Friday stuff: new Capture One, new GFX...

That’s our son modeling for me. Yes, the kiddo is getting older. 

It’s an exciting week, with the launch of two products I had the opportunity to test beforehand: the GFX 50R—which is now finally available in stores— and a brand new, shiny version of Capture One Pro with their release of version 12.

I’ll be sharing about Capture One more and more on the blog...because it’s my main workhorse now, but also because using it no longer implies any sort of dark arts maneuvers (i.e GFX support). But for the time being, I’ve written a first look that’s available on the Fujifilm-X website if you’re interested.

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As to the GFX 50R: I previously published a few posts, back when it was announced in September. But because I was in Germany at the time and these had all been scheduled before the camera’s official launch date, I didn’t yet have a link to the promo video we had shot for the camera. And being who I am...I simply forgot to write about it. I’m actually quite proud of the results so I figured I’d remedy the situation today—given the camera’s real launch.

Shooting the promo was part of the overall GFX 50R project—along with capturing images that would potentially be used as promotional material by Fujifilm Japan. If you’ve seen the brochure you may have noticed a double spread in there with my name on it. Kinda stoked about that one. But the most thrilling part was the creative license we were given: we weren’t told what to do or how to do it. We knew the concept of the campaign was to revolve around the word precious...and we simply did our own take on this.

I worked very closely with Fujifilm Canada’s Francis Bellefeuille: he shot the images but also edited and graded the movie. Talented fella. I wrote the words and music, did the sound design and mixing. I shot a few stills here and there as well ;)

We filmed over two days—including splashing around in that not-so-warm swimming pool for way too long. Then it all pretty much came together over a weekend while the family was away: I was sending music mixes and images, Francis was sending back edits...we tweaked and prodded until we were both satisfied. The magic of the Internet.

Then I had a beer. Ok, ok...I had TWO.
Sheesh. Video below.
Have a great weekend.

After the Whirlwind

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It’s hard to explain the intensity of Photokina week. There’s the stress of performing, which becomes less of an issue after the first set but still lingers nonetheless. There’s the thrill and emotional ride of seeing friends again, people you rarely meet IRL. And then there’s always a few photographers you’d never met before, whose work touches you and who suddenly become a part of your life. Bonds forged in a screaming whirlwind. 

To my old and new friends—photographers, models, managers, engineers, designers—thank you. To our Fujifilm family that makes all of this possible, thank you.

I’m home now and it’s all good.
Héloïse—our youngest—was waiting for me on the porch in her pyjamas when I stepped out of the car. She jumped into my arms as I was making my way to the door. And suddenly we were all there, in our house—together. And suddenly the clamour had subsided

and the ground had settled once again beneath my feet. 


Shot with a pre-production GFX 50R


A New Brush | GFX 50R 65:24

First off: what a privilege this has been over the past couple of months. When the GFX 50S was announced at Photokina in 2016, I never thought I’be one of the lucky few to test another medium format camera less than two years later. And yet, here we are.

I won’t be doing a technical review for several reasons: I was shooting a pre-production unit with beta firmware; my friends Kevin and Jonas will do a much better job than I ever could; I’m less and less interested in talking about specs. But I will say this: I’ve grown to love my GFX 50S, as I’ve previously written about. I’ve come to appreciate the insane attention to detail of its design, where every single button, port and door is exactly where it should be. Any new camera involves a period of adjustment, but my initial reaction to the GFX 50R was actually one of puzzlement; and for several days I found myself almost fighting against the camera. Some of this was due to bugs and not-yet-working features, but I eventually figured out the real problem: I was still shooting the GFX 50S. I was expecting a right-brain camera because in my mind, medium format was about work, first and foremost.

The GFX 50R isn’t about work. This is medium-format for poetry.
It’s not perfect—I probably would’ve done a few things differently, in terms of layout for instance. But we’re suddenly having a very different sort of philosophical conversation.

I can’t begin to tell you how happy I am to finally be able to share some of these images. I’ve chosen to again share a series of visual stories/essays (as I’d done with a few other models), all shot with the pre-production camera I was provided with and various GF lenses.

I’m writing these words on the eve of leaving for Belgium, before we head to Photokina. Which means nothing has been announced yet and I have no links to share. It also means I’m about to give back the camera. All good things have to end. The shots below aren’t official product images btw: just quick, gratuitous visual gear porn for my own benefit. Figured some of you might enjoy them as well ;)

Huge thanks to everyone at Fujifilm for this incredible opportunity.


Shot with the GFX 50S and GF 120mm f4 OIS R WR


A New Brush | Devourer of worlds

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Shot with a pre-production GFX 50R


PART 1

PART 2

A New Brush | St-Alphonse-Rodriguez

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Shot with the GFX 50R