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Fine Art photographer Toby Burrows carries often surreal and serene aesthetic

Toby Burrows is a commercial and fine art photographer based in Sydney. Like his personality, his commercial work embodies a palpable energy and vitality.  This edge and vibrancy translates well into his commercial works. His personal work shares the same instinctive control of light and movement yet carries an often surreal and serene aesthetic.

Toby Burrow_'Fallen'_Mist

He creates both commercial and art photography equally, and he embraces the challenges that commercial work present himself. He finds the discipline that exists in the realm of advertising photography is a skill useful to the production of fine art photography. The perimeters of a commercial brief still allow for collaborative creativity – it’s just when shooting exhibition projects he has complete creative freedom.

Toby Burrow_'Soliloquy'_The Dance

Following several successful years managing London’s largest photographic complex Holborn Studios (where he worked along side David Bailey), Toby returned to Sydney to establish an enviable commercial client list: Telstra, Vivid, Woolworths and ANZ Bank are just some of his clients. His work has also seen him collect many accolades: receiving the World Press Award and New York Festival Gold, whilst being a finalist in numerous Cannes Lion Awards and One Show Awards.

His ‘Fallen’ series received international attention from NY Arts Magazine and Dazed and Confused, and was published on both Kayne West’s and Justin Timberlake’s blogs – both impressive leaders in today’s pop culture.

Toby Burrow_'Fallen'_Close

Toby’s sequel series entitled ‘Soliloquy’ is equally as ethereal and beautiful as ‘Fallen’. Comprising of a series of Ophelia women immersed in misty waters, the images are inspired by Pre-raphelite paintings. ‘Soliloquy’ is a contemporary series, interpreting a classical theme.  The work references the theatrical drama of Shakespeare’s Ophelia and the soft lines of Pre-Raphaelite paintings. Toby added a natural pigment to the water to give the images a diffused, surreal quality. This diffusion also gave the images clarity as the figures come to the waters surface.

Despite the surreal elements, for both the ‘Fallen’ and ‘Soliloquy’ series, it was a conscious decision by Toby to shoot ‘in camera’ and avoid extensive post-production.

“This was a definite challenge.  We shot in 3500 litre tanks of water, but needed the water to be heated for the talent. So we ended up using elements that are used for heating enormous vats of soup!  The girls also all needed nose and earplugs that would allow them to lie on the bottom of the tanks.”

Toby often uses the feature on the broncolor Scoro allowiing him to dial down the power to 0.1. If he is mixing daylight or shooting with the aperture wide open it allows for a very natural feel when balancing light.

“For ‘Soliloquy’, we required a substantial output of power from the unit whilst retaining a good flash duration to freeze motion. The Scoro performed very well. I lit the set with 3 x beauty dishes placed close to the water at a 45 degree angle to minimize reflection on the waters surface. 2 x beauty dishes were ‘key’ lights and one was diffused as a ‘fill’ light.”

Toby said he enjoys constantly challenging himself to produce original, innovative images. He wants to keep building on past experiences and most importantly, enjoy the journey.

“I am very thankful to have chosen Photography as my passion. It’s never far from my thoughts. This career allows me to be creative whilst working each day with interesting and talented people that are constantly inspiring me to produce better work.”

Stephan Glathe – creating tropical heat with the Move

Stephan Glathe - Tropical Mood Fashion Shoot

Stephan Glathe is an international freelance fashion and advertising photographer based in Stuttgart, Germany. His work is emotional, well crafted and focused on the actual product.

His customers like HUGO BOSS, Medima, Erwin Müller and others enjoy working with him because of his professional approach and his ability to convey the brand values in his Images. His editorial work was recently published in QUALITY, SUPERIOR, BOLD, HUF, FAULT, Max, Playboy and various US publications like BISOUS, Relapse and VOLO.

For this shoot we used the Move-kit intensively, as the sun came up from time to time but each Image had to have this tropic-sun look. In a lot of situations we used the Move to brighten up the scene – for this purpose the Move is just fantastic, because it allows you to go down so deep with the power that on this November day we could flash so subtle simulating the available light from outside. You can see it on these images very clearly – on the first two the “sunlight” in the background is simulated by a Move pack with just one head from approx. 7 metres high.

StaephanGlathe_Fashion StaephanGlathe_Fashion1

On these last two images the complete lighting mood was made with the flash of the Move kit, as the sun was hiding behind the clouds. We were able to realise all of the 12 stills with only one Move battery.



More stills of this photoshoot


Stephan Glathe

L’OFFICIEL HOMMES Switzerland – Moving Image Editorial by Sandro Bäbler

An average of 10-12 different outfits had to be photographed for a fashion editorial. All the images together – at least in approach – tell a story and fit together visually. The magazine’s art director ultimately decides which of the images meet the requirements and will be printed.

We had a total of five hours for this photo shoot, as this was all the time that was organisationally possible at the airport. In addition, I had decided to offer a short teaser film to go with the magazine editorial. All the film was taken with the model, therefore, also had to be realised during this five-hour period.

I usually prefer an actor to a model as they are more able, to empathise with the fictional story. With Werner Schreyer, we had an experienced model with acting experience. The perfect mix.


Unfortunately, the weather did not turn out as forecasted and we had to take the shots in the hangar because the clothes were not allowed to get wet. The cloudy sky was now our fixed light source – the biggest natural softbox of all. This also worked in the closed hangar, as it is fitted with semi-transparent material.


