撮影用ストロボ、動画用ライト、撮影機材の販売・レンタル・メンテナンス　世界のブロンユーザー

GASUZA MEDIA
No. 2-3107-09_dr June 2009

Gasuza stepped back from his digital camera to wipe the perspiration from his brow. Though late in the day, the relentless Ugandan sun was still punishing everything it touched, but the light was changing quickly. He knew he must capture the quintessential moment when the majesty of the setting sun framed his exotic female subject in the most dramatic way.
There it was!
He tripped the shutter and his broncolor flash heads splayed a split second of light across his young model’s face. He looked to view the result, and marveled at how her luminous African beauty complimented the timeless splendor of the land in which she lived.
And the land in which he had been born and raised in as well.
After journeying to America as a young man, Gasuza worked as a graphic art’s assistant where he developed an editor’s eye for image selection.
Always an admirer of Gordon Parks, the legendary “LIFE” photographer, Gasuza soon found himself working with Riccardo Tinelli, a brilliant fashion hotographer for “Elle” and “Vogue” magazines.
“I loved his thought provoking approach to portraiture, and to this day my own work reflects many of the concepts I learned during our three years together”, he says.
The result of these fruitful apprenticeships is GASUZA PHOTOGRAPHY, his preferred professional moniker derived from his Ugandan name, and an enterprise that embraces many and varied photographic endeavors. Together
with his wife and two young children, he now calls New York City home. Proud of how far he has come, he looks forward to growing GASUZA while nurturing his own creative development in the ever changing world of modern photography.
Both of which, incidentally, have benefited greatly from the discovery of Broncolor equipment.
“I probably took more than a thousand shots that day in Uganda” recalls Gasuza. “In anticipation of this challenging assignment, I had been searching for a power source that provided all the technical capabilities I needed, as well as the guts to keep me in the field without worrying about running out of juice. I contacted the broncolor distributor and was supplied with the brand new Mobil A2R power pack” It was a match made in heaven.
“My old lighting gear was cumbersome and difficult to transport. My new broncolor gear is very compact, and the Mobil A2R has given me the freedom to shoot anywhere I want with flexibility and confidence. Uganda is terribly hot
and humid, but I had no problems with the Mobil A2R all week ? and it handled the African power surges during recharging without a hitch. It was a pleasure to be able to concentrate on my work and not potentially disastrous equipment failures.
I couldn’t have been happier with the performance and peace of mind it provided” GASUZA PHOTOGRAPHY. Remember the name, and be assured that the talented and ambitious man behind it will find a way to survive even these most difficult of times.
“The opportunities will always be there”, he says firmly, “All I have to do is try a little harder…”

＜プロフィール＞
ファッション、ビューティー、人物撮り分野を中心にニューヨークを拠点に活躍しているウガンダ出身のフォトグラファーです。情熱と技術を均等に融合させ、20台のストロボもしくは自然の太陽光で美しく印象深いイメージを創り上げます。主な顧客：ソニー、ユニバーサル、Island Def Jam Records;Uptown、Travel Saavy, Town and Country, and African Woman Magazine; The Ladders; and Nubian Heritage Cosmetics

＜主な使用機材＞
モービルA2Rパワーパック

＜コメント＞
ウガンダで屋外での人物撮りの撮影が入りました。この撮影のため、必要な技術や機能が付いていて充電が切れる心配のないストロボを探しておりました。そこでブロンカラーの代理店へ問合せ、モービルA2Rを紹介していただきました。以前使っていたストロボは使い勝手が悪く、重かったため持ち運びが大変でしたが、ブロンカラーのモービルA2Rは非常にコンパクトで、柔軟性・自信を兼ね備え撮影したい場所どこでも撮影できるのが魅力でした。ウガンダはかなり暑く、湿気が多いが1週間のロケ撮影でもなんら問題はありませんでした。チャージが遅れることなく、アフリカのサージ電流でも使用することができたのも嬉しい機能の一つです。機材に不具合がなく、撮影に集中することができました。まさに希望の星のような機材であると思います。

