Launched for use with Nikon’s new D3200 D-SLR, the WU-1a is a USB dongle that lets photographers connect their camera to smart mobile devices. Designed to enable easy sharing, backup and remote camera control, the W-1a is equipped with built-in Wi-Fi for direct camera-to-device communication without the need to connect to external Wi-Fi hotspots first. Users can send high-quality photos and movies directly from their D3200 to a smartphone or tablet, or control their camera from their smart device.

Romi Jacobs, the Chief Brand Officer for Nikon in South Africa says: “Advancements in smart device technologies have made sharing photos and videos on the go a key part of the photographic experience for many people. With WU-1a, Nikon D-SLR users aren’t going to have to compromise between quality and immediacy anymore: high-quality images can be shared with friends and family moments after they were taken.”

Wireless image transfer
With the WU-1a, you no longer have to choose between sharing low-quality mobile images on the spot or uploading high-quality images later through your computer: now you can share exceptional D-SLR images instantly.
No matter where you are, photos and movies can be sent directly from your camera to your smartphone or tablet: you don’t need to connect the adapter to an external Wi-Fi hot spot, and the device is powered by the camera. Images are transferred without hassle, ready for instant sharing via social media, easy uploading to photo sharing and storage sites, or for sending by email. You can also use the adapter to free up space on your camera’s memory card by transferring photos and movies for storage on your smart device.

Remote camera control
In addition to transferring images directly from the camera, the WU-1a also lets you use your smartphone or tablet to control your D-SLR camera remotely. You can preview or compose images from your smart device, or check camera settings and trigger the shutter release from a distance. This makes it an exceptionally useful accessory to have if you want to take a self-portrait—or if you want to take advantage of the bigger screen on your tablet to compose more elaborate shots.

Connected world
The WU-1a is compact to carry, easy to use and is powered by the camera, so there’s no need for batteries. It currently supports Android OS 2.3 or later for smartphones, and Android OS 3.0 or later for tablets; an application called “Wireless Mobile Adapter Utility” is available for free download to your smart device from the Android Market. Firmware can be easily updated via your smart device.

A welcome addition to Nikon’s range of FX-format prime lenses, the AF-S NIKKOR 28mm F/1.8G boasts a new optical design that makes it a perfect match for today’s high-resolution D-SLRs. Its large (f/1.8) aperture delivers sharper shots in low light and enables wonderfully smooth bokeh. The new optical construction results in beautifully rendered images.

Romi Jacobs, the Chief Brand Officer for Nikon in South Africa, says: “This highly anticipated lens sees Nikon expand its already extensive range of wide-angle lenses, and fill the gap between the 24mm and 35mm NIKKOR lenses perfectly. The 28 mm focal length lets you put subjects in a wide, pronounced perspective, while the improved optical construction controls unwanted distortion. It’s ideal for any wide-angle enthusiast’s kit bag.”

Wide appeal
Fast and compact, the AF-S NIKKOR 28mm F/1.8G is a great choice for photographers who want to shoot wide-angle images, and get the best out of a high-resolution D-SLR. The 28 mm focal length is ideal for shooting in confined spaces, capturing stunning vistas or photographing cityscapes and street scenes. The large f/1.8 aperture delivers sharper shots in low light and achieves a perfect balance of sharpness and bokeh, singling out subjects beautifully. The fast aperture also provides a bright viewfinder image.

Broad advantage
Equipped with a brand new optical design, the AF-S NIKKOR 28mm F/1.8G supports the increasing resolution of modern D-SLRs with sharp, beautifully rendered stills and movies. Two aspherical lens elements effectively minimize aberrations and correct the distortion that can occur with a wide angle of view. Nikon’s exclusive Nano Crystal Coat reduces ghost and flare, and Silent Wave Motor (SWM) ensures discreet but accurate autofocus.

Compact and durable
With a weather sealed mount and weighing just 330g, the AF-S NIKKOR 28mm F/1.8G is a solid yet lightweight and compact option that will fit easily into any kit bag. Compatible with Nikon FX-format D-SLRs, it offers a 42 mm (equivalent) focal length when used with Nikon DX-format D-SLRs and is fully compatible with entry-level models that do not have a built-in autofocus motor.

The lens is supplied with bayonet lens hood HB-64 and lens pouch CL-0915.

