she used a large format 4×5 inch Linhof Technika view camera, unusual for a documentary photographer
When Hofer was eleven her family fled Nazi Germany for Switzerland. She decided she wanted to be a photographer and set about it methodically. She began with an apprenticeship at the Studio Bettina, a portrait studio, and took private lessons with Hans Finsler, one of the pioneers of the "New Objectivity" movement.
Hofer's studies covered everything from photographic technique to art theory. She didn't just learn composition and the underlying theories of aesthetics, she also learned the chemistry involved in producing prints. Beginning in the early 1960s she became one of the first fine art photographers to adopt the use of color film and the complicated dye transfer printing process as a regular practice. Throughout her long career, Hofer continued to shoot in both color and black and white – determining which was the more apt for the picture at hand.
Hofer's studies covered everything from photographic technique to art theory. She didn't just learn composition and the underlying theories of aesthetics, she also learned the chemistry involved in producing prints. Beginning in the early 1960s she became one of the first fine art photographers to adopt the use of color film and the complicated dye transfer printing process as a regular practice. Throughout her long career, Hofer continued to shoot in both color and black and white – determining which was the more apt for the picture at hand.
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