Digital FeaturesShadow and LightPhilip Bruederle
Dress Yves Saint Laurent
Bracelets Saskia Diez
Dress Chloé
Toe shoes Anne’s own
Dress Opening Ceremony
Dress Liu·Jo
Blouse & Shoes MM6 Maison Margiela Pantry Wolford
Crystal Ring Saskia Diez
Jumpsuit Keepsake Loup mask Aubade Toe shoes Anne’s own
Bracelet Saskia Diez
Shadow and Light · Philip Bruederle 1 / 1


Philip Bruederle


PHOTOGRAPHY Philip Bruederle STYLING Mascha Möller HAIR & MAKEUP Nadine Thoma PHOTO ASSISTANCE Max Bastian POSTPRODUCTION Julian Jankowski DANCER Anne Jung KAMERA Leica S (Typ 007) with Vario-Elmar-S 30-90 f/5.6 ASPH. and APO-Macro-Summarit-S 120 f/2.5 (CS)

With ‘Shadow & Light’, Philip Bruederle has dedicated a powerful and contrast-rich black and white series, with complementary video, to ballet dancer Anne Jung – contemporary dance in an expressive dialogue with raw concrete.

How would you define yourself as a photographer? What kind of photography do you do?
In fact, I come from fashion photography. In recent years, however, my interest has expanded to include classic advertising with a high aesthetic demand. I’m particularly attracted to products that allow me to create a certain mystery.

Why do you work predominantly in black and white?
I wouldn’t say predominantly. It’s about fifty fifty, though in this case I opted for black and white, because it best reflects what I’m aiming to show: a strong, practically monumental architecture, and Anne’s flowing movements.

In the S magazine you dedicated the ‘Shadow & Light’ photo series to the dancer Anne Jung. Why?
I saw Anne perform with the Dresden Frankfurt Dance Company under the artistic direction of Jacopo Godani, and was absolutely fascinated by her presence and her ability. There is a right time and a right person for every project; and when I first spoke with Anne I immediately knew that this was the case.

What did you want to convey with ‘Shadow & Light’?
A feeling… typically with contemporary dance, people try to understand what they see; but some things don’t need to be understood, they need to be felt.

What role does the raw, massive concrete setting play in the photo shoot?
Anne and I considered the setting as a space that we were exploring together. Because of her strength and charisma it had to be a space that served her well and with which she could build up a dialogue.

You often accentuate details: a hand or a foot, for example. What’s the intention?
I’m simply fascinated by these tools.

What role does moving imagery play in relationship to your photography?
On the one hand, I consider both areas fundamentally different, and, on the other, shall we say, related. Film work presumes a very different creative process – a process that grants me an even deeper understanding of photography.

You worked with the Leica S007. How was it for you?
A great camera. It’s quite simply a pleasure to photograph with the S007, and when I look at the data, I’m more than delighted and convinced every time.  

What difference do you see to 35mm, like the Leica SL or other systems? Do you have a preferred format?
I like both formats and decide spontaneously which I prefer for a given project. I’m convinced by the quality of both.