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Grows more flexible with age.

The new CFV-39 features a sensor that is twice as large as leading 35mm DSLRs and matches the iconic design of your V System camera perfectly. The CFV-39 allows you to choose between two image formats, 29 megapixel square (5412 x 5412) and 39 megapixel 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, features ISO speeds from 50 to 800, and a capture rate of 1.4 sec per capture with 39 captures per minute. The Hasselblad CFV-39 transforming your V System film camera into a high-performance digital workhorse. Free Factory Refurbishment with purchase of CFV-39 before Dec 31, 2009!
If you purchase a CFV-39 before the end of the year, we will make sure your old workhorse is up to the task, giving you a complete overhaul of your camera body, and a 6 month limited warranty. To find out more about the details and to take advantage of this limited offer (valued at 285 Euro), log onto our website.

www.hasselblad.com/cfv39-refurb

HANS STRAND

KEVIN THEN

Editorial

ContEnt

After five years at the helm, Christian Poulsen has decide to resign as CEO of Hasselblad. Christian, with passion and uncompromising determination, transformed Hasselblad from an exclusively analog to a modern digital camera company in less than five years. His biggest achievement, however, was not only enabling Hasselblad to offer fine digital solutions, but to create, together with his team, a fully integrated, truly digital camera platform, which allows all components from lens, to camera, to software to be linked and blended together in a manner no other high-end camera manufacturer has offered to date. What began with the H2D, H3D and H3DII, was recently further enhanced by the H4D, which sports leading-edge technologies like True Focus with APL, as well as the highest resolution and image quality currently available on the market. This has created the foundations for an ongoing technological success story: this has enabled Hasselblad to successfully remain in the drivers seat in the high-end segment of professional photography today. It is obvious that an important mission has been accomplished. Christian Poulsen who, by the way, has always been a big promoter of the VICTOR project leaves the company to pursue other interests, but remains a strategic technology adviser to the Hasselblad board. His place at the rudder will be taken over by Dr. Larry Hansen, who has been on the Board for several years and is the Chairman. Larry comments: We look forward to a new phase. Hasselblad and the entire industry are faced with constant changes, which, of course, open up a range of opportunities. Adding to the focus on technology of the management team for the past five years, Larry Hansen brings tremendous expertise in the photo industry and related business developments. He brings over 26 years of experience gained from a number of top management positions held in the German-based optical and opto-electronics company, Carl Zeiss. For the last 16 years, Larry fulfilled the role of Chief Executive Officer of Carl Zeiss Asia Pacific, located in Japan, managing the profitable growth of the companys complete portfolio of businesses throughout Asia. In addition, he initiated and developed thriving photographic business collaborations with Japanese corporations such as Sony, Cosina and Kyocera. So, Christian, many thanks for everything you have done for both the brand and the photo industry; and Larry, welcome time to start the next chapter. Yours sincerely Stephan Bittner, Publisher

Fournier tra vels the world photographing people and places that are witness to humanitys passion for space (cover and ri.)

04 >> NEWS
David Trood: the Hasselblad Masters new unusual photo book Joel Meyerowitz presents the wild side of parks in NYC Wildlife photographer 2009: Jos L. Rodriguez wins with a 503 CW picture

06 >> VINCENT FOURNIER

Fournier traveled the whole world for his Space Project. His pictures of observatories, training camps, and space stations are proof of humanitys fascination with space.

20 >> SEVEN UP
VICTOR 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.

22 >> TIM FLACH

When the British animal photographer, Tim Flach, photographs precious horses, he transforms their shapes, colors and structures, forcing the viewer to take an even closer look.

36 >> RAYA
The fashion and beauty photographs taken by multiple award winner, Raya, are wonderful to see. More important, however, her images always tell a compelling story.

40 >> pREVIEW
Italian photographer, Alberto Peroli, used an H3DII-31 to document a social project in Bangladesh. His photographs show that the camera can do great reportage work.

