If a picture is worth a thousand words, then Harry Aaron is a millionaire.A photographer by trade, his portrait sessions cost hundreds of dollars. But during covid when so many people were out of work, including himself, Aaron had an idea.He created “pay what you can” photoshoots.In other words, if all you have is $2, you pay $2. Aaron says it gave everyone a “new sense of confidence, that maybe something good might come forward.”With the people he met, the stories he heard astounded him, like the chef who survived by selling cheesecakes on Instagram.”He was making them out of his home kitchen and making them through the pandemic. That’s how he kept the lights on,” Aaron said.Aaron says one musician barely made it to his photo session in one piece.Somewhere on the journey from his home to the photo shoot, someone gave him a black eye.Even though the man had a shiner, he posed for the pic with a cigarette dangling from his mouth, looking exasperated. To Aaron’s amazement, the musician called to say he was using the pic to get gigs.Aaron doesn’t like to get involved in politics but says politics inspired his upcoming photo session. He calls it the truID Project, an opportunity for people to get a portrait-quality picture of themselves in the gender they identify with.Aaron says the gender-affirming portraits will “let someone stand in front of a camera and show who they truly feel they are” instead of “somebody that society expects.” The photo sessions will happen in several cities in the nation, including Orlando, on June 3.Aaron says stylists and makeup artists have volunteered their time so that the portrait “matches who they really are,” and they will “ leave with a photo they can hold on to and really cherish.” Top headlines: Florida man who lost arm in gator attack says it’s ‘not the end of the world’ Man pronounced dead after rollover crash that shut down part of SR-417 Brevard sheriff: Elementary school teaching assistant arrested for possession of child pornography

Filters are some of the most transformational tools when it comes to creating possibilities in landscape photography. Aside from the intended exposure effects, there are some things you might need to learn about using them that will help you achieve better-quality images.

If you’re an experienced landscape photographer, the use of filters may already be obvious and second nature to you. Whether it be for doing long exposures to achieve visual effects, using filters to deal with glare and reflections, or balancing out a high-dynamic range scene, it is undeniable that filters help us turn our photographs into more refined and visually pleasing images. There are, however some things that we all should know when it comes to physically using filters that will help us avoid any unwanted effects, artifacts, or even just wasted time and effort in shooting.

1. Unnecessary Use of ND Filters

The first and best lesson to learn about using filters is how and when to use them. This pertains to not only knowing how to use the filters but more importantly, to be able to use them with artistic intent. There is a common tendency especially for people who have just started learning how to shoot long exposures with ND filters, to use them all the time and at any chance that they get. We have a tendency to be fixated on getting the exposure setting right and being able to get well-exposed images, that we might tend to forget that the purpose of ND filters is not exactly that. We shoot long exposures during the day to be able to use the motion of certain objects in the frame to achieve better visual design. ND filters come in handy because, with the abundance of light, we have to limit its entry into the sensor to be able to prolong the exposure enough for the motion to happen.

It is important to always check whether something is moving within the frame and if that particular motion would benefit the photograph visually. If not, shooting with longer exposures and even setting up your filters will just be a total waste of time and effort. Not all landscape photographs need filters and not all need to be done in long exposure. Knowing when they will be beneficial is important in planning your shot.

2. Stacking on a Filter Holder

There are a few things to consider when using multiple filters on a filter holder. Filter holders allow us to use multiple filters with better ergonomics and at the same time reduce the probability of getting a vignette that usually comes from physically having the rims of circular filters visible in the frame. One important aspect when it comes to stacking filters would be to try to limit the number of layers to use. Having too many filters could mean making it harder for auto-focus to work and at the same time, there is a general rule that each layer of filters will result in varying levels of degradation when it comes to image quality.

All of that aside, there is one important factor to consider when using filter holders that will help you avoid any unwanted reflections and flares on your images and that is to avoid leaving any unused slots in between filters. This is most important when photographing any strong and direct light source especially the rising or the setting sun. Flares result from light reflecting back and forth between glass layers and this includes both filters and the front glass element of your lens. Choosing a filter holder that minimizes the space between filters would be the best move to avoid this however if you already have a set of filters, making sure to occupy the slots closest to the lens would be the best practice.

3. Skipping Polarizers

Circular polarizers are possibly the most useful filters across all genres of photography. For landscape photographers, this is commonly known to be a useful filter when shooting reflections on bodies of water or to increase the contrast between a blue sky and clouds. However, when one understands how circular polarizers work, there is one benefit that is even more universally applicable that we should all take advantage of and that is how CPL filters manipulate glare.

