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First hands on PD movie's tiny Follow focus system The Live Air 2S by PD MOVIE is a tiny wireless follow focus system. Probably the smallest in the world right now? I don't know, but I never had such a small controller in my hands. How does it perform is it reliable and above all, is it affordable? I usually use simple mechanical follow focus systems for two reasons. One It's cheap to rent, and two, I am always worried that these wireless systems would fail on a job. If you want a reliable system, you have to go all in and get one of these industry standard super expensive units. So getting one for one of your small projects, is usually out of the question. But technology has caught up, and prices keep on going down, and we’ve reached a point where maybe now an affordable solution might be worth the investment. Here is the LIVE AIR 2S at a glance: Controller: Weights 28g Rotation angle 300° Bluetooth 5.0 Battery life 10-12 hours Auto calibration Motor A-B point A-B point cycle operation Change the motor direction of rotation Switch mode focus or zoom Motor: Weighs 132g Torque: 0.5Nm Bluetooth 5.0 Battery life 8-10 hours Auto calibration Manual calibration Change the motor direction of rotation Switch to slider or turntable mode It is small but it is light too. I also have the remote air rig if you want a proper handwheel on occasion. The first thing I noticed is the build quality… And I have to admit, it is really well built. The other thing I really enjoyed is how easy you can set it up and use it right away. So far the controller and motor paired flawlessly. And the two are really responsive. PD MOVIE states the motor are strong. "High torque motor", I am not making this up, it’s on the website. I used it on a cinema zoom lens and it worked perfectly. Calibration is quick, if you missed it once you can do it again in no time. This is what was in the box for me : A multi function clamp A universal Follow focus ring 2 batteries for the motors plus everything you need to charge them And 2 other rechargeable batteries for the controller The controller can be mounted almost anywhere, which makes it easy to have a stripped down rig with a follow focus. I have to admit that I struggled setting up the remote air rig... but it was all my fault! It's really straight forward, and if you encounter any issues, you have multiple videos from the PD MOVIE team that will explain everything you need to know about your product on their website. www.pdmovie.com At this price this tool is hard to beat. Although there are many things I love about it, there is one thing that bugs me. Because it cannot be perfect right? The one thing missing for me is the App! Because at this time, It is only available for apple users! I am using an Android phone so, I guess I am less worthy! Still, this LIVE AIR 2S changed my mind about wireless follow focus systems, and I am ready now to fully jump onboard. I’ve used it on a few of my recent projects that are currently in the editing phase so look out for that. So if you are looking for a first wireless, efficient, small & powerful follow focus, look no further! I said it before, If I talk about it, I use it. And if I use it then it’s probably a nice handy tool. We’ll see in the long run how it performs, and if anything happens, I will let you know. PD MOVIE is a brand I will keep my eyes on, because if you look at their website they have many other products aimed at professionals that might spark your interest.

Review of the BUCKY Carbon Fibre tripod (3 legged thing) One of your top questions whenever it is visible… What tripod are you using? I went from the Manfrotto 190go to the "Legends" BUCKY carbon fibre tripod by 3 Legged thing ... let me tell you why. Having a good tripod is important... It seems obvious, but I see so many photographers go cheap on this important tool. There are tons of them out there for every type of use. From your studio to your travels you might not use the same one, because obviously your needs will be different. I mainly use mine for low angle shots, every time, I know I need to make a clean plate to clean-up a scene afterwards or when I venture myself in complexe composites or simple merges. I heave been desperately searching for 2 different tripods lately. One for my heavier setups and filming needs and a small portable versatile tripod that would work for the majority of my photography work. The Bucky tripod made by 3 legged thing seems to be the perfect versatile tripod I've been looking for. In addition to the tripod they also make a custom GFX100S L bracket, and as a Fujifilm GFX user, this may be the sign I am making the right choice. I hate the additional plastic thing I had to screw on to tuck my tethering cable and secure my USB-C