THE OTHER SIDE OF THE LENS | A CONVERSATION WITH ED CARAEFF

When you think of some of rock and roll's iconic imagery from festivals, album covers and concerts, you may have seen some of the work of photographer Ed Caraeff who was there for some of music's major moments! With the release of his work in Burning Desire: The Jimi Hendrix Experience and Iggy & The Stooges: One Night at the Whisky 1970, we took a moment to find out more about this photographer, how he got into the industry and where he is now.

ATHLEISURE MAG: Tell us about your background and how you became a photographer.

ED CARAEFF: I was fifteen years old, in high school and taking a photography course. My school was two miles from Los Angeles International Airport. During lunch hour, I went to the airport and took photos of a band called The Seeds returning from tour. A smartly dressed woman tapped me on the shoulder, handed me her business card and asked to see the
photographs when developed. That was the beginning of a career I never knew existed!

AM: We know that in addition to photography, you are noted for doing a number of album cover art for iconic artists. What albums that you created have been some of your favorites?

EC: After years of being hired to photograph artists for album cover art, I started to first Art Direct the entire album packaging. Soon after, I learned how to do all the Graphic Design work as well - size the photos with stats, spec the type, paste-ups, etc. Since I also did my own
darkroom work, developing b & w and color film, making prints, I was one-stop shopping.
Never had an agent, portfolio, business card or a listed phone number.

I did hundreds of covers, too many to mention. I like most all of them ... never hung any on my wall.

AM: Tell us about Iggy Stooges: One Night at the Whisky 1970 - how did you get to be involved in this and what made the Whisky such a key place?

EC: I was hired by their NYC record company. Whisky was THE place, World Famous.

AM: It seems like your career can be credited with being a great photographer as well as being at the right place at the right time! How did you get the iconic shot of Jimi Hendrix?

EC: Exactly, thanks for mentioning that. I'm a very good photographer, same today with my iPhone. It comes very naturally, fast, smooth, kinda like Jimi playing his guitar, or anyone doing
something effortlessly.

The burning guitar shot was taken while standing on a chair I had snagged in photographer's pit and then jammed it up against the elevated stage. I had just turned 17 and had an authorized photography pass issued by the Monterey Pop Festival.

AM: Why was the Monterey Festival such a pivotal moment in music history?

EC: With the 50 Year Anniversary next month there's many expert opinions, I do believe. For me, it was the furthest I'd ever been from home without my parents. The Summer of Love in Southern California. Lots of great images to capture and I had use of my family's friends high end German camera.

AM: Of the people who you have had the opportunity to shoot, which ones crossed over from a professional relationship to one of friendship?

EC: Members of Three Dog Night, Cheech & Chong, Sergio Mendes, Elton John.

AM: What can you tell us about Jimi Hendrix as we love that your imagery showcases him on stage as well as just hanging out - what is it about this artist that drew so many people to him?

EC: Jimi had the style, the swag, the coolness, and backed it up with the genius talent. One of a kind.

AM: Besides shooting one of Jimi's most iconic moments, do you have a story/experience that you shared with him that you can share with us?

EC: Picking him up at his two story motel on the Sunset Strip, smoking a joint and driving to John and Michelle Phillip's Bel Air mansion to party was a memorable evening.

AM: Beyond working with some of rock's biggest artists, you also worked with artists such as Marvin Gaye - what was that like?

EC: Marvin was one of a very few I photographed that I was in awe of meeting. I was a big fan. He was not in a good mood, going thru a divorce, obligated to release an album by his father in law's (Berry Gordy) record company. Motown hired me to "replicate a place in Jamaica that
Marvin had just returned from." The photographs were never published. The cover used on "Here, My Dear," is a funky b & w illustration.

AM: Do you still have artists that you have yet to work with, but they are on your bucket list?

EC: No. I left working with artists to working with food while a single parent with two sons living in NYC in 1985.

I was a photographer, art director, graphic designer for 14 years and then answered an ad in The Sunday New York Times to become a chef. I got the job on east 48th near 2nd Ave and started a career as hands on chef, restauranteur for 27 years.

When I thought to do my bucket list, only one thing popped up and it was instantaneous. I started working so young, still in school, and worked continually. I missed out on spending time after graduating and wandering and sleeping in my vehicle. Low stress, Zen, lifestyle.

AM: How do you view the photography industry now in terms of the use of digital and even being able to break into the industry to work with notable artists?

EC: I love digital, apps, social media. I like not having to worry if I have enough or the right kinda film! You just remember to have battery life.

For me, great way to express myself. In terms of breaking into that industry - I shudder to think.

AM: We hear that you're on a bucket list journey. What made you want to do that?
 

