On the latest Go Creative Show podcast, host Ben Concoli talks to the DP of Jojo Rabbit, Mihai Malaimare Jr. Jojo Rabbit is a film by writer-director Taika Waititi (THOR: RAGNAROK, HUNT FOR THE WILDERPEOPLE). The film is a World War II satire that follows a lonely German boy (Roman Griffin Davis as JoJo) whose … Continued
Panalux Sonara 4:4 is a new 4×4′ light fixture with variable white light output between 1,750K and 20,000K with advanced green/magenta control. Light output is 5,000 Lux at 3 meters with high TLCI of 96+. It is dimmable from 0 to 100% and can be controlled via DMX or detachable controller. Panalux Sonara also offers built-in library of select LEE Filters gels. It will be available in April through Panalux for rent only.
Panalux is a part of Panavision. They offer mostly lighting rental equipment and associated facilities. Their head office is located in London, United Kingdom. Further, they have offices in the Czech Republic, France, and South Africa. Panalux recently announced a new large 4×4′ light fixture called Sonara. During BSC Expo 2020 in London, Nino talked with Dave from Panalux about this new light.
Panalux Sonara 4:4
Panalux Sonara is a 4×4′ light fixture which offers variable white light output between 1,750K and 20,000K. It is aimed at cinematographers who are looking for large white light sources. Light output is 5,000 Lux at 3 meters with high TLCI of 96+. The light spill can be controlled by a detachable grid. The light is dimmable from 0% to 100% with a 0.1% accuracy.
The fixture can be remotely controlled with the detachable controller. It offers native wireless DMX, ArtNet or industry-standard DMX512. Multiple lights can also be daisy-chained with either DMX connection or by setting up Master and Slave units. It is also possible to combine more of these lights together in one giant light source via M12 bolts in each corner of every fixture.
Included as standard with every kit is a custom-designed softbox with tailored diffusion textiles, including quarter, half, and full grid cloth, as well as super soft magic cloth and a Snapgrid fabric egg-crate. The light is flicker-free, which has been tested to 5,000fps. It also offers built-in LEE Filters Gel library.
Panalux Sonara 4:4 Specifications
- Light Aperture (mm): 1196 x 1196
- CCT Range: 1750K – 20000K
- Beam Angle: 120°
- Protection Rating: IP20
- Mounting: Stirrup with 28mm Spigot / M12 Fixings
- Power Supply Input: 110-240V 50/60Hz
- Power Input Connector: Neutrik powerCON TRUE1
- Control: Local / DMX / Artnet / CRMX
- Wireless Control: Lumenradio CRMX Native
- Cased Dimensions: 1564 x 1760 x 666
- Weight: 39kg (without Stirrup)
- Dimensions (mm): 1248 x 1248 x 135
- Power Draw: 1,500W
- Lux @ 3M (3200K): 5,000
- Lux @ 3M (5600K): 5,000
- TLCI: 95.5
- CRI: 96.3
- SSI: 82
Availability for Renting
The Panalux Sonara 4:4 will be available in April 2020. The light fixture cannot be purchased – it will be offered for rent directly through Panalux. The day-rate has not been disclosed yet.
What do you think of Panalux Sonara 4:4 light fixture? Do you use large fixtures on your film sets? Let us know in the comments underneath the article.
The post Panalux Sonara 4:4 – Variable White 4×4′ Fixture with 5,000 Lux Output appeared first on cinema5D.
Fujifilm has apparently dropped ambassador Tatsuo Suzuki from its X Photographer program after Suzuki’s “in your face” street photography shooting style sparked controversy over the past week.
It all started after Fujifilm announced the new X100V and released a series of videos showing photographers using the camera. One of them featured street photographer Tatsuo Suzuki:
As you can see, Suzuki captures his street photos in a way similar to renowned photographer Bruce Gilden, who walks up to strangers on sidewalks, points a camera (and often an off-camera flash) directly in their face, and shoots photos of them without warning and permission.
Gilden has made a name for himself through his shooting style (which is arguably more intrusive and offensive than Suzuki’s) and the results it produces, but much of Gilden’s work is done on the streets of New York City — Suzuki is based in Tokyo, and Japanese culture is known for valuing qualities such as politeness, quietness, and respectfulness.
