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EyesofBelga, Strasbourg (2026)

10/06/2026

What’s your favorites pictures ? 1-11?
Model

When you’re photographing in water, one of the most interesting challenges is finding the balance between the environment and the subject.

It’s easy to focus only on the model, but locations like this offer so much more. The reflections, the water lilies, the textures on the surface, and the way light interacts with everything around you can completely change the feeling of an image.

That’s why I always try to create a variety of compositions during these sessions.

Some images are wider and showcase the atmosphere of the location. Others are tighter, allowing the viewer to connect more directly with the subject. By alternating between these approaches, you can build a series that feels richer and more immersive.

Another important aspect is movement. Even when the model remains almost still, the water is constantly changing. Small ripples, reflections, and floating elements create subtle variations from one frame to another. Paying attention to those details can make a huge difference.

For this series with , I wanted to create images that felt calm, natural, and slightly dreamlike. The water lilies, the soft light, and the reflections all helped reinforce that mood.

Sessions like these require a bit of patience, but they’re always rewarding when everything comes together.

Anyway, that’s it for me. If you enjoyed the series, feel free to share it.

See you next time!

Model:

Stuff: nikon Z6III + 70-180mm F/2.8

08/06/2026

Save this post for more settings and tips camera ! 📸 model @

In photography, there are times when inspiration just isn’t there. Sometimes you don’t have the perfect location, the perfect light, or the perfect moment either.

For this photoshoot in Toulon with Céline, I found myself shooting in harsh midday light without a flash. So I had to improvise, look for shade, and find interesting compositions.

In situations like this, you can get creative by using lines, objects, or interesting foreground elements. But today, I mainly wanted to remind you of something important: your choice of focal length.

For this series, I used a 20mm, then a 50mm, and finally a 75mm. It all depends on what you want to emphasize in your image.

If you want to compress the background, a longer focal length will work better. On the other hand, if you have an interesting foreground element, such as flowers, a wide-angle lens like a 20mm can help highlight it.

That’s why, for me, lenses make a huge difference in a photo series. Some photographers prefer to shoot an entire series with just one focal length. Personally, I don’t agree with that approach.

I like using different focal lengths depending on the scene and what I want to highlight in the image.

So my advice is simple: don’t be afraid to switch focal lengths. It’s often what helps elevate a shoot when the location, light, or overall conditions seem fairly ordinary.

Anyway, I hope you found this helpful. Share it if you enjoyed it, and I’ll see you next time.

03/06/2026

What’s your favorites pictures ? 1-11 ? Model 💃

When you’re taking photos in water lilies, or in water in general, it’s important to have a variety of compositions. That’s something I always talk about when it comes to my portrait series.

The challenge is that, in situations like this, you can’t always afford to get out of the water and change lenses. First, it can be dangerous. Second, it takes time. And third, it can prevent you from creating the full variety of images you want during the session.

You also have to keep in mind that even in summer, the water is often quite cold. Models can start feeling uncomfortable after a while, so a photoshoot that could normally last an hour might end up being limited to just 30 minutes.

Because of that, you need to work quickly and efficiently while still being able to create a diverse set of images. This is exactly the type of situation where zoom lenses really shine. I don’t shoot with zoom lenses very often, but for sessions like this, their versatility becomes incredibly valuable.

That’s why I highly recommend this type of lens for these conditions. It allows you to work faster, create a wider variety of compositions, and take advantage of different perspectives and compression effects thanks to the range of focal lengths available.

A 24-70mm is fantastic for this kind of shoot. And if you have a 70-200mm, even better.

That’s my recommendation. And by the way, at Nikon, the Mark II versions of the 24-70mm f/2.8 and 70-200mm f/2.8 are now available. If you’re interested, feel free to check them out.

Anyway, that’s it for me. If you enjoyed the series, feel free to share it.

See you next time! 😊📸

Stuff : Nikon Z6III + 24-70mm F/2.8

02/06/2026

Save this post for more settings and tips camera 📸 ! Model .wigglesworth 💃
Constraints often fuel creativity. But to make the most of them, you still need experience and a few useful tools that can make a real difference in very specific situations.

For example, during a trip to London in September 2024, I was going through a period where I felt less creative. I had intentionally stopped taking photos for two months to recharge and expose myself to new experiences.

Originally, I went to London to see Green Day in concert, but I also took the opportunity to organize a few portrait shoots while I was there, including this one with Sophie, the model featured in these photos.

We found ourselves right in the heart of London, in a very busy area, and I really wanted to create a classic London-style image featuring one of the iconic red buses. To achieve that, I used a slow shutter speed to create motion blur in the background as the bus passed by.

However, we were facing several challenges. It was raining, and the available light was fading. I had the composition in mind and knew exactly where I wanted Sophie to stand, but there simply wasn’t enough light to illuminate her properly.

