Kristian Schmidt - Living the Dream
Kristian
Schmidt
"I think each culture gives you so many ideas — visuals, way of thinking, languages, sense of humour. That's really helped me with my work nowadays. I kind of pick and choose from each one and merge them into a global palette of ideas." His father was theatre producer Lars Schmidt. His stepmother was Ingrid Bergman.
Kristian Schmidt was born in New York, moved to Paris shortly after birth, spent every summer on an island off the coast of Gothenburg, and then, after high school, packed his bags for Tokyo. His childhood was a sequence of aesthetic educations: the theatre lighting of his father Lars Schmidt's productions, the extraordinary procession of Ingrid Bergman's friends through their home, the particular quality of Swedish summer light, the information overload of Tokyo. By the time he arrived back in New York in 2003 to found Kamisol Productions — his bi-continental film production company blending Swedish, American, Japanese and French aesthetics — he had more source material than most directors accumulate in a lifetime.
What he did not yet know was that his most significant work was still ahead of him, and that it would require a wetsuit rather than a director's chair. The pivot from commercials and music videos to wildlife photography happened the way the best pivots do: accidentally, at a gallery opening, when everything sold in one night.
What brought you to photography — and to wildlife? What came first?
I was directing commercials and music videos first, and a lot of the productions were made in Cape Town. I always had an affinity towards wildlife so I went on many safaris. A friend said the pictures I took were quite good so I decided to exhibit them in New York — they were sold out the first night. I realised that kind of "work" was much more fun and would take me on non-stop adventures so I took that direction instead. I think directing has helped me put that cinematic feeling in my pictures.
"Every shoot that I do is first an adventure I want to take. If it sells it's a bonus. Whales and giant Manta Rays feel like you are on a different planet. Africa has its big cats and sunsets. As long as you are doing it with the right people it's always incredible."
Was the Whale Shark series the most difficult project logistically?
Yes, the logistics were challenging, but we had this amazing crew who made it possible. The dresses that the models wore were very heavy when wet, and the models not only had to hold their breath and be aware of the whale sharks, but they also needed to find the right angles, facial expressions, body positions and light — to be beautiful while underwater, swimming, and interacting with the Whale Sharks. We found the most amazing model who was able to handle these challenges, no problem.
The shoot that was even more challenging was a shoot with the Manta Rays. It was a very technical shoot, done in the middle of the night when the Rays are active, in 40 feet of cool water, with no ambient light. The models were swimming in the dark and only when we illuminated the scene to photograph would we see the Manta Rays and the models together. That one was more difficult.
Why do you combine wildlife with the beauty of a model? Why that juxtaposition?
In my opinion, seeing wildlife by itself is a different world that is hard to wrap your head around since most of us live in cities. But as soon as you introduce a human into the scene you can immediately relate and see the awesomeness of these incredible beings. It's more touching and gives a stronger impact.
Cape Town was where it began — the safaris, the photographs, the first sold-out gallery show. "Some of my best friends live there, and it is the most beautiful place I have ever been to."
Africa brought the big cats, the sepia skies, the wind that blows through every frame. The meeting WildAid completed the circle — images that don't just document but advocate.
Do you think photography is capable of creating activist change?
I hope so. Not everyone can experience what we are doing, so I hope I can make some people dream and eventually take some trip. Because once you have seen how beautiful the world is and the amazing wildlife that is in it, it's impossible to not help stop the ivory trade, shark finning, and other massacres for money. That is why meeting WildAid was such a perfect fit — how they work is incredibly efficient.
How does New York inspire your work?
It's up to speed with my mind. I do everything very quickly and so does NYC. I'm always busy and have a million things to go to; I don't have time to overthink things. Too much time to think about yourself is never good. Tokyo and NYC keep me busy, and I evolve without even knowing it.
What about Tokyo specifically — why does it keep feeding your creativity?
Every time I run out of ideas, I go to Tokyo. By the time I leave, I have a new set of ideas. I don't know why, but it always works. The lines, the light, the food, the quiet — it all feeds my creativity. Japan is my canvas. A place where fashion, architecture, and nature collide.
"Photography, directing, theatre — they all mix and match. My stepmother Ingrid and my father Lars were workaholics. Vacation was torture for them. But growing up in the theatre taught you lighting, colours, aesthetics, how things should look."
Any dream projects?
I'm living the dream. I do, however, have something up my sleeve that is really something else. Without saying what it is — it's something no one has ever seen before.
What are your favourite places on earth?
Cape Town. Some of my best friends live there, and it is the most beautiful place I have ever been to.
"Once you have seen how beautiful the world is and the amazing wildlife that is in it, it's impossible to not help stop the ivory trade, shark finning, and other massacres for money. That is why meeting WildAid was such a perfect fit."
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