Skip to Content

Swiss Economic Forum – Tom Solo’s Concept “Shoot ‘n Show”


Shoot ‘n Show combines Tom Solo’s talents of shooting and presenting. It is the innovative concept of an interactive portrait shoot on location. Tom shooted at the premium economic leadership event in Switzerland bringing together the most powerful minds in business, politics, science and media from all over the world with top executives from Switzerland.

I have been in the photography business for over 15 years. I did an apprenticeship in manual trade and studied for sometime design. Through my past work as a photography assistant and working in production I have gained a lot of experience as a photographer and was able to get a good start in the photography world.

In the beginning of 2011, the Swiss Economic Forum approached me and said they needed my photography skills. They wanted me to be part of one of the biggest economics event for entrepreneurs in Switzerland. Normally around 1600 people take participation. Swiss Economic Forum asked me to take some images of particular side events. However, the significance of the event encouraged me to approach the organiser with a long-cherished idea. I saw an opportunity to finally introduce a new concept and make the event a whole lot more unique and fun for the participants. I suggested installing a pop-up studio with nice lighting setup’s, which will create a different atmosphere for the movers & shakers.


In 2014 I decided to get professional equipment for my concept called “Shoot ‘n Show” and saw the need to engage with a competent partner for lighting design. Of course Bron occurred to me immediately – a Swiss manufacturer as well. That was a great choice.

It was the real simplicity of the Scoro power pack that surprised me. It is so simple: everything is arranged on a single, structured surface, so that you immediately have an overview. The setting buttons operate with a pleasant feel. I like the blue light of the control elements and the display – they have a quality appearance. Even in the complex setting menus, I can find my way quickly and adapt all functions without wasting time. A valuable feature is that individual channels can be changed through full f-stops. Switching channels in or out at the touch of a button, and the same for modelling light, whether proportional or fixed – everything is easy. Even after two days’ shooting and hundreds of flashes there were no detectable variations in colour temperature. Pleasantly reliable.

Para Working with Paras leaves nothing to be desired. They are very robust, and I find it practical that, for example, the Para 177 can be folded in half so that it is not so awkward to transport. Setting up was accomplished by my assistant within a few minutes – with other umbrella systems this has been known to take much longer. Focusing the light using the rod in the centre of the screen was accurate and trouble-free. This was important when we only wanted to change the harshness a little. The light characteristic they provide is unique; it seems to naturally follow a body’s curves. Depending on the focus, shadows can still be filled out a little, and you still have good control over the cut-off edges. When working with the Para 88, I was pleasantly surprised by the highly uniform light yield it provided. Overall the Paras provide a very natural light, which helps me to create very realistic portraits of people in which the skin has a very uniform appearance. An enormous advantage for post-production work.

I also had the opportunity to try the Move 1200 L, and it is my opinion that this is the best 1200W mobile power pack on the market. Here too, absolute colour temperature stability!

The interplay between the power packs, flash units and light modifiers was entirely convincing, and in my opinion makes the Bron System the trailblazer in its sector.

broncolor products used:
1 x Move Kit 2
1 x Para 88 and occasionally Para 133
2 x P70 with barn doors
2 x broncolor HMI F400 Kits with reflectors and D adapters

A career spanning over 16 years and 1000 Weddings – David Stanbury

David Stanbury - Wedding Photography
David Stanbury is a Multi Award Winning Portrait & Wedding Photographer based in the North West of England with a career spanning over 16 years & 1000 weddings.

His accolades include nearly 200 national and regional awards including Mario Accerboni UK Wedding Photographer of the Year,  UK Wedding Album of the Year, UK Adult Portrait Photographer of the Year, North West Wedding Photographer of the Year 4 years running and recently named as a Finalist in the Prestigious Hasselblad Masters 2014. He has also been awarded Fellowship in Wedding Photography by the BIPP & the SWPP and is one of 28 Graphistudio Ambassador Photographers worldwide.

David Stanbury - Wedding Photographer

David’s style is described as stylish & timeless and is very much in demand by couples who require the very best in wedding photography. He has a passion for photography and creating the perfect image combining all the aspects of the Wedding but also understands that being a people person is just as important.

