Canon 7D, 32mm, f/4, 1/4s, ISO 1000
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.
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!
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.
Three Monkeys from the Thirties
Canon 7D, 32mm, f/8, 0.8s, ISO 1000
I’m currently working on a project on surrealist Paris (possibly more on that later) for which I recruited a bunch of really cool period-dressed models. At the end of the session, I decided to try to do with them something that I’ve been meaning to do with my kids for a long time: a three monkeys shot. As you may imagine this is a combination of careful photo work and careful photoshop work (although the latter turned out to be surprisingly easy). The picture was then processed in B&W in Lightroom using XeL 2.0.