The photographer, Uli Weber, has built a global reputation on his mastery of two distinct fields: capturing the profound and the profane in a popular culture fixated with celebrity; and revealing the intimate truths of portraiture.
His work has appeared in such synonyms for sophistication as Vogue, Elle and the Sunday Times and such temples to art and craftsmanship as the Victoria and Albert Museum and the Saatchi Gallery
Some say the gallery is the natural home for Weber's work. According to Ivan Shaw, Photography Director of American Vogue, his craftsmanship begs comparison with such masters as Henri Cartier-Bresson and August Sander. The comparison with Sander may result from a shared German sensibility and artistic heritage. But it was in Italy that Weber learned his craft and developed his ability to recognise the dramatic intensity or the absurdist fun in even the most unpromising of subjects.
Having been drawn to the energy of a newly resurgent London, his first magazine cover shot was for the iconic style magazine, Arena and featured Sting in a vivid red Katherine Hamnett fake fur coat. Other prestigious commissions quickly followed and portraiture became his forte with everyone from Stephen Fry to Helena Bonham Carter, Robbie Williams to Placido Domingo appearing in his star-studded portfolio.
On one occasion, Weber emerged from behind the camera to himself become the focus of attention, as an interviewee with the Queen of US Media, Oprah Winfrey. That media spotlight intensified in 2010 with the publication of Weber's book of Portraits. Such was the interest and critical acclaim that a series of exhibitions followed in London, Milan and New York. Whether it was The Times, Der Spiegel, la Repubblica or The Huffington Post, the reviews were unanimous in their appreciation for the work that is both versatile and unique.
Versatile is a word that sits comfortably with Weber. In search of the challenging shot he has challenged himself: parachuting onto the North Pole, trekking the red dunes of Namibia and directing a fashion shoot deep in the baobab forests of south Madagascar.
Then, at the invitation of the Earl of March and Kinrara, Weber changed gear again, swapping Kate Moss for Sterling Moss, the catwalk for the cockpit, and Vogue for Vrooom. Over a period of four days Weber was given access to all areas so that he could capture the true essence of The Goodwood Revival.