View allAll Photos Tagged cinematicportrait
She spoke to no one,
yet the trees leaned in—
each step a secret,
each glance a hymn.
In the hush of moss and memory,
the forest listened.
he looks toward the light, but carries the darkness with grace. a portrait of quiet strength and unanswered questions — suspended somewhere between what is and what could be.
ehind the veil of reflections and neon glow, her profile holds the quiet weight of thought. the city blurs into color and light, leaving only her presence, suspended between intimacy and distance.
Il arrive que ce qui nous brise,
change à jamais la façon dont nous voyons le monde.
____________________
Sometimes, wath breaks us forever changes the way we see the world.
caught through layered reflections, his glance turns the quiet street into a film still. muted tones and soft light transform the ordinary into a moment heavy with presence and unseen stories.
her lips untouched, yet ready—she holds the brush like a secret weapon, poised in golden stillness. reflections in her lenses whisper of distant city echoes, while the muted palette clings to her presence like silk to shadow.
a gaze without urgency, poised between presence and introspection. the light is soft, but the statement is clear—unflinching, quiet, and complete. her elegance isn't in adornment but in the way she holds space, as if time has no pull here.
he leans into the silence, lifting his glasses with the knowing glance of someone who has read a thousand stories between people—not on pages, but in eyes and pauses.
i was teaching a one-on-one street photography workshop. my student’s camera battery gave up. i handed him my leica q3. my fuji x-t5 was still with me, the 50mm f1 a quiet beast in low light. he disappeared into the paseo del borne, searching for moments.
i saw a street singer setting up his mic. beside him, a girl on a bench. i asked if i could take her portrait. she nodded, then started posing—effortless, unexpected. the light was bad. i pointed to a storefront, told her it would work like a softbox. she followed. then she gave me this. hope you like it.
in the silence of a deserted underground passage, a lone figure walks between harsh white walls and glowing veins of red light. the wet floor mirrors the tension above, as if the ground itself remembers each step. it feels like a fragment from a forgotten noir film, where the city breathes in blue and crimson.
Model: Karlijn Nijkamp
Photographer: Bram van Dal
1/250 F/1.8 640 Canon 5DmkIII Sigma 85mm
A location on Strijp-S that I have not visited before. The atmosphere of this location really appealed to us and playing with the available light was a nice challenge.
i was teaching a one-on-one street photography workshop. my student’s camera battery gave up. i handed him my leica q3. my fuji x-t5 was still with me, the 50mm f1 a quiet beast in low light. he disappeared into the paseo del borne, searching for moments.
i saw a street singer setting up his mic. beside him, a girl on a bench. i asked if i could take her portrait. she nodded, then started posing—effortless, unexpected. the light was bad. i pointed to a storefront, told her it would work like a softbox. she followed. then she gave me this. hope you like it.
in the melting midday light, every curve of the face folds into chiaroscuro. he hides behind his shades, not from the sun, but from what it might reveal. the air hums with the silence of unsaid things, soft and burning.
Night Shoot with Josephine
Double Exposure
Lights used:
- YONGNUO YN360 Pro LED Light
© 2021 Sabine Fischer
find me elsewhere:
instagram: sabine fey
portfolio: www.phoenixstudios.de
Model: Dana ten Have
Photographer: Bram van Dal
1/3000 F/1.4 160 Canon 5DmkIII Sigma 85mm
A simple decor, but I think it's a great photo.
This was another one of the alternatives I had from my portrait52 shoot last year with Freya. We were going for a film still like look
The world feels different when seen from another angle.
Eyes wide, unblinking, absorbing everything — not just the light, but the questions unspoken, the stories untold.
Here lies a quiet moment of stillness and curiosity, captured just before it slips away. The shadows cradle him like a secret, while his gaze dares you to stop, look closer, and wonder what he sees that you do not.
walking through the city, finding light, letting moments happen. portraits should feel like passing glances, like something seen from the corner of your eye. no studios, no setups—just people in places, blending in, standing out. here, the glow does the work, wrapping him in warmth, making the ordinary feel cinematic. part of a series with jan hofer, longtime anchor of germany’s iconic news program tagesschau.
When Simone contacted me about doing a shoot I was keen to work with her but needed a venue that would be up there. I told her I would contact her when I had something in my mind.
luckily my sister decided to paint one of her rooms and it looked like it could be a set. I quickly got in contact and we had a great session.
This was shot using one godox AD200 in an apollo orb camera left and feathered.
Edward is someone who I had seen many times as he works in a shop called G H Bass. Every time I walked past I would see Edward and every time he was impeccably dressed. Today was no exception and today I was prepared.
I had wanted to take a portrait of him in the shop because his style always matched well with the environment. This was not surprising as he is an artist. I needed a wider angle and flash to make this work and today I was ready.
It was Sunday and the shop had just opened. He was the only one there so I went in and explained the project to him. Edward was so cool and agreed immediately. I told him to chill out for a bit while I set up and as (bad) luck would have some customers came in. I didn't want to mess with any sale so while he attended to them, I walked out and took some time to think about how I would set the shot up.