As the controversy over the promo video grew, Fujifilm responded by quickly and quietly taking the video down (the video above is a mirror that popped up after the removal).
Fast-forward a few days, and today Fuji Rumors just spotted that Suzuki has been removed from the roster of X-Photographers on the program’s website. His dedicated page on the site is now coming up blank, but a cached version is still online (for now).
It’s curious that Suzuki was apparently removed from the ambassador program due to a video that Fujifilm released, but what has transpired behind the scenes between Fujifilm and Suzuki isn’t currently known.
Bryan Buckley, who’s called ‘the King of the Super Bowl,’ gives some real-world advice about breaking into commercial directing.
Bryan Buckley is the King of the Super Bowl. At least, that’s what the New York Times dubbed him, along with “the 30-second auteur.” They’re fitting monikers—Buckley has helmed more than 65 Super Bowl commercials. His spot this year is for Hyundai, starred John Krasinski and Chris Evans. He’s highly regarded across the industry for his gift for casting first-time actors, his eye for detail, and his intrepid spirit.
Buckley has parlayed his commercial success into multiple features and two Oscar-nominated shorts. One of them, the devastating Saria, is nominated this year. (Stay tuned for an article publishing tomorrow with interviews from this year’s Oscar-nominated shorts directors, including Buckley.)
No Film School sat down with Buckley to discuss why he thinks first-time filmmakers shouldn’t jump at the first opportunity to make a feature, why shorts are better calling cards than commercial spots, and how he maintains his vision while working with clients.
The Guild of Music Supervisors held its landmark 10th annual award ceremony on February 6, 2020 at The Wiltern in Los Angeles, celebrating outstanding achievement in the craft of Music Supervision in movies, television, games, advertising, and trailers. Over 1,000 attendees joined the Guild to honor the 31 crafts makers, who were recognized for their […]
On the surface, street photography may seem like a genre of disparate and random images based completely on chance. In reality, when done well, street photography can be turned into a cohesive art form that allows a photographer to show off a strong vision.
But how is this done? The process to get there takes a lot of time and dedication – it’s a gradual process and there is a lot to think about. Here are some tips to help you bring this vision and these ideas out of you and into your work.
Tell a Story About Yourself
To start, when I use the term ‘story’ I mean this loosely. A story in this context can be a literal story or it can be a general feeling or idea that you want to share and bring out in your readers. Often it’s the latter.
Some of the best street photographers use their photography as a way to share their thoughts and ideas and the first step in this process is thinking about what it is you want to share. Do you long for something, are you sad or anxious, are you excited and hopeful, are you bored? What are you about?
As you photograph more and more, you will begin to become better at noticing specific moments that relate to who you are. This spirals, and as you start to notice photographs that you relate to, you will begin to look out for more of these moments and your work will start to become more cohesive.
Find Yourself in Others
To continue from the previous topic, search for aspects of yourself in others. One of the best ways to portrait these feelings is by locating others who seem to be feeling similar things.
Capturing emotions, expressions, and gestures in people is one of the most effective ways to portray emotion in your photography, so search for people who wear their emotions. Look at their eyes for glimpses into what they’re thinking. These moments are often brief, so if you see it, react quickly to capture it.
Over time you will build a portfolio of people and moments that you strongly relate to, and these photographs will relate to each other. This will make your work feel much more consistent and more like who you are.
Tell a Story About Your Area
You can also take your photography in a completely different direction and focus on the personality of an area instead of yourself (or you can combine the two of course). Look at the work of William Eggleston or Alec Soth for instance.
What makes the area unique? What makes it interesting? You can capture the people, the street scenes, events taking place, or little quirky moments and hidden things. The area does not have to be busy. Quiet and ‘boring’ areas can be just as interesting, if not more so, than busier areas. It all depends. In these quieter areas, you might need to introduce yourself to people and add in some portraits as well.
But the end result is the same. You will have a cohesive body of work that will not only show how a place looks but more importantly how it feels — how it feels to be there. You can certainly do this type of work anywhere, but I suggest starting somewhere that you are familiar with. The more you know a place (or the more you get to know it) the more nuanced and informative your photographs will be.
