Skip to Content

Berlin’s Goldwell Color Zoom Competition – Slow Motion Clips with Flash Series

The collection trailer for Mario Krankl’s show in the Goldwell Color Zoom Competition in Berlin is characterised by a lively mix of style elements and contrasts.

Gigantic hair volume is interrupted by punky elements or a few bright colour accents. In our video, we were looking for a reaction which we could pick up and which would support this style clash.

This resulted in our taking unusual ways in the technical implementation and, alongside our broncolor HMI light, we used the familiar Scoro generators with Pulso Twin Heads (which we knew from photography) as the film lighting. Flash series with a sensational 50 flashes per second even offered us the option of moderate slow-motion clips with a flash.

The BTS video shows a few impressions of the production and the RED Epic Dragon camera, with its X synchronisation, which was used. Thus, we did not even need additional equipment, but only used the Scoro’s built-in programming options and an RFS transmitter.

In a mix of continuous light, clean synchronisation, strobe and rolling-shutter effects in the various takes, entirely different and surprising image effects delighted the challenging specialist audience in Berlin. Incidentally, with a ‘6K’ resolution, one can create impressive prints.

Photography continues to constantly transform and we are happy to have a partner in broncolor with whom we can meet the ever evolving demands.

Denise & Ulf Krentz have been living and working together for 16 years. Passionate about beauty photography, in the 2011 broncolor calendar they direct cosmetic beauties within artistic compositions of colour. Denise Krentz: “Beautiful women in extraordinary make-up and hair styles are a special and rare sight. I enjoy working with exceptional make-up artists and hair stylists and would like to thank them for the good cooperation at this point. We did not intend to have any link to reality in the motifs of the calendar. We experience reality every day. I like the timeless glance of the models in an artificially created environment. Our photographs picture human soul and the interplay of distance and approachability.”In her photographs, aesthetics is the most important subject. She searches for unfamiliar viewpoints – reduced or bright and colourful, either by the means of light or in combination with the unusual work of the stylists. She creates unique pictures possessing a high grade of memorability.

http://www.krentzphotography.com/

Five new talents become part of broncolor Gen NEXT

BC-7151-1604_GenNEXT-Winner-Graphics-01AA_broncolor-com-960x400

Now in its third edition, the broncolor Gen NEXT photography project has once again named five young creative talents as competition winners.

Over the next three years, the winning photographers will each be supported with broncolor equipment valued at US $24,000. In addition, as Gen NEXT ambassadors they will be able to showcase their work through broncolor’s worldwide channels and on the project blog site: gennext.broncolor.com.

For almost two years now, Gen NEXT ambassadors Lara Jade (US), Benjamin Von Wong (CAN), Dustin Snipes (US), Jason Jia (CHN) and Manuel Mittelpunkt (GER) have already experienced the world of opportunities offered by the program. As 2015 Gen NEXT winners, Anita Anti (UKR), Cristina Otero (ESP), Gonzaga Manso (ESP), Lauri Laukkanen (FIN) and Yulia Gorba¬chenko (UKR) have been sponsored for almost a year. As prize winners in the first two installments of the photography competition, they were able to complete many compel- ling projects which can be viewed on the gennext.broncolor.com website.

The winners from the first two rounds of Gen NEXT will now be joined by the this year’s ambassadors David Sheldrick (UK), Natalia Evelyn Bencicova (SK), Jvdas Berra (MX), Lara Zankoul (LB) and Justin Lister (US), whose outstanding portfolios were chosen as the best from among top-class submissions from across the globe.

A native of London, David Sheldrick (UK) grew up in Europe as well as in Asia. With a background in the scien- ces and fine arts, he picked up his first camera at the age of 18 and decided to devote himself fully to photo- graphy during a three-year stay in South Korea. He assisted and worked at various Korean studios and with this experience then completed a bachelor’s degree in Fashion Photography at London College of Fashion. In photo- graphy I am ultimately interested in people, regardless of whether I am shooting fashion, landscape or food. The continued exploration and documentation of the human condition is what I wish to pursue.

sheldrick_portrait

 

Natalia Evelyn Bencicova (SK) grew up in a huge housing complex in Slovakia. The only view she had from her apartment was of the windows of other people. It seemed like hundreds of identical screens but always with a different story. As a child she used to observe all these people through these rectangular frames and wondered what was happening behind the walls of the building. I imagined the whole apartment, the entire reality, and my fantasy was always expressed in pictures. Bencicova now studies photography and fine art at the University of Applied Art in Vienna. In my work I am trying to pursue that point where the commercial and the artistic conver- ge, focusing on a conceptual as well as visual aspect of photography. “My main role is to create a whole world and for a moment transform idea into reality. At the age of 19 I decided to capture my vision and truth through the eye of a camera and share it with the world. I have never stopped to this day.”

