Jun 04 2010

Learning Multimedia and Video On the Job

Category: Business & Marketing, Creative ProcessEthan G. Salwen @ 1:33 pm

“The way I learn the best is just to do stuff,” Wu said. “So I will just take an assignment and learn along the way.”

This thought from Tony Wu came near the end of my post yesterday, and I thought I better elaborate on it, both for the sake of clarity and to fend off the likes of Gail Mooney, a photographer who has spent years mastering video and multimedia and who has told me more than once (understandably) that she gets very irritated by photographers (and clients) who downplay the difficulty of creating video and multimedia.

Where did I learn to photograph on a train at high altitude? Um, that would be, on a train at high altitude. (Nearing 15,023, heading between Lima and Huancayo, Peru.)

Where did I learn to photograph on a train at high altitude? Um, that would be, on a train at high altitude. (Nearing 15,023 ft., heading to Huancayo, Peru, from Lima.)

Tony Wu is as conscientious of his professionalism and the difficulties of creating multimedia as Mooney. Also, to be clear, this was just one brief thought from him in a very long conversation. Wu didn’t make a big point of the idea that photographers should take on new challenges while on the job. However, I will.

I don’t think it goes against best professional practices to suggest that on-the-job learning should be a critical strategy embraced by still photographers venturing into multimedia. As Wu suggests, why not go out an get jobs that require a slightly higher level of expertise?

Professional Photography IS On-The-Job Training

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Jun 03 2010

Underwater Storytelling from Tony Wu

Category: Creative Process, Multimedia & Video, PhotographersEthan G. Salwen @ 2:04 pm

AfterCapture Blog_100603_Underwater Storytelling_1When I talked with underwater photographer Tony Wu late last night (early this morning for the Japan-based Wu), he agreed with Ian Shive that making quality multimedia — from stills, video or both — is all about the story. To illustrate his point, Wu directed me to his fantastic blog covering underwater photography and therein to “A Very Hungry Frogfish,” one of his first experiments in multimedia storytelling

If you haven’t yet put together a multimedia piece, or are in need of inspiration, I strongly recommend you watch this wonderful Frogfish-staring piece by Wu. “It’s a good illustration of nothing mattering more than the story,” Wu told me, which is the exact sentiment Shive had shared (not to mention everyone else I have interviewed on the topic).

“Yeah, the audio sucks and the video processing is no good,” Wu shared in his slow, calm, thoughtful manner of speaking. “But the end result achieves what I wanted, which was to make people laugh, and to get people to emotionally relate to a fish.”

I definitely laughed. I definitely was not distracted or put off by the low-tech nature of the piece. For “Frogfish” Wu only used a handful of stills (patiently captured over more than an hour and a half), Wu’s voice-over narration and endearingly simple “special effects.”

“Frogfish” has a simplicity the resonates like the experience of the best children’s books, which (as my sister-in-law, who is a children’s librarian will tell you) are some of the greatest books out there.

“There’s no way I could have conveyed this story with one picture, or words alone,” Wu said. “People really get it.”

Not Being Overwhelmed by Overwhelming Technology

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Jun 02 2010

The Incredible Nature of Ian Shive

Category: Books, Business & Marketing, Multimedia & Video, PhotographersEthan G. Salwen @ 4:57 pm

AfterCapture Blog_100602_Shive_1“At the end of the day, your multimedia project is only as good as your story,” Ian Shive told me today during a fantastic interview. Both insightful and contagiously enthusiastic regarding the evolving possibilities in multimedia for still photographers, Shive is a 31-year-old nature photographer who turned pro only a few years ago — from a background in marketing major Hollywood motion pictures. Driven and focused, Shive is having tremendous success, recently publishing “The National Parks: Our American Landscape” and having launched Wild Collective, a full-service multimedia production company with partner, Russell Chadwick.

Shive’s portfolio is a strong, lush statement that speaks to his capacity to create top-notch nature imagery. However, to get a much better sense of who Shive is — and to gain inspiration for possibilities in leveraging still images in multimedia projects — watch “Wild Exposure with Ian Shive – Episode One – The Southwest.”

Created with Chadwick, the original idea behind “Wild Exposure” was to create a multimedia promo piece for “Our American Landscape.” The thing is, returning from their 28-day, 7,500-mile National Parks road trip, Shive says the team realized that Chadwick “had shot 36 hours of the most stunning footage you have ever seen in HD.” What to do?

