In cooperation with our partners for memory solutions

In cooperation with our partners for memory solutions



Colour is one of the most important parts of my work. Be it for a «baroque» inspired piece or a «science-fiction» inspired story – colour has to be there before I start postproduction.

I often rely on a wide range of broncolor modifiers to set the colour correctly. In this shoot I challenged myself with both, how I could use different modifiers but also how I could create a more “colour blocking” approach without having any hard edges in my images.

Jasmijn Roses1

Jasmijn Roses2

My first step was figuring out how I wanted my colours to fall on and around my model Jasmijn, “My Fragility”. I decided to work with a more backlit approach as this would both allow a beautiful colour surrounding my model as well as leave enough space to add more colours when setting up the second and third light. I positioned my Siros 800 with an Octabox and a teal gel as high as I could on the left behind the model. Since the Octabox is a pretty big modifier which gives beautifully feathered light, I knew it would be strong enough to fill in without overpowering any of the smaller modifiers, which I planned to use. The Siros 800 is my favourite light from broncolor. I always use it as my most important light source. Since this was going to be my main light, despite the fact that I positioned it in the back, I appreciated having full control over its power output.

For the second light, I attached a MobiLED on my Move 1200L. I positioned it almost directly in front of the model. In addition, I angled the light from lower upwards so it would balance out nicely with my earlier placed Octabox behind her. In order to get the colours that I needed, I decided to use my beauty dish without the diffuser, but rather with an orange gel attached to it. Working without the diffuser made the light harder, but it also allowed me to create some interesting depth to really shape the light and the shadows on the model’s face.

Jasmijn Roses6


Last but not least, a very important light for this shooting was the Picolight with a Fresnel attachment. It’s one of my absolute favourites. I’ve never been able to recreate its lighting abilities with any other modifier! The Picolight was also attached to the Move 1200L. I positioned it on the right side of my model, aiming at her face. I knew this light source would be strong enough to shoot through the flowers and create different patterns on her face and giving a gorgeous effect on my model. The look that I had in mind was complete.