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EyesofBelga, Strasbourg (2026)

30/10/2026

Pour Halloween, je vous emmène dans un univers bien différent de mes portraits en voyage. Avec Marine, on a donné vie à un personnage entre l’humain et l’animal. Un projet exigeant, qui m’a obligé à repenser ma manière de photographier… jusqu’à la dernière image.

Nikon Z6III + 50mm F/1.8

Ces cornes de renne ont été fabriquées à la main, en résine et en argile. Un immense merci à la personne qui les a créées !

Dans ce type de projet, les matières comptent beaucoup : leurs reliefs accrochent la lumière et donnent une présence physique au personnage.

Les cornes pesaient lourd : un vrai défi pour Marine. Merci pour sa patience, sa confiance et son implication. 🖤

Un accessoire imposant change l’équilibre du corps et limite certains mouvements. Les poses doivent donc tenir compte du confort de la modèle. Une image se construit ensemble, avec de l’écoute.

Pour cette séance, j’ai choisi de travailler au flash, avec une approche différente de mes habitudes.

Sur ces images, les zones sombres participent au mystère. Tout éclairer ferait perdre une partie de cette ambiance. L’enjeu est de garder suffisamment de détails dans les zones qui guident le regard : le visage, les mains ou les cornes.

Pour cette séance, j’ai choisi de travailler au flash, avec une approche différente de mes habitudes.

Sur ces images, les zones sombres participent au mystère. Tout éclairer ferait perdre une partie de cette ambiance. L’enjeu est de garder suffisamment de détails dans les zones qui guident le regard : le visage, les mains ou les cornes.

Le portrait serré de profil attire l’attention sur le regard, la peau et la texture des cornes. Un cadre plus large révèle leur ampleur et la posture de Marine.

Pensez aussi aux contours : lorsqu’une corne se confond avec le visage ou disparaît dans le fond, la silhouette devient moins lisible. Un léger changement d’angle peut suffire.

Ici, l’expression passe aussi par les épaules, les coudes et les mains. Leur position peut rendre le personnage majestueux, fragile ou menaçant.

Pour construire une pose, on peut partir d’une intention — observer, se protéger, impressionner — puis chercher comment elle se traduit dans le cor

28/10/2026

What’s your favorite picture ? 1-10 ? Model Iana Visceral 💃

An incredible location… and a few challenges when shooting portraits 📸🌋

Back in Lanzarote, in the Canary Islands, with my friend Yana! These rock formations, textures and colours gave us so much to work with. But getting the shots also means adapting to the conditions. Here are a few tips for shooting somewhere like this 👇

🔎 Try different lenses to tell the story of the location: a wide shot to show the surroundings, then a tighter portrait to focus on the eyes and expression. It’s a great way to bring variety to a series.

💨 Watch out for dust! It’s everywhere here. Keep lens changes to a minimum and, whenever possible, change them sheltered from the wind, with the camera mount facing down. Always keep a blower in your bag, and pay attention to dust settling on your gear too.

🚶 Be mindful of other visitors. These are tourist spots, and in such narrow spaces, people will inevitably walk through your frame. Be patient, leave room for everyone to pass and make the most of the quieter moments.

⚡ Keep flash in mind. Even in broad daylight, sunlight falling between the rock walls can create very harsh shadows. A touch of fill flash can help lift the shadows on the face while preserving the atmosphere of the location.

What do you think of this series with Yana? Let me know which photo is your favourite 🤎

Feel free to share this post and follow for more photography tips. See you next week!

26/10/2026

Save this post for more settings and tips camera ! Model NO STYLIST 🕺

This shoot with Simone wasn’t planned at all.

We were in Milan, and our actual shoot was scheduled for early the next morning. Since he was coming from out of town, I’d offered him the sofa at my Airbnb so he could save on accommodation.

Around 10 p.m., we were sitting on the balcony, having something to eat and drink, thinking we should probably get some sleep before our early start.

But here’s the thing: meeting people like Simone, with so much creativity and such a strong desire to make things happen, always makes me want to create too.

The location wasn’t anything special, and the only light I had with me was a tiny 6W light. Still, we looked at each other and thought, “You know what? Let’s improvise a little shoot right here.”

And honestly, I love those moments.

I hope you get to experience that feeling too, because it’s exactly what makes me love photography: those spontaneous moments when nothing is planned, and you just follow an idea to see where it takes you.

