When we start out as photographers, it can be a little underwhelming, I mean, we all have this idea of what we're capable of and yet we start out working on small jobs (often) with low budgets. Assisting helps you keep your enthusiasm while rising up through the ranks of experience and gives you access to productions possibly decades away from your current skill set.
Some of you may already know how big a fan I am of Capture One. Making the change to Capture One as the primary tool for my workflow has sent my productivity into hyperdrive, the photographic equivalent of adding NOS to my tank (or whatever it is they use to make cars fly in "The Fast and The Furious").
Working with clients on a day-to-day basis, it can be very easy to fall into a creative rut, using the same go-to posing, styling, and scenery for the simple reason we know what will sell during a client viewing appointment. For the business aspect, this is very efficient when selling images. For the artist, many feel the need for something more by pushing the creative limits. A little adventure is all it may take to get geared back up and into the creative mindset.
In the digital world it may almost seem as though selling albums or wall art would be a thing of the past. The majority of clients will want to post their session to social media and go about their day. As photographers, it is up to us to educate the client about the importance of having a physical piece of art as well as the right type of art for their home.
Earlier this month, Apple released a new Spike Jonze-directed ad titled “Welcome Home” that featured FKA Twigs dancing through shapeshifting apartment. Today, AdWeek shared a revealing behind-the-scenes video where we learn that almost all of it was practical effects. It’s almost unbelievable.
The 1976 Oscar winner for Best Cinematography was "Barry Lyndon" (John Alcott) and deservedly so, as the sheer technical achievement and aesthetic quality of the film is astounding. This great video takes you behind the scenes of a film set that used 800-foot sliders and lenses from NASA.