Yup, I’ve taken up the pre-yearly naming scheme of crappy sports games. I’m sure you’ll live.
In a vain attempt to look busier than I am, I’ve decided to sit down, have a look at my portfolio for the thousandth time and decide what to do with my life. This time my mental processes came to the conclusion that I should re-jig my portfolio a little bit and do some winter cleaning.
Have a look! Portfolio! Click it!
If you know me, you’ll know that my portfolio is my greatest enemy. It’s the physical embodiment of my latest, greatest and most beautiful work, however because I’m a stereotypical creative, my huge levels of arrogance are dwarfed only by insufferable levels of insecurity. Even when everything is perfect I’ll still sit and stare at the body of work, treating it like I probably would a tarantula that magically appeared on my desk; paralysed with fear. Fortunately as one gets older, wiser, and
uglier more confident, it’s not as hard to decide what works as it used to be.
When I created the 2013 edition of my portfolio, it was a hugely needed overhaul of everything. Today I’m subtly tweaking the core design ethos so that it reflects my own artistic directions. Gone are the thick black borders I used attempt a portrayal of creative authority and the page cluttering production details have been put at the back.
I’ve now opted for “BIGGER PICTURES!”, which rings much better in my head. It still looks cinematic – anamorphic aspect ratios will do that on their own – but it makes a huge difference to raw impact. Pragmatically speaking individual pages will also look much better when they’re scattered around on the internet.
There are a few new additions to the portfolio for the release, however for me it’s also laying the foundations for 2015 when more of 2014’s excellent projects will become public, I want those awesome pictures to stand big and proud for everyone to see!
If you like what you see, let me know! Give me a yell at firstname.lastname@example.org – especially if you like it enough to hire me, you lovely person you.
Occasionally an individual photo will be released here and there, but it doesn’t validate a blog post of it’s own. Instead I’ll just quietly add them to the Gallery page. With the release of 2:AM’s key poster today, I figured that it’s a good time to show off some of what’s been released recently.
2:AM – [Link]
War – [Link]
Like what you see and want me to shoot awesome photos for your film? Email me at email@example.com and say hello!
Photographing a film set has both unique opportunities and boundaries. You’re given total freedom, except when you’ve got none at all!
During a take (recording a performance) the stills photographer is quite rightly on bottom on the list of priorities. Any noise or significant movement is an absolutely terrible offence, taking pictures is a very quick way to make enemies on set.
That is, unless you have a camera blimp!
A what now? A flying camera? How does that help in being quiet and unassuming?
Despite it being a staple piece of equipment for an on-set photographer, many people, even filmmakers don’t know what they are. So, in the vain hope of having to explain myself less often in the future, I’m going to show you what I use to stay quiet on set.
No, it’s not a flying camera.
A blimp is actually a box that’s designed to encase a camera and render it nearly totally silent while taking pictures. This particular one I own is actually a custom-made blimp that I stumbled onto in ebay. It’s a bit ragged from heavy use by it’s previous owner, however I intend to fix it up a bit and give it a sheen of polish.
Made of metal, with a lining of lead and foam, it’s designed to reduce the slapping noise of the mirror and shutters inside the camera. Here, take a listen!
For me, the silencing is the least interesting part using this equipment. It does what it says on the tin, makes the camera quiet. Even though you can here it in the video, a shotgun mic turned away will never pick it up over dialogue or environmental noise.
For me, the things worth spending time to think about is how if affects my shooting style and workflow while on set. There are a lot of small, but important things that will change the way I shoot.
One thing, is that the blimp does not have neck strap loops on it, meaning it can only be handheld. Now I use two cameras on set, because changing lenses is a fantastic way of making sure you miss everything important, a terrible distraction. However that means that at any time there’ll be at least one camera hanging off my body in one way or another.
This now has to change, and now I’m going to be spending time making sure that the blimp is placed somewhere safe when it’s not being used. Film sets are busy, highly dangerous and variable places, even if I plop it between my feet I need to be aware of anyone that might be headed my way in case I need to move it off the ground. The last thing I want is a camera operator or gaffer to trip over my blimp when handling heavy, expensive equipment. A sure fire way of upsetting insurance companies. Additionally, I’ve also had to remove the camera strap from the camera itself to fit it inside the blimp, so even when I’m not using it, I have to worry about a strapless camera.
