one’s bearings. Details often only reveal themselves on the second or third look.

This project was realized entirely by myself.

Many subtleties would not have been possible without the outstanding optical quality of an excellent lens and a professional camera. Both in photography and in post-processing, the quality of the equipment as well as the use of image-editing software are essential factors in achieving the desired result.

Data and analytical research did not play a direct role in this work.

One challenge lies in capturing motifs with diffuse light, low contrast, and rather bleak moods in such an effective way that what is intended to be conveyed becomes visible. Secondly, viewers are generally more interested in images that do not necessarily depict grey foggy atmospheres and gloomy days.

After I was satisfied with the result of my work and received positive feedback, I wanted to take on the challenge of submitting some of the images to this competition.

I noticed a psychological change within myself. Through a more differentiated approach to a subject that had negatively affected me for a long time, I was able to find a more relaxed attitude toward it.

Receiving such an award for one’s own work is an incredibly fulfilling experience and a tremendous motivation for future projects.

The focus is on the combination of determination and feminine aesthetics as well as a certain lightness and fun. The protagonists know their goal and go their own way - their look reflects self-confidence, but also a certain vulnerability.

I see this series and its success with the A' Design Award as a reference and flagship of my creative work for new projects.

The pictures were taken within 2 days. I needed another 2 to 3 days for the image selection, post-processing, image look, etc.

I wanted to visualise the familiar theme of women and racing in a new way. The theme was originally a customer order. I developed numerous motif ideas before the realisation, further motifs were created through inspiration during the work.

This photo series is exclusively self-produced.

Women and racing cars? This photo series changes perspectives. ‘Fast Women’ places women at the centre, self-confident in various racing situations. They are active protagonists surrounded by racing technology, their gaze reflects self-assurance, but also a certain vulnerability.

I was inspired by the work of photographers, e.g. from the magazine ‘ramp’.

Difficult to categorise for this theme. Anyone who has an eye for these motifs and appreciates the idea behind them.

The content of the pictures, the motifs, the moods created and the look of the pictures all interact to generate their own character.

The name emphasises the intention of the pictures - it is the women who act as ‘Fast Women’ themselves. No accessories.

Camera Canon EOS R5, lenses Canon RF 50 f/1.2L IS, Canon EF 70-200 f/2.8L IS USM, post-processing with Adobe Lightroom (corrections, presets) and Photoshop if necessary.

My pictures should always reflect respect for my subjects.

Yes, the vehicles required technicians.

The quality of the technology and the use of image processing programmes is a key factor for the result, both in the actual photography and in post-processing. Many adjustments would not be possible without these technologies.

Data and analytical research did not play a direct role in this work.
Research could be cited: Women and motor racing - a typified topic from a new perspective.

The most difficult thing was to capture the self-confident image of women authentically, without stereotypes or pointing fingers. As the models are not professionals, they were involved in the image ideas. They were able to internalise them and express their feelings. Depending on the motif, it required more or less communication, measured instructions or simply letting them act freely. The creative challenge was to portray the woman as self-confident, determined, elegant, feminine and fun.

After I was content with the result of my work and received positive feedback, I wanted to take up the challenge of submitting some of the pictures to this competition.

It is important to immerse yourself in the subject, pay attention to the details, test and try out new things, push your limits and always remain critical of yourself. When difficulties arise, keep going until they are overcome. Keep optimising your own work and only be satisfied with the best result.

Winning an award is an incredible experience and a sign of appreciation for a creative person. In normal everyday life, you often question your work and take a very critical view of yourself. But this result a great motivational boost that always brings a smile to your face.

Speed and movement unfold an almost contradictory effect in the photos. The strength lies in the transformation of fleeting time into a calm moment. The speed seems to stand still, free for relaxed contemplation. Although details, sharpness and blurring resulting from the speed create their own drama, lending the static image permanent dynamism, the interesting feature is the creation of a simultaneously contradictory effect: an image that radiates calm in all the movement.

The pictures will be presented as a new highlight in my customer's racing collection.
The images are currently being incorporated into my website. In order to emphasise and promote the quality of my work as an award-winning reference.
Furthermore, the work is presented on LinkedIn in my own presentation and can be accessed there.
I am also planning publication in other media.

