International Photographer Georges Antoni – a global star from Sydney


Georges Antoni is a Sydney photographer whose global star is rising rapidly. His years here have seen him quickly ensconced in the top echelons of Australian photography, with Georges now undeniably one of the best photographers of our time in this country, and in demand around the world. Shooting from Sydney to Singapore, New York to Dubai, Georges has won clients with his natural talent, incredible technical knowledge, execution and composition skills and his easy going nature, ensuring his calendar is booked solid constantly.

Georges’ polished aesthetic is a signature style all of his own. His creative flair for concept creation and execution result in stunning images that are a little bit different, a little unworldly, and always impressive. Georges is part of a new group in fashion photography. His inherent talent and nature is ensuring that his rise to the top is rapid and phenomenal.

Short introduction of yourself and your career

Hi. My name is Georges Antoni. Im a fashion photographer based in Sydney. Ive been shooting for about 8-9 years. I have had the opportunity to work editorially with Harpers Bazaar, Elle, Vogue etc. I have shot campaigns for Versace, Paspaley and Bonds. I have been lucky enough to shoot celebrities such as Rhianna, Miranda Kerr and Adrien Brody.


What initially interested you into photography?

This is a very long story. But in short, I loved the idea of working in a job where you were bale to see the results of your actions almost immediately. Where each day you have to push yourself to create something new, fun and interesting. You have to be able to stop people in their tracks. This is not easy.

What is special about this shoot – light, speed, or venue? Is there any challenge?

Well, this was a shoot that required a fast flash duration as the girl was running, and I needed to be able to balance the colour temperature with the daylight out side in the early morning. It was freezing cold, so we did not have much time to get the shot for the models sake. So we jumped out there and set up and got it in about 20-30 frames.

What kind of broncolor’s lighting equipment did you use for shooting these pictures?

I used 2 x bron location packs, 1x bron beauty dish, 1 x large bron softbox with magenta gel.

What goal are you working towards within your photography and when will you know you have reached it?

I want to take a photo I love. I think I know now… I will never reach it!!!!

What does photography mean to you?

I love it more than partying and less than my family.

Lyubomir Sergeev – “MOVE” Exhibition in Sofia, Bulgaria

Lyubomir Sergeev is bulgarian photographer based between Sofia, Bulgaria and Vienna, Austria. He works as advertising photographer where quite often add personal and conceptual touch. Winner of Photographer Of The Year in Oneeyland Awards and part of the Top 200 Digital Artists Worldwide in Luerzer’s Archive Special.

“I love to tell stories. I love to tell stories which develop in time, have in depth layers and ask questions. That is what photography is all about for me. My goal is to create an image, which should be telling what has happened so far in the story and what is going to happen. Each image should contain a greater story and the more you look at it the more you should see.

It is very important to choose carefully the moment to express and shoot since it has to represent the story at its best. Every now and then it happens to be a very tiny bit of a moment frozen in time. And still it has to be meticulously planned and perfectly directed. It has to tell a story which if shot in motion it would spread within thousands of still images. This is the magic of photography and I am completely under its spell.

Movement has always taken a special role in my works. I almost don’t have a “still” image. This extrovert way of telling a story seems to just suit me best. It can never leave a viewer indifferent and it helps reaching and touching the right emotional spot.


The exhibition “Move” is a happening, which just came naturally. I got very inspired by the Broncolor power pack Move 1200 L, which I used to shoot most of the images in the exhibition and named the event likewise. I had many ideas, which needed special handling and specific equipment. Many fast movements had to be frozen to be able to perfectly express the story behind each image. Dancers, athletes, liquids and many small objects had to be shot while jumping, running, splashing, flying and sometimes combining all these actions into one shot. It took some efforts and I needed some assistance


“I found this assistance in Move. I am pretty happy with the results and pretty happy to exhibit them. I am absolutely sure that this only one of the many events that will come out to be from my beautiful friendship with Move.“

Lyubomir Sergeev




Lindsay Adler – Mixing Constant Light and Studio Strobes

If you want to add a spark of energy and excitement into your studio photography, consider mixing constant light and strobe light to infuse action into your images!

