Every photographer has their own preferences as to where to place their strobe(s) when setting up a shot. Now although there are no firm rules to this, I would like to introduce you to a simple theory in which “you” can choose what is best for you in every situation.
Start by remembering OCD. Not OCD as in obsessive-compulsive disorder, but instead by O.C.D. – The O’Clock Diagram (or Drawing, Display, Design). With OCD, you can have any number of strobes to illuminate your subject or scene. The goal however isn’t to strictly light your subject, but to actually balance the strobes with whatever ambient light that exists. The true benefit of OCD is apparent in the placement of only a single strobe, in relation to the source(s) of ambient light. This essentially means that one well-placed strobe may be all that you need in many cases.

Here are the Instructions:
* Each number represents a strobe position, including “12” of which might be a ringflash, or a strobe over/under the camera, or a strobe that is on the same point of view as the camera.
* The camera is always represented by the number “12” position.
* The subject is always represented by the dot in the center.
* The number “3”position will always be to the left of the photographer, the number “6” position is always facing the photographer on the opposite side of your subject, while the number “9” position will always be to the right of the photographer.
* The foreground is the area between the camera (“12” position) and the subject (dot). This area is always represented within view of the numbers “9”, “10”, “11”, “12”, “1”, “2”, and “3”.
* The background is the area behind the subject (dot). This area is always represented within the view of numbers “3”, “4”, “5”, “6”, “7”, “8”, and “9”.

¬In this scenario, the sun is at “7 o’clock” while the strobe is at the “11 o’clock” position, placed at a very high 12 ft. height. The ambient reading (of which is always taken first) was ISO 200, 1/250 sec @ f/16. Since the sun is gazing straight into the lens, there is a notable amount of flare. Also, as you might imagine, the front of the subject is therefore cast within a shadow. This gives the strobe the responsibility of illuminating the entire subject from the cameras point of view. The strobe was metered to the exact same reading as the ambient in order to maintain the natural contrast and color that comes with the ambient reading.
The strobe was placed high in order to spread the light wider for a greater angle of coverage. The 15ft. distance of the strobe from the subject also contributes to the spread of light in the overall foreground. I chose a P65 reflector (hard modifier) in order to maintain the same harshness of light and shadow as the sun itself. Moving the light to any other position within the foreground (“2”, “10” or “12” for example) would not impact the shot much differently considering the overall height and angle of the strobe. The P65 is lightweight and easy to handle. Additional choices I might have considered are the P50 at a slightly greater distance or the Mini Satellite for more efficiency and contrast of my subject.

Andre Rowe is the featured speaker at the upcoming Atlanta broncolor/Hasselblad/Sandisk event on June 24th.

Registration is free, please click here!

Andre Rowe Photography

My dream in grade school was to be a automobile designer, then in Junior High I wanted to be a comic book illustrator and in High school I played the guitar (I was, and am still, terrible!) so my dream was to be a rockstar. Then collage came around and I wanted to be a painter: a ‘real’ Artist. Then my idea was to live a bohemian life, but I am far too practical for that. Halfway through my second year (after already having some solo and group shows) I was going to have my first big solo show at a local Municipal Museum and I needed to have my paintings photographed and a buddy of mine, a local family photographer, was going to charge me a small fortune todoit. I was 19 and broke. So I did the only thing I could do,I sold my guitar (my Fender Stratocastor) and purchased my first camera. That is how it all got started; I immediately fell in love with the art form. I switched my major from Fine Arts with a minor in Art History to Photography. My camera became a quick way to make some extra cash and I love the more immediate gratification. I worked at a local paper on weekends shooting sports and anything else possible, whilst still developing a style and subject interest.

* Describe your career development?

