online 7.2009

If you purchase a Hasselblad H3DII-50 or Hasselblad H3DII-60 before August 21, 2009, we will send you to Orlando Florida where you will join us in commemo-rating the 40th anniversary of the first lunar landing – and 40 years of outstanding Hasselblad research and development.

In Orlando, you will join us for two activity packed days, where you will be able to meet and mingle with the Hasselblad design team, tour the NASA facilities, meet Buzz Aldrin, an Apollo 11 astronaut and one of the first lunar photographers, receive expert training in camera operation and image processing, compete in an onsite photo contest to win Hasselblad lenses, and much more. Space is limited, and will be awarded on a first come, first serve basis.

JOIN US AT NASA!

Taking Photography Further

You could say our most important development stage started in space. Our cameras were not originally designed to work in zero gravity – but they did. And over the years our product development rose to the intense challenges that space travel posed. And every advancement was brought back to earth, benefitting photographers on this planet as well. A research tradition that continues to this day. Because what happened 40 years ago isn’t just our legacy – it’s our future too.

www.hasselblad.com/behindthecamera

Purchase an H3DII-50 or H3DII-60 before August 21, 2009 and join us at the Kennedy Space Center in September.

This package includes:

• A Special Hasselblad One Day University Session• Round Trip airfare (certain restrictions apply)• Two nights lodging and meals• Space Center Tour and Buzz Aldrin Gala Dinner• Participation in NASA photo contest with valuable Hasselblad gear as prizes

And much more!

Join the Hasselblad design team at NASA!

It took a lot of work to get this far.(Come meet the men who made it possible.)

SIZE.

Excellent prints up to 64 inch width – from commercial to art prints, for in- and outdoors.

www.epson.de

Epson Stylus Pro GS6000Epson Stylus Pro 11880

Epson_LFP_Anzeige Dino RZ.indd 1 15.10.2008 10:42:08 Uhr

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04 >> newsThe new CFV-39 digital back from Hasselblad turns every V model into a high performance digital camera · the new H3DII-50MS: multi-shot technology at the highest level

06 >> eternal footsteps July 20 is the 40th anniversary of the first moon landing. Thefamous pictures recording the mission were taken with a NASA modified Hasselblad camera – a 500EL Data Camera.

16 >> warwICK saIntSouth African photographer, Warwick Saint, is such a master at capturing movement in his carefully composed images, that you get the impression that photography is no longer a static medium.

20 >> ralf BaUMGarten“Faces of the desert” is the name given to a series of 40 larger-than-life camel portraits taken by German photographer, Ralf Baum- garten, and exhibited for two months in the Dubai desert.

30 >> 7 UpVICTOR asked seven representatives from the international photo scene to choose their personal top photographer Newcomer – and to explain why these are the ones to watch.

32 >> prevIew

Discover Jonathan Singer’s captivating still-life images in the August issue of VICTOR online. Singer‘s detail-rich pictures of rare flowers and plants have a contemplative nature.

EDITORIAL

the iconic “earth-rise” (ri.): like the

cover photo, this image from the moon

mission was ta ken with a Hasselblad

CONTENT

Almost 50 years ago,

Walter Schirra purchased a

Hasselblad 500C at a deal-

ership near the Johnson

Space Center in Houston.

The dealer never imagined the historic signifi-

cance the camera would play: Walter Schirra

was a NASA astronaut looking for a system that

could be used in outer space. Because of the

unique nature of the undertaking, he had no

alternative but to go for the very best on the

market. In 1962, this was the first camera to go

into space on a manned flight in a Mercury

rocket. What started out as a personal initiative,

laid the foundations for a decade-long partner-

ship: Hasselblad cameras became the constant

companions of Mercury, Gemini and Apollo

mission astronauts. Inevitably, it was also

a Hasseblad that took part in the first moon

landing on July 20, 1969 – a Hasselblad 500el

Data Camera with Reseauplate.

Since then, the cameras have been part of

every mission, from Apollo to space shuttle,

and as permanent crew members of the ISS.

But the story doesn’t end there. “Hasselblad

cameras have played an important role in cap-

turing decades of NASA images, allowing those

of us remaining on Earth to share in the excite-

ment and beauty of space exploration. Images

of exploration will continue to be very impor-

tant as NASA returns to the moon and voyages

beyond.”, Doug Comstock, Director of NASA’s

Innovative Partnerships Program, reports.