Thanks to Simone and his talent, we managed to turn that little balcony into something.

Is it the best series I’ve ever shot? Probably not. But the experience was incredible, and we still came away with some pretty cool images, using the unflattering streetlights around the Airbnb and that tiny 6W light.

We were really struggling for light. But with the right camera settings, a little post-production, and some work on the background, we managed to make it work.

Sometimes, a great connection with the person in front of your camera and a willingness to experiment are enough to get something started.

So thank you, Simone, for such a beautiful moment. I won’t forget it.

And to everyone reading this: leave a little room for improvisation in your photography. Planning your shoots, thinking about your compositions, and developing strong ideas are all valuable. But sometimes, it feels just as good to let go, play around, and try something simply because you feel like it.

Have a lovely day, share this post if it resonates with you, and I’ll see you in the next one!

20/10/2026

What’s your favorite ? (1-10?) model Crisleidy Da Silva 💃

In Fanal Forest, I almost feel like I’m taking portraits of the trees as much as my model. 🌳

The twisted trunks, the moss, the branches reaching in every direction… Everything makes me want to compose an image. The challenge is finding a place for my subject within all of this, where her silhouette remains easy to read.

In this series, I love the contrast between the white dress and the deep greens. It draws your eye to her, while the curves of the branches lead you through the frame. Even in the closer portraits, I wanted to keep that feeling of the forest surrounding her.

We’re currently in Madeira with our workshop participants, exploring how to create meaningful images in an extraordinary setting. Sharing this creative process, experimenting together and seeing everyone develop their own vision is such a rewarding experience. 🧭 If you’d like to join us on a future photography workshop trip, send me a message! I’d love to tell you more.

📷 Something to try here: change your focal length depending on how much presence you want to give the trees.

A 35mm on full frame lets you include their full shapes, keeping your model smaller within the landscape. To isolate a curve or a few branches around your subject, try an 85mm or 105mm and step back: the narrower field of view helps you choose exactly which elements enter your composition.

But before changing lenses, move around. Sometimes, one step sideways is enough for a branch to frame the face instead of cutting across it. And think about your aperture too: the textures of this forest deserve to stay visible.

That’s what I love about outdoor portrait photography: taking the time to observe a place, then imagining how someone could become part of it. 🤍

07/10/2026

Save this post for more settings and tips camera ! Model Iana Visceral 💃

Same location, same model… but different ways to tell the story. 📸🍀

During this portrait session in Ireland with Iana, I wanted to create variety while giving the surrounding landscapes a place in the images. And changing focal lengths is a great creative tool for that.

With a shorter focal length, I can include more of the scenery and show the connection between Iana and her environment. Moving closer also gives the foreground more presence and emphasises depth. Just be careful: getting too close to the face can exaggerate its proportions.

With a longer focal length, I can frame more tightly while stepping back. The landscape then appears closer to the subject. This “compression” effect can make a distant hill or mountain feel much more prominent behind her.

One important detail: compression mainly comes from changing your shooting distance. To keep Iana the same size in the frame with a longer focal length, I step back—and that change in position is what changes the perspective. 👀

What I love is moving from an environmental portrait, where the landscape tells part of the story, to a more intimate image focused on a look or an expression.

I also combine different focal lengths with different viewpoints: at eye level, from lower down, or from the side…

You don’t always need a new location to create variety. Sometimes, a few steps and a different focal length are enough to discover a whole new image. ✨

Do you switch focal lengths during your portrait sessions, or do you prefer exploring with just one?

05/10/2026

What’s your favorites pictures ? 1-10 ? Model Jade Sierota 💃

Look the other slides for how you can be creative on museum shoots 🥳

A museum: the perfect backdrop… right? 👀

Incredible interiors, lines everywhere, a unique atmosphere…

But shooting portraits in a museum takes a little preparation!

Here are my tips from this shoot with Jade at a museum in Lille. 📸

Your lens choice makes a difference

Some galleries can be pretty dark. An f/2.8 zoom might be enough… but sometimes you’ll need a wider aperture.

An f/1.8 or f/1.4 prime lens lets in more light, helping you keep your ISO lower.

Just watch your focus: a wider aperture also means a shallower depth of field!

Pack light, keep it discreet

Some prime lenses are more compact than large zooms, making it easier to move around without bulky equipment.

Keep walkways clear and avoid taking over a space.

