Kitte Fennestad has over 300.000 (adding more every day!) photographs in her photo-archives today. All taken since she fell in love with a small camera she saw in the window of a junk-shop in Østerbro, in Copenhagen way back in the 60's. Kitte's work takes her around the world. She has visited fourteen African countries including spending several months among the masais in the dry plains of Turkana, Kenya, in the early seventies before the area got invaded by western tourists. She has studied and worked for long periods of time in the United States of America where she holds permanent residence.

Kitte Fennestad photographs,in her own words, as is. That means, no color filters, no set-ups, no long lenses and no cropping the photographs after they have been taken. She believes in close encounters with her subjects and lives where she photographs, f. ex. she has sat on a tottering house roof in Harlem with crack-heads, slept in random groups in the deserts of East Africa and even spent a few nights in the hands of Portuguese authorities in Mozambique.

Kitte Fennestad is mostly known to the public for the series of the Domes photographs of Marmor Kirke (The Marble Church) in Copenhagen and for her many craetive and trend setting bookcovers for the publishing houses in Denmark. Though not her best creation ever, Kitte Fennestad was the brains behind the logo, jacket and layout of the very popular "American Pictures" authored by "the Danish vagabond" Jacob Holdt.

In 1986 Kitte Fennestad received the distinguished diploma of the "Forening for Boghåndværk" (The Danish Bookmakers Association) for her "exceptional work and contribution to the art of book-making" in Denmark. Kitte Fennestad has become an institution in her field and a source of inspiration to young aspiring graphic artists as well as their elderly counterparts.

"As a graphic artist, I have almost always used my own pictures and have always been partial towards using the pictures for themselves. I use the pictures raw - don't crop, don't retouch. It's a principle, not a decision. That's the way it's become: I frame small spheres of reality."