A photoshoot with famous celebrity Charlize Theron has been planned and booked by famous photographer Vincent Peters.
However, the photoshoot is thrown into disarray when Theron decides not to travel to Brooklyn, where the photoshoot was scheduled to take place. Despite the initial disappointment, the session is rebooked and Theron arrives in the studio but expresses dissatisfaction with the outfit chosen for the GQ cover photo.
Peters improvises by using a hotel bed sheet to create a stunning image of Theron that ends up on the cover of his book “The Light Between Us.”
00:00 Charlize Theron Photoshoot
00:36 Vincent Peters Photographer
01:02 GQ Photoshoot Going Pear Shaped
02:31 Charlize Theron And The Bed Sheet
03:23 The Awesome Photography Of Vincent Peters
04:36 Deciphering The Lighting Of Fashion Photography
06:24 Getting Beautiful Black And White Tones In Photography
08:57 The Theatre Of Photography
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28 responses to “This Photoshoot Did Not Go As Planned – VINCENT PETERS”
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This is exactly why I (almost) don't shoot B&W in digital. There for I use my Pentax 67
So the takeaway from this is that if you want a classic look, learn to light your photos properly and if you shoot film, you will achieve the look without fannying around with digital filters and presets. Film still has a lot to offer and it is a wonderful medium for achieving your own individual look.
Well, film has this one distinct "feature" – grain (and some other technical imperfections). It introduces a sort of "organic" micro-tonal changes and unevenness of edges all over the image, even if it is not visible in itself. Sensors are just too regular for this kind of rendering, and technology tries to make them even more perfect (and this is part of the success of digital photography). I'm sure it can be emulated, but I prefer the "original" … 😉
Sorry, I'm going to put it out here. Staged fashion/celebrity portrait photography like this is utter shallow and meaningless crap. There is nothing real to it and the images look really over edited I actually thought they were digital, maybe they were scanned and edited digitally. You guys can bang on how amazing the lighting is, which other past time photographers have done better like Irving Penn, Avedon and Steven Meisel etc, but I really don't rate this Vincent guy.
It's great to know that he was using one camera all those years, and serves to remind us that it is not the camera, but the person behind the lens/camera that creates these wonderful images. In these days of digital photography, we have been totally bewitched by technology and sold the hype that megapixels, sharpness, sensor resolution, contrast, AI technology, brand names, bokeh, etc etc are the only sure way to improve our images and skills set. I have been through all these hype for many years, and now, I have gone back to using my old and trusted Olympus E-PL6 and Nikon D200 because I find they fit my needs, give me all I wanted and provide me with even greater satisfaction than using my Fuji X-T4 (which I'm selling)!
Lesson learned for myself, don't get fooled by all the hype, just master the tools that you have and become a better photographer.
Excellent video, thanks a lot!!!! Vincent Peters is also one of my favorite photographers. You also might enjoy his "Selected Works Collector's Edition". Loved the story you told.
On the other hand – What drives me, is trying to distill the essence of the "why" this (B&W, hot-lights, film, medium/large format) feels/looks that way and how to transpose it into my thoroughly modern world. I am emotional, but driven by (my) different emotions. To me the nostalgia of the clunky, heavy camera, or of film distracts me negatively. I repeatedly tried it again in the last years, but it did not work for me – beautiful Hasselblad loaners, film bodies for my lenses, etc. I'm not a romantic who just adores the glorious past, which to me "old fart" was far less glorious most of the time than the now. I felt liberated, once I could move from film to digital.
I want to distill the good, interesting essence of it and transport it into my modern environment. I love that my equipment feels right for me, becomes an extension of me, but I don't fancy its quirks/dents/looks/brand, and hate it when I feel restricted by it.
Another great video Alex. Thanks!
Finally more pictures than endless spoken words. Very beautiful photographs btw.
This is why I shoot fujifilm for digital, their film emulations are fantastic. I also keep my dads old OM-1 and shoot a couple of rolls of superia 200 and tri-x 400 a month just to get my vintage lens and film fix, there is nothing like it 😊
Always such an inspiration. Thank you Alex !