In the same way that it manipulates reflections on bodies of water, polarizers also manage micro-reflections on other mildly reflective surfaces. Most commonly, this is when we photograph foliage or even just moist rocks in natural locations. By turning your polarizer and finding the right angle it can either intensify these micro-reflections or reduce them to add more detail and vibrance to the image. This is most applicable when photographing waterfalls but also applies to other landscape scenarios especially when shooting seascapes.

4. Unnecessary Uses of Graduated Neutral Density Filters 

Graduated neutral density filters have always been handy tools in being able to deal with a wide dynamic range specifically in situations when the sky is way too bright to be able to expose the details of your foreground properly. With camera sensors being more and more capable, there are instances when GND filters can be considered unnecessary. In addition, exposure bracketing or sky replacement are also viable options. However, there are instances when the shot can only be done with one exposure especially when swift motion is involved. In these instances, it is always better to use a GND to have more assurance that the important details in your image can fit within the dynamic range that can be captured in a single shot.

For photographers who do use GND filters, something that we might overlook is over-using a GND. In instances wherein the difference between the brighter part of the frame (the sky) and the darker side of the frame (commonly the foreground) is not too far, using a denser filter might over-do the effect and make the sky way too dim to a point where the foreground becomes unnaturally brighter. There are of course some instances when this can happen specifically when the photographer is facing the opposite direction as the light source since your viewers would not be aware of such, you might want to double-check any irregularities. At the same time if your intention is really to achieve that effect then that should be no problem at all. But if the aim of your landscape photography is to illustrate the scene in a realistic manner then taking an extra few seconds to balance out your exposure should be good for you.

Filters have always been very useful tools for photographers, especially for landscape photographers who see potentially better images through exposure effects. However, using them does not always equate to better quality images especially if certain steps in using them are missed. Having the right set of filters that you know how to use properly will always be the key to a more successful shooting process.

I’ve never met Steve Levy in-person, but I’ve followed his photography on social media for some time now. His photos give life to just how energetic and interactive underground music is. Steve manages to capture both chaotic and intimate moments on his photos in a very subtle and unintrusive way.

He just got back from a short tour with Angel Du$t, chronicling a bunch of their shows around the east coast. Steve sat down to offer his ideas on photography, music, and Long Island hardcore.

What got you into photography?

A photojournalism course I took while at SUNY Plattsburgh was the reason I bought my first digital camera which was like the original Canon Rebel. I was terrible at first
and had no photography experience before that. My professor made us shoot a little bit of everything and eventually I started shooting nature and landscapes in my free
time to get better.

What is your usual camera and setup?

I always shoot with my Sony a7iii and my primary lens is a Sony 24-70mm f/2.8. I also bring along my 14mm f/1.8 and switch between those two lenses during sets. That combination helps ensure I get solid portraits of individual band members as well as photos that include the band and the crowd. For bigger venues I have a 70- 200 f/4. For smaller venues which allow flash, I have a little Godox speedlite.

What was the first show you shot, and how do you feel you’ve improved since?

The first show I shot was Gamblers and Tom Moran at the Amityville Music Hall in September 2021. My childhood friend, Ryan Shea, asked me if I wanted to go see our
mutual friend play. At this point I had a few years of photography experience under my belt, particularly with portraits. COVID really limited my ability to plan shoots with people and shows were just starting up again so it was an awesome opportunity for me to try shooting something not only new, but something I love more than anything—music.

While I had a lot of fun with this show, I was still shy about going to shows if I had no one to go with so I would only shoot a couple more until I overcame that fear in April 2022 by going to AMH despite not knowing anyone or even the artists performing. I shot local long island band Ronin one week and then Angel Du$t the following week. That AD show was when everything clicked.

Since starting, I’ve been tirelessly trying to get my style right. Photo editing is where your taste comes into play and there’s a million directions you can take a photo. I was extremely self-conscious about my color editing for months and couldn’t really figure out a way to make photos work better in color. Shooting such a high volume of shows over a short period of time naturally made me much better at capturing sharp, well exposed photos.

When you’re starting with strong RAWs, editing becomes much easier. Aside from that, I like to think my show etiquette is better having watched the best LI/NY photographers do it for the past year or so. The most important part about shooting a show is that you don’t disrupt it. Stay out of everyone’s way and I promise you’ll get better photos because people are having a better time.

