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editorial
Drum roll, please: In the middle of February, the new H4D-40 was launched simultaneously in 50 cities around the world! The event attracted a mass of photographers eager to see what the latest Hasselblad camera is capable of, with their own eyes. The strong attendance of numerous 35mm pros was proof that there is an increasing awareness of the problems caused by the inferior sensor size and limited optical options that characterize 35mm-DSLRs when used in certain professional fields. The new H4D-40 fills the gap perfectly between those systems and top-end DSLRs like the Hasselblad H4D-50 and H4D-60. During the successful event that saw the launch of the H4D-40, Hasselblad also introduced its new community platform, the Hasselblad Owners’ Club. The club offers all registered Hasselblad users the opportunity to present themselves and their work to the more than 1.4 million yearly visitors to the Hasselblad homepage – and, completely free of charge. Attention and recognition are the reward each month for the photographer whose picture has been chosen by other site users as Picture of the Month. Hasselblad Owners’ Club members have the chance to interact with other international photographers and, in addition, are linked to social media and forums such as Twitter, Facebook and LinkedIn. It is a known fact that being part of a good network is essential for professionals. It is now recognised that being named a Hasselblad Master gives a major boost to any professional photographer’s career. Despite its relatively short history, the Award – entering its tenth round – has gained a great reputation. The 2010 competition is now open – all interested photographers can apply at the Hasselblad homepage. A new category – wildlife – has been added to the existing ten; and it is hardly surprising that it is included in the Hasselblad Masters Award. “Broadening the categories to include wildlife,” Hasselblad’s Photographer Relations Manager Christian Nørgaard explains very appropriately, “demonstrates the versatility of the Hasselblad medium format DSLRs – the cameras are just as fantastic in the field capturing wildlife, as they are shooting portraits in the studio.” The images produced by renowned international photographers Steve McCurry, Kevin Then and Michael Grecco, during some of the first shoots with the new Hasselblad camera, are perfect proof of the H4D-40’s flexibility. You will find some pictures, together with a detailed technical analysis of the new H4D offspring, in this issue of VICTOR online starting page 6. I hope you enjoy this latest edition of VICTOR online.
Content
Here it is: The new shooting star of the Hasselblad family, the H4D-40, was used to shoot the cover by Michael Grecco
04 >> news Community: The new Hasselblad Owners’ Club offers all Hasselblad users an exceptional, free platform · Competition: The Hasselblad Master Award 2010 is open. Submissions accepted in eleven categories.
06 >> H4D-40 With the new H4D-40, Hasselblad rounds off its palette of high-range digital medium format cameras with a very attractive model. Three international photographers had a chance to put it to the test.
18 >> rodney Hobbs The Australian photographer takes wedding pictures imbued with natural and timeless elegance. The key to his success is in acknowledging the particular needs and feelings of each bridal couple.
34 >> Tang Hui The multi-faceted, Chinese photographer captures dynamic movement with Asian ease. In addition, Tang Hui, a former Hasselblad Master, has a weakness for bombastic settings.
38 >> René Riis Operation food: With retractors, bone saws and camera applied to fish and choice seafood, Danish photographer, René Riis, takes a completely new approach to food photography.
46 >> preview Award-winning, American reportage photographer, Steve McCurry, set out to explore Thailand equipped with the new Hasselblad H4D-40 – and shows his most outstanding images.
Yours, Philip Boissevain, Corporate Marketing Manager of Hasselblad
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victornEWS community join the Hasselblad Owners’ club
Welcome to the Hasselblad Owners’ Club. Photo pros can use the site to interact with others, network via social media sites and, above all, present their work
Visitors to the Hasselblad Owners’ Club site choose the Photo of the Month. You can see at a glance which pictures have the most votes
The Scandinavian camera manufacturer has launched a new forum, accessible to all Hasselblad photographers: by becoming a member of the Hasselblad Owners’ Club you will be able to present your work on-line, connect with Hasselblad representatives, and interact with professionals all around the world, sharing tips, tricks. Inaugurated in February 2010, this new segment of the Hasselblad homepage offers a direct link to the photo industry, as well as providing a connection to the site’s more than 1.4 million yearly visitors. Professional photographers will be nefit significantly from having their
Easy profile set-up: 1. Upload vita, 2. add profile picture, 3. choose photo category, 4. start uploading images, 5. crop the photographs for the thumbnail view
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profile included in the Hasselblad Owners’ Club. For registered Hasselblad users, signing up to the site is free; and, once a member, the user can show up to six of his/her original pictures, insert a short biography with contact information, and link to external portfolios. In addition, users who have added their profile to the Hasselblad Owners’ Club have the chance of being selected as Photographer of the Month by other site users. The Picture of the Month will not only feature in the Hasselblad Owners’ Club and on the Hasselblad site’s front page, but the winning photographer could, among other things, get coverage in Hasselblad’s monthly on-line magazine, VICTOR online. This will ensure that the photographer catches the attention of photo industry readers and professionals around the world. The Hasselblad Owners’ Club is also linked to the increasingly significant social media, including forums such as Twitter, Facebook and Linked In. Making use of these channels, Hasselblad photographers can reach out to an even broader public, whilst also becoming known to potential clients. Registered Hasselblad Owners’ Club members have access to Hasselblad’s official Facebook page, the Hasselblad Forum. Hasselblad intends to consistently improve and broaden this new community site, regularly adding novel segments and features; so, it will be worth keeping an eye on the page to avoid missing any up-dates. In addition, it is extremely important to Hasselblad to respond to the needs of its users. Consequently, any suggestions that can enhance and expand the Hasselblad Owners’ Club are sincerely welcome. ■
