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Behind the scenes photoshoot feat. Anaïs Rodriguez A lot of dance sessions were required for the testing of the GF 20-35mm f/4 R WR lens and the reason for that is simple: this project was commissioned by Fujifilm. I assure you, I still shared my honest opinion in the original testimonial video. I love this lens and it will most certainly find its way back into my kit soon. Original Testimonial video:

Behind the scenes video Feat. Mira Rosa It took me a while to get used to these tube led lights. IT took me approximatively 2 months to understand them, and to actually find a way to use them in my work. I am not quite there yet, but I am getting close. The shape, the size, the output of these lights can be a challenge at first, espescially when you are used to working with flashes. But they offer new possibilities, that I cannot ignore. So I had to regularly work with them, to quickly feel comfortable creating with them.

Behind the scenes photoshoot feat. Maeva K. The Fujifilm GF 20-35 mm F4 R WR is finally out! For all you GFX users, this is a biggie. We waited a long time for this one, and it’s finally here. I did a testimonial video that is already available on Fujifilm's Youtube channel , sharing my first thoughts on the lens so I will not really dive into that here. Because yes I was one of the lucky ones who had a pre-production sample this summer and got to test it before everyone else. If you already saw the video then you already have seen a few images made with the lens made during 4 different Sessions. This is one of the 4, with additional footage and images. I will post each session separately, and a fifth session is on the way and will be only posted here on the blog for all premium members… but more about that later. This was maybe my main issue with the GFX line. The lack of options on the wide end. I currently use the GF 30mm (that I own) and sometimes the GF 23mm lens (that I do not own). The only 2 wide angle lens I truly enjoy using and that fit my work. If you travel back in time, this was my thing, going wide, including a lot of the environnement in my frame, sometimes playing with distortions, and getting close to my model. I did this for many years, did a video about a few years ago about wide angle lenses, and it became one of my most viewed videos on YouTube. Five reasons why you should go wide! And then I took a step back. The past 2 years and a half because of COVID, and before that because of my switch to the GFX line. At the time I wanted to change my approach and the way I create my images. I missed shooting with wide angle lenses and especially for portraits, and full body shots. Usually people avoid them for this type of work, but I find them really interesting because of how surreal they can make things look. Maéva K. (St Ferréol - France) Fujifilm GFX100s + GF 20-35 mm F4 R WR 1/125sec f4 ISO125 at 35mm I of course worked with the Fujifilm GFX100s and only used the GF 20-35 mm F4 R WR . This session was an opportunity to see how rugged it is, and if it's really weather resistant. I also brought with me one light, the AD1200pro and the phottix 105 octobox. Maéva K. (St Ferréol - France) Fujifilm GFX100s + GF 20-35 mm F4 R WR 1/125sec f4 ISO100 at 35mm You've seen this before, I often ask my model to do the same pose with her eyes closed! Maéva K. (St Ferréol - France) Fujifilm GFX100s + GF 20-35 mm F4 R WR 1/125sec f4 ISO125 at 35mm Maéva K. (St Ferréol - France) Fujifilm GFX100s + GF 20-35 mm F4 R WR 1/125sec f4 ISO100 at 25mm Look closely at the shadows to understand my lighting placement. Since I was working solo on this one I simplified the way I worked. I managed to never get my light in the way, so I didn’t have to erase it in post like I sometimes do. I also did the entire session without a tripod, which is quite unusual for me. Maéva K. (St Ferréol - France) Fujifilm GFX100s + GF 20-35 mm F4 R WR 1/50sec f4 ISO160 at 20mm Maéva K. (St Ferréol - France) Fujifilm GFX100s + GF 20-35 mm F4 R WR 1/50sec f4 ISO160 at 20mm on the left and 34mm on the right After this session I was seriously thinking about getting rid of my GF30mm lens, as it doesn’t bring much more to the table. But I still needed to use the GF 20-35 mm F4 R WR in different situations, to really decide whether or not it is for me. But my first impressions were really good. Maéva K. (St Ferréol - France) Fujifilm GFX100s + GF 20-35 mm F4 R WR 1/125sec f4 ISO100 at 35mm Of course depends on your shooting style. What works for me might not work for you at all. So if you have the chance to get your hands on it and test it... do so! The GF20-35mm experience (part II) The GF20-35mm experience (part III) The GF20-35mm experience (part IV)

Behind the scenes of the dance short film "Within" was first published last summer on Vimeo but I decided to wait for the YouTube upload.This is the Behind the scenes video of this short dance film, made in Toulouse with dancer Solenne Monnereau. This experience again reminded me how much I prefer moving over stills images. I know that one day I will only create videos, short films, and hopefully a feature film (who knows…), and keep photography for myself. It’s a different process, a different experience that I enjoy more. I have much to improve, but this is due to the lack of time devoted to the art. I started that slow shift in 2020 where I started making videos again more regularly and for those of you who don't know, I was a videographer before becoming a full time photographer. We prepared this one, like we always do, but this time it mainly happened online. I shared notes with the dancer and the ideas I had for this dialogue-free story, and she proposed her own choreography based on those notes and based on the music. I always choose the music beforehand, and the entire project is structured and built upon that piece of music. I hate chopped up videos where we wee bits of performances cut together with no real beginning and no end. If you watch all my dance videos, the choreography tells a story. I send keywords to the dancer, explain the key moments I want to highlight in the film, and what I want the audience to feel (with a shot list) during specific parts of the video. Once we agreed on the overall project we could hit the record button. We had to make a few adjustments as we were not able to visit and rehearse in the hôtel room. I had to rethink some parts too as I miss evaluated the size of the room. We eventually changed for a bigger room as the first one wasn't "deep" enough. We were also asked to work with the tinies crew possible… And I think we couldn’t make it any smaller. Apart from the Godox TL120 led lights, it was all shot with the available light.This is why preparation is key. We didn’t have the choice here, but If I can, I try to prepare as much as possible before principal photography. Solenne did an amazing job, and I hope this won’t be our last time working together. The majority of this film was made with the MAVO Edge 6k and the Chiopt Extreme 28-85mm T3.2 lens . The overhead sequence was filmed with a Canon R5 attached to a junior boom arm and of course we filmed in 8k Raw to ensure we would able to match the footage with the Mavo edge, and becaue I knew a severe crop would be applied to the final footage. The final video: I would like to thank once again the entire staff of the Grand hôtel de l'Opera ! Huge thanks to the talented Solène Monnereau, it was again a pleasure to create with you. And, last but not least thank you Kinefinity Europe for letting us photograph this piece on the MAVO edge 6k! Some screen grabs:

Feat. Charlotte R. This summer I did a few private "home" sessions and I rediscovered the joy and pain of setting up a temporary studio inside someone else's home. I have a few tricks to make up for the lack of space, but I recently discovered a new way to hang a back drop. For this sesion, I used 2 suction cups from ifootage, 2 spider crabs (magic arms) and a Manfrotto to hang my backdrop from 2 windows. It held the weight pretty well, so I decided to use this technique everytime I could.

Des portraits et de la danse Feat. Lyria Van Moer DISCLAIMER This workshop was held in French . Petit retour sur ce 1er Workshop réalisé à Paris avec BenQ. Une petite appréhension de mon côté car cela faisait 2 ans que je n’avais pas réalisé de workshop avec du Public. En effet le dernier en date fût réalisé avec Fujifilm mais à huis clos, filmé en multi cam et diffusé en direct sur le web . Une expérience particulière, ou j’interagissait avec un animateur et un live-feed de commentaires sur un grand écran. J’avais hâte de retrouver certaines sensations et surtout d’avoir la possibilité de faire participer et d'interagir avec un public. Nous avions pour l’occasion un beau Loft dans le onzième arrondissement de Paris et j’avais avec moi une amie de longue date, la danseuse Lyria Van Moer. Des portraits, avec une danseuse classique, dans un espace limité, un scénario qui m’est familier. Lyria Van Moer (Paris - France) Fujifilm GFX100s + GF 50mm f/3.5 R LM WR 1/160sec f3.5 ISO500 Comme souvent, j’ai légèrement dévié de ce que j’avais prévu, mais c’est finalement comme ça que se déroulent beaucoup de mes projets. Une préparation, qui me sert de fil rouge, et on laisse un peu de place à l’improvisation pour que les interactions et la communication se fassent naturellement. J'aime quand ça respire, et cet espace est nécessaire pour que la magie opère. Lyria Van Moer (Paris - France) Fujifilm GFX100s + GF 80mm F1.7 R WR 1/160sec f1.7 ISO100 L’idée pour moi est de simplifier au maximum mon approche, et de ne pas trop rentrer dans la technique. Je sais que quoi qu’il arrive le public va m'entraîner dans une vague de questions autour de mes réglages et du matériel que j’utilise, je n'ai donc pas besoin de m'y aventurer. Il n’y a pas de formule magique, je ne peux pas juste partager des chiffres et une liste d’outils et d’accessoires, le plus important pour moi est de comprendre. Lyria Van Moer (Paris - France) Fujifilm GFX100s + GF 50mm f/3.5 R LM WR 1/200sec f3.5 ISO160 Un seul flash (GODOX AD 600 pro) et un modificateur (GODOX Parabolic P128), pour cette session. Côté caméra j’avais avec moi le Fujifilm GFX 100s et j’ai réalisé toute la session avec le FUJIFILM GF 50mm f/3.5 R LM WR et le GF 80mm F1.7 R WR. Et pour la première fois j’avais un bel aperçu en direct sur un BenQ SW321C. Lyria Van Moer (Paris - France) Fujifilm GFX100s + GF 80mm F1.7 R WR 1/160sec f1.7 ISO160 L’idée était d’avancer ensemble, de se confronter aux obstacles, de les surmonter, de trouver des solutions. Comprendre la raison de certaines de mes décisions en prenant en compte des conditions, de l'environnement et du temps qui nous est imparti. C’est encore plus enrichissant lorsque nous échangeons à plusieurs et que les méthodes, les approches et les goûts diffèrent. L'importance du choix de la focale. A gauche l'image fût réalisé avec le GF50mm et à droite le GF80mm tout deux à pleine ouverture. Je me suis permis(su celles que je préfere) d'effacer le bibelot sur le mur sur l'image réalisée avec le GF80mm (à droite) Lyria Van Moer (Paris - France) à gauche : GF 50mm f/3.5 R LM WR 1/125sec f3.5 ISO400 à droite : GF 80mm F1.7 R WR 1/160sec f1.7 ISO100 J’avais cet après midi là des profils très différents et je n’ai pas honte d'admettre que j’ai pas mal appris également durant ces échanges. Speed edit Voici un “speed-edit” ou j'ai utilisé la plupart des outils/ calques discutés durant le workshop. J’espère que nous aurons la possibilité de nous rencontrer à nouveau, car je n’avais pas réalisé à quel point cet exercice m’avait manqué. Un grand merci à mon partenaire BenQ pour l'organisation de ce bel évènement. Je souhaite également remercier GODOX et Objectif Bastille pour les différents accessoires lumière utilisés ce jour là.

