Witch Inspired Photo Shoot in Bywater

The first time I saw Chloe Rose's headpieces was at the Mardi Gras market at the New Orleans Healing Center.They were elegant, classic, edgy and reminiscent of the colors and materials one would find in nature. I knew I had to work with her. A little while after Mardi Gras ended, we met for coffee at the Orange Couch in the Marigny. From there we discussed imagery, our favorite colors to work with, photographers that we like, etc. 

The shoot was canceled at least twice due to the weather but finally the right day came. It was overcast, the temperature was comfortable and with the makeup artist Radiator and Aryn (my wife) agreeing to model, we packed into my little yellow car and headed into the Bywater to pick up Chloe on the way to the levee. 

We hiked up the side of the levee to find that the small wooded area just above the water line had been engulfed by the river. I thought that maybe we were screwed at this location but we found the large end of a tree had fallen, creating a viable platform for Aryn to crouch into. I looked around, saw the clouds, the light and how it made the green grass and white little flowers pop. We started at our first setup, just under the top of the levee and went to work.

Photography: Carlos Detres
Headpiece: Chloe Rose
Makeup: Radiator
Model: Aryn Detres

Email: info@carlosdetres.com

Portrait and Low Light Test of Sony A6300

PREFACE: This isn't a super technical piece, just some thoughts of using the Sony A6300 in real life settings. I'm not big on pixel peeping or needing the most sharp lens of all time, ever in the Universe. To give a little insight about myself: one of my favorite cameras to shoot with is a years-old digital compact, the 10.1 megapixel Panasonic Lumix DMC-LX7, which has limitations that make it merely a decent camera to shoot at night with (you can see photos I've taken with it HERE). In fact, most of my upcoming book ESOTERICA is shot with this little bad boy (it really is a great little camera).

For this post, I've included photos from a commercial portrait session and some street shots. Most of these pictures were made using the Sony 3.5-5.6 16-50mm kit lens while the portrait work was done with a Lensbaby Composer Pro equipped with a double optic lens attached via a f-mount to e-mount adapter from Vello. These photos have not been retouched or edited and come straight out of the camera.

Now that that's out of the way, let's get into this camera and why I felt it was time to jump into the Sony mirrorless world. I've been wanting a small, lightweight travel camera that I could use for studio, night time street photography, had a viewfinder, could shoot decent video and had fast autofocus. Until the announcement of the Sony A6300, there wasn't a camera that got me excited. I pre-ordered the camera, considering seriously that I might return it. So how did it do?

I don't know if it's because I haven't paid much attention to what's been released since the Nikon D800 but for me, the Sony A6300 had a game-changey quality about it. The number of settings in the menu, expanded metering and autofocus options was staggering. I've become so accustomed to the older Nikon cameras that looking at this thing was like, "Ok wtf do I do with this?" The custom buttons and focus lock are in awkward places but that comes with a camera that's smaller than the Fujifilm x100s that I recently sold. And maybe because my hands are big.

The real test would come from shooting with only ambient light in some of the darker corners of New Orleans, specifically the French Quarter. I was impressed by how it performed in low light conditions with mostly usable photos shot at 12,800 ISO with noticeable noise in the shadows. 

Sony 3.5-5.6 16-50mm kit lens @16mm, f/3.5, 1/30th second, 12,800 ISO

The autofocus, when I thought I knew what I was doing nailed nearly every lighting scenario. The kit lens isn't my favorite but it did better than I thought it would. 

Sony 3.5-5.6 16-50mm kit lens @17 mm, f/3.5, 1/125 second, 12,800 ISO

The retractable LCD screen on the back of the camera was hella fun to use as well. I'm usually a little shy when I'm doing street photography so being able to look down into the viewfinder made it so easy for me to shoot without being noticed. Huge plus. 

Sony 3.5-5.6 16-50mm kit lens @50mm, f/5.6, 1/50th second, 6400 ISO

Sony 3.5-5.6 16-50mm kit lens @50mm, f/5.6, 1/50th second, 6400 ISO

Did I mention the autofocus?

Sony 3.5-5.6 16-50mm kit lens @16, f/3.5, 1/125th second, 12,800 ISO

The autofocus is probably the best I've used on any system but the manual focus peaking assist is effin' tops! It might actually be easier to use a manual lens on this camera in low light settings than an auto lens on most other cameras. Once you select this option, you can use various colors to indicate your focal distance so there's no hunting, you just follow the focus, use the manual assist to zoom in on your subject (although you don't have to) and click away. Just a note, it's kind of a pain to use on a zoom but easier on a prime.