EC: I had a health wake-up call in 2012. Also, I attended funerals for two long time friends in the same week. Learned I would become a grandfather, twice, by both my children within a five month period. My Cardiologist said of my bucket list trip, "If not now, when?"

Then it took me a year and half to make sure I really wanted to do it. Followed by another year and half to find loving homes for my pets, got rid of ALL my possessions, sell my home and even sell my photography archive. Because that too is "work," though I love my work.

June 15 will be two years I've lived 24/7 in a vintage VW Westfalia Van named "Moonbeam."

AM: Can we expect additional books of your photography to be released, and if so, what artists will it be?

EC: Yes. Next month, my Jimi Hendrix photographs, "Burning Desire" will be available. I'm grateful for the books I have and the future is uncertain.

Stay in touch with Ed Caraeff's bucket list trip on Instagram via @thebucketlisttrip

All photos are courtesy of Ed Caraeff

KISS ME AT MIDNIGHT

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ATHLEISURE MAG: Nice shooting here, what amenities are offered at Nine52?

NINE52: Every detail of Nine52 has been designed to accommodate the modern city dweller’s needs and to provide the comforts and services of a luxury building. The full-service building is attended by a 24-hour concierge and offers a children’s playroom, a state-of-the-art fitness center with separate yoga and spinning rooms, private storage units, an expansive interior courtyard with a tranquil fountain, a large resident lounge with a bathroom and entertainment area with a full kitchen, a wine cellar with dining area and a co-working space complete with two conference rooms and individual workstations. Atop the building sits a fully furnished and landscaped rooftop deck complete with 360-degree views. Residents may also use a complimentary bike service offered, which includes twenty single-speed Joulvert bikes. The vast amount of amenities is incomparable to other buildings.

AM: What is the concept of the layout?

NINE52: Developed by Gaia Real Estate, Nine52 offers 155 residences with architecture by SPIVAK Architects and interior design by Erik Galiana. Danny Fishman, Managing Partner of Gaia Real Estate not only wanted to target “attainable luxury” for residents, but also include as many amenities within the building as possible. Gaia has a very large rental business and did a lot of research when planning this building – they did a survey with a few thousand tenants and asked them what they wanted.  Ultimately, instead of creating something they thought people wanted, they used direct results to actually give them what they are looking for - which, one of the top things was a co-working space. In terms of style, they wanted to keep it very "New York". 

AM: What are its selling points?

NINE52: Nine52 provokes a sense of discovery. This striking building in the heart of Hell’s Kitchen – a neighborhood rich with history and intrigue – features a brick façade and winding, maze-like corridors that lead to thoroughly modern and new condominiums. Like the city itself, Nine52‘s duality of space blends old with new, masculine with feminine, metal with wood, and thoughtful design with unique details to create a harmonious whole.

Comprised of studio through three bedroom and garden duplex homes, each residence is well-appointed with rich finishes, such as stained white oak floors, oversized windows and sleek kitchens with custom lacquer cabinetry and Caesarstone countertops.  Each home is also equipped with a washer and dryer.  

There is also a large array of floorplans, which helps cater to a wide variety of buyers and is unlike anything else available in the neighborhood.

AM: What is building's occupancy?

NINE52: The building is open and is now fifty percent sold.  Residences are priced from approximately $819,000 to more than $3,000,000. Park River Properties is the exclusive sales and marketing agent for the property. 

AM: What is the neighborhood draw?

NINE52: Located between 9th and 10th Avenues, with entrances on both 51st and 52nd Street, Nine52 conveniently located just steps from Central Park, Rockefeller Center, Times Square and shopping outlets at Columbus Circle, and residents will find a magnitude of resources and sought after destinations, including renowned museums, educational institutions, and a vast assortment of fine dining and shopping.

Read more from the Dec Issue

MAD DAY OUT - THE BEATLES

Noted photographer, Tom Murray had no idea that when he went to assist a photographer on a job, that he would be working with one of the most iconic musical groups - THE BEATLES! In 'Tom Murray's Mad Day Out With The Beatles' by Paul Skellet & Simon Weitzman, the book tells the true story of Tom's day with the Beatles. We took a moment to find out more about his experience, THE BEATLES and what he's up to now.

ATHLEISURE MAG: How did you know you wanted to become a photographer?

TOM MURRAY: I decided to become a photographer as I could not paint people, loved painting, my art looked a bit like Lowry’s painting, stick animal and stick people. I was motor racing at the time, but did not have the money to continue, I was just not fast enough.
 
I loved photography and thought it a quick and easy way to make a living, not realizing I could end up famous.
 
AM: Tell us how shooting with The Beatles came about and what that was like?

