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Red Bull Illume Collegiate Photography Workshop – Featuring Siros L

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imageFifteen nationally recognized young photographers recently gathered in Chicago, Illinois, to participate in the Red Bull Illume National Collegiate Workshop.

Faced with the difficult but exciting task of shooting professional athletes outdoors, in their respective sports, the photographers set their sights on the expanse of the city to choose a perfect shooting location. Along with their trusted cameras and hungry imaginations, the students had in their arsenal the Siros 800 L Outdoor Kit 2, equipped with Softbox, umbrella, flash tubes and reflectors. These resources would prove indispensable, as many of the students photographed their athletes at dusk or at dawn and didn’t have direct sunlight at their disposal.

Carlee Hackl, a student from St. Paul, Minnesota, had the opportunity to shoot Red Bull Slackline athlete, Alex Mason. Carlee’s photoshoot occurred alongside Lake Michigan at 7:30 am: sunrise.

 

With mentor and Red Bull Illume global finalist Christian Pondella by her side, Carlee got to work brainstorming how she would manipulate the Siros 800 L around her athlete so that the light would work in harmony with the sun’s harsh morning rays. Eventually, this incredible shot (right) was captured. By placing the Siros 800 L opposite the sunlight, the young photographer landed a shot that perfectly captured Alex in his element, illuminated by two harmonious sources of light. According to Carlee, “I wanted to make Alex stand out. With the grass, slack line, water and city skyline, there were already so many different layers to the composition. The strobe helped center the focus on Alex, despite all of the various layers that filled the rest of the image… I set up the strobe on my side of the slack line to help even out the shadows and make Alex’s body stand out as a whole.”

Zack Altschuler, from Boulder, Colorado, also worked with slackliner Alex and mentor Christian to create his scene, but under wildly different conditions: nighttime. By placing his Siros 800 L to the right of the athlete and shooting at an angle, Altschuler was able to capture Chicago’s iconic skyline while still illuminating and maintaining Alex as the center of the shot (left). Shooting the contrast between the athlete, the trees, and the dark night sky would have been virtually impossible without the use of the monolight. Zack said, “I mostly used the Siros 800 L as my fill light because I wanted to have a soft light on the ground as well as on Alex. I used two other lights that produced a more harsh light on the environment.”

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With outdoor locations spanning the entire city, and therefore no access to a power source, the photographers were given broncolor’s battery charger equipped with lithium-ion batteries for hours of uninterrupted shooting. The Siros 800 L Outdoor Kit 2 proved to be a key ingredient in producing the vivid action shots created by all fifteen of the artists.

Testimonials 

Dustin Keony Sousley

“With the lights, there was obviously a learning curve because a lot of us had never used them before, but the mentors were a huge help with setting them up. broncolor gave us the lights, stands, battery packs, everything… it was really cool.”

Zack Altschuler

“I mostly used the broncolor as my fill light because I wanted to have a soft light on the ground as well as on Alex. I used two other lights that produced a harsher light on the environment.”

 

Carlee Hackl

“I wanted to make Alex stand out. With the grass, slackline, water, and city skyline, there were already so many different layers to the composition. The strobe helped center the focus on Alex, despite all of the various layers that filled the rest of the image. While I was mostly shooting Alex from one side of the slackline, the sun rose from the opposite side, which clearly created a shadow problem on Alex as my subject. I set up the strobe on my side of the slackline to help even out the shadows and make Alex’s body stand out as a whole.”

Dolly Nguyen

“The broncolor strobes let us work with light metering and using them at different parts of the day which was crucial to the people that shot at night or in the morning.”

PHOTOKINA News – broncolor HS, RFS 2.2 Transceiver, Strip Grid 5:1, Live How To’s

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with HS 1/8000 s, focal length 85, f/2

broncolor HS function – flash with very short exposure times, now available with Siros L monolight and Move power pack.

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without HS 1/250 s, focal length 85, f/11

broncolor has just released the new function broncolor HS for use with the new RFS 2.2 transceiver.

broncolor HS function allows you to use flash at any shutter speed, means the flash sync is no more limitation and allows to shoot with open aperture. This professional photography feature is now available for Siros L monolights and Move power packs. For example, for photos taken on location with a wide open aperture (shallow depth of field), it allows you to work with short shutter speeds up to 1/8000 s to underexpose the background and let the flashlight work its magic.

