Edda Fahrenhorst: Seeing Through Others’ Eyes

Edda Fahrenhorst is a curator and picture editor. She is the artistic director of the environmental photo festival “horizonte zingst” and also curates the year-round exhibition program, including the Leica Gallery, in Zingst. She is also the artistic director of the Yeast Photo Festival in Matino (Puglia/Italy). Edda is also the co-owner of a visual corporate communications agency in Hamburg: Fotogloria | Office for Photographic Collaborations.

HM: You mentioned growing up in a small town. Could you tell us more about that experience and how it shaped your journey?

EF: Yes, of course. I grew up in a town called Hameln—maybe you’ve heard of it? It’s famous for the tale of the Pied Piper of Hamelin. It’s a small town, but it was a unique place to grow up because my parents were gallerists there. My father was a natural collector, always bringing in fascinating things he found interesting, and by the time I was 12, they opened a gallery. So, I grew up surrounded by art, artists, thinking about art and exhibitions, and an incredibly rich cultural environment. It was inspiring but also challenging, as my parents were so deeply immersed in the art world that they sometimes got lost in it. They lived and breathed this life entirely—heart, soul, everything.

HM: How did this environment affect your ambitions as a young person?

EF: Growing up around all that creativity, I really wanted to be an artist myself, specifically a painter. My parents even arranged for me to have a painting teacher. But it turned out that I am horribly untalented—it was almost heartbreaking! I had all these ideas I wanted to put on paper, but my skills just didn’t match. Around 14 or 15, I started to reconsider my path, especially as my mother hoped I would become a teacher. I knew, though, that this wasn't for me. One day, I told my parents, "No, I want to be a photographer." And that’s where my journey into photography began.

HM: Do you remember what sparked that desire to become a photographer?

EF: Yes, vividly. It was a magazine called "GEO." I started reading it when I was around 13, and every issue was filled with these expansive photo reportages from all over the world. Each story opened a window into different lives, different cultures, and different landscapes. I thought, “I want to see this too. I want to experience these stories firsthand.” Photography felt like the perfect tool to explore other people’s worlds and step into other lives. And as I delved deeper, I realized photography could have an impact. I was still young and unsure what that meant exactly, but the idea of photography as a powerful medium started forming in my mind.

horizonte zingst 2023
Jennifer Markwirth - Flora Obscura
Photo © Florian W Mueller

HM: That’s wonderful. When did you receive your first camera?

EF: My parents gave me a basic camera when I was a child, but my first serious camera came in my early twenties. It was a Canon F1, followed shortly by a Hasselblad 500 CM. I was over the moon! My parents had a friend who was a professional photographer, and he helped me get and understand these cameras, which was an incredible opportunity.

HM: What did you photograph when you first started?

EF: At first, just a mix of subjects. For my portfolio to get into photography school, I photographed things like my best friend, a circus, and even Chernobyl. I was training in a small studio in Hameln with a crazy but amazing Polish photographer - Witold Rogalinski - who was an invaluable mentor! He taught me about lighting, film development, everything. My early days were spent experimenting, absorbing everything I could.

horizonte zingst 2022
George Steinmetz - Feed The Planet

HM: And eventually, you went on to study photography formally?

EF: Yes, I studied photography for five years in Bielefeld and earned a diploma. But even before that and in between, I had started working as a text and magazine editor. My best friend Julia and I created a youth magazine that was a supplement to our local newspaper, so I wrote articles, took photos, and had an amazing platform to learn. Balancing studies with this editorial work taught me a lot. But after my studies, I realized that taking photos alone wasn’t fulfilling me in the way I thought it would.

HM: So what led you to shift from taking photos to focusing on other people’s work?

EF: Through working at the local newspaper, I discovered that what truly fascinated me was listening to people’s stories, understanding their perspectives, and above all sharing them. After I graduated, I was fortunate to work as a picture editor for a major German picture agency called Bilderberg. Founded by 20 incredible photographers, it was a hub of creative energy. I spent hours and hours discussing photography with them and hearing their experiences. It was these conversations, more than anything else, that made me realize I preferred engaging with other photographers’ work over creating my own. That’s why, ultimately, I decided to become a picture editor.

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Anastasia Taylor-Lind And Camilla Naprous - The Devils Horsemen
Photo © Florian W Mueller

HM: It sounds like those discussions deeply influenced you.

