Henning studied communication design at HAW Hamburg and portrays personalities from politics, business and culture for editorial offices such as Die Zeit, Der Spiegel and Stern as well as agencies and companies.
Henning studied communication design at HAW Hamburg and portrays personalities from politics, business and culture for editorial offices such as Die Zeit, Der Spiegel and Stern as well as agencies and companies.
I meet the people in front of my camera at eye level and get actively involved myself. So it can happen that I chat with a politician about our shared love of 80s action films, or even ask a very personal question that comes to mind, for example when reading interviews, in order to build up closeness. Sometimes a very banal question like »What did you have for lunch today?« is enough – something everyday that connects us all. It is precisely these small, unexpected conversations that help to create a familiar atmosphere.
Beforehand, I clarify how the respective person is to be photographed and what mood is to be conveyed. To do this, I think about a visual concept and at the same time read interviews or reports to get a better feel for the character in question. I usually have enough time on location to prepare and set everything up. During the shoot itself, I only have a few minutes with the protagonists, so there’s not really enough time to adjust a light or a setting. Everything has to be perfect beforehand.
It often happens that the conditions on site don’t really fit into the concept or can’t be realised. For one job, for example, I had to set up an entire studio in the stairwell because there was no room in the flat. So it helps to be able to react quickly and flexibly and to always have a roll of tape with you.
One situation that particularly stuck in my mind was my appointment with Amanda Knox. It was a classic editorial assignment – an interview followed by a photo shoot. I had discussed in advance with the photo editors which pictures we wanted to take. We simply assumed that Amanda, as a media professional, would turn up styled for the appointment. But things turned out differently.
She came with her partner – they had just become parents. No make-up, her hair undone, a jumper that was far too big with milk stains and she greeted me with the words: »I am not fabulous. I’m a mum!«
At first I just thought: »Damn, this isn’t going to work.« But when she reached out to me, my perspective immediately changed: »No, it’s perfect.« This was real. Not an act. And what can I say? I still love these pictures today.
The story that moved me personally the most was that of Rabbi Gábor Lengyel. When he was three years old, his mother was deported by the Nazis. A year later, in 1944, she died on a transport to Dachau concentration camp – for him, she was lost forever. It wasn’t until 2021, at the age of 80, that he learnt from a local historian that his mother was buried back then and that there is indeed a grave.
Christian Pfeiffer has written a sensitive portrait of him, for which I had the honour of taking the photographs of Rabbi Lengyel.
For editorial assignments in particular, I find it exciting to tell a story with just one picture – be it through the setting in which the person is located or simply through their expression. I prefer to photograph portraits. Sometimes a second expression or another situation can be a nice addition, especially with complex subjects or multi-faceted personalities. But mostly it works for me with just one image.
I attach great importance to getting the light, composition and mood right when taking the photos. Editing then only serves as a finishing touch and should only support the captured mood without alienating the image. For me, the actual image should work as it is – not only through the editing.
For me, being part of laif means being part of a network of outstanding photographers who stand for quality and authentic storytelling. The agency offers me a professional platform to communicate my images in a targeted manner and promotes dialogue with my colleagues.