bencicova_portrait

 

Jvdas Berra (MX) was born in Mexico and is a self-taught fashion and fine art photographer based in Los Angeles and New York. “Photography is my passion, my life itself, the air I breathe and the light with which I can create windows to other worlds full of beauty and perfection.” His photography has been published in Vogue, Elle, Marie Claire and is often chaos, is instinct. I consider myself a lucky person. In this almost 5-year career I have been able to meet won¬derful people who have helped me achieve my goals. The credit is not all mine, it is the whole team of people who have supported me with their specific talents.”

berra_portrait

 

 

Lara Zankoul (LB) lives and works in Beirut. As a child she was intrigued by photographs she saw in magazines. She went over the details and setups sometimes for hours on end, in order to understand how a picture emerged. It wasn’t until the age of 21 when she bought her first professional camera that she even considered pursuing her passion for the arts. After photography courses, online tutorials and many hours of reading manuals, now six years later she has made herself a name as a fine arts photographer with an emphasis on the conceptual/surreal style. “I love challenging myself and pushing my own boundaries. One of my main aims is to create surreal pho- tography without any photo manipulation. I believe that a smart concept and a well-studied lighting setup are crucial to the success of a photo.”

zankoul_portrait

 

Justin Lister (US) has had a passion for image-making since he was a young child. “I would spend most of my day drawing pages from my favorite comic books or characters from my favorite movies. I found photography at a young age, but lost touch with it somewhere along the way.” After a major health scare he realized that life is too short not to pursue his dreams: traveling and photography. And so Justin absorbed everything he could about lighting, photography and image-making. To this day he has never lost the passion to learn more and push him- self. He describes his work as being “Cinematic portraits. My images tend to be dark and moody and I often use multiple lights to achieve this look. I love how with lighting and compositing I can make any image I can imagine.”

lister_portrait

 

Follow how the new and previous winners continue to develop and what exciting projects they carry out with their new equipment provided by broncolor at gennext.broncolor.com.

Balloon Explosion – Cut-Off Technology to Freeze

Watersplash

Today’s blog contribution is about explosions and how to catch or freeze these in a photograph. When I used to work as a photographer for broncolor, I had the opportunity to experience a great deal and to develop workshop examples. One of these self-developed examples, and actually one of my favourites, is the Watersplash. Participants in Asia will know of this example, and I would like to take this opportunity to say hello to everyone who took part.

I had always envisaged making a series of these explosion photographs. I had the RGB colour model in mind. I already had blue for this, i.e. the water. I then thought that I could realise the green with powder – the principle with this is the same.

If you want to freeze fast movements, it is important to have a short exposure time. In the studio, it is known that the shutter speed cannot be changed very much, so how do I do this? Right, broncolor is known for the patented cut-off technology in which a flash duration of up to 1/10,000s is reached. To achieve such a time, the time is changed from opt to min on the power pack’s menu. As I personally use the Move, my minimum time was 1/8500s. Incidentally, we are talking here about t0.1 and not of the meaningless t0.5. Thus, there is hardly anything which cannot be frozen. As you can see in the images, every detail is sharp. The water, for example, looks almost like glass.

detail

My series is realised with balloons, i.e. a simple balloon is filled water and powder. Thanks to the law of inertia, when this balloon is exploded, the content remains, to a “certain extent”, in its original form – the timing is crucial, however.

Right, let’s start at the beginning. We filled a balloon with powder and, at the moment of bursting this balloon, the flash has to be triggered. Have you ever tried to do this at exactly the right moment? If you can manage this, then you are either incredibly gifted or you were, quite simply, really lucky!

_DSC0336

So that you don’t all have to rely too much on luck, there is another way of triggering the flash. Many photographers use a light barrier to capture a falling object at exactly the right point, for example. However, with a balloon, it makes sense to use a sound trigger. Thus, in effect, the flash is triggered together with the explosion. Exactly what we want. Or nearly, in any case. You see, when the flash is triggered together with the explosion, the balloon is still in the picture and a maximum of one hole can be seen in it – this is why the triggering of the flash must be a little delayed. A delay can be programmed with the Scoro. With the Move, I had to programme the delay of the sound trigger. I found that 0.02s worked very well. One can find just the right moment!

explosion

The lighting itself was relatively simple. You can see it well with this balloon. I wanted to slightly emphasise the round shape with the light in order to give it depth, and this is why I set an edge from behind with a softbox. From the front, I had a second softbox as a skin light. As the powder reacts to UV, I also used the UV attachment from the front to enhance the colours. The powder was actually normal, green powder, which is used in the Holi Festivals.

