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Media College Denmark since 1987 Shooting with broncolor

Jeanne Marie

Media College Denmark was founded in 1987 as a school where video production techniques were taught. In 1994 the photographic education was established, and by now it has expanded to be the leading college in Denmark, with students from Iceland, Norway, Sweden, Germany and Poland.

Vocational education and training in Denmark is largely structured as a socalled “dual system” (the apprenticeship-model), where the trainees spend their time partly in vocational colleges, partly in companies. They must have a contract with a professional photographer to be accepted as a student after passing the basic course examination. AnneNicolajsen-1

The college periods come in blocks at strategic intervals. The photographic education takes 4 1/2 years, and 60 weeks of that time are spent at college. The rest of the time the students are working as photographers in the studios, getting valuable professional skills and routines. At Media College Denmark we have 8 digital studios, all equipped with Hasselblad H3DII-39MS cameras, and apart from that we use Nikon D3s and Sinar F3.

Our lighting equipment is broncolor. Actually we have been using broncolor in the training of the Danish photographers for the last 35 years!


We have powerpacks with options such as short flash duration, sequences, delay, as well as many effect lamps and a big variety of light shapers. All this equipment is very apreciated, being absolutely reliable and offering a great support for creative photography. In that way the students have the ultimate opportunity to be trained in lighting and in imaging as well as in ordinary photographic work.

They’ll learn to handle all professional cameras and must be able to work with advertising and architectural photography, still life and social photography as well as with documentary photography. Furthermore they have the option to work with video or specialize in fashion or still life or industrial photography or personal work etc..


It’s a special pleasure for us to follow our students after graduation. A little more than 80% of them make a living out of photography, in Denmark or abroad. Right now we have our former students working in Auckland, Shanghai, Paris, Berlin, London, Reykjavik, Los Angeles, Oslo, Stockholm, Hamburg, New York – and of course all over Denmark.

Special thanks to:
Gunner Byskov
Manager of Study
Media College Denmark

Watches in a Liquid Paint Splash – Scoro S has the Power



I was asked to create 6 unique front covers for Men’s Health Synchronised magazine about watches.

The idea was that each watch would be in the middle of a Liquid paint splash. First thing to do was to find the perfect consistency for the paint splash to look great and not too thick. In the beginning, i used the color right out of the can and then slowly diluted it to make it smoother

I perfected the consistency to make it appear more liquid than regular paint to get a better splash effect.

I tried a few different items to drop into the paint to get varied splashes.

Flash duration was essential for the success of the shoot. The pictures were taken at 1/10,000th of a second. The broncolor Scoro S has the power to allow me to shoot at f16, which helped with the depth of field.

The next stage was to shoot the watches. I only had 60 minutes per watch. Not much time at all, since I could easily spend a whole day shooting just one!

I was lucky enough to be lent a Multi-Shot from Hasselblad with the 120 mk2 Macro. This was perfect as I could set up my camera further back than normal and get good depth of field and still great quality. This will really pay off at the printing stage as it will be printed on a heavy front cover stock.

I had to make sure the angle and the lighting matched the existing splash images and then move on to the major task of retouching the watches and the splashes.

Special thanks to Box studio and to my assistant Rumen Mchinov, I’m looking forward to seeing the magazines which, by the way, is out now!

More results:


Interesting Behind the Scenes:


About Barry Makariou Photography
I believe in creating something out of nothing. Creating emotion an identity and most importantly being able to bring the most challenging products to life.

With stills I can say everything about the product in one amazing image, with film I get to take the viewer on a journey. I am specialised in freezing motion and working with liquids. I am renowned for my creative liquid work bringing many elements together to create an amazing unique Image. I do all my own post work and have put together a team for my film work for editing and sound.

I’m also an Ambassador for Hasselblad, broncolor and RED motion picture cameras and got all the latest equipment available with me. Most recent competitions, Graphis Silver Award, One Eyeland Silver & Bronze Awards Winner. Recent Campaigns include Avios for 101 Ad Agency, Laimon Fresh S.Pelligrino, Harrods, Gillette, Microsoft, Mens Health, T3 Gadget Magazine, Mens Health, GQ & Samsung.

Red Bull Illume Returns – Submissions Open in December

Red Bull Illume submissions open in December
Grand Prize and first judges announced for world’s greatest action and adventure sports photography contest.

