Behind the Scenes: Hasselblad Photokina Shoot 2014

KARL TAYLOR PHOTOGRAPHY Fashion Photography, Photography Exhibitions, Professional Photography Knowledge 33 Comments



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Of course as a professional photographer it is always a great pleasure to be commissioned for a high profile shoot, but for me it was an exceptional honour to be commissioned to undertake this particular project….

In photography there is no bigger event than Photokina. It is the Olympics of the photographic world, it only happens every two years in the city of Cologne in Germany. Pretty much the entire photography world comes together to showcase their latest products, meet dealers, talk to the press and basically give it all they’ve got to show the world what they do.

One of the most prestigious brands on the planet (not just in photography) also always stamps its mark at the event in a dramatic fashion. Hasselblad, renowned as the premier in professional photography, is set to wow again with their imposing stand at Photokina 2014. With this in mind I felt privileged and honoured to shoot the campaign images for this iconic company and their huge Photokina stand artwork.

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So where did it all begin? Several months ago Hasselblad’s communication and marketing department contacted me to pitch for a shoot. The brief was to create stylish imagery that was edgy, impactful, befitting of the brand and with a futuristic theme. This sci-fi style was needed to fit with the launch of the new digital backs for the older V system cameras and pay homage to Hasselblad’s involvement in the Apollo Lunar space missions. My first thoughts were this had the potential to be a disaster. I was well aware that there is a fine line between a sci-fi theme and what could turn into a costume party!

I made it clear to the team at Hasselblad that if I was going to do this I wanted full creative control and be allowed to pick the team that was essential to making the final images a success. Fortunately Hasselblad trusted me to get the job done and after a few weeks of creating concepts and ideas for my shots they were right behind me on the project. They were also very excited that some of the images I’d proposed would benefit from using the new CMOS version chip cameras.

So how do you make it happen? Well the video below shows you what goes into the shoot but how do you arrive at that point to begin with? Well as I mentioned it has to start with the concepts. My team and I set about with some initial pre-visualisation sketches that I prepared along with some mood boards provided by the client. From there I looked for inspiration from anything from ‘Bladerunner’ to Ray Bradbury. The initial idea for using tubes of light actually came from the artwork on an old Gary Numan album and from there I developed the ideas into cages of light or force fields of light trapping our ‘android’ or futuristic model.




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Once the concepts were finalised then the difficult part of problem solving is next. I worked with a great electrician friend Mark Quinn to design and build a wiring and power supply for a multitude of 6ft light tubes that we could move around freely. My colleague Tim also built an excellent MDF support to hold our light tubes and acrylic ‘cage’ in place. Having pre-visualised the shots and the requirements of a ‘force field’ of light enveloping our model I knew that filters were going to be necessary for some of the light tubes to combine with my broncolor flash exposures. Fortunately the guys at LEE filters bent over backwards to get me what I needed in time and provided all the gel filtration for my tube lights as well as the right ND filters I needed for the camera. In particular to capture the ‘force field’ of light shot in one exposure I needed a combination of an 11 second exposure to allow Fabienne time to move around the model with the light tube and then for the broncolor flash strip lights to fire at the end of the exposure. I’d calculated that the intensity of light from the light tubes was too high for the settings I desired and therefore needed an ND reduction on camera for part of the exposure plus colour correction on the light tube. It took a number of tests on the day but I was ecstatic that we made this shot work in the same exposure.

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Beyond the props we also needed the right studio space with a large cove and we chose the brilliantly equipped Park Village Studios in London for this two-day shoot. Then of the utmost importance was the right team who were going to help me make this shoot a success: Our model from Select Model Management – Karina White – performed brilliantly as the part of our android and edgy futuristic girl. Stylist Bianca Swan put together a fantastic wardrobe and range of accessories for the shoot and hair stylist Tori Hutchinson and Make up artist Celine Bopp were also vital contributors to the project.

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Collaboration and team work is essential for success

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Park Village Studios, London

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As always with this type of project there are many pieces to the puzzle and they all have to fit to create the final picture. Moreover each piece needs to know its place and understand the concept and the final goal. After an initial briefing on day 1 we all set about our respective tasks and after 3 hours we were finally ready to start shooting. I felt extremely pleased that by the end of day 2 the images we created were as close to my visuals as I could have expected, plus as often happens, a few extra ideas were discovered along the way.

