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    © Audrey Piguet

    Audrey Piguet



    Audrey Piguet is a young Swiss photographer; her work is build from multiple elements. Drawings, makeup, retouching, lights, most of the time her compositions are made from scratch. Her work becomes an amazing world of fantasy where reality overlaps. The feeling, somewhere between fascination and anxiety, is absolutely unique.

    Tell us how you began photography, but more specifically what brought you to use flash photography.

    I began photography at the age of 15. At the time it was an alternative to drawing, which was my first passion. By looking into this medium more closely, I discovered the works of many photographers, members of a very cinematographic trend of photography, working carefully constructed aesthetics, approaching a quasi-pictorial rendering.

    When I began my formal training at the Vevey School of Photography (CEPV), I was trained in flash photography and how to create an ambiance using coherent light to embellish the object of the photograph. I immediately enjoyed this aspect of the work, to be able to create and control the light, its direction, its intensity, without being dependent on external elements.

    How would you describe your style, what sets you apart from other photographers.

    I mainly work in studios, with a keen interest for portraits and staging. I like to build scenes with a dreamlike aspect to them: mix reality and fantasy and play on the fine line between the two. From an aesthetic point of view, I like my photographs to be very smooth, precise, and refined; I am constantly in search of perfection, even though it is highly subjective.

    The postproduction work is also a top priority in my process as it allows me to control every little detail of the elements that make up the image. It also lets me create fantasy worlds using specks of reality.

    © Audrey Piguet
    © Audrey Piguet

    How did you come to use Elinchrom and what drew you to our products?

    I came upon the Elinchrom products during my time at the Vevey School of Photography. I enjoyed several key points of the products immediately such as the vast array of choices available within the range of products, for the flash themselves and the accessories used to modulate the light. Their ease of use, their durability, and their designs also made them attractive. I also like the products’ lightweight and practical aspect, without ever compromising quality and efficiency.

    Being from, and living in, the Lake Geneva region, buying a local product is also a factor in my decision to purchase the products, as well as having the quality assurance of a “Swiss Made” product.

    What is your favorite photography equipment?

    For studio work, I mainly work with a number of flash units, specifically the BRX 500. They are light and relatively powerful, which is particularly suitable to the type of work I do. I regularly use large Rotalux softboxes of diverse shapes for the general ambiance of my image, and I accentuate specific elements using light diffusers or a grid hooked on a reflector. 

    When working outside, I always use the ELB 400. They are light, powerful, easily transportable and are long lasting, therefore perfect for work in the field. As for the actual camera, I work with a Canon 5D Mark III using EF wide-angle lens.

    The retouching and compositing aspect is very important to your work, why is that? 

    Rendering the world as we can already see it does not really interest me. The retouching work is very important to me for several reasons. On the one hand it allows me to reach a very smooth result, at times almost plastic-like. I refine the details and erase the defects. On the other hand it allows me to create scenes that could not exist in reality, whether it is by the elements that make up the image or by the quasi-fantastic light present in some of my images. I see the retouching step as a logical part of the creative flow I undergo when I create an image as it lets me give life to the worlds I imagine.

    What is your balance between the compositing technique and the use of flash light?

    Light for me has a center stage role in a photograph, regardless of the chosen subject or the way we photograph it. If the light is not interesting, the final product will not be interesting either. Light lets certain elements come to the forefront and hides others…

    To me, it is the key to understanding an image, but also a way to tell a story and let the eyes travel from one element to the next within the image.

    Although I often use compositing, each of the elements is lit one by one, sometimes solely through the use of a flash, sometimes using a mix of light. This allows me to have this surreal and fantastic rendering in some of my images.

    © Audrey Piguet

    The first steps in using a flash often scares away budding flash photographers, what are some of your suggestions on this question, what would you recommend?

