Berlin Fashion Photographer Per Zennstrom
About Fashion Photographer Per Zennstrom
If in some parallel universe a woman had Andy Warhol, Peter Max, Leroy Neiman, Pablo Picasso, Paul Klee, and Federico Fellini as lovers, she might have given birth to Fashion Photographer Per Zennstrom.
Somewhat reclusive about his privacy and precise details are not provided, but we know that Per Zennstrom was born in Stockholm Sweden, approximately 59 years ago. Klassik magazine, in a 2016 interview published his birthday as January 10th, and his age at 55 back when the interview was conducted.
We're not sure exactly when he went to University, but it is known that he studied photography at Gothenburg University in Gothenburg Sweden for a couple of years, but he never completed his studies. Instead, he served for 2 years as an assistant to famed still image-maker Björn Keller in Sweden. After his assistantship with Keller, he lived in New York City for several years, working as an assistant to several fashion photographers most notably, influential fashion- image-maker Steven Meisel.
Perhaps he got some of his edginess from Meisel, who notably photographed many models in unique or shocking ways but working with Meisel taught him two valuable lessons: one that models weren't just pretty accessories to clothes and could be participatory actresses, so to speak, in a photoshoot, and two, “Come to work prepared”.
A firm believer in Edison's quote that genius is 99 percent perspiration and 1 percent inspiration, Per Zennstrom is not one of those artists that shows up late, works for 20 minutes, and then puts his hand out for a big paycheck. Instead, Zennstrom actively seeks and craves a collaborative effort with his clients, and if they have a clear vision for what they want then that's great. He is aggressive at satisfying his client's needs and prides himself as a go-to image-maker. And if the clients, on the other hand, are unclear themselves about what their vision is, Per Zennstrom comes to a client meeting prepared to offer numerous alternatives.
After trying, (and failing, he readily admits) to become a pro on his own in New York City, he moved to Paris, the fashion capital of the world in 1992, the time period where he started officially proclaiming himself a photographer. Unlike in New York, once he moved to Paris, things unfolded quickly. Within weeks he had himself an agent who, after looking at his portfolio, aggressively promoted the young fashion-image-maker as a rising star.
Success breeds success, and Per quickly was hired by clients such as Dior, Guy Laroche, Nina Ricci and Galeries Lafayette to bring their ideas to life.
Along the way, in 2002, Per Zennstrom was honored by Hasselblad Corporation, the famed camera builder, to be part of it's bi-annual 2002 Masters Class. Selected by executives of Hasselblad, Per Zennstrom was among a class of 14 unique photographers from around the world for the honors and to be selected to the Master's Class is quite prestigious.
Seeking new energy and a new feel, he moved back to his native Sweden in 2005 after working in Paris for 13 years. While he enjoyed the change in scenery, by 2008 he still felt restless and relocated to Berlin, Germany.
A city of 3.7 million inhabitants, Berlin has long been a city of artists, filmmakers, and creatives. It is estimated that 6,000 artists alone live in the city, and there are over 1,000 film and television production studios. Described by many as a unique combination of grittiness and sophistication, Berlin was a natural destination for Per Zennstrom to locate to, and he has based himself in the city for the last 12 years. Zennstrom touts Berlin's vibrant energy and the fact that Berliners are such an open-minded group as the reason he appears to have settled on it as his permanent base for work.
Digital Technology
Along his photographic journey, another change affected his life and his passion - digital technology. Although there were earlier versions, in 1989, Fuji Film introduced the FUJIX DS-X, the first, fully commercial digital camera. By 1996, Toshiba had introduced a 40 Megabyte flash memory card. Along with the rise in digital cameras, particularly cell phones, image editing tools such as Adobe Photoshop started to become available to a broader segment of photographers and within five years, image-makers around the world could manipulate photographs in unimaginable ways.
Many old school photographers back then, and even today, resist programs such as Photoshop and Corell, but at the same time, refuse to admit retouching of photos in the darkroom have been used in advertising for decades. However, Per Zennstrom, rather than resisting digital photo manipulation, at an early time in the 1990s began asking, "okay, it exists, now how far can we push it."
Per Zennstrom often refers to his approach as "edgy elegant" and here one again has to wonder how much his work with Steven Meisel went deep into his veins. While Meisel favored "shock and awe" in his models, Per Zennstrom favors 3D images, video over still images, and working with light for his most effective advertising campaign images.
