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Easy handling and fast recycling times – Move, “Colours” & Marcel Hirscher

Color

Red Bull Austria called me few months back to participate in a really cool project called „Colours“. The aim was to create something unique for 4x time overall skiing World Cup Champion Marcel Hirscher and celebrate his succesful season ending in the most creative and artistic way. So the sponsor simply created a unique slalom course on the top of a mountain besides rocky faces and through trees and if that was not enough they even created exploding poles filled with bright colour powder. As soon as the athlete passes or touches the pole the colors spread out and create amazing structures and clouds that simply look spectacular.

Marcel Hirscher - Action

For the stills we were two photographers capturing the action during and besides the filming which basically meant to stay out of sight as much as possible and keep all filmers in peace. Still we needed to get amazing and one of a kind angles and perspectives without much room to move.

The schedule was super tight and before Marcel Hirscher arrived I checked out the start gate on the peak of the mountain for some portraits if we would get some seconds to shoot at some point. I eventually picked a spot and set up my move and beauty dish and was ready to shoot any time. Shortly before the start of the live shoot I got the chance and asked the athlete to step aside for 2-3 quick shots. We spent about 5 minutes and quickly came up with portraits and lifestyle kind of images including the sponsor and adding value to the final image selection.

Again I was able to rely on fast recycle times of the Move and I could not think of any way better to do this also considering that I had to move in alpine environment on my own.

Marcel Hirscher - Lifestyle

About Markus Berger
“I am a photographer from Austria specialized in action sports and commercial photography. I have a sports freestyle background and like to bring that into photography. I strive to capture images that are creative but at the same time authentic and true. I like to embrace my inner child and take every shoot as new exciting challenge”.

www.bergermarkus.com

3-Point Lighting Environmental Portrait with a SINGLE Siros 400

How many of you have multiple studio strobes just lying around the house or studio? And if you are of the fortunately equipped few who do, how many of you like to lug all those lights around for every shoot? Whether out of necessity or convenience lets take a look at how to create a 3-Point Lighting environmental portrait using a single strobe; in this case the incredibly versatile Siros monolight.

As you’d expect from the name, the environment drives an environmental portrait. In this case I created this portrait on the balcony of my subject’s home. It was late into the evening and our location was lit by a single tungsten lamp hanging from the outside of the house. I liked the warmth and contrast it created and that inspired our final image. Not only did it inspire it, but also the lamp acted as one of our three final light sources. I set my camera manually to expose for the lamp and directed my subject to stand in front of it so that the warm light began to wrap around from the back, as a rim light, while separating him from the night. Our first image shows the sculpted warm beginnings of our portrait.

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With just a rim light his face was still left in the dark though. Here’s where our “one light” came in. With a locked in exposure of ISO 800 f/6.3 1/60 of a second, we didn’t need a powerful light, but we needed something that we could shape and control. The Siros 400 S monolight is ideal for this! I plugged it in, attached the kit 2′x2′ Broncolor softbox to the strobe and it was ready to go. Using the RFS radio trigger and the Siros’ built in receiver I dialed the power way down and feathered the soft direct light around the front of the subject’s face. Done? Not quite! It wouldn’t be classic 3-Point Lighting if we didn’t hit all three points of light.

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At this stage the warm backlight is lending environment, and the Siros 400 S is illuminating the subject. But the contrast that inspired the image remained a little heavy handed. The subject’s eyes didn’t have enough spark and half of his face was still too dark. The Rembrandt lighting pattern used here illuminated both eyes, but still left a lot of shadow. Rather than remove the shadow completely, which would give us a flat boring photo, I just wanted to brighten the shadows up slightly. This is really easy to do with a hand held reflector, versus setting up a second light, that would only create counter shadows to the ones we just carefully crafted. I had an assistant bounce light from the softbox back into the shadowed side of the face. This brightened up the shadows – lowering the contrast – and added an extra set of catchlights in the bottom of the eyes.

There you have it! With a single Siros 400 S strobe and a little help we crafted an environmental portrait complete with Key Light, Fill Light, and Rim Light. Tried and true studio lighting techniques are made easy out on location when working with the right equipment. Next time you go out to shoot see how much you can do with a single light and a reflector, you’ll surprise yourself and become a more versatile shooter too! 

Lighting-Diagram-Teaser

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– At a Glance –
Siros 400 S
broncolor 2′x2′ Softbox
34″ Silver Reflector
Nikon D800 – 90MM f/2.8 Lens
1/60 Sec – f/6.3 – ISO 800

By Erik Valind

 

Germany’s Next Top Model Shoot for Fashion 0039 ITALY

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I had the pleasure to work for 0039 ITALY a fashion brand from Germany for which we shot the campaign. The model is a contestant of Heidi Klums TV show – Germanys Next Top Model.  The photoshoot took place in Milan, Italy in an old beautiful Mansion. As we weren’t sure if we had electricity everywhere since it was requested to shoot not only indoor but also outside.0039_03
We knew that we would move for every setup and needed a flexibel but powerful Battery Pack with two light heads. We decided for the new Move 1200 L battery pack.  Since the weather was mostly cloudy we simulated sunlight coming though the window with one head. Another head was used inside on a Para 88 which gave us a strong directional output.  The biggest challenge was getting through with all the scenes in the compact timeframe, as every scene needed to be individually setup.