NASA and Hasselblad’s on-going partnership

is founded on Hasselblad’s ability to maintain

decades of top quality performance; and it’s

hardly surprising that the same virtues have

also ensured Hasselblad’s outstanding position

among professional photographers down on

earth – a position owed to high performance

and continuity. If Walter Schirra had not taken

the 500C on board the Mercury, and the camera

had not ended up in a museum, it’s highly like-

ly that another professional photographer could

still be using that very same camera today.

Equipped with Hasselblad’s latest Cfv-39

digital back-piece, this nearly 50 year-old

camera would acquire a resolution of up to

39 million pixels, along with the latest techno-

lo-gical bells and whistles, such as digital lens

correction. It would then play in the premier

league of professional digital cameras – topped

only by its bigger sisters from the Hasselblad

H3DII series.

We hope you enjoy the new version

of VICTOR online!

Yours,

Christian Poulsen, CEO Hasselblad A/S

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The top model of Hasselblad’s H3DII series is now available in a multi-shot version, especially tailored for advanced still life and scientific photography needs. The multi-shot technology achieves notably in-creased detail resolution and even better color rendition by combining multiple exposures into one.

Between each of the four ex-posures, an extremely precise mechanism shifts the sensor by one pixel. As a result of the acquisition of more information, each and every pixel shows completely accurate de-tail and color information, resulting in unequalled images, totally free of moiré or artefacts, with accurate col-or even in the finest details.

This also simplifies postprocess-ing, where for example additional sharpening is usually not necessary. The Phocus software controls the multi-shot exposure of the tethered camera and uses Hasselblad’s digital lens correction to perfectly correct distortion, vignetting or chromatic aberrations.

The H3DII-50MS can be used just like the non-multi-shot version u sing CF cards for example, but in still life photography, Hasselblad’s new star pushes image quality to new heights, unseen before. ■

victornEWS

Great news for V camera and square format enthusiasts! The Hasselblad’s CFV-39 digital back is adapted specifi-cally to Hasselblads classic V camera. It boasts an exceedingly high resolu-tion of up to 39 megapixels and takes total advantage of the legendary quality of Zeiss lenses. The back is de-signed to transform your camera into a high quality, user-friendly digital camera. Its 2.2 inch display with TFT technology puts you in complete con-trol of the results you’re aiming for.

The CFV-39’s 36.7 x 49 mm image sensor, though no longer square, is twice as large as 35 mm. It’s up to the photographer to choose between the legendary square format with an out-standing resolution of 29 megapixels or the sensor’s full format, resulting in 39 megapixels at an aspect ratio of 4 by 3. A simple user option lets the photographer choose between the full or a square format. The sup-plied dual format focusing screen shows both the full format as well as the square 36.7 x 36.7 mm format. Thanks to the tight integration be-tween the CFV-39, the V-camera and Hasselblad’s Phocus software, an au-tomatic square crop mask is added in Phocus if the square format option is selected on the back. The photogra-pher may decide to remove or adjust the crop mask later. Phocus ensures optimal workflow and best possible picture quality, including moiré re-moval and natural colors thanks to

the Hasselblad Natural Color Solu-tion. In addition Hasselblad has developed its digital lens correction technology to work with the Carl Zeiss lenses. Using this feature you will experience the ultimate image quality, which we could only dream of in our former analogue age. The Carl Zeiss lenses are tuned to work even better, not least at close range. All you need to do is to enter which lens is used, the aperture and the dis-tance you are working at. After years of developing digital lens correction for the Hasselblad H3D camera se-ries, it is a true pleasure to pass on these advances to the V camera pho-tographers.

The CFV-39 is, in principle, com-patible with all the V cameras ever made since the year of 1957, though only C lenses can be used on the 2000 and 201F. In particular, with a small modification, the 202FA, 203FE and 205FCC can run cable-free with C/CF and F/FE lenses. To learn more about the magic of the classic V system and the latest news, you should visit Hasselblad’s “Planet V” (www.hassel-blad.com/planet-v). More detailed informations about the CFV-39 in particular can be found here (http://www.hasselblad.com/products/digital-backs/cfv-39.aspx). And the best news is: The CFV-39 is available today! ■

digital backCFV-39: COMEBACK FOR A CLASSIC

H3dii-50MSAS GOOd AS QuALIty GEtS

the combination of 50 megapixel resolution and multi-shot technology makes the H3dII-50MS the highest quality digital camera currently available

With design and functions adapted to the V series, the CFV-39 (ri.) turns

every V camera (above) into a high perfor mance, user-friendly digital

camera with quality control display

the photographer can even make a choice after taking the shot: whe-

ther to opt for the square format or the 4 to 3 format. the view finder

always shows the right aperture

EtErnal Footprint At last the big day came – on July 20, 1969, man walked on the Moon for the first time, and a Hasselblad 500EL was part of the historic moment. 40 years later, the delightful images of the men on the Moon are still able to move us as deeply as ever. An incredibly productive partnership began in 1962 and continues to this day.