The idea came from my desire to present or rearrange racing situations in a different context. The preliminary considerations arose successively in the run-up to the event days. I depicted situations with other sections or perspectives that could suitably represent my idea. These experiments took place on site within a few days at various other events with suitable framework conditions.

In racing photos, you often see similar depictions that can no longer necessarily capture the viewer's interest. How can the same motifs be presented in a new way? The goal: to find a new, different visualisation. So I developed the idea of depicting the speed that is made visible in these situations in such a way that the viewer suddenly develops a different image through the composition, the surroundings and the colour scheme. An image that radiates calm and relaxation in the driving situation pictured.
The pictures were part of a commissioned work.

This point has to be discussed with the client.

Creativity in photography. Presenting things differently and achieving new effects.

My late brother, an excellent photographer and filmmaker, was my role model. Also with the thesis, leave out everything that is not needed so that people see what you want them to see.

Motorsport fans and customers of my client.

A different interpretation of the depiction of speed. The result is an image of calm in all the movement. Details, sharpness and blurring resulting from the speed create their own drama, lending the static image a permanent dynamic. The image detail, elements of the immediate surroundings, lighting and contrast as well as the choice and reduction of colours create a suitable mood.

Moments of Speed? A constant moving situation, which can only be perceived as blurred, shaky or shadowy as it passes by, becomes a frozen, stable image document - a moment.

Live shots at the race track. Camera Canon EOS 7D MkII, lenses Canon EF 24-105 f/4L IS, Canon EF 70-200 f/2.8L IS USM. Gopro Hero 11, post-processing with Adobe Lightroom (corrections, presets) and Photoshop if necessary.

The effect achieved in two stages. Firstly, the foreground depiction of a moving object and, in the second view, the transformation of the depicted speed into a moment of calm.

Together with a technician, the GoPro was positioned and attached to the vehicle. This ensured that the camera could not come loose unintentionally or impair the driving characteristics.

Post-processing in Lightroom with the appropriate presets and fine-tuning the details creates an image effect that makes every picture appear even deeper, more intense and more harmonious.

In post-processing, tests were carried out with various colour options, depths and presets in order to develop exactly the right profile to best bring out the ideal mood of the respective image.

Due to imponderables and unforeseen circumstances, such as changes in the weather situation, the light or the organiser's planning, it is often necessary to react quickly. These moments are sometimes difficult to repeat. Adjusting to new situations immediately and giving 100% commitment, making the right decisions. Be it the choice of camera, lens, camera settings, angle of view, location.

After my client was impressed by the photographs presented, I decided to enter them in the competition. I had already won a bronze award at the A' Design & Competition last year in Graphics Design category and thought I would give these photographs a try.

The approach has actually confirmed my work ethic: It is important to always stay on the ball, to test new ways, to push the boundaries. Even if difficulties arise, to overcome them. To further optimise your own work and only be satisfied with the best result.

Winning an award is a great motivational boost and a sign of appreciation for a creative person. In normal everyday life, you often question your work and take a very critical view of yourself. So it's a really good feeling to receive this award.

Beautiful shapes, good designs, intelligently developed logos, using reduction to depict the essentials.
My ability to draw formed the basis. To depict something with pictures, true to the motto that a picture is worth a thousand words.

It was my own decision.

I work in three areas: graphic design, illustration and photography.
In the field of graphic design, it is the wide range of visual communication from logos, corporate design, brochures and posters to websites and animations.
In illustration, it is medically complex representations, spatial representations, cartoon figures, visualisation of complex processes.
In photography, it's reportage, racing, landscape and product photography.
I enjoy the mix and it provides creative input for other areas.

Believe in yourself and don't let your work be maligned, but be your harshest critic. Always question yourself and your work. Think through your work completely and you can explain it everywhere. Recognise your value.

Get to the bottom of things before you make a design. Put your heart into your work. Have the backbone to represent your design.

In my opinion, a really good design must combine two things. It must be formally coherent and at the same time fulfil its task perfectly. What use is the most beautiful design if you don't understand it or it's awkward to use?
That's exactly how I would judge it: does it fulfil the aesthetic requirements and does it fulfil its purpose.

For example, well-designed communication can make information easier to understand.
If a sign has the effect of avoiding errors or mistakes, for example, a life may have been saved.
Good design also appeals to the sense of aesthetics, creates a pleasant environment and promotes well-being.

