Peter Tögel

@ptogel.wsocial.eu

20 Followers 60 Following

Photographer, UAS Pilot, Mentalist, Magician, Actor, Speaker, Teacher, Artist, Follower of Jesus, Husband of Karen, Father.

A wide, composite-style horizontal photograph set against a tall, stone retaining wall topped with green foliage. Across an asphalt road, a groom wearing a gold Sherwani, red trousers, and a matching turban is composited four times in sequence, stepping from left to right. On the far right, his final figure reaches out and embraces the bride, who wears an ornate red and gold embroidered lehenga while smiling warmly. Chronology of the Approach highlights the visual narrative technique, framing the image not as four distinct men, but as a single groom's movement across space and time toward his bride.
A black-and-white photograph capturing a bride and groom seated at an embellished sweetheart table during a reception. The table is adorned with floating candles in tall glass cylinders, calla lilies, rose petals, and a central heart-shaped ornament. On the right, the bride wears a beaded gown, holds up a champagne flute, and laughs joyfully with her head tilted back and arm raised. On the left, the groom in a tuxedo and glasses smiles warmly while looking downward. Large windows behind them reflect the ambient room lights and guests celebrating in the background. Quiet Contemplation vs. Exuberant Joy highlights the striking emotional contrast between the groom’s gentle, downcast smile and the bride’s open-mouthed, triumphant celebration, all echoed through the dark reflections in the window behind them.
A monochrome, bird's-eye-view photograph looking down at four groomsmen lying side-by-side on a wooden parquet floor in the aisle between rows of empty chairs. Photographed from directly above, the men lie on their sides with bent knees and raised arms in synchronized, running-like poses, creating the visual illusion that they are leaping horizontally through an empty auditorium or chapel. The Aisle as a Flat Plane stands out because it highlights the perceptual trick of the aerial perspective—converting a traditional, sacred walking space into a two-dimensional stage where gravity is rotated ninety degrees.
An overhead bird's-eye-view photograph capturing a couple lying on a patch of grass heavily covered in vivid, multi-colored powder. The surrounding lawn explodes in shades of bright pink, yellow, orange, cyan, and deep blue. Positioned at the center of the color burst, the man and woman reach out toward each other, holding both hands, their clothing and faces stained with the bright pigments. Topography of Pigment and Vow frames the aerial shot as an abstract map, treating the vibrant bursts of powder as geographical landmasses and the couple holding hands at center as the solitary axis around which the color expands.
A surreal, low-angle forced-perspective photograph looking up through a human archway formed by two men standing closely together in the extreme foreground, cropped at the chest. One man's hands rest over the other's lower abdomen as their legs frame a window to the background. Through this portal, a bride and groom kiss on a grassy hill, flanked by two women in red dresses under a muted sky. The Structural Union highlights how the physical overlap of the two men's bodies—hands meeting hands and legs intertwined—creates a literal human doorway that frames and holds the romantic scene happening below.
A wide, vibrant photograph of a large wedding party and guests dancing enthusiastically in an ornate ballroom. On the blue dance floor decorated with pink art-deco building outlines, people in formalwear, including metallic dresses and dark suits, throw their hands up and dance toward the camera with expressive, joyful reactions. Illumination of the Kinetic Choir fits best because of the wild, expressive energy of the dancing crowd.
A dramatic, high-contrast silhouette photograph set against a vivid sunset sky transitioning from deep orange at the horizon to dark royal blue above. On an open airfield, a vintage single-engine propeller airplane sits parked in complete shadow. Standing on the wing to the left of the nose cone, the dark silhouettes of a man and woman embrace and kiss, backlit by the fading twilight. Static Flight for Two captures the poetic tension between the mechanical readiness for motion—represented by the propeller plane—and the completely still, grounded intimacy of the silhouetted couple framed against the twilight.