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not just any footprint. one of the first steps taken on the

Moon, this is an image of Buzz aldrin’s bootprint from the apollo

11 mission. neil armstrong and Buzz aldrin walked on the

Moon on July 20, 1969

CovErstory

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Geologist-astronaut Harrison H. Schmitt is photographed standing next to a huge, split boulder at Station 6 on the sloping base of north Massif during the third apollo 17 extra- vehicular activity (EVa-3)

at the taurus-littrow landing site. the “rover” lunar roving Vehicle (lrV) is in the left foreground. Schmitt is the apollo 17 lunar Module pilot. this picture was taken by Com-mander Eugene a. Cernan.

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CovErstory

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above: Famous for its broadcast of greetings on Christmas Eve of 1968 as the crew circled the Moon, apollo 8 was the first manned mis-sion ever to reach escape velocity. this photo of Earth and the lunar surface was taken with a 270-millimeter lens on a Hasselblad

left: Earth resembles a child’s marble in this amazing photo, taken during the apollo 17 mission. naSa credits the image to the entire crew, Eugene Cernan, ronald Evans, and Jack Schmitt, all of whom took photos with the onboard Hasselblad camera.

camera, and has been heralded as one of the grea test photos of the 20th century by the likes of time, life, Sky and telescope, and other magazines. While frequently prin-ted with the Earth above the lunar surface, the orientation is original and reflects the view of the crew

CovErstory

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apollo 12 mission, became the fourth person to walk on the Moon. Commander Charles Conrad Jr. was the third to take the big step. it was also Charles Conrad Jr. who took the black & white photo where he is reflected in Bean’s helmet visor

Hasselblad cameras the mission carried to the Moon.right: astronaut alan l. Bean, lunar Module pilot, pauses near a tool carrier during extravehicular activity (EVa) on the Moon’s surface. on november 19, 1969, astronaut alan l. Bean, of the

above: astronaut Buzz aldrin, lunar Module pilot of the first lunar landing mission, poses for a photograph beside the United States flag. astronaut neil a. armstrong took this picture with a 70-millimeter Hasselblad lunar surface camera, one of three

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CovErstory

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mirror assembly, and an enlarged exposure button, similar to the one designed for the space models.

In October 2001, the Space Shut-tle Discovery, in addition to trans-porting modules to the ISS, carried a new Hasselblad space camera: a focal-plane shutter camera based on the standard commercial version (203FE) equipped with data imprint-ing along the edge of the film frame, enabling the recording of time and picture number for each exposure. Since the computers onboard have full control over the position of the shuttle, identification of the exact location captured in a frame has be-come much easier.

Now that NASA is returning to the Moon and is also looking on to Mars for the next stage of exploration, it is without doubt that Hasselblad cam-eras will be along to document the voyages for those of us remaining on Earth. The relationship that began in a camera shop in Houston, blos-somed on the Moon, and matured on the space shuttle, now prepares to reach new heights. As one more small step for a man and giant leap for mankind approaches, we anx-iously await the photographs.

stood up to the rigors of opera ting in space, facing from -65 °C to over 120 °C in the sun. Many shots have become historic treasures: the first spacewalk during the Gemini IV mission in 1965; the first venture to another celestial body during Apollo VIII, including the iconic “Earthrise” photograph; and the first landing on the surface of the Moon during Apollo XI. These pictures were published around the world, and have become some of the most recognizable and powerful photographs known.

Several different models of Hasselblad cameras have been taken into space, often modified in one way or another to ease use in cramped conditions and while wearing space suits, such as replacing the reflex mirror with an eye-level finder.

PArtnErsHiP

Victor Hasselblad AB, of Gothenburg, Sweden, has enjoyed a very long-lived collaboration with NASA. Work-ing primarily with Johnson, the last four decades have seen a frequent ex-change of ideas between Hasselblad and NASA via faxes, telephone calls, and meetings both in Sweden and the United States. Initially, most meetings were held at Hasselblad headquarters in Gothenburg, to be as close to the core activities as pos-sible. Since then, collaboration with NASA has allowed what was once a very small company in international terms to achieve worldwide recogni-tion. Hassleblad’s operations now include centers in Parsippany, New Jersey; and Redmond, Washington; as well as France and Denmark.

