Twice at Munich Fashion Week – once two full days trying to capture everything, once just one day with far less gear. Twice, though, a whole lot learned.

I'd never really gotten into runway or fashion photography until my first shoots in that space. Through a designer friend I found out about Perfect Runway and a tennis shoot they organised. Out of nowhere came the chance to shoot the Munich Fashion Week 2025 as a photographer. I hesitated for a moment, then thought: why not, nothing to lose.

Kid in a Toy Store

In 2025 I was there for two full days and wanted to take it all in – runway, backstage, every corner that offered something. I honestly hadn't thought much about what to expect going in. Just let it surprise me. And suddenly I was right in the middle of it, surrounded by other photographers all trying to get the shot. And above all: subjects everywhere I'd never had in front of my lens before.

For the first moment I felt like a kid in a toy store who doesn't know where to grab first: too many possibilities, too little time, too little space. By the end I'd racked up nearly 80GB of RAW files, exhausted and overwhelmed at the same time – but also seriously impressed by everything that was possible there. And then came something I hadn't counted on at all: a few designers, shows, and models ended up using my photos afterwards, some even as profile pictures. That felt good – though constantly watching who reposted what and how many likes came in got tiring fast. I broke that cycle again as quickly as I could.

A Year Later, Different Headspace

In 2026 the organisers reached out again. I honestly hadn't kept track of when the Fashion Week was even happening. But sure, why not do it again. This time I wanted to keep it to one day and go in with a bit more planning. I managed one of those two goals – I was only there on the Saturday, the planning part fell by the wayside again.

Same location, and yet everything felt completely different. No more trying to have it all at once. I brought noticeably less gear, almost minimalist, which forces you to think differently: change position instead of changing lenses, trust your own eye more than the equipment.

Looking back, I probably believed that more images meant a greater chance of getting something worthwhile. The opposite turned out to be true. Slowing down made me more selective, and being more selective made me pay attention. Instead of trying to capture everything that was happening around me, I started noticing what actually interested me.

A smiling model with pink hair looks through the frame of a ring light while a hand applies eye makeup.
Perfect prep: Great vibes during makeup before the show.

Backstage Instead of the Spotlight

Before and after Pia Bolte's show on the terrace, I deliberately spent more time backstage rather than up front at the runway where everyone crowds in anyway. A completely different vibe back there, portraits away from the spotlight, moments that simply can't be staged – either you catch them or you don't. There's also just a bit more variety compared to the runway itself.

I also tried panning shots – deliberate motion blur in the background with the model sharp in the foreground. Only half worked out; in the end just one or two usable shots came out of it, but trying it out had to happen at some point. That's exactly what I wanted to use the shows for this year: more testing and playing around, less worrying about whether anyone would use the photos afterwards or whether anything would come of it at all. Because if there's one thing I've learned over the years: something always comes out of it for me. And more often than not, exactly when I stop thinking about it and just go looking for images, letting things run their course.

Model in a printed short-sleeve shirt walking sideways down the runway, background and audience heavily blurred by motion.
A panning attempt – background blurred, model sharp. Only worked on one or two shots, but that was the point of trying it.

The Flip Book

There was one idea I'd thought through beforehand though, in case the chance came up: shooting an entire walk as a continuous series of stills – no video, just holding the shutter down as fast as the camera allows. The result looks like a flip book – motion broken down into individual frames instead of a smooth video flow, a bit jerkier, but with its own charm.

What made that possible was my Canon R6 Mark II and its fast burst modes. On the first attempt unfortunately the focus was already gone by frame three, the remaining seventy went straight in the bin. Second attempt worked out. Further tries were hit and missed. Still, at least two results turned out well and matched what I had in mind.

A Venue With Endless Possibilities

Both years everything took place at the same hotel, the Marriott City West. The rooftop terrace is a great location, though on good weather days also a challenge because direct sun shows no mercy. Indoors in the halls it's often too dark instead, the light constantly shifting between areas – you barely get settled before the next situation is already underway. But that's exactly what makes it interesting too – perfect conditions would be easier but in a way also a bit boring. The mix is what makes it work.

And both times I walk through the halls and rooms thinking to myself: someone really should organise a separate shoot here sometime. There are so many interesting spots. Maybe that'll happen eventually.

Something became especially clear to me this year: at an event like this, speed often matters more than the perfect shot. Whoever delivers a usable photo first simply has a better chance of it actually getting used. I tried to keep that in mind this time, without losing the patience needed for the backstage moments.

2025 added up to around 8,000 photos over two days, this year noticeably fewer in a single day. Less work afterwards, but just as much learned, only in a different place. Not about camera technique, but more about handling the situation itself: knowing when it's worth waiting, and when moving on is the better call.

I still don't know much about fashion. Fortunately, that was never really the point.

MUCFW 2026

Model wearing a modern dirndl with a patterned bodice, white puff-sleeve blouse, and mustard-yellow skirt with a bow, walking an outdoor runway with the audience seated on both sides.
Backstage portrait of an older man with slicked-back hair, wearing a graphic-print jacket from Pia Bolte
Model in a printed bodysuit blows a kiss to the camera, holding a strand of hair, with more models in graffiti prints blurred behind.