TM: I was working at the Sunday Times Studio, for the Sunday Times Magazine, a job Lord Snowdon recommended me for. I was asked to help one of the contract photographers, who was going to photograph a pop group, if I could drive him around, as it was a Sunday, I picked up my Red XK 150 Jaguar from my parents’ home in the Suffolk countryside and drove into London, when leaving the Sunday Times studio, he said bring your camera you might get some nice snaps.

We arrived at a rehearsal room, an old church type building, on entry I heard someone playing lady Madonna on the piano, opened the door, I said OH SHIT, it was Paul McCartney on the piano, Ringo & George drinking tea, John & Yoko chatting away, I said: “Is this the group,” yes it was the Beatles.

It was an amazing day, I had one camera, two rolls of film, and was with the Beatles, the most famous 4 lads in the world. We travelled all over London taking photographs, no one recognized us for some time, so we could stay for 30 to 40 minutes per location. There were no mobile phones etc!

AM: You weren't aware that you would be shooting them - when you realized it, did you know that it would be such a historical point in music/pop culture history?

TM: I had no idea that my photographs would eventually become world famous, or raise so much money for charity worldwide.

AM: What were the Beatles like and are there any stories that you can share from that shoot?

TM: The lads were like me, shaggy hair, fun to be with, they bounced ideas off each other all the time, when I got back to my mother’s to leave the car, she said what was it like,  I said: “It was a Mad Day Out,” hence the title of the shoot and the  name of my book, Tom Murray’s Mad Day Out.

AM: How did shooting with them affect your career going forward?
 
TM:Shooting with the Beatles had no effect on my career, as when the film proceeded, all the images were put in a drawer for many years, no one ever saw them for almost 25 years. Being the youngest photographer to photograph the royal Family the next year had immediate effect on my career, it was a big deal for a commoner to take such great photos. 

AM: Did you ever work with them again and did you have a friendship with the band or individual members?

TM: I have never worked with them ever again, Paul has my images in his personal collection, as does Ringo, they have both signed my work for charity, I am at £1.3 million on my own and almost £12 million worldwide, the images are in the Museum of London, Radio & TV Museum of Los Angeles, as well as private collections.

AM: What is the goal in releasing this book and what do you hope happens when fans and enthusiasts read it?

TM: The Museum quality chromogenic archival prints are for collectors,  they are limited edition, so slightly pricey, many Beatles fans wanted the book, and with the backstory from the 60’s, the book is meant for Beatles fans, so that they can experience the sixties, see in what context the Beatles, became such a large part of our lives. Even today, when fans meet me, they are from 9 to 90, probably the best fans in the world.

AM: As an acclaimed photographer, what other projects have you worked on that you would like to share?
 
TM: I now continue to contribute to charity, I hold photographic talks on how to take great photos, I am  a Town Councilor for the Magna Carta Town of Bury St Edmunds, trying to make myself useful, I am working on a new book, my life in pictures, 60’s, 70’s, 80’s, 90’s, which will I hope be followed by my life story with a few pictures. The next big project will be July 28th 2018, it is the 50th anniversary of the now famous photo shoot, so who knows what we will have in store for fans of the best group in the world, The BEATLES.

TRAILBLAZERS MICHAEL HEJTMANEK

We caught up with Michael Hejtmanek (pronounced het-man-ick) for our next Trailblazer feature just before he was heading out to ride with some friends.

Trailblazers is our series where we catch up with active creative leaders and innovative thinkers to learn more about our out-of-boardroom adventures, expertise and passions.

Michael has been with Hasselblad Bron since 2008. Hasselblad Bron is a distributor of professional photography products in North and South America, which acquired control of Hasselblad Americas in 2012. Michael rejoined the photography industry after 20 years in the technology industry. Prior to then, Mr. Hejtmanek had been with Oracle Corporation and Compaq (formerly Digital Equipment Company) designing and building large-scale enterprise application solutions. He studied photography and anthropology at Ohio University and holds an MBA from Columbia Business School. He lives in New York City.

ATHLEISURE MAG: How did you get involved with motorcycling? How quickly did your passion evolve?

MICHAEL HEJTMANEK: It started as a midlife crisis activity. I have been doing extreme sports all my life pushing the limits any way I could. But when I turned 45 years old I got rid of my mountain bike and took a Motorcycle SafetyFoundation class. The driving force was the romantic notion that motorcycles represented freedom coupled with some sort of masculine desire to prove my manhood as I entered my mid-forties.

