Stanley Patzold is a visionary and passionate fashion and beauty photographer currently based in Munich, Germany. With a background in visual arts from the Academy of Visual Arts in Leipzig and subsequent experience in Berlin, Stanley has developed a unique style that blends elements of fashion, surrealism, and music. Inspired by icons such as René Magritte and Miles Aldridge, his work captures the essence of timeless beauty and the ethereal qualities of the human form. Stanley’s creative process is meticulous, beginning with mood boards and precise light compositions, and often drawing inspiration from art exhibitions and music. His portfolio includes collaborations with notable artists like Fischerspooner, Rodriguez Jr., and Oliver Koletzki, reflecting his deep appreciation for the interplay of visual art and sound.
Stanley’s dedication to his craft and his ability to transform the surreal into tangible art make him a distinctive and influential figure in the world of fashion photography.
What initially drew you to the world of fashion photography, and how has your journey evolved since then?
I first encountered influences through Caspar David Friedrich during my childhood, whose romantic imagery captivated me. There were also early connections to the avant-garde approach and innovative photography of Man Ray, which left a lasting impression on me the key role that Lee Miller played among the Surrealists.
Lee Miller played a key role within the Surrealists, and her work and life deeply moved me.
Her extraordinary ability to transform the surreal into tangible art opened new perspectives for me and inspired me to question the boundaries of what is possible.
The moment I first saw the works of Miles Aldridge was a turning point. His vivid, almost hyper-realistic compositions ignited a desire in me to become creatively active myself.
I immediately knew that this was a direction I wanted to pursue in my own artistic career.
During this time, I had a girlfriend who worked as a hairdresser. Her skills in makeup and nail design also fascinated me. I appreciated the precision and creativity with which she executed her techniques. This led me to find in her work an additional source of inspiration for my own artistic endeavors.
How would you describe your signature style or aes-
thetic in fashion photography?
For me, style embodies a profound sense of beauty. My ideal of beauty resonates with the timeless canons of classical art. I deeply admire Dante Gabriel Rossetti’s vision of beauty, particularly the Pre-Raphaelite art known for its radiant colors and its passion for poetry, myths, and legends.
Can you walk us through your creative process, from concept development to final execution?
Like every creative spirit, I am guided by my own emotions. My processes always begin with images, as I am triggered and moved by them from the very start of my day.
I am inspired by the daily phenomena of fashion, art, and above all, music. On one hand, I read extensively, while on the other, I examine the layouts of the international magazine world. Additionally, my great affinity for music bands plays a role. Overall, I work extensively with images, which I collect and organize in various folders on my iMac or as a screenshot folder on my iPhone. Fundamentally, the images take shape in my studio, where backgrounds and light are captured. My extensive fashion archive, which has grown over time, aids me in this process. At this point,
I have a strong fondness for lace and fetish fabrics.
Your website suggests a deep passion for photography, fashion, and music. How did these interests develop, and how do they influence your work as a photographer?
Photography is the art through which every artist wishes
to showcase their unique world of visuality. Before a story becomes reality, it certainly requires a great deal of time and patience for all elements to come together harmoniously. It’s akin to composing a new song. This passion I feel as I enter the creative process is like a wave that carries me into uncharted territory, where everything then takes its own course.
Could you tell us about your educational background and how it has contributed to your career as a photographer?
My studies have influenced me to be meticulous in my dedication to a task. They taught me how to bring to life a project that I’ve conceived. During my academic journey, I discovered my true interests, engaged in extensive experimentation, and connected with fellow students to initiate projects. I learned to decipher the visual language of renowned photographers from around the globe, and naturally, I gathered the courage to do the same.
You’ve worked with notable artists such as Fischerspooner, Rodriguez Jr., and Oliver Koletzki. What have been some of the most memorable experiences or lessons you’ve learned from collaborating with such talents?
The images featuring renowned artists like Fischerspooner, Rodriguez Jr., and Oliver Koletzki were created at various stages of my ongoing work.
I continuously expand my collection of techno musician portraits. Consequently, I also maintain an archive of numerous indie bands. However, visually, I have evolved, refining the portraits themselves progressively.
Primarily, I appreciate their music, as well as the individuals behind it. As someone with an aesthetic sensibility, the charisma and power of these personalities have always deeply inspired me.
I believe it’s still like the very first day when I stood in front of Ryūichi Sakamoto. We both laughed. Perhaps that’s something I’d like to convey in the portraits. An emotion of blissfulness, which an image always witnesses turns into a moment for eternity.
On that day, concerning Oliver Koletzki, the entire Munich main train lines were down. (Laughs.) I did find another route within seconds, but I was late nonetheless since I underestimated the distance. But when I arrived: The venue was absolutely stunning, a theater factory (Theaterfabrik), an event hall, a repurposed brick building in a Munich suburb.
24 I wandered through the rooms. Oliver Koletzki himself was also delayed. However, everything was very special, especially
in the context of this location. We were in a converted office, where we talked, and in the meantime, I actually created the portraits.
Thus, the place always plays a role. Time, a crucial one. As does the flow of various energies.
Your work seems to draw inspiration from various art forms, including surrealism and poetry. How do these influences manifest in your photography, and what do you hope viewers take away from your images?
Images have the unique ability to unveil a deeper level of understanding. Surrealism often works with dreams, which belong to another plane of existence. In Surrealism, the figure of the woman is seen as an erotic enchantress, mysterious. At the same time, it appears threatening and provokes emotions. The essence of the surrealist woman is reflected in ceaseless metamorphoses, half goddess, half human, an enigma made flesh, supernatural and magical. An outline filled with poetry, unattainable, untouchable.