A highly stylized group portrait of a wedding party posing in a modern, upscale interior with geometric carpet and a large abstract painting on the wall. At center, the bride sits on the floor in a massive, sprawling white ballgown, looking stoically at the camera. Surrounding her, five members of the bridal party in sleek black sequined dresses and dark tuxedos—along with the groom in a burgundy jacquard tuxedo jacket—pose in various editorial, high-fashion stances, all maintaining distant, solemn expressions. Monarchy in Black and Tulle emphasizes the editorial, regal tableau created by the group—where the exaggerated volume of the bride's white gown serves as a sculptural throne amidst the sharp, dark geometry of the surrounding party.
A dimly lit indoor portrait set in an industrial-style space with exposed brick walls and warm, glowing cage-style pendant lights in the left foreground. A bride in a detailed white gown and a groom in a grey suit and patterned bowtie lean across a rustic wooden dining table to kiss. The table is set with plastic water cups and wooden boards containing small appetizers, including deviled eggs and charcuterie. The Deviled Egg Paradox leans directly into the visual absurdities of high-end, gallery-style critique—juxtaposing the formal ritual of a wedding kiss with plastic cups, deviled eggs, and charcuterie on a wooden tabletop under warm industrial lighting.
A soft-focus, warmly toned photograph capturing a bride and groom embracing and holding hands in an indoor space. The image is framed through the foreground glass droplets and light reflections of a crystal chandelier, partially blurring and obscuring the couple. The bride wears a strapless gown, tiara, and silver jewelry while smiling up at the groom, who wears a dark suit with a light-colored boutonnière. Metallic fan-like leaf decorations hang on the plain wall behind them. Prism of the Private Void centers on how the chandelier’s heavy glass elements physically obstruct and fragment the viewer's gaze, turning a classic, intimate moment into something voyeuristic, distant, and hyper-mediated.
A wide, bright outdoor photograph set on a lush green lawn in front of a white, multi-columned historic estate. On the left, a woman wearing a white wedding gown embellished with bold red floral embroidery leans forward, attempting to walk away. On the right, a man in a pink dress shirt, grey vest, and dark trousers lies prostrate on the grass, reaching out with both hands to hold onto the hem of her dress. Tethered to the Southern Ideal frames the scene's playful struggle against the grand plantation-style architecture in the background, questioning whether the resistance is to the relationship itself or the weight of traditional institutional expectations.
A sepia-toned, Dutch-angle photograph featuring a bride and groom sitting together on a large, horizontal tire swing hanging suspended outdoors. Strong backlight illuminates the bride's hair and white lace dress as she sits in the groom's lap, gripping the support ropes as they share a kiss. The bride is barefoot, and a warm glow washes over the dark background. Rotational Sentimentality highlights the mechanical, industrial nature of the tire swing juxtaposed against the soft, highly curated romantic ideal—treating the romantic gesture as something bound to a recurring, cyclical apparatus.
A wide, high-contrast winter landscape photograph showing a bride and groom standing together beside a teal wooden picnic table on a snow-covered bank edge. A calm body of water stretches behind them, reflecting bare, snow-dusted trees along the far shore. The bride wears a voluminous white gown with a faux-fur shawl, holding a colorful floral bouquet, while the groom stands beside her in a tweed jacket and red tie as they smile at each other amidst the frost. The Picnic at Sub-Zero stands out for its subtle absurdity, drawing attention to the vacant green picnic bench marooned in a frozen wasteland and the surreal clash between cozy leisure furniture and a high-stakes, freezing wedding ceremony.
A surreal, wide shot set on a patch of grass in an urban environment featuring modern concrete and brick buildings. A woman in a pink-and-white patterned dress and black heels appears to float perfectly horizontal through the air, reaching out with both hands. A man in a grey suit, tie, and blue-and-purple socks crouches low on the grass, reaching out with an open expression to catch or guide her landing. Low Clearance Levitation directly riffs on the literal "WARNING: LOW CLEARANCE" sign posted on the industrial parking garage in the background, framing the woman’s impossible, horizontal float as a spatial hazard within an urban landscape.
A high-key, cropped photograph of a couple in formal attire posed with a vintage fighter jet on an airfield. In the foreground, a bearded man in a black tuxedo and large aviator sunglasses looks impassively off-camera, his face hidden behind the mirrored reflection of the hangar. Behind him to the right, a woman in a deep reddish-purple gown slumps against the jet's wing, her head down in a posture of profound exhaustion or despair, completely out of his line of sight. Monument to Post-Heroic Solitude deconstructs the traditional icon of the bold aviator. The man is not a pilot in action but a monument to a closed identity—immobile, reflective only of himself—leaving the woman to mourn the 'hero' that never arrived.
