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Third Season – Eight new How To Videos with Karl Taylor and Urs Recher

If you have already been inspired by the ‘How To’ video Series with Karl Taylor and Urs Recher and you appreciate their content and tips and tricks, then you will be glad to hear that in the next eight weeks we will launch one new ‘How To’ video every week with our two light masters. If you haven’t experienced our ‘HOW TO’ videos already then you can go through our Playlist at: on our youtube broncolorworld channel.

UV Underwear
The first video of this new series: A model in white underwear is dimly lit – UV light brings extra glow to the White

Our video series is one part of our HOW TO concept. On our website we have multiple choices of our educational HOW TO content. We show a nice image and explain about the set-up and the shoot and we make it even more visual with a set-up diagram. You have the choice: choose first a light shaper and see how it can be used. Or you choose an image and see, how to shoot it.

At the start we pointed out, that we will produce HOW TO’s regularly, nearly every week. Periodically Karl Taylor and Urs Recher will continue producing HOW TO Videos to make it more personal and inspiring. If you wish to know, when we upload a new HOW TO on our website, you just have to follow us on Facebook.

Move & Para 88 for multiple solutions – “InMotion” Project by Haze Kware

“InMotion” has been on for a year and a half now. My aim for this project was to meet new artists and it was not easy. I mainly shoot in Paris and Strasbourg but the project as sent me to Stuttgart, New York, San Francisco, and now Montreal can be added to the list. It was my 4th trip to Montreal but the first time shooting there.

When I went to New York, I travelled light and worked mainly with natural light. This time, in Montreal, I wanted to work with artificial light. I’ve been working with a single flash on location for a year now and developed a look I love for this series. Fortunately, the broncolor team were kind enough to send me from their headquarters in Toronto, a Move kit with the light shaper Para 88. This was just enough for what I wanted to do during my stay.

Our meeting was planned at the old port with professional dancer Vanesa Garcia. During our first week, the weather was random. Changing from bright sunny days to pouring rain in a few hours. That morning, we were lucky enough to only have an overcast day. While this would have bugged me a few years ago, I was confident because I had a move kit with me that would still allow me to shape interesting visuals for my shoot. Just to give you an idea of how things unfolded, here is a little behind the scenes video :

You may have noticed how dull and clouded our morning was at the beginning of the video. The sun slowly showed up but it came out a bit too late for my taste. We worked really fast that day, which led us to a lot of improvisation. Vanesa had so many ideas, this shoot could have lasted forever ! The lack of an interesting light that day wasn’t a problem. I was able to give interesting shadows to my picture with the broncolor Move 1200 L and the Para 88. Placing my light between A 90 and 45 degrees angle to give depth and by adding contrast on my subject helped me get away with the ambient flat light. To emphasize the shapes and moves of Vanesa, and to give a dramatic look to my picture, I worked with a high more than comfortable depth of field. The under exposed background helped me boost my foreground and make Vanesa stand out.

Here are some details on 2 selected pictures :

VanesaNoLogo-8692Canon 5D mark III, 24 – 70mm L mark II at 55mm, ISO 100 – F9 – 1/200

 VanesaNoLogo-8783Canon 5D mark III, 24 – 70mm L mark II at 24mm, ISO 100 – F13 – 1/200

We worked so fast that morning that we had an hour left to play some more. We decided to run away from the arriving sun to avoid working in harsh conditions. Since I had a powerful flash with me we could have worked something out ( see closer to the edge… ) But we preferred changing location for a few shots indoors in a warehouse nearby.To summarize, this morning was really awesome. Vanesa blew me away, with her professional attitude and skills. Communication was so easy with her that, sometimes, I barely spoke to explain how I wanted to take my pictures. I really hope we will have the opportunity to work together again for another epic photo shoot.


Andriamampandry Tiana also known as Haze Kware is a photographer and videographer located in Strasbourg. He is one of the members of blackdough Team, and proposes from now on his craft as a solo Photographer under the pseudonym: HK

Photographer for Dancers / Performers / Artists / and individuals looking for edgy, gritty, bad ass visuals.

