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Musings: June 1, 2025
Some musings from Santorini. Today I’ll be talking about finessing images in post, why the Sony A7CR didn’t work for me, and streamlining my workflow.
Santorini. Absolutely gorgeous.
FULL BLOG POSTS RETURNING NEXT WEEK
I’m currently in Santorini on a little vacation and despite my best efforts, it’s hard to juggle personal fun with full blog posts. So in favor of my sanity, I’ve decided to do more of a mini post for this week’s post with full posts to return next Friday.
Ok, ramble over. Here are some musings to hold you over!
FINESSING THE IMAGE
Model: Rebirth of the Bird @rebirthofthebird
Studio: L’Atelier & Beyond @latelierandbeyond_studio
Location: Paris, France
ALL IMAGES SHOT ON THE SONY A7RV + SONY FE 28-70MM F/2 GM AND SONY FE 85MM F/1.4 GM II
Rebirth of The Bird on my last trip to Paris. © 2025
A term I’ve coined recently is “finessing the image” which applies to how we manipulate and process an image during postproduction. I’m always experimenting with different techniques be it in Capture One or in Photoshop just for fun to see what sort of interesting results I may get. For this most recent shoot with the amazing @rebirthofthebird, I played around with adjusting the red and yellow channels in my black-and-white process. I think it produces a bolder black-and-white, similar to the tones I would see by great artists such as Albert Watson or Herb Ritts.
Digital isn’t film, but it offers us so much leeway in terms of how we wish to manipulate the final image. I love the flexibility and the more I train my eye for both capturing photographs as well as postproduction to achieve “my look” the more I appreciate having so much room to explore.
I’ll post more images from this shoot in mid-June. We just shot these on the 27th and in the midst of my travel schedule, I won’t get around to selecting and working on this session for a bit. Stay tuned!
GEAR TALK
Not Loving the Sony A7CR
Sony A7CR in Santorini? Should be fun? Absolutely not.
As much as I’ve tried to love this little camera, I just can’t. The Sony A7CR has too many odd design quirks that just get in the way of shooting. Additionally, the lack of a joystick rears its ugly head every time I use it. It really should be so easy to maneuver a focus point where you want it, but with the lack of a joystick, it can be a pain in the ass to do quickly and accurately. And, by the time you do, the moment is gone. It just doesn’t feel as fluid and easy to use as the A7RV. Although the A7RV isn’t a large camera, the weight and size difference between the two feels substantial. However, in terms of usability, they’re in completely different universes. The A7CR gets in the way with its lack of smooth functionality and customizable buttons. The A7RV can easily cater to a variety of shooting styles. Mine in particular.
I can’t be too hard on myself. This is the third time I’ve owned the A7CR and despite my best efforts to love it, I just don’t. I knew many of the quirks going back to it, but figured the size and weight benefits would make up for its shortcomings in terms of ergonomics. Alas, that wasn’t the case.
I took my A7RV out for a test run as my everyday carry, paired with the Sony 24-50 f/2.8G lens and it just felt right. Snapping shots as I walked around Thira was fun and I didn’t feel like I was fighting with the camera.
My stance now is that, unless a camera has an amazing touch interface(sort of how Canon does it), I won’t buy an expensive camera that lacks a joystick. For me, it’s an essential component of good camera ergonomics. There are other shortcomings, but this one was the most nagging of all, so I can’t justify keeping it. Ah well, we tried.
Sony Announces the FX…2?
The Sony FX2. Why tho?!
I really like the EVF, but think it would be even better if removable a la the GFX 100 II.
Sony announced the FX2, which in my opinion is more of a proof of concept camera for them. I think this will be the direction for the upcoming successor to the beloved FX3. The added EVF with tilt functionality will be appreciated by some filmmakers. I imagine when they announce an FX3 II, and if it includes the EVF, it will be much more higher-res. In line with the A7RV’s or similar. Or even removable? Could you imagine?!