One direct development of this partnership, the 553ELS, is the space version of the 553ELX model, avail-able commercially for years. This camera has adopted several key fea-tures and improvements, such as: the fixation of the mirror mechanism was removed from the rear plate to the side walls; aluminum plating re-placed the standard black leatherette as the outer covering; the standard 5-pole contact was replaced by a spe-cial 7-pole contact equipped with a bayonet locking device; and the battery cover was equipped with a hinge. These changes resulted in in-creased durability and reliability, and the ELS model has seen frequent use in the shuttle program.

Hasselblad incorporated and refined other modifications by NASA tech-nicians into new models, such as a 70mm magazine developed to meet Space Program needs. Camera modi-fications included new materials and lubricants to cope with the vacuum conditions outside the spacecraft, and often improved reliability and durability of the cameras. In addi-tion, technicians modified camera electronics to meet NASA’s special demands for handling and function, reconstructing lenses and adding large tabs to the focusing and aper-ture rings to ease handling with the large gloves of an astronaut suit in zero gravity.

ProduCt outCoME

For over four decades, Hasselblad has supplied camera equipment to the NASA Space Program, and Hasselblad cameras still take on average between 1,500 and 2,000 photographs on each space shuttle mission. Just as the remarkable pictures on the sur-face of the Moon defined an era, the fine pictures of astronauts at work in and around the shuttles and In-ternational Space Station (ISS) have helped define the latest era of man’s continued exploration of the uni-verse around us.

Likewise, the commercial line of Hasselblad cameras continues to in-corporate lessons learned from these voyages. Consumer models have en-joyed such refinements as the revised fixation of the mirror mechanism—the Hasselblad 503CW still features the space-influenced improved mir-ror mechanism—a design change that gave far better stability for the

Timeless, beautiful, and haunting images: A delicate blue marble float-ing in the black sea of space; a bril-liant white astronaut suit, visor glowing gold, the entire Earth as a backdrop; the Moon looming large and ghostly, pockmarked with sharp craters, a diaphanous grey on deep black. Photographs from space illus-trating the planet on which we live, the space surrounding it, and the pre-carious voyages into it by our fellow humans are among the most tangible products of the Space Program. These images have become touchstones of successive generations, as the voy-ages into space have illuminated the space in which we live.

In 1962, Walter Schirra blasted off in a Mercury rocket to become the fifth American in space, bringing with him the first Hasselblad camera to leave the Earth’s atmosphere, re-cently purchased from a camera shop near Johnson Space Center in Hous-ton – but not the last. The camera, a Hasselblad 500C, was a standard con-sumer unit that Schirra had stripped to bare metal and painted black in order to minimize reflections. Once in space, he documented the won-der and awe-inspiring beauty around him, and brought the images back for us to share. The Hasselblad 500C cameras were used on this and the last Project Mercury mission in 1963. They continued to be used through-out the Gemini space flights in 1965 and 1966.

Since then, a number of different camera models have been put to use, but the images taken with the boxy, black Hasselblads have remained true classics. Noted for the amazing sharp-ness of the photos, the Hasselblads

David r. Scott, apollo 15 Commander, is seated in the rover, lunar roving Vehicle (lrV) during the first lunar surface extravehicular activity (EVa-1) at the Hadley-apennine landing site

the ElS (above) is a modified 553 ElX (top), with flash metering removed and leatherette replaced

with thin metal plates. this camera was used in the early 1990s on

the space shuttle missions. the film magazines use 70-millimeter perforated film and are equipped with electronic data imprinting,

enabling the recording of time and picture number for each exposure

astronaut alan l. Bean holds a special environmental sample container filled with lunar soil collected during EVa

text: nasa spinoff publication

(www.sti.nasa.gov/tto)images: nasa, hasselblad

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on February 7, 1984, astronaut robert Gibson used a Hasselblad camera to take this picture of astronaut Bruce McCandless ii, when he became the first person to fly untethered in space. McCandless traveled more than 300 feet from the Space Shuttle Challenger, 150 nautical miles above Earth

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Hasselblad Masters 2006

The beginning. My mother was a model, so my earliest memories are of photo shoots.

The big bang. When I was 14 my father took me on safari and that’s where I began taking pictures. It was then that I decided photography was what I wanted to do with my life.

