Digital FeaturesSnow White and Rose RedRobert Wunsch
Jumpsuit Gina Laumanns Sandals Clarks
Dress Tiger of Sweden Choker Nobi Talai
Dress Joseph Choker Nobi Talai
Jacket Tiger of Sweden Pants Uniqlo
Top Nobi Talai Pants Joseph Shoes COS
Left: Dress Michael Sonntag, Right: Dress Joseph Choker Nobi Talai
Dress Joseph Choker Nobi Talai Sandals & Other Stories
$caption:Dress§ Michael Sonntag
Kleid Nobi Talai
Top Nobi Talai Jacket Michael Sonntag Skirt Stylist’s own
Jumpsuit Gina Laumanns Sandals Clarks
Dress Tiger of Sweden Choker Nobi Talai
Jacket & Top Nobi Talai Pants Joseph
Jacket Tiger of Sweden
Jacket & Top Nobi Talai Pants Joseph
Top Nobi Talai Jacket Michael Sonntag Skirt Stylist’s own
Left: Jumpsuit Gina Laumanns Right: Dress Joseph Choker Nobi Talai
Snow White and Rose Red · Robert Wunsch 1 / 1


Robert Wunsch


PHOTOGRAPhy Robert Wunsch STYLING Chantal Drywa STYLING ASSISTANCE Carla Mendez HAIR Florian Ferino MAKEUP Patrick Susic FOTO ASSISTANCE Marcus Rex, Mirko Westerbrink MODELS Laura Schuller, Luisa Moek KAMERA Leica S (Typ 007) mit Summarit-S 1:2.5/35 ASPH. (CS), Summarit-S 1:2.5/70 ASPH. (CS)

‘Snow White & Rose Red’, is a minimalist studio project with two lovely women. Robert Wunsch combines flowing materials and natural make-up to create a harmonious, beautifully-composed and powerful whole.

You studied Communications Design and first worked as an Art Director. How did you end up in fashion photography?
Back then, in 2009, I was living with Denyo von den Beginnern in Berlin. At the time I was in charge of the art direction for his solo project, and during the preparation phase he asked me if I would also be interested in taking on the role of photographer. While working on the project, I came to realise that I found photographing a lot more appealing than pushing pixels around in post. Following that, the focus shifted increasingly from art direction to photography. In 2010 I started working as Creative Director for Highsnobiety magazine. I developed the print magazine there, and during the first months I did virtually all the in-house photo productions myself. That’s how it went from one thing to another.

In addition to fashion spreads, you photograph celebrities and make fashion and music videos. Why so much diversity? Coercion or impulse?
At times I ask myself the same question! I’m definitely always looking for new challenges, both within photography and the area of film. For sure it’s a bit of a coercive impulse.
What’s more, I think that the classic way of thinking inside the box, has long been abandoned in photography. A good photographer is a good photographer. In my opinion, the only thing that counts is the eye, that you have the perspective and a sense for the right moment. You have to have that sense; it’s not something you can learn. Without it you can’t produce something outstanding in photography. The rest is then technology and experience. As a photographer, the question you have to ask yourself is whether you want to invest the time and energy in working your way into a new area.

Do you prefer to photograph men? Why?
In fact, I don’t have a particular preference; however, it turned out that in 2016/2017 the focus was clearly on male models. I then noticed how quickly people began to put me in that box.

For the S magazine, however, you staged Laura and Luisa in the studio. What’s it all about?
Last year, for the reasons just mentioned, I wanted to get back to working with women. We produced seven different series within a week, in the studio and on location. Each series has a different focus in relation to the fashion and the concept. The series with Laura and Luisa is a classic studio spread, where we worked with loose materials for the styling and a very natural make-up for the girls.

Your series are more graphic than narrative. What are you hoping to convey and why?
I wasn’t aware of the fact that my series have less narrative. I think that my background as an Art Director allows me to have a different approach. When I look through the viewfinder, in addition to the model, I also see the complete composition with all its different lines, so that I don’t only try to photograph the models, but also set them in an ideal relationship with their surroundings. However, despite all the construction behind the image, I always try to retain the emotion in a picture. My aim is to always visualise or draw out the strongest and proudest ‘I’ of the person in front of me.

You have been photographing for several years. Has your style changed direction over time, or would you say your photographic signature is stringent?
I always have a very precise idea about the look I want to create. There again, my background as an Art Director comes into play. There are even pictures taken during the first years of my career, that are still found in my portfolio; but, of course, my style has certainly evolved over the years. Many photographic processes change at some point from “trial and error” to automatism, so that after a time you find it easier to capture the right moment.

Which of your traits are good for your work, and which less?
I think that a positive aspect for my work is that I have found a good balance to create, on the one hand, a relaxed and positive atmosphere on set, on the other, when necessary to be 100% professional and focussed, and to then motivate each member of my crew to give their highest performance.
What’s more I have a very strong tendency towards perfectionism, which can also send me into creative chaos at times – but it’s for those kind of moments that you have a strong team to cover your back.

You like to work with the S camera, but you also have other systems. What do you find particularly convincing about the S system?
I think it’s the compactness and simplicity of the system that has convinced me. What’s more, I consider that the Leica has the best balance between a relatively low data volume and outstanding picture quality.