HD DSLR – Page 3 – Journeys of a Hybrid

July 26, 2013July 26, 2013

Rejection Therapy

A few weeks ago, I attended the World Domination Summit in Portland, OR. Any time I‘ve mentioned this conference to my friends, their eyes get wide and they all want to know more about it. Essentially, WDS is a worldwide gathering of creative, unconventional people who want to live a remarkable life in a conventional world.

This was my second time attending WDS and I was inspired, enlightened, invigorated and awed by the speakers like Jonathan Fields, Nancy Duarte, Tess Vigeland, Chase Jarvis and many others. There was one speaker Jia Jiang that really resonated with me. He talked about his 100-day “rejection therapy” project. You can watch Jia’s talk online. He must have struck a chord with a lot of other people as well, because he brought the house down.

I’m certainly not a stranger to knowing what rejection feels like. The last two years of my life I have been rejected more times than I have probably in my entire life. It’s not that I’ve been seeking ways to get rejected. It’s because I’ve pushed myself into new and foreign territories – I mean that both literally and figuratively. For example, I challenged myself in my career by producing a big film project that literally took me around the world. But when I think about the “journey” part and the production of that film, it pales compared to the hard work, time, blood, sweat and plenty of tears on getting the film seen. I got scads of rejection letters and emails from film festivals, distributors and agents but most outsiders see only my successes.

When I heard Jia talk about his rejections that led to his “rejection therapy”, I understood exactly how he felt. In a way, I’ve lived my life like Jia’s rejection therapy. But, it wasn’t because I set out to heal myself from some missteps and misses that didn’t work out for me. As I look back at some of the things that I’ve done in my life, I realize now that I was simply naively bold enough to do them.

I can’t really say that I have ever gotten used to rejection. It continues to hit me hard at times. But when that happens, I stop and I think about all the wonderful and crazy things that I’ve done in my life that never would have happened if I had let my past rejections stop me. I suppose I’m like one of those blow up punching bags that keeps popping back up.

July 13, 2013

5 Tips for Filmmakers (and other artists) for Building an Audience

The good news for Indie filmmakers, musicians, photographers and new media artists is that technology enables us to take control and distribute our own work to the masses or a more targeted niche audience. The bad news is that even though we are able to reach a global audience without giving the lion’s share of our profits to an agent or distributor – it’s a lot of hard work.

When I completed final production on my first feature documentary, Opening Our Eyes, I knew I was hardly finished with this film, not if I wanted people to see it. Since most filmmakers make their movies to be seen, they need to decide how they want their movies distributed and marketed. As a filmmaker, do you want to delegate this task to a distribution company or do it yourself? Will you be one of the lucky 1% of filmmakers who get their films picked up for distribution? If not, do you have a plan on how to do that?

1. Identify and build audience – Regardless if you decide to sign with a distributor or distribute your work yourself, the most important part of marketing and distributing a film is to identify and build your audience – and you should start building your audience before the film is finished. As soon as I made a commitment to make a film, I started blogging about it. I created a blog specifically about the film where my daughter and I talked about preparing for and taking a 99-day journey around the world. I also wrote about the making of the film on this blog where I talked about gearing up for it as well as the post-production process. I didn’t realize it at the time, but I was building our niche audience.

2. Have a social media plan:

Decide on platforms – Twitter, Facebook, Tumblr, Google+, YouTube, Vimeo
Carve out the time to engage
Decide where the content will come from – behind the scenes photos or footage, blogs, podcasts?
Who and where is your audience? Find other Facebook groups or pages and followers who are interested in the same topic as yours. Collaborate. Build your Twitter followers same way.

3. Finding true fans – Since most filmmakers will most likely NOT have a mega hit with huge profits, the best thing a filmmaker can do is build their “true fan” base. First you should ask yourself how many “true fans” would you need to sustain yourself as a filmmaker? And by true fan, I mean people who are willing to buy whatever you are selling, be it a book, a DVD, a music download or a t-shirt. The key to growing your core “true fans” is to engage them by sharing interesting content as opposed to just selling something.

