Black Forest, 2019 – Ongoing
At an altitude of nearly 1,500m, the Feldberg is the highest mountain in the Black Forest, located in southwest Germany. In 1908 the world’s first ski lift went into operation in Schollach, powered by a local watermill. The evolution of a winter sports industry altered this region into a large recreational area; tourism has become the main source of revenue. Featuring a subalpine climate and favourable snow conditions, the Feldberg has become a popular destination with a dense network of lifts and slopes.
As a consequence of climate change, rising air temperatures reduce snowfall and lead to earlier melting of snow. For skiing and snowboarding as little as 20cm of snow may be sufficient. Responding to a lack of natural snow, resorts worldwide, as well as in the Black Forest, invest in snowmaking facilities to extend the season. Artificial snow consists only of water and cold air. Chemicals in man-made snow are strictly banned in Germany, as they affect vegetation and soil. Despite technological advances, there is still environmental concern because of the huge energy and water consumption.
Christina Stohn’s early years were spent skiing on the wintry slopes of the Black Forest. These experiences led to this photographic response to the rise in global temperatures, as it impacted on the locality. Today the artist is sharing some of the works and ideas of this ongoing project here with Photomonitor readers.
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Christiane Monarchi: It’s early December and thoughts turn to snow. I am intrigued by your project ‘Let It Snow’ as I now have a glimpse of the reality behind managing winter sports locations in times of rising temperatures as well as growing tourism. What was the starting point in your investigation of Black Forest ski resorts, was there a first image that set you in motion with your research?
Christina Stohn: Many thanks for your interest in my work, Christiane. I am very pleased to share my thoughts with you. The project ‘Let it snow’ started in earnest in 2019; on New Year’s Day I took the first image titled Wasen-Skilift in Muggenbrunn, Germany. I returned to the Black Forest in the previous autumn. I was born in this region, but I had not lived there for more than a decade. In 2018 I graduated from the University of the Arts Bremen with ‘Höllental und Himmelreich’, addressing themes of folklore and deep-rooted customs. For five years I engaged with these topics, but I felt this artwork was finished. Regardless of the completion status, I was startled to see just remaining patches of white slopes winding their way across brown pastures at that time of year. In the past, around Christmas used to be a peak time for winter sports. Having grown up skiing on wintry slopes, this was the starting point of my research: a photographic response to global temperatures rise at a local level. Similar to my prior long-term project, my main focus is neither on tourism nor commodification. In the long term I aim to achieve a balance between ecological, technological, economic and social aspects.
CM: The world’s first ski lift was built on the Feldberg in 1904, now hundreds of thousands of passengers can travel around the Feldberg pistes every hour on 62 different lifts and magic carpets. Generations of engineers have constructed an impressive amount of technical equipment necessary to care for snow management with all this activity, but only if the weather is right; in this selection of images we consider early, late and unsatisfactorily barren snow conditions. What has engaged you to photograph the mountain in these states?
CS: My interest in landscape photography started when I was studying for my BA at the University of Westminster. In their library I discovered the book ‘Vanishing Landscapes’ by Nadine Barth which left a lasting impression. As you just accurately described, a man-made space that undergoes environmental change has engaged me to photograph this series. Even though the transformation processes in the Black Forest may not seem that severe like in glacial regions yet. The impact of climate change is inevitable; the future winter sports industry will be strongly influenced by it.
In preparation for this conversation, I browsed through my archive and noticed I already photographed about 5000 winter images in the Black Forest, ca. 500 snowmaking machines alone. The inversion weather conditions on the Feldberg make it hard to predict what to expect trawling through the resort. Indeed, I photographed a lot of winter enthusiasts within snow-covered landscapes below a perfect blue sky. I prefer a lack of crowds on grey days with flat even light instead of dramatic shadows. Unlike most, I quite like the cold drabness of winter. I feel serene stillness in a white open space, but natural snow will become an invaluable commodity. The production of artificial snow is likely to increase in ski resorts.
CM: I’m curious about the people in this resort, and in this series. So far in the images you have shared with me, I may glimpse small figures at work, or a few engaged in far off and somewhat lonely skiing. Compared to some of your previous ways of working in series, where portraiture and personal testimony figured strongly within the project, here we haven’t seen this yet. Will you add some portraits, or may I proffer a narrative reading here as told by the mountain itself?