competition Hasselblad Masters 2010: apply now After just nine years, the Hasselblad Masters Award has earned itself an excellent reputation within the international photo community. Photographers wishing to enter the Hasselblad Masters 2010 competition can now do so at the Hasselblad homepage. This year, ‘wildlife’ has been added to the existing architecture, editorial, fashion/beauty, fine art, general, nature/landscape, portrait, product, up and coming, and wedding/social categories. All professional photographers using large and medium format
cameras can submit works to the Hasselblad Masters Award 2010, up until December, 31, 2010. “Seeing the excellent concepts, creativity and techniques shown in past years, we’re very curious to see what photographers will come up with this year,” Christian Nørgaard, Hasselblad’s Photographer Relations Manager, says. “Without a doubt, competitors will want to demonstrate the visual mastery professional photographers are able to produce.” Once again, an independent, international jury – supported by a Public Vote – will take on the challenge of choosing eleven Hasselblad Masters out of an internally pre-selected pool. In addition to the recognition, the winners will be able to use an H4D – made available by Hasselblad – to create a unique series for the commemorative photography book, Hasselblad Masters 2010. ■
The Hasselblad Masters Award 2010 is now open. Submissions to any of the eleven categories can be made on the Hasselblad homepage, up until December, 31, 2010
Display: The 3“ 24 bit TFT-display with wide viewing angle allows you to effectively check your images on location
True Focus: True Focus further refines close range autofocus for extremely accurate re-composing at close range. You can now feel safe when working creatively with shallow depth of field
Sensor: With its 33.1 x 44.2 mm size, the H4D-40 sensor’s capture area is almost twice as big as a 35 mm DSLR. It guarantees an ex tremely high performance, capturing more detail and vivid colors
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Inner strength Viewfinder: The large lenses capture much more light than 35 mm lenses, resulting in an extremely large and bright viewfinder image. With a small twist the HVD 90x reflex viewfinder can be exchanged with a waist level viewfinder to suit your style of working
The new Hasselblad H4D-40 arrives with a splash, broadening the horizons of 35 mm photographers and beckoning with the promises of medium format quality and power. Upgrading to more size is now more tempting than ever!
Central lens shutter: The central lens shutter in every HC/HCD-lens allows you to sync with flash down to a 1/800 of a second. This gives you additional headroom to reliably freeze movements and to creatively control your lighting
Fast and accurate autofocus: The H4D-40 uses a new, ultra fast autofocus processor that allows for True Focus operation
Depth of field: The large format of the H4D-40 camera system provides considerably shallower depth of field than 35mm DSLR cameras. This makes it much easier to utilize selective focus for creative effects
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»The ergonomics of the camera is just amazing. I never use it on a tripod, it’s in my hands. I also love this True Focus feature. You never want to compose somebody right in the center of the frame. So you can focus, move the camera around and it’s gonna hold focus.«
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Photo: Michael Grecco
michael grecco
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Photo: Kevin Then
H4D-40 Technology
The brand-new Hasselblad H4D-40 occupies a special place in the new H4D series. A milestone in the evolution of the H system, it sports a faster autofocus system enabling True Focus technology, a brand-new electronic interior and a spacious 3-inch camera screen. It also adopts the seasoned technologies implemented in its predecessors, including Digital Auto Correction, Hasselblad Natural Color System and the Phocus software. These components are firmly embedded in the constantly evolving H system. In short: maximum image quality, increased compositional options, and easy-to-use but sophisticated camera technology are all arguments that make the H4D-40 appealing to 35 mm photographers. But hasn’t 35 mm already achieved medium format status, as some manufacturers claim? No doubt, 35 mm cameras have improved substantially, but so has the medium format sector. The gap between the two has remained the same. Size does still matter. As well as considerably more resolution, a larger sensor surface ensures greater dynamic range and more accurate color recognition – the difference in quality is easy to see. In addition to quality advantages there are practical ones mostly based on simple physics: the large, bright viewfinder, the camera’s
modular build with numerous system accessories, the central shutter and the lenses with much narrower depth of field. 35 mm photographers are introduced to a brave new world where creative composition and powerful handling are brought to a whole new level. 35 mm and medium format cameras represent two distinct lines of photography: spontaneous, fast and portable on the one hand, maximum quality on the other. There has never been one camera that covers all the ground entirely, and that has not changed. In the digital age the two formats have continued to develop along their respective lines. 35 mm cameras have become extremely powerful; high sensor speed, burst operation and fast autofocus systems empower photographers under the most grueling conditions. Digital medium format, in turn, continues to center on uncompromising image quality, emphasizing increased resolution, naturalness and dynamic range. Different priorities lead to different technological resolutions, defined by the choice of sensor technology, color filters and post production plan. Many deserve looking at. As 35 mm and medium format each have strengths and weaknesses, it makes sense to choose the system that best fits your needs. Imagine
»When you look in the viewfinder of the new H4D-40, everything is huge inside. So I can see through it all the details, everything. And the lenses produced by Hasselblad are the best lenses I’ve ever used.« kevin then
you have both an H4D-40 and a fast 35 mm single lens reflex camera at your disposal. Which would you use to shoot athletes in action? Which would you use for fashion photography where dress colors must be accurate? Every task requires the best tool. When speed has priority, 35 mm wins. If quality is of the essence, the H4D-40 is clearly the right choice.