Specs wise, it’s an A7IV in an FX3 body. If you’re serious about video, I still think the FX3 is the better buy despite its almost $1000 price difference. I would wait out some deals and save up a bit if I had to choose between the two. The low light performance of the FX3 alone makes it a contender all these years later.
STREAMLINING WORKFLOWS
Can’t wait to work on this set of images. When I have time…
If this recent trip has taught me anything, it’s the importance of streamlining your workflow.
Ideally, a photographer would seek to create images and get them out for the public to see in the quickest way possible. But still at a standard they’re pleased with. It can be a struggle when you shoot thousands of images per shoot and have to sort through them all, compare options, make selections, retouch them, then output them for use online.
Personally, I don’t like to rush my work. I like to sit with images for a bit, ruminate over them, ponder how good/bad they are, then begin my process of selecting the ones that will make the final cut. I also understand the importance of haste and quick turnarounds so I try not to sit on them forever. However, the busier I get, the harder it can be to maintain deadlines and have the same production output. Doing 5-6 shoots a week is much more difficult than one a week or a few every couple of weeks. Imagine going through images from 6 different shoots where you’ve taken 1000+ photos. You need to pair them down to, say 10 images, retouch them then have them out for your website, social media, etc. Hard to do all of that in a week especially if you have other priorities (family, work, etc.). Yeah, not an easy ask.
With that said, I’m working on a process of further refining and streamlining my workflow. So from capture to output, everything is faster and much more seamless. I take a lot of notes in the “Notes” app on my phone and I’ve been brainstorming diferent methods which I’ll start actively playing around with once I’m home this week. Once I hit on something solid I’ll share it here on the blog.
Maybe it’ll help other artists who struggle with their own output.
I NEED YOUR PHOTOGRAPHY QUESTIONS
As I’ve mentioned branching out into YouTube and having my own workshop eventually, I’m looking for questions from photographers regarding portrait photography. What are some of the things you would like to learn or know more about? Leave a comment below or shoot me a message on Instagram. I want to compile a fairly comprehensive list as I build the curriculum for the workshop and come up with topics for tutorial posts. Your contributions will be much appreciated!
Hope you enjoyed this post! Feel free to leave your thoughts and comments below!
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Musings: May 23, 2025
Some musings while I’m away in Paris. Today I’ll be talking about technical difficulties, Panasonic’s new cameras, my new gear, and the unfortunate passing of master photographer Sebastião Salgado.
My mobile workstation. A lot going on in image. Capture One, K-Pop, a fine art nude, and Charlie Chaplin. What an odd combination.
I AM NOW EXPERIENCING TECHNICAL DIFFICULTIES
Well if it isn’t Murphy’s Law, my old pal.
I’m writing this from my hotel room in Paris. Today, I woke up bright and early ready to finally post about my trip to Japan back in March. I spent a lot of time last week gathering images and on the day before my departure, I could have sworn I put the Capture One session on my hard drive with me. I get here and nope, they’re nowhere to be found. No worries! I can access my images remotely! I use an app that lets me access my computer back home. I fire it up and start exporting the files into Dropbox so I can access them here. I log in a few minutes later to check the progress and my desktop has several notifications telling me my hard drives have disconnected.
What the fu…
For hard drive storage, I use OWC’s Thunderbay enclosures. While they are fantastic for speed and durability, they have a fatal design flaw. The port where the Thunderbolt cable connects is too shallow so the cord will fall out if it isn’t support somehow (pressed against a wall for example). What’s probably happened is the cord fell out and now I can’t access those images. Not to mention I have some clients who need some photos retouched while I’m away.
Wait a second! This literally just dawned on me. I have an online backup of all my images.
I know this is starting to sound like an ad or something, but truthfully I figured it out. I should have copies of all my images in my Backblaze account. My entire computer is backed up to the cloud!
