the tomatoes need a lot of water in this warm weather don’t they?
second shooting location after • flight club • the garden of the AirBnB where we stayed. Michelle is ready to do some role playing, and gladly gives the gardener a hand.
• taking care of the vegetables •
thanks to Michelle Alba for being my model on this very hot day, in a very hot glasshouse.
thanks to Bas for lending me her garden as a shoot location and for the hospitality all over the weekend.
Ludwig
Ludwig Desmet in het Godshuis from ludwig desmet on Vimeo.
jij komt toch ook eens kijken? 🙂
Charisse was here again today,
and people who have been following my or her work, know that this is about 100% guaranteed to deliver some stunning images.
We took benefit of the hot weather we have in Belgium these days and made a little mess with some leftover clay I had from the walls of the boys’ rooms on the attic.
Charisse is always in for a little experiment and I had been talking about the clay shoot earlier, so she sent me a text message a couple of days ago ‘about the hot weather and da da da … ‘ . A hint not to be misunderstood.
this image is just a preview of the preparation, a preparation that I gladly took as a photoshoot occasion …
it got even messier than this, and much better as well 😉
make sure to come again soon, for the rest of this magnificent series, again.
The exhibit at Godshuis Sint Laureins (B) has started last Saturday, make sure to visit it if you can, more details in my previous post.
have a nice day,
Ludwig
shot with my trusty old Rolleiflex, on Ilford HP5plus film.
Ancient Egyptians worshipped Ra or Re as the Sun God, he was one of the most important gods in the Fifth Dynasty (25th-24th century BC).
• RA •
The obelisk depicted here is one of modern ages (1968-1969) and was built in two ‘size’ stages, because the landlord found that the first one at 27m was not high enough. So he did aks the builders to build a second concrete formwork over the existing one, and ordered it to be 36m in height, which makes it final size bigger than the Paris’ Luxor obelisk at the place de la Concorde!
The obelisk is situated near Brussels, and was erected because the landlord loved the sunrise, but since he had changed his main room to the west side of the castle, he no longer had the sunrise in his room. That’s why he also wanted a large sun disk on the obelisk.
The park was meant to have a large water surface in front of the surface, but the owner died before completion of the surroundings and the lake was never realised.
thank you for reading,
Ludwig
well yes, sometimes things don’t go as expected, certainly when shooting with an old camera and film, you are having no instant feedback and surprises occur 🙂
there is no automatic film advance stop, so you have to look for film frame numbers in the dark red window at the back of the camera. Clearly I saw something that wasn’t there.
shot with a Voightländer Bessa I 6×9 film camera, with Kodak TMax400 film, in a small roof flat in Leuven (Belgium)
Model Yana Mood, click for bigger version
the camera:
• The beauty and the beast •
from another great collaboration with Charisse,
lately in Tournai, Belgium,
Ludwig
… or maybe a little rough will do tonight
thank you for watching,
be kind to your partner 😉
Ludwig
with the lovely Yana Mood, shot in an attic room in Leuven,
All images f1.8 at ISO 125, shutter speeds vary (1/25-1/200s)
Canon 5Ds with Sigma 50mm f/1.4 DG A
thank you for watching, don’t hesitate to leave a comment,
Ludwig
I found another castle lady willing to pose nude for me in her residence:
shot in a castle in Belgium
• The great-great-granddaughter •
1/13 sec. f/5.0 at ISO400
Canon 5Ds with Canon TS-E24mm f/3.5 L II tilt-shift lens
… you get to see the most angel-like creatures
enjoy your work-week!
Ludwig
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:
Ludwig Desmet behind the scenes fine art nude photoshoot from ludwig desmet on Vimeo.
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,
Ludwig
As it is difficult in wintertimes (temperature!) to shoot in grand locations, exquisite gardens or castle halls, I have been working a little more on emotions and body-poses lately. Enjoy this wonderful image I made with Yana last thursday. This was shot in a small attic living room, we had to move a little furniture around to be able to capture the best light in the spot I wanted it, but I think this worked out quite well. An overhead roof window and some ‘available Swedish furniture’ was all that was needed to make this image look well. Remember to look at the light, and pose your model accordingly 😉
Thanks to Hanne for providing the last minute location, I hope you could still find your stuff after all the moving around with things.
Thanks to Yana for being my wonderful model.
An image that has been shot about a year ago, with the kind cooperation of Riona, my model for that day. I haven’t posted a lot of this shoot yet. It was on a cold december day, in an empty house with minimal heating.
