David Trood / Getty ImagesPress Release:
The selection is based on factors such as level of ambition, wealth of
ideas, and photographic technical skill and respects both the
traditions of photography and the need for renewal. One prerequisite is
that the photographer must have used a Hasselblad camera to take the
The Hasselblad Masters represent photography at its finest; at its most
inspired, most communicative, most beautiful. They are young, old,
western, eastern, classical, experimental, traditional, modern, and
futuristic. They have perhaps one thing in common though: they are
masters at conveying an instant, an emotion, with images. Masters of
the art and craft that is photography.
To showcase the new Hasselblad Masters, various activities take place
throughout the year including articles in the press, participation in
campaigns, etc. A new Hasselblad calendar is also produced every year
featuring images from the twelve participants. The Hasselblad Master
photographer for May 2006 is David Trood.
He grew up in Tamworth in Australia. When he was sixteen years old his
father came back from a garage sale with an old camera which he let
David use. That became the start of a unique career. David has been
living in Copenhagen, Denmark for several years now. His proverb is;
Its not how you do it its how you see
it. This is his story.
"My first roll of film was overexposed, underexposed and
mostly out of focus. I did not realize that there was anything called
aperture, shutter speed or focus. I thought you just had to point the
camera at the subject and press the button. Even though none of the
images on my first roll of film could be used, I was totally bitten by
the photography bug.
After school and on weekends I would take photos. I developed them in a
darkroom that I set up in the woolshed on the property where we lived
in Tamworth, N.S.W. Australia. In the summer months the temperature was
over 40 degrees inside my darkroom, so I often had to take ice with me
to keep the developer cool at 20 degrees.
Ill never forget when I saw the image of my dog appearing
out of nothing, getting clearer and clearer. It was like magic in my
early years in the darkroom.
One year later, I collected my pictures together into a portfolio and
showed it to nearly every newspaper in New South Wales. This resulted
in two years working for the Sydney Morning Herald where I covered
sport, news, portraits, fashion etc.
Then I sold everything I owned except my camera and headed for Asia. I
wanted to see more. In 1992, I moved to Denmark where I freelanced for
newspapers and magazines.
In 2000 I started shooting for stock agencies. This enabled me to
pursue the true form of photography that has interested me all along.
People, animals and nature are what makes up the world we live in.
I use Hasselblad because I want the picture to be sharp and the digital
back allows me to see it instantly, knowing that the moment is safe and
sound in the box. I appreciate the history that Hasselblad carries and
this gives me inspiration too. When I hold it in my hand and am hunting
for an image, I have a conviction that if I can do it, so can my camera.
Today, more than ever before, it is crucial that the image quality is
the best that I can possibly achieve. Working for several of
todays leading image libraries, I survive on the creativity
that comes from within and the quality and detail of that moment when
it is captured.
The equipment that I use helps enhance the joy of making imagery and
the experience that it should deliver to my audience. Never before have
I had that curious exploration that comes from zooming in on a picture,
when I get home and boots up the computer. I find details that I could
not possibly have seen with my own bare eyes.
It is a comfort knowing that whether I am high up on a mountain, that
has taken days to climb, or want a splash of water to lay just in the
right spot, the little screen by my thumb on the back of the camera can
show me proof that the moment is captured forever.
As a photographer, I feel a responsibility for the images we see out in
the world. If an image can provoke emotion and that emotion leads to
action, it provides the photographer with many opportunities to touch
humanity. The most enjoyable part of my job and the part that really
makes it interesting for me, is simply the job of looking at things,
finding the fundamental nature of it and capturing the essence of that
Log onto www.trood.dk
for a wider selection of his work.