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The easy build up system of the Para 88 however made the location changes fast and convenient! I am very happy with the outcome of the shoot and thank my whole team for this nice production in Milan!

Making Ofs

 

Fashionabel: 0039 ITALY
Photographer: Marco Trunz c/o Sonja Heintschel
Photo assistant: Andreas Eweb
Production support: www.soloprod.it
Head of Design und Co-Founder: Aysen Bitzer
Creative Direction: Christin Grünfeld
Styling: Hannah Godde
Haare & Make Up: Dorothee Meyer
Marketing: Annette Wanner
Model: Varisa c/o GNTM

About Marco Trunz
One main characteristic of Marco’s way to work is that he’s driven to achieve the very best out of every production with a collaborative spirit. A come together of the whole team is his key for an outrageous result.He travels around the globe for his clients, but currently calls Hamburg home. “My goal is to help on one hand commercial clients to develop a high standard product without having doubt on being too mainstream. And shooting fashion on the other hand in a not too artificial direction while still representing their Spirit. I’m always keen to improve myself and push forward with whats new and apply what is needed to make it look on point. If a style of photography suits a product, it will be shot that way. Personally I’m passionate about letting both fields, retro and modern, merge together. Editorials of mine contain a storytelling characteristic with honest emotions and a bit of glamour.”

http://marco-trunz.com

The Bboy Look – Meeting up with Streetdance Center Salzburg

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In the beginning of my photography career I was shooting a lot of breakdancing and really enjoyed to do so. The Hip-Hop culture in general has always had great impact on me and the creativity and love that goeas around it. For some reason I didn’t get the chance to shoot a lot of bboying in the past few months so to be involved in such a project again was a blessing.

I was more than happy to join the newly formed crew of Streetdance Center Salzburg and gladly also to cooperate with local brands of Esteem and Cherry Pickers as they contributed the Hip-Hop fashion and accessory for this shoot.

The goal was simply to create cool crew photos with a sharp and stylish bboy look – how cool can a briefing be!

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We found a cool looking parking deck in Salzburg and decided to capture the entire shoot on top of that location. [more…]

One Shot – Danny MacAskill in front of the Solar Eclipse

OneShot
I came across a photo where someone had used a long (around 1000 mm) lens to capture a mountain biker in front of a full moon. Then about a year later, I found out about the upcoming solar eclipse, and thought about doing the same thing, but also light up the rider, instead of just having a black silhouette.

I contacted Red Bull UK and Danny MacAskill, and they were excited about the idea from the go. We ended up searching for the right location for over ten days, there were always things like elevation or not enough distance that got in our way.

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Then, on the day before the eclipse, and with time running out, we found the perfect spot. I could move all over a mountain slope to get Danny to align with the sun. It was a rainy day, and the sun was invisible, so we didn’t even get to see where exactly the sun was. [more…]

Lux et Filum – A Contemporary Vision of Caravaggio

Narcisus liberato (Narciso)

LUX ET FILUM | Monica Silva

The photo does not call up the past (nothing Proustian in a photograph). The effect it produces upon me is not to restore what has been abolished (by distance, by time), but to attest that what I see indeed existed…” Roland Barthes in Camera Lucida

This quote starts the preface of Lux Et Filum, a photographic project by Monica Silva, inspired by the great Caravaggio. Caravaggio was one of the leading artists during the Renaissance; he masterfully portrayed the society of his contemporaries through careful observation of the human state, both physical and emotional. He is known to have had a formative influence on the Baroque painting. Lux Et Filum, (Latin for Light And Canvas), is not only inspired by his most famous works but reinvents them, by placing them at the center of a simple question: How would these same paintings be portrayed today?

Characters and poses remain the same, but the subject matter is transformed into a 21st century setting. The chiaroscuro (light and shade) Caravaggio was known for, allows characters and objects to emerge from darkness. In Silva’s interpretation, non-contextualized backgrounds are replaced by uniformed pastel tones and solid colors, keeping the original functionality of the background; to leave the actors suspended in vague places, describing them simply by objects and furniture in the composition.

Sacro Pasto (Cena di Emmaus)

We got to know more about Monica Silva and Lux Et Filum:

Could you share a bit about yourself and your career?