This is exactly why it’s always useful to carry a small LED light in your camera bag. Mine isn’t even 10 watts it’s tiny. Fortunately, I had a friend with me who could hold it, allowing me to add just enough light to Sophie’s face while keeping the background I wanted, including the moving bus.

Of course, it took plenty of attempts before getting the final image. When you’re shooting at 1/15th of a second, even the slightest camera shake can affect the result. On top of that, the bus has to pass at the right speed and at the perfect moment to create the exact motion blur you’re looking for.

In the end, some of the best ideas come from working through constraints. But to take advantage of those moments, you need experience and the right tools in your bag.

If you’re enjoying this series, feel free to share it, and I’ll see you soon for more photography tips.

27/05/2026

What’s your favorites ? 1-11 ? Model 💃
Working on the beach with sand is super cool, but there are two things you really need to keep in mind when photographing at the beach, especially in areas with very fine sand.

The first issue is that you’re dealing with sand, which basically means dust. And sand is made of glass, so it’s kind of the worst enemy of your camera sensor. This is the type of shoot where you need to be extremely careful when changing lenses. That’s one of the reasons why having a Nikon Z8 with a shutter that closes when changing lenses is so useful. If you don’t have that feature, swapping lenses can quickly become risky.

That’s also why having a weather-sealed camera body is important, because sand is essentially dust. You need to be very careful since camera bodies and sensors are extremely sensitive to it. It’s very easy to damage or scratch a sensor with fine sand particles. So definitely pay close attention to that. That’s the first factor.

The second thing you need to be careful about is that sand acts like a huge natural reflector. You can end up with sunlight bouncing everywhere, and because sand tones are usually warm, it reflects a strong yellowish light that doesn’t always give the best skin tones.

That’s why I recommend using flash when shooting at the beach, at least to neutralize those warm yellow reflections. Using flash will give you a much cleaner and more balanced result. Don’t hesitate to bring a speedlight with a trigger so you can avoid direct front lighting and create something more natural-looking.

So yeah, those are my tips for beach photography. And if you have a polarizing filter, even better — it can help reduce some of the reflections caused by sunlight hitting the sand.

Anyway, have a great day, and don’t forget to share the post if you enjoyed it.

26/05/2026

Save the post for more settings and tips camera 📸 ! Model 💃
These aren’t necessarily the most creative photos in the world, but I always enjoy going back to my roots. Personally, when I started portrait photography seven years ago, I began with very simple portraits. I didn’t have much gear, many ideas, or a big budget, so I often photographed people in parks, just like I did here in Bordeaux.

I wanted to revisit those beginnings by creating simple portraits that reflect who I was as a photographer when I started, and then approach them today with more intention, stronger compositions, better image quality, and a deeper focus on the subject’s expression. Those are all things I’ve learned over the years through experience and practice.

One day, I’d love to compare the portraits I took seven years ago in parks with the ones I create today in similar locations. As many people tell me, these are still simple photos, but I really enjoy seeing the progression and how significant the before-and-after can be.

I think it’s important to compare what we created years ago with what we can produce today. Recreating similar projects is one of the best ways to measure your growth and see how much you’ve improved as a photographer. I find that process incredibly rewarding.

On top of that, I had the chance to try Yohan’s 50mm f/1.2 lens, and the bokeh is absolutely incredible. Even wide open at f/1.2, the lens performs amazingly well. That said, I still like to stop it down slightly to around f/2.8 or f/3.5, as it noticeably increases sharpness. At those apertures, the lens is close to its maximum optical performance, revealing an incredible level of detail and clarity that you simply don’t get from more standard lenses, such as a 50mm f/1.8.

I’m really happy with how these images turned out, and I hope you enjoy them as well. If you do, feel free to share this post it truly helps a lot. And for me, it’s a great motivation to keep sharing more photography tips, techniques, and camera settings with all of you.

Thanks for being here! 📸✨

13/05/2026

Alors vos préférés ? (1-10)? Model 💃

Bon, comme la saison le veut : des photos dans les champs, une ambiance champêtre, avec un magnifique coucher de soleil. C’est d’ailleurs une des grandes raisons pour lesquelles j’aime autant ma région, l’Alsace, en France, à la frontière avec l’Allemagne. C’est clairement la meilleure saison de l’année pour retrouver ce genre d’ambiance dans les champs.

Et d’ailleurs, c’est une des premières fois que je teste le drone pour réaliser des plans vidéo à intégrer dans les posts, comme vous le voyez actuellement. La vraie question, c’est : est-ce que ce genre de format, où je partage un peu les vidéos backstage avec les photos, vous plaît ? Si oui, dites-le-moi en commentaire, comme ça j’en ferai davantage !