Once they finished, I went back in but I still couldn't take the shot. In needed someone to hold the flash / umbrella set up and we were the only two in the shop.
While we waited for a customer /assistant to walk in, I had a great chat with Edward. I asked him Daniel's question about whether or not he smiled enough to which I could tell the answer was yes.
He said it wasn't the case in photos though and he likened it to your online dating profile where everyone puts up smiley happy faces and does not show the real you. I said that it reminded me of facebook, something which he avoids as much as he can by not having internet at home. I am not sure if I could cope with that.
I asked him what question he would like me to ask for the next stranger and he said: "Where do you see yourself in 10 years?"
An interesting thing that I started doing with both Daniel (stranger 165) and Edward was to get them to answer their own question too. Edward does not like to look too far into the future and prefers to surf the waves of the present.
I could write a whole essay of our conversation as he was very giving of his time to which I am very grateful.
In terms of light set up, I had a Nikon SB5000 flash in a shoot through umbrella triggered using Yongnuo YN-622N triggers.
I had problems with the set up and the power wasn't changing from the controller. I later found out what the issue was but in the heat of the moment I just manually changed the power on the flash itself.
Thank you so much Edward for this portrait. Find out more about the project and see pictures taken by other photographers at the
100 Strangers Flickr Group Page
Connect with me on instagram where my handle is @arnabkghosal
or visit my website
As always constructive criticism is appreciated.
The man in the reflection had more questions than answers to the one on the other side...
Lower East Side,
New York City.
2013
© Sion Fullana
All Rights Reserved
sometimes, the best office is outside. surrounded by glass, stairs, and sunlight, she navigates papers, devices, and calls with focus and determination. work doesn't always mean walls—it’s where ideas take shape, whether on a conference call or jotting down notes under the sky.
So what do they say about taking pictures of animals and babies? Well, my friend and I decided to try and do a cinematic shoot in London Paddington Station a few weeks ago. We had to be careful as shoots technically are't allowed. But as this was just for fun we decided to see what we could get away with.
Since we had to be fast and it could not look like a production shoot it was all natural light. Although I think that was the right way to go as it reminded me to find the light.
On the running shot at some point I might try and composite a different shot of the dog where the lead is better positioned.
Cinematic colour grading done in Capture One
It is the gentle hand that steadies you when the ground feels uncertain,
the voice that calls you back when you drift too far into the shadows.
It is the quiet presence beside you,
requiring no words,
only the unspoken promise: I am here.
And in those times,
you need only reach out.
A hand will be there to clasp yours,
a shoulder will be there to bear the weight you can no longer carry alone.
This feeling is not a luxury;
it is a lifeline.
It is the thread that ties one soul to another,
woven through laughter and tears,
through moments of silence as much as moments of joy.
If you are blessed with such a bond,
hold it close.
Let your friend know they are seen,
let them know they are needed,
let them feel the warmth of your gratitude.
For friendship is not just a part of life,
it is the pulse within it,
the quiet rhythm that reminds us:
We do not walk this path alone.
S.
Model: Вікторія Тимошенко
Photographer: Bram van Dal
Website: Www.bvdbvphotography.com
Insta: www.instagram.com/bvdbv_photography/
1/500 F/1.4 320 Canon 5DmkIII Sigma 85mm.
A cafe on Strijp-S, with a cool wall cabinet and large windows that allow you to play beautifully with both the daylight of showers and the warm light of the table lamp.
I thought the book was a nice addition to this setting.
Model: Puk Roskam
Photographer: Bram van Dal
1/1500 F/1.8 200 Canon 5DmkIII Sigma 85mm
Sometimes you have to try something to find out how it will turn out. I regularly challenge models to build a pose. By continuing to fine-tune the pose together, you arrive at something that both of you (both model and photographer) have had an influence on.
After a ridiculously busy month in January (not photography related unfortunately), I finally got round to editing another one from my cinematic shoot from earlier this year.
I rarerly use the 24-70 as I tend to prefer primes but it came in very handy for this shoot.
Lighting wise I used two Godox AD200 flashes. One was camera left in a gridded apollo strip box acting as the key light. The second was a bare flash bouncing off the ceiling. Both were triggered using the Godox trigger that came with the flashes.
Nikon D750, Tamron 24-70 2.8 at 34 mm, ISO100, 1/125s F2.8
Model: Puk Roskam
Photographer: Bram van Dal
1/1500 F/1.8 200 Canon 5DmkIII Sigma 85mm
Above all, being yourself is the most important thing to me and is also my message, regardless of who is in front of the camera with me.
These are photos that I can enjoy.
there was something about his gaze, the fur brushing against the chill of madrid’s streets. the chaos softened into whispers around him, and the lens caught a moment of quiet defiance. he belonged here, but he didn’t.
To see more of my photography :
Insta : @moira.darling
Facebook : www.facebook.com/moirashands
Facebook : www.facebook.com/Moira.A.W