EF: Yes, those conversations showed me that there’s a profound impact in handling and curating other people’s photography. There’s an art to it—a responsibility, even. I felt I could bring out the power of their images by finding ways to contextualize and present them effectively. That’s why I put my camera aside. It was no longer about my vision but about amplifying others’.

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Pablo Piovano - The Human Cost

HM: What makes a photographer an artist. What’s your perspective on that?

EF: It’s something I’ve thought about often over the years, and it’s a difficult question. I believe it’s about heart, authenticity, and dedication. But it’s also about how deeply someone is willing to live through their work. This drive varies greatly throughout all photographic genres.

HM: You mentioned photojournalism, but also other photography genres like wedding photography. Some might see wedding photography as less “artistic.” What’s your take on that?

EF: Wedding photography is absolutely underrated. It requires immense skill, sensitivity, and artistry to capture those moments well - I also photographed three or four weddings, and that was one of the most difficult things I have done photographically…. So we shouldn't overlook genres - celebrating excellence in all areas of photography is essential, as each one captures a unique aspect of life.

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Michael Muller - Sharks

HM: With so many changes in the industry, especially around technology and AI, what do you think the future of photography holds?

EF: In the next 10 to 20 years or maybe even much faster photography will transform in ways we can’t fully predict. AI is reshaping how we create images. Today, AI can produce remarkable images for commercial uses—book covers, fashion, you name it. Photography for storytelling and artistry will always have a place, but the commercial landscape is changing rapidly.

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Nicole Ottawa And Oliver Meckes - Bodencreaturen
Photo © Florian W Mueller

HM: And how has AI impacted your work?

EF: It’s something I think about a lot, especially since I also run a corporate photography agency. Our agency works directly with companies—primarily in Germany, Switzerland, and Austria—handling everything from office portraits to large industrial projects. We’ve built a network of photographers worldwide to document these projects, and AI has already begun influencing how we approach certain types of corporate imagery.

HM: What led you to start a corporate photography agency?

EF: I found that my strengths lay in coordinating and organizing photographers, so I started together with my business partner Mike Gamio an agency that specializes in industry photography. It took years to build, but going directly to the companies rather than through agencies gave us a unique edge and more control over our relationships. My business partner, Mike, is fantastic at client relations—he’s a natural communicator, and our clients love working with him.

HM: How does Mike’s skill complement your work?

EF: Mike is wonderful with people and has an amazing sense of what clients need. He’s for example our primary contact for Siemens Healthcare and Siemens Energy, and he manages our clients with so much dedication. It’s one of the reasons we work so well together; we bring different strengths to the table.

HM: What advice would you give to photographers today, in this rapidly evolving industry?

EF: Stay true to your vision and be willing to adapt. This industry will continue to change. But authenticity, skill, and a willingness to connect with people are qualities that will always be valued. Find your unique voice and stay curious. Photography is about connecting with the world, with yourself and with others – photography lives through being shared and seen. So: If you can keep that passion, you’ll find a way to navigate whatever comes next.

HM: You mentioned that working with photographers is like understanding how each individual thinks. What have you learned about the way photographers think, and how does that shape your role?

EF: Each photographer is unique. No two think alike, and that's what makes my job so fascinating—and challenging. My role requires me to understand each photographer as deep and personally as possible because, for them, this work is their heart and soul. They’re entrusting me with something incredibly personal, so I need to treat it with the utmost respect. It's not just about viewing them as “a photographer” or thinking of them as interchangeable talents. Each one is a person first, someone who happens to express themselves through photos.

I’ve learned that nothing in this field is ever exactly what it seems. Each image reflects a specific point of view, a personal journey, an individual perspective. That requires me to see and feel the person behind the lens, not just their work. It’s like holding a mirror to them through their own images.

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Jan Von Holleben - SugarWOW

HM: Let’s talk about the festival you’ve been involved in. You mentioned you’ve been with it since its early days, contributing a bit every year. How did that evolve into a larger role?

EF: Yes, I’ve been with the environmental photo festival »horizonte zingst« from the very beginning in 2008. Initially, my involvement was small, doing bits and pieces here and there. I was actually working for a design magazine at the time, and through the connection to Klaus Tiedge, the editor-in-chief and later Artistic Director from »horizonte«, I learned about the festival. It was just starting out—a new idea, a new venture. I didn’t know then that it would eventually become such an important part of my life.

