Shoot NYC Recap

A packed house at Michael Grecco's Lighting and the Dramatic Portrait seminar. Photo by Mike Hill.

Hasselblad and broncolor wrapped up another Shoot NYC event at La Venue on October 25 and 26, 2012. Shoot NYC has become a photography staple, a place where people can network, educate themselves on photographic tools, and foster a community with their fellow photographers. Free seminars and workshops ran both days and included a variety of topics ranging from how to create and maintain a photography business, to learning about key lighting modifiers and copyright information. These free seminars were incredible in terms of the quality of information, and our speakers spoke to packed rooms of eager photographers that wanted to enhance their photo businesses.

The broncolor Para family lights up Shoot NYC. Photo by Andre Rowe.

Lara Jade's business seminar focused on online marketing and promotion using social media tools and networking. Photo by Kermit Mercado and Victoria Harrington.

Rick Friedman spoke to a full house, and taught how to light on-location, with the use of Sunbounce reflectors. Photo by Kermit Mercado and Victoria Harrington.

Bryan O'Neil Hughes taught the ins and outs of Adobe Photoshop with on-screen instruction. Photo by Mike Hill.

Sunbounce, Sun-Sniper, broncolor, FOBA, Kobold and Visatec products were on the show floor for anyone to get their hands on and use. Shoot NYC also featured new products including the broncolor Move 1200 L battery pack, the Hasselblad H5D, the Sunbounce Bounce-Wall portable flash accessory, and the Sun-Sniper Pro-II camera strap.

The broncolor Move 1200 L battery pack was featured at Shoot NYC

The new Hasselblad H5D was available to see for the first time since Photokina. Peter Stig, Hasselblad product manager for the H system camera, spoke about the new H5D, including its technical advancements and new product features.

The Hasselblad station at Shoot NYC. Photo by Mike Hill.

A live shooting sets with photographers Franklin Thompson, Thomas Liggett, Gregor Halenda, Jodi Jones and David Perkins (with two dancers and a Ducati) were a main focal point. With an array of broncolor modifiers and Kobold HMIs, they played with light to create some amazing images.

Dancers Aaron and Kristin. Photo by David Perkins.

Photographer Franklin Thompson with dancers Aaron White and Kristin Yancy . Photo by Mike Hill.

Photo by Franklin Thompson.

The Ducati. Photo by Thomas Liggett.

In case you missed it, here are some video compilations of the speakers who talk about their businesses, their seminars and a little about themselves:

Shoot NYC 2012: Lindsay Adler, Kawai Matthews and Lara Jade from Hasselblad Bron Inc. on Vimeo.

Shoot NYC 2012: Rick Friedman, Ryan Enn Hughes, Arash Moallemi, Andre Rowe, Michael Grecco and David Robin from Hasselblad Bron Inc. on Vimeo.

Shoot NYC 2012: Chase Jarvis and Vincent Laforet from Hasselblad Bron Inc. on Vimeo.

The student event ran on late Friday afternoon with photographers/directors Chase Jarvis and Vincent Laforet, and was an informative Q&A session that spoke volumes on starting off as a photographer and following your dreams. “Rejection is another opportunity” and “don’t be incrementally better, be different” were some of the mottos behind the two. The students asked everything from “how to make it big” to “what was your biggest mistake,” and everything in-between.

Shoot NYC 2012: Peter Stig, Bryan O’Neil Hughes, Beth Taubner and John Harrington from Hasselblad Bron Inc. on Vimeo.

Shoot NYC 2012: Carrie McCarthy, Alexandra Niki, Aurelie Jezequel and Viktoria Sorochinski from Hasselblad Bron Inc. on Vimeo.

Shoot NYC 2012: Franklin Thompson, David Perkins and Jodi Jones from Hasselblad Bron Inc. on Vimeo.

We would like to thank our partners: Scheimpflug, Adorama, APA, Capture Integration, Fotocare, Resource Magazine, Digital Photo Pro, B&H, HD Video Pro, Santa Fe Photographic Workshops, Lucie Foundation, ASMP NY, Adobe Lightroom, Adobe Photoshop, Calumet and the Art of Photography Show.

And our speakers and photographers: Ghada Khunji,Viktoria Sorochinski, Rick Friedman, John Harrington, Lindsay Adler, Bryan O’Neil Hughes, Ryan Enn Hughes, Arash Moallemi, Alexandra Niki, Aurelie Jezequel, David Robin, Lara Jade, Peter Stig, Kawai Matthews, Michael Grecco, Chase Jarvis, Vincent Laforet, Andre Rowe, Jodi Jones, Franklin Thompson, David Perkins, Thomas Liggett and Jeff Mosier.