Your constant light source doesn’t need to be anything fancy. In fact, I frequently utilize the modeling lights on my Broncolor strobes! I can modify the quality of light by changing modifiers and the color of the light by add gels. I do not need to invest in other equipment, but instead use what I already have available to me!

Here I’m going to share a few tips for how to mix constant lights and strobes, using an example from a workshop I did in Tuscany. We had been shooting studio techniques and wanted to move away from ‘typical’ lighting solutions into more creative results. Let’s take a look at what we created!

I’m going to walk you through how we created the image step by step, but first I need to provide a couple of technical primers and considerations for achieving this effect. First, let’s talk about shutter speed when mixing constant lights and studio strobes.

Mixed Light

Shutter Speed
Typically when we shoot in the studio we are shooting a faster shutter speed to avoid ambient light recording in our image. For example, typically I shoot between 1/125 and 1/250 of a second. These are not above the sync speeds for my camera so that I can catch the studio strobe as it fires. If you choose a shutter speed that is too fast, you will unintentionally capture the shutter of your camera in the frame (appearing as black bars). If you shoot too slow of a shutter speed you will begin to see pre-existing ambient light like the overhead lights or window light in your image, perhaps lightening your shadows or adding an unwanted color cast. For this reason, a fast shutter speed (around your sync speed) is typically designer in studio. Also, try to shoot in a dark environment if you want to reduce the change of unwanted effects.

Shutter speed for this technique, however, is extremely variable and used for dramatic effect! When mixing constant light and strobe you will need a slower shutter speed to allow the constant light to show through. This maybe be only slightly slower like 1/60 of a second or even three seconds! The length of your shutter will depend on a variety of elements in the scene include how bright your constant light is and how much other light contamination a long exposure would produce. Ideally you will be shooting in a complete dark space so that a long exposure will not  accidentally pick up window light or other light sources. This will give you the ability to have however long of an exposure you need (think light painting!).

The longer my exposure, the brighter the constant light will appear. The exposure from my studio strobe, however, will remain constant as long as my aperture remains constant.

Typically I start with a shutter speed around 1/30 of a second and adjust accordingly. We will take a look at this closer in our shoot during this workshop.

Reflective Surfaces
Before you begin shooting, you may also want to consider an important element when preparing your shoot. Reflective surfaces in your frame are ideal. Let me explain.

The effect of movement is minimized when shooting constant and strobes mixed when a subject is dressed all in black. In fact, it is reduced almost to nothing. The more contrast and reflective surfaces you have, the better. For example, When you have a subject with a lot of metallics or gems against a dark background, you will be able to see the sparkle and movement even more. Consider this when styling your scene. Matte black clothing will provide little to reflect and therefore minimize your final effect. Even glitter will do the trick! Think of this before you show up at the shoot, and base your concept around how different materials will reflect the light. Even light colored skin will reflect the light, but it will not be as specular as bedazzled clothes or accessories!

Our mixed-constant shoot
Let’s take a look at the steps we took for this image and how you, too, can set up for this creative effect.

Step 1Be sure the room you are in is dark in order to give you the most control. Avoid windows and overhead light. This includes turning off all modeling lights that you do NOT want to appear to effect your final image.

For this shoot we actually selected a location in the Tuscan villa in a basement used for making wine. No natural light would impede!

Step 2Set your studio strobes to create the desired overall lighting pattern on the face and body. Set your exposure as you would normally for a studio set up.

For this model, we illuminated her face with a silver reflector and a 10 degree grid. Next, we utilized two barn doors helped to give definition to the side of her face and body. The fall off from the silver reflector gave a great deal of shadow area to work with in our final effect. We also selected a sequin dress for the model that we knew would add the the impact of the final image.

