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Feat. Anaëlle Mariat This short piece was filmed back to back after "Will you be there". This time Anaëlle goes solo inside the winery. We are still at the Château la Louvière and I still have the precious help of Marlène and Tangui Trévinal who stayed an additional day to help us out. Made during COVID restrictions we worked with really tight crew which pushed us to get creative to make things work fast. It took us almost an entire day to make it. The choreography was made without knowing the exact proportions of the location so we had to improvise a bit once there. the cinematography was rudimentary due to the lack of time and size of our crew. So with that in mind I am quite happy with the end result. I did a basic storyboard for this one, and had few key moments written down. This was crucial for Anaëlle and helped greatly for the choreography. Filmed with the GFX100s in a dim environment we were at the limits of what the camera can handle in low light. Plus we filmed everything internally, and we all know the Fujifilm GFX100s only records in 10bits 4:2:0. I haven't tried filming in Prores RAW with an external recorder yet. But I already know I am not a fan of the concept. I prefer video cameras than can provide me the all the flavours I need internally. At least 10bits 4:2:2 in 60p please! I am glad a lot of manufacturers are now including this by default, and are proposing RAW or compressed RAW options to their cameras. I still haven't found the perfect Hybrid camera for me that would satisfy me a 100% in video and small video project. We'll see what 2022 has in store for us or maybe 2023? In the meantime, here is down below the final result, It is also on Instagram I would love to go back to the Château la Louvière as I feel there is so much we can still do there.

This is also a follow up to my first review video of the Aputure LS 300X, but this time I am going to share my experience using them for video. I've been working with the Aputure 300x for a few months now, using both of them as my secondary light(s) on a few videos. I shared earlier this year a dance portrait video, and a few scenes were lit with the Aputure Light dome II and the 300X. All my talking heads, or almost all of them the past months were also lit with this same combo. The ability to change the color temperature of my lights with the help of a simple remote convinced me to use them on some of my photoshoots. In the image down below, the backlight is a single Aputure LS 300X barebulb! Watch the complte behind the scenes of this session here: AD 600 pro review The following portrait was lit with 2 Aputure LS 300X, this image was part of my initial review of the lights: My thoughts on the the Aputure 300X for photography From warm to cold, You can create color contrast with just 2 of these lights! The first 300x was set at 2700K on the left side of the image, and at 5600k on the right (Main light). Now after a few months, allow me to share my feelings about these lights. I still haven't invested in one brand when it comes to lighting. Because none of the ones I used so far proposed a family of tools that would fit the majority of my needs. Plus it has to be affordable, robust, and easy to use and set up. Recently, I've seen a lot of brands investing in continuous COB-led lights. Smallrig that isn’t known for its lighting tools just released their own, Phottix too and GODOX has a couple of new fixtures coming shortly. The competition is tough, but I belive this is a good thing for us. I've said it in my first video about these lights . Aputure has built a strong reputation in the field. I am seeing them more and more on sets and it is not surprising given the quality of their tools. The 300x is no exception, you can carry it around, throw it in the bag (gently) when I have it in my hands I feel this will last for long. The handbrake locking mechanism is solid, and I am still amazed at how easy this system is to use. The quick and precise CCT control wheel with the integrated preset button, allows you to fine-tune CCT in +/- 50K increments, or toggle between 5 common CCT presets (2700K, 3200K, 4300K, 5500K, 6500K). In addition to the control wheels, the 300x can be controlled using Aputure’s 2.4G RF Remote system, the professional DMX512 standard, as well as the Sidus Link mobile app via Bluetooth Mesh. This alone would convince me to only have Aputure lights for my work, being able to pilot everything with a single App makes lighting easier than ever. Last year, we filmed a last-minute video using 2 Aputure 300x. I was testing the limits of the Fujifilm GFX100s in video mode (more about that soon) and the Aputure lights made it easy to set up and shoot the video quickly. If you haven't watched my first video about these lights, let me make it simple for you: My thoughts on the the Aputure 300X for photography My thoughts about them haven't really changed over the past months. I still love using them even though they are not perfect. My main issue is the green color cast at some temperatures. I believe this is linked to the technology they use to go from cold to warm temperatures. Something I haven't noticed right away, but that became obvious after a few uses. This can be corrected of course on set with gels, if you need critical color accuracy, or match different lights together. For small videos, single light uses, and YouTube content, this shouldn't be an issue... but then given the price, currently under 1100 euros in Europe I don't think this is a deal-breaker, given how versatile and well made the 300x is… Let's hope technology catches up and offers more accurate bi-color lights in the future... From Aputure? or other brands? we'll see...