I remember texting my MSF instructor the day after the course ended. “I just bought a Ducati and I am so excited.” She replied “Be careful, keep learning, and be careful.” The first thing about motorcycles that burned into my brain was the MSF instructor telling me that it takes about 100 actions to drive a car and over 2,000 to ride a motorcycle. I found this intriguing and a challenge. I was determined to learn. So I rode. I rode a lot. And I took classes and read books. I soaked it up the way I approach everything. Total focus and commitment. The best way to learn is to ride with professionals who know how to teach. So that’s what I did. I quickly hit the limits of what could safely be done on the streets and within a year of getting my license was on the race track to learn from professional instructors. For me riding is very technical, its all about precision and speed. And while I do own a few vintage motorcycles, my love is the fast sport bikes.

AM: Do you bike to work, what are some of the pros and cons and how do you maximize safety?

MH: I ride to work almost every day. Safety is definitely the number one thing that you can think about when riding especially while travelling through Manhattan, over the Hudson river and onto the NJ Turnpike like I do every day. I have met some people who ride while listening to music. And I have met some who ride with a headset so they can talk on the phone. The statistics are against those who do not put 100% of their attention on staying alive on a motorcycle. I commute every day from the Upper West Side of Manhattan about 45 miles to our North American headquarters in New Jersey. I always ride with full armor because crashes happen and I have had my share of them. I always wear all the gear all the time (AGAT). Riding the NJ turnpike is sort of like playing Frogger. The entire ride is an effort of focus and concentration. Every car is a potential killer waiting to make a sudden lane change. You can never be in a blind spot. You watch for drivers who are texting. You see them drinking beers, you smell them smoking pot. You are always analyzing the lay of traffic and thinking, “Hey there is an opening there for that guy two lanes over, he might make a lane change and cut me off.” It is like a paranoid chess game in real time where you need to anticipate all the drivers’ possible moves before they make them. But then there are the moments when you can slide through traffic, find a great big sweeping turn, and accelerate through the whole thing like you are riding on rails…its magic. It's worth the risk…I get better gas mileage than a Prius (well I actually don’t know that to be true!). But I arrive to work each morning with a huge grin on my face. The commute is cerebral and exciting. It wakes me up, I know I am alive. But getting hit by a taxi cab a few weeks ago at 40MPH was not fun. Just like everything in life, you assess the damage and decide whether you want to get back in the saddle. 

Photo courtesy of eTechPhoto

Photo courtesy of eTechPhoto.

Photo courtesy of Hasselblad.

AM: Are you part of any clubs? How often do you meet?

MH: You mean a gang? Motorcyclist in NYC can be a real problem. There is a lawless out of control faction. We have seen too many incidents in NYC over the past few years that shed a very bad light on motorcycles. Anytime I see more than 20 motorcycles riding together weaving in and out of traffic I cringe. But that said, I do ride with a few very conscious groups of other people who value their own lives as much as they value the others in the group. We ride with a maximum of 8 riders all about the same skill level, all very competent and fast. There are no written down standards of safety because everyone has their own skillset and comfort zone. When we ride with new riders we watch them very closely. People are quickly scolded for risky behavior and are eliminated from the group when they show behaviors that may be dangerous to themselves or to others. When we are not at the racetrack we ride at least two big rides each month. Riding the roads is different from the racetrack. The roads are public, dangerous, and fun for riding with constraint. The racetrack is the place for pushing the limits and also the place where our safety standards get set and reset. On the street, our rides are generally 300 to 350 miles up from NYC usually into Connecticut or the Catskills and we are usually back in the city before 3pm…before the deer come out.

AM: What kinds of physical and mental preparation are needed? Do you work with any mentors to improve and push your bounds? (loved handling higher speed turns)

MH: You are right to point out that the prep is both physical and mental. If I have a head cold or if a have a huge fire burning at work, my performance will be more affected that if I am physically out of shape. But being in shape is absolutely important as well. Some people imagine riding a motorcycle to be like riding a bicycle. But from the perspective of your body I would say that riding a motorcycle is much more like riding a horse. On a horse your legs do most of the work. Your hands are only used for steering input. The same is true on a motorcycle. The handlebars are not for holding on, they are for steering and throttle control. If someone gets off a motorcycle and complains about their wrists and forearms hurting, then they are doing it wrong. On the contrary, when someone gets off a motorcycle after a long ride and their legs hurt so bad that they can barely walk…well that person is doing it right, but probably should hit the gym some more.

But the physical is almost irrelevant in terms of importance compared to the mental. Riding smooth and fast is mostly mental. Its about vision and fear. The conscious control of your vision and your fears is the hardest thing about riding at your limit..and hence expanding that limit. Sure there is a lot a things to understand like traction, body position, and throttle control. But the thing that makes most riders crash is fear and vision. Keeping your eyes wide open and able to see the big picture in any turn without getting drawn into some detail is critical for smoothly executing a turn. But vision isn’t everything. As speed comes up, fear enters the picture. Your own brain can become your worst enemy as fear tries to govern your actions. A perfect example would be to ask any non-rider what you should do if you enter a turn so fast that the tires start sliding. Most would say to slow down or hit the brakes. If you touch the brakes while your wheels are sliding, you will crash. But if you add speed gently you will come through that turn just fine.

