Light Architecture 2 – by Urs Recher



Light Architecture 2 – by Urs Recher 

In the second, revised edition of his book, the author explains his personal ideas and experiences on the subject of light. Contrary to the first edition, some pictures have been replaced and the print quality has improved decisively.

Due to popular demand following the release of the print edition, broncolor and Urs Recher’s “Light Architecture 2” can now be purchased as a digital PDF Download.

This impressive and beautiful guide features in-depth tutorials based on Urs Recher’s photographs, each illustrating a different lighting setup. The book contains 50 different examples, covering studio, mixed light and daylight shots. The visuals alone provide all the guidance one might need to recreate the shots, and the content is easily accessible for amateurs and professionals alike.

Recher also delves into the fundamentals of lighting, with easy-to-understand explanations. The final chapter of the book is dedicated to broncolor products, so you’ll not only have access to helpful photography tutorials, but quite likely the most beautiful lighting catalog you’ll ever see.

The book is available in English.


Buy Now  $9.99 

You will be redirected to our Sales Page.

There Must Be More To Life – a multimedia project featuring Amanda Lepore by photography artist Elias Wessel

Elias Wessel is one of the most remarkable young german artists, who use the large format photograph as means of expression. The main focus of the New York based photographer lies within a wide range of staged photography. In »There Must be More To Life«, exhibited September 2012 in New York City, the artist cooperates with the transexual superstar Amanda Lepore and creates a dialogue, which becomes a larger narrative about self-discovery and reinvention. The accompanying artbook (ISBN 978-3-939028-40-6) has just been released by the german publishing house Norman Beckmann (NBVD).

71Z6haSfLLL 710ouL2-BsL 71Q02AIfNfL 81FsQ+hnlEL 71r2Ph59bLL

In November 2011 at the Jane Hotel in New York City, the transgender superstar Amanda Lepore performed in front of Elias Wessel’s camera. The images, in which Lepore appears alternately humorous, mournful, glamourous, innocent, and sexy, are the central part of Wessel’s highly personal multimedia project »There Must be More To Life«. The large-scale color images of Lepore had been exhibited for its first time at the Art Directors Club Gallery in New York, September 2012. Opposed to video elements, including a clip from Sesame Street, the work creates a dialogue that becomes a larger narrative about self-discovery and reinvention. This is also the story of the artist’s own self discovery: »There Must be More To Life« is something of a culmination of the varied aesthetic and intellectual interests that Wessel has been accumulating for the past several years in his highly original (fashion-) photographs. Wessel’s work initially appeared in such magazines as Vixen, W, Vogue Italia, Art. Das Kunstmagazin, The New York Times, Lush, H-Magazine, iLove Magazine, Digital Photo Pro, BLICKFANG. At the latest with »There Must be More To Life« his images are transcending the mechanics of the genre which recently led into exhibitions in art galleries and at the Museum of Contemporary Art, Taipei.

The artbook conceptualized as a children- picture book in close cooperation between the artist and book designer Philipp Hubert at Hubert & Fischer, depicts the interdependency of the projects aesthetic and its content. It documents a meticulously staged and complex work, its mood and mystery in an astonishing aesthetic quality, prompting the viewer to ask questions: who is this woman and why is she here? The answers to those questions are revealed by sustained looking and the accompanying textbook which includes a foreword by Ignacio Oreamuno (Executive Director and Curator of the Art Directors Club Gallery, New York), a preface by Art Critic Meghan Daley and an interview with Amanda Lepore, who in Wessel’s photographs becomes an incredibly poignant and powerful figure, at once vulnerable and unbreakable.

»There Must be More To Life« stands in the tradition of photography as a transfer medium of cultural or social discourses, whereas each image contains a narrative moment. It marks a paradigm change in Elias Wessel’s work and is full of details, quotes and references.

Available at NBVD publishing house, stationers or online booksellers.

About the Artist

Elias Wessel’s interest in street art developed into something serious for him after meeting legendary artist Sigmar Polke at his exhibition »Die drei Lügen der Malerei« (The Three Lies of Painting) at the Kunst- und Ausstellungshalle in Bonn 1997. Inspired by Polke’s paintings, Wessel began studying fine art and art history. A study-related stay in Hamburg and Paris brought him closer to fashion- and art photography, which gradually initiated his career as an artist. Since 2005, Wessel has been living and working in New York. More than any other place, the city offers him the option to permanently push the limits of his experience. Since his arrival, Wessel is focusing to develop his visual language and its symbolic characteristics. Through his images he is continuously searching for new perspectives to show how perception, interpretation, and evaluation of the world can lead to transformation and change.