My career starting I guess when I became an assistant for Joao Palmeiro, a big advertising photographer in Portugal. He was my biggest influence and I worked for him little over 3 years and did everything and anything that was needed or asked of me. I moved on to opening my own studio with a buddy of mine, Pedro Davim. We opened Milkman Studio Productions in April of 2002. I still assisted other photographers for about three years and I worked for various production companies on a free-lance basis. This time period was crucial having contact with big productions and working with some well established photographers. I worked with more than thirty photographers, such as Horst Diekgerdes on shoots for UK Vogue, Frederic Pinet and Thomas Strogalski shooting for Audi and Mercedes. I was always working on my own projects too, and having my own studio so early on meant I would come home from a 12 hour shooting day and then jump into my work for another five or six hours. I don’t sleep much, I never have, and this helped me hone my skills. Since then I have moved on to developing a client list with advertising agencies, magazine editors and apparel and beauty companies .

* More specifically, was there one or more life changing moments that helped you move to the next level and become the photographer that you are now? Perhaps a big break, a perfect mentor, a movie, a mystical moment?

I do not think I have any life changing moments. My career honestly has been full off ups and downs; it’s been a process of not only developing my style and technique but learning the craft of business. Lots of trial and error. I am grateful to all the photographers for whom I have had the pleasure of working with and I have taken some type of knowledge from all of those experiences .

* How do you learn your techniques?

Practice makes perfect…well at least practice make syou discover that you need to practice more ….

* Who are your photo heroes? Or who has inspired your career?

I take inspiration from all types of sources, there are so many artists that inspire me, but sometimes it may just be a single image. If I have to name some I guess this would be the list: Meisel, Klein, Roversi , Solve Sundsbo, Mario Testino, Lebowitz, Weber, Ritts, Demarchelier, Avedon, Newton, Adams, Sabastiao Salgado and it goes on and on. My biggest influences are from cinema such as Kubrick, Godard, David Lynch, Hitchcock, Roger Deakin, Janusz Kaminski, Christopher Doyle and the great painting Masters such as Caravaggio, Sorrola, Gustave Courbet or Vermer just to name a few…but the list is almost endless.

* What is the worst part about doing what you do?

Not having a pay cheque, the instability of the life of an artist living from month to month.

* What is the best part?

I Love almost every moment of my Job. The creation element involved is quite soothing and calming; sure it can get stressful at times but when I have a camera in my hand everything looks and feels different. It’s also one of the coolest Jobs anybody could have!

Learning from the Pro

* What are we going to shoot today?

I love shooting in Portugal, the country truly inspires me; the stunning landscapes, the amazing people and the glorious weather. I wanted to shoot on location in the streets of Portugal and since I would have a teeny team with me consisting of the model/dancer Katy Cee, one assistant and myself, the best option for my lighting needs was the New Mobil A2R by broncolor. This shoot was actually shot the night of my birthday! What better way to celebrate then shooting on location with my beautiful friend
and model Katy Cee. Her posing is exceptional and her figure exquisite. This is a personal series I have recently begun to explore; the human figure contrasting with architectonic structures. I am primarily interested in achieving a sense of symbiotic fluidity between all the elements in the image: the model, the location, the stylistic elements and the differing textures of each. It is sometimes nice not to have a super huge team of hair, make-up, styling and clients around when I shoot.

* What tools are you using to make this image?

This is all that I brought and worked with:
Hasselblad H4D 80mm f/ 2.8 28mm f/2.8 Minolta Flashmeter IV Light meter
Mobil Pack Mobilite 2 Lamp base (x2) Pulso Adapter for Mobilite 2 Transmitter RFS Westcott light stand
Five in one reflector by Westcott Pelican Case 1510 Standard Reflector p70 Drop it Modern backdrops (x2)

* Why did you choose these tools?

They are the best tools on the market; they don’t make my images better for using them, but they do make my life easier.

* What features of the equipment that you use make it easier to do your job?

I kept the lighting simple but effective by using one single light with the standard light modifier. This light (A2R ) is so powerful that it illuminated the model, the entire facade of the church and picked up the detail in the backdrop textiles. I set the light about 3 feet above and behind my head, so to not create large shadows but to keep the sense of drama that this lighting setup naturally concocts. One of the potential issues that could be problematic with shooting at night, is the lack of ambient light. Fortunately the modeling light is really powerful, which enabled quick and accurate focusing. The strobes fire consistently and recycle rapidly so I was able to capture the model’s movements in a spontaneous and fluid way.
The camera was handheld and set to: ISO: 200 1/125 s F stop: f/1

* Did you use competing products in the past? What made you change?

