‘With the new high ISO CFV-50c back I can use my V System Hasselblad once again for photojournalism.’



‘With the new high ISO CFV-50c back I can use my V System Hasselblad once again for photojournalism.’

Hamburg-based photographer Arne Weychardt has used Hasselblad cameras all his working life, and particularly appreciates classic V System models. Now the launch of the new CMOS CFV-50c is enabling him to shoot at ISO speeds he could once only dream about…\


It was always Arne Weychardt’s dream to make his living behind a camera – a Hasselblad camera.
From the moment he set off to college at the age of 19 to take his first step on the road to making photography his career, a V-System camera has been by his side, a consistent partner for the past 30 years and one that continues to reward him with loyal service and quality results that match his vision.
Now the launch of the latest CMOS powered CFV digital back has given him the opportunity to enhance his kit with cutting edge technology, and he’s relishing the chance to work with ISO speeds that until recently were the sole domain of the 35mm-style DSLR. “When I graduated at the age of 21 I became a photojournalist in Berlin,” says Arne, “and some people questioned whether the Hasselblad was the right camera for that particular job. However, whenever there were more considered photo shoots to undertake I was the one who got the job: I loved the chance to slow down a little and I would shoot 12 frames and come away with 12 wonderful pictures.”
These days Arne is one of Germany’s most celebrated portrait photographers, and his services are much in demand from big name editorial clients. While the jobs he takes on might have become more high profile he’s never lost his regard for the simple, reliable functionality of those now-vintage Hasselblads that have accompanied him on his journey, and he’s been able to continue using them, thanks to the development of bespoke digital backs.

Photo: Arne Weychardt

Photo: Arne Weychardt

His first CFV model, which he still uses, offered 16 megapixels of resolution and produces files that clients are delighted with. Given his considerable experience of marrying new and classic technology Arne was a logical target when Hasselblad was looking for someone to put the latest CFV-50c CMOS digital back through its paces.
“I’ve always enjoyed working with my V System cameras,” he says, “and I’ve used them for many of my professional and personal projects over the years. I love the 6x6cm format and they are so easy to work with: I can adjust the aperture and the shutter speed on the lens, for example, and don’t have to go diving into a menu to do things. The people I’ve photographed – especially for my long-running ‘Golden Camera’ series -include some of the world’s top celebrities. And they too love to see me using vintage cameras. If they were to see a 35mm-style camera they wouldn’t give me the time, but when they see I’m using a classic Hasselblad they are happy to cooperate.
I photographed Clint Eastwood with my Hasselblad and later photographed him while he was being interviewed, this time using a 35mm-style DSLR camera because I was working reportage-style. He stopped the interview, smiled and said to me: “Didn’t you have a real camera before? What happened?”

Photo: Arne Weychardt

Photo: Arne Weychardt

Right Up to Date

While he might regularly be focusing on Hollywood A-Listers, the people Arne chose to test out the Hasselblad’s latest digital back on were from a different walk of life entirely. The pictures produced were a continuation of Arne’s Langeneß project, a tiny island off the coast of Schleswig-Holstein in Germany. It’s a location that is home to around 100 inhabitants and 58 households and, captivated by the simplicity of the way of life that still exists there, Arne has been documenting its people for many years. This was his third visit.
The chance to extend his shooting capabilities excited Arne and reminded him in many ways of how things were when he first started out as a photojournalist all those years ago. “The CFV-50c CMOS back gives me a lot of new possibilities, to shoot on location under different conditions and circumstances,” he says. “For me this new CMOS technology makes a huge difference, allowing me to shoot in available light on Langeneß using ISO speeds right the way through the range of the new back up to ISO 6400, and I was delighted with the results.
I also appreciated the ability of the back to offer me clean, noise-free images even at extended shooting times. It opened up plenty of new opportunities to me to shoot images under challenging conditions, and I found the flexibility I had increased enormously.” It wasn’t just the ability of the new back to deliver great results under a wider range of shooting conditions that impressed Arne.
He also loved its appearance and was impressed by the thought that had clearly gone into making it a perfect match for the V-system’s classic good looks. “The design of the new CFV-50c CMOS back is just stunning,” he enthuses. “It fits perfectly into the design of the V System and sustains the beauty and heritage of the camera. I also loved the new high resolution LCD screen. It is so sharp and so easy to see that I found I was able to edit on location again and evaluate my work in the field. “It’s a stunning performance. The CFV-50c is a superb fusion of old with new; the traditional and classic look and feel of the V System body linked to Hasselblad’s advanced image capture technology is, for me, the perfect mix.”