Looking back at “Catching the Light”

A few weeks ago we published the last episode of our video series about the Siros “Catching the Light”. So, the time has come, to give this first season about “The Four Elements” a short review. Host and broncolor Photographer Jessica Keller did some lookback at the videos and what the future might bring.

jessica_portrait_kl“Catching the Light” was for me personally a wonderful project.

As a photographer you always strive to capture your visions and of course you will be only satisfied when achieving your goal.
To achieve the masterpiece you dream of, you need to be prepared, handle tricky situations and most importantly reliable and top quality gear at your disposal. The right lighting equipment helps you to illuminate your subject exactly how you want it to be. Broncolor’s Siros made it possible to capture my wildest ideas. Every single episode shows the diversity of a Siros and how you can use it in any given situation and are able to capture great images.

I really appreciate your support and hope you guys had fun watching our first season of “Catching the Light”. We are always happy to get some feedback, or ideas for future episodes. So please, leave a comment or write us directly via and let us know what your thoughts are! I sincerely hope to welcome you back soon for more exciting photoshoots with the Siros.

For those of you who haven’t seen “Catching the Light” yet, here is a quick overview of the Episodes so far:

Episode 1: Fire – or: Using the Siros with Candlelight

_NIK7052Our very first episode of “Catching the Light” took place in a beautiful castle in Basel. The goal was to capture some images with our Siros 400 S in combination with lots and lots of candle light.

Siros 400 S is a powerful light, but at the same time it gives you the freedom to work with low power, which in this case was used to not destroy the candle light.
I worked with a power setting of down to 2 which corresponds to 1.5 Joules of flash energy in a broncolor Siros 400 S. The broncolor Siros 400 S enabled a shooting which captured the existing atmosphere beautifully, thanks to the combination of high sensitivity, low power and slower shutter speed.

See the accompagnying How-To page here including lighting diagrams.

Episode 2: Water (Ice) – or: Sports Photography with the Siros

_NIK7854The next shoot was all about freezing action. We found ourselves on an ice rink with some ice hockey players. For this photoshoot I used one Siros 400 S and two Siros 800 S.

The Siros 400 S was attached to our Para 88. The Para 88 is a strong light reflector and spread the light evenly on the players. Using that combination made it possible to work with lower light (level 7) and get a fast flash duration of around 1/7000s to freeze the motion.

Thanks to the combination of shooting with our Siros on Speed Mode and our different light shapers it was possible to freeze the action nicely.

See the accompagnying How-To page here including lighting diagrams.

Episode 3: Earth – or: Taking the Siros Outdoors

_NIK8404Our next stop with the monolight Siros and Model was in the woods. How does Siros and natural light work in combination?
When working outdoor a photographer always faces the challenge of getting enough power out of the monolight you’re working with. If you want to feel the flash, it should overpower the natural light, but not destroy the atmosphere

See the accompagnying How-To page here including lighting diagrams.





Episode 4: Air – or: Working with the bronControl App

030The last episode of “Catching the Light” was in our studio in Basel with two stunning dancers. This tutorial should show you how easy it is to work with the bronControl app.

All the basic functions of the Siros can be modified through the new “bronControl” app. I was able to do my necessary settings on the camera and then switch over to the app for full control over my light set up. It allowed me to do all the changes without having physically interact with the light. You can control everything from one spot. It saves time and lets you concentrate more on getting the perfect shot.

See the accompagnying How-To page here including lighting diagrams.


Distinguish Wedding Dress Styles by Shaping the Light

HAZAR3146 rev
Being an artist has no definition. No matter what camera I use, the most important thing is how to iluminate my subject. By understanding how to select the source of light, I achieve my goal. Thanks to broncolor for providing us with all the light shapers we needed.

HAZAR3382 rev

I use in this photoshoot two Verso power packs, a Pulso light attached to the Softbox 30 x 180 with a grid to illuminate the dress and a P70 reflector.

HAZAR3186 rev

What was the Job?

To simplify the big puzzle of wedding dresses through different styles of lighting.

What did you want to achieve?

I urge in my photos to emphasize the back and frontal design of a dress, getting the shapes a bit more flat, highlighting the curves of the body, all sprinkled with a touch of elegancy and sexiness. My images should offer the viewers the dream of a fairytale.