AM: Do you do things to take your involvement further, such as track racing or competition? What’s next?

MH: I did about 20 days at the racetrack last year which was my second full year on a motorcycle. The first time I got on the racetrack I was completely addicted. I do about half of my days on the track at the California SuperBike School. I find that on my own I can make minor improvements in technique and lap times, but with the school I can make leaps and bounds. The Superbike school is one of those high performance organizations that is so well run that it is a real rarity. I can’t say enough good things about them. They create a professional environment that allows you to safely improve your technique by leaps and bounds. A good example would be how not only my laptimes but also my confidence through fast turns improved from a track day in April to a track day at the same track in June. I was having a mental problem with a really fast turn. I was hitting the turn at 70MPH on average. Keith Code, the founder of the school worked with me on how to think about the turn, how to see the entrance and exit differently, and how to really see and understand that part of track. He coached me through relaxing and worked with me on how to slow down my mental process. By the end of the day I was taking the same turn at 104MPH….That’s not the type  of improvement I can do by yourself. The Superbike School is really responsible for making me the rider that I am today. All the coaches there are sort of magicians. They work through the physics of the motorcycle and the operation of the brain.

Anytime one is doing a sport where a mistake could end very very badly, concentration and focus are extremely important. Riding at the track has heightened my ability to focus, to see the big picture, and to respond more calmly but incredibly quickly to problems as they arise. Any member of my team at Hasselblad has seen how this has spilled over into how I manage people at the company. We have become more confident, less reactive, but quicker in our execution…And I don’t tend to get as angry when things go wrong…which makes everyone a lot happier. The next thing for me is to start working on is simply finding more time for the race track or the dirt track in between launching some really exciting new cameras and lighting products.

AM: As part of the leadership at Hasselblad, are you also passionate about racing photography? Have you experimented with any drone sports photography when riding?

MH: We have supported a few photographers who take a very artistic approach to motorsports photography. Many members of the high end professional car and motorcycle shooters use Hasselblad cameras. But trackside racing photography it is not our core market. We have some new products that might change that though. 

Regarding drones, I have been on a few racetracks where drones have been used to make photos and videos of riders. But these are mostly at unregulated or lesser regulated tracks where we do Supermoto riding. The big tracks have a general rule against them as they could be extremely dangerous to the riders on the track if not kept out of the way. The drone market is an incredible one. It is one that we at Hasselblad are very excited about. Our relationship with DJI (a minority investor in Hasselblad) is just starting to bear fruit as we launched our first joint product with DJI in early July 2016. The M600 Drone is a fully integrated combination of the Hasselblad A5D-50c 50 megapixel medium format camera and the DJI Matrice 600 drone. The solution provides a professional long range solution for high resolution aerial photography with unmatched resolution and flexibility.

AM: What brought you to Hasselblad? Tell us more about its ethos - ‘Create to Inspire.’

MH: In 2012 I had the chance to meet some of the board members of Hasselblad. I was running a distribution company that sold a handful of high end photographic products and knew the market quite well. During the meeting it quickly became clear that we shared an opinion that drastic changes were afoot in the imaging market and that drastic changes were needed by the companies that supplied tools to the imaging market. We shared a common vision of how the market would play out and what products were needed to not only survive, but to thrive in the new reality that faced the industry. The thing that really sealed the deal was when I pulled out my iPad and showed them a 3 slides that I had made to show where the market was heading. The chairman of the board cut me off, reached into his bag and pulled out his iPad, he spun it across the table and showed me that he had exactly the same three slides. At that moment we both knew that we had the same vision for how to grow Hasselblad. And today, we are in the middle of realizing that vision. The Launch of the Hasselblad X1D camera is the most important camera that Hasselblad has launched in over 10 years. The X1D is a game changer that redefines
high end photography. The response to this camera has been incredible. It packs more image quality into a package smaller than most small sensored 35mm DSLRs. It truly redefines the market. 

Create to Inspire are the words that drive us. We want to create products that inspire all Hasselblad employees. These products must enhance the pride we feel in carrying the Hasselblad name. And on the other side we want to create products that our customers can used to create images that inspire others. When we made the X1D we kept asking ourselves if this camera really can live up to the name, does the image quality inspire us, do the ergonomics inspire us, does it look inspiring? And then finally we ask will this camera inspire photographers to reach beyond the normal, beyond the rules, beyond whatever roadblock they may have? Will this camera be used to create the new iconic images of our time? We believe the answer is yes.