A change of the flash tube is not necessary, neither with Move nor with Siros L. For Siros L units we recommend a software update to version 52.03. This update improves the handing of the HS function and may be downloaded from our website: http://www.bron.ch/sirosfirmwareupdate/

For Move owners, a software update is mandatory and must be done by your specialist aftersales dealership.

The new RFS 2.2 transceiver

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The RFS 2.2 transceiver is a remote control or radio flash trigger for one or more broncolor power packs or monolights equipped with an RFS 2 interface. Power packs or monolights not equipped with an RFS 2 interface can be operated by connecting an RFS 2.2 transceiver (as receiver).

RFS 2.2 as transmitter: The RFS 2.2 transmitter – optimized for use with Nikon, Canon or Sony cameras – is all photographers need to enjoy the benefits of working in HS mode. HS must be activated on the flash unit so that the flash curve is modified and, in combination with RFS 2.2, the right exposure achieved with no restrictions on shutter speed.

Due to the unique construction of the hot shoe for Nikon, Canon and Sony camera systems, using RFS 2.2. with other brands is not recommended or needs to be tested before use.

Using RFS 2.2 as HS transmitter: In HS mode the transmitter is set at the factory to work correctly with all camera models from Nikon, Sony or Canon. The time from when the flash is triggered to when the shutter opens is controlled by a preprogramed trigger delay to obtain the best lighting results with an exposure time of up to 1/8000 s.

With HS selected, the HSMA menu (HS Manual Adjust) can be used to choose an optimal exposure setting based on the camera model. HSMA mode overrides the automatic HS flash trigger.

 

broncolor reveals Strip Grid 5:1 honeycomb grid pattern for elongated lighting patterns pressebildstripgrid-33-195-00

broncolor has introduced a new Strip Grid 5:1 as part of its honeycomb grid accessories for the P70 reflector.

Honeycomb grids are generally used with softboxes, beauty dishes or Para reflectors and designed to reduce the coverage angle of light. Various grid cell sizes allow the spread of light to be reduced.

A honeycomb grid always produces an image with greater or higher contrast because less light is reflected. This type of grid pattern causes the illumination to be round and spot-like.

While having the same basic function as all broncolor honeycomb grids, the new Strip Grid 5:1 has an innovative grid geometry. As the name already suggests, the grid cells are not round but have an elongated rectangular shape in a proportion of 5:1 instead.

This narrower grid width makes completely new and creative lighting possible. Patterns of light previously possible only by using complicated optical systems can now also be achieved with a simple honeycomb grid accessory.

 

Live How To’s at Photokina

Come and visit us at our booth. Many interesting live seminars will be hold by our broncolor photographers Urs Recher, Nadia Winzenried and Jessica Keller. Many interesting themes as ” portrait, simpy explained,4 ligt effects with softboxes, light for film and photography, tips and tricks with broncolor light shapers and a lot more. Flyers can be picked up at our booth with the complete week program.

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I Am Real Life – A multi-media stage production with Ray Demski


This project initially caught my interest as I knew it would be very different from my usual commercial and adventure shootings.

A multi-media stage production with a live audience; on stage 5 dancers, 1 musician, 1 sketch artist, 1 writer and myself a photographer as well as my digital operator. Things were allowed to develop organically and every artist in some way affected the others in turn so it was a real “jam session” of different media.

Real Life - Ray Demski

As I shot tethered to a computer my Digital operator applied looks to the raw images and curated what the audience and artists saw on the floor to ceiling projection at the back of the stage.

For lighting I wanted a look that would be very different to what the audience would see on stage during the show. Something stylistic and even overly dramatic. an entirely different world. A commentary on the divide between media, our digital representations of self and “real life”.

Real Life - Ray DemskiReal Life - Ray Demski

I needed to over power the stage lighting to create my own look and required fast flashes to keep pace with the dancers and freeze the action. I chose a broncolor Scoro S 3200 power pack for it´s motion freezing capability with amazing short flash durations.

