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Growsmore fexible
with age.The new CFV-39 eatures a sensor that is twice as large as leading
35mm DSLRs and matches the iconic design o your V System
camera perectly. The CFV-39 allows you to choose between two
image ormats, 29 megapixel square (5412 x 5412) and 39 mega-
pixel rectangular (5412 x 7212 pixels) and can also be used with
traditional view cameras. The CFV-39 is compatible with the 202
FA, 203 FE, and 205 FCC models, eatures ISO speeds rom 50 to
800, and a capture rate o 1.4 sec per capture with 39 captures
per minute. The Hasselblad CFV-39 transorming your V System
flm camera into a high-perormance digital workhorse.
www.hasselblad.com/cv39-reurb
Free Factory Reurbishment
with purchase o CFV-39
I you purchase a CFV-39, we
will make sure your old work-
horse is up to the task, giving
you a complete overhaul o your
camera body, and a 6 month lim-
ited warranty. To fnd out more
about the details and to take
advantage o this limited oer
(valued at 285 Euro), log onto
our website.
K
EVIN
THEN
H
ANSSTRAND
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04 >> newsIn an interview with Hasselblads new CEO Dr. Larry Hansen, and
rector of Product Management Peter Stig-Nielsen, they explain wh
expect from Hasselblad in 2010; and why its all about the best pic
06 >> alberto peroliIn October, 2009, the Italian photographer documented Smile
a social project in Bangladesh. Using an H3DII-31, he produced s
impressive photos of everyday life in slums, schools and hospital
20 >> HigH fiveWhich photographers have made it to the top? International
advertising agencies present their five candidates for the pantheo
of the best (commercial) photographers in the world.
22 >> Mark zibertPure dynamics Canadian photographer, Mark Zibert, captured
the Chinese masses and their sports idols, as part of a large-scale
Adidas campaign for the summer Olympic Games in Beijing.
32 >> peter MatHisThe pictures by Hasselblad Master, Peter Mathis, capture the
Austrians delight and fascination for sports and action, alwaysshowing the decisive moments of peak human performance.
36 >> previewWhether photographing a real or a staged wedding, the
Australian, Rodney Hobbs, always captures the most beautiful
day in a persons life in sensitive, pathos-free pictures.
It is incredibly simple to be-
come a Hd M: just
a nanosecond in time and unique
photographic talent is all it takes
to become part of Hasselblad
history. The reality, however, is that most photog-
raphers do not have what it takes; but the select few
who possess the elusive x factor can look forward to
a great future in photography.
In the spring of 1940, the Swedish government
approached thirty-four year old Victor Hasselblad and
asked him if he could reproduce a camera identical
to one conquered from Germany. His answer was,
No, but I can make a better one. Victor immediately
went about establishing a camera workshop, set up
in a shed in a car repair shop in central Gothenburg.
Right from the very beginning, Hasselblad began
producing h cm d ym, inspi-
ring and cooperating with the most talented photog-
raphers in the world. These include landscape
photographer, Ansel Adams. In the mid 1950s, he
photographed the then-isolated Yosemite Indian
reservation taking black and white images that are
today considered historic, while still remaining just
as vibrant and beautiful as when they were taken.
There was also the young Annie Leibovitz, who
worked her way behind the scenes to portray the
worlds greatest rock icons and pop stars among
them John Lennon and Yoko Ono in their New York
apartment in the Dakota building, on that fateful
December day, in 1980, when John was shot.
Annie Leibovitzs photography will be seen and appre-
ciated by generations long after we are gone; and the
best bit is that she continues to be a very active
photographer a supreme heavyweight who is still
producing plenty of new work.
Very soon well be celebrating another generation
of Hasselblad Masters though they are no longer
selected by Hasselblad itself. In the middle of January,
2010, h x m all possessing
the famous x factor will be in the spotlight. The
amazingly talented photographers went through one
of the toughest international photo contests around:
the Hasselblad Masters Award. 15.000 images were
submitted from all around the world. These were then
processed and judged by two international juries
as well as the general public who had the right to cast
votes , which finally resulted in the selection of this
years ten Hasselblad Masters. This means that we can
confidently say that those selected are the real thing
they are all truly Hasselblad Masters.