Specifications:

Focal length – 28 mm
Maximum aperture – f/1.8
Minimum aperture – f/16
Angle of view (135) – 75°
Angle of view (DX) – 53°
Lens construction – 11 elements in 9 groups
Nano Crystal Coat – Yes
Aspherical lens element – 2
Minimum focus distance – 0.25 m/0.85 ft
Maximum reproduction ratio – 0.22x
No. of diaphragm – 7 (rounded)
Focusing system – Rear focusing
AF drive system – Built-in SWM
Ｍ/Ａ – Yes
VR effect – No
Filter-attachment size – 67 mm
Attachment ring – Fixed
Lens hood – HB-64 (supplied)
Case – CL-0915 (supplied)
Distance scale – Yes
Lens mount material – Metal
Max. diameter x length – Approx. 73.0 x 80.5 mm/2.9 x 3.2 in.
Weight – Approx. 330 g/11.6 oz

Romi Jacobs, Chief Brand Officer for Nikon in South Africa, says: “The D3200 follows Europe’s best selling   D-SLR camera, the D3100 . It’s a powerful camera that offers superior image quality, with an incredibly high megapixel count, as well as full HD video. For newcomers to D-SLR photography, taking stunning pictures is made easier with Guide Mode which takes you step-by-step through the photography process with clear instructions and images. This is the ideal camera for those looking to easily capture amazing images of the things that matter to you, like family or exciting travels.”

D-SLR photography made easy
The D3200 is perfect for those looking to capture quality photos and videos. Whether you are starting a family or about to embark on a big trip, the D3200’s easy to understand functions mean you can take beautiful pictures even if you have never used a D-SLR camera before.
Guide Mode, previously seen on the popular D3000 and D3100 D-SLRs, is now in its third generation with significant improvements to help you grasp the more creative options, taking you through the entire process step-by-step. Running in parallel, Assist Images uses visual examples to help you to identify the shot that you are imagining. Capturing that beautiful background blur in portraits or sharp pictures of your children playing has never been easier. New items have been added to the Advanced operation menu. For example, to help you to enhance the red in sunsets or reduce blur. Nikon’s automatic Scene Recognition System will meticulously analyse the scene you are shooting and adjust the focus, exposure and white balance for optimum results. And, if you want your camera to do the work for you there is still a range of automatic functions such as Scene Auto Selector in Live View and Scene Modes that will apply the most relevant setting.

Superior image quality
The D3200’s incredibly high 24.2 megapixels deliver images in rich detail, meaning you can crop or print large favourites, keeping memories alive without a loss of image sharpness. Nikon’s latest image processor, the fast and powerful EXPEED 3, provides high-speed operation, producing remarkably clear images with excellent colour reproduction; and enhanced movie recording. ISO 100-6400 (extendable to 12800 equivalent) helps you take sharp images, even in low light. The razor-sharp 11-point autofocus system will make sure everything is in focus, delivering sharp results even if your subject is off centre, or completely unpredictable, like your baby smiling or laughing. By shooting action at four frames per second, the D3200 helps capture fast moving objects, like children playing on their skateboards, at exactly the right moment.
Should you find yourself taking shots in high-contrast conditions, such as backlit scenes, Nikon’s Active D-Lighting automatically adjusts the lighting while retaining detail in both dark and bright areas for stunning images with natural contrast.

Enhanced HD movies
If you are looking to capture a milestone moment, such as your child’s first steps or their role in a school play, a picture is not always enough.
Record your own stunning full HD (1080p) movies to play back on your high definition TV using the D3200’s easy-access movie record button. The camera’s large sensor and high ISO offer exceptional image quality. There is a high quality microphone built in to the camera, but if you want to take a further step in sound recording, you can utilise the optional external microphone input. You can easily edit your movies on the camera by selecting the start and end point as well as saving selected frames so that you never miss a moment. When coupled with a wide variety of NIKKOR lenses, you can create fantastic cinematic effects to bring your home HD movies to life.

Connect the camera
Wirelessly transmitting images from your camera to a smart device is now possible by using the optional WU-1a Wireless Mobile Adapter. This means it is easy to share them with your friends and family instantly via social networks and e-mail or save and back them up when you are on the move. Because you don’t need a Wi-Fi connection to transfer images from the camera to your smart device, the WU-1a Wireless Mobile Adapter is an ideal accessory when you’re travelling. It is even possible to control your camera remotely from your smart device, so you can be part of group photos like a family portrait, previewing the image before shooting. The D3200 is compatible with Android smart devices.

