I finally tracked down a library copy of his book Totenstill - or Deathly Still - as the English version is called (unfortunately out of print from Steidl). Reinartz spent eight years photographing the sites of 26 of the Nazi Concentration Camps spread across Europe.
While the book does have some such photographs, there are many more that are of what either remains or has been reconstructed of the concentration camp. More often than not we are given fragments of these. And every one of these fragments seems to resonate. There are the heather and birch tree lined paths of Bergen-Belsen and a portion of one of the many raised mounds that cover the ground - but he never gives us the didactic stone facing on their fronts with their "HIER RUHEN 5,000 TOTE. APRIL 1945".
The almost manor-house-like main building at Flossenberg, where the brilliant German theologian Dietrich Bonhoeffer was executed for his opposition to Hitler and his part in a the bomb plot to assassinate him.
There is a white tiled autopsy table.
Or the record room at Theresienstadt, with it's neat rows of index card filled pigeon-holes
And there are hooks. What are taken for ordinary hooks in walls - coat hooks, tool hooks - and indeed, some probably are just that. You don't notice them at first. On the edge of one picture here, the top of another here. And the realization comes, almost imperceptibly, that some are far more than just "ordinary" hooks. Such a mundane, everyday thing, almost unnoticed, yet a thing that can be imbued with such a sense of horror and disgust.
It is indeed a very "Still" book, but it is one in which the tension of dread and abhorrence gradually rises to the surface as the book proceeds. Yet the sense of stillness remains as a bass line.
Totenstill is also a book this isn't easily put down.