AUGUST BRADLEY – New Blog Contributor

Hello, I’m excited to be a guest contributor to Bron Imaging’s blog and look forward to sharing some methods and thoughts on creating images with dramatic, stylized looks that are achieved first and foremost with lighting.


Photo by August Bradley

Photo by August Bradley

The clients I work with want high impact images that will get attention and pull the viewer in to examine the story within the frame, hopefully spending a little more time on these than on the endless bombardment of visuals that confront us everywhere we turn.

Photo by August Bradley

Photo by August Bradley

To achieve this an image has to look and feel different from the commercial norm, to have a sense of surprise and mystery but in a way that’s controlled and deliberate. Therefore, the work I do tends to have a lot of very precise lighting.


In a series of images I created for exhibition at Los Angeles Fashion Week, I wanted to create a sense of depth through light and shadow as well as guide the eye throughout the frame.


The process was very much one of sculpting with light. Here, light and shadow play as much a part of the composition as the models and set design. Each of the seven Bron Unilite heads had a very precise light shaper mounted – four had honeycomb grids on a P70 reflector, two were snoots, and the key light had a medium soft box with a grid. When using so many lights to create just the right accents of light, controlling spill becomes essential.


It’s also critical that once I determine the ratio that balances each head, the strobes fire consistently and recycle quickly – permitting me to forget about the equipment and place all of my attention on communicating with the model and composing the frame. I don’t want any of my attention being diverted to gear issues at this point.


Light is only interesting when contrasted with the absence of light. I love images that have pockets of shadow rolling throughout, enabling the glow of the actively lit areas to have clear definition and meaning.

In this collection, I wanted images where the light is as much a character in the scene as the subject.


–August Bradley




Jim Jordan - Marie Claire CoverMy name is Jim Jordan, I am a fashion, advertising, celebrity photographer. I am based in New York and Los Angeles and am blessed to travel around the globe with many clients such as Vogue, Marie Claire Vanity Fair, J. Crew, Brooks Brothers Eddie Bauer, BMW, Citi Bank Visa and shoot celebrities such as Charlize Theron, Leonardo DiCaprio, Drew Barrymore and Jessica Alba to name a few.

I am honored to be invited to be a spokesperson / contributor to Sinar Bron and California Sunbounce. I look forward to keeping the readers of this blog updated with stories and photos of my journey in this wild business.

Check out my new Australian Marie Claire covers and editorial.  This was a great beach day.  The models were really fun and great to work with.  Her name is Reanna Spaulding and her baby boy Gavin Marks.  The male model is Austin Victoria both with LA Models.  The wind was blowing so strong I thought we were going to have to change locations.   Fortunately, I have the most amazing product from California Sunbounce called the Wind-Killer.  I owe them a big thank you.  The Wind-Killer saved the day again.  If you are not familiar with the Wind-Killer, it is amazing tool. You can protect your models from the wrath of nature.

jim Jordan - Marie Claire Cover

The Wind-Killer knocks down the wind to a workable amount, but it still allows some wind to come thru so the hair and clothes still blow and look natural. If you put up a big 4×8 foam core or something else it blocks the wind and cause a swilling effect that will make the hair and clothes blow even crazier.  The wind is what makes the shot and gives it the energy and movement, but too much wind as in this case, the sand was blowing into the models eyes to the point were they could not even open them.  Check out the results we accomplished by using the Wind-Killer from California Sunbounce.  What could have been a disaster turned into a great shoot. Thank you for checking out my blog . Stay blessed and stay tuned until next time.  Cheers!  To see more of my work log on to or my personal blog


Jim Jordan Composite

Lou Manna – Food Styling and Photography at Boston University

International Conference on Food Styling and Photography

Boston University Metropolitan College
June 12-15, 2009

New York City food photographer, Lou Manna brought tips and techniques on how to style and shoot food in his “Introduction to Digital Food Photography” seminar at the 2nd Annual International Conference on Food Styling and Photography at Boston University.  Lou started by introducing the workshop attendees to continuous light sources using daylight and broncolor 575-800 HMI.  In the afternoon session he moved to electronic flash units and used the Scoro A4s with Pulso G and Picolite’s, showing how to create emotion in food photography.  The ability to use the same reflectors for both HMI and Flash, is appreciated by Lou, “The beauty of broncolor is that it’s a complete system”.

Lou began shooting for the New York Times in 1975 and established his  5th Ave commercial studio in the early 90’s.  Since then he’s been busy shooting national ad campaigns and major magazines.  During this time he also found time to author his first book – Digital Food Photography.

The 4 day conference was sponsored by BU’s Master of Liberal Arts in Gastronomy program and plates on display were a visual treat.

“The Picolite is a food photographer’s dream!” says Lou, “The 1/10th stop control from the packs and the ability of the Picolite to shape light into such small areas is special”.

Lou’s sense of style, color and composition are completed by his amazing kit of mirrors.  Lou loves to add texture and depth by bouncing light back into the food and dishes using an assortment of small mirrors that he has collected over the years.

Lou is planning to be back at BU to hold more workshops and also is teaching food photography classes in New York.



Profiles in Photography Dan Tobin Smith

dantobinsmith3Though he’s only been shooting professionally since graduating from the London School of Communication back in 1999, Dan Tobin Smith has been around cameras and photography since he was a small lad.

His father was a photography teacher who would often let his son tag along on the occasional freelance assignment he would take on, assuming it was appropriate (Penthouse Magazine was one of dad’s clients). Stints in several art schools helped finalize the mold.

Fast-forward to the present and Dan Tobin Smith has established himself as a serious contender in the commercial world. And though he mostly shoots still life these days, the skills and style he honed in his earlier days shooting interiors on is quite evident in his current work. Many of his larger still life works are in many ways installations with blatant architectural overtones. Working out of his London studio, Dan shoots wildly imaginative imagery for a variety of advertising and editorial clients. Included in this roster are Wallpaper Magazine, Sony, Birds Eye, Another Magazine, British Air, Bacardi, The NY Times Style Magazine, iD Magazine, Creative Review Annual, Kilimanjaro Magazine, and Sumo. Dan’s work is detail oriented and he relies on a professional group of creative types to pull off many of the shots he stages, and in this case ‘stages’ is an appropriate word to use when describing the nature of his imagery. Many of his photographs are complex on a grand scale, while others are equally complex within the confines of a tabletop.

Click here for the full profile…

Emergency: Markus Klinko & Indrani Celebrity Shoot in Tribeca

A photographer’s emergency becomes an SBI solution.  Markus Klinko & Indrani,  acclaimed photography duo to celebrity superstars and the like, ran into a bind while using a broncolor Para 330 FB just before a major celebrity shoot last week in Tribeca.

When Markus & Indrani shoot it is a major production with tons of  planning.  Equipment failures can throw the best shooters and teams into a little bit of stress…reworking a well thought out lighting setup is not a welcome activity a few hours before the VIP shows up.  And, while the Para is designed to withstand a ton of abuse, problems  can happen.  Markus & Indrani’s  people gave us a call and we were on the scene in minutes with another Para from our demo closet on 38th street to rectify the  situation. We remained on set to make sure all equipment was setup  properly and all gear performed to the highest quality for the shoot.   We take pride in our gear.  We take pride in our service.  This is how we roll.