What’s your favorite show you’ve photographed?

Angel Du$t, Spiritual Cramp, and Webbed Wing at Amityville Music Hall. This is the show that put me onto the scene and made me obsessed with shooting live music. All the other incredible shows that would follow, I owe to this one. I left this show and had a new favorite band in AD and would listen to them every day for months on end.

What kinds of shows do you find it most difficult to shoot?

Shooting at venues with photo pits means no flash which can be pretty difficult when it comes to bands that keep the lighting really dark for their set. The lights look awesome for show goers but can be a photographer’s nightmare forsure. Shooting Turnover at Brooklyn Steel last year was like shooting in a cave.

I’m very glad I got the chance to shoot them again at the TLA recently and redeem myself with better photos.

Which types of show do you enjoy shooting the most?

Shows I enjoy shooting the most are when bands play their hometown. That love is like no other. Seeing someone like Stand Still, Koyo or Innerlove play Long Island is incomparable and is by far my favorite type of show to be a part of.

Are there any specific bands or events that you want to photograph in the future? A dream project?

Would love to photo Sound & Fury, but who wouldn’t? At the top of my bucket list of current bands I wanna check off are the Story So Far and Turnstile. Getting to photo blink-182 would be end-game for me. Brand New is another big one.

What is your favorite photo you’ve taken so far?

It’s gotta be this pic of No Pressure at The Meadows where Pat’s in the foreground, Harry’s drumming and Parker’s flying through the air. Really cool framing and does a pretty good job showing what they’re about. Definitely one of the funnest shows I’ve been to.

What bands first got you into punk and hardcore?

I was really young when I got into the Ramones. “Blitzkrieg Bop” was in Tony Hawk’s Pro Skater 3 so that was probably the first punk I got exposed to and I’ve loved them ever since. I tell people all the time that I didn’t grow up on hardcore. I found it through shooting shows so I’m really playing catch-up now.

What first put me on was finding Trapped Under Ice through Angel Du$t. Early on, I got to photograph some really strong current artists like Kublai Khan TX, Knocked Loose, One Step Closer, and Pain of Truth as well as legends like Madball and Cruel Hand.

Even though hardcore isn’t my favorite genre, the artists doing it right now are undeniable and have fully made a fan out of me.

How is the Angel Du$t tour going? How did that collaboration come about?

Coolest experience of my life. I get to watch my favorite current band rip shows every night. Non-stop laughs and good times no matter where we’re at. They’re all masters at their craft and what I’ve learned in just a week from being around them is invaluable. It’s probably worth mentioning, this was my first touring experience. I
couldn’t have asked for a better crew to show me the ropes.

How this all came to be is when that Turnover, Fiddlehead, Angel Du$t, Glitterer show got announced last minute in Philly I hit them up to try and get photo access and they hooked it up. That night they played an after show at Bonks and following their set Justice asked if I’d be down to ride with them for a few shows later that month. I said, “I’m there.”

What recent releases do you think everyone should listen to?

Moments of Clarity by Narrow Head is album of the year unless someone can dethrone it. Koyo’s latest single is not only crazy but really has the best music video I’ve seen in a while. Shoutout 48. Those Militarie Gun singles are wild and that album is gonna make waves when it drops. Extremely cool to see Illusion putting out new music and equally cool to be getting an Incendiary record in a few days.

Lastly, one of LI’s finest, Innerlove, has an album dropping soon that’s going to stay on repeat.

Give us your pick for Long Island’s most underrated band, from any era.

I’m gonna go with Straylight Run. They embody that Long Island emo sound perfectly and do so in a unique way. John and Michelle’s vocals work beautifully together. They’re as lyrically vulnerable as you can get and that vulnerability is amplified by their instrumentation choices.

Straylight has an effect on me that few artists do where I can’t help but be drawn to tears by certain songs. Very lucky to have caught them play. Hopefully they’ll do some more shows.

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Hit up Steve’s Linktree to find all of his social media and website info.

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Tagged: photographer spotlight

Geoffrey Ellis captures the spirit of Las Vegas in the 1970s and 80s, while Markus Altmann photographs the city in the 1990s. Meanwhile, Stephanie Diani introduces us to the legends of burlesque, while Stefanie Moshammer shows us why Vegas is known as the “strip club capital of the world.” In this collection of Las Vegas photography, six photographers document Sin City, then and now.