The heroes. Of course, I love the classics: Richard Avedon, Irving Penn, Helmut Newton. Among con-temporary photographers, I admire Nick Knight and Nadav Kander. They produce that ‘wow’ effect in me. They are consistent in their unusual way of looking at things, and that’s why I continue to admire them.

The excitement. Just as I was taking the first shots for a Puma campaign in Jamaica, a message came from the hotel: “Stop photo-graphing! You have to call the States immediately and speak with the Art Director!” They wanted to delay the campaign. I took it upon myself to continue with the shoot anyway. When they saw the finished pictures they loved them, and I believe it is some of my best work. The balance was perfect, because it conveyed the Puma message and had a wonder-ful emotional strength – a strength that touched the heart rather than the mind.

The dream. Surfing is one of my hobbies, and I want to do a photo-graphy book on the subject. It will be called “Silver Surfers”, because it’s about the older guys who’ve been surfing since the sixties and were the pioneers of the sport. With their silver grey hair, they still ride the waves on their long boards. They’re real characters.

WarWick SainT

Born in Johannesburg/South africa in 1972 | 1989–1994 History

of art and Philosophy studies in Johannesburg | 1994–1999 free-

lance assistant in London, for nadav kander, among others |

Free lance photographer since 1999 | published in: ‘Dutch Magazine’, ‘Spoon’, ‘Harper’s Bazaar’, ‘Dazed

and confused’, ‘i-D Magazine’, ‘Jalouse’. clients include: adidas,

nike, Puma, Sony, BMW, Dolce & Gabbana and more

Brigitte Hall: Marilyn Monroe for ‘citizen k’ 2005 (above); ‘Our magazine’, 2006 (middle); Free work, 2005 (left); Manny Winick & Son Diamonds campaign, 2006 (right)

For ‘Deutsch Magazine’, november 2006 (top right); Jean-charles castelbajac 2005 (above)

www.warwicksaint.comwww.contourphotos.com

www.montageagency.com www.webberrepresents.com

www.hasselblad.com

The nightmare. Because I love movement, I would never want to take architectural pictures.

The star. Nelson Mandela is the one person I’d really love to photo- graph some time. He is not only important for my home country of South Africa. He is an amazing man who has an enormous soul, integrity and meaning for the world.

The philosophy. Be more relaxed and more focused. At a photo shoot this means not rushing around and being hectic. There is often a great deal of pressure, to get the photo-graph within strict time limits and that’s when it doesn’t help to get into a panic.

The Hasselblad. I use the Hassel-blad H1 system because my equip-ment has to be robust and always ready to go. I love the way the H1 feels in the hand. It’s like a 35mm camera but delivers the results of a 4x5 format. I tend to work with 50mm, 80mm or 100mm lenses. I like to feel that I’m right in the middle of things, so that the viewer becomes part of the picture. I find Hasselblad’s 50mm lens fantastic, because it has so little distortion.

Warwick Saint is a Hasselblad Master because he can capture motion as if photography was not a static medium. Warwick Saint’s two-dimensions are full of life, dy namic; the moment is captured for the viewer to experience. As a result, his compositions are imbued with a fascinating tension.

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‘angeleno Magazine’ December 2005 (left); photograph from a personal project, December 2005

ralf baumgarten Working in 50 degree temperatures under the Dubai desert sun, German photographer Ralf Baumgarten brought together 40 camels to do the modelling for an unusual portrait photo shoot. The result was an impressive exhibit of over-sized photos, on display for two months out in the desert.

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managing to get three of the 300 to 450 kilo animals to adopt

the same pose during the photo shoot was certainly a

daunting task. the even-toed un-gulates are rather shy animals,

that tend to change position and expression very quickly

for his camel portrait series, german photographer, ralf baum-garten, chose 40 animal models with expressive characters from the Camelicious farm in Dubai. for this particular exposure even a powerful jaw proved to be advantageous (left)

ralf baumgarten PoRTfolio

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PoRTfolio Doloremo Ispum

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Who’s got the strongest neck of them all? two camel bulls show off their imposing stature. these two were the only males in the whole series: their power- ful neck muscles and brawny heads distinguish them visually from the female camels

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PoRTfolio Doloremo Ispum

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even though the camels look great in front of the camera, it’s not

their main occupation to pose for a photographer. at Camelicious

farm, each female camel produces around 7 litres of milk a day. the

milk is sold for drinking or is kept at the farm to make chocolate

In all his years of experience, photographer ralf baumgarten had never had a human model turn her back on him, like this female camel did (left). the team enticed the animals with carrots – an absolute camel favorite – to keep them in a good mood

ralf baumgarten PoRTfolio

CoveRsToRy

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In the united arab emirates of which Dubai is a member, milk camels are considered extremely valuable – as are their racing counterparts. on average a buyer can be expected to pay 2000 euro for a fully grown milk camel

aspect of the culture, but also part of their identity.”