Kinefinity's 6K Full frame Cinema camera The almighty MAVO Edge 6K, Kinefinity's latest full-frame cinema camera is now available. This camera is a bit like the little brother or little sister of the MAVO 8K . I had the camera in my hands for a short amount of time with the versatile CHIOPT Xtreme 28-85mm T3.2 cinema lens. Here are my thoughts on this cinema camera so far... The MAVO EDGE 6K at a glance: - Max Record Res: 6016×3984 (Open gate 3:2), 24M - Frame Rate: 0.2~75fps FF 6K Wide, 0.2~150fps S35 4K Wide - Active Area: 36x24mm, ø 43.3mm - Dual Base ISO: 800 & 5120 - Latitude (Dynamic range): 14 stops - Shutter Angle: 0.7°~358° with rolling shutter - Lens Mount: Omni Native KineMOUNT - Short FFD Adapters: PL/LPL/Active EF/passive E - Optical Filter: OLPF with UV and IR-cut filter - ND Filter: Built-in motorized e-ND from 0.6 to 2.4 It's a 6K full-frame 3:2 CMOS imaging sensor that films up to 75 fps in 6K and 150 fps in 4K. The camera features dual native ISO (800/5120) and has an internal motorized full-spectrum e-ND filter. And this was enough for me to get me interested. You have Industry-standard ports and dual SSD media slots. You can record in Apple ProRes4444/XQ and uncompressed RAW. Unfortunately, I wasn't able to film in RAW this will be available in a future Firmware. So keep that in mind when watching the video and the examples I shot with the camera. There will be some fixes and changes in the weeks to come. I shot 2 short videos with the MAVO Edge 6K and the Chiopt Xtreme 28 - 85mm. One of the two is part of the Boxing photoshoot I made a few weeks back, and since I used to be a dance photographer, I had to make a short dance video too. The beast Weighs 3.6lbs (1,6kg), it is compact and lightweight and if you don't add too much stuff on it you can operate it alone. The Chiopt Xtreme ( PL mount version) had just the range I needed for these 2 videos. I love the colors straight out of the camera from the MAVO Edge 8K so no surprise here. I enjoy the skin tones, low noise, and the dynamic range of the Camera. They claim 14 stops of latitude, I won't comment on that but most of the tests made so far show it is a little less than that, but, if you know what you are doing it should be plenty enough. The Apple ProRes Recording Codec is perfect for me, I filmed the majority of my sequences in 6K ProRes4444 XQ, which gives me a 12bit image. In my opinion it is more than enough for the scope of work that I do. For those of you who need more, I said it earlier, uncompressed RAW will be unleashed in a future update. The KineOS 7.0 firmware although not definitive, already offers a taste of the redesigned user interface. Navigation is quick and easy, I have nothing to complain about here. I am a fan of the overall design, the button layouts and again working with an internal e-ND filter is a joy is hard to work with a camera that doesn't have this option after that. Multi-channel audio tracks are available, you got 2 full XLR connexions on top of the MAVO at your disposal. This time I used the KineBAT PD batteries instead of my own V mounts, and they worked great. Several mounts are available I would go for the PL mount but you got plenty to choose from. EF, passive E , and the LPL mounts it is all up to you! The Xtreme CHIOPT 28-85mm is a full-frame zoom cinema lens that delivers great performances overall. It looses a bit of sharpness wide open but starting at T5.6 you get better results. It has a smooth 288-degrees focus throw, for a precise manual focus, I used it with the small wireless PD movie follow focus and it performed flawlessly. It is par focal and has a T3.2 constant aperture, and breathing is almost unnoticeable. The only thing I didn't like is how It handles flaring. Sometimes it seemed uncontrolled and all over the place. It can be a desired effect, but not for me. Since it's a cinema zoom lens it is a bit heavy. At 2.7 kg / 5.95 lb it weights more than the MAVO Edge itself. With all the accessories attached, follow focus, wireless transmitter, monitor, EvF and battery, the kit becomes a real cinema camera, but it becomes less compact, heavy and will utlimately require a crew. Don't get me wrong, you can operate this camera alone, like I did most of the time but I would choose compact Prime lenses for sure instead of this zoom lens, and I would get rid of any unnecessary accessories to minimise the weight and footprint. Now who is this for ? Would I choose the 6K over the 8K ? Why ? If you shoot commercials, short films, documentary films then yes, it is an affordable solution, and this camera will become a great tool for your work, if you already have a foot