Real Life - Ray DemskiThis powered a Para 222 with grid on my side of the stage as well as a Para 88 to the back of the stage. At the far end of the stage from the camera I had two backlights, a Para 133 and a Para 88. For these I used two broncolor Siros 800 S monolights, a great match for the Scoro, with the same color temperature and blazing fast flash durations.

Real Life - Ray Demski

Shooting on stage as part of a show with a live audience provided it´s own set of challenges. During the show I wanted to be able to alter the look and even completely change the lighting on the fly. To avoid walking across the stage to change settings, I used the Siros app. With the App I could control the power levels of the Siros units wirelessly, or turn off individual lamps to change the look. This proved a perfect solution for the live performance.

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Making Of

 

About Ray Demski
Ray is a Canadian action & adventure photographer based in Munich, Germany. He splits his time between shooting campaigns for the likes of Adidas, BMW, Audi, Nikon, Red Bull among others and wild adventures capturing athletes doing what they do best.

www.raydemski.com

 

SUUNTO “Spartan” – freezing action in bright sunlight

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For the next generation of multisport watches I was approached by Suunto to collaborate on the initiative image campaign of their new product Suunto „Spartan“.

The campaign intended to be as innovative and creative as the product itself and therefore Suunto came up with the idea to do a double exposure concept.

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Hearing the idea got me really excited and I was happy to help working out and planning the photo production. Picking the right location, selection of models, planning of body positions, light setups and postproduction workflow kept us busy until the actual shoot.Suunto_Spartan_Running_man copy

When we arrived on Teneriffa we invested 2 full days for intense location scout and exploring the Island almost 100%. At night we set together to evaluate locations and make our final picks.

SUUNTO "Spartan" captured by Markus Berger

In general the goal was to get epic landscape images with an athlete small in the picture. Showing the loneliness that training can confront you with when you go out at crazy times or difficult tracks. At the same time the landscape should represent the beauty of the moment and inspirational environment.

We were shooting with a small team of 4 people to be able to move fast and get several locations and sports done within shorter time. Together we had 4 days of shooting and an additional day in the studio to create the scribbled key visual shots to combine with the action.

For moving that much and changing setups constantly the broncolor Move system offered the best option for me regarding light equipment. No distractions but being able to focus on taking images. The flash duration at high power settings enabled me to freeze action in bright sunlight which otherwise would have been a huge challenge.

Finally seeing the images coming out and being received so well makes me very proud. In general for me to see a fragile idea grow and turn into something big is the most beautiful thing about this job. Just because one believer can be enough to make a difference.

Making Of Images

SUUNTO "Spartan" captured by Markus Berger

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.

http://bergermarkus.com/

Studio Techniques & Posing with Peter Coulson – Australian Fashion Photographer

Coulson

Immerse yourself in Peter’s knowledge, creativity & fascinating Photographic World.  A photographic experience like no other.

Peter will be teaching you everything you need to know to create incredible studio images! Learn how and why Peter’s methods are so logical and liberating, teaching you how light truly works, how to change, manipulate it + how to develop your style & look.

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This intensive hands-on workshop will include 1-on-1 shooting, learning, as well covering model posing and communication – offering you fresh ideas on how to make photography and lighting simple and easy.  Peter is one of the only photographic educators teaching how to create better photos without the expenses of a high-end model, stylists, makeup artist & luxurious location. Creativity is limitless, the skills you will learn can enable this for the rest of your career, setting you distinctly apart & advanced from today’s industry standards.

Australian fashion photographer, Peter Coulson, will be running his workshops throughout the UK and Europe this September and October. For more information & bookings, visit www.workshops.peter-coulson.com.au

Quick and fast with Siros L – Haze Kware on the road through Europe

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by Haze Kware

Being on the road is new to me. You have to adapt, improvise, think quickly. It can be scary and stressful, but it’s also very exciting as you may create things you would have never thought of otherwise. This is my life now as a photographer since May 1st.