Although she was clearly suffering the cold, she did not complain. We were all dressed in winter clothes, she was completely nude. Of course, as a photographer, you will take measures so the model can have some time off with a warm blanket or clothing, so she does not get ill in the process, but Riona has a very good understanding of what a cooperation is supposed to be like, of what a photographer has in mind and why a photographer would invest in a professional model. In doing so she has built a good reputation among photographers internationally. Besides her perfect work attitude, she has a very beautiful body. Not extremely skinny, and with beautiful female shapes. On top of that, she has an angel-like face, that is strongly emphasised with her white hair.
• Angel •
for those who find it interesting,
shot on Canon 5Ds with Sigma 50mm DG A – settings 1/50s f/2.0 ISO800
For those interested in working with Riona:
more info and a behind the scene’s look (also of this very same image) HERE
well yeah, next to beauties of the human race, I also tend to have a certain adoration for mechanical beauties. …
Early november I was strolling the Paris Boulevard Beaumarchais, to look for camera shops, both secondhand an new, to see if I could find some information on view camera’s and to look out if there was something else that interested me, when I came across the Harley dealership situated in this same boulevard. I’m not especially fond of this particular brand of motorbikes, but the boulevard seems to have almost as much motorcycle dealerships as it has camera stores. I happen to like both equally 🙂 . I am however quite charmed about the beautiful finish of the Milwaukee brand, with the chrome, the air cooling fins, the valve push rods and so on. This is mechanics and beauty, and it expresses both power and lifestyle.
I just snapped a small detail of just a random bike parked outside, probably a customer’s bike, before or after servicing. It is in that understanding not polished and it has some weather marks on the chrome, let’s say it’s alive.
I took this picture with my Rolleiflex TLR, probably older than the history of the ‘low rider’ Harley Davidson model. Square frame image format, which I like the best. Image shot on Kodak T-Max 400 film, developed in Ilfotec 29 developer.
For the noobs, 107 cubic inches is the cylinder displacement volume of this particular engine, or 1753 cc, in other words, this is a big engine for a motorbike. It has plenty of torque, and as we now from H-D, “more than enough” horsepower.
thank you for watching and reading, come again soon, I have other images from Paris that I would like to show you.
Ludwig
Ok, something I wanted to do for a long time:
On some fora, people have been asking how I scan my negatives, actually I’ve quit scanning, and digitise my 6×6 negatives with the Canon 5Ds high resolution camera, and a Canon 100mm Macro lens. For me it is quicker than scanning, I get a RAW negative file to work with, and I had all gear I needed for building a simple setup.
I have been looking for a new scanner for a while, genre Epson V800, but found them to be a little too expensive for my taste and limited use. I already had this Canon 5Ds camera, and I had a Macro lens, so I wanted to give it a try digitising with the camera in stead. I’ve built this setup to do so, (actually writing this blog post has inspired me to make it even better) …
see images below …
• I have two lamps (generic building LED lamps from a DIY store) that I point to the back, where I have a white foam board installed. I don’t care about the white balance because I work with black and white film, so I get rid of all colour anyway.
• At a relatively small distance (30cm – 1 foot) I have a cardboard box, fixed to a base board (same white foam board, cardboard box taped to it), with a hole in the back end, a little bigger than the negatives I am working with. On the inside of the box, I have put a black paper, with a square cut hole in it, to better fit the actual size of the negatives. The front side of the cardboard box is open, and takes the camera.
• I use a negative holder from an old scanner, but I cut the film frame a tad wider, to be able to see the negative’s edges all around. I kept the original diffusor window.
• On the base foam board, I fixed a sort of slot (foam board strip with double sided tape fixing) that holds the bottom of the film holder, between the slot and the cardboard box. On top of the cardboard box, I fixed a second slot, that holds the top edge lid of the film holder, and I slide the film holder in from left to right (right to left on the images)
• I put my camera to fit the film frame (with a little margin all around) and I have my settings to give best quality: ISO100, f8 1/6 sec … I vary shutter speeds based on the negatives I have (sometimes the negatives are a tad under- or overexposed, I try to have as much light as possible in my ‘scans’ without clipping the highlights). Low Iso for the least noise possible, f8 seems to be the limit aperture before diffraction sets in on this camera, shutter speed long enough to get rid of the flickering effect in the lamps. I work on a tripod and with a 2 second interval between mirror lock-up and opening the shutter. (standard available on the Canon 5Ds, to prevent camera shake due to the mirror flipping up)
• I import the images in LR and reverse them by using the tone curve panel. In this same panel I also manage the white and black point settings by moving in the left and right corner point to where the histogram starts/ends, and eventually a lightening or contrast tone curve.
• Then I further develop the image using the standard development panel and local adjustments (that takes the most ‘getting used to’ because all sliders work ‘negative’)
• I remove dust and scratches in photoshop.
the images should clarify a lot:
the complete setup:
a look over the camera’s shoulder:
the negative holder removed to change the film strip
the back end of the cardboard box, notice the black paper frame on the inside, and the (modified today) film holder slot for top and bottom edge of the film holder.
film holder sliding in place, notice the top ‘tab’ being held by the slot
film holder in place, looking on the diffusor
Lightroom, tone curve for negative-positive conversion
I manage to scan a film of 12 exposures in about 15 minutes, with a resolution of at least 5000×5000 pixels. That is perfectly fine with me, and gives me all film detail, up to the grain in the film.
a little resume
I have studied to be a graphic designer, that led to a degree back in 1991. I have worked in several pre-press studio’s and a packaging design agency before starting my own company, not in graphic design but in 3D rendering services. I was rather successful, with clients such as product developing companies Barco, Melexis, SAS winches, Duco, Marketing agencies, artists such as Mark Manders, André Rieu, next to a lot of architects and project developers.
I loved being on the front edge of new products, developments, technologies, events, and being able to provide marketing material for these customers. I did this on my own, and home based. Very convenient, but in the end also very lonely as a job. Orders were sent by email, some explanation on the phone if necessary, and finished jobs were sent out by email as well, or by means of online data transfer sites like wetransfer. This meant that in the following years, I had no social contacts anymore. I went looking for a solution, and this showed up in photography. I had started a weekend class in photography when I had just left my studies, but never finished it. Honestly because I was a bit discontent about the chemicals being poured down the drain. (talking about film photography at that time)
But I never really quit photography, and with every job change, I looked for a job related to photography in some way. This has made me decide back in 2009-2010 that I wanted to pick up classes again to further build my photography skills.
I could do some exams to skip some classes, as I was familiar with photography basics (from the two years I did previously) and with retouching (from my graphics background) and I sped up the process by taking two classes at a time. Very soon I could enrol a job into teaching Adobe Lightroom in the same institution I was following my own finishing classes. A kind of a strange situation but it turned out well as most of the students I gave classes to didn’t even realise I hadn’t finished my studies yet.
At the same time I started following classes again I also started portraying women, which led to the portfolio you can see on this website. This started as being very occasionally, but I got more and more into it, and tried to use every free moment of time to get a shoot planned.
Very soon I had a larger amount of classes to teach, and I tried being more selective in my clients/jobs in my self owned business, but nevertheless I worked like 4/5 in teaching classes 3/5 in doing 3D rendering jobs and 1/5 self organised photography shoots.
Too much indeed, so last year in november I announced to all my clients for 3D rendering that I would finish this service, look for somebody interested in acquiring the client base, and only do photography jobs from 2017. I found nobody interested so I had to disappoint some of my customers for sure, some still are customers for photography services, one is hard to convince and stubborn in still giving me 3D rendering jobs. I announced yesterday that I will no longer be of service from 2018 on.
why tough decisions, well, 3D rendering services have long been a good source of income to me, and they still were in 2017, it has paid my photography investments in material, exhibition prints, workshop costs, … photography has grown slightly but not enough to compensate, since I have not enough time to really build up this service due to a lack of time.
This comes down to cutting one safety line before you have another one :/ … of course I have my classes that serve as a stable base income, but they are by far not ‘wealthy paid’ and getting noticed with my photography has proven to be a long and difficult process. I have had a good exhibit with some book sales and some large format print sales, just enough to compensate for the costs made (printing material, giving everybody a drink, making some new large format prints for the exhibit, …).
I would like to invest more time in artistic researches and getting further in analog photography. I am currently investigating the options for working on 4×5 inch format, requiring a large format camera and the need for development in house (till now I had my 120 roll film developed by a lab, but 4×5 film sheet lab development is out of budget)
A whole lot of words to explain why posting rate has dropped a little the last months.
Things should take up again when I finished my last 3D rendering job 🙂 if someone is interested in my earlier client base, just give me a call. The website is here: www.renderhouse.eu
Can’t post without an image, you will understand why photography is so much more pleasant than 3D, it is working with people rather than pixels :
Rolleiflex 3.5 – Kodak TMax400 film
shot on a deserted very early morning beach in Corsica.
