CONTACT HIGH

We enjoyed Contact High, a Visual History of HipHop: Pop Up Experience at the Hasselblad NY Experience Studio in Soho. The exhibition celebrated the recently published book Contact High: A Visual History of Hip Hop by Vikki Tobak, documenting the history and progression of Hiphop and some of its key influencers over a 40 year span.

Curated by Vikki Tobak, based on the bestselling book of the same name, and with creative direction by Fab 5 Freddy and forward by Questlove, it includes works from 60 photographers forming a chronological journey from old-school to alternative hip-hop. The ultimate companion for music and photography enthusiasts, Contact High is the definitive history of hip-hop’s early days, celebrating the artists that shaped the iconic album covers, t-shirts and posters beloved by hip-hop fans today.

On display at the pop up experience were images made with various Hasselblad cameras from Janette Beckman, Danny Clinch, Armen Djerrahian, George Dubose, Jamil GS, Danny Hastings and Jayson Keeling.

Founded in 1941, Hasselblad is the leading manufacturer of medium format cameras and lenses. Made in Sweden, Hasselblad cameras are renowned for their iconic ergonomic design, uncompromising image quality and Swedish craftsmanship. For over half a century, Hasselblad cameras have captured some of the world’s most iconic images – including the first landing on the moon - and helped shape the way we look at the world through genuine photographic artistry. Trusted by NASA and used by the greatest photographers in the world, Hasselblad continues to create products with uncompromising image quality that inspire. In 2016, Hasselblad introduced the world’s first compact mirrorless digital medium format camera – the X1D.

ATHLEISURE MAG: We loved seeing the contact sheets presented in the book at Hasselblad's pop-up experience exhibit. When did you come up with the concept for the book and how long was the process making it?

VIKKI TOBAK: The whole process took about three years for me to write and research the book, but the idea came from me actually working in the music business in the early ’90s. I worked for an indie Hiphop label called Payday Records and Empire Management and worked with a lot of young Hiphop artists. I would coordinate a lot of their photo shoots, so I also met all these young photographers way back then. As I started my writing career and became a journalist working for bigger news organizations like CNN, I saw how they treated their archives, contact sheets, and historic photos and got to thinking about all the photos that I had worked on in my younger days – all the photographers who had these archives they were sitting on. So I set out to tell that story: The story of the photographer and a deeper story of those photos.

AM: How did you go about connecting with and interviewing the photographers and essayists featured in the book to hear about the accompanying stories of the shoots and how the images were created?

VT: I t wasn’t easy because photographers don’t generally like to show their contact sheets, they don’t like to show their outtakes or imperfect moments. So I started by going to the photographers who I already knew and who really trusted me with their stories. One by one, I started reaching out to Janette Beckman, then to Delphine Fawundu, Jamil GS – photographers that I have been on-set with when they photographed young Jay-Z, young Mos Def, young Gang Starr… I started writing a column for a magazine called Mass Appeal while I was researching the book. At first, the photographers thought it was kind of weird, like, “You want to see my contact sheets?” And I was like, "Yeah, I want to hear the back stories and I want to see all those weird photos of the person not looking into the frame or the photos that you shot of what was going on around them to kind of give it a more candid, documentary feel. And they loved the idea because they also like seeing each other’s contact sheets – photographers work really independently, so just seeing the work of their peers and just seeing that all these photos lie on a historic continuum (if you will) was really great. They realized that they were part of this great collective that documented this music, this new music that was created in our lifetime and was really something that nobody had ever seen before. They visualized that music.

AM: Did you have the title “Contact High” going into the project, or did it emerge during the course of the book?

VT: I didn’t have the name at first but it came to me pretty quickly. It just kind of popped into my head very early on. I had a good laugh with myself because a lot of Hiphop is associated with weed-smoking and hanging out. But more than that, Contact High speaks to immersing others into this world, this kind of bubble. It speaks to bringing people not just into one photo but bringing them into the world where that photo lives.

AM: We see chronologically, the first featured shoot kicks off in 1979 in the Bronx with Kool Herc. How is it to trace the past of Hiphop visual culture from its early days as a small subculture?

VT: Because I’ve been writing about the music for so long, I understood that this was the music that started with everyday people in neighborhoods, in communities. A lot of the earlier photos are not of the big stars but are of the dancers, the DJs, the kids from the neighborhood where a lot of the MCs came from. You see photos from the early days of Brooklyn and the Bronx all these places where the culture was born. Those early documentary photos also talk about the fact that this is much bigger than the music and much bigger than just this cultural phenomenon that we now know is kind of leading our mainstream. You can trace the history through the photos from the late ’70s and see it going into other cities, all of which have their own styles. You see it go into L.A., which had a very specific look and feel to it, to New Orleans, to Houston, to Detroit, to Atlanta. All the artists and photos that came out of that are super distinct, with their own flavor. So you have to see it and not just hear it. That’s what the contact sheets do.