And now the ten photographers can expect a lot
of work: to start with, over the next months, they
have to produce pictures for the Hd M
b, Volume II Emotion, which will be published
in September. In addition they will be busy with
numerous photo exhibitions around the world
including the Visual Gallery at photokina , where
visitors will be able to enjoy their impressive work.
All this and more, because these photographers have
outstanding talent and only needed a nanosecond to
capture a unique moment in space and time.
We hope you enjoy the new issue of VICTOR online.
Yours,
Christian Nrgaard,
Photographer Relations Manager Hasselblad
EDITORIAL CONTENT
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victorNews
determined to build the bes
P s-n,dc f Pc m
d. l h, wpp Ceo f h
digital innovation is tied in with our
photographic virtues, and is at the
core of all we do.
Our basic business model has
changed too. In the past, our cam-
eras were made up of modular bodies
onto which you could attach lenses,
film magazines, and viewfinders.
Moving into the digital age we have
had to change our business model in
such a manner that our modern cam-
era platform, the H1, has become
Hasselblads DSLR camera line, rath-
er than a camera body for every 3rd
party digital back vendor to use. This
move has secured our strategic posi-
tion for the future, but it has created
difficulties in our customers percep-
tion of the brand; they have claimed
that we locked out 3rd party prod-
ucts to achieve our business goals.
ViCtor: What does this mean for
the customer? What happened to
customer relations during the move
from a world of film to the DSLR
world?
hansen: First of all, that we will stay
close, even closer to our customers. I
have seen letters from Victor Hassel-
blad to Ansel Adams, where he refers
to product refinements dated back to
1968, and I have met Buzz Aldrin and
learned how Victor Hasselblad per-
sonally followed the development of
the Lunar camera very close ly.
In the first chaotic years of our
digital transition, we succeeded
by focusing very narrowly on the
needs of the very high-end profes-
sional photographer, but I believe we
missed out on the relationship with
a section of our V customers. I intend
to put a lot of effort behind keeping
Hasselblad in tune with the very top
end of photography, expanding on
our position as a market leader in
the high-end professional segment.
Now, having reached an outstand-
ing position with our current digital
cameras, we can expand our relation-
ships with all those customers who
own a Hasselblad camera H and V.
ViCtor: In what way?
Peter stig-nielsen: Take a look
at our H4D high-end DSLR camera
line, which has been produced with
a modern, digital fit lens line and
optical accessories developed by
combining a series of advanced elec-
tronic, optical, digital and mechanical
elements. The result is that an image
captured through a high definition
wide-angle lens, and mounted on a
tilt/shift adapter, comes out perfect-
ed from aberrations, distortions and
light fall off. Just this year, this core
set of features was transferred to the
classic V-cameras, where Hasselblads
digital backs now perfect the full line
of Carl Zeiss lenses.
In my view anyone who has in-
vested in a Hasselblad camera is
a Hasselblad customer, no matter
which digital back or film magazine
is attached. Our many Hasselblad
photographers support one lead
strategic feature, which is the use of
central lens shutters in all our lenses,
to ensure that any exposure can be
flash-synced at shutter speeds up to
1/800 sec. This allows for freedom of
operation, which all photographers
love. In the times to come, I look for-
ward to seeing Hasselblad get back
and deliver new benefits with spe-
cific services and offerings. Essential
to the whole equation is our quest to
provide our loyal customers with the
best possible system. Even more im-
portant is to offer the best support,
technical service and products fo-
cused on our customers needs.
hansen: Looking at our products,
Im very impressed by the detail and
color rendering of the images cap-
tured by the sensors in a Hasselblad
camera. Parts of the image perfection
is closely related to our imaging soft-
ware, Phocus. The latest version of
the Phocus software offers a choice of
light and standard use, improv-
ing our service for the photographer
who doesnt want to spend any time
at all with software. Another way to
open up to a wider use of the Hassel-
blad raw files is through the support
from Apple and Adobe application
environments. Today, all Hasselblad
raw files open directly into the
Finder and Aperture and into A
Camera Raw and Lightroom.