Et puis voilà, si vous voulez soutenir le post, comme d’habitude, n’hésitez pas à le partager, ça fait énormément plaisir.

Le conseil que je peux vous donner lorsque vous faites des photos au coucher de soleil : n’hésitez pas à jouer avec les champs et avec les textures. Fermez légèrement votre ouverture, tout simplement. Et évitez d’utiliser des focales trop longues, parce que cela peut créer davantage de flares, donc plus de voile dans votre image, ce qui signifie moins de netteté et moins de contraste.

Je vous conseille plutôt des focales comme un 35 mm pour ce type d’image, ce sera plus simple pour les personnes qui ne sont pas encore très habituées. Aujourd’hui, j’arrive davantage à jouer avec un 70 mm ou un 80 mm pour ce genre de rendu, parce que je me sens plus à l’aise dans la gestion du voile et des flares au coucher du soleil. Mais faites toujours attention à ces détails, sinon vous risquez de perdre énormément d’informations dans votre image si vous avez trop de voile sur votre sujet.

Voilà, sur ce, je vous laisse. Des gros bisous, et j’espère que le post vous plaît !

11/05/2026

Save the post for more settings and tips camera ! Model 💃
In places like this, you always have to be careful because, for example, this is a public garden in Lanzarote. But you should always stay aware, because it’s the kind of place where, potentially, you may not be allowed to take photos. So that’s something you always need to keep in mind.

There are basically two ways to approach places like this, such as the Cactus Garden in northern Lanzarote. First, check whether the location is accessible and whether they generally allow photography. And if they do, then either you try to blend in while accepting the risk that someone may tell you no and ask you to leave because you were taking photos, or the second option is to send an email request beforehand. In that case, you really need to plan ahead and contact the location directly to get permission.

There’s also something very important to know when taking photos in a public place. Whether people tell you or not, there are laws stating that you are allowed to take photos as long as it’s for personal use. You also cannot use those photos for commercial purposes. That’s my case, for example, with these photos. And it’s something you should clearly mention when sending an email to request permission from a location.

That being said, I still recommend sending an email beforehand rather than trying to enter directly and risking being kicked out. Some people simply won’t want to hear those explanations. So don’t hesitate to contact the location in advance. It’s more professional, better organized, and you’ll avoid a lot of surprises.

Feel free to share the post if you enjoyed it.

06/05/2026

Alors vos préférés ? 1-12 ? Model 💃

Sur cette séance à Milan, j’ai voulu partir sur une valeur sûre. Souvent, quand je vais dans de grandes villes et que je ne suis pas très inspiré par l’architecture extérieure, je travaille beaucoup dans les métros, parce qu’on peut utiliser quelque chose de relativement créatif : le slow shutter speed avec le métro. Ça donne des effets vraiment sympas. Plus les métros sont design, mieux c’est.

J’ai eu de la chance avec ce métro à Milan, en plein centre-ville. Il y avait des bordures et des lignes rouges sur le métro, et forcément, ça donne un effet beaucoup plus visuel et graphique à l’image, ce qui l’améliore par rapport à d’autres photos de métro qu’on peut voir sur internet.

Du coup, j’ai utilisé le slow shutter speed et le résultat a été incroyable. Merci encore à Franca, qui a super bien posé.

D’ailleurs, dans le métro, selon les éclairages, la lumière intérieure peut parfois suffire. Mais il vaut souvent mieux amener une petite lumière, comme une PavoTube II 6C, qui est super utile parce qu’elle permet de compenser certaines ombres désagréables créées par l’éclairage du métro.

Donc voilà, je pense que c’est toujours le petit accessoire, le petit outil à avoir avec soi pour réussir ses photos de métro, peu importe la situation.

Matériel Z6III + 24-70mm F/2.8
Retouche Lightroom mobile 📲

04/05/2026

Save the post for more settings and tips camera ! Model .hamston 💃
When you’re shooting with natural light especially during sunset, like the photos we took in Civitanova with Lucia you need to understand that your focal length choice is extremely important for backlighting.

The longer your focal length like 85mm or 105mm, the more it compresses the background, and the more flare you’ll get, which creates a sort of haze. And if that haze affects your subject in a portrait, it will reduce sharpness, contrast, and colors. That also makes it much harder to fix in post-production.

So your focal length choice really matters. In this case, I went with a 50mm because it gives some flare, but not enough to negatively impact the image too much.

Also, when you’re shooting backlit with focal lengths of 50mm or longer, you should always try to avoid having the sun directly in your frame. Otherwise, the flare can become too strong and affect your subject a lot. So that’s something you really need to watch out for.

On the other hand, if you use wider lenses like 35mm or 20mm, you’ll generally get less flare.

EyesofBelga

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