AM: How was it to have Fab 5 Freddy as a creative director with the book?

VT: Oh my goodness, he’s a dream. He is a historian, he was a part of the culture, and he also gets this as part of the larger storytelling of Hiphop. As soon as I told him about this project, he got it right away. To be able to go deeper into these photos, he also realized there had never been a real retrospective done of Hiphop photography. Individual artists had sort of had little shows here and there but never on this kind of scale. So he not only wrote an essay for the book (which was incredible), he’s also in a lot of photos in the book.

And when it came time for me to curate the show’s exhibition, which we now have at the Annenberg Space For Photography in Los Angles through August 18 and which we hope to make a traveling exhibit after that, I knew he was the right person to be the creative director because he just got it – he got the whole project. We worked great together. He’s now working on so many amazing things related to the culture: He has a new film on Netflix called The Grass Is Greener about cannabis policy and the history of music in the black community. I like that he is a deeper, broader thinker – more than just about the music and more than just about the style. He sees how all the dots connect, which is why I really wanted to work with him.

AM: Core roots and aspects of athleisure are steeped in Hiphop style and culture. We love seeing Adidas, Kangol, Dapper Dan, and an array of other iconic fashion and culture laced throughout the images and contact sheets. What are some stories that the photographers and essayists offered about Hiphop style from the early days to rising to mainstream as a truly dominant and global authoritative stature?

VT: The whole phenomenon and athleisure wear and just comfort was really something that started in Hiphop, absolutely. Young kids were very aspirational in wanting certain sneakers or wanting a certain look, but at the same time this was all super personalized and all flipped on its head to have a very unique look and feel that was very Hiphop. So they started trends, they started a lot of the sneaker culture that you see right now: Run DMC and Adidas, the whole Nike Air Force 1 movement. A lot of even little details like the baggy sweatsuits, the caps, all that kind of stuff was very much self-styled and sort of remixed, if you will, from mainstream fashion. To see it come 360 now and be thriving as mainstream fashion is really cool. All these elements that were originally just about being an individual are now available to everyone.

AM: Tell us more about your spotlight on the importance of telling the story of women and Hiphop in the book.

VT: It wasn’t really a decision to play it up in the book. For someone who has always worked in the industry (as a woman, obviously), writing about the music for years, women have always been a really strong part of Hiphop, both in front of the camera and behind it. I had so many incredible black women editors when I was a writer; so many women ran the label that I worked for: Lucia Cortez, Silvia Rowne, really powerful women. And then of course the artists….

People ask me a lot, “How did you find all the women photographers in the book?” They were there all along. It wasn’t an effort on my part to become equitable – I wish I could say it was, but it just is. To me it’s just been something that I recognized always, and I think it’s a little bit of a stereotype with Hiphop. If you look at Hiphop as a culture, women have always been super prominent.

Also, April Walker started Walker Wear, and a lot of people didn’t even realize she was a woman because Tupac and Treach from Naughty By Nature were her spokespeople. There was this big wave of streetwear entrepreneurs in the early ’90s, and she should really be commended as part of that: she and all the women stylists who gave Hiphop its look in terms of selecting baggy clothes for Mary J. Blige or a lot of the other looks. I think all those women deserve to be celebrated and remembered.

AM: What have you seen with having such a multi-dimensional audience by design as it cuts across music, Hiphop, photography, portraiture and selfies, as shown with such acclaim, like the dynamic Amazon chart success across categories?

VT: A lot of people say Hiphop is now post-genre, so there’s not just one kind of Hiphop, there’s not just one kind of listener or audience. Hiphop now is global on all levels – it’s not just the subculture in a neighborhood anymore. The elements of it have been appropriated. That’s a loaded word; I guess a better word would be integrated into all facets of fashion and music. Kids in the suburbs listen to it, everyone listens to it, but at its core it will always be a music that speaks truth to power. That attitude will always come through in the photos, that attitude will always come through in the lyrics and all the different offshoot of any music culture. But now it’s a global phenomenon. Biggie has this line in one of his songs where he says, “You never thought that Hiphop would take it this far.” Indeed, a lot of people thought it was going to be a passing fad. It’s just really beautiful to celebrate the men and women who documented this culture that has not just stayed around but now defines many facets of our shared lives.