Behind the scenes video Feat. Manon Vergé This was actually my last photoshoot of last Year. A fitness photoshoot in a unique location, what could go wrong? I kinda liked my previous post where I explained how 5 of my images were made. So I decided to do the same on this one. So let’s start with the concept, nothing crazy, really simple, I wanted to use my experience with dancers and my love of shooting performers in unique locations but on a fitness photoshoot. So that’s what we did! We got access, to the Pavillon Joséphine in Strasbourg and it was easier this time because I’ve worked there already a couple of years ago. The model that worked with me on this special session is an amazing athlete. I thought this would never happen, as we've been trying to meet for so long. Her name is Manon, and I am super happy we finally made it happen. Gear wise, I had the Canon EOS R with me. Yes, you read it right, the good old EOSR. I said old because you guys are already fantasizing about canon’s latest announcement, the R5 that will make the EOSR obsolete in a couple of months. I gave my opinion about this camera already, and although a lot of you out there love to hate it, I believe it’s a very capable camera. The EOS R my thoughts on Canon’s Mirrorless camera! With the EOSR I brought with me the 24-70mm, the 16-35mm and 70 - 200mm f/2.8 L EF lenses and of course my 2 Broncolor SirosL 800ws. So lest jump right in and look closely at the images from this session: Manon Vergé - Pavillon Josphine (Strasbourg - France) Canon EOSR + 24-70 mm EF f2.8L 2X Broncolor SirosL 1/200 f5 ISO 640 at 24mm We started by the most difficult of the series, which in the end is not that difficult to make. All you need is a tripod… You decide how you want to frame your image first and lock your camera. Then you discuss with your model and try to find 3 poses that would work together. I’ve done this multiple times in the past, I choose 3 different poses with 3 different outfits. I usually start with the first shot in the center and then deal with the two others on the side. I used tape on the floor to help Manon know where exactly she had to stand. One light with a silver Umbrella was used as a rim light and the 90x120 Broncolor Softbox was my main placed camera right. Manon Vergé - Pavillon Josphine (Strasbourg - France) Canon EOSR + 70-200 mm EF f2.8L 2X Broncolor SirosL 1/200 f2.8 ISO 250 at 100mm All the photos made close to the Pillar were done with only one light. The light is facing her to have those deep shadows facing me. Hanging from the pillar on the 2nd image wasn't easy. I asked her if she could possibly climb up there, and let herself hang. It was hard for her to have a grip so my lovely assistant came to the rescue and stepped on a chair to hold her hand. Manon Vergé - Pavillon Josphine (Strasbourg - France) Canon EOSR + 24-70 mm EF f2.8L 2X Broncolor SirosL 1/200 f2.8 ISO 250 at 105mm I wanted another version of the first photograph we made. An almost identical composition but without the clones…I took this one from the ground for a different perspective, which also elongates her legs. Manon Vergé - Pavillon Josphine (Strasbourg - France) Canon EOSR + 16-35mm EF f2.8L 2X Broncolor SirosL 1/200 f2.8 ISO 250 at 24mm The back shot was the easiest one to make. Since we were almost at the end of the shoot, I felt she would be comfortable enough to improvise a bit more on this one. The 2 lights are facing each other on both sides but are placed between be and her for a more even exposure and less shadow compared to the first images we made. Manon Vergé - Pavillon Josphine (Strasbourg - France) Canon EOSR + 70-200mm EF f2.8L 2X Broncolor SirosL 1/200 f2.8 ISO 250 at 75mm I warned you in my photoshoot mixing boudoir and Gymnastics , I decided to bring the edge mask with me and ended the session with this image. If you are not familiar with this tool, it makes silhouette portrait images on a black backdrop easy. No additional backdrop, only one light and voilà, you have it. Captured with the 70-200mm, I guess I will use this thing a bit more often from now on. Manon Vergé - Pavillon Josphine (Strasbourg - France) Canon EOSR + 70-200mm EF f2.8L 2X Broncolor SirosL 1/200 f4 ISO 200 at 100mm So which one is your favorite shot? I hope you found a bit of inspiration in all of this! I read your comments from last week, don’t worry I haven’t planned in changing anything. I believe I have said this before, I film a lot of my photoshoots, not all of them but a good amount. I was just asking which one you’d prefer me to share on my YouTube channel that’s all. So I decided to keep them going and keep the content diversified so that we don’t get bored. Sounds good?