Gear so far:
1 power pack: broncolor Scoro
– 3 heads: Pulso G
– 2 barn doors (broncolor 4 leaf barndoors and 2 P70s)
– 1 Silver reflector (broncolor P70) and 10 degree grid

IMAGE 1 Canon 5D Mark III, Sigma 70-200mm, 2.8 lens, ISO 100, 1/200 sec, f/14

Lindsay Adler

Step 3Add a constant light into the scene. To have the effect of the constant light most pronounced, point it at an area of the subject or scene with more shadow or a more reflective surface. Don’t forget that you can gel the light or change modifiers to change the quality of this constant light.

In this example we added another Broncolor silver reflector as a constant light but did NOT have the strobe fire. We also did not gel the light, allowing the warm tungsten modeling light to illuminate the dress. We made sure the pack’s optical cell was off, and adjusted the power of the modeling light to an output that fit our creative goals.

Step 4: Begin to increase the length of your shutter speed to brighten up the appearance of the constant light. If your aperture stays constant, the strobe exposure will remain the same while the shutter speed will vary the exposure of your constant light. In this example we tried a variety of shutter speeds. Here we’ve dropped our shutter speed to 1/10 of a second. While we can see the constant light now appearing on the dress, the effect is not dramatic.

IMAGE 2 Canon 5D Mark III, Sigma 70-200mm, 2.8 lens, ISO 100, 1/10 sec, f/14

Lindsay Adler

Tip: One benefit of using a broncolor strobe modeling light is that you can change the output of the modeling light. For example, if you want a longer exposure but the constant light is already recording too bright, you can simply go to your power pack and decrease the output of the modeling light.

Gear added
– 1 additional power pack: broncolor Scoro  (note: could have been achieved without adding a pack in this case)
– 1 Pulso G with P70 silver reflector

Step 5: Try adding movement to the scene to infuse energy. Have the subject move or even move the camera (wiggle, shake or zoom) to experiment with a wide range of results.

Finally, to create the energy and impact we desired, we had the model spin while also zooming our camera’s lens. Here I was shooting with a 70-200 2.8 lens, which helped produce some of the shape and texture to the highlights created by the constant light reflecting off of the dress.

IMAGE 3 Canon 5D Mark III, Sigma 70-200mm, 2.8 lens, ISO 100, 1/10 sec, f/14

Eventually I switched over to a 24-70mm lens to give me a little bit more range with my zoom and increased the length of my exposure to 1/5 second.

Mixed Light

IMAGE 4 Canon 5D Mark III, Sigma 24-70mm, 2.8 lens, ISO 100, 1/5 sec, f/14

Mixed Light

Mixed and Constant Lighting Diagram

Both images 3 and 4 are valid solutions, it just depends on which result you prefer! Both infuse energy and movement into an otherwise static scene! In fact, all of the sample images provided could be used as creative solutions depending on your visual goals! Just remember these few tips (1) Avoid unwanted ambient light (2) Keep your aperture constant and vary your shutter to effect your constant light (3) Add movement and metallic surfaces to increase impact!

A 7 days Master Class experience in Toscana, Italy
held by photographer Lindsay Adler in Sept/Oct 2013

Shoot NYC is back! October 24th and 25th

Save the date! Shoot NYC is October 24-25

La Venue  •  608 West 28th St.  •  New York, NY 10001

Thursday: 10:00AM to 7:00PM • Friday: 10:00AM to 8:00PM

Originally established in 2008, Shoot NYC has spread internationally (Shoot LDN, Shoot Paris, Shoot A’Dam). Shoot NYC is an exciting and informative forum based on the premise of building a photographic community. In addition to a wide range of free professional photography seminars, industry leaders broncolor and Hasselblad, will help you learn how to harness and integrate the market’s most advanced photographic tools into your business, improving both your photography and your bottom line.