AM: It’s so interesting – and a treat – to get such an extensive intimate look at contact sheets and outtakes and see the interplay of photographers and artists in the creative journey together. What are some behind-the-scenes stories in the book about how the shoots started and went?

VT: Oh my goodness, I have so many. The one that people bring up most often is the story of Biggie in the crown that was taken by Barron Claiborne because it is a very stern-looking photo. The story behind it is that Barron was a young black photographer who was given the opportunity to photograph a fellow young black man and wanted to go against all the cliché imagery that he was seeing in the mainstream media at the time. He decided to photograph Biggie as a king. The editor of Rap Pages Magazine, a woman by the name of Dream Hampton, saw the importance of Barron’s vision of portraying someone like Biggie as royalty. In fact, that photo was called King of New York. The photo almost didn’t happen because Puffy/Diddy, who was leading Biggie’s career at that time, thought that he would kind of look like Burger King. So there was a lot of behind-the-scenes back-and forth, and it was interesting to hear the “this classic photo almost didn’t happen” accounts. I really like that photo for sure. I would say that’s a really good story.

AM: What are some accounts from the photographers about their work at that time? What cameras and gear were they shooting with, and did they comment about how it impacted the look and feel of their work and narrative?

VT: A lot o f big photographers – Janette Beckman, Danny Clinch – love shooting with medium-format Hasselblads. Lugging medium-format cameras around different neighborhoods, on the subways, is a little more challenging. But they always said it was very worth it. Not only did they produce this very beautiful, serious, historic moment, the Hiphop artist also felt that way. Janette Beckman shares the story about when she showed up in Hollis, Queens to photograph Run DMC. She had brought her Hasselblad on the subway from Manhattan way up to Queens. When she showed up, they understood that she was serious – not just here to take a few snapshots of us but here to really photograph us. Same goes for Danny Clinch for the Big L album covershot taken in front of his stoop in Harlem. Same thing. I feel like the photographers loved using Hasselblad medium-format because it set the tone.

AM: What have you heard from newer photographer fans, who love seeing contact sheets and negatives as a secret workflow?

VT: In digital culture, Instagram, imagery in general is very disposable in many ways, and we’re also bombarded with a lot of it. For younger fans, it’s often hard to imagine a world where you didn’t see the photo instantly or where you didn’t erase any photos. They’re also used to seeing a lot of finished product. The concept of contact sheets is important because it shows the stakes and it shows growth and it shows the artist in an imperfect setting and it shows the photographer working their process out, their creative process of trying to get the lighting right or not quite getting one out of 36 photos or one out of 12 photos right if you’re shooting medium-format.

So for young people, they see that the process takes time, and a lot of mistakes were made. That’s really important in this day and age. I think they really appreciate it - seeing photos of a young Kendrick Lamar in the studio where he looks kind of tired or frustrated recording his debut album. It’s a different Kendrick Lamar than the Pulitzer Prize winner with this amazing album on the other side of the process. So young people are really loving it. Also, just picking up on all those great style elements of the early days. A lot of it has definitely come back, and a lot of younger fans don’t even realize it’s been around for years and years.

British photographer Janette Beckman began her career at the dawn of punk rock working for publications such as The Face and Melody Maker. She shot bands from The Clash to Boy George as well as three Police album covers and documented the youth culture of the era. Moving to NYC in 1983, Beckman was drawn to the underground hip-hop scene where she photographed the pioneers of the culture such as RUN DMC, Slick Rick, Salt-N-Pepa, Grandmaster Flash, Big Daddy Kane, and LL Cool J.

Beckman has published five books: ‘Rap, Portraits & Lyrics of a Generation of Black Rockers’, ‘Made In The UK The Music of Attitude 1977-1983’, ‘The Beckman has publi-Breaks, Stylin' and Profilin' 1982-1990", 'El Hoyo Maravilla’ and ‘The MashUp, Hip Hop Photos Remixed by Iconic Graffiti Artists’.

Her dedication to documenting the outliers of society remains evident in the works she creates surrounding subjects such as Manhattan based dirt bike bandits, The Go Hard Boyz, an illegal girl fight club in Brownsville, New York, and the hardnosed rodeo riders of the River City Rodeo in Omaha, Nebraska. Her work has been shown in galleries worldwide and is in the permanent collections of the Smithsonian National Museum of African American History and Culture, the Museum of the City of New York and the Musée des Civilisations de l’Europe. She is represented by the Fahey Klein Gallery. She continues to live and work in New York City today. Beckman’s commercial work includes assignments for clients such as Dior, Kangol, Levi’s, Schott, and Shinola.

ATHLEISURE MAG: How did you know you wanted to make portraits growing up?