ViCtor: So whats next?
stig-nielsen: New photog
products and features that wi
age on what weve achieved
past five years, of course. 201
out with our launch of the H4
of high-end DSLRs, employi
TrueFocus solution to the trad
multi-point auto-focus system
Focus uses modern gyro senso
advanced electronics to es
necessary focus corrections in a
and-recompose capture sit
hansen: Whenever possib
will also make the new techn
developed for the H available t
customers. This means, quite s
that owners of a V system, w
they bought it in the 50s, 60
80s or 90s, can turn them in
level digital systems by usi
CFV-39, for example. Or that
plying our digital lens optim
technology originally dev
for the H2D and H3D we ca
improve the performance of t
Zeiss lenses for these cameras
ViCtor: Does all this lead to
corporate vision?
hansen: Id like to see the
remain faithful to its principle
of those principles is to do o
to ensure that our customer
opted for the right system.
also derived from how we m
up in questions of consisten
customer care. With the exp
of our core competences in
digital world, and with our ne
ness model supporting Hasse
position as a high-end DSLR
facturer, I look forward to g
us into a sound, and custom
ented, future. 60 years ago,
Hasselblad already explaine
our inspiration was to build t
camera in the world and to
best partner for our customers
Nothing has changed in t
spect its our guiding prin
would probably broaden the
a little and say that our job is t
the best camera in the world
lows our customers to take t
photographs. After all, that i
we should never forget: at the
the day, its all about taking p
raphy further. Thats what we
to today, just as we did 60 yea
ViCtor online: Mr. Hansen, what
triggered off your joining Hasselblad
and, after having been Chairman,
taking on the role of CEO as well?
dr. larry hansen: Ive been fol-
lowing Hasselblad closely for quite
some years, with great admiration
for the cameras and their market po-
sition. You know, this company has
dominated professional photography
for the past 60 years, and has been a
driving force to the extent that, for
anybody with a passion for photog-
raphy, this is definitely the place to
be. Thats why I am here. And be-
cause I am thrilled by the challenge.
ViCtor: The challenge?
hansen: Well, looking at the state
of the high-end camera industry after
years of digital revolution, one could
easily be scared off. A long list of re-
nowned companies like Polaroid,
Agfa, Bronica, and Contax have gone
out of business and others, including
Kodak, Hasselblad and Mamiya, have
suffered huge losses, even though
they knew early on what was com-
ing, and even though they had many
resources to invest. There still is a lot
of room for failure for everybody.
So this is the challenge.
ViCtor: So what will change at
Hasselblad?
hansen: Realizing that we are steer-
ing the company within an area of
constant digital evolution, we not
only need Hasselblads burning
passion for non-compromising pho-
tography and courage to set extreme
standards for image quality we
need more. Our core competences
have been extended to include prime
optical, electronic, digital hardware
and software expertise. Nowadays,
In a resolute forward move, Hasselblad has been transformed from the
premium manufacturer of the finest, professional analogue cameras to the
market leader of medium format DSLR cameras. Newly appointed CEO,
Dr. Larry Hansen, says its time to switch from revolution to accelerated,
steady evolution, maintaining focus on Hasselblads core principle: build-
ing the best camera in the world. VICTOR talked with Larry Hansen and
Director of Product Management, Peter Stig-Nielsen.
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Alberto
PeroliEquipped wih a H3DII-31om Hassebad and a o
o ideaism, Iaian phoo-
gaphe, Abeo Peoi,
aveed o Bangadesh
n Ocobe, 2009, on as-
ignmen o he Smie
pojec, whee he cap-
ued images o eveydayie in sums, schoos and
hospias. His picues
peak o he ie and su-
eing o needy chiden
and commied beneac-
os diec, inuiive
and cose up.
Jus 23 yas d, bahadu pcks
up hs svn ya-d daugh
Sana fm sch. th sum
sch, ha s as suppd y
h Sm pjc, s cad n a
hu gh nx h an acks
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lf: cckws (fm h p):
A y was f hs un g
ad; mas a a hspa n
Khuna. tadnay, vyn
ss n h gund; ccv
wang n fn f h hspa
n Khuna. Pans cm fm a
v h cuny, vn fm inda
rgh: Happy chdn a a
phanag ha s n f F
rcads pjcs (av)
chdn d n hav phys
ah psychgca p
hy cm fm kn fam
yung wmn saugh a
n fn f h kchn (
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Sum, a g wh uns n h
gs, cs a pcu P
ugh. i was mad y Ca
Sanga, a gaphc dsgn
fnd f Ps. Many chd
n bangadsh suff fmuns causd y h h us
n h pn wks
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lf: A y wh hap and cf
paa, wh can n ak a
ppy. A sugn maks h
pacs pad n (av);
a nwy pad y, a day
w af h nvnn. Af a
wk, h chdn can jus gn
a hn sup (w)
rgh: Cckws (fm h p):
Snapsh n a Khuna hspa.
