another shot from the shoot ‘paradise lost’ in Corsica.
• have a drink, my dear … •
shot with Rolleiflex 3.5 TLR, on Kodak TMax400 film
the exhibit is soon, October 14th and 15th, grab your agenda’s
• The birdkeeper •
Summer is long gone it seems, but this shoot was taking place on one of those hot summer days, when models do not hesitate to pose in lingerie or nude, sun will keep them warm.
The image was taken in a little castle near my hometown, on a shady terrace. The owner had opened the door and then vanished. Eva was in a good mood, the birds were singing all around.
Shot with my old Rolleiflex TLR, on Kodak TMax 400 film. Shooting on film is a strange thing, it is slow, expensive, delicate, cumbersome … but I love it. It makes the experience more real, and the waiting for the negatives makes you take some distance from your own work. It is always exciting to see the images coming, 3, 4 weeks after you’ve shot them.
have a nice Sunday afternoon,
• Lady Madonna •
shot today in a remote castle in Tournai, Belgium,
lots of thanks to the owner of the place, and to my model of course.
Model and make up: Eva Evian
styling and photography: Ludwig Desmet
shot on Canon 5Ds with Canon 135mm f2 – ISO 200 f2.8 1/250s
thank you for watching,
… it is something I try to repeat to myself every day
the exhibit was good, a lot of people passed by to see it, despite the very good weather we had in these weeks. It was a pleasure to talk to so many people about photography in general, my work in particular. I have received compliments, appraisal and suggestions, they are all welcome. Still, doing what I do remains an investment in time, energy, money and other resources so I have to stand firm and not surrender.
the quote is by Abraham Lincoln.
• be sure to put your feet in the right place, then stand firm •
Make up: Heidi
Photography: ludwig desmet
Canon 5Ds with Canon 135mm f2.0
1/125s f2.0 ISO 100
… and then she started wondering, why she didn’t get these letters he promised to send her. Was he killed in battle? Had he forgotten about her, or probably he couldn’t find the time to write to her. These questions filled her with doubt and restlessness, even more because she was unable to reach to him …
Shot on a one-to-one workshop with Sacha Leyendecker in his available light studio.
Model and make up: Rubia Stri
Photography: me for sure.
shot on canon 5Ds with Sigma 50mm f1.4 DG A
settings for the main image: 1/80s f2.0 at ISO800
and then especially for Valentine’s day, complete series:
What I’ve learnt from the workshop:
Don’t be afraid to shoot at higher ISO settings if you need to to keep your shutter speeds safe. Play with light to create volume and atmosphere. Get some music into your studio to set a good mood. Create visual triangles in your images for dynamic compositions. Use props to create a setting and invite the viewer to imagine his/her way into the story.
What I didn’t agree on with Sacha (sorry Sacha, I think our styles are rather different, so the approach is different too): he told me to just have the model do whatever she likes to do, and what she feels comfortable with. I tend to interfere more with my model, and direct in certain ways (I also often work with non-professional models, maybe that’s why. Pro models are very much aware of what they look like, and how to move to get good shots).
I was very pleased with the results of the workshop. I was happy to meet Rubia, who is from Brussels by the way, and I had a very pleasant day for sure! Thank you Sacha, thank you Rubia!
thank you for watching.
Remember ‘Pearls’ ? Wow, one and a half year ago already. Time to meet Pearls II, with beautiful Eva this time. Hope you like it.
• Pearls II •
Canon 5Ds with Sigma 50mm f1.4 A DG. 1/80s f2.0 ISO100
Shot on location in Tournai – Belgium.
Make up: Danitsha
Photography: ludwig desmet
I was sorry to hear about your death, earlier this week. I think your images have been a great inspiration to many young boys.
I mentioned you in a Facebook comment no longer than a few days ago. … ‘Unwanted David Hamilton effect’, as a comment on the below image.
What I am even more sorry about however, is that your death might be related to the accusations/assumptions made against your person, … for incorrect behaviour towards young, very young women. I think of that as a very very sad thing.
I feel sorry for all the models out there having been, or being wrongly treated by so-called photographers, mis-using the context of photography to cover up their abuse towards them.