Continue reading “The Incredible Nature of Ian Shive”

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May 18 2010

YouTube Vs. Vimeo for Hosting Videos

Category: Multimedia & Video, Technology InsightsEthan G. Salwen @ 2:53 pm

AfterCapture Blog_100518_YouTube_Vimeo_1In my last post, I made it clear that the YouTube community can be a toxic one. I also suggested that this might be a reason for preferring to host videos on Vimeo.com rather than YouTube.com. However, I want to make it clear that YouTube is really no better or worse for hosting videos than Vimeo. It’s all about how you use any given video-hosting service, considering the advantages of each service in relation to you video-publishing goals.

If you haven’t used either, I suggest starting with YouTube, then checking out Vimeo. You can get a feel for each quickly, and you can always take down videos as you gain focus.

For more technical specifics than I cover on the differences between YouTube and Vimeo, check out Dan Sung’s “Vimeo vs YouTube – which is the better video service?”

YouTube for Going Viral

Yesterday the BBC News reported that YouTube, as it turns five-years-old, is receiving two billion hits a day. “If you tag your videos really well, YouTube can bring you new viewers,” says Eric Cheng, the underwater photographer who mentioned to me the toxic nature of the YouTube community.

Continue reading “YouTube Vs. Vimeo for Hosting Videos”

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May 06 2010

Excellent Interactive Guides Explore Gulf Coast Oil Spill

Category: Technology Insights, ViewpointEthan G. Salwen @ 8:53 am

Excellent Interactive Guides Explore Gulf Coast Oil Spill

On January 14 I mentioned my frustration with “A Closer Look at the Destruction in Haiti,” an interactive Web feature produced by “The New York Times.” On January 20 I highlighted “In Haiti, a Struggle Barely Begun,” (also by the “Times”), praising the power of classic photojournalism.

My two posts together might come off as a Luddite, suggesting that old fashioned reporting is better than newer-tech reporting. This is certainly not the case. Just think abut Vietnam. While we might best  remember a handful of iconic still photographic images from the Vietnam War, it was the daily TV news coverage that most effectively brought the war into the homes of Americans.

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Today 10,000 Words features a great sample of interactive, online media done right. “7 interactive guides to the Gulf Coast oil spill” show that simple, well-conceived multimedia reporting can be far more effective than still images alone, and that they can help put still images (both news and stock) to best use.

Samples include reporting by USA Today, The New York Times, MSNBC, CNN, and the Times-Picayune. All of these are basically the same — showing the progress of the spill over time, using Flash driven graphics.

Continue reading “Excellent Interactive Guides Explore Gulf Coast Oil Spill”

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Apr 19 2010

Craig F. Walker Wins (the New) Pulitzer Prize in Feature Photography

Category: Photographers, The IndustryEthan G. Salwen @ 9:19 pm

AfterCapture_Blog_100419_Pulitzer_1On April 12, the 2010 Pulitzer Prize in Feature photography was awarded to Craig F. Walker of “The Denver Post.” As the prize citation notes, Walker won the award “for his intimate portrait of a teenager who joins the Army at the height of insurgent violence in Iraq, poignantly searching for meaning and manhood.”

Winning a Pulitzer is a big deal. There is no doubt that Walker’s work is  worthy of recognition. What is more confusing is exactly what makes photography eligible for a Pulitzer Prize, how this relates to digital journalism and how Pulitzer judges chose winning images in relation to online presentations.

This post is about the Pulitzer Prizes in photography — thus “(the New)” I put in the title — and not about whether Walker’s work deserves the prize. I want to make that clear. For more than two years Walker photographed a young man named Ian Fisher as he went from considering joining the military and his induction into the Army through his training — which included a number of personal problems — to his eventual deployment to Iraq and his return to the States.

Not only did Walker photograph Fisher at key moments during a 27-month period, but he recorded his family, friends and many aspects of the modern military not often seen. It is a truly compelling body of work.

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The main reason I know that Walker’s body of  work is compelling is because of an online, multimedia site hosted by “The Denver Post.” By heading to “Ian Fisher: American Soldier” I was able to delve into Walker’s work far, far more in depth than I could have by merely viewing the 20 images presented in the “Works” section connected to Walker’s citation on The Pulitzer Prizes site.