The 300 to 450 kilo models – in-cluding camels from the United Arab Emirates, Oman and Sudan – came from Camelicious Farm located in the desert outside the city of Dubai. Around 3000 milk-producing cam-els are kept on the state-run farm. Most of the milk is sold to drink, though about one quarter is used to produce chocolate right there in the farm facilities. With the help of veterinarians and camel keepers, Baumgarten chose 40 particularly expressive and varied animals, espe-cially selected for their colour, length of hair and style.

The photo shoot was held in a familiar setting in order to avoid unnecessarily irritating these shy animals. In addition, they always worked in pairs, so that they would have a recognisable face nearby! And there were plenty of carrots – one of the animals’ favorite treats – to keep them in a good mood. One camel, however, discovered something even tastier, grabbing Baumgarten’s straw hat when the photographer came close by.

The working conditions for the people during the shoot were re-ally not easy either. With 50 degree temperatures, the team surrounding Ralf Baumgarten was soon sweating; and in addition, sand and dust got everywhere. These were also tough conditions for the H3DII-39, but the camera had no difficulties dealing with it all, as can be seen in the super sharp photos where every eyelash and hair on the camels’ beards can be clearly seen.

For the German photographer, the work wasn’t finished once the photo shoot in Dubai was over. To fulfil his dream of putting on an ex-hibition of over-sized camel portraits in the desert, Ralf Baumgarten had to choose 40 from among thousands of pictures to place at the entrance to Camelicious Farm.

For the photos to survive the ex-treme UV radiation, desert wind and sand, from the end of April to the end of June 2009, Baumgarten had them printed with the new, large-format Epson Stylus Pro GS6000 printer. When he saw the final product he was delighted, especially once all were

moment. This is a big challenge when it comes to focusing, so I really appreciated the Hasselblad’s fast autofocus.”

The photographer became inter-ested in taking a closer look at the fascinating country while on as-signment in the Arab Emirate of Dubai. With a penchant for choos-ing themes rooted in tradition for his artwork, Ralf Baumgarten came up with the idea for the “Faces of the Desert” project. “I sense that camels have a special relationship with the Arabs. They’re not only an important

Dreamy, whimsical, bewildered – the camels’ features are as varied and expressive as human faces. The shy animals, however, have much less patience than human models, as German photographer Ralf Baum-garten was forced to acknowledge, when portraying camels with his H3DII-39 for the “Faces of the Des-ert” project. “I’ve never had human models turn their back on me and wander off,” Ralf Baumgarten says with a laugh. “What’s more the animals change expression so often that it’s difficult to capture the right

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ralf baumgarten PoRTfolio

placed together as a whole in front of the farm. “I was surprised to see all the different characters together, just like at a human party. They reveal ev-ery kind of expressions. Sometimes I even think I recognize a good friend or two among them.” ■

German photographer Ralf Baumgar-ten’s camel portraits exhibited in the desert of Dubai in front of the Cam-elicious camel farm were printed on an Epson Stylus Pro GS6000. The reason he didn’t have to worry about the quality of the prints, despite the extreme conditions, is explained by Henning Ohlsson, managing director of Epson Germany, in an exclusive in-terview with VICTOR.

VICTOR: What was the biggest challenge when printing the camel portraits?HENNING OHLSSON: Photographs taken in a desert setting are often high-key pictures with extremely

light backgrounds. When reproduc-ing photos with very low contrast its important that there’s no loss of colour. The extreme light and temperature conditions in the des-ert also represented a particular durability challenge. Considering the circumstances, the Epson Stylus Pro GS6000 prints stood up to the test with flying colours.VICTOR: How long did it take to print the forty 150 x 200 cm camel pictures at the Epson Industry Solu-tions Center near Düsseldorf?OHLSSON: We produced the pic-tures for the exhibition in two days. Thanks to the Stylus Pro GS6000’s outstanding paper handling, the 40 sheets could be printed without supervision and, above all, without any wastage.VICTOR: What type of paper did you use? OHLSSON: The artist wanted the photos mounted on location on large panels with no margins. That’s why

we used self-adhesive, 3M IJ40-20 vinyl sheets.VICTOR: The camel pictures will stand in the desert exhibit for two months. Aren’t you afraid that the heat and extreme UV radiation will adulterate the prints? OHLSSON: Not at all. We’re con-vinced about the quality of the prints. The Epson Ultrachrome GS ink is well suited to extreme environmen-tal influences. The exhibit allows us to prove the quality performance of our large format systems, as well as the longevity of Epson inks when ap-plied to difficult conditions.

