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"home sessions" feat. Emma H. Back in my tight space, where I am thankful for not being claustrophobic. The only advantage I have working at home is that I have all my accessories and gear with me… and I can sip a cup of coffee or tea While I am shooting. Other than that, If I do anything outside portraits, things will become tricky, and If I work with more than 2 lights, then the headache is right around the corner. Joined by Emma once again let's find out how we made it work this time.

Behind the scenes [Extended cut] An inspiring location, flying fabrics, smoke, and a multi-talented model. Business as usual… Perhaps this is why I need to initiate a change in my work as soon as possible. This doesn’t mean this wasn’t fun, and in fact, it was quite the opposite. There were only 3 of us there, with enough time to experiment a bit. Let's take a closer look at these images, how we made them, and why they symbolize the end of an era.

Behind-the-scenes video feat. Nina Queiroz Da Silva This one wasn’t easy, and it’s strange because I’ve done so many images like these in the past, so this should be easy for me now. I struggled but figured out a way to go through the session, but when looking back, I regret some of the decisions I took that day. Was it a lack of preparation? Maybe, but on the plus side, I finally have an example that will help me tell you why I hate sharing my camera and flash settings, so let's dive right in: Do not expect anything new here. This is my typical dance session in an unusual place… not so unusual after all, as I see a lot of photographers creating images like these now. I wasn’t the first, and will not be the last, and I am glad others are creating their own. I had in my bag the Fujifilm GFX100s, the GF20-35mm, and the GF250mm lenses. I was able to bring the Godox Parabolic P158 paired with the GODOX AD1200pro, and just in case had the AD600 pro and AD300pro. I had a wonderful ballerina, Nina Queiroz Da Silvza, my beloved assistant Marlène, and an amazing location. I’ve done shoots in so many museums and churches before so what could go wrong? Nina Queiroz at the Eglise du Gésu (Toulouse - France) Fujifilm GFX100s + GF 20-35mm f/4 R WR 1/125sec f/4 ISO 500 at 20mm Maybe I haven’t worked in a such poorly lit environment in a long time. I didn’t bring the right tools to light this place, and so I was worried I wouldn’t be able to use my wide-angle lens and create the images I had in mind. We wasted a lot of time with the first images. I realized only after a dozen attempts that I was looking at my scene the wrong way. I then decided to shoot at an angle and things made a lot more sense. I used 3 lights right away. The AD300pro was hidden behind the altar, and the AD600 pro was used to light the background. My main light, the AD1200pro, and P158 were placed on the same axis. was on the same axis to keep the shadows coherent. Nina Queiroz at the Eglise du Gésu (Toulouse - France) Fujifilm GFX100s + GF 20-35mm f/4 R WR 1/125sec f/4 ISO 500 at 26mm Last year I made a special session for Fujifilm inside the Capitole de Toulouse , and although the light coming in from the windows wasn’t great, it was just enough for me. I wasn’t forced to go too high with my ISO and found the right settings to capture a few movements. I’ve seen other photographers shoot there, and a lot of them made the same mistake. They use a flash to light their subject, and once they get the exposure for their model, they end up completely losing their background. Sometimes, you don't have that many options, you have to raise your ISO if you don't want to have a heavily under-exposed background. The only portraits made at the Capitole that I saw online that worked, were those made without any artificial light, just using the light coming from the vast windows. This is the reason why I often tell beginners to deal with the ambient light first, and add the flash after. The problem I faced with this new location is that there are no windows, and no light coming in at ground level. Everything was coming from the ceiling, and it wasn’t enough. So I narrowed it down to 3 options: Let's assume I have all the accessories, I can try to use multiple flashes to light the entire place, and my model and make it in one shot. I don’t have enough flashes or the right ones, so I have to shoot my model and my background individually and probably merge multiple photos in photoshop. I find the right balance between ISO and shutter speed depending on what I want to capture. Use a slow shutter speed as much as possible and maybe favor static shots, in order to keep my ISO as low as possible. You will notice the added color in the dress and the added width. This was my intent from the start, but I thought we would be able to do it without merging multiple photos for the dress. To give you an idea of how we made this, here is an old Behind the scenes video, that used a similar technique: Rediscovering this contemporary dance photoshoot. Nina Queiroz at the Eglise du Gésu (Toulouse - France) Fujifilm GFX100s + GF 20-35mm f/4 R WR 1/125sec f/4 ISO 1600 at 20mm The problem with the 3rd option is that I still had to raise my ISO to at least 1600, risking a bit of noise in my images (not a major issue with the GFX100s). Plus this meant using all the practical lights there, and I realized too late, that they created multiple shadows on some shots, with different light temperatures. Such a beginner mistake! Nina Queiroz at the Eglise du Gésu (Toulouse - France) Fujifilm GFX100s + GF 20-35mm f/4 R WR 1/125sec f/4 ISO 1600 at 35mm To sum it up, I did a horrible mix of all 3 methods when I should have favored option number 2 based on the accessories I had with me, even if that meant more work in photoshop. Instead of using my lights creatively, this time I was fighting for each scene to find a simple way to have decent exposure and a workable image. Some of these images are more convincing than others, but you know what? I have no regrets, I still enjoyed the experience, because I learned a lot during that session. I even got to play once again with the GF250mm lens for a few portraits. The first image down below is my least favorite, due to the light being too visible on the chairs on both sides. A flag or two could have helped, or a better light placement. Nina Queiroz at the Eglise du Gésu (Toulouse - France) Fujifilm GFX100s + GF 250mm f/4 R LM OIS WR 1/125sec f/4 ISO 1250 at 250mm We cannot be at the top of our game all the time, and it’s ok. This experience will most certainly help me with future projects. To conclude this, stop asking other photographers for settings all the time. You will never work in the exact same conditions, you won’t have the same weather, model, location, light, and so on… If you just apply a recipe we hand to you, you will most likely end up with a horrible image. I never use the same setups and settings for each of my shoots! Go out there, take your camera with you and shoot. Try new ideas, run some tests, and don't be afraid to fail. This is still the best way to learn!

