And Then There's More Fashion

Sure, I know I didn't thoroughly enjoy the recent ICP fashion exhibitions. And, yes, sure, I did complain a little about the AIPAD panel on fashion of photography.

But that's all in the past. Upcoming in the museums:

Model As Muse

"Exploring the reciprocal relationship between high fashion and evolving ideals of beauty, The Model as Muse: Embodying Fashion focuses on iconic models of the twentieth century and their roles in projecting, and sometimes inspiring, the fashion of their respective eras."

Richard Avedon

"This exhibition will be the most comprehensive exploration to date of Avedon's fashion photography during his long career at Harper's Bazaar, Vogue, The New Yorker, and beyond. Working closely with The Richard Avedon Foundation, ICP curator Carol Squiers and guest curator Vince Aletti will present new scholarship on the evolution and extraordinary, ongoing impact of his work."

Both are going to be great. I just know it.

Summertime Seriously

Thursday night is the last session of my six-week Seriously Fun Photography course through Hunter College Continuing Education.

(Don't worry -- there's another session that starts May 28th and runs to July 2nd.)

Last term there was talk of starting an advanced version, but the idea only became official right before the registration deadline, so we ended up with too few people signing up. It was a relief, actually, since I had a lot going on right then and would have been a little stretched to start a new class. If anyone's interested in the advanced version, let me know via email or comments or the T-word. (Umm, "twaiku.")

Who's "Seriously" for? If you've got to the point where you can shoot your DSLR (or advanced compact) and get the photos on the computer, but you're looking at them and wondering how to get control of making those images, then it's for you. If you have mastered control of aperture, shutter speed and sensitivity and all that those settings might effect, and you have your creative ideas flowing, you might need to wait until I get the advanced class rolling....

A Brief Period of Textual Experimentation

Well, I'm still not sure if it's for me, but I'm giving Twitter a trial run.

Mainly because Maureen Dowd won't. It's the one place I can be sure not to run into her by accident.

I'm at http://twitter.com/tediting. You know, in case you need to know what I had for lunch.

As David Carson Said, Sexism Sucks

I've always thought that there's a built-in sexist side to most of the sources one seeks out to study photography. While some lens tests are done with color charts and little arrangements of objects, just as many include studying the depth of field of a bikini. That's sort of a leftover from when photo magazines were bought mainly by youngish guys.

Don't get me wrong: I'm not opposed to any type of photography. I just think the fake "to test the camera out, we followed Photographer X as he shot the Swimsuit Issue" feature we often see is hypocritical compared to the honesty of not-safe-for-work-viewing blog Pretty Girl Shooter. When Jimmy D talks about lenses and lighting in relation to his typical gig -- shooting the covers for porn video packaging -- there's nothing fake about it. (Oddly enough, he often goes into more specific detail than the photo magazines.)

So here's what I wanted to mention: we're getting near the technical moment when still cameras are capable of shooting moving images, and where moving image cameras have enough quality to shoot stills. Both developments may change the way we make images and will be on the minds of both photographers and documentarians in the near future.

So Filmmaker magazine has, understandably, shown some interest in Esquire using the RedONE camera to photograph Megan Fox.

"For the first time in Esquire's history (and, we imagine, magazine history in general), a cover image was shot as a video. Using the RedONE, a video camera that captures images at four times the resolution of high-definition, photographer-director Greg Williams (see below) recorded ten minutes of loosely scripted footage with Fox — getting out of bed, rolling around on a pool chair, inexplicably lighting a barbecue."

If we skip past the built-in "it's still the 1950s, right?" feel of the whole thing (the title is "Megan Fox-ing") this is a fairly amazing development. In recent years we've seen a few newspapers take to shooting HD video in place of stills and then selecting a still frame for use, and this is the natural next step -- higher resolution and able to match the requirements for a magazine cover.

In the end, though, if we're to judge from the video -- Good Morning, Megan, a purely cheesecake, lingerie / swimsuit session -- there's nothing to be discovered. Except:

1. The RedOne does in fact produce a very film-like look and seems to use fantastic lenses.

2. You really can't shoot for both stills and video at the same time effectively.

Well, lesson learned. I look forward to when they get the new holographic cameras in. I hear they've got a special issue planned for that.

One Biiiiiiiillionth of a Second

The tough part about working with a laser beam as a flash? Getting the sharks to position their heads in the right direction.

A little bit of photography mad science via Wired....

World’s Fastest Camera: Shutter Speed Half a Billionth of a Second

Brett Gaylor and Pay-What-You-Want

Wired has a good article on "RiP: A Remix Manifesto" director Brett Gaylor -- and the all-of-the-above release of the film. That includes a pay-what-you-want online model. It will be interesting to see what this shows for the future of documentary releases online....

Want a Remix Manifesto? Name Your Price, Says RiP Director

Wired.com: The pay-what-you-want initiative makes perfect sense for this film, but I’m betting it wasn’t easy to pull off from a business perspective.

Brett Gaylor: It’s been a peculiar road to get to the point where we could release the film as a download, because obviously this is something we wanted to do right from the get go. But since we have so many partners that helped us make the film, including theatrical and television distributors, it was a delicate balancing act to make sure the good faith they showed in making the film would be rewarded, that we wouldn’t undercut their efforts to promote and recoup on the film by giving it away. So we waited a while before launching the various online permutations.

Frugal Wins The Webby

The web series I produced and edited 14 episodes of last summer -- The Frugal Traveler: Budget Europe -- just won the Webby in the Online Film & Video / Travel category.

Cool.

Webby Number Two

I didn't think they'd announce until Tuesday morning, but I took a glance at the Webby Awards just about midnight.

The Frugal Traveler: Budget Europe series won the Webby in the Online Film & Video / Travel category.

Congratulations to all the nominees and honorees and the winners in all the categories.

Dream Street

My pal Doug McCulloh has a new book out. I think you should buy it. I'll post more on this when things slow down (not sure when that will be) but trust me -- you can't go wrong with this. Great photographs, and an amazing story.

Ted's List of Five Annoying Editing "Ideas"

I see a lot of student edits. A lot. A whole lot.

If I had to guess the exact number ... well, last year I taught at least 10 online courses that required at least two edited projects, and I taught two face-to-face courses that required at least five edited projects.... Figure twenty students per class, and that's in the range of 600 edited videos I graded by watching at full speed and then frame-by-frame. More, if you count rough drafts.

So I'm aware of the usual editing mistakes, and the traditional gimmicks. I'm somewhat forgiving of those, at least in student work. Lately, though, I'm seeing that some of the bad ideas expected of first-time editors are working their way into "professional" work.

Here's my list of five crap ideas that I'm noticing more and more, as if they've escaped from jail...

5. The Martial Arts Whoosh Sound Cut
Adding swooshy sounds to give a reason for a cut doesn't actually give a motivation to a cut -- it just adds swooshy sounds. Every time I see this -- and it's on the increase -- I think of someone doing fake martial arts moves and making woosh sounds with their mouth. Whoom! Fshhhh! Bam! Just add the sounds, then cut on them, as if there's a reason for it.

4. The Record Scratch Effect "Joke"
This is a dumb joke with no actual humor in it. Start a list of anything, throw in an item that doesn't belong, add a record scratch sound on it and cut back to it. Dumb, and ever-increasingly-popular.