AM: Hasselblad is known for superior image quality and elegant ergonomic design, what are the core values that drive such continued craftsmanship and high performance?

MH: Hasselblad is uncompromising. The employees all take pride in the brand. The company has employees who have been building of repairing cameras for 40 years. These veterans help anchor the brand by providing a living reminder of the past and of the core values of Victor Hasselblad. For a camera to be a Hasselblad it must first and foremost have the best image quality. This means that we must have the best imaging sensors, the best image processing algorithms, the best color, and the best optics. Then, the camera must also have the best ergonomics. It needs to fit in your hand comfortably, the controls need to be easy to adjust. Basically, the ergonomics should make the camera melt in your hands so you can forget about it and use it as a natural extension of your vision. And finally, it must look great. Design is a key component to everything we do.

AM: We loved checking out the new (and first) medium format mirrorless X1D camera prototype at your NYC launch. (US $8995 body, US ~$2.3k for lenses). Boasting a brilliant 50 MP for image quality, we found it to have a fancy feel and UI, while remaining light-weight for walking about. With luxe function meets form solved, what kinds of photographers do you feel the X1D will take off with?

MH: The X1D opens up Hasselblad again to a much broader market. In the days of film, the Hasselblad 500 series cameras were the go to cameras for anyone who was serious about photography. While providing similar image quality, the X1D is different from our H6D series of cameras. The H6D cameras are system cameras. To non-professionals they may seem intimidating with controls functions and modularity that may not be appreciated by a photography enthusiast who may not have special camera needs. The H6D is also heavy and more at home in the studio on a camera stand then in a back pack in Bur-
ma. On the contrary, the X1D is lightweight, small, and unintimidating. It is a really great easy to use camera with an imaging sensor that is much much larger than any other camera in its weight class. So the X1D is a camera for anyone’s camera bag, anyone’s backpack. It is equally at home on a tripod shooting beautiful landscapes, or shooting street photography in the beautiful afternoon light in Paris. It has great resolution and high ISO performance which also makes it an excellent camera for wedding photographers. Take it anywhere and shoot anything, you wont be disappointed with the results.

AM: How is it to balance handmade Swedish craftsmanship with modern chic features, such as the pop-up function flywheel, Wi-Fi/GPS connectivity and touchscreen UI?

MH: Sweden is where are roots are. We are located in Gothenburg which is an amazing city. Our headquarters is right next door to one of the best engineering schools in Europe. The city is home to many high technology companies. We don’t have a problem with modern and chic. Our engineers and designers come from a diverse set of industries and product ideation meetings provide a literal smorgasbord of ideas and practical studies of feasibility and implementation.

AM: Extraordinary high resolution, tonal balance and depth are hallmarks from Hasselblad, what are your latest high-range cameras and where are some notable places they are used?

MH: Our cameras are deployed throughout the world for critical imaging applications. The applications range from the top fashion photographers, the best portrait photographers, the most amazing landscape photographers, to the most demanding museum. There are too many names to name, but if a photographer is really serious about image quality you can bet that they are shooting with a Hasselblad.

AM: Optimized life is much about being focused, tell us about True Focus feature and your Phocus image processing software.

MH: Optimized life is something that we think about all the constantly. We only get to live each moment once. So be present in that moment and make it count. We pick and choose our focus very carefully in the way we work, in life, and in our cameras. The True Focus feature sets Haselblad apart from the competition. It is a unique focusing system that allows a level of focus accuracy not available in other cameras on the market today. It works by allowing you to select the point of the image where you want to be have the most critical sharp focus and press the True Focus button. The True Focus system locks critical focus onto that point and keeps it there even if you recompose the image or change the way you frame the image. A set of gyro sensors take into account the camera position as well as the curvature of the lens to make sure that your focus stays true.

AM: Entering your 75th Anniversary, Hasselblad has a legendary heritage from the first Apollo 11 moon landing to a host of iconic sports, fashion and lifestyle moments, what are some of your personal favorites?

MH: It’s impossible to name only a few, so I will just name one. I am partial to the ephemeral work of Hiroshi Sugimoto. His work can be both beautiful and soft while being technically perfect and deeply meaningful all at the same time. In terms of iconic imagery nothing can beat the moon landing images. Those images changed humanity on a scale that no other image even come close to (pioneer Buzz Aldrin pictured on page 123 with Michael and son Jackson).

AM: We love that the Masters program continues to be a time-honored tradition, who are some of the spotlights for 2016?

