Apr 07 2011

Eye-Opening Insights from Gail Mooney: A Still-Video Hybrid Movie Trailer Goes Viral

Category: Business & Marketing, Creative Process, PhotographersEthan G. Salwen @ 12:07 pm

“Working on this trailer was one of the hardest things I’ve ever done,” Gail Mooney told me yesterday. “The shorter the piece, the harder it is for me to edit, and it probably is for most people. I needed to cut to the essence of the story yet not give away too much. I needed to create interest by what I didn’t tell the viewer.”

One thing this wonderful, interest-grabbing trailer doesn’t tell the viewer is incredible passion, energy and innovation Mooney has put into transforming her personal movie project, “Opening Our Eyes,” from the tiny tickle of an idea into a massive, tangible reality.

Created in partnership with her daughter, Erin Kelly, Mooney shares much of her passion — behind the scenes triumphs, frustrations and the technical and creative nuts and bolts of making a movie  — through her blogging on the “Opening Our Eyes” website, as well as on Journeys of a Hybrid, where for two years Mooney has been dishing up practical advice and motivation for photographers moving into motion.

Thanks to Mooney’s enthusiastic, adept use of social media, as of yesterday, a week after she posted it, Mooney’s trailer has already been viewed by 1,142 people in 62 countries.

“I realize in the YouTube playing field — of babies biting fingers and cats playing pianos — these type of stats are nothing in the viral world,” Mooney observed. “But they are amazing when you consider what it is.”

Indeed. What it is, at least in part, is a passionate visual communicator — who started her career long before the advent of digital imaging and the Web — sharing a personal project with more than a thousand eager viewers in 62 countries.

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Boy with eggs at Camino Abierto, Carlos Keen, Argentina.

The Possibilities in Passion

In a Hybrids blog post last week, Mooney wrote, “When you are convinced that you have the ability to make the impossible possible, then you will put your dreams into action. You will take that chance, and by doing so you are creating your own reality instead of reacting to what others have created for you, which may not be in your best interests.”

There are many people who share this kind of positive sentiment: make your dreams happen with positive thinking. It’s a sentiment that often rubs me the wrong way. It often feels hollow, oversimplifying the immense challenges we all face in life. Regardless of what a Nike ad campaign might say, many of us can’t “Just Do It.” Desire is not enough.

What makes Mooney’s “make the impossible possible” sentiment attractive is that it is grounded in the example of how she lives her life. She struggles, she strives, she overcomes. Yes, she does it. But she never “just” does it.

In her blogging over the past two years Mooney has become increasingly open and honest, sharing her personal struggles. She never complains of simply vents, but she lets us see that a great deal of her making the (seemingly) impossible possible depends on her never given up, even when the (seemingly) possible feels impossible.

In wonderful posts related to her experiences with “Opening Our Eyes,” Mooney shows us how she gets deeply inspired but then has serious doubts but that she still takes big chances anyway. She remains open to learning from diverse sources as she struggles with technical and creative challenges. And although she experiences many moments of sasisfied success, she also  experiences extreme let downs. The common thread — what’s truly important — is that she keeps on going and actively makes things happen.

Viola Majewska with horse at her hippotherapy stable located outside Warsaw, Poland.

Viola Majewska with horse at her hippotherapy stable located outside Warsaw, Poland.

Positive Change From and Beyond Technology

When “Opening our Eyes” is completed, I have no doubt Continue reading “Eye-Opening Insights from Gail Mooney: A Still-Video Hybrid Movie Trailer Goes Viral”

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Jan 05 2011

Transition Ideas & Themes With Image Sequences, and 9 Other Critical Multimedia Editing Strategies

Category: Multimedia & VideoEthan G. Salwen @ 6:20 am

AfterCapture Blog_110105_MediaStorm’s Ten Ways To Improve Your Multimedia Production Right NowI made a mistake in my post last Wednesday, but that’s OK. Correcting the mistake has turned into a windfall of the learning. The mistake (now corrected) was that I told you (incorrectly) that the 10 tips from Eric Maierson/MediaStorm came from “MediaStorm’s Ten Ways To Improve Your Multimedia Production Right Now,” when in fact they came from “MediaStorm’s 10 More Ways to Improve Your Multimedia Right Now.” The “More” is critical, and I was silly to miss it, especially since it made me overlook Maierson’s first 10 tips, which are as concisely invaluable as his second ten. I highly suggest you read them.

