Lady in White
Canon 7D, 80mm, f/11, 1/200s
A few weeks back I was invited to shoot another costumed party, this time with a 1001 Nights theme. The diversity of costumes was great, and I experimented with high-key or approaching. This is one of the interesting white on white shots of the evening.
Canon 7D, 80mm, f/10, 1/250s, ISO 100
One of the fun shots I did at the costumed party I was hired to shoot back in January.
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.
Eric (The Viking)
Fuji x100s, 35mm, f/5, 1/4000s, ISO 3200
My friend Eric has a new, scruffier look. When I met him in Dublin last week I took a few shots, and bizarrely the one that came out the best was the one I took having inadvertently knocked the shutter speed dial from A to 4000 on the x100s. I did have to massage it in post quite a bit, but I like the result!
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.
Guns & Frills
Canon 7D, 80mm, f/10, 1/250s, ISO 100
This is another shot from the session I did at a costumed ball a few weeks back. I love the contrast between the gloves and pink frills and the gun.
Canon 7D, 80mm, F/11, 1/250s ISO 100
We had more martial accessories as well for the « Seedy Chicago » ball shoot, including those wonderfully accurate replicas of Thompson Guns, aka Chicago Organ Grinders. To my surprise, quite a few of the girls insisted on doing photos with the guns, occasionally creating some wonderful contrasts. This one is probably my favourite, with the sober, quasi-puritanical clothing and the gun being strangely… coherent? Edited with W-Equals’ XeL 2.0 in Lightroom.
Through the Veil
Canon 7D, 80mm, f/8, 1/250s, ISO 100
Last Sunday I was lucky enough to be one of the official photographers for a costumed ball entitled « Dans les Bas-Fonds de Chicago » (which I guess one could translate as ‘Seedy Chicago‘). I shot attendees for over 4 hour straight assisted by my good friend Thomas, which was exhausting, but very gratifying as well. I had proper studio lighting and a black backdrop, and although the venue imposed some tough constraints, I had a great time. Great learning experience as well. I’ll be sharing my favourite shots from that marathon session in the coming days. In this shot, what really appealed to me was Vanessa’s veil and tattoo (although the tattoo was featured more prominently on another shot.
Portrait of Mister L.
Fuji x100s, 35mm, f/2, 1/40s, ISO 800
One of the most frustrating things I experienced with my previous high-end compact cameras was that despite a lens that would open-wide, there was no way to get the shallow depth of field I like for portraits. This is because usually the sensor is so small that you get very sharp images all the way through -, whether you like it or not. So the first thing I did when I took the x100s out of the box was to shoot a portrait of one of my sons at f/2. And I must say the results look pretty pleasing to me: not only is the depth of field shallow enough that I get a real foreground / background difference, but in addition the sharpness wide-open is quite amazing.
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.