MH: The Hasselblad Masters is a really important program for us.  It allows us to celebrate creative photographers who excel in their area of imaging.  The Masters awards are granted to 12 photographers every two years. It's not just a portfolio review and a prize. It is a process that ends with the 12 selected photographers going out into the world and making new original works to be included in the Hasselblad Masters book. The process is a lot of work and the winners join a family of other photographers who carry membership in a very special club. We look forward to honoring all of them at a ceremony during Photokina in September.

2016 Masters List: Art - Katerina Belkina, Fashion/Beauty - Roy Rossovich, Landscape/Nature -Lars Van De Goor, Portrait - Natalia Evelyn Bencicova, Product -  Giorgio Cravero, Project//21 - Jake Reeder, Street/Urban - Ali Rajabi,  Wedding - John Paul Evans, and Wildlife - David Peskens.

AM: Having global ambassadors on a mixture of different subjects is great for younger aspirational photographers, who are some to watch in fashion, fitness, sports and lifestyle.

MH: Its become very difficult to set yourself apart as an up and coming photographer. You must work harder now than ever before to set yourself apart from the crowd. There are so many young photographers doing such great work. We feature some of them on the Our World section of our website.

AM: What’s next for announcements to look forward toward with the X1D, we can’t wait!

MH: The X1D is out of the bag, but the Photokina Trade Show is coming up in September in Cologne, Germany. Keep your eyes on us as we may have some surprises.

P. 116 photo courtesy of Erik Vanlind. P.120 + 128 photo courtesy of eTechPhoto. P.128 photo courtesy of Hasselblad. Picture to the right courtesy of Tom Oldham shot on his H6D-50c.

Read more from the July Issue

AS I AM: THE LIFE & TIME$ OF DJ AM

'AS I AM: THE LIFE AND TIME$ OF DJ AM' looks at the meteoric rise of Adam Goldstein aka - DJ AM. He was  a talented DJ and changed the game by increasing the payscale, establishing the field in the celebrity world and more. While he created a platform, he never forgot his friends and those that he felt made him better as a professional. He truly believed his mantra of "starving the ego, to feed the soul." But behind the fame, he was a man that coped with his own issues rooted in his sense of self and escaping deep unresolved portions of his life. 

In addition to telling the story of DJ AM from birth to death and his love of music as a genre, this film has a number of interviews with luminaries in the industry whom he worked with: Mark Ronson, Samantha Ronson, Steve Aoki, Paul Oakenfold, Diplo, and A-Trak to name a few. 

Throughout the film, you hear from DJ AM himself talking about his influences, his performances and thoughts on the DJ world at large. More importantly, you see how he amassed his empire as a seven-figure DJ which, included collaborations, appearances in films, co-founding a DJ management firm, Deckstar (co-owned by Steve Aoki) and his work in DJ Hero.

We sat down with producer/director Kevin Kerslake (who has produced a number of music videos that include Nirvana, Joan Jett, Red Hot Chili Peppers, Stone Temple Pilots; documentaries, live productions, mini-series and more) to find out about the monumental task of creating this documentary, what he aimed to achieve by releasing this film and the greater message at large that he wants to provide to DJ culture, fans and others that are struggling with demons.

ATHLEISURE MAG: When did you realize that you wanted to take this project on?

KEVIN KERSLAKE: It's funny - Adam lived the life of 10 men in half the time that those men get. He died at such a young age and there was a lot of story to tell. And as you know, in a film, you don't have a lot of time either. But there are so many aspects of his life that are alluring from a film/story standpoint. Historically, he changed the game in music and culturally. All of those various components are enticing and would be to any filmmaker.

But the thing that pushed me over the edge was that we have lost some really incredible people over the years to this deadly cocktail of fame, celebrity and substance abuse. Andrea, AM's mom, had reached out to me a year before, and  at the time I said no as I was concerned that since she reached out to me then I wouldn't be able to tell the full story and the truth. Ultimately, I lost a friend and it felt like we couldn't keep having this story happening. I went to AM's mom and said that we have the power to help stop that streak of great artists that are lost to the world. I let her know that I was on-board as long as we told the story and the truth from the inside and the outside. As long as I could tell the story and get final cut without having to sugar coat it, then I was on board to tell the story. AM lived such an explosive life that I think the personal life of someone is what turned the corner for me. 

AM: How close were you to AM when he was alive? 

KK: My interaction with him was purely professional as I did all the film and video for Insomniac. Adam played their events so our encounters were strictly backstage and I never hung out with them. I actually think that although I knew his past and certain facts of his life - it was in your face (tabloids, journalism and as a figure in the music world), that objectivity that I had is probably what made the film more legitimate in a way. Even people who knew him didn't know certain aspects of his life because he didn't share it with them or they didn't care to know/ask. The logical aspect of this, in terms of doing research and being able to go into it without a personal agenda, is pretty critical for any filmmaker I think. 