Feat. Michele Juan I really miss these, creating outside my apartment. I haven’t had such a session with a fitness athlete, since… I can’t remember, so I was really hyped for this one! This is one of the many sessions I made with the GODOX P128. I’ve been carrying around this Parabolic light focusing system on almost all my recent sessions, and even used it at home. I really like it, because for this price I never thought it wasn’t possible to get near Bron color’s famous paras… And Godox did it. Check out my initial review if you haven’t already: The Godox P128 Kit - My 1st thoughts! We made 2 sessions with Michele one at home that will be an exclusive post for my premium members on the blog, so stay tuned for that one, and if you are not a premium member yet, you should definetely consider being one. This session was a bit different from my usual work because we chose quite a strange location for a fitness session. Made entirely inside a carpentry factory here in Toulouse, a weird choice on paper but the perfect one for the look and feel we wanted to capture. Plus we had the luxury to have a huge afternoon to set up all the lights, and do a few tests. Gear wise, I had the Phottix Raja strip boxes , the P128 has my main light or fill light. I used the Godox AD 1200 pro, AD 600 pro and the Pixapro citi 1200 pro. You might notice a little change in the quality of the images coming from my 360° camera. This is because I am now using the Kandao Qoocam 8k for my BTS videos. I will soon do a video about how I currently make my behind the scenes video and it will of course feature this camera. My camera hasn't changed, it is still the Fujifilm GFX100s, and for this project I only used 2 lenses, the GF30mm, and GF80mm lenses. Michele Juan inside la Menuiserie Toulousaine (Toulouse - France) Fujifilm GFX100s and GF 30 mm f/3.5 R LM WR 1/125sec f/9 ISO 50 "More than an athlete", that's what inspired me for this shot. A simple shot when you think about it, we are just merging 3 different images. But it took us a third of the session to make it. I've done images like this multiple times before, but I am still looking for a faster way to make them, hoping to make variations of this concept with 5, 7, 9 or more clones in one shot! Michele Juan inside la Menuiserie Toulousaine (Toulouse - France) Fujifilm GFX100s and GF 80 mm f/1.7 R WR 1/125sec f/5 ISO 50 You know I love smoke, and I had to find a way to use smoke indoors, as it is impossible to use the smoke grenades I usually use. A fog machine was the best option, I am currently using an ADJ Vf 13000 machine with heavy smoke. Michele Juan inside la Menuiserie Toulousaine (Toulouse - France) Fujifilm GFX100s and GF 80 mm f/1.7 R WR 1/125sec f/5 ISO 50 Michele Juan inside la Menuiserie Toulousaine (Toulouse - France) Fujifilm GFX100s and GF 30 mm f/3.5 R LM WR 1/125sec f/9 ISO 50 If you look closely, I didn't fit the missing lights in the background like in the very first image. Don't ask me why, I did it on purpose. I think I kinda want my images to be "unpolished". Nothing in this world is perfect at least all the things I've experienced and that have surrounded me. So I want my images now to reflect that in a way too. This sounds odd when you think about it because there is sometimes a lot of retouching and editing in my images. I just want to decide how imperfect my images should be! Michele Juan inside la Menuiserie Toulousaine (Toulouse - France) Fujifilm GFX100s and GF 80 mm f/1.7 R WR 1/125sec f/5 ISO 50 Some of these images made it to my recent portfolio... and you might not know this but my portfolio is at this address: www.hazekware.com I just want to keep my portfolio and blog separate. These images were really fun to make, and I have to say I am still much more comfortable on location than in a studio setup. I hope I will be able to participate to more projects like this one... Fingers crossed!