port. The GRACY L bracket solves that problem and since I never take it off, I save a lot of time every time I shoot tethered. Combined to the Bucky tripod I have the perfect combo, making it easy to switch quickly from a vertical to an horizontal position. At a glance : BUCKY KIT w/ AIRHED VU Max Height - 1.89 m / 74.4 " Max Height w/o column - 1.32 m / 51.9 " Min Height - 20.2 cm / 7.95 " Detachable Leg Max Height - 1.35 m / 53.1 " Detachable Leg (Full Monopod Set-up) Max Height - 1.98 m / 77.9 " Folded Length - 41 cm / 16.14 " 5 Section Legs / 3 Section Column Load Capacity at 23º - 30 kg / 66 lb Load Capacity at 55º - 20 kg / 44 lb Load Capacity at 80º - 10 kg / 22 lb Tripod Weight - 1.52 kg / 3.35 lb Total Kit Weight - 1.87 kg / 4.12 lb Leg Angles 23º, 55º, 80º Max Leg Tube Diameter - 26 mm / 1.02 " You will probably see the Manfrotto 190go disappear from my future Behind the scenes video. This Manfrotto tripod is made of aluminum, making it heavier than the BUCKY, the ball head has always been hard to handle precisely, and I ended up hating that center column. It just took me too much time to set up a shot. I prefer the simple approach of the BUCKY system. You just twist to release and lock each sections, and for all my low angle shots, I juts have to remove the center column. With a max height at 1.89 m and low height at 20.2 cm with the AIRHED VU head on I get all the options I need for most of my on location and outdoor sessions. I can also use it as a Monopod thanks to its detachable legs, and there are several other options, but you will have to check out their website for them that because I don’t own those other options. https://www.3leggedthing.com/eu/ It is well built, compact and because it’s carbon fibre it’s super light. Which makes it easy to carry it around with me on almost all my sessions. So why do I need a 2nd Tripod? I said it earlier, for all those heavier setups (although the BUCKY can handle 30 kg in some situations) and every time I need much more weight and grip from my tripod… In the studio or on location when doing more demanding composite work and need something rock solid that won’t move. And if there was a way to change the head and use it as well for video for small to medium size cinema cameras this would be the dream! These days I sometimes use sand bags to increase stability. So from now on this will be the Tripod you will most likely see in most of my BTS videos. So every time I see a comment concerning that piece of gear, I will send them this blog post. Do you guys use a tripod in your work, or do you do everything hand held? Which tripod are you using in your work right now? Tell us in the comments below. Let's hope I find this 2nd tripod soon... Whatever happens, you'll be informed here on the blog!

International Hip hop festival Before going any further, and for all my geeky followers, this entire festival was photographed with the CANON R3 and the CANON R5 both with their respective lenses, the RF 70-200mm F2.8L IS USM and RF 24-70mm F2.8L IS USM! Now that this is out of the way, let's dive into this. Like a lot of events, the Who got the flower international hip hop festival had to cancel its 2020 and 2021 edition. In 2022, it came back stronger than ever and I was lucky enough to be once again the official photographer of this amazing event. An exercise I used to be really comfortable with a while ago. Between 2011 and 2015 I covered multiple events, festivals, live shows, and especially concerts. I even considered being a concert photographer at one point. I didn’t really have any plans at the time, so I simply followed my heart, and did my best to work with people I love and respect, and who treated me the same way too. This lead me to Pontcharra in 2017, and this year will be my 4th participation to this event. The WGTF is the only hip hop event I am covering now, and probably the only festival I will work on this year. I mentioned it earlier, It is not my first time, so it feels a bit like home. I haven't seen most of the people involved in this event since 2019, but it felt like it was yesterday. It seemed as if it never stopped! A lot of people seemed eager for their return, the event was sold out quickly. If you plan on stopping by next year, don't be stupid, book your seat in advance! You are warned... There is something special about this event that is hard to describe. You have to experience it at least once in your life. The collab' Eight randomly selected duos of a dancer and a musician meet in a battle format. Musician and dancer move together, one accompanying the other. The collab' this year didn't disappoint... Full of surprises and touching moments, literally anything can happen on stage. A show for all audiences, kids, families, people of all ages and origins were surrounding me. I do wish sometimes I wasn't there to take pictures, maybe one day I will also be there just to enjoy the show. The highlight of the weekend is, of course, the 4 vs 4 breaking battles. 4 VS 4 Breaking The highlight of the show! The best dancers in the world face off in fierce battles. The festival has been renewed for 3 years. It is difficult to imagine how it is possible to surpass the previous edition every year. But they do it every time, so look forward to the next one. Hats off to NEXT tape crew and all the amazing people that helped somehow make this event possible. Will I be there for the 8th year and 5th participation as a photographer? I don't know... It’s not only up to me…

First thoughts on CANON's current flagship camera! A frustrating review because It will only be about the photography performances of the camera. A delay in the shipping forced me to cancel a short film I wanted to make with the camera. Fortunately, it arrived just in time for an event that would require the full potential of an action camera. My original idea was to use it for stills and for video for a series of portraits I wanted to make with 2 female boxers. I did photograph both of them, but couldn’t do the film part. I did film one of the 2 later but with another camera. And I will meet the other athlete later down the road but the R3 will probably not be my first choice. I brought the camera with me at the WGTF?! international Hip Hop event that made its comeback this year after a forced 2 years break. And when I think about it I tested the 1DXIII and the 1DXII a while back the same way. Check out the full report here almost entirely made with the CANON R3: The WGTF?! 2022 Alongside the R3 I had the RF 70-200mm F2.8L IS USM, RF 24-70mm F2.8L IS USM in my bag. The Canon R3, is a camera (like a lot of new cameras these days) that was not easy to get. I considered renting it but nobody had it in stock. So I have to thank Canon France for this loan... I heard a few fellow photographers are still waiting for their order. It was already a struggle for the R5 and its accessories and apparently the struggle continues. Spec Wise there are a lot of interesting things about this camera. Here are the main specs or at least the ones I am interested in: The CANON R3 at a glance: 24 megapixel resolution Stacked, back-illuminated sensor Up to 8-stop Image Stabilization Burst up to 30fps, or 12 fps (mechanical shutter) Sensitivity from ISO 100 to ISO 102,400 (expands to ISO 204,800) Eye control AF Subject tracking Fully articulated, touch screen Blackout-free electronic viewfinder (120fps refresh rate and 100 per cent coverage) It’s a big chunky camera, and I love the form factor. I have large hands so I love it when I have a bit of grip. I love the fact that as a Canon user you feel right away at home. Everything feels right and falls under your fingers. I really enjoyed the 1DXIII and I fully embraced the mirrorless switch a few years ago so the chances for me to enjoy this camera were great. It is solid, built like a tak like you would expect from a camera this expansive, and it has a tilting screen that finally behaves like it should, unlike the R5 . Speaking of the R5, they both use SD cards but the CF express will be mandatory for video, especially if you shoot raw. The main reason I would look and consider such a camera is because of the speed, responsiveness and reliability of the Autofocus. To me, the CANON R3 was designed for sports photographers or photographers that photograph motion, or any fast moving subjects. This is why it was perfect for that Hip Hop festival. Since I had glasses on I didn’t use the eye tracking feature. A tool that needs a bit of time to adjust to your eye, and I didn’t have the camera long enough for that. But The tracking AF, low light performance and FPS made my life easy during this event. Photo reports, live events, sports events or any live performances ? This camera will be a valuable tool for you. Since my work has shifted a bit in the past years, I don’t often need such a camera. But for this boxing photoshoot there were images I wouldn’t have not been able to make without the speed and accuracy of a camera like the R3. Ambrine (Toulouse - France) Canon R3 - Canon RF 70-200mm F2.8L IS USM 1/200sec f/5 ISO 100 at 86mm Ambrine (Toulouse - France) RF 50mm f/1.2L USM 1/200sec f/5 ISO 100 Before sending it back I did an improvised dance photoshoot outdoors using only natural light. No flashes, we just strolled downtown and took images everytime we felt inspired. Penelope Scarian (Toulouse - France) Canon R3 - Canon RF 70-200mm F2.8L IS USM 1/250sec f/2.8 ISO 320 at 115mm Penelope Scarian (Toulouse - France) Canon R3 - Canon RF 70-200mm F2.8L IS USM 1/500sec f/2.8 ISO 320 at 128mm It’s a fun tool to work with, it delivers great images, and it will please all you action photographers out there. Compared to the R5, you clearly feel you have in your hands a completely different beast. Penelope Scarian (Toulouse - France) Canon R3 - Canon RF 24-70mm F2.8L IS USM 1/1000sec f/2.8 ISO 100 at 24mm 2 cameras that are made for completely different needs… 7 years ago a camera like the R3 would have been the perfect tool for my work. I was doing mainly concerts, live performances and events. Today, I am not so sure, it would be a huge investment as a 2nd camera.. A 2nd camera I would basically only use for my action shots. I may be able to justify the purchase, if the video capabilities would also match my needs. When testing the 1DXIII I did a short dance video in one take, and thought I would do something else this time: A brief moment (1DXIII) So I really hope for a new opportunity in the future. Resolution wise it’s perfect, I forgot how fun and practical it was to have such small files, but the thing is my work and clients are different now, and for some of my projects I would need a bit more than 24mpx. So despite the improvements from the 1DXIII, I am still not convinced I should make the jump. I am one of the many that actually see the benefits of having a camera that performs well both in video and photography, and there are plenty of options out there, from different brands. But I am still looking for that camera these additional features that would make it perfect for me. You know where I'm going here, my eyes are still on the R1… I don’t know when it will be officially announced, and when it will be released… probably in 2023… Given the crazy cameras Sony and Nikon released earlier this year, Canon has to release something unique soon. The CANON R3 is a great action camera, so if you are looking for a top performer in this area, it shouldn’t disappoint. On paper, again, this could be an amazing yet expensive Hybrid camera. Aimed at professionals, you clearly know what you are investing in if you get one otherwise… it would be a true waste of money. I still hope I will have the opportunity to test the video performances soon, and maybe test the eye tracking feature that I've heard only good things about. Please CANON, help me make this review complete!So I am going to leave things here… Until next time!

My first steps feat. Célina B. This is part IV of my journey exploring Fine art nude Photography. Down below are previeious articles on the subject. Fine art Nude photography (part I) Fine art Nude photography (part II) Fine art Nude photography (part III) 4th and final article and maybe the most interesting one for me as a dance photographer. "Flow posing" or letting the model improvise was never my favorite approach. I started with a lot of improvisation, letting the model move and explore while I was shooting. But this led me to a lot of frustration, although this is the only way I know where raw emotion and magic can happen. I am always to this day trying to find the right balance between control and freedom, to have the best of both worlds. Sometimes this comes naturally because not everyone is comfortable with improvisation. So depending on who is in front of my lens, most of the time I know the amount of improvised moments we will have during the session.

Behind the scenes video feat. Michele J. If you are following this blog, you probably already know michele. We did a fun first shoot together inside a carpentry a few weeks back.. A totally different vibe and theme, if you missed the behind the scenes video on YouTube, you have everything rught here on the blog: A creative fitness photoshoot bts ! The truth is, that session at the carpentry was our 2nd shoot together and this one was our first. We did a boudoir, lingerie session in a tiny studio set up (you will easily recognize the place) and Michele who is a retired Fitness athlete and now coach did a quick preparation for this session.

My first steps feat. Emma H. This is part III of my journey exploring Fine art nude Photography. Fine art Nude photography (part I) Fine art Nude photography (part II) With Emma, we went for something more colorful and straightforward. Photographing her sitting down helped. Standing up without any clothes on is sometimes not easy to handle for models. Having that much of the body exposed is tricky. Although we are placing the lights for contrast and depth there isn't much we are hiding. This is where I would personnally stop, I wouldn't go beyond light-wise. Lighting the whole scene evenly, using a bigger light source and exposing the entire frame will be too far away from my style. I need drama, I need contrast, I need shadows. If you are looking for a soft dremy look, this approach won't work. If you are looking for a more "commercial" look then do the opposite.

The very first chapter! 2 years of exploration, 2 years of trial and error, trying to reach that point where I feel comfortable with what I do and fully enjoy the process. Before I make that next step, the one that will take me to more creative work, here is a brief summary of what I went through, what I was looking for and a short behind the scenes of one of my latest portrait sessions. It’s a process that sometimes takes years. We all want fast results fast but that’s not how things work. Portraits and headshots at home or in the studio are not my specialty. I did them from time to time before, but always felt much more comfortable doing full body shots or environmental portraits. For the following images of Clara P. I used a single flash with a collapsible 65cm beautydish and the AD300pro. Clara ( @clara.is.back ) in Toulouse Fujifilm GFX100s and GF 250 mm f/4 R LM OIS WR 1/160sec f/4 ISO 50 Clara ( @clara.is.back ) in Toulouse Fujifilm GFX100s and GF 250 mm f/4 R LM OIS WR 1/160sec f/4 ISO 50 Clara ( @clara.is.back ) in Toulouse Fujifilm GFX100s and GF 250 mm f/4 R LM OIS WR 1/125sec f/4 ISO 50 And then 2 years ago COVID showed up… and it was the perfect time for me to develop and step up my portrait game. I tried 2 different approaches: continuous lights and flashes from one to 3 lights! I soon discovered that using continuous lights wasn’t always the best fit for me. Although I love seeing the effect of my lights on my subject right away, I needed more often than I thought that punch that only strobes could give me. Depending on the style, the effects I wanted to create, the model and outfits chosen, there was no perfect choice. Unless you have the time to switch from Tube led lights , to COB to flashes, you will pretty much be stuck with a set of looks, once you have chosen the type of lights you will use. When I want a dark and moody look, and If I don’t need too much power, or when I want to play with colors, RGB tube led lights are great. You can quickly get satisfying results compared to flashes and gels. I used 2 NANlite PavoTube 30c led lights for the following portrait of Jennifer Morelle, and you can find the complete gallery and behind the scenes video of this session here : If I want to let my model improvise, move and express emotions, I will often choose continuous lights to better direct my model live if needed, and to avoid my flashes to pop every 2 seconds. Maeva K. during an improvised portrait session last year. The white table top is used to bounce some of the light back to fill in those shadows. My main light placed above our heads is the NANlite Forza500 with a 120 parabolic softbox and a grid. Behind the scenes video Almost the exact same setup, during this session with Marie Amélie! Marie Amélie in Toulouse CANON R5 and RF 50mm f/1.2 1/200sec f/1.2 ISO 100 When I need a harder light, more contrast, if freezing movement is mendatory, I would choose strobes most of the time. In one of my latest portrait sessions, I went back to using flashes, and if you look closely at some of the images I’ve shown you so far, I often used an overhead light. To avoid those deep shadows in the eye sockets, use a white reflector or a 2nd light. For the following images of Emma Diloy, I am using the Raja Softboxes by Phottix. I have a 105cm octabox above her head with the GODOX AD300pro and I used a white reflector to slightly fill-in the shadows. Emma Diloy in Toulouse CANON R5 and RF 50mm f/1.2 1/200sec f/2 ISO 50 These classic portraits are not hard to replicate. I use 2 to 3 lights. One overhead with the head of a reflector to lift my shadows, or with an additionnal light on the left or right side of my camera. When I want those stripes as a "catch light" in the eyes of my model, I use 2 strip boxes with a grid placed on either side of my camera. Emma Diloy in Toulouse CANON R5 and RF 50mm f/1.2 1/200sec f/2 ISO 50 I’ve tried different combinations and since we are discussing portraits I prefer by far when catchlights are visible in at least one of the eyes. If you wonder after watching the behind the scenes video how I made these light shapes and effects, I am simply using an optical snoot . I alos have a Spotlight, so I will most certainly compare the 2 in a future article. Emma Diloy in Toulouse CANON R5 and RF 50mm f/1.2 1/200sec f/1.8 ISO 50 Some of these images have found their way into my portfolio , but they won’t stay there for long because I know I am going to take things a bit further in the months to come. I am now entering the fun part of this exploration which means, more behind the scenes videos and more exciting and inspiring content for the blog! I will share a bit more about my lighting process for these portraits soon, so stay tuned.

