I think I never posted this image, I don’t know why, but as I am re-gathering all my best shots for another year-book, I stumbled upon it.
• Kamaliza •
shot in an empty warehouse, available light only.
thanks for passing by,
Hi, it’s been a while since my last post, I think this one will make it worth the wait.
• MUST READ •
you probably have noticed I worked together with Charisse a lot last year, I would like to show you some pictures from our first collaboration to our last one, as some sort of a tribute to this young woman, that in front of my lens, evolved from a shy and uncertain person, to a very self-aware and confident model.
We met at an exhibition in Damme, Belgium, she seemed interested in my work. She flipped trough my book ‘Women’ and showed even greater interest after that. We agreed to keep in touch.
First shoot together, June 20, 2016. We met at Godshuis in Sint-Laureins, Belgium, and we shot a couple of rolls of 120 film, and a digital session. She was very shy at the moment, and there were too many people running around at the Godshuis, so we moved outdoors for the rest of the day.
Second shoot together, she came to my place, I have an old, small confectioners workshop in my garden, and we did an afternoon session there. She showed more courage and confidence already. She hurt her leg while smashing the radiators with a big sledgehammer. April 5, 2017.
Third time around, I still had to get my ways around the studio, and we worked there for the first time. It was a very fruitful day, with an apple as desert 🙂 Charisse had changed, she had become very much aware of her female figure, and the sensuality in her poses was suddenly obvious. Februari 22, 2018.
Shortly after that we met again, for a shoot in the castle I’m able to use as a location if I want to, here we shot ‘the beauty and the beast’, ‘the great great granddaughter’, and a lot more beautiful images. We are march 23d, 2018
5th shoot together, a hot summer day last year, and not really arranged long before, I just called to find out if she was available, and ready for an experiment, and a day later she took the train to Ronse again. Shot in my garden workshop, and outdoors. ‘when things get messy’ and ‘statue’ … July 3d, 2018.
And hopefully not the last collaboration, and certainly not the least, again in the studio on October 30th, 2018. Long time since I used flash light, so let’s get up-to speed again with some different settings. Charisse is always ready for some new things, she is physically limited due to a muscle disease, but she has never let me down in her efforts of making every shoot successful and worthwhile, she understands what I want to achieve as a result, but she’s not afraid of giving input if she things it would make images even better,
Thank you Charisse, it is a pleasure working with you! I might do a book on you some day!
Some images you might have seen before, but I tried to show you some previously unpublished pictures too, as from a session there’s always a lot of material, so I cannot publish all, sometimes I forget about a series, sometimes when I review, new ‘keeper’s get my attention …
thanks for reading, maybe you might consider buying a large print from any of these? …
She can be found on facebook now as Sahri Nimi – https://www.facebook.com/sahrinimi/
Could there be any greater resemblance? The curves of the female body and the smooth shaped hull of a glider. At least I sea beauty in both, I hope you too can appreciate these smooth curvatures.
Taken with the well appreciated approval of the gliders club director, and the willing club-handyman. Somewhere in the Netherlands.
• Smooth curves •
model: Michelle Alba
Canon 5Ds with Sigma 50mm f1.4 A DG
1/500s f/1.8 ISO 100
Travelling art-nude models mostly rent very small rooms, to make their travelling as cheap as possible. Shooting in their room is most often not an option. This one was different. Some other photographer booked her a spacious and very well lit room in the centre of Brussels, and for some reason he only booked the model for a very short period of time, so she had a couple of days available for other photographers. A bit of a last minute arrangement and I was of to Brussels. The room had a line of windows facing south/west, and every widow had its own curtains. A perfect spot for a shoot.
It’s a tedious process, developing, scanning, retouching the dust …
… but when the results are good, it’s all worthwhile. From a shoot I did in the beginning of june, taken with the Rolleiflex, on Ilford HP5 plus film (ISO400).
from a while ago,
I shot with Vita Goncharuk in a public park near Brussels earlier this year. I was a bit worried about not having a location with full and agreed access, so we shot outside. The park is open to the public, and you might wonder if there are no risks of being caught. There is actually not really a problem as long as you are not shooting porn or really shocking the eventual witnesses. If you get caught by the owner of the place, you might get expelled from the premises, but they can’t file a complaint unless they can prove you did harm to their person/business/property.
Some people have been asking about public wandering around. First of all, get this agreed upon with your model. Most professional models don’t care much, some don’t like it. Vita didn’t mind at all. When somebody shows more interest than normal, I just go to them an say hello. I do a little chit-chat and then I give them one of my business cards and mostly they disappear after that, or they take some more (comfortable) distance. Some even send me an email about my website or my work afterwards. I even had one person sending me some behind the scenes images. (with Erika in Brussels)
The weather was splendid, the camera did very well, All shot on Ilford film, with the Rolleiflex TLR camera. I love the look of film, it gives a soft, rich tonality and it has some imperfections that are creating a romantic atmosphere. It has a natural grain, that adds to the softness of the images. The medium format (6x6cm) camera has a great shallow depth of field, (hard to focus though) and enough detail in the negatives for really big enlargements. It can’t beat the current 50Mpx camera’s, but its very close. I also love the time-span between shooting the images and having the developed film ready for scanning. The fact that you do not see results is a benefit for working slowly. When shooting digital, I get a little overwhelmed by the immediate results, which stresses me to shoot more and more and more. When shooting analog, I thing about every image, about light, about framing, about what to leave out of the frame and what to get into it, about pose, about a possible story, … I feel that I do not take the same amount of time when shooting digital. You shoot far less images when shooting film, but you get as many good ones than when shooting hundreds of digital images. … I experience a great feeling of joy when seeing the images on the developed film for the first time. They are a physical result, they have a more ‘real’ presence in my opinion than digital files. Film is not dead, at least not for me, and I’m sure for a lot of people with me. 🙂
I have about ten more films that just have been developed, but need scanning and retouching … come back again soon,
Let’s celebrate female beauty and the joy it brings us.
