Oct 15 2010

The Hybrid “DSLR” — One Camera Type With Many Names

Category: Multimedia & Video, Technology Insights, ViewpointEthan G. Salwen @ 5:26 pm

AfterCapture Blog_101015_DSLR Naming 2_1Silly me! There I thought that a DSLR that captures video must have one simple, standard name, and that I just didn’t know what it is. Thus my post on the topic in which I look at the overlapping use of “HDSLR,” “HD DSLR” and “DSLR video.” The comments I received from a number of savvy photographers made it clear that one simple, standard name does not exist, and that it might be better that way, at least for now.

Tony Wu wrote that “The discussion/debate never crossed my mind,” and he isn’t too worried about the question. Eric Chen wrote that the question is an “outdated discussion,” as nearly every DSLR captures video, and “it would be suicide for someone to produce a new SLR that isn’t ‘D’ or ‘HD’ or ‘ViD.’” His suggestion: “Drop the silly prefixes! I just use ‘SLR.’”

Ian Shive seems to agree about dropping prefixes, except to perhaps add an “F” to film SLRS — as in FSLR — and thereby making it clear that an SLR that is called an SLR is really a DSLR. Interesting idea.

“Let’s call it what it is; a VSLR,” wrote Ralph Clevenger. “A video single lens reflex camera, or video-capable single lens reflex.” Not only does this make the most sense, Clevenger believes, but he also notes that it rolls of the tongue real nice. In an email to me said that Brooks Institute, where he teaches, will be adopting this name. The VSLR. It does roll off the tongue nicely, and Clevenger makes good sense, but could there be a risk to insisting (as I was) that there must be one label when one label does not exist?

Richard Anderson (who likes “DSLR” and thinks, like Richard Harrington and PhotoCineNews, that it is best to simply talk about “DSLR video”, for clarity and avoiding additional prefixes) points out that “When it comes to terminology, there is no single George Bush-like ‘decider’”, and notes that “as soon as DP Review starts a forum called ‘HDSLR’ or ‘Video SLR,’ then the term will start to congeal.”

Before “It” Congeals

It seems clear that sooner than later all photographers (not working with antiques) will be using SLRs that are DSLRs and that all DSLRs will capture video and sound. Therefore, it seems possible (and sensible?) that SLRs that happen to be D (or V or H or HD) will come to be know simply as SLRs. This would be nice. But, of cousre, another term might congeal as a set standard. Who knows, but in the meantime I suggest:

#1: Don’t think about this topic as much as I have! As Gail Mooney puts it: “I’m much more interested in what the camera does [sic] than what it’s called.” In other words, she’s using her DSLR (or whatever it’s called) rather than debating about what to call it. Good for her!

#2: Consider what name makes sense to you, and stick by it. I still believe that professionalism and calling things by their best names go hand and hand. With this post and my previous one on this topic you are more than equipped to make a quick, intelligent naming decision for yourself.

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Sep 23 2010

Adventures in Motion — The Article

ACBlog_100900_adventures_in_motion_salwen_currents_fall2010“The ability to easily distribute video to a worldwide audience via the web is the third factor that has dramatically opened up possibilities in motion for still photographers,” I write in “Adventures in Motion: Nature photographers get serious about capturing video and producing multimedia.” Factor One, I explain, is that hi-def digital video capture has recently become so affordable. Even more critical, Factor Two occurred “in the late 1990s when professional video editing software began to run on the same computers photographers used for their digital still photography.” With this brief historical background, in “Adventures in Motion,” which I wrote for NANPA’s Currents magazine, I dive into a deeply-researched piece in which I attempt to inspire photographers to embrace multimedia and video, and to provide some fundamental advice for doing so smartly.

To get a taste of the scope of “Adventures in Motion,” check out the article’s subheads: “New Frontiers in Video Capture, Editing and Distribution,” “Proceed with Excitement and Respect,” “Having Fun and Learning By Sharing,” “Understanding New Paradigms in Publishing,” “Taking On Video Editing One Step at a Time,” “Listen Up: Sound Is King,” “It’s All About the Story,” and “Beyond the Million-Dollar Question.”

Sounds like good stuff, no? Well, if I succeed with “Adventures in Motion,” it is because I was able to bring to life the experiences the visionary, multimedia-embracing nature photographers who informed this piece: Rob Sheppard, Eric Cheng, Ian Shive, Tony Wu, Ralph Clevenger and Mary Lynn Price.

I deeply thank all of these photographers. During hours of interviews, each one shared their unique perspectives with passion and patience. They also provided invaluable feedback on drafts of the article. While their experiences differ, I was pleased to discover that they are all very much on the same page in terms of what matters for still photographers moving into motion.

Currents’ editor Niki Barrie is the unsung hero behind “Adventures in Motion.” Not only did she assign the article, but she performed some major hand-holding as I worked to refine my mess of a first draft from more than 10,000 words down to less than 4,000. Thanks, Niki!

Check It Out! — A Resource Worth Sharing With Colleagues?

I encourage you to give “Adventures in Motion” a read. Even if you well beyond “newbie” status in your adventures in motion, my hope is that you will find a resource worth sharing with colleagues.