3. The Overemphasized Freeze Frame
Used well, a freeze frame can make sense. It emphasizes a moment. Combined with a graphic, it can introduce a character. I think it can be thought of like punctuation, though, and if you need exclamation points in every sentence, something's wrong.

2. The Unnecessary Flashback
Sure, the character certainly is motivated by that thing that happened a while back. But we were there, watching it with you. Do you really need to show it to us again? I didn't hear any Teletubbies say "again, again" -- and I really did pay attention when you showed it to me before. Why torment me?

1. Flashy Flashy Syndrome
Every once in a while, I get the sense that an editor thinks I'm a baby and that they need to flash shiny stuff at me or my attention may wander. Or maybe they're afraid I'll notice that not much is really happening? In any case, tossing in tons of unnecessary flashy transitional stuff isn't style, but its opposite.

So, where does this stuff come from? Is it simply that everyone has a computer and teachers are no longer able to say that certain things are lame? Is it a combination of access and too much self-esteem?

Maybe. Maybe the roots of this are in a few key films, though, that have influenced a lot of young editors. Maybe we're just seeing the diluted, low-quality version of a genuine attempt to stretch the practice of editing.

I can think of at least one film that abuses all five of these rules and is still really watchable. Embedded above, find Beat the Devil.

Local News

In local news, Mrs. New York Portraits and I went to the Metropolitan Opera Friday for the opening night of La Cenerentola, then on Saturday hit the fashion photography shows at ICP.

Weird Beauty seems to me to get the role of curator completely backwards: you are supposed to take material and amplify it, not diminish and confuse it.

The idea of showing contemporary fashion photographs as tearsheets is a good one -- but completely undermined because it's done in a half-assed way. That is, the text for the show explains that work from fashion magazines should be shown as tearsheets, but the exhibition puts the tearsheets on the wall and mixes in framed versions of some pieces, a meaningless roman numeral system of dividing sections, and places some of the work so high that you can't really see it properly.

The thing about work in fashion magazines is that the presentation is one of oversized glossy splendor -- you hold the magazine close, it's large and at a scale that fills your visual field. Presented as in this show, however, the scale of the work is ruined: the top row of images feels different than the middle row, since you can't get close to it; the unneeded framed works are sometimes just a little bigger than the tearsheet versions and only distract; and as presented all the work feels small.

That's not helpful for fashion photography, as the point is sensual fulfillment (since there's at best one or two new ideas in this room filled with 200 magazine snaps, you should at least let it be pretty rather than pretty vacant). A last flaw: if a show is going to be completely dependent on current fashion magazines -- which thrive on the idea of being cutting edge, now, and wild -- why make such a conservative selection? I like the NYT fashion shooters, but seeing several spreads from such a mainstream source made me realize that there are likely a lot of people dragging around the Lower East Side who have a better grasp of what's been cutting edge in the magazines lately than the curators of this show. This collection is too mainstream, and fails at the main goal of fashion photography: to possess stopping power. As presented, the strongest images in this show lose much of their ability to stop you from flipping past, on to the next image.

This Is Not a Fashion Photograph makes an even bigger faux pas: it takes fantastic images from the ICP collection, and asks us to consider them in the context of fashion photography. That does no favors to the images or fashion photography. The photos are merely crowded together, and after the disaster of a show one has just seen the effect is not the intended one but pure confusion: the feeling is that these images have been misunderstood, and half of them should quickly be put away so that those which make sense in this context could be properly understood. That is, a smaller show with more context could work here -- there are many photographs that are in fact interesting when re-thought in the context of fashion -- but this presentation reduces that theme to nothingness by simply accepting anything at all. It's diluted.

Edward Steichen: In High Fashion, on the other hand, is just fine. It presents 175 photographs without destroying the context of the work or making them hard to see and therefore beats out the previous exhibitions. The work is, of course, great.

My only complaint is that there's a lot here that could be informative in light of the contemporary fashion photo show upstairs -- and it isn't brought out. As one specific, note that Steichen is allowed to let clothing fall into complete shadow -- a contemporary no-no -- which shows he's holding a lot of the power in the creation of these images. Take a look at this image and imagine a contemporary fashion mag editor letting a shooter get away with that dark, textureless dress. A contemporary Vionnet would be at the shoot, previewing each shot on a laptop and yelling about featuring the dress -- then threatening to pull 14 pages of ads.

Sakura on UES

Chris Corradino has a nice shot of our neighborhood from a Springtime Stroll Through Central Park.

Oil and Older Lenses

Last night I was working with some students on lighting for photography, and I pulled out my Minolta IIIF flashmeter and checked the output of light. I read off the settings to a student, she adjusted her camera to match, and took a photo.

Normally, that's kind of impressive -- it's an accurate meter, and usually that first shot is pretty close to perfect. But her results were overexposed.

Well, I thought, maybe there's a calibration issue here. So she adjusted, and adjusted, and still, her shots were over.

I didn't realize it until later, but it's very likely that -- since she was using an older lens on her new camera -- the issue is that there is some broken down oil in the lens that is stopping the lens from closing down quickly enough to the desired aperture.

In other words: a lens sits with its aperture on its widest setting while you look through and frame your shot. When you press the shutter, it very quickly stops down to the aperture you've set, then opens back up to fully open after the shot. (That way, you are seeing the brightest view when you look through your viewfinder, but the shot is taken at the aperture you select.)

But older lenses that have been stored sometimes have the oil inside break down -- and this can mean the aperture sticks a lot or a little, causing just the kind of problem we were experiencing. Changing her aperture setting didn't seem to change her exposure -- meaning when she was set on f/16 the lens couldn't close down to f/16 and it may have really been shooting at f/5.6.

Live TV From Every Living Room

Boing Boing has a nice piece showing the Tricaster Studio -- a setup aimed at live Internet broadcast at a comparatively low pricepoint. Described as "a TV truck in a backpack" the unit is basically a digital switcher combined with the ability to add titles and cue video packages -- which is perfect for doing your own interview show from your back porch.

(One ironic note, however, is that I'd never seen any episodes of Boing Boing TV before and didn't realize that they can't edit worth a damn. The episode, while informational, is just a series of jump cuts. Boo. They need to hire someone who knows how to shoot and cut interviews, or -- ironically enough -- maybe they should use the Tricaster and live switch the interview....)

In any case, go and check out:

BB Video review: Tricaster, and the Future of Live Video Online

Is "Dektol" Danny Lyon?

Danny Lyon fans may also wish to glance at:

Dektol's Weblog

Photography in the News: Danny Lyon

Good article on Danny Lyon at The New York Times this weekend:

Stubbornly Practicing His Principles of Photography

"Mr. Lyon, who has been awarded two Guggenheim fellowships, one for his film work, has called his work advocacy journalism and does not deny that it purveys ideas — if only the idea that everyone should be more aware of the pain and struggle around them in a consumerist, media-saturated world that tends to encourage isolation and apathy. “I think I try to hide it,” he said of his worldview in his work. “But I’m a highly politicized person, and it’s in my blood.”"

I hadn't known about his film work, so I had to go and look it up. Turns out you can find reviews of his significant work in documentary filmmaking going back into the early 1970s. I'm not sure how to see these today, however.

