CINEMATIC PHOTOGRAPHY
BY CHRISTIAN ANGERER
Since 1985, Christian Angerer has worked in the world of media, steadily drawn to one thing above all: cinematic photography. The kind of image that doesn’t just capture a person — it captures a feeling, a moment, a story.
Whether in advertising, portrait, or fashion, Christian’s approach is always human-focused and story-driven. His work is shaped by experience, instinct, and a lifelong curiosity about people. Over the years, he’s collaborated with clients across the globe. He has received numerous awards for his work on the international stage, including ADC and Cannes Lions.
FAQs
HOW DO YOU PREPARE YOUR CINEMATIC SHOOTS?
Think movie set — but distilled. Everything begins with a concept. Scribbles, sketches, locations, light. A scene is built, whether naturally or intentionally, and the subject steps into it — not just to be seen, but to be felt.
A film has thousands of frames to tell a story. A photograph has one. That single frame has to carry everything — emotion, clarity, tension.
And none of that works without trust. What happens between camera and subject must be honest, human, and real.
DO YOU REALLY NOT USE PHOTOSHOP?
Correct — no digital face-lifting. Most of the editing is done with light, shadow, and grading. No polished, plastic skin. No lost identity.
True beauty lies in presence. In intimacy. In character. That’s what I look for — and that’s what I try to bring forward with each person I photograph. Everyone carries something special. Sometimes, it’s just waiting to be seen.
DO YOU THINK WRINKLES AND AGE ARE BEAUTIFUL?
Absolutely. Show who you are. Be a real woman. Be a real man.
We live in a world of filters, algorithms, and virtual perfection. But life doesn’t look like that. And that’s okay. Actually — that’s amazing.
Faces tell stories. Let’s not erase them.
BLACK & WHITE OR COLOR?
Black and white tends to be more intimate — more emotional. It removes distraction and leaves space for imagination. I often see the shot in black and white before I even take it.
But both matter. Both can be powerful. I work in color and monochrome, and the process for each is distinct.
We even built our own custom color grading tools to bring more depth into tones — especially in grey. Every detail counts.
WHY DO YOUR SUBJECTS LOOK SO AUTHENTIC?
Because they’re not “subjects.” They’re people.
And I try to listen, not just shoot. Watch, not just direct. It’s easy to be loud and flashy. It’s harder — and more interesting — to be quiet and true.
That’s where the real image lives.
DO YOU HAVE ANY TIPS FOR PHOTOGRAPHERS?
People aren’t linear. They shift, change, surprise you. Like rivers.
So stay curious. Practice every day. Try recreating the images that move you — and once you can do that, go find your own voice.
DO YOU PREFER ADVERTISING, PORTRAITS, OR FASHION?
I enjoy any work that lets me connect with people. Especially when they’re interesting, complex, real.
In advertising, I bring in my experience as a creative director and strategist — building visual stories that stay with you.
Portraits are often quieter, but even more emotional. Both matter. Both challenge you in different ways.
WHO WOULD YOU LOVE TO PHOTOGRAPH?
Could be anyone — a grandmother laughing over red wine with her husband in a Paris bistro. Or a Hollywood actor. Or someone I just met in the street.
But if I had to choose?
Maybe Jesus.
WHY?
Because I’d be the first to photograph him (laughs).
And trying to capture that kind of light — that presence — in one frame? That would be a gift.
FADDY US MAGAZINE, New York City
GREAT CINEMA IN ONE PICTURE
CHRISTIAN ANGERER
MR. ANGERER is internationally known for his special eye for details and his cinematic works with models, Hollywood stars or music legends.
Typical for him: Each picture is like a clip from a feature film.
For his work as a creative, Christian Angerer has received international awards such as the coveted golden Cannes Lions or medals from the Art Directors Club. Only recently he received a gold award as “Photographer of the Year (Germany” from an international jury.
Christian Angerer has his base in Munich/Germany. Mostly, however, he can be found in New York, Barcelona, Cape Town, Paris and Venice, because there “every corner can tell something special and magical. Christian Angerer’s passion for capturing the essence of each location is evident in his diverse portfolio. Whether he’s strolling through the bustling streets of New York, exploring the vibrant architecture of Barcelona, immersing himself in the breathtaking landscapes of Cape Town, soaking up the timeless charm of Paris, or capturing the enchanting allure of Venice, Angerer’s lens brings out the hidden stories in every corner. His ability to infuse magic into the ordinary, unveiling the extraordinary in his photographs, is what sets him apart as an exceptional photographer. With an unwavering dedication to his craft, Christian Angerer continues to inspire audiences around the world with his cinematic works that blur the lines between photography and storytelling.
Cover. Editorial. Interview. COOL AMERICA MAGAZINE — NYC. April 2025
Hi, Christian. I love your photography. What photographers inspire you?
Thank you so much, Vaughn, that truly means a lot to me. Honestly, my inspirations come more from
cinema than traditional photography. I grew up immersed in the world of film, and directors like Martin
Scorsese, Francis Ford Coppola, David Lynch, Quentin Tarantino, Guy Ritchie and many more shaped my
creative vision. Their ability to craft stories, mood, and unforgettable visuals left a deep mark on me. That
cinematic storytelling is something I try to capture in every shot I take. I come from a film background and
have directed around 1,800 video clips since I started over 35 years ago. Even though the TV stations
loved it, I stopped working as a video producer in that field overnight about 35 years ago because I didn’t
find it very good.