Confusing Evolutions in Pulitzer Eligibility

I first heard about Walker’s winning work from a post on 10,000 Words. The post’s introduction says: Continue reading “Craig F. Walker Wins (the New) Pulitzer Prize in Feature Photography”

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Apr 02 2010

The Fine Art of Photojournalism Multimedia

Category: Multimedia & Video, Technology Insights, The Industry, ViewpointEthan G. Salwen @ 3:27 pm

Photojournalism has never been as “straight” as most people seem to assume, especially those outside the specialty. With the advent of digital multimedia as a way to share still photojournalism, increasing numbers of photojournalists seem quite comfortable pushing the line between “straight” photography and fine art image making.

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One amazing example can be found on the website of photojournalist Antonin Kratochvil, whose work is represented by the photo agency VII.

The only explanation offered within the multimedia piece “Road Work” is the text that says, “by U.S. Army Staff Sergeant Jack Lewis.” Presumably the haunting, personal narration is by Sergeant Lewis, and presumably it is based on his real experience, and presumably the images in the piece were made by Kratochvil. Continue reading “The Fine Art of Photojournalism Multimedia”

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Apr 01 2010

Delightful Stop-Motion Engagement Photography Session

Category: Business & Marketing, Creative Process, Photographers, Technology InsightsEthan G. Salwen @ 11:36 am

Last month I shared some time-lapse photography inspiration. Today I share a delightful example of how wedding photographer Sarah Yates has put stop-motion technology to work to create a wonderfully creative multimedia piece from one of her wedding engagement sessions.

For her her blog post of March 2, Yates explains:

i’d been wanting to make this video since before we did their photos,  but was totally overwhelmed with where to start (seriously, the stack of 500 4X6 prints were taunting me for MONTHS!).  yesterday, with the help of my awesome new assistant jack, we finally pulled it together. (thank you jack!)  i am so happy to finally be able to share it!  enjoy!  xoxo

Indeed, it is Yates’s creative use of prints in her time-lapse/stop-motion piece that gives it a truly unique feel. Like all great visual communications, the idea is simple, but it is executed with excellence that conceals the amount of effort that went into producing it. Continue reading “Delightful Stop-Motion Engagement Photography Session”

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Mar 10 2010

Time-Lapse Photography Inspiration

Category: Multimedia & VideoEthan G. Salwen @ 2:03 pm

For some serious inspiration in time-lapse photography, check out “12 Creative Uses of Time-Lapse Photography (and 4 Ways To Create It),” a post from “10,000 Words.”

Tracking flight patterns might seem fairly obvious, but then I never thought of using data from the FAA! The time-lapse documentation of the reconstruction of a Katrina-ravaged home is a great piece, and reminds of the time-lapse possibilities in documentary photography. Seeing a man age eight years in less than two minutes is bizarre, but is certainly idea-provoking. Of the 12 samples, my favorite is definitely the cross-country road trip, mesmerizingly shortened to four minutes. Nice!

Unfortunately, the “10,000 Words” post doesn’t deliver as much as I had hoped on the ways to create time-lapse photography, although there are a few links. The site’s previous entry also offers a few time-lapse photography tips and links, but nothing super substantial.

Are You Time-Lapsing?

Have you been bit by the time-lapse bug? Have a time-lapse video to share? Know of any instructional resources that are better than the ones featured in “10,000 Words”?

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Feb 03 2010

Don McCullin Speaks Candidly About Photographing War

Category: PhotographersEthan G. Salwen @ 2:13 pm

AC_Blog_100203_Don_McCullin_1“I don’t want to be remembered as a war photographer, or even classified as one. I hate it.” So begins Don McCullin’s narration of a four-minute audiovisual show posted today by BCC News. McCullin finishes his frank, surprisingly personal reflections of the experience of photographing wars by saying:

“I didn’t feel bad about taking this picture because he and I were hit by the same mortar shell in an ambush in Nam Pen. This was his last plea for life. I’ve seen my own blood. I’ve seen their blood. I’ve felt pain. I’ve felt shock. I’ve had some of the experiences. I suppose I’m speaking as if I’m trying to exonerate myself.”

I am not sure what McCullin means by this last thought — that we might hear his words as if he were tying to exonerate himself.

I do know McCullin’s frank, emotional reflections are rare for photographers who have covered war — at least when talking in the public realm. Continue reading “Don McCullin Speaks Candidly About Photographing War”

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