Month: June 2012

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Mistakes Professional Still Photographers Make When “Moving” to Video

1.  They forget about the story – it’s not your camera that tells the story – it’s the person using the camera. Pretty visuals, slapped into a motion timeline with music, doesn’t necessarily tell a story.  Video is a story telling medium – don’t forget that.

2.  They think they already know how to shoot – if you think because you are a professional photographer and all you need to do is get a camera with a “video mode” on it, you are mistaken. Shooting in motion is far different than shooting still images. An experienced motion shooter can spot a video shot by a still photographer with little know how, right away.

3.  Thinking audio isn’t important – audio is more important than the visual when producing video.  Hire a sound person to do it right, but don’t discount it.

4.  Thinking the DSLR camera is all you need for video productions – this is a biggie.  How are you going to go after professional video jobs if this is the only tool in your kit?  Sure you can rent a RED – but make sure you are as proficient with this tool as your competition is before hanging out your “motion” shingle.

5.  Positioning themselves just as DP’s or Directors and thinking you’ll maintain ownership of your work. If you assume the role of a camera operator, DP or even a director – you will be in a work for hire position in most markets.  Position yourself as a producer – shoot if you want to – and direct – but realize that you’ll be just one rung on the “content ladder”.

6.  They don’t learn interview skills – this is what separates the pros from the still shooters who have DSLR cameras and think that’s all they need.  I’d say about  70% of my work includes on camera interviews.  Even though I ask the questions- I’m not on camera, my subject is.   I not only need to know how to ask the right questions and get great audio, but I need to produce a usable interview clip for an editor. That means knowing how to get great soundbites. This is one area I excel in – it’s all about rapport with your subject.

7.  They try to compete in “old business model” markets – Everyone wants to shoot broadcast spots and feature films (or short films) so they think that after shooting motion for only a few months – or even a year – they will be able to compete in the high end business of video production.  First, this market, like the still photography market,  has changed drastically, mostly marginalized by still photographers who are just starting to shoot motion,  shooting jobs for next to nothing because they have no understanding of this “business”.

8.  Learning the “how to’s” in terms of gear – but nothing about the business – this is also a biggie.  There are so many “how to shoot motion” workshops and roadshows out there but no one seems to be teaching the business end of things.  Still photographers think they already know “the business” but quickly realize that they don’t, and they put themselves out of business in this medium – before they’ve barely started.

9.  Teaching “how to” workshops in video with little or no experience – I can’t tell you how many photographers have called me for technical advice about some pretty basic stuff in terms of video,  and four months later they are teaching workshops. Please don’t become part of the problem and send more shooters out into this field without teaching them something about business. And if you are considering taking a workshop – do your homework and take the workshop from someone who is accomplished in this field and has done something.

10. They forget about the story – I know that’s #1 but it needs reinforcing.

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ASMP and Motion

I’m on the National Board of Directors of the ASMP, The American Society of Media Photographers.  About four years ago, I was asked if I had ever thought about running for the board.  The person who had asked me this question, knew that I had been shooting video in addition to still photography and thought that it might be a good idea to have someone on the board who had an understanding of this medium.  That was four years ago, and even though I had been shooting video for over 10 years – the “explosion” of this medium (in terms of the demand) had really just started.

I did run, served three years, ran again and got elected. I’ve shared my knowledge of this medium through meetings, seminars, blogs, emails and during Q&A’s when I screen my film.

Gail Mooney, Tom Kelly and Chris Hollo at ASMP booth, DV East

This past Wednesday, I spent my day manning the ASMP booth at DV East Expo. Former national board member (and now President of the ASMP Tennessee Chapter) Chris Hollo and my partner Tom Kelly joined me.  We were well prepared with a large flat screen monitor displaying a loop of our members work. I was intimate with the reel as I had just finished editing it and I was very impressed with the quality of the work.  It certainly was an attention grabber.

So, what was ASMP, a trade organization of still photographers, doing at a video expo? Essentially, we were there to provide a community and reach out to other professionals who are shooting both mediums and provide information about sound business practices.  If this demographic does not understand the value of copyright or value the concept of licensing, then it will ultimately affect the way business is done in the still photography industry.

Some people may think that ASMP is becoming too inclusive or is creating more of a problem by suggesting that video may be the answer for its members, only for them to find out, that industry is glutted as well.  The old business models of bloated production companies with fat budgets are hanging on for dear life, along with the old business models of the film industry.  But if you think outside the box, especially in terms of how you structure your photography business – the opportunities are out there.

ASMP doesn’t cease to be an advocate for its still photographers who have no interest in motion – it’s actually making the entire industry healthier by educating the hybrid competition.  A lot of the people I talked to yesterday, shot both still photography and video, but even the ones who just shot video – called themselves “photographers” and they all had questions about “the business”.