You’re sharing the museum with other visitors: everyone should be able to enjoy it. 🫶🏻

Check the rules first

Rules vary between museums and exhibitions. Permission to take souvenir photos doesn’t necessarily include a shoot with a model.

Explain your project and how you plan to use the images, including on Instagram.

Even if you aren’t selling your photos, you may need permission, especially when copyrighted artworks are visible.

Work with the available light

Turn off your flash and don’t set up continuous lighting without specific permission.

Extra lighting can disturb visitors, and its use is subject to the museum’s rules.

The creative challenge here is making the most of the light that’s already there. 💡

A beautiful background isn’t enough

The lighting may be designed for the artworks, without being flattering on a face.

Before choosing your framing, look at the direction of the light and the shadows on your model.

A window, a slight turn or a few steps can completely transform your portrait!

Know your camera’s limits

Test your camera at higher ISO settings before the shoot to see how much noise you’re comfortable with.

Keep your shutter speed fast enough to avoid blur from camera shake or your model’s movements.

A sharp photo with a little no

30/09/2026

Save this for more settings and tips camera 📸 ! Look the bio in the other slides 👀⏩️ NO AI 🤖 🚫

Model 💃

Making the setting part of the image

This carousel was more than just a pretty background.

By capturing its movement, its colours turn into streaks that bring energy to the portrait.

Freya becomes the anchor in the middle of all that motion.

Colours matter too 🎨

Freya’s outfit combines light and dark tones, with a fairly neutral palette.

Behind her, the carousel is full of colour.

That contrast helps her stand out while making the whole image feel more vibrant.

Cloudy skies still need your attention

London gave us a very cloudy sky that day.

The light was soft, but it still came mainly from above, creating shadows beneath the eyebrows, nose and chin.

Soft light doesn’t automatically mean an evenly lit face.

Why 1/13 of a second?

I wanted to give the carousel enough time to leave a trail of movement in the image.

At 1/13 s, the shutter stays open long enough to capture those streaks while Freya tries to remain perfectly still.

That balance is what makes the photo work.

Your settings depend on the movement

1/13 s isn’t a universal recipe.

It depends on how fast the carousel is moving, your distance from it and your framing.

With the same movement, a longer exposure creates longer streaks. Take a few test shots to find the look you want.

The real challenge: keeping your subject sharp

At this shutter speed, even small movements can show up: your subject’s movements, but also your own.

I ask Freya to stay as still as possible. Meanwhile, I steady my stance, tuck my elbows in and gently press the shutter during a brief pause in my breathing.

It helps, but it doesn’t guarantee a sharp photo every time!

Come experiment with us 💡

Join Nicolas Costi and me in Strasbourg on December 19 for 8 hours of learning and 4 shoots.

Understanding light, choosing your settings, directing models and building your images: we’ll learn through hands-on practice, with lighting equipment provided by Nanlite.

Limited to 10 participants.
Send me a DM for more information!

Stabilisation gives you a helping hand

My Nikon Z7 II has in-bo

28/09/2026

Save this post for more settings and setup light 🫶🏻 !

Model Iana Visceral 💃

ARTIFICIAL LIGHT OUTDOORS 💡

Why bother bringing artificial lights outdoors?

Because it allows me to combine two things I love: a real environment + completely controlled lighting.

But of course… it also means a lot more logistics. 😅

A “LIGHTWEIGHT” SETUP… IN THEORY

For this shoot with Iana, I wanted to keep the setup relatively lightweight.

But “lightweight” with artificial lighting still means: lights, batteries, C-stand, accessories, smoke machine…

And most importantly: figuring out how to transport and power everything once you’re outside.

THE C-STAND

A C-stand is a heavy-duty stand commonly used to support and position lights.

Here, it allows me to place my light high above Iana and angle it down toward her.

The problem? The further you extend the light, the more leverage and weight you create.

And outdoors, even a little wind can quickly become dangerous.

KEY LIGHT + FILL LIGHT

A classic lighting setup can be built around 2 or 3 lights.

💡 Key light: the main light that defines how your subject is illuminated.

💡 Fill light: a secondary light used to soften or lift some of the shadows created by the key light and help shape the subject.

And if I have enough equipment, I’ll add a third light for the background.

BE PRECISE WITH YOUR LIGHT

For this shoot, I used my Nanlite Global & Nanlite France FC-120C with an optical spotlight attachment.

Why?

Because it allows me to shape and concentrate the light very precisely.

Instead of lighting the entire scene, I can mainly illuminate Iana without spilling too much white light onto the environment around her.