I fell in love with photography before I really knew what it was about. Growing up in a poor neighborhood of Sao Paulo I never had any cultural feedback. By chance, I discovered the magic of photography using a friend’s disposable camera and Polaroid.
At first photography was just a hobby. I acquired my first film camera when I moved to London to study in 1986. After studies I moved to Italy, where I live today. I started as assistant director for world-renowned commercial directors, which was also my way into photography. I got to meet the right people on set, which was a huge benefit when I decided to focus on photography full time. I grabbed my portfolio and applied for jobs with all major newspapers. At the time I did not even know how to use a flash system, but I knew I had to believe in myself before others would. I have been a professional photographer ever since, and I am proud to have worked for international brands like Sony, BMG, Universal as well as photograph for institutional clients and reportage publications. My work has appeared in leading magazines and newspapers like Max, Vanity Fair, Sette, El Pais, Panorama Travel, Style and many others.
In 2008 I felt the need to do something for myself, without business obligations. This desire led to my first fine art photographic exhibition called “Life Above All“. The collection was based on the book “The Spoon River Anthology” by Edgar Lee Masters and ended up being the key to a whole new world of photography for me, and further led to a series of exhibitions; On my Skin (Bologna 2010), My Hidden Ego (2011) and The Butterfly’s Fall – Postcards from Tokyo (Milan, 2013) and now LUX ET FILUM.

What would we, as the viewer, need to know about the painter and the idea behind the final project?

Lux Et Filum – A contemporary vision of Caravaggio“, comes from a need to create something that could go beyond photography. My dream was to return to my hometown, Sao Paulo, with something special. I wanted to show the skills and achievements I’ve obtained away from home. I’ve spent hours and hours studying Caravaggio, which in my mind is the number one Baroque painter. He is said to be the very first photographer in history because his images have a unique reality to them. Perhaps because he loved to use real people in his paintings; prostitutes in sacred images, homeless as saints, powerful men and ordinary people from the streets, recreating the contemporaneous idea of his time.
The project was born from a question: “If Caravaggio lived in our time, how would his masterpieces look?” I did not want to make exact replicas of his much loved chiaroscuro, I just wanted to get inspirations from his works, to photograph my personal reading of our time. I wanted to capture the nuances and the refined beauty of Caravaggio’s brush strokes. So with “The Musicians” I didn’t envision the same 4 handsome young boys but I saw a Chinese girl as Cupid. And “St. Jerome” is no longer an old man but a young man with dreadlocks, he is a modern street artist. In “Supper at Emmaus”, I captured my idea of religion, as seen in Caravaggio’s version, with Christian, Islamic, Jewish and a Buddhist models in a peaceful and friendly dinner without disputes.

Pituresque (San Gerolamo)

The exhibition in Sao Paulo is planned to go beyond displaying the photographs, can you elaborate on what is going to happen?

The idea of the exhibition is to create an emotional experience for the visitors. With support from the very talented video artist Giuseppe La Spada, we arranged interactive stations with each photograph. The visitor will walk among large prints and build up individual emotions only to finally end up in a room where they will be the main character, acting as a video director in their own studio adding their own effects to the images. The final result should be an explosion of sounds and images, which will amuse and amaze the viewer.

What did the Phase One equipment you used in the project bring to the images?

This whole emotional journey for the exhibition, due to the size of the prints, was only made possible with the Phase One camera system. The first part of the project was shot with an IQ180 digital back, 80 megapixel full-frame 645 with a 80mm f/2.8 LS lens. This was for the portrait of the Italian pianist Stefano Bollani who posed in a classic portrait. This is the only chiaroscuro styled image in the project. I shot tethered at ISO 35 to see the image in “real-time” on the monitor, it looked like I had two Bollanis on the set, it was more than amazing. The second stage of the project was shot in studio with different models. This was shot with the legendary P40+ digital back and a 75-150mm lens. This camera performed impeccably, in some cases it seems like the subjects are about to pop out of the prints, but I have to be honest it has nothing on the performance and quality of the incredible IQ180 digital back.

Bacco Tabacco et Venere (Bacco)

What has the reactions been to the project?

I’m very proud of the feedback I’m receiving from my peers. We are creating a wall where art and literature representatives can leave their reactions to the project, and I am so happy with the success of the responses so far. I am especially honored by the feedback from the cultural patronage of the Government of the State of Sao Paulo who guarantee the moral and cultural importance of the project by declaring:  Lux Et Filum, “a project of great importance that contributes to culture’ spreading.

If we allow the medium of photography to replace art in some of its functions,

it will be soon supplanted or completely corrupt […]”

Charles Baudelaire

Monica Silva used broncolor Equipment like the Para Reflectors or the Scoro and the Pulso-Spot 4 while shooting for the Lux Filum Project.

 

Lux et Filum is now visible at the Istituto Italiano di Cultura San Paolo, Brazil from March 17th until April 17th 2015.

 

Monica Silva

Monica Silva

On Para 177 you can rely – ESCADA Luxury Fashion online: Spring Collection 2015

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My contract for Escada (Design und luxury Fashion online) was for the Escada Spring Collection 2015 and took place in the Nymphenburg Palace in Munich.

I wanted to use the Para 177 because it was said beforehand that it could be, that I would need to photograph individual, but also four models together, and with the flexibility of the Para, it was the perfect choice for me for this job, particularly as I wanted to show the great quality and detail from the materials, this meant that there was clearly no way past the Paras.

I set a diffuser stage 2 in front of the light to make it a little softer, whilst still achieving the 3D look.

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Performance is important in such jobs, you need equipment upon which you can rely. The Scoro is a safe bet for me, I know the device works and delivers, and it gives me a certain sense of security on the set. [more…]

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