4. Be consistent and stick with it – Like anything else, building an audience takes time. Be prepared to constantly interact and engage your audience by sharing relevant and interesting content with them. You’re building a tribe or a community.

5. Find likely partners – Making films is a collaborative effort. Similarly, for filmmakers to be successful in marketing their films they need to find their core niche. One great way to find your niche audience is to identify like minded groups and share links. The non-profit my daughter works for partnered with us and we frequently share each other’s news with our followers.

April 8, 2013April 8, 2013

6 Ways Video has Made Me a Better Photographer

Lately, I’m finding that I “get the job” because I know how to shoot video. What’s odd is that these are still photography assignments and I was NOT hired to shoot video, but because I knew how to shoot video. What I’ve discovered is that many clients love the “eye” of the “hybrid”.

I’ve been thinking about what is it about the “eye of a hybrid” that clients are finding attractive. In a nutshell, it’s the eye of a master storyteller. That’s because the medium of video is the perfect medium for telling a story. It encompasses movement, action, pace, rhythm and sound to engage, entice and feel.

I got a call this week for an editorial still photo assignment. As usual, there was the customary business paperwork, but the client also provided a “shot list”. I’ve been shooting editorial assignments for over 35 years and have had all kinds of direction. Sometimes, I’m given a writer’s manuscript and I’ve come up with my own shot list and sometimes I’m just told to come up with a variety of images. But this “shot list” was intriguing because it read more like a shooting script for a video project. As I read through the list, I could see how the person who had written it – had the “eye of a hybrid”.

Here are some of the suggested shots and “direction” from the list they provided:

(This is how I think and shoot in video. It has made me a better still photographer)

Cover it – Get comprehensive coverage – different perspectives, focal lengths, wide, medium and close-ups. When I shoot video I will get a variety of angles as well as a variety of focal lengths because I know I will need plenty of b-roll to work with when editing the story together.

Get sequences – Get a variety of mini stories with people interacting. I am accustomed to thinking about how my “shots” will come together as part of the whole video that I’m working on. Now, I approach a still editorial assignment like this as well. It’s kind of like of a moving pagination of imagery in my head.

Get storytelling images – With still photography I need to make sure those independent shots or moments in time also tell a story and stand on their own. They can’t just be “wowy zowy” photos as Bob Gilka of the National Geographic used to say when I showed him an eye grabbing and colorful, abstract image.

Action/motion – make the images “feel”. One that that motivated me to start exploring motion was because I was finding that it was difficult for me to convey the feeling of motion in a still image. I’m finding that it’s easier for me to convey movement in a still image now because my eye is trained to look for it.

Give the images sound – (like a hammer hammering). Natural sound gives a video the element of reality. It’s almost like it gives the video a well-needed extra layer or dimension. When I’m shooting still images, I look for images that will illustrate the “sound” of an environment.

Shoot more – Give me more to choose from. Again, you can never have enough b-roll when you are shooting video so I have naturally started shooting more on still photography shoots and my clients love having the abundance of choice.

March 19, 2013March 20, 2013

How Video Has Helped My Still Photography Business

After a slow spell, which I can’t say I ever get used to after 30 plus years of freelancing, the phone started ringing. The calls were all in regards to still photography assignments. Having been a still photographer for most of my life, that wasn’t unusual, but what was interesting was that I beat out my competition – other still photographers – because I knew video.

Times have sure changed. When I started exploring the medium of video, over 15 years ago, I didn’t abandon my still photography – I simply added another skill set. Most of my clients over the years have hired me to shoot one or the other, and sometimes both. But what I see happening now is that as print moves to electronic delivery, my still photographic clients are also looking for a “photographer” that can shoot video components on a still photography assignment. They need multimedia content for mobile devices and online platforms that cry out for movement and sound.

I don’t think of myself as a “still photographer” or a “videographer”. First of all, I absolutely hate the word videographer because it smacks of a dated notion of what video used to be. I think of myself as an “imaging professional” or sometimes a “new media producer” or sometimes just a “storyteller” because that’s what I do – I tell a client’s story, or deliver their message to their targeting audience. I don’t define myself by the tool I use.