With epson’s large format stylus pro gs6000 printer, it is possible

to produce images that can be ex hibited out of doors without

quality loss. put to the test in des-ert conditions in Dubai, the

prints pass with flying colours

atmospheric Vernissage: on april 23, 2009, visitors to the “faces of the Desert” exhibit on display at the entrance of Camelicious farm in the Dubai desert, were the first to get a look at the forty amazing, large-format camel portraits

www.epson.dewww.ralfbaumgarten.dewww.camelicious.ae

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Olivier rOsecompletely fashionableDaniela Giller, Daniela Wagner Photo­graphers, Munich: “The blending of illustra­tion and photography has given rise to an entirely new form of imagery. Working with illustrators and artists alike, Olivier Rose created original presentation concepts and found a way to elevate fashion photography to a higher level. By pushing technology to its limits, he has opened up a new realm of fashion photography and pointed to the direction the genre may develop. Energy and elegance are combined to produce a stylized portrayal of beauty and movement. Olivier’s photographs are imbued with cool grace and technical perfection.” Olivier Rose: born in Vittel, France in 1971; 1993­1998 photo assistant to Bettina Rheims, Oliviero Toscani, Patrick Shaw and others; freelance photographer since 1999; published in ‘Vogue’, ‘Elle’/France, ‘Citizen K’, ‘Jalouse’, ‘Icon’ and ‘Gloss’; advertising campaigns include Alain Mikli, Eres, Benson & Hedges.

www.olivierrose.comwww.danielawagner.com

JOnathan Frantinitotally captivatingHoward Bernstein, Bernstein+Andriulli, New York: “It’s amazing how Jonathan Frantini’s strong style and great sensitivity manage to convey a broad range of stories. He gets very close to his subject, with a wonderfully intimate narrative style, as he recently did for Italian ‘Glamour’; or as in the case of ‘Wallpaper’, he set up portraits and fashion shots in front of sweeping architectural landscapes. He himself cites director Michelangelo Antonioni as his greatest inspiration.”

Jonathan Frantini: born in Ravenna, Italy in 1971; 1992­1995 Academy of Arts in Bologna; 1996­1998 freelance photo assistant; freelance photographer since 1998; published, among others, in: ‘Wallpaper’, ‘Another Magazine’, ‘Glamour’/Italy, ‘Dazed and Confused’, ‘Dutch’, ‘Intersection’; advertisements for: Dries Van Noten, Microsoft, SNCF (French railways), MTV, Commerzbank, Saab and others.

www.jonathanfrantini.com www.ba-reps.com

7 UpWhich photographers are currently on the move to the very top? viCtOr got seven international photo representatives to choose –we present their newcomers and tell why these are the ones to watch.

KazuyOshi shimOmuraintensely darkPeter Ryan, AVGVST, Tokyo: “Kazuyoshi Shimomura’s pictures consist of more than one layer. They have a story, depth. The intensity and darkness I first encountered upon looking at his pictures reminded me of Guy Bourdin. Kazuyoshi shows similar depth, even in his fashion and glamour work. At first, the Japanese didn’t know what to do with his extreme and somber style. Only after a three­year success story in Paris was he finally recognized in Japan. There are thousands of talents out there, but few shine as brightly as Kazuyoshi.”

Kazuyoshi Shimomura: born in 1973 in Osaka, Japan; 1990­1994 film studies at the Tama Art University in Tokyo; freelance photographer since 1994; published in ‘The Face’, ‘Vogue’/Japan/Korea/Taiwan and ‘Harper’s Bazar’/Japan; advertising campaigns include LG, Seiko, DTC Diamonds and others.

www.avgvst.com

Kazuyoshi Shimomura Jonathan Frantini

Olivier Rose

31 ONLINE 7/2009

lOuise enhÖrningnaturally sensitiveBirgitta Martin, b­martin, Stockholm: “Louise Enhörning’s photos are filled with great sensitivity and intimacy. When viewing the pictures, one has the impression of actually being part of the scene. She manages to capture modern, every­day life in a natural yet artistic manner. Whatever Louise photographs, her pictures have an unpretentious and spontaneous charm. Her inspiration arises primarily from her own nature, from mistakes she’s made and from the people she loves.”

