Andreas Trampe: One of Germany’s Leading Picture Editors

Andreas Trampe is a distinguished figure in the world of photojournalism, currently serving as the senior photo editor at Stern, a leading news magazine based in Hamburg, Germany. His journey in the photographic field began humbly as a photo trainee, laying the foundational stones of what would become a remarkable career. Andreas's talent and passion for capturing the essence of moments led him to work as a freelance photojournalist. During this phase, he contributed to various German daily newspapers and magazines, notably including Bunte and Bild am Sonntag, showcasing his versatility and keen eye for detail.In 1996, Andreas's career took a significant turn when he joined Stern, one of Germany's most prestigious magazines known for its in-depth reporting and exceptional photography. Initially, he was appointed deputy of the Picture Desk, a role that underscored his capability to manage and curate high-quality photographic content. His dedication and innovative vision eventually led him to become the director of Photography, a position he held with distinction for 19 years. Under his leadership, Stern's photographic department flourished, significantly influencing the magazine's visual narrative and storytelling approach. In February 2019, Andreas transitioned to the role of senior picture editor, where he continues to shape and refine the magazine's photographic identity.Beyond his contributions to Stern, Andreas Trampe is deeply invested in nurturing and developing photographic talent. He is one of the co-founders of the Hamburg Portfolio Review, an esteemed event that brings together emerging photographers and industry professionals, facilitating opportunities for mentorship and exposure. Additionally, as a member of the German Society for Photography (DGPh), Andreas is involved in promoting photographic arts and research within Germany and beyond.

HM: How did your journey begin?

AT: It's an intriguing question. My career kicked off in 1982 when I embarked on my professional path as a trainee at a modest-sized press agency, fresh out of school. The agency's small scale meant wearing multiple hats, which turned out to be a blessing in disguise. It offered me a comprehensive learning experience in photography, layout design, and image processing. Since it was the 1980s, a pre-digital era devoid of digital cameras and workflows, developing films and printing images were integral part of my daily responsibilities.

For nine years, I honed my skills as a photo reporter for various German daily newspapers and magazines. A pivotal moment came in 1989 when I captured the fall of the Berlin Wall. The subsequent 18 months were a whirlwind, with each day booked for assignments from 'Bild am Sonntag,' a prominent German Sunday newspaper. Documenting this era was both exhilarating and daunting, as East Germany, then a separate entity, felt like a foreign country. This period, while professionally rewarding, proved challenging for my personal life, particularly my relationship with my wife. I rose through the ranks there eventually ascending to Director of Photography. I subsequently worked at Stern as Director and Senior Picture Editor and have been here for nearly three decades.

HM: I'm curious about the daily life of a picture editor. Could you describe your typical day? How do you manage your work schedule, and what tasks are involved in your role?

AT: The daily routine of a picture editor might seem mysterious, but in reality, it's quite structured. My day is densely packed with a variety of tasks that keep me connected to the pulse of the media world.

One of my primary responsibilities is the search for imagery - assigning photographers to projects, scouting for new talent and brainstorming fresh photo-led projects.

The selection process for photographs is not always straightforward. When a photographer pitches a story, they must first convince me of its relevance and intrigue. Then, it's my job to persuade the editorial team of its value, not in monetary terms, but to spark interest among colleagues who see the potential for publication. This involves a careful assessment of whether we've covered similar stories before, the timing of previous publications, and the global significance of the proposed topic.

We constantly juggle a diverse content palette to maintain a balanced mix in the magazine, from in-depth reportages and interviews to lifestyle segments like cooking and gossip, alongside economic analyses and sports coverage. The challenge often lies not in the quality of submissions but in the limited space available for publication, making it a competitive environment not just among photographers but also between our staff writers and their story ideas.

HM: In the context of ethical considerations and the potential impact of powerful images, how do you navigate the moral dilemmas that arise in picture editing?

AT: Ethical decision-making in picture editing is paramount, especially when dealing with sensitive or impactful images. The process involves balancing the need to inform the public against the potential harm or distress such images may cause. We weigh the journalistic value of the photographs against ethical considerations, prioritizing respect for the subjects and their circumstances. In cases where the impact of publishing a particular image is significant, we deliberate carefully to ensure our decisions align with our responsibility to inform while maintaining dignity and compassion for those involved.

We must evaluate whether an image could potentially harm or endanger someone. This is where moral dilemmas often arise, and despite our best efforts, there's always the risk of making a regrettable decision. The fast-paced nature of online media, coupled with intense competition, heightens the risk of errors. The challenge is to remain both quick and accurate, particularly when handling sensitive content such as conflict reporting.

For instance, our coverage of the war in Ukraine and other crises requires a careful approach. We're mindful of our diverse readership, which includes younger audiences. Hence, we strive to report truthfully on events, including their brutality, without resorting to gratuitously graphic images. Balancing the need to inform with the responsibility to protect our readers from potentially distressing content is a delicate task.

