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Berthold Steinhilber
Dawn or dusk bathes enchanted forests, deep gorges, and striking rock formations in atmospheric light. Time and again, the sun reshapes expansive valleys, meadows, and fields anew: photographer… Read more
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Seealpsee
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Albula Pass, Schweiz
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Bastei, Elbsandsteingebirge
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Col du Parpaillon
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Nationalpark Jasmund, Rügen
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Gotthard Pass
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Hohenschwangau
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Westerheversand
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Glandon Pass
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Wehlnadel, Elbsandsteingebirge
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Pfahlbauten
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Swyre Head, Jurassic Coast
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Porte d'Aval, Alabasterküste (Côte d’Albâtre), Étretat
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Kreideküste, Ernst-Moritz-Arndt-Sicht, Rügen
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Dynjandi
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Skogafoss
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Godafoss
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Background Information about Berthold Steinhilber
Introduction
Dawn or dusk bathes enchanted forests, deep gorges, and striking rock formations in atmospheric light. Time and again, the sun reshapes expansive valleys, meadows, and fields anew: photographer Berthold Steinhilber dedicates his work to breathtaking landscapes and places of quiet inspiration. In his series Landscapes, he reveals unseen sides of Germany and the Netherlands – and in more recent works, expands this gaze to include the dramatic lines of alpine mountain passes and the powerful stillness of Nordic nature.
His compositions capture airy heights and endless horizons: sometimes it's the Allgäu’s Lech Gorge glowing in seductive azure, other times the lush green hills around Lake Seealpsee. Or the viewer is drawn into the curves of serpentine roads winding through the rugged terrain of the Alps. It is nature’s dynamism that Steinhilber captures with precise intuition – also on his journeys through Iceland, where cascading waterfalls meet graphic clarity and monochromatic reduction. It is no coincidence that color – whether in its richness or intentional absence – is one of Steinhilber’s great passions.
For the Stuttgart-based photographer, authenticity is central to his process. He aims to capture his subjects as if staged by nature itself. His photographs are both exacting and open. To achieve such unfiltered results, Berthold Steinhilber works with an ALPA camera. Again and again, he sets out to explore, studying his subjects at different times of day and in changing weather – until he finds the right light and, above all, the perfect vantage point. In each image, Steinhilber surprises with fresh perspectives, evoking a sense of near-weightlessness for the viewer.
With virtuosity, he composes images that draw you in. In the distance, delicate viaducts weave through the rock formations of Saxon Switzerland; morning mist lifts from the Elbe Sandstone Mountains to reveal a breathtaking panorama.
Steinhilber succeeds where many only aspire: translating the classical landscape motif into the present – with a visual language that is modern, atmospheric, and as pure as it is sensitive. The result is imagery of quiet intensity, holding onto fleeting moments without freezing them. Be it alpine passes, Nordic waterfalls, or native forests – his photographs transport us to places as contemplative as they are powerful.
Bio
After studying photography in Dortmund and Falmouth, Berthold Steinhilber established his studio in Stuttgart in 2002. His work was soon featured in numerous exhibitions and honored with several awards. He gained international acclaim for his series Ghost Towns of the American West, a haunting exploration of abandoned frontier towns across the United States.
Awards
| 2009 | World Press Photo Award |
| 2001 | BFF Young Talent Award |
| Young Talent Award – Special Prize for Photography from the German Art Directors Club | |
| 1998 | Reinhold Wolf Award |
| 1996 | Kodak Young Talent Prize |
| Reinhold Wolf Award | |
| 1995 | German Photo Prize |
Exhibitions
Solo Exhibitions
| 2014 | Ghost Towns of the American West, DAZ – Deutsch-Amerikanisches-Zentrum, Stuttgart, Germany |
| 2003 | Berthold Steinhilber – Ghost Towns of the American West, Galerie Wittenbrink, Munich, Germany |
Group Exhibitions
| 2014 | Jenseits der Ansichtskarte – Die Alpen in der Fotografie, Vorarlberg Museum, Bregenz, Austria |
| 2013 | Jenseits der Ansichtskarte – Die Alpen in der Fotografie, Galerie Stihl, Waiblingen, Germany |
| 2012 | Passio und Compassio – Vom Leben und Sterben der Heiligen, Galerie der Stadt, Backnang, Germany |
| 2011 | Blues für den blauen Planeten – Gemeinschaftsausstellung des BFF, Haus der Wirtschaft, Stuttgart, Germany |
| 2010 | Fotosommer Stuttgart – Fokus 0711, Württembergischer Kunstverein, Stuttgart Germany |
| 2008 | Bilderberg – Fotografie ist Kommunikation, Galerie im Medienhaven, Bremen, Germany |
| 2005 | Fokus 0711, Württembergischer Kunstverein, Stuttgart, Germany |
| Lightworks, Kunstverein Neckar-Odenwald, Mosbach, Germany |
Interview
Picasso once said, “you don’t make art, you find it.” Where do you find your art?