[Them, Her & Him] "Will you be there" is the collective title of three short dance films.⁣ A story about loss, reminiscence of a place, and a past relationship. Should we let our dearest memories go? A short film where dialogues were traded with a dance choreography and that will be declined in 3 versions: "Them", "Her" and "Him" . 3 perspectives, for 3 different points of view, or are they really? ⁣ It all started with [Them], the project initially being only a single video. It is during preparation that the idea of 3 different versions grew on me. Loosely inspired by the concept of the movie: "The Disappearance of Eleanor Rigby" (2014) by Ned Benson, I quickly decided that making 3 different versions with the dancers would be fun. This would give the audience the opportunity to witness the entire performance of each dancer (in the first part of each video) and experience a slightly different ending. All backstage images by Damien Rembert This short film is part of a series of videos I will be producing between 2021 and 2022. This is part of my transition from photography only, to photography AND video. My journey in videography and filmmaking started back in 2010. Very few people know I started making films before I started making stills pictures professionally. I struggled to make ends meet in the video industry back in Strasbourg, and my photography career was growing much faster, so making videos became less of a priority with time. Before the COVID-19 became a thing, I was planning on investing more time into filmmaking. I wanted to start from scratch, and the best way to do it was, to begin with, what I knew best: dancers and athletes. This is the reason why a lot of my first videos will be centered around them. The idea will be to test ideas & concepts and the goal will be to produce longer videos and more ambitious short films by 2023 and make my debut in a short narrative film before 2024. And after that? You guessed it, I hope to be ready to make my first feature film! But there is a long way before that. All backstage images by Damien Rembert The crew was the smallest crew I ever worked with on a set. My assistant Marlène, my grip Damien and just me directing and doing my best as a cinematographer. The concept and general idea of the short film were discussed with the dancers weeks before principal photography. I made a first detailed shot list, with keywords and key elements I wanted to see in the choreography and in the final short film. The music I chose, "Hope" by Ian Post, was a personal favorite and matched the story I had in mind. I asked the dancers to send me videos of their rehearsals to help me visualize my shots better and make any changes if needed. A rehearsal on location would have been better, but this wasn't possible for any of us. Luckily, I knew the place already because I had worked there before on a photography project so this helped me finalize the storyboard. Dance photoshoot behind the scenes at Château la Louvière! Feat. Marina & Oleg Dance photoshoot behind the scenes (Feat. Axelle Chagneau) Fine art Portraits Behind the scenes photoshoot (feat. Loïs Bret) All backstage images by Damien Rembert This entire project was filmed with the Fujifilm GFX100s, the GF30mm, the GF50mm (main lens), and some shots were made with the GF110mm. I used a Zacuto Follow focus and their ACT recoil cage for all the handheld/ shoulder shots. All the "stabilized" camera work was done with the DJI RS2, and everything was recorded on the ATOMOS Ninja V recorder. Controlling the light there was a nightmare! The scene where both dancers meet was shot in a room that had 3 giant windows. To make it short we were heavily relying on the weather and it was constantly changing. At the end of the first day, a big chunk of the footage we shot was unusable because it was too different from some of the earlier takes. So we had to add an additional 4 hours of filming the next day to re-shoot some sequences. Luckily we managed to get a few of them that kind of matched the earlier takes we did. We tried to have a bit of control over our exposure, especially in the close-ups with the help of some additional artificial lights. Our kit consisted of a NANlite Forza 500 and the 120 parabolic softbox (often used to raise the Ambient light on all the wide shots), and 2 NANlite Pavotube 30c. In the sequence where Anaëlle walks across the room, we hid 2 Pavotubes behind the curtains of 2 windows to maintain the desired exposure. We had the chance to work again in this beautiful location. The idea alone of the two protagonists entering the castle on either side, came to my mind during my first photography project the first time I discovered the place. I immediately knew I had to make a short film inside the Château la Louvière. ⁣⁣Will you be there? [Them, Her & Him] A short dance video A film crafted by Haze Kware ⁣ ⁣ Choreography & Performance:⁣ Anaêlle Mariat & Tangui Trévinal ⁣ ⁣ "Hope" Music by Ian post⁣ ⁣ AD: Marlène blackdough ⁣ Grip: Damien Rembert⁣ ⁣ Filmed at the Château La Louvière X Vignobles André Lurton ⁣ ⁣ ⁣⁣⁣⁣⁣ HK VISUALS all rights reserved I would like to thank the entire staff of the Château la Louvière for letting us create in such a beautiful space. Thank you, Claire Dawson and Jacques Lurton for your trust. Huge thanks to Anaëlle Mariat & Tangui Trévinal for sharing their art with us. Let's hope this is only the beginning!

