Learning Video Production the Hard Way by Peter Cox High end video production is now within the reach of any modern DSLR owner. What does it take to achieve something really worthwhile though? Regular contributor Peter Cox shares the trials and tribulations of producing an hour long video tutorial/travelogue in Learning Video Production the Hard Way.
3 Years Later, DSLR Video, One Man's Perspective by Phil Holland We're coming up on the 3 year anniversary of DSLR cameras that also have the ability to shoot High Definition video. The flexibility of having a small and inexpensive camera with fantastic battery life that also can use interchangeable lenses has captivated consumers, professionals, and camera manufacturers around the world. Personally I've used these cameras to shoot everything from live events to motion pictures for feature films. With a slew of new cameras coming out in the next few months I find myself looking back at what has worked and what hasn't. I've gone through a whole lot of headaches, frustration, and problem solving to get the material up to snuff for the big screen and dealing with the camera system's "quirks". With this particular article I'd like to share some of my experiences and what I've learned along the way.
The Frame - Use Of by John Paul Caponigro The influence of the frame can be strengthened or weakened to emphasize specific aspects of images. As the frame is emphasized, images tend to become more graphically oriented prioritizing the structure of the image; the image as a thing in and of itself; picture perfect. When the frame is deemphasized, images become more strongly oriented towards the literal informtion they contain; the things the image contains; highly informative. Exaggerating this tendency can create significantly different kinds of images.
The Frame - Intro by John Paul Caponigro The most important four lines of any image are the ones that are often least recognized consciously – the frame. Part of learning to make successful compositions is learning to become more conscious of the frame and how to use the forces it exerts on your images for desired effects.
Scanning Colour Negatives: Raw or Not? by Mark D Segal This article provides detailed instruction and comparison of alternative methods for scanning colour negatives into positive digital images. Colour negative materials are particularly challenging because scanners cannot be colour-managed in the conventional way to handle them. Both SilverFast and Vuescan provide a multitude of negative "profiles" (basically inversion and correction algorithms in the scan software) for handling this problem. People have reported varying experience using them, ranging from enthusiastic to less enthusiastic, and some prefer conversion techniques which don't rely on these tools at all. Without pretending to be exhaustive, Mark provides detailed instruction for implementing a number of viable techniques, ( SilverFast's "Negafix" profiles, and shows the results. Because of its detailed, step-by-step nature, this article is also provided as a PDF download here, for convenience to those of you trying these procedures or variants of your own off-line. Before diving in, we note that similar approaches, apart from Negafix, could most likely be implemented in differing ways with other software. Mark uses SilverFast and Photoshop for all his scanning, hence these are the applications in which the procedures shown here were researched and tested.
The next chapter in photographic lighting by Scott Geffert This article sheds light on the future of photographic illumination by looking to the past as a guide. Via a series of personal experiences and observations over the past 30 years Scott Geffert of ImagingEtc (imagingetc.com) lays out an interesting roadmap for "Cross Media" Precision LED Lighting technology.
The article documents a fascinating connection between photographic pioneer WIlliam Henry Fox Talbot and the ongoing efforts of photographers to simulate natural daylight.