Title: There Must Be More To Life / Es muss im Leben mehr als alles geben
Artist: Elias Wessel
Languages: English / German
Prefaces: Ignacio Oreamuno, Meghan Dailey
Concept: Elias Wessel, Philipp Hubert
Design: Hubert & Fischer, New York
Publisher: NBVD, Norman Beckmann Verlag & Design, Hamburg
ISBN: 978-3-939028-40-6
Size: 24 x 34 cm (Cardboard book), 22 x 32 cm (Textbook)
Volume: 26 pages (Cardboard book), 24 pages (Textbook)
Finishing: Cardboard book with two rounded edges, Textbook
Price: $ 38.90

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




Painted Lady Fashion Editorial in Zink Magazine by Lindsay Adler

Written by Lindsay Adler:

I was looking for inspiration online when I came across the work of an amazing artist on DeviantArt. Jarek Kubicki is a photographer and digital artist, and to me his most striking works were the ones that bridges the gap between photo and painting. On his profile page he had dozens of examples where he had begun with a photo, but with dripping paint and beautiful brush strokes he had transformed the photographs into the realm of the surreal painting. The images were often dark and beautiful, imprecise but full of emotion.

For ages I had his image sitting in my inspiration folder, wondering if I could replicate the effect myself (still on my to do list for learning). Finally, one day I wrote him a note and asked if he’d be interested in collaborating on a creative project. I would direct and shoot the fashion images, he would do the creative post-processing, and they would run in Zink Magazine. Thankfully he responded to my email within less than an hour saying he was interested! The images are currently out in the June issue of Zink, and I LOVE what he did with the images! Together we took our strengths and helped bring the imagery to the next level.

In this blog post I have included the final images as well as Kubicki’s before-after slide show so you can see the process from original image to final painterly effect. Also you can find a behind the scenes video of the process. This was a three light setup- a beauty dish and two small silver reflector dishes, all on a seamless background. I kept the photographic elements of the shoot clean and simple so it would be easier for him to work with in post if he needed to modify the light, background, textures or other elements of the scene. This image and process will be covered in my next book which will be out in Oct 2013! – See more at:
Painted Lady Fashion Editorial in Zink Magazine by Lindsay Adler
Painted Lady Fashion Editorial in Zink Magazine by Lindsay Adler

Some Key Features of the new broncolor Softboxes

The new broncolor Softboxes – examples showing some key features

The new broncolor Softboxes are available in a wide range of shapes and sizes. They are very easy to mount and you have the option to use them with one, two or three diffusers. In addition grids are also available. I have used a Softbox in two practical situations to show you some very interesting features they can offer.

Example 1: Difference in illumination by just changing the number of diffusers

In the following example, I shot the exact same object three times with the same Softbox, first with only one diffuser, then with two and finally with all three diffusers.

To compare the different lighting of the diffusers used with the Softbox, I only added, coming from the back left, a small rim light done with a Striplight 60 and, coming from the front, a Picolite with a Fresnel. Both these lights are only effect lights, which do not have any influence on the main light coming from the right side, which was done with a 60x60cm Softbox.

Image 1
Image 1 – Using one diffuser

Image 2

Image 2 – Using two diffusers

Image 3

Image 3 – Using three diffusers
And here below, a closer look at a detail from each image:

Image 4

Image 4 – Detail – one diffuser

Image 5

Image 5 – Detail – two diffusers

Image 6

Image 6 – Detail – three diffusers

As expected, it is clearly visible that, depending on how many diffusers I use, I get a completely different light, from almost hard with one diffuser to very soft with three diffusers.

The very big difference in illumination done with only a Softbox, and always the same one, just by changing the number of diffusers really surprised me. It is a great advantage and shows how versatile the new broncolor Softboxes are!

Example 2: Using the third diffuser when shooting a shiny surface

The  third diffuser, which you can very easily put on top of the first two ones, has a very straight edge. You can even shoot a shiny surface with it mounted, and get a very nice and clean reflection, with no hotspot at all.

In the next two images, you can see the difference in result on a shiny surface when using a broncolor Softbox with 3 diffusers compared to using a competitor Softbox.

image 7
Image 7 – Shiny surface when using a broncolor Softbox

Image 8

Image 8 – Shiny surface when using a competitor Softbox

All of the broncolor Softboxes, which exists in a wide range of shapes and sizes, are also available with textile grids. With the additional possibilities of the diffusers, as shown in the examples above, there is a broncolor Softbox for every need.