My First set of lights were Elinchrom and I have shot with Profoto and Westcott in the past. My first contact with broncolor was
working for the 1st photographer I assisted. It was Love at first click! I always told myself I would have broncolor one day. The A2R packs are super adjustable, user friendly and produce great light with super fast recycle speeds and solid flash durations.

Joao Carlos
Photographer-Visual Artist
Hasselblad Master 2009
www.joaocarlosphoto.com

I was born in England in 1973.  When I was almost 9 years old, my Mum and Dad pulled my brother, sister, and I out of school.  I know that may sound crazy to anyone else, but it was a decision that helped shape the rest of my life.

Along with two of my siblings, we set off in a Volkswagon bus to tour Western Europe for almost a year (my older brother, already in college, joined us throughout various legs of the trip when he could).   We had lessons on the bus, and Mum required that we keep a journal of our experiences, along with scrapbooking ticket stubs, postcards, and our own sketches.

That was my introduction to the classics.  Moving from campground to rest area to campground, we hopped from museum to gallery to monument, learning about European art and architecture, and meeting several interesting characters along the way (probably why I see the NY subway as more of a social gathering place to make friends, rather than a claustrophobic nightmare of strangers).  Although I’m not sure I fully appreciated seeing my first Botticelli at such a young age, I can see now how it defined even my earliest notions of beauty, and has remained with me ever since.

After a year in a bus, we relocated to Boston, Massachusetts, where I was enrolled in public school.  Though we were initially the odd kids who talked funny and called rain boots “Wellies” and ate wobbly tarts for breakfast, I quickly found my niche in a tightly-knit group of friends who have remained some of my dearest ever since.  I may have dual citizenship and was born across the pond, but you can take one look at my collection of hats and know that I call Beantown my home.

After graduating from the University of Massachusetts at Amherst with a degree in family studies, I enrolled at the Brooks Institute of Photography in Santa Barbara.

Following my third year at Brooks, I was accepted for a three-month internship in New York City with Richard Avedon.  Within the first week of the internship, Avedon asked if I would take a full-time position in his studio.  Without finishing at Brooks, I moved to New York with literally nothing to my name.  My suitcases were lost in the flight, and so my brother had to ship hand-me-downs to the cramped east village apartment I shared with eight other roommates, who’d been willing to squeeze me in to cut down the rent.

Within a few years, I became both first assistant and studio manager for Richard Avedon, an experience that could fill volumes and volumes of my own memoir.  Needless to say, it was an apprenticeship that impacted me in profound measures I cannot even yet fully assess.  Having lost my own father several years back, it was very much like losing a second father.  More than just an American icon to me, he was my mentor, and a very dear friend.  I was in San Antonio assisting him on the Democracy project for the New Yorker on October 1, 2004. Words still fail to express what a loss to the world was taken that day.

Though I was eager to help establish the Avedon Foundation in any way that I could to help maintain his legacy, I knew that it was time for me take the wealth of knowledge and inspiration with which I have been so graciously blessed, and begin to find my own voice in the world of photography.  After a brief freelance assisting job with the great acclaimed photographer, Henry Leutwyler, I transitioned into a full time freelance photographer.  I credit Leutwyler for a lot of things, but especially giving me the confidence to leave the assisting world and inspiring me to own my own broncolor lighting equipment.

The past five years as a photographer have been thrilling, sometimes terrifying, but continually affirming that I absolutely love doing what I do.  I may not yet own my own studio, and with freelancing there are few contracts to secure my income is guaranteed tomorrow.  But with editorial credits like American Vogue, and Advertising clients that include J.Crew, Coach, and Ann Taylor, etc. I certainly can’t complain.  In between my hectic schedule, I am continuing to pursue my own self assigned personal projects. I’ve been blessed to make a living doing what I love more than anything, and to do it with the most incredible lighting in the world; broncolor.

(Daymion Mardel shoots primarily fashion & portrait photography.  More of his images can be seen at http://www.daymion.com/ or through my agency Rona Siegel Artists.)