– Move 1200 L
– MobiLED
– Softbox 30 x 120 cm
– UV attachment
– Camera + Zoom Lens

As you can see, I now have the image of blue and green. Red is therefore still missing. That’s why I’m still looking for a great idea as to what could be even more interesting to explode in a balloon. Comments will therefore be warmly welcomed as a comment on this post. The idea, which I will implement at the end, will be rewarded with a great broncolor coffee mug. In addition, the winner will be announced in my next blog post. I am really very curious to hear your ideas and suggestions.

The comments feature is available for suggestions and questions or you are, of course, welcome to contact me directly via fabio@gloorious.com. I am happy to help. Have a good day and until next time!

Yours, Fabio.

Portrait Shoot utilizing the Power & Range of the Siros 800 Kit

Image_02
When buying strobes people mainly look at one number, the maximum power number, which is measured in Watt Seconds (ws) or Joules (j). This is perfectly natural. When talking about cars, maximum horsepower gets throw around a lot. After all we’ve been conditioned by marketers to want the fastest, most powerful toys out there. For good reason too, if you need to over power the sun for a portrait out doors, then you’ll need all the power you can get from a strobe.

Over the years I’ve used a number of powerful strobe systems and while the maximum power is necessary when using large modifiers, small apertures or when overpowering daylight; I’ve found it to be a hindrance at times as well. All strobes have a set power range, and on many strobes it’s a rather limited range at that. So if you have a whopping 1200ws to 2400ws on the high end of the range, you’ll usually have a low end of the range that’s still up there in power. Beyond the max power of a strobe make sure that you look into the kind of range it has as well.

For this reason I’ve had to travel to many shoots with both studio strobes and a bag full of small flash. Why would anyone need LESS power in a flash? What’s wrong with too much power? Two big things jump out as an environmental portrait shooter. It prohibits you from blending your flash with dim ambient light, and it also stops you from using your fast prime lenses at wide-open apertures like f/1.4 and f/2.8. Even when bottomed all the way out, some strobes still overpower the shot, and in the past I’ve had to bring out my tiny small flash and speedlights in those instances. That was until recently anyway!

Image_01

I’ve been shooting with new broncolor Siros 800 kit and it has proven to be versatile enough to fill both roles, in one sleek package. Lets look at a couple images from a recent shoot of mine with a documentary filmmaker in Brooklyn, NY. The first setup took place in the subject’s living room. His Shepard Fairey mural struck me as a great backdrop for the first portrait and I liked the ambient light coming from the two wall light fixtures flanking either side of the mural. I wanted a decent amount of depth-of-field to keep both his face and hands in focus, so I dialed the aperture down to f/8. You can see in the BTS photo that I modified my main Siros 800 with the included 2’x2’ softbox and even applied a warming CTO gel to the light, inside the box… so for anyone keeping track, the Siros has to expose for f/8 after going through a gel and the double diffusion of a softbox, all of which eat up light output. Needless to say I was thankful for the strobe’s 800ws max power here. Even when powered up, the fast recycle time allowed me to shoot at a quick pace to capture various expressions. The second Siros in the kit was used as a low fill light and to add a catchlight to the subject’s eyes. I then slowed down my shutter speed to allow the ambient background lights to become brighter in the final exposure of 1/60 sec f/8 ISO 400.

For the next shot we went outside onto the balcony. The walls were neatly textured with a wood paneling and lit by a single outdoor tungsten wall lamp. It looked neat to the human eye, but would be very dark to expose in-camera. The high ISO performance on my Nikon D4s is astounding, so we decided to make an environmental portrait out there using just the single tungsten bulb to light the scene. We ended up wide open at f/2.8 and ISO 2000 to get a proper exposure. I then wanted to add some fill light in from camera left. But with the camera lens wide open and a high ISO like 2000 anything more than candlelight might overpower the photo. Knowing that the Siros 800 has a huge power range we dialed it down 9 whole stops from 800ws to a minuscule 4ws… that’s WAY below the power of a common speedlight. After bouncing it into the wall of the apartment it turned out to be the perfect kiss of fill light needed to balance out the shot.

