Me, myself and I
Canon A2, Lensbaby, Ilford FP4+
I don’t often shoot self-portraits, and when I do, it tends to be because I’m experimenting with something, lighting or framing. But this is technically not exactly a self-portrait although I planned and set it up, someone else framed and pressed the shutter. Still, I like the photo, so I’ll attribute half of the paternity to myself and show it nonetheless.
Dragon’s Breath
Canon A2, Lensbaby, Ilford FP4+
I hate the smell of smoke and of course the health implications of it (even for me as a passive smoker) but I have to confess that visually, it’s potentially spectacular and nearly always interesting. My friend Julian, the model on this photo, uses an e-cigarette (so it smells of flowers instead of burnt tobacco) that produces these beautiful white clouds. When I was about to shoot I asked him to blow it out of his nose and I absolutely adore the results. This is my best shot of the summer.
Spectacled Hipster
Canon A2, Lensbaby, Ilford FP4+
One of the amazing things with the Lensbaby, especially for portraits is this impression of a motion blur where there is no motion. I think it works particularly well on this portrait of Manu, who seems more dynamic than the scene really was (though not the guy, he’s dynamic as all hell!)
Deal with the Devil
Canon A2, Lensbaby, Ilford FP4+
Back in 2010 I bought a Lensbaby. I was in love with the selective focus and the creamy bokeh… and wasted so many shots because of it. I took me a long time to recognize and admit that selective focus is pointless in most scenes. But a few years ago, I was due to take some family portraits and decided to shoot film portraits with the Lensbaby… and loved the results. Last summer I took a lot of shots of various friends and family, four rolls of Ilford 4+ in all. We had a few accessories during one of those sessions, and Clément’s dark skin, with the top hat and the grin made for a positively devilish photo.
Not Made for Normal
Canon A2, 20mm, f/8, 1/60s, ISO 100
Film : Provia 100F
I’ve only recently started composing using wide-angle opportunities offered by street adverts. This one was shot during my film period after my digital camera got stolen and before my new digital camera was purchased.
Ron in the Dark
Canon A2, 200mm, f/2.8, 1/160s, ISO 3200
Film: Kodak T-Max 3200
I have not had much success shooting concerts with film. It’s given me a healthy dose of respect for all those jazz and rock photographers of the pre-digital era. Occasionally though a few shots came through, and this one is one of those. There is something of that old jazz photography in there that really speaks to me even though most of the shot is completely in the dark.
Nostalgie de Paris
Canon A2, 50mm, f/8, 1/250s, ISO 200
Film: Agfa Scala 200
Just before the summer I finished a roll of one of my favorite slide film: Agfa Scala 200. I remember walking back to St Lazare, past Trinité and thinking the alignment of the Metro sign with the Trinité Church bell-tower would make an interesting composition. Months later, after scanning the film, I have to agree with my past self. I’m in two minds whether the slight aperture blur of the Church is too much, just right or not enough, but I guess it’ll give me an excuse to experiment further next time I’m in Paris.
The Softer Side of Eric
Canon A2, 50mm, f/2.8, 1/100s, Agfa Scala 200 film
Eric is not only a good friend and a super-talented writer, he’s also a fantastic model. Every time I go to Dublin, his beard has grown longer and bushier and I cannot help but do a few shots. Last time I was there I shot Eric (The Viking) with my x100s, but I also had my film camera with me, and my favourite B&W film, the Agfa Scala. I’ve only managed to scan the results recently, and I absolutely love this portrait of his, a much softer one than the digital version.
The Yellow Bus
Canon A2, 20mm, f/8, 1/250s, ISO 100
Film: Adox Color Implosion
This is one of those times when I really wish I’d had a « normal » film in the camera when I shot this. The grain and faded colors of the Adox Color Implosion don’t do this Cleveland scene justice, I think. But hey, what are you gonna do, that’s the charm of film…
Put Your Junk In Your Trunk
Canon A2; 50mm, f/5,6, 1/125, ISO 100
Film: Adox Color Implosion
This is a sign inside a parking lot in Cleveland that really made me laugh. I briefly spoke to the Parking Manager who told me that there was one night a couple of years ago during a Superbowl match when dozens of cars were forced open to access electronic gear that was lying on seats or in the glove boxes. That’s when they put up this sign.
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