size still matters The H4D capitalizes on its larger sensor. At 33.1 x 44.2 mm it nearly doubles the size of the 35 mm format. And the superior resolution can be fully exploited as image noise and other phenomena caused by small pixels are not an issue. And there is never too much resolution. Extralarge print sizes require more than the 35 mm format can currently deliver, and it’s always good to have some reserves in case you have to crop an image before print. A picture shot with more resolution and then reduced in size will always show more information at detail level. While
large printing formats simply demand lots of resolution, smaller ones certainly benefit from it. To ensure the resolution is fully exploited, the lenses have to be top of the line. Hasselblad’s HC and HCD lenses are developed with highest image quality in mind. In the 28 to 300 mm focal length spectrum, every single lens has been developed to the highest standard. This sets the H4D-40 apart from almost all 35 mm systems where lens palettes shrink the moment absolute professionalism is required. Hasselblad lenses deliver superior quality not only in the image center and after stopping down at infinity setting, but also across all aperture stops and distances. They continue to perform immaculately when mounted with telephoto converters and extension rings. What is more, Digital Auto Correction (DAC) is designed to extract that last drop of quality from the mounted lens. HC and HCD lenses surpass the legendary Carl Zeiss lenses from the V series. Not even the larger H4D cameras
with 50 and 60 megapixels can fully exploit their potential. Join this system and the future is on your side. Hasselblad H lenses feature central shutters. These are not available to the 35 mm segment. The photographer benefits from being able to run his flash at all shutter speeds up to 1/800 second. This gives him a 2 to 3-stop edge over 35 mm cameras with focal plane shutters. This is perfect when capturing fast motion and suppressing unwanted ambient light. It is one of the H4D system’s key features. The size of the sensor also means a smaller depth of field compared to anything found amongst 35 mm cameras. Again, simple physics are at play, giving the photographer more options when singling out the subject from the background. Where 35 mm photographers are forced to resort to high speed (and often lower quality) lenses, H4D-40 cameras can work with wide angle lenses and still blur the background with ease, substantially increasing the creative scope. 35 mm cameras are simply not designed to perform this way.
true Focus Larger resolution and smaller depth of field give rise to a problem many 35 mm photographers may not even be aware of. Hasselblad tackles it with
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»The feature that distinguishes the Hasselblad from any other handheld camera is the capability to enlarge the pictures and to get the most incredible sharpness. It’s just wonderful to make unlimited enlargements from your work.«
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Photo: Steve McCurry
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Coverstory
Hasselblad’s H4D series features True Focus with APL. This technology refines close range autofocus for extremely accurate re-composing at close distance
True Focus technology. When the photographer points the AF sensor at the middle of the image to focus on a subject and then moves the camera to rearrange the composition, the image plane tilts a little (see illustration). The focus will wander to the back. Depending on the focal length, distance and f/stop, the main subject may blur to a greater or lesser extent. True Focus uses sophisticated yaw rate sensors to register the precise degrees by which the camera is tilted, instantly compensating the depth of field before exposure to ensure a coherent focus. 35 mm cameras with multipoint AF-sensors do not fully solve this problem since the sensors are still nearer to the center than the edge. Often you will still have to tilt the camera after focusing. Once you do this, the focusing plane shifts back, regardless wether you use medium format or 35 mm. In the latter case, the greater depth of field will nevertheless lead to a sharp main subject. Still, the moment the focusing plane shifts back it affects the DOF as a whole, distorting the accuracy of the results. True Focus eliminates this problem elegantly and effortlessly. By holding down the conveniently placed True Focus button after focusing, the Absolute Position Lock (APL) will continue to ensure consistently sharp images after tilting and exposing. The depth of field will be where you expect it to be. To enable True Focus, the H4D is equipped with a new, faster and more precise auto focusing system. The
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camera electronics are not only reinforced with yaw rate sensors and APL processor but completely renewed and made much faster. For all practical purposes, the camera electronics relieve the photographer of all theoretical stickiness. All he has to do is to shoot. Were you previously unaware of the focus shift problem? No matter. As an H4D-40 user, True Focus allows you to forget the problem as quickly as you learned about it. The camera solves it for you.
more accurate color 35 mm and medium format employ different color filters. The 35 mm sector aims for high sensitivity, requiring color filters that are particularly permeable to light but, as a result, more limited in the color spectrum they allow through – e.g. only a fragment rather than all green tones. Hasselblad uses color filters with more bandwidth and overlapping properties to allow for more accurate readings of mixed light, for example. The disadvantage of broadband filters, however, is inferior permeability to light and thus reduced sensor speeds. And yet that doesn’t stop the H4D-40 from boasting a maximum ISO 1600 and still putting on a dazzling performance in low light. Where would the color be without Hasselblad’s Natural Color System? It adds that extra touch and accuracy by drawing on the complete range of color registered by the sensor. Many RAW file formats override important
information supplied by the sensor, whereas Hasselblad’s 3FR format ensures the Natural Color System integrated in Phocus takes full advantage of the complete data set, extracting more color from the exposure. When it comes to skin and pastel tones, mid tones and special colors, the H4D clearly achieves better color – long before post production. In addition, the photographer requires only one color profile – rather than several, depending on the photographic situation – for consistently accurate color.