An image of Charlotte shot at the beautiful Eaves Hall in the UK. Shot using the broncolor Para 88 on a move pack. Camera Hasselblad H5d 50 cmos HCD 28mm lens iso 800 f5.6/80 sec. This shot was all about getting as much info into one shot! The dress, veil, boquet, venue and Charlottes figure.


I didn’t want the piano to stand out but just be a prop so set the Para to a more spot light to direct the light & also add to the contrast with a reflector to bouch a little light back to hit the shadows on Charlotts face and to bring a little detail back into the side of the piano (without the reflector the piano just looked like a one legged table).

The veil was thrown to give it movement and the Para did the rest picking out all the detail and freezing also.


2XU International Campaign shoot – Freezing the motion with Move-Kits

Carlos Alcaide_2XU_03

About Carlos Alcaide
“Also know as “The Fiery Spaniard”, Carlos is 100% all go. Always. With over 20 years experience in the business, Carlos has shot with world famous celebrities from the likes of Priscilla Presley, Tim Cahill to local hero Billy Slater. He doesn’t like talking about it, but we have heard he’s won a bunch of awards.”

Carlos has an exceptionally versatile style. Specialising in Advertising, Portraiture and Corporate photography, Carlos is passionate about his craft. [more…]

PEROU launches EDICT magazine – There’s too much of everything: here’s some more


Perou is a London photographer who has shot many celebrities from David Beckham to Blondie. He has also worked for the Spice Girls, Jay-Z and U2, an he continues to work with the greats because of his unique perspective. On print, he has shot covers and Features for Vogue, GQ and Entertainment Weekly. This one-time butler was educated at the University of Westminster, and has earned his degree in Photography, Film and Video Arts.

EDICT Magazine is an object of printed art, a relic of the future that stands alone in it’s simplicity. EDICT Magazine ist not available online, nor are any images of it’s cover or pages set to appear anytime soon, so if you want to see it or read it, you have to walk into a store and buy it! [more…]

Learn how to combine flash light and continuous light to get motion

BMX2Learn how to do it – © Rutger Pauw

Mixing flash light and continuous light while having a longer exposure time is an interesting technique to show objects in motion. With the fast flash duration you see the subject sharp and frozen and at the same time a blur effect occurs due to the continuous light. Working with broncolor equipment such as the Move or the Scoro power pack allows you to freeze even very fast movement. With the Scoro power pack you can reach a flash duration (t0.1) up to 1/10000 s, with the Move up to 1/8500 s.

Here an example to explain the process: The grapes are hanging from a black thread, and are swung from right to left. [more…]

Print Magazine ELLE – Natural Beauty Portraits

Elle Magazine - Beauty Natural PowerClick to see the ELLE Making Of video

Talented Swiss photographer Sandro Bäbler received a phone call from Elle Magazine to make some Beauty portraits. After looking at his portfolio and his portraits they choosed him for this special black and white job.

“The task was to shoot six different models with a natural look, nearly without make up, presenting them in a natural way, relaxed, self-confident . Time was short and after making the first series, the images looked fine but too serious, somehow cold. So we discussed what we could do, to make it more natural, warm and inspiring. We decided to make a series with laughing. When the models started to laugh, something changed in their attitude completely, they became much for relaxed and the hardness in the faces dissapeared. They results were amazing and we knew, this is it.”


Have a look at the light set-up. Special on this light set-up is that the light on the face is the main light and the large Para light is placed to have a nice reflection in the eyes.



Sandro Bäbler

DIGISKY – Exposure Meter and Remote Control for broncolor


The stylish, intuitive, high performance DIGISKY from GOSSEN Foto- und Lichtmesstechnik GmbH is the contemporary rendition of the exposure meter. Technology and features are at their usual high levels, and new standards are being set with regard to design and ease of operation.

The compact DIGISKY is laid out for use in the studio as well as outdoors, and is equipped with an adjustable diffuser for flat and spherical measurements. It’s capable of incident and reflected light measurements for flash and ambient light, to determine photographically relevant exposure values which are displayed in 1/10, 1/2 or 1/3 stop increments depending on the selected setting. The DIGISKY masters all common lighting situations for analog and digital photography, as well as filmmaking, with outstanding precision and time-tested quality.

