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My name is Elisabeth. I'm 26 years old.
I'm a fashion and art photographer in Munich.
I'm not the classic photographer in that sense, as you can imagine.
I don't know much about technology.
I have a very precise image in my head and I try to implement it in one or another way.
I have a lot of people who help me.
I think I'm more an illustrator, that I'm a photographer
or maybe I'm also a painter or an artist, much more than a photographer.
I would say, or I hope, that they come from my unconsciousness
and that's also what I try to emphasize.
No thought-out, much too much staged images that I sucked out of my fingers to compose,
but images that may also be somewhat automatic,
that may reflect a lot of me, the things that I don't know about myself,
maybe my wishes, my ideas, my drive, bring a bit more from within to the outside.
I wasn't always a photographer and I'm not one of those people
who already had a camera and a birthday cake to take pictures with.
I used to draw a lot of paintings and at some point it was a bit out of this medium,
but the air was a bit out and then I decided that I needed something new,
then I let myself be given a camera and experimented with it.
That was three or four years ago and since then it has developed quite quickly
because it was of great interest.
Today we have shot an editorial on the topic Vampires Do Exist.
It was a free work, not a commercial work, a fashion editorial.
We combined design clothing with an elaborate set.
It was like a small theater piece, a small performance that we had kept photographically.
I would say ten to twelve motifs.
They were all very different.
Each picture had its own little story that was connected to it,
to its own set, to its own accessories and props.
At the moment I work very often in a small team together with Heiko Pallach.
This is the make-up and hair artist I always work with.
In this case the idea of Vampires Do Exist came from him.
It's his baby and he came to me with this idea
and then we developed the story and the props and accessories together and thought about it.
The Vampires Do Exist
The Vampires Do Exist
The Vampires Do Exist
The Vampires Do Exist
Hello, I'm Josef.
I study photography.
I learned light technology and shooting techniques in chamber games.
I also learned theater in Munich and photography.
I'm the light technician for Elisabeth, where it's only possible.
There are other technicians as well, but I was there today.
With light in mind, it was relatively early.
The training is now six years back.
I started to work very intensively with it.
There were long light rehearsals and in the beginning I always wanted to concentrate on sound.
The fact that you have so much to do with light is growing.
The chance to work with it has grown.
In the end I was very specialized in light.
I left it behind me with the sound.
Then you come to a stage that is empty in the working light.
It's a large black box and then the light is set up against light or side light.
Suddenly there is a life in it.
Especially when a fog fills the stage and you see the light shining.
Then it is sometimes the complete stage set.
I am always able to create complete moods in theater.
That is, only by color, by a certain set,
by the direction of light.
All in light direction has a completely different effect.
So I think it's just interesting to set it up like this.
Is that what makes 95% of the picture?
I can have a good idea, but if the light is not right,
the idea is probably also there.
I hate the clean, clean, beautiful light
and I love the rough, filmy, insinuated, almost theater-like light.
We actually used the entire range.
We work with the hard light, with which I can draw the highest contrast,
which I can also use very well from the light direction.
In fact, really say, here is my shadow edge, there is an open background.
In my opinion, the use of hard light reminds me more of theater or films,
than, for example, soft light.
Through the Van Knochen, the view was harder, the expression was just much stronger
than, for example, if you had used soft light.
Then we actually used a few times soft light,
so big softbox, for example, to, of course, not keep the whole series extremely hard.
So we have to solve it a little bit.
And then we have, that was very important,
already in advance a request from everyone,
to use a projection projector, so projection presets,
because the light should sometimes also become a little flakier.
And then I thought, everything is clear, then we just take a few projection headlights
with a gobo, for example.
They are known for their use.
And we also used them.
So we actually had almost everything that you somehow know,
had a use.
For me personally, as you can see, the dark is close to me
and the light is something that I am turning on
and the direction in which I am trying to turn off.
In terms of cliché, I would say that we cannot see the light without the darkness.
That just hits.
I think a picture or the life should be on both sides every day
so that you can always appreciate the other side.
I often notice in the course of a shooting that I always try
to capture soft and bright,
because I always say, you have to try that out now.
It is also important that you can do that.
Then I shoot this picture.
