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Photographer Profile: Tino Pohlmann

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Do you recall the first time you started shooting professionally? Yes, I remember my first big job very well; it was for the German magazine, Max. They sent me to make a photo story of the most expensive horserace in the world, the Dubai World Cup, including the sheikh’s family.

Who have been your photography influencers? The work of André Kertész, Ansel Adams and Walker Evans influenced me very early…but also the painters Casper David Friedrich and Edward Hopper. I am fascinated by how many years they researched and searched for things in their work. I was mostly impressed with their way of seeing, how they “directed” the light. In this context, the work of Stephen Shore, William Eggleston, David Alan Harvey and Christopher Anderson is very clear. And the work of Pier Paolo Pasolini and Michelangelo Antonioni still influence me today.

Berlin is a creative city that has been blown apart, separated, rebuilt and everything in between. How does it inspire you? Berlin is the place of contrasts and at the same time a part of my home. The speed of the city and, at the same time, the calmness of the places I seek out are very positive impulses for my work.

Tino Pohlmann ||| Berlin, Germany

Has the Covid-19 pandemic affected the way you see the world? I think it has sensitized a little more to how valuable everything and everyone in this world is. How special it is each year to be able to pursue my passion and vocation, existentially. However, I believe it didn’t affect my photography—but the feeling behind doing this very much.

Have your images changed since you first started shooting? I know that how “I see” has evolved. Because what I see changes too. Therefore, it is a great self-experiment…to accompany the Tour de France for 20 years. Seeing is very much accompanied by feelings for me. Never a rational process, so it can be an expression that changes or comes back. I think the DNA in my pictures was written very early.

What camera bodies and lenses do you love, and whether you like print or digital. For me, first comes the idea, then the tool, the camera. I now choose between the Leica SL2 and Q2, for the motifs in which there is a lot of narrative situations and big momentum. I am a friend of focal lengths that are very close to the human eye—maximum 35mm to 90mm in small format. For landscapes and portraits, I love to work with the medium-format digital Phase One system. The 16-bit color depth and large sensor format play in their own league. When it comes to a print, for me, the print is the condensing of good photography.

Where is your favorite place to shoot photos? There is no favorite place. Mountains and the sea appeal to me in the same way. The greatest thing for me is to find the new one that I have never seen before.

Name a sport that you haven’t shot that you would like to shoot? Good question, but my interest awakens with every sport that features motion. I have already photographed many. I’ve definitely found my greatest passion: cycling. But who knows what comes next?

Instagram: @tino_pohlmann_photography

From issue 96. Buy it here.