The Stages

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Bert shot with a bag full of Ikea items—a salad bowl as beauty dish, a shower curtain, an artificial plant...I don’t think he ever found a way to use that toilet brush though. Zack showed off the mood of light, Sara wrapped her model in fabric and Mindy revealed the world of Forbidden Tattoos. Elia took us around the globe, Kevin brought us home and Ruddy made us think about it all. Jonas, of course, made us all feel like underachievers: how the hell can this guy also be a doctor? Bloody hell. And then there was Ines and Jan and Anushka and Peter and Elke...what moves me most about Fujifilm’s presence at Photokina is this focus on photographers and their work. We all get to learn so much from everyone that returning home is almost a letdown; Jonas spoke of withdrawal in his Chronicle post this week...it’s not a bad analogy.

My set was half/half: I told a couple of stories about commercial jobs and the importance of visual exploration—then I switched to studio mode with the help of Fabian, our male model. The idea was to create five different looks, using nothing but the small Profoto A1 strobe and the included Dome Diffuser. No softbox, no umbrella...this was all about positioning the light and subject to achieve different results. Although I did cheat on the last day by bouncing it off the white wall—I wanted a different take on the cinematic look I’d done in the previous sets. Sue me ;)

A few of those images below, all processed from GFX 50S raw files using the brand spanking new Capture One Pro 11.3. Side note: Am I excited about this? Oh dear god, you have no idea. It doesn’t just work: it works WELL. Still waiting on the upcoming film simulations support, but this is already like waking from a long slumber. Any concerns I had about C1 have now evaporated completely. More on this eventually...


VARIOUS MOODS AND GRADINGS (PROFOTO A1+GFX 50S+CAPTURE ONE PRO)


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Gratuitous & Full Circle

Here we are, on the cusp of yet another Christmas Day—which also means the year is almost over as well. Captain Obvious here, offering invaluable insight to the masses since 2009...you’re quite welcome ;)

I want to say a quick thank you to all those who’ve already purchased the new 1EYE, ROAMING books—I’m very grateful and hope you’ll enjoy the journey. But beyond products: a huge thanks to all of you for being here, period. I’m well aware that this blog can veer into very personal territory at times, content that—while I try and inject knowledge here and there—isn’t necessarily educational. And admittedly, this year was a bit of a transition for me, moving away from difficult times in 2016 (on a personal level) and embracing new realities, new ways of working that impacted the time spent on the blog. I also went from a productivity-fueled Todoist workflow to an absolute repudiation of organization as a whole. Backlash. Now I’m back to a more balanced approach with Things; I might write about this in the New Year, we’ll see. Ideally, I’d like to come back to a more regular publishing schedule—but no, this is not a resolution. Resolutions are where goals go to die. It’s a psychological issue I’m sure.

I didn’t know how to end 2017, what note to strike on this last post. Then yesterday I started messing around in the studio and picked up my dusty old X100—the original one, no bloody S, T or F (I’m paraphrasing a Star Trek TNG reference here in case you’re not as geeky as I am). Anyway, this somehow made sense: shooting the little APS-C camera that started it all with its medium-format grandchild. It’s a bit like coming full circle if you think about it.

Alright, let’s go educational for a bit...if only to contradict what I just said. Here’s a shot of the setup:

That’s a Profoto A1 with Dome Diffuser on the C-stand, modelling light ON (just to check the shadows). The cable is a PC cord, dangling from a Godox X1T-F transmitter that’s currently acting as a manual trigger for the A1 (set to X-Sync). Obviously that’s plugged into the GFX 50S. The Deep Octa in the back isn't active and that's a white book leaning against a tape meter, to act as a bit of fill. Whatever works right?

I’m using the GF 120mm f/4 Macro R LM OIS WR lens (boy that’s a mouthful) with the camera set to 1/125s, f/4 at ISO 100. One last note: the image at the top was processed from a colour JPEG (Classic Chrome) to black and white in Capture One 11. But the ones below are straight out of camera. I don’t do this very often. A few shots in I switched to my Moriyama preset on the GFX—Acros with +3 shadows and +2 highlights—and that was it. When I opened the files in C1 they looked exactly the way I wanted them to. Sure, I could’ve tweaked a few details here and there...but I thought it would be fun (and certainly different for this site) to go straight from camera to blog. 

Is it superficial to end on tech and gear porn? Perhaps. But I’ve always believed there’s a poetry to these machines that’s part of our equation—part of the urge, the madness, this thrust to look and seize and possess the world. It all begins in glass and metal. In these objects that call us to action, through soft lines and whispers.

With this, I’m off for the holidays. Allow me to wish you and your families the very best. Have fun, be safe. Let’s refuel and get ready to rock the other side of this one.
2018 here we come.


Shot with the GFX 50S and GF 120mm f/4 Macro R LM OIS WR