Walde Huth originally wanted to become an actress or a mime, or painter and sculptor, but she acceded to her father’s wishes for her to first study photography under Professor Walter Hege at the States School of Applied Art and Craft in Weimar. There she experienced light as a formative, creative medium and began to enthuse about photography. After completing her studies she started working in the colour film processing division of Agfa in Wolfen. In 1945-1949 she earned a living for herself and her parents as a self-employed photographer doing portrait photography and with photographic assignments. In 1949 she turned to fashion photography and advertising, and in 1953 she opened a studio in Stuttgart. Her work for the Frankfurter Illustrierte provided her with an entry onto haute couture photography in Paris and Florence. This resulted in an exclusive contract with the Frankfurter Allgemeine Zeitung. Walde Huth’s open-air fashion work and her talent for bringing her fashion and architecture into an expressive relationship found great acceptance, and in 1955 she turned down a contract with Vogue. After marring Cologne architectural photographer Karl Hugo Schmoelz in 1956, they worked in their jointly built studio (from 1958 onwards) producing fashion, advertising architectural and furniture photography.
After Karl Hugo Schmoelz passed away in 1986, she gave up his additional large studio and concentrated entirely on making photographs according to her own conception. Her photographic cycles 100 Unwritten Letters, Photographic Modulations, 100 Frozen Steps, Photographic Sequences, Eyed Existence, Aphrodite, Became a Figure or Optical Delicacies exemplify her very individual approach to staged photography, to photographic found objects and to serial photography.