I did find that if you're intending on using your DSLR lenses, that you have to use a faster shutter speed than before because it becomes very lens heavy. This camera is of durable material but it is lighter than the 24-70 DSLR zoom you may have lying around.

Lensbaby Composer Pro, Double Optic Lens, f/4, 1/400th second, ISO 100 on a F-mount to E-mount adapter by Vello

Oh and I forgot to mention that the autofocus system doesn't work when you have a lens adapter on but as I mentioned before, this isn't that big of a problem. I brought two cameras with me to the portrait session I did on Saturday: the Nikon D800 and the Sony A6300, just to try it out in this kind of setting. I ended up using the Sony A6300 for 1/3rd of the shoot. It was fun, light, allowed me various options and played well with my PocketWizards. 

Lensbaby Composer Pro, Double Optic Lens, f/4, 1/400th second, ISO 100 on a F-mount to E-mount adapter by Vello

Yeah, this is a dope camera. I love it. I'll be bringing it along today for my portrait session with DJ Hektik so let's see how it does then. Thanks for reading.

Sony 3.5-5.6 16-50mm kit lens @16mm, f/3.5, 1/50th second, 6400 ISO

Taking the Fujifilm x100s Out for a Spin at a New Orleans Wedding

"You see if you don’t take money, they can’t tell you what to do, kid." -- Bill Cunningham

Just over a month ago, my wife and I were invited to a wedding here in New Orleans. I'd been wanting to shoot a wedding with my Fujifilm x100s since I got it just to see how it would fare in a situation with a lot of moving parts. I was able to experiment with this camera because I wasn't the hired photographer. In another scenario, I'd have brought my Nikon cameras since I know very well how well they handle under these high octane situations.

I was very satisfied but unsurprised by the x100s' performance. It handled the rain with no problem and the autofocus worked wonderfully. I could very well see this being the only camera I shoot events with in the future. It was fun, compact and easy to work with and due to its quiet shutter and size, I went mostly unnoticed when I needed to be.

Turning Your Brand into a Lifestyle Photo Shoot

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How to highlight what you do

The photos in this post were commissioned by ProHairKit.com to display the looks that can be had through the use of the hair tools they sell. It was a smart decision because it allowed them to broadcast beautiful, inspiring imagery through a story they could share with their network. It is one part portraiture and one part documentary, which is also how I photograph for clients such as Brugal, The Macallan and emerging artists.

My specialty in providing consultation and photography for social media marketing is bookended by my belief in the power of a photograph and its story. Many artists and companies are catching onto this, which is why this is such a HUGE part of my business. 

In recent years, I have had the freedom to make my professional work my personal work and as a result, I have gained new clients in New York City, Miami, North Carolina and New Orleans. Whether you're a musician or a business, I will work with you to develop a concept that is true to the heart of your brand through artistry, technical and marketing knowhow.

Inquiries are FREE so email me at info@carlosdetres.com and let's see if we can build the right project for you. You can visit my site to view more samples of my photography.

You can view the rest of the photo story HERE.

Walking Among the Ruins

On March 14th, I led a tour photo tour for a photographer in town from Arkansas. Since St. Louis Cemetery #1 has been closed to the public, we only had #2 to walk around. I really like this cemetery because there's a lot of space to roam around, there's still grass on the ground (unlike #1) and the tombs that are there are just as old as #1's. We spent at least an hour walking around and both of us captured some really nice images. 

The photographer and I are fans of the Lensbaby optics system, which I used heavily during the tour. I enjoyed how the lens would allow me to alter the image in camera. Since I was happy with my exposures, I applied a Totally Rad! Tri-X 400+ preset on all of the images so the post process happened in only one click for the entire batch. Life made easier.

If you get a chance to check out this cemetery, do so! It's not as famous as #1 but it's an excellent alternative. Give yourself a couple of hours to roam around. Hardly anyone goes there so you'll likely have it to yourself.

For any more info or questions about the photos, feel free to email me.

Super Sunday

Super Sunday at A.L. Davis Park in Central City

Yesterday was my first Super Sunday and I wasn't fully aware of what to expect. I was looking forward to seeing the Mardi Gras indians in their beautifully colored, embroidered suits, which they spend up to nine months planning and creating. Speaking with some of the indians, I learned more of the origin of this tradition, however NewOrleansOnline.com does a better job of explaining than I could:

"To most Americans, "Super Sunday" connotates the Sunday on which the NFL Super Bowl is played. However, in New Orleans, Super Sunday has a different, totally unrelated meaning. It is a day for the city's Mardi Gras Indian tribes to put on their colorful suits and "strut their stuff" while marching in a procession through the streets of their neighborhoods."

The article continues to explain the history HERE.

I quickly put together a photo essay of the event that highlighted the indians, neighborhoods and music that embody this New Orleans tradition.