There are only a few short weeks left until December 1, the day submissions open for the world’s greatest action and adventure sports photography contest: Red Bull Illume Image Quest 2016. This year, the contest takes an exciting turn with the inclusion of a Mobile category and the addition of awesome new prizes, judges, partners, and even more mind-blowing Images.

The unique approach of Red Bull Illume means the competition not only showcases jaw-dropping images but also looks at the lifestyle behind the people that shoot them – the photographers who often go to extreme lengths for the perfect shot.

Red-Bull-Illume-Image-Quest-2016-Promotion-Tools-Catalog_1The first selection of judges has also been released, with Eva Maria Tomé, Photo Editor from El Pais and Kathrin Kosaca, Deputy Editor-in-Chief and Art Director of Stern View signing up to join the judging panel of 50 renowned photo editors for Red Bull Illume 2016.

Since the first edition in 2007, Red Bull Illume has attracted some of the top names from the photography scene as well as previously unknown talent. By the time entries close on March 31, 2016 thousands of breathtaking images will have been submitted on

The contest consists of 11 categories: Close Up, Energy, Enhance, Lifestyle, Masterpiece by Yodobashi, New Creativity, Playground, Sequence by Sony, Spirit, Wings and the new addition – Mobile. A team of 50 judges – photo editors from prominent international publications – will select 55 finalist images, including 11 Category Winners and the Overall Winner.

In 2016 the photographers efforts will certainly not go unrewarded – the Overall Winner will walk away with a Yodobashi voucher to the value of €40,000, which can be redeemed for any number of the company’s massive selection of consumer goods. Electronics giant Sony, who recently joined as an official Red Bull Illume partner, will also award the various winners with photography gear worth over €60,000. The prizes will include cameras such as the Sony ILCE-A7RII or the Sony DSC-RX1RII along with a variety of accessories and lenses.

The full list of prizes, including those from Red Bull Illume’s other esteemed partners, will be announced on shortly. Finalist images will be unveiled at the Red Bull Illume Winner Award Ceremony in the autumn of 2016 before traveling to capitals and cultural hubs across the world as part of a unique nighttime photo Exhibition.Red-Bull-Illume-Image-Quest-2016-Promotion-Tools-Catalog_2

The submission phase of the contest opens on December 1, 2015 and closes on March 31, 2016. Visit to find out more about rules, categories and entry Details.

About Red Bull Illume
Red Bull Illume is the world’s greatest international photography contest dedicated to action and adventure sports. It showcases the most creative and captivating photography on the planet as art and aims to bring the public closer to the world of action sports. Red Bull Illume Image Quest 2016 will be the fourth edition of the contest after 2007, 2010 and 2013. New for 2016 is the addition of a mobile category. A judging panel of 50 photo editors goes through thousands of entries and eventually selects 11 Category Winners and one Overall Winner, unveiled at the Red Bull Illume Winner Award Ceremony in the autumn of 2016. All Finalist images then travel across the world as part of a unique nighttime photo exhibition.

Official partners for 2016 include Japanese consumer electronics giant Sony, online retailer Yodobashi, external storage brand G-Technology, photo bag manufacturer tamrac and lighting experts broncolor.


White Dinner Basel – The Unforgettable Fundraising for a Good Cause



The white dinner Basel takes place once a year in the centre of Basel city in Switzerland. This event has got a special taste to it, because every single person dresses in white, you bring your own picnic, have a wonderful time with friends in the city of Basel and donate money to a charity.

What an amazing opportunity to take our Move L1200 in combination with our Para 88 onto the streets and capture this unique Event.


Shooting on location brings with every single time a new challenge. This time i was facing a sun set, groups of people, changing spots very fast and to not destroy the atmosphere. These are the reasons for my wise choice of this combination.


The Move is a light power pack with a flash energy of 1200 Joules, you have got up to 9 f-stops to play with and as well very important a handy outdoor trolley. This power pack helped me to have a nice fill inn light during the sun set without destroying the background and at the same time I was able to work with lots of joules during the evening to illuminate the groups of people.


The Para 88 is smart, small and simple. With less than 6kg the Para 88 is a lightweight with a super compact design. It can easily be mounted and is perfect for a outdoor shoot where everything needs to happen fast. I was able to shoot with the Para defocused (used it as a fill inn light) and focused (to have a strong and controlled light). This light-shaper makes all things possible without losing your creativity. It gives you a very efficient light no matter in what kind of conditions you want to work inn.