the role of the computer Now, at the very latest, the software enters the game. Phocus is just as integral to the H4D as the lens. The camera stores pictures exclusively as raw sensor data – either on a Com-
True Focus with Absolute Position Lock. This schematic serves to illustrate the process of focusing and tilting down. To keep the eyes in best focus at “θ” degrees tilt angle, the camera has to make the focus correction “δ”
pactFlash card or directly on the computer using Firewire. The image is interpreted and processed on a Mac or PC, which is far better equipped for this task than the camera. It gives the photographer more input options and thus more control. The 3FR format complies with Apple and Adobe software, yet Phocus, being designed specifically for the H4D system, manages to extract visibly more quality from the pictures. One component on the path to achieving superior image quality is Digital Auto Correction (DAC). It corrects residual aberrations which no lens is spared. Lenses are flawed by nature. For purely technical reasons, residual errors, such as distortion, vignetting and chromatic aberrations, cannot be avoided. They can, however, be kept at bay. DAC corrects these maverick blips based
on the exposure data stored in the 3FR files, including focal length, aperture and distance, drawing on sophisticated algorithms only the lens designers are capable of developing. Yet DAC is also an optional tool. The photographer can deactivate it at any point or, in the case of vignetting, even reverse the effect to increase the peripheral darkness and enhance the graphic appeal. Furthermore, even the Carl Zeiss lenses found in the V system can benefit from DAC. All that’s needed is to mount a CF adapter on the H4D. DAC inspires a whole new way of thinking. It presents lens designers with more options. Take the HCD 4/28, for instance, where designers tolerated slightly more distortion – easily corrected with DAC! – in favor of reducing chromatic aberrations and achieving more compactness. Even the top dog benefits strongly
The H4D-40’s perfectly attuned components – supported by Phocus 2.0 – result in photographs of a higher order
Technology H4D-40
H4D-40: technical specification Camera type: Large sensor medium format DSLR
Color management: Hasselblad Natural Color Solution
Sensor size: Kodak 40.0 Mpixels (7304 x 5478 pixels)
Focusing: Autofocus metering with passive central cross-type sensor. Ultra focus digital feedback. Instant manual focus override. Metering range EV 1 to 19 at ISO 100.
Sensor dimensions: 33.1×44.2 mm Image size: RAW 3FR capture 50 MB on average. TIFF 8 bit: 120 MB File format: Lossless compressed Hasselblad RAW 3FR Lenses: Hasselblad HC/HCD lens line with integral central lens shutter. Shutter speed range: 256 seconds to 1/800 second ISO speed range: ISO 100, 200, 400, 800 and 1600 Color definition: 16 bit
True Focus: Automatic focus adjustment to compensate for camera movement when re-composing. Based upon Absolute Position Lock (APL) processor technology. Viewfinder options: HVD 90x: 90° eye-level viewfinder w. diopter adjustment (-5 to +3.5D). Image magnification 3.1 times. HV 90x: 90° eye-level viewfinder w. diopter adjustment (-4 to +2.5D). Image magnification 2.7 times. HVM: Waist-level viewfinder. Image magnification 3.2 times.
IR filter: Mounted on CCD sensor
Phocus software: For Mac and Windows
Exposure metering Metering options: Spot, Centre Weighted and CentreSpot. Metering range Spot: EV2 to 21, Centre Weighted: EV1 to 21, CentreSpot: EV1 to 21
Platform support: Macintosh: OSX. Windows: XP (32 and 64 bit), Vista (32 and 64 bit), Windows 7 (32 and 64 bit).