PORTABLE LIGHTS ARE YOUR FRIEND

Outdoors, every extra cable and battery makes the setup more complicated.

That’s why I also like having a portable light powered by an NP-F battery.

No need to find a power outlet nearby: place the light, turn it on, and quickly adjust your setup.

The more independent my equipment is, the more I can focus on actually taking pictures.

ENVIE D’APPRENDRE TOUT ÇA ? 👀

Le 19 décembre à Strasbourg, je vous propose une journée entière consacrée à la lumière artificielle ave

24/09/2026

Save this post for more tips and settings photography ! 🫣

Model Charlotte Lheureux 💃

The shoot where absolutely nothing went as planned… 😅📸

You know those shoots where inspiration just doesn’t come?

The location feels pretty basic, the lighting isn’t great, you’re looking for ideas… but nothing really happens the way you imagined.

That was exactly what happened during this shoot with Charlotte.

And to make things even better: I dropped my camera. 🥲

Instant panic.

Luckily, I had a filter on the front of my lens, and it absorbed most of the impact. The camera was working, the lens seemed fine… but the filter was completely shattered.

And even worse: I couldn’t remove it from the lens. 😂

At that point, I was so stressed that I couldn’t even focus properly on the shoot. I kept testing my camera over and over again just to make sure everything was still working.

Then I thought: whatever.

If I can’t remove this filter, I might as well use it.

And that’s when the problem became an idea.

The cracks and scratches on the filter created strange halos, reflections and imperfections in the images. A look I probably would have never tried to create intentionally.

And somehow… it became one of the strengths of the entire series.

I didn’t have any additional lighting with me either, so I ended up using the restaurant lights to illuminate Charlotte.

A simple location, limited gear, a broken filter… a lot of constraints.

But sometimes, constraints are exactly what force us to think differently.

I still have that broken filter today.

And I actually use it from time to time because it creates a completely unique effect that I absolutely love.

It’s funny how some problems can end up opening completely new creative perspectives.

So if you ever have a shoot where nothing seems to work, don’t worry too much about it.

You might miss some shots.
You might struggle.

But you’ll probably learn something that you’ll use again in the future. 📸

And sometimes, all it takes is a broken filter to create something you would have never imagined.

Share this with a photographer who’s already survived a chaotic shoot. 😂

07/09/2026

What’s your favorite ? 1-9 ? Model Commercial model. Photomodel. 💃

Look the other slides for tips 😌⏩️

PHOTOGRAPHING BY THE OCEAN ISN’T RISK-FREE

These images were taken with Caterina in Porto, Portugal.

The waves were beautiful… but extremely powerful.

EVERY CREATIVE CHOICE HAS ITS DOWNSIDES

Photographing by the ocean can create incredibly powerful images.

But you also have to accept certain risks: sea spray, salt, humidity, reduced sharpness and equipment that is more difficult to protect.

So before starting a shoot in these conditions: protect your equipment, clean your lens regularly and always keep an eye on the waves.

WIND AND WAVES CHANGE EVERYTHING

The wind was moving her hair, her clothes and the water in the background.

It immediately brought more movement and energy to the images.

But sea spray can quickly become a real problem for your equipment.

SPLASHES CREATE A HAZE

With every wave, tiny drops of seawater were landing on the lens.

They created a veil in front of the lens, progressively reducing contrast, sharpness and detail.

SALT STAYS ON THE LENS

The problem isn’t only the water.

As it dries, the salt leaves marks on the lens and can damage the lens coatings if it stays there for too long.

That’s why you need to clean your lens regularly throughout the shoot.

BE CAREFUL WHEN CLEANING

Don’t rub dry salt directly across your lens.

First, use an air blower to remove any particles, then use a clean microfiber cloth or a proper lens-cleaning solution.

And most importantly: check your lens very often.

THE SENSOR CAN ALSO BE AFFECTED

In a humid environment filled with sea spray, moisture and particles can get inside the camera, especially when changing lenses.

This can create spots on the sensor and make the haze even more visible in your images.

Whenever possible, avoid changing lenses while facing the waves.

IN MY CASE, THE IMAGES WERE AFFECTED

Even though I was cleaning the lens regularly, some images still lacked micro-contrast, detail and sharpness.

The colours and skin tones were also less precise.

Because of that, I couldn’t edit the images exactly the way I normally would.

BUT THAT’S

EyesofBelga

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