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VICTORNEWS
JOEL MEYEROWITZ A HOMAGE TO NEW YORKS PARKS DAVID TROOD A BOOK ON A VERY SPECIAL JOURNEY
Wilderness in New York City? Pictures by award-winning photographer Joel Meyerowitz taken in his home town from 2006 to 2009, prove its true. Assigned by New Yorks Department of Parks & Recreation, he visited 9.000 acres of park, documenting and celebrating them. Taken with analogue 4x5 and 8x10 inch cameras, the pictures were scanned on a Hasselblad Flextight X5 scanner. The degree of control I have with these high-quality scans from Hasselblad as well as digital printers by HP, is better than anything I could have achieved in the darkroom. I cant tell you how many times we will make a large print, put it up on the wall, stand back and say, this is fantastic! The images reveal hidden corners of wilderness in the city. It is the first time since the 30s that New Yorks parks have received such photographic coverage, documenting one of the citys great legacies. The title: Legacy: The Preservation of Wilderness in New York City Parks says it all, with 250 of the 3000 pictures Meyerowitz took, on 300 pages and with two, four-sided gatefolds. Born in 1938, Meyerowitz based his Legacy project on childhood memories of a New York with green space open and wild, alive with rabbits, migratory birds, snakes, frogs, and the occasional skunk. That gave me my first sense of the natural world, its temperament and its seasons, its unpredictability, and its mystery. An exhibition of large-format prints of Meyerowitz Legacy images can be seen at the Museum of the City of New York up till March 7, 2010. (Joel Meyerowitz: Legacy: The Preservation of Wilderness in New York City Parks, Publishers: Aperture Foundation).

JOSE L. RODRIGUEZ wilDliFe photographer 2009

Jos Luis Rodriguezs photo The Storybook Wolf, taken with a Hasselblad 503 CW, earned him the title of Veolia Environment Wildlife Photographer of the year. In addition to the Animal Portraits category, he was chosen as overall winner beating 43.135 other entries from 94 countries. When Rodrguez realized he had captured his dream shot, he couldnt believe it. I risked using a slow shutter speed, 1/30 sec at f/11, to retain the moonlit sky and conjure up the atmosphere of the place, he says. I switched from using my Nikon D2X to my Hasselblad 503CW with a Planar 80mm lens so I could get the exact framing I had in mind. He used a 6x6 Fujichrome backing at ISO 50 with a Ficap infrared camera trap to get the shot, expressing the ageold conflict between man and wolf, while also capturing the animals power and beauty.

At the seashore, in the desert, by a volcano Hasselblad Master David Trood traveled the whole world looking for the source of creativity for his unusual photo book At any given moment

On December 5, David Trood (born in Australia and living in Denmark) launches a very special photo book, where the 42 year-old processes the essence of his photographic life: At any given moment invites readers on a journey to distant places, encouraging them to discover the source of creativity. The book tells of a courageous journey in search of the unusual, the bizarre, but also the mundane. Made a Hasselblad Master in 2006, David Trood, who began taking pictures at 16, has achieved a lot in his professional life. At any given moment sets a new challenge, as he not only took the pictures, but also wrote the text and designed and published the book, to ensure his message would not get lost. My objective with this story is to create an understanding within the spirit of humanity that there is the same essence in us all, and when we make the conscious choice to look, we will see that essence reflected in everything around us. If you prefer to reduce the environmental impact, you can download the book for a small fee from www.atanygivenmoment.com. (David Trood: At any given moment)

The winning photo The Storybook Wolf taken by Jos Luis Rodriguez, captures the dynamics of an Iberian wolf leaping over the fence on a Spanish farm

For Legacy: The Preservation of Wilderness in New York City Parks (le.), Meyerowitz photographed at the New York Botanical Gardens in autumn (be. le.), and at the Van Cortlandt Park in spring (be. ri.)

