From Harpist to Hollywood Photographer: How Markus Klinko Reinvented Himself—and What You Can Take Away
“Success is never a straight line—it’s a series of reinventions.”
When Markus Klinko’s career as a concert harpist ended abruptly due to a hand injury, it seemed like the end of the road. But instead of giving up, he chose to reinvent himself—becoming one of the most iconic celebrity photographers of the 2000s.
At first, Klinko struggled with transitioning from music to photography. He had no formal training, only a deep curiosity sparked during magazine portrait sessions with GQ and Vanity Fair. Yet, within a few years, he was pioneering digital photography for major brands like L’Oréal Paris and capturing the most famous image of Beyoncé, “Dangerously in Love.”
Here’s how Klinko’s journey unfolded—and what his story can teach you about turning setbacks into opportunities, finding your creative voice, and thriving in a constantly evolving world.
Initial Attraction to Photography: What initially drew you to photography after your hand injury, and how did you transition from being a musician to a photographer?
During my brief career as a young, international concert harpist, and recording artist for EMI Classics, I was often the subject of portrait sessions, including for publications like GQ, Vanity Fair and Harper’s Bazaar.
I developed some keen interest during this time for fashion photography, although I never took any photos myself. This was the 80s and early 90s.
I never expected that my music career would so abruptly end, but just a few weeks after the incident, I was literally hit by an epiphany to become a fashion photographer. To say 'out of the blue', would be an understatement.
Transition from Music to Photography: Your journey from being a harpist to a renowned photographer is quite unique. How did your background in classical music influence your approach to photography, especially in terms of composition and aesthetics?
I am indeed greatly inspired by an overall classic visual aesthetic.
Certainly, my musical background has a lot to do with that.
But at the same time, since I am very interested in all technical aspects of photography, I developed quickly a style that to many viewers today, looking back, seems almost AI generated, despite that of course no such thing existed until very recently.
I was also the first photographer to shoot major cosmetics campaigns for L’Oreal Paris digitally, as early as 2002, and since 1999 I actively collaborated with photography equipment brands such as Fujifilm and Broncolor.
A lot of my equipment I also continuously customize.
Defining the 2000s: Your images have defined the visual culture of the 2000s, especially with iconic album covers like Beyoncé’s “Dangerously in Love”. What do you think sets your work apart and makes it so representative of that era?
I was always most interested in documenting moments in pop culture that would become the milestones of the particular era, and to capture each of my subjects at their very brightest moment.
The 2000s just happened to be the time when many of today’s bigger stars first rose to fame, and I had the chance to create works that helped introduce them in a particular way, which seems to resonate increasingly with audiences as time passes.
That is the reason why I was able to transition into the art world.
Seeing my work move seamlessly from magazine covers onto the walls of art galleries and museums is most exciting for me.
Collaboration with Celebrities: You’ve worked with some of the biggest names in music, film, and fashion. Can you share a memorable experience from one of these collaborations that had a significant impact on your career or artistic vision?
Certainly, David Bowie was one of the most fascinating artists I worked with.
He asked me to shoot his 2002 album cover for Heathen, at a time when all my work was strictly in color.
He asked me to create a series of black & white images, saying he believed that I would excel at the tasks. I was slightly reluctant at first, but got really into the whole Humphrey Bogart type mood, and while I still shot everything on Fuji Provia color film.
I became very excited about creating these black & white versions.
From there on, I frequently used this method, and now many of my most collected works are in black & white!
Artistic Process: Your photographs are known for their cinematic and glossy aesthetic. Can you walk us through your creative process, from conceptualizing a shoot to the final edit, and how you maintain such a distinctive style?
There are countless variations to this process!
These days, I mostly only work with my own concepts from start to finish. The source of inspiration is vast, but quite often involves film references from previous decades.
For the very recent shoot with Holly Madison, I was inspired by two movies in particular, The Eyes of Laura Mars, and Star 80.
I map out many elements prior to my shoots, but at the same time I remain very open to new ideas on the spur of the moment. That spontaneity is absolutely critical to my way of working.
The right choice of camera and lighting equipment is also critical, of course.
I shoot everything with my beloved Fujifilm GFX 100II.
I participated in the early development of this extraordinary camera system. Ergonomics is so incredibly important to me. The GFX allows me to handle any situation very fast. It’s not small, but I use a grip and some rails, and often attach lights directly to the camera.
I used digital postproduction since the mid-90s, years before this became the norm, way before photoshop even really existed.
All these elements in combination contribute to the look that you are referring to.
Impact of Digital Media: With the rise of digital media and social platforms, how do you think the role of fashion and celebrity photography has evolved? How have these changes influenced your work?
I create all my work with the goal to print very large, often 60x80”.
If it looks good in that size, chances are it will look pretty good on a phone too.
So, none of these changes have really had any impact on how I work creatively.
Iconic Album Covers: The cover for Beyoncé’s “Dangerously in Love” is one of your most famous works. What was the creative process behind this shoot, and how did you and Beyoncé collaborate to achieve the final image?
I often said, Beyonce is the most photographed woman on earth, and I took the most famous photo of the most photographed woman on earth!
Beyonce is one of the best collaborators one can wish for!
She intuitively understands what works, and we communicated almost telepathically, moving quickly through various setups.
It was a rare moment of synchronization between a subject and the camera!
Exploring New Mediums: You’ve worked with Paris Hilton, Holly Madison, and Joe Manganiello. How do you approach new projects and keep your work fresh and relevant in a constantly evolving industry?
I never really changed my approach since the very beginning! Ironically, while on the one hand, my goal is to document a relevant moment in pop culture, at the same time I am striving to create a timeless image, and never jump on short lived trends.
Advice for Aspiring Photographers: What advice would you give to young photographers who are looking to break into the world of fashion and celebrity photography? What key skills or mindsets should they develop to succeed?
Key skill would probably be patience. It takes a long time in most cases. And you are only as good as your last shoot, so never become complacent!
To discover more about this intriguing body of work and how you can acquire your own copy, you can find and purchase the book here.
More photography interviews?
We'd love to read your comments below, sharing your thoughts and insights on the artist's work. Looking forward to welcoming you back for our next [book spotlight]. See you then!