Jim also really does a great job of describing how he uses the Sunbounce Wind Killer.  We ofter talk about the Wind Killer as a product that is used for SteadiCam operators to help stabilize a camera against the wind, but there are so many uses for the Wind Killer.  Jim uses Wind Killer to reduce the wind on a model for a variety of reasons.  The great thing about the wind killer is that it does not block all the wind.  If you block all the wind then you get wild vortexes on what should be the calm side of a panel.  With the Wind Killer you don’t get these vortexes, just a nice smooth calm on the other side of the panel.  Watch the video!

I’ve always loved photography, ever since I was a kid. I’ve always been fascinated with capturing moments in time. My first “real” camera was a Kodak disc camera I got for Christmas after begging my parents for months. In high school I carried a camera with me all the time taking pictures of friends in the hall, behind the bleachers, on the handball courts, etc.

I started to take a photography class in high school but then dropped it and switched it for a cooking class after the first week. I didn’t have the patience for the darkroom and technical stuff. I just wanted to shoot. Finally, when digital cameras came about I was able to shoot as much as I wanted without having to wait 2-3 days for the lab, or spend a ton on processing. My first digital camera was a 2.3 megapixel Sony. At the time, I thought it was the greatest thing on earth. Then I graduated to my first DSLR… the Canon 10D.

My first subjects were mainly buildings, graffiti, trains and other random objects that I passed on the street during my daily commute. Pretty soon I got bored of that and realized I really enjoyed shooting people. People had emotion, life, energy and character unlike the lifeless objects I had been shooting. I minored in fashion design in college so I had a natural interest in shooting fashion and beauty. My first attempts were terrible though. Unprofessional internet models with their own clothing, shot with a typical male perspective. I was shooting models and couldn’t understand why my images weren’t coming out like the one’s I’d seen in magazines.

The big changing moment in my photography came when I took an internship with fashion/beauty photographer Sarah Silver. When I told my wife that I was interested in seriously pursuing a career in photography she said I’d have to go out and assist and learn like everyone else in order to get into the business. Being the stubborn rebel that I am, I said no way, I’m going to do it my own way…. That is, until I met Sarah. I immediately fell in love with her images, lighting and style. She was a pioneer in high end digital photography. At the time most fashion and beauty photographers were still shooting film.

While I had already graduated college, and was much older than most other interns, I decided to take the internship and it was the best choice I could’ve ever made. It was 100 times better than any book, class or school. The first semester went well and we decided to extend the internship for another semester. After that, Sarah hired me as her permanent digital tech.

From Sarah I learned how to light (with other fixtures other than umbrellas), how to talk to and direct models, how to create and use an efficient and effective digital workflow, how to retouch, and more importantly, how to shoot shoot women…. (why my photos were looking like they were… the difference between Maxim and Vogue). For instance, men naturally want to accentuate boobs and butts in photos. It’s sexy yes, but it doesn’t necessarily make a better fashion or beauty photo. It’s a completely different image.

How do you learn your techniques?

Most of the techniques I’ve learned have been from the photographers I know or have worked with. A great deal of it I’ve learned from Sarah Silver over the years. Another huge resource has been other photo assistants. They have valuable knowledge about lighting techniques, troubleshooting, and gear because they’ve worked with more than one photographer and can offer advice based on the techniques and experiences of many photographers. Don’t underestimate photo assistants. Many of them are incredible photographers themselves.

My first main photo inspiration was my dad. He was always taking pictures of everything. Of course Sarah Silver. She changed my life when it comes to photography. Also, Ryan Beny and Aaron Muntz, two photographers who have answered countless questions about lighting, technique, gear and just photography in general.

Another huge learning tool is experience. You always hear photographers say “shoot, shoot, shoot”. It’s the best way to learn your own techniques and style. You need to find out what works for you, what you feel comfortable with, and what you like. The only way to do that is to shoot, shoot, shoot!

Who are your photo heroes? Or who has inspired your career?

