Alpine landscapes. Light made tangible.

A floating gaze drifting across the Alps, where light dissolves into stillness, and a fleeting moment becomes memory. Pressed into hand-made Japanese washi, each work breathes with a dimensional depth no ordinary surface could hold.

Konkordiaplatz · Aletschgletscher · 2020
46°31'N · 8°02'E · Aerial view

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Relief des Lichts

Moonlight · Eiger · Mönch · Jungfrau · Mürren · 2026
Maletg-Fusion · 46°33'N · 7°53'E · 1980 a.s.l.

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Rottalhütte · Lauterbrunnental · Berner Oberland · 2025
46°31'N · 7°56'E · 2755 a.s.l.

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Gornergletscher · Zermatt · 2018
45°59'N · 7°47'E · ca. 2550 a.s.l.

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Chilchbalm · Lauterbrunnental · Berner Oberland · 2024
46°33'N 7°54'E · 1350 a.s.l.

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From Light to Relief

Capir la glisch — Catching the Light

The process begins early in the morning or late in the evening — in that light which shows the mountains differently from how the eye knows them. With historical large-format lenses, a bellows camera, and modern digital technology, multiple precise exposures are made at each location. Millimetre-precise standard movements — tilt, shift, swing — place the focus not evenly, but where it belongs compositionally: on the ridge, the wisp of mist, the rock fold that no one else notices.

Furmar in maletg — Forming the Image

In the studio, what began in the field takes shape. The exposures are assembled into a single work — an image that holds the moment as the eye knew it: complete, without loss. The development is darkroom work by digital means. Dodge & Burn, curves, local light corrections — giving weight to the light, depth to the shadow, guiding the eye through the image imperceptibly. No filters, no presets. Every decision shows. Or it destroys the image.

Plasmar la glisch — Embodying the Light

For select works, the print is pressed into hand-folded Awagami paper. The micro-folded surface is no accident — it is part of the work. Incoming light refracts within it, the image begins to float. Printed with precision and restraint: so that the fine shadow structures remain visible, the highlights do not burn out, the paper can breathe. Framed in wood from the region of the images — untreated or selectively stained, depending on the subject. Behind non-reflective museum glass. Each work exists three times. Plus one Artist Proof.

maletg — The Alps, Felt in Three Ways

The name maletg was chosen deliberately. It comes from Romansh — Switzerland's fourth national language, spoken only in the Alps — meaning "image," a word as old as the human wish to leave a likeness, long before there were cameras to do it. The same language runs through the three lines of work gathered under maletg — Relief des Lichts. Each answers the same question — how to hold onto the light of the Alps — with a different degree of control: from complete precision, through deliberate blur, to a total loss of control through chance.

Cler (Romansh: clear, sharp)

Full control, maximum precision. Every ridge, every shard of ice resolved with absolute clarity, the mountain held in a single unbroken gaze.

Sfümar (Romansh: to blur, diffuse)

Controlled loss of control, deliberate softness. The landscape dissolving at its edges, light and form merging until the mountain seems to breathe.

Sömi (Romansh, Sursilvan: dream)

Total loss of control, chance decides. Inkjet image transfer onto washi. Every work is a unique piece — unrepeatable, never an edition.

Rene Pfluger

I have been photographing since childhood — the mountains were always there, first as a mountaineer and skier, later as a photographer trying to hold what he has been seeing for sixty years. Training as a structural designer shaped my eye early: for proportions, for the relationship between surface and space, for what carries an image and holds it together.

The Alps are my terrain. Not as a picture-postcard subject, but as a place where silence and light have a physical quality — where the seasons shape the mood, the morning glow traces the ridge differently than evening light, and where alpine dairymen, mountain guides, and mountain farmers live a culture older than photography itself.

When a dairy woman works an alpine farm that has stood since the early nineteenth century, that is not a motif — it is a moment I want to preserve: as image, as atmosphere, as light.

I work with historical large-format lenses and a bellows camera — lenses that lend mountains and clouds a silken luminance, directing sharpness to where landscape becomes memory. The result: gigapixel originals in which every wisp of mist, every layer of rock remains visible. Printed on hand-made Awagami paper — light refracts in the surface and lets the image float.

Each subject exists three times — plus one Artist Proof. No more.

Corporate Photography

Photography that holds its ground in boardrooms, annual reports, and campaign contexts — precise, considered, and built to last.

I work with companies, institutions, and agencies that understand the difference between imagery that documents and imagery that communicates. The brief may come from a communications director, a marketing lead, or a CEO — the standard is always the same.

Winter Sports & Events

From the racing lines of Inferno-Race to high-altitude productions in changing light and weather: I photograph winter sports with the same attention to timing and atmosphere that defines my fine art work. Sponsors, federations, and event organizers receive images that work across print, digital, and social — without losing edge.

Architecture & Construction

Buildings under construction and buildings that stand. I document architecture at the point where structure and light meet — for architects, developers, and engineering firms that want more than technical documentation. The result is imagery that shows a project at its best, without distortion.

C-Level Portraits

Executive portraits made for people who do not have time for sessions that go nowhere. I work quickly, with minimal setup, and deliver images that convey authority without stiffness — suitable for annual reports, press, LinkedIn, and internal communications.

Business Storytelling

Companies carry stories that are rarely told visually. I work as a documentary photographer inside organizations — on production floors, at leadership offsites, in the field — and return with images that reflect what actually happens, not a staged version of it.

Campaigns

Concept-driven photography for campaigns that require a defined visual language. I collaborate directly with art directors and creative leads, or develop the visual concept independently for smaller productions.

Aerial & Drone

Licensed drone operations for corporate clients across Switzerland and internationally. Infrastructure, real estate, events, and construction progress — captured from above with the same compositional precision applied to all work.

All projects on request.

Get in touch

Contact

Whether you are interested in a work from the Relief des Lichts series,
looking for a specific edition, or exploring a corporate photography
project — I would love to hear from you.

Get in touch