Over the years, my role grew. As the festival developed, so did my responsibilities. I gradually became more involved in the curatorial side, working closely with Klaus, the organizers, the village of Zingst and those team members, whether they are new or have been with the festival since the old days all share the same passion - which is an enormous joy! Today, I’m the Artistic Director, which is a role I hold with a great sense of responsibility, pride, gratitude and still with great joy mixed with a pinch of wonder. It’s an honor to curate and showcase such a range of voices and perspectives in photography.

HM: And in 2022 you became the Artistic Director of another Photo Festival in Southern Italy - the Yeast Photo Festival - which is dedicated to the topic of Food…

EF: …yes. It came to me by chance and with a little help from Lars Lindemann who connected me with the directors, Veronica Nicolardi and Flavio Sabato, of the new born festival. The Yeast Photo Festival is also unique and I’m totally thankful for this chance, to create a complete new international festival together with a curious, highly ambitious and great team! It’s an adventure and such a pleasure. By the way: I don’t speak any Italian and some of my colleagues speak only Italian - but through photography we understand each other. It really works. Magical.

horizonte zingst 2024
Jasper Doest - Meet Bob

HM: That’s a huge progression. What drew you to curatorial work?

EF: I think curatorial work is really an extension of my desire to bring photographers’ visions to life. There’s something special about creating a narrative, arranging images in a way that connects with an audience on a deeper level. It’s about crafting an experience that reflects the diversity and power of photography. My early years in photo editing helped me develop this skill; I learned to choose images that could resonate not just with clients but with a broad public. At the festivals, I get to create spaces for those connections to happen.

HM: And as Artistic Director, you must have a very specific approach to what the festival should represent. How would you describe that?

EF: Yes, I try to ensure the festivals remains a platform that celebrates the full spectrum of photography. From documentary to fine art to experimental work, each genre has a place. We want to challenge the audience's perception of photography, to move beyond the standard categories and appreciate photography as a powerful storytelling tool. The festivals are not just a display of beautiful images; it’s a celebration of human stories, emotions, and perspectives. And in both festivals we’ve also a message to spread and to tell.

Yeast Photo Festival 2024
Sarah Boutin - Thank You For Your Pleasant Visit, The Jolies Fleurs And The Delicious Strawberries (curated with Veronica Nicolardi)

HM: Returning to your earlier career, you mentioned that working at Bilderberg taught you a lot about the business side of photography. Can you share more about that?

EF: At Bilderberg, I worked directly with clients and learned what images sell and why. We had an archive of slides, and magazines would call asking for specific images. My job was to sift through these slides and find exactly what they needed, which often wasn’t the most artistic shot but the one that obviously best illustrated their story. This was an eye-opener; I realized that commercial photography often requires different considerations than artistic work. The best image doesn't always get chosen—it’s the one that best fits the client’s needs.

In those days, magazines in Germany were thriving, and we had huge volumes of business just from selling usage rights for slides. It was a different world, one where photography was a major business in print. And although those days are mostly gone, that experience taught me how to balance artistic quality with commercial appeal.

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Kadir Van Lohuizen - Food for Thought

HM: What was one of the biggest lessons you took from that experience?

EF: I think it was learning to see both sides—the artistic and the commercial. Photographers need someone who can understand their vision but also help it succeed in a market. My role became about bridging that gap, helping them refine their work to connect with an audience while staying true to their voice. This balance is key in everything I do, whether it's curating for the festival, working with my agency, or advising photographers.

HM: You’ve had such a unique journey through the photography world. If you could offer advice to photographers entering this industry, especially in such a rapidly changing landscape, what would it be?

EF: First and foremost, stay authentic. Know your voice and your style. The industry will change, but authenticity is irreplaceable. At the same time, be adaptable. Be open to new tools and ways of working, but don’t lose sight of what drives you as a creator. Connect with people, not just visually but emotionally. Photography is about more than capturing an image; it’s about telling a story, and that requires both skill and heart.

Yeast Photo Festival 2024
Florian W Mueller - CŪ

HM: Your role sounds incredibly multifaceted, requiring not just an eye for photography but a range of competencies. Can you tell us about the different elements that go into preparing work for a festival, beyond just the images themselves?

