online 02.2011

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HENRIKSØRENSEN

Danish photographer, Henrik Sørensen specializes in

underwater pictures. Using Hasselblad cameras with Ultima Digital UW housing, his perfectly lit and

composed images are imbued with elegance and weightlessness. The photos taken of the Royal Danish Ballet

dancers with an H3DII-50 are a great example.

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Bubbles might disturb the pic-tures of synchronized swimmers

(above), but Sørensen added lots to get an even more rocking

image of the guitarist (left)

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“This shot for Getty Images/Stone proved harder than expected,

as the papers were drifting due to the circulation in the pool,”

Henrik Sørensen remembers

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For outdoor retailer Friluftland, Sørensen shot outdoor sports under water. It was a challenge for the model to jump into the pool and keep stable on the skis

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Above: “I tried to capture energy and got an almost religious

figure.” Right: “I like to imagine there are tones hidden inside

the bubbles. Humor is an important part of my work.”

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For both pictures for Getty Images/Stone the underwater

specialist plays with light, a pro fusion of bubbles (left) and well-placed reflections (above)

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The making-of video offers a glimpse at Sørensen’s Hasselblad

shoot with Royal Danish Ballet dancers, including this picture of

Byron Mildwater (right)

Please find this movie at www.victorbyhasselblad.com

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Additional cloth added much volume to ballet dancer Josephine Berggren’s dress, allowing Hen rik Sørensen to take this flowing image with his H3DII-50

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Around four years ago, Danish commercial photographer Henrik Sørensen chanced upon underwa-ter photography. A choreographer colleague asked him if he had ever taken underwater shots, which led to their taking pictures in a swimming pool in Copenhagen. “I immediately found it to be a creative environment I had to explore. From day one I de-cided not to shoot ‘ordinary’ under-water images, but to try and use this liquid space in the most inventive way,” Sørensen remembers. “When I get the model to feel buoyant and re-laxed, it’s possible to take some really graceful and powerful images.” For example, a model screaming under water produces impressive results, because the rising bubbles leave a trail like in a cartoon image.

“Another thing that this clean and graphic space gives me is the dreamy light, the slight diffusion in the water that allows me to create peaceful im-agery with smooth skin tones. Talk-ing of skin, I should mention that the ‘floating’ factor does something to the face; in a way it takes gravity out of action,” Sørensen explains. At the same time, it is not possible to communicate with the model under water – each adjustment has to be

Sørensen proved his capacity to master the particular conditions and challenges of underwater shooting during a campaign for Hasselblad. Together with choreographer Loise Seloy, he directed three dancers from the Royal Danish Ballet at a swim-ming pool in Copenhagen. “The concept was to capture the grace and elegance of these great artists, and use the water to add some ex-tra weightlessness to the imagery,” Sørensen remembers. “The chore-ographer tried to keep the positions as classic as possible, so I could focus on the expression and the composi-tion.” Because none of the dancers had any experience with underwa-ter pictures, the preparations were very important. First of all, Sørensen made sure they felt safe and secure in the water, because, if they had been the slightest bit fearful, it would have been reflected in the pictures.

The dancers, however, adapted to the unusual setting very quickly, so that neither hair extensions, big dresses or stage fright could make them lose their cool. The result of the two day photo shoot is a series of ap-parently weightless, perfectly com-posed and dramatic photographs imbued with timeless elegance.

Sørensen photographed Berggren (left) for Hasselblad; the picture on the right for Oergreen glasses. “Portrait photography underwater is challenging due to communi-cation difficulties; but the heroic pose works rather well.”

made on the surface. This produces another challenge – there is often only one shot where everything comes together. “That leads to the technical aspect, where both cam-era and light need to be really reli-able. I can’t afford to miss the right shot due to technical problems,” the photographer adds. For this rea-son he uses an H3D-39 or H3DII-50 with Ultima Digital UW housing. The salt-water resistant, aluminum Ultima Digital case protects the cam-era in depths of up to 60 meters. As for the right lighting, Sørensen has plenty of experience. “From day one I tried to use the water as a creative medium, and I prefer to work with controllable lighting, always using a studio flash, often narrowing the light and trying to avoid bounding light in the pool. I’ve learned to use some of the walls and the bottom of the pool as a visual tool to reflect the light,” he explains. It is not just their dependability and high resolution that led him to choose Hasselblad cameras, but also the depth of color they can achieve. “Due to the wave length of light traveling through wa-ter, it is of utmost importance to be able to use the narrow color space it leaves you,” Sørensen explains.

PORTFOLIO HENRIK SØRENSEN

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