 2013 Shoot NYC Seminar Schedule

Thursday October 24, 2013   10:00AM – 6:30PM

10:30:00 AM – 12:00 PM Seminar

Skip Cohen: Brought to you by Skip Cohen University

It all starts with a blog

10:30:00 AM – 12:00 PM Demo

Rick Friedman: Brought to you by Calumet

Location Lighting

12:15 PM – 1:45 PM Seminar

Paul Mobley: Brought to you by Santa Fe

Capturing the Soul of your Subject

12:15 PM – 1:45 PM Demo

Roberto Valenzuela

How to tackle artistic challenges

2:00 PM – 3:00 PM Seminar

Brian Smale: Brought to you by APA

Dissecting magazine contracts

2:00 PM – 3:00 PM Demo

Tim Hogan: Brought to you by Hasselblad Bron, Inc.

The Essence of Subject

3:15 PM – 4:45 PM Seminar

R Lee Morris: Brought to you by Fstoppers

How to become a professional commercial wedding photographer

3:15 PM – 4:45 PM Demo

Matthew Karas: Brought to you by Fotocare

The emotion of motion

5:00 PM – 6:30 PM Seminar

Bryan O’Neil Hughes:  Brought to you by Adobe Photoshop and Lightroom

Uncovering the ‘Hidden Gems’ of Adobe Photoshop

5:00 PM – 6:30 PM Demo

Dustin Snipes: Brought to you by Hasselbald Bron, Inc.

Lighting for Sports Portraiture

Friday October 25, 2013   10:00AM – 8:00PM

10:30 AM – 12:00 PM Seminar

Erik Valind

Lightweight location lighting

10:30 AM – 12:00 PM Demo

André Rowe

The magic of simple lighting

12:15 PM – 1:45 PM Semianr

Beth Taubner: Brought to you by Mercury Lab

Identify your brand & claim your market

12:15 PM – 1:45 PM Demo

Scott Markewitz

Artificial lighting for action sports

2:00 PM – 3:00 PM Seminar

Alexandra Niki & Adam Sherwin: Brought to you by Resource Magazine

How to monetize your photography skill set

2:00 PM – 3:00 PM Demo

Jodi Jones: Brought to you by Adorama Pro

3 badass ways to use the Para88 for Fashion and Beauty

3:15 PM – 4:45 PM Seminar

Rafael “RC” Concepcion: Brought to you by Kelby Media Group

Lightroom 5 start to finish

3:15 PM – 4:45 PM Demo

Catherine Asanov: Brought to you by CI

From camera to screen

5:00 PM – 6:30 PM Seminar

Clay Patrick McBride: Brought to you by K+M Camera

Cross-over stills to motion

5:00 PM – 6:30 PM Demo

Lara Jade

Getting back up – The importance of casting & your creative team

6:45 PM – 8:00 PM Seminar

Bryan O’Neil Hughes:  Brought to you by Adobe Photoshop and Lightroom

Lightroom and Photoshop and Photographers

The Hasselblad H5D, and tilt-shift adapter will be there to use for hands-on demonstrations. The new broncolor softboxes, the Para 177 and 222 will also be set up to give photographers and attendees the opportunity to use the leading lighting accessories on the market. And don’t forget about the new Move Pack! Get a chance to practice with quick recycle times, and short flash durations!

​​ There will be live fashion, architecture, product, advertising, still life, art and repro sets. Some of the seminar topics include: daily tips & techniques, Lightroom, Photoshop, outdoor shooting, portrait, lighting and many more.

The event runs from October 24 to the 25 at La Venue. So mark your calendar and don’t miss out on this great opportunity to learn hands on from some of the industry leaders in fashion, commercial, and fine art photography!

For more information and to register for Shoot NYC, click here. Map



Photographer Profile: Peter Dawson

“Trust my instincts and creative voice, and keep it simple, positive and joyful.”