Image_03

Image_04

Finding a strobe like this with a lot of maximum power, combined with such an incredible range, and a low minimum power setting allows you to carry less gear while shooting in varied lighting conditions. This became incredibly apparent to me after this shoot. The Siros 800 has the power to shoot through large modifiers and under bright conditions, but will also power down to play nicely when working with low ambient light and wide-open apertures… The best of both worlds! I’m looking forward to sharing more photos and BTS action on future shoots with this great kit.

Click here to go to Erik Valinds Website

Personal thoughts on the FT System by Cinematographer Anthony Kimata

Kimata_01

In cinematography a battle between time, manpower, budget and creativity ensues within the mind of the cinematographer. I often debate against myself late at night as to what the best approach to a certain scenario may be. Lighting, movement, Point of view, field of view, as well as recording and final delivery format all fall into play within my mental game of chess.

There is no such thing as a one tool fits all however i have come to adopt a philosophy i call “3 in 30”. (Any tool used in a production that i lens must fulfill 3 roles and be able to do all three in 30 min total adjustment time.)

The broncolor Para fits this perfectly.

Beauty & Key Light
This is my go to light for creating moving portraits, it lends a soft broad source while simultaneously keeping contrast and specularity with the multitude of smaller hard sources within the parabola.

Kimata_02

Fill / Ambient Light
By the adjustable output as well as the focusability of the lamp different fill effects may be achieved by bouncing it into different materials of variable density and size.

Specialty / Variable contrast Light
If you adjust the angle to which the lamp is facing your talent various contrast effects may be achieved in the scene one angle may give you a broad source while another lends itself to a narrow cat eye slit.

Kimata_03

There are a few other tricks that i have come to discover while playing with this lamp however i find that experimentation is an amazing instructor. My only wish is that larger output tungsten and daylight fixtures may one day be made available.

Kimata_04   Kimata_05

Please feel free to view my body of work at: www.iamkimata.com

About Anthony Kimata
Director | Cinematographer | Editor | Photographer …… Make Visual Your Dreams Make Reality Your Vision thats my mission, i am here to guide you through the process of image capture and projection
Having the Vision to make Your Dreams Reality.  Using Insight To Capture Moments Infinitely in Time.

Anthony Kimata’s PROJECTS

TLC Global beauty masters TV show and Content

Alcon Lenses TVC

Christina Milian Ft Snoop Dogg “Like Me” Music Video

Tank “ Better For You” music Video

 

Glimpse Photo Workshop – Sports & Culture Photography

Glimpse Photo Workshop, 2016.

In cooperation with Markus Berger circle industry managed to pull up a high quality photo workshop that was truly special in terms of quality and setup. After a application round 10 participants have been selected and invited to be part of Glimpse and come to Salzburg „Schloss Hellbrunn“ for 2 days of in depth photo workshop.

THe initial idea for starting Glimpse was to reduce barriers and bring photographers from the scene together. Morever it should help not only to connect but also to share and spread the knowledge and philosophie around the world of sports & culture photography. Therefore all aspects of a shoot have been in focus during those two days, from the idea till the final shot.

Markus Berger hosted the workshop and shared big parts of his work and daily business side of things. He was open for all questions and made a great effort to motivate people to stay hungry and innovative.

On the first day Glimpse started at 8 a.m. and all participants were warmly welcomed with beverages, goodie packages from broncolor and smiles from the tutors. Even some of them had a long drive, everybody blended in just perfectly and was happy to dive deep into the world of creative photography.

In the beginning Markus Berger started out giving a inside view of what photography means for him and how his approach to anything in his profession is. Of course there were also great tips for actually creating a shot in your mind and then also of course technical aspects for capturing it. Also Light, Composition, Perspective and Postproduction were cornerstones of his presentation and there was lots of information to process and topics to discuss with the whole group.

MarkusBerger-Demo

Next invited guest speaker Rudolf Hauser (AUT) – one of the top ice climbers on the planet – took charge and gave insight and personal input on how he approaches photo shoots as an athlete. What does he expect and what is he able to give while also discussing the importance of being aware of risks, trust, relationship and fun.

During lunch break all participants were picked up by the Red Bull double decker bus to go to a retaurant downtown.

After they returned bboys and bgirlu of raw. Collective were already waiting to support them as models during the live shoots.

Now it was shooting time! For location Glimpse was able to get the famous „Hellbrunner Wasserspiele“ as shooting location and that was playground enough for everybody to shoot way and get creative. Teams consisting of 2 photographers and 2 dancers were sent out on the field to work together and get the best possible results. In addition each team received the possibility to work with a Broncolor Move Outdoor Kit which offered them the opportunity to execute what they had just learned in the theory lessons before. Markus Berger stood side to side by them and helped out with tips and gave input on ideas and light setting as well.

