Lars Lindemann: Leading Curator of Photographic Exhibitions & Festivals
Lars Lindemann is a Hamburg based curator, exhibition maker and creative director. At the moment he's working on a number of exhibition projects inside and outside of his native Germany. Lars is one of the founders of the Hamburg Portfolio Review and International Projects Curator of the Italian photo festival Cortona On The Move.
He has served as the Director of Photography and Deputy Visual Director at GEO and PM magazines. With a background in geography, history, and education, Lindemann transitioned into the visual arts as a self-taught photo editor, photographer, and curator. His career includes freelancing for various magazines before his tenure at GEO, where he was appointed Director of Photography and Deputy Creative Director in 2015. From 2020-2023, he managed the photographic departments of both GEO and PM magazine families.
In addition to his professional roles, Lindemann has contributed to academia as a photo editing instructor at the University of Applied Sciences and Arts in Dortmund, Germany. He has also served as a jury member for several national and international photography contests, including the prestigious World Press Photo Contest.
Frank van Beek
HM: Good morning. Let's start from the beginning of your journey. Could you share with us how you embarked on your career as a picture editor?
LL: My career began in a rather unique setting—I was in Bolivia during a turbulent time when Evo Morales was still an activist in the coca industry, specifically in the Chapare province. I was interning for an NGO amidst the national turmoil, which made it an exhilarating period to be involved in. They needed someone to photograph various events, and I had an old SLR camera that my father had given me years before. That was my entry into professional photography. I found myself working alongside Bolivian news photographers at events and receptions at the city hall, which was absolutely fascinating and sparked my interest in journalism and photography.
After returning to Germany, I completed my studies and was at a crossroads about my future direction. An opportunity arose when a friend connected me to Geo Magazine, where I secured an internship. This role wasn't just about assisting with picture editing and managing the archive. It also involved engaging with photographers as they came in to discuss their assignments and projects, which was incredibly captivating. During this internship, I met Paolo Woods, who is now a friend and a curator I frequently collaborate with. After my internship, I freelanced for other publications and transitioned into another role at the magazine, first as a photo editor and then venturing into photography, where I captured a few stories myself. However, I soon realized that my passion lay more in the editorial side—producing stories, working closely with photographers and writers to bring these narratives to life in the magazine.
Group show "Bäume, Blüten und Gewächse" for Horizonte Zingst curated together with Edda Fahrenhorst and Inas Fayed
HM: Could you explain the role of a photo editor? What exactly does this position entail?
LL: The role of a photo editor varies significantly depending on where you work. I was fortunate to work for magazines that allowed us, as photo editors, to have a substantial influence on what got published. We weren't just sourcing images from archives; we were proactive in pitching and producing stories. This approach meant we operated on an equal footing with with the other editors, which was truly rewarding. In contrast, some photo editors may have a more straightforward role focusing on selecting suitable images from archives or agencies, but my colleagues and I were deeply involved in the creative and production processes. We were essentially producing photo editors, actively expanding our global network of photographers and scouting for new talent and compelling stories. At Do Magazine, where I worked before, the focus was on identifying relevant and intriguing topics for our readers and finding photographers who could bring these stories to visual life, which often included finding unique visual approaches for covering science topics. So, in essence, being a picture editor is about much more than just choosing pictures—it's about shaping the narrative and ensuring the visual representation aligns with the story's core message as well as bringing in new stories pitched by photographers from our network.
HM: Is the role primarily focused on editing images, or does it involve broader tasks such as selecting photographs, coordinating photographers, and managing the overall storytelling process?
LL: As a picture editor, my role extends far beyond merely selecting images. It encompasses the comprehensive process of production—from identifying and collaborating with the right photographer to conducting the initial photo edits. Once the photographers submit their work, I'm involved in meticulously narrowing down the selections, ensuring each image aligns perfectly with the narrative thrust of the story. The process doesn’t stop there; it involves working closely with the design department to create compelling layouts and continually refining the presentation until it conveys the story most effectively. Ultimately, while the final decisions rest with the editors-in-chief, the journey there is intensely collaborative, involving detailed discussions and fact-checking, ensuring every piece we publish is both accurate and impactful.
Group show About Food for Horizonte Zingst curated together with Edda Fahrenhorst
HM: Could you share an example of a project that you particularly enjoyed working on, where you felt your contribution was significantly impactful? I hope there are many, but if you could highlight one, that would be great.
LL: Let me share a memorable project that illustrates the critical role of a picture editor. A few years ago, we embarked on a challenging assignment focusing on the aftermath of the Civil War in Sri Lanka. The story was initially pitched by one of our seasoned writers and Magnum photographer Moises Saman, both known for their expertise in conflict and post-conflict zones. This story was particularly arduous because it dealt with sensitive subjects—the remains of the tortured and killed. Visualizing such a narrative was not straightforward; some of the images were inevitably grim and poignant.