Photos: David Trood (4); courtesy Joel Meyerowitz and Edwynn Houk Gallery, excerpted from Legacy: The Preservation of Wilderness in New York City Parks, published by Aperture (3); Jos Luis Rodriguez/Veolia Environnement Wildlife Photographer of the Year 2009

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Movement by Sarah Silver

Light by broncolor Scoro A

Sarah Silvers talent for refined light mixed with cascading water generates a stunning eye-catcher! The all new broncolor Scoro A allows up to 10 f-stops of light control, from 3 to 3200 J. A selectable flash duration from 1/450 to 1/12000 s and a charging time from 0.02 to 0.6 (230 V) are just some of the other highlights of this product, offering total creative freedom. Stop dreaming discover the new Scoro A at your dealers showroom. broncolor Scoro A Simply The Best.

www.broncolor.com

MDRS #03. MARS DESERT RESEARCH STATION/ TEAM 54HANKSVILLE/UTAH/ USA/NOVEMBER 2008

VINCENT FOURNIER
With carefully staged pictures that could have been taken on the moon or Mars, Vincent Fournier invites the viewer to dream of distant planets. While putting together his Space Project, the photographer visited the most important observatories, training camps and space centers around the world with his H3DII-39.

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MDRS #01. MARS DESERT RESEARCH STATION/ TEAM 54/HANKSVILLE/UTAH/ USA/NOVEMBER 2008

MDRS #02. MARS DESERT RESEARCH STATION/ TEAM 54/HANKSVILLE/UTAH/ USA/NOVEMBER 2008

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VINCENT FOURNIER PORTfOLiO

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BIOSPHERE2 #01. ORACLE, ARIZONA/USA/OCTOBER 2009

ANECHOIC CHAMBER/ESTEC/ EUROPEAN SPACE RESEARCH & TECHNOLOGIE CENTRE. NOORDWIJK/THE NETHERLANDS/ APRIL 2008

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VINCENT FOURNIER PORTfOLiO

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THE MILITARY MUSEUM OF THE CHINESE PEOPLES REVOLUTION. CHINA/BEIJING/OCTOBER 2007

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Right: BAF ROOM 65 #01 Below: BAF ROOM 65 #02 Both: FINAL ASSEMBLY BUILDING/BUILDING S5E/ GUIANA SPACE CENTRE/ CSG FRENCH GUIANA/ KOUROU/FEBRUARY 2007

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GNRAL BORIS V. NAIDYONOV WEARING THE RUSSIAN SPACE SUIT SOKOL. STAR CITY/YOURI GAGARINE COSMONAUT CENTER/CGTC/RUSSIA/ZVIEZDNI GORODOK/CHTCHIOLKOVO NOVEMBER 2007

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PORTfOLiO VINCENT FOURNIER

His landscapes are remote and barren, yet they exert enormous attraction on the viewer, reminding them of childhood fantasies played out on the moon or Mars, or of the incredible journeys of Jules Vernes. My niche is building complex images that possess a natural fidelity. I want people who view my work to feel as though theyre inside this world that Ive created through photography, which forces me to experiment with my craft as much as possible, Vincent Fournier explains. The Brusselsbased photographer has been using Hasselblad cameras since 2004 first a H3D-22 and then a H3DII-39 , traveling the world for his largescale Space Project, aimed at documenting all types of undertakings that reflect humanitys efforts to conquer space. The resulting landscapes and abstract interiors are rather uninviting, the compositions extremely static and sterile; yet, even though it might appear that they were taken in a studio, the pictures were shot in real existing locations. In quasi-monochrome spaces, Fournier introduced very precise color accents. The photographs were often taken in secretive, even mythical places, such as the Yuri Gagarin Cosmonaut Training Center in Russia, the Mars Desert Research Station in Utah, the Guiana Space Center, and the Atacama Desert Observatories in Chile. With dogged persistence, Vincent Fournier applied for the necessary permits so that he could take his camera into the most important observatories, training camps and space stations around the world. In addition, Fournier (who was born in Burkina Faso and grew up in France) joined the French branch of the Planet Mars Society that aims to simulate life on Mars, collecting information that could prove extremely useful for future trips to the red planet. He even took part in the societys intense training course, and in 2006, was one of a few photographers chosen by the society to take part in the Mars Desert Research Station project a global exploration of deserts, including the Canadian Arctic, the American Southwest and the Australian Outback. In fact, it all began back in Hawaii. While photographing the Mauna Kea observatory, Fournier was struck by the extremes he saw between the volcanic landscape de-

