Ben Glezer

After studying photography at RMIT University in Melbourne, photographer Ben Glezer assisted advertising photographers both in Australia and South East Asia. He also travelled extensively, undertaking personal photographic projects before setting up base in St Kilda, Melbourne nine years ago, as an advertising and fashion photographer. Ben's work has been varied and challenging over the past decade, and clients include Ford, GM, Microsoft as well as many fashion labels. To visit Ben's site: www.beng.com.au

I use both flash and hot light depending on the job.

Tungsten lights are vital, particularly with automotive work, the physical size of a flash tube means you can never get a light source as accurate as a hot light.

Lowel's DP Lights are great, the reflector bubbles run perpendicular to that of a Red Head (light), so its a much more refined light source. Using DPs with the expandable barn doors and interchangeable reflectors makes them very precise. I used DP Lights on both of the above shots.

The guy with the smoke was lit with a combination of strobe, fluorescent Kinos, and DP's. The background and smoke was light with 2 broncolor mobile bare flash heads.

The guy himself was lit with a DP & 1/2 c.t.b. (day blue gel), through a scrim. And there is a 4 foot tungsten balanced kino with 1/2 c.t.b. to his right to bring out the texture of the leather. Using a tungsten fluorescent with degrees of blue gel allows more color control than going for straight daylight lamps.

The car was shot entirely with tungsten light. If I had used daylight balanced lights, the cars lit headlights would have come out yellow, so this keeps everything under the same control.

The lighting on the front of the car is a DP head, set at full flood, on a boom arm, pointing directly at the car ,

I also used 4 2k fresnels bounced off the egg studio walls, as fill light.

The background for the shot was made in post production.