A great example can be seen on YouTube MKK 2 image campaign, commissioned by the leading Swedish beauty platform for hair & makeup.
Here, Per Zennstrom shot a number of models in the basement of the company, using a silver, geometrically shaped screen as background. Then, using 2 computers, he projected colored images onto the silver screen, then, using Adobe Photoshop, sliced those images up to resemble a Salvador Dali-like painting. Indeed, in the video, when he eliminates the models entirely, the shapes float in the air and could just as well as resemble a surrealistic painting when the models are removed.
With the models, the entire campaign lives us to Zendstroms promise that if you make the model's look good, you can pretty much do anything within limits.
How far will Per Zennstrom push those limits? Pretty far it seems. An example is found at Partfaliaz.com/ of a model wearing what appears to be a crown of thorns.
Or these photos of legendary Hip-Hop shaman Rammellzee where he looks like an ancient samurai come back to life.
…or this project at Tumblr which apparently was hand-applied using paint and brush, but looks like they were shot out of a paintball gun.
In a contemplation on Youtube of some of his works in 2014, something he does often, Per Zennstrom takes a deep look at his philosophy about the nature of image-making, how it has changed, and where he sees himself.
In the old days, if you were lucky enough to get a break and get a commission, you didn't get paid that much, but the exposure could, later on, help you land high-paid advertising jobs. Now, with traditional print magazines going out of business left and right, there are fewer high-fashion gigs to count on. Fewer magazines, and fewer advertisements.
So to begin with, the photo business is more competitive than ever, and it pays less. So what do pros like Per Zennstrom do? He says that fundamentally you have to seek out the potential clients that welcome edgy, non-traditional work, and specialize with your unique vision. In short You need to understand your Unique Value Proposition , to use a typical marketing talking point.
Another thing he emphasizes is that when it comes to shooting fashion, essentially, you are shooting the same story again and again. Just as several movie experts have suggested that there are just 6 or 7 movie plots, and they are recycled over and over.
Per Zennstrom advises you to accept this is a fact, and then figure out how you can fundamentally change the execution of it, to make your own unique story. This, according to Zennstrom, is what distinguishes modern professionals from "picture-takers."
In fact, Per Zennstrom doesn't consider himself a photographer at all anymore, but as an image-maker who uses the camera as a tool. In fact, he views himself as the middle man in the digital space between what is possible and what clients want.
A favorite method of his is to combine video with still images, and much of his work clearly demonstrates he views film as the more powerful of the two media.
In Late 2013, he created a 3D film called White Noise, White Shores, which was part of the official selection of the 2014 Miami Fashion-Film Festival. Using a live model, he used digital technology to transform her body into a translucent image, as if Michelangelo had sculpted the Pieta into translucent stone instead of marble.
The camera weaves in, out and around the model, as if it was an ice crystal, and the only thing about the film is the disappointment that you want more. This work is truly a masterpiece, and it reveals that though he uses cameras and film cameras, Per Zennstrom clearly ignores both, as much as is humanly possible, and puts his body and soul-deep within the action.
You can view White Noise, White Shores on Youtube at White Noise, White Shores To appreciate Zennstrom's work, you really need to take a look.
More on Per Zennstrom’s Technique
One of the hallmarks of Per Zennstrom imagery is that he doesn't overcomplicate. While he combines images with landscapes for example, perhaps mountains, oceans, or deserted dirt roads, rarely does a landscape image last for more than a few seconds, and then it's back to the model. You can observe this on Per's website at Paris-Fashion Show.
Another example of simplicity was an editorial shoot Per Zennstrom he shot for German Allegra Magazine at Allegra. This editorial was shot all in black and white and featured dark shadows on naked skin.
In contrast, Sea of Orchids, a shoot Zennstrom did for Quality Magazine featured a somewhat ephemeral model among orchids that almost psychedelically hop out of the page. Sea of Orchids.
At no time does the additional elements distract from the overall theme or overwhelm it. Per Zennstrom seems to have learned just how far to push the elements without going into the ridiculous.
In other ways, such as in Garden Girl, Pers features a model in a garden that more resembles a more colorful version of an Andrew Wyeth Painting. Have a look at it at Garden Girl
Finally, an editorial shoot for Plaza magazine features two models in bikinis with a Batman type cartoon background. There was just enough color to add pizzazz to the shoot, without overwhelming it. Here is a link to that particular project Bikini Cartoon .
