Shot & Echo

Shot & Echo

Motion. Pictures. Music.

  • Haiti Revisited, on iPhone

    • 20 Jan 2011
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    • haiti iphone jeremy cowart photography
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    One year on from the crippling earthquake that hit Haiti, photographer Jeremy Cowart revisited the Island nation after his previous tour in which he tried to aid the people in any way he could (also see his Voices of Haiti gallery). Apart from documenting the relief efforts as a volunteer for Hope International, the entertainment, fashion and travel photographer shot a personal journal on a much less intrusive device; his iPhone.

    Apple's little snapper is becoming ever more popular among pro shooters, be it as stills or videos, including a new wave of music videos being shot on the iPhone 4. As visual voodooist Chase Jarvis puts it, the best camera is the one that's with you. He even named his photo app after this mantra. A plethora of camera-devoted apps help to edit and tweak your lo-fi shots, making the basic fundamentals of mind, moment and composition the true spirit of iPhone photography (iPhonography?). Cowart's poignant images of life in the Haiti of 2011 conveys just that. And in case you're wondering exactly which apps he used, short of selling his refinement secrets, @jeremycowart writes "
    I literally now have 20+ photography iPhone apps. I honestly think I used every one. I would download a new one and start experimenting..." divulging that some of those include 
    Filterstorm, Hipstamatic, Instagram, Incredibooth, Cross Process and Lisa Bettany's Camera+. 

    By the way, Cowart's instructional photography DVD Lifefinder has been receiving quite a bit of love from its viewers. We personally haven't seen it, but judging by his CreativeLive workshop, we can understand this might be comfortably inspirational.

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  • Digging deeper into HDSLR movie making

    • 23 Dec 2009
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    • Canon 1D mark IV Canon 5d mark II HD-DSLR Pentax k7 Vincent Laforet cinematography fusion movie making photography
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    Great things are afoot in cameraland. I'm talking about the capability of the latest DSLR cameras to capture HD video, and at some amazing results. Even entry-level models like the Nikon D90 and the pro-sumer Pentax k7 are allowing anybody to create some dedicated shorts with an array of lenses ranging from fish-eye wide-angle to superzooms. But it is at the High end where a serious departure is being made in moviemaking. Look at videos made with the full-frame Canon 5D mark II, shuch as Shane Hurlbut's Navy Seals project, and you'll see amazing quality already being used for commercials and independent shorts coupled with compact versatility.


    And then there's the new Canon EOS-1D mark IV. Yes, it's a pro 16.1 megapixel still camera, but with its Full 1080p HD movie function at 30 frames per second its also a camera for cinematographers who think outside of the box. Explorer of Light Vincent Laforet has had pre-release access to canon's new beast and combining it with pro filmmaking gear such as steadicams, focus pullers and even Arri lenses. To see where all this can lead to watch his Nocturne video, shot entirely in available light on the street of LA, mostly at an incredible 6400 ASA.

    Then go to Vincent's blog to see the making of Nocturne, and follow the developments first hand. I will personally be tracking the advances in HD DSLR movie making, as the fusion of photography and cinematography opens up so many inroads into new media that a photographer will soon not be able to do without mastering both skills. It's an exciting time, and I look forward to seeing the first full length feature shot on DSLRs to hit the cinemas...

    Nocturne from Vincent Laforet on Vimeo.

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  • Who needs CGI when you have nature?

    • 3 Nov 2009
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    • greece photography
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    Sometimes the sky just blows my mind.

    Stormsky

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  • The making of a headshot

    • 2 Nov 2009
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    • actor casting headshot photography
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    Beba watched silently from a dark corner as I was being shot. "She knows all the poses," says photographer Irini Michopoulou of her trusted canine. "In fact, they used her for a TV publicity shoot. She's a model too!" There is something comforting about having a photographer's pet witness your headshot session. No grunt of judgement nor a bark of support but purely objective observation, exactly what's needed for an Actor's headshot. You need to be you, a blank face on which a casting director can project a character, but with enough expressiveness in the eyes to catch attention.

    It is of course up to the photographer to bring out your best look, whether neutral, dramatic, cheeky or jovial. One only needs to look at a photographer's portfolio to know if matches your concept of mood and style. Now Irini has been a pro fashion and music publicity shooter for several years, and her attention to detail is immediately evident in her actor portraits. They convey a unique personal atmosphere with each individual, not an easy task considering actors are not models: stage presence does not always equal photogenicity.

    And so it was that I found myself with several changes of black and white shirts at her central Athens home studio last week. Irini's allround experience meant she had stylistic facets covered. "They don't give you an assistant any more, so I do everything myself," Irini told me. The conditions for photographers in Greece are far from ideal, and so she frequently takes on projects abroad.

    From a technical point of view, Irini's set up is basic but effective. One umbrella strobe and one flash diffuser aimed at the subject and a rolled-down backdrop respectively is all she needs in her 4x5. "The reflective black granite floor also creates an effect, as do the walls, so I know exactly what the room can give me." A Canon 1D Mark II fitted with a 100mm f2.8 prime lens rounds off the headshot equipment specs.

    A pro set-up alone won't create great pics. Actor's need to be directed, so a photographer's coaching ability is just as crucial to getting great headshots. Irini knows what she wants and guides you through the motions smoothly, with the added advantage of digital being hat you get to see some shots immediately on the camera's screen, instantly setting your mind at ease that the shoot is going in the right direction.

    My contact sheet will arrive within the next few days from which I will have to choose five favourites. Irini will then slightly retouch and adapt these to black and white where desired. A week or two later my smug mug should be hanging on a casting director's wall, or at the very least filed in one of their books, and round two of my quest for an IMDb listing begins.

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