How long have you been shooting?
I’ve only been diving into photography for about 3.5 years. That being said, the time I’ve poured into
learning, experimenting, executing, editing, color grading, and producing has been intense—easily 2,000
hours, all alongside my day job. So, while I’m relatively new, it feels like I’ve been doing this a lifetime
because of the energy and focus I’ve put into it.
How did you get involved in photography?
Funny story! A friend once asked me to shoot some photos for him, and I immediately replied, “I’m not a
photographer.” His response? “Christian, you’re a filmmaker! With today’s gear, you’ll master it in a day.” He
sent me a fantastic new Sony camera and a GM lens, and I was blown away by what modern equipment
could do—especially how powerful and light-sensitive the lenses are. That day, photography completely
hooked me.
Your photography is very cinematic. How did you achieve that style?
I embrace cinematic photography wholeheartedly. Every picture I take feels like a still from a movie—a
snippet of a story frozen in time. That’s the joy for me: creating moments that look and feel alive. Unlike
traditional photoshoots, where models often strike standard poses, I approach it like a film set. We act out
scenes, with full attention to lighting, props, haze, and mood. It’s more like creating a movie than shooting
in a photography studio, and that’s what makes it special.
What do you feel are the most important components in photography?
Light. Light. Light. The way it shapes, emphasizes, and creates emotion is everything. Then there’s mood,
the expression of the person in front of the camera, and, ultimately, the world we build together—whether
it’s with actors, musicians, or models. Mastery of your tools is essential too. You should know your
equipment inside and out, so it doesn’t distract you from directing. As a photographer, you’re also a
director, focused on the story and scene. Everything else should work seamlessly in the background.
If an aspiring photographer started working with you, what would you teach them first?
Practice, practice, practice. The best way to learn is by doing. You’re going to laugh, but when I first
started, I went to the zoo and set my camera to manual mode. I spent days trying to capture the monkeys
as they darted around, fast and unpredictable. It was a crash course in speed, precision, and understanding
my gear. Once I had that nailed down, everything else started to fall into place.
The street is another amazing training ground—fast-paced and full of stories. Start by shooting everything
that catches your eye. Then, find photos you admire and try to recreate their lighting, mood, and
composition. Once you’ve mastered that, put your own twist on it. That’s where the magic happens.
How do you get work in photography?
For me, most of my work comes through word of mouth. I’m fortunate, though, because I’ve been working
in branding, advertising, storytelling, film production, and sound studios for years. Many agencies and
clients come to me looking for campaigns with cinematic visuals that truly stand out—images that make
people stop in their tracks. Storytelling is at the heart of what I do, and that’s what draws clients to me.
What type of models do you like to photograph?
I shoot people, not objects. Faces intrigue me—their character, expression, and gaze. If a great face
happens to be showcasing fashion, watches, or cars, I make sure everything comes together in a way that
captivates the viewer. But bland, “perfectly pretty” faces or overly altered ones, where individuality is lost—
that’s not for me. I want faces that tell stories, that pull you in.
Are you involved in other businesses?
Yes, I’m the founder and CEO of HUCKLEBERRY FRIENDS AG, a global creative network. I also own the
WESTPARK STUDIOS, where we handle sound and production, and I’m involved in software companies like
e-FRIEND. For me, whatever I do has to bring joy and passion—it’s as simple as that.
We are called Cool America. What do you find cool about America?
America is an incredible country with unparalleled diversity. From the majestic Rocky Mountains to the
deserts of Arizona and the tropical beaches of Hawaii, the landscapes alone are breathtaking. Then there’s
the pop culture—Hollywood, jazz, hip-hop, rock ‘n’ roll—the birthplace of so much creativity.
Innovation thrives here too, with tech giants like Apple and Google leading the way. And of course, the
cities! New York’s skyline, LA’s film culture, Chicago’s architecture, and New Orleans’ vibrant music scene – they all have their own unique charm.
But what’s coolest about America is its people. Every time I’m in NYC for work, I soak up the energy and creativity. It’s so inspiring that when I’m creating campaigns, I often ask myself, “Would this campaign stop people in their tracks in NYC?”
March 2025
Famous Fashion & Advertising Photographer — How do you get it?
People sometimes call me a famous fashion and advertising photographer. That’s kind — but I don’t think in those terms.
Fame? You can’t really buy anything with it.
Sometimes, it even gets in the way.
People assume things — “He’s probably too expensive.” “Too busy.” “Out of reach.”
And just like that, the most exciting projects never even land on your desk.
For me, fame and money have never been the main drivers. What really matters?
The work. The people. The shared energy on set. The joy of creating something together that none of us could’ve done alone.
If the job is exciting and the team is brilliant — I’m in.
That’s when the magic happens. That’s when I learn something new myself.
And that’s what keeps me going.
What drives me is something different: storytelling.
I believe every photograph should feel cinematic.
Not just beautiful — but honest. Emotional. Real.
Whether it’s for a fashion brand, a global campaign, or a quiet portrait — my goal is always the same: to tell a story that stays with you.
I’ve had the privilege to work internationally, with incredible people and brands. And while awards and recognition are part of the journey, they’re not the reason I do what I do.
It’s about connection. Vision. And creating images that go deeper than the surface.
If that resonates with you — I’d love to connect.