Software update V1.18 for the DIGISKY was released in May 2014 and now also supports the broncolor RFS 2.1 wireless protocol for triggering Scoro, Move and Senso flash units and adjusting their power settings. This eliminates the need to actually go to the flash head or use an additional remote control.

The important innovation on the update from RFS 2 to RFS 2.1 are the individual control of single lamp channels. the control of the modelling light and the fastening screw for fixing on the hot shoe.


Link Scoro brochure
Link Move brochure
Link Senso brochure 

Finnish photographer Lauri Laukkanen – A personal project

Lauri Laukkanen - Amelie Drozzin
My name is Lauri Laukkanen and I’m a 22 year old internationally awarded commercial/advertising photographer, director and producer from Finland. I specialise in creative, conceptual storytelling work, and people often describe my visual style as cinematic. 

I work as a commercial photographer in Finland, and am also represented in Northern America by Elizabeth Pojé + Associates. I consistently work with some of the largest and best known clients in Finland: Warner Music, Universal Music, Nelonen Media (the largest national TV-channel in Finland), BMW, The National Ballet of Finland etc.

About the shoot
I’m a huge advocate of personal work – when I’m not shooting commercial assignments, I try to find time to work on my skills, and test out new things by creating personal projects. The projects tend to push my creativity to new levels, and help me to develop myself as a photographer. Often times it’s actually these personal projects that new clients look at, and decide to hire me based on them.


This summer my goal is to work on refining my portfolio, and creating new images that resonate with my visual aesthetic and style. This project was the first in a series of many upcoming projects that I have been planning. I have had this image in my head for quite some time now, and finally felt like it was time to actually create it. The vision I had prior the shoot was having a woman walking on a wet beach, in a flowy dress. In her hand the woman would have a leash, but to make the photo look like “me” (stylistically speaking), I decided that at the end of the leash there would be a bird that was flying next to the woman. 

I only had two days to produce this shoot, as I only had one possible free date to shoot the image. I contacted some of the people that I’ve worked in the past, and managed to get together a team of professionals, who all got excited about my idea. 

I had envisioned the woman walking on a beach, but the problem with shooting on a beach is that there’s no electricity. So I decided to rent out the broncolor 1200L Move-kit for the shoot. I hadn’t used the kit before, but had read some great reviews about it, and really wanted to test it out. I was actually quite surprised how portable the kit was, and also how easy it was to setup and brake down. I could show the process to my assistants once, and they straight got the hang of it. Also the fact that the wireless trigger is able to control the power output of the lights, made my life much easier during the shoot, as I didn’t have to shout to my assistant to turn the lights up or down, but instead had full control at my fingertips.

All in all we had an awesome day creating great images, with some great tools.

My Facebook-page:

International Photographer Georges Antoni – a global star from Sydney

Georges Antoni_Portfolio5_010
Georges Antoni is a Sydney photographer whose global star is rising rapidly. His years here have seen him quickly ensconced in the top echelons of Australian photography, with Georges now undeniably one of the best photographers of our time in this country, and in demand around the world. Shooting from Sydney to Singapore, New York to Dubai, Georges has won clients with his natural talent, incredible technical knowledge, execution and composition skills and his easy going nature, ensuring his calendar is booked solid constantly.

Georges’ polished aesthetic is a signature style all of his own. His creative flair for concept creation and execution result in stunning images that are a little bit different, a little unworldly, and always impressive. Georges is part of a new group in fashion photography. His inherent talent and nature is ensuring that his rise to the top is rapid and phenomenal.

Short introduction of yourself and your career
Hi. My name is Georges Antoni. Im a fashion photographer based in Sydney. Ive been shooting for about 8-9 years. I have had the opportunity to work editorially with Harpers Bazaar, Elle, Vogue etc. I have shot campaigns for Versace, Paspaley and Bonds. I have been lucky enough to shoot celebrities such as Rhianna, Miranda Kerr and Adrien Brody.