Maierson’s Editing & Educational Prowess

I’m eager to send major kudos to Maierson, both for his editing genius and for helping us lesser multimedia editors in understanding how he approaches the process.

Beyond the two posts mentioned, Maierson was nice enough to respond to my last post, greatly helping me advance my understanding of what it means to “edit rhythmically.” Very nice of him, indeed.

One great quality of Maierson as an educator is that he links his tips to samples in projects hosted on MediaStrom, so we gain the chance to understand what he is saying in action. This is no small matter. As he wrote when telling me about editing rhythmically, “It sounds a bit oblique written out like this. . . ” Indeed. Samples are required for advancing learning.

Learning To Transition Ideas & Themes Watching “Black Market” by Patrick Brown

Of Maierson’s first 10 multimedia editing suggestions, the one that most caught me attention was #5: “Use image sequences to transitions between ideas or themes.”

“What?” I thought. Maierson explained:

Think of image sequences as paragraph breaks between two big ideas. Sometimes these sequences need only be two photographs long, or on occasion even one will suffice. See the poaching sequence in Black Market for an example.

I loved the idea, but it wouldn’t have meant much if I hadn’t carefully watched “Black Market” by photojournalist Patrick Brown. “Black Market” is powerful, sad and important — classic in-depth photojournalism brought to much fuller affect (and to a much wider audience) thanks to the use of beautifully executed multimedia (produced by Brian Storm and Eric Maierson). And the numerous, well-crafted transitions between ideas are critical to the success of the 10-minute piece.

Watching To Learn, Without Completely Understanding

As I watched “Black Market” I was following Maierson’s advice, carefully on the lookout for the poaching sequence that would help me understand how to use image sequences like “paragraph breaks between two big ideas.” However I admit that I wasn’t sure exactly where to look, even though he had mentioned the “poaching sequence.”

Many times before the poaching sequence arrived I found myself noting breaks between paragraphs, transitions between ideas — especially beautiful transitional moments in the time line at 4:05, 5:00, 5:48 and 8:46 — and so I wasn’t clear if I was totally understanding Maierson’s point, even though I felt like I was seeing it in action.

I’m almost hesitant to share these specific moments in the time line of “Black Market,” as you might head right to them, looking for the answer. But what I’m learning from Maierson’s teaching is that there is no one, specific answer.

I often offer up multimedia and video samples as great inspiration, saying, “Here! Watch this!” But perhaps inspiration on its own is not enough — not if it doesn’t foster our thinking in ways that help us to improve our craft. Maierson is showing me that the best way to learn multimedia is not to:

A) Just watch and be inspired, and also not to:

B) Watch expecting a specific lesson to simply sink in, but instead to:

C) Watch with an idea of what can be learned — with a little guidance from the likes of Maierson — and then try to figure it out myself.

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Dec 07 2010

Who Needs Photoshop to Lie?

Category: ViewpointEthan G. Salwen @ 6:09 pm

This image by Lucia Merle was printed with a story in the Clarín newspaper last Wednesday, December 1.

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I was at the event were the image was taken last Tuesday, and I saw this:

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What’s In A Flip?

So the image by Merle was flipped for publication — by accident or for some purpose I can’t fathom. (It didn’t change the visual impact of the layout.) What’s the big deal? Not much, really, was my thought when I noticed the flip. Then again, manipulating images goes against journalistic standards. So, the Clarín’s version of the event is a lie, at worst, or at best, inaccurate reporting.

Either way, it’s another simple, clear example of how you don’t need Photoshop to manipulate images.

As my picture proves (if you believe this is what I really saw) Congresswoman María Luisa Storani was sitting to the right of Human Rights Watch’s Marianne Mollman (center), and not to the left, as the Clarín image proposes.

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Oct 01 2010

Photojournalist Paula Lerner Wins Emmy Helping Reveal Veiled Suffering in Afghanistan

Category: Multimedia & Video, PhotographersEthan G. Salwen @ 2:48 pm

A major kudos to multimedia-embracing photojournalist Paula Lerner for winning an Emmy this week for her critical contribution to to “Behind The Veil,” a powerful, sobering, in-depth multimedia feature highlighting the struggles facing women in Kandahar, Afghanistan.

“Behind The Veil” highlights the amazing potential of a multimedia reporting. Grounded in the thoughtful reporting Jessica Leeder, of “The Globe and Mail”, and built around ten videos of Afghan women sharing their plights, “Behind The Veil” depends heavily on Lerner’s images. Featured during Leeder’s voice-over, her photographs paint a broad visual picture of the topic in a way that brilliantly compliments the videos and Leeder’s reporting.

I have not yet investigated the story behind the creation of “Behind the Veil” but I’m fairly sure that Lerner made her images independently of this project, and before the project was even conceived. I say this because I heard Lerner speak about her work in Afghanistan last October at PhotoPlus, and I’ve seen a number of the images in her online portfolio. Just as important, many of Lerner’s images document moments before Afghan woman’s rights began to be abused more severely — to levels that Leeder helps illustrate are arguably worse than when the Taliban ruled the country.

Take at least a quick look at “Behind The Veil” to better understand an important story, to see multimedia harnessed to its full potential, and to respect the important photojournalism created by Lerner.

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Sep 08 2010

Christopher Cairns on the Value of Music and Friendship for Visual Artists

Category: Multimedia & Video, PhotographersEthan G. Salwen @ 12:34 pm

Christopher Cairns says his sculpture transmits an impeding sense of disaster that is born out of his attitudes about modern life. Cairns, who relies heavily on music for inspiration, also notes, “The detachment of the contemporary culture from classical music and serious jazz is a disaster.” Regarding the value of friendship, Cairns says, “Part of being an artist is to try to find other people that you can share feelings and ideas with.”

Cairns’ sculpture is powerfully evocative and his sentiments about music and friendship in relationship to the visual artist’s life will be of interest to photographers. Although I can share all this about Cairns, I only know the artist through this five-minute video created by Richard Anderson. This speaks to the incredible storytelling power of documentary shorts. It is also reason to applaud Anderson for taking a great leap forward in his video-making pursuits.

Last month I reported that Anderson was just getting started in video by learning multimedia techniques by experimenting playfully. His latest creation, a personal project, proves that Anderson is getting great results — fast.

Check it out this video for inspiration from both Cairns and Anderson. Take particular note of how Anderson puts his photographer’s eye to excellent use. His framing of Cairns among his sculptures is fantastic and not typical of standard documentary interviews. And Anderson’s still images make wonderful b-roll that clearly reveal Cairns’ vision of impending disaster.

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Aug 13 2010

Taking Culture, Not Pictures

Category: Creative Process, In-Camera Techniques, ViewpointEthan G. Salwen @ 1:46 pm

It’s been a great week — with my work with Human Rights Watch off the ground and getting some news images in print — and, on this Friday the 13th, I can’t help but think about good luck. I really do feel like good luck has come my way recently, and that my life and work are starting to blend in special, unexpected ways — ways that I have wanted, but ways that did not happen when I was more desperate, more anxious, trying harder to make something happen that I was not yet ready to handle.

What the heck am I talking about?

What I’m talking about is that when I moved to Argentina more than four years ago I had big dreams about learning Spanish and traveling all over South America and making great images and telling even greater stories. But that didn’t happen. For one thing, learning Spanish — I mean really learning to live with the stuff — has proved far more challenging (and rewarding) than I could have have ever imagined. For another thing, I got focused a lot more on the “simple” aspects of daily living that I had never focused on so well in the United States.

BEFORE: Christmas eve in Villa 31 -- a "dangerous slum." This image was easy to make, but

BEFORE: Christmas Eve in Villa 31 -- when being an outsider gave me an in.

In short, you could say I moved to Buenos Aires to escape the more mundane aspects of life that I wasn’t handling too well back in the USA and, very much to my surprise, what has happened is that I have come to cherish the mundane more than anything else. Family. Friends. Living in the moment. Taking care of body and mind.

Then this Human Rights Watch gig seems to fall in my lap, and that’s really exciting. But what’s particularly nice I don’t feel manic excited or super lucky or all revved up, like I’ve won the lottery or something. I just feel mellow lucky and, more than anything, I feel really lucky that it was the circuitous, couldn’t-have-predicted-that route that has brought me here. I did not get here, as so many successful people proclaim, by keeping my eye clearly on the prize. How the hell could I? I didn’t know what the prize was. I was stumbling and I still am, but this week the stumbling feels like it has a bit more grace to it.

I am writing all this by way of sharing that it is not my photography skills nor my desire to work with multimedia nor my great business skills that created this opportunity with Human Rights Watch. What really allowed me to get this job is the fact that I live in Buenos Aires, that I learned the language and that, more than anything, I can see the cultural as both an insider and an outsider. This is not only allows me to get access to Continue reading “Taking Culture, Not Pictures”

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Aug 11 2010

A Photojournalist (Published) in Argentina

Category: Business & MarketingEthan G. Salwen @ 1:04 pm

AC_Blog_100811_HRW_1Today an image of mine from yesterday’s Human Rights Watch press conference appeared in “Pagina 12,” Argentina’s biggest progressive newspaper. Images of mine from the press event also ran on a number of international news Web sites. Yes I’m pleased about this, but I’m also quite surprised.

When I arrived at the Human Rights Watch press conference (to unveil “Illusions of Care”), I had two goals. My primary goal was to meet contacts to help with my multimedia project for HRW. My second goal was to experiment with photographing still images while also capturing video and, gulp, recording audio as well.

I figured that the material likely would not make it into my multimedia project, and so I didn’t have to worry about the low quality of the video from my Canon G9, nor about the fact that I had no idea how to record audio with my brand new Zoom H4n, which looks like a spaceship and comes with an instruction manual that left me confused an anxious.

In other words, although I was messing around with a lot of equipment, I wasn’t nervous. No pressure. But then. . .

I noticed that there were no other photographers at the press conference and I thought, um, shouldn’t we be putting my work to use for HRW? At least, I thought, I should make sure I get one or two suitable images for press use, just in case.

I only really got my head on straight regarding press images after the conference, back at the hotel that HRW was using as their strategic center. There were giving lots of interviews and so I finally said, “Shouldn’t we be offering my images to the press?”

Indeed!, the team said. So I rushed back to my computer, set up a gallery of selects, and started responding to emails and calls that were coming in.

Marianne Mollmann speaks at Human Rights Watch press conference in Buenos Aires, Argentina, August 10, 2010, to release report "Illusions of Care: Lack of Accountability for Reproductive Rights in Argentina"

Marianne Mollmann speaks at Human Rights Watch press conference in Buenos Aires, Argentina, August 10, 2010, to release report "Illusions of Care: Lack of Accountability for Reproductive Rights in Argentina."

Thinking About the Client

I realize, of course, that daily news photographers think very clearly (and in advance) about how to get their images quickly into print. I’m not that kind of photographer, and so I don’t think that way. (That’s not an excuse; I’ll be more alert in the future.)

In terms of getting my images published I wasn’t thinking about how to make a few extra bucks on licencing a few tiny images. The important thing for me was to make myself part of the HRW team, help them with their press efforts and — no small matter — show them what I look like working in action.