I’m so closely associated with  “video” by members of this society; they tend to forget that I am a photographer.  I don’t call myself a photographer simply because I spend 50% of my time shooting still images, or call myself a videographer because I spend the other 50% of my time producing video. I don’t want to define myself by my tools, at all. I “see” as a photographer, with the vision of a filmmaker and the heart of a storyteller.  I also have a strong desire to stay in business doing what I love to do.  By being an advocate for sound business practices across these mediums, I get a lot more back than I give.  All photographers’ benefit, regardless of what type of cameras they shoot with.

Friend and fellow board member Ed McDonald, tells his own story about how he had become too rigid at one point in his career, as far as how he perceived himself and what kind of photographer he was. He found that when he became more flexible in how he “defined” himself, his business got better. As I think about Ed’s story, I know we have a lot in common.  For me, when I stopped restricting myself to just shooting still images – not only my business got better – so did my still photography. Shooting motion has made me a better still photographer because it has made me a better storyteller.

I got an email late last night from someone I ran into at the expo.  They wrote:

“Thanks for your vision and inspiration and all you’ve done for ASMP.”  So simple and so poignant and I thought – “isn’t that what I was supposed to do?”

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Making a Movie With a DSLR and (crowd) Funding It

The first thing I will say is – I did it!  I successfully created a movie

State Theater, Traverse City, MI

– from soup to nuts – with the smallest of micro-budgets, a tiny crew and a lot of hard work.  We’ve had some nice awards at film festivals along with a slew of rejections, and it has been one of the richest experiences of my life.

I’ve written about the journey and the technical aspects of the making of this film, on this blog and the Opening Our Eyes blog.  One of the most popular posts on this blog (it continues to get dozens of hits each day) is the post I wrote about gearing up for this movie. I’ve written so much about this project that I decided to collate a lot of my material and produce a couple of ePubs.  One is available now and hopefully, the 2nd one will be online soon.

A good idea, hard work and a lot of determination are essential in pulling off something like this – and to be crazy enough and confident in yourself to think you can do it.  I can tell you one thing – the confidence factor had its ebbs and tides.  I found that many times my level of confidence changed with my “hits” and my “misses”.  That certainly came into play during both my crowd funding campaigns on Kickstarter and IndieGoGo.  I’ve been thinking a lot about crowd funding lately because it seems like just about everybody is doing it these days. It certainly has exploded since I reached my Kickstarter goal, a year and a half ago. Seth Godin announced today that he is launching a Kickstarter campaign to publish his ePubs – sounds like his traditional publisher doesn’t want to take the risk and finance it until he sees if “the people” are interested.

I have to tell you that I was somewhat bothered when I read Godin’s blog. Kickstarter doesn’t accept every project that gets pitched to them.  When I did it the acceptance rate was about 40-45%.  I don’t know what it is now, but it’s got to have dropped significantly.  And that’s the thing – when “publishers” won’t take the risk, and high profile writers turn to their readers to back them, it’s going to be harder for the true “indie” to get noticed.  The same thing has happened with a lot of film festivals.  Film festivals started out, as a place for indie’s to screen their movies.  Now, at many of the festivals, the “indies” are competing with the big indie studios.

Things are constantly changing.  It becomes harder for the “indie” to get funded and noticed but it’s also easier because of social media. If  you are thinking of embarking on a project – a film or a book – and you aren’t sure if you should do it or can afford it – you can either talk yourself into it – or out of it.  It’s kind of like looking at the glass, half full or half empty.  I can choose to muse on my losses and put myself in a funk, or I can reflect on my wins and the rewards that have come into my life with the making of this film, and feel good about myself.  Each day, I ask myself which way do I want to tip? it’s up to me to determine my value – not anyone else. And today, I think I will feel pretty good about what I was able to achieve.

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How a Passion Begins

There are a million things I should be doing right now. My husband and I just returned from a 6 day road trip to Chicago to see our daughter, Erin and all the “stuff” of life piled up while we were away. I should be out in the yard picking up dozens of littered branches that had come down in a storm that happened while we were gone – and yet I’m compelled to write.

Writing became a habit a few years ago, when I would wake up early in the mornings with my mind fully active and spinning with ideas.  Instead of tossing and turning in bed, I would get up, go to the computer and write – like this morning. I was encouraged by a friend to share some of those writings through blogging, so I did. I know that I break every blogging rule, because I write what happens to be on my mind, instead of being consistent to a theme and I generally don’t provide a lot of links, but somehow readers like these ramblings. Regardless, writing is something that is part of me now.

This past weekend we happened to be in Chicago while the Chicago Blues Festival was going on, so of course we had to devote a day to it.  It was a bittersweet experience as so many blues legends had passed away this year and it wasn’t the same without them – Pinetop Perkins, Willy “Big Eyes” Smith and Hubert Sumlin to name a few. But being at this festival brought me back to the first time I attended the Chicago Blues Festival

Junior Wells

in 1993 when I was in Chicago shooting a story on the city for the National Geographic Traveler Magazine. My plan was to cover the festival for one day as part of the story – I ended up going all three days and that’s when my passion for the blues began.

