A unique outdoor gallery in Leipzig showcases the life's work of photographer Gerd Lehmann, featuring over 10,000 photographs spanning four decades of analog photography. The 79-year-old photographer has transformed a backyard at Bornaische Straße 158 in the Lößnig-Dölitz district into an extraordinary exhibition space, with approximately 700 images hanging on walls, between tree branches, and on lines, while the rest fill what he calls "rummaging boxes."
Lehmann, recognizable by his black leather jacket and long gray beard, personally greets every visitor who wanders into his courtyard gallery. "Hello, may I give you a brief introduction?" he asks with a mixture of warmth, determination, and casualness that makes it impossible to refuse. He invites guests to take a chair before beginning his story, which dates back to his photographic beginnings in 1969, covering everything from fashion photography to documenting nightclub scenes.
Born in Leipzig in 1945, Lehmann came to photography autodidactically in the late 1960s. His diverse background includes training as a railroad worker and achieving athletic success as a member of the 1963 East German youth cycling team, later becoming district and regional champion in cross-country skiing and Nordic combined events. Before permanently moving behind the camera, he worked as a model and served tables in Leipzig's night bars.
Lehmann gained recognition through fashion and advertising photography, specializing in hairstyles, jewelry, and cosmetics. Unlike the typically cool and distant style of the era, he sought movement, emotion, and naturalness in his work. "I always took relaxed photos," he explains. After spending several years in West Berlin, he returned to Leipzig in the early 1990s to document the nightlife, the Wave-Gothic Festival, and people caught between subculture and everyday life, always shooting in black and white and exclusively using analog film.
The photographer no longer creates new images, citing two main reasons for his retirement from active photography. "My photos depend on capturing quick reactions. I can no longer move quickly, so I miss the moment for the shot. That makes no sense," he explains. Additionally, the economic reality of retirement has made analog photography financially prohibitive. "With my pension, I cannot afford to shoot three rolls of film every day," he notes. However, he has found an alternative: "Instead of photographing with the camera, I now photograph in my thoughts," he says, tapping his forehead.
The decision to create the courtyard gallery arose from practical necessity and personal restlessness. "I've been retired for a long time, and retirement is somewhat boring for me, so I organize exhibitions," Lehmann explains. "And outdoor exhibitions are cheaper." Initially seeking a permanent gallery space, he faced disappointment when a promised location fell through. A friend's spontaneous offer to use his backyard led to the current arrangement, which opened during Pentecost 2025 and has already attracted numerous visitors.
Visitors travel considerable distances to experience Lehmann's work. Ruth, who came specially from Erfurt, has been passionate about photography since childhood when her father had a photo lab and she developed films as a child. She appreciates the authentic, analog nature of Lehmann's work: "Everything real, everything analog. No digitally perfected photos. It feels good to look at this. I'll come back a hundred times!" Local resident Sebastian, who discovered the gallery by chance and brought friends, admires how the photos show "movement and life" and appreciates having "an artistic highlight" in the Lößnig-Dölitz neighborhood.
Lehmann's artistic philosophy centers on capturing spontaneous moments and authentic emotion. "My concern was always to photograph small highlights of everyday life. No celebrities who always strike some pose," he states firmly. "The pose is the beginning of a lie. I don't like lies." This commitment to authenticity permeates his work, which documents style, subculture, and social change through genuine human moments rather than manufactured scenes.
Looking ahead, Lehmann is already working on his next project: an advent calendar where he will unveil a new photograph each day. During the Christmas season until January 6, he plans to open his gallery daily from 2:30 to 5:30 PM, extending beyond his current Friday-through-Monday schedule. When asked about the exhibition's longevity, his response reflects both humor and deep attachment to his life's work: "There is no demolition date. My wish is to die here among my photos. Then, like a pharaoh, I can take all my treasures with me on my last great journey."
The photographer shows no signs of slowing down despite his age and health considerations. As new visitors arrive at his backyard sanctuary, he immediately shifts into his welcoming routine: "Hello, take a chair, this will take a moment," he says with his characteristic determined friendliness. The continuous stream of guests ensures that Lehmann's photographic legacy continues to find new audiences, preserving decades of analog artistry for future generations to discover and appreciate.