The key to all of this is that Per Zennstrom shoots over and over again, but finds subtle nuances that make photoshoots pop. Or to put it into his own words, "I help gutsy and ambitious luxury brands look #CoolSexyChic.
What does “cool, sexy chic” look like?
Per Zennstrom admits that some potential customers are a little confused by what “cool sexy chic” might look like so he has a signature calling card. He collaborated with the German luxury fashion brand Stephan Boya to produce a short video of their clothes. The video, around one minute long features the same model, in three separate images, with three different sets of Stephan Boya clothes. The model is on a treadmill, and there are momentary, 3D images as transition, dancing along with the model.
This calling card, found at Edgy Chic has been used by Per since 2014 because in a one minute video it demonstrates to clients the type of work Per Zennstrom can do. Per often finds it better to show rather than tell for new clients, and the video has just enough edginess for most companies, and if they want to see even edgier stuff, he has that ready.
Books
Besides shooting fashion and making videos, Per keeps perpetually busy. In 2013 he published the photography "New Work" a 120-page hardcover (also available in softcover) book that celebrates in part how digital technology has allowed creators like himself to create self-published new media. In 2014, noticing the similarities between Stockholm and his newly adopted homecity Berlin and, he published a fashion-book about the similarities with the same name. “Berlin-Stockholm”
Previously, In 2009 he published the book "11 Horses" showing much of his work, and he also published “Polaroid Book 72”, which features dozens of Polaroids he took over a 10 year period prior to going digital.
Magazines
Alongside publishing books, Per Zennstrom also publishes, on a somewhat irregular schedule, the magazine “Moon” in which he, in intimate detail, dissect some of his design processes.
Teaching
Per Zennstrom, noting how quickly things change in the digital age, is continually thinking about his own processes for growth, and loves to share his thoughts with others.
Speaking for Kulturspace.com, which was later turned into a YouTube video Productivity & Focus .
In this video he dissects how people, himself included, can choose to either do high lifetime value activities, high dollar activities, low-value activities, and even negative value activities and the consequences of not focusing on or prioritizing the right activities. The bottom line is that Per himself was shocked to discover that taking pictures had to be done over and over again, and therefore produced less value than marketing, client outlook, learning new skills for the business, and creating new services and products
Marketing and Photography
Among the high-value skills that Per Zennstrom likes to employ, one of his favorites is marketing, which he does with a passion. Per not only markets himself visible everywhere (he's on Facebook, Instagram, Twitter, LinkedIn, YouTube, his occasional publications and more,) but he adds value to his many high-end clients by not just showing up and doing a photoshoot, but makes practically every commission Insta-Share-Worthy as an pop-art happening in itself.
For example, in 2011, when famed camera manufacturer Leica invited Per Zennstrom to participate in their Berlin Fashion Week show, he wanted to do something much bolder than merely hang up a photograph on the wall. He teamed up with fashion-designer Michael Sontag, We-Love-Art-Buying Director Anne Kotte, and stylist Christian Stemmler to create a multimedia showstopper. First, he photographed the model Natasia Koechy in a gorgeous green dress created by Sontag, Per then created a life-size print of the model and then divided the photo into a vertical triptych of models head, torso and legs. In addition, the model had a fake tattoo of a QR code placed on her thigh. At the exhibit, which was attended by hundreds, one could capture the QR code onto their iPhone, where a short video related to the composition would play. You can view the resulting video, another layer of depth into the show, as the attendees become part of the show, at Leica/Berlin Fashion Show.
The same kind of thinking went into Per Zennstrom#s 2012 project for Berlin-oriented designer icon Marcel von Berlin, who decided to skip the traditional catwalk show and go for something edgier. Under Per Zennstrom's direction, a multi-media event was created, layering several visual outputs on top of each other. There were, as almost all fashion-oriented photoshoots have, still photographs, centered around a giant fluorescent cube, made with ordinary hardware and tape. There was a video that was created. There was the event itself, featuring the video, and there was the marketing to go along with it.