void of any human presence and the enormous, sci-fi-looking radio telescopes used by scientists to eavesdrop on space. It was at Mauna Kea that he decided to start a project dedicated to landscapes with observatories. I eventually decided to enlarge the project to the space centers around the world exploring the idea of man and space, whether we are looking at the sky, whether we are going in the sky. For the commercial and fine-art photographer color softness is an important creative means just like the appropriate natural lighting. I like the softness of the light at sunset and dusk sometimes just a few seconds after the sun rises or sets, Vincent Fournier explains. To get a shot just right, he will go out a day earlier to plan the details of his compositions. This allows him to decide how to make best use of the few moments of perfect light needed to achieve the right effects for photos such as those taken in the area around the Mars Desert Research Station (MDRS) in Utah. I wanted the MDRS images to look like paintings historical landscape paintings with a sense of science fiction.
Vincent Fournier: Space Project, Verlhac Editions, 100 pp., 49,00 The London Step Gallery presents Fourniers Space Project from January 13 to 17 at the London Art Fair, www.vincentfournier.co.uk

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COVERSTORY

Chen Man

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Sarah Maurer

Emil Larsson

UP

CHEN MAN futuristic beauty

Maree MacLean, Fuma, Shanghai: Chen Mans style is future tech. Every one of her pictures makes use of the rapid developments in China as a backdrop. The turbulence and lack of orientation arising from the extreme transformations taking place are clearly visible in her photographs the people all seem to be out on a limb. At the same time, Chen Mans vision is always clear, and her futuristic illustrations complement her wonderful photographs. They scream of China without being strident. The manner in which she lets beautiful forms fall gracefully into place gives her photography a third dimension, and will undoubtedly also be useful for other media. Chen Man: Born in Beijing/China in the 1980s; 20002006 studied painting; freelance photographer since 2004. Published among others in: Nylon, Vogue/ China and Preference. Advertisements include Shiseido, Kappa, Motorola. www.chenmaner.com www.fuma.biz

SARAH MAURER pure dynamism

Ulrike Hug, Tina Aich Fotografen Agentur, Zurich: Sarahs pictures are pure and sensual, dynamic and fresh, luminous and often very feminine. She has an exceptional sense for smooth subtlety, but also playfulness. This is particularly evident in her fashion photography, but also in her portraits. Shes also able to discern trends that are just appearing on the horizon. Her particular talent lies in transforming disparate situations and settings into a concise imagery that is captivating and touching. Sarah Maurer: Born in Zurich/Switzerland in 1979; 2000 photo assistant; 20012003 apprenticeship in photography/photographic design; freelance photographer in Paris and Zurich since 2003. Published among others in: Handelszeitung, LOfficiel/Russia and GQ/Japan. Advertisements include: Marks & Spencer, Orange, Swiss Airlines, Bluedog. www.sarahmaurer.com www.aich.ch

EmIL LARSSON unusual combinations

Anders Fransson, Adamsyk, Stockholm: Emil Larsson always manages to give a broad and unusual interpretation to any given theme both in his editorial and commercial work. Hes inspired by other photographers such as Irving Penn, Richard Burbridge and Guido Mocafico, but, above all, by the artists and creative friends that surround him. Emil Larsson has created his very own place within the still-life genre: he gives you the small world and allows you to look beyond its borders. This talent, combined with his highly developed technical ability, makes him a worthy top newcomer. Emil Larsson: Born in Malm/Sweden in 1977; freelance photographer since 1999 located in Stockholm since 2005. Published among others in: Tush, Dansk and Plaza. Advertisements include Coca Cola, Eurocard, Sony Ericsson, IKEA, Apoteket, Heinz Pripps. www.emillarsson.com www.adamsky.se

Which 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.

