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Red Bull Campus Cricket’s International Tournament – Portraits and Lightpainting

Event Participants - Portrait

ICBT’s journey through this year’s Red Bull Campus Cricket World Finals ended as it had begun: in a thick swirl of excitement and emotion. Not only had they competed against the world’s best university cricket teams in revered venues across England, they also punctuated their campaign with some scintillating play in a heart-racing victory over Pakistan’s University of Karachi.

Photographer Rutger Pauw did the regular team shots, and then played around with the top four teams on doing their shots a bit different. “The South African team came storming at the camera like a scene from the movie Braveheart, the West Indies kept it cool by striding, the Indians are huge Usain Bolt fans, and the Australians are quite clearly nuts. With a brilliant sense of humour.”

All photos were taken with two Move lights, on above my head on a boom stand, and one coming from the left as a kick light. it works great for big group shots during the day where there is a lot of sunlight, and still the entire group needs to be properly lit.

The next shoot for Rutger was a lightpaint shot with the cricket guys. “All week I was trying to get a sequence shot of the bowler, to show his movement (the running and jumping), but I couldn’t get a nice clean shot of it. So I decided on a night shoot where I attached little LED bikelights to the ball, the bowlers shoes, and the bat. I set my camera to bulb exposure, and had the flash go off on the second curtain, so the lights follow the movement, and not the other way round.


I used three Move power packs with MobiLED lights with standard reflectors, and the grids on all of them, that way I could keep the light tidy and narrow on the grass. I love working with these grids more and more, the fact that you get three of them is ideal.”

Behind the Scenes

Lightpaint makingof 01

Lightpaint makingof 02


Previous BLOG’s with Rutger Pauw
Wings for Life World Run “Running for those who can’t
Learn how to combine flash light and continuous light to get motion
Red Bull Illume Unveiling in Hong Kong – Workshop “Move around Hong Kong”

Rave On in Retail: A Clothing Collab from Indie Favorites

The Raveonettes, probably one of the most fashion-conscious Danish rock bands, just launched an exciting creative collaboration with the Danish high-street brand Selected.

At an intimate press dinner last week, the duo (Sharin Foo and Sune Rose Wagner) performed several of their catchy tunes while guests got a sneak peek of the collection Selected has created in collaboration with them. The campaign images, featuring Sharin and Sune, were shot in their adopted hometown of Los Angeles, by Danish Photographer Søren Solkaer, who is renowned for his iconic portraits of musicians such as Björk, U2, and R.E.M. The collection, consisting of styles mostly in black with a touch of white, is delightfully simple and laid-back—with a twist of rock’n’roll, of course.






The Raveonettes are a Danish indie rock duo, consisting of Sune Rose Wagner (born 1973, Sønderborg, Denmark) on guitar, instruments, and vocals, and Sharin Foo (born 22 November 1973, Emmelev, Denmark) on bass, guitar and vocals. Their music is characterized by close two-part vocal harmonies inspired by The Everly Brothers coupled with hard-edged electric guitar overlaid with liberal doses of noise.Their songs juxtapose the structural and chordal simplicity of 1950s and 1960s rock with intense electric instrumentation, driving beats, and often dark lyrical content (e.g., crime, drugs, murder, suicide, love, lust, and betrayal), similar to another of the band’s influences, The Velvet Underground






For more information, visit and

Light equipment used for the shoot: Power pack Move 1200 L and light shaper Para 88

More interesting BLOGs from Søren Solkaer
About Street Artist Project SURFACE – Miami 
About Street Artist Project SURFACE – Los Angeles
About Søren Solkaer Exhibition – Face to Face

FC Bayern Basketball – Adidas Portraits – 5 minutes for the “money shot”

MarkusBerger_Trikot_FCBayernBasket©adidas AG

An agency approached me to do players portraits of FC Bayerns Basketball team for Adidas – one of their sponsors. Adidas created a photo booth for fans to take „selfies“ with their star players at home games in Munich. Since basketball season is right about to start it was really tricky to get time from the team so we ended up having 30 minutes to take portraits of at least 6 players. Moreover all of it had to happen before, between and right after the presentation of their new jerseys and other brand related activities at ADIDAS headquarters in Herzogenaurach, Germany.

The goal was to get nicely lit and positive portraits that fans can relate to and would enjoy taking selfies with. Doesn’t sound much of a task but at the given circumstances required best preparation and execution to be able to deliver solid results.

Usually for portrait shoots you would take time to build relation and to capture special moments that reveal inner spirits or special characteristics of your subject. In this case we had about 5 min per athlete so we had to work super fast and find a connection immediately.