George Hurrell
Thank you. All the best. 👍📷😎
Mole lights. Used in Hollywood. One photographer from the 1930's pulled the covers off of the light, which meant his models were staring directly into the bare filaments as he stopped his Celor lens down to f32, which turned all flares into irregular shapes. The classic images of Bogart et al were shot this way, on Orthochromatic film. That will make most women's skin glow with an almost silver or bronze patina, and most men will look dark and brooding.
First order lighthouse fresnel lenses are very different from modern fresnel as used in projectors. However, I suspect the effect can be approximated by tinkering with a large stage fresnel lens and some aluminium tape.
I love images like that! I rented an RZ67 and lights for the portraits portion of my very first wedding, a wonderful system to work with and definitely a keep forever camera if you ever get one.
Then again I've just recovered my Argus C3, bought a Zorki 4, grab the venerable D7000 when driving into town for groceries and occasionally get seduced by M42 glass for my Mamiya/Sekor 1000DTLs so I might not be the best person to take "keep the camera" advice from. 🤣
It could be the film, but I would investigate the lens first. The 2" depth of field, but then not a massive bokeh wash is sweet.
What a wonderful video – your passion is inspirational
Great then Charlize went on to bitch and moan and stamp her feet at every opportunity, sorry, but I'd have told to to F off.
You are a masterful storyteller! So much good photography knowledge, such good teaching but your stories take all of this to the next level. Thank you Alex! 👋🇨🇦
This channel is something else… finally someone who's talking about photography!
Vincent Peters is God.
Oh wow, very challenging situation for Mr. Vincent Peters! But then again we must embrace as soon as one can the challenge. In the case of Photographers of the level of Vincent Peters this is the opportunity to show how good they really are, by creating incredible images. I think there is a phrase that says "do the very best you can with what you have no matter where you are". Thanks Alex Kilbee for all the great content and knowledge you share with us all in this great channel!
Was a little confused on the shoot with Charlize, isn't the location and everything planned out a head to match her schedule? Wouldn't she of known about the location way in advance instead of saying no at the last minute? I guess as a star you can get away with all kinds of things, I'm sure she has done enough shoots that she would trust the photographer to get her good sides..(They are all good btw🤣). Good that it worked out I guess in the end….
Even more interesting – he's shooting at least some of these photos on colour film and printing to black and white. Check out the rebate on the photo of Bono at 8:06 – it's Portra 160.
I can't say I've ever heard of the model and she looks like any other top model to me, a very asexual classic beauty. Beauty for a plinth, no character in her face.
It was so nice to hear that Peters' uses a medium format film camera and hot lights. Our prof had us shoot both with strobe and hot lights. This was in the mid nineties before digital became de rigor. Big big difference. I have Jean-Loup Sieff's monograph. My fav monograph.
Great video thanks…Amazing images and the guy is a master of light and pose. True glamour at its best. Thanks for uploading.
You spoke of that intangible difference between film and digital, you also made reference to a musicians favorite instrument. I listen to Beethoven's Moonlight sonata on my 1911 gramophone as well as a high fidelity recording from the late sixties on Lp, ( Ah Karajin). Other times I will listen to it on my number whitch, ( computer). Same sheet music, same instruments but each is different. You hear scratches and pops hiding an already low fidelity recording where as I hear time on my hundred year old edison player. I experience the duration of all things as revealed by Beethoven. The Lp affords me an ombeance that is more than just the room where the noise and microphones were. There is a magic lent to the recording on Lps' that I can not express without a guitar and camera. Digital, I can hear the shape of the room, if the signal was powerful enough to fill the space where it was recorded. There is a specific modern recording of Vivaldi's Summer that I like. In my mind I can see the corners of the walls where they meet the ceiling; it is a sublime experience. It was Beethoven who taught me, ( not in person mind you), that as we busy ourselves with the details of life, it is actualy the little things that fill all the spaces and sift twixt our fingers and teeth that make life, the grain of it all. Use it all I say and live your best life. Thank you for this great essay, I always leave them feeling empowered or affirmed some way or another; an artists figity perch in life I guess.