Screen: By Danny Lyon: The Program

"The Films of Danny Lyon," the new program at the Film Forum, is a collection of three documentary films by the 31-year-old Brooklyn-born still photographer turned film-maker. The two best films in the collection, "Llanito" (61 minutes) and "Soc. Sci. 127" (21 minutes) are defined less by a developed cinematic style than by compassion for the subjects.

HD from Still Cameras?

There's been a lot of interest in shooting video with still cameras in the last year. I don't mean stop-motion, but rather the HD capabilities that have shown up in a few of the newer DSLR cameras. It's certainly an interesting development, but there's a downside or two.

For one: crappy audio. None of the current DSLR cams allow quality sound recording, so if you are aiming to do something with reasonable quality you'll need to work "dual-system" -- meaning you need a separate sound recorder, and you have to somehow synchronize it with your video.

For two: there are some technical issues. Filmmaker magazine has a nice mini-article on the phenomenon, and it's the first time I've seen some of those technical concerns made clear.

Filmmakers disclose how they are shooting movies with still cameras.

“I was very afraid about the sensitivity of the camera to movement. I’d read a lot about how the rolling shutter in the Canon 5D can sometimes give a jelly effect. If you look at the focus push at the second mark, (26 seconds into the trailer at http://searchingforsonny.com) you’ll see what a lot of people are having problems with. We stayed away from handheld shots, more as a stylistic choice. We did a test before the shoot with handheld, some parts were a little too shaky. I think it’ll be a new camera technique to master. On the dolly, we used sandbags to weigh down the tripod. But even with a nice dolly with good track, we had to rehearse the shot over and over again. Every little bump could be seen on camera."

Tom Quinn had similar concerns. "These cameras are really meant to be operated on a tripod — the handheld has a few issues. For one, there is no optical image stabilizer for the video, so the small vibrations that a video camera would neutralize are present. Also the CMOS sensor creates a slight waver to the image on fast horizontal movement when shooting telephoto. For these two reasons we’ve been using a mix of monopods and tripods.”

And Sarah Palin is in Fourth

Just checked the Webby Awards "People's Voice" standings. Currently the Frugal Traveler: Budget Europe is in third.

Did I mention Your Vote is Appreciated?

Have a huge Twitter audience or fans who read your blog? Have them check out the series -- it was 14 solid episodes of Euro travel, and I'm not sure that's reflected in the link people who arrive cold at the Webbys get. Voting ends April 30th, so it's not over yet....

And On My Other Blog

On Actualities recently I've had posts about: flowers, strippers, stalkers, bloggers, and editors, posted a link for a doc I edited and requested your vote for The Webbys.

You know, the usual.

Bernie, Elliot, Madge

Sure, my neighborhood has one or two unsavory characters in it, like anywhere else. And questionable newcomers move in from time to time. That's fine.

Despite the downsides, you can't beat the tulips on Park Avenue when Spring decides to show up.

Above: iPhone snap from yesterday, taken while walking over to teach a photography class.

A Good Day for Manual Mode

It's time to try working in Manual Mode on your DSLR.

Turn the big knob on top of the camera to M, point the camera at your subject and press the shutter halfway down. You'll see in your viewfinder if the camera thinks you are underexposing or overexposing -- there's a little indicator that will let you know. Then you can change your settings -- I recommend changing one at time -- to get the exposure you want.

A good way to learn to estimate light levels is to try the "Sunny f/16" system -- and see if our guess at the light level matches what our camera meter thinks. It's sunny outside today, so we can practice working this way...

1. Set your ISO to 400.

2. The "Sunny F16 Rule" tells us that on a sunny day we can set the shutter speed to match the ISO setting. Your camera probably won't have a 1/400th of a second setting, so round off to 1/500th of a second. Close enough for a first attempt.

3. Look at the shadows the sun is casting. If it is clear and bright, you'll probably see hard shadows, but as it gets more overcast the shadows will get softer or disappear. So:

a. if you see hard shadows, set your aperture to f/16
b. if you see soft shadows, set your aperture to f/11
c. if you see no shadows, set your aperture to f/8
d. if the light level seems even lower, set your aperture to f/5.6

That's all. Set your camera to M. Set your ISO to 400. Look at the shadows and set your aperture. Point your camera at your subject, press the shutter halfway down. Your camera may have a little triangle, or a light or another indicator that lets you know if it thinks you are over or under on your exposure. Adjust if you agree, or go with your guess. Take the shot.

Look on your viewscreen, and see if you've got it right -- and then act superior to anyone using automatic modes.

But I've Never Been To Me

What type of news story would I like to read? Well, anything Ted-centric would be fine. And they say journalism's dead....

Indie Filmmakers Q&A Series: Part I

Ah, Vanity

Now here's the type of article I like. It's all about me, me, me and me. (At one point, two other people are mentioned, but then luckily the story gets back on track, returning to being completely about me. Perfect.)

Actually, it's a good read, even beyond being entirely all about moi.

Indie Filmmakers Q&A Series: Part I

Now I Have to Look Up If He Won

Did I mention that Webby nomination, and how you should go vote for Frugal Traveler: Budget Europe immediately? I guess it slipped my mind. In any case, go vote now, it's going to be very close.

Your vote is needed. I'll wait.

Okay, now that you're back, a little humor at Slate. It's not necessarily accurate, and the article is a year old, but it's still pretty funny....

What? You've Not Been Honored by the Webbys?

SUNfiltered

Profluence shows up in the darndest places.

This time it's in a story on filmmaking contests -- a topic we know well -- and where they might fit into the future of filmmaking.

The future of storytelling - from Soderbergh to YouTube

"I used to roll my eyes … how could this serious life pursuit be reduced to a contest? Why would makers play directly in to the hands of needy promotional types? But years later, I’m starting to see the opportunities, and how it’s grown far beyond simple commercialization. In posing story as game, isn’t there value in simply inviting broader creativity? Aren’t there new types of opportunities for collaboration?"

Check out the full post, as it's the first column by Annie Howell and Lisa Robinson on Sundance Channel's new "SUNfiltered" blog.

Annie at Work

Annie Leibovitz and her approach to portraiture came up in my Thursday night class last week, so I wanted to link to some good "behind-the-scenes" video from Vanity Fair. I think her use of lighting in these is well worth the view, especially the episode with Nicole Kidman and Baz Luhrman.

The 2009 Hollywood Portfolio Shoots

Documentaries in the News, Stripper Edition

This might be a good doc. Or not. It definitely needs a better title, though. Really, there have to be a couple dozen double-entendres just ready to go, and no end of possible puns.

Stripper Impersonates High School Alum: Classmates Learn About Reunion Prank on YouTube

So, rather than attend her reunion, Wachner, 31, sent someone else in her place, a stripper, and made a documentary about it. "I Remember Andrea" wasn't picked up by the film festivals this go-around, but Wachner did find a manager who took interest in her project. They are shopping it around as a reality TV show or a narrative feature.

Pulling Into Second Place

Hey, did I mention that the Frugal Traveler: Grand Tour series is nominated for a 2009 Webby Award? It must have slipped my mind.

Okay, okay, I've mentioned it....

In any case, I just checked, and while we won't have a result from the Judges for a few weeks, in the People's Voice voting the show is currently in second place.

So go vote for it. Have your friends check it out, then vote for it, too.

Details, and link to the series episodes at Your Vote is Appreciated.