*checks account*
It works! Ah yeah, we’re back in business! I’m selling those Thunderbays when I get back. Never again.
Ok, ramble over. Here are some musings to hold you over!
RECENT PHOTOGRAPHS
Model: Iryna Berdnyk @irynaberdnyk
Studio: L’Atelier & Beyond @latelierandbeyond_studio
Location: Paris, France
ALL IMAGES SHOT ON THE SONY A7RV + SONY FE 28-70MM F/2 GM AND SONY FE 85MM F/1.4 GM II
Some portraits of Iryna straight out of the camera from yesterday. I said she’s becoming my muse and it seems that prediction is coming true. We do great work together and it’s been exciting to see her growth as a model in such a short time. I’m wishing her all the success as a model. She really has the “it” factor.
This shoot was fun. We experimented with some different looks this time around and I tried some new lighting equipment that worked out far better than I imagined. Those coming in a future post.
After taking such a long break in April, I was a bit worried I would lose my improved skills, but I think it’s once you hit a certain level of artistry, it’s hard to go back to what you did before. Practically impossible once your technique is refined.
Expanding on that thought, think about drawing if you’ve ever drawn seriously before. In the beginning, say when you’re a child, your drawings are rough. Crooked lines, bad proportions, etc. But as you gain experience and put in years of practice, your drawing is considerably better. No more crooked lines. People look lifelike. You’ve mastered highlights and shadows. Even if you wanted to attempt to draw how you were when you were a kid, you’d be unable to. The muscle memory is so trained now that you couldn’t draw as rough as you did when you first started.
Photography is very similar. Once your eye is trained, refined, and nurtured, it’s hard to go back to the style of images you did in the beginning or even a short while ago. You’ve arrived in a new place and there’s no going back. That’s quite comforting I must say.
Anyway, my work is better now and I’m proud of that.
GEAR TALK
Panasonic’s Recent Camera Releases
The Panasonic Lumix S1 II. Finally. But probably too late.
I know I’ve been hard on Panasonic over the past year or so. It’s really from a place of love and disappointment than hate. They have so much potential, but have routinely dropped the ball. They’ve sort of let their passionate community of fans down over the past few years. “Mid” releases, radio silence on any upcoming product announcements, and abysmal customer service.
I’ve been saying these things for years and people downplay it. In light of their recent releases people are starting to wake up and have started calling them out. Comments sections on product announcements aren’t all rosy like in the past. Now people are asking hard questions and throwing scathing criticisims their direction. And the shills on YouTube and photography outlets will try their best to get everyone excited for their cameras.
The shills are the worst. Clickbait video titles, using words like “King of cameras”, “Masterpiece” is just hyperbole by a bunch of phonies who likely won’t actually own the camera, but will try to convince you to buy it. The shills deserve their own post, so I’ll end my criticism of them here for now.
For Panasonic, the excitement is gone. You’ve burned the consumer too many times and now they’re the worst thing they can be towards a brand, apathetic. The S1R II got announced and it had cool specs, but nothing to sell your Nikon/Canon/Sony for. The S1 II just got announced and while the specs are cool, it still doesn’t outdo Sony’s 4-year old FX3. Not to mention people are now calling Panasonic out on a huge oversight I’ve mentioned countless times: “Where are the lenses?”
It’s hard to recommend anyone investing in the ecosystem when all the other major manufacturers have a well-rounded first-party lens lineup. Panasonic has released no new S PRO glass since the first year of release! That’s pitiful. Sigma has come out with TWO versions of their 24-70mm f/2.8 DG DN ART lens in that timeframe. They either don’t have the resources or ambition to keep up with the big players in the field. And that my friend is why they lose.
An easy win for them would have been to release a full-frame GX8 style camera with small lenses to match. In this era of social media and content creation, where every young photographer wants to be a street photographer, it’s a no brainer to release a small, stylish camera that can be used in that capacity. For the street/travel/hobbyist photographer. Nope, instead they release that pitiful, crippled Lumix S9 that they can’t even give away.