I never fully studied photography or it’s history so I don’t have a huge list of ‘famous’ photographers that have influenced me, but I find that I am in love with the photos of:

Paolo Roversi, Steven Klein, Henri Cartier Bresson, Patrick Demarchelier, Steven Meisel, Solve Sundsbo and Craig McDean. I was also recently inspired by Annie Liebovitz’s new book “At Work”. For once, I read the entire photo book in one sitting (instead of just browsing the pictures).

What is the worst part about doing what you do?

Right now, I’d say the worst part about what I do is that there are so many other people trying to do it. The industry is so saturated with photographers and people thinking that they are photographers because they have a cool digital camera or the money to get the latest gear. Prosumers have entered the market with their 21 megapixel cameras. Finding a job in photography can be quite hard.

What is the best part?

The best part is I love what I do! Who could ask for anything more? When you can get paid for doing something you love it’s like having your cake and eating it too!

o How did you become a photographer? Describe your career development?

I have been into shooting photos since I was 12 years old, my dad was really into it on an amateur level and gave me his old Mamiya Sekor and I started shooting my friends skateboarding. I didn’t really think I could make a living at it, so I went to Business School and majored in Computer Information Systems. I moved to Colorado after school and ended up shooting my friends doing cool stuff: Ice Climbing, Rock Climbing, Kayaking, Skiing, Snowboarding, etc. I then got a job with the local newspaper, the Vail Daily, that was my first full time photo job. After that things in the editorial world started rolling and within a year or two, the commercial clients starting coming because they liked my work in the Magazines.

o More specifically, was there one or more life changing moments that helped you move to the next level and become the photographer that you are now? Perhaps a big break, a perfect mentor, a movie, a mystical moment?

I have always worked really hard on the business end of things, delivering on time, providing logistical support and whatever else I can do to make my clients life easier. I think that was how I got my break in editorial work in the early years, was because I took it upon myself to write articles as well, which saved all the magazines money, because they could send one person on a trip instead of two. That led to my first Staff position of Senior Photographer at Snowboarder Magazine in the late 90s.

o How do you learn your techniques?

I am a firm believer in learning by doing, being out in the field and pushing it and learning by trial and error. That cost me a lot of money in film back in the day, but now with digital it doesn’t get any easier. I have taken some workshops over the years to learn more about the processing elements. I recommend D-65 to everyone.

Chris OConnell Shoots the First 1/500th Shutter Wireless Synced Flash Sequence Morph Photo from b film on Vimeo.

o Who are your photo heroes? Or who has inspired your career?

I’ve always been into Sante D’Orazio, I think it was that shot of Stephanie Seymour back in the day. I like Cartier-Bresson, Steven Klein and anyone who shoots action or snowsports. People who inspired my career are the people that listened to me and took time out to give me advice as I was developing, guys like Peter Freed, Jack Affleck, TR Youngstrom and Kevin Zacher.
I like anything with a vagabound type looseness to it, that’s kinda my style, I like a lot of the photography in Vice Magazine.

o What is the worst part about doing what you do?

Avalanches are a huge factor when I am shooting snow, I have had quite few friends lost in accidents and avalanches. It weighs on me a lot when conditions are bad in areas I am in, I spent a month in Interior British Columbia during their worst avalanche cycle ever this year and had a couple close calls, it was a relief to get on the plane home.

The travel can be tough, not necessarily the act of traveling, but the ‘bag wrestling’ as we jokingly refer to it. On any given trip, I have three to four 70lb bags/boxes checked and some seriously heavy carry on. It’s more than one person can handle, so that can be tough, especially if I am traveling without an assistant. I am a location specialist and must pack everything I need, as many locations I go to don’t have the support of a big photo house anywhere near by, so backup gear is a must.

I should also say that the act of packing all that gear really sucks.

o What is the best part?

The Travel. I have seen the so much in the world. I have been to Lebanon, Japan, Indonesia, China, New Zealand, Alaska, Chile, and all over Europe. I am always going somewhere new, whether it’s here in North America or abroad, it’s rare I don’t go to at least a few new countries every year. The people I have met over the years and experiences I have had are priceless.

· Learning from the Pro

o What are we going to shoot today?