A stark black-and-white photograph, framed by out-of-focus foliage, captures a newly married couple kissing during their outdoor reception. They are in a close embrace. However, the background is a tableau of profound disconnection: no one is watching the kiss. Guests stand in groups with their backs turned or look away, and two young children on the left stare blankly at nothing, creating a chilling, fragmented atmosphere within the frame. Unbecoming a Union captures the central tension: while the physical kiss of marriage is happening, the entire community (and arguably, the couple’s own focus) is visually disintegrating, suggesting the "unbecoming" of the event even as it is celebrated.
A low-angle, cropped photograph focusing on the lower legs of two people standing in a grassy field in front of a wooden split-rail fence. On the left, a person wears blue jeans and dark leather dress shoes. On the right, a person in a light blue dress poses in ornate brown leather cowboy boots with purple stitching, lifting one heel. Situated directly between them on the lawn is a fresh, substantial pile of animal manure. Composition with Residue dryly frames the crude subject matter through formalist art jargon, creating an absurd contrast between high-concept gallery pretension and an unedited, earthy reality.
A wide shot of a couple sharing a kiss on the asphalt directly under the front bumper of a red and white City of Atlanta Engine 19 fire truck. The man lies flat on his back on the street, while the woman leans over him. The fire truck dominates the background with its front doors propped open, parked on a city street beside a stone wall under bright sunlight. Interruption of the Utility plays on the subversion of civic infrastructure—replacing the urgency and function of an active municipal vehicle with an intimate, performative pause directly beneath it.
A high-contrast profile portrait set against a pitch-black background showing a shirtless, muscular Black man wearing small, round tinted sunglasses. Drops and splashes of liquid freeze in mid-air around his shoulders and torso, catching dramatic studio lighting as he gazes stoically over his shoulder. Image captures the tension between the dynamic, chaotic movement of the water droplets and the unwavering, solid posture of the subject.
Black and white close-up portrait of a young couple standing face-to-face against a rustic wooden barn wall. The man wears a plaid button-up shirt and smiles gently down at the woman, while she holds onto his shirt collar, leaning in with her forehead nearly touching his. The moment elevates a classic, intimate black-and-white portrait into a gallery-focused piece by highlighting the textural relationship between the weathered wooden structure, the detailed plaid weave, and the monochrome contrast.
A couple stands close together in an embrace on an overpass bridge at night against the illuminated city skyline of Atlanta. The man wears a dark suit, and the woman wears a fitted burgundy gown. Behind them, glowing skyscrapers, lit highway lanes, and city lights fill the dark night background. Image delivers a sophisticated gallery feel by placing equal weight on the massive, geometric grid of the Atlanta skyline and the delicate, personal connection of the couple stationed on the overpass.
Eerie gothic-themed wedding photo set at night with a cool blue cast. A bride dressed as the Corpse Bride with skeletal arm details stands next to a groom with prosthetic face makeup and a tuxedo. They pose outdoors near tombstones, glowing candles, a "Ghosts and Ghouls" sign, and a skeletal dog at their feet. Image gives the elaborate, Tim Burton-inspired tableau a sophisticated fine-art title, elevating the high-concept cosplay and dramatic nocturnal lighting into a serious, gallery-ready piece.
Black and white overhead shot looking down a grand staircase covered in a dense floral damask carpet. A bride in a strapless dress and a groom in a suit lie together across several carpeted steps, resting in an embrace as he kisses her forehead. The image captures the raw reality hiding beneath high-society aesthetic polish—using the dramatic overhead angle to make their static, lying-down pose feel less like a casual rest and more like an intentional surrender to the day.
A high-contrast silhouette photo of a bride and groom facing each other closely, poised as if to kiss against a vibrant orange and yellow sunset. To their left, the dark silhouette of a helicopter is visible, with its long rotor blade extending horizontally across the sky directly above them. It delivers an edgy, high-stakes cinematic quality that subverts the traditional romantic sunset silhouette by grounding it alongside the stark silhouette of a military-style helicopter.