HAZAR3332 rev

About Giovanni
What makes an exceptional professional photographer is the photographer’s experience, Training, Background, poses and personality that is their Repertoire. What makes Giovanni Photographic Artist a cut above your exceptional photographer is everything else. Only an artist’s eye, like Giovanni’s, gives him the ability to see things from a unique perspective, capturing the Moment in time with Feeling, grace, power, nostalgia, and timeless elgance. Giovanni’s matchless experience as a Fashion photographer and photojournalist has placed him on shoots around the world and his work can be seen in top Fashion magazines.
Giovanni’s style is classic and editiorial with a contemporary European flare that brings out a romantic, sexy, exhilarating and fresh character to every shot.

Red Bull X-Alps – the world’s toughest adventure race

Antoine Girard (FRA2) - Action
The Red Bull X-Alps is the world’s toughest adventure race. It’s a bold claim – but one it surely deserves. It’s difficult to think of another race that demands such a high level of fitness and technical skill – or lasts so long.

That also implies that photographing such an event is special in many ways. Photographers that follow this race have to be well trained and fit enough to run up and down mountains with heavy load. In an ideal case they are also able to fly a glider to chase the athletes even in the air for some unique angles and documentary.

The photography team for this event consisted of 6 (partly even 8) photographers in total and everybody assigned with a special task. In my case I was spending 4 days of shooting with the athletes from the week before the race until the actual start and first peak and take off.

Bildschirmfoto 2015-07-15 um 11.25.09

For such a big event there are usually preshoots to produce content that will be used in the communication before, throughout and after the event, not only by media but also for sponsors and commercial purposes. Therefore the tasks can vary big time from simple documentation of details to commercial shots.

In my case I was assigned to take similar head shots of each athlete before the race to have consistent images on the website, for communication or in media. Since athletes in this period before the race are tough to get hold off I built a small light set with my Move and Para 88 within the camping site of the athletes and just grabbed them as they passed along.

I was also shooting a helicopter flight to get news shots of Red Bull X-Alps in connection with well known monuments in Slazburg.We had two athletes with us in the helicopter and they actually jumped out above the most recognizable sight which is the castle „Festung Hohensalzburg“. After that they flew across the old town and performed crazy tricks to get even more appealing action in the shots.

Moreover I was assigned for documentation of the start and the prologue which was a prerace before the actual start. In order to do a good job there you have to be active and get different angles that tell the story but also incorporate all the necessary sponsors in a natural way. That means you have to run and hike a lot and mostly switch fast between two cameras all the time. There are many things on your shotlist to think about that sometimes it can limit you in your creativity but also this is also a good challenge and makes you really focused at the same time. Crucial for event documentation is the delivery and workflow after the event. Of course everything also in high end quality and perfect metadata. Usually within one hour after the event has ended you should be able to deliver a handful of shots perfectly processed and with flawless metadata.

Shooting Red Bull X-Alps was a great experience for me and to be close in at such a cool event with those amazing athletes can not get any better. The spirit of this event is very unique and it truly is an adventure also for the photographers joining in this race. Moving and living and breathing nature in and out and giving your best everyday to the full extend makes this event special. Also you never know where you end up at the beginning of the day – it could very well be the top of a mountain, running through the woods at night or soaring through the air…. for sure you’ll face some kind of adventure.

More BLOG post about Sports Photographer Markus Berger:
Shooting Editorial Sports and Commercial Photography – Case: Airstreeem
The other Look with UV light – Ice Climbing Shoot with Markus Berger
Easy handling and fast recycling times – Move, “Colours” & Marcel Hirscher
Markus Berger creates multiple looks with Beauty Dish and Move

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.

Experience a Different Perspective – Campaign for Deakin University


I was an Art Director for 13 years at numerous Melbourne advertising agencies. During my first two years as an art director I studied photography at night as I was keen to learn how to shoot but I also needed to learn how to brief a photographer and know a bit more about how they worked and how they brought concepts to life.

I continued shooting on and off but about 6 years ago I started to shoot a lot more. Any spare time as an art director was spent shooting or studying. I would shoot live bands a couple of nights a week and then at work I would constantly be shooting portraits of other creatives. Basically I would shoot during any spare time I had. After a while I was asked by creatives at a couple of other ad agencies to shoot their work. I would take annual leave holidays from my job to go and shoot their ads. No one knew I was doing it and after a while I finally decided to quit art direction and become a full time photographer. I’ve been shooting full time for just over two years now and I’m very happy with the decision.