• Kate in the greenhouse •
about the image, and the (I won’t call it D.H. effect any longer) soft focus effect, it was created by extremely humid conditions (75% humidity and about 25°C) and a too cold camera coming from outside (5°C at most), immediately damping my front lens, again and again and again. Couldn’t wipe it off, it re-appeared after 10 seconds. … A lot of dehaze, extra contrast and clarity in LR kind of saved this image from deletion.
Model and make-up: Kate_Ri, styling by me.
Canon 5Ds with Sigma 50 mm f1.4 DG A
1/50s f2.2 ISO100
as a final setup on the Sacha Leyendecker workshop (yes, I can still learn a lot too) we had a mattress and some white bed linen and a very enjoyable – wasn’t it Rubia? – down bed cover.
I tried to create an atmosphere of comfortable well being in this series. Rubia is a professional model and she understood the idea well. The advantage of professional models is that they know very well how to move to have a good looking pose, the downside of it can be that they are very hard to be photographed as their real personality. They often get some kind of ‘model layer’ that gets in front of their person. This was not the case with Rubia. We had a long talk before the shoot, that helps to get barriers down. We both got very relaxed before the shoot started. I rather have the habit of giving quite some direction to my models, Sacha asked me to try to let Rubia do her own thing, easier said than done, this set is the result of a mixture of ‘self induced posing’ and ‘directed posing’. See here for the technique used to create the high key effect.
Bad lighting conditions (dark) which means high ISO settings, but a nice set after all.
All images Canon 5Ds with Sigma 50 mm f1.4 A DG
1/60 f2.2 ISO 2000
Thank you for watching, come again soon,
a small preview of the shoot I did with Erika Albonetti in Brussels.
model and make up: Erika Albonetti
assistance: Nathalie Renard
photography: Ludwig Desmet
• way too hot today •
Erika is a wonderful model to work with, you’ll see more of her appear here in the weeks to come. Photographed with Rolleiflex 3,5 on Kodak T-Max100 film.
location: Kunstberg/Mont des Arts – Brussels.
A second series with Ava at the Castle.
The weather is fine, not much to do but being beautiful
and spend the afternoon on the quiet back-terrace of the castle.
All except the last images on Canon 5Ds and Canon 100mm f2.5 Macro L IS.
Last image Sigma 50mm f1.4 A DG.
thank you for watching – I’m on instagram too now, but there you won’t find any nude images: instagram.com/ludwigdesmet
One of the often overlooked features of Lightroom is the camera calibration tab.
Camera calibration optimises the way Lightroom will interpret the RAW files of your specific camera. It reorganises the colour values in relation to a pre-defined target, and the way your camera reproduces this target.
In very short, RAW files do not have a colour profile embedded, nor do they contain a predefined color reproduction definition. It is up to your raw-editor to interpret the raw files and do some kind of a pre-development when importing and previewing on screen.
Current Lightroom versions use the ‘Adobe Standard’, or one of the options also available in your camera image settings modes (with Canon, this is for instance: Camera faithful, landscape, portrait, standard, … )
This is no guarantee for a correct reproduction of colours or brightness values.
In comes the camera calibration tool. I have the colorchecker passport photo from X-rite. This is a combination of a small piece of hardware (a plastic booklet with 2 screen printed colour target sides and a white face) and a piece of software to be installed on your system.
The simplest way of doing a camera calibration is a single light situation calibration, in which you take a picture in the light situation you will use for your images, including the colorchecker target. Take care the target is lit by the same light as your images that follow.
After that, shoot your images.
In Lightroom, you will need the first image with the target included to make build your camera profile. This is very simple by selecting the image -> export -> Colorchecker passport. This will automatically compare your camera’s ‘target reproduction’ with the target’s known values in the software, and build a ‘custom camera profile’ for you to start with. The new profile won’t show up until restart of Lightroom. (there are certainly more detailed step by step explanations on Youtube 😉 )
Below you can see the target without and with the newly activated camera calibration.
not a big deal you’ll probably say, and this camera is indeed rather color-correct compared to some others I’ve seen. To make things more obvious, I placed both images onto each other, and made a layer mask to cover up half of the targets:
left half with ‘Adobe Standard’, right with my custom color profile on the Canon 5Ds.