“Shot in 1995, Las Vegas 95 is the photographer Markus Altmann‘s look at sin city in the midst of its transformation from an old gambling town to a family entertainment metropolis, stacked high with mega hotels and theme parks. Intrigued by the aesthetics of the newly constructed facades and how they relate to the seemingly more authentic realities of the older surroundings, Altmann weaves together surreal, almost otherworldly shots that give off the feel they are at once set in the past and future.”

“When Stefanie Moshammer visited Las Vegas for two months, her days weren’t spent sunbathing by the pool at Caesars Palace or hitting the Bellagio casino at night. The Austrian photographer had a different motive in mind. Fascinated by the lifestyle of those who exist behind the shiny façade of sin city, she set out to document Las Vegas strippers and the hotel rooms, pink Cadillacs, and nightclubs that act as their stage. The resulting series, Vegas and She, depicts the Las Vegas we don’t see.”

“Valley of the Meadows the photographer Geoffrey Ellis‘s depiction of the Las Vegas that existed in the 1970s and 80s, a time when he says ‘the city was in a depressing downward spiral and the criminal entities running the city were slowly losing their grip.’ This is the Vegas that was sandwiched between the Hollywood-esque days of high rollers and The Rat Pack in the 1950s and 60s and the transition in the 1990s and 2000s into ‘a family friendly destination which ultimately became a type of adult Disneyland.’

“Ellis presents a collection of images that we feel compelled to piece together, lingering like clues to a larger reveal and resonating with a tension and darkness akin to this mythic land of opportunity ‘where the extremes of luxury and vice are out in the open and the lure of promise draws one in.’”

The photographer Christian Lutz found himself in the city at the height of our most recent financial crisis. He spent three consecutive summers documenting the streets beneath the neon lights.

In his book, Insert Coins, Lutz bears witness to the wreckage of The City of Lights, and he seems to do so with an incorruptible poker face. It’s a requiem for all the promises Las Vegas made and broke a thousand times over. The book is also about something more, about the ways in which we all hope against hope that fortune will turn our way, even when she’s turned her back on us so many times before.

“For her series Dames: The Legends of Burlesque, New-York based photographer Stephanie Diani photographed older dancers wearing costumes that were significant or special to them. The ladies are portrayed in their homes or in the hotel rooms where they stayed in the past while performing in Las Vegas. Their personalities differ, but what they all have in common are grace, courage, and self-possession.”

“In 1981, Geo photo editor Alice Rose George commissioned Henry Gruyaert to photograph Las Vegas. Rather than provide his take on the tired tropes of the Strip, Gruyaert ventured off the beaten path to the Vegas where residents lived. The result was entirely too realistic; Vegas was not the place of fantasies and spectacle – it was a world where people eked out their existence on the margins.”

Discover More

When a Miami-based businessman was looking for fresh imagery for his new project he called up his photographer with the commission. He received the pictures just an hour later — the photographer never left his computer.

Of course, the images were generated by artificial intelligence (AI) and Dade Sokoloff tells PetaPixel they were “exactly what I wanted.”

“If you really studied them you could tell they weren’t real, but damn close,” he says. “They were 100 percent usable.”

Sokoloff says he would have used the AI images except he had a very specific idea of what he wanted.

The photographer, Buster Cox, owns a small production company in Miami that does mostly business and branding content. Cox did eventually come and shoot a video for Sokoloff.

Staying One Step Ahead of the Game

Sokoloff and Cox are actually close friends, Cox assumes people who do photography and videography are going to be put out of business pretty soon so has been taking time to learn AI programs so he can produce good material with it.

“That’s an interesting take from a guy who is in that business,” says Sokoloff. “He’s not waiting to be put out of business, he’s looking to jump on the train because he knows it’s about to roll him over.”

Cox concurs with Sokoloff’s assessment: “I’m trying to stay on top of it all, as much as I can or else someone else will.”

Cox has been experimenting with Midjourney, Kaiber, and Runway.

“It’s overwhelming the amount of stuff coming out. Not all of it is there yet to replace traditional production but it’s well on its way,” he says.

“I see both the very real and present threat to craft and long-standing established industries but also millions of businesses that would never normally be able to afford quality high content suddenly will be able to achieve all new levels of production value.

“It’s a paradigm shift to be sure. But in a lot of ways, I feel the biggest threat is NOT learning how to use these tools in the first place.”