During the editorial process, our editor-in-chief, guided by reader feedback suggesting a fatigue with harsh, conflict-related stories, decided to soften the visual impact by limiting the more graphic images. However, this initial decision didn't sit well with the team, particularly the photographers and writers who felt that the essence of the story was being compromised. They believed that sanitizing the visuals diluted the truth and the gravity of the situation, which deserved a forthright portrayal. Responding to their concerns, I advocated for a revision of the layout. We held several discussions with the editorial team, arguing that the integrity of the story required a more authentic visual representation. By presenting a compelling case, we persuaded the editor-in-chief to reintroduce some of the initially excluded images, thereby restoring the narrative’s potency and ensuring that the story was told in a manner that was both respectful and truthful.
This example underscores the picture editor’s role not just as a curator of images, but as a pivotal figure in the storytelling process, balancing editorial sensibilities with the imperative to convey stories in their most impactful form. This is what I love about the job—making meaningful editorial decisions that respect the story, the subjects, our readers' engagement as well as the photographer’s authorship.
Jacob Holdt
HM: I'm intrigued by your perspective on the dynamic shifts within the world of photography. As someone who has witnessed the transition from traditional to contemporary practices, how do you perceive the changes currently reshaping this field? Specifically, could you elaborate on the impact these transformations are having on the realms of editorial and journalistic photography?
LL: Indeed, the landscape of photography, particularly within editorial and journalistic spheres, is undergoing profound changes. The industry is markedly different from what it was even two decades ago, and these changes continue to accelerate. We're observing a significant decline in traditional platforms such as print magazines and other publications, which poses a unique set of challenges and opportunities for emerging photographers.
For these newcomers, it is imperative to adapt quickly. They must seek out new clientele and define clear objectives for their careers, particularly how they intend to sustain their livelihoods and fund their projects. This is a stark contrast to the environment 20 years ago when I began my career as a photo editor. Back then, the industry was already evolving, but the pace of change was not as rapid as it is today. However, despite these challenges, there remains a robust demand for visual storytelling, especially documentary photography that focuses on long-term projects. Photographers are often uniquely positioned to engage in these extended narratives because, unlike film crews, they can work more affordably and flexibly, sometimes covering critical issues over spans of 10 to 20 years. This capability not only carries democratic value in maintaining visual records over long periods but also underscores the importance of finding sustainable funding models. How will these projects be supported financially in the future? Will it be through foundations, NGOs, or other means that, while supportive, may not align strictly with traditional journalism?
Despite the difficulties, this era is also one of incredible creativity within the field of documentary photography—perhaps more than ever before. Thus, while the current climate presents significant challenges, it also offers exciting and creative opportunities for those who can navigate this new landscape.
Jacob Holdt
HM: What guidance would you offer to photographers interested in participating in narrative-driven projects or applying for grants? What preparatory steps should they take to enhance their project proposals and increase their chances of success?
LL: For photographers aiming to engage in narrative-driven projects or apply for grants, the process begins with formulating a clear idea. It is essential to discuss this idea with peers and mentors, such as those in collectives like the DOCKS Collective in Germany, to refine your concept based on their feedback. Engaging with a diverse group of individuals, including those outside of journalism and photography, can provide valuable perspectives on the relevance and appeal of your story to a broader audience.
Before finalizing your project proposal, it's crucial to continuously refine your pitch. If writing isn't your strong suit, consider enlisting the help of a skilled writer to craft a compelling narrative for your grant application. Remember, your proposal should not only showcase your previous work but must also clearly articulate your new story idea.
This aspect is particularly vital as it highlights your vision and potential impact, which are often key criteria for grant evaluations. Additionally, seek out support and guidance from experienced professionals in the field to strengthen your application and improve your chances of success.
Lastly, as you navigate through the evolving landscape of photography and potentially move towards new creative directions, such as transitioning from magazine work to independent projects, it's important to stay adaptable and open to exploring new themes and methodologies that align with your evolving artistic goals.
Johanna Zobel
HM: Can you discuss any new directions or projects you're exploring after your transition from the world of magazine photography? What are the exciting opportunities and changes you're encountering in this new phase of your career?
LL: After two decades dedicated to editorial work, particularly as a Director of Photography for major magazines, I reached a point where I felt ready for a change. My previous forays into curating gallery shows in Hamburg were deeply fulfilling, and although I paused these activities due to time constraints, the passion never faded. Recently, I've had the opportunity to rekindle this love by co-curating exhibitions at various photography festivals, thanks to invitations from curator friends. This return to curating has been invigorating, not merely as a shift from the editorial grind but because it allows me to engage with art in a more multidimensional space—incorporating not just the visual aspects but also spatial dynamics and sound.
The move away from traditional magazine work has opened up a plethora of creative possibilities. I'm currently collaborating with photo festivals in Germany and Italy to develop innovative event concepts and am working directly with photographers on special projects and book publications. Additionally, I've had the privilege of lecturing at DMJX in Aarhus, Denmark which was a rewarding experience last December. While there are aspects of my new ventures that remain confidential at this early stage, I'm particularly excited about my ongoing project with Cortona on the Move and curating shows for a renowned festival in Italy, among others.