CS: I needed a moment to ponder on this thoughtful question. To be honest, I have not made up my mind whether to include portraits or not. You are right, my other series provide an overview of various surroundings through a mixture of landscapes, interiors and portraits which contribute to an overall narrative. Currently, my ‘Let it snow’ edit shows little direct human activity. Yet it describes people’s relationship with nature, so they reflect mankind. Due to global warming, we witness a vast change under way. In the 1980s Roland Barthes asserted in ‘Camera Lucida’ that a photograph is witness of “what has been”, something that does not exist anymore.
I already portrayed several winter sport enthusiasts, but I feel these photographs may be focusing too much on individual characters. Usually, I like to spend time with protagonists and interview them too. Constructed documentary photography requires patience from a sitter; a busy ski resort is not the ideal place for this procedure. In the meantime, I rather stick to tiny human figures within a landscape which lend a sense of scale.
CM: Thank you for these answers, they have also made me think. In the time of the COP 28 meeting and the current difficulties in the world, it seems the most relevant and pressing time to consider how we live together sustainably with our planet. I would imagine you may keep contributing to this series in many years to come; what would be your plans for bringing this work and its messages to a wider audience in the future?
CS: Thank you very much for all these thoughtful considerations! I completely agree, it is time to take drastic action. Sustainability is one of the major concerns, but not only the environmental issues we face are enormous. I can imagine bearing witness to a changing environment over a longer period will take its toll. There is even a psychological term called eco-anxiety.
However, I aim to continue documenting the future of the Black Forest ski resort. I will certainly work on publishing ‘Let it snow’ as a book or an exhibition, but good intentions require funding.
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Christina Stohn trained and worked as a commercial photographer for Gieske Studios, specialising in interior and still life photography. In 2014 she graduated from the University of Westminster with a BA in Photography (First Class Honours). She also completed an MA in Integrated Design (Distinction) which encompassed both photography and graphic design at the University of the Arts Bremen in 2018.
Christina is based in Freiburg, Germany. As a freelance photographer, she divides her time between self-initiated projects and working on editorial and commercial assignments. Her personal portfolio focuses on themes of collective identity and specific forms of cultural expression, both in urban and rural environments. Her work has been published and exhibited internationally. As an Adjunct Professor, Christina is currently teaching the course ‘Photographing Identity’ at Indiana University.
Notes to images above:
Wasen-Skilift, Muggenbrunn, Germany, 2019 © Christina Stohn
A strip of snow left at the Wasen-Skilift at an altitude of 1,000–1,170 meters in Muggenbronn, Germany. With the lifts not in use, winter sport enthusiasts mainly do cross-country skiing or sledging on the remaining snow on the slope.
Snow Making, Feldberg, Germany, 2019 © Christina Stohn
Before the lifts can open, slopes need to be prepared. It takes some days for natural snow to settle. Therefore, nearly every ski resort relies on artificial snow to boost its base depth. Employees inspect the snow guns and their components to ensure that they are precisely calibrated. Plans are being discussed to further develop the area around the Feldberg, Germany for winter sports. Amongst other things, it is about more modern snowmaking systems with appropriate water reservoirs. Environmental protection organisations criticise this intention.
Snow Maker, Notschrei, Germany, 2020 © Christina Stohn
This artificial snow maker beside a ski lift at Notschrei ski slope in Germany is not in use because the air temperature is too high. A certain amount of natural snow and a dry bulb temperature of up to +3°C with very low air humidity is required for it to work.
Car Park, Feldberg, Germany, 2020 © Christina Stohn
In 2015 an investor fund financed 15 million euros for the construction of the multi-storey car park, at the base of the Feldberg mountain. To avoid waiting times, visitors can secure one of the 1,200 desired parking spaces via an app in advance. Also, it provides features such as heated ski depots. The car park is controversial with environmentalists due to the winter warmth and the lack of water for the ski cannons throughout the Black Forest. They called for an extension of public transport instead.
Gondola Lift, Belchen, Germany, 2022 © Christina Stohn
As the winter season draws to a close, skiers and snowboarders exploit the remaining patches of snow, heading towards the Belchen valley station at an altitude of 1,100 metres (3,600 ft.). This cable car is located in the Black Forest, Germany and runs its 23 gondolas throughout all the seasons. Consequently, this has also freed the picturesque Belchen mountain from the burden of car traffic.
Snow Cannons, Feldberg, Germany, 2023 © Christina Stohn
Rising air temperatures, brought on by climate change, have led to a reduced snowfall and early melting of snow. Consequently, the Black Forest ski resort relies on artificial snowmaking. At the end of the winter season, snow cannons are collected to be securely stored. During off-season the Black Forest resort transitions: Slopes are used as pasture for farm animals and trails are popular amongst hikers