The Deakin University Campaign

This job was a new campaign for Deakin University under the title, Experience A Different Perspective. The Art Director behind the campaign, Mikey Tucker from The Royals agency, was after something that not only communicated the idea but also had a really strong look. The client hadn’t done a lot of photography based campaigns in the past but they really believed in the idea from The Royals and they’re rapt with how the campaign has turned out.



The biggest challenge for the shoot was probably the restricted time, we had to shoot 12 shots in two days. Fortunately Mikey and I had a two day recce at the two different Deakin University campuses. We found about 16 locations or concepts to shoot, then chose our 12 preferred. Having this time with the art director searching for locations and how they would work was a huge help for the shoot days.

After the recce I spent a lot of time going over the final shot list preparing lighting diagrams, thinking about where the sun would be and what the talent could be doing. I probably over prepared but it made the shoot days a lot easier. The shoot days went really well. There was a team of 13 people which inlcuded myself, 4 talent, 2 assistants, a producer, hair and make up artist, stylist, account director, client and art director. Everyone worked so well as a team with no stress on set. We also had luck with the weather too, it only rained once for about 20 minutes.


Why I work with broncolor and what I like about the gear?

I was introduced to broncolor from the guys at SunStudios in Melbourne. I tested a Move Kit for a shoot and I was sold. The quality and consistency of light is incredible. I also like the fact they have a huge amount of power. The kit is so simple to set up, adjust and pack up. As stupid as this sounds another factor for me was that it all came in a small backpack with wheels.

For my larger commercial jobs I work with assistants but for a lot of band portrait work, it’s just me. There’s always very limited time and I have to be able to carry the kit plus other gear to any location necessary. So ease of use, consistant output and being able to trust the kit is a massive factor for me. Also, 90% of my work is location based and now having two kits means I’m prepared for just about anything.

Producer: Cecelia Bedford Stylist: Anthony Jarvis. Hair & MakeUp: Lisa Sherry Art Director: Mikey Tucker


The Light, the World, the Move & Para 88 – Western Wedding and Chinese Cultural

Bild1H5D-50C, focal length:24mm, Aperture: f9.5, speed:1/250s, ISO:200

This wedding scene-shot-on-location is sponsored by Pronovias. They wanted to create a work combined with Western wedding and Chinese cultural architecture. We choosed Beijing as our scene location since Beijing, as the cultural gathering capital of China, remains the most numbered of places of historic interest and scenic beauty. Rather than simply gaining the pursuit of external shooting form, we boldly invite foreign models to show the Chinese internal beauty, intriguing people’s curious, interest and at the same time creating a sharp visual contrast. We use large number of Chinese cultural representative stage props: blue and white porcelain accessories, traditional Chinese painting tattoos, Beijing opera types of facial makeup, famous Chinese painting <Riverside Scene at Qingming Festival>, Chinese calligraphy instruments, etc.

We choosed Royal Ancestral Temple, Wild Great Wall, Tian Mo Bei and Huai Rou movie Studios.

The problems were:

1) Our shooting team will cross five hundred kilometers, shooting the scenes, recording the videos, and constantly changing four different shooting locations through crowd traffic. Those all led to a stressful and tight schedule. We need one light which has a focus and easy to setup and convenient to adjust in order to avoid the use of many sophisticated lighting.

2) Beijing haze makes poor visibility. We need highly-qualified light to balance the picture, ensuring a clear Scene

3) The team needs to walk across fifteen beacon towers to arrive the destination in the Wild Great Wall, which means we need lighten our loads. We need a small sized power unit that can constantly sustain electricity.

4) Besides the large power, we need the power unit to be stably manipulated, highly precise and triggered in long distance when we conduct Portraits and Scene shooting in large shooting locations.

Fortunately, Bron’s Move Set and Para 88 perfectly solved the previous problems.


Bild9H5D-50C, Focal Length: 150 mm, Aperture: F8, Speed: 1/250x, ISO 200

Bild11The model stands in the backlighting, and in order to avoid light reflection formed on the hand banisters, we adjust the focus of Para 88 to gather as much light as possible to form perfect light on the model’s face. [more…]

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