A motorbike for a well-known manufacturer.

Don't settle for your first best design, but don't forget it either if you're at a creative dead end.

Otl Aicher, David Carson, Neville Brody, Ansel Adams, Peter Lindbergh, Annie Leibovitz

Not an easy question, many possible answers. For example, the Porsche 911, an iconic shape, timeless and recognisable for many decades, at least for the first 30 years. Or a Leica M, clearly functional, well thought-out and minimalist with highest quality. Max Miedinger's Helvetica font, clearly reduced, legible, versatile and again almost timeless. David Carson, who broke the rules with his creations and created a new perspective for me as a student. Milton Glaser with his simple yet ingenious idea of the New York logo.

There are a couple of favourites from different jobs and areas of work that still make me smile. But prioritising one work is not easy.
These designs are special to me because when I look at them, I can still see details and solutions, the way they were created is still very clear to me and I am really happy with the result.

Be free in your thoughts. Don't allow any scissors in your head (they will come anyway). Go further than you think you have to/can go. Be your toughest critic. Be an expert in your field, if you don't know something get information. Be open to other impressions, other approaches. Pay attention to the details and don't forget the big picture. Be authentic.

Instead of communication design, maybe industrial design (vehicles) or architecture.

Design is the aesthetic and functional organisation of different parts of everyday life with the aim of creating an effect.

I want to remain modest and not talk about heights here. But the support of my partner/family is a very, very important driver.

The openness to look at things from a completely different perspective. To always question your own work as a critical observer.

Design and creation are not an end in themselves, but should convey the client's wishes in such a way that the desired success is achieved. The challenge is always to combine both sides in such a way that good design is maintained and the customer's objectives are fulfilled or exceeded.

You should stand behind your work completely and represent it authentically.

I can't say at the moment, I'm working on it and then something new will come.

Gold or Platiunum

Perhaps inspiration?

To do this, we need appropriate content. I see design (graphic design) as a medium to convey the content.

A new series of pictures. Will the result again be such that I enter a competition with it?

The two Bronze Award wins in 2024 and 2023 mean, in addition to satisfied customers, additional recognition of the design quality of my work by an expert jury at international level.

A corresponding feedback to the software industry that good design cannot be created in the blink of an eye, easily and in seconds by any layperson, if you only have the right programme on your smartphone.

Design and creation will always exist, but are constantly changing. Now with AI. AI can and will take over many tasks in design.
The important thing is that creativity, responding to the customer, to the content, empathising in order to develop better ideas, still needs people to develop the human touch.

That depends on the object form hours to days or even longer.

For me, it is essential to know exactly what the project is about, to get to know the details, to find out the characteristics. To familiarise myself with the new topic, I research as much information as possible which I analyse. In this process, I may make notes or scribbles on a piece of paper, which are then used to create further developments.

Less is more. Only when you can't take anything away is it good.

Very good design, new design stands out and sets new trends.

Technology is a very good tool. However, it is no substitute for your own creativity to develop something new.

Macbook pro, Adobe Photoshop, Illustrator, Lightroom, Indesign, Character Animator, After Effects, Firefly, Chat Gpt, Behance, design books, typo books, paper and pencil

Colour is an important element. With the right colour, you can create the desired effects.

I welcome new designs, new ideas and the skilful realisation.

Yearbooks on award-winning design, books on typography, photo books

Don't stop learning. The better is the enemy of the good.

The awards bring a certain smile to my face. Famous? No, I'm not and I don't attach any importance to it.

When a new order arrives, it's the perfect motivation.

No, but I wasn't bad at drawing back then.

How would the Romans have imagined the year 2025? Let's hope we're not tripping ourselves up.

That was already a lot. Don't let anyone else start snoring here

My design office creative solutions in design, photography and illustration. Thoughtful design, expressive photography and precise illustration make connections understandable, build trust, and communicate ideas clearly.

Good design is self-explanatory. Good design works. Good design does not need a description of what - how - where - why.

These are not easy jobs. Work that challenges you, that you have to put yourself in, internalise and understand. Then you have to develop something new and different from it, something that has to fit perfectly. In doing so, you have to observe design and formal principles and perhaps even break them. Whether it's logos or complex diagrams, illustrations from unusual perspectives or the soul in a photo.