Panasonic, hear me: GX8 style body, full-frame sensor (maybe the one in the new S1 II), 4K 60P no crop, no overheating issues, small lenses. Profit.
So while some of their remaining customers have given in to full blown masochism, others with real professional and/or demanding needs have moved on. Buy anything but Panasonic these days bro. It’s over.
Some New Additions to My Gear Family
Before my trip, I picked up another Sony A7CR and FX3. I now have four cameras. Two A7RV’s plus these two. I know, I know, a bit excessive eh? I also bought a trio of new lenses. Two, count ‘em two, Sony 24-50 f/2.8 G lenses. And one Sony 16-25mm f/2.8 G Lens.
I’ll explain my equipment loadout:
A7RVs - My workhorses. They’re set up to shoot professionally. I just grab them and they help me produce the work I’m known for.
A7CR - My everyday carry/travel camera. It’s too risky to take my work cameras everywhere with me. When I’m traveling for shoots, I’d rather leave my workhorses where I’m staying and go with another camera that won’t be the end of the world if something happens to it. Sure there are cheaper options, but I still want the A7RV’s image quality. I’ve tried countless other small cameras, but despite my best efforts, I’m a bit of an image quality snob. No medium format though.
FX3 - My video camera. I’m not planning on shooting any film projects just yet, but I will be recording more behind-the-scenes video from my shoots as I work to build out my YouTube and other channels.
For the lenses, I have two 24-50’s as one will be on my A7RV at all times. It’s a perfect focal length for travel and everyday photography. The other will be used on the FX3 alongside it’s brother the 16-25. Those two small lenses handle all of my practical video needs.
While we’re talking lenses, I sold off all my Tamron lenses and have decided to shoot predominantly Sony glass. Don’t get me wrong, the Tamron’s were great in terms of size and affordability. However, in terms of image quality, I noticed a stark difference between them and some of my other lenses. The only third-party glass that remains in my kit is my Sigma 105mm f/2.8 DG DN Macro lens. That one delivers the same level of visual acuity as my Sony’s so it stays. I also prefer 100mm+ in terms of focal length for a macro lens. I’m not sure why 90mm Macro lenses are a thing. I digress.
My Dream Lens
Want.
The Sony FE 50-150mm f/2 GM Lens. $4,000 and absolutely beautiful. Zooms are so good now, you don’t experience the same quality drop versus primes as you did in the past. The Sony 28-70 f/2 GM is so good, I doubt I’ll buy an expensive 35mm or 50mm prime lens again. There may be times where I want the small size of a prime or the extra stop of light, but I don’t see the need for a 35mm or 50mm f/1.4 lens for the type of images I make. So my portrait photography kit would be the 28-70/f2 GM, the 85mm f/1.4 GM II and the new 50-150 f/2 GM lens. That would cover all my bases well into the future.
$4,000 isn’t anything to scoff at so I’ll be saving up for that one. It’ll probably be a Christmas gift to myself this year. Just put a little aside here and there over the next 6 months and it’ll be mine! Can’t wait to get one!
ON THE TOPIC OF TRAVEL
Traveling is fun, but in my opinion, overrated. It’s become such a thing people like to flex about as if they’re doing something spectacular. These days travel is fairly reasonably priced. If you save up, take advantage of some deals, you can travel. The downside for me is airports. In general they suck and plane rides are rarely comfortable unless you’re in fancy first class and even that is dependent on the accommodations provided by the airline. If you’re a photographer/creative, you may end up spending loads extra for bags to be checked then have anxiety hoping that all your equipment will arrive unscathed.
Then there are the time changes. I arrived in Paris on Wednesday, took a short 2 hour nap that evening and couldn’t sleep a wink that night. I literally stayed up all night and didn’t go to bed until midnight on Thursday. Finally, I feel more normal and adjusted to the time. Despite my best efforts, adjusting to the physical rigors of constant travel is something I’ll never quite get used to. It’s just a part of the experience at this point.