in the industry. I am repeating myself but given the price of the camera, Kinefinity should propose this camera to more rental houses. This will allow more people to see it, test it, and help the brand further down the road. I know that a lot of people will most certainly choose an established and known brand for their project instead of Kinefinity. But depending on the project, some might be tempted if the camera was much more available. If you are more into web content, you know this camera ain't for you. You make corporate videos, I mean you can use this camera, but it wouldn't make any sense... I saw a lot of content creators on Youtube complain about this camera, and show how much it isn't made for them. Of course it's not, you are not going to vlog or film review videos with this. I personally would choose the 6K over the 8k for 2 reasons: 1, the MAVO 6K is cheaper, 2, I don't need 8k in my work. I would work mainly in 6K and deliver in 4K, and I'd still have that extra room just in case. Now, I am in a place where the volume of work I do that requires this type of camera is too low, making this a bad investment for me. This is why, I often complain about the difficulty to rent this camera because I would most definitely rent it from time to time now that I know what it's capable of. But who knows, things may change for me in the near future, and I may consider investing. Until then, I guess that more amazing tools like this will be available for us filmmakers, because things move so fast these days. And just in case you missed it, down below is my video on the MAVO Edge 8K: Tell me, if the MAVO edge 6K was available to rent near you, would you test it? use it in your work? Learn more about the camera: www.kinefinity.com The CHIOPT Xtreme: www.chioptfilm.com

Behind the scenes video feat. Clara P. My first photoshoot made entirely with RGB tube led lights, from start to finish! I have been playing with these GODOX TL-120s for a few weeks now and thought I’d share my first images and thoughts on the blog. I’ve used other tube led lights in the past, and most recently the ones from Nanlite . I never did an entire session though as I felt limited and couldn’t create all the images I had in mind. From 2 tubes to 8 for this session, I’ve learned a bit more about them, their limitations and what they can actually do for me and my work.

1st thoughts on the Full-Duplex Wireless Intercom System Summer is slowly coming to an end, time flies! Communication on set is important, even if you are working with a tight crew. This is the Hollyland Solidcom C1, the tool I never thought I would need in my regular work. But guess what, it helped me be more efficient and quiet on set… Let's check this out. We are going to put a few things out of the way right now… starting with the general specs. Here is the Hollyland Solidcom C1 at a Glance: Solidcom C1 Full-Duplex Wireless Intercom Headset True wireless System with NO Beltpack or Base Station. You can build a 6-user system without a HUB. The C1 headset has a 350m active range with only a 40ms delay. The Solidcom C1 headsets prevenst people outside the system from hearing your conversation. Wide frequency response from 150Hz to 7KHz Electret directional microphone that captures the speaker's voice precisely while minimizing the environmental noise. Each Solidcom C1 intercom headset comes with 2 lithium batteries for convenient replacement on set. Each battery takes only 2.5h for a full charge and can work for about 5h - 6h each. Led indicators and voice reminder when the battery is low. Comfortable to Wear & Ready out of the box. Auto mute by lifting the mic boom. Personally, what I was most interested in was that there is no beltpack or base station to make it work. It has a 350 metres of active range, and you have 2 batteries provided with each headset that can last 5 - 6 hours each. It is really is easy to use and operate, you can do it litterally with your eyes clossed. Now these systems are common on big sets, when a large crew needs to work together and communicate easily. For us small creators it's a different story. Do we need such a tool for our work. Is it worth the investment? I did use it on multiple occasions recently. Once during a photoshoot where we had to literally whisper during the session making it difficult for us to communicate. Usually I can talk loud, yell to catch people’s attention and share instructions, but this is nearly impossible when, because of budget restrictions we are working in an environment open to the public, where we are asked to create without disturbing the people working around us and without disturbing