Primarily, I’d have to say, my favorite thing about this video is that it shows surfing in a different light. This is the first time I’ve seen the sport shot in this fashion, and I’d have to say its awesome to see its been taken to a new level, even if its just for a commercial, its possible to potentially use a similar rig in the future for the actual sport. I like how photographers have been shooting in the water with housing kits, and even using remote flashes with the help of an assistant, but this style just adds a completely different dimension to photography, literally. Even though, this is a very expensive technique to use, when used, I feel its easy to take even the simplest of subject matter and transform it into footage that can be very exciting. The problem with surfing and this style of photography is a. the water (liquid and electronics don’t mix) and b. the movement. Surfing is a sport that involves riding a wave, obviously, but trying to shoot this with a camera setup that is meant to stay static opposes a big problem. Maybe you could built some complex camera rig that mounts on top of jetskis, and they can ride along the surfer, without wiping out and destroying thousands of dollars worth of equipment? Not likely, but its a pretty cool idea. The commercial below was shot in a water pool, which makes it a lot easier because the wave is designed to break identically the same, every single time, so the cameras can stay in one position, without the composition changing.

I can easily see this being used with an indoor sport, such as basketball, where the backboard is always at a fixed distance. The rig could be installed, knowing where the action would be happening, the only issue would be safety and equipment. From personal experience, I know its very different to mount camera gear anywhere when an audience is present, many safety precautions must be used. Aside from that, with the distance from subject to camera in basketball, depending on the framing you’re looking for, the lenses could be very expensive, if you were to shoot something tight, with say… a 70-200, unless you have 50 friends that you can borrow that lens from, you’re looking at paying around oh, $90,000 (1800 x 52) ? Thats just unheard of. Maybe this techique should only be used for subjects that are close to camera. This would definitely be great for shooting some kind of action portrait, maybe an ad campaign for Nike, Adidas, etc. These ads would definitely be shot in a closed studio environment, which helps you get closer to subject, but my other concern would be being able to use a complex lighting setup, and having the possibility of getting some of the lights in the frame. For instance, the high-end sports look these days uses blown out highlights from behind, on the both sides (used as edge lights). Having these backlit strobes fire in the frame would definitely blow out the exposure. However, if there was a way to mount these strobes just out of frame, maybe right at the top of the frame, you may be able to make this happen. You’d probably need a big cyc wall, and bring the lights to the top of the cyc, so they’re not seen in the frame.

I definitely see this multi-camera setup being very interesting, even though its very expensive to accomplish. The video below, just got my brain ticking, and I wanted to share a few ideas of how I thought this technique could further be applied. Let me know if you have any other thoughts of how this could be used, or how it could be changed, to create even more interesting results. Thanks and enjoy.

First of all, to shoot a sequence shot, I highly recommend a camera that shoots faster frames per second, preferable 5-6.  I was using a Canon MK III, which shoots around 9 frames per second, but honestly, I used every other frame for this sequence, so shooting that fast really wasn’t necessary.  Personally, I didn’t want to use all the photos, when I originally stitched them, I tried with every frame, for me it was just too busy.  I prefer to have some spacing between the different parts of the maneuver.  To make matters much easier, its in your best interest to use a tripod for this.  No shifting of the camera means a much easier time stitching the final image together.

Obviously the first step is to bring the photographs into Adobe Photoshop.  Rather than pasting the different images straight in, I mask them before pasting, so I only grab the information I need, which will save you looks of time.  To do this, I use a quick mask, which you can use by pressing “Q” in photoshop.  The advantage to using the quick mask, is that you can see what you’re masking, while you paint, it shows up as a transparent red.  When doing this, I start with a bigger brush to cover the majority of the subject, then size it down to grab the finer details.  I also use a harder brush edge, so I go really close to the edges, I usually grab this roughly, then go back and touch up the edges.  When you’re masking for a sequence, make sure you grab something that will allow you to line the subject up consistently.  In my example, I used the ramp they’re jumping off, it has a hard edge, which makes it easy for me to line the different photos up in the sequence.  Once they are lined up, you can mask out the ramp.  The rest of the work will be fine tuning the mask around your subject, making sure to drop out any parts of the background that may change, move, etc.  My sample photo isn’t a great example of masking, these are merely showing you how the stitching is done.  Once you’ve gotten your first photo masked out, and aligned where you need it, you can move onto the next one, and the next one.  I realize this isn’t the most in depth tutorial, but I hope this steers you in the right direction when you attempt to create a sequence shot.  Please share your results when you’re finished!