Followup to the Followup

A nice overview of the ASU screening by Cassandra Nicholson, the Phoenix Film Examiner.

ASU Art Museum Film Festival Showcases National, International Talent

"The second of two New York City submissions came from Ted Fisher in his light-hearted documentary, “12th & 3rd in Brooklyn,” which focused on a group of men known as “Brooklyn’s Best.” Their annual stickball match holds historical, cultural and familial connections for them, as it is held every year on the same street where they played the game as young children."

The first New York submission? Bill Plympton's "Santa: The Fascist Years." I just love Plympton's films, so it's an honor to be in the same program.

(Of course, please note, it's not just my film -- it's co-directed by Maya Mumma and Iris Lee also.)

ASU Screening Followup

I've screened films for small audiences before, and that's fine. I can think of a few times when there were only 30 people in the audience. No problem. So it's nice to see 1,300 turn out for the screening at ASU Art Museum. That's a good-sized audience.

ASU museum’s reel deal

1300 Attend ASU Screening

There's a nice article on Saturday night's screening at ASU. Fun photo with the story, so follow the link....

Short film and video festival draws more than a thousand people

"ASU Art Museum’s courtyard was packed with lawn chairs, picnic blankets and a sea of people watching social commentaries and silly cartoons on a big screen on Saturday night. About 1,300 people were reeled in to watch film reels at the 13th annual ASU Art Museum Short Film and Video Festival, held outside the museum. The free festival showed 19 selections made by a globe-spanning collection of independent directors, hailing everywhere from Germany to New York to Arizona. The films represented an array of genres from confessional documentary to campy video animation."

Pogue on Flash

This week in my Thursday night class there was discussion and demo that included using on-camera flash. There's a good related article by David Pogue here, with some good basics to review....

Controlling Your Camera’s Flash

Your Vote is Appreciated

The web series I produced / edited last summer -- Frugal Traveler: The Grand Tour -- is nominated for a 2009 Webby Award.

Please vote for the show at the People's Voice site.

It would be much appreciated.

How it works: click on "sign up now" and give an email address (you can opt out of receiving anything) and make up a password. They email you a link, then you follow that to a ballot.

"Frugal" is under "Online Film / Video" in the "Travel" category.

If you haven't seen it, here's the series:

2008: Frugal Traveler: The Grand Tour (14 Episodes)

Week 1: Dover to Calais
Week 2: Paris, France
Week 3: Southwestern France
Week 4: French Riviera
Week 5: Rome
Week 6: Malta
Week 7: Cyprus
Week 8: Bucharest
Week 9: Vilnius, Lithuania
Week 10: Gdansk, Poland
Week 11: Germany
Week 12: Dutch-Belgian Border
Week 13: Frugal Edinburgh
Frugal Traveler: Looking Back

Editing by the Numbers

I've been grading papers by my students this week, and as usual there are many references to how editing has changed in the digital era. It makes sense: while the basic concepts are the same, editing on a computer can be significantly faster and allows a lot of room for quick experimentation.

I think they miss the bigger, more significant point, however.

Compare the same editor working in 1979 and 2009 and of course you'll see the power of computer-assisted editing. On some tasks, the digital editor will be amazingly faster, and will likely have less need of multiple assistants to sort the material.

On other tasks, though, they may in fact work at about the same pace. A decent film editor on a working pre-digital system is not inherently slow, and a digital system includes no magic wand.

The significance of digital technology is not found in comparing one editor (1979 version) to one editor (2009 version). The real change is this: the number of people with training in editing and a reasonable amount of practice is way, way up. The shift to computer-based editing has given the individual editor potentially more speed and power -- but it has also made it a more competitive field, with a much larger talent pool. How many 19-year-olds had edited a short film in 1979, compared to the number today?

The real effect, then, is that in our one-to-one comparison that 2009 editor would probably be better. Not because of the function of the tools, but because of the amount of practice and competition allowed by the tools.

Paparazzi + Hamptons + Madonna = Fail

Ah, the paparazzi.

I think the horse may have mistaken them for zombies.

Madonna falls from horse in Hamptons after paparazzi spook animal

"Madonna was tossed to the ground Saturday when her horse was startled by photographers while riding on a Hamptons estate. The Material Mom was rushed to Southampton Hospital with minor injuries and bruises after a fall while riding at the Bridgehampton farm of celebrity photographer Steven Klein."

Could Use Your Vote, Please

The web series I produced / edited last summer -- Frugal Traveler: The Grand Tour -- is nominated for a 2009 Webby Award.

We'll see what the judges decide, but you can vote for the show at the People's Voice site.

Please do. It would be much appreciated.

How it works: click on "sign up now" and give an email address (you can opt out of receiving anything) and make up a password. They email you a link, then you follow that to a ballot.

"Frugal" is under "Online Film / Video" in the "Travel" category.

If you haven't seen it, here's the series:

2008: Frugal Traveler: The Grand Tour (14 Episodes)

Week 1: Dover to Calais
Week 2: Paris, France
Week 3: Southwestern France
Week 4: French Riviera
Week 5: Rome
Week 6: Malta
Week 7: Cyprus
Week 8: Bucharest
Week 9: Vilnius, Lithuania
Week 10: Gdansk, Poland
Week 11: Germany
Week 12: Dutch-Belgian Border
Week 13: Frugal Edinburgh
Frugal Traveler: Looking Back

Anthony Goicolea Documentary

Here's a short documentary on artist Anthony Goicolea I edited last year. It was directed and photographed by Richard Giles. It's done in a very slow, contemplative style that I really enjoy. We spend a lot of time experiencing his process of making art, and we get a sense of what it's like to hang out in his studio. It's 8 minutes and 30 seconds.

(It was done for Haunch of Venison, and you can see more about the artist on their site.)

Tempe Time

One day, I'm going to be able to go to all of my screenings. I look forward to it.

For now, some of them happen without me....

12th and 3rd in Brooklyn, our short film on stickball, is screening at the Thirteenth Annual ASU Art Museum Short Film and Video Festival tonight at 8 p.m.

Screening Tonight

Tonight at 8 p.m. our film 12th and 3rd in Brooklyn (by Ted Fisher, Iris Lee and Maya Mumma) will screen at the Thirteenth Annual ASU Art Museum Short Film and Video Festival in Tempe, Arizona.

I've seen the film with a number of audiences, and it usually goes over well, with one particular moment that gets a laugh / cheer. The ASU event looks like fun -- it's outdoors at night in Arizona -- so I wish I could be there to see how it plays....

Always Bring An Attorney

Ah, documentary production. Camera? Check. Tape? Check. Allegedly peering through Britney Spears windows? Check.

Just a ‘joke’ says woman caught at Britney’s

"The whole thing — it was all a joke in the beginning, everybody knew about it," the woman, who claims to be a student at the Art Institute of California, told Billy Bush for Access Hollywood and "The Billy Bush Show" on Friday. "It was supposed to be like a 'Paparazzi 101' documentary type deal."

At least she didn't get egged by Lindsay Lohan.

Or mistaken for a Zombie by Woody Harrelson.

Tony Mendoza's Ernie

More often than you'd expect, the topic turns to cat photography. In my Thursday night class, I mentioned Tony Mendoza's Ernie: A Photographer's Memoir -- so I'm posting the link to it.

If you like it you can purchase via Amazon as well:

Sublimation

Besides Depends commercials, what is Errol Morris making next? Variety knows.