I hadn’t even thought of shooting video back then, but 2 years later my partner Tom and I began shooting 35mm motion footage for stock – and that’s when my passion for motion began.  Funny, within a two year period, two passions surfaced in my life and collided into the making my first short documentary The Delta Bluesmen, six years later.

As I listened to the music last Saturday in Grant Park, my mind wandered in a million directions, but once again I thought about how the universe works – that is if you don’t fight it.  The times in my life when I have just followed my instincts, have been the most gratifying times of all.  Most of the time, I was simply listening to a higher voice inside, instead of following the dogma of the day. It hasn’t always worked out and I’ve had my share of rejections, but that all goes into the messy mix of life.

I try to not linger on the negativity that comes with “rejection” and focus on the “rewards”.  There may not have been as many as I would have liked – but they would not have happened at all, without the lead up.  It all comes with the many years that go into the “overnight successes”.  Life’s too short to put road blocks in my own way or talk myself out of doing something with a hundred “great” reasons to rationalize it. And so – I’ll take the bitter with the sweet any day.

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Collaboration

I’ve often talked about how important collaboration is in video.  And with the right mix of people collaborating – wonderful things can happen.

My longest collaboration has been with my husband and business partner, Tom Kelly.

June 4, 1977

Today marks our 35th wedding anniversary, but our relationship goes back even further – another 4 years.  It’s truly hard for me to believe that so many years have gone by, but that’s what happens when one is busy living life.

The way Tom tells the story of the day we met is that we were with our classmates (our first class of Brooks Institute) on a field trip, and we ended up at a roadside hangout in the mountains just outside Santa Barbara, California.  We were on a patio drinking beer – I was barely of legal age – and Tom spotted me – “this exotic chick with rings on all of her fingers and smoking Turkish Ovals (cigarettes)”. I didn’t have rings on all my fingers and I stopped smoking long ago, but the real reason I stood out back then was that I was 1 of only 6 women who attended Brooks at that time.

For me, going to Brooks Institute in the mid ‘70’s, was like mixing “oil and water”.  I had just come back from a yearlong “hippie-backpacking” odyssey around the world. I was the ultimate free spirit and I was thrown into a rigid educational environment with ex GI’s from the Vietnam War.  But, I met Tom and that’s when our collaboration began.  I knew nothing about photography, other than managing to get lucky with some images that I took with my Nikon FTN and 50 mm lens, on my travels.  Tom had processed reconnaissance film in the Air Force and had a dark room as a kid, so I looked to him for advice. That’s how we started and we quickly became a couple – being there for one another.

After graduating from Brooks, we moved back East and worked a year in NYC as assistants to two commercial studio photographers. (I had gone to high school in NJ and Tom grew up just over the state line in Pennsylvania) We also moonlighted, shooting jobs our bosses didn’t want to do and also shooting for ourselves on the weekends. One summer we took our bikes and cameras “down the shore” and shot a wonderful personal project on the boardwalk – some of those images shot during that summer, remain favorites of mine. Perhaps that’s when the lines between business and personal became blurred.

We were extremely lucky in our early years to have an amazing mentor, Adrian Taylor, who was art director of Travel & Leisure at the time.  Adrian gave us many precious gifts as young photographers just starting out.  The most important gift was his encouragement and his unwavering belief in us. Every time Adrian gave us an assignment, we wanted to raise the bar and Adrian’s eyebrows as well.  Each assignment for the magazine was more challenging and ambitious, shooting major city stories with celebrity subjects, and luxurious environments in fabulous destinations.  And the best part – we got to experience this together!

As much as we’ve had an extraordinary career, working together and independently,  we’ve also had a wonderful marriage and family – our best collaboration – our daughter Erin. Tom and I  are so completely opposite of one another, but somehow it has worked.  Tom is more comfortable being out of the limelight and pointing it at me. What’s amazing is that Tom not only manages to produce his own jobs but he also takes care of a lot of things around the house.  There is a whole secret world in our basement, that I know nothing about. I’m the dreamer with the crazy notion to think anything is possible and  Tom has always been there for me, supporting my latest scheme and adventure. He has been the wind beneath my wings. It hasn’t been easy,  and there have been times, when both of us have wanted to walk away – but we didn’t.  In our “throw away society” I suppose that’s rare. I think it’s a pity that people give up too quickly – you never know what’s just around the corner.

Like any good story though, a life well lived comes with conflict and contrast.  Sometimes that has to happen to get you to the “next place”.  I’m grateful to be celebrating a life well lived with Tom, my husband, my partner, my soul mate.

Happy Anniversary Tom – love you.