David Höpfner was born in Frankfurt am Main and grew up just outside the city in the Taunus region. Influenced by the dark forests of his homeland and the urban environment of Frankfurt, he developed a preference for the contrasting and rough in photography.

His free works are characterized by melancholy, longing and the search for the hidden beneath the surface. But they also always tell a story, which, however, leaves a lot of room for one’s own interpretations and feelings.

David now lives and works in Munich. He is a member of the BFF and works, besides his freelance routes, for various agencies and clients in Europe, as well as for research projects at home and abroad.

ERWIN OLAF by Erwin Olaf

Dutch photographer Erwin Olaf’s eponymously titled book features a cross-section of the photographer’s work from the late 1980s “Chessmen” series to 2018’s “Palm Springs project.”

Erwin Olaf’s works appear static and staged, yet they usually leave the viewer in a state of inner turmoil. He uses stereotypes and clichés in his strikingly flawless works to address timely issues such as self-determination and equality.

RESTRICTED AREAS by Danila Tkachenko

“Restricted Areas” is a project by Russian photographer Danila Tkachenko and shows the utopian pursuit of technological progress.

On his journey through the remains of the once mighty Soviet Union, he shows the abandoned

Places that once stood for the pursuit of technological supremacy and that have now become obsolete along with their ideology.

The minimalist presentation of the places, in the snowy landscape of winter, perfectly expresses the tension between the fascination that these places exert and their desolation.

The transience of human endeavour thus becomes tangible to the viewer.

BENEATH THE ROSES by Gregory Crewdsons

Gregory Crewdson’s book Beneath the Roses is about people in small town America. Marked by melancholy and dreariness, he shows moments of unhappiness and despair.

His pictures reflect only a moment in life, nevertheless or just therefore, they show the pain of the situation to the deepest.

Crewdson’s stagings are fascinating because although they are perfectly organized and planned, they still seem like a casual glance through an uninvolved observer.