Friday afternoon (April 9th), I was packing my car, preparing to leave town for the weekend.  I spent the weekend shooting engagement photos for my cousin, Matthew, down in Blacksburg, VA (woohoo, go hokies!).  Anyways, any of this even happened, I was throwing camera gear, clothes, the necessities into the car.  Everything was ready to go and hit the road.  What I hadn’t planned for, was to be locked outside of my house for 2 hours, a beautiful day, and plenty of cameras to play with.  With that being said, I grabbed my camera and started snapping.  Originally, I thought it was just a way to kill time until one of my brothers showed up to let me in, but I really started to enjoy it.  Sometimes when you’re shooting for a living, you forget to shoot just because its fun.  I shot photos of anything I could find, trees, clouds, my backyard, I think I got a lot of really great photos too.  I just wanted to share a few of my favorites.  Just keep in mind, you don’t have to be locked out of your house to grab a camera and just wander, snapping away aimlessly.  So what are you waiting for?  Go snap some photos, and please share!

Lets just say, there will be new work coming very shortly, as well as a new website.  Although there is no exact date for the officlal launch, it is within site.  To sum it all up, I personally don’t find that there is anything wrong with social networking; it’s a great way to create conversations with peers and perspective clients, just don’t go overboard.  Don’t set aside your work in order to let people know what you had for lunch.  That’s a big no no.  Remember the reason you first got into photography, it wasn’t to rant online, it was to go out and create some kick butt images.  To finish off, I want your two cents on the matter.  What are your opinions about social media and photography?

Timelapse Reel# 5 from 599 Productions on Vimeo.

I came across a great post on commercial photographer, Kevin Winzeler’s blog, which discussed the topic of timelapse photography.  This is one type of photography I’ve always had an interest in but when it came to execution, fallen short.  Included is a great video, along with a Q & A from the photographer who shoot the video, Andrew Walker.  Typically, when shooting timelapse, you can use a pocket wizard to trigger the camera, you’d have to use the MultiMax with the intervalometer setting.  I’ve messed with this a few times, but only to dig through the settings, never to actually create a body of work.  Probably be a great thing to work with once it finally warms up around here.  Reading through the Q & A, the photographer mentions using intervals ranging from 1/2 second to 15 seconds.  As far as exposure goes, that’s something you’d just have to experiment with, you may be able to get away with setting to manual and test your exposures, but this would depend on how late is it, if its closer to sunset, you’re going to have a change in exposure.  If you’re in the dead of night, I wouldn’t imagine your exposure would change all that much.  I haven’t done much of this photography, so I couldn’t give you too much information on the matter, but I found the video to be awesome!  Check out the post by Kevin, its worth your time.  I wanted to quickly add, if you like the video you see, there are plenty more if you want to check out the site for 599 Productions. Also, if you have any tips on how to take better timelapse photos, please feel free to comment.  Thanks.

Timelapse Photograph (on Kevin Winzeler’s blog)

Be punctual.

On the day of a photo shoot, it is essential that you show up on time.  There’s always things that can go off schedule or obstacles, and you have to be there to take care of business.  The photographer, can’t be stressing, trying to locate you because you’re not there when you’re supposed to be.  Being punctual will make everyones life easier and confirm you as being reliable.

Dress appropriate.

When shooting with clients, always dress the part.  A typical dress code for me while on a shoot is khakis and collared shirt.  If its a big client, dress shoes, but this is a gray area because you’re on your feet all day.  I like to dress in shoes that I know are comfortable.  If you’re running around a lot or on-location outside in the mountains, don’t wear loafers.  Use your head.  Same with clothes, if the shoots taking place in the mountains where its cold, jeans are probably ok, and if you have any concerns, ask the photographer what the appropriate attire is.