Errol Morris tries icy tale

Documentarian Errol Morris is taking on a narrative feature for his next project. The "Fog of War" helmer will direct the Untitled Cryonics Project, which Zach Helm is writing. Mandate Pictures and Steve Zaillian's Film Rites are producing the dark comedy, which was inspired by both Robert F. Nelson's memoir "We Froze the First Man" and a story that aired on "This American Life" this week titled "You're as Cold as Ice."

Eye Placement in Portraiture

I often talk to my students about the placement of the eyes when framing a photograph or video image. For example, I tend to lead them toward a starting composition that places the eyes about 1/3 from the top of the frame. Usually, if one attempts that first, you can naturally slide into a composition that works well.

But what about the horizontal placement?

Two papers by Christopher W. Tyler address the "hypothesis of a consistent positioning of one eye relative to the center of the portrait" in a way I haven't seen done before.

AN EYE-PLACEMENT PRINCIPLE IN 500 YEARS OF PORTRAITS

Eye Placement Principles In Portraits And Figure Studies Over The Past Two Millennia

"Is there a consistent placement of the eyes relative to the canvas frame, based on the horizontal position of the eyes in portraits? Data from portraits over the past 2000 years quantify that one eye is centered with a standard deviation of less than + 5%. Classical texts on composition do not seem to mention the idea that the eyes as such should be positioned relative to the frame of the picture; the typical emphasis is on the placement of centers of mass in the frame or relative to the vanishing point in cases of central perspective. If such a compositional principle is not discussed in art analysis, it seems that its manifestation throughout the centuries and varieties of artistic styles (including the extreme styles of the 20th century) must be guided by unconscious perceptual processes."

Webby Voting Is Open

If you enjoyed the Frugal Traveler: The Grand Tour series from last summer, you can vote for it at the Webby Awards People's Voice site.

It takes two minutes. Click on "sign up now" and give an email address (you can opt out of receiving anything) and make up a password. They email you a link, then you follow that to a ballot.

Pick the shows you like. "Frugal" is under "Online Film / Video" in the "Travel" category.

Thanks!

Heddy Honigmann

One of my favorite documentaries is Heddy Honigmann's Forever. So I'm glad to see that her new film is out.... Indiewire has a good interview about the film and her process.

Interview | “Oblivion” Director Heddy Honigmann: “I need more than one lifetime…”

Some years ago, I visited my mother in Lima. We went to a chic restaurant. When the waiter came, I recognized him. He was still working in the same restaurant after forty years. “So,” I asked him, “have you seen many coups, have you served presidents and ministers, and have you suffered because of the continuos corruption, inflation and violence in Peru?” The waiter nodded smilingly and every time he served us he told us bits of what he remembered. And although I was on a vacation, a “film idea” was conceived.

Photography in the News

If I've told you once... Photography is simply dangerous.

Is Lindsay cracking up? Now wild-eyed Miss Lohan hurls eggs at photographers

Webby "People's Voice" Voting Open

If you enjoyed the Frugal Traveler: The Grand Tour series, you can vote for it at the People's Voice site.

How it works: click on "sign up now" and give an email address (you can opt out of receiving anything) and make up a password. They email you a link, then you follow that to a ballot.

Pick the shows you like. "Frugal" is under "Online Film / Video" in the "Travel" category.

Various News

Over on my other blog, there are two bits of news: The Frugal Traveler "Grand Tour" series I worked on is nominated for a Webby Award and our film "12th and 3rd in Brooklyn" is screening this Saturday in Arizona.

Frugal Traveler Webby Nomination, 2009

It looks like last year's Frugal Traveler: The Grand Tour series is nominated for a 2009 Webby Award.

I notice the Webby Awards site has it listed as "Budget Europe," which it is, sorta, though that's not the official title. As well, it currently links to the "send off" episode (an episode I was not involved in -- I served as Producer and Editor on the 13 weekly episodes and the "Looking Back" episode) without really guiding you to the episodes of the series. I'm sure they'll update. (I'll post the series links in order below, so if you want to watch the series you can.)

Webby Awards, Online Film / Video, Travel Category

I'm glad to see it nominated -- I think it was a very good series and shows that organizations other than the big networks can produce high-quality shows.

(I believe there will be "People's Voice" voting enabled, also, and I will link to that later. I hope you'll give it a vote.)

2008: Frugal Traveler: The Grand Tour (14 Episodes)

Week 1: Dover to Calais
Week 2: Paris, France
Week 3: Southwestern France
Week 4: French Riviera
Week 5: Rome
Week 6: Malta
Week 7: Cyprus
Week 8: Bucharest
Week 9: Vilnius, Lithuania
Week 10: Gdansk, Poland
Week 11: Germany
Week 12: Dutch-Belgian Border
Week 13: Frugal Edinburgh
Frugal Traveler: Looking Back

Zombie Edition: Photography in The News

I don't know which is worse: roughing up a photographer or making a zombie movie in 2009. Both seem a touch passé, don't you think?

Woody Harrelson claims he mistook photographer for zombie

"I wrapped a movie called 'Zombieland,' in which I was constantly under assault by zombies, then flew to New York, still very much in character," Harrelson said in a statement issued Friday by his publicist.

"With my daughter at the airport I was startled by a paparazzo, who I quite understandably mistook for a zombie," he said.

This Saturday

On Saturday, April 18, 2009 at 8 p.m. our film 12th and 3rd in Brooklyn (by Ted Fisher, Iris Lee and Maya Mumma) will screen at the Thirteenth Annual ASU Art Museum Short Film and Video Festival in Tempe, Arizona. It's a very diverse program drawn from all over -- looks like great fun.

We won't be able to attend, but if you do (and happen to find this blog post) please give the film a rating at IMDB.com or leave a comment and let us know what you think.

Valentino

Went to Film Forum to see the new documentary Valentino: The Last Emperor. Excellent production values, seamless editing, strong cinematography, remarkable access. Very polished and entertaining.

After some reflection, my only complaint: there are no surprises. Everything is as it seems, and there's no particular transformation or moment where a challenge is overcome.

Still: the film is at least a match for the other four or five fashion docs that have come out in the last few years, and avoids the pitfalls so common to the genre. The filmmakers seem to realize that at a certain point, heroicizing a fashion designer becomes a little silly -- and they walk it right up to the limit, but no further.

Beer Wars

I can't drink. Well, not until Tuesday.

I went to the doctor a while back, and all the tests seemed fine except one. Probably nothing, I was told -- but don't drink anything until you come in for your physical, as that will throw the test off. It's taken a long time to schedule that physical, though, so I've been drier than a small town in Utah. For weeks and weeks and weeks.

Which makes a documentary on beer seem really appealing right now.

Small brewers battle ‘evil empire’ in ‘Beer Wars’ film

Though “Beer Wars” is Baron’s first documentary feature, she brings a unique perspective to the subject, with a background as both a beverage business executive and a Hollywood producer. And while “Beer Wars” might seem to be targeted at beer drinkers (something Baron is not), it’s ultimately a David and Goliath story about big beer companies vs. smaller beer companies and the current economic climate.

David Hemmings Just Shrugs

Ah, news from London. Clearly a world capital of photography -- after all, "Thomas" from "Blowup" took a few snaps there -- but lately so confused on the role of photographers.