In discussions about conflict, such as the situation in Gaza, it's crucial to provide context beyond the immediate visuals of violence. The backstory, including strategic considerations and the broader implications of actions taken by all parties involved, is essential for a nuanced understanding. The failure to convey this complexity can lead to a one-dimensional narrative that doesn't fully inform the reader.

HM: How do you balance journalistic integrity, audience engagement, and ethical considerations when selecting images for publication, especially under the pressure of online media's rapid pace?

AT: The decision-making process involves several layers, starting with a journalistic assessment to determine if an image effectively conveys the story's essence. This is a straightforward professional judgment. Next, we consider the image's appeal: does it capture attention in a way that encourages readers to engage with the accompanying article? This too is part of our daily professional routine. However, the ethical dimension introduces more complex considerations.

HM: In the context of covering conflicts, such as the situation in Gaza and the Ukraine war, how do you navigate the complexities of representing both sides fairly while dealing with the ethical dilemmas of photojournalism?

AT: Balancing fair representation with ethical photojournalism involves discerning the narrative behind each image. In conflict zones like Gaza or during the Ukraine war, the challenge is to convey the deeper story that transcends the immediate visual impact of violence. This includes understanding and depicting the strategic and cultural dimensions, such as the motivations and consequences for those involved. For instance, while Hamas's tactics in Gaza might involve civilian risks, highlighting this complexity goes beyond simply showing one side's aggression. Similarly, showcasing the affluent lifestyles of some Hamas leaders, rarely covered by the press, could offer a more nuanced perspective on the conflict.

Moreover, access and safety concerns often dictate what gets shown. For example, the scarcity of images from the Russian perspective in the Ukraine conflict underscores the limitations photographers face in such environments. Our commitment to ethical journalism drives us to strive for a balanced portrayal, even when access or safety makes this challenging. Additionally, exploring the human aspect on all sides, including the impact of propaganda and the everyday lives affected by conflict, enriches our narrative.

HM: How did your publication approach the follow-up coverage of the flooding in Germany in 2021, and what strategies did you employ to maintain continuity and impact in your reporting?

AT: In 2021, during the night of July 14 to 15, more than 100 litres /(52.8 gallons of rain per square metre (10.7 sqf )fell in western Germany - with devastating consequences for the local population. Many had not been warned, hundreds lost their homes and 135 people even lost their lives.

The magazine stern covered the disaster on a large mission, with several authors and photographer teams on location. Among them was freelance photographer Theodor Barth from Cologne, who spent days and later several weeks documenting the disaster.

At that time, Stern promised those affected and its readers that we would continue to follow this reporting and that we would check whether the "emergency aid" promised by politicians for the residents would actually be realized. In October - three months after the disaster - we therefore sent teams to the disaster area again.

Due to the immense destruction on site, a classic before-and-after comparison was the obvious visual concept for the reporting in this case. I selected around 30 photos from our mission in July to see whether the promised clean-up work had been carried out and to show the protagonists we had photographed shortly after the disaster. With this - actually very simple concept - I wanted to visualize the help, or lack of help, for the villages and show how the affected people are doing three months later.

I booked the freelance photographer Theodor Barth again, sent him the pictures and discussed the concept with him. He was to take exact replicas of the pictures from July. The same shooting angle, the same lens, the exact same distance - an exact copy of the photograph from that time so that we would have the greatest possible comparability at the end. The concept worked extremely well, and the editors-in-chief were so impressed that they gave the story some additional double-page spreads.

HM: How was the story of contrasting lives in Afghanistan conceptualized and executed?

AT: On August 15, 2021, the Taliban swiftly seized Kabul, surprising the world by capturing the Afghan capital with little resistance. This unexpected fall of President Ghani's government prompted urgent evacuations for diplomats, aid workers, and Afghan partners amidst global shock. The chaos at Kabul airport highlighted the ensuing political and humanitarian disaster, raising questions about accountability.Amidst this backdrop, a colleague expressed concern over the Taliban's transition from decades of conflict to governing, particularly given their limited formal education. He also pondered the impact on young Afghan women, whose aspirations for education and independence were abruptly halted.To explore these contrasts, we planned a photographic project capturing a Taliban fighter and a young Afghan woman, both affected profoundly by the regime change. American photographer Erin Trieb was enlisted to photograph them in similar rural settings, aiming for visual interaction between their portraits. Despite shooting on separate occasions, Trieb's skillful photography suggested a direct encounter between the subjects, enhanced by a serendipitous moment shared in a taxi. This project underscored the importance of professional photography in capturing and comparing lives upended by political upheaval.

HM: When it comes to online versus print publications, do you approach them differently? For example, do you alter the design, include more images online, or adjust the content in any way?

AT: Indeed, the approach to online and print media differs significantly due to the inherent nature of each platform. Online publications offer more flexibility in terms of space, allowing us to include additional photographs and sometimes expand on stories that we can't fully accommodate in our print editions. This digital space enables a richer, more dynamic presentation of stories, where we can experiment with multimedia elements and interactive content that wouldn't be possible in print. Consequently, while the core narrative might remain consistent across both mediums, the online version often provides a more enriched and engaging experience for our audience.