Georges Antoni_Portfolio5_007

What initially interested you into photography?
This is a very long story. But in short, I loved the idea of working in a job where you were bale to see the results of your actions almost immediately. Where each day you have to push yourself to create something new, fun and interesting. You have to be able to stop people in their tracks. This is not easy.
What is special about this shoot – light, speed, or venue? Is there any challenge?
Well, this was a shoot that required a fast flash duration as the girl was running, and I needed to be able to balance the colour temperature with the daylight out side in the early morning. It was freezing cold, so we did not have much time to get the shot for the models sake. So we jumped out there and set up and got it in about 20-30 frames.

What kind of broncolor’s lighting equipment did you use for shooting these pictures?
I used 2 x bron location packs, 1x bron beauty dish, 1 x large bron softbox with magenta gel.

What goal are you working towards within your photography and when will you know you have reached it?
I want to take a photo I love. I think I know now… I will never reach it!!!!

What does photography mean to you?
I love it more than partying and less than my family.

German Movie “In the Winter so Beautiful” with broncolor HMI lights


A feature film? How did it happen?

“In the autumn of last year, I happened to come across news of a film project entitled “Im Winter, so schön” (‘In the winter, so beautiful’) in a crowd-funding article in the newspaper. This was to be a 90-minute feature film for the cinema and was to be the thesis of three students from Aachen who, among other things, were still in search of lights and cameras at the time. As you know, we ourselves are from the field of photography, but for some time, we have been turning our attention to the moving image and had therefore also invested in a broncolor HMI light, initially really only to professionally-light shorter clips and “Making ofs”. However, this project and its variety of demands, appealed so much to me that I got in touch and offered my help.


 That sounds interesting, now tell us of your experiences with the HMI lights.

The sets were as varied as they could be. From outdoor shots during the day which required very little effort, via a dramatic run through dark basement passages, to the light-flooded hospital atmosphere; there were even night shots in the pouring rain and in the snow, deep in the forest, at night inside a car – the use of the light was, at times, considerable.

Behind the Scenes “Im Winter so schön”

Actually pretty well everything that broncolor has to offer as continuous light was used here – from the small DW200 to the bright Para88. I was able to fall back on the light shapers which I knew from photography; almost everything from the flash range can also be used with HMI lights and so you immediately feel really at home. The way one uses the light is very different though, with films you can use the shade much more than in advertising and with stills.


There were other new things to discover, too, for example, the PAR reflectors with their different scattering lenses and wide range of applications; the Litepipe, wow, that’s something one really needs to try! For example, we flat-mounted it to the ceiling of the basement passages with only a very narrow streak of light being emitted; we also used it to emphasise the sterile atmosphere of an operating theatre. However, everyone on the set thought that what was most convincing was how well the equipment stood up to being used in the rain.

Your conclusion?

With the broncolor equipment, I was able to quickly and safely realise all the lighting moods, even extreme situations in snow and rain presented no problems. Thanks to the state-of-the-art electronic ballasts, not only was the use with the generators no problem, but the light was also absolutely homogeneous and perfect, even in the slow-motion shots.

HMI light has high efficiency, relatively little heat development and has a daylight temperature which means that much of the light is not filtered out again and there also isn’t any image noise if you don’t do it. One hardly needs to mention the great light shaper! My personal highlights are the Para88 and now also the PAR400er. The power output has succeeded well, maybe there could be something even more powerful in the future as, on one occasion, I did have to run two parallel lights.


From me, and also on behalf of the whole team, many thanks again for broncolor’s kind support. I’m really looking forward to being able to see the finished film on the screen soon.

Which broncolor equipment did you use?

2x HMI 400 Crossover Kit
2x HMI 575.800 lamp
1x PAR reflector to F400
1x Fresnel with 5 lenses
1x Fresnel lense to PAR 400
2x 4-barn doors for PAR 400
1x Litepipe F400

We thank you for the conversation.

Trailer "Im Winter so schön"See the Movie Trailer 

Krentz Photography
Beauty and fashion photography

%d bloggers like this: