Canon 7D, 150mm, f/4, 1/250s, ISO 1600
Michael League is the bassist, band leader and principal composer/arranger of the increasingly renowned band Snarky Puppy. Unlike most jazz bassists (although I don’t quite know why), he’s upbeat and nearly always smiling on stage, which is why I picked a slightly more sober picture of him. If you’re not too fond of jazz, pick their Family Dinner vol. 1 record, full of soulful singing guests. If you’re happy with (modern) instrumental jazz, check out We Like it Here.
Canon 7D, 320mm, f/3.2, 1/200s, ISO 1600
Tommy Emmanuel is a guitar player extraordinaire, dragging the art of picking to new heights, kicking and screaming. He’s quite the showman as well, and while I manage to take a few more spectacular shots of him, I picked this one because of its crisp quality. I’m actually quite amazed I pulled off a shot that crisp from that far away in the audience. I don’t own any albums of his yet, but I don’t think you can go wrong with a Greatest Hits.
Contrebasse en Ombres
Canon 7D, 110mm, f/3,2, 1/160s, ISO 1600
I find the double bass not only a beautiful instrument when I listen to it, but also when I take photos of it. Thomas Bramerie is the fantastic bass player in Eric Legnini’s Sing Twice! project and this was shot at the release party of their album in 2013. What a night!
Canon 7D, 80mm, f/2, 1/100s, ISO 1600
Bigre! is the funkiest Big Band I’ve ever heard. It features a veritable army of trombones, and far be it from me to suggest that one is better than the other, but this guy, Sylvain Thomas, sure sounded amazingly raw! Check out their latest album To Bigre! or Not to Bigre!, well worth a listen.
Canon 7D, 80mm, f/11, 1/250s, ISO 100
This ball was my first proper studio session, so I had to learn really quickly how to suggest poses that would work for each model. I had less than a minute to shoot each model, and sometimes the poses came quite naturally as in this photo. Thank god for models who know what they’re doing!
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.
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…