It is nice.
It is bright and then I usually say to the light technician,
we could turn it down a bit and maybe take it away here.
And in the end we are actually very sweet.
Since I started to deal with artificial light,
I started to pay attention to natural light in the environment.
Whether it is a window light, how beautiful,
how beautiful my shadow drawing is.
You want to do that as often as possible in your photography.
It is not always possible or not always necessary.
Just like in a shooting like today,
where you really start to set up a very theatrical light,
you can then get rid of it
and you actually ended up in a very, very artificial light.
I work with shadows just like that,
so that I can see the shadows
at least close to the light.
I do not have any fear of having a hard shadow,
especially in the spotlight,
because they can be set up very well.
I also work with the shadows that can enter the picture.
In the course of last year, I had different cameras available.
But in any case, I could always take pictures
with a high resolution.
For me personally it is very important
that I can do a lot from a picture
and that I can transform it,
that I can assemble parts
and so far it has always been very good for me.
The higher ISO number you can use
I also like to use it.
It's really nice to know that
the ISO 1000 is not really that high.
I have experienced that
and I am happy about it.
That makes it easier.
If I work with available light
then I am happy about it
and use it as a start.
On days like these I see a way about it
because I want to design my light
and create a right light direction
and then I want to go down again with the ISO number
and just use the light as it is,
my hard light setting or something like that.
And that is still important to me.
Then I use the ISO number
or something like that
and focus on my light direction.
Because I develop many ideas
that in the end have to do with technology
and use technology
it plays a big role for me
and that is why I am very happy
to have people on my side
who take this part for me
because I still don't know
what kind of device this is.
I work mostly
and today I also work with
the focus lights.
In the power plants
there are 400W and the 200W devices
were also in use.
I choose them
in a suitable spot
to set really hard accents.
But I like to turn them on
to illuminate my background
even though it is spotless
but to achieve a bigger area
we used a big sky
for example.
Then I started with a more public
light setting
but I was able to create a more
interesting vignette
because I only made it bigger
but I still had a spot light.
I wanted to illuminate a person
evenly
and then I used the Pan Aura 5.
It is a soft light
in a big soft box.
And the small 200W spotlights
are often used
to illuminate
the shadow side
and at the same time
I also used them
as effect headlights.
You always notice
the quality of headlights
or devices
if you don't have them.
I use the headlights
because you move your hand
and in the middle of the day
you don't have a problem
to build them.
Today we didn't just move
in a hollow box.
Then you realize
that the material is light.
It is exactly what I want.
I can handle it quite roughly
and I always get my quality out.
That is a big advantage for me.
That it is as compact as possible
as easy to transport
as flexible as possible
in the possibilities
that it offers me.
That it is
variable.
That I can get
a wide light beam
a narrow light beam
a light beam that is shaped
etc.
That I can use
any kind of idea
that I can use for my picture.
In fact, contrast
fits the best.
In this case, it is also flexible.
In fact, we had 10
10 setups a day.
Then I would like to be relatively fast
and not stop in the conversion.
That is what I was thinking at speed
and at the same time I wanted
to be able to create an exciting contrast ray of light.
I have reached the moment
for photography.
I do not write for the next few years
that I have written about photography.
At the moment, photography
is the most practical medium
in which I can
use my ideas
relatively quickly
and interestingly.
That is why the media
is melting together at the moment.
And everyone, let's say,
on Instagram with his
just shot photo
can put a filter over it
I think it is going in the direction
of melting different media.
I think that it is not
just about the picture
but that the pictures look more like
the paintings or the drawings
or maybe the melting
in both things.
That is also the direction
that I am currently trying to go.
I think the goal
does not necessarily
follow what is said at the moment
or what is
being said by someone
but to have a lot of
courage
to break certain ideas
or with certain ideas
something extraordinary
or maybe something
that is usually not suitable
to put into a picture
or composition
what I have written
with the ideas
and what I am trying to do
is to create
a good photography
a good photo
should always be able
to work in
different associations
a lot of clarity
a lot of possibilities
of interpretation
a lot of creativity
a lot of creativity
a lot of creativity
a lot of creativity
a lot of possibilities
of interpretation
to be clear.
Thank you.