MarkusBerger_Trikot_FCBayernBasketk01©adidas AG

I prepared a short briefing and printed out sample shots to present to the athletes upfront. This made it possible to explain everything within a minute and also helped me to figure out how the athlete needs to be approached and how to break the ice. Still athletes are not professional models and it commonly takes some aces up your sleeve to make them feel confident and relaxed in such a short time for that moment of truth that will make all the difference. Besides I was lucky to bring a step to be able to adjust my own height for a reasonable shooting angle towards some of those giants.

It is of utmost importance to have the setup ready and working on time. Even more crucial is that the hardware actually is reliable because only one very fail of hardware during the shoot could mean missing the money shot. In this particular case I could not count on getting a second chance because those athletes simply didn’t have the time.

For this reason I chose to bring a Scoro setup to be completely save and flexible for a fast shooting rhythm.  This helped me to stay focused on interacting with the athlete and taking the shot. The confidence to be able to shoot at a fast pace and not to miss any of those split second moments due to equipment was decisive for the outcome and success of this rushed shoot.


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.

Hypersync easily explained by Fabio Gloor – Part 2

Now here it is, at last – Part 2 of the HyperSync article. In Part 1 we looked at what Hypersync is and how the whole thing works. But first of all here, I want to say thank you for lots and lots of great feedback. There were many emails and I was especially pleased to receive several telephone calls from abroad.

But now to our subject: How does Hypersync work in practice?
Clearly, after so much theory, I want to familiarise you with the practical applications of HyperSync. In the first part I showed you how the flash has to be triggered before the shutter opens. But that is easier said than done. In this post I want first to show you the classical way, and then also the “cool”, more favourable method using the existing RFS.

How does the classical way work?
Probably many of you have read about radio systems, which offer a HyperSync function. PocketWizard would be the classical example, but in the meantime this HyperSync is also available from low-cost Chinese manufacturers such as Yongnuo. Personally I have tested this version in practice, and have to say that it functions quite reliably. The thing that I find much less appealing is that you have to run the whole configuration using special Software.


When you have connected the radio trigger to the computer with a USB cable, you can set a (negative) offset there, which defines how much earlier the flash should be triggered. This will, of course, vary slightly depending on the flash and camera combination, so it is a matter of trial and error until you get it right. The disadvantage is that you always have to have a computer there if you want to adjust something. And especially on location, where I use HyperSync most of all, the computer is often not available. Furthermore, you need at least one transmitter and one receiver from one of these radio systems for this version, which makes it much less attractive from the cost point of view. It would be much simpler if you could use the RFS, which you anyway already own if, for example, you buy a Move kit.

The trick – RFS with HyperSync
It is also possible with short exposure times to take photographs without using a radio system. And to do this we need only equipment, which most photographers already own. These are the ingredients:

  • broncolor RFS
  • a commercially-available Speedlite
  • gaffer tape
  • a photoelectric cell

The photoelectric cell is the only item here that has to be purchased separately. The cost of this is probably not more than 20.00 CHF. So the advantage of this variant is its low cost. Hardly any cost versus very expensive!

But how can I achieve my short exposure time with this Equipment?
That is what I want to show you now with step-by-step instructions. This cellphone shot shows the equipment described above:


With a Speedlite it is already possible to take photographs with an exposure time shorter than the X-Sync time. But what is happening exactly? [more…]

The Beauty of the Omo Valley – Portraits from an African vanishing tribe

Based in Copenhagen, Denmark Ken Hermann works for a diverse range of clients amongst those leading brands, agencies and media corporations. Ken Hermann has a degree in advertising photography and his work has been published by a number of magazines and exhibited around the world. His City Surfer project made him the winner of Hasselblad Masters 2012.

An urge to explore photography has brought Ken around the world, from secluded regions of India and Ethiopia to the big city landscapes of New York where he has worked for renowned photographers like Brigitte Lacombe and Asger Carlsen. The life in the cities as well as in the more abandon places is a big inspirational source to Ken Hermann and he loves to combine his commercial work with his other true passion- to explore life, people, and cultures. Ken Hermann works in the fields of portrait, editorial – and commercial Photography.

Book_Omo ValleyThe Beauty of the Omo Valley is a series of portraits of some of Africa’s vanishing tribes. As the title suggests, my ambition with this project was to capture the beauty of these often very primitive peoples – and the environment they live in.