After the light was gone everybody gathered again inside and after short feedback round the next part could start: Lightpainting.

With his crew Markus Berger built a studio set up inside the location and showcased during a demo shoot with famous bboy Roxrite how to use it. Next everybody else could use the setup and get creative with colors and light settings himself. It ended up in everybody shooting at the same time and experimenting lightpainting with and without triggering the flash. At about 11p.m. the first day ended with a fire light paint outside.

The second day started a bit later at 10 a.m. and was fully dedicated to the business side of things, licensing and postproduction.
Glimpse Workshop 2016

In the beginning students of the university of Seeburg presented rights and licensing and made clear to everybody how huge and complex this topic can be. As a result also a lot personal epxeriences and showcases were shared and discussed in the group.

After that all laptops were started and workflow and postproduction were at stake. After a short introduction about the ethic and responsibility of phtoographers in postproduction Markus Berger handed over to Michael Ramhardter who is a experienced commercial high end retoucher from Vienna. He shared his knowledge and experiences from years of years working in the industry and he also gave interesting insights about where the industry is probably headed. Also he shared pieces of his work and also did live editing and showcasing projects from scratch to the final commercial result.

Impressions from the Workshop

Next all participants started working on their own images and Michael and Markus went to every single one to support and help with tips and tricks to enhance the results.

Eventually the „money shots“ were chosen for each participant. Those money shots were printed and exhibited at the event of circle industry. there the corwd voted for their favourite and it turned out that „Moritz and Dog“ by Marc Schwarz was the most liked image that evening.

However at the end everybody was a winner and took home new knowledge, experience, friends and probably some images for the portfolio. Glimpse was a great sucess and we are looking forward to next year with new challenges and images.

Handstand: Christian Poschner
Dog: Marc Schwarz

Markus Berger: http://bergermarkus.com/

Project Series “Beneath the Surface” Soap Bubbles captured with UV and HMI lights

151121-UV-Viki-dsc_2280-3

For my latest shoot of my personal project series „Beneath the surface“ I visited BMX flatland legend Viki Gomez (ESP) in his hometown Luxembourg.

Two of my friends were luckily joining and supporting this shoot – awesome photographer Rutger Pauw (rutgerpauw.com) and creative filmer Matty Lambert (mattylambert.com). The project has been started over 1 year ago and since then I captured different sports and top athletes with only UV light using special adapters from broncolor.

It has been a real challenge so far and every shoot and every sport offered new challenges and exciting image results. This time the focus was Viki and his freestyle sport, his total commitment and his will to push limits and experimenting with new tricks.

151121-UV-Viki-dsc_2036_01

I came up with the concept of having Viki to pull a trick on his bike while surrounded by soap bubbles. Soap Bubbles are not fixed in form, color or lifespan and are in a way unpredictable and simply free floating. I thought that this goes very well hand in hand with Vikis general mindset and approach to his sport and character.

Eventually the concept and the final image combines the beauty and complexity of both the sport and the photography behind.

Viki organized a really cool and industrial looking location and thanks to the people there we had total freedom. That was crucial as we originally planned one day for the shoot but then spent actually almost 2 days in the basement. We used several liters of special UV soap bubble water, bubble maker machines and tools to get different sizes, shapes and especially a huge number of bubbles.

_O7A2792

_O7A2750

A challenge was the darkness that is required when you are shooting only UV light. We setup a broncolor HMI light with a Para 88 to have a really soft ambient light that was giving Viki just enough sight for performing one of his most difficult tricks and for me to preset my focus accordingly. To overpower this light we had to use the UV lights at almost full power but with still enough flash duration so the action could be nicely frozen.

 

 

Another challenge are bubbles in general as they tend to vanish very fast and there is usually only few seconds to take the shot and to wait for the right moment to trigger the camera. Timing was crucial because as the bubbles started to vanish they created a exploding cloud of soap particles in the air and those covered Viki completely so he was not visible anymore.

Finally after 2 days of setting up, testing, shooting, bubbling and spinning we were able to capture the shot and the result exceeded our expectations by far. To achieve this kind of result it was only possible by having such good spirits on site with me and simply having so much fun during the process. We forgot about time and overcame fatigue and just enjoyed the process of creating.

151121-UV-Viki-dsc_1811

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.

http://bergermarkus.com/

%d bloggers like this: