Foto Care shares Tips on Renting Photography Equipment

Today, we’re interviewing Fred Blake, Business Partner and Manager of Foto care Rentals. Fred, having been in the photo industry for many years, has a particularly broad knowledge base incorporating both the shooting, manufacturing and retail sides of the photo industry. Fred has been with Foto Care for fifteen years.

First off, why would a photographer consider renting equipment?

Many reasons:

For the professional, if they’re in need of a product they may not currently own, or perhaps a piece may be too expensive for them to purchase at that time; this is where we can help out. Other times, we may have a photographer that’s called to do a very particular type of job where they may only need specific equipment once.

For passionate amateurs, renting allows them to take various gear out for test-drives to see what works for them. While at the same time, it gives them access to a broader range of gear when special occasions like vacations, weddings, births or graduations come up.

Most of the time it’s more economical, technology moves faster than the time it takes some equipment to pay for itself (especially digital and hybrid video cameras)

How do I choose a good Rental Facility?

Honestly, price shouldn’t be the primary consideration. Most rental houses are in the same ballpark. For us, we pride ourselves on working with our customers based on their budget restrictions or working within the specific budget for the project at hand.

Proximity and accessibility should be factored in as well. There may be times where on site training on a product may be the best way to learn.  Most importantly, a facility’s breadth and depth of its equipment is the leading reason as to where one should rent. Can a facility support what it rents? Can a facility suggest the best tools for the job? At Foto Care, this is what we pride ourselves on.

Talk to us about your staff’s knowledge:

Our staff has been with us an average of eight years, with some having been here for decades. The fact that we’re all passionate techies makes this not seem like work. We go out of our way to test drive every piece of equipment. It’s amazing how eager everyone is to get to know the hardware as soon as it comes in.  Plus, part of our job is to be able to troubleshoot with our customers over the phone so we all need to understand the ins and out of each piece of gear we rent.

All of us have our particular areas of expertise but everyone seems to have jumped on the video bandwagon in a big way. We are becoming video hybrid experts. Things have been moving so fast that keeping up is critical. Video is just exploding. We’re adding microphones, special lighting and lenses that we’ve never had before based on demand and interest.

Talk to us more about the depth of equipment you offer?

Having the newest/latest equipment available for our customers is critical. And not just one or two either. Our depth of equipment and inventory (usually having 10 or more of something) is key. For example: We have more then 90 broncolor powerpacks; more than anyone in the country.

Foto Care has built a reputation on Outstanding Customer Service. How does that apply to Rentals?

It’s always been important, I remember one time Avedon Studios called from India with a problem:  They were shooting the Dalai Lhama in 8 x 10 format with very limited time restrictions so every piece of film needed to be usable. With exposures all over the map, they needed to process the film by inspection so we ended up finding them night vision equipment to help them process their film.

These days, some of our newer customers will call to discuss various lighting scenarios they are considering and ask for our recommendations. Helping problem solve with them is one of the highlights of our day. In fact, often we’ll set up lights here at our facility to show them a particular setup. Fortunately, our facility is quite large and allows us to show a variety of setups to our customers. The time investment for us is important because this is their job at stake, and we see ourselves as a trusted partner in their business. And this doesn’t just apply to the working professional. We want all of our customers to be comfortable with the gear they rent from us. That’s why they keep coming back.

What can a customer do to ensure they get the best results?

1. Call orders in advance:

Most errors are made when under pressure. If this is unavoidable, check your equipment before you leave. Ten minuets at the counter can save you two hours in set.

2. Ask questions:

We’re not just handing out a box with no support. We expect our customers to ask us questions. In fact, we encourage it. We’d rather help answer all your questions when you’re placing an order or when you pick it up as opposed to when you are out on location or back in your studio. And b all means, keep asking questions until you are comfortable and satisfied. In photography there is more than one way to achieve most goals.

What do you recommend for customers consistently ordering over the phone?

If you start an order over the phone, get the name of the rental technician. This way, if you call to follow up with questions, there is continuity by dealing with the same person. We also except orders via email. Really, its whatever works best for you as a customer.

When picking up an order, what should customers know and do?

Go through your equipment. Look at it. We try to pack orders as accurately as possible but there can be misunderstandings. Sometimes funny ones:  Someone the other day asked for a “Gary Coleman” C-Stand. Huh? Hadn’t heard that one before. What they wanted was a short 20” C-stand versus a 40” stand. With all the slang in our industry, it’s easy to misunderstand what folks are sometimes looking for.

What are some of the things to keep an eye out for?

Clean, maintained equipment, especially clean sensors. It’s a matter of pride with us. You can tell a lot about a rental facility by how clean and well maintained their inventory is.

Anything else people need to know?

All rental houses in NYC require deposits, valid identification, and, in some cases, proof of insurance. It’s a very good idea for photographers to have insurance. This not only protects the photographer but the rental department can take a reduced security deposit for the value of the deductible.