In 120 seconds (or less...) Will I do this every year? I don't know. As long as it is fun to me, I will continue doing them. Narrowing it down to a few images wasn’t easy, but I think I managed to summarize my activity in 2022 in this video. I included the images down below, with the direct links to their complete galleries (when available). There are at least 3 images that are from sessions I never shared before.This means there are 3 Behind the scenes videos or break downs coming in the days to come. This project for Fujifilm was fun to make. When I made my first Promo / Testimonial video for Fujifilm back in 2021 we had a bit more time to prepare each individual session. In 2022, we were a bit more in the rush, which for me translates into more stress, and higher chances to fail. But that's part of the game, and with time we've learned to compose with what we have. In the end that's what makes it fun right? Angelina Rakova - "la salle des illustres - Capitole de Toulouse" (Toulouse - France) Complete Gallery and Behind the scenes video: https://www.hkvisuals.com/post/gf20-35mm-experience-part-iv The 2 following images are part of the many sessions I was unable to share in 2022... But I decided to share them in early 2023. The first one will be released and posted this sunday, and the other one will be an exclusive post for Premium members and will be shared by the end of January. Clara René - Château St Louis (France) Nina Queiroz - Eglise du Gèsu (Toulouse - France) Have I done less sports photography this year? The simple answer is: "Yes". I would love to do more, but unfortunately I didn't have the chance to get many interesting sports projects in 2022. Let's hope this will change in 2023! Anissa Benyoub - Bagatelle boxing (Toulouse - France) The complete gallery and Behind the scenes video for Premium members: https://www.hkvisuals.com/post/boxing-photoshoot-bts-ii Cassandra Sampieri - Château de la Reynerie (Toulouse - France) Complete gallery and Behind the scenes footage: https://www.hkvisuals.com/post/karate-photoshoot-bts-cassandra-sampieri There are only 2 models that were featured twice in this recap. Michele is one of the two. Both sessions were one of the longest I ever made. A lot of testing and experimentation, and even though we were on our knees at the end of both sessions, I believe it was worth it! Michele Juan - Menuiserie Toulouse (France) Complete Gallery and Behind the scenes video here: https://www.hkvisuals.com/post/creative-fitness-photoshoot-bts Michele Juan - Menuiserie Toulouse (France) Complete behind the scenes and Behind the scenes footage here: https://www.hkvisuals.com/post/bts-fitness-rgb-shoot Creating fitness imagery outside the gym is something I really enjoy doing. You should know by now that locations are really important in my work. I always try new ways to challenge myself, and this usually starts with shooting in unusual places... but here we decided to make it simple. Sometimes, when you feel that you are out of options or uninspired,all you need to do is take a deep breath, take a step back and go back to the basics... Manon Vergé - Gruissan (France) The complete gallery and Behind the scenes, will be available this month... stay tuned for that! The 2nd model that was featured twice in the video. Angelina, was at the heart of my testimonial video for Fujifilm in 2022 . We made 2 sessions together last summer and I decided to include both of them in the video. If you missed these 2 sessions, I urge you to go watch the BTS videos and galleries. These are reminiscent of my early work with wide angle lenses! Angelina Rakova - Place St Aubin (Toulouse - France) The complete Behind the scenes video and gallery are just a click away: https://www.hkvisuals.com/post/gf20-35mm-experience-part-ii While editing the video, I thought to myself: "I should stop photographing this pose". I've done it a couple times, in different angles and with a wide variety of focal lengths. But I guess there aren't so many poses you can photograph right? Nonetheless, since the location and dancer are different, it still works every time! Maeva K. - Férreol (France) The variation of this pic, and of course Behind the scenes and gallery are right here: https://www.hkvisuals.com/post/gf20-35mm-experience-part-i I often get asked if I do any studio work. Quick answer: "Yes" I just try to convince my clients to consider something on location or outdoors. My portfolio hasn't got much studio work as I don't really consider the stuff I do at home as proper "studio work". To put it simply, I believe my images feel less like "me" everytime I create them in a studio... Clara & Alex Numériphot Toulouse (France) I did post the gallery and a behind the scenes video of this session on the blog for Premium members: https://www.hkvisuals.com/post/fine-art-nude-couple-session Fine art nude, boudoir and lingerie photography, was my way of getting out of my comfort zone. I started in 2019, and opened a few private sessions the following years for clients. I also offered a few test shoots and shared my experience here on the blog. This photoshoot was one of them, a session where I gave a lot of freedom to my model. Célina B. (Toulouse - France) Premium members have access to the complete behind the scenes and gallery here: https://www.hkvisuals.com/post/dramatic-boudoir-photo A few years ago I was curious to know how much I could do in such a tight space. How much gear can I use, what type of work can I develop this way. Surprisingly, a lot can be done, which sometimes doesn't justify renting a studio. For simple portraits, I sometimes propose a home session as an option which drastically cuts down the price, especially when it's done at my apartment. Clara P. (Toulouse - France) Do I like costumes... You know the answer! I haven't shared much on this one anywhere, but it will be a part of an upcoming tutorial on the blog for Premium members . Don't you worry, if you are receiving the newsletter, you will be notified. Pauline (Toulouse -France) Last but not least, this final image is a concept used, and made by many other photographers before me. I still love creating one from time to time, and I try my best to add a little something to make them mine. Morgane Branchoux (Toulouse - France) A breakdown of this image for premium members? Yes... It's in the making! What a year! I would like to thank all the models, and clients that trusted me in 2022. It was a fun year! Special thanks to Fujifilm France, BenQ and Godox for their support once again, some of these images wouldn't exist without them. What are your plans for 2023? Any epic projects in the making? I've got some stuff cooking, but I will reveal them once the time is right. Thank you all for reading the blog, and for your support.