This transition is more than just a career shift; it's a broadening of my professional landscape and an opportunity to redefine my contributions to the world of photography. Each project offers a chance to learn and adapt, ensuring that my approach remains fresh and responsive to the evolving demands of the art and its audience. This phase is not just about moving away from previous roles but also about embracing new challenges and opportunities to innovate within the field.
HM: What are the key elements that make a photo festival engaging and successful year after year, and how can organizers continually innovate to ensure that attendees have a fresh and compelling experience each time?
LL: The essence of a successful photo festival lies in its ability to consistently surprise and engage its audience. An effective strategy is to showcase work that challenges the conventional understanding and perception of photography. This involves presenting pieces that may not have been widely seen, or that push the boundaries of traditional documentary or artistic norms. Innovation in how work is displayed is equally crucial—utilizing contemporary technological advancements and thinking creatively about the physical presentation of photography can significantly enhance the festival experience. For example, Paolo Woods, the artistic director of the “Cortona on the Move" festival, exemplifies this approach. In the festival's first edition themed "Me, Myself, and I", he curated a mix of traditional and unconventional pieces. This included documenting the journey of Izaak Theo Adu’s transitioning from female to male on Instagram, which was presented as part of a screen-based installation. This not only broadened the scope of what is considered documentary photography but also integrated modern digital behaviors into the festival's narrative. Such innovations make each festival unique by expanding the definition of documentary photography and incorporating diverse artistic expressions that resonate with contemporary audiences.
Continuously rethinking the content and format not only retains the interest of returning attendees but also attracts new visitors by offering a multidimensional and enriching experience. This dynamic approach ensures that each festival edition remains relevant, engaging, and thought-provoking, encouraging attendees to return year after year to experience the new perspectives and artistic dialogues presented.
"Dougie Wallace - A night out with the Brits" for Yeast Festival with Edda Fahrenhorst
HM: Does the unique inclusion of non-traditional documentary photography at festivals like Cortona play a significant role in defining its uniqueness and appeal? How does this approach affect audience engagement and the festival's ability to stand out?
LL: Absolutely, the deliberate choice to feature non-traditional forms of documentary photography is crucial in distinguishing a festival like Cortona and enhancing its appeal. In contemporary times, the rigid notion that documentary photography must adhere to a specific professional standard does not fully represent the diversity of ways people document reality. By showcasing unconventional and previously unseen works, festivals can challenge traditional perceptions of what documentary photography can be. This approach not only broadens the scope of the genre but also invigorates and inspires audiences by exposing them to fresh, innovative perspectives. Such a strategy is instrumental in creating a memorable impact, compelling visitors to return to the festival or exhibition venue.
HM: My own experience visiting Cortona last year underscored the uniqueness brought about by its use of diverse physical spaces. Unlike typical galleries characterized by uniform white walls, Cortona's variety of venues—from palaces to jails—offers a rich tapestry of environments that profoundly influence how the photography is perceived and experienced.
Lars, I wonder in what way can photo festivals evolve beyond merely displaying images to actively engaging audiences? What innovative methods or technologies could be implemented to enhance the festival experience and make it more interactive and immersive for visitors?
LL: Photo festivals today are increasingly exploring ways to go beyond the traditional gallery presentation to create more dynamic, interactive experiences for their audiences. It's not just about viewing images; it's about creating a multidimensional space where photography interacts with other forms of media and the audience itself. The use of cutting-edge technology can play a significant role in this transformation, incorporating elements like augmented reality (AR), virtual reality (VR), and interactive installations that allow visitors to engage with the content in a more profound and personal way.
For instance, at last year's Cortona on the Move festival, we ventured into a thematic group show dedicated to the influence of hip-hop and rap culture. The exhibition was not only about displaying photographs but also about contextualizing the imagery within the broader cultural and social narratives. This was achieved through collaboration with experts like Bones Malone, a noted writer in the hip-hop community, who provided exclusive textual analyses that enriched the viewers' understanding of the displayed works. This kind of layered storytelling, where photographs are supplemented with texts, sounds, or digital enhancements, can transform a viewer's experience from passive observation to an engaging dialogue.
Get Rich or Die Tryin’ © Matteo Losurdo Kublaiklan
Get Rich or Die Tryin’ © Matteo Losurdo Kublaiklan
Get Rich or Die Tryin’ © Matteo Losurdo Kublaiklan
Get Rich or Die Tryin’ works by Dana Lixenberg© Matteo Losurdo Kublaiklan
Moreover, embracing modern technology such as digital displays and sound installations can mimic the multisensory experience people have grown accustomed to through digital media. These technologies can bring static images to life, adding a layer of interaction that resonates with a tech-savvy audience. For example, integrating touch screens or soundscapes that respond to viewers' movements can make the experience more immersive, turning the festival into a space where art and technology meet in a meaningful exchange.
In conclusion, to keep the festival landscape fresh and interesting, organizers should consider these innovative approaches to engage their audience. By combining traditional photographic art with new media and technology, and by fostering a participatory environment, festivals can create memorable experiences that encourage visitors to think critically and feel deeply, ensuring they return year after year.
