Canon 7D, 80mm, f/2, 1/125s, ISO 1600
One of the hardest things when shooting concerts is to catch the interaction between musicians. These are fleeting moments, and it’s often hard to have the right framing and the right focus at the right time. All the more exciting when it works!
Canon A2, 50mm, f/4, 1/250s, ISO 200
Film: Agfa Scala 200 / Models: Anaïs & Guillaume
Lately I’ve been doing a number of photo sessions with models dressed in 1930s fashion for a project that may or may not come to fruition (more on that later if it materialises). At the end of the first session, since both me and the models had a little time on our hands, I asked the models if they wanted photos for themselves, and took this lovely portrait of Anaïs and Guillaume. I think the dynamic range and the tone of the Agfa Scala really do wonders here!
The Old Music Shop
Canon 7D, 32mm, f/5.6, 1/250s, ISO 400
This old music shop in the middle of modern Dublin caught my eye, probably due to the greens and red, mostly. I stopped on the other side of the road from it and waited for someone to walk by…
Canon 7D, 96mm, f/8, 1/3s, ISO 200
In many ways this shot is the polar opposite of Pinecone in Darkness posted last week. It’s harder to light a subject over a white background than over a black one, I think, but I managed to pull off something that works here, I think. Edited in Lightroom with XeL 2.0
Sax in the Shadows
Canon 7D, 80mm, f/5.6, 1/60s, ISO 1600
The lighting at that Madd Vibes Brass Band concert at La Batterie in Guyancourt was pretty amazing, and although Arnaud’s face is in the shadows on this shot, I still like it a lot.
Canon 7D, 32mm, f/13, 1/10s – 1/20s – 1/40s- 1/80s – 1/160s, ISO 100
Shooting Cathedral Cove was a goal of my Coromandel expedition, and it was a tough job to take on, not only because of the trek to get there but because of the light conditions. I now hope that I’ll be able to go back there with hindsight to helm me decide on the best course of action, but in the meantime I still have this 5-exposure HDR shot that, hopefully, gives a sense of the majesty of the place. The photo was edited with HDR Efex Pro and Lightroom using XeL 2.0.
Roger’s Big Horn
Canon 7D, 135mm, f/4, 1/100s, ISO 1600
Roger Lewis of the Dirty Dozen Brass Band is one of my favourite musicians, but over the years I’ve always struggled to shoot him properly. His cap always seems to get in the way, causing a deep shadow on his face. Fortunately at the DDBB concert at La Batterie in Guyancourt in October he often stood back from his microphone stand, where the shadows were deeper but also more even, which allowed me to capture this picture and a number of others. I played with a B&W version, but the colors are so gorgeous here I thought it looked better that way.
Pinecone in Darkness
Canon 7D, f/13, 1s, ISO 200
Still life is as much an exercice in technique as it can be an artistic endeavour. I’ve long been fasinated by Edward Weston’s Pepper No. 30 and without any illusion of getting anywhere near his mastery of light, I’ve been experimenting with similar in the studio still life concepts. I did a fair amount of work on pinecones, and this one is one of the most interesting results, I think.
Three Monkeys in Top Hats
Canon 7D, 32mm, f/8, 1.3s, ISO 1000
Model: Guillaume Levillain
The session which I finished by shooting series of 3 monkeys with the models (see Three Monkeys in the Thirties) was really one of the best photo shoots I ever did, both in terms of having fun shooting and in terms of the results that came out of it. This photo of Guillaume was tricky because the three shots superimposed each other quite a bit. It forced me to do some very careful work in Photoshop, but I got there in the end. The photo was processed in Snapseed.
Canon 7D, 80mm, f/4, 1/100s, ISO 1600
Bruno Clark aka Superclark is the banjo player in the fabled French funk brass band Ceux qui Marchent Debout. CQMD has joined forces with fishbone founder Angelo Moore to form the Madd Vibes Brass Band which I was lucky enough to see live recently. The music was beyond awesome, but one of the great things about shooting these guys (apart from the uniforms) was the fact that they were all mic’ed up wirelessly, which meant that they kept moving on and off the stage, giving me plenty of opportunities for different shots. I had a hard time capturing Superclark though, until the end of the concert when he went to stand at the back of the stage, bathing in multi-colored light.