Pink & Dangerous
Canon 7D, 80mm, f/10, 1/250s, ISO 100
They had guns and various other props at that Prohibition Era Ball, and one of the things that surprised me was how much the guns appealed to women for poses. This is one of my favourite, the contrast between the pink feathers and the gun are just perfect. I’m planning to do a spoof movie poster with this one when I have the time.
Canon 7D, 80mm, f/11, 1/250s, ISO 100
The essence of the Femme Fatale in noir novels was always a mix of apparent naiveté and ruthlessness. The voluptuous physical attributes that were part of the silver screen interpretation were a later addition. As I was processing this shot of an unknown model (remember this is a ball, I shoot whoever wants to be shot) I felt like this would be the attitude I’d expect of a Femme Fatale in the classic sense.
Half a Peacock
Canon 7D, 80mm, f/11, 1/250s, ISO 100
This week I’m working on a series I entitled Chicago Girls, based on portraits made during a costumed ball last year. Unlike my previously published photos from that session, which were for the most part « naturalistic » (ie. limited retouching), these are a bit more reworked, trying to push the atmosphere I was going after in post-processing. This first shot is one of Vanessa. Or rather half of Vanessa.
Farm in the Rice Fields
Fuji x100s, 35mm, f/2.8, 1/500s, ISO 640
The three things that struck me the most about Bhutan were the architecture, the costumes and the rice fields. This, as a consequence, is my most comprehensive Bhutanese shot since it features all three. I will be posting nothing by Bhutan pictures this week.
Canon 7D, 32mm, f/5.6, 1s, ISO 1000
Models: Achille and Aurélie
This is my last shot of this series, at least for the time being. I wanted to create eery, slightly creepy situations, and I think I managed that although I guess you’ll be the judge. Again, I used old process emulations for this one, with a light leak and some dodgy depth of field, but I quite like it.
Canon EOS 7D, 32mm, f/4, 1/4s, ISO 1000
In yesterday’s shot, Anaïs expressed fright perfectly, in today’s shot Aurélie does frightening perfectly. This one has gone through a number of iterations, but I keep coming back to a relatively simple black & white that I find particularly powerful.
Canon 7D, 32mm, f/4, 0,3s, ISO 1000
Continuing on my revisitation of the 1930s session I did for Dreamhounds, here is a portrait of Anaïs that I reworked (again) using old processes emulations. I asked Anaïs to express fright, and I believe she managed to do that wonderfully.
Three Willies, Old Style
Canon 7D, 32mm, f/8, 1,3s, ISO 1000
Another shot from the 1930s session that I ran last year for the Dreamhounds of Paris book. This one did make it in the book (I think), but in a different format. Because Guillaume was wearing a top hat I thought this one would work as an old process emulation, more 1890s than 1930s. Oh, and sorry about the bad pun, since the model is called Guillaume (William in English), it was too tempting…
Canon 7D, 32mm, f/4, 1/5s, ISO 2000
Today’s shot requires a little more explanation than I normally give, but bear with me a moment and all will be made clear. About 18 months ago, I had a conversation with the good people at Pelgrane Press about a role-playing game supplement they were working on based in Surrealist Paris. I did a series of shoots with models costumed as the period dictated, but they weren’t surreal enough, so I started experimenting with collages and double exposures. The book, entitled Dreamhounds of Paris is being released next month, and some of my pictures are featured. I thought I would share some of my favourite, both those that weren’t used and some of those that were. This is one of the ones that didn’t make it.
Nostalgie de Paris
Canon A2, 50mm, f/8, 1/250s, ISO 200
Film: Agfa Scala 200
Just before the summer I finished a roll of one of my favorite slide film: Agfa Scala 200. I remember walking back to St Lazare, past Trinité and thinking the alignment of the Metro sign with the Trinité Church bell-tower would make an interesting composition. Months later, after scanning the film, I have to agree with my past self. I’m in two minds whether the slight aperture blur of the Church is too much, just right or not enough, but I guess it’ll give me an excuse to experiment further next time I’m in Paris.