Arina Dähnick 2017 Foto: Jörg Pitschmann
Arina Dähnick 2017 Foto: Jörg Pitschmann

         Curriculum Vitae ARINA DÄHNICK

  • Born 1965 in Krefeld, Germany, raised in Hamburg
  • Taken under the wing by her grandmother who was one of the first women who studied fine art in the 1920s in Germany.
  • However, it was her father who introduced her into photography.
  • Started painting and drawing under guidance at the Hamburger Kunsthalle. Continued to take photographs at school with like-minded young people; from 1974 started developing b/w pictures at her own photo darkroom.
  • First professional photo (sales9 exhibition at school on account of an excursion to Venice and Padua at the age of 17
  • The next exhibition followed in 1984. Commissioned by the Night School in Ha,mburg Arina Dähnick photographed a production in cooperation with the Hamburger Staatsoper.
  • After graduating from Grammar School, Arina Dähnick studied painting and drawing with Werner Sommer and Heidi Boyes-Pulley in Hamburg.
  • Intership at the photo agency `Transglobe` in Hamburg in order to prepare for becoming a professional photographer.
  • In 1986 the decision was taken not having to live, to exist off the art... Moving to Berlin to search for meaning.
  • Opening of her own practice for psychotherapy in 1995



Präsentation of the portfolio on the LEICA blog


  • Kunstscheune Steinhude
  • Info-Galerie at The international Obernkirchen Sculptor Symposium
  • group exhibition at the German congress for Transactional Analysis in Augsburg


  • ART+ Galerie Jens Stühmeier Minden
  • Kunst im Turm Wunstorf


  • rpiLoccum


  • Magdalenenkapelle Hannover/ Burgdorf
  • Hahnemühle UK presentation at the exhibition in Birmingham
  • Hahnemühle DE presentation at the exhibition Photokina Cologne
  • Leica Gallery Reyer Salzburg
  • Maia Zinc Project Room Berlin


  • Rangefinder Gallery Chicago
  • Crown Hall IIT Architecture Chicago
  • Raw Photofestival Worpswede

Two women with a great influence on my art

Irene Wegemund, my grandmother. And she was one of the first female fine art students in the 1920s in Germany.

Heidi Pulley-Boyes, 1985 in Hamburg

She taught me in drawing, perspective... and most of all in viewing.

Equipped with only one or two rangefinder cameras, I let myself drift.

I seek out particular places and I like to stay in hotels close to the buildings that I take pictures of.


Everything else is determined by the light, the time of the day, the season and the mood I want to convey on that particular day.


Images just come to me- or they don`t. So when this happened I follow my photographic intuition that I always rely on when composing a picture.


At the same time, I proceed in a very systematic way by varying exposure time, aperture size, focus, viewing angle and distance.


This is extremely important when shooting reflections, as the different layers of the subject overlap in the final picture and this is what makes this photographic interaction so sensitive.


With respect to the digital negatives that my camera delivers, I do what I habe been doing ever since I started my photographic career in the 1980s (in those days I worked exclusively in black and white). - by developing my picutres myself!


I reject any kind of manipulation or staging that goes beyond simple photo development. Nothing is taken away, nothing added. The final image shows the subject exactly how I captured it in `my reality`.