Louise Enhörning: born in Saltsjöbaden,Sweden in 1976; 1995 High School for Arts, Stockholm; 1996­1997 manager of Yrkesfoto­grafernas Studios, Stockholm; 1998­1999 photo assistant for Robert Nettarp; freelance photographer since 2000; published, among others, in: ‘Dazed and Confused’, ‘Nylon’, ‘Vice Magazine’; advertisements for: Birkenstock, Black Velvet, MTV and others.

www.louiseenhorning.comwww.b-martin.se

Daan BranDflying comicallyMark Jovanovic, House of Orange, the Netherlands: “Daan’s favourite subjects arepeople, but he has his own particular way ofphotographing them; the results are photos full of flying objects and falling people. TheBeatles, cartoons and action films are amonghis sources of inspiration. Daan is always looking for a humorous twist, searching forthe absurd. This is a result of his dissatisfactionwith his surroundings – without cynicism. Daan likes people, but also likes to show their bizarre and funny sides. His reality is different to ours – his is a world full of humor.”

Daan Brand: born in The Hague, Netherlands in 1973; 1994­1998 photographic studies at Minerva Academy of Arts in Groningen; freelance photographer since 2001; published, among others, in: ‘Elle’/Netherlands, ‘Avant Garde’, ‘Rails’, ‘Spoon’; advertisements for: Coca Cola, Nike, Footlocker, Gordon’s Gin and others; exhibitions, among others, at Amsterdam Fashion Week, Naarden Photo Festival.

www.houseoforange.nl

sinisha niseviCblatant stagingAngela Shore, Photographic Management Inc., New York: “Sinisha Nisevic is a jack­of­all­trades: He’s not only active as a photo grapher, but also as an art director, film director and painter. While his studio turns out work like a factory, Nisevic moves between east and west coasts of the US, as well as frequent assignments in Europe. His pho to graphic style is high­fashion, it has a keen edge and is always one step ahead. He’s constantly thinking outside the box, produ ­cing work that overflows with sensuality, sexuality and – between the lines – reality.”

Sinisha Nisevic: born in Zagreb, Croatia in 1972; 1994­1997 film studies in Los Angeles; freelance photographer since 1999; 2003 directed the film ‘Reflections’; published, among others, in: ‘Citizen K’, ‘Crash’, ‘Jalouse’; advertisements for: Adidas, Johnnie Walker, Kenzo, Sony Music and others.

www.sinisha.net www.pmionline.net

timtOmphotographically composedKozva Rigaud, Shotview, Vienna: “If therewas an artistic discipline known as ‘photogra­phic drawing’, TimTom would be its leadingexponent. Rather like a comic strip, he manages to reduce the content of his photos to their story­telling elements. Because of his experience in the world of film, his still motifs come to life. Architecture, performing arts and music are other sources of inspiration. His stills are usually imbued with humor, but with the directness of someone who knows his business. Whatever he photographs, his pic­tures have a clear focus, are always effective.”

TimTom: born as Timotheus Tomicek in Vienna, Austria, in 1978; 1997­1999 Photo­graphy College at the Höhere Grafische Lehr­ und Versuchsanstalt, Vienna; 1999­2005 Film Academies in Vienna and Paris; free­lance photographer since 2005; published, among others, in: ‘GQ’, ‘Numero’, ‘Vorn’; advertisements for: Diesel, Vöslauer, Tate Galleries London, Bocca al Lupo and others.

www.timtom.zion.at www.shotview.com

Daan Brand

Louise Enhörning

Sinisha Nisevic

TimTom

tOp seven neWCOmers

32 ONLINE 7/2009

Next victor oNliNe: 1 august 2009

Items and topics in the next issue of VICtOR online may be changed or post-poned due to editorial or other reasons.

bIlly & hells>> lusty, but kitsch-free Wild West portraits

JOnathan sIngeR >> strange yet very beautiful:

unusual flower and plant images

mIChael gRaf >> exceptional image compositions and perfect technical application

Be surprised by inspiring portfolios, keep up-to-date with the most significant photographic trends, read in-depth articles on technical developments. On August 1st, 2009, check your monitor for the next issue of VICTOR online.

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VICTOR online | 7/2009www.victorbyhasselblad.cominfo@victorbyhasselblad.com

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