When asked about the start of his career, Peter Dawson states:

“I was the designated family road trip photographer starting at around grade 4. My father handed me his manual Ricoh and showed me how to focus and read the internal light meter and I took it from there. We road tripped all over the West, and that is how I first learned to see natural light, and appreciate form and composition.  It also served to plant seeds of some of the more thematic aspects of my images: mystery, beauty, and wonder.


Fast forwarding to my college years, I was originally a pre-med student in Seattle but always maintained photography as a hobby.  I was an avid hiker and snowboarder, so was constantly toting my camera to the mountains to photograph the landscape and outdoor lifestyle. After two years of studying science, I was burned out and decided to enroll at Brooks Institute of Photography for a change and to explore the more creative side of my make-up. I finished my degree in photography at Brooks and immediately pursued assisting opportunities in Los Angeles.  Before graduating I also Interned at an Ad Agency in LA with an Art Buyer, which was so valuable to see how photography is viewed from the buyer’s side, and the inner workings of an agency.

I was a horrible photo assistant! There were a few photographers who kept me on as a third assistant, but I just wasn’t handy enough with rigging, and all the different types of equipment that I hadn’t been exposed to yet.  I learned what I needed to about the industry (how an advertising shoot works, how the photographer interacts with everyone on set, etc.) and then started pursuing my own assignments.

I slowly gained a few editorial clients and music industry clients, then began showing my work at ad agencies.  Many Art Buyers loved my landscape photography and encouraged me to shoot cars as a natural fit for my aesthetic in the advertising world.  I followed their advice and developed a car and landscape portfolio, gained some editorial clients, and then moved into advertising.  I now have a diverse group of clients in advertising and editorial, shooting cars, people, and location-based conceptual work, and have representation with Anderson Hopkins in NYC.



For me, I honestly can’t point to one moment. It has been a steady climb of very hard work, risk, generous help and interest from others, artistic development, and business skill development.  It’s truly a marathon, and each press of the shutter or hand-shake is another step. I still have much to learn and am excited to keep going!


I learned much of the technical side of photography in school to where it is now second nature.  The greatest way I have found to learn technique is to simply look at a lot of photography.  Find aspects of an image that I am drawn to, dissect how it was made, and apply it to my own vision.


My photo heroes actually aren’t photographers, but people in different disciplines who see the world in a unique way, and in a way that I connect with. Examples would be Terrence Malick, Sergio Leone, CS Lewis, Albert Bierstadt, Lewis and Clark, Henryck Gorecki, and many others.”

Like any career, the job has it’s ups and downs. Dawson discusses his favorite, and least favorite part of being a photographer.

“I was only half joking with a friend the other day when I said that being a photographer now means 14-hour days in front of a computer!

The freedom, exploration, and creative thought-life. And of course, the people I get to meet and interact with,” says Peter on his favorite aspect of photography.


When asked why he chooses to shoot with a Hasselblad, Peter states:

“The file size and quality….Especially when shooting for my car clients, they frequently need to do extreme cropping to accommodate very different media layouts from a single page vertical to a billboard horizontal. The file quality and sharpness needs to hold through some pretty adventurous cropping!

I love the H-series lenses.  The 3.5 50mm is my go-to.  Many wide-angle lenses claim to be sharp edge-to-edge, but this is the best one I’ve found.

Long exposure capabilities: I’m frequently shooting long exposures for all kinds of reasons…low lighting, night images, motion blur for cars, rig shots of cars, light streaks, water blur in my landscapes, etc.  The image quality at long exposures is way better then any 35mm dslr, and this may seem small but i love it: easy mirror lock up, and the mirror stays up for sequences of exposures until you press for it to come down again.

The viewfinder is mind-blowing…somehow it looks better than real…it’s difficult to explain but for some reason it’s easier for me to pre-visualize the final image when looking through compared to other cameras.”

See more of Peter Dawson’s work at