A wide-angle photo showing the same couple three separate times across the base of a white brick wall painted with a massive red Coca-Cola logo. On the left, the man lifts the woman in his arms; in the center, she rides piggyback on his back; on the right, they hold hands in a dynamic dance pose, all while wearing matching vibrant African style print outfits. It leverages the famous corporate tag line to highlight the three sequential moments of genuine, unscripted affection displayed by the couple across the wall.
Studio pin-up portrait of a woman styled in 1950s rockabilly fashion sitting on a metal barstool against a plain studio background. She wears a red Coca-Cola crop top, blue high-waisted shorts, a red bandana in her hair, and red plaid wedges. She holds a small American flag in one hand and tilts her head back to drink from a glass bottle of Coca-Cola. The photo leans heavily into mid-century Americana stereotypes—the rockabilly hairstyle, Coca-Cola crop top, tiny flag, and pin-up pose—making the title a thought-provoking critique of idealized mid-century consumer culture.
Photo taken from the interior of a vehicle looking through the driver and passenger side windows of a driving SUV. Framed within the SUV's cabin window, a man and a woman in a purple top are kissing on the sidewalk outside a illuminated diner storefront, with the hair of a passenger visible in the immediate foreground. It captures the layered, double-window framing—shooting from inside one car, through both side windows of an SUV, to capture the couple on the street—while subtly referencing the hidden, untraceable nature of the photographer's perspective.
Surreal photo of a bride levitating in mid-air several feet above a brick patio, holding a single red balloon. She wears a vintage white tea-length gown and vibrant red high heels, hovering suspended in front of a Tudor-style building with no visible support beneath her feet.
Four groomsmen and the groom in matching beige suits stand along a rusted metal fire escape against a weathered industrial building wall. The second man from the bottom has a black censorship box obscuring his waist area as he appears to be urinating off the staircase, while the rest of the party poses along the steps.
Fully clothed bride and groom sit facing each other inside a bright red clawfoot bathtub set on a dark pattern carpeted floor. The bride wears a white gown with an orange flower in her hair, and the groom wears a tuxedo with a funny expression as they hold water glasses against a backdrop of gold curtains and brass fixtures.
A couple dancing dynamically on a sandy beach during sunset, framed inside a glowing circular lens flare halo. The woman wears an embellished silver sequin gown, while the man wears a white button-down shirt, dark trousers, and tips a fedora hat toward her against the calm ocean backdrop.
A stylish couple poses in front of a classic silver Aston Martin DB5 against an ancient European hilltop city skyline under a moody sky. The man wears a tuxedo, sunglasses, and holds a small handgun, while the woman wears a glamorous off-the-shoulder red dress with a thigh-high slit, resting her hand on his shoulder.
Five groomsmen wearing light beige suits stand in a neat row against a beige outdoor wall, each rolling a large blue plastic trash can in unison, creating a humorous, assembly-line appearance.
Black and white photo of a bride and groom laughing together inside a rustic barn. The bride is lifting the front of her voluminous strapless wedding gown to let air from a large metal floor fan blow underneath it, revealing her wedge shoes and petticoat.
This one’s warm, funny relationship comedy — the bride kissing the officiant on the cheek while the groom, standing right beside her, looks over with a raised eyebrow and pretends to fuss with his boutonniere instead of reacting.
This one’s a candid, funny reveal moment — three couples kissing at once in the background, a bridesmaid front-left rolling her eyes with a deadpan “here we go again” look, and a groomsman leaning off to the side about to kiss a mop for some reason.
This one’s raw and joyful — a bride mid-Haldi ceremony, turmeric paste smeared across her face and shoulders, eyes closed, laughing as hands reach in from every side to apply more, marigold-and-jasmine garlands around her neck.
This one’s grand and formal — a groom in traditional cream and orange attire climbing steps toward an ornate white temple, the bride waiting above in a matching pale lehenga with an embroidered veil, both smiling at each other across the distance.