Per collaborated with everyone to see that whole was more than a sum of its parts and the entire project had a unified, organic feel to it. Even used were static exhibits from other artists, that combined with the cubism of the fluorescent tubes and the grittiness on the streets of the city, provided a complete background for his constant theme, cool chic with an edgy twist. Although the installation took place as early as in 2012, it is very representative of Per Zenndstrom's thinking. He is constantly thinking of expanding his vision beyond mere photoshoots to cover every aspect of the business.
Per's video on the event can be seen at Creative Digital Agency Documentary
To get a sense of his thoughts, not long ago Per received an email from an up and coming photo student asking him to identify some of the trends Per Zennstrom was most excited about as an image-maker. His response, which he printed on his blog, was:
"Right now I'm very inspired by, and influenced by the idea of stepping out of the "just being a photo or videographer" box and attempting to fill the much larger shoes of an "image maker" if You know what I mean?
I sometimes find being "just" a photo shooter will limit Your ability to tell a story and recently I have been experimenting with other ways of communicating like blogging, events, film & video, journalism, etc, etc... Don't get me wrong, I still love being a fashion-oriented-photographer and I hope to do this for a very long time still...
Essentially I'd like to try to take care of a bigger piece of various projects. I'm not bored with making images with a camera, on the contrary. I have just discovered the fascinating possibilities of other pieces of the puzzle.
A way of re-phrasing this is to say that I sometimes find photographers pretty boring and limited in how they look at and interact with images…”
Above all things, Per Zennstrom strives never to be boring, but rather to excite his clients with fresh and new ideas.
Content creation
Another way to describe Per Zennstrom is that his vision is beyond images, and he seeks to immerse himself in content creation. And in the case of content creation, he aspires to do so in every aspect of his business. Outsiders might think that after shooting models for 28-years, that Per would let himself be bored, but his saving grace seems to be that he is curious about every element of the business rather than just one or two. Per leans toward radical change in business it leads away from the ho-hum, and example of which he gave in a 2016 interview for Klassic Magazine Interview was how Uber had fundamentally rocked the monopolies of taxi companies world-wide.
Asked about the impact of the digital photo revolution, Per's references and an article he wrote titled Fear, Laziness & Change, in which many companies are being faced in the digital age to get off of their high-horses and adapt and change or fade away. He notes that Uber had drastically changed the taxi industry, which rarely makes any innovations or offers any new services, and instead, go the traditional New York way of buying costly medallions and thus limit competition.
Then, to answer the question, Per Zennstrom turned it back to the photo business and pointed out that anyone with a smartphone is now an image taker, and that there have been some great advertising campaigns showing just how great smartphone photos can be. Consequently, he argued, the photo business is comparable to the way the taxi business has been challenged, and that if would-be image-makers expect to survive and make a living off of making images, then they had better find ways to offer more value than to just snap images.
The Fear, Laziness and Change article, by the way, can be found at Per Zennstrom, Fear Laziness and Change.
Questions and Answers
Per Zennstrom is very forthcoming about much of his life. Here are some Questions and Answers from various magazines and interview sources.
Q. What did he do before becoming an image-maker?
A. Originally desiring to become a professional footballer, but not having the necessary talent, he attended university for one year and then dropped out. Following that, he performed mandatory military service with the Swedish Military, which all young men at that time were required to do. Following his military service, he then enrolled in Art School at Gothenburg University. There he enjoyed endless conversations about taking photos, sometimes going into the night, but left after a year when a fabulous opportunity arose in the business, presumably his two-year assistantship with Björn Keller. Some say he worked for Keller first, before attending Art School at Gothenburg, and that his golden opportunity came in his stint in New York. We do know that he worked freelance for many photographer pros, most notably influential fashion photographer Steven Meisel.
While in New York Per Zennstrom did some of his own photography for some Swedish clients, but he aspired to work with international brands and for some reason that just didn't happen in New York. Upon moving to Paris in 1992, within a couple of months things turned around quickly, he got an agent in Paris, and shortly afterward plenty of international clients came knocking at his door.
Q. Has he completed any other educational programs
A. The answer is no. Per's is fully self-educated on everything from photo and video editing, 3d image-making and marketing.
Q. Does he make the majority of his living on images
The answer is yes he does. Besides clients, he licenses out images through various photo license agencies. That said, he sees the vast amount of change taking place in the center of the business and strives to keep ahead by utilizing intelligent approaches from other business models. He touts the Lean Startup model, started by author Eric Ries, which emphasizes Learning, building, testing, shipping, reevaluating, and then doing it again. Zennstrom believes that creatives can learn from this model to stay ahead of their business in a world in which "nobody really seems to know anything," as change accelerates.