Godox's Parabolic Light Focusing System Ok, let's get this straight, I’ve been waiting for anyone, any brand to propose an alternative to Broncolor’s or Briese’s paras… The reason for that is simple: these are way out of reach for a lot of photographers… and that’s a shame because they really give a unique look to your images. And then a few months ago, Godox announced the development of their own line of Paras… So of course I had to get my hands on one! GODOX isn’t the only one… There are multiple brands out there claiming to have created an affordable Parabolic focusing system, making this incredible tool available to everyone… because that’s what this is all about. The problem is that calling a light modifier “Parabolic” is not enough. Only a reflector that is shaped like a true parabola will produce this distinctive look. The Godox P series is a parabola not just in name, but provides that smooth light diffusion, and beautiful contrast and versatility all in one like it should. source: https://godox.com The P128 has a highly reflective silver interior with a 128 cm outer diameter. In addition to the large reflector, this kit includes a PF-M Focusing Mount, PF-R870 Focusing Rod, PF-BM Strobe Adapter, PB-G1 Grip Kit, and a CB35 Carry Bag. Unlike other brands that tried, it has the 24 rods and panels that make the shape of the modifier close to a true round light source. Now how did they do this, how did they cut the price? Well like they always do… By carefully changing the materials used, and simplifying the overall system. It still feels and looks solid. I was worried that by oversimplifying the whole system would end up being fragile and unusable on a daily basis. But so far I am pretty impressed with what they achieved. I have to say, I am not a fan of their quick opening system, I loved the one on the Broncolor Para 88 and 133 but… I guess this is one of the tradeoffs we have to accept. The Focusing system is fairly simple and in it's conception and use... why make things complicated? You just have to loosen a knob and slide the rod to your likings. So what’s all the fuss? Here are a few images made recently with this modifier. My first tests with the P128 with Maeva Ledig: From left to right: Defocused (Flooded) / Mid-position / Focused (Spotted) The one I finally chose: When fully focused (or spotted), the depth creates a contrasty, hard light, with very little fill. Focusing the P128 increases the light output by about 1.5 stops, so be sure to adjust power or camera settings accordingly. In the middle position, the Para offers a nice blend of contrast and a bit of fill from the outer edges offering a less contrasty image. When defocused (or "flooded"), the light in the Para128 fills mostly the edges of the Para, creating a halo of light, but also offering some light fill via the middle of the para, as a result of the shape and depth of the modifier. The images down below are from a session with model Clémence Tarade. In the first image the P128 was defocused (flooded) and in the 2nd image it was focused (spotted). I really like the P128 when positioned in a defocused position. The quality of the light, the way it wraps around the model. For the following I added a sidelight camera right. Godox proposes different sizes of its parabolic light modifiers. I chose the P128 because it has the perfect size for shooting in tight spaces, and easy to bring on location. It works great for portraits and headshots and depending on the scenario, it also works for full body shots. The following images are from a recent fitness photoshoot made with Michele Juan: We ended up using the image without smoke for this one: Will GODOX produce bigger ones in the future? source: https://godox.com The Paras create dimensions no other light shapers could. The focusing system will offer different light variations with just one modifier. Clean and specular highlights while also providing a broad light source that wraps around your subject I am sold, especially at this price… at around 1650 euros, owning a true Para is now more accessible than ever. I just love the catchlight! You will most certainly see the P128 used in my work often, and it will be hard to miss in future Behind the scenes videos! I will keep you updated on this light modifier in a few months… Will it stand the test of time? We’ll see! How about you? Have you ever used a Para in your work? Get yours: Godox P128

My first steps feat. Meava K. This is part II of my journey exploring Fine art nude Photography. Fine art Nude photography (part I) Some of the following images were orginally posted in the article about Vinyl backdrops. If you haven't seen the review and first behind the scenes video, here is the link: Upgrading to Vinyl backdrops? You know light is the most important thing you have to master in photography... It seems obvious, but I feel a lot of photographers tend to forget it. With all this technology in the palm of our hands, all these powerful editing softwares, who needs to master light? Sorry to tell you that, but I am still struggling with light and still learning after 10 + years, and this is THE most important ingredient in your recipe. Strange analogy, but you get the point, light will break or make your photography.

Behind the scenes video feat. Loïs Bret This is part of the work I made inside the Château la louvière, this is the 2nd video I am sharing, and this session was a bit different. Dance photoshoot behind the scenes at Château la Louvière! Feat. Marina & Oleg More an exploration of genres, than an actual photoshoot, an opportunity to test new techniques. You should be used to it now, let’s break down some of these images. This session wasn't planned out, of course, we had a few ideas in mind, but this is one of the few sessions we had there where I was given carte blanche and where I allowed myself to improvise on the spot. This is not something I often do, usually, I prepare all my sessions, to ensure that my team and I are efficient on the day of the shoot. We wanted to go boudoir at first, but then we tried lingerie and glam, to finally make simple portraits, that I ended up not liking. I wanted that commercial look from the beginning my lighting setup was quick. I went from shooting the upper body for my first images but decided to go full body. From there, we kept on adding up accessories and layers, to finally make these : Loïs Bret (Château la Louvière - Léognan France) Fujifilm GFX100s - GF 30mm F4 R WR 1/125sec f/4.0 ISO 100 The following images are maybe the only pictures I knew I would make this way, including the chandelier and the ceiling in the shot and creating this surreal long black dress. We took advantage of my big light stand that I don’t often bring out with me (Easy to guess why) to get my light with beauty box 65 exactly where I wanted it. Loïs Bret (Château la Louvière - Léognan France) Fujifilm GFX100s - GF 30mm F4 R WR 1/125sec f/4.0 ISO 100 Working with assistants is a luxury these days, and having a team onset is an obvious time saver. This epic dress wouldn't exist without them, and without the talent of my wonderful model: Loïs Bret! I ended up favoring the 2nd version because the upper body was placed better in the frame. But the more I think about it, the more I enjoy the other one too! Loïs Bret (Château la Louvière - Léognan France) Fujifilm GFX100s - GF 30mm F4 R WR 1/125sec f/4.0 ISO 100 I talked about the use of camera apps in past videos, and how useful they were in certain situations. Well, this is one of them. I attached my camera at the end of my light stand and decided to shoot from the ceiling. We wrapped this long white fabric around the camera and tried different poses. Unfortunately, we discovered at the end of the session that we preferred the pictures that were made when the fabric wasn’t falling straight down towards the bathtub. When I opened the files in photoshop, I even discovered that there were a couple of poses that looked better in the early takes. So, with some photoshop trickery, I decided to merge some of the pictures to have the same fabric shape throughout. Loïs Bret (Château la Louvière - Léognan France) Fujifilm GFX100s - GF 30mm F4 R WR 1/80sec f/3.5 ISO 200 BEFORE & AFTER [twenty20 img1="17616" img2="17606" direction="horizontal" offset="0.5" align="none" width="100%"] Attitude is something I am working on more and more, I am still learning and I still have a lot of room for improvement. Since originally we were supposed to make a lingerie shoot, the outfit for this one was easy to choose. I wanted to make a strong portrait of Loïs, and this chair was a perfect accessory for that. Loïs Bret (Château la Louvière - Léognan France) Fujifilm GFX100s - GF 110mm F2 R LM WR 1/125sec f/2.8 ISO 100 We ended the shoot with something I’ve done multiple times in the past. Using the environment, utilizing objects to your advantage. Here we used these 2 pillars to hold the fabric in place. At first, I wanted to keep them out of the frame but after some thought, I decided to keep them in. Loïs Bret (Château la Louvière - Léognan France) Fujifilm GFX100s - GF 63mm F2.8 R WR 1/125sec f/4.0 ISO 50 This is the type of session I try to set up from time to time, where we allow ourselves to explore a bit more than usual. Sometimes, we don’t learn much, and some other times we discover new things, we improve our technique. This session in particular influenced some other images made the following days, but more on that in a future post. I really hope you enjoyed this one and that I managed to motivate you to explore more. If you have any questions, you know where to leave them!

Consider the BENQ SW271c! Have you noticed the change? No? I went from 2 32 inches screens to one 32" and one 27, from the BenQ PD3200u for the SW271c. The little sister, of my 321c! A sweet upgrade for me, and maybe a more affordable alternative for you for your editing and retouching needs. 32 inches might be too much for a lot of you, and after my review of the SW321c the size and price were often an obstacle for a lot of you. I get it, when working in tight spaces 27 inches is more than enough for a display. I have worked several years with a 27"screen, and a laptop. The SW271c is delivered in a thick bulky box which is a good thing for your precious screen. Everything you need to use it straight out of the box is included. Like hte 321c it has the ​​Hotkey Puck G2, a very handy remote that helps you navigate easily through the menus and settings. Now I work on both a 13inch Macbook pro and a desktop PC. Connecting a Macbook pro, is really simple, plug the included usb c cable, it will charge your laptop in the process, and you now have a bigger screen you can properly calibrate and retouch on. The sw271c is very similar to its big sister the sw321c. The BenQ AQCOLOR technology delivers “Accurate colors” so if color accuracy is important in your work this screen might be for you! The BenQ SW271C is a 27" 4K Photo & Video Editing monitor that offers a 100% sRGB , 90% P3 , 99% AdobeRGB color space coverage. It's clearly a screen aimed at professionals, but not only. The 10-bit Color Depth gives you access to more than one billion colors, natural shading, and smooth color gradation. I wanted a clone of my sw321c to have matching colors on both of my screens. Sometimes there can be a slight color difference between two screens, which can be annoying during color work or retouching. Now I have color uniformity & consistency on both of them, I can create with confidence with color accuracy across my 2 displays. I’ve said this in the past, even if you are an enthusiast or an amateur, there will quickly come a time, if you love your images, when your screen will become the most important tool in your workflow. Whether it’s for prints, you don’t want to have deceiving surprises, trust me, or to ensure that your client or anyone you made your images for, will see your images the way they should. Of course, do not forget to calibrate your screens… I am still using the I1 display pro and the Palette Master Element (downloadable from Benq's website). You can see that side by side (in the video) the difference in size is not that huge… and with fewer ports and connections, and roughly 300 euros cheaper, you can have an amazing screen to work on. At a Glance here are the main features of SW271c: Screen Size: 27 inch Panel Type: IPS Backlight Technology: LED backlight Resolution (max.): 3840x2160 Brightness (typ.): 300nits HDR: HDR10,HLG Native Contrast: 1000:1 Response Times (GtG): 5 ms Refresh Rate: 60 Hz Color Gamut: 100% sRGB ,90% P3 ,99% AdobeRGB Connectivity: Card Reader: SD/SDHC/SDXC/MMC HDMI (v2.0) X 2 DisplayPort (v1.4) X 1 USB C (PowerDelivery 60W, DisplayPort Alt Mode, Data) X 1 USB Type B ( Upstream ) X 1 USB 3.1 ( Downstream ) X2 What more can I say, I loved the sw321c so the chances for me to not like this little one were very slim. I currently retouch, edit, color grade all my stills and moving images on these two screens! Click the link down below if you wish to know more… and tell us, what screens are you currently using for your retouching and editing work? EU: benq.eu/fr-fr/monitor/photographer/sw271c

Feat. Marina & Oleg at the Château la Louvière! Of course, I had to share my version of this behind-the-scenes video posted last week on Fujifilm's Channel! So in case you missed it, last week Fujifilm posted a testimonial video of me, sharing my experience with the GFX100s. And the article is also available on their website with a selection of images. Watch: https://youtu.be/RLl1cKd5_BI Read: GFX100s more than full frame Some of you asked me if I would still do a review of the GFX100s on my channel. And the answer is: "kind of".To be honest, I feel I've already said a lot in that video for Fujifilm, and you probably have guessed my feelings about this camera already. But, I still want to use it on a few other jobs and projects, things that will be a little different from my usual stuff, and then give you a comprehensive definitive review and impression on the camera. But before all that, here is a deeper look at this 1st session I made with Marina Kudryashova & Oleg Rogachev inside the Château laLouvière! This is typically the kind of location I love because it has so many different rooms, high ceilings, and you have more than enough space to create almost whatever you want. Sometimes I wish I had a castle like that at my