Behind the scenes Lingerie & Swimwear photoshoot For a long time, I thought I didn't need one, I was fine working on location, indoors and outdoors, for me everywhere and anywhere was my studio. But strangely, I've been asked a few times this year if I did any studio work. Portraits, Glamour & Fitness sessions with a simple plain black or white backdrop... But how can I make this type of image without my own studio? Things change, clients change and your work inevitably changes too. What kept me away from studio work so far was my love for inspiring places to work in. I always thought I would be bored making portraits in a studio... I guess I was wrong. I was surprised to see that I was able to adapt and bring my style to a studio setting... My only problem was that I didn't have a studio. Renting one is an option, but it ain't cheap, especially if it is fully equipped, well located and if you are looking for space. But If the goal is to photograph a given subject with a simple backdrop, you can actually do this anywhere. I've done this in the past, a simple attic could do the trick. When you think about it any room with a simple white wall could work. During my latest trip to Bordeaux a few weeks back I was in this amazing space usually used for exhibitions where I used the white walls and a few white wooden boxes for a couple of “studio-like” sessions. Fujifilm GFX50s + 2x Broncolor SirosL GF 120mm f/4 R LM OIS WR Macro 1/125sec at f/5.6 ISO100 - 120mm I had a few other options, textured walls and even a nice wooden black wall that wasn't easily accessible, but although we were lacking space, I managed to find a useable angle. Fujifilm GFX50s + 2x Broncolor SirosL GF 32-64mm f4 R LM WR 1/125sec at f/5.6 ISO100 - 59mm Fujifilm GFX50s + Broncolor SirosL GF 120mm f/4 R LM OIS WR Macro 1/125sec at f/4 ISO100 - 120mm Fujifilm GFX50s + Broncolor SirosL GF 32-64mm f4 R LM WR 1/125sec at f/4.5 ISO100 - 60mm Fujifilm GFX50s + Broncolor SirosL GF 32-64mm f4 R LM WR 1/125sec at f/4 ISO100 - 60mm Fujifilm GFX50s + Broncolor SirosL GF 120mm f/4 R LM OIS WR Macro 1/125sec at f/4 ISO100 - 120mm So this got me thinking, should I invest in a mobile studio, a portable, foldable backdrop? Let's continue this conversation in Part II! Photographers, Do we need our own studio [Part II]