I usually find them in nature – when travelling, in the forest or in the mountains. As soon as I spend some time outdoors, my thinking changes. Walking puts my thoughts in order, and then ideas slip in.
From an idea to its materialization: How do you approach your work?
Once an idea has developed, I take the first pictures. I often wait a few days before reviewing them. Then begins the process of weighing up the pros and cons – until finally my mind, heart and gut agree.
What is your favorite book?
That's not an easy question to answer, because what I read depends greatly on my age and mood. Language is extremely important, so perhaps it would be ‘Gargantua and Pantagruel’ by François Rabelais. It's a book that has fascinated me since I was young.
The novel by the French scholar and humanist was written in the 16th century. It contains crazy, fantastical stories in impressive language full of wit, wordplay and poetry – about the life and deeds of the giants Gargantua and Pantagruel. Even back then, Rabelais was a master of fiction; his eloquent battles against the stupidity and prejudice of his compatriots are particularly enjoyable to read.
However, it is not easy reading: the book is written in a language from another time – and most of my friends cannot relate to it.
Which artist would you like to have coffee with and what would you discuss?
I would like to have a coffee with Nicéphore Niépce, the inventor of photography. I would be interested in hearing his thoughts on how he managed to realise his idea – how he dealt with the many setbacks and what it was like to see the first photographic image. I would be particularly interested in hearing him describe that feeling.
How did you get into art?
Probably out of love for photography. I started taking photos during my community service. The more I got into the tech side of things, the more important the artistic side of photography became to me. I learned that it's important to master the tech so you can really bring your ideas to life.
Who are the people in your surroundings that influence you?
My loved ones, certainly. But there have also been a few chance encounters that have given me ideas.
Imagine you have a time machine. Where would you go?
As tempting as it is to travel into the future, I would like to visit the early Stone Age – the era when humans still lived alongside Neanderthals. From today's perspective, I would find it fascinating to understand why our species prevailed. Art also emerged during this period, around 40,000 BC. When I photographed the Ice Age caves in the Swabian Alb a few years ago, I was able to study this era in depth – and perhaps I could find answers there to questions that have been on my mind ever since.
Other than art, what are you most passionate about?
Music – my second source of inspiration.
What are you working on right now?
I usually work on several projects at the same time, focusing on one or two pieces at a time. I am currently photographing a new project in the Alps, and I still need to figure out how extensive it will be. Hopefully, I will know more in October 2025.
In November, I will start a photo series with a historical background – a rather dark chapter in human history. It is a project that I wanted to realise as a young student, but the subject matter was too much for me at the time.
I usually find them in nature – when travelling, in the forest or in the mountains. As soon as I spend some time outdoors, my thinking changes. Walking puts my thoughts in order, and then ideas slip in.
From an idea to its materialization: How do you approach your work?
Once an idea has developed, I take the first pictures. I often wait a few days before reviewing them. Then begins the process of weighing up the pros and cons – until finally my mind, heart and gut agree.
What is your favorite book?
That's not an easy question to answer, because what I read depends greatly on my age and mood. Language is extremely important, so perhaps it would be ‘Gargantua and Pantagruel’ by François Rabelais. It's a book that has fascinated me since I was young.
The novel by the French scholar and humanist was written in the 16th century. It contains crazy, fantastical stories in impressive language full of wit, wordplay and poetry – about the life and deeds of the giants Gargantua and Pantagruel. Even back then, Rabelais was a master of fiction; his eloquent battles against the stupidity and prejudice of his compatriots are particularly enjoyable to read.
However, it is not easy reading: the book is written in a language from another time – and most of my friends cannot relate to it.
Which artist would you like to have coffee with and what would you discuss?
I would like to have a coffee with Nicéphore Niépce, the inventor of photography. I would be interested in hearing his thoughts on how he managed to realise his idea – how he dealt with the many setbacks and what it was like to see the first photographic image. I would be particularly interested in hearing him describe that feeling.
How did you get into art?
Probably out of love for photography. I started taking photos during my community service. The more I got into the tech side of things, the more important the artistic side of photography became to me. I learned that it's important to master the tech so you can really bring your ideas to life.
Who are the people in your surroundings that influence you?
My loved ones, certainly. But there have also been a few chance encounters that have given me ideas.
Imagine you have a time machine. Where would you go?
As tempting as it is to travel into the future, I would like to visit the early Stone Age – the era when humans still lived alongside Neanderthals. From today's perspective, I would find it fascinating to understand why our species prevailed. Art also emerged during this period, around 40,000 BC. When I photographed the Ice Age caves in the Swabian Alb a few years ago, I was able to study this era in depth – and perhaps I could find answers there to questions that have been on my mind ever since.
Other than art, what are you most passionate about?
Music – my second source of inspiration.
What are you working on right now?
I usually work on several projects at the same time, focusing on one or two pieces at a time. I am currently photographing a new project in the Alps, and I still need to figure out how extensive it will be. Hopefully, I will know more in October 2025.
In November, I will start a photo series with a historical background – a rather dark chapter in human history. It is a project that I wanted to realise as a young student, but the subject matter was too much for me at the time.
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