“No compromises on gear.”

Hello, my name is Norman. I am a commercial photographer and retoucher based in Berlin and working worldwide.

This website is about me and the way I work. I am quite consumed by the photos I have not taken yet. But to get an idea here are some selected works.

I am specialized in corporate photography – mainly portraits and events like conferences. I also have a soft spot for excellent repros. In any case it is all about taking visually striking, professional photographs right on spot that support my clients and their goals.

In short: I don’t take photographs that stand out but stand apart.


The very nature of photography lays in the moment. I preserve a specific point in time. My desire is to take photos that stay, that have value, and won't fade away. In my opinion many of my photographs reflect that. Corporate photography is what I am specialized in. You may ask yourself what that means.

Almost all of my clients are professionals – agencies, design studios, start-ups, large corporations, or single freelancers. Normally they have some sort of a demand for exquisite photographs. These can be portraits, reportage photos, or repros. The job is always different but the results are always vibrant. Even in black and white.


My photographs are meticulously made. They are defined by a fresh and natural look. No matter if bright and vivid colors or a deep and rich monochromatic spectrum.

It all starts with the right equipment*. With a mix of prime and zoom lenses I get the very best results for all things I am focused on. Whether it is the shallow depth of a blurry bokeh in a portrait, a razor sharp detail or the ultra-wide view of an event space I rely on my gear. Like a carpenter needs his plane, chisel, and a hammer.

The right environment in combination with a sophisticated light setup is an essential part, too – natural light, flashes, huge soft boxes, grids, and gels.

My highly trained skills and techniques of digital retouching enable a pristine appearance. I tastefully eliminate blemishes and emphasize details, correct lights / shadows, and fine tune perspectives as well as geometry. It culminates in nuanced sharpening and color grading.

* Sony Alpha 7R IV ·  Sony Alpha 7R III · Sony FE 2.8 / 16–35 GM · Sony / Zeiss Sonnar T​​ FE 2.8 / 35 ZA · Zeiss Batis 2/40 · Sony FE 2.8 / 24–70 GM · Sony FE 1.4 / 85 GM · Sony FE 2.8 / 90 Macro G OSS · Sony FE 2.8 / 70–200 GM OSS · Manfrotto tripods · Profoto A1 · 3 × Profoto B2 · 12 × Spiffy Gear Spekular Lights

Norman Posselt, photographed by Gerhard Kassner in 2018 Norman Posselt, photographed by Gerhard Kassner in 2018


Matthew Carter at ATypI 2018 in Antwerp. Left: RAW file, solarized to see minor blemishes — Right: fully retouched and set monochrome Matthew Carter at ATypI 2018 in Antwerp. Left: RAW file, solarized to see minor blemishes — Right: fully retouched and set monochrome

Why retouching at all? Quick answer: we all have viewing habits. Also there is a difference in looking at someone face to face or at a photograph. The perception is totally different. You see more details, you pay much more attention to flaws, blemeshes, spots, wrinkles, dark under-eyes, you name it. In addition a camera gives its own interpretation of the real world that mostly is not the result you would expect and – more importantly – accept. Retouching helps to correct this.

The basic idea is to get the very best out of my images that caters my clients’ taste and fits their needs.


I am in the fortunate position of being able to call many of my clients friends. The majority of these come from the typography, design, and media scene. But also from completely different areas.

What is important to me in any case is a trusting and honest relationship with each other. Only when all sides can get involved the best results can be achieved.