The Antiquated Charms of the French Quarter

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I enjoy the dreamy quality of the French Quarter and how the modern world clashes with its antiquated appearance. I really need to do more of these studies.

There's probably a bit too many photos in this post but I hope that you enjoy them anyway.

Please feel free to leave questions or comments below. 

A Time Lapse of the Photo Essay Sequence for "Die and Let Die"

This is me sequencing a photo essay with a working title of "Die and Let Die" (it was scribbled on the side of a tomb) about spooky humans haunting the dead of St. Louis Cemetery #1 in New Orleans. It's part dark humor and part sincere commentary.

I've posted several blogs dedicated to the process of photographing this series. The project changed during its course and has now become two distinct collections. The rest of the posts with plenty of photos inside, can be found HERE.

Should we not wake the eff up...

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The cemetery project is being sequenced. After reviewing all of the photos, it was very clear that two projects were in there. One about the dead not being safe from the living and the other a work dedicated to the admiration of the beauty and decay. The former is a photo essay and the latter a book.

Anyway...

Now that photography is done with those projects I'm on to the next thing(s) which is a work about the economic impact of wetland loss in Louisiana. Our region is losing natural territory faster than any in the world but unfortunately the news doesn't get a whole lot of national press. It happens a lot in this state. 

Oil companies such as BP are certainly not the only ones to blame, however the industry is the biggest factor for preventing extended losses, of which is currently about a football field a day. 

The goal of this project is to provide the visual ammo for non-profit organizations to use as a way to inspire others into action or at the very least, awareness like that small rock in your shoe -- you'll feel something wrong. It will take me through bayous, small towns, abandoned oil wells and polluted coasts. I'm not sure how long this project will take but I imagine quite some time. At least a few years.

I don't expect drastic changes but any little bit of awareness can go a long way, especially in this beautiful state.

It really is pretty.

Below is an image posted by NOLA.com that depicts a more accurate outline of how Louisiana currently looks. 

And this incredible article by Brett Anderson from where I got this image.

The Haunting Tourist

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What is the tourist's role at Saint Louis Cemetery #1?

This is what I'm considering today as I finish up shooting at Saint Louis Cemetery #1. The biggest challenge of shooting at one of the most essential visits of anyone's vacation to New Orleans is this cemetery, which leads to the inevitable, "Shit! They walked into my frame!" At some point, I said, screw it, I'm going to photograph them away. The first time I did this, I returned home, uploaded and scanned through my photographs and found that the tourists who walked into my shot actually gave the scene an eerie feel...as if they were the ones haunting the site.

I've never felt or seen any spirits at the cemetery. Who'd want to linger with such massive crowds? Nope. What has happened, however is, on a few occasions, a tourist would walk past a corner I was shooting from, not expect me and become frightened. I've seen other tourists do it to each other, too. It's an old, crumbly cemetery and beside stories of hauntings it used to be a huge problem for safety. The crime used to be so bad that not even family members of those deceased would visit. Much of the reason why the cemetery looks as it does is because of the lack of upkeep due to the dangers associated with criminals. It's now relatively safe but I digress.

It's not certain whether these shots of tourists will end up in the final collection. I vacillate, considering whether it would be a distraction or enhance the narrative. In the pictures below, you'll see how the scene looks with and without the tourist. Which do you prefer? 

I'm off to prepare for my last shoot day. Thanks for reading.

Any questions can be emailed to info@carlosdetres.com. You can read more posts and see more photos HERE.

One More Day To Go!

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I waited at the gate of Saint Louis Cemetery #1 before it opened. I was both excited for the days prospect of shooting and also a bit bummed that I could count the number of days left to freely visit one of my favorite locations in New Orleans. But then there was another feeling, one of accomplishment because, no matter what, principle photography was almost over.

After tomorrow, with the exception of one more day of shooting exteriors, I'll be in the process of sequencing and sorting through hundreds of photos. I've learned a lot of a lot in the last month since this project began. Every minute provided was filled with complete joy and concentration. I met a lot of people and discovered the cemetery's most intimate corners. 

The purpose of this project is more art than historical. It is a showcase of years of decay, architecture, loss of life and the preciousness of every moment. When this project is completed and showcased, no one single tomb will be identified. It is, in a way, a collective of people who lived and traversed these streets, painted the city's character with a wild brush, and perhaps even wandered through Saint Louis Cemetery while they lived. New Orleans began and continued with those laid to rest within its walls and it grows within us who live and purvey the old traditions and create new ones. This is obviously a passion project and I can't wait to share the completed vision.

Here are some select photos from today. These were made with a lot of joy, love and sheer curiosity and persistence. 

