- Flo,  what´s up? Tell us a little bit about your background.

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Well, I´ve spent most of my life in this vivid area between munich and the great alps.

As a fairly unlogical reaction to the surroundings, I was heading towards the atlantic to go surfing whenever I could. Meanwhile there are way more passions: snowboarding, skating and hiking.

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- What are your roots in photography and what´s your level of experience?

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In the year 2000 I started to work as 1.AC/Focus-Puller in professional productions.

16mm and 35mm film-cameras have been the technical standard these days,

and I´m still happy to have this knowledge as a timeless background.

The look and challenges of super-8 have been my personal task.

So I´ve been working together with more than 330 different DoP´s.

For example with

Michael Ballhaus, DoP of "Departed", "Gangs of New York", "3096 Tage"

Karl Walter Lindenlaub, Dop of "Independence Day"

Thomas Mauch, DoP of "Fitzcarraldo"

Tom Fährmann, DoP of "Zwei Herren im Anzug", "Die Päpstin"

As a result I have a great pool of technical experience, know many tips & tricks for camera-work.

For over 8 years I´m although working as camera-operator  for movies and commercials, shot some music-videos and documentaries and realized some really great commercials as DoP.

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- What are the characteristics of great camera-work?

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Most directors I know are focused in their story telling in a very visual way,

no matter if the story will be told in 30 seconds or 90 minutes.

To translate the content-related suspense into image composition in the very best way, that´s my personal goal.

The essence of my work is to understand immediately the directors intensions and translate thoughts and words into passionate camera-work.

I think that´s an extremely creative work, which can be very satisfying.

Using the available pool of camera-tools in the right way can be an art. Think first.

Which visual language do I choose to create suspense, dynamic, emotions?

Will the camera be steady, on steady-cam, on tracks, handheld, on a crane or a gimbal, diving or flying?

Which lenses will I use?

Each film is unique, and so should be its individual visual language.

Other important parts are defenetily understanding film-work as team-work, to work quick and being ready for compromises at the right time.

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- What are your goals for the future?

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I´m looking straight forward to make new contacts with directors and producers,

who follow the same passion:

telling good stories in a clever way.