How a video production almost ruined my Hasselblad photo shoot

Great pictures are no longer enough. At least not if you want to succeed as a photographer today. Instead, the motto is: you have to tell stories. You need content. Reels. YouTube. And honestly, that overwhelmed me at first. Because suddenly a finished photo no longer feels like the final product, but like the beginning of a much larger chain of expectations. This was precisely the starting point of my new YouTube video, in which I take you behind the scenes of my Hasselblad Masters shoot in the Alps – and show you why an additional video production changed everything:

Challenge: When everything suddenly takes twice as long

When the opportunity arose to photograph my project for the Hasselblad Masters Awards in the Alps, I wanted to do it right. I used almost my entire $5,000 budget to bring a filmmaker and a second photographer on board for the production. My idea: a professional behind-the-scenes documentation showing how I work – and thus inspiring potential clients and partners for my visual language. After six days in the mountains, Daniel joined our team – a video producer who was also involved in the launch of the DJI Inspire, among other things. Matthias, an experienced sports photographer, was also there. I had worked with both of them before – but this time I was at the center of the production. And that made a huge difference. As soon as we arrived in Sölden, Austria, I felt how different the processes were: no quick backpack check and off we go. Instead: unload the car, sort the lenses, distribute the batteries, have something to eat, then another coffee... two hours later we finally got started. The ease with which I usually set off had disappeared.

Concentrated during the production of interior shots in the architectural highlight “007 Elements Sölden”

Two spectacular locations, too little time

With a mix of Canon full-frame, Hasselblad medium format, DJI Ronin 4D, two Mavic drones and a Syrp slider system, we set off for the 3,000-meter-high Gaislachkogl. The journey alone was an experience in itself: packed with equipment, under a steel-blue sky and accompanied by the hum of the gondola, which brought us closer and closer to the summit. Our destination: two iconic buildings, perfect for my ENLIGHTEN series, on which I had been working conceptually for months.

Arriving at the summit station, two architectural highlights awaited us, which could hardly have been more different and yet were both absolutely spectacular: the iceQ Restaurant – known from James Bond SPECTRE, where it was staged as a futuristic sanatorium and as the beginning of a breathtaking chase through the Austrian winter landscape – and the 007 Elements Museum, whose permanent exhibition is dedicated to the James Bond myth. I had not only carried out intensive research for both locations, but had also spent months obtaining the necessary permits – especially for the museum, where the licensors of the Bond franchise pay very close attention to what is allowed to be published.

But instead of peace, time and concentration, chaos awaited us. The opening hours of the buildings were strictly limited – we only had two hours for everything. I had planned to take interior shots, prepare my light installations for the night and deliver good BTS material at the same time. Matthias and Daniel had their own ideas for camera movements and perspectives, which I wanted to support. I tried to juggle everything, constantly torn between my own pictures and my "acting work" for the BTS photos and videos. In addition, there were tourists in the picture who were just as enthusiastic about the architecture as we were – which you can't blame them for – but cost us additional time. And as the clock ticked, my tasks piled up. I realized that this couldn't go on.

When I realized that the interior shots were suffering from the simultaneous video production – technically, in terms of content and emotionally – I made a conscious decision: I stopped my photographic work and let Matthias and Daniel shoot their scenes in peace. Better strong video material than mediocre pictures. When the last employees finally took the gondola down into the valley and the last tourist had disappeared, it became quiet at 3,000 meters. Only our small team remained – alone with the wind, the light and the barren landscape. We rolled out our sleeping bags in the visitor center, made tea and slowly let the hectic pace of the day fade away. This sunset over the peaks was like a reward. A moment of peace and clarity – and the signal for a change in focus.

But it wasn't a long break. A second important task was planned for the early evening: the creation of BTS content for the Syrp Motion Control System and the Manfrotto tripods. While Daniel and Matthias slowly got used to each other, they took over the setup for camera and light, and I became – for a moment – a pure technician. I set up and dismantled the motion control system five times, adjusted motorized axes, moved sliders millimeter by millimeter in front of the camera and tried to appear professional and motivated. But I also noticed how much fun it is to function not only behind the camera, but also as an actor in front of the camera. However, I had to learn to let go of my search for great photos in that moment – and that wasn't so easy. But that was exactly what was necessary. Because that was the only way we could shoot the necessary material for our sponsoring partners.

The 007 Elements by Obermoser Architekten under a fantastic starry sky.

