Bowler vs. Stovepipe
Canon 7D, 32mm, f/4, 1/4s, ISO 2000
Models: Guillaume & Achille
Another shot from that strange and (if I say so myself) wonderful session back in October. Street lighting forces some off compromises on you, especially regarding exposure lengths, but it does have its atmospheric results! This was processed in Snapseed to accentuate the strangeness a bit.
Across the Tennessee River
Canon A2, 20mm, f/13, 1/50s, ISO 200
Film: Fuji Experia 200 (Expired)
The Walnut Street Bridge I walked accross to get to the North Shore passes a massive roadbridge accross the Tennesse River. The morning light was gorgeous, and I just had to shoot. I tried a couple of long-exposures as well, but I was too far from the water for it to make any difference.
No Time for Shopping
Canon A2, 20mm, f/5.6, 1/60s, ISO 400
Film: Fuji Pro 400 H
If you follow this blog regularly, you probably know that I enjoy this kind of street shot with one person walking parallel to the plane of the shot. In fact I probably abuse these kinds of shots, so recently I’ve tried to engineer a bit more relevance between the walking figure and the background. I think I may have succeeded with this shot of Old Town Warsaw.
Hartigan’s
Canon 7D, 32mm, f/4, 1/15s, ISO 1600
A pub in Dublin, shot at dusk. I processed it in a faded spirit with Snapseed.
Overlooking Rangitoto
Canon 7D, 32mm, f/13, 1/400s, ISO 400
The view from the rotating top of the Auckland Skytower is stunning, especially on a bright day like the September day I went up there. It is however surprisingly difficult to take a good shot of that view in between the unusually high vantage point and the color cast from the windows. Still, I managed to produce this one. It’s not a work of art by any means, but it shows downtown Auckland, the harbour in action and Rangitoto. Better than nothing…
The Music School
Canon A2, 20mm, f/8, 1/200s, ISO 400
Film: Fuji Pro 400 H
I recently went to Aarhus in Denmark for work. Aarhus is a small town on the western coast of Denmark, full of those red bricks that you see everywhere in Northern Europe. I had a little time to walk through town and took this photo of the Music School which was quite characteristic of the atmosphere.
Polish Graffiti
Canon A2, 20mm, f/5.6, 1/100s, ISO 400
Film: Fuji Pro 400 H
Walking the streets of Warsaw’s Old Town (Stare Miasto) on a late afternoon, I steeped into this side street to find this fantastic wall covered in scratched graffiti. I really love this photo, and the colors of the Fuji really shine here.
Wailing Guitarist
Canon 7D, 32mm, f/2.8, 1/320s, ISO 1600
When I went to see Monophonics at La Java in May, it had been a long while since I hadn’t shot a concert in the truly atrocious conditions that you sometimes face in clubs with limited to no lighting, no stage and no space. For the longest time I couldn’t figure out how to deal with the results of that shoot. And then, perhaps because Monophonics is in France again but I’ll miss them this time, I revisisted the photos and decided to embrace the grunginess of it all instead of trying to erase it or tame it. The clutter I normally do my best to avoid shooting or to edit out, I left in. It’s a different kind of energy, and I’m not sure I’ve got it right, but I’d be interested in your feedback!
Arlanda Abstract
Canon A2, 20mm, f/8, 1/50s, ISO 400
Film: Fuji Pro 400 H
When you fly to Aarhus in Denmark as I had the opportunity to do a few weeks ago, you have to walk through a mile-long corridor between the vast international terminal of Copenhagen Arlanda and the minuscule national terminal. It’s a boring walk, but architecturally that corridor is very interesting. Since I had time to kill, I did a number of shots which I’ll be sharing, but the most intriguing in its abstractness is this one.
Creepy Lady
Canon 7D, 32mm, f/4, 1/4s, ISO 1000
Model: Aurélie
This is another shot in my series of experimentations for the Dreamhounds of Paris book by Pelgrane Press. I tried to imagine how surrealist photographers might have experimented with form, and came up with this idea of using a negative as a positive and scratch the negative for added deconstruction. It was all done digitally of course (the processing is a mix of Lightroom and Snapseed). I quite like the result, though I suspect it’s not surreal enough to make it into the book.
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