Should they be feared or feted? It's a city saturated in surveillance cams, but lately on the edge of making public photography a crime, or at least a warning sign that you must be a terrorist.

The unstoppable rise of the citizen cameraman

"The social impact of this revolution has still to be fully understood. Usually its consequences have been written about rather darkly, in terms of CCTV cameras and the surveillance state, but recent events in Britain offer a different verdict. The digital camera is an egalitarian piece of technology - cheap (most mobile phones have them), easy to use, convenient to carry and quick to produce images that can be spread throughout cyberspace in seconds. What we are witnessing, as any professional photojournalist will tell you, is the unstoppable rise of the citizen-photographer. Last Thursday, at the demonstration outside the G20 summit in east London, I saw them at work. A small war of cameras. Police were stopping, searching and photographing demonstrators at Canning Town tube station; the demonstrators photographed the police as they took their photographs; sometimes - a third viewpoint - a video maker turned up to get both sides in the same shot. It seemed to me then that the camera, so often accused of spreading violence by its fixation with physical aggression, could also be one of violent behaviour's great restraints."

Hello Dad ... I'm In Jail

Ah, wedding photography. You never know when those skills may come in handy. You know, like in jail.

Couple threatens to sue over wedding night DUI arrest

"The couple filed a complaint with the Harris County Precinct 8 Constable's Office and plans to file another with the federal government over the way [the bride] was allegedly treated while in jail. The couple said a photographer was allowed to take a picture of her in her wedding dress. The photograph appeared on the Internet and on television."

Speaking of "Dig!"

It turns out you can watch "Dig!" for free, via snagfilms. Enjoy.

Derbyshire Dales District Dippers Disturbed? Definitely

It's tough being a photographer these days. You might get shot, or get hassled, or get smoked.

So you'll probably decide to get away from it all, head out into nature and maybe take a few bird pictures. What could go wrong?

BIRDWATCHING PHOTOGRAPHERS UNDER FIRE

"Photographers' behaviour has been blamed for a fall in the survival rates of nesting dipper birds in the Derbyshire Peak District, prompting an appeal by conservationists.

'Unfortunately, disturbances at one or two of the key dipper sites has had a direct and negative impact on their nesting success in recent years,' said Phil Bowler, senior reserve manager at the Derbyshire Dales National Nature Reserve."

Ondi Timoner

I'm a big fan of Dig! -- and I'm definitely looking forward to We Live in Public. In fact, I'm slowly beginning to think the "available same day as theatrical release" model will win out -- when I hear about a film I want to see, I'm ready to see it immediately.

The "Public" Life of Ondi Timoner

So I set out to document all of life. I shot 2500 hours of footage [for “Dig!”]. I didn’t realize that would make me be in the edit bay for three and a half years. I was more economical with “We Live in Public,” only this time, my subject was obsessed with documentation -- he documented thousands of hours of footage. Suddenly, I’m with 5000 hours of footage again. And thank God because it’s all viscerally told and when I wasn’t filming, Josh [started] WeLiveinPublic.com with his girlfriend. I should give surveillance cameras main [cinematography] credit on the film.

And On My Other Blog

This week on Actualities -- my other blog -- I discussed Malcolm Gladwell, the Supreme Court, and the future of IMDB. Somehow, it all relates to making documentaries.

Thought of the Week

The amusing thing about documentary filmmakers? In a field that's always dogged by the perception of being boring, they're generally certain that you'll find their work captivating. In fact, I'm starting to realize that's a prerequisite for making docs -- the ability to convince yourself that whatever topic you are dealing with is fascinating.

The reason I'm thinking about this?

Well, in 2007 and 2008 we participated in the International Documentary Challenge and made it into the finals. This year, unfortunately, our film didn't make it. It was a tiny bit of a shock -- after all, we thought it was a very good film. Of course, having been through a lot of judging, and occasionally serving as a judge, I know that this sort of thing is just bananas -- there are many many many reasons why a person scores one film higher than another, and that's just the way it goes. We had two lucky breaks, and one unlucky one. Fine.

But I laughed out loud when I received a note from the event organizer. Apparently, so many of the non-finalists were emailing him that he just had to respond.

What were they writing? They were sure their films must have been disqualified somehow, and they wanted to know why. Because otherwise, of course, their film would have won. Obviously.

Last Book Read: Outliers

I've just finished Outliers: The Story of Success by Malcolm Gladwell. (The Kindle version, actually, read on my iPhone.)

I went through it with an eye to documentary production -- which makes it a very strange read. Some of his main points -- mastery of a craft will take 10,000 hours of work, practical intelligence is more important than I.Q., timing is critical regarding opportunities -- are fairly common-sense-based if we think about fields like music or computer programming or math.

But filmmaking?

A good argument can be made that he's wrong: the people with the "most" experience are often hacks, doing drudgery-work. The most "practical" folk end up making lowest-common-denominator work. The right-time-right-place filmmakers invariably fail on their second effort.

Clearly, his argument doesn't apply directly. Can we adapt it, though? It seems valuable, so can we filter it to work for doc production?

Maybe.

First, 10,000 hours isn't a figure to use when thinking about editing. Walter Murch seems to do about 1,000 hours of serious feature film editing a year, if we make a guess based on his books. That's probably the highest figure in the field -- I just don't think someone's hours cutting wedding videos, pre-structured television shows or anything that doesn't require high-level problem solving really count toward mastery. My guess is that someone like Murch could be said to get close to mastery after cutting three features -- 3,000 hours of work, give or take. I expect, though, that we're talking about a practice where pure hours don't matter above a certain point. Rather, Gladwell's 10,000 hours probably translates -- for those with the opportunity to work extended hours at the high levels of the craft -- into somewhere between 5 and 10 years of intense work. And that does seem to match reality, as far as I can tell.

Second, practical intelligence does seem to be more important than any raw I.Q. Making a documentary is dependent, in most cases, on one's ability to work with people -- whether a documentary subject or a crew. And the ability to get people to help you get what you need -- something Gladwell stresses -- is clearly more important than pure knowledge. So here Gladwell's notion is probably on target.

Gladwell's idea of being born to the right time and place for big success, however, is a little hard to apply to the field. Pick any doc maker with at least 2 big hits -- Barbara Kopple or Ondi Timoner, Al Maysles or Michael Moore -- and you'd be hard pressed to see a reason that success couldn't have happened in another time and place. There are always waves rising and falling: television supporting documentary production, then letting it go, film festivals rising, then falling, then rising again, DVD sales climbing then falling, and now the Web. There's been no "lucky elevator" to catch -- just films that are good enough to jump out of the box marked "documentary" onto the shelf for "new releases."

So why bother with Gladwell if he's just giving us common sense, and if it isn't a perfect match for documentary production?

My answer is that what he's really done in his book is to go against "common sense" -- the popular idea that success is a product of genius, that brilliance translates to productivity, that lightning can strike anywhere. He's instead pushed a very pragmatic take: put in long hours, find ways to work with people, and wait for a hittable pitch. There's nothing wrong with any of that advice, and nothing very surprising about it. His bigger point -- that if we as a society recognized these principles, we could produce twice as many "successful" students as our current "genius will out" model -- is the real value of this book.