Like Magritte, I believe I was able to illustrate these concepts well in my earlier works. Sometimes, a slight destructive plea- sure also resonated during the creation of some photo series. In my images, I experiment with a delicate and subtle eroticism.
Can you walk us through your creative process when starting a new project? How do you go about developing the concept and mood for your shoots?
In some photoshoots, I had the creative freedom to shape the final outcome according to my vision. However, there were also sessions where I had to adhere strictly to the specifications set by the modeling agency or clients.
In your opinion, what are the key elements that differentiate exceptional fashion photography from the rest?
Every fashion photographer has their own signature style, and in my case, I would say it’s the unconventional poses and outfits that perfectly complement the narrative. It’s about realizing the images in high-fashion quality and capturing the latest movements. Those aiming to achieve high standards and avoid being forgotten as a fashion photographer take the time to experiment and influence the “Zeitgeist”, setting trends before they even emerge.
Your reference to René Magritte’s quote about su- rrealism as your personal mantra is intriguing. How do you interpret and apply this philosophy in your photography?
Magritte crafted entire universes with seemingly mundane elements. The interplay between reality and dream is evident in my work, as I delight in incorporating flowers, starry skies, and painted worlds into some of my photo stories. I revel in the play on words, naming things that reveal a sight quite different from what one might expect.
The integration of music into your creative process is fascinating. How does music influence the mood and atmosphere of your shoots, and do you have any specific examples of how a particular piece of music inspired a photo series?
It all started with “The Presets,” from which emerged this whirlpool of fascination and ardor for synthesizer techno and Australian bands. That was the genesis.
In the realm of pure techno, within the grooves of quality vin- yl, when the essence is that of repetition, it conjures up loops of imagery within me. Comparable to a film negative. I find myself unconsciously analyzing these. (Laughs.)
The interplay of club culture, the act of applying makeup, during which there have been quite intriguing eras in techno history. Which, of course, plays a paramount role in the crea- tion process of the photoshoot!
It’s about the tensions of light, the colors of the background, which traverse the lens of the camera until they form an image.
Your mention of visiting art exhibitions and being inspired by different epochs of art history is intriguing. How do you incorporate these influences into your work, particularly in capturing the silhouette of women?
Museums and exhibitions are like a “Holy Grail” to me. The dynamism and resolution of different eras. The intensities of brushstrokes I liken to the eyeliner on a model’s face and to musical notes that resemble the moving body. All are brimming with passion.
I believe there’s much to learn from the old masters, particularly regarding the posture of their models. How did these muses skillfully present themselves? I’m also consistently impressed by the way hands are depicted in paintings. It’s always a significant challenge to translate this into my own photography.
Could you share a bit about your approach to lighting and composition in your photography? How do you ensure that these elements enhance the narrative or emotion you’re trying to convey in your images?
This is somewhat challenging to explain, as you are not familiar with all my images. We are now releasing ‘Amour Lié’. There are also those images that are very dreamy, romantic, surreal.
In which I have adjusted the light as I needed it, or rather, as
I imagined it. Sometimes several light filters are used to make them appear so graphic.
Looking ahead, what are some of your aspirations
or goals as a fashion and beauty photographer? Are there any projects or collaborations you’re particularly excited about in the near future?
A grand aspiration of mine is to become acquainted with the USA, to meet numerous artists, but also diverse individuals and cultures, to immerse myself into a pictorial world of new sensations. I also want to collaborate with certain musicians and always keep an eye on how the scene moves towards Europe.
What inspired you to delve into photography?
Perhaps because a photographer seems like a projection of the inner world. An interior that is projected through the lens, creating these magical snapshots in time. Just like a brushs- troke on a canvas.
Could you share a memorable experience or encounter you’ve had while doing photography?
Right from the beginning. I’ve just moved to Leipzig. DJ Hell was supposed to have a set that very week. We actually managed to arrange a portrait session. He actually called me.
I rode my bike through the downtown area and then we met. It was an incredible feeling to meet DJ Hell, an icon of Ger- man techno history.
Are there any photographers or artists who have significantly influenced your work?
Man Ray, Miles Aldridge, Fischerspooner.
Could you walk us through your process of selecting locations and models for your shoots?
Up to this day, I approach fascinating girls in the subway, on the bus, at the traffic light intersection. I tend to quickly recognize raw diamonds. It takes a certain something to catch my eye. Sometimes we may even end up working together. However, I predominantly work with modeling agencies. Everything is in a state of daily and especially rapid change.
What are your aspirations for your photography career, and how do you plan to achieve them?
I like any other artist, want to evolve, travel, immerse myself in different cultures, and enrich my work with each experience.
I view my art as a journey, and even though I have a specific destination in mind, I never know where this journey will take me. So, I let it somewhat come towards me.
Today, social networks hold great significance. How do you navigate this aspect?
I regard it ambiguously: is more really more? Is faster truly faster? One has access to a lot of information, yet the depth may be lost in the process. This aspect of social media is mostly exhausting for me. Often, it feels like images are being thrown at you as if in a supermarket. You only look at pictures with half your attention, scrolling through your phone. Surely, this isn’t the way it should be? However, artists today have the opportunity to draw attention to themselves with this medium, and I’m certainly impressed by the creativity of the users.
How would you describe yourself in three words?
Passionate, imaginative, Time Traveler.