Model: Carlotta Kah
Assistant: Nathalie Renard
last month in Corsica we were looking for a model shoot location and we found out that just next to our vacation location there was an abandoned hotel. Flooded 7 years ago by the river running just next to it, it got deserted. Insurance companies still arguing about the responsibilities, the owners couldn’t afford to repair the damages and re-open the hotel.
It looked like an ideal location for a ‘stranded tourist story’ shoot, images will follow later.
This is how the building looked after 7 years of non-attention.
All images shot on Canon 5Ds with Canon 17-40mm f4L, f13 ISO 125, shutter speeds vary between 66 and 184 seconds. (Big stopper filter for the movement in the trees and clouds)
Hi there, for a change a gear review post.
For landscape work I have been a pleased owner of a Berlebach report tripod for many years now. I have had a little issue with it last year, which has been solved amazingly well by the Berlebach company, see my post about it here: https://www.ludwigdesmet.com/2016/09/19/thumbs-up-for-excellent-customer-service-berlebach/
I have taken this tripod with me on my motorbike on many occasions, mostly when giving classes to adults, but it is not very practical because the tripod is big. When mounted it extends beyond the two big panniers I have on my large bike! (BMW R1200GS).
So I have been looking for a smaller tripod for last summer’s trip to Scotland, and for lighter travelling to Corsica weeks after that. I bought the Sirui T-005X with C-10S ballhead, from the T05X Series Traveler Ultralight
It is a lightweight, very compact package, weighs 0.8 kgs and has a maximum height of 137cm and a packing size of 33 cm. This makes it ideal for my motorcycle travels or when you are traveling light in any other way.
How did it fare?
I found it very well performing in quiet weather conditions. The image below is a behind the scene’s shot on a trip out, rain pouring down all day, overcast and not much light, so a tripod was mandatory for I had pretty long shutter times. 0,6s at f11 and ISO100 for the below image.
Image taken in Strontian, Ariundle, Scotland.
as you can see the tripod legs have several spread angle’s, which comes in handy on uneven terrain. The feet are very tiny at approximately 18mm diameter, so some care on where to put them is to be taken. Otherwise, the tripod gave me a perfectly sharp image.
When walking with the camera, the ball head clearly is too weak for a big DSLR (Canon 5Ds) even with a moderately light lens on it. (Canons 17-40 mm f4L, with a weight of 475g) The camera will start heading down soon, no matter how tight you fasten the head knob.
Otherwise, no complaints here.
In Corsica I stumbled upon a deserted hotel, that inspired me to do some long exposure shots. The weather was sunny with clouds, and a rather strong wind, with gusts up to 80km/h (45-50 miles), the building was partly surrounded by green area, with scattered trees. Still I chose to remove the center column of the tripod, for increased stability. (the center column only supported in a single point is the least stable element in all tripods) The removal of the center column is really easy, and the ballhead then screws directly on the tripod base, resulting a much stabler unit. I have no behind the scenes image of this setup so I’ll grap a marketing image from Siriu:
I still had the tripod set up with the legs fully extended in most images, and made perfectly sharp images with shutter speeds over 2 minutes: 121s f13 ISO125 and detail below. I have no images that show camera movements, so I think this is very good proof of the stability of this setup.
The downsides:
I find the leg opening/closing grips rather soft, and some seem to show some wear already, curious to know how long they will last. Also the camera plate is very small, this is clearly not aimed at DSLR users, but more towards the high end compact, light system camera’s. Fortunately the system is Arca Swiss compatible, so I can use my Berlebach dovetail type plates in stead. The ball head, although said to hold 4kgs, will certainly not hold its position when on the move. 4 leg segments are a bit long to extend, especially compared to my Berlebach, that has only two segments.
The pro’s:
Very light, very compact, budget friendly, stable within limits, easy to convert to ‘without center column’, then it is even more stable. Not expensive, comes with a carrying bag.
Verdict.
I am very pleased with this little tripod, it fits my motorcycle panniers, it is very light, it extends high enough for my landscape needs and it is stable in light windy weather. I’m a bit afraid that heavy conditions will not be good friends with this tripod, but If you are looking for an easy to carry companion for night shots or occasional landscape work, I can recommend! And at a very fair price of € 109, it won’t break the bank!
Ludwig