Select Page

Mark Robert Halper

Mark is passionate about everything he does.  A commercial photographer for two decades, Mark has built a successful career in a very competitive field by bringing a consistent vision to a diverse client base.  Mark thrives on the variety of projects he tackles. “Every day is something different doing exactly what I love”, Mark says, and he wouldn’t have it any other way.

Mark has been featured on national television in Starting Over, 10 Years Younger, and Fitness Fantasy.  His recent and upcoming speaking engagements include the Northwest Arkansas Art Director’s Club, the Professional Photographers of Orange County, and the Professional Photographers of Canada.

Mark was also featured in the lead article in the September 2006 Rangefinder Magazine.  He has been profiled by Hasselblad, was named Artist of the Month on The Digital Bits, and is a regular guest on the Lightsource Photograph Podcasts.  Mark is also a workshop instructor, and has filled workshops at the Santa Fe Workshops, the Julia Dean Workshops, and through his own studio.  His Low Overhead personal project resulted in a Mini-Book and was shown in 2005 at the premier cinema entertainment  complex in Hollywood, Arclight Cinemas.  The Low Overhead Widget is easily found on the Apple website.

Mark’s new collection of personal work, The Bed Project, has been extremely well received and is currently being prepared for publication.

Mark talks about his approach to photography. “I take out everything that isn’t absolutely necessary, until the only elements that remain are those which are entirely essential; the best photographs are usually the simplest.” “It’s about getting something honest out of who I’m shooting.”  Even the most challenging personalities come across as relaxed in his images.  Not surprisingly, Mark has found himself shooting celebrities as well as CEOs.

“From the beginning, I have always been motivated by the fun and challenge of assignment photography.  There are a lot of photographers who shoot commercially to support their art, but I seem to do my favorite work on assignment.  There is nothing else I would rather do.”

Mark lives and works in Los Angeles in a tall yellow house on the side of a hill. His neighbors often question the bright flashes that periodically emanate from his studio, as well as the comings and goings of beautiful and mysterious women into the wee hours of the night.  Mark does little to dispel even the most outlandish of rumors.

When not creating imagery for advertising agencies, design firms, national magazines, and Fortune 500 companies, Mark moonlights as an international jewel thief and a spy.

You can see Mark’s work, including The Bed Project, check his workshop schedule, and read more about him at studiomark.com.

André Costantini

“I picked up my firstDynalite pack after having assisted numerous photographers, who swore by the gear. Whether its on location or in the studio, the lightweight packs give me enough power to do everything I need and the flash duration is fast enough for me to use them to freeze motion, without hesitation. The new pencil head is great. I recently used the light mounted to an old tripod with no reflector. The bare bulb creates a hard point light source like a miniature sun. Its another example of unique tools designed for creative image making

André Costantini is always experimenting with techniques and processes, which over the years has spanned from traditional van dyke brown printing to digital pinhole photography. “My background is photography and painting. Digital photography and the computer have given me a new medium that allows me to quickly draw on my sensibilities for some pretty unique images. I am now close to the point where people stop asking if an image was shot digital or with film and if it was manipulated and how it was done. Because about 50% of the images are digitally altered and 50% aren’t, it starts to become difficult for most people to really distinguish which is what, which is precisely the idea.”

In the late 90’s he began shooting dance. “Shooting dance is such an interactive process from designing the shot through capturing a moment. We toss ideas around and then they toss each other around. We really never know if the shot will completely work out, we just know that it always does.”

His other images meld illustration and portraiture. In addition to freelance endeavors for the past 4 years he has worked in and around the photo industry for Tamron USA.

His first camera was a gift from his grandfather when he was seven. Though his first photographs depicted people, he soon started experimenting with still life (using mainly his Star Wars action figures.) For better or for worse, his parents advised him against this sort of thing. “I guess they saw this as a waste of film and so I was only allowed to take pictures which had people in them.” This brought him back to his roots and redirected his focus back to portraits. Maybe it was because his first Kodamatic camera took square pictures that when he discovered medium format photography, the square was his natural choice. Today he captures the majority of his images on Bronica SQ-Ai’s favoring the 80mm 50mm and 35mm Fisheye lenses.


Cherie Steinberg Cote

Cherie on DynaLite:, “ I have had my Dynalite Kit for 14 Years. I have never had a day of problems with them. All I have ever done is change a modeling lamp. They are work horses, they always come through. I shoot every Image in my studio with them.”

Cherie Steinberg Cote (visit Cherie’s website) is a photographer whose passion has been traveling the world and photographing people. Cherie began her photography career as a photojournalist at The Toronto Sun newspaper it Toronto, Canada.  She had the distinction of being their first female photographer, Cherie was honored with the Canadian Council for the Arts Award, Canada’s equivalent of the National Endowment for the Arts Award.

Among the numerous awards Cherie has won, she is a Getty Image Stock Photographer whose work is sold worldwide.  In her international travels to over 40 countries, she has captured extraordinary images which have appeared in countless publications and most recently in Grace Ormonde, the L.A.Times, Los Angeles Magazine, Bride & Bloom Magazine, WPPI Monthly, Distinctive Magazine, 90210 Magazine, 5280 Magazine, Professional Photographers, Palm Springs Life, Rangefinder Magazine and Nikon World.  Her Photography has also been featured on Entertainment Tonight several times.