EF: Absolutely. A successful festival involves so much more than displaying high-quality images. Each photo needs to be seen and integrated into the context of the story so that a coherent sequence emerges for the viewer. Afterwards each photograph needs to be carefully prepared, and this includes having the best possible quality for exhibition design and printing quality. And beyond that, the captions are essential—they need to be well-crafted, insightful, and, ideally, enhance the viewer’s understanding of the story behind each image. This may seem like a small detail, but captions are often the first point of contact between the viewer and the story, and they can make or break that connection.

At our festival, we’re fortunate to have a dedicated text department. They work hard to ensure captions are not only well-written but also translated accurately if needed. Our aim is to make sure that the photographer’s work is accessible and meaningful to everyone, regardless of language or background.

Yeast Photo Festival 2022
Ingerid Jordal - She Hunts

HM: That sounds like a great deal of work, but it also sounds like you’re dedicated to making sure each story gets the attention it deserves. Why is this so important to you?

EF: It’s vital because photography, at its core, is about sharing stories. When photographers bring their work to us, they’re trusting us to help amplify their voices and connect with audiences on a deep level. If we don’t make the effort to present their work in the best possible way, we’re not honoring their vision. Spreading their work and message accurately is what gives their stories the reach and impact they deserve.

Each image and accompanying text is part of a larger narrative. For us, ensuring that this narrative is cohesive and accessible is essential. We want viewers to walk away with a deeper understanding of the story and the issues behind it, and that requires attention to every detail, from image quality to captioning.

HM: It seems like you have a very holistic approach to showcasing photography. How do you see the role of storytelling evolving in photography festivals?

EF: Storytelling in photography festivals is more important than ever, especially as the industry becomes increasingly digitalized and traditional platforms such as magazines are gradually disappearing. Viewers today are inundated with images, so just displaying beautiful photos isn’t enough. We need to provide context, a reason to pause and reflect on each image. This is where storytelling comes in. Photography festivals now have a responsibility to guide viewers through each story, providing the background, the cultural context, and sometimes even the emotional weight behind.

Our goal is to create an immersive experience, where each photograph is part of a larger dialogue. This means that we look at photography not just as individual pieces but as parts of a bigger, interconnected story. We’re also focusing more on themes that resonate globally—social justice, environmental issues, cultural narratives—and we’re working to make sure these stories have the impact they deserve.

Yeast Photo Festival 2023
Mario Wezel - Interstellar

HM: It’s clear you’re deeply committed to bringing out the fullest potential of each photograph. How do you approach choosing which photographs make it into the festivals?

EF: It’s a careful process that balances artistic merit with relevance. We look at the quality of the image, of course, but we’re also asking, “What story does this tell? Why is this story important now?” We want the festival to reflect a broad spectrum of experiences and perspectives, and that means we often look for work that is thought-provoking and even challenging. The world is complex, and we want our festival to mirror that complexity.

Ultimately, the photos we choose need to resonate on a universal level while still honoring the uniqueness of the photographer’s vision. It’s not enough to simply display an image. It has to be a piece that invites discussion, contemplation, and hopefully, a greater awareness of the world around us.

HM: Given the complexity of your work, what advice would you give to photographers who are aiming to showcase their work in festivals?

EF: My advice would be to pay close attention to the narrative aspect of their work. Think about the story you’re telling, not just through one image but through the body of work as a whole. Each image should connect to the next, creating a coherent narrative that guides the viewer through your perspective.

Additionally, I’d say to photographers, be willing to collaborate. When you bring your work to a festival, you’re inviting others—curators, editors, and even viewers—into your story. Trust that collaboration can enhance your work and make it reach a wider audience. And, of course, don’t be afraid to take risks. Festivals are places of discovery, and bold, honest work tends to stand out.

Yeast Photo Festival 2023
Maria Giovanna Giogliano - Ordinary Pleasures

HM: Your perspective on storytelling and collaboration is so refreshing. It’s clear you’re passionate about the potential of photography to make a difference.

EF: Absolutely. I believe photography is one of the most powerful tools we have for building empathy and understanding. It captures the world in a way that words alone often can’t. But to truly connect with people, it needs context and care in its presentation. That’s why we do what we do—to help each photographer’s vision reach as far as possible and to ensure their stories are told with the respect they deserve.

HM: When it comes to preparing for a photography festival, what should photographers focus on before, during, and after the event to make the most of it?