the public. We had to film in the lobby of an hôtel a few months ago… and the Solidcom C1 helped us a lot that day to make it quick. The talent had to come in from outside and get in the lobby and ask for a room at the desk. We had to wait until the lobby was empty for each take, and the only way for me to communicate with my assistant and the talent outside the building was with the Soildcom C1. - Within - feat. Solène Monnereau There are a few sequences that were filmed from the back of our van that were not easy to make at the time, because I couldn’t communicate with my driver. We tried using our phones, with wireless headsets, and hands free kits, but we couldn’t hear anything and we were cut off too many times. Check out the project: REVIVE This year, we did it again, but this time I was happy to have this system, as it worked flawlessly that morning. The sound was crystal clear, the sound of the van and all the noise around didn’t bother us. And I was able to communicate live with my driver, tell her what I needed and updated her on the situation in the back while filming. I also use it when we are filming with 2 cameras at the same time. I am able to tell my 2nd shooter what I am about to do, what my next move will be and she will be able to adapt and place herself without interfering with what I do. Slightly over a 1000 euros here in France, this is of course an investment. When working in museums, hôtels, any location open to the public, this will be the main concern and one of the first questions I will be asked: First, can you work with a small team, and 2nd will it be possible for you to work as quietly as possible? Now I can definitely say “Yes”. And for all those special shots where I have to talk to someone in another room, behind a wall or my driver at the front of the vehicle, this tool will be indispensable for me to facilitate my work and save time. It definitely solved a few problems for me, now it’s up to you to figure out if it can solve yours. Learn more: www.hollyland-tech.com I am pretty impressed with the system, its ease of use and overall build quality. We will see how it performs over time. Summer is also over, it’s been a bit slow during the past weeks, but you will soon understand why. I will start sharing new Behind the scenes videos of unpublished sessions I made this summer this week. I also wanted to announce that I will be giving a workshop in Paris on September 14… in French! Seats are limited, it will be in French, all the details and info are here.

1st thoughts on the X-Pro Kit system Hello folks, I hope you are cool and hydrated, here, it’s a living hell! In this video, I wanted to share my 1st thoughts on a square holder kit and a few filers, the K&F Square Filter Holder System Pro Kit. I’ve made three videos about filters, of different brands and the use I make of it in the past. You may sometimes notice these filters on my camera in some of my BTS. So far I chose to use circular filters, but I did consider investing in square filters at the beginning. Do you need filters (part I) Do you need filters (part II) Do you need filters (part III) The reason why I didn’t do it is because I thought at the time that I would have to buy identical filters of different sizes for all my lenses. That was one of the advantages of square filters. You buy one kit and it should fit most of your lenses with the adapter rings. But I quickly found out I just had to buy step up rings for circular filters and order filters that were the same size as my biggest lens… and Voilà. The K&F concept Square Filter Holder System Pro Kit still has the advantage of proposing a kit that has everything in the package. You open the box, and you can use them right away, no additional purchase needed. Let’s see what is included in the kit: You have an ND8 filter (3-Stop) ND64 filter (6-Stop) ND1000 filter(10-Stop) a CPL filter that goes in the holder, that you can easily adjust once it’s in. 4 adapter rings (67mm/72mm/77mm/82mm) And all of that can be comfortably stored in the provided Leather pouch! For those who don’t know and I recommend you go and watch my first videos about filters, the ND filter allows you to have further control over your exposure. For whatever reason (for creative ones of course) you need to have a specific aperture, ISO and shutter speed and you still have an overexposed image… an ND filter can help you out. ERRATUM! in the video I stated that I only used the CPL filter for the following image... I actually used the ND8 filter: Fujifilm GFX 100s + CPL & ND8 1/160s f1.7 ISO50 at 80mm Fujifilm GFX 100s + CPL and and ND64 1/50s f1.7 ISO50 at 80mm Can you spot