    Perseverance! At the beginning, it is not necessarily easy to manage working with light, manage this type of material. I would recommend you start with simple things in a studio, an object for example. Start with a flash, then move it, change its intensity, change your accessories (softbox, reflector, umbrella, etc.), and observe the changes. Observation is key to learn how to work with this technique. You have to progress step by step, starting with one flash, then two, go through several tests, and you will learn as you experiment.

    Can you describe your favorite setup?

    Generally speaking, I like the main light to be quite direct, so that it highlights the traits of the model. Therefore I use a flash unit with a grid pointed directly at the character, or on the main element of my photograph. I smooth the different unlit parts using large softboxes, generally placed on the sides or on top. My camera is plugged into my laptop, which lets me see the result on my screen immediately and ensure that the rendering is what I had in mind.

    Drawing, make-up, costume, shooting, final product. You control everything from A to Z. Is that a personal decision or due to budget constraints?

    Managing every aspect of the job is neither an economic gain nor a time saving measure, quite the contrary. I like the idea of constructing a photograph from scratch: imagining it on paper, going through different creative phases before the shoot itself, to finally giving it life and finalizing it on the computer. I construct these images little by little, the same way a painter would construct his or her paintings. The shoot represents the snapshot, where everything comes together and is ready to tell a story.



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    © Audrey Piguet

    Audrey's To Go Set

    • ELB 400 One Pro Head To Go

      ELB 400 One Pro Head To GoN° 10413.1

      When general photography is your passion and portability is key to you, this is the set to have. The included EL-Skyport Speed transmitter enables seamless trigger and control of the unit while the included battery provides 350 full power flashes.

    • BRX 500/500 Set

      BRX 500/500 SetN° 20758.2

      The perfect set for anyone starting a serious business in portrait or product photography. With a total of 1000 Ws, this set is ideal for medium-sized studios.

      This set does not include tripods. Optional tripod sets are available depending on your needs.

    • Reflector Grid Set 18 cm

      Reflector Grid Set 18 cmN° 26060

      The Grid Reflector 18cm is a general purpose reflector for travelling and can be used for direct or indirect lighting with Elinchrom umbrellas. 

      The included 30° grid limit light spread and offers sharper shadows.

      This set includes one reflector and one grid.

      Excessive heat can damage units and accessories.
      Reduce modelling lamp power when reflectors are used with grids or snoots.
      Grids should never be used with 650W modelling lamps.

    • Rotalux® Softbox Octa 135 cm

      Rotalux® Softbox Octa 135 cmN° 26184

      Very popular among beauty and fashion photographers, as they prefer the round catchlight given by this softbox.

      You can make yourself a great folding beauty dish just by removing the front and inner diffusers and adding one of the optional deflectors. 

    • Rotalux® Softbox Deep Octa 100 cm

      Rotalux® Softbox Deep Octa 100 cmN° 26185

      This narrow shaped Deep Octa reduces the spread of light and offers sharper shadows compared to standard sized octagonal softboxes. It provides a very even diffuse light over the front screen and is an excellent crispy and direct light when used without diffusers to give a beauty dish look. 

    • Rotalux® Softbox Deep Octa 70 cm

      Rotalux® Softbox Deep Octa 70 cmN° 26187

      The ideal softbox on location.

      The Deep Octa 70 cm is an excellent crispy and direct light when used without the internal and external diffusers. Perfect for beauty and fashion. The narrow shape reduces the spread of light and offers sharper shadows compared to standard sized octagonal softboxes. 

    • Rotalux® Softbox 50x130 cm

      Rotalux® Softbox 50x130 cmN° 26181

      This softbox is great for product photography, especially bottles and other round reflectives items.

      They can also be used for ¾ length portraits and are also widely used to light backgrounds where the length helps avoid fall-off from top to bottom.

    • Rotalux® Softbox 35x90 cm

      Rotalux® Softbox 35x90 cmN° 26180

      This softbox is great for product photography, especially bottles and other round reflectives items. They can also be used for narrower ¾ length portraits and are also widely used to light backgrounds where the length helps avoid fall-off from top to bottom.