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TOP SEVEN NEwcOmERS

Norman Konrad

Julian Hibbard

Barrie Hullegie

Xander Ferreira

NORmAN KONRAD conceptually modern

Anja Wiroth, Anja Wiroth Agency, Berlin: Norman Konrad is refreshing because he plays with a variety of media and ideas. He takes the old and brings it together with todays style professionally, but without overworking and retouching it to death. He searches for new depth in each photo shoot: he manages to convey a social intelligence into his pictures. Norman consults, is to-thepoint and always friendly but also assertive. He has distinct conceptual talents, always remaining faithful to himself and his style. Norman Konrad: Born in Gotha/Germany in 1976; 20012006 studied photography and design in Berlin and Prague; 20052006 photo assistant to Kristian Schuller, Alexandra Kinga Fekete and Johann Sebastian Hnel; freelance photographer since 2006. Published among others in: Die Zeit, Style & The Family Tunes. www.normankonrad.de www.anjawiroth.com

BARRIE HULLEGIE thrilling cinematography

Narda vant Veer, Unit C.M.A., Amsterdam: Barrie Hullegie concentrates above all on the psychological demands that confront his models. Through his efforts to capture their thoughts and feelings, he always produces a thrilling, mysterious picture. This forces the viewer to think twice about the real characters of those portrayed. Barrie Hullegie is inspired by the dark and mysterious work of the likes of film-makers Franois Ozon or David Lynch. Barries film-like photography suggests the existence of another, darker world, thats hard to grasp. For this reason his work is very applicable to conceptual fashion photography. Barrie Hullegie: Born in Vaassen/Netherlands in 1976; 19941998 studied graphic design in Utrecht; 19982002 studied photography at the Royal Art Academy in The Hague; freelance photographer since 2005. Published among others in: Blend Magazine, LOfficiel, Elle. Advertisements include Nike, Adidas, Beymen, Onitsuka Tiger. www.barriehullegie.com www.unit.nl

JULIAN HIbbARD astounding narrative

Ivy Brown, One Naked Egg, New York: Thanks to Julians particular conceptual talent, every one of his pictures manages to tell a story. Looking at his shots is almost like watching a film. The measure of creativity in Julian Hibbards work is simply astounding. Whats more, with each of his projects he reveals another part of himself. His unique vision combined with traditional English values, brings the old and the new together, lending his images a surprising twist. Julian Hibbard: Born in Guildford/England in 1972; 19911995 studied art and design; 1995 photo assistant; 19961997 teaching grant at the Art College in Santiago/Chile; freelance photographer since 1998 located in New York since 2001. Published among others in: Popular Mechanics, GQ, Spin and Elle. Solo and group exhibitions include New York and Los Angeles. www.julianhibbard.com www.oneegg.net

XANDER FERREIRA haunting composition

Emma Buckland, Shinegroup, Cape Town: Xander grew up on a farm in South Africa close to the border with Mozambique. From a very early age, he was influenced by both the pictures his father took for National Geographic Magazine, and the constantly changing landscapes. Delighted by photography, Xander worked together with some very inspiring photographers. Having developed a unique, haunting style, and an easy-going technical expertise, he quickly stirred the interest of leading newspapers. Xander has a strong sense for moods and light, and a quick eye for wonderful compositions. Xander Ferreira: Born in Mpumulanga/South Africa 1981; freelance photographer since 2001; 20032005 photo assistant in Cape Town, Milan, Copenhagen, Berlin and Paris. Published among others in: Slackmag, Blond, Style, Obrigado, Lodown, Pause Magazine. Advertisements include Wrangler, Puma, YDE. Prizes include the Spider Award 2004. www.xanderferreira.com www.shinegroup.com

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LIVING SCUlPTURES
British photographer Tim Flach is known for his unusual portrayal of animals. His horse images manage to convey the relationship between man and steed without including any human subjects. Though domesticated over 5000 years ago, Tim Flachs perspectives present the noble beast in an entirely new light. Trailblazing images between motion and repose.