Another consideration is that I’m forced to change auto-focusing (AF) habits when using the blimp. By default DSLR’s tie AF to the shutter button, which is fine for casual use, however I deliberately use a custom setting to place AF on a different button, disengaging focusing from shutter release / exposure lock. It gives me extra creative freedoms for little extra complication. With the blimp however, I’m forced to reset that back to the default setting, because only the shutter button is accessible. This means that I must automatically re-focus every time I press the shutter button, a rather frustrating time waster.
The other minor frustration is the lack of monitor window at the back. To check exposures or focusing of previous images, I need to crack the blimp open. Another time-waster. Fortunately I’m confident enough to not require checking too frequently, however If I have 10 seconds to spare, I’m now far less likely to double check that everything is cool. It’s a bit of a hassle when I’m also tackling a focusing system I haven’t really used in a long time.
The last issue, is that the blimp is pretty heavy! It easily adds another kilo to an already pretty heavy collection of equipment. This in itself isn’t a huge problem, I could sure do with the exercise. However when you’re outside in a freezing cold winter, or roasting in a small studio that’s filled with cooking hot studio lights, that extra bit of manual labour can seriously detract from my mental sharpness. It means that I’m going to struggle to hold the camera steady for longer, which can be tricky when having to wait for that right moment I need to perfect a picture.
Fortunately it’s not all negative. Despite all these issues and restrictions, it’s easily worth the ability to take photos during a take. There are many situations that won’t occur when the cameras aren’t rolling. I can take photos of actors giving their best performances with the lighting at it’s most dynamic! It also means that people are less aware of when I’m taking pictures even when we’re not rolling. This helps in reducing self awareness in the subject, and enables me to photograph more naturalistic portraits. Interestingly, when I shoot without a blimp, people tend to block out the incessant clicking, however with one camera in a blimp people will now immediately pick up when I’m using my second camera due to the sudden alien noise in the environment.
The blimp can also affect the relationship between photographer and subject, especially when the subject is aware of DSLR’s but not blimps. DSLR’s are so common that the cameras themselves carry no sense of authority to the person using them, however I’ve seen that people will pay attention to someone photographing with such a weird piece of equipment. It seems to be that one must know what they’re doing if they’re capable of working with such an odd looking camera!
On the flip side, because it’s so bulky and awkward, it can slow me down, and block my face from the subjects perspective. It makes a physical barrier when I’d rather be spending time communicating face to face with the subject, instead of being a voice behind a black box. If I have time I’d prefer to take the camera out of the blimp to shoot a portrait where I need to communicate with or direct an actor.
So there you go! Camera Blimp! If you found this post interesting and would like to know more, or if you’re suddenly inspired to work with me, fire me an email at firstname.lastname@example.org – I’d be grateful!
It’s a huge shock to the system to get back into the swing of things after spending the entire Christmas period away from the computer, having one of these rumoured things normal people call “holidays” where your work brain switches off entirely.
Couple of things to show off! First off – New Large Format photo! Secondly – Exclusive stills from the next work in progress Chris Cronin film! Woo! Content releases!
Tech Hunt – Large Format
The first photo today is one of the successful Tech Hunt experiments from over a year ago! Originally shot as an examination to my critical focusing skills with a large format camera, it’s been decided that the photo is good enough for you, the wonderful public to enjoy! (Image actor – Michael Collin) – Click to embiggen!
Also, because I cannot get enough of it, a 1080p anamorphic crop!
I’ll be writing a follow-up article about the techie stuff behind these Large Format photos over the coming days – I didn’t want to clog up a sweet collection of photos with boring details.
Next up are a smattering of key stills from the next, mysterious Chris Cronin film, hinting at things to come! This first still really should be viewed as big as your screen can make it! Click and embiggen it up! Exclamation marks!
Did you like these photos? Want to tell me you liked it? Maybe you even want me to take photos for you? Give me a shout at email@example.com
So the team behind Tech Hunt have finally released the main poster for the film! (click for the full-size image)
Unsurprisingly, this is a poster that contains photos I’ve taken! More surprisingly, is that I created the whole image! One is not normally tasked with creating posters, they tend to be crafted by professional graphic designers. However this time the director Chris Cronin was clear that he wanted a single photo to be the key focus for poster, rather than a graphic heavy collection of different images that is frequently the case.