Power supply: Rechargeable Li-ion battery (7.2 VDC / 1850 mAh). Storage options: CF card type U-DMA (e.g. SanDisk extreme IV) or tethered to Mac or PC Storage capacity: 4 GB CF card holds 75 images on average
Host connection type: FireWire 800 (IEEE 1394b) View camera compatibility: Yes, Mechanical shutters controlled via flash sync. Electronic shutters can be controlled from Phocus. Operating temperature: 0 - 45 ˚C/32 - 113 ˚F Dimensions complete camera with HC80 mm lens: 153 x 131 x 213 mm (WxHxD)
Capture rate: 1.1 seconds per capture. 50 captures per minute Color display: Yes, 3 inch TFT type, 24 bit color, 230 400 pixels
Weight: 2290 g (Complete camera w. HC80 mm lens, Li-Ion battery and CF card)
conclusion
Histogram feedback: Yes
D40 brochure_v1.indd 22
H4D-40: 40 Mpix, sensor size TheISO H4D Family 33.1 x 44.2 mm, 100–1600, exp. time 1/800–256 sec
Model
Pixel count
from DAC: The unique HTS 1.5 Tilt & ShiftH4D-40 adapter transforms fixed fo40Mpix cal lengths 28, 35, 50, 80 and 100 H4D-50 50Mpix millimeters into genuine Tilt & Shift lenses with extended focal length by H4D-50MS 50Mpix a factor 1.5. All of the HTS 1.5’s rotaH4D-60 60Mpix tions and adjustments are registered. DAC helps exploit the outer reaches of the broad adjustment range. But there’s far more to Phocus than DAC. The H4D and Phocus really are a package deal. It runs all of the camera’s functions when tethered to the computer, including live view and remote focusing. Its
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H4D-50: 50 Mpix, sensor size 36.8 x 49.1 mm, ISO 50–800, exp. time 1/800–32 sec
Sensor size
Sensitivity
H4D-50MS, multi-shot camera: 50 Mpix, sensor size 36.8 x 49.1 mm, ISO 50–800, exp. time 1/800–32 sec
Lens range
Exp. time
or more dependable – even if technologically complex – is added to the mix. True Focus stands as the perfect example. The H4D’s modular design stems from the analogue era and is one of its greatest assets today. The sensor can be removed like a film cassette and cleaned with ease. The back unit, containing most of the camera’s electronic components, can be mounted on a view camera using an optional adapter. The HVD 90x single lens reflex viewfinder, which is extra large, dazzlingly clear and unlike anything found amongst the 35 mm competition, can be easily replaced by a waist level viewfinder. At 40 megapixels the H4D-40 features the smallest resolution of the series; the H4D-50 and H4D-60 boast a little more. But there are certain advantages. Only the H4D-40 sensor employs micro lenses capable of gathering more light and doubling the sensitivity to ISO 100-1600 (the other two models run on ISO 50800). And only the H4D-40 is capable of shooting exposures of up to 4 minutes. The other two shut the blinds after 32 seconds.
Multi-shot
noise suppression tools are perfectly filter with a mouse click and, after attuned to the properties of the H4D close scrutiny of the image, targets 33.1x44.2mm ISO 100-1600 HC/HCD 1/800-256 sec No sensor. The same applies to moiré only those areas affected by moiré. 36.8x49.1mm 50-800 sec is No correction. UnlikeISO nearly all 35 mmHC/HCD The result 1/800-32 of this strategy visibly camera sensors, the H4D has no ansharper images. 36.8x49.1mm ISO 50-800 HC/HCD 1/800-32 sec Yes tialiasing filter as it is nothing more 40.2x53.7mm ISOExtremely 50-800 fineHC/HCD 1/800-32 sec No than a blur filter. the myth of the structures may yield subtle moiré complicated format patterns, yet moiré only ever occurs Medium format cameras have the in some cases. Applying a generic reputation of being more cumberblur filter across the board and comsome and harder to use, whereas 35 pensating the loss with digital sharpmm cameras and their automatic ness is simply not appropriate in the functions are simple and fast. This high end sector. Phocus enables the argument was one of the main inphotographer to activate the moiré
H4D-60: 60 Mpix, sensor size 40.2 x 53.7 mm, ISO 50–800, exp. time 1/800–32 sec
DAC
TrueFocus
centives behind the development of the H system. The Yes YesH4D was designed with comfort in mind, inYesautofocus, various Yes cluding exposure meterYes and control systems, instantly Yes available profiles and even Instant Yes Technology Yes for immediApproval ate exposure verification. The H4D offers a new perspective on comfort and handling. Hasselblad has its own philosophy with regard to the integration of functions: Unless they add to handling, composition or quality, they are left out. Everything that makes the camera better
The Hasselblad H4D-40 doesn’t claim that it can surpass a top-ofthe-line 35 mm DSLR in absolutely every respect, yet it manages to do so in several important areas. When fast image sequences, maximum agility and ISO amplification are called for, 35 mm remains the system of choice – clearly the more sensible 23/02/10 9:17:36 tool. However, under controlled circumstances, things begin to favor the H4D. The narrower and more versatile depth of field enhances the creative outlook. The brighter viewfinder gives you a clearer picture, and the central shutter warrants more control over the lighting. When it comes to image quality, the H4D-40 simply picks up where 35 mm leaves off. The H4D-40 brings to the table superior resolution, better color and more naturalness. And it’s clearly visible – not just to fussy professionals but also discerning clients. And it is the latter who usually demand maximum performance!
More than a website, it’s a coMplete hasselblad experience!
The next best thing to having your hands on an actual Hasselblad is to visit the Hasselblad website. In addition to learning all about the historic Hasselblad company and our amazing cameras, you will be able to access:
hasselblad Virtual deMos hasselblad tutorials Masters Galleries photoGrapher profiles Victor online hasselblad in Motion tips and tricks product inforMation coMplete listinG of all accessories and peripherals and naturally, tons of aMazinG iMaGes and Much, Much More! www.hasselblad.coM
rodney hobbs Using an H3D-31, Australian photographer Rodney Hobbs takes wedding pictures imbued with natural and timeless elegance. The key to his success lies in combining outstanding equipment with a talent for discerning the bridal pair’s particular wishes.