Think about the current model: students go to film school, and those that do well earliest get the most access to higher training and resources. Everyone else is expected to bow to that glimmer of genius they've shown, and perhaps move toward "craft" -- serving those "natural Directors" as lighting crew, or as a camera loader. Just fantastic.

The main dent in that model came when computers became powerful enough to edit at home. Suddenly, a DV-camcorder and a copy of Final Cut Pro was a bit of an equalizer. But there's been a constant pushback since that revolution: the shift to HD production, the idea that "Dude, you've got to shoot on the Red camera!" and the idea of "production values" has returned us to that old-school model: get to USC, make the best short in your first class, and you're a "Director" with everyone else supporting your feature production and the school paying your way.

I'm with Gladwell: I think that existing model is the reason we get "The Fast and the Furious 18" as the tentpole of our culture. I'd rather have twenty of the people from the crew making their own shorts, and I think our culture would benefit more from that.

The takeaway? "Outliers" deflation of our expectation that "success comes from innate talent" is a perfect message for these times. We've lost our veneration for merit -- expecting instead that success will come from oversinging on a television reality show. All the hype in the world can't match what can be done with hard work -- and as a culture we don't seem to want to believe that.

What Gladwell does is pile up the evidence for it. I think it's worth considering.

Ah, Politics: Documentaries in the News

I enjoyed "Religulous." It was entertaining.

I consider it more of an essay, though, than a documentary. Even if I agree with it, I don't appreciate one-sided films. Reality is messy, and that's my favorite thing about documentaries -- they struggle within that messiness.

Which is why I hate most advocacy films. Doubly so those that one could fairly consider expanded political ads.

It's interesting to see the Supreme Court get involved in a decision relating to documentary films, of course, and it will be very interesting to see what they decide.

Justices Seem Skeptical of Scope of Campaign Law

“Hillary: The Movie,” a documentary with elements of polemic and advocacy journalism, was produced by Citizens United, a conservative nonprofit corporation. It was released during the Democratic presidential primaries last year, and a lower court said it could not be broadcast within 30 days of those elections.

It's a bit disheartening, however, to know what we're in for....

Anti-Obama Film On the Way

A conservative group -– Citizens United -– that has produced a film now in distribution attacking Hillary Clinton called “Hillary, the Movie,” has its sights set on a new target: Barack Obama. The group has budgeted about $1 million to produce a documentary film about Mr. Obama that is set to be distributed this summer.

"Extremely Ambivalent"

The relationship between filmmaker and subject in making a documentary is always a tricky one. Usually, there's a balance between exploitation and value: by definition, the filmmaker is "using" the subject, but usually it's in a benign way, and often to the subject's benefit.

But not always.

I'm eager to see Guest of Cindy Sherman -- since I love both photography and documentaries about photographers -- but I have to admit any film made by an "ex-boyfriend" has a lot to prove....

Camera Shy

While her depiction in the film is overwhelmingly positive, Sherman’s enthusiasm for the film has waned since the relationship ended. “I was and still am extremely ambivalent about the film, not that I don't think Paul will do a great job, but that I'm in it,” she told The Financial Times in 2006. “I wish he could tell the story without mentioning me.” And though she had given her blessing for friends, colleagues, and staff—among them, John Waters, Carol Kane, Jeanne Tripplehorn, and Ingrid Sischy—to speak on camera, Sherman sent a mass e-mail before the Tribeca Film Festival premiere to disavow the project, labeling it a “big mistake.”

Seriously Fun Photography Review, Week 1

This week was the first class of my six-week "Seriously Fun Photography" class. So what did we cover?

We learned that to control exposure, we need to work with three related elements:

Sensitivity:
This is the ISO "speed" of a digital sensor or of film. ISO 100, 200, 400, 800, 1600 and 3200 are available on many cameras (but not all), and you should take some test shots with yours to find out if the higher ISO settings are usable or not. Figure out the fastest ISO speed you find produces acceptable shots on your camera -- you'll need to switch to it sooner or later. Notice that each ISO speed is twice as sensitive (or half as sensitive) as the next.

Aperture:
The f/stops to memorize are f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22. If you forget these, make two columns, and at the top of the left one write 1.4 and at the top of the right one write 2.0. Now double each number as you go down the column (rounding off when needed). Changing one stop lets in twice as much light (or half as much, depending on which direction you go. f/2 lets in a lot of light, f/22 lets in very little light. So if you took a picture using f/8 and it seemed a little too dark, you would switch to f/5.6. If you took a picture using f/8 and it seemed a little too bright, you'd switch to f/11.

Shutter Speed:
The common shutter speeds are:
1/1000th of a second
1/500th
1/250th
1/125th
1/60th
1/30th
1/15th
1/8th
1/4th
1/2
1 second.

-- As a rule of thumb, if you are moving and you're subject is moving, you'll want to be shooting at 1/1000th of a second to get a sharp picture.

-- If you are still but the subject is moving along, it would be good to be at 1/250th or faster.

-- If you and the subject are both relatively still, you can probably handhold the camera as slow as 1/60th, but slower than that and you'll get a soft picture because of camera shake caused by pressing the shutter.

-- At speeds that are slower, you'll need a tripod to steady the camera, and probably want to trigger it using the self-timer or a release.

-- Many decent cameras have higher shutter speeds, and these are very useful for action or sports.

Notice that the relationship of these shutter speed settings is also doubling (or halving) the amount of light that hits your sensor.

Then we decided to start applying our general knowledge about the relationship between apertures and depth of field. While we start to get the idea when we say "f/2 -- shallow depth of field and f/22 - deep depth of field" actually trying this out in with some real world shots is always a good experiment.

So we set up an experiment that can be repeated at home: set your camera on a table or a tripod, and in front of it arrange people or objects in a receding line. Put the first person or thing just 3 feet away from the lens, and have the furthest be at least 12 feet away. Now set the widest aperture you can -- I use a lens that goes to f/1.4 for this -- and focus on the closest person or object. You'll probably find that the people / objects behind that are out of focus. Now run through the whole series of aperture settings you have available (you'll probably want to be in "aperture priority mode" so that the camera sets the corresponding shutter speed for an acceptable exposure. Or you can set that yourself). Try this and compare each shot -- more and more will be in focus until you should be able to get everyone in focus.

Now, keep in mind there's one other factor here -- the focal length you shoot with. Usually the effect of getting a main subject in focus and the background out of focus is much easier to achieve if you use a lens of at least 50mm or set as zoom to 50mm focal length or a more telephoto setting.

Many photographers think that "telephoto lenses have shallow depth of field and wide angle lenses have deep depth of field" -- it turns out that isn't exactly true, but for pragmatic purposes it isn't a bad way to think. If the goal is a sharp subject and a blurry background -- grab a 90mm or set your zoom lens about there.

(For a discussion on why the wide focal lens = deep depth of field idea isn't precisely true, read Do wide-angle lenses give you greater depth of field than long lenses?.)

Another thing that comes up at this point: some lenses allow your camera to reach to f/1.4 or f/2 or f/2.8, but many times the "kit lens" zoom that comes with a DSLR or the zoom lens built into a compact camera will not go to that wide-open an aperture. And to further add to the confusion: many common lenses that go from 18mm to 55mm (or 70mm) let you go to f/3.5 when using the widest focal length (18mm) but only to f/5.6 when you are using the long end of the lens (55mm or 70mm). That's just how those lenses are built.