Colours are more saturated, some a tad lighter, others a little darker, some colours shift slightly, (note the purple and the yellow-green on the right) but especially the blacks are less deep. This is especially helpful if you need to uplight the dark tones (shadows) in LR.
These are two versions of the same RAW file, but they get different RGB values. This means that the initial state of your raw file is very much dependent of your Camera calibration settings. If you are very fond of let’s say the ‘camera portrait’ picture style settings on your camera, then you might as well use this profile in your RAW-editor. (as photographing in RAW will not edit the data in your images, but the preview on the camera’s back is based on a jpg file modified by the settings in your camera. your preview will still get the ‘camera portrait’ picture style view, but your RAW will not reflect it.
That is why an image might look good when importing in LR, and then switch to something dull a second later. The initial look is from the embedded preview file, generated by your camera, the second look is from the preview generated by LR, based on the camera calibration settings currently active (standard setting = Adobe Standard)
If you want to experiment with camera calibration without buying the tools needed, try using the ‘picture style calibration settings’ available in the drop down menu. They should reflect the ones you have available on your camera. The differences should be obvious.
Below two examples of different ‘picture style camera calibration’ settings. Note the changing skin tones in the first image, the changing sky colour in the second.
The process version is the way LR interprets RAW files since earlier versions, you should currently use the 2012 version. (July 2016)
To give a real world example, first image with ‘Adobe Standard’ profile, second with Custom made profile:
I think that the shaded area’s are very obviously lighter in the second picture, with the correct camera calibration profile. These are unedited images. For me this lighting situation is very common, high contrast, backlit situations, where you want to make sure that the highlights are not blown out (clipped). As you know I seldom use extra light on a shoot (except for a reflector from time to time. In this way I absolutely need to be able to enhance my shadow area’s to a descent light level. This less dark starting situation is of a lot of help.
The edit looks like this (same editing on both images) Adobe Standard above, 5Ds profile below. In the first image, the colours are slightly red, but especially the corner shadows completely run black (due to my vignette, I know). Compare with the corners in the second image, where I can keep plenty of detail, with the same amount of vignetting.
When looking in detail, you’ll see that I keep a lot more detail in the hair, and I have less noise appearing in the second image. (upping the shadows a lot also emphasises image noise)
Image: Jenn at Baudries Castle
Make up: Heidi
I think Jenn has a large amount of ‘Nathalie-Portman-looks’ here 😉
Canon 5Ds with Sigma 50mm f1.4 DG A – 1/640s f2.8 ISO 160
see you soon for part two of this explanation, and for a lot more images:
summer time, shooting time
As all runs well, this domain should soon have its own name. I am taking steps to move the site to www.ludwigdesmet.com – the intention is that subscribers still get messages when new posts are made, but if you experience a longer-than-normal delay in new reminders from my side, something might have gone wrong. I’m not web guru by far, prepare for the worst.
please enjoy this first image from a shoot I did a couple of weeks ago. Romina has finished her studies in drama and theatre, has Italian roots, and was a pleasure to work with.
Canon 5D mark II with Sigma 50mm f1.4 DG A
1/50s f2.5 ISO500
thank you for watching,
Please enjoy Jane, posing in her catsuit.
rather difficult to make images of a good looking body in a catsuit not look ‘sleazy’ or ‘cheesy’ or whatever you might call it. (cheap looking soft erotic style)
I hope I managed in some way to prevent these images from looking that way. I’ll leave the judgement up to you.
Images taken with Canon 100mm f2.8 Macro IS L (1 and 2) and Sigma 50 mm f1.4 DG A (3-4-5) – ISO 100 on Canon 5D II.
Thank you for watching, thank you Jane, for being my patient model on this cold day, thank you to the owners of the house for granting me acces to this great playground.
a single image post.
I find it rather intimate and peaceful, expressing proud and stability.
tomorrow I will show you the counterpart, same setting, same pose, same model, just I as a photographer have moved.
Technical details: Canon 135mm f2.0L at f2.2, 1/200s, ISO 320
thank you for watching, don’t forget to come back tomorrow for ‘WHITE’