Following their wedding, Rodney Hobbs photographed Miranda and Hoy on Melbourne’s famous Collins Street, using the Victorian architecture as a background. This shot was taken in front of the Government Treasury building
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Left page: Hobbs took this portrait of the bride, Julie, between the church ceremony and the reception. Right side: A Victorian entranceway created the perfect frame for the dress Miranda had chosen for the big day
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“Miranda and Hoy were such a wonderful couple,” Australian wedding photographer, Hobbs, remembers. They had flown in from London a week before, to celebrate the great day in Miranda’s Australian home town
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Portfolio Rodney Hobbs
Miranda and Hoy’s wedding took place over the Easter weekend. Rodney Hobbs took this portrait of the happy couple in the late afternoon, before they joined their guests to celebrate at Rippon Lea Estate – one of Australia’s finest
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Jessica and Travis were married on the pier at Lorne, a couple of hours from Melbourne along the world famous Great Ocean Road. This picture was taken at 4pm, in strong afternoon light. Rodney Hobbs used a studio strobe to create this wonderful mood
“This is one of my favorite moments. Before the reception we took a short drive to the end of the main beach where I captured this wonderfully candid moment as Jessica and Travis strolled up the beach,� Australian wedding photographer, Hobbs, explains
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Portfolio Rodney Hobbs
Nina and Nick married twice: first at Melbourne’s St. Patrick’s Catholic Cathedral, then with a traditional Greek ceremony. Hobbs took the photos of Nina at Melbourne University; the photo of Nick was taken at his father’s house, before the ceremony
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Portfolio Rodney Hobbs
“Nina – having fun and looking stunning in her couture wedding dress on the steps of the Law Court at Melbourne University,” Rodney Hobbs says, describing this picture. Afterwards he went to the reception, where he took more pictures of the couple
“One of my most precious belongings is a box of black & white prints my father made when I was a small child living in London. This sparked my passion to re-discover photography when I took one of the first pictures of my daughter, Annabelle,” Hobbs explains. Born in London in 1966, and living in Australia since the early 80s, Hobbs pursued a very successful IT career up until 2005. For personal reasons, he then opted for a radical change in his life, becoming a professional photographer who – as he puts it – happens to focus on weddings. “When I initially started exploring the world of professional photography, I wanted to shoot editorial portraits,” Hobbs clarifies. “At the time, wedding photography seemed to be at the bottom of the professional ranks. When I investigated further, however, I started to discover the amazing work that was being done and how wedding photography offered a great opportunity to develop my style.” Aiming to capture the best possible images for his clients, Hobbs uses an H3D-31, which he appreciates, among other things, for its speed, ISO capabilities and natural color tones. “I seek only the highest quality in all aspects of my business and, when it comes to image capture,
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there is only one Hasselblad. I could explain all the technical reasons why digital medium format is just a better way and why I feel Hasselblad is the finest platform, but the key for me is in the look! There’s something very special about the images this system allows me to create,” the photographer explains. Rodney Hobbs uses a broad range of lenses, and enjoys using the 80mm and 100mm in particular. “The 100mm F2.2 is just an amazing lens and I love setting it wide open for portraits,” he says with enthusiasm. Rodney Hobbs is as uncompromising in the preparations for each wedding shoot, as he is in his choice of equipment. He considers it essential to get to know the couple beforehand, coming to understand the uniqueness of their relationship and their love, so that the shoot he sets up on the great day does justice to the people and their feelings. “What makes it special is capturing all the emotion, joy and connections, and then working with each client to create something that will represent their wedding day for the rest of their lives. The memories that we capture are a very special gift,” Hobbs points out. “I combine three main elements to my coverages: firstly, I document the event and seek those special mo-
ments and details that tell the overall story of the day; secondly, I think it is very important to create wonderful portraits; and, lastly, where it fits the client, I bring in my fine-art style. The fine-art aspect is reflected in the fact that the images are created from a concept that I develop in collaboration with my clients. In the end, wedding photography is about story telling, and that is my overall goal.” For Rodney Hobbs, a wedding day is a strenuous working day: he takes pictures for up to twelve hours, working throughout with a deep level of concentration. This is the only way to keep on top of the light conditions, locations and situations, so that each moment during the festivities gives rise to the perfect picture. And the question of timing is fundamental: a wedding photographer has to be in the right place at the right time, all day long, so as to immortalize the key moments. “My approach is really based on trying to create scenes that allow my clients to be themselves: it’s more cinematic than getting the couple to pose; the roles they play are themselves!” Hobbs says, explaining the process. “This is what gives my images their natural feeling, even though many are staged, of course. The greatest challenge is enabling your clients just to be themselves.”