Believe or not, the final result looks almost nothing like the original photograph! So, for the sake of shameless self-promotion, lets go on a journey of discovery and learn about how this poster came to be! Find out how we went from nothing but an idea – to this:
Then from that image* how I created the final poster!
Before The Shoot“Marc. You’re going to take a photo of a rough cowboy lookin’ type leaning against a shot up wooden wall. Red light shafts will be running through the bullet holes. I don’t care how. You have an afternoon in a farm to make it happen.”
The whole shoot was also highly experimental, we had no idea how it was going to turn out! Mostly because we were all primarily concerned with the filming of 30+ horses and the stunts they were performing, planning for the photoshoot was low in the priority list. We had no choice but to figure everything out on the day and then decide how to tackle any problems in post-production.
Performing The Shoot
It was a cold time of year. Very. Cold. The air was filled with flurries of snow and icy drizzle. Me and my crew were also exhausted from several days of filming horses causing all types of mayhem from the back of a pick-up truck. However the job needed to be done, otherwise a lot of money was going to be wasted.
Having spent the past few days shooting in this farm, I had a rough Idea of the kind of props and locales that were around for us to borrow. There were numerous barns, sheds and buildings about the place, however the owners were not going to be particularly happy if they found us drilling bullet holes through their favourite horses stable, so we had to think quickly and creatively!
Terrible weather aside, I needed to have total control over the lighting, so an external location was not the answer. We also needed lots of space and zero daylight.
Luckily, we had the perfect location for my needs. There was a large stable with a dirt floor!
All we needed now is some kind of wall to lean our actor against. This is where we were really lucky, the farm had a few disused buildings and the owners were generous enough to let us have a dive through their old junk where we found an old wooden barn door! Short of permanent structural damage to their property, this was the best we were going to find.
So the basics were starting to take place. We had a location, some lights and a dressed actor, from here on, it was all down to making sure everything looked good and was suitable for later editing. My plan was to create a series of locked-off photos where we blast out some smoke and move the lights behind the barn door around so that I could merge rays of light together in photoshop later.
So we’ve taken the pictures and got the assets we need to make the poster, now we just gotta piece the puzzle together. First of all, to prove that the idea doesn’t look hideous no matter how much work I put into it, I threw together a proof of concept. I created a normal coloured photo and a pink/red version and blended the light rays.
It’s pretty rough, but it proves that the red rays of light could be created without looking like utter trash when more care is taken. Obviously we quickly decided that it would look better to have the whole scene looking red rather then just the shafts of light.
Feeling confident that hacking everything together would be worth my time, it was now a case of collecting a number of photos where the rays of light played nicely and extend the wall using various wood textures I had previously taken pictures of at the farm.
Boy, what a task that was!
The final .TIFF file is a whopping 350mb large and consists of well over 100+ layers. I’m sure there are graphic designers laughing at these pithy little numbers, however considering the most I do to photos is cover up blotches and liberally splatter colours about, this is a huge job!
I’ll spare you the boring gory details about the edit, there are plenty of sterile tutorials online that you can fall asleep to if you want, however I will give you a glimpse into the magic that took place. Rather than using words, let me show you a graphic of the various stages the poster went through. It reads left to right, from top to bottom. Hopefully this wont ruin the magic and show me up as the terrible photochopper that I am.
One of the biggest jobs there is actually really hard to witness in that image, late on in the process we decided that we should shift the actor about 6 inches to the left, forcing me to create details that were never there before!
So there you go, another glimmer of faint light in the dark and dangerous world of working as a stills photographer. If you have any questions, (or even want to hire me) feel free to email me at firstname.lastname@example.org.
*This photo has actually been manipulated pretty heavily already, but it’s the first coherent and recognisable photo compared to the final poster.
One thing I haven’t talked about before however, is the poster for the film! We’ve been sitting on this for months waiting for the right time for people to see it, and I’ve been told that time is now! I will also be posting a behind the scenes article for this poster too, so keep an eye out for that over the next few days.
So, without too much dozy rambling, here it is in it’s full resolution glory, ready for your eyes to be made happy.
Click to embiggen!!