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Prior to the shoot I had two meetings with our stylist and about 30 emails concerning accessories and outfits, three meetings with Hasselblad, hours of designing concepts and ideas, plus the additional time of Tim and Mark in sourcing and building the props and components to make it all work. Although I won’t dismiss my own role in making the images a success I can’t emphasise enough how important it is to not only work with the right equipment but also the right team. Fortunately I had both with the added benefit of a selection of Hasselblad cameras and lenses on hand and all the broncolor lighting I could ask for. I guess it you could call it a dream job!

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I hope you enjoy the video and the final images and you will find us at Photokina where I will be conducting some live demos with Urs Recher from broncolor as well as presenting a slide show and talk with Hasselblad about this and other projects I’ve worked on. Hope to see you there. Karl.

All images are the © copyright of Karl Taylor Photography

Thanks to the following fashion design and accessories labels : Aldo, Andrew Majtenyi, Dee Vesali, Francesca Marotta, Hemyca, Hi Tek London, Leon Max, Manuel Diaz, Nap Sugar, O-thongthai, POP Pr, Tara Jarmon, Tube Gallery


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Article by Karl Taylor

Karl has been a professional photographer for more than 20 years. His work is published internationally and he regularly works for some of the world’s leading companies. Click here to learn how Karl has helped hundreds of photographers improve their skills.

All pictures © Karl Taylor Photography

You can now purchase Karl Taylor’s personal Lee Filter Kits in our new Photography Gear section on the website.

Comments 33

  1. Don McPhee

    Karl,
    Well done spectacular images! Was the fluorescent orange sheet an acrylic sheet? Did those images not work for you? Were those a particular fluorescent tube? And lastly what a great team and as always I think you nailed the project, congrats!

    Don

  2. scott muir

    As always outstanding work and creativity, very inspirational always full of motivation to drive on and deliver. Keep up the good work and looking forward to the next inspirational videos.

  3. John Lee

    Karl, your whole project is stunning. Brilliant. The images and the videos are second to none. You have a great talent and thank you so much for sharing as you do, because it really inspires me. John

  4. Norton

    Thank you. I really enjoyed the video and shots. The information you provide for us lowly (me) photographers is wonderful. I took your video course about a year ago and it changed my whole thinking about photography. Appreciate what you do. Thanks again.

  5. Tony Wadham

    STUNNING images!!!!! Great concept! A total WOW! Thanks for sharing Karl. Just glad that I did not have to finance the shoot!!

  6. Charles Massie

    I’ve followed your course & I don’t have results like yours!! Why not?
    Because YOU are first class & I’m just (I’m too polite!)
    Absolutely BRILLIANT
    Thank you for sharing with us

  7. Warwick Upton

    Fantastic Karl, always an a pleasure to watch your video’s, so creative and they always give me a bit of a push to try and achieve similar images, Still working on it though !!!

  8. Ben

    Absolutely stunning images. You and your team and Hasselblad must be very proud Karl. Look forward to seeing them on your studio walls in future videos 🙂

  9. Neville Allen

    Hi Karl
    A truly outstanding creative and professional performance, clearly the result of a superb team working together. Many thanks for sharing this inspirational video.
    Best wishes
    Neville

  10. Karl Taylor

    Thank you all so much for the positive feedback about this project, i’m glad you enjoyed it. I’ll be posting some higher res images on FB and on my commercial website soon if you would like to see the results in more detail. Thanks Karl.

  11. Amit Mehta

    Mr. Karl,

    Amazing just amazing work Sir, all the shots were just too great, beyond words. But the best I liked was the photo with the tube rotated by Fabienne (your Ninja) with 11 sec exposure was just mind blowing.
    Truly outstanding and salute to you and your great team.
    Amit

  12. Rene de Boer

    Hi Karl & team,

    I so love does amiges ,Absolutely stunning.
    I do now understand also why you swapt to broncolor lights.
    they are briljant , thnx for sharing it ,gr8 job

    cheers Rene

  13. Pingback: Las futuristas imágenes de Karl Taylor para el stand de Hasselblad en Photokina 2014 | Francisco Unica

  14. Deborah

    Please help! I am a new user 5d-50c wifi and long story short I import into LR and the color changes from perfect (raw) to green cast. Has happened w other cameras too. I don’t understand phocus or the workflow with it. Can’t figure out how to just get accurate images into PS. I am at a loss. I don’t really understand camera profiles but was told I may need one for this camera for LR to render correctly? Thanks in advance.

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