Thanks to the combination of shooting with the MobilLED attached to the Para 88 and our power pack Move 1200L it was a successful, efficient and simple shoot without destroying the general mood.

All Photos by Jessica Keller

DREAM KOALA: Album “Exodus” Cover Shoot and Video with brand new FT System

I was gladly surprised as broncolor informed me, that they are doing some major upgrades on their continuous lighting system. As a long time user of broncolor flash equipment, I knew that from now I can shoot some nice fashion films with the same light shapers I used in Photography.

I already had great experiences with the light shaper Para’s (88/220/330) from broncolor on my Tribal project, so I decided to shoot one of my friends Album cover with their new heat resistant Para HR 133.

Yndi is an outstanding and well known artist. His music is a mix between dreamy indie and electro, so what would better fit than an underwater shooting?

The advantage of using deep parabolic light in an environment like this is, it creates that tremendous depth you wish to create. This means you can really focus the light on your Talent artist without loosing any of the underwater drops and still have this edge filling light around it. On the other side I was able to have great defocus (floated light) on my talent and bring out his dark skin with a smooth falling shadow. It had this dramatic 3d space jellyfish look.


As soon as I finished my filming, I moved on to my flash lights to take some stills. The FT system II (focus tube) with the additional light attachment is such a time saver! It’s simple to handle and to take off. Although the lamphead and FT was burning hot, I could easily change the light source within seconds with some heat resistant gloves. You take out the FT and put the flashlight back on. It wasn’t a big deal and I could quickly move on.


To take some additional photos I had the chance to fill the pool with ink. As most of us know if you use VFX with high pigment colour for water your pool is going to be full with colour in seconds and you cannot see anything. I knew for this setup I had to go back to the first FT System (continuous light with mounted lighthead) to get as many photos as possible. This light setup allowed me to shoot in burst mode because I only had seconds before the pool was unusable.


Paris based director Damien Krisl discovered his love for motion pictures as he realized that producing moving imagery gave him the opportunity to breathe life into his dreams. His skills in making fashion and advertising films are the result of his passion for filming, editing and composing. His art enables him to create beautiful new worlds and dimensions that originally only exist in his mind. Damien has a unique way of bringing fashion and film together.
In 2008 he founded his own film and photography studio Eclumes Studios. As a company founder and director he learned to balance the financial and artistic parts in the course of producing films and advertisements.

More Blogs by Damien Krisl
Schlumberger Sekt since 1842 Clip
Intitute of MAG “Leaves of Absence” Video 
Fashion shoot “Tribal”
Guerlain How To Video Video

Cascade of Colour: Fashion Shoot on the Volcanic Island of Lanzarote

Since the spring we’ve been busy with our new daughter, so we got back in the saddle in the summer with a Fashion Shoot Experience in Lanzarote, only our second FSE this year since London in February.

This blog post goes into the planning and execution of our shoot concept, ‘Machina Silks’, on a logistical and technical level… taking you behind the scenes on the shooting, lighting and even the setbacks to producing this mission of a vision!

Setting the brief

Where did it all start? We were on the hunt for an exotic venue for an outdoor shoot. We became attracted to the volcanic scenery of Lanzarote, deciding we wanted to shoot there, and thinking of a vision that would enhance the landscape: models in long flowing dresses teamed with futuristic accessories to make feminine but edgy fashion images.

Once we’d secured the photographer bookings to actually facilitate the FSE happening, we sought out accommodation to house and feed the whole team of 25+ (a picturesque yoga retreat of villas, yurt and pool, Casa El Morro). Then the first thing that the vision hung upon was essentially the costumes. Months in advance, we sought out the designers we needed to fulfil the wardrobe demands of the best quality we could find. The styling budget on our FSEs is increasingly being spent on commissioning or buying pieces, rather than putting the money into hiring or having a stylist source the hiring. This enables our vision to be more closely and exclusively fulfilled.

We hired London-based Mariana Abella for the dresses, and Spanish designer Manuel Albarran for the armour pieces. (Unfortunately, we were let down by both of them which led to emergency measures, more on that later).

