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“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.