The first ever 1/500th Shutter Speed Remote Synced Flash Sequence Morph

o How did you learn how to do what you are about to show us?

I got the idea from my friend Chase Jarvis, he was in New Zealand when I was there shooting this type of sequence, he was running a tethered sync and shooting at 250th. The wheels started turning and I decided that I wanted to try taking that idea to the next level.

o What tools are you using to make this image?

Broncolor Scoro A4S and A2S, Canon Mark IV, Zeiss and Canon Lenses, Pocket Wizard TT5, Honda EU series generators

o Why did you choose these tools?

These were the only tools I could use to do something like this.

o What features of the equipment that you use make it easier to do your job?

The Scoro packs allowed me to monitor my flash duration on the digital readout and they recycle fast enough to shoot a 24 frame sequence at 8fps. The TT5 Wizards allowed me to sync at 1/500th wirelessly with their new hypersync settings which are adjustable by plugging into your laptop.

o Did you use competing products in the past? What made you change?

I have shot Elinchrom and Profoto in the past. The Scoro packs are super adjustable, user friendly and produce great light with banger recycle speeds and solid flash durations.

New York, NY (4/20/10) – A new iPhone application is set to change the way releases are obtained in the photography and filmmaking industries. iD RELEASE, the professionally-designed, easy-to-use application, walks the model through the legal aspects, takes their photograph, obtains digital signatures and emails the completed form(s) as a secure PDF to both model and user.

iD Release’s “Mona Releasa” helps models understand the legalese behind their signatures. She cheerily guides first-time users and models through the application until their release has successfully been filed. “It’s like having a Production Assistant on every shoot,” says co-creator Jay Corbett of Mona Releasa’s accurate, step-by-step guidance.

Designed to be professional in appearance and function—with its clean, modern interface—the app is still easy enough that emerging photographers and filmmakers, as well as any talent, can readily use and navigate the application. To date, iD RELEASE offers four types of releases: model, property, extra and actor. All releases can conveniently be organized by name, location and shoot. A security login feature ensures that all collected information remains private. The app runs in English and Spanish and will soon support nine other international languages.

iD RELEASE incorporates industry-standard releases used by Getty Images, the world’s largest stock photography agency, and all releases have been approved by Getty’s image submission portal. All legal content has the stamp of approval from world-renowned copyright and digital media lawyer Nancy Wolff. And, industry leaders, like the Advertising Photographers of America (APA), have already fully endorsed the innovative and resourceful tool.

“The application will be great for the commercial and stock photography community,” says iD RELEASE co-creator Hans Neleman. “But it is also perfect for the film industry.”

The application is free to download and comes with three free releases. Single releases are available for $0.99, bundles of 15 for $11.99 and a yearly subscription with unlimited releases for $24.99. The app is available for the iPhone and iPod Touch, is iPad supported and can be downloaded through the iTunes App store. For more information visit www.idrelease.com.

See the app in the iTunes App Store
ID Release.com

About Hans Neleman:
Hans Neleman is an award-winning photographer and founder of WIN-Initiative, an alternative stock agency. www.win-initiative.com

About Jay Corbett:
Jay Corbett is WIN-Initiative’s Director of Photography and Education. Corbett, a celebrated photographer, is also a professor of photography at LaGuardia College CUNY.

About Nancy Wolff:
Nancy Wolff specializes in intellectual property law and new media law and is the author of The Professional Photographer’s Legal Handbook.

Mota has modeled for designers such as Alexander McQueen, Fendi, Heatherette and Jean Paul Gaultier. Also, she was flown in especially by Gwen Stefani for L.A.M.B.’s show during New York’s Fashion Week and had acting roles in X-Men and the Jay-Z video “Change Clothes” together with Naomi Campbell. She is known for modeling both men’s and women’s clothing. Mota was voted one of People magazine’s 50 most beautiful people in 2001. She walked the Victoria’s Secret runway in the same year and worked with photographers such as Ellen Von Unwerth and Terry Richardson.