In-camera editing
There are a variety of editing functions available to help draw out your artistic flare. Adding creative effects such as Miniature, Selective Colour, Colour Sketch and Filter Effects – to add a warm or soft filter – will bring a personal touch to the finished image. It also lets you resize your images, give them a quick retouch, or even straighten them if necessary, directly on the camera to quickly and easily improve the quality of your photos. In addition, the large 7.5cm (3 inch) high-resolution (921k-dot) LCD monitor makes it a pleasure to review and edit your movies and photos.

Easy operation
Its lightweight, small body makes the D3200 easy to pack and carry around so you never miss those important moments. When you come to use the camera, the controls have been intuitively laid out to ensure you have a secure grip that it is comfortable to handle. The most common functions, such as Live View and Release mode, have dedicated buttons. If you want to take a picture of yourself using the optional ML-3 remote control, the D3200 has a receiver which has been positioned on the front and back to make it easier to do so. The Info button is also close to hand, should you need any further help.

Other key features:

• Smart autofocus for movies: enjoy continuous autofocus (AF) when you shoot D-movies. Full-time servo AF (AF-F) and subject-tracking AF maintain the focus when you shoot moving subjects. Face-priority AF is ideal for filming events where you want to relax and let the camera focus on faces.
• Extensive movie options: you can record Full HD (1080p) and the camera supports use of Nikon’s ME-1 stereo microphone. In-camera edit functions let you perform tasks such as setting the start and end point of your movie. A mini HDMI output enables playback on an HDTV.
• NIKKOR lenses: take advantage of Nikon’s legendary NIKKOR lenses to capture images with vivid colour, striking contrast and crisp detail, or to experiment with cinematic effects. Use fast prime lenses for stunning portraits, micro lenses for life-size close-ups or telephoto lenses for distant subjects.
• Nikon system options: offer endless creative opportunities with a wide range of accessories. These include the GP-1 GPS unit so that you always remember where a picture for taken. The D3200 comes equipped with a convenient built-in pop-up flash, but with optional Speedlights, inspired flash photography becomes even easier and more creative. The compact and lightweight SB-400 delivers intelligent through-the-lens (i-TTL) flash control and bounce flash capability for a more natural lighting effect without strong shadows. The multifunctional SB-700 offers the exciting potential of wireless multiple-flash operation via the Nikon Creative Lighting System.
  Also available in Red