Hasselblad Masters 2007
Tang Hui
Born in Beijing/China in 1960 | 1987–1991 studied commercial photography at the Industrial University in Beijing | working as a freelance photographer since 1997 | Advertisements for Motorola, Nokia, Audi, Lenovo, IBM, Nestlé, Canon, Samsung, Intel, Toshiba, among others | Awards include: Gold in the first and second years of the newly created Commercial Photography Competition of China
Shot for Ogilvy’s office in Beijing (2005, very top); this Marilyninspired subject was created in collaboration with the agency Lowe Lintas & Partners/Shanghai for Unilever (2006, above)
www.hasselblad.com
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The beginning. When I was doing my military service – I was 18 at the time – I took a lot of photos; but I had virtually no idea about photography and opened the camera without remembering to rewind the film first. Inevitably, it was exposed to daylight … The heroes. As far as photography and also my whole attitude towards life are concerned, I was most influenced by my teacher Xie Feng. I really appreciate him. He’s very open-minded, humble, likeable, a hard-worker and incredibly wise. He knows how to deal with the most difficult situations, and has a real talent for creating the right kind of team feeling; very impressive and worth emulating. The hobby horse. Basically, I don’t like it when specific things or preferences are repeated continuously. Even so, nature is and remains my basic photographic subject. The variety in nature never fails to inspire me and make me happy. The excitement. My most unusual experience to date was an advertising shoot with Olympic athletes. To fulfill the demands of the campaign, I had to deliver technically perfect pictures with a 30 million pixel resolution. However, to protect their athletes, the trainers would only allow me to meet them three times in total – whether it was to photograph a gymnast training on the vaulting horse, or taking underwater photos. The set-up was extremely complicated because, at the time, I didn’t have a high-speed
camera with which I could take a series of quick, consecutive shots. I had to behave like a high-performance athlete myself. In the end, it was my nimble photographic techniques and my athletic talent that made this photo shoot a success. The dream. If I really had a lot of time I would do more travelling. So far I’ve only been to ten different countries and that’s not nearly enough. I would love to photograph the wonders of nature as well as outstanding buildings around the world. In a very condensed way, architecture has a lot to say about human wisdom. I’d also like to spend more time with my family. My work load means that I don’t have enough time for my family. The philosophy. The most important thing is to always be friendly and tolerant. With regard to work, one should be decisive and conscientious. The Hasselblad. I work with four different Hasselblads: the 503-CW, the H1, the 132 C digital back piece and the H3D-39, as well as a dozen good lenses. My favourite combination is the H3D-39 with a 28mm lens. All in all, I’m very happy with Hasselblad. The cameras are all easy to use, very stable and applicable for very different types of projects and situations. Tang Hui is a Hasselblad Mas ter because he combines a desire for variety with absolute precision. The dynamic movement in his work is conveyed with typical Asian lightness. What’s more he has a weakness for bombastic backdrops. Famous taiwanese actress, Lin Xinru, photographed for China Mobile (2007, very top), and Olympic springboard diving medallist, Guo Jingjing, for Toshiba (2007, above); for Ancient Jewellery (2003, left); for XI’an-Janssen Medicine (2002, right)
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Tang Hui created a bombastic back-drop for a large advertising campaign for renowned manufacturer Chow Sang Sang Jewelry (2004, left); this subject was photographed for Lining (2005)
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Operation Food A top-class kitchen is kept surgically clean. A surgical clinic is kept sterile and is no place for food. So who would have the crazy idea of using a surgery as a setting for a food photo shoot? Such a man is Danish photographer, René Riis, known for his mouthwatering food-photographs. Commissioned by VICTOR, he dissected and photographed raw seafood under clinical conditions and in cool lighting.
photos: renÉ Riis
Nicely cleaned and ready – Loligo vulgaris gets an injection (above) Surgical instruments reveal the truth: Ostrea edulis contains green caviar pearls (right)
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Wasabi contrast: This splendid specimen of Zeus faber has been implanted with a green caviar, originating from a north Atlantic Mallotus villosus
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Transfusion of Phaeophyta flavoring, blanched Phaeophyta (above right), and shelled Ostrea edulis in a coating of mole足cular Phaeophyta mass (below right)
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Operation Food renÉ Riis The Danish photographer, René Riis, was born on the island of Bornholm in 1967. After graduating, he spent the summer of 1986 working for four months as head cook in a restaurant on Rømø, to finance a world trip. Back in Denmark, Riis studied photography from 1988 to 1992, and trained with Kjeld Thomsen. After that he worked in a photo studio for two years, and as an assistant to Poul Ib Henriksen from 1994 to 1999. Since then he has been based in Copenhagen as a freelance photo grapher, specializing in food and stills. His work has been published in ‘Gastro’, ‘Wallpaper’, ‘Ud & Se’, ‘Elle Decoration’/Japan, ‘Precious Magazine’, ‘Elle’/Korea, and ‘EuroMan’ among others. He has carried out campaigns for Bonaqua, SAS Royal Hotel, Lego, Arla Food and Ceres Brewery.
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In the flood-lit room at the “hundert39” studio in Hamburg an astonished René Riis stands in front of a big wooden table. On the table is a neat row of highly polished stainless steel surgical instruments: forceps, scissors, syringes, clamps and retractors – in various sizes and in pristine condition. Alongside, stylist Kim Porr has also laid out transfusion sacks and bottles filled with food coloring, together with an IV stand to hang them on. The Danish photographer’s eyes rake the table, trying to absorb everything. With a twinkle in his eye, he picks up the scalpel with his fine fingers; then he removes a magnifying glass from its case.
“I want to be extreme, but I want to be aesthetic too,” René explains, looking at the instruments Kim has knowledgeably set out, she spent five years as set decorator for a hospital TV series. Food stylist Jürgen Zimmerstädt has just entered with a large John Dory fish for René’s inspection. “What a splendid specimen, I’ve never taken a picture of anything like it,” René says, taking a retractor from the table and waving it over the fish. “We could slice it and pry open the wound with these, as though we were going to remove something,” he suggests. Jürgen picks up on the idea and continues,
René Riis has worked as a food photographer for more than fifteen years: On the whole, people in this field tend to be conservative, and 99 percent of the time food pictured looks appetizing. For the VICTOR shoot, he was looking for a completely different approach. So he decided to combine food with surgical instruments. As absurd as this may seem at first, Riis points towards the parallels between the surgery and the kitchen: both must be kept very clean (even sterile), a chef’s knives are like a surgeon’s instruments, great precision is needed and, in good surgeons and good cooks, creativity is required.
