Photography Archives - Blog
My mom handed me her Nikon F2 camera when I was 4-years old and I proceeded to snap some blurry photos of my foot and the wall. I was hooked. A contraption that captured the moment. 40 years later I’m still snapping blurry shots but now on purpose.
Recently I purchased a 5-pack of expired Fuji Velvia 100 35mm color slide film for a trip to Montana. I took a Nikon FE and FE2 film cameras with me and a battered Nikon 43-86mm f3.5 (first version) lens known for its distinct and extreme flares. I ended up shooting only Kodak Portra 400 and Tri-X up there but did go through X-ray security with my film.
On my return to Los Angeles, I shot the Velvia 100 in Culver City and the last couple shots in Palm Springs. The exposed film then sat in my car for a week as the temperature was 120 degrees in the desert. I then send the film to The Dark Room in San Clemente for developing. What I got back blew my mind. These are the untouched scans I received from the lab…
Usually I love to add the distressed, grainy and damaged looks in post to my photography as I’m trying to express a feeling and mood as opposed to worrying about sharpness or focus. This first roll of Velvia went through serious torture before it was developed. I’ve reached out to several professional photographers to ask what could be the cause of the beautiful damage. It’s been narrowed down to but not limited to: expired film, overheated exposed film, x-rays, dirty lens, mold, spores, humidity and dumb luck. Here’s a closer look at some of the shots from roll #1. These are untouched scans with no color correction:
The San Gorgonio Pass Wind Farm is one of the windiest places in Southern California. That’s why 3218 wind turbines are strewn across the desert outside of Palm Springs. Everyone driving past on interstate 10 instinctively starts wildly snapping photos with their phone at 70mph. The results are often unsatisfactory. My Instagram account proves me guilty of this too many times!
Yesterday, I decided to take my time, drive around and let my eye find some pleasing angles and dramatic views to capture. It was late in the afternoon and the sun was dropping behind the 10,834 feet high San Jacinto Mountains.
Here are the results… (CLICK TO ENLARGE PHOTOS)
HEADLOCK is the futuristic spy thriller film I’m editing right now.
Written and directed by Mark Polish, it stars: Dianna Agron, Andy Garcia, Justin Bartha, James Frain, D.W. Moffett, Johnny Pemberton, Patrick Bauchau and Mark Polish. HEADLOCK will be invading your brain in 2015.
Editors don’t often spend too much time on set. But I needed some sunshine and to spend time with my filmmaking family. I asked Dianna to pose for this photo during top secret filming in Lancaster, California. It’s 105 degrees Fahrenheit and yet Dianna and her custom Cadillac look quite cool.
Excited to share the filmmaking journey of HEADLOCK with you all. I will be constantly updating my blog with new information.
In 1928, FOX opened their studios in Century City, California. In 1935, FOX merged with 20th Century Pictures and those studios went on to create some of the most memorable films and TV shows of all time. I had the pleasure of working on the FOX lot during the last couple of weeks and took some behind the scenes photos during my stay. Pure Hollywood History!
Shows shot here include: Avatar, The Simpsons, M*A*S*H, The Sound of Music, L.A. Law, Charlie’s Angels, Die Hard, Fight Club, Minority Report, House and Butch Cassidy and the Sundance Kid. The sense of history you feel when you walk the lot is indescribable… Read more…
A film editor will often sift through hundreds of hours of footage shot for a project. These images flash by at 24/25/30 frames a second and the gold nuggets needed to tell the story must be mined from these mountains of digital or celluloid assets. In documentaries, still images or photographs are needed to propel the tale forward as moving images may not have available to convey certain elements or events. Thanks to Ken Burns and others…it is now commonplace to animate an image and make it come alive as if it were moving.
There is yet another approach to effective filmmaking that uses still images. By incorporating a vast amount of still images…a film editor can build the narrative and evoke emotions by juxtapositioning these images to tell the story. Just like editing moving images…the pace, choice of shot, and resonant emotional effect of still images are all critical to achieve success. It can often take much longer to build a sequence this way as more imagery is needed and every image must be perfect for that one moment on screen. On top of that…one ill-placed visual can break the flow created and destroy the fragile house of cards being built. When done well…it is a magical and invisible effect. Here are 3 amazing examples that exemplify this technique and show all filmmakers the possibilities of editing still images. Read more…
Every Filmmaker owes a debt of gratitude to the people in “The Industry” who have come before them. Every creative or technical decision you make on your film, TV show, webisode, short film or documentary has probably been made a multitude of times in the past. The “Bolt of Lightning” idea that struck you in the middle of the night has most assuredly been thought of and implemented during the last 100+ years of Filmmaking.
We stand on the shoulders of giants and I take every chance I can to learn more about the history of filmmaking. The Media History Digital Library has just launched their search platform Lantern which contains 800,000+ pages of digitized texts from publications of film, broadcasting, and recorded sound. Brew some coffee and timewarp into the past to learn more about every aspect of Filmmaking than you could possibly imagine!
2 young skateboarders (Oliver and Cyrus) bought the cork car for $750.
I came home and saw it parked in front of my home in Santa Monica.
I grabbed my Canon 5Dmkii, a Nikon 20mm f2.8 lens and snapped some shots.
Here are the results… (click to enlarge)