Even when there are stories that I have been asked to tell, I know my own limitations when I have known the artist. It's like talking about your own family member. You get blind to certain truths that are important to share.

AM: There is so much information when you're watching the film as a lot comes from him, how long did it take in terms of pre-, production, and post?

KK: To the day, it almost took 4 years to make! The first thing we did was to go through his laptops and desktop. There was so much material that we estimated that in the end we had over 100,000 stills, 10,000 video clips, 100's of mixes, letters and text messages that he had saved. In a sense, there was no pre-pro we just put things together. Documentaries are made in the edit. They don't follow the normal production pro- cess. You just start putting things together. Early on, we were given an audio element that was critical to the story. It was the Share that he did on his 11th sober birthday.

AM: Seeing that audio run through the film really struck us, we didn't think that people could have access to things that are said in Alcoholics Anonymous meetings.

KK: Adam put a recorder in his pocket and he did a Share at the meeting. He really tells his story. This film is really DJ AM from the inside- out. He narrates his own autobiography and like you, I thought that this might be (due to anonymity in AA) crossing a threshold. But in further research, I found that there was an entire network of Shares that were available. People who were unable to attend meetings but needed the inspiration that they provided could access them from downloads online to get the assistance that they need.

AM: In addition to his Share, the meditation video was another dynamic element in the narrative.

KK: It's funny, when you see these relics of what he used to bring him peace, they are very evocative of his state of mind. It showed what he yearned for that he didn't have living a life on the road or in the city.

AM: Documentaries pay homage to the person but, you see DJ AM providing tributes to a number of his friends within the DJ world is that something that you planned?

KK: What that said to me was, that he cherished his relationships and was a man for others. He was selfless in that regard. It tells you a lot about someone when you know who their heroes are. DJ Jazzy Jeff was really a central figure in his life. Just as a fan and someone who just has a great heart and is so solid.

AM: What do you think of what AM would think of the state of music now for DJs and doors that he opened?

KK: There is some speculation involved of course, but I think that people are pretty dialed into him within the scope of the music industry. He would be one of the biggest DJs on the planet still and would have gotten into production. He would have followed where that world was going when DJs started to produce more. Who knows where the Travis Barker and AM collab would have gone. Would they have added more people in the band?  Would it have been more of a visual spectacle? That's more speculation too. 

I think that what impressed me about Adam is, he was just a fan of music and I think that his ability to see the virtues of all sorts of genres, the power of music and how it was able to bring people together and move people. I think that would have continued on. The dark underbelly of that is what DJs are doing. A lot of sets are preprogrammed and maybe he would have been able to highlight some of the weakest aspects of where DJ culture is going and to arrest its slide into a bit of a robotic sense.

AM: What were your goals in creating this movie and how did that correlate to the expectations of those within the DJ culture and fans at large?

KK: This film exceeded my expectations, to be honest. My intention was to dive in and tell the truth and the whole story of AM, his musical impact and import as well as the story of his personal life. Once we got into certain periods of his life and found out there was an episode or circumstance that he had to plow through - they entailed a lot more adversity than what I was aware of and even his family and friends. Once we uncovered his secret stuff, the story took on great dimension and in the end you have a real sense that you know him and that you have lost a friend. It's someone that should still be here walking amongst us. 

When you do a film, it involves a lot of things. Obviously, it includes story, structure, tone, laughs, tears and all of that. I think that my intention was to hit all of those different corners in AM's universe, but to do it in a style that had a certain fidelity to what he did musically. The film is a mashup in its own right and could pinball all  over the map with a velocity that he spun. I feel that the film does that and with what I am seeing in terms of the reaction to the film, it's super rewarding.

AM: As the person who dedicated 4 years to the film - what do you do after this - take time off or go into the next project?

KK: Throughout my career, I have been fairly promiscuous with style. I can go from a miniseries to a music video to a documentary to a commercial to still photography. This is the longest time that I have been on a single project. It's also the most difficult job I have ever done politically, emotionally, financially - it brought everyone (especially me) to their knees. 

In the past few years, we started putting the finishing touches on it to get it out to the world. I have been working on various projects as well. Releasing a film entails a lot of work as well and it's not like I am not working on it anymore. Now that we made it, it's making people aware that they can see it and share it with friends. This is less a commercial venture than extending Adam's legacy forward and it takes work and we're still working hard on getting it out there.

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If you have yet to see AS I AM: THE LIFE AND TIME$ of DJ AM, visit their site to see where it airs in your city as additional theaters will be added throughout the summer. 

Read more from the June Issue