Q. Does he consider himself an artist?
The answer surprisingly is no, although he clarifies that fashion-oriented image-makers may consider themselves to be commercial artists. He says that unlike artists, who may go wherever their whims take them, commercial artists such as himself have to work and collaborate with clients, much as the old artists often had patrons. He also firmly believes that in most cases, the most influential and visually appealing images are not created by artists but by commercial collaboration between a company and an image-maker. Zennstrom responds that he is not represented by any gallery, and that is the reason why.
Zennstrom also notes that not only does he work with a number of creatives throughout different industries. bit he has toyed in the back of his mind with creating a multi-disciplinary talent pool or agency to work on projects far beyond the field of imagery.
Q. Does he have a favorite image-maker?
A. Here surprisingly, given his often multi-media approach to models, sometimes using two projectors to cast an image on a model and then making composite photos, named Irving Penn as his ultimate inspiration an odd choice considering that Penn liked to remove everything but the model and the clothing from a fashion-shoot, and Per Zennstrom likes to add as many elements as possible to a shoot.
Yet the choice of Penn as his favorite image-maker does make sense in a way because an image construction can be a bit like a mathematical equation whereas a number is greater than zero but less than 100. Penn's photographs represent the lower numbers in the equation and Zennstrom's the higher, and often a middle ground is the ideal. Creative imagery is Per Zennstrom's calling card, but continually reinventing himself is his passion.
Sources:
We used a number of sources for our Per Zennstrom Article besides the ones previously referenced including:
Berlin Fashion Photographer
“I see the whole digital picture and I master the entire process - from the snap of the shutter until the click of the mouse”
A Modern and Creative Approach
Berlin based fashion photographer and filmmaker Per Zennstrom always launches his projects with a very modern and creative mindset. After many years in the fashion and luxury industry he has seen the major shift and disruption to the industry, by the digital processes, up close and personal, but he nevertheless refuses to look at the glass as half empty, but rather sees opportunities to add value for his partners & clients.
When asked to describe what he does he usually says that he is “exploring the edges of photography and film”. Among other things that means working with, and shaping the distribution and publishing of the projects and by doing that he’s helping his clients and partners getting their story out into the world.
Per firmly believes that images are meant to telling a story and shown to people and not to be stored on a hard drive or hidden away in a shoebox under the bed and it’s in that light he constantly tries to refine his creative processes. In his view the big change that digital is offering us is not so much in the production phase of creative projects but rather in the strategic distribution of your work.
Contemporary & Forward Thinking
Being firmly anchored in the present and constantly looking forward Per is not too fond of anxiously referencing the past, whether in style, looks or choice of technique. Having an early-adopter mindset and continuously trying out and testing new processes and technologies Per tries to add value to what he offers his clients and partners.
Smart and progressive brands understand the value in the new digital processes and funnels and Per’s lightweight and agile approach to his work.
Passionate, enthusiastic and generous Per thrives in team work and his fearlessness is contagious which makes for a very fun and fast paced project flow.
Clients
ABSOLUT VODKA, ALTEWAI.SAOME, BENTLEY, Biba Paris, Bon Magazine, DIOR, Elle (French/German/Swedish), GALLERIE LAFAYETTE PARIS, GUY LAROCHE, HAHNEMÜHLE, H&M, LEICA, Marie Claire, MICHAEL SONTAG, Madame, MARC AUREL, MARC O’POLO, NINA RICCI, PORSCHE DESIGN, Qvest, Rolling Stone, SCHWARZKOPF, S:T EMILE, TOM TAILOR, TONI & GUY, Tush,
Shows & Exhibitions
2014 theLAB-berlin – artist collective & iPad app
2013 Gothenburg International Biennale for Contemporary Art – Groupshow
2012 “Born For Fame” Video & Sculpture Installation for fashion designer Marcell von Berlin
2011 Per Zennstrom + Michael Sontag + LEICA (multi-media)
2011 “Clouds” in collaboration with Ubi Sunt
2008 “Berlin Blue” presented by Wednesdays Child
2007 “Broken Glass” presented by Velour / Stockholm Fashion Week
Per Zennstrom Photography, Bornholmerstrasse 88, 10439 Berlin.
