In the field of digital photography it is more important than ever that the workflow is ideally adjusted. The technical devices, the camera, the monitor and the printer should all speak the same language, figuratively. Only this can ensure that the final photo can come to it’s own in the best quality. With “language” I mean the consistent interpretation of colour values and tonal values. Thus, one can make sure that for example a sunset can be displayed on the monitor and on the print with original colour impression to a large extent. I work with digital cameras by Nikon and original photographic-lenses with focal lengths from 14 to 300 milimeters. I can affirm the legendary reliability of this brand: Since 1987 my Nikon cameras have always worked flawless. It did not matter if it had minus temperatures in the mountains of Bosnia or the heat up of 47° degree Celsius in dusty Afghanistan. Even the continuous rain during a UEFA Cup soccer game in 1992 (Red Star Belgrade vs. Dynamo Dresden) could not harm my then-used F3-cameras.

My digital photo laboratory consists of two Eizo CG241W monitors, which are the key elements of the “film development” of my files. In the end the photos have to be reproduced in the best possible way, and monitors by Eizo are simply perfect for that. I edit and manage the photos with Adobe Photoshop and Lightroom. The photos are printed with the Epson SureColor P800. In the studio I use Hedler DX15 daylight lamps with different softboxes. My speedlight equipment consists of a Nikon SB900 high-performance speedlight in combination with a Nikon SU800 wireless speedlight commander unit.