Bonus footage feat. Juliette Baud Fourth and last bonus behind the scenes video, from my sessions entrierly made with the XH2s. After Isabelle , Manon and Fanny , we are closing this series of videos with Juliette and we are back in Toulouse. We are working outside again, but thid time with a mix of artificial and sunlight. I kept things simple, and brought the small AD300pro with me. Working early that morning allowed me to bring with me a less powerful flash, and gave me control without too many constraints.

Bonus footage feat. Fanny George This is the 3rd article with bonus footage from the sessions entirely made with the Fujifilm XH2s. Basically everything I couldn't nbot include in the original YouTube video . No need to introduce Fanny George, because we’ve worked together so many times in the past, so I am going to assume you've already seen a couple of images we’ve made together. If you are discovering my work then I suggest you click do a quick search on the blog. In the search tab on the upper right of your screen just type: Fanny George !

Zhiyun Crane 3S Pro They are everywhere now, for your phones, your DSLM, and your cinema cameras. What was once out of reach is now available for everyone. To a point where sometimes we do overuse them a little bit... and I plead guilty. Let me share with you how I use them now, and how this cool tool can be really effective when used wisely. Everytime you get a new toy, you want to use it… all the time. That’s what I usually do, and I do this for 2 reasons. It's new, and I feel like a kid and find everything I do with it super cool… and 2, I want to master that tool as fast as possible, to be able to use it as soon as possible in my work. Like any tool out there it has a purpose, and should be used only when needed and when necessary. Do you need those floaty super stable shots all the time? No, because after a while it diminishes their effect in your video. Just because you can, doesn’t mean you have to. I am not a fan of handheld footage with small light cameras. I believe it’s hard to watch. That’s why when I needed that hand held or over the shoulder look, I used to add weight to my rig with different accessories if needed. Otherwise I use tripods, which sometimes can be enough for an entire project. For the following shortdance film, I mainly filmed handheld and on a tripod: The making of "Within" And then I got my first gimbal, and that additional control, made things easier. These days, when I want to introduce a character, emphasize a moment, when I want the audience to dive into the video I do fancy a little push in, or pull out to reveal something. In the following video, pay attention to the intro: BTS Transient feat. Emma Depending on your settings, you can avoid that perfect floating shot and find something in between that makes it less perfect. And then you do have these projects where you want it super stable throughout like in the one shot video I’ve done a while back. For dance videos, this works well because everything happens in the frame. The Rhythm of the scene is imposed by the performer and not by the editing with multiple cuts. So if my performer uses very little space, chances are I will be on a tripod. If the dancer covers greater distances, uses much more space than I will probably use a Gimbal! Simple shots I used to do handheld are now made with with a stabilizer. I save time, and my footage looks good right away. If I had to summarize in one word why I use gimbals: "efficiency" The following test video was entirely shot with the Zhiyun Crane 3s: I recently had the Zhiyun crane 3s pro in my hands because I needed that extra room on the gimbal to test longer lenses. Plus it has a max payload of 6.5kg which makes it perfect for heavier loads. Here is a test video I made with Jake Oob a hand balance artist. A mix of static shots and gimbal sequences. I mainly used the L “locked” and PF “Pan & follow” mode of the Zhiyun Crane 3s. The ability to lock each section when balancing the Gimbal eases the process… a feature that came later on DJI’s RS2. I know this model came out a few years ago, but it doesn’t mean it’s outdated. I quickly compared it to the RS2 because they were direct competitors at the time. I’ve worked multiple times with the RS2 so I was able to see the similarities and differences, and I believe they are 2 different beasts. I have the pro package, with the TransMount accessories. An additionnal external battery, the easy and smart handles, the phone holder, the video transmitter and zoom and focus system. The main differences between the Crane 3s and the RS2 for me are in the way they are built, and the max payload. If you work with cinema cameras, heavy kitted cameras, long lenses and so on… I recommend the Crane 3S Pro. If you are a low angle shot type of shooter… then again I recommend the Crane 3s pro. I had a better experience shooting with it because of how it’s made, and this is directly linked to my shooting style. Overall… It is well made, you feel they paid attention to details. I prefer their system over DJI’s RS2. The only complaint in terms of build quality, is the battery compartment. It feels fragile. The additional handle too is mainly made of plastic, and I understand that it makes it light and this is definitely a plus, but I wish they chose another material that would give us a better feeling. And, that hand grip… I wish it wasn’t that slippery! Beware of the weight, make sure your setup is well balanced if you don’t want it to tip. I know what I am talking about, I learned the hard way. My assistant uses the RS2 more, and I recently switched to the Crane 3s. It is still a great gimbal, worth every penny. One remark though, here in France, it is hard to customize and add accessories to the Crane 3s, if you want to go beyond what the brand proposes. I don’t know if DJI officially partnered with other brands, but you have an entire ecosystem of accessories made by Tilta and Smallrig… which can help customizing and further adapting your gimbal to your needs. Now Do you need to upgrade to the latest gimbal that just came out? Not really, especially for these simple movements I showed you in the video. And even for more ambitious projects and camera movements, the crane 3s pro will for sure do the job! Prices usually go down after a while, deals are round the corner, it’s the end of the year. DJI released the RS3 this year… Will there be a Crane 4s soon? I don’t know, but since I really enjoyed my experience with the 3s I would be curious to see what they will change, in a future version. Do you use Gimbals for your video work, or are you more a handheld, or tripod filmmaker ? Tell us in the comments below. If you have any videos, shortfilms where you used any sort of stabilizer or gimbal, feel free to share them down below. I am always curious to see what other creators do.