＜ホームページ＞
http://gasuzaphotography.com

Luis Alvarez
No. 2-3112/09_dr June 2009

Luis Alvarez comes to photography from the point of view of a freelance hair
stylist who learned the craft of photography by working alongside the likes of
Victor Skrebneski and Francesco Scavullo. Today, Luis just might be the only
photographer in Cleveland, Ohio shooting fashion and beauty on a full-time
basis, and for a wide range of clients.
Luis began shooting professionally when, as Creative Director of Aquage,
the hair product supply company he co-founded, he decided to take an active role in shaping the visual image of his new company. Having no lighting equipment of his own, he headed over to Dodd Camera, the pro shop, and rented his first lighting system, which to his great satisfaction was a Broncolor system. By the end of the day he was in love with the only lighting system he has since used.
Today, Luis Alvarez describes himself as a Creative Director with a camera,
and as such shoots all of the product and model shots found on the Aquage website (www.aquage.com) as well as photography for all other Aquage promotional vehicles including advertising, brochures, marketing and show banners. Aside from his work for Aquage, Luis also shoots products, fashion and beauty imagery for outside clients along with a considerable amount of editorial work.
He enjoys shooting editorial for the open-ended aspect of the assignments, which makes them a nice break from the structure of shooting products and catalogs. Alvarez estimates the time he spends shooting for Aquage and his freelance assignments clientele to be about 50/50 between the two.
Luis Alvarez is somewhat unique in the sense his lighting system consists almost exclusively of Broncolor Mobil packs. Because a majority of his assignment work is on location, and therefore out of reach of wall outlets, he
designed his system around Mobil packs and back-up batteries. The fact his Mobil packs are rugged enough to withstand the rigors of being constantly shipped from city to city and continent-tocontinent doesn't hurt either. He occasionally supplants his system with Broncolor Verso packs on assignments where he needs to be able to power down to very low out put levels. These occasions aside, Broncolor Mobil packs remain at the heart of his system.
To go along with his Mobil packs, Luis depends on the superb lighting qualities of Broncolor Para FB umbrellas, Pulso heads, Pulsospots, and Satellite beauty dishes. “When I shoot hair, I never use a softbox. Softboxes simply cannot capture the nuances of hair. I love the 'pop' I get from my Para umbrella, and I depend on my Pulsospot to bring snap and life to my imagery.”
Luis also makes good use of Broncolor reflectors and grids to achieve the lighting effects he continuously strives for. “When I'm shooting I want to have true control over how and where the light falls on my subjects, especially the transitions between highlights and shadows, and my Broncolor system affords me these controls.”
Luis makes it very clear he depends on others on his team - the assistants, stylists, and models - to create the imagery he has become well known for. He treats his efforts a collaboration of all involved and believes each member of the team has something to contribute to the end result. He leaves little to chance, and estimates about 90% of each project are carefully planned out before he touches the shutter button.
On a similar note, Luis Alvarez makes it very clear he truly appreciates the professional support he gets from his Broncolor dealer, as well as his regional sales and technical reps, because in many ways, they too are a part of his team.

＜プロフィール＞
オハイオ州のクレブランドでファッション、ビューティー分野で活躍しているフォトグラファーです。主にAquage（ヘア用品メーカー）：http://www.aquage.com/　の広告、カタログ、マーケティング資料、バナーに掲載する撮影を行っています。他のお客様への物撮り、ファッション、ビューティーの撮影も行っています。

＜主な使用機材＞
モービル・バッテリー、ベルソ、パラFB、パルソヘッド、ビューティーディッシュ

＜コメント＞
ロケで使用することが多いので、モービルとバッテリーが重宝しております。モービルは丈夫なので、都市間、大陸の移動の際にもまったく傷つくことがなく、気候の厳しさにも耐えることができる点がメリットかと思います。小さい出力が必要な際にはベルソを使用していますが、撮影する際の中心機材はモービルが主です。
モービルで撮影する際にアクセサリーとして使用するのが、パラ、パルソランプヘッド、ビューティーディッシュです。髪の撮影する際、ソフトボックスを使ったことはありません。ソフトボックスの場合、髪の微妙なニュアンスの表現が難しい。そこでパラから得られる独特な光、活気と活力を創造の世界へ引き込むことのできるパルソスポットに信頼を置いています。
光がどのようにどこに照らすかという光量のコントロールができるような撮影がしたい。そのためにブロンカラーのリフレクターやグリッドも活躍します。特にハイライトと影の間の光の推移が重要でそのコントロールが可能なのがブロンカラーなのです。