th y has uns n hs dy;
an pan n Khuna, dung
whch P as had wa
s chng; w f h iaan
dcs, D. A bzz (f)
and D. Anda d Fancsc
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Dsp h dffcu chdhd
Sanas fah s a hn
addc and h mh a psu
P was uchd y h gs
psvnss. in hs pacua
mmn, Fah rcad s x-panng h why s mpan
ha sh g sch guay
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lf: Fah rcad suundd
y pups a h sum sch.
P k h pcu fm h
an acks (av); chdn n
a vag na Khuna, akng
up cks f cmn pducn.
thy mus wk had n 35C
mpaus and 90% humdy
rgh: cckws (fm h p):
Au 100 chdn v n tka
Hus, an phanag n Khuna.
P ugh wng us;
h y wh h un gs
hangs n h phgaphs
am; a sand sng am juc,
akn fm a mvng ca
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In the end, people just want to be sat-
isfied, happy and, above all, able to
laugh; but its not always easy. This is
clear in the pictures taken by Italian
photographer, Albert Peroli, on as-
signment in Bangladesh for the Smile
project (Progetto Sorriso nel Mondo
ONLUS) launched by a group of Ital-
ian doctors. Created in 1997, the in-
ternational team is dedicated to the
treatment and cure of craniofacial
deformities in developing countries,
surgically correcting disfigured face,
lip, or nose plunges or other facial
malformations, and healing burns.
These kind of problems touch an av-
erage of one in every thousand chil-
dren, often turning them, and their
mothers, into outcasts. Poor nations,
as is Bangladesh, lack the skills and
resources to treat them adequately.
The doctors and surgeons involved
in the project are volunteers and op-
erate on the affected children for free.
From 1997 to 2008, the Smile project
has performed over 2.500 surgical
operations mainly children. Three
missions are carried out every year
in Bangladesh, as well as one in Af-
rica (Congo and Burundi) and one in
Guatemala.
Born in 1978 in Bra/Cuneo, Italy,
Peroli first came into contact with
the project in 2002, through his
teacher, the music critic and pho-
tographer Guido Harari. After seven
years working as Hararis assistant in
the superficial and sterile world of
beauty advertising and fashion, the
Smile project seemed like a welcome
contrast. Peroli makes it sound like
its all about a search for meaning:
moving away from superficiality
into the depth of humanity. I liked
the idea of pursuing a real project. A
year later he decided to become a pro-
fessional free-lance photographer.
Since then, Peroli has traveled to
Bangladesh three times at his own
expense. The pictures shown here are
from his last visit in October, 2009.
With a straightforward attitude, and
the precision of an H3D-II 31 and an
80mm lens, Peroli set about docu-
menting the doctors work. Before
starting to shoot, I want to talk with
the people who are part of the project,
and see the places. Its only afterward
that I go around with my camera
day and night. I prepare by thinking
about the project the who, where,
when and why finding out as much
information as possible about what I
plan to photograph, Peroli says, ex-
plaining his approach.
Father Ricardo, an Xaverian mis-
sionary involved with the project,
also plays an important role. Dressed
in civilian clothes, the priest has
lived in Dhaka for more than 20
years, looking after schools, orphan-
ages and womens safe houses.
Peroli a trained graphic designer
has a direct style and appreciates the
cameras possibilities. Just a bit of
color or brightness calibration, but no
post-production with the Hasselblad.
To me, the most important thing is
the picture itself. He also prefers
natural light over artificial. However,
because the midday sun throws dark
shadows on the faces, Peroli did use a
flash when appropriate.