With convergence happening not only in the cameras we shoot with but in the media we create, I will opt for the “tool” or camera(s) that enable me to tell the story I need to tell, in the best way possible. I’ve been thinking that way since I first forayed into video. It’s nice to know that now my clients are thinking that way too.

March 12, 2013March 12, 2013

Creating Inspiration

I’ve gotten away from writing lately, maybe because I’ve been really busy, and maybe because I’ve felt uninspired. That’s a terrible feeling for me, it’s as if I’m void of any “feeling” at all. It tends to happen when I’m spending more time doing the things I don’t want to do instead of what I feel I’m here to be doing.

When I woke up this morning I thought, “anything can happen today”. That thought in it self makes me want to get out of bed. I start thinking about the endless possibilities that can happen on any given day. I grabbed a cup of coffee, checked my email and read Seth Godin’s blog and it was like it was written for me. It was called “The moment of highest leverage”. He was talking about moments when you’ve either lost something or won – when it feels hopeless or when it appears to be a lock. He said that these were the times you can choose to do what’s in your heart and bring your real work to the world, instead of the lesser version that you think the market wants.

I’ve been struggling with feelings of hopelessness after a slew of rejections and misses. I knew I needed two things: a change of scenery and some insightful conversation. I went to Hawaii on impulse and got both. One day, my good friend PF Bentley was showing me the “film” that he made for National Geographic photographer Dewitt Jones. Dewitt has been shooting extraordinary images for the Natl. Geo for over 40 years and he had hired PF to create inspirational corporate training videos. The “film” segments were a combination of Dewitt speaking about his life and his career in an inspirational way and b-roll of him shooting in beautiful Hawaiian settings interwoven with his amazing still images. The piece was so touching; it brought tears to my eyes. When it was over I started crying and I apologized to PF. He said, “that’s ok, I know I’ve done my job right”. PF and Dewitt had done theirs jobs right and they had inspired me.

I’ve had two speaking engagements and a screening of Opening Our Eyes this past weekend and in each situation, I was feeling good and that I had something to say and to share. It must have come across because at each venue there was at least one person who I inspired – I could tell – I could feel it. There was one woman at the screening, who had found out about it through one of our subject’s blog, Maggie Doyne. After the movie was over and most people had gone, I talked to her for a long time and I could see that the film had inspired her greatly. I knew that I had done my job right and it was the best feeling in the world. It reminded me of what is most important to me in my life and that is to create awareness with my still images or movies and move people or inspire them.

I don’t spend a lot of time on Facebook these days but I was looking at my news feed at the end of that long weekend and I noticed a photo that Ethan Browne (Jackson Browne’s son) had posted on his page. It was a photograph of Jackson with one of his fans and Ethan had commented underneath it “proud of my pops – he stokes people for a living”. I smiled and I thought, “That’s what I want to do”.

March 10, 2013March 10, 2013

Polishing a Trailer

A trailer can attract someone to see your film or not. It can determine if a film lives or dies. I just got back from Hawaii. I had been visiting and working with my friend PF Bentley in Molokai and PF was color grading my trailer, balancing the audio and creating new title graphics. I had been wanting to do that ever since I made the trailer over 2 years ago, but I didn’t have the know how, nor the proper software to do it.

Here are the BEFORE and AFTER versions of the trailer. These clips only illustrate the before and after in terms of color grading. PF also changed the title slates as well as greatly improved the audio, but these clips only show the “after” results as far as those changes.

Generally, a good trailer will peak your interest and make you want to see the film. But sometimes a trailer makes you feel like you’ve already seen the best parts of the movie, and that’s not good. Trailers set the tone of the film. They tease and introduce us to the characters and a bit of the story. Thrillers evoke suspense with fast cuts while romantic love story trailers let shots linger on the screen. Choice of music is integral to setting the tone, pace and rhythm of the trailer. All these things combined is what makes a great trailer.