PHOTOS: TIM FLACH

Tim Flach considers this shot of the Andalusian, Farol XXIX (above), one of the ultimate horse images. With this extreme close-up (right), Flach wants to encourage the viewers eye to wander

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To make the Lusitano, Unico II, shake his head dynamically, Tim Flachs assistant rubbed foam over the animals head. The photo shoot took all day

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Eye to eye with Hassan a white Arabian (left). His back (above) transforms into an abstract sculpture, producing a large variety of shades of white

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Flach let the breeder decide on the exact background for the cremellocolored Lusitano stallion, Idolo. The result was a setting where horse and backdrop blended perfectly

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A closer look in needed to discover the condensed breath of the thoroughbred, Montpelier (left). With the Lusitano, Dante (right), Flach wanted to show muscles and structure rather than the whole horse

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Destined for glamor: Cassias mane is elaborately and lovingly plaited before British photographer Tim Flach trans forms the proud curve of the mares neck into a monumental landscape

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LIVING SCUlPTUREs
TIM FLACH
Born in London, England in 1958. Flach studied commu nications design from 1977 to 1980 at the University of East London (UEL), and then photography at the renowned Central Saint Martins College of Art and Design in London from 1982 to 1983. Soon he was assisting photo grapher Brian Worth on major hotel brochure photo shoots and other PR work. Apart from the practical experience Worth provided him with the opportunity to use the studio for his own works. Flachs work has been recog nised with awards from the Association of Photography and British Design & Art Direction. Flach has had solo exhibitions in Dubai, Shanghai, Tokyo, Berlin and Houston, Texas, and lectures all over the world. His clients include Lavazza and British Royal Mail.
Whether face to face or eye to eye even when you look really close its hard to tell exactly what youre seeing. Despite the vividness of his pictures, British photographer Tim Flach loves to confuse the imaginative viewer. I like to bring unexpected elements to people, show them the less familiar, Flach explains, speaking about his particular way of seeing and capturing things. In his case, the things are animals and, above all, horses. Flach was given his first professional photographic assignment at age 18 when he was still a student. The project involved an 18-foot-long python. In his foundation course he was again photographing animals at the London Zoo. He hasnt looked back, You cant expect rational behavior when you're dealing with animals they're totally unpredictable. It leads to a tension between existing structures and a contrast between chaos and order. This tension creates the ideal conditions for the photographers work. He likes to take portraits of animals as though they were people sometimes face to face, sometimes in profile. As a result, the intuitive perspective becomes one of his stylistic elements. People tend to project human attributes onto animals, and thats fascinating, into something odd by his choice of unusual perspectives and angles, thus showing it in a completely new light. It has earned him a number of international awards. My pictures also reveal how we read things, how they astound us and how they become emotionally transformed, he explains. It was six years ago when he photographed a horse for the first time, together with other exotic animals such as Chinese pigs, bats, elephants and monkeys. He started this particular project by asking himself a simple question: What does a horse symbolize to me? The answer turned out to be a lot more complicated, for the relationship between man and horse, and the depictions thereof, have existed for thousands of years. Its a coexistence that has been constantly evolving. For centuries, horses were mans beast of burden, used for hunting, agriculture and even defence. It is only recently that theyve found their place in the world of recreation. This has led to new businesses where horses are objects of speculation highly appreciated investments, running into the millions. Through the ages, people have been developing equipment and accessories for a variety of horserelated activities culminating today animal look like a boxer about to step into the ring; and even contraptions to measure the horses breathing during training. You dont know its function, but you immediately start to search for a meaning, Flach explains with a grin that betrays his own confusion at seeing all the equipment. It clearly says something about the significance horses have for human beings, evident also in the various breeding programs. Tim Flach wants to show todays relationship between horses and people, free from clichs. Human figures are absent in his pictures. His chief interest is in paying homage to the steeds visual form. With this in mind, he goes as far as to take the horses out of their natural habitat at a cost of 1,500 English pounds for two, for example and relocates them in the sterile setting of his London studio. It is in this studio, located in Shoreditch, a former industrial area and now up-andcoming neighborhood brimming with artists studios and hip restaurants. In the studio Flach shoots his famous photographs, expertly switching between cameras or, more specifically, between his three Hasselblads: a Hasselblad 553ELX with a 150mm lens, a Hasselblad H1 camera with an Ixpress 132C digital back and with HC 100mm and 120mm lenses and a Hasselblad H2D-39 with HC 50110mm lens. Flach also draws upon the lighting techniques of fashion photography, using a special ring flash system for arising in the stall in different light. With the exception of a few rare cases, this perfectionist photographer avoids post-processing his work in Photoshop. Flachs pictures convey a sense of less is more, aiming to give the viewers enough room for their own personal interpretation of the subjects. For this reason, certain details only become apparent after repeated viewings: the triangular shape, the hint of an ear seems to suggest that the abstract sculpture may, in fact, be breathing horse. Its a surreal and suggestive type of photography that has gradually evolved into Flachs life mission, and he intends to continue in the same direction. I have spent twenty years or more solving other peoples problems: photography is often used to communicate ideas. It was a very creative journey, and it took me all this time to get on the right track, Flach says, as he moves off into a universe still bursting with possibilities. There is no doubt that he intends to convey these visions in his own special way starting with his very first book project titled Equus. Therefore he was travelling the globe, in the search for equines in their natural environment. The opus will be published in October 2008 by PQ Blackwell of Auckland, New Zealand. CARLA SUSANNE ERDMANN

