Joachim Giesel, Selbstportät in seinem Studio in der Plathnerstraße 9, Hannover, 1980.

Surrounded by the equipment in his studio, Joachim Giesel knows how to present himself: As a figure of light, he emerges from the bright background into the dark foreground to meet the viewer⁎. With his right arm leaning on a tripod and his left hand casually in his trouser pocket, he fixes his counterpart – a camera, the central tool of his work, through whose lens he himself usually looks. A professional who radiates professional composure surrounded by light trays, cameras, trolleys and cable cords. The reference to his own work is tangible: a preference for black and white photography and perfect staging, technical expertise and personal presence characterize Giesel’s work practice. A well-coordinated team contributes to the fact that he is not only able to realize his commissions, but can also work as a journalist and artist at the same time. His wife Monika Giesel, herself a trained photographer, pre-selects the motifs for exhibitions and clients, helps in the checkroom and provides food and drinks. Franziska Feige develops the negatives, makes prints and manages the archive. She uses a semi-automatic Jobo CTE-2 processor to extract the finest structures even from underexposed negatives. With its energetic team, Photographie Joachim Giesel is making a name for itself with its professional entrepreneurial spirit.

Adrian-Rezan Öner

Zusatzmaterial

Arbeitsfotos Joachim Giesel, in: Niedersächsischer Staats- und Förderpreis, Hannover, 1985. (Joachim Giesel Archiv)
Joachim Giesel muß auf seinen Partys oft hart arbeiten, in: Hannoversche Presse, 12. März 1969. (Joachim Giesel Archiv)
Photographie Joachim Giesel, Familienporträt mit Michael, Andrea, Joachim, Martin und Monika Giesel vor dem Wohn- und Geschäftshaus in der Plathnerstraße 9, Hannover, 1985.
Kontaktabzug Modeaufnahmen, Giesel bei der Arbeit, Hannover, um 1977. (Joachim Giesel Archiv)