Bruce Dorn

Bruce Dorn has been involved in the visual arts thirty-five years.

Bruce’s photographic career began in 1973 when Conde Nast publishing named him as a Guest Art Director of Mademoiselle Magazine. After opening a studio on Fifth Avenue in Manhattan, Bruce immediately began to shoot photo essays for a variety of fashion, business, and news magazines. He soon expanded his services to include both Annual Report and Advertising photography.

In 1976, Bruce was offered a position as a lecturer at the Fine Art campus of Indiana and Purdue University in Indianapolis where he taught all levels of Design and Photography. In 1980, Bruce moved to Phoenix, Arizona where he opened Studio B, a boutique studio specializing in advertising and visual problem solving. In 1983, an opportunity arose to act as the Director of Photography for series of thirty-second television commercials that took Bruce to the finals of the Clio Awards competition. One of the other finalists in the same category was the Hollywood visual effects powerhouse, Robert Able and Associates. Shortly after the competition, Robert Able interviewed Bruce and offered him the position of Creative Director at RAA.

After relocating to Hollywood, Bruce conceptualized and directed hundreds of national and international television commercials for RAA. In the process, Bruce was inducted into the Directors Guild of America and won numerous industry awards. These include multiple Art Directors Club Awards, Clios, Mobius Awards, and a Bronze Lion from the Cannes Commercial Film Festival.

In 1989 Bruce opened Bruce Dorn Films, a commercial production company specializing in both analogue and digital effects. As a director/cameraman, Bruce specialized in high-risk cinematography. His expertise in motorsport, underwater, and helicopter work was in constant demand until he retired from Hollywood in 2001.

Bruce currently lives in Prescott, Arizona where he and his wife - internationally-recognized digital painter Maura Dutra - operate iDC Photography, a Visual Arts studio. Bruce travels extensively as he serves his commercial clientele, guides digital safaris, and lectures on lighting, photography, and digital film-making technique. Bruce is a Canon Explorer of Light, a Canon Print Master, and a Corel Painter Master. He is also an unrepentant gadgeteer and enjoys inventing all manner of nifty gizmos in his Little Shop of Wonders…


Wednesday, July 06, 2011

Exploring Light, Discovering Style: A Lighting Tutorial

Part 13, Lesson 11: Pre-Light, Then Refine

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Concept: “Rough-in” a general lighting scheme, then fine-tune for emerging opportunities.
Tools: Studio Strobes+Chinese Lantern+Scrim+Reflector

Action: This is a complex-looking solution which is really quite simple and extremely versatile. By lighting for the space, rather than to a specific pose, I was able to quickly bang-out everything from full-length gown shots to close-up details.

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(4) Comments • Most recent comments by: Carmen7Skinner@aol.com, grant2madsen, Lumina47Grant, Xfire300, • Permalink

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A lite lesson in Light

Matt Brandon | 07/25- 12:01 AM

Light: The Good, The Bad and The Right

REVIEW:  Litepanels Sola ENG LED Fresnel Light

Bruce A Johnson | 07/19- 07:53 PM

Bright, Light And Oh So Cool…

Photographer From Slovenia Ordered To Delete 11,000 Photos By The Government

Dan Carr | 07/18- 11:16 AM

This is surely taking privacy laws too far ?

A Camera I Can Forget Is In My Pocket, Even Swimming At The Pool

Tony Donaldson | 07/15- 11:51 AM

Sony’s Cybershot DSC-TX10 waterproof digital camera

Think Tank Hydrophobia 300-600 V2 Review

Dan Carr | 07/10- 11:58 PM

Rain cover for lenses from 300mm to 600mm

Exploring Light, Discovering Style: A Lighting Tutorial

Bruce Dorn | 07/06- 10:40 AM

Part 13, Lesson 11: Pre-Light, Then Refine

Manfrotto 055 Mag Photo-Movie Head Review

Dan Carr | 07/04- 09:29 PM

New fluid head that offers 3 axis movement for stills photography as well.

Unboxing: The GoPro LCD BacPac

Clint Milby | 07/01- 07:17 AM

Awesome New Accessory Completes the GoPro System





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A lite lesson in Light

Matt Brandon | 07/25- 12:01 AM

Light: The Good, The Bad and The Right

Light is a funny thing. To be more precise, the photographers perception of light is a funny thing. I’ve noticed recently, many photographers look on light in terms that are very black and white (pun not intended). By that, I mean they describe light in terms of “good” or “bad” light.  OK… I’ll admit that I’ve also found myself describing light in these terms. But, that’s doing light a disservice. Because light is neither good, nor bad it just is. A photographer’s job or maybe better still, a photographers responsibility is to learn what light is appropriate for a given subject. What light is needed to fulfill the vision he or she has for the photograph they are making.

REVIEW:  Litepanels Sola ENG LED Fresnel Light

Bruce A Johnson | 07/19- 07:53 PM

Bright, Light And Oh So Cool…

I’ve gone on record in the past as not being a big fan of camera-top lights.  The last thing an interview subject needs is a glaring “sungun” to impart that “deer-in-the-headlights” look.  Of course, sunguns of the past were crude tools, usually a low-to-medium wattage tungsten lightbulb that – if you were lucky – might be hiding behind a piece of bathroom opal glass.  (If you are one of the six shooters in all the world that ever had an HMI sungun… good for you.)  In almost every setup, the light was mounted directly above the lens, right on axis with the optics – a recipe for flat, unflattering light if ever there was one.  And powering this device almost always required external batteries – anyone that has ever had a battery belt pull your pants down on a shoot, raise your hands now, please.

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