Storyboard sketch we used to show our intentions to the designers, clients and the whole Team


Wardrobe styling

  1. …Dresses

We commissioned long dresses made in eight different colours. Plain, no pattern or trims, just solid colours that would cover over the model’s modesty but also leave room for the flesh of legs, arms and a bit of torso. The point would be that the sculptural armour would adorn and accessorise. The fabric should be thick enough not to be transparent, but light enough, like chiffon, to flow in the wind. After paying designer Mariana Abella a couple of grand to do this job, sadly she failed at the opportunity and after months of being misled to think everything was successfully progressing, we ended up with a box of unmade dresses just a few days before our shoot. As unacceptable as this was, it sadly happens in the creative industry (even by those being paid)! We consulted a local seamstress who fixed up the dresses in record time. Luckily we did not want perfection in their detail, the priority was to make them wearable, eye-catching shapes. We also had our stylist Minna Attala bring along her sewing machine to do some extra work over in Lanzarote.

  1. …sculptural armour

We were excited to shoot with Manuel Albarran’s creations, we had Skyped and emailed with him and were set on paying a handsome amount to hire a set of his works. Unfortunately, his assistant eventually informed us (a month before the shoot) that he could no longer meet the commitment, again showing the exasperatingly flakey nature of the creative industry. We contacted Boyd Batten of Divamp Couture, to meet the extremely esoteric style of women’s armour that we’d moodboarded. He was on board, a total saviour, and provided us with a mixture of purchases and loaned pieces.

  1. …and accessories

Over the preceding weeks, Matt went crazy on ebay and a variety of other places to source shoes, rings, bracelets, necklaces and a whole manner of other futuristic gold and silver accessories that would work with the shoot; to the point that the glinting, fetishistic array gathering behind his workspace was starting to worry me… ;-) Minna the stylist also brought along a truckload of shiny stuff, so along with technical gear, we had enough to well and truly fill out all 16 bags of our airline travel capacity.


Costume keying into the location

We hired a native guide, Jose, who would help direct us to iconic spots, secure permits and liaise/communicate with police and landowners where necessary. Upon arrival Matt had a scout with Jose to devise an itinerary for the week, finding the most shootworthy volcanoes and craters for example, determining which were of suitable walking distance for everyone.

On the first day while everyone was still arriving, we did a test shoot with the dresses to check just how pliant they were, and just how windy the island was. Our letdown designer Mariana Abella had used a cheap plasticky fabric that did not flow completely magnificently – but flew well enough, dramatically enough for the impact I wanted. We were still in the midst of optimising the dresses with Minna’s embellishments, so we could see what we might need to tweak on the dresses.


Months in advance we also considered models. We needed slim and tall, but brave and bold models. Our model line-up was prone to contingencies through the months of planning, but with relief we got our final line-up: Kim, our much-loved redhead muse who is now based in Mexico. Monika & Anita, two Polish models new to us, recommended by our photographer client Greg Sikorski. And the fourth model was Liza Junele, a feisty and fit model who came over with us from the UK.

Makeup & hair

With everything going on with armour and flowing dresses, we knew hair should be simple. Slicked, ponytailed, nothing extravagant. In the end the whole styling got a little over-the-top 80s… but theatrical was fine, as we were intent on making long shots that showed off landscape and dresses.



Now to put it all together. This is where I have to step in and make Matt’s months of planning worthwhile.

Each morning the styling would begin whilst photographers breakfasted. Around 10am we’d all get into the cars, with models styled as much as possible, and drive to the first planned location. Upon arrival the photographers and assistants set up gear whilst models get their makeup tweaks done in the backs of the cars, lace up the Divamp pieces, and buckle the endless shoes buckles on their knee-length Gladiator sandles…

On an FSE we have multiple photographer set-ups going on at once. Each group of three chose a spot to set up and shoot with their model, dividing the time between them (or collaborating, depending on what they chose). I shot alone, assisted by Brent McCombs on the first couple days, then by Matt for the rest of the week.

Now I’ll go through some of my set-ups.

Camera & lenses

For all shoots I was working with my Nikon D810 and I chose to stick with my 24-70mm lens throughout. This lens was just right for the composition of pretty much every shot I wanted, enabling me some focal flexibility when I was standing in a precarious spot.

Lighting gear


From the first visions of this shoot, we knew lighting would be key. It was about creating strong, vibrant and dynamic fashion images with frozen motion and a polished, commercial edge. The landscape must compliment the scene, hence the point of coming to Lanzarote, but the model must also stand out boldly against it, to warrant the point of the circus of fashion production.