Is there anything else you want customers to know?

Foto Care constantly offers seminars and lectures for continuing education of our customers so check our website and sign-up for the Foto Care Newsletter which comes out twice  month.  And get out and shoot.

An Interview with broncolor Featured Photograper Chris O’Connell

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.

The Making of THE METAMORPHOSIS; Based On a Franz Kafka Novel featuring Supermodel Omahyra Mota

The concept of the Omahyra Mota shoot is based on Franz Kafka’s “The Metamorphosis”. The story has been shoot in New York for the cover of the Norwegian magazine “Vixen” including 4 spreads. The editorial focuses on an article about Dominican Republic supermodel Omahyra Mota.

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.


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


Travel Light and Don’t Mind the Weather; Exotic Location Shooting Tips with Andre Rowe

I recently went an assignment on to the Bahamas, namely the Great Abaco Island. Having asked the proper questions such as to the travel arrangements and weather predictions, I knew what best to plan for. We would only be a small number of people, traveling by small commuter plane, taxi, ferry, golf carts, small boats, and by foot. To add to that, we may or may not have still waters, calm winds, or constant sunlight during the day. So, with this trip, I faced two very familiar “photographer” challenges that I did manage to overcome quite easily. The two challenges were:

· How do you travel “with” lighting in a lightweight manner? This is to further ask, how specifically does one accomplish the task so as to make single trips all “single-handedly”?

· How does one prepare and plan to shoot in cloudy/ seldom-sunny weather? Which then begs the additional question as to how does one “not” make the weather seem cloudy?

How did I manage to travel in a lightweight manner? Well, it starts with knowing your limits on how much weight you are able to carry “on foot” over reasonable distances. My capacity is about 50 lbs. – 60 lbs. when properly balanced. The next step is determining what you “must” have with you at all times, and trim the weight of everything else that is in excess of those needs. Besides the obvious camera and camera-related items (all of which I keep in a backpack camera case), I must have a power pack, at least one lampbase, lightstand, modifier, and tripod.

This is all that I brought and worked with:

* Nikon D3

* 85mm f/1.4

* 24-70mm f/2.8

* 80-200mm f/2.8

* Sekonic L758DR lightmeter

* Mobil Pack

* Mobilite 2 Lampbase (x2)

* Pulso Adapter for Mobilite 2

* Transmitter RFS

* Generic 3ft. Octa Softbox

* Manfrotto STACKER lightstand

* Gitzo 5 Series Systematic Carbon Fiber Tripod

* Tenba TTP34 TriPak case

My total camera case weight was less than 20 lbs carried on my back. The Broncolor Mobil “kit” had a total weight less than 35 lbs. considering that there were two lamps included (one of which I actually didn’t use). The Mobil kit comes in it’s own lightweight attaché style case that easily fits into any airline overhead compartment. The Tenba TriPak had a total weight of about15 lbs. due mostly to the fact that the Gitzo tripod was a 9 lb. (total weight) carbon fiber tripod and the Manfrotto lightstand was a lightweight “fold-flat” aluminum design weighing only 2.5 lbs. The 3 ft. Octa when collapsed also fit into the TriPack with a total weight of 3 lbs.. My total carry weight was about 60 lbs. in all, easily enough fit on a golf cart, small boat, and carry on foot.

How does one prepare and plan to shoot in cloudy/ seldom-sunny weather? The first thing to do is not panic. I heard the story of one photographer who fly in from out of town to work on a catalog down in the Florida Keys during the rainy season. Unfortunately, he was stuck with clouds all day, and rain all evening. He was unable to use his reflectors of which he depended upon. He was also resistant towards using a dedicated flash for fear of cheapening the expected results. He panicked, and told the client that the shoot could not happen due to the weather. On the flip side of that, I actually live in Florida, and have done numerous shoots during cloudy/rainy weather, and have always gotten unique & attractive results such as this cover shot of Wakeboarding Magazine.

So what do you do when the clouds set in and linger? Grab your lightmeter, take an ambient reading of your scene (with greater emphasis on the background area), and prepare to soften your light source with a softbox, umbrella or direct bounce). The most assured thing to expect when conditions are cloudy is that all of the shadows within the image area will be extremely soft and or diffused. With such insufficient light so as to properly use a reflector, you are left with strobe lighting as a wonderful alternative. The intent now however is to keep all of the shadows produced by your strobe to an extreme minimum, mirroring the shadows in the scene. The use of my softbox was one important factor in achieving that shadow-diffusion, however, it was my initial ambient reading that was truly the key.