Brian Marcus

Brian Marcus is the third generation to represent the photography legacy of Fred Marcus Photography Studio in New York City—the leading name in wedding photography, for more than half a century.

Brian has been a Nikon professional photographer for 10 years and has shot events both in the United States and internationally.  Photographing approximately 100 events per year, his work affords a unique combination of beautiful traditional portraiture with touching candid photography.

Brian is a recognized expert in event and wedding photography, and has been featured in numerous publications including New York Magazine, The Knot, Studio Photography and Design, GQ, Interview Magazine, Gotham Magazine and many others.  In addition to his relentless professional shooting calendar, he schedules time to teach seminars around the world, sharing his passion with other photographers.

Among the hundreds of events that Brian photographs each year, he has shot many celebrity weddings, notably among them: Donald Trump to Marla Maples, Billy Baldwin to Chynna Phillips and Joey McIntyre of New Kids on the Block.

Brian Dynalite …

Dynalite equipment to me has been a necessary tool for any event I have ever done. The quality of the light, ease of use/portability of the equipment make working indoors a pleasure.

Most New York wedding photographers choose one place to set up for their portraits but with theDynalite system I choose multiple locations because of how easy it easy to set up. There is nothing better for me than equipment that is always reliable and that produces only the finest quality images.

Vincent Versace

“I shoot 36 frames in 34 seconds… I use the Dynalite M500XL strobe system because it can keep up and it is the only strobe to use when shooting with digital. Actually, It’s the only strobe to use for film and digital. Period.”

“My work is all about two things: Digital capture and natural light. And sometimes the sun ain’t where you want it. These strobes can add a light anywhere. The box fits in your hand and weighs less than my notebook computer. Because of the recycling time on M500XL, I’m able to shoot as fast as my camera can capture… I can make light happen in ways that I really can’t with other systems.

I can’t imagine shooting on location with any other setup.”

Vincent Versace has been making digital images for almost a decade. Companies such as Kodak, Apple, Epson and Adobe all have him on their roster as a beta tester. His reason for going digital may surprise you…Vince explained, “Bottom line, I have to look at this economically, I charge for what I do. As a business venture, what should I do?…stay married to a technology that rips the environment apart, is costly, and does not have the permanence that I can get with digital, or…embrace a technology that puts money in my pocket, is quicker, and gives me more of my life back?”

Along with maintaining his studio in Hollywood, where he’s received a Smithsonian Award for his celebrity portraits, Vince has also been known to slip off to Bora Bora to photograph extreme sports competitions. Born in San Francisco, Vince credits two of his uncles, Frank and C.J. Elfont, both professional photographers, with giving him a head start in his chosen field. He picked up his first camera at age 7 and by high school he was already working as a wedding photographer. Vince later graduated grom the USC School of Cinema-Television (film school).On his early inspiration…”If it wasn’t for C.J., I wouldn’t be a photographer. He was the first person in my life who helped me think outside the box. He…taught me what an artist is, and that you can’t call yourself one…You don’t make art. Art happens.”

George Tiedermann

I’ve been depending on Dynalite’s since 1970 when I purchased my first Dynalite bare tube conversion of a Honeywell Stobonar Pressmaster 800. I still have the unit today, and could use it if necessary. Since those early days as a newspaper photographer, I’ve acquired a much larger pool of Dynalite equipment that is called on time and time again. Two of my 800 watt second units (D804) from the mid-seventies are still being used. Other than being great strobes, I like the fact that they are very portable and that’s been a major factor since I never know where I may need to take them at a moments notice.

I was hired by the promoter to do the Tyson- Stewart poster for their then upcoming fight in Atlantic City. Everything was set up and we were ready to go as soon as Mike finished shooting a TV promo. But Tyson and his entourage left the room forgetting all about our shoot.

As they left, I glanced at the Public Relations Manager only to see disaster in his eyes. I instantly took off down the hall after Mike. When I reached him I grabbed him by the arm and said, “Mike we need to shoot the picture for the fight poster”. He followed me back to the room for the picture. I showed both fighters what I needed them to do and quickly walked back to my Nikon, focused, made three quick frames, and asked Tyson to look a little meaner.  With that, he walked out the door.

After processing the film, I noticed that the third frame was the better frame. In that frame the light from the strobe on Tyson’s side had not fully recycled, but fired anyway which enhanced that shot over the first two frames. Had that one strobe waited for full recycle, I would not have had a usable third frame.

I was assigned by Sports Illustrated to make a triple exposure of the men’s 60 meter dash at the Chemical Bank Millrose Games in Madison Square Garden.

There were four Dynalite 1000 w/s units (two at each end) and two Comet PMT1200 w/s battery operated strobes in the middle of the track. Since no live wires were allowed on the arena floor, we adapted two Dynalite 4080 bi-tube heads to work off the PMT1200. This also reduced the flash duration,which is paramount for this type of shoot.

All six strobes were connected in pairs to a switching unit controlled by an assistant who would flip switches on and off as needed during the very short 6.5 seconds of this event. The floor was being used for other events, which prevented testing our system on this “one” shot assignment.

Now with all the equipment in place, a TV technician appeared and announced that a strobe was blocking their camera view. Quickly, I told my assistant to lower the strobe head and return ASAP. He ran to the strobe, made the adjustment, and returned to the control box seconds before the pistol shot.

Aside from many stressful obstacles,my Dynalites and Comet PMT’s performed perfectly…Thanks Dynalite!!