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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

equd h

H3Dii-31, a

p dcum

h sm jc

bdh h

h khu h (.)


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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

6 ONLINE 1/2010


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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

nvlop n ow locs n Ch

cpl cy, Png. th suls

h monhs on locon wh hs

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

wa ee he olympic

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pr, explain Elvi Chau,

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ep i build he nain ha hey can uppr

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peiin. We believe ha

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cme geher, nhing i

impible.


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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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ONLINE 1/2010


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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


36/38

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

Be surprised by inspiring pfs,

keep up-to-date with the most significan

phgaph nds and read leading

news for the photography community.

On February 1st, 2010, check your monit

for the next issue of VICTOR online.

razan:IDC Corporate Publishing G

Hamburg, Germany

All articles and illustrations contained

the online magazine are subject to the

of copyright. Any form of utilisation bey

the narrow limits imposed by the laws

copyright and without the expressed p

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37/38

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38/38

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VICTOR Online 0110

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