We used broncolor Move 1200L kits. Each with a standard reflector, because they’re small, compact, easy to move around, and don’t blow over on the windy island of Lanzarote. And as we were shooting outdoors in direct sun, shooting at full power means no attenuation (loss of strength) from modifier diffusers. The small reflectors focus the light giving us a very strong ‘contrasty’ light source, mimicking the sun.

The Move kits come in backpacks which made ease of portability on a fast-moving shoot like this. Time was of the essence, to finish up and get back for lunch each day. Plus, the Move kits’ performance was consistently rock-solid so we could concentrate on getting stressed with everything else instead ;-) Having a broncolor battery charging station back at the villa was invaluable for recharging all our batteries in one go. Each evening we would dump them all off, and go relax and feast with everyone.

Lighting set-up

My go-to setup is the light at a 45-degree angle, coming in from high angles where possible. Shooting from the side avoided a flat lit look on the outfit, and emphasised the shadows in the flowing curves of the fabric. Below are some shots of the set-ups, and further below, my finished results.


We shot about 18 set-ups, from which my favourite 6 finished images are below. Editing was a fine balance between preserving the natural dynamism of the shot, and embellishing it to make it the best it can be. Except for ‘Red Rum’, I combined multiple shots to thicken or increase the amount of fabric, though this was surprisingly subtle for most of them. The magic had already been captured. Shot selection, as ever, is key: there were some shoots where it just didn’t look striking enough because of a white sky or a difficult angle. I believe the final 6 below are the ones where everything ‘clicked’.

In editing there was also the option of changing colours of dresses with the Hue & Saturation adjustment. I experimented with this, but in the end I kept the colours the same as their originals. For example, I tried both ‘Red Rum’ and ‘Violet Vista’ in pink. They just didn’t have the same impact. It’s important to step back and compare to the original and be honest about whether your changes are worthwhile, or to revert.


RED RUM. Nikon D810 (24-70mm f/2.8 lens & ND filter). Settings: 38mm, f/7.1, 1/250 sec, ISO64.


EMERALD POOL. Nikon D810 (24-70mm f/2.8 lens). Settings: 32mm, f/4.5, 1/200 sec, ISO64


VIOLET VISTA. Nikon D810 (24-70mm f/2.8 lens). Settings: 56mm, f/11, 1/400 sec, ISO160


FIREBALL. Nikon D810 (24-70mm f/2.8 lens). Settings: 28mm, f/9, 1/200 sec, ISO80


PURPLE REIGN. Nikon D810 (24-70mm f/2.8 lens). Settings: 24mm, f/5.6, 1/250 sec, ISO64. Stitched panorama.


DUNE ROSE. Nikon D810 (24-70mm f/2.8 lens & ND filter). Settings: 26mm, f/13, 1/250 sec, ISO50

Above, ‘Dune Rose’ was my overall favourite shot, it came together like liquid silk, in-camera. The wind picked up the dress perfectly and Monika became a flowing vision. We used an ND filter so we could stop down for maximum dramatic effect, shut out the brightness of the day and enhance the drama of a beautiful landscape. The sky was particularly glorious.



Shooting with – and catering for – a group of other photographers is the main challenge of our FSE event, combined with having to think and shoot creatively for myself as a participant too. In addition we had two designer setbacks on the production planning of this shoot, but being able to adapt to contingencies is an important life skill not exclusive to being a photographer. We also had the responsibility of taking care of our 4-month old baby Lilith on her first trip abroad, which we made easier by inviting Matt’s sister on the trip to help as ‘nanny’. We brought Lilith along on most of the drives out, sheltered and fanned in a pram. It was interesting for me to get back into the first big shoot since her birth, and to exercise the photography muscles again, whilst still putting Lilith first in our new lives as parents. Fortunately we were well rested each day because nights are easy with Lilith… I’m going to drop a plug here for bedsharing/co-sleeping because without this happy and healthy life custom, I don’t think we would have the strength to jump back into international photography shoots so soon!


All our participating photographers! Ivonne, Jeiran, Greg, Richard, Chris, Isaac, James, and Ian.

Models: Monika Gocman, Anita Sikorska, Liza Junele & Kim D

Designers/wardrobe/styling: Minna Attala, Divamp Couture – and Tina rescue seamstress!