A Valuable Lesson

The exchange between Sokoloff and Cox is a microcosm of what’s happening in the wider photography space. Professionals like Cox will surely need to master these tools sooner rather than later if they want to stay afloat.

And AI image generators such as Midjourney really do need to be mastered. The technician that has spent hours learning how to synthesize quality images will always achieve better results than the lay business owner who has no experience with such things.

With generative AI models continually improving, photographers should prepare the best they can for the coming turmoil.

A photographer froze his camera overnight to capture a stunning timelapse video of the night sky in winter.

Landscape and astrophotographer Andrew Imhoff revealed how he froze his Nikon Z6 overnight in Brian’s Head, Utah — where temperatures dropped below 20 degrees Fahrenheit – to shoot the timelapse clip.

Imhoff left his Nikon Z6 outside for over three and a half hours — up until his camera battery died as a result of the freezing cold temperatures.

@imhoffimagery All about risk vs reward…id say it paid off, what do you think? #timelapse #timelapseart #timelapsevideo #fyp #fypシ #photography #astro #astrophotography #beautiful #art ♬ Cornfield Chase – Dorian Marko

However, Imhoff’s risk with his camera paid off when he captured an incredible timelapse video that showcased the movement of the night sky in winter. The clip, amassed over 4.7 million views on TikTok.

“The timelapse shot was taken at an Airbnb cabin in Brian’s Head, Utah that my family and I booked a stay here over the Christmas weekend,” Imhoff tells PetaPixel.

“One of the nights lined up perfectly with the new moon and very little clouds, which helped really showcase the amount of stars you can see with limited light pollution and no moon throughout the night!

“In total, the camera was left outside for roughly three and a half hours before the battery eventually died as temperatures dropped below 20 degrees Fahrenheit.”

Imhoff says that his Nikon Z6 was completely frozen by the end of the shoot and he was concerned that the ice had damaged his camera.

“Once the camera was finished shooting I brought it back inside to the sight of ice building up on almost all surfaces of the camera and lens,” the photographer explains.

“I let it thaw out a little bit and wiped off the melting ice as it softened. After the camera got back up to normal temperatures nothing seemed wrong with it.

“Upon shooting some test shots and investigating, I did not notice any damage to the camera. However, I was very nervous after seeing all the ice build-up!”

More of Imhoff’s work can be seen on Instagram and TikTok.

Image credits: All photos by Andrew Imhoff.

May is National Photo Month, so RED asked its professional and student photographers to curate a selection of their favorite shots over the years and tell us why they like them. This gallery will take you on a trip through celebrations and remembrances, arts and sciences, mountains and plains, and will give you an inside look at the people behind the lenses of some of our most thought-provoking images.

Visit the full stories to read more about some of the people featured below:

Why wait?
Alumni, students and friends participate in annual Homecoming events
The Winter Park Express is a runaway success story
‘Northside’ story
Deadly Colorado avalanches underscore dangers of unstable snowpack
Denver artist Carlos Frésquez sees historic painting preserved
Theatre costumes enter a new dimension
Science workshop for blind and low-vision students
Dance Department reimagines color
Umoja Conference celebrates Black women in and of hip-hop
Songs to sustain a movement

Cinema may be a source of inspiration for photographers. And if we have titles of movies coming to mind or names of directors, we usually pay less attention to directors of photography, also called cinematographers. Big mistake! Those are the guys who master cameras and lighting techniques in order to materialize ideas into images.

John Alcott

Despite his short career, his work had a great influence on the history of cinema.

Since 2001: A Space Odyssey, when he had to replace the director of photography, he has collaborated on many major Kubrick movies, none less than Clockwork Orange or The Shining. He had developed revolutionary filmmaking and had to demonstrate qualities of adaptability to follow Kubrick’s ambition to constantly change his style.

He also carried on in movies what he learned in his career in advertising: he made great use of diffusion filters and practical lighting (a source of light included in the frame).

While in 2001 he used mostly bounced light to allow Kubrick to shoot from any angle, he had to rely on the famous Carl Zeiss Planar 50mm f/0.7, developed by NASA, for the nonetheless famous and challenging Barry Lyndon during the scenes lit only by candlelight. Even with such a perfectionist and control freak as Kubrick, Alcott found a way to use his own techniques and tricks. Spreading water in the streets to bounce the city lights and gain a few stops is one of them.

Even now that we constantly push back the limits of modern cameras when it comes to high ISOs and darkness, such ingenuity can still surely find a practical use nowadays.