Always carry a notepad.

As I mentioned, while on shoots, things can go wrong, you forget something, equipment breaks, you need to run an errand.  Having a notepad handy will make your job easier because you can WRITE THINGS DOWN, and won’t forget.  Making lists will allow you to check things off as you go along, and allow you to double check that everything has been taken care of.  Trust me, you don’t want the responsibility of remembering to take the camera batteries off the charger, only to forget them.  These kinds of setbacks can be very costly to a shoot, especially if its an on-location shoot.  So write things down, double check, and you will be a lot less stressed.

There’s always something to do.

Eventhough your lights are set up, the camera is ready to rock ‘n roll, you can still find other things that can be done.  On location?  You can organize the workspace, neatly stack strobe cases and camera bags, tape down extension cords, even hang softbox cases on the light stands.  Any simple tasks that will help you pack your gear faster when the shoot is done.  These simple little tasks will minimize accidents and show you are a hard worker.  When you’re in front of clients, the last thing you want is to be sitting around messing with your iPod or reading a magazine.  I made this mistake as a “youngster”, trust me, this does not bode well with your employer.

Always think two steps ahead.

If you’ve been working with a photographer over a period of time, you’re probably getting more comfortable with his routines, how he prepares for a shoot, even what settings they may use constantly.  (Keep in mind, not all photographers are comfortable with you changing camera settings, some prefer to do it themselves.)  Consider these instances, if you’re setting up strobes and you know the photographer is going to meter, make sure you have it handy so they don’t have to ask for it.  Or, you’ve been shooting for a good amount of frames and you think the card may be getting full, have them in your back pocket, or ask how the memory is looking.  Just use your head, if you know the photographer is going to need something, don’t wait for them to ask, have the gear ready where its easily accessible so you don’t have to go looking for it.  Small details like these will keep your shoot running smootly, without frustration and save you time.

Keep your mouth shut.

If there;s an issue that needs to be addressed go about it in the most professional way.  You never want to make a scene or draw attention to yourself, attention should always be on the photos.  Even if you’re not getting along with someone on the shoot, take the high road.  Not to say this tip is only if you have something negative to say.  Just remember, you never want to say anything in front of the client that can potential embarrass or make the photographer look bad.  If you do, there’s a good chance it will be the last time you work with that photographer, or you will get an ear full after the shoot is a done.  Not to mention, in the photo community most photographer know each other, and word travels fast.  If you do something stupid , you can bet word will get around to other photographers which can hurt your chances of a working with anyone else in the area.

Leave the art to the art director.

When you’re in the middle of shooting and the photographer and art director are discussing a shot, listen to them because it will probably involve moving a light or grabbing an apple box; but don’t throw in suggestions about how the shot could be framed or changed (different light setup, lens, wardrobe, get the the idea).  Even if you have good ideas, by adding your input, you could potentially be adding a new shot to the shoot, which can put it over time and over budget.  This is a big no no.  So if do have a suggestion, pull the photographer aside and say something to him, but don’t just outburst because it can cause some problems, even if your intentions are good.  Only give opinions if you are asked for them.  As the assistant, your job is to set up lights and make sure everything is in line to make the shoot go as smoothly as possible, you’re not paid to talk.  When you’re shooting and have your own clients, that is the time to state your expertise.

The clients product is always the best.

Even if you’re casually talking over lunch or discussing the shoot beforehand, always remember, the client is coming to you to advertise and help sell their product.  Because they have hired you, their product is the best there is.  For example, if you’re shooting an ad campaign for Coca-Cola, that’s your favorite soda in production.  Even if you prefer the taste of Pepsi, as long as you’re working for Coke, it is the last product on earth.  If you’re out to lunch during the shoot, you drink Coke products or water.  May not seem like a big deal, but you don’t want to work for a client and give them any reason to think you don’t believe in their product.

These are just a few quick items that I listed off.  There are always more to add, in fact, if you think I’ve left something off, feel free to comment!  Next time you’re on a photo shoot or dealing with a client, keep these in mind and you’ll have more success in the future.