I don't have a special one when you ask me about my creations. They are the designs that you can't get enough of. The ones you like to look at again and again, with a smile and a good feeling. There are illustrations, logos and websites that I like to look at again and again.
One of my favourite designs is the BMW R90S from the early 70s. A shape that is timelessly beautiful for me and that I have loved since I was a child. Or the Porsche 911 from the late 60s.

These were packaging labels for my first employer and the layout for a folder.

My Leica Q3 and my Canon R5 and the right lens.. The Mac with Lightroom, Photoshop, Illustrator and other programs

When I've already put some thought into something and I notice how a good feeling builds up. When things are going well, one thing leads to another.

To test whether it is understandable. To look at it again and again from a different angle. To go a little further than planned. To remove elements to see whether it is better or worse afterwards.

Disinterest, curiosity, obsession, frustration, elation, questioning one's own abilities, satisfaction, perfectionism

Contentment

Formal perfection, coherence of content and the ability to create a feeling.

Is it aesthetically coherent and does it appeal to me?

How can I contribute with my ideas and my design to do my part for a future worth living?

Design and creation will always exist. But the job profile is constantly changing. From print to digital, now with AI. AI has come to stay. AI can and will take on many tasks in design. The important thing is that creativity, responding to the customer, to the content, empathising in order to develop better ideas, still needs people to develop the human touch. Unfortunately, many people are led to believe that design is as simple as a few clicks. Especially from software manufacturers who have earned their money with professionals for decades. It hasn't got any easier in the creative industry.

There has not yet been an exhibition. Should a suitable exhibition arise, I could well imagine taking part.

Keep your eyes open.

Clean, cleanly designed, with soul and heart
I am an advocate of good design based on the principle that less is more. Make it easy for the viewer and offer them a visual feel-good atmosphere to bring them closer to the theme. And yet there is that little bit of contrast in the design to make it more interesting and give it a special character.

In Germany, more precisely in Bavaria. Our culture and our history are a part of us. Much is based on it, consciously or unconsciously, in acceptance or rejection. I found the style of the Blaue Reiter artists inspiring. Bauhaus and HfG played a role in my studies and were also partly reflected in my design. But also as a further development.
The disadvantages are certainly the economic circumstances, which no longer make a calculation realistic if a customer obtains more favourable offers for some work in other EU countries.

For me, personal contact and respectful, professional interaction are essential. The customer is king, he gets my full commitment. But he works with me to hear my professional opinion, my assessment. He won't get a yes or a nod from me, but he will get an honest, well-founded opinion. I defend my work if I am convinced that it is the better solution.

Good communication is the be-all and end-all. Wishes, briefings and ideas should be formulated precisely and ambiguities should be discussed carefully in order to minimise difficulties in advance. A good design needs time, just as a good whisky needs time to mature.
A good designer listens, asks questions when things are unclear and should take an interest in the topic they are working on beyond the design horizon.

Design: information, research, considerations, brainstorming, scribbles, preliminary layouts, refinements, alternatives, optimisations, considerations, optimisations, considerations, optimisations, finalisation. Always in contact with the customer for questions.
Illustration: Information, research, considerations, brainstorming, scribbles, preliminary drawings, finalisation. Always in contact with the customer for questions.
Photography: Information, research, considerations on the topic in advance. On location: seeing, observing, capturing light, weather, moods, situations, ideas, moments.

Leica M4P, Rolf Benz sofa, Macbook, my A' Design trophy, a simple print by Picasso

I organise a normal working day according to the motto: discipline at work and don't forget to have fun.

Believe in yourself and don't let your work be maligned, but be your harshest critic. Always question yourself and your work. Think through your work completely and you can explain it everywhere. Get to the bottom of things before you make a design. Recognise your value and don't let yourself be paid less than you're worth.
Put your heart into it.

You're always creative. It sucks you dry sometimes.

Reduce to the max

Being able to see things differently, imagination, discipline, perseverance, thinking and feeling, being sensitive and at the same time having a thick skin. Drawing skills.

Macbook pro, Adobe Photoshop, Illustrator, Lightroom, Indesign, Character Animator, After Effects, Firefly, Chat Gpt, Behance, design books, typo books, paper and pencil

Discipline and planing

That depends on the object form hours to days.

How much will it cost.

When one door closes, another opens.