We would also like to thank our invaluable extra hands: Elizabeth Stacy and Ryan Burke,  and our army of interns.

Without all of you, this wouldn’t be possible.

And, let’s not forget, the infamous Flugoween Halloween party on Saturday night. After a long week of Shoot NYC and Photoplus, our team rallied together in our costumes and headed over to the event in Dumbo that was hosted with our good friends from Scheimpflug and Resource Magazine. There was an electric chair photo-op and enough food and beer to make anyone merry. Overall, it was a good time with good friends.

We are already looking forward to next year. Cheers!

Photos courtesy of: Kermit Mercado, Victoria Harrington, Ryan Burke, Andre Rowe, Mike Hill and David Perkins

Gregor Halenda shoots Relentless

A native of Westcliffe, Colorado, Gregor Halenda got his shot at photography stardom at age 12 when he took pictures of rodeo bull riders that hit his local paper’s front page. Although he only earned 25 bucks and local recognition, Halenda turned his budding career into a yearning for something bigger. Eventually, he landed in New York City.

In an interview, Gregor Halenda gave us his life story from the ground up: “My dad handed me his Minolta when I was about 7 and I loved the mechanical feel of it. A friend of his taught me the darkroom and from that point on I always had a camera. It’s really all I’ve ever done if you don’t count a few short stints of carpentry, house cleaning and pizza delivery while I was in school. I started as a photojournalist working on daily papers in Colorado and came to NYC after attending the Eddie Adams Workshop and learning of this thing called ‘lighting.’ Never heard of that before and thought it merited some investigation.”

Working with Gregory Heisler, an award-winning portraitist, helped jumpstart Halenda’s career: “Certainly the biggest break was assisting Gregory Heisler who is just a genius with light. He taught me to really see light and how to control it. He also taught me that a crisp $100 bill could get 20 cases of gear onto a flight with no excess baggage charges. Sadly that doesn’t work anymore.”

Referring to himself as a “fence-rust kid leaving it all behind for the bright lights,” Halenda thrust himself into a career of editorial photography, working with high-profile clients such as Prada, BMW and Oprah.

His technique is spurred, “from wondering. I’m that person that wonders about stuff all the time. I wonder and then I try it out. Digital has been a boon to my short attention span and the amount of wondering I can stuff into a day. I can now wonder about three times as much as when I shot film.”

He attributes his talent and inspiration to none other than Heisler, and also his parents, for “never suggesting that [he] get a real job.”  He stated that the challenging part of his job is cutting paths, and the best is meeting clients and new challenges; he loves to “over-deliver…and experiment.”

And he did just that. In a campaign for Relentless and NOS, he used the broncolor Grafit A4, his favorite pack, for its fast flash duration setting, and was able to capture photos that spoke to the essence of energy drinks: supercharged and quick-motion.

We asked him: how did you learn the techniques in these pictures? He stated, “Well, it depends what part we’re talking about. If it’s the lighting I’m pretty much self taught… If we’re talking about how to make a controlled explosion in the studio then I can say I owe that to a plethora of unsupervised 8-year- olds across the country who are lighting things on fire and then posting the results on YouTube. Who knew that Off insect repellant in a pump and a Bic lighter were all you needed!”

For the Relentless shots, he used three heads with P70 reflectors and wide grids. He stated, “The P70 and the grids are why I switched from Profoto to broncolor. Together they give perfect, smooth fall-off and that allows for soft shaping light. I shoot the light into diffusion and this is what creates the smooth reflections and helps give my shots a distinctive wrapped light. I’m not a fan of traditional softboxes.”

For the NOS pictures, he used the Boxlight for its smooth light output.

Halenda’s choice to use broncolor over the competitor’s was simple: “broncolor was the first to allow you to easily adjust the packs in 10th’s of a stop and that allows me to finesse my light in perfectly. The other is the duration. The control of the flash duration with the Grafit is just fantastic to have. Once you have it you can’t live without it. I used Profoto but I was never happy with them. They weren’t reliable for me; the light was inconsistent and the control was awkward at best. I wanted to like them but never did. I knew broncolor was the best from occasions of renting them but I thought I couldn’t afford them. When I finally stepped up I wished I’d done it sooner. They are the single most dependable piece of gear I’ve ever owned and the control is flawless. It’s the best single investment I’ve made in gear.”

Gregor Halenda Photography