Educate Yourself on the Works of Others
When building your own style and vision, there are few things more important than educating yourself on other photographers. It is incredible how different the end results are when you look at the bodies of work of a variety of street photographers.
Over time, you will begin to figure out what you like and don’t like, and you will start to bring aspects of your favorite photographers and photographs into your own work. You will build a mental deck of these moments when out shooting and it will help you notice things that you never would have otherwise.
Go beyond just looking at famous photographers’ works online. While this is still a fantastic education, seeing a top-hits view of decades of a photographer’s work will not always do them justice. I would go further than this and start exploring through street photography books.
Books are the art form within the art form of street photography. This is where a photographer can sequence their work, play photographs off of each other, mix obvious fantastic and stunning photos with subtle and understated moments, and overall, pace us through an experience. It gives them our undivided attention and the time to show off all aspects of their work and vision.
Build Your Vision Through Editing and Sequencing
Editing is where a lot of the hard work and deliberation is done when building your idea. You want to group this work together and build on it, and you may find that the longer you do this for, the more your vision will alter and change. It may look completely different five years later. Some of your favorite photographs early on may be relegated to the reject pile. It’s a fascinating process to go through this.
Similarly, sequencing your work is both incredibly fun and difficult. It’s difficult to figure out which photographs will play off each other well, which are too obvious together and which are too subtle. How do you successfully lead and pace your viewer through your project?
The more time you spend with your editing and thinking about your work, the more in-tune you will be to your idea when you are out shooting. Editing informs your photographing.
Time and Dedication
And lastly, there is no substitution to time and dedication. To be able to build anything of substance in street photography, you need to be out there photographing consistently. Time and focus will develop your idea and will allow you to sift through enough moments to locate what you need to share that idea. Those incredible moments just don’t come that often — dedication and time to the craft is what brings them out.
About the author: James Maher is a freelance photographer who focuses on street photography and NYC event photography. The opinions expressed in this article are solely those of the author. Maher also runs New York City photo tours and workshops. You can find more of his work on his website.
So you’re about to shoot someone’s wedding. That’s amazing — it’s an incredible opportunity to be part of one of the most intimate and beautiful experiences in human love. But between photography and videography, which medium gets the job done?
I’m the co-owner of CineStory Films, a Los Angeles-based wedding video and photo service, and we specialize in both mediums. We have professionals who opt for video and others who choose photo to get the best results. Here are the pros and cons of both photography and videography.
Comfort and Experience
While it’s important to keep your clients in mind when making this decision, it’s best to first think about yourself and what you’re most comfortable with. You wouldn’t ask a professional painter to make a five-star meal, so why opt for video if you’re a natural-born photographer?
It goes without saying that both photographers and videographers have great artistic vision, but the two differ drastically with the use of motion (or lack thereof). With wedding photography, you’re more moving around and can often rely on couples and their loved ones to strike a pose.
With wedding videography, you might have to get a little creative with your angles and the way you get the shots you need. You need to record the vows at the altar, but you know you can’t just sit in the pews alongside the couple’s loved ones. Instead, you have to make do with angles and positions that won’t disturb the ceremony while making sure you have what you need.
Both photographers and videographers need to have an incredible sense of open communication with clients and their loved ones. Whether you’re a social butterfly or like to keep to yourself, your ease in conversing should also inform your pick between photo and video.
Given how many shots a photographer must take of not only a married couple but also their loved ones, they can definitely benefit from being more on the extroverted side. They’re always in the action, comfortable in organizing group shots, and commanding when it comes to getting the perfect shot.
Considering how much the photographer interacts with attendees and organizes them into group photos, it takes a lot of work to get them comfortable posing and rearranging them, sometimes multiple times.
The introverted type might thrive more as a videographer. Though wedding videos may differ in style, one of the common styles of wedding videography is documentary. Instead of asking attendees to show you having a good time, catch them doing so, smiles and all. Additionally, taking video can be more stationary, meaning it’s less noticeable for videographers to move around.
Whether you’re part of a business or a freelance artist, style such an integral part in crafting a memorable story of a client’s wedding. It’s what makes an artist’s work unique and it’s what makes the whole project feel cohesive. However, the importance of maintaining style in wedding photography varies from photographer and videographer.