Before it all officially started, I had the chance to test  a variety of tools to prepare this trip that is taking me all around France and a few dates in Europe. I have been working with strobes regularly now for almost 3 years and I needed to change entirely my way of working. I had to fit all my equipment into a camping car ! Staying only a few days in each city, I do not have much time to prepare, organize the shoot, and find a location (and eventually get the authorizations) as I used to.

So I pretty much have to make a lot of decisions the day of the shoot in regards of the lighting set ups. To stay efficient, I needed tools that would free me of any concerns in regards of reliability, efficiency and quality. And on top of that, it had to be as small as possible and portable.  This picture was taken in Bordeaux with a dancer from the National Opera of Bordeaux, Nicole Muratov.

We needed an original location for this ballerina, far from the regular studio pictures that dancers make. La Base sous marine was perfect for us. I was supposed to visit the place a few days before to prepare my shoot, but unfortunately we couldn’t sync our schedules. I ended up visiting the building 30 minutes before the shoot !

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This is actually the 3rd picture we made there, and it was an easy one to make. Light wasn’t coming in like I needed and her face was underlit once laying on the floor. I really wanted the rail in my composition because I wanted to use it as a leading line.

The solution was simple, we used the Beautybox 65 and a Siros L 800 W (camera right) placed perpendicularly to the handrail. I purposely slightly underexposed the environment for that dark dramatic look.

During that afternoon the Siros L was the perfect companion. Compact, with no cables/ wires dangling around, we were able to move, and work fast without compromising on the quality of the results.

ABOUT HAZE KWARE
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.

http://hkvisuals.com/hazekware/
http://hkvisuals.com/not-yet-on-the-road/

 

Olympics Rio 2016 – Sports Motion Film for Norwegian TV channel

Thomas Morel

Thomas was asked to do the promotional material for the Olympics in Rio for the Norwegian TV channel TV2 because of his signature stop motion visual expression. As part of the briefing, shots of the actual motion for each sport where requested in a fashion that would show a side of the motion that had not been seen before.

“One of the main challenges with high-speed footage is the flickering of light whenever you exceed 1000fps plus illuminated with artificial light. The whole point of my work is to combine regular motion with a thought through sense of weightlessness, and to illuminate it with exactly the light that I want the spectator to see.” – Thomas says. “These broncolor light setups give me exactly what I’m looking for. No flickering, and a perfect light temperature even at the highest frame rates.”

“Documenting the motion as it is, and waiting to be lucky to capture exactly that gesture you’re after, is not the way how I work. I tend to watch the sport as it is, and stop the athlete whenever I see a gesture that might be visually appealing. Then I ask the athlete to repeat this over and over again, and get it better and better every single time he or she performs what they can do best. Sometimes I ask them to go outside their comfort zone, solely because this might be better visually then the motion itself. I tend to call this manipulating reality, rather then post production of the images I produce.»

When you’d attend one of Thomas’ shoots, you’d be surprised about how different the images turn out to be compared to the «reality» that you thought you observed. This is all because of the lighting Thomas uses to illuminate his subjects. Even out in bright daylight, Thomas manages to block out and stop down any ambient light hitting the scene. Now, 1600 Watts doesn’t seem to be enough to film even in studio at a frame rate of 1500fps+, but combined with reflectors that bundle the light output exactly there where Thomas wants the light to hit, it is enough to block out any ambient light that is not direct sunlight.

“Filming in daylight at an extreme frame rate like 1600fps seems to be easy because you have more then enough sunlight available to illuminate your subject. But whenever you want to create something out of the ordinary, illuminating the subject with the light shapers by broncolor and the 1600HMI lamp head in addition to the sun is something simply necessary.”

Thomas will continue his work for the Olympics towards gamestart: “Visualizing the most unnoticed details in a sport is something that really justifies the actual sport itself.” according to Thomas. “It creates a true stop-effect, and intrigues the viewer to want to know more about the sport.”

http://www.thomasmorelphotography.com/

More BLOG Posts from Thomas Morel:
Thomas Morel’s Monster Project – Eagles and Sea Visuals for Rica Hotels, Norway
broncolor and Thomas Morel: A Dream-Team
Legends of Netherlads Girls Hockey-Team

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