Roger Deakins

Maybe one of the most famous directors of photography. His early taste for painting probably had a great influence on his work when collaborating with essential directors such as Sam Mendes, Martin Scorcese, or the Cohen Brothers. No Country for Old Men, Skyfall, Blade Runner 2049, or the more recent 1917 show both his versatility and style, characterized by a simple aesthetic and the use of natural lighting.

When deciding on the lighting, he voluntarily left some unnecessary elements in the dark by contrasting a scene and thus highlighting the important details.

To that end, he often used three sources of light and adopted unusual shooting angles to convey the mood of the characters.

Two other things to learn from him: his belief in thorough preparation and how he devoted his knowledge to the needs of the project. At the end of the day, the story has the final say. It might be something to keep in mind when being part of a group project or when a client stands his ground with a specific idea.

Christopher Doyles

You won’t be surprised to learn that he moved to Taiwan in his twenties and even learned Mandarin when you consider that he is behind the photography of Wong Kar Wai’s In the Mood for Love and 2046.

His taste for multiple arts is visible in his work. His practice of mixed media painting and paper collage transpires in the composition and colors displayed on screen.

As a creator, he feels that he also has a responsibility to voice the world and visualize it in a unique manner.

He has more of an instinctive than a technical approach and follows intuitively his artistic flow, fed by his mixed cultures, European and Asian. Open-minded, any new life experience is, for him, a way to feed his aesthetic narrative. A wise lesson for all kinds of creatives.

Janusz Kamiński

A name usually associated with another famous one: Steven Spielberg. They’ve been working together since 1993 on the acclaimed Schindler’s List.

There is an old-school aesthetic in his cinematography that conforms to Spielberg’s main ambition: to tell a story. And to that end, he uses the image grammar in a traditional way, where perspectives and camera effects convey an idea and help the viewer grab the mood and the concept.

He adapts the technique to the meaning: everybody remembers the desaturated images of Saving Private Ryan, which plunge us into the period of shooting. Munich, Bridge of Spies, or The Post depict visually so well the era their story is rooted in.

His use of film certainly contributes to this, be it the Kodak 320T for Catch Me If You Can or the 200T for Private Ryan.

Another recognizable trait of Kamiński’s imagery is a light haze, accentuated by a glowing backlight, that creates an atmosphere close to the naturalistic look he is after.

Emmanuel Lubezki

Three movies, among others, show the visual talent of Lubezki: Children of Men, Birdman, and The Tree of Life.

Although very different, the movies display some common traits of Lubezki imagery. His camera is often handheld, but its movement is more fluid than in a reportage style, and the takes are longer. The camera follows the characters’ evolutions in a way that is “organic to the story,” as Lubezki once stated.

In terms of lighting, Lubezki is in search of available light, in accordance with the narrative of the movie.

Planning the sun’s position and the quality of its light took a good place in his concerns when shooting. Being consistent is more crucial throughout a movie, but photographers certainly can benefit from applying this to their work.

The type and color of light also contribute to the mood of a scene, whether it is a sharp, clean light, as in Gravity, or an end-of-day light, as in Children of Men or The Revenant.

His contemplative scenes often replace any voice or dialogue in order to trigger a specific emotion through the use of photographic language.

There is definitely a lot to learn by watching Lubezki’s image chemistry.

Robert Richardson

Another cinematographer’s work contributed to creating visual milestones. Judge for yourself: Platoon, JFK, Shutter Island, Kill Bill.

As the position of director of photography demands, Richardson endeavors to blend his art with the vision of the film director.

Still, he has spread some of his gimmicks through different movies. Creating a halo around characters with a well-placed backlight that bounces off the subject’s face is one of them.

This pattern became part of his method of thinking, depending on where the camera is positioned, where to have the light, and how to bounce it back.

Technically, there were “big, broad sources bouncing off of a muslin through another muslin… We call it a book,” he explained.

The lenses and framing also have a precise use in the narration. The wide angle is a reasoned choice to establish a situation, to present a character’s stance in its environment, or to show a gigantic surrounding landscape.

It may seem obvious, but the good old visual syntax is still proven to be efficient.

Conclusion

A photographer is most of the time his own image director. Even when it’s not the case, and when he is part of a creative team gathered to achieve an assignment, it might be useful to approach a shoot with those reflections in mind.

By practicing and adapting these methods, we may also find our own techniques that resonate with the ambition of a project.