With that said, I won’t be doing any more traveling until September. I want to plant my feet for a bit and focus on things domestically before I jet off to another destination. I will travel within the US (Miami, LA, Mississippi, etc.), but unless a can’t miss opportunity presents itself, I won’t go abroad. I need to stay grounded for a while. There are a lot of things to work on and I’m unable to do that in the midst of traveling.
So for now, it’s Paris till Tuesday then off to Santorini with my lady for a bit.
I’m staying put once I return.
RIP SEBASTIÃO SALGADO
A brilliant photographer and by all accounts a wonderful person. RIP.
Today, master photographer Sebastião Salgado passed away at the age of 81.
I find his passing shocking after having gone to his exhibition in Barcelona back in March of this year. It was the first time I saw his work in person. Admittedly, I’ve known about his work for years, but never considered myself a fan. Don’t get me wrong, his work is brilliant. Masterful portrait, documentary, and landscape photography. It just wasn’t the type of work I was interested in early on, so I didn’t really follow his career as much as say Richard Avedon or Irving Penn.
However, after attending the exhibition, I came away with a newfound appreciation for his work and really started to understand his passion for the projects he pursued. Just look at these:
I could see myself pursuing similar projects in the future. Working with unique cultures and getting to meet such interesting people is a dream to a portrait photographer like myself. Yeah, there’s definitely a lot I could learn from Mr. Salgado.
The photography world has lost one another of the few remaining masters of the craft. We must appreciate them while they’re here and never forget them as people nor the contributions they’ve made to this wonderful art form.
Godspeed Sebastião Salgado. Prayers for you, your family and friends.
I NEED YOUR PHOTOGRAPHY QUESTIONS
As I’ve mentioned branching out into YouTube and having my own workshop eventually, I’m looking for questions from photographers regarding portrait photography. What are some of the things you would like to learn or know more about? Leave a comment below or shoot me a message on Instagram. I want to compile a fairly comprehensive list as I build the curriculum for the workshop and come up with topics for tutorial posts. Your contributions will be much appreciated!
Hope you enjoyed this post! Feel free to leave your thoughts and comments below!
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Iryna Berdnyk at Sala 86 Studio in Lisbon
Selection of portrait and fine art images of model Iryna Berdnyk taken at Sala 86 Studio in Lisbon, Portugal.
Sometimes I have the pleasure of working with a model that is just a natural. Every pose, every expression is effortlessly on the money. That’s the feeling I get when working with Iryna Berdnyk, a model who, in a lot of ways, is quickly becoming my muse. I discovered her from the work she did with an amazing portrait photographer, Ela Asanova (@ela.asanova). It was a beautiful black-and-white portrait series that stays in my inspiration folder till this day. I just had to work with her. I’m someone who doesn’t mind traveling for the opportunity to work with certain people and Iryna is worth it.
She’s amazing. Funny, creative, and so easy to photograph. She can just be sitting in a chair doing nothing and it looks like she’s posing. And her face! A portrait photographer’s dream.
On my last trip to Portugal we had the opportunity to work together. This time in a new studio, Sala 86 in Lisbon. I’m always a little cautious when booking different spaces as I’m unsure how the lighting and layout will work for a particular shoot, but all worries were put to rest soon as I walked in. Everything was designed and laid out so meticulously. So intentionally. I snapped a bunch of photos on my phone and put it in an ever expanding folder I have of studios that have design elements I’d love to use in my own studio someday.
What was also interesting is that the studio is on the ground floor of the building. You’d think it wouldn’t get good light when compared to studios that are on a higher floor, but the light was beautiful the entire time. Very soft, directional, and painterly. I think this was also helped by the fact the studio has pieces of diffusion paper over the windows, helping to cut down the harshness of the direct sun. Brilliant idea and something I’d never seen done at a studio before. I took note of it.