My customers want a certain amount of discretion in this area.

Besides photography, my favourite thing to work with is typography. With skilful typography, information can be designed, clarified, directed and influenced. Setting focal points, working with contrasts and sizes - an inexhaustible field.

We launched an Instagram channel for a customer. This needs to be constantly updated with material.

Depending on the job, I work alone or together with other professionals in a team.

For reasons of confidentiality, I cannot comment on any work that is still in progress for my clients.

mail@mhoffmann-design.de

Fortunately, we can’t change the weather. We have to make the best of it, and everyone finds their own way through these dark times – sometimes weary of the darkness and greyness, sometimes actually enjoying it. Perhaps it’s a bit of a stretch to talk of a cultural shift. Viewers were consistently very impressed and said that the pictures had a positive effect on them. In particular, they appreciated the soft, gentle rendering in various shades of colour.

The camera, a Leica Q3, changes the way subjects are viewed thanks to its fixed 28mm lens. This limitation gives rise to different approaches to composition, lines of tension, and the choice and interplay between foreground and background. Whenever I have the time or opportunity, I often change my position to achieve the right composition and framing. Furthermore, the fast Leica lens, with its outstanding sharpness, offers an excellent opportunity to get the most out of the technical possibilities, particularly in low-light situations. Depending on the subject, the aperture was deliberately set to a medium/smaller opening (f/6.3, f/7.1) or a larger opening (f/3.2 or f/4).

The complete freedom afforded by this creative project – without having to take client interests or specifications into account – enables me to achieve new and different results without restriction. I can explore different paths, experiment, follow my own instincts without any mental barriers, and let myself be guided by the flow. In this way, the images can represent my own feelings and visualise my inner struggle. Genuine, unadulterated, guided solely by my own feelings – and, as a result, my own transformation from a negative perception to a positively altered one.I see this award as a great mark of appreciation for my work and as incredible validation. All the positive reactions to it are a powerful driving force for me and provide me with the energy to continue my commitment with even greater intensity.

Having originally set out to document the grey, dreary foggy weather, I began taking my photographs. I allowed precisely these feelings of desolation to wash over me, so that I could convey them in the images. I wanted not merely to be an observer, but to anchor my feelings within the images. As I worked, however, this negative feeling gradually faded away and a journey of discovery began. My perception of my surroundings intensified and gradually shifted towards a positive sense of openness. The diffuse light in the mist no longer appeared as a grey wall, but revealed many nuances. Tiny droplets on bare branches and delicate remnants of leaves stood out in vivid detail against the backdrop of an abandoned football pitch. Above it all was a sense of calm, an opportunity to pause and reflect.

The feeling that arose whilst creating the series remained with me and played a key role during the post-processing stage as well. This keen awareness of details and tonal values during the shoot formed the basis for optimising this effect in Lightroom with only minimal colour adjustments. After all, the images are intended to convey the atmosphere that prevailed on location at the time – that sense of pleasant, positive tranquillity – even when viewed in a different setting. For some of the images, I developed different variations in intensity. If, after some time had passed, a revised version still seemed visually harmonious to me, I knew I’d found the right one.

I’m continuing to work here and am constantly photographing subjects. As an umbrella term or working title, I present it as, for example, ‘Time(s) in Ulm/Neu-Ulm’. It’s a region with many nuances, whether it’s the play of light in alleyways or street photography. At the moment, an incredible number of construction projects are underway across the whole region, which I’m documenting photographically, as well as ‘lost places’, such as an abandoned shopping centre.

Actually, every professional is familiar with these approaches, so I don’t want to come across as giving advice here.I can only share my own experience: be curious, observant and open-minded; always be ready to broaden your own perspective and perception; put your heart into it; and remember that ‘it can’t be done’ isn’t an option.

Exactly what you’re describing – that spirit of reconciliation – was my own experience whilst taking the photographs, which is reflected in the images. Since taking them, I have indeed been dealing with these weather conditions differently in my mind. My perception, outlook and feelings have changed for the better.