disposal to create all my images. I rarely shoot duos, and it’s a shame, so I was really happy to do one during my stay there. Directing 2 dancers is a little bit different, especially in terms of lighting. Are we exposing both of them evenly? Or do we want to focus only on one of them? For this entire session, I want it something balanced or almost. I wanted to light them as if they were only one subject. Marina Kudryashova & Oleg Rogachev (Château la Louvière - Léognan France) Fujifilm GFX100s - GF 23mm F4 R WR 1/30sec f/4.0 ISO 100 I also knew from the very beginning that we would include practical lights that would be visible in some shots. And some of the tighter spaces wouldn’t allow us to use more than 2 lights. The 2 fits images we created were made with only one light, with the large 90x120 cm softbox and a grid for more control. The whole thing was placed up above the dancers, just in front of the chandelier. I already knew that the light would be in the shot and that a 2nd clean image would be necessary without the light in the frame to make it easier to erase in post. Marina Kudryashova & Oleg Rogachev (Château la Louvière - Léognan France) Fujifilm GFX100s - GF 23mm F4 R WR 1/30sec f/4.0 ISO 100 The ambient light was very low, so we tested different shutter speeds to see how much motion blur we could possibly let in the shot without it being too distracting. I wanted enough ambient light to keep a bit of the detail in the shadows. Of course, my flash did the rest of the job to freeze the movement. The more dancers in front of your lens the more time it takes to find the right poses, movements, or angles. A lot of trial and error, we rehearse for each scene. I only place my lights, once we have something we can build upon, a pose we all like or a movement. Once everything is dialed in we try different variations of the same pose until we get the one we all like! Marina Kudryashova & Oleg Rogachev (Château la Louvière - Léognan France) Fujifilm GFX100s - GF 30mm F3. 5 R WR 1/100sec f/3.5 ISO 125 Marina Kudryashova & Oleg Rogachev (Château la Louvière - Léognan France) Fujifilm GFX100s - GF 63mm F2.8 R WR 1/100sec f/4.5 ISO 125 This final image was the most difficult one to make. Marina brought a strange accessory with her that we had to untangle for each shot… Just imagine the amount of time it took us to make it! I had a small but efficient team that day, Marlène and Damien helped me out a lot on the setups and accessories. Marina Kudryashova & Oleg Rogachev (Château la Louvière - Léognan France) Fujifilm GFX100s - GF 30mm F3. 5 R WR 1/125sec f/4.5 ISO 250 Which one is your favorite? Tell us in the comments below! If you have any questions on how these were made do not hesitate. More on these sessions inside the Château la Louvière in the next post! Huge thanks to the Château la Louvière for letting us create in such a beautiful place.

behind the scenes Fine art nude & Circus photoshoot feat. Maeva K. & Virginia Danh I tried muslin backdrops, used them on a couple of photoshoots, I even tried 2 different brands. But I am still curious to see if there are any other solutions out there that will meet my needs a little better… Muslin backdrops could be a great, really affordable solution for your portraits. They are light, foldable, so easy to carry around. And they deliver nice results, giving you the option to make any location your studio. But I quickly got tired of Ironing the fabric. Bringing a steamer with me all the time can be cumbersome and it adds a few minutes in your setup that I would gladly get rid of if possible. Plus, Having a 2 x 3 m long fabric backdrop to Iron is ok… If you get a longer one, custom-made, this can become a nightmare. But why would you need a bigger backdrop in the first place? If you plan on photographing the entire body of a performer, for example, the muslin backdrops I showed you in my previous videos might be a little tight. So this time I used a Vinyl backdrop of 12ft X 7ft. We have the width and the height that would suit almost any type of work. I went for a dark backdrop with some texture again, but this time I tested the backdrop at home but also on location… I am going to spare you the footage of me installing the backdrop, I am simply using clamps and a standard Manfrotto backdrop kit to hold it in place. Maeva K. (Toulouse - France) Fujifilm GFX100s - GF 50mm F3.5 R LM WR 1/80sec f/3.5 ISO 400 Vinyl backdrops of this size are a bit less travel-friendly. You cannot fold them and the size you will choose will increase the footprint and price! It was shipped to me in a plastic tube that I kept to protect it, and the whole thing has a bit of weight. So you won’t consider them for quick short sessions but more for bigger ones. If you own your own studio then you may seriously