‘The CFV-50c CMOS back gives me a lot of new possibilities, to shoot on location under different conditions and circumstances’

Hasselblad Masters Vol 4. EVOLVE.

The elite Hasselblad Masters competition is the ultimate biennial stage for thousands of the world’s most creative photographers shooting across a dozen different photo-disciplines.

This year we’ve witnessed the most hotly contested competition ever – with a massive 62% increase in entries (since the 2012 awards) from both established and emergent photographers worldwide.

Twelve winners were selected by a jury of their peers (The Hasselblad Masters Grand Jury) and also voted for by the general public (Hasselblad Masters Public Jury).


And TEN of them made it in person to receive their trophies and accolades at our exclusive awards party hosted by Hasselblad CEO Ian Rawcliffe and International Sales Director Michele Channer last night on our Stand at photokina.

The shortlisted shooters had been handed latest Hasselblad capture devices earlier in the year and briefed to visually interpret the theme ‘EVOLVE’. One hundred and forty two of their most outstanding images now form the content of our Hasselblad Masters Vol 4. EVOLVE volume – which launched last night. (The new book, which costs 79.90 euros and is available with text in seven languages, can be ordered at:

Bronius Rudnickas, Hasselblad’s Corporate Communication and PR Manager said: “Last night’s awards event was graced by our winners who had travelled from all corners of the world to be here. It underpins the power and scope of the Masters programme and the real prestige and kudos associated with becoming a Hasselblad Master. There is no greater accolade at the high-end of professional photography. We were delighted to get the chance to chat with these exceptional Hasselblad brand ambassadors and discuss ways in which we can work together in the future.”

He added: “Also, as part of our awards programme this year we announced that French Master Roman Jehanno – who won the ‘General’ category – was selected by the public to pick up an extra award – he gets to keep the H5D-60 camera with which he shot his EVOLVE portfolio.”

Roman Jehanno said: “I am pretty sure I will wake up tomorrow and say ‘wow’… that was amazing!” The UK’s Bryn Griffith, who won a Masters accolade in the ‘Products’ category, added: “It has been absolutely fantastic and a real joy to be a part of the Masters programme and to meet these guys and see all the superb work. And the EVOLVE book itself is amazing.”

The 2014 Hasselblad Masters Awards winners were:

Architectural: Martin Schubert, Denmark
Editorial: António Pedrosa, Portugal
Fashion/Beauty: Bára Prášilová, Czech Republic
Fine Art: Rafal Maleszyk, USA
General: Roman Jehanno, France
Landscapes/Nature: Hengki Koentjoro, Indonesia
Portrait: Dmitry Ageev, Russian Federation
Products: Bryn Griffiths, United Kingdom
Project//21: Paul Gisbrecht, Germany
Underwater: Chris Straley, USA
Wedding/Social: Joseph Goh Meng Huat, Singapore
Wildlife: Rafaek Rojas, Switzerland


The Masters 2014 exhibition will now tour the globe – and the next stop will be at our hugely popular annual shootLDN event on 22nd and 23rd October at The Old Truman Brewery on Brick Lane, east London. More details at:

photokina 2014 Hasselblad Masters Book Launch

2XU International Campaign shoot – Freezing the motion with Move-Kits


About Carlos Alcaide
“Also know as “The Fiery Spaniard”, Carlos is 100% all go. Always. With over 20 years experience in the business, Carlos has shot with world famous celebrities from the likes of Priscilla Presley, Tim Cahill to local hero Billy Slater. He doesn’t like talking about it, but we have heard he’s won a bunch of awards.”

Carlos has an exceptionally versatile style. Specialising in Advertising, Portraiture and Corporate photography, Carlos is passionate about his craft.

Short introduction of yourself and your career
My name is Carlos Alcaide. I’m am co owner of Hell Studios in Melbourne, Australia. I’ve shot internationally and all over Australia, and my expertise lies in Advertising, Portraiture and Sporting Campaigns. I prefer to create the shot, not just take it.

What initially interested you into photography?
The opportunity to be able to work all over the world and be able to express myself through my work.

Among your works, which one would you like to share its behind story with broncolor blog readers? Would you like to tell us about it?
Recently I was fortunate enough to be engaged by sporting brand 2XU to shoot their international campaign for AW14. This was a fabulous opportunity as it was a combination of location shooting, studio sessions, as well as working with moving subjects – from jumping, to cycling, to running.