Iryna was great at modeling in the space. Sala 86 had both a large empty space and an area with couches, tables, etc. For some, a large open area can be difficult to model in, because there aren’t a lot of elements to play off of. But a great model can make the most of it. Whether it’s an empty room or small closet, the best models can instinctively calculate what poses will produce the best results for the setting. Once she understood my composition(I routinely show the models the photos throughout the shoot), she did the calculations in her head and made it look easy. I just had to aim the camera and shoot. Can’t wait to work with her again!
Closing thoughts at the end of this post. Hope you enjoy this set!
PHOTOGRAPHS
Model: Iryna Berdnyk @irynaberdnyk
Studio: Sala 86 @86__sala
Location: Lisbon, Portugal
ALL IMAGES SHOT ON THE SONY A7RV + SONY FE 28-70MM F/2 GM AND SONY FE 85MM F/1.4 GM II
IN CLOSING
For this shoot I added two new lenses to my kit. The new Sony 28-70 f/2 GM and 85mm f/1.4 II GM. Before committing to the purchase I pondered medium format for a few days, but didn’t want to deal with the slow speed, larger files, and bulkier, heavier equipment. No, I wanted to continue with my A7RV’s, but I felt they needed some lens upgrades.
So I got rid of the Sigma 85mm f/1.4 DG DN(a lens I didn’t love but tolerated - the distortion is awful) and Tamron 28-75mm f/2.8 Di III VXD G2 Lens(a lens I adored) in favor of Sony’s newer options. I wanted the zoom for its versatility and wider depth of field over other zooms in the range. And the new 85mm for its improved sharpness, focusing speed, and unique rendering.
I tell you I have no regrets.
This combo is heaven. Both lenses are super sharp and quick to focus in the often low light conditions I’m shooting in. When working I often use two cameras, one with each lens attached. On shoots like these, I don’t bother with lens changes, I just grab the other camera. It keeps me in the moment and speeds up my workflow. Both lenses receive my seal of approval. They’re phenomenal.
On another note, someone recently commented on my nude photography saying:
“I really love your nude work. It’s nude, but it doesn’t feel raunchy or suggestive. But more beautiful if that makes sense? Like art.”
A description I’m humbled by and one I would agree with. That’s intentional.
Nudity can often tow a fine line between being beautiful or even pornographic. Posing, facial expressions, and even the location can influence the viewer’s impression. Not to mention their own ingrained thoughts and feelings about nudity. No matter what, to some, it will always be too much. They see a naked body and immediately check out or pass judgement. And that’s okay, to each their own.
I try to find a balance with my own nude images. Some are artsy and some are provocative while being tasteful. I think you can do artsy without being boring. And sexy without being raunchy. And in the end, it comes down to what you’re comfortable with and the sort of photographs that move you.
I’ll probably add a few images from this set to this post so come back on Monday just in case!
A big thank you to Iryna for another amazing shoot. More to come.
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Pardon the Mess: Blog and Website Updates
A quick post about recent and upcoming updates to both the blog and website.
Over the next few weeks I’ll be making some design and functionality changes to both the blog and website. So if you see the things in a state of disarray, no need to panic, we’re working over here. I hope to have a bunch of new announcements towards the end of the month and I’m restructuring the website to accommodate some of these changes. You may have also noticed that I’ve returned to a weekly blog schedule. You can expect new posts every Friday, but I’ll occassionaly post throughout the week if something of interest catches my eye or warrants talking about. Those will be more “Mini” posts similar to this one. Eventually I hope to be even more ambitious with a two post per week schedule but for now, let’s stick to once a week.
Big site changes often take time, but even more so in this case since my website is built on Squarespace. Although I love the platform, there are some odd design/website building quirks with the backend. It’s more a matter of working around the limitations of the platform while adding design elements that match the aesthetic I want in addition to improved functionality. It can be hard to strike a balance between both, but I think I’ve found some solutions I’m pleased with.