Yes, I’ve already got the “go” for the multimedia project, but I am working with only one contact, who already has my confidence. Yesterday, two of her colleagues saw me go the extra mile for HRW, and I’m sure that, at some point in some way, this will serve me well.

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Aug 10 2010

Working for Human Rights Watch – Multimedia Style

Category: Business & Marketing, In-Camera Techniques, ViewpointEthan G. Salwen @ 10:39 am

AC_Blog_100810_Human Rights Watch_1Human Rights Watch held a press conference in Buenos Aires today to drum up interest in their latest report: “Illusions of Care: Lack of Accountability for Reproductive Rights in Argentina.” I’m pleased to announce the cover image of the report was made by yours truly. It was great to put my photography to work for HRW. It’s even greater that it’s a relationship that has just begun. The next phase will involve my making for them a multimedia production, a topic about which I have been writing so much lately. (In fact, my writing led directly to this job, which is very cool and which I will explain below.)

For the “Illusions of Care” cover I was charged with making an image that spoke to the report’s theme — roadblocks to better reproductive health care for women and girls in Argentina. I could not show the identity of anyone I photographed, unless I obtained a model release, and so I focused on a graffiti-filled hallway in the maternity ward at Hospital Alvarez in Buenos Aires. (The graffiti “Aca nacio” features prominently in the image. “Born here” in Spanish.)

Actually, I was able to get model releases from a number of women I photographed. And some of these images show the women with distressed expressions that might have made a more powerful cover image. However, using one of these images for “Illusions of Care” would have been disingenuous, to say the least. The care at Alvarez maternity ward is excellent. The women’s expressions were the result of them being in various stages of labor.

Although many of the images I made at Alvarez were not right for the report cover, I’ll likely be able to use some in the multimedia project I am now working on for HRW.

Building Trust Was Key

A couple months back Marianne Møllman, the author of “Illusions of Care, contacted me to see if I might be able to make a cover image for the report. I told her I was Continue reading “Working for Human Rights Watch – Multimedia Style”

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Jul 14 2010

Wide, Medium and Close – The Key to Crafting Cool Videos

Category: Creative Process, In-Camera Techniques, Multimedia & VideoEthan G. Salwen @ 3:24 pm

“When capturing motion and stills for use in multimedia it is essential to record all subjects in wide, medium and close-up shots,” Mary Lynn Price told me recently. As a video journalist focusing on “one-man-band” reporting, Price uses all three perspectives to carefully construct rich reporting experiences. One great example is her “Conserving Shackleton’s Historic Hut in Antarctica,” which she produced in 2008 for “Women Working in Antarctica.”

“The wide shot is the establishing shot, the medium shot clearly shows the subject, and the close-ups give us the ‘wow’ factor,” Price explains. She uses all of these to her storytelling advantage throughout “Shackleton’s Historic Hut.”

Even though it’s only five minutes, “Shackleton’s Historic Hut” asks a lot from Web viewers with short, fickle attention spans. Price holds our interest by presenting as much information as many, slower-paced TV documentaries would in a half hour.

Not only do get to know three different Continue reading “Wide, Medium and Close – The Key to Crafting Cool Videos”

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May 05 2010

Seeing Beyond the Still

Category: Multimedia & Video, The IndustryEthan G. Salwen @ 12:56 pm

The most recent issue of the “The Digital Journalist” (May 2010), which focuses on video, opens with this video by Vince Laforet.

On the vimeo.com page where the movie is hosted, Laforet explains that part of his motivation in creating “Chapter 1: The Cabbie” was to show off “the many strengths of this new breed of HD DSLR cameras, such as the Canon 7D, which we shot this film with.”

There is no doubt that Laforet has succeeded. The production quality of “Cabbie” is simply outstanding, and it will provide inspiration for any photographer exploring the possibilities of video. Laforet explains that “The camera’s low light capabilities and light weight allow you to do things you’d never think to try with traditional cameras.” Continue reading “Seeing Beyond the Still”

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