Sooooooo?

I know you’re the opinionated type, so please share your opinionated response to “Adventures in Motion” — in a comment below. More than “Good job!” or “That sucked!”, I encourage you to enter the dialog with your experiences. Expand on what I got right, correct what I got wrong, share any critical advice I left out, pose a question that was raised, or respond to any questions raised below.

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Aug 19 2010

Finally Going with Final Cut Express. Right Move?

Category: Multimedia & Video, Technology InsightsEthan G. Salwen @ 7:21 pm

AC_Blog_100819_Final Cut Express_1I finally decided to go with Final Cut Express 4 as my primary multimedia and video editing software after way too much thinking about it. I spent the $200 and a friend smuggled the program into the country for me a couple weeks back. (It would have cost twice as much locally, and might have been in Spanish.) In retrospect, I can’t believe I have spent so many months thinking about which video editing software to to use, grinding my teeth over the $200 cost of Final Cut Express (FCE), not at all sure if it would do all that I want.

I’ve been using iMovie (post version 6) exclusively for more than a year-and-a-half, and the program began to frustrate me almost immediately. iMovie is certainly simple but using it has felt like trying to edit with handcuffs on. I quickly found there were certain things — seemingly very basic things — that I simply could not do. (I was disheartened to read many reviews that said that the “improvements” to iMovie made the program much worse than version 6.)

However, I reminded myself that I was learning basic editing and producing pieces that were making friends and family laugh, and I couldn’t justify the expense of Final Cut Pro ($800) or Adobe Premiere ($800).

Final Cut Pro Wary

Even if I had the cash for Final Cut Pro, I’m not sure I would have shelled it out. Everyone says the FCP learning curve makes learning Photoshop seem like a breeze. About a year ago I had the opportunity to play around with Final Cut Pro on a friend’s machine and the experience left me shell shocked — completely intimidated. I didn’t feel like my hands were handcuffed; I felt like I had no hands. I just couldn’t do anything.

I was starting to appreciate the benefits of iMovie, but I really needed to advance, but I held off buying, obsessing about FCE’s functionality.

What’s Wrong with FCE?

Upgrading to FCE would seem to be a no-brainer, but I found lots of Continue reading “Finally Going with Final Cut Express. Right Move?”

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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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Jun 14 2010

Rob Sheppard Sheds Light on the Natural Value of Video

Category: Multimedia & Video, Photographers, Photoshop & LightroomEthan G. Salwen @ 2:39 pm

“I love exploring the natural world,” Rob Sheppard shared with me enthusiastically when I interviewed him regarding the best ways photographers can approach video and multimedia. That was the same day I talked to Ian Shive and touched base with Tony Wu on the topic, and Sheppard’s comment about exploring nature was by way of explaining his openness to embracing video.

You see, for Sheppard, imaging technology — whether still, video or multimedia — is simply a means to an end. And for Sheppard, that end is about exploring nature, and then sharing his experiences with others.

If you’re not aware, Sheppard is a highly-respected nature photographer, writer, educator and the editor-at-large of “Outdoor Photographer.” He’s been helping educate still photographers for decades –30 books, hundreds of articles and seminars galore — and his intense focus on still imagery made his incredible enthusiasm take me by surprise. Silly, silly me.

Video for Life

During the hour we talked, Sheppard shared a wonderful breath of technical and creative insights. At the end of our call, I asked Sheppard what message he would like to share with nature photographers who might be hesitant about exploring the possibilities of video and multimedia. His beautiful response:

“To me, on a very personal level, nature is important. And I think nature needs our attention. People look at the natural world as place to extract things, but the entire natural world is part of a whole, and when we don’t respect nature it causes problems for nature, and for people as well. Continue reading “Rob Sheppard Sheds Light on the Natural Value of Video”

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Jun 08 2010

Tony Wu Heads into the Uncharted Waters of Final Cut Pro

Category: Creative Process, Multimedia & VideoEthan G. Salwen @ 11:19 am

How’s that for timing? Last Thursday I feature the underwater storytelling of Tony Wu, on Friday I make a case that we should embrace the opportunities of learning multimedia on the job, and then today I hear from Wu. “I’ve been offline for a while,” he writes. “I was in the midst of editing this.”

“This” lead me to Wu’s “Adventures with Craig” blog post, which features his latest video, “Captain Craig,” a project which required Wu to head into uncharted waters with Final Cut Pro. “This is the first time I’ve edited anything with Final Cut Pro and Motion,” Wu notes in his post, and asks us cut him some slack regarding aspects of his video that might need improvement.

Cut some slack? Huh??? The piece is great –  successful in terms of what might be considered “traditional multimedia journalism,” but which also focuses on the more “cinematic experience” that Ian Shive told me about.

Dangerous, Uncharted, Satisfying Waters

Continue reading “Tony Wu Heads into the Uncharted Waters of Final Cut Pro”

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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

Continue reading “Learning Multimedia and Video On the Job”

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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

Continue reading “Underwater Storytelling from Tony Wu”

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