What is special about this shoot – light, speed, or venue? Is there any challenge?
2XU is a high performance brand, so we shot with their elite athletes from across the globe. We battled the rain, the wind, and the sun. As well as that, it was freezing! We shot on location at 5am, started in the dark, and waited for a half hour window of twilight. We had motorbikes, cars, and vans rigged up with lighting and camera gear, in order to get the shot in motion.

Behind the scenes











What kind of broncolor’s lighting equipment do you use for shooting this pictures?
We used two broncolor Move-Kits.

What goal are you working towards within your photography and when will you know you have reached it?
I’ll know I’ve reached the ultimate goal when I’m dead, and I’ve done all I can.

What does photography mean to you?
Photography to me is an opportunity to harness my creativity, and boss people around whilst building an empire. Not really, just to do what I love and motivate others.

Hell Studios Carlos Alcaide


Benjamin Von Wong – Israel Photo Shoot

Earlier this year, a non-profit organization by the name of Kinetis flew myself and a couple of other photographers in to Israel to create unique pieces that would showcase Israel in an unconventional way. I’m not sure what you imagine when you think”Israel” but it’s not camel’s or orthodox jews galore… nor is it just a place of conflict, and thus the idea of clashing the old and the new was born.



Israeli based photographer Tomer Jacobson was brought on board to help produce the photoshoot and we began sourcing extreme sport individuals from Israel to feature within the walls of holy Jerusalem. This was the result:

Screen Shot 2014-06-19 at 11.17.21 AM


This was the first shoot that I would have the opportunity to use my brand new Broncolor equipment and I was pleasantly surprised to learn that the Para 133 was able to output a good 1.5 more stops of light than a standard lamp when fully focused. This meant large scale hard light with a soft wrap – something that I never had access to. Combined with the Pocketwizard TT5s I was able to hypersync at approximately 1/2000th of a second while the Broncolor Move 1200L was on max power allowing me to freeze motion without loosing too much power.

The goal of this photoshoot was to create images that would put our talent in the foreground doing something amazing… silhouetted by an iconic Jerusalem backdrop. This meant that we had to find a happy medium between what the talent could do and where we could do… and sometimes that meant doing things that were unconventional… like riding on your producer.

An often overlooked tool to every photoshoot is a bucket. In our case, we brought along a bucket to gather surrounding clumps of dust and dirt so that we could make the images more dynamic by tossing it on our models.

Another tool we had in our toolkit was a long piece of rope so that we could help Omri gain some additional momentum for his jump.

Quick tip: The best way to figure out if your light is pointed in the right direction is to have someone stand on the receiving end of the light and make sure that it’s pointed towards where the subject is going to be. Remember: light travels in a straight line.


For our shoots with the home-made electrical scooters, a single Para 133 was used to accentuate our model and make him pop out against the sky. Because we wanted him to stand out against the sky, we simply waited until a cloud passed overhead before snapping our shots.As with all shoots, certain things can be unpredictable such as when your model comes in bright red circus checkered pants. Knowing that his pants would really not fit the look and feel of the image I was going for… I sacrificed myself and traded pants with him in front of the tower of David.Quick tip: When you need to add drama and distortion to an action shot, try shooting with a fisheye to get a unique perspective! Special thanks to FroKnowsPhoto for lending me his 16mm!Often times, I find myself hanging in precarious positions just to get the shot and this time was no exception. Using nothing more than a single Para hanging off the edge of the building, we snapped this shot of Tom hoping around precariously on the walls.Pocketwizards and Broncolor seem to occasionally have issues when working together but since the movements were relatively static, we had no problems adapting to the circumstances and I switched back to the native Broncolor triggers with a maximum sync speed of 1/250th.

The final two images were shot in the Jewish quarter and we had to be careful to try not to antagonize too many of the passerbys. Lighting conditions were quite challenging with sunlight bleeding through the narrow hallways but we used that to our advantage in order to help our subjects stand out.


Last but not least, for the final image of the day, we didn’t have very much space available to us to hide the flashes so they were hidden bare bulbed in the doorways – 1 used to help illuminate the arch, and the second to light our model.

By this time, the sun had already began dropping significantly so our flashes had to be dialed down. The pocketwizards were still misbehaving so hypersync wasn’t an option. Thankfully though, we made sure that at the exact location that Gal would be performing his jump, the area would be shaded which meant that we could take advantage of the Move‘s extra fast flash duration to freeze the action without getting any ambient blur.


The entire shoot was done with only two flashes but it turned out to be more than enough to give the images the punch they needed to make them stand out. Of course, having an amazing crew in an awesome location combined with some super talented artists was truly what made the shots come out great! Despite having the reputation of being a super conservative city, we had less problems than almost all major cities that I’ve ever shot in despite the size of the gear and crew!

No matter what level of photography you reach, there will always be problems to solve and that doesn’t change regardless of how high up the food chain you climb. Being creative and having the ability to work around the challenges encountered is what will ultimately make the difference between good imagery and great imagery.

Great gear makes your life easier, but at the end of the day, you’re going to need to push, hustle and get creative to get those shots.

Special thanks once again to Kinetis for bringing me up. It was a blast!


Organizer – Kinetis

Talent – Gal Armoza, Omri Eran Vardi, Tom Trial Bar, Yoav Konikoof, Eyal Aloni, Omri Baum, Daniel Deitch

Producer – Tomer Jakobson

Assistants – Liron Samuels, Shimon Jakobson, Shai Ben-Naphtali, Karen Eng, Gili Harem, Noa Magger


South Africa Fashion in Motion – From Concept to Execution Process


They say great minds think alike and this is very evident in the synthesis of photographer, Darren Gwynn and art director, Chloe Andrea. It was their organic sense of production that led broncolor South Africa to team up with the power-duo, to set SA fashion in motion.

A love of fashion and the extreme, impressive pace of the broncolor power packs seemed like the perfect match in realising their vision to capture fluidity in fashion. Using garments that show cased these elements of movement, they turned to top internationally acclaimed South African designers such as Gavin Rajah and Malcolm KLuk, and the results: an ephemeral flow of natural body movement combined with the textures of clothing in motion captured in sculptured forms, movement and pace captured perfectly within the stillness of an image. The broncolor Scoro power pack, with its very short flash durations, was perfect tool to attain such motion with mesmerizing and unforgettable effect.


South Africa Fashion – Set fashion in motion – watch the film

Interview with ANDREA•GWYNN
DG – Darren Gwynn
CA – Chloe Andrea

CONCEPT DG. The concept came to Chloe and I when we thought about the broncolor Scoro S. I explained to Chloe what this pack can do and we both started discussing fashion and what we could do with the speed of the pack. As we both have a deep love for garments and the way they move we wanted to capture that in stills, broncolor was the only option when it came to lighting.



LOGISTICS  The logistics are always a rather large part of putting something like this together. As ANDREA GWYNN we do almost everything from Photograph, art direct, style to direct however to produce a product like this we enlisted the help of a dear friend of ours named Maxime Thaysen. Maxime is a girl of many tenants and producing comes rather naturally to her. Once we had her on board she took care of most of the logistic which was a huge help to us.

EXECUTION CA. From the beginning of every shoot, Darren and I always have a serene understanding of what we want, we do our homework. DG. So for this shoot we really studied the broncolor brand. We were both excited to be using this product and were very comfortable in the execution of the shoot as we knew we could rely on broncolor to achieve what we wanted.



USE OF BRONCOLOR CA + DA. From our original concept, speed was the main contributing factor and so the broncolor Scoro S immediately jumped to mind. With its extremely fast flash duration and recycle speed, the Scoro S effortlessly threw flash after flash at our subject freezing each garment as it moved graciously in the air.

DA. For the fashion film we used a combination of lights from the modelling light on a broncolor Pro Head to the broncolor Mini 400 HMI with its elegantly new designed  Light pipe.CA.  Being able to adjust the temperature and brightness of both the modelling light and flash on the broncolor packs really gave us the opportunity to achieve the initial feel and idea we had. It was a beautiful thing to watch as our vision unfolded in front of us into a tangible object.


POST PRODUCTION DA. Chloe and I are both extreme perfectionists and so post-production is done at an almost molecular level. We both sit together from processing the files to final product.

CA. All stills retouching and post production are done in house. For our fashion film we used an extremely talented, young editor named Meredith Aylward who was fantastic. DA. The editing process on a film such as this can sometimes become a case of broken telephone where the editor doesn’t quite see what the directors do however working with Meredith was the complete opposite as she executed each of our requests with ease and perfection.

GENERAL INFO DA + CA. We started ANDREA•GWYNN from a pure hunger and desire to create beautiful and elegant imagery. We pride ourselves on our ability and versatility as a young Stylist, Photographer, Director and Art Director Duo and look forward to creating strong brand communication and advertising for the world’s largest brands.

broncolor lights used:
3 Scoro S3200 RFS power packs
1 HMI Lightpipe (light tube)
1 HMI 400
1 Para 88 reflector
1 Para 133 reflector
5 lamps