Feat. Fanny, Juliette, Isabelle & Manon Not the camera I would turn to spec-wise for photography now… Back when I was shooting live events, live theater, concerts, dance performances and fast moving athletes, it would have been a great companion for me. But I was given the opportunity to test it for a few weeks, so let's forget for a moment that I usually work with the GFX100s, and let's make a couple sessions with only the Fujifilm XH2s! Lets get the boring stuff out of the way. It can shoot stills at up to 40fps (15fps with mechanical shutter), and capture full-sensor 6.2K video or 4K at up to 120 frames per second. Here are the Key specs of the XH2s 26MP APS-C Stacked CMOS sensor with X-Trans color filter pattern Continuous shooting at up to 40fps with no blackout (15 with mech shutter). Improved AF tracking and subject recognition AF Image stabilization rated at up to 7EV 6.2K 'open-gate' video from sensor's full 3:2 region DCI or UHD 4K video from full width, up to 60p Slow-mo DCI or UHD 4K from up to 120fps capture (with crop) Choice of codecs including ProRes HQ, Std and LT options F-Log 2 from 14-bit readout gives additional dynamic range 5.76M dot OLED viewfinder with 0.8x magnification and up to 120fps refresh CFexpress Type B and UHS-II SD slots More: https://fujifilm-x.com/en-us/products/cameras/x-h2s/ Like always these are the specs that matter to me. I will talk about the video performance a bit more in a future dedicated video. The biggest improvement in my opinion is its autofocus. It received a major boost, with better subject-recognition capabilities, and improved tracking. It’s fast, and accurate and I ended up rejecting fewer images in post. It took me a bit of time to get used to the size of the body and lenses. My GFX100s is much bigger, so it felt sometimes as if I was holding a tiny toy camera. This is great for street photography and travel as it takes less space in the bag, and allows you to be discreet. Did I get used to the look and feel of the images I got from this camera? Did you even see the difference in my feed on Instagram? Given how instagram ruins your images, I do not think so. Here are a few images from 4 different sessions, 4 different environments and assignments: Juliette Baud ( Toulouse - France) Fujifilm XH2S + XF50mm f/1.0 R WR 1/250sec f/1.0 ISO 80 We used a small flash for the 1st image. An AD300pro placed camera right. The 2nd picture was shot without flash as we preferred the look of the light passing through the trees. For the following image, I posted for Premium members a speed-edit and breakdown of the main steps of my retouching process in Photoshop: Basic retouching & colour grading #1 I A quick breakdown! Juliette Baud ( Toulouse - France) Fujifilm XH2S + XF50mm f/1.0 R WR 1/250sec f/1.0 ISO 80 It took me a while to get used to the button placements. I don’t like where some of them are placed, especially when reviewing the images. The Grip feels good, and since I am used to Fuji menus, I wasn’t really lost here. Image wise it felt great to retouch smaller files with less resolution. A 100 megapixels can be too much at times. Fanny George (Strasbourg - France) Fujifilm XH2S + XF50mm f/1.0 R WR 1/1600sec f/1.0 ISO 80 UPDATE! The complete BTS of the following images (and complete gallery) is now available here: Ballerina photoshoot - Danse ma biche Isabelle Ménard (Le showroom / Toulouse - France) Fujifilm XH2S + XF50mm f/1.0 R WR 1/125sec f/1.0 ISO 80 Isabelle Ménard (Le showroom / Toulouse - France) Fujifilm XH2S + XF16-55mmF2.8 R LM WR 1/125sec f/2.8 ISO 125 at 17mm UPDATE! The complete behind the scenes video and gallery is now available on blog: Behind the scenes fitness photoshoot. I had the chance to meet with Manon once again. We have worked together multiple times in the past. She is one of my favorite Fitness model, I really love working with her. Everytime we meet, I know we will make