]]> http://www.pixmag.co.za/2012/05/nikon-d3200-makes-beautiful-photography-easy-for-everyone/feed/ 0 http://www.pixmag.co.za/2012/04/joao-silva/ http://www.pixmag.co.za/2012/04/joao-silva/#comments Wed, 04 Apr 2012 09:32:34 +0000 PiX Magazine http://www.pixmag.co.za/?p=3425 Read More »]]> ‘Joao Silva is the most talented and courageous contemporary conflict photographer. Bar none. He has a penchant for danger and risk, but is never reckless. Especially not in the many war zones he covers. He is a humanist, with a quiet, understated empathy for everyone he meets, photographs, has a passing exchange with. Generous and funny, he makes photographs that are elegiac, graceful and important documents of lives ventured, lives cherished and lives lost.’ Greg MarinovichAfghanistan in autumn, it’s predawn and a patrol of Afghan soldiers and their American trainers make their way up a narrow valley to meet with village elders. The quiet settlement suddenly went dark, they had been betrayed. The patrol was suddenly hemmed in by ferocious fire from three sides.  A short distance away Cpl. Dakota Meyer and Staff Sergeant Juan Rodriguez-Chavez heard the ambush over the radio as the still morning turned into a deathly cacophony.
Among those trapped were four of Dakota’s Marine friends. He and Juan were denied permission four times to go in and rescue them. They then defied orders and commandeered a Humvee, Juan at the wheel and Dakota manning a machine gun. They drove straight into the killing zone rescuing whomever they came across. It took five trips and a number of destroyed vehicles to reach his friends who had all been killed. Dakota and others who had joined him by then retrieved their bodies amidst the most intense combat many of them had ever witnessed. With bullets kicking up dust in the unbridled chaos, Dakota only sustained a wound to one of his arms but brought his friends out, “That’s what you do for a brother”, was his simple explanation. Details around the actual event remain questioned but the bravery shown by Dakota Meyer and others has not.
“If I had been there, I’d have gone with, why not?”, says Joao Silva. This, if you know Joao, was not an empty statement or casual bravado. He would have gone. Joao has been covering conflict areas around the world for The New York Times, and is as familiar with Afghanistan as he is with Iraq. He now sits at home in Johannesburg recovering from devastating injuries and the loss of both legs, one above and the other below the knee. It was in the same Afghanistan that on a routine patrol Joao followed a mine sweeper and escorts into a derelict compound, he heard the faint ‘ting’ sound given by a small Russian anti-personnel mine and  quietly thought, ‘this is bad’.  It was one explosion that almost took Joao’s life, not the histrionics of an ambush but in Afghanistan it is probably this ‘hidden’ war that claims more casualties and victims, many of them civilian.
Joao was dragged from the kill zone aware that his legs had been blown off, he had tried to take some photographs but his wrist hurt and he dropped the camera. As the medic worked on him and a helicopter was radioed Joao asked for a cigarette from a Marine and the satellite phone from his colleague Carlota Gall.
He called his wife Viv and told her that there had been an accident but he was alive, he wanted her to hear it from him. One way of life had just ended and another was beginning for Joao. The following day the Explosive Ordnance Disposal unit checked the area and found a 30-pound vat of unexploded bomb that had been daisy chained, due to a reason that could not firmly be established, it failed to ignite.
Men of valour have ways of acknowledging one another. Last year, on the 15th September, Sgt.  Dakota Meyer donned his Marine uniform, left his construction job and home in Kentucky and went to The White House to receive The Medal of Honour from US President Barack Obama. He had asked that Joao photograph the Oval office proceedings, giving him permission to document the historic occasion.

For the full article read the April/May 2012 issue

As photographers we have an appreciation for the unseen things in life, we enjoy showing the world a piece of life that they might never have seen if not for the men and women that spend their days behind the lens. We dream of the places that seem to elude the average person. Photography is only an excuse to go there, an all-consuming ticket to the heart of adventure and mystery.
For one man the will to escape city life and embrace nature became a reality. On 9 April 2010, Erlo Brown a 22-year-old photography student at TUT set out to walk the entire length of the South African coastline. He walked 3,200km along the coast from Mozambique’s border to the border of Namibia, staying on the beach where possible. With no one to keep him company, but his young Border Collie, Zeta. Erlo walked at least 20km every day, taking rest days every week. He camped on the beach as he went along and only accepted accommodation when it was offered. Erlo carried enough food to last him until he reached civilisation again. He reached Alexander Bay on the evening of 2 Feb 2011, exactly 300 days (10 months) after his departure from Kosi Bay, considerably longer than the seven months Erlo anticipated to walk. He was held back twice by injury and once when both he and Zeta contracted tick bite fever. Problems with his camera also caused delays. “A journey of this nature should not be done according to a schedule, it should remain unplanned and spontaneous, that is the best way to truly enjoy it”, says Erlo.
His journey was filled with challenging experiences, from the need to search for water and a safe place to sleep every evening to battling in rain and head winds that never seemed to stop. Every day brought excitement and hardship; never knowing what lay around the next bend was both the challenge and the reward.
Erlo used the journey as the backbone for his B tech degree in photography, which he completed in 2011 at Tshwane University of Technology. The theme of his thesis was Coasting It: A photographer’s journey around the South African coastline on foot. What started out as a quest for landscape photography, ended with an amazing collection of photographs that tell the story of Erlo’s journey along the coast. In his study he looked at the impact a journey has on a photographer and on their photography. He used his own journey as a reference, and compared it to that of many other photographers and explorers. As with early explorers, the will to see and experience foreign lands is something that will always be a part of man; although South Africa is no foreign land to Erlo, the coastline held enough mysteries and unseen corners that had to be explored with a camera. With the advent of digital photography, bringing these far away places to the masses has become as easy as… well, walking there and pressing a button. To Erlo, photographing the coastline was a way of interacting with his surroundings.
“Photography makes us do things and see things that we would normally just pass by. Why else would you go sit on a rock that is more uncomfortable than a cactus in an escalator, or crawl into a cave that stinks of bat manure. I have seen and experienced bizarre things because of photography. I didn’t necessarily get a winning photo every time, but I always learnt something new”, says Erlo.