There are editors who specialize and only edit trailers. Editing a trailer is different than editing the full film. You don’t need to be concerned with explaining the whole story of the film. You need to tease the audience and make people want to see more. I have gone through a few variations of this trailer since the initial cut, each time shaving off a bit of time on it’s length. This latest revision was just to give the trailer more polish, smooth out the color and sound and create better graphics. Overall it has made the trailer look more “movie” like and less like a video.

The best way to learn about making trailers is to watch a lot of them. It’s pretty easy to find trailers online. You can watch them on a film’s website or on a site like moviefone.com. Check them out – It’s a great way to see first hand what makes a great trailer.

February 28, 2013

Words of Wisdom For and From Young Photographers

I’m on the advisory board of the YPA (Young Photographers Alliance) and while there are times that I feel I am on one too many boards and spreading myself too thin these days, it’s nights like last night that make it all worthwhile.

Last night was the Mentee/Mentor Exhibition and Awards Ceremony at the Calumet Gallery in New York City. I must confess that I really didn’t want to go for a couple of reasons: I needed to get up at 3:30AM to leave for the airport (this morning) and I’ve been in a bit of a funk that I can’t seem to shake myself out of and I didn’t want to be one of those negative cynical people bringing the “mood” down. But I’m also one of those people that everyone can count on – so I did my best to rise to the occasion.

Before the affair, there was a meeting with the young photographers (mentees) and the mentors to receive and give feedback. One of the students said that they wished some of their time with their mentors had been spent discussing the “business” of photography – something she didn’t feel she was learning in school. I pointed out that there was a lot of information about business practices on the ASMP website, including contract shares and encouraged the students to check it out. And then I told them that the best “business” advice I could give them was to be true to themselves and that if they did that and didn’t stray from their “purpose” that would set that apart from their competition because there is only one “you”.

And then I relayed my “Jay Maisel” story as I have dozens of times. I had gone to see Jay when I was just starting out. My heart and my passion was in photojournalism, but countless professional photographers had told me that I couldn’t make a living doing that kind of work – so I when I went to see Jay, I had my “commercial” portfolio with me, which I thought was pretty good. He looked at it, pushed it back at me and said, “ This is crap – this isn’t what you want to do is it?” I said no and told him that I wanted to be a photojournalist. He asked me how old I was to which I replied “25 years old”. He looked me straight in the face and said, “You’re 25 years old and you’re already making compromises”.

I told the kids that it was a turning point in my life and that whenever I strayed from my purpose – and felt it – over the last 35 years – I remembered Jay’s words. Then one of the students asked me a question that I hadn’t ever been asked when telling that story over the years. She said “What was it about your work that made him think your heart wasn’t in it?” I hadn’t really ever thought about that – I had always focused on what I wanted to do instead. But when she asked that question, I had to reply, “I really don’t know”.

I’ve been thinking about it all morning on my way from Newark to San Francisco and I wonder – was it the work that felt empty or impersonal? Or was it the way I looked when I handed it to him? Or was it both? I’m waiting for my next leg to Honolulu and then on to Molokai to meet up from one of my mentors, PF Bentley who taught me everything I know about how to tell a story in motion. I’ll have another 7 hours to contemplate that question and even if I never come up with the answer, that question pulled me out of my funk. Just in time to once again put my head in an “open” place to learn and get back on purpose.

February 14, 2013

How Motion is Changing the Future of Photography

A few years ago I heard visionary Ray Kurzweil speak at NAB (National Association of Broadcasting). He was talking about the exponential rise of technology and how that would profoundly change people’s lives – and was. His focus and predictions were mostly related to the advances we’ll see in medicine, but he relayed an analogy that has stuck with me. He said: (and I’ll paraphrase) that if you were in the horse and buggy industry at the turn of the century and thought of yourself as someone who sold buggies and whips, you most likely would have gone out of business. But if you were in the horse and buggy business and thought of yourself in the transportation business you most likely would have adapted, recognized that the future of transportation was in motor transport – and thrived.

The thing is, the ones who adapted early on – before the majority did – were the ones who made fortunes. The ones, who waited until everyone embraced the automobile, either struggled to keep pace with the competition or died out. I think we are at a tipping point as far as the future of the still photography business. If we continue to think of still photography and motion as being two separate entities in the business of visual communications, it will be our demise.

Change never happens overnight. Change is slow. No one gets to be 400 lbs overnight; it’s a slow process. But once it happens, it’s really hard to get back on track. The changes that are taking place in the way we communicate are monumental, unlike any changes in the past. I used to shoot a lot of annual reports, but not so many anymore. I used to make a large portion of my income from the licensing of my stock images, but that income has dropped significantly because everyone has a camera and the supply of images is more than the demand.

I’m not an alarmist in predicting this change and in fact for someone my age who is on the tail end of his or her career, I wouldn’t be alarmed at all. However, if I were just starting out in photography or even in my late 40’s or early 50’s and had another 20 + years ahead of me, I would not be complacent.

Some things still photographers should be thinking about:

Understand that there will probably not be a divide between the still photography and motion businesses. This is really hard to envision because we tend to see things, by looking at the future in terms of the knowledge that we have on hand today. But with motion cameras able to shoot 96 frames a second, and each frame being good enough to pull out and used as a still image, the changes for still photographers will be profound.

The concerns are not like those that a still photographer has had to face in the past, like when digital replaced film or when one needed to reinvent themselves as their markets changed. (For example when car shooters were phased out by CGI artists) Shooting motion is a different mindset all together. It also has profound differences in the way you run your business. While a still photographer of today, may find opportunities to shoot motion for their existing still clients, that too is rapidly changing. I don’t think this will be an option much longer for still photographers. I think that motion shooters will be shooting motion and in the process creating stills as opposed to still photographers providing the motion content and the stills. Just like a professional still photographer distinguishes his or herself from an amateur photographer who has an expensive camera, so do motion shooters distinguish themselves from the still photographer who seems to have little regard for the craft and knowledge of motion and thinks they will “just” start shooting motion when the time comes. It’s not going to be “just” that simple, especially if you’re late to the game.

Understand that technology affects everything and will continue to do so. You may think in terms of what’s possible today and that it would be incredibly labor intensive to go through tens of thousands of motion frames to pull out still images. But advances in technology will change that as well in the future. Technology affects everything. Realize that software is changing too and that the edit process for pulling out frames will be easier and more streamlined in the future. In fact, an editor’s job description will change greatly and that may be a job that is in high demand in the future. Even now, just do a quick search on LinkedIn and you’ll see that while there are very few job listings for still photographers, there’s a lot of demand for video editors.

Bottom line – start recognizing that photography and video are not separate businesses any longer. Start understanding that will have an affect on the future of the still photography business especially in terms of licensing, because traditionally motion camera operators work under work for hire agreements. While still images won’t go away, that doesn’t mean that still photographers will be creating them in the future.

February 3, 2013February 3, 2013

What Still Photographers Need to Know About Convergence

We should not think in terms of how we can apply the newest tools of the trade to what how we are shooting today, but rather think about how these tools and future versions may be applied to what we will be doing in the years to come. We also need to remember that it is not just creatives that are determining what we shoot with, how we shoot it and where the imagery will be used, it’s the top executives and money folks from the camera manufacturers, the advertising executives, broadcast networks, movie studios and magazine and newspaper publishers. They set the stage and the content creators and receivers of the content or the “audience” react.

We as creatives have a choice of what tools to use – everything from an iPhone to a camera like the

RED, able to produce 5k resolution stills shooting at 96 frames a second at a 200^th of a second. We make our decisions when choosing which tools to use based on a number of factors – affordability and determining which tool or camera is the best one for a particular job. Many times, it’s the end use that is the deciding factor. We need to remember that not only our tools are changing, but so is the way the information or content is delivered as we rapidly move away from print to electronic delivery. Simply put, mobile devices have dramatically changed the way consumers are receiving content and information.