I wanted to use only enough light from the Mobil kit to not only illuminate my subject, but also enrich the scene with color by way of the light itself. We all know how dull and lifeless a cloudy scene can be, well that all changes when Mobil kit comes out. I meter my subject for the proper Mobil light intensity, and I lengthen my shutter speed to allow for greater influence of the ambient light. Here is an example:

The ambient when cloudy measured 1/250th @ f/4.5 at ISO 200. This is also the same as 1/60th @ f/9.5 at ISO 200. I therefore only need enough light from the Mobil kit to change the 1/250th @ f/4.5 at ISO 200 reading to 1/250th @ f/6.3 at ISO 200 reading. This is a specific increase of 1-stop on the aperture, which under those conditions equated to approximately 60% of my exposure being the Mobil kit. I would then lengthen my shutter speed by changing my exposure to 1/60th @ f/9.5 at ISO 200 WITHOUT adjusting the light output. This change alters the light ratio to approximately 30% of my exposure being that of the Mobil kit. Under this condition, I have both increased my image saturation (which diminished the dullness of the cloudy day) and still maintained softened shadow detail.

Now another interesting point to note, or even a “tip” if you will, is to consider keeping your subject in the shade when using the Mobil kit on a cloudy day. This is recommended despite the fact that there is no direct sunlight to begin with. This action has two benefits:

* The first is that you will have total influence over the light illuminating your subject. This is very important due to the fact if you decide to drag the shutter for an extended period of time (2+ stops more than necessary) just to brighten your scene, then at least you will still retain some control over the light illuminating the subject.

* The second is that should the ambient light within the scene change during your shooting (i.e. the sun pokes in and out), then at least the light on your subject will remain constant.

Here are a few additional tips to consider when shooting on a cloudy day with the sun poking in and out of the clouds:

· Try to keep your scene as open as possible to record as “much” natural light as you can, especially when the sun is actively moving in and out.

· When you know that you the sun is gone, meter of the ambient and expose only for the ambient. Keep your power pack levels to a minimum.

· Also, when the you know that the sun is gone for an extended period, and when you are using lamps, keep your scene as tight as possible, so as to have your lamps illuminate your scene as well as the subject(s).

· Avoid wide-angle lenses on cloudy days. Wide-angle lenses allow the viewer to survey more of the image than may be desired. So if the background scene is dull or dark compared to the subject, then the image may seem depressed.

· If you are shooting at a comfortable shutter speed, and have the patience to do so, wait for the sun to break when shooting. With a power pack, you will only need the least amount of natural lighting to keep a proper balance throughout your exposure.

· Even though you may be using a power pack, you can still control it’s influence on the shot by merely bouncing it off of the surroundings. This often solves two recurring issues: 1) Addressing the harshness that comes with direct light and 2) How to seamlessly blend artificial light with natural light.

· Whenever your meter tells you, overexpose by up to 2/3 of a stop. If it’s cloudy, clipping in non-existent shadows is a pointless concern.

Andre Rowe

Andre divides his time between NYC and Miami. Andre kicks off a traveling seminar series starting in the North East this month. For more information please email us at

An Interview with broncolor Featured Photographer Elias Wessel

We caught up with Elias Wessel on a shoot this week.  Here’s what he had to say:

CK: How did you become a photographer?  Describe your career development?

EW: I would have to say that graffiti was the catalyst for my love of art. At the age of 16 meeting Sigmar Polke at his huge retrospective in Bonn, Germany made me even more interested in fine arts. Following that, I started to draw and then  had paintings exhibited about 2 years later.   Also during that time, my best friend, who I had a crush on, moved to London.    Our only source of communication was through mail. I wanted my mails to look good and make her feel special on top of what I wrote to her.   I created my own envelopes by cutting out my favorite pictures out of hundreds of magazines.   I collected thousands of tearsheets and still remember vividly pictures by David La Chapelle,  Guy Bourdin,  Jeff Koons and others who caught my breath.   Since then I have always wanted to be able to re-create these wonderful feelings that those pictures gave me and started to draw pictures and take photographs of everything I loved.

CK:  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?

EW:  What incredibly changed me and my work was the break up after 8 years with my former personal and professional friend and partner in 2008.   I had to start all over and ask myself what makes me unique as a photographer.   I figured the only possible answer can be:  Myself!   Beginning with my “Falling Up” story my work tells so much about me and that what makes it special.   However I am very often asked how I consider myself as a photographer and my style. There’s no straight answer which feels totally adequate to me.   You can say it is the way I play with time and freeze a moment or a motion.   V magazine recently published a selection of my work and wrote “When time stops, your pose had better be fierce”.   You can mention the saturated colors or the sort of magical realism.   It can be cheeky happiness,  subliminal concepts,  beauty or sensitiveness.   It always depends on the content of the story I am working on.   Those who know me can say it may be my personal experiences which are always somehow reflected in my photographs. I would say as everything changes and develops in life all this can change and develop from picture to picture as well.   There are moments every day which make me and my work more and more sophisticated.   You just have to be aware of them.