＜ホームページ＞
なし

Jeff Harris

Jeff Harris' studio, located in the Flatiron District of midtown Manhattan, was a
busy place when I paid a visit on a day the local weather forecasters described
as 'sultry'.
New Yorkers have far more colorful ways of describing high levels of heat and humidity, but that’s a story for another day. Despite the wilting pedestrian traffic 3 floors below, the studio was cool and busy.
Two sets were live while a retoucher was busy at one of several work stations putting the final touches on a third project completed earlier.
Although Jeff Harris has been shooting for over 20 years now, he acquired a taste for the business from his father who was in advertising. Shortly after graduating from New York University Film School, Jeff found himself earning a living with a camera by shooting displays, boxes, bottles, and assorted odds and ends his father would steer his way through various business contacts. Using an old 8x10 studio camera, an ancient strobe pack and a couple of heads he inherited, he basically learned studio photography by the seat of his pants, and without Photoshop to ‘clean things up and fix the details’. There was no money for retouching so everything had to be lit properly from the start.
Today, the work that keeps Jeff’s studio busy covers the gamut of editorial, advertising, catalog, and most anything else that requires placing people and/or products before a camera. His client list includes Vogue, Saks Fifth Avenue, Bergdorf Goodman, Neiman Marcus, Marie Claire, Lowe Worldwide, Smart Money, Travel & Leisure Golf, Women’s Health, Spin, New York Magazine, Men’s Journal, and GQ to name a few.
Jeff truly runs a full-service studio in every sense of the word, and there is a familiar, family feel about the place. Aside from Jeff, there are two Associate shooters, Stuart and Charlotte, John, the resident techie and Photoshop wiz, Ben, the resident carpenter/magician, Kate and Emily who keep everything under control, and a rotating group of interns lucky enough to be learning the trade from a tight group of professionals.
A great deal of he work that flows out of Jeff’s midtown studio is fashion and fashion accessory oriented, and one of his biggest challenges is being able to keep the look of his imagery fresh looking. After all, how many ways can you shoot a pair of shoes? A quick flip through Jeff’s portfolio will answer that question with a single word- ‘many’, and whenever possible with a touch of whimsy.
“We often do 60 to 80 shots a day, especially when shooting catalogs, and our broncolor system has proven year after year to be able to handle the use and abuse of producing over 10,000 dead-on exposures a year.”
Jeff makes good use of a battery of Topas packs, along with broncolor Boxlites (which he truly loves to use), Unilites, Fresnel Spot Attachments, Pulsospot 4s, and Satellite beauty dishes, for which he finds numerous applications.
Jeff is always looking for a new way of showcasing the ‘same-old, same-old’ in a new light and for that reason he illuminate his efforts with broncolor lights.
The limitations of a lighting system greatly impact the results of the finished photograph. With the help of his creative team, Jeff truly enjoys creating worlds
within a studio setting, and the cameras and lights he uses are an intrinsic part of the creative process. The exposure times and color consistency of each shot is critical, and Jeff Harris broncolor lights bring a level of reliability he depends on day after day, and year after year.

＜プロフィール＞
ニューヨークのマンハッタンにスタジオを持ち、主に雑誌やカタログのファッションやアクセサリーの撮影を行っているフォトグラファーです。独特で印象的な写真を創造し広告業界で20年以上ご活躍しております。主な顧客：Vogue, Sak Fifth Avenue, Bergdorf Goodman, Neiman Marcus, Marie Claire, Lowe World wide, Smart Money, Travel & Leisure Golf, Woman’s Health, Spin, New York Magazine, Men’s Journal, GQ など

＜主な使用機材＞
トパス、ボックスライト、ユニライト、フレネルスポットアタッチメント、パルソスポット4、サテライト、など

＜コメント＞
カタログの撮影をする場合、1日に60-80ショットもすることがあります。ブロンカラーの製品は1年で10,000ショット以上行っても完璧なライティングをすることが可能で、何年も安心して使用できます。

鮮やかな空想の写真を撮り続けることが私の一番のチャレンジとなっています。靴の写真を撮るには何通りの方法があると思いますか？私の中では簡単な言葉’many’という答えを用意しています。そしていつでも様々な角度からの手法ができます。

ストロボの世界には限界がないと思っています。スタジオをセッティングする際にいつも新しいクリエイティブな世界を作るよう考え、使用するカメラ・ストロボ機材が創造世界への過程の一部となっていきます。ブロンカラー製品には撮影に非常に重要な照射時間や撮影の色の一貫性があるため信頼性を持って使用することができると言えるでしょう。

＜ホームページ＞
www.jeffharrisephoto.com

世界のプロカメラマンの多くがブロンカラーを採用しています
その評価の声をご紹介します
◆Jeff Harris by Allan Weitz
◆Luis Alvarez
◆GASUZA MEDIA