EF: That’s a great question because a festival is so much more than just attending. Before the festival, photographers should really do their homework. Know where you’re going and what the festival’s focus is. If it’s a photojournalism festival, for instance, make sure your portfolio reflects that. Research the people who will be attending. Social media is a great tool—check out Instagram or LinkedIn to get a sense of who’s coming, who’s talking about it, and who you might want to connect with. If someone posts, “I’ll be at Cortona On The Move” or “I’m going to Visa pour l’Image,” they’re essentially saying, “I’m open to meeting people.” So take note of these signals; it’s a valuable way to plan your connections.

Bring a portfolio, of course, but keep it straightforward. You don’t need fancy postcards or complicated promotional materials. A clean, high-quality portfolio with your best work, a portrait of yourself, and your contact information is enough. This makes it easy to share your story and make a lasting impression.

Yeast Photo Festival 2023
Lys Arango - Until The Corn Grows Back

HM: Once they’re at the festival, what’s your advice for how photographers should engage?

EF: Festivals are a unique blend of business and socializing, so remember that everyone there is also there for business. Sure, people will be enjoying themselves, having a drink, chatting, maybe even dancing, but the underlying purpose is professional networking. Go out, meet people, introduce yourself. Even if it feels intimidating, approach others, share your work, and don’t be shy about starting conversations. This is a time to make connections that could lead to future opportunities.

HM: It sounds like networking is key. But many photographers might not naturally see themselves as “business” people.

EF: Absolutely, and that’s something I often encounter. Many photographers go through art-focused education where the emphasis is on creativity, not business. Because the reality is, taking great photos is only one part of the job. Photographers also need to know how to invoice clients, negotiate contracts, market themselves, and build a client base just like any other professional practice.

HM: It’s true; many photographers enter the field thinking it’s purely about making art.

EF: Yes, and that can lead to disappointment later on. Photography, like any profession, requires more than just skill behind the camera. It’s about creating a network, building relationships, and getting your work out there. If you don’t spread the word about your work, nobody else will. And unfortunately, many photographers wait, hoping someone will “discover” them. But the truth is, that rarely happens.

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David Chancellor - Butterflies and Warriors (curated with Lars Lindemann)
Photo © Florian W Mueller

HM: So after the festival, what should photographers focus on?

EF: Follow-up is essential. Meeting someone at a festival is only the first step; the next part is reaching out afterward. If you’ve collected business cards, don’t just let them sit in a drawer—send an email, connect on social media, thank people for their time. Following up seems simple, but it’s remarkable how often people miss this step. Without that follow-up, you’re leaving potential connections untapped.

HM: This is great advice. Many might see it as a simple concept, but it’s easy to overlook.

EF: It is, and yet so many talented photographers miss out on opportunities because they don’t take advantage of those connections. Following up shows professionalism and genuine interest, and it can be the difference between a brief conversation and a lasting relationship.

HM: You’re describing a real shift in mindset for many photographers. How would you encourage someone who’s more introverted to approach these events?

EF: I completely understand; I’m not the most outgoing person myself. I love the quiet work—research, editing, curating—and many photographers are similar in that way. Photography is often a solitary pursuit. You’re usually alone, immersed in your work. But festivals require stepping out of that comfort zone. I believe it’s about being brave enough to take that first step. Just being willing to put yourself out there is already an achievement.

HM: It sounds like you’re saying that success in photography isn’t just about the work—it’s about the connections you make along the way.

EF: Exactly. Every opportunity I’ve had came from meeting someone. It’s about showing up, taking chances, and following through. Networking isn’t just about collecting business cards; it’s about creating meaningful connections that can support you throughout your career. And that’s something I hope photographers reading HOT MIRROR will understand. Yes, photography is an art, but it’s also a business, and you need both to succeed.

horizonte zingst 2023
Mhammed Kilito - Before It’s Gone

HM: That’s a great perspective. Do you have any final advice for photographers on balancing the creative and business sides of their careers?

EF: My advice is to approach both with equal importance. Yes, your art matters—it’s your voice, your vision. But the business side is what sustains you, allowing you to continue creating. Build that network, follow up, and remember that sharing your work is a form of generosity. When you connect with people, you’re inviting them into your world, and that’s something valuable. Taking photos is just one side of the whole picture; the other side is connecting with people who can appreciate, support, and even expand your vision.