Accompanied by Father Ricardo
for translation, Peroli traveled to
Dhaka and Khulna, capturing situ-
ations where doctors and patients
come together, but also touching
scenes of everyday life. I found the
locations by following my intuition,
by asking people, by following the
light, Peroli says. My visual ap-
proach evolves primarily through
contact with the people, the light,
and the feelings and vibrations con-
veyed by the light and the people.
It will very surely not be the
last time Alberto Peroli impresses
us with such touching images.
carlasusanneerdmann
www.pogeosoisonemondo.og
POrtfOlIO Alberto Peroli
A y fm tka Hus s
ccupd cng an usan
y Ca Sanga (av);
a yung wman fm a saf
hus, wh ans h vng dng
mdy (w)
Vw f a sum n Dhaka dvdd
y a an ack. rgh n h
mdd f h smn, makng
h cn f h pcu, s Fah
rcads sum sch (gh)
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HigH
5Mccann Erickson:esther haase
Esther Haase has an unmistakeable style, fashionable and lively. This makesher predestined for fashion campaigns calling for joie de vivre, where her under-standing of styling and make-up also comes in good stead. Her photographsof women capture and focus on their uniqueness, regardless of their age.Models feel comfortable with Esther and love working with her. M We,Feee a Buyg, Mc E, Hmbug mg he
Ee He: Born in Bremen/Germany in 1966; 19881993 studied at the HighSchool for Fine Arts, Bremen; freelance photographer since 1993. Campaignsinclude: Berliner Kindl 2007 for Dorland/Berlin, Esprit 2008 for TBWA/Dsseldorf.
www.mccann.de, www.estherhaase.de
WalkEr:uwe dttmann
What makes Uwe Dttmanns style unusual is that it is quite undefinable. In spiteof his many years in the mtier, hes in a constant state of evolution. His insight-
ful attitude helps him find the best realization for each assignment. Ive workedwith him on various occasions and hes a very friendly person. As, to a certaindegree, photographers have to be good psychologists, Uwe Dttmann hasa degree in psychology. Pu We, cee De, We, Zh
Uwe Dm: born in Essen/Germany; freelance photographer since 1986.Campaigns include: Nivea 2008 for TBWA/Hamburg, Mercedes E-Klasse 2008 forJung von Matt/Hamburg. Awards include: 2007 ADC Photographer of the Year.
www.walker.ag, www.duettmannphoto.com
DDB:dwight eschliman
What makes Dwight and his work unique is his endless striving for form andorder. His meticulous arrangements of apparently mundane objects result inbeautiful works of art. Dwight is a tortured perfectionist. He creates situations inwhich every burst of light and every reflection sits perfectly. Thanks to his greatartistry, energy, enthusiasm and relaxed manner, it's a real pleasure to work withhim.Du smh, cee De, DDB, s F
Dwgh Ehm: Born in Grand Junction/USA in 1972; 1998 graduated fromthe Art College, San Francisco; freelance photographer since 1998. Campaigns in-clude: Absolut Vodka 2005 for Chiat/NY, Motorola 2007 for Cutwater/San Francisco.
www.ddb.com, www.eschlimanphoto.com
sHacklEton:eugenio recuenco
Im impressed by Eugenios ability to create new worlds. Eugenio manages totransform reality into something original. His creative approach is so differentthat you can spend ages just looking at his pictures. We used him for the presen-tation of a new perfume by Loewe. Working with him was like playing footballwith Zidane youre excited, but at the same time you feel insignificant.Pb Gzez de Pe, cee De, she, Mdd
Euge reue: Born in Madrid/Spanien in 1968; 19881992 studied art;freelance photographer since 1997. Campaigns include: Cutty Sark 2007 forArnold Fuel/Madrid, Lavazza 2006 for Armando Testa/Milan. Awards include:Cannes Lion 2005, ABC National Prize for Photography 2005.
www.shackletongroup.com, www.eugeniorecuenco.com
DUval GUillaUME:vincent fournier
Vincent Fourniers specializes in outdoor images: his pictures breathe life.He understands how to take things that, at a first glance, might appear harmlessor banal, and refine them till they really move the viewer. Hes easy-goingto work with, but he knows exactly what he wants, and can be very demandingof himself and his colleagues to achieve his aims.Ey luey, a Buye, Du Guume, Be
ve Fue: Born Ouagadougou/Burkina Faso in 1970; studied audio-visual art in Montpellier 19911994; 19941997 cole National de Photographiein Arles. Campaigns include: TGV 2007 for Duval Guillaume, the Belgian OlympicCommittee 2008 for Duval Guillaume, TGV 2007 for TBWA.