A nighttime shot of an apartment building facade, most windows dark, only two lit up with a couple visible in silhouette inside, everything else in deep teal shadow. Two lovers.
Six people are documenting this exact second from six different angles, which means this kiss exists more as evidence than as a private moment — it was never really private to begin with, it was built to be recorded. That’s the actual irony: the most intimate image in the whole book is the one with the most witnesses.
This one’s a striking cultural moment — a groom in richly embroidered red and gold traditional wedding attire, lifted horizontally overhead by a group of groomsmen in matching purple silk kurtas with red scarves, arms raised toward the ceiling.
This one’s a straightforward, striking fashion/editorial portrait — a man in an open gray suit, no shirt, tie hanging loose, someone’s hand gripping his lapel from behind, distressed graffiti wall backdrop.
This one’s genuine and sweet — parents kissing off to the side, unbothered by the camera, while the bride and groom stand together laughing at something out of frame, completely different energy on each side of the shot.
This one’s warm and easy — a horse leaning in to nuzzle the bride’s bouquet while she laughs, the groom smiling beside her, soft green woods behind them.
This one’s a fun perspective trick — shot low through the legs and fur of one dog standing right up close to the camera, with the couple hugging and laughing softly out of focus in the background among fallen leaves.
This one’s simple and elegant — a bride’s face nearly hidden behind her own bouquet, while four bridesmaids’ arms reach in from both sides holding matching calla lily bunches, framing her like a burst of white petals.
This one’s playful and cheeky — just a bride’s bare feet peeking out from under a huge pile of ruffled tulle, jammed in a doorway like the dress won a fight with the frame.
This one’s raw, genuine chaos — a big wedding party crowded together under a draped purple canopy, someone doing bunny ears behind the groom’s head, the bride pretending to be unimpressed, everyone else caught mid-laugh or mid-goof.
This one’s a fun geeky Star Wars nod — a bride in a lace wedding dress carrying a delicate parasol, with a blurred R2-D2 unit sitting in the grass in the foreground like it wandered into the wrong movie.
This isn’t a romantic couple moment, it’s a mother and her son sharing a tender embrace on her wedding day. The closeness that looked romantic at first glance is actually something quieter: a mother making sure her son is still close to her even as her life is changing.
This one’s simple and striking — a bride lying on a huge pool of white fabric, arm raised with a bouquet, hair fanned out dramatically like it’s caught mid-motion.
The bride — fully dressed in her wedding gown, in a bathtub, drinking champagne — that’s not relaxation, it’s a small act of rebellion against every rule about how a wedding day is supposed to go. Nobody told her the dress had to stay pristine and off the tile.
This one’s simple and charming — three sets of legs and feet lined up side by side: a horse’s front legs, a woman’s legs in cowboy boots, and a man’s legs in jeans and boots, all facing the same direction in a sunny pasture.
This one’s a full ensemble family portrait — a whole wedding party arranged around a tall stone chimney, one groomsman perched above them all like he claimed the best seat, the bride’s train sweeping across the ground in front, everyone’s expressions ranging from posed to genuinely amused.
This one’s cinematic bar-scene energy — five groomsmen crowded around a pool table mid-shot, one leaning in to take the shot, others fist-pumping and cheering, cigar or cigarette smoke drifting through the light, black-and-white grain giving it a classic noir feel.
This one’s got a fun, almost secret-agent quality to it — a couple manipulating an elaborate fire suppression valve system together, tagged parts everywhere, each of them working a different control like they’re defusing something rather than posing for a photo.
This one’s a delightful visual gag — a cow reaching in to sniff/nibble a bride’s bouquet of yellow flowers, both her and the groom laughing, completely charmed rather than startled.
This one’s pure comedy — a groom sprawled backward over a running lawnmower, bouquet flying, bride laughing and tugging his coat, a rustic wooden arch decorated with white flowers behind them.
This one’s intimate close-up detail work — two sets of bare legs and feet, a shirt crumpled on the floor between them, her red-painted toes touching his calf. Quiet, sensual, no faces needed.
This one’s tender and a little funny — a couple kissing in a barn doorway, and the horse leaning in to nuzzle her boot at the exact same moment, like it wants in on the affection too.