JANETTE BECKMAN: I always liked portraits, I used to visit a lot of museums like the National Portrait Gallery in London as a kid and stare at the paintings, imagining what life was like in the 1800’s or whenever.

AM: Tell us about the London punk scene in the late-70s and how you became immersed?

JB: I came out of art school and the punk and youth culture scenes were happening on the streets. I was always into music and style, so it was natural for me to start documenting what I saw on my doorstep. I started working for a weekly music magazine called Sounds and soon was photographing 2 or 3 bands a week.

AM: What led you to NYC in the early 80’s and how did you start photographing rap groups?

JB: I saw my first Hiphop show in London in the fall of 1982 and that Christmas I came to NYC to visit a friend. The trains were covered in graffiti, kids with boomboxes on the platform. I loved it.

AM: What were some of the first Hiphop concerts that you attended, and how did the blend of DJs, rappers, break dancers and graffiti artists speak to you and what you saw with the culture at large?

JB: The first Hiphop concert was in London in 1982. I was blown away by the sounds and visuals, rappers, DJs, graffiti writers, break dancers all on stage together - I photographed Fab 5 Freddy, Grand Mixer DST, Afrika Bambaataa, RockSteady Crew, Double Dutch Girls, Rammellzee, Futura, Dondi - legends of the culture.

AM: Tell us about the 1984 shoot with Run-DMC for The Face magazine.

JB: The British magazine The Face commissioned me to photograph Run DMC. They gave me a phone number, which turned out to be Jam Master Jay’s mom’s house. I spoke to Jay and we arranged to meet at the Hollis subway station. Hollis turned out to be a leafy suburb in Queens. I walked down the street with him, met Run DMC hanging out under the trees on a spring day with some friends, and began taking photos - I got that shot in the first few frames. It was really a moment in time.

AM: What camera and lenses did you shoot with? How important was it to be shoot-ready when approaching shoots those days?

JB: I had a Hasselblad with an 80mm lens, I had 3 backs (12 shots in each), always ready/loaded.

AM: What was it like to work with Def Jam?

JB: Def Jam was a small label. I was also working with other small labels like Next Plateau and Sleeping Bag. They would bring their artists ’round to my studio. I had shown my portfolio to Lyor Cohen and Def Jam started to hire me. The first shoot I did for them was when Bill Adler, the Press Officer for Def Jam, brought LL Cool J to my studio for his first press shot.

AM: We loved seeing the early Afrocentric style reflected with your work with Tribe Called Quest. How did this come about and what was the day like?

JB: I was a huge fan of Tribe Called Quest and Hiphop style was becoming more Afrocentric. We decided that we wanted to shoot in nature. We were in NYC and the trees were still bare, so we went to the Chelsea Flower Market and found this greenery. The band had their little cousin with them and we had him in the shot too.

AM: What are some of the similarities and differences between shooting album covers and magazine candids and portraits?

JB: Album covers are square, you have to think about that when you are composing a shot. Magazine pages are usually vertical.

PHOTOGRAPHY COURTESY OF CONTACT HIGH: A VISUAL HISTORY OF HIP HOP, BY VIKKI TOBAK | Fugees - Jayson Keeling | Jay-Z – Danny Hastings | Kanye – Danny Clinch | Memphis Bleek - Armen Djerrahain | Mos Def - Jamil GS | RUN DMC – Janette Beckman | Salt-n-Pepa – Janette Beckman | A Tribe Called Quest – Janette Beckman |

Read the May Issue of Athleisure Mag and see Contact High in mag.

RIDING WITH HUSQVARNA NYC LAUNCH PARTY

We enjoyed Husqvarna Motorcycles' launch of their highly anticipated new range of “real street” motorcycles to the North American market in NYC. The VITPILEN 401, VITPILEN 701, and SVARTPILEN 401 feature new advanced technology for the world of motorcycling. Inspired by the minimal simplicity of classic Swedish design, Husqvarna's new urban motorcycles combine high quality, state-of-the-art technology and progressive technology to redefine the modern riding experience.

Guests enjoyed previewing the three sophisticated, urban-styled models to celebrate Husqvarna's return to street motorcycling. Hasselblad X1D camera demos were on hand for motorcycle photography amidst the backdrop of Husqvarna's VR experience, its 2018 fashion accessories preview and a cocktail party atmosphere at the Skylight Modern event space in Chelsea Gallery District, NYC.

Read more from the Feb Issue and see Riding with Husqvarna NYC Launch Party in mag.

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

LA BIENVENIDA A GUATEMALA

Read more from the Dec Issue

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.

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MAGIC HOUR

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