Who could have imagined just a few years ago that a phone could take photographs that weren’t just “good enough” but really good in terms of resolution and delivery? We need to keep in mind that the limitations of today will most likely not be there in the future. Technology is changing our lives and our businesses in an exponential way and will continue to do so. If we are smart and want to stay in business, we need to look forward and imagine what’s next, rather than look at what is or what was.

When I started my still photography business more than 30 years ago, a photographer needed certain technical skills. We needed to be able to focus a camera and that was tough if you were shooting fast moving action subjects and we needed to know how to get an accurate exposure. The cameras of today have pretty much eliminated those skills with auto focus and exposure. Still photographers still need to know how to light but as software becomes more sophisticated will that be a necessary skill set of the future?

When I’m giving a seminar to still photographers who are thinking of moving into motion, I start out by explaining the differences of the two mediums. Still images are moments in time and video is time in motion. That explanation sounds simple but it’s quite profound when you think in terms of convergence. While today’s cameras have pretty much eliminated the skill sets of knowing how to properly focus and expose an image, a photographer or camera operator still has to be able to capture the “decisive moment” – that is where the skill set comes to play. But is that still true today and will it remain so in the future with motion cameras able to shoot at 96 frames a second at a fast shutter speed with 5K resolution? Why would a client need a photographer to shoot still images when they can pull frames from a motion shoot? They wouldn’t, especially when most camera operators in the motion sector are working under “work for hire” contracts and they don’t hold the copyright to the footage and/or still images or frame grabs from that footage. That’s a game changer for the still photography business and licensing of images.

I read an interview once with Vincent LaForet and he was telling a story about having a discussion with a DP at a Red event shortly after the Red One came out. He asked, “Who in the world would want to shoot a still image with this huge Red camera with a Cine lens? It’s insane. Why wouldn’t I go out with my 5D Mark II that shoots RAW?” The DP answered “We want to take your still jobs away from you, just like you want to take our video jobs away from us with your HD SLR’s.”

That was a few years ago. Now I know a lot of high end still photographers who are shooting with smaller, more affordable and high-resolution motion cameras to shoot still photography jobs and so are DP’s. That’s convergence and who knows what the future may bring, but one thing is for sure – it’s best to be knowledgeable in both.

January 21, 2013January 21, 2013

Photographers – Grow or Die

I’ve been a professional photographer for over 35 years. While some may look at that sentence and think I must surely be “over the hill” – others may look at that and say “wow, she must have been doing something right, to stay in business that long”. I suppose, it all depends on the outlook of the person.

Personally, I truly believe that the secret to longevity in any career field is to be open-minded as to how they define themselves. One thing I have never done is define myself by the tools I use. Just because one has expensive camera gear, it doesn’t make them a “professional photographer”. If that was the case, then who are you if you have a camera that happens to shoot both still images and video?

I’m really amazed when photographers define themselves by the tools of their trade. I think with the way things are going in terms of how technology continues to affect our industry, if a photographer defines him/herself in such narrow terms – it’s the kiss of death.

When technology enabled me to explore video production without having to make a prohibitively investment in expensive “tools”, the creative part of me wanted to take full advantage of those new opportunities that were coming my way. After all, I’m a storyteller and I shouldn’t have to limit myself to one medium, but rather choose the

Category:Wikipedia requested photographs of ph... — (Photo credit: Wikipedia)

right tool (camera) to use that best tells the story that I need to tell. Sometimes that means delivering the message in video and sometimes the story is better told with still images.

Because I was an early adaptor of video (at least from a still photographer’s point of view), many of my peers equate me with just shooting video. Many assume I’ve abandoned still photography, which couldn’t be further from the truth. The real truth is, my clients see me as an imaging professional, who is able to deliver their message with the medium(s) that is best suited for the job. These days with print publication giving way to electronic delivery, clients are delighted that I am able to fulfill their needs because I am proficient in both video and stills and most times they need both.

My curiosity for exploring a variety of mediums and tools has not only kept me in business – it’s kept me from getting jaded and stale. I am a photographer. I am a director of photography. I am an imaging professional and am thrilled to still be in business at a time when we have so many tools and options in how we are able to deliver a visual message.

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