Makeup & hair: Grace Gray and Elbie van Eeden

Assistants: Neill Warburton, Gay Lennard, Daniel Lennard, Brent McCombs

I also wrote about the Lanzarote shoot from an intimate perspective on my personal tumblr blog: Away in the Canaries, an adventure of fashion & Family


About Miss Aniela
‘Miss Aniela’s colourful, often surreal images are cerebral and sexy, intimate and public, all at once’ (American Photo)

Aniela is the middle name of Natalie Dybisz, a fine-art fashion photographer based in London, UK. Originating as a self-portrait artist in 2006, Miss Aniela’s work has been exhibited internationally and featured in numerous media including NY Arts, El Pais, ALARM Chicago, Vogue Italia and BBC.

Campaign with Rape-Crisis in Cape Town – Don’t Hide, Speak Out


During my research before I travelled to South Africa to work, I stumbled across several articles in which was reported that the highest incidence of rape in the world is in South Africa.

Shocked by this fact, I delved into this in greater detail and, inter alia, I contacted the Rape-Crisis organisation. This contact with Rape-Crisis had to do with the idea of realising a private project on the people affected with the aim of drawing attention to the issue and supporting the victims.

In a personal discussion with me, Rape-Crisis explained that one of the main problems was the “secrecy” of rape. Only one of 13 raped women (or men!) dared to talk about what had happened to them. Sexual violence is a taboo subject. Victims are threatened or “one” is simply not allowed to talk about it so as not to destroy the family spirit as, very often, rape takes place within the family or circle of acquaintances, sometimes over several years. It is quite possible that other family members know about the wickedness, but also remain silent. Nobody wants to believe that the “favourite uncle” is capable of such a thing, so it is simply swept under the carpet.


Often the victims are told that it was their own fault. Many men and women do not even know that it is an offence. The victims have no chance to talk about their experience to others and do not know that there is a contact point. Thus, the idea of ​​launching a poster campaign was born, a campaign which would tackle the organisation and the theme of “don’t remain silent – talk about it”.

Via social networks (Facebook, Twitter, etc.), we were able to find victims who volunteered to realise the images with us in the campaign to help their fellow sufferers and companions. All of the victims wanted to talk about their experiences, more than half had never talked about it.


The “models” were allowed to stipulate how much of their faces they wanted to show. The shooting day itself was very emotional. During the shooting, the women were cared for by the organisation and had a personal conversation. On that day, we experienced many beautiful, funny, relieving, but also aching and sad moments.


The result is a poster campaign that is still shown today in Cape Town. Faces more or less concealed by statements from victims who want to share their feelings with others to act as encouragement. A thousand thanks to those courageous people who made themselves available for this campaign – it was wonderful to work with you. My greatest respect to you for your efforts to support others who have been affected!

Special thanks to the project sponsors, too:

broncolor Light Equipment by: Pieter Badenhorst and his Team from Photohire, South Africa

Renee de Sambento > Hair & Make-Up
Emma Buckland with Melissa Oellermann > Organisation, Transport & Catering
Philipp Häcki > Layout – posters
Trident Press > Printing of the posters

Interview on the subject with ELLE magazine:

or here:

About Sandro Bäbler
is a portrait, advertising and editorial photographer. He grew up in Mollis Switzerland – a little mountain village – where he spent his time snowboarding, hiking, eating chocolate and playing in the snow. He studied graphic design in Zurich. It was during his studies that Sandro discovered his passion for photography, built his own portfolio and started working as a photographer. His work has appeared in ELLE, GQ and L’OFFICIEL HOMMES, and he’s done portraits of notable people and celebrities. Today Sandro works between Europe and the States. In addition to photography he has started to complement his projects with videography.

In 2015 Anja Mueller partnered with Sandro’s photography business. The cheese addict also grew up in Switzerland. She had a wonderful childhood with lots of hobbies – just ask her for a quick game of table tennis! After a commercial education in real estate management, a degree in architecture, and some stopovers practicing these, she finally found her true affection in assisting, producing and travelling with Sandro.

Clients Annabelle Magazine | ELLE Magazine | Credit Suisse | GQ Magazine | L`OFFICIEL HOMMES Magazine | Mercedes-Benz Magazin | Peugeot | SCHÖN! Magazine | Swarovski | TÉLÉRAMA Magazine | The Wrap Magazine | Woolworths

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