For the full article read the April/May 2012 issue

Firstly, cars are simply a series of reflective surfaces, which pick light up from a variety of angles and become very tricky to control. Secondly, vehicles have to be very carefully lit in order to ensure that all the beautiful design lines and curves are highlighted in the final image, and lastly, they are usually quite big which results in sets, lighting equipment and light shaping tools having to be a fair bit bigger than for most other subjects we photograph.

Check out some behind the scenes footage of the production on http://youtu.be/cBMikOOfta0

The overall winner wins a Tamrac Bag (models may vary) and it is sponsored by G L Agencies.
Send your best photograph to readers@pixmag.co.za and you could stand in line to win a Tamrac camera bag.

Competition Rules:

1. Every image entered must include information on equipment , film and technique used.
Entries without the required information will not be considered.
2. Digitally manipulated images will not be accepted.
3. Email 1-3Mb compressed jpeg images to readers@pixmag.co.za.
4. Maximum 5 entries per person.
5. The judge’s decision is final and no correspondence will be entered into.
6. Please note that your images may be published in PiX, on our website and in future DGR Media publications.
By entering the competition, you are agreeing the terms and conditions of this competition.

South Africa, Johannesburg, 15 February 2012 – Foto Distributors (Pty) Ltd, the sole distributor of Nikon products in South Africa and Sub-Saharan Africa, recently brought a case in the North Gauteng High Court against Digital World, an online digital goods supplier based in Nelspruit, which had been involved in the importing and sale of “grey goods”.

Section 25 of the Consumer Protection Act (CPA) 68 of 2008 stipulates that suppliers must disclose to consumers when goods are grey imports, because generally these goods don’t enjoy the same warranties or after-sales back-up offered by the official South African distributors. This disclosure is known as a “conspicuous notice”. Suppliers who fail to comply can receive a fine of R 1,000,000.00 or 10% of the supplier’s turnover (whichever is higher).

Digital World had been importing Nikon products from alternative sources and was distributing these products to consumers without providing the required conspicuous notice. In the order, given on 1 February 2012, the court instructed Digital World to apply said notice to all grey goods that bear the Trade Mark “Nikon”. This notice would need to clearly state that the products had been imported without the approval or licence of the registered owner of the Nikon trade mark and that no guarantee and warranty of the products would be honoured by the official distributor in South Africa (Foto Distributors). According to the ruling, in terms of online retailers, the conspicuous notice has to in future appear on their website attached to each product to which it applies, as well as on the actual product packaging or in the event of a retail store clear signage next to each product.

“Grey-product importing has a negative impact on our country’s economy, as well as on job creation in South Africa. This is a potential victory for all official distributors and consumers against grey imported goods,” said Stefan van der Walt, CEO of Foto Distributors. “This is the first case of its kind won by a distributor in South Africa. It should have consequences for anyone attempting to sell grey products in this country, as it proves that the courts are not reluctant to act against non-compliance in terms of the CPA,” van der Walt said.

In Nikon’s case, consumers will be able to make more informed decisions when buying photographic equipment, in the knowledge that grey photographic goods do not carry local warranties, firmware updates, access to repairs, free training or any other value added services. They will be protected against exploitation by grey-goods importers and be able to enjoy all the benefits offered by Nikon in South Africa.

Swoon: to become enraptured by; to be overwhelmed by joy; to faint in ecstasy; a feeling of being in love and within ease. This is the title for this collection of images.

The Pirelli Calendar is a trade calendar published by the Pirelli company’s UK subsidiary. It has become an annual publication that dates back to 1964. The calendar is famous for its limited availability because it is not sold but is only given as a corporate gift to a restricted number of important Pirelli customers and celebrity VIPs. The Pirelli Calendar is perhaps the world’s only prestigious and exclusive “girly” calendar, featuring pictures generally considered glamour photography including artistic nudes.

Mario Sorrenti interviewed by Glenn O’Brien

Glenn O’Brien:  Had you seen the Pirelli Calendar before?

