Photographer's Profile
Adrian Schaub
Switzerland
My pictures obtained awards at international photo competitions as e.g. two “Gold Winners” in the European Photography Awards 2022 in the categories “B&W – Still Life” and “people photography – street“, a “Gold Winner” in the category “Events – Music” in the Budapest International Foto Awards 2022, two “Silver Winners” in the categories “B&W Travel” and “B&W – Street” of the New York Photography Awards 2022, a Silver Medal in the Moscow International Foto Awards 2022 in the category “Architecture / Industrial” and a “Bronze Award” in the category “Nature – other” in the Prix de la Photographie de Paris 2022 (for further awards check out www.adrianschaub.com/awards/). In 2022 I held two exhibitions “BasItalia” and “Mystic Forests”. In 2023 I was invited to create a page of the April issue of the cultural magazine “Programmzeitung” and presented “animal silhouettes” in an exhibition (for details: www.adrianschaub.com/exhibitions/). Thanks to the pictures of Andreas Feininger, Henri-Cartier Bresson and the group f.64, in particular Edward Weston and Ansel Adams, I discovered my passion for photography. I prefer black and white photography because it emphasizes form, whether natural-made in plants or man-made in architecture. Further I like to capture moods, such as the transience of industrial equipment or the lightness of the moment in street photography. Initially I photographed with Canon and Pentax cameras in 35mm format. In 2004 I switched to medium format and since then I have been working with Hasselblad, first analog and from 2021 digital. My preference for the Hasselblad system is based on the fact that, thanks to the digital back, I can continue to shoot with my fully mechanical CM 501 but nevertheless benefit of the advantages of the digital workflow. Additionally, I can use the digital back with the 907x with modern autofocus lenses, which opens up new fields of photography to me. Earlier I developed my images in my own darkroom. In the mid-2010s, I switched to a digital workflow. However, I remained true to my image processing principles and there is nothing on my printed images that was not already existing on the analog or digital negative.