consider it. The main strength of these vinyl backdrops is the quality of the material and texture, how easy you can clean them, and the absence of any wrinkles and creases when unrolled. I can create with these backdrops and integrate them more in my images now. I had this issue with some of the muslin backdrops where the texture wasn’t really to my taste. Especially the first ones where I favored wide-open shots to blur out some of it, which in the end didn’t make sense. Why purchase a textured backdrop if you blur the texture out. For bigger setups, I wouldn’t think twice. I’ve done a lot of studio-type work lately and If I had my own, I would probably have a few of these. Budget-wise, we are above muslin backdrops of course. Prices start at $49 and they will go up according to the size you choose. Virginia danh (La Grainerie - Toulouse - France) Fujifilm GFX100s - GF 50mm F3.5 R LM WR 1/160sec f/3.5 ISO 500 I will most certainly share other BTS videos and images made with these in the future on my IG so catch me there. There is one more type of backdrop I have to test now. The ones I see a ton of photographers use… the Hand-painted backdrops! Get your vinyl BACKDROPS with your (limited in time) discount code: HK20 www.foxbackdrop.com The one used in the video: Mocha photography backdrop

K&F Concept Black pro mist filters Black pro mist filters? It can really change the mood of an image. Screen capture from the video I’ve seen a lot of videos about their use for filmmaking, so here we will concentrate on their use in photography. There will be several articles on the subject, this will be my introduction. Videographers and indie filmmakers love them, and they became a trend the past years. So many creators are on this quest of achieving that filmic or cinematic look. I hate that word, because I don't really understand what people mean when they use it. The main advantage of such filters is to take a bit of the "edge off", it softens the image slightly (depending on the strength of the filter) and your images will look and feel less digital. If we go back to that intro (or screen capture above) and look closely at certain parts of the image we can see what it does and how it affects the image. This can also be applied to photography, giving you more options, more tools in your creative toolbox. Of course, when and how to use them is something subjective. There is no right or wrong way to incorporate these filters in your work. These black pro mist filters are from K&F. I also use their CPL and VND filters, so it was obvious for me that I would try there Blackpro mist filters first. 3 filters, 3 strengths, ⅛, ¼, ½, from light to strong, these 3 filters can sometimes dramatically change the mood of a photo. Charline Poncin (Toulouse) Without any filter Charline Poncin (Toulouse) Black pro mist filter 1/8 2 of the main characteristics of these filters is how they reduce contrast and add a bit of glow and halation to any light sources that enter your scene. If you are making portraits and using a high megapixel camera like the gfx100s it also softens your image a bit which can be useful for portraits if you don't want all these imperfections in the skin to stand out. Clémence T. (Toulouse) Black pro mist 1/4 left - Black pro mist 1/2 right I sometimes use them for that dreamy look, but you have to be careful, because that washed out look can be a bit too much at times. It is also a little bit similar to some of the images I make with residual smoke. When you still have a bit of smoke in the room, it reduces the contrast of your image. The effect is of course much more visible with backlit images. Clara P. (Toulouse) 1st image without any filter - 2nd image with black pro mist 1/2 Cassandra Sampieri (Toulouse) Black pro mist 1/4 These were the results of my first tests with the filters. I will most certainly make a 2nd video and push things a little further. If you want to grab one of these for your own creations, please consider clicking on the following link, and use my code to get 10% off! It's all there: https://bit.ly/34setQI 10% off with the code: 01FRKF10 or get yours on Amazon: https://amzn.to/35FkFoO

My first steps feat. Clara P. This was an important step in my photography work 2 years ago, and not the easiest one to make. I had a precise idea of how I wanted to approach this type of session, but I hesitated several years before making the step. I met a dancer a few years ago who asked me why I never tried fine art nude photography. The question surprised me! She further explained that a few of my models in my past images would have looked better without any accessories or clothes on. She showed me a few examples, and I have to admit... she was right! Sometimes the lines were broken or the clothes were simply in the way.