HM: In your role as a picture editor, have you incorporated any innovative tools or technologies, such as Artificial Intelligence (AI), to streamline your workflow?

AT: While direct integration of new tools into my daily tasks is limited. But I know from colleagues in Agencies, that AI helps particularly in areas requiring quick identification and cataloging, such as sports photography, where recognizing players and accurately captioning images can be challenging. However, our editorial stance is cautious regarding AI-generated content, which we use only when discussing AI itself, to ensure clarity and authenticity in our reporting. Looking forward, I see AI as a supportive tool rather than a replacement, augmenting our capabilities while preserving the essential human judgment and creativity at photography's core.

HM: Considering the rise of AI-generated content, how does this impact your work, especially in terms of authenticity and reader trust?

AT: The influx of AI-generated imagery, especially from travel agencies showcasing idealized scenes, poses a challenge in maintaining authenticity. We're implementing rigorous checks to ensure AI-generated content is not published inadvertently. My stance on AI is cautious; I have no objections to its use as long as it's transparently communicated to our readers. The core of our concern is preserving journalistic integrity and the trust of our audience, distinguishing real-world journalism from synthetic or manipulated content.

HM: With the photography landscape evolving rapidly, what advice would you offer to emerging photographers on navigating their careers in this new era?

AT: The path for photographers today, whether in wedding, sports, or press photography, isn't straightforward. It's crucial to recognize that photography often doesn't lead to wealth, but passion drives many in this field. For those aspiring to be press photographers, the role offers an unparalleled window into global events and cultures, alongside the opportunity to collaborate with creative minds. Despite financial challenges, the richness of experience and the chance to make a meaningful impact make it a rewarding pursuit.

The digital age offers more opportunities for photographers to showcase their work globally, thanks to the internet's reach. This shift demands a more international outlook but also opens doors to sell and distribute work worldwide, a stark contrast to the days of physical film and prints. The immediacy of digital technology has transformed the pace and scope of photography, enabling real-time sharing and global collaboration.

HM: With the rise of AI in photography, especially in stock imagery, what future do you foresee for photo editors and photojournalism? Will AI overshadow human roles?

AT: The intrusion of AI into photography, notably in stock imagery, presents a mixed picture. While AI poses a significant challenge to stock photography by generating routine images efficiently, its capacity to replicate the nuanced, real-time storytelling of photojournalism remains limited. However, the role of photo editors is evolving due to shrinking budgets and the pressures of digital media, leading to a reliance on less specialized staff for image selection. This trend towards cost-cutting and immediate availability risks undermining the quality and depth of photojournalism.

The sustainability of photojournalism is also threatened by diminishing fees and the centralization of advertising revenue among tech giants, reducing budgets for in-depth, field-based journalism. Despite these challenges, the human element—critical judgment, ethical considerations, and creative storytelling—retains its irreplaceable value in photojournalism. The future will likely necessitate a balance, leveraging AI for efficiency while preserving the essential role of photo editors and journalists in interpreting and narrating the complexities of our world.

HM: There is a feeling in the photography community that it is too difficult to make a living as a photographer these days, as editorial work has dried up more and more.

AT: It is extremely difficult. And when you publish on Instagram, you can't do layouts. You can't control the typography. You don't have detailed accompanying text. You can't control the arrangement of the images, give a large image more weight than a small one. And you don't earn any money with it, you can't pay your monthly costs and you don't have any money for the next project.

Publications in the big magazines sometimes also had a big impact. After the Tsumami in East Asia in 2004, stern readers donated over 1 Million euros. The stern magazine Foundation used this money to build schools in Sri Lanka. This is a good example of how good journalism can have an impact.

Now that we are dealing with artificial intelligence, it is even more urgent that we have strategies to help change the world for the better. We need to use the new media wisely and effectively.

HM: You're also in teaching and you've done a lot of work forming future generations. What do you think people need to be pushed to create the most nuanced work they can?

AT: If you're studying poetry, you certainly don't want to just copy Walt Whitman or some other poet. You want to have your own voice. And I think if you're studying photography, you don't want to necessarily just copy Robert Capa or Cartier Bresson or Diane Arbus or somebody like that.

You want to have your own voice, and to do that, you need to experiment. You need to take risks. You need to do things differently. Hand the camera to the person you're photographing. See what they do. Try the enormous array of digital tools, audio, video, nonlinear narratives. Make pictures intuitively so as to surprise yourself. Keep a diary along with your photographs. Learn how to sequence them in a variety of ways until you are satisfied that they are saying what you want them to say.

I think generally a problem is that people often want to do what others have done to be accepted. Given the state of the industry, which is collapsing in many ways, I think we need new voices and new ways to make images that have a greater resonance. My great satisfaction in teaching is that young people are often open to new ideas, and at times they then become the image makers who lead the way.