www.timflach.com www.peterbailey.co.uk www.pqblackwell.com

Flach realizes. His work is also often quite abstract the perfect antithesis to anthropomorphism. Flachs super-sharp images are close-up impressions of four-legged, hoofed animals and other mammals, reptiles and fish. Its goosebumps material. Deep furrows in the skin appear like rocky gorges, pores like craters and feathers like trees. Flach likes to condense incredible proximity even further, reducing everything to the basics, transforming a living being into nothing more than color and structure. The animals body seems to disappear altogether. Flach turns the familiar

in high-tech horse racing gear. The sums can be quite spectacular: an Irish group once invested approximately 13.4 million euros for a two-year old race horse that has yet to see the starting line a cost that doesnt even include the required expensive equipment. The long list of equipment includes: nylon suits designed to give the horse a shiny coat after shampooing and drying; transport masks that make the

linear, direct light, and he prefers to photograph the animals in front of a black backdrop. However, Flach spares no expense when it comes to adjusting the background to achieve the right effect. For example, in order to create the perfect blend between the rare cremello-colored coat of the Lusitano stallion, Idolo, and the background (page 46), Tim Flach sent the breeder a color palette to pinpoint the subtle color changes

Masquerade (from left): Wildest Dream, an Arabian wearing a fly protector; Al Patra, an Arabian sporting a post-op mask; the tho roughbred fitted with oxygenmeasuring mask; Hotspur, an Irish sports horse, protected by six teenth century armour; a British pony wearing a hair straightener

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HASSELBLAD MASTERS 2007

RAYA

Born in Tel Aviv/Israel in 1971 | moved to Paris in 1981 | freelance photographer since 1998, located in New York since the autumn of 2006 | Published in WestEastMagazine, Elle, Harpers Bazaar/Russia, Dansk, Esquire, Gala, Cosmopolitan, Dandy and Icon, among others | Advertisements for Daniel Hechter, Club Med and M. Frey, among others | Awarded the prize for Best Fashion Photograph in Cannes 2005.

The beginning. When I was young I collected Harcourt postcards. At the time I had no idea Id become a photographer one day, but I was fascinated by glamorous, black&white pictures of all those beautiful actors and actresses, and all staged with such great lighting. The heroes. I admire Vincent Peters pictures because he manages to make women look both sensual and glamorous. Im also impressed by the allure of Dominique Issermans photos and her gorgeous use of light. The hobby horse. I love looking at paintings and big brand magazine ads, as well as watching TV ads. Even at a friends house, if I see a copy of Vogue lying around, I just cant resist picking it up immediately to check out the fashion sections. The excitement. I once had a photo shoot in a small, Spanish hair dressing salon in Miami, where everything was colored pink. We arrived there with three models Advertisement for Eva Christal (2006, very top); for Icon (2006, above); for Dansk (2005, right)

