When Anton Corbijn picks up his camera, the true nature of the person portrayed comes to light. At least that's what they say about the works of the Dutch photographer and film director.
We gladly believe. Because whoever looks into his camera conveys - despite all the staging - authenticity. Be it Johnny Cash, as casual and profound as his late work. Be it Luciano Pavarotti, with a crazy view of the world, as if he hasn‘t just spent his nights with Turandot. Or Keith Richards, in all his wild crumpling almost wisely resting in himself. All of them icons of black and white photography. Like David Bowie, Kurt Cobain, Johnny Rotten, the U2 gang, and so on.
And what does a guy like that do when he gets his hands on the new 911?
He grabs a bucket of paint. »TURBO!« »HELLO!« »VROOOM!« he painted on the 911 - and then staged it in an environment that such a car simply needs: none. A picture that he fills all by himself without any problems. Although no, a »no background« it is not, as Corbijn says: »A stone wall is neutral at first glance - but it is not, it has structure«, as he explained in a recent interview. It is also the structure, the silhouette of the 911, which stands out particularly well in the Dutchman's photographs due to the reduction to black-and-white and discreetly set light.
So this is the true essence of 911? Is that why he painted it? Master Corbijn sees it differently: »I've completely made it my own.« There is another characteristic that characterises the Dutchman's work in terms of style: He just doesn't like off-the-peg.
PS: The photographs of the new 911 can also be seen in the Coffee Table Book »992 Artbook«, which has been available in the Porsche Centres since the beginning of the year.