An ‘old’ principle in design goes: ‘Less is more’ – or, to put it another way, an image or design is only truly good when nothing more can be taken away. Experience, along with the right instinct and an eye for detail, are essential for putting this into practice effectively.I apply this principle to my photographs as well. By removing everything that distracts the viewer, I achieve my aim of ensuring the message comes across exactly as intended.Thoughts and feelings need space to develop and unfold. With an overloaded, overly dramatic subject, this would take a different turn. That is why the images convey my positively transformed perception and, through their tranquillity, order, but also subtle tensions in the composition and the sensitive use of colour, allow the viewer space for their own thoughts and feelings.

The interplay of warmth and coolness, human presence and mechanical precision, is central to the visual concept of the series. I deliberately worked with a blue-orange complementary contrast to create an atmosphere that is both harmonious and charged with subtle tension. The cool surfaces of motorsport – metal, machinery, structure – are counterbalanced by warm elements such as skin, hair, and sunlight. This contrast reflects the dynamic relationship between humans and machines. Especially within the blue-orange range, these images create a visual tension that feels both rich and pleasing – an atmosphere in which the women move as part of the technology, not in contrast to it.

To capture this subtle balance between strength and vulnerability, a respectful approach was most essential for me. I worked with natural light and a wide aperture to create a calm, intimate visual language that draws focus to the person. Even more important was the communication: briefing the women, then allowing them to act freely – and capturing the exact moment when a genuine connection becomes visible in their gaze. That’s when the image gains depth and emotional authenticity.

A central principle in my visual language is: less is more. I want to guide the viewer’s gaze deliberately – toward what truly matters – while eliminating anything that might disrupt the emotional impact. Every person brings a different background to the viewing experience, so I aim to keep my visual statements as clear and pared-down as possible. Depth of field is a key stylistic tool in this process. It allows me to separate the essential from the less important without entirely excluding the environment – instead, it remains subtly present, adding to the atmosphere. This creates a composition that offers not only formal clarity but also emotional resonance.

The racetrack is a loud, technical environment – creating genuine intimacy in such a setting was a particular challenge. I deliberately sought out moments and locations where we could work largely undisturbed, sometimes early in the morning on the closed track before any driving began. I coordinated the photo concept with the participants in advance, positioned vehicles and equipment, tested the light – always with the aim of creating a coherent atmosphere of setting, light, and expression. This allowed authentic, intimate portraits to emerge – right in the middle of motorsport, but from a different perspective.

Especially with non-professional models, trust is key. I take my time, adapt to them, communicate openly, and show patience and respect. The atmosphere on set is relaxed – humor often helps to ease tension and create a natural, comfortable setting. I try to recognize the strengths of the person in front of the camera and address any insecurities – because only those who feel truly seen can embody their role with confidence. For me, the soul of an image lies in the expression of the eyes – a mouth can smile, but without that echo in the gaze, the image remains empty.

The book shows a journey through a variety of moments and situations that the Fast Women experienced and significantly characterised on these days. It consists exclusively of full-page photographs in order to give each motif the space it deserves. When arranging them, it was important to me that the opposite pages are in dialogue – in terms of image composition, direction of view, colours and proportions. This creates a visual harmony that tells the story atmospherically rather than chronologically.

Receiving the A' Design Award was a special recognition – especially since we are often our own toughest critics. The significance of this award only became clear to me gradually, as I experienced appreciation and positive feedback from others. It showed me how much power and relevance Fast Women Photographs carries. This experience motivates me to explore the project in new directions.

Many of the image concepts were already in my mind beforehand, which made starting the initial shots easier. Surprisingly and enriching was how motivated, relaxed, and joyful the women were at work – completely contrary to my initial concerns. Particularly interesting was the development of some image ideas through collaboration with the women. The almost friendly and creative atmosphere was especially valuable. The models contributed their own ideas, and there was a real exchange of ideas, which led to the creation of additional motifs.

This question almost touches on philosophical considerations and the many nuances of everyday life. Is it really that simple to answer? Women go their own way in every area of daily life, whether they excel in so-called male domains or embrace more traditional gender roles. It depends on personal preferences, as I mentioned at the beginning. My work was never intended to intervene in debates. The pictures reflect my understanding of a self-confident yet feminine, sensitive portrayal of women. For me, equality is a matter of course.