CK: How do you learn your techniques?

EW: Working at advertising agencies, design bureaus as well as assistant, production and studio manager made me understand the different parties who are involved in the process of creating photographs.   I know about their expectations, their thinking, their needs, their fears and about the whole process from the point of view of all participating sides.   Studying with a huge focus on theory helped me to achieve a general idea about any field of the arts, a basic knowledge about anything which deals with art, visual communication and its reception.   It can be a deep source for new ideas. Schooling didn’t really teach me about the technical side of photography or lighting.   That is something I learned by assisting and working in the fields of photography but even more by realizing one personal project after another.   It taught me how to create, communicate and realize ideas. And it can give you the time to experiment and to develop.   A while ago I met David La Chapelle here in New York and I remember how he reminded me how fortunate I can be of being able to do my own thing.   Even if it is not without a struggle.   Studying also taught me to get up and motivate myself every single day to work on my ideas because nobody really cared about what I did.   It can be dangerous depending of what kind of character you are but it also can teach you confidence in what you do and that you are the only one who is responsible for anything you do.

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

EW:  There are so many.   It wouldn’t make sense to drop names.   Most of all I´m inspired by the reason why I´m doing this. I want to experience a feeling, that goes into bowels.   But I also want to create a transcendency so that this feeling reaches the viewer.   I also find very interesting the intersection between fashion and fine art photography and how to merge those genres. Typical fashion images focus on beauty and clothing as their central elements.   To me it is not fashion itself but the image that suppose to fascinate the viewer.   I believe that this is what appeals to clients who really care about being exclusive. At the end it all comes to the feeling you get from the picture you are looking at, not just the picture of the product.

CK: What is the worst part about doing what you do?

EW: If I could I would be out there taking pictures everyday. A huge part of photography deals with everything else than creating and taking pictures.

CK: What is the best part?

EW: All my works you see in this story have given me the most satisfaction because there are a lot of photographs that don’t make it. Every picture I’ve taken is from the past but it is the ones in the future that I’m looking forward to taking most.

Learning from the Pro

EW:  What are we going to shoot today?

“Falling Up”. A personal project which will be exhibited in New York and also be published as editorial. Falling is something involuntarily. Something threatening you get forced to.   In contrast “Up” is a synonym for success.   This aporia results out of the two contrary moving directions: Down = falling and Up = Up.   A conflict which was indissoluble at that current period of my life.   “Falling” as well as “Up” relate to my very private and professional areas of life which were strongly linked over 9 years.   “Falling Up” is based on personal experiences, thoughts, symbols and metaphors. Analogies to “Mary Poppins”, “Rumpelstiltskin” and the “Shock Headed Peter” finally allow to express my emotions as well as making a statement about the current art and fashion industry.  “Falling Up” is a modern fairy tale out of my personal past, present and future.

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

EW: It’s probably the same answer I gave when asking me how I learned my techniques. To sum it up in one word I would have to say it’s experience.

CK: What tools are you using to make this image?

EW:  503 CW Hasselblad with a Leaf Aptus II – 7 with lenses from 25mm to 150mm. SBI ParaFb 170, Pulsoflex 80×80, Verso A4 and A2, beauty dish and P70 reflector, 2 Pulso heads, Ringflash P, the sun, clouds as well as my heart and my brain.

CK: Why did you choose these tools?

EW: “Falling Up” was shot on location in Long Island City, New York with a great mix out of different set ups including day and night shots. So being flexible without sacrificing quality and to be able to control every situation on set
was my first priority.   I took advantage of the para 170 using it as a soft filling light. With the heads and reflectors I was able to adapt to every single situation, setting highlights, focus on different parts of the scene. The Verso allowed me to add crunch and a little magic at the best possible speed.

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

EW: I worked with pretty much all available lighting and camera equipment and used everything from 35mm to large format cameras – film and digital.   I’m in the lucky position that I got into photography by using film and digital equipment at the same time. The experience of working in the dark room, processing my own films, making my own contact sheets and prints help me to understand what happens in digital photography and post production. Same with the lighting gear.   I always like to test all equipment which might be of any interest.   Currently I prefer working with the 503CW Hasselblad and the Leaf Aptus II always in combination with broncolor lights.   It just works for me and gives me the consistency and flexibility I need. The decision of the equipment I use as well as the decision of shooting in studio or on location depends on the pictures I have in mind. Not the other way around. The cooperation with Bron Imaging Group is based on how I use my lighting which plays a big role in my work and gives it it’s consistency.   No matter if I have a huge set up of lights or just a bare bulb in combination with available light. It always defines the look of my pictures and bron recognizes this.   But this cooperation is more than that.   The guys from bron are part of my team, part of my photo-family and they care about my work and about photography just as much as I do.   That is what really matters to me.