Insights between drone, twilight and design

When the sun went down, it was my turn again. Now the focus was on the shooting for the Hasselblad Masters series. Daniel and Matthias stayed in the background while I set up my equipment in peace. The location was now our exclusive playground. Finally no more hectic rush, but concentration, no more sensory overload, but focus. Now I could work in my usual flow. Three motifs were created that evening for my ENLIGHTEN series. In the dark, the iceQ Restaurant transformed into a luminous sculpture, almost like a spaceship made of glass and steel that had landed in the alpine lunar landscape. The 100 megapixels of the Hasselblad X2D made every detail visible – from the structured surfaces of the architecture to tiny reflections in the glass. A picture I had been working towards for months – and which reminded me at that moment why I do all this.

For the final shot of the evening – our hero shot – we had saved the best for last. The picture shows the 007 Elements like a luminous fortress rising from a barren, almost extraterrestrial mountain landscape. In the afternoon, I had already positioned two Aputure MC lights with power banks in the museum so that the glass facade would light up at night. The lights could also be controlled via app from outside the museum, even after closing, and just 20% luminosity was enough to illuminate the huge area. Daniel tested the range of his Mavic 3 Cine, and together we illuminated not only the building, but the entire adjoining mountain ridge. An effort that paid off. This picture is a strong contribution to my Hasselblad Masters series – and in the ultra-wide Hasselblad X-Pan format it unfolds its full effect. It is fascinating what creative possibilities a 100MP camera opens up in post-processing.

The iceQ Restaurant by Obermoser Architekten is ablaze at sunrise.

Magical morning atmosphere after a mixed night

The night was restless. Not only because of the thin air at almost 3,000 meters, but also because of the team – snoring, sniffling, tossing and turning. Early in the morning, even before the first coffee could be thought of, the sky exploded in a spectacular red. For a few minutes, it seemed as if all the clouds were on fire. The light bathed the Gaislachkogl in an unreal, beautiful atmosphere – exactly the kind of light you could only wish for as a photographer. Thanks to the planning from the day before, I knew exactly which compositions worked. And so, within a very short time, two extraordinary pictures were created, which even made it into my online shop as fine art prints. It was one of those rare moments when everything comes together: weather, light, team, technology – and your own head.

We were back in the flow. Daniel and Mathias filmed, I photographed, we were considerate, worked hand in hand. I had my photos and was ready to step in front of the camera again. Up the slope three times, changed the lens four times, stared enthusiastically into the landscape five times – and despite fatigue, not annoyed – but grateful. Days like these are the reason why I love photography.

What I learned from this production

The past 24 hours have been intense not only photographically, but also personally. If you are planning to implement a photo project with a small behind-the-scenes crew yourself, then I would like to give you a few insights that can make it easier for you to get started.

Say goodbye to the idea of coming home with 20 great pictures. Concentrate on a handful of shots for which you – together with your team – can take a lot of time. You need this time to develop a story for your video, to document the picture setup cleanly and to create additional material from the location.
Create a schedule – and then double all times. Especially with multicrew projects, you'll be surprised how quickly hours pass. Plan at least 2-3 hours between individual shoots for equipment changes, data backups and team catering. And allow for buffer times for unexpected delays.
Work with a clear shot list. We had our entire project organized in Milanote – with sample images and clear tasks for my picture series as well as the material for sponsors. This helped enormously to keep track and avoid duplication of work.
Start small. It's better to do a few day productions in your area before you start a 10-day production abroad. You will learn a lot about yourself and your team.
Team chemistry is more important than expensive equipment. Your team should inspire you, not slow you down. Shared motivation, a similar work ethic, and mutual respect are the foundation for any successful production.

In conclusion: large productions require good preparation – and flexibility.

This production in the Alps showed me how much the dynamics change when suddenly not only photos but also videos are to be created – and with several people in the team. It takes strength, coordination, and nerves, but the result is much more complex. For me, it was the first step towards larger productions, and I am already looking forward to the next projects. If you want to improve your workflows as a photographer or take your images to the next level, then join me for my two photo workshops in Andalusia in September and November. Together we will explore the most beautiful places in southern Spain for a week – with plenty of time to learn, photograph, and exchange ideas. On my website you will also find individual online workshops and photo trips as well as detailed insights into my photo projects. And if you haven't already, sign up for my VIP-Club Newsletter – every month there are exclusive content and a free screen background to download.

Happy shooting, and see you next time!