dope pictures, even when the weather and light is awful... Manon Vergé (Strasbourg - France) Fujifilm XH2S + XF50mm f/1.0 R WR 1/250sec f/1.0 ISO 250 Manon Vergé (Strasbourg - France) Fujifilm XH2S + XF50mm f/1.0 R WR 1/400sec f/1.0 ISO 80 The Testimonial video I made for Fujifilm last summer, was almost entirely shot with the XH2s, this time in 4K and prores. This allowed us to work fast, we knew the footage wouldn’t require a heavy lifting. Just in case you missed them, here are the links to the articles and extended videos: The GF20-35mm experience (part I) The GF20-35mm experience (part II) The GF20-35mm experience (part III) The GF20-35mm experience (part IV) The GF20-35mm experience (part V) I shot a dance video filmed in 6K open gate and prores not so long ago. It was published on my 2nd YouTube channel, and also on VIMEO. I worked solo, paired the XH2s with the DJI RS2, and everything was filmed in 6K Prores HQ recorded internally. I will dive further into this once I will have a bit more experience in video with this camera. The fact that this camera has a full size HDMI port, and records prores HQ internally is a big plus. You have access to Prores RAW with a compatible recorder like the Ninja V. If my project isn’t too big I can edit the prores files directly on my 4 years old computer without proxies. I was impressed by the performance in both photography and video of the Canon R3 . The XH2s is still a bit behind with its autofocus, it is still an APSc sensor, and doesn’t have internal RAW. But I believe it has a few appealing aspects that could make you think twice… Especially when you look at the price. Like I said earlier in the video, my work and clients have changed through the years. When I started, I would have looked seriously at this camera. I was a Canon shooter for years, and don’t get me wrong, I loved working with the Canon 550D, the R, 5D mark II and IV and R5. I switched to full frame at the time because I thought it was the way to go as a professional. Now that I am much older, wiser, sensor size matters less for me. As long as I love the image I get, as long as the system I am using makes it easy for me to create my images for me and my clients then I am good. If I can save a few bucks in the process, I can invest in lenses or accessories… then it’s definitely a plus! Learn more about the Fujifilm XH2s: https://fujifilm-x.com/en-us/products/cameras/x-h2s/

Bonus footage Feat. Manon Vergé Second bonus video, more footage from this fitness session with Manon. I already shared a few images in my 1st thoughts video on YouTube and a few images in the related blog post. Down below is the complete gallery, the behind the scenes video with a litttle before and afer at the end, to give you an idea of how much went down in the edit.

Bonus footage feat. Isabelle Ménard We made a lot of pictures during these sessions. I was testing the Fujifilm XH2s of course, but decided to use it on jobs too as I was comfortable enough with it and found the images to be a good fit for my clients. Out of the 4 sessions I was allowed to share in my YouTube video this one was the trickiest one. I discovered the location the day of the session, so I didn’t know what to expect. The direction and the amount of light in the different rooms wasn't ideal, the space was great overall, but I always fear white walls. To sum it up, we had to improvise a lot during the session.

Behind the scenes video Feat. Charlie Ruet Something I haven’t mentioned in my previous BTS video for the blog (but added this info in the article), I am using filters for these. Freewell's magnetic VND filters that lets me stack a black pro mist and a Blue streak or a gold streak filter. If you are following me on YouTube then you probably have seen my video where I shared my thoughts about them. Playing with colours and with tube led lights was the perfect opportunity to use them.