the differences? You can trust these filters, as they introduce very little to no colour cast nor vignetting in your images. These square filters have nice solid frames that protect the glass. Apparently you can drop them and they might survive. I won’t test that, but it’s good to know. The CPL filter allows you to remove reflections especially from water and glass and it also slightly enhances your contrast in blue skies and white clouds. Japan-made optical glass, both sides have nanometer coatings (total 28 layers), they are waterproof, scratch-resistant, and oil proof. Fujifilm GFX 100s + CPL and and ND64 1/50s f4 ISO50 at 20mm Of course, if you are a fan of slow shutter images, if you want to capture moving water and want that silky smooth effect, ND filters will be the tool for that. On the left 25 sec of exposure, I stacked the ND8 and the ND1000 with the CPL: Fujifilm XH2s + CPL 1/640s f2.8 ISO80 at 50mm Fujifilm XH2s + CPL + ND8 & ND1000 25s f2.8 ISO80 at 50mm When I got them I felt confident in using them in the field. Overall the holder feels solid, and the filters are really well made, but I am not a huge fan of the adapters. I wish they were slightly thicker, I hope they won’t bend, that the material will not deform over time. I really enjoyed using them, I even felt the square filters were easier and faster to use. Because of the size of the glass compared to the lenses I use, the risk of having vignetting dark areas in the corners, especially with wide angle lenses is reduced. In fact I haven’t noticed any vignetting on my pictures so far. Side by side, one of these 2 images uses a CPL and ND... Which one is it? The PRO Square Filter Holder from K&F Concept has two slots, and the integrated bin for the circular polarizer in the back. The orange adjustment wheel on the side of the holder allows you to adjust the rotation of the circular polarizer without touching the filter itself. There’s also a clever safety mechanism to ensure that the polarizer is correctly and securely inserted. Made of aluminum alloy the system is lightweight and overall is very well made. Now the biggest advantage of using these square filter system is the possibility of using the Graduated ND Filters. Typically half of the filter is of neutral density which transitions gradually, into the other half which is clear. With circular ND filters, you are able to adjust the rotation of the horizon line, but not its vertical position within the frame. With square filters, you can, and this without affecting your composition. Unfortunately, and this is where this video and article become disappointing. I do not have such a filter… a shame. I am going to be completely honest I never used graduated filters, I guess I never felt the need considering the type of work that I usually do. But the more I think about it… the more I feel I faced numerous situations in the past where a graduated filter could have helped me out. You know these wide angle shots where I have at the top of my frame this bright sky. This means more control on the exposure of my entire scene and less work in photoshop! So I guess there should be a follow up to this one with graduated filters… I am depressed and excited at the same time. Are you circular or square? Tell me in the comments below. I will only give you my answer if I can get my hands on these graduated NDs! K&F Concept Nano-X pro : https://amzn.to/3LU3CQ4 5 % de réduction / 5 % Off! code : MQKGXNIO Do you need filters (part I) Do you need filters (part II) Do you need filters (part III)

Feat. Lousie Djabri at the Museum George Labit It’s sunday, well depends where you are in the world, it might be monday for you. Little behind the scenes video of a dance photoshoot I had a while back, but thought you might be interested in. A ballerina, for a quick session outdoors. So the last time I did a photoshoot at the Museum George Labit, I worked with the GFX 50s , the GF23mm and GF32-64mm. The reason why I often use one light! I never seriously considered owning the GF23mm, not that it isn't good, but this lens never quite fit in my workflow. At the time I was testing some of Fujifilm's zoom lenses, and didn’t want to go that way eithet, I kind of had an obsession with prime lenses. When I finally fully jumped in the GFX train, I purchased the GF 30mm f/3.5 R WR , my most used wide angle lens, the super quick and versatile GF 50mm f/3.5 R LM WR that is always on my camera body, and you probably have noticed I recently made several sessions entirely with the GF 80mm f/1.7 R WR . Louise Djabri - George Labit Museum (Toulouse - France) Fujifilm GFX100s + GF 30mm f/3.5 R WR 1/125sec