Not to be completely cryptic, but I’m going to start featuring my work on other platforms, live streaming, and building out my YouTube channel. Maybe some of the blog posts will now be in video form? I like that idea, especially for “Musings”. Additionally, some of my work will be featured in a “Shop” of sorts, but that won’t go live until about mid-June. I took the month of April off for the most part, but now it’s back to work. No stopping till the end of the year!
All for now.
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Lina Linn at Kuuz Studio in Prague
Selection of portrait and fine art images of model Lina Linn taken at Kuuz Studio in Prague, Czech Republic.
On my first trip to Prague back in 2024, I had the pleasure of working with one of the most amazing talents and all-around wonderful human beings, model Lina Linn. From the minute she arrived at the studio, it was all positive energy and enthusiasm to collaborate. Over the years I feel like things have changed with many models prioritizing the influencer, social media star route over traditional modeling. Not that there’s anything wrong with that, you have to do what’s best for you. But it does change the attitude and excitement around photoshoots resulting in a more nonchalant, ambivalent attitude towards shooting. Not to mention many are less experienced since they don’t get any proper training via an agency or years on the job. It’s refreshing working with models that are professional, experienced, and excited about the process of a photo shoot.
Whenever I travel I always look for a studio with great natural light. In Prague, my studio of choice is Studio Kuuz. I found them via Instagram and have booked them several times over the past year. If I could own a space, it would be like this. Super high ceilings, smooth concrete flooring, and beautiful light cascading through the windows throughout the day. Even when the weather was overcast, the lighting was perfect. It also has a cyclorama when I want to shoot more traditional studio portraits. I can’t stress the importance of a proper shooting environment enough. Whatever your style or genre of photography, it’s important to support your work by giving it the proper creative environment. When I work in a space that is best suited for my work, I thrive. Shooting feels effortless and my stress levels are minimal.
And when you work with a great model? It’s fish in a barrel.
Closing thoughts at the end of this post. Hope you enjoy this set!
PHOTOGRAPHS
Model: Lina Linn @itslinalinn
Studio: Kuuz Studio kuuz.studio_kosire
Location: Prague, Czech Republic
ALL IMAGES SHOT ON THE SONY A7RV + SIGMA 85MM F/1.4 DG DN AND TAMRON 28-75 f/2.8 Di III VXD G2
IN CLOSING
I’ve made it known that I no longer wish to fawn over gear as I once did in prior years. It’s really gotten to a point where most modern cameras and lenses are good. It’s a matter of what works for you. Shooting with my Sony cameras has been a boon to my work. I love both the colors (after some tweaking) and the tonality they produce for black-and-white images. They perform flawlessly shoot after shoot and even after owning them for almost 2 years, I still find myself amazed by the image quality they produce. Pick an instrument and make it sing is the motto.
As for the shoot, sometimes when I’m preparing for one, I often find myself feeling a bit anxious. Unsure even. Like an athlete waiting in the locker room for the signal telling them it’s time to go. I’m a bit pensive, obsessively double-checking my equipment, shoot location, the moodboard, etc. Similar to the athlete, you want to go out and give a great performance. Once you hit a certain skill level, there’s pressure to perform. You have a reputation!
There’s self-inflicted pressure to create even better work than the last shoot or implement some new technique or approach I’ve been working on. Sometimes I succeed and sometimes I fail at this. The successes often come on the days that, after arrive at the shoot, my subject walks in, excited to work and gives me their all. It’s like when you try to have a conversation with someone who’s giving you nothing versus the person who is engaging. The engaging conversation feels energizing while the former feels draining. Shoots like my shoot with Lina have me over the moon and excited for the next one. I love the work we did together.
We’re only as good as the people we have around us and she’s one of the best! A massive thank you to her!
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