The Metamorphosis is a novella by Franz Kafka, first published in 1915. It is often cited as one of the seminal works of short fiction of the 20th century. Elias Canetti described it as “one of the few great and perfect works of the poetic imagination written during this century”. The story begins with a traveling salesman, Gregor Samsa, waking to find himself transformed into a vermin.

The Making of THE METAMORPHOSIS

Elias Wessel story opens with a picture of a crumbled foil he actually used to create distortions which appear in several pictures of the editorial. A visual translation for a facet eye vision of a vermin. Barely to notice but reflections of himself can be found in there. A hint that this could be the perspective of the metamorphosed Omahyra. What’s not to see is that there’s also a deep personal statement in this photograph dealing with the loss of his father-like friend. Nothing more is mentioned about this connotation so far but interesting about this could be the parallels to Kafka since it is very popular interpreting “The Metamorphosis” as an expression of Kafka’s father complex.

The actual cover shows Omahyra barely dressed in a shoulder cage designed by Heather Huey. It appears Omahyra is growing out of her own birdcage. The distortions of her legs create a feeling that something unnatural is happening. The effect was created by shooting partially into mirror foil. Beside visualizing some kind of metamorphosis with this, it also gives the 80’s look of the picture a future twist since the effect reminds of digital postproduction filters.

The photographs use distortions and vermin elements as main element. The insect tatoos on Omahyra’s arms, butterfly and hornet pike like headpieces, hoofed and snake leather Louboutin shoes and a top which decor reminds of fly eyes… and in between a pure reflection of Omahyra appearing as a free huge winged bird flying into the open sky.

Talent Omahyra Mota
Photographer Elias Wessel
Vixen Magazine Editors Marianne Jemtegard, Anetter L’Orange
Stylist Storm Pedersen
Hair Yoichi Tomizawa
Make Up for Illamasqua Cosmetics Viktorija Bowers
Photo Assistant Silas Brown
Styling Assistant Adrian Diaz
Hair Assistant Taigo
Making Of Christopher Riemann
Interviewer Kjiersti Flaa
Location Tribeca Skyline Studios
Lighting broncolor

ELIAS WESSEL
VISUAL ARTIST / PHOTOGRAPHER
www.eliaswessel.com

From the Fotocare Twitter Feed:

“I’m @FotoCare at a Photo/Video seminar presented by Amber Gray… wonderful!” – Robert Holley

“The Broncolor/Fotocare HMI event was good last night. Now I’d like to give hmi’s a try. Anyone want to let me borrow some (Fotocare)? ” – William Brinson

What a great night at Fotocare rentals. Thanks to Fred Blake from the Fotocare rental department for hosting. Thanks to Jim Reed from Bron Imaging group for MC’ing and giving us all an education on the science behind the lights.

Most of all we’d like to thank Amber Gray and Julian Bernstein, two very talented individuals with an unprecedented creative vision and the technical where with all to produce it.

A very successful night for the presenters and the attendees, the later walking away with a better understanding of the medium, and an expanded tool box to aid in the creation of their own visions.

Contact Fred Blake at Fotocare for rentals 212 741-2 991 or Jim Reed of Bron Imaging in NYC  917 40 27550 for additional product information.

Stayed tuned for the upcoming summer series of workshops from Bron Imaging Group and its partners across the country!

http://www.ambergrayphotography.com/

Fotocare Rental

Bron Imaging Group

Follow us on FACEBOOK.

Central U.S.Winners:

First Place: Yongho Kim ; School of the Art Institute of Chicago

Second Place: Henrik Hui Tak Hong; Carroll University

Third Place: Sarah-Marie Land St. Louis Community College

Northeast U.S. Winners:

First Place: Malorie DePerna; Monroe Community College

Second Place: Ho Chang; Parsons, The New School for Design

Third Place: Andre Herrero; Rhode Island School of Design

The prizes awarded to these talented student photographers are as follows:

First Place: Broncolor Mobile A2R Kit
Second Place: Broncolor Minicom 40
Third Place: Foba Superball Head

Students, are you interested in winning some fabulous Bron Imaging Group equipment of your own? Then stay tuned by checking our web site regularly for all the contest announcements and promotions we have coming up!