With the broncolor flash and HMI lights we had brought with us, we were able to complement the respective lighting situation, depending on the direction in which we photographed. The light had to appear natural, despite the use of artificial light which was was a big challenge.

Added to this was the fact that we were under great time pressure and had to photograph and film simultaneously. This meant that we were lighting with both flash and continuous light at the same time. The lights stood directly next to each other in order to illuminate or trigger the flash from the same direction as much as possible. With the film camera (Red Dragon), the aperture was adjusted to the respective strengths of the HMI lights. With the photo camera (Hasselblad H4D), the aperture was more closed and adapted to the strength of the flashes.

Thus, we could prevent the HMI light affecting the photos too strongly. As the Red camera shoots 100 frames per second in RAW, we finally had enough footage between the flash releases to cut the teaser together.


Light equipment used
- HMI DW 800 broncolor
– HMI DW 200 broncolor
– Move set with 2 broncolor lights
– Octabox 150 and 75
– Softboxes for HMIs

Making Ofs


A big thank-you to all those who participated:
- Brigitte Margareta Wilhelm for the fashion direction and Styling / – Victoria Steiner for assisting the Stylist/ – Paulus Brügmann for the direction of Photography/ – Lukas Linder for assistance during filming/ – Jehan Radwan for the grooming/ – Maurin Bisig for assisting the Photographer/ – Anja Müller for the production/ – Martin Bäbler for the Cineflex takes/ – Werner Schreyer from Option Models, Zürich

Photographer and Filmer

Sandro Baebler was born 1985 in Glarus, Switzerland.
After an apprenticeship as a graphic designer and an intense around the world trip he started his own business in summer 2011.The young autodidact already worked for magazines like ELLE, GQ and L`OFFICIEL HOMMES. His focus is on portrait, men fashion and Beauty.

Hanging on Walls – On the Move with the Move

Getting out of the comfort zone of ones studio is something every photographer longs to do from time to time. broncolor Photographer and Consultant Jessica Keller took the challenge and traveled with a small crew across the Canton of Basel-Country to a popular climbing wall named Falkenfluh in the middle of the woods.

There was no street leading to the place, so after parking the cars it was 20 minutes of marching through fields, woods, over stones and hills, armed with over 30 kilograms of high end photography equipment ranging from two broncolor Move 1200L powerpacks, over to a Para 88, down to Cameras, Lenses, RFS senders, Tripods and, most importantly, the well-deserved lunch.

“Being prepared is everything. I spent a whole day planning out what i needed and packing bags of stuff.” Jessica says. “It’s always best, if you can, to take two of everything with you. Out in the wilderness, you never know what could happen.

After finally arriving at the desired shooting location, it was revealed, that our young photographer had to climb up the wall by herself.


Shooting from high up with limited moving abilities and no direct control over the lights was challenging. Luckily, the lighting setup was simple enough so that there wasn’t much need for any adjustments and the assistants on safely ground were always there to make any changes needed.


The reliable equipment Jessica had been carrying with her performed excellently. The Move in combination with the Para gave enough light to brighten up the climbers, even though they were roughly 10 metres up on the wall. A regular Spolight with a P70 and a Honeycomb gave some nice edgelighting.

After two setups on two different walls, the day was finished. Granted, the way back to the cars got a little tiresome for everyone involved, but nonetheless the company returned happily from a very satisfying, photographic adventure.

See for yourself with our behind the scenes video.

Szymon Kobusiński – Moving Image Photographer of the Year for “Metamorphosis”

Metamorphosis is a multimedia project produced for the first Polish edition of Nikon Film Festival. The author Szymon Kobusinski, also a member of the jury, has created the film and the series of photography. The Metamorphosis’ content is concerned about the new project being born which is the above-mentioned festival. While shooting Kobusiński has used Nikon’s professional gear (D4) and broncolor lighting. Main sources of light were light shapers Para 220 and Para 88 with mounted HMI lamps. Additional source of light was the Flooter. The camera and light gear were used in both studio and professional pool shoots.


Congratulations to Szymon Kobusiński for the Nomination as one of the best Moving Image Photographer of the Year at the annual “The Lucie Awards”.

About Lucie Foundation – The Lucie Foundation’s mission is to honor master photographers, discover and cultivate emerging talent and promote photography appreciation worldwide. The Lucie Awards ceremony is held annually to celebrate the outstanding achievements of the international photography community, recognizing those whose life’s work deserves the highest acclaim.


More about this photographer

How To Example – A Newborn in a soft and gentle light

Newborn_HowToI had to shoot a newborn picture. The idea was to make a light picture with little color. I always like, when I just see some skin of the baby and the rest is light and clean.

The picture was made on location in the parents apartment. So it was not possible to transport a lot of equipment. I decided to bring along the Para 133. It gives me a lot of possibilities to shape the light.

I placed the Para more or less in front of the baby. I didn’t want to have a lot of shadows. I have two more advantages with the Para. One is, that in a white dominated picture like this, I have a clear separation on the edges of the bucket. Another advantage is, that I still see some details in the texture of the fur, the bucket and the hat of the baby.

© Fabio GloorPara_SetUp













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The concept in HOW TO is to show a nice image and explain about the set-up and the shoot and to make it visual with a set-up diagram. broncolor has invested a lot of effort in this project and we will continue to create light examples very regularly.

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