www.duvalguillaume.com, www.vincentfournier.co.uk
ty y by ! c, victor.
the top photograph
Ehe He: Ep, 2008, f tBWa/Dedf
Uwe Dm: ne oymp mpg, 2008, f Wede & keey/shgh
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Dwgh Ehm: M Muu mpg, 2005 f lwe Wdwde/new Y
Euge reue: lewe mpg, 2007, f she/Mdd
ve Fue: tGv mpg, 2006, f Du Guume/Bue
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impossible is nothing
PHotos: Mark Z
th gly ncpd 29h Oly
Gms s o gn on 8 augus
by hn, M Zs conc phoog
fo h adds dvsng cmpg
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cpl cy, Png. th suls
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smony o cung-dg p
gphy nd logscs. ViCtOr ws g
glmps no h mng of.
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the crwd and a ne
impenerable blck behind
he hree Chinee vlley-
ball ar, Yang Yi, Xue Min
and Yang Ha. the idea
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impible.
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player Zheng Z
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and again
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Three hundred Chinese men and
women crowd together on the lawn
of a soccer stadium. They reach for
the sky, cheering loudly. Whats hap-
pening here? Mark Zibert is at work.
The Canadian photographer hovers
high above the yellow plastic seats
of the stadium. From a raised ramp
he focuses his H3D-39 on the sheer
masses below him, and exposes.
Take 1 stored to chip! Then, using
a megaphone, the many extras are
directed to the next position on the
pitch, before being again asked to lift
their arms and shout as loud as they
can. In three hours, Mark will have
repeated the same basic scene on
different parts of the grass and thus
created the background layer of one
of his emerging photo concepts. The
finished picture will show an ocean
of people a nod to some 1.3 billion
Chinese culminating in a human
tower upon which stands perched
Chinese Olympic gold medallist,
Hu Jia, wearing only a swimming
suit with the three white stripes and
Adidas logo, as he prepares for the
imminent dive.
The basic idea of the campaign is
to show how thousands of people can
come together to support a common
goal, explains Zibert. The young
photographer was asked to direct a
team of thirty (models not included)
in the production of the Together in
2008, Impossible is Nothing Olym-
pic Games campaign commissioned
by Adidas. To Mark Zibert and the
advertising agency put in charge,
180/TBWA of Shanghai, it was clear
from the start that they would be
creating new images of crowds as
opposed to drawing from the pho-
tographic archives. For the project
to work, the crowd would not only
have to cheer in the right way but,
also, match the lighting of the iconic
athlete portrayed in the foreground.
Ziberts creative input and enthu-
siasm was immediately apparent
during initial phone conversations,
when he was but an option in a
sizeable shortlist. In retrospect,
remembers Elvis Chau, creative
director, its why we chose to work
with him. His passion for the project
was important to me. He loved the
concept from the word go. Plus, he
met all the specs. Hes a sports pho-
tographer with a scrupulous eye for
detail, and he retouches his work
himself. Mark was simply the best
man for the job.
Its much cheaper to run a produc-
tion in China than in North America
or Europe especially given the sheer
size and ambition of the endeavour.
All 300 extras were booked within
the budget of an advertising cam-
paign for magazine print, Mark
Zibert reported. Before a single
photograph was taken we spent
four full days running around in
the stadium, establishing angles,
marking the ground and setting up
the light, Mark explains. Instead
of duplicating every shot in Photo-
shop we wanted the crowd to cheer
in one position, move on to the next
for more cheering and so on. Its an
approach that puts a tremendous
strain on the grass, and so it wasnt
easy finding a suitable stadium.
Eventually we found what we were
looking for in a Peking stadium that
will serve as a training ground during
the Olympic Games.
The two-day photo shoot took
place in the heat of day and was not
only strenuous for the ground but
also the extras. On day two, some of
the 300 extras were so tired they were
ready to bail out. Scattered across dif-
ferent parts of the stadium, the team
had to seek them out one by one and
politely ask them back to the pitch.
However, once all the background
pictures were finally in the can
and the individual layers blended
together seamlessly, the team was
thrilled. The first important mile-
stone had been reached what a
perfect occasion to party with lots of
karaoke.
This was Mark Ziberts first
photo shoot in China. Prior to that,
he had travelled the country but
never actually worked there. The
Adidas campaign had the 31-year-
old camped out in Peking for three
months. He was impressed by the
positive working atmosphere and
ease of production. Chinese athletes
the prime subjects of each shot
were extremely professional and
cooperative. Each athlete commit-
ted no more than half an hour to the
photo shoot, but Mark Zibert an
expert sports and portrait photogra-
pher was sure to get the most out
of the tiny window he was granted.
His experience helped him capture
the Chinese Olympians in their
most expressive moments. And the
athletes contributed with all their
physical power and creative input
particularly the soccer players,
Mark Zibert recalls with admiration.
When the time came to mount the
athletes in the optical center of the
crowd, the creative team was quick
to discover a need to modify the
original plan. Whilst photograph-
ing the crowd, we simply imagined
in our minds eye where the athletes
would be placed. Then we photo-
graphed the athletes depending
on the stadium lighting, Zibert
explains. When we added the ath-
letes on top of the background,
though, we found that the supporting
hands didnt interact with the ath-
letes in the way wed hoped for. In
the original design, the assumption
was that at least some of the hands
would be near enough the athlete; all
it would require were some retouch-
ing and everything would fall into
place. Alas, the idea blew up not
realistic enough. And so the team
changed plan. Once the final picture
of each athlete had been selected, a
stuntman was ordered into the stu-
dio and suspended in a harness. He
would imitate the pose and several
actors would support him in the
desired manner. These few actors
were then layered into the crowd in
the optical center of the image. Now,
the athlete really looked as though
he were being carried by the crowd.
Each campaign image was pieced
together from a number of photos
and graphic layers. Fortunately, Zib-
ert and his Canadian assistants were
sure to station themselves in Peking
for the duration of the project. When
most of the material had been shot,
Mark and digital assistant Andy Fer-
reira traveled to Shanghai to work on
the digital post production. Because
the assignment was so gigantic it was
important to me that Andy and I
took care of the pixel processing our-
selves. The amount of raw material
was vast; and having a third party
choose and communicate the work
would have taken far longer than
simply dealing with it ourselves,
Mark Zibert explains. In the end,
it proved to be the right decision.
I am very, very pleased with what
theyve achieved. Whenever I show
the pictures, the first response I get
is wow!, Elvis Chau remarks. Now,
imagine the effect when these, the
very largest prints ever produced by
Adidas will be mounted for display
in Peking. Some of them will mea-
sure 55 yards in width and veil entire
facades of skyscrapers. Who said that
size doesnt matter? SUSANNE SCHMITT
impossible is nothing
Mark Zibert
Canadian phgrapher Mark
Ziber wa brn in trn in1977. Afer aending sheri-
dan Cllege he wen n
wrk a a ph aian
beween 1998 and 1999. since
2000, he keep himelf buy
a a freelance phgrapher.
Mark Ziber wrked n hi
fir large-cale adveriing
campaign fr Nike a he en-
der age f 23. Hi clien al
include Adida, timberland,
Bria, Arrw, sim, Nian,
tya, Lexu, Nkia, sella
Ari and Pepi. Mark Ziber
phgraphy ha been pub-lihed in Life, GQ/Ialy,
sir, Enerainmen
Weekly. He received
numeru award, uch a
he Cmmunicain Ar
20012006, he silver
Nainal Magazine Award
2005, he Archive Magazine
tp 200 Phgrapher 2006,
ADCC 20022005 and he
brnze Lin in Canne 2005.
agncy:180/tbWa, Chin; cv dc-
os:Yng Yo, elvis Chu, Lsly Zhou, John
Mifild, Swu Hngswd;copyw-
s:Lsly Zhou, Swu Hngswd, Nicky
Zhng, Michll Wu;poduc:P
Dllagns;ln poduc/gn:Johnny
Lijonhufvud;gncy poduc: Lind tn;
xcuv poduc/gn:Lsly Chlvn;
gn:Ping Lim;sssn slls dco:
romn bin;phoo sssns:Chis Mly,
andy Fi;ouchs:Mk Zi, andy
Fi;dgl opo:andw esson
www.mz.com
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32 ONLINE 1/2010
Hasselblad Masters 2007
T Bgnnng. When I used to
go climbing, Id discover beautiful
places in the mountains where there
was an unusual atmosphere. And
Id say to myself, you really should
capture this somehow; so when I was
18 years old I bought my first view-
finder camera. A short while later I
exchanged it for my first SLR.
T o. From the very first
moment I saw Ansel Adamss large-
format, black&white photographs, I
was fascinated by the wealth of detail
and the fantastic light-plays in his
pictures.
T obby o. Landscape
photography was always one of my
passions; thats why, a few times a
year, I take my H2D-22, a tripod, a
sleeping bag and mat, and plenty
of supplies, and go on a hiking
trip. I find myself a photogenic
mountaintop and start climbing in
the early afternoon. Hours later I
reach the peak and, while enjoying
a good meal, wait for the last light of
the day. Its a wonderful feeling to sit
alone on a forsaken mountaintop,
watching night descend and anti-
cipating the dawning of a new day
when, once again, great lighting
heralds the approaching sunrise.
T xctmnt.Because my roots
are in mountain sports, I dont feel a
hundred percent at ease on the water.
So, I could say that my most exciting
photo shoot took place high above
a sailing ship. I was hanging at 25
meters with only a rope securing me
to the mast. The ship was ploughing
through the water, when a speed
boat crossed our bow with just a few
PeTer MaThis
Bon n honm/aut, n
1961 | flnc potogp
nc 1986 | publd n t Bll
euop, Clmbng/Usa, snow-
tyl/Jpn, nd stn, mong
ot | advtmnt fo Blck
Dmond, hlly hnn, Quck-
lv, rd Bull, Vlkl, mong
ot | exbton: Mountn
potogpy now nd lwy
n t G at Muum/Gmny| Pz: Cytl awd 2000,
Bnff Mountn Potogpy
Comptton 2005, mong ot.
Blck Dmond cmpgn (2006,
top); Volbg toum (2007,
sknft potw (2006, lft)
Cycl cng n honm/aut
n augut 2006 (bov gt);
alx Lug t t Lwnzn
lpn clmbng gdn n aut
(Blck Dmond 2006, bov)
www.mhi-phoogph.com
www.h.com
meters to spare. I tried to capture
both the speed boat and a part of our
boat on the film.
T ploopy. It is the in
thing at the moment to promote the
idea that one has to have a completely
new photographic style, something
thats never been seen before. I refuse
to have anything to do with such
an idea its about as impossible as
reinventing the wheel. In my private
life I try to live in the present: in the
here and now. I make an effort to do
the things I like to do now, not later
much less wait till Im retired.
T tu.My most important
publication was the book Freeride
a collection of the best ski and
snowboarding pictures Ive taken
over the past few years. We self-pub-
lished the book, which meant that
we were able to choose everything
ourselves: paper, cover and graphics.
T hlbld. I work with the
H2 with 22 megapixel CFH digital
back, using wide angle, normal and
telephoto lenses. The quick shutter
speed is particularly advantageous
when using a flash. What is more,
Im continuously amazed by its
faithful reproduction of detail.
Pt Mt hlbld
Mt bcu his pictures manage
to fully capture his fascination for
sports, action and the big world out
there. The images breathe the cold,
sweat in the heat, and reach up to
the heights where they were taken.
Decisive moments of peak human
performance are always to be found
right there in his pictures.
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ONLINE 1/2010
Peter Mathis took this shot in
August 2006 for the administraof the city of Hohenems/Austri
It shows a Rhine Valley panoram
taken from the Gebhardsberg
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36 ONLINE 1/2010
Next victor oNliNe:1 february 201
It toic i t xt i o
VICTOr oi cg o ot-
o to itoi o ot o.
sTuarTwesTOn>> it i t cooig
tt k i ig-
o itk
hans sChlupp>> ct t t o ic
ti t t lan c i bijig
rOdney hObbs>> t ati ig otog
t t itiv toc ct
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