The Homarus gammarus had to have the first of its tasty claws amputated (above) – not even an injection of orange tincture of caviar can help (right)
Production: Fred Baur; food stylist: Jürgen Zimmerstädt/Bigoudi; styling: Kim Porr; digital assistant: Janek Grahmann; studio assistent: Iren Dymke www.reneriis.com, www.office36.com
“Perhaps we could find something surprising inside.” A golden ring? A pearl? The eventual choice is green colored caviar. Even though René has an extra food stylist with him for this shoot, he is himself completely at home in the kitchen and – in his early days was often the one to cook the food that appeared in his images. After graduation, he wanted to earn money to go traveling around the world, so he applied for a job as a dishwasher at a popular resort on the island of Rømø, and was employed as a cook. He and his girlfriend were the only ones in the kitchen and they were trained over one week-end. The restaurant seated 100 customers, and René frequently found himself preparing 40 plates at the same time. “That’s where I learned how to deal with stress,” he explains. René had been interested in cameras since he was a child. His father was a amateur photographer who frequently turned the family’s bathroom into a dark room. When René returned from his travels, the four months spent in the kitchen on Rømø inspired him to take his photographic training with a local food photographer. In the meantime, the studio has been completely darkened and René and Jürgen have hung a transfusion bag containing a bright green infusion of algae on the intravenous stand. René sets the camera at the right angle and takes a sample shot with a click of the mouse. The photographer makes a slight correction to the bag’s position, takes another sample shot and this time is satisfied. The term ‘health food’ takes on a whole new meaning. The team is up-to-speed now and René wants to have a go with the John Dory. As soon as he is equipped with swab, scalpel and oxygen supply, Jürgen makes a precise cut and pries the fish open with the retractors. He carefully decorates the inside of the fish with some wasabi-colored Capelin caviar. René watches over Jürgen’s shoulder and explains, “I can just hear my old boss saying: What on earth are you doing? You’ve gone completely crazy!” On this occasion, however, the unlikely combination is key to the general concept. Normally before starting a shoot René makes sketches of the different subjects, but on this occasion he wants to allow the team more freedom. For a start, he liked the pictures that Kim emailed in advance, showing the whole collection of surgical instruments. He was particularly
intrigued by the magnifying glass. In 2006, René had seen pictures at a trade fair where Jürgen had done the styling and he liked them so much that he knew he wanted to work together. At the ‘surgery’ shoot, Jürgen jumped right in and the two soon agreed that they wanted to experiment with seafood on the operating table. And a particular ingredient would be a dose of molecular cooking, a trend made popular by Ferran Adrià among others, and the most experimental thing in Haute Cuisine today. In this cuisine knowledge of bio-chemistry, physics and chemistry is taken into consideration while preparing the dishes, so that the elements can, for example, change their texture. Some of these culinary centers are reminiscent of laboratories so it does not take a great leap to enter into the surgical clinic scenario. Jürgen carefully removes some oysters from their shells and places them in a mass of molecular algae. He then mixes an extract of algae with a fluid and lets it jell in a calcium bath around the oysters. René sets and lights the shot so that it appears as if the oysters are pulsing in their gelatinous coating. A completely different approach is taken for a particularly beautiful oyster that Jürgen has chosen for the scene with the magnifying glass that so attracted René at the very beginning. With surgical cloth, clamp and scalpel, Jürgen prepares the operation. The crowning element is the magnifying glass that partly covers it – a particular challenge from the focusing point of view. René again chooses the 80mm macro lens, bending over the camera which he has mounted directly over the oyster subject. The H3D-39’s big focusing screen helps him with sharpness, and he takes various test shots to be completely sure, examining them on the computer connected to the camera. Just when he is doing the last test for this subject, a fly lands on the scalpel at the precise moment when he releases the trigger. René sees it on the monitor and comments, “now we’re in a hospital in Bombay.” susanne schmitt For the “Making of” video visit www.victorbyhasselblad.com
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Next victor online: 1 april 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 April 1st, 2010, check your monitor for the next issue of VICTOR online.
Steve Mccurry >> the great American reportage photographer was on the road with an H4D-40
Morten Qvale >> brilliant, colorful, impressive – high voltage beauty close-ups
Imprint
Carl Lyttle >> combines static grandeur with cinematic dynamics
Items and topics in the next issue of VICTOR online may be changed or postponed due to editorial or other reasons.
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VICTOR online | 3/2010 www.victorbyhasselblad.com info@victorbyhasselblad.com
Realization: IDC Corporate Publishing GmbH, Hamburg, Germany
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
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 responsibility for unsolicited material and this will only be returned if appropriate postage is included.
Photographer Relations Manager Hasselblad: Christian Nørgaard Christian.Norgaard@Hasselblad.dk
Hasselblad is a registered trademark of Victor Hasselblad A/S, Denmark. Place of jurisdiction and execution: Hamburg, Germany
Publisher: Stephan Bittner, Center of Service GmbH
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SanDisk Extreme® memory cards 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.