What particularly fascinates me about Omo Valley is the tribes who live in harmony with the beautifull unspoilt nature. The tribal people live as they have done for the past millennium without much contact with civilization. – It means, for example that there is no running water, electricity, sewerage and shopping. Therefore, the tribal people usually walk around naked or with only a blanket around them. One of the most well-known tribes is the mushi tribe. They are the ones where the women adorn themselves by putting a plate in their lips. I got two different explanations why the women adorn themselves like this. One is that they get a plate in their mouth when the girls get married which gradually is replaces by a bigger one for the simple reason not to to appear attractive to other men. The more official version is that the bigger the plate the more prestige and wealth the familly have.


The biggest challenge of the trip was that the tribes live so isolated and far from civilization. To get to Omo Valley I hired a car with a driver and guide in the capital Addis Abbaba. Everything I needed on the trip was bought in Addis Abbaba and carried along as there are only small local markets in the tribal area. I traveled around with camping equipment, power generator, food and water for the whole trip. To drive a few miles in the area can take several hours because earth paths and dried rivers is used as roads. You are very dependent on nature and weather – and it is only possible to visit the tribal areas outside the rainy season. Have a look at the behind the scenes Video!

I have a degree in advertising photography and I use the same kind of technique when I travel to remote places like Ethiopia that I use on commercial assignment. I shoot all my pictures on medium format camera: I like the quality of the medium format I use Phase One 645 with a 40+ digital back.

I use broncolor lightning and when I travel I use the Move 1200 L which is a powerful battery generator that can be used even though I am far away from electricity. I like the look of the soft light, so I often use big softboxes even though it would be a lot easier with just an umbrella. On my last trip I used broncolors Para 88, which gives a beautiful light.


The downside is it that I always have to carry around a lot of heavy equipment and that it is some times difficult in remote places but it is important for me that the equipment is reliable and that it enables me to get the look I am aiming for.

There was quite a big reaction on all the equipment from the locals, some had never seen flash equipment before and got really scared of it – a few ran off into the bush, bot most of them came back after my guide explained them what it was all about. I usually test the light on my local guide so they can see that it is harmless. To make my book The Beauty of the Omo Valley I have been in the southern part of Omo 3 times. After my second time in Omo Valley I was contacted by the German book publisher Edition Panorama who wanted to make a book with my pictures.

I still have an urge to explore this amazing part of the world. It is one of the most beautiful places I have ever seen and photographed. And despite the major challenges of travelling in the area you can not take the beauty from Omo valley.


If you wish to buy the book, click here 

Previous BLOG’s from Ken Hermann

ROBOPHOT at Ars Electronica Festival – No limits for Scoro S

At this year’s Ars Electronica Festival, the RoboPhot’s Face-Cartography Project was shown in public for the first time and very thoroughly tested, too. Daniel Boschung recorded up to ten facial landscapes on his robot every day.

The Scoro 3200 S from broncolor provided a superb service; it delivered consistent flash light, at one second intervals, without any problems at all – and this up to 7000 times per day.

Every year, ARS Electronica offers international artists exploring the intersections of art, technology and society, a platform to present and Exchange. In addition to the live demo with the robot, the Face-Cartography Project was presented on a 6 x 9 metre screen in DeepSpace before curious audiences. When zooming-in, murmurs of astonishment rippled regularly through the crowd.

Quote: Süddeutsche Zeitung, 9th September 2014 “In the Ars Electronica Center, an exhibition venue for electronic art which has existed since 2009, a camera mounted on an industrial robot closely observes a human face in order to take more than 600 close-ups of it. Swiss photographer, Daniel Boschung, assembles the detailed shots to create hyper-real portraits. The machine-eye is the most pedantic observer and here, Ars Electronica has, at the very least, succeeded in producing a contemporary response.”

Read our previous BLOGs about Robophot
Scoro S meets Roboter – Robotic Face Cartography
“I start there, where Google Earth stops” – ROBOPHOT Art Cartography with Scoro S

Highlights Photokina 2014 – You made it a great happening!

Enjoy the Highlights from Photokina 2014. broncolor was proud and honored to receive many customers and visitors from all over the world at the broncolor booth.

Our Gen NEXT ambassadors Benjamin von Wong and Manuel Mittelpunkt as well as the creators of our How To series – Urs Recher and Karl Taylor –  made this year’s Photokina very special. Their perfomances on the FotoTV.stage in hall 6 attracted a large audience and gave the possibility, to meet two of our Gen NEXT members. The visitors also had the chance to capture their own photos with the RFS 2.1 triggers that were handed out during live shows.

Impressions Photokina 2014

Make sure to check out our photokina-Playlist on our broncolor YouTube channel, @photokina2014.

Some results from our Live Shoots on the FotoTV.stage at Photokina:

Thanks for dropping by, showing your interest in our brand and new products and for following us on Social Media. 

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