Mario Sorrenti:  I did have a pile of books about the Calendar over the years that I really liked, and I have used them for reference before, but I’d never actually seen the Calendar. I don’t know if many people have seen them.

Glenn O’Brien: They are a very limited edition. I was surprised when I read that you were the first Italian photographer ever to shoot this legendary Calendar from an Italian company.

Mario Sorrenti: Me, too. Now everybody says, “Why didn’t you shoot it in Italy?

Glenn O’Brien: So, why did you go to Corsica?”

Mario Sorrenti: It’s almost Italy, right? It’s so close. It’s the Mediterranean.

Glenn O’Brien: I think the French consider Corsicans half-Italian anyway.

Mario Sorrenti:  They are half-Italian and half-French. But they have their own cultural identity. They have their own vibe going on. I loved it. It’s incredible, beautiful.

Glenn O’Brien: Why was Corsica your choice?

Mario Sorrenti: It was a matter of deduction, finding locations with the right weather for the time of year, finding all the geology that I was looking for, the right trees, rocks…

Glenn O’Brien: The trees are amazing.

Mario Sorrenti: They are really beautiful. And the rock formations there are incredible. Incredible! I could have spent more time on the rock formations, they are really amazing.

Glenn O’Brien: Had you been to Corsica before?

Mario Sorrenti: Never. We did a lot of scouting, a lot of research. Then it was enough to see the photos and we decided to go there. It’s an amazing place. I would go again.

Glenn O’Brien: There’s a funny thing on your Wikipedia page. It says, “Mario Sorrenti is primarily known for his spreads of nude models.”

Mario Sorrenti: Yes

Glenn O’Brien: How did you get a reputation for doing nudes? You don’t see many nudes in fashion.

Mario Sorrenti: I think I just did it naturally because it was something that I really enjoyed doing. I didn’t really think about it. I always thought about taking clothes off as a way of getting closer to the individual and the person, and of getting something that was more honest and pure. And I think that happened because my father was a painter and was always painting nude women. That’s what I grew up with, and that’s the thing I thought I could do to get my work closer to art.

Glenn O’Brien: Also you were comfortable with it.

Mario Sorrenti: I was really comfortable with it, personally and physically as well. I was very comfortable being naked, because when I was modelling I did many nudes with other photographers. So at the time, I associated that with the closest thing to artistic expression that I could have achieved intellectually at that period. I didn’t really intellectualize photography as an art with ideas, or consider what you could achieve through different concepts and so on. To me, the closest that I could come to achieving an artistic photograph was to do a nude. So I just did it all the time.

Glenn O’Brien: Was it easy to make people comfortable doing that? I imagine there’s a lot of difference from one person to another . . .

Mario Sorrenti: I remember at the time I thought it was easy because I had just come from being a model, so I felt like I had an understanding of what models felt like in front of the camera. And many of the people I was photographing were my friends, or models that I had met through modelling and so on. So I felt that some barriers were eliminated because we knew each other intimately and we understood each other in a way. It’s always difficult for somebody to reveal themselves completely in front of you. But I’ve always been the type of photographer that likes to share my work with other people, and show it, especially to the people I’m photographing. I really like to show them what I’m doing. I want them to appreciate it and to be happy with it. I am not interested in making people feel uncomfortable. I like the idea of empowering the people that I photograph through the experience.

Glenn O’Brien: Did you do exactly what you wanted on this project?

Mario Sorrenti: I did.

Glenn O’Brien: So these are the girls that were your choice?

Mario Sorrenti: It was all my choice, but of course I was limited by scheduling and other things beyond our control. But it was completely my choice. I worked with the casting agent in the way that we shared some ideas of girls. She said many of the girls had been used before in the calendar but I didn’t care. These are the girls that I like, and that I want to photograph and they have to be in it. Because these are the girls that I have ten years of experience with or even longer, maybe twenty years. So it had to be them for it to really represent me, in a sense. But I brought in some new girls as well, to bring some new blood or freshness to it, I guess.

Glenn O’Brien: I think one of the best things about what you’ve done here is the mix of ages. You have Milla and Kate, and then the younger girls. It’s a good blend.

Mario Sorrenti: I wanted it to be familiar. I felt that the more familiar it was the more personal it would be and the closer it would be to being true to me.

Glenn O’Brien: When you’re shooting nudes, how many people are on the set? Do you keep it down?

Mario Sorrenti: I just kept it to my assistant and me, and then I made everybody else go away. I made a very specific structure for how the day and the photographs were going to go. I would spend the first two or three hours on my own with the model, photographing her, and really just getting to know her. After that, I would bring in the behind-the-scenes team. I didn’t want the girls to be distracted by that. Many of them also didn’t want to be filmed nude and I wanted them to be completely nude in the photographs. So after a while, for the behind-the-scenes video, we put on some clothes that could work and then we got the behind-the-scenes people to come in and do their stuff. But by that point, I had already achieved what I was trying to do, which was really super intimate. It’s actually the most intimate that I’ve been in a really long time taking pictures, which was really nice.

Glenn O’Brien: It has that feeling. It reminds me of pictures that you see from like the 1940s or something, where it’s just the photographer and a model and nature, like Weston, almost.

Mario Sorrenti: That’s what I was trying to achieve. It was like “I want to bring you back to photography; I want to bring you back to when it was Edward Weston and Bill Brandt (noted early 20th century photographers)” and focus on photography in that way. It was great because somehow I’ve become so desensitized over time that now, when I work, I can have 20 people behind me, and I don’t even know they’re there. I think that sometimes a model is the same way. She can be looking into a group of people and doesn’t even see anybody. When I first started taking pictures, I used to kick everybody out of the set. I’d be extremely influenced by people watching and now I don’t even feel it. So to go back to that all of a sudden was so good. It was so beautiful. It reminded me how much more special it is when it’s just you and your subject, you and the model. It’s just complete intimacy, nothing and no one else to interrupt that communication, that sharing, because you’re really sharing this experience, this process.

Glenn O’Brien: I don’t think many people realize how a great model really works. It’s not just an object, sitting there like a piece of fruit on a table. There really is a great deal of work involved, a lot of concentration and responsiveness.

Mario Sorrenti: There is a lot of emotion involved, and there’s a lot of give-and-take emotionally between the photographer and the model. The best models are the ones who can tap into that emotion, who day after day constantly give you that. Sometimes, you’re taking a picture of somebody and you’re communicating but you’re not using any words at all. You start mimicking them and they mimic you, and they look at your eyes and all of a sudden you’re communicating, and you don’t even know how things are happening. There’s an osmosis or something psychic happening. The best models are the ones that open themselves up to that. That’s when the best work happens.

Glenn O’Brien: When you went out there, did you know you were going to mix colour in with the black-and-white? The black-and-white is so dramatic.

Mario Sorrenti:  It’s funny. The way I work usually, professionally, on a job, is that I tend to think that everything has to look the same. There needs to be a consistent, constant language. When I did these pictures, even though it naturally has a language that’s coherent, I didn’t want the frame and the cropping of the images to be the same. I didn’t want them to be the same in black-and-white. I wanted some of them to be soft, some to have more contrast, some to be colour. I did not want to force a specific style on to it. I just wanted the picture to be, and to exist on its own terms.

Mario Sorrenti was born in Naples, Italy in 1971. When he was ten years old, his family moved to New York City, which provided great opportunities for an unusually creative clan. Mario’s father was an artist, and his mother worked in the fashion industry. In his teens Mario began documenting his life through photography and elaborate diaries, filled with his own pictures, drawings, inspirational images and notes. Still in his teens he began taking photographs professionally in London, for The Face, and rather quickly into the bigger arena of Elle and Harper’s Bazaar. His work came to the attention of Calvin Klein and at the age of 21, he created the Calvin Klein Obsession fragrance campaign starring the young model Kate Moss, including television spots. Moving to New York, Sorrenti quickly became a star photographer for such publications as Harper’s Bazaar, French Vogue, Italian Vogue, V Magazine, W Magazine, Vanity Fair, Self Service, Another Magazine, Arena Homme Plus and Vogue Hommes International.

In addition to Calvin Klein, Mario Sorrenti has also worked with many leading fashion houses, beauty and fragrance clients including Giorgio Armani, Barney’s New York, Hugo Boss, Chloe, Dolce and Gabbana, Hermes, Kenzo, Lancome, Longchamp, Max Mara, Missoni, Yves Saint Laurent, Jil Sander, Shiseido, and Prada.

For the full article read the Feb/March 2012 issue.