The six spots Hamburger shot via London-based Stink for the Kiasma Museum of Modern Art in Helsinki, Finland, were conceived by Finnish agency Taivas. Reflecting the "Six Ways to the Himalayas" exhibit at the museum, the 10-second spots show a character in mountaineering gear trying to escape the city and reach the mountains; unfortunately it's difficult to handle change for public transit wearing climbing gloves.

Having shot ads for the UK, South Africa, Holland and other parts of Europe, Hamburger says he prefers the Scandinavian way of working: relaxed and informal.

"They push the limits of taste, of what you are supposed to deal with or show, with not very diplomatic scripts," says Hamburger, who is no stranger to sensational or shock advertising. A Dutch spot he directed for Soesman, "Language Training," features a non-English speaking family bopping their heads to a techno song as they drive, blithely yet blindly absorbing the song's chorus, "I Want To F$#@ You In The Ass." The cut line asks, 'Want to Learn English?'

Hamburger attributes this basic yet highly communicative spot to the longstanding Dutch traditions of frugality and minimalism, heavily influenced by British and American humor. "This frugality is reflected in the work, pared down to core, simple ideas and seeing commercials executed very simply. Also, the Dutch are great admirers of English humor, as are the Scandinavians," says Hamburger, who is a native of South Africa.

He grew up in Johannesburg, a descendent of German-Jewish refugees, surrounded by a family in which he says humor was the main currency. He came to appreciate films like Woody Allen's Stardust Memories and Bruce Robinson's Withnail & I and eventually launched his own production company, SCUM in the mid-90s. (SCUM is an anagram for Society Considering Unusual Methods.) His appreciation for a strong script has carried over to his directing career.

"When you receive a script with interesting words it allows you to think more," says Hamburger. "Reading is creatively active whereas images are creatively passive. I think you can put more of yourself into words than into pictures."

He later moved to Holland and worked for Dutch production company Czar before moving to his current habitat at Stink in the UK.

His latest work, along with the Finnish campaign, was a campaign for Eurofootball.com out of Swedish agency Lowe Brindfors. Hamburger shot "Faker," "Family Photograph" and "Swapping Shirts," providing documentary-like observations of people on the street doing things you would see in a football game.

"We didn't have the money to shoot on film and I wanted three cameras for every take so we shot on DigiBeta, which meant I could roll as long as I wanted to," says Hamburger, comparing the rise of digital video with the Bolex-boom of the 1960s.

"In the 1960s, the Bolex camera was the major technological influence on cinema, so you had all the French new wave directors producing outside of the massive film industry. Today we have the equivalent with DV," says Hamburger, cautioning: "That doesn't change the ability to make a good film or communicate properly -- access is the only thing that has changed."

Alongside shooting ads, Hamburger's short films have been exhibited at diverse venues, including the South African Truth and Reconciliation Commission and The Netherlands Institute for Architecture in Rotterdam.

"I don't see myself as an ad expert, more of a visual communicator. But what I like in advertising is the same as I like any art, propaganda or communication -- the ability to move people and transport them emotionally and intellectually," says Hamburger.

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