With wedding photography, there’s more leeway in style as the photographer will take different kinds of photos, from documentary-style of the ceremony to posed pictures at the wedding reception. It’s easier to have less of a rigid style when taking photos and to experiment with the shots you take.
Videographers, on the other hand, need to maintain a similar style throughout the process. When you watch a well-made movie, you don’t see solar flares in one shot then saturated colors the next. Apply this kind of mindset to your work as a wedding videographer. If you like smooth and consistent work, your customers will appreciate it tenfold.
Equipment, Editing and Post
While multiple basic principles of photography can easily lend themselves to videography, it’s worth noting how the two can vary drastically in equipment needed and the editing process.
When you’re a photographer, you might carry your go-to cameras, cleaners, flashes and a couple of lenses all neatly organized in your handy camera bag. Compared to a videographer, you’ll have less cargo, which also grants you ease in movement.
The lightness of being a photographer also carries over to the editing process. Some of the common software professional photographers use to edit their photos include Adobe Lightroom and Photoshop.
These programs, which often have cheaper (if not free) alternatives, are significantly more affordable than high-quality video-editing services. Additionally, photographers can have a much quicker turnaround than their videographer counterparts, given that it can easily take just a couple of minutes to spruce up a photo.
Often times, videographers can do more of the heavy lifting, literally. While it’s fine to use a single camera for all of the shots, there’s so much more equipment that can help augment your camera’s ability, including tripods, external lighting, and microphones. But if you’re looking to add more flair to your video style, expect to carry even more as you can add drones and other fancy gadgets to your list.
For videographers, video editing services that aren’t expensive and high quality are pretty rare to come by. Services like Final Cut and Premiere will cost a pretty penny but are sure to give you a better product than others.
Additionally, videographers have to do more work in that they’re finding their favorite clips, cutting them down, setting them to music, all while making sure the video itself is well-lit, beautifully colored and consistent in style. That said, the turn around can take days, if not weeks.
One of the major things to consider in choosing between wedding photography and videography is marketing. How would you sell yourself and your services? How can you stand out from the rest?
For photographers, especially in a high population area like Los Angeles, it can be difficult to find a client as it’s incredibly competitive. Given how saturated the market can be, you have to be willing to put in a little more elbow grease to build your brand.
A few ways to do this is to keep a portfolio of your best work, build relationships with your clients (who can tag you and refer you to friends), brag about your accomplishments and use the internet to its fullest. Social media platforms are a sure way to get someone’s attention, but just remember it’s still incredibly difficult.
Videographers, on the other hand, face less competition which immediately makes it easier to get business. Additionally, you can showcase your work on even more accessible websites including Vimeo and YouTube. But even then, it’s worth adding the aforementioned tips to your marketing strategy.
The Bottom Line
I hope that these explanations clarified the differences between wedding photography and videography. That said, it’s always best to start out with what you’re most comfortable with. From there, build your network, make clients fans of your work and advertise yourself.
It’s going to be tough, sure. But remember that you’ll need to build certain skills before getting more work. And always remember, the end product is just a sliver of the amount of hard work behind it.
About the author: Dan Kumieko is a passionate wedding photographer, filmmaker, and the co-owner of CineStory Films. You can find more of his work on the CineStory website.
Image credits: Photos and videos by CineStory and used with permission. Video camera icon in header illustration by Рытикова Людмила and licensed under CC BY-SA 4.0.
Photographer Gary Fong, best known for creating the Gary Fong Lightsphere, released this 8-minute video warning about Amazon selling counterfeit copies of his popular collapsible flash diffuser.
Fong says he purchased several Lightspheres from Amazon and managed to get a counterfeit that looks strikingly similar to authentic Lightspheres in both packaging and product design, except it’s of extremely poor quality in every way.
On the outside, the packaging has example photos that look like they were badly exposed — not exactly the type of shot that’s normally used to sell a product’s strengths. In fact, all of the printed material looks like it was copied (something you often see when you receive counterfeit products).
The fake “Lightsphere” itself doesn’t hold its shape — it should be round, but it’s deformed right out of the box. Without the proper shape and sizings, the dome easily falls out of the diffuser while the genuine dome will stay in place.
Fong also carefully formulated the material to result in a relatively clear diffuser. The fake is quite different.