Portrait session feat. Laura M. I have been working regularly with at least 3 to 4 lights the past year, and it was fun. But I jump on the occasion of playing with only one light every time I get the chance to. By far my most used lighting setup and probably the easiest one to replicate for anyone starting out. I am only using one light so if you look closely at the shadows figuring out where it is placed should be a no-brainer. I’ve done too many reviews recently, so let’s go back to the good old Behind the scenes videos. Laura, a model "in the making", came by for a few test shots. So I knew I wasn’t gonna blast her with multiple lights. This session took place during the time I was testing the GODOX P-128 . This Parabolic light focusing system is really perfect for this type of session because you can change the quality of your light in seconds. Gear-wise, I did the entire session with the Fujifilm GFX100s,the GF80 mm f1.7 and the Godox AD1200 pro . You will see it in the behind the scenes videos right away... I’ve reached the limits of what I can physically do in such a tight space. On top of that, my model, is quite tall, so I had to do a few background extensions in Photoshop and use a few tricks to make the session work. Doing all this work in post is something I try to avoid as much as I can. The less photoshop, the better! Laura M. (Toulouse - France) Fujifilm GFX100s and GF 80 mm f/1.7 R WR 1/125sec f/1.7 ISO 50 The GODOX P-128 and the AD1200 pro were placed camera left. When I see that little catch light in the eyes of my model I know I am not far from the right height for my light modifier. If you are a bit of a control freak, using one light simplifies the process. Your model can move freely, less conflicts, no weird shadows, and you minimise messing up your contrast ratios between all your lights. Laura M. (Toulouse - France) Fujifilm GFX100s and GF 80 mm f/1.7 R WR 1/125sec f/1.7 ISO 50 I barely moved the light for all these shots, making easy to try multiple looks. Since it was our first time working together we also did this test shoot to get to know each other. Laura M. (Toulouse - France) Fujifilm GFX100s and GF 80 mm f/1.7 R WR 1/125sec f/1.7 ISO 50 Every time I work with a new model I usually start the session sitting down. I find it easier to place the legs and find a working pose this way. Inexperienced models sometimes are lost when you give them too much freedom. Setting constraints and minimising the working area can help them focus. Laura M. (Toulouse - France) Fujifilm GFX100s and GF 80 mm f/1.7 R WR 1/125sec f/1.7 ISO 50 Of course, we tried a few shots standing up. But I decided early on not to include the entire body. I also decided to color grade the images according to the outfits, instead of applying the same look on the entire session. Laura M. (Toulouse - France) Fujifilm GFX100s and GF 80 mm f/1.7 R WR 1/125sec f/1.7 ISO 50 Another little trick if you wish to work with the entire body with a tall model in a small space? Use a barstool! You reduce her height, and she can lean, hold on to the stool and change her balance and create interesting shapes more easily. This was a fun and instructive photo session for the both of us. This often leads up to a 2nd session where we'll be more daring and creative... I cannot wait! I had to work on a few micro short films recently, that’s why I was unable to share anything here. But you know what this mean. I will play "catch up"next month and post more content! Summer is round the corner so take your camera, go out and shoot… This is probably what I am going to do and work a little less indoors. Take care of yourself and your loved ones, and like always, I will catch you in the next one.

Behind the scenes video Feat. Emma So this will not be like my usual Behind the scenes post, because I am going to talk a little less. Not that I want to, but because I am on a break. I am slowing down the number of posts on my social profiles, because all of you guys are still on vacation, or away from social media. I asked a while back if you guys wanted the full Behind the scenes of this particular session with Emma... I had a few positive responses, so here it is: Emma H. (Toulouse - France) Canon EOS R5 RF 50mm f/1.2 1/200sec f/1.2 ISO 100 The only info I am going to share with you is that these portraits are part of the sessions made at home, in my living room. I am using a simple textured backdrop and 3 continuous lights. The main one, the NANlite forza 500 is placed camera left, and I am also using 2 Pavotube led lights as a hair light above her and for a few shots an additional Aputure 300x for fill on my right. These Pavotube are set at 3200k all the other lights are at 5600k and I sometimes added a little reflector below her to fill in the shadows. Emma H. (Toulouse - France) Canon EOS R5 RF 50mm f/1.2 1/200sec f/1.2 ISO 100 I really hope you are having a fantastic summer. I have a little question for you guys, do you want all my Behind the scenes videos to be this short and straightforward? Tell me in the comments below! Emma H. (Toulouse - France) Canon EOS R5 RF 50mm f/1.2 1/200sec f/1.2 ISO 100

Behind the scenes video feat. Emma I’ve shared an image or two from this boudoir session already in my Aputure 300X review part I. I realized just recently, that I had the complete session on video. So here it is, with of course a few words on how we made these images!