If you have any questions, please feel free to email me at info@carlosdetres.com or leave a comment below. 

The Last Week

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After a very short work trip and an amazing shoot with Brugal and an hour and a half of sleep, I rushed to St. Louis Cemetery #1 to get what I could today. The temperature sucked and the sky was gray but I was glad to get an extra couple hours to work.

Since I have only have a few days to shoot this project before the cemetery closes for good, I took out my Lensbaby kit to see what kind of inspiration would occur. Well, it worked. It helped me find a mood that would underline my theme of a "haunting portrait of the ruin, mystique and beauty...". 

So here's what I got today. In the photo directly below, I had my shutter open for about 25 seconds and caught this interesting, anomaly undoubtedly caused by something in the lens. Either way, it was a very nice, eerie effect. 

My goal for this project has been to create a unique photographic experience that takes the viewer through an intimate journey into the heart of New Orleans' oldest and one of its most unique cemeteries (Holt Cemetery is probably the other one that comes to mind as far as uniqueness). If you'd like more photos and info, click HERE.

Please feel free to forward any questions to info@carlosdetres.com. 

Thanks for visiting!

Almost There...

Well, getting closer to the end of my St. Louis Cemetery #1 project. I lingered a little longer than usual, realizing that I'm closer to the public closure date. Anyway, I'll keep this short because it's Lundi Gras and I have some partying to do.

If you're curious to see how the other photos look, I posted more HERE.

The photo directly below this is Nicholas Cage's ostentatious, pyramid tomb. It's actually pretty cool.

Chaos and Muses

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Last night I stumbled through the parades on St. Charles. It was a long, eventful, fun walk through  a bedlam of mass revelry, debauchery and fun. My opinion of parades has always varied, most of the time, I'm not too crazy about it but then there's New Orleans and no city puts on parades like this one. 

If you weren't privy to my burst of Instagram photos last night, here are the highlights. 

All photos made with the iPhone 6.

New Endings

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A dramatic title for sure but it was the only one that described my feelings. I started this photography project on St. Louis Cemetery #1 as a way to preserve the experience of my many visits. Right now, here in New Orleans, we're in the midst of our last week of Carnival, which also means we're nearer to the end of casual visits to my favorite cemetery.

This photography project is the first one that I've dedicated, planned and executed. It's a project that perhaps no one could care about except me but I'm proud of it. I think I've captured some beautiful, timeless images. Some time in March I will begin to methodically piece the photographs to share the story of the ruined beauty of a wonderful place. I hope the Archdiocese of New Orleans will be able to refurbish, clean and preserve St. Louis Cemetery #1 so others can be inspired by its architecture and timelessness.

Decadent days ahead -- Mardi Gras is here

"New Orleans -- what a country!" 

There's a Russian comedian named Yakov Smirnoff who was famous in the 80s and would often say "America -- what a country!" About once a day, I find myself saying the same thing about New Orleans. It really is different -- different in the way that Key West is different. New Orleans is its own republic, separate from the rest of the country, allowed to be it's own weird self, mostly unmolested or uncared for by the rest of the nation, pumping culture with music, food, film, art, etc. And then comes Mardi Gras...etc., etc., etc. What a friggin' country.

The Krewe du Vieux parade, party, after party, after after party, after after after party was amazing, incredible, wonderfully overwhelming and being someone who has DJ'ed a lot of Brooklyn renegade parties back in DUMBO and Williamsburg and throughout Downtown Manhattan that's saying a lot. Anyway, I won't babble on with details. Kinda still piecing it together but if you don't live here and you get a chance to check out Krewe du Vieux, do it. It's for your own good -- maybe health. 

I didn't get too many pictures. I tried to just enjoy what was happening but I managed these. 

Day 2 of the St. Louis Cemetery #1 Project

I returned today to St. Louis Cemetery #1 to photograph as much of it as I can before it closes to the public on March 1, 2015 (you can still go with an Archdiocese approved tour guide). Since this may be my last chance to see it, I'm getting as much of it as I can. This is one of my favorite places to visit in my new home city of New Orleans but unfortunately some sick, twisted vandals and thieves decided to piss all over the city's heritage by kicking head stones, ripping through brick, grave rob, desecrate old tombs, etc. 

My goal with this project is to photograph the beauty of St. Louis Cemetery #1. Much like its host city, it's beautiful, dilapidated and full of character and history. Here are a few of the several hundred shots I did today (I still have at least two more days to fulfill my goal of covering nearly every ground). 

P.S. I wrote more details about the closure of St. Louis Cemetery over HERE. 

PHOTOS ARE COPYRIGHTED 2015. If you'd like to reuse these images, please email info@carlosdetres.com.