“They did exactly the thing we knew not to do, which is put a white dye — the white dye will cut power to the source,” Fong says.
“If you bought this, you would’ve returned it,” Fong says. “This is just a horrible product.
“I don’t blame you if you returned [the counterfeit product]. I would’ve returned it too. And I would have sent it a bad mark.”
It’s often recommended that you purchase products on Amazon that are labeled “ships from and sold by Amazon.com,” but even doing this may not guarantee that you receive a genuine product.
“Third-party sellers sign up to shill stuff through Amazon’s order-fulfillment services,” the Consumerist writes. “All those products often get pooled together by bar code, regardless of whether they come from the brands themselves or other distributors. That way, Amazon can grab whichever product that’s ordered at the nearest warehouse to the customer.
“That means even if you buy something that is technically sold by Amazon under the brand’s name, you might end up with a product supplied by a third-party merchant, which may or may not be the real thing. And that doesn’t make brands happy, because it makes them look bad to consumers who receive counterfeit goods.”
Fong is frustrated with the fact that counterfeits are shipping out with genuine products and that what his customers receive are out of his control.
“It’s impossible for you to know which one is the counterfeit because Amazon does not distinguish it,” he says. “Please, if you know of anybody who has purchased a counterfeit, remember to use Amazon’s A-Z guarantee and file a claim.”
Today we are going to use skeleton leaves and glycerin for a creative macro project. Skeleton leaves are fascinating and intricate structures that make great subjects for macro photography and creative projects.
While collecting such leaves along the river last fall, I noticed how well their skeletons hold on to a thin film of water if they get wet. Would this be a suitable subject for refraction images?
The answer was yes. After I took some quick test shots I realized that I was on to something. As the leaves consist of neighboring but separated cells, every one of the cells will act as an individual optical element and show a slightly different projection of the background in behind. Together they mimic the patchwork effect of stained glass.
Unfortunately, well-preserved skeletons are really hard to find in nature. But apart from nature walks, you can also find such skeleton leaves in many craft stores and even online (e.g. eBay). You can even make your own, which is what I did. The process is simple but slow and I explain it in the video below:
Once we have our skeleton leaves, there are just another few ingredients we’ll need for our set-up.
- Glycerin (can also be used to increase the surface tension of water for water drop photography).
- A colorful backdrop, ideally one with plenty of color contrast (you can find free macro backdrops for download here).
- A third-hand-tool or some sort of stand, to hold the leaf in place.
Once we got all of these gathered, it is time to prepare our subject…
Preparing the Shot
To achieve the stained glass effect we’re after, we are going to cover the skeleton leaves in glycerin. Of course, water is going to work just as well, but due to the large surface area of the two-dimensional leaves, it is going to evaporate quickly and needs to be applied quite frequently during shoots.
To apply either one of these substances, I recommend using a soft paintbrush. If you decide on using glycerin, you will probably have to apply 2-3 coats to ensure that there are no holes left.
Hang your leaves up and allow them to dry for about 30 minutes between coats.
After the preparations are done it’s time to stage the image; I used a soldering station (found on eBay) to hold all my ingredients in place neatly, but if you don’t have one, you can use laundry clips or adhesive plasticine to secure your subject.
And that is the basic concept already. I placed my backdrops about 1-3 cm behind the leaf and tilted them upwards slightly, to refract more light towards the camera. The light was supplied by an on-camera speedlight in combination with a diffuser to avoid harsh reflections, as they can be found in the initial test shot above.
Using different leaves, backdrops and lighting set-ups you can create a variety of different looks and patterns…
These images above were shot on a Canon 5D Mark II with a reversed Canon FD28mm /3.5 lens on 68mm of extension tubes. All of them were taken at 1/200th (camera-sync speed), f/8 and ISO100 (base ISO on that camera).
Voilà, that’s all there is to these images. I hope you enjoyed the creative input and found some inspiration for your own macro photography…
For a more visual peek behind the scenes, feel free to also have a look at my behind-the-scenes video:
About the author: Maximilian Simson is a photographer and artist based in London, Ontario. The opinoins expressed in this article are solely those of the author. You can find more of Simson’s work on his website and Facebook. This article was also published here.