In ‘Shades of Sensuality’, the German photographer Tina Trumpp gives form to female nudes. Natural light and soft contours create a very unique, delicate and sensual image of women.

S Magazine: You are both a musician and a photographer. Which are you most and how do the two fit together?
Tina Trumpp: I’m both a sensual and creative person in general, and music and photography hold equal importance for me. I grew up in a very musical family, so it was practically inevitable to do something professionally in that direction. I discovered photography at school during the analogue days thanks to a great teacher. I was always just lucky to encounter the right people in my life and then to be able to try out different things. Right now I’m doing more photography, but that doesn’t mean that I prefer one thing over another. It’s more about a feeling and wanting to do something.

How would you describe your style and does it have anything to do with your music?
I like to photograph in daylight but also in large soft boxes, to create a light that appears soft, flattering and natural. I would describe my style as tending towards classic; trashy looks and hard light are simply not my thing. Staging the models and the ambiance is very important to me to achieve the perfect photo. I invest a lot effort during the preparation time. At the end then everything appears timelessly sober and harmonious, and that’s the same way I am with music.

Are women frequently the theme when you work on your own projects? Why? Do your pictures reflect a particular image of women that you have?
I do think that I have a certain image of women that I then try to express in my photography. I personally see women as very sensual, as well as strong and sexy. With a nude series it’s important to me to avoid any kind of sexism. The woman shouldn’t be an object of desire, but rather a beautiful, charming and dignified muse.

Shades of Sensuality is a nude series. Why nudes?
I’ve been wanting to do a purely nude series for a long time, but I was also looking for the perfect model. Emilie immediately understood what I wanted and what it’s all about from my perspective. I think she was able to be herself; though, of course, I gave her certain guidelines along the way. Then, on the set, a sort of rapport or a certain intimacy emerged between the two of us, that I think can be recognised in the images. Yes, the pictures are nudes, but from the perspective of a woman. Beforehand I studied other photographers who have dealt with the theme. Unfortunately, I only found a few that inspired me or that presented women in a way I could personally identify with. I think there’s a very big difference if it’s a man or a woman taking the photographs.  

Your colour pictures tend to have a soft look. Why? Does this happen when the photo is taken or does post-production play an important role for you?
A lot happens on the set just like I imagine the picture later; for sure that also has to do with my classic photographic style. The art of retouching comes afterwards and it’s about manipulating only a little so that it still appears natural. Here too a certain rapport is necessary between the photographer and the re-toucher. Peter Witte from Magic Group Media and I have exactly the same taste: we both want a slightly imperfect beauty, pores should be visible, moles as well. The model’s personality should be maintained, I even want it to be more at the forefront. Pictures should be alive and not retouched to death. It’s a very important part of my photography. I also love timeless elegance.

How does your commercial work differ from you personal projects?
In fact, in my personal projects I deal primarily with the sensuality of women. Even so I really enjoy both things: every day with the camera is like a gift to me. There’s no difference between my own or commercial work.

What and by whom are you photographically influenced?  Where are you aiming to go?
A number of photographers have influenced me and continue to do so: I can look at Paolo Roversi’s work time and time again, I can never get too much of it. I also admire Sebastiao Salgado and Marc Lagrange a lot.
I think I’ll continue dealing with sensual photography of women, though I can also imagine other projects. The important thing is to develop my own signature for each theme, regardless of whether it’s nudes, portraits or reportage, for example. To tell a story and to awaken the viewer’s imagination, that’s important to me. That’s what I work on and what I really “burn” for.