Let’s celebrate life and the good things it brings us.
My model of that hot summer day in april was named Vita, which stands for ‘Life‘ …
I have taken a lot of pictures with her, so more will follow, see it as a little preview.
Often I have to convince professional models not to pose, or in any way not to pose as a fashion model would do. I love it when they are not trying to seduce me or the camera, but in stead they manage to be just themselves, fierce, self confident, somehow unattainable women, living the life and enjoying their own bodies.
oh, and I have another thing to celebrate, I just saw today that in the last 365 days I had over 100.000 visitors on my site and blog. It was for the first time I noticed it. Thank you for being so present!
I had worked with Charisse before, we had met each other at an exhibit in Damme (B) where I had my work exposed, she seemed interested in my work and browsed trough my book attentively, we talked briefly and I gave her my card.
Early this year we agreed to work together again, and besides fixing a date, we also discussed what style we were going to work on. She told me she had found more confidence in herself and that posing went better since she had been working with another photographer intensively some time ago.
I have tried not to interfere too much in the posing, and had her work on her own flow of poses without interrupting her. She managed to ignore me, and we found a good subject to guide her: an apple I left in the studio since I had been painting there two weeks before that. I kind of lost a bit of its freshness, but Charisse managed to compensate for it 200%.
First I would like to show a little behind the scene’s video, fastforward trough the entire session, if you are a photographer, you might even learn something from my light setup:
I am working with two camera’s here, one with the Sigma 50mm f1.4, the other with the Canon 100mm Macro lens. I have light all over on the left side, I work with the sun screens from time to time, and I have one large reflector panel on the right side (styrofoam board)
Then the images.
I think they came out particularly well, Charisse well understood my style and she worked on different poses in an endless flow, God, wouldn’t you want to be that apple? 🙂
images all shot at my studio in Ronse (Belgium)
Canon 5Ds and Canon 5DII
Sigma 50mm f1.4 DG and Canon 100mm f2.8 L Macro
1/250-400 f1.6 ISO 100 – 1/200 f3.2 ISO100
thank you for watching,
I’ts been about a month that I have the new studio space available, it took me a couple of days to get the walls freshened up (two coats of paint) and a couple of weeks before I got some furniture and props ready and moved in, but I’m about to call it ‘ready’ for work.
I think it probably never be a steady setup, because I want to keep some variation in my images, and variation will probably mean that I will bring in some new stuff from time to time and get rid of some ‘used’ furniture in the same pace.
Some observations so far just in case you think about setting up your own studio space:
• I have windows (large) only on one side of the room. Not easy to work with, so get yourself some large reflectors to bring some light back from the non-window side of the room. I use styrofoam boards 120x180cm, painted black on one side.
• The wooden floor gives me a particular white balance in the space, some warm tone that is not easy to get right all the time.
• Too much light will kill you, or at least will often create overly bright images. I love to work with light and shadow equally, sometimes even more shadow than light. So I bought a large theatre cloth (6x3m) to cover up 2/3 of the windows when needed. I use additional styrofoam boards if needed to cover up even more window area.
• The space has sun-screens, I didn’t even notice when I agreed to rent it. These are great to work with when there’s direct sun falling in. The screens are fine woven, so they create no patterns, and they lower the light level not too much. They help evening out the hard contrasts in sunny situations. They are neutral in color. Perfect!
• The wooden parquet is kind of slippery, very good for moving around mattresses and large carpets without too much of an effort. For furniture I have a wheeled board for easy moving.
• The ceiling is at 2.90m, that is an absolute minimum. I have some curtain rails hanging up, they are kind of permanent, and sometimes they are hindering my viewing angles.
• I have an adjacent stock room, where I can move all unnecessary items (flash lights and their tripods when I don’t need them, drinks, clothing, background system, paint, cleaning materials, … Perfect again!
• I have brought in a large trunk (some kind of monastery huge heavy dark wood piece) that I use for quick storage nearby. It makes your stored stuff invisible, it is useful as a decor piece, there’s always something you might need in a minute, it’s there.
some images taken in the new studio:
2 white walls, a black wall, a wall with plenty of windows, and some creativity …
more to come,
A cactus (plural: cacti, cactuses, or cactus) is a member of the plant family Cactaceae, a family comprising about 127 genera with some 1750 known species of the order Caryophyllales. (From Wikipedia)
A small series of images I did about a year ago together with Kate in some semi-public glasshouse. The glasshouse was the only place where it was more or less hot enough to do nude work, and Kate didn’t care about the public character of the place, we met only very limited people, and managed to keep out of sight of most of them, at least we think. 😉
Taken with the Rolleiflex 6×6 TLR, on Kodak TMax400 film.
hope you liked that,
come again soon,
In a castle somewhere in the French part of Belgium I found this treasure, hidden on the attic.
Model and make up: Eva Evian
Photography: Ludwig Desmet
Shot on Canon 5Ds with Sigma 50mm f1.4 DG Art. 1/60s f 2.2 ISO 800
the complete series of this shoot will be published on august 15th.
thank you for passing by,
see you again soon,
… 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.