As already mentioned, it was precisely this contradiction that fascinated me: in situations of intense concentration – especially at high speeds and on challenging tracks – drivers often experience a sense of calm and relaxation that lends a unique harmony to the flow of driving. One becomes one with the vehicle, moves at the limit, and yet remains completely at ease. Capturing this relaxation within the tension was the idea behind the Moments of Speed series. To immerse the viewer in the same calm that can surround the driver in full concentration – this special kind of stillness at the peak of motion, a stillness that doesn’t arise from standstill, but from within the very edge of dynamic intensity.

Safety first – a principle that remains paramount both on and off the track. Since the sessions in question were not competitive races but organized track days, the photographic work could be planned and coordinated more precisely. When shooting from the trackside, it was done exclusively from designated safe zones – only during brief moments such as high-speed drive-bys. In cases where GoPro cameras were used, they had to be mounted with absolute security to ensure there was no risk of detachment, even at high velocity. Capturing images from a moving support vehicle required prior clearance from race control. Drivers were briefed in advance, receiving precise instructions on how to drive to facilitate the planned shots without compromising safety. Throughout the process, camera equipment had to be thoroughly secured to eliminate any possibility of parts coming loose or causing incidents on the track. Every precaution was taken to ensure that the pursuit of compelling images never came at the cost of safety.

With the exception of the pre-positioned GoPro, all images were taken handheld. The shots from the trackside were captured at a height of approximately 150 cm using panning techniques to keep the vehicle sharp while rendering the background in motion.Driving shots from the escort vehicle were taken from a lower perspective, around 50 to 70 cm above ground. A key element for achieving the desired effect was using a medium aperture – wide enough to keep the entire car in focus, while still creating a shallower depth of field to gently blur the background. This impression was further enhanced by intentional motion blur in the surrounding areas of the image, achieved by selecting a longer shutter speed relative to the vehicle's speed. The result is a carefully balanced interplay of sharpness and blur that emphasizes the moment’s dynamic energy and makes it visually tangible. For example, in the main image, the exposure settings were 1/160 s shutter speed, aperture f/5.6, and ISO 100.

Weather is not a disruptive factor but an active part of the visual language in this series. Challenging condition – such as heavy rain or an approaching thunderstorm – offer powerful visual elements that add drama and depth to the image: the spray behind the vehicles, reflections on the wet track, or the unique play of light against dark clouds. Through deliberate framing and perspective, the weather becomes a narrative element – one that not only reflects the driving challenge but also evokes an emotional response in the viewer.

When selecting fleeting moments, the images needed to exhibit a clear visual language: on the one hand, creating an impressive visual impact; on the other, enabling the transformation of speed into a moment of stillness in the viewer’s perception. Despite being in motion, the vehicle is perceived as the still element – the calm center of the image – while speed is conveyed through the blurred and smeared surroundings. If an image revealed precisely this visual balance between energy and calm, it became a strong candidate for my final selection.

Even though track days don’t follow a strict racing schedule, the time frame for capturing specific image concepts is often limited. However, thanks to my many years of experience in this environment, I’m very familiar with the procedures and typical situations. This allows me to handle technical settings and positioning with confidence and routine. As a result, there's less pressure – and more freedom to respond spontaneously to new impressions, to further develop creative ideas, and to translate them purposefully into images.

My post-processing is not an alteration of reality, but a deliberate enhancement of my personal perspective. Through careful adjustments – in specific color ranges, color balance, depth, contrast, and brilliance – the feeling of the moment is brought out more precisely, and a harmonious color atmosphere is created, without compromising the image’s authenticity.The editing is not meant to dominate the image, but to reveal what is already inherent in it – it’s a process of refinement.

Receiving the A' Design Award is a very special form of recognition for me—especially because I tend to view my own work with a highly critical eye.Whether or how a series like Moments of Speed might influence motorsport photography remains open – but perhaps it offers a source of inspiration. Motorsport photography is filled with top-tier photographers, each with their own style and visual language. It’s always wise to stay open to inspiration from beyond the familiar, to think outside the expected, to prioritize emotion over pure technique, and to continuously evolve one’s own perspective.

The book offers a visual journey through moments and scenes captured during various track days throughout the year. To fully bring out the impact of the images, two photographs are presented across single full pages, two span double-page spreads, while the lead image draws attention as the book’s cover. When selecting images for facing pages, it was essential that subject, composition, proportions, direction of gaze, colors, and focal points harmonized with one another – creating a calm, cohesive narrative that flows naturally, also in relation to the other photographs from these events.