Sneaking by the Side Door
Canon 7D, 35mm, f/7.1, 1/200s, ISO 100
I’ve been to India three times, but two of these were so brief that I had no time for photos. The first time though, I’d taken a day off and convinced a very friendly tuk-tuk driver (Surinder) to show me the Gurdwara Bangla Sahib, the biggest Sikh place of worship in New Delhi. After the visit, I was impressed by this magnificent silver door, but just as I was putting the camera up to shoot, this man came in and sneaked by.
Surrounded
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.
Creepy Smile
Canon EOS 7D, 32mm, f/4, 1/4s, ISO 1000
Modèle: Aurélie
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.
Fright
Canon 7D, 32mm, f/4, 0,3s, ISO 1000
Model: Anaïs
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
Model: Guillaume
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…
Creepy Collage
Canon 7D, 32mm, f/4, 1/5s, ISO 2000
Model: Achille
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.
Le Retour de Landru
Canon EOS 7D, 35mm, f/8, 1s, ISO 1000
Models: Aurélie & Guillaume
This week I’ll be posting photos from a couple of series I did recently with 1930s models. This first one is suitably creepy, the title refers to the infamous Landru, our French equivalent to Jack the Ripper (except he was caught and executed). The photo was shot with street lighting (hence the long exposure) with two great (and immobile) models. It was edited in Snapseed to accentuate the yellow night glare.
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.
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