directly from a photo shoot on the beach. We were terribly late and we had just two hours to get the models made-up, have their hair done, drag old ladies in from the street to play extras, sit them in hair-dresser chairs, dress a models small dog completely in pink, stage and photograph the lot. It was the fastest shoot Ive ever done in my whole life. The dream. I admire all forms of art. I dream of one day filming an incredibly glamorous perfume advertisement, which I would write and direct. The nightmare. All my acquaintances want me to take photos of their children, and they always ask me to take pictures of their weddings. That kind of stuff has absolutely nothing to do with my work; and, whats more, I dont have enough patience to do it. I dont even take a camera with me when on holiday. The star. Id love to take pictures of super model Stam. Shes not only very beautiful, but she also fits perfectly into my type of stories. The philosophy. Never lose hold of your self-confidence, set yourself high goals, and always try to be better. The treasure. Im particularly proud of the work I had published in the Russian Harpers Bazaar the piece was about quality jewellery and all the important brands like Dior and Chanel were represented. There were at least ten security guards there during the entire photo shoot. The Hasselblad. I photograph with an H2D, and I worship it. It is easy to use, not too heavy, has good lenses and feels like a small format camera. Its also very important to me that the H2D has such incredible precision in the detail and the sharpness, because I do a lot of jewellery photography. Raya is a Hasselblad Master because she has perfect control over the smooth transition between the glamour, romanticism and mystery in her pictures. Her knowledgeable interplay with being and appearance, light and shadow, produce stories that take the viewer far beyond what is apparent in the pictures.

Freelance work (2006, very top); for Icon (2006, above); in 2005 Raya received an award at the international Fashion Photography Festival for the picture with the rooster (right)

www.rayaphotographe.com www.hasselblad.com

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Picture from the Phantom series for C&G Magazine (2006, above)

NEXT VICTOR OnLInE: 1 JANUARY 2010

Be surprised by inspiring portfolios, keep up-to-date with the most significant photographic trends and read leading news for the photography community. On January 1st, 2010, check your monitor for the next issue of VICTOR online.

ALBERto PERoLi
>> more than just a reportage on a country touching portraits from Bangladesh

MARK ZiBERt
>> the Canadian shoots just about anything even Adidas in China

IMPRiNt

PEtER MAtHiS
>> sensitively photographed high performance
Items and topics in the next issue of VICTOR online may be changed or postponed due to editorial or other reasons.

VICTOR online | 12/2009 www.victorbyhasselblad.com info@victorbyhasselblad.com

Publisher: Stephan Bittner, Center of Service GmbH Publishing House /Advertising: Center of Service GmbH Hammerbrookstr. 93 20097 Hamburg, Germany Tel.: + 49.40.25 40 48-69 (Fax: - 40) E-mail: info@centerofservice.com Photographer Relations Manager Hasselblad: Christian Nrgaard Christian.Norgaard@Hasselblad.dk

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All articles and illustrations contained in the online magazine are subject to the laws of copyright. Any form of utilisation beyond the narrow limits imposed by the laws of copyright and without the expressed permission of the publisher is forbidden and will be prosecuted. We accept no respon sibility for unsolicited material and this will only be returned if appropriate postage is included. Hasselblad is a registered trademark of Victor Hasselblad A/S, Denmark. Place of jurisdiction and execution: Hamburg, Germany

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Theres no turning back

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SanDisk and the Sandisk logo, SanDisk Extreme and Compact Flash are trademarks of SanDisk Corp, registered in the US and other countries. SDHC logo is a trademark of SD-3C LLC. 2009 SanDisk Corporation. Taking images under water requires waterproof camera and case. Memory cards not waterproof. * 1 megabyte (MB) = 1 million bytes. x=150kb/sec. Based on SanDisk internal testing; performance may vary depending upon host device. ** 1 gigabyte (GB) = 1 billion bytes. Some capacities not available for data storage.