I don't know how I ran into this here on the eve of 2015, but I am glad I did. Product photography has never been particularly easy to do well, and I love being reminded of the fact that it used to all be done without extensive use of Adobe Photoshop CC14. These images, shot by Kim David McNeill Simmons for toymaker Kenner between 1977 and 1985, showcase basically my childhood: Star Wars toys.
Last week saw the release of ‘Anomaly’, a film that is redefining the approach and model for independent, narrative film making. Co-Director Salomon Ligthelm outlines how he managed the project as it grew from “a 2 minute art film” into the astonishing 38 minute-long final masterpiece, and provides key takeaways for all of us that we can apply to our own stills or motion projects. If you have any interest in what's coming over the horizon for cutting edge, independent, visual media production, this is for you.
For the last 2 years I've made my living shooting architecture with DSLRs, mostly short videos of California's fanciest multifamily apartment communities. When my client Synergy Corporate Housing asked me to continue that mission with all of their international properties in 10 major cities across 8 European countries, the first thing I thought when I saw the 32-day itinerary was, "bring a Hasselblad."
Whether or not you knew it, you have most likely viewed a short film by Adam Pesapane, better known as PES. The director and animator has released several immensely popular stop-motion shorts, directed numerous commercials for major companies such as PlayStation, Scrabble, and Bacardi, and has even been nominated for an Academy Award. Along with the release of his newest short, "Submarine Sandwich," PES and Nikon Cinema have teamed up to bring you a rather comprehensive behind-the-scenes look into the process that goes into the making of PES’ films.
For many of us who have been photographers for a decade plus, we learned about the history of photography either through tattered books from the library, in school while earning a fine art degree, or just by picking up small tidbits here and there as we met other photographers. Thankfully, that has all changed now. With much appreciation to the George Eastman House, we can now find a wealth of fascinating information about the traveled photographic process online.
These days it's hard to come by a fashion shoot that's not shot with a digital camera. That's why when Fstoppers discovered on a Facebook Film Shooters group that Indonesian based photographers Wirawan Sanjaya and partner Gaillard Mathieu had convinced the editors at Bazaar Magazine to allow him to shoot the entire editorial on film, we just had to reach out! The stakes were high, but his results were stunning.
Growing up, I have been entranced by Jackie Chan films for their insane stunts, beautifully choreographed action sequences and hilarious physical comedy. His action scenes are both visually stunning and involving, playing underdog characters fighting against impossible odds. Chan’s dedication to his craft is unquestionable but perhaps he has not been given enough credit as an action director. In this video, filmmaker Tony Zhou breaks down the framing and editing techniques that Hong Kong directors use to create engaging fighting scenes, highlighting how many of these techniques are absent in Hollywood films of today. If you are interested in becoming a filmmaker, you need to watch this.
As part of Universal’s 100th anniversary, a team of restoration experts took on the task of digitally remastering the classic film “Jaws.” The fully restored feature required intense labor from colorists, digital artists, audio engineers, preservation experts, and everyone in between. In this fascinating documentary, we get a look at all the various complex efforts taken in order to bring the ‘70s blockbuster in to the digital age.
I’ve just read a comment from a photographer who said it’s time to stop shooting in black and white. He claimed we don’t see the world in black and white and it was something only done in the past due to the limitations at the time and it’s time to move on. Here’s a number of reasons why I think it’s critical to shoot black and white from time to time, and how it can help nurture your photographic eye.
For a while, things looked pretty bleak for the instant-film-loving community. Films that were once mainstays of the film shooter's arsenal (like Fuji FP-3000B) were discontinued and instant camera equipment production slowed to a crawl. Fortunately for us though, like other formats and kinds of film, instant film photography is seeing an unprecedented resurgence (both in niche, hard core film communities and popular culture). This guide is for you, the digital film guy, who's been sitting on the fence and wants to see what all the buzz is about. In this article I teamed up with two of the coolest instant-film-shooting photographers today, Robert Timko and Sandy Phimester.
If you’re interested in getting big budget looks in your low budget indie film, then you should be very familiar with the Shanks FX channel on YouTube. If you’re not, you should get acquainted with it… like now! Joe Schenkenberg aka Joey Shanks is the man with the know-how when it comes to creating Hollywood effects out of simple household items. He teamed up with PBS Digital Studios to bring you quality behind-the-scenes content online and has recently partnered with Red Giant to explain how he created a black hole effect very similar looking to the one in the recent movie Interstellar – all captured in-camera.
A teacher once told me that filmmakers need to fully utilize the frame within their scenes and move the camera in ways that help drive the story forward; otherwise they're just filming a play. That always stuck with me and it's a point I still take note of in movies. Tony Zhou from Every Frame a Painting does a great job of explaining why the camera frame is so important in comedic cinema along with a slew of other techniques that few people other than Edgar Wright are making use of in today's comedies. This is eight minutes of insight you're not going to want to miss!
Anyone who shoots film (either stills or motion) knows the frustration of an ever-shrinking pool of available equipment. Finding a quality, tested and working 8mm system can be particularly difficult. Danish father/son company Logmar Camera Solutions, founded in 2009 in Aalborge, DE has the dream of reviving and reinventing the 8mm movie camera. Enter the Logmar Super-8, an 8mm system for the modern world.
Accomplished photographer Richard Mosse has taken an incredibly unique approach to capture both the beauty and tragedy associated with conflict. In his most recent series, Infra, Mosse uses an antiquated film to bring new light to the humanitarian struggle faced by the Congolese people. Currently on display at the Portland Museum of Art as The Enclave, Mosse's newest exhibit features a six screen video instillation in addition to his dramatic Kodak Aerochrome imagery. Capturing the suffering of war between The Congolese National Army and rebel factions in poignant beauty, this exhibit of infrared film leaves an eerie perspective of the overwhelming harshness of war.
I spend a lot of time shooting or walking on the streets of New York. You see every type of camera imaginable here, from the latest and greatest DSLRs to old Rollei’s and film cameras. If you hang around B&H long enough, you’ll probably see Louis Mendes with his old Speed Graphic. But I have never, ever seen anyone shooting with what Justin Borucki is using. This guy might have the most unique camera setup in New York.