f5 ISO100 I often borrow my other lenses, I am still considering the GF 110mm f/2 R LM WR that I love, and and 2nd thoughts on the GF250mmF4 R LM OIS WR, but I finally find it a bit too long for my taste... and it's bloddy expensive! I alwas felt we were missing some options in the wide angle lenses department… until very recently. The GF20 - 35mm f/4 R WR was finally announced and I wish I had it for this session… So gear-wise I only used the GF 30mm f/3.5 R WR and GF 80mm f/1.7 R WR with my GFX100s . Shot mostly wide open with the 80mm, and used a the GODOX AD1200 pro with the phottix Raja 105 light modifier for the majority of the images made that day. Louise Djabri - George Labit Museum (Toulouse - France) Fujifilm GFX100s + GF 30mm f/3.5 R WR 1/125sec f5.6 ISO100 Louise Djabri - George Labit Museum (Toulouse - France) Fujifilm GFX100s + GF 80mm f/1.7 R WR 1/125sec f1.7 ISO100 Louise Djabri - George Labit Museum (Toulouse - France) Fujifilm GFX100s + GF 80mm f/1.7 R WR 1/125sec f1.7 ISO50 I had the amazing Louise Djabri with me, we were lucky enough nobody walked around the museum that day… or almost… Louise Djabri - George Labit Museum (Toulouse - France) Fujifilm GFX100s + GF 80mm f/1.7 R WR 1/125sec f1.7 ISO50

Behind the scenes feat. Lyria Van Moer I am back with a quick behind the scenes… finally! I’ve made a few of them the past 4 months and still never got to share them anywhere. A few images here and there on IG but that’s it. This happened during my short stay in Paris, where I got to meet with an old friend for a quick "improv" session. A hôtel room, a ballerina, these are all the ingredients for today's session. I only stayed 24h hours in Paris. I travelled there to give a conference for Fujifilm, and thought it would be a good idea to insert in between my 2 interventions, 2 seperate sessions in my room. The first one on the day of my arrival, and the second one the day after right before my last talk. So not a lot of time, just but just enough for quick sessions like these. If you know my work, you know I usually do portrait and boudoir sessions in hôtels and appartments. Take a rapid look at my past sessions at home and you will quickly understand. The only difference here, is that I am not familiar with the place, and on top of that I don’t have all the gear I usually have at my disposal. This session, is the one that was made on my last day early in the morning. A simple portrait session, with a dancer, playing with lines and shapes. The other one was more of a boudoir, lingerie session and it is already available exclusively here , for all of you premium members. 2 different approaches because both sessions happened at 2 different times of the day. I used the light from the window, until it completely disappeared for the 1st boudoir session, and popped out my flash afterwards. I thought I would do the same the next day by reversing the order, but we had enough light from the beginning. So we decided to work with only that window light during this entire session. Lyria Van Moer (Paris - France) Fujifilm GFX100s and GF 80 mm f/1.7 R WR 1/100sec f/1.7 ISO 125 at 80mm The poor man’s trick to diffuse and shape the light is to use the curtains. Diffuse with the see through, and if you want to control your light, cut it or even block it, just use the black-out curtains. Lyria Van Moer (Paris - France) Fujifilm GFX100s and GF 80 mm f/1.7 R WR 1/250sec f/3.2 ISO 800 at 80mm Lyria Van Moer (Paris - France) Fujifilm GFX100s and GF 80 mm f/1.7 R WR 1/250sec f/3.2 ISO 800 at 80mm Creating shapes with silhouettes can also be fun. I am not a fun of dark silhouettes, I usually do my best to keep a lot of details in the shadows. I added the light shaper on the right side for some shots on the bed, and used the white fabric just to get a bit of bounce and fill light on my model’s body. Lyria Van Moer (Paris - France) Fujifilm GFX100s and GF 80 mm f/1.7 R WR 1/125sec f/1.7 ISO 50 at 80mm And we ended the session with some classic head shots! Lyria Van Moer (Paris - France) Fujifilm GFX100s and GF 80 mm f/1.7 R WR 1/125sec f/1.7 ISO 125 at 80mm These sessions can be done fast. There is little to no retouching in the images you just saw. A bit of cleaning here and there (unwanted objects) some dodge and burn (light) and my colors. I can do 3, to 4 sessions like these in one morning, because it doesn’t require any complex lighting setup, it’s just me and my camera directing my model and that’s it. It’s up to you to use the space creatively even if this means shooting from strange places. Maybe these will inspire on your next quick session! I used to do a lot of these when I started out.