Now, once we know a technique to control depth of field -- go towards f/2 to get a sharp person, blurry background or toward f/22 to get subject and background both focuses -- we want to think about why we would do it. Well, it's that kind of control that lets us emphasize or deemphasize what a viewer sees in a photograph, so we want to master it so we can control our images. Need to photograph a person against a cluttered, distracting background? Use selective focus. Need to show that a person has kids but keep the emphasis on the person? Use selective focus to make the kids visible but de-emphasized.

So, from a technical standpoint, as we approach any photo situation we'll want to decide on an ISO setting, a shutter speed and an aperture. The three are interrelated and all use a doubling / halving system so it is easy to calculate how to change them when needed.

Errol Morris, Greatest Ever? Depends

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IMDB Web Series Credits

I know a few of you Web producers will be interested in a comment received yesterday from Casey McKinnon (of Galacticast, A Comicbook Orange and Kitkast fame).

She makes it clear: it's time to dust off your Web Series resume and get ready to go through that IMDB submission process. If you recall, she asked Col Needham, IMDb founder and managing director, about this issue and -- to the relief of a zillion video makers -- the answer was yes.

Hi Ted,

The audio file I provided is really only half the story since I went to talk with him one-on-one after the Q&A. He confirmed that it's happening and said that it would roll out in the 2nd or 3rd quarter of this year (anytime between April 1-September 30).

We've been waiting a LONG time for this... looking forward to it.

Best,
Casey

Not yet known, however, is how IMDB will deal with its qualification requirements. I would expect factors will be the size of a program's audience, media coverage, and maybe awards.

So will the Webbys and the Streamys be competing to be the "official" award for Web shows? Will we see credits for daily web shows that list "412 episodes" and will there be a debate about what counts as a "significant" media source? Certainly.

It should be an interesting year....

Helen Levitt

Helen Levitt, Who Froze New York Street Life on Film, Is Dead at 95

"Helen Levitt, a major photographer of the 20th century who caught fleeting moments of surpassing lyricism, mystery and quiet drama on the streets of her native New York, died in her sleep at her home in Manhattan on Sunday. She was 95."

It's Good To Want Things

Here are a few dates to watch for in April....

April 2: My Seriously Fun Photography class begins

April 8 - 20: Spring Break for my Bronx Community College classes

April 14: Announcement of the Webby Award Nominees

April 18: Our short doc 12th & 3rd in Brooklyn screens at the ASU Art Museum Short Film and Video Festival

Hoopless

Well, we thought it was a good film. Maybe we finished 14th.

The Doc Challenge Results are in.

We'll get 'em next year.

Doc Challenge Results

Just received the email below.... Congratulations to all the finalists. We'll try again next year.

Hello Doc Challenge Filmmakers,

The moment you have all been waiting for: our first round judges have completed their voting which determined the 13 finalists for the 2009 International Documentary Challenge. (Due to a tie there are 13 finalists instead of 12.) There are many, many great films this year. Many more than just 13: in total, 116 films were finished by the deadline and eligible for awards.

This is the hardest part of my job because there are always more disappointed filmmakers than happy ones. As a filmmaker myself, I know exactly how much time, energy and mania went into the creation of your film. And I also know the sting of what feels like rejection (but is really just non-selection.) But please believe me when I reiterate what many have said before: that film selection is subjective, and what's selected by our judges represents a small sliver of the many quality films submitted. I want you to know that many of the films were rated highly and it is a narrow distinction between being a finalist and missing the cut. So if you're not on this list, keep your head up and keep making films.

Also - before I get to the finalists, I want to mention that ALL of the Doc Challenge films, whether finalists or not, will be screened by several broadcasters and distributors. So don't be too discouraged if you aren't a finalist. I will send more information on this later.

Here are the finalists (in alphabetical order by film name):

1."Beautiful Reasons"
Team: Noonday Films
City/State/Country: Vancouver, BC, Canada
Genre: Biography/Character Study
Theme(s): Hope and Fear
Synopsis: An intimate look at one man's struggle with fear and anxiety, and the beautiful reasons that he has to resist them.

2. "Dark Material"
Team: Reel Grrls
City/State/Country: Seattle, Washington, USA
Genre: Art
Theme(s): Hope and Fear
Synopsis: Childhood fears of the dark resurface in the work of three artists.

3. "Forty Foot"
Team: An Lar
City/Country: Dublin, Ireland
Genre: Historical
Theme(s): Hope and Fear
Synopsis: 4ºC at the Forty Foot.

4. "Fragile Ground"
Team: Polar Star Films
City/Country: Barcelona, Spain
Genre: Experimental
Theme(s): Hope and Fear
Synopsis: A visual poem about seeds and their role in the battlefield between variety and uniformity.

5. "Ghosts"
Team: Shed Collective
City/Country: Atlanta, Georgia, USA
Genre: Experimental
Theme(s): Hope and Fear
Synopsis: Every violin has it's own unique voice but only certain instruments have something to say.

6. "The Greasy Pole"
Team: Gloucester to Gloucester Films
City/Country: Gloucester, Massachusetts, USA
Genre: Sports
Theme(s): Hope and Fear
Synopsis: The bravest and the boldest of Gloucester's Fishermen risk all for the glory of a Greasy Pole Championship.

7. "A Healing Art"
Team: Fly on the Wall
City/Country: Seattle, Washington, USA
Genre: Art
Theme(s): Hope and Fear
Synopsis: Artificial eye makers rekindle hope for victims of tragedy.

8. "Lorelei Lee"
Team: First Touch Films
City/Country:
Genre: San Francisco, California, USA
Theme(s): Fear
Synopsis: Porn performer Lorelei Lee challenges common perception of sex workers.

9. "Nagashima"
Team: Takashi Sugimoto
City/Country: Lisbon, Portugal
Genre: Art
Theme(s): Hope
Synopsis: A painter, Nagashima's hope of perfecting his art.

10. "Pipe Dream"
Team: Mirror
City/Country: Portland, Oregon, USA
Genre: Nature
Theme(s): Hope and Fear
Synopsis: We need green energy, but at what cost?

11. "Time Well Spent"
Team: JAGS
City/Country: Poughkeepsie, New York, USA
Genre: Social Issue/Political
Theme(s): Hope and Fear
Synopsis: An antique clock enthusiast expounds on the problems of an increasingly rationalized society, and mourns the lost of human heart and touch involved in daily communication.

12. "The Violin Maker"
Team: Frenetic Productions
City/Country: Seattle, Washington, USA
Genre: Biography/Character Study
Theme(s): Hope
Synopsis: A portrait of Doug Yule, violin maker.

13. "Wu Tang Gran"
Team: Mandarin Film
City/Country: Beijing, China
Genre: Social Issue/Political
Theme(s): Hope and Fear
Synopsis: Wu Tang Gran grew up with the party - the Communist Party - and has lived through some pretty tough times, but will this 70 year old and her crew be able to meet their greatest challenge yet - a break-dance battle against Beijing's finest hip-hop crew?

These 13 finalists will screen on the evening of Saturday, May 9 at 9:00pm at the Hot Docs Canadian International Documentary Film Festival in Toronto where the winners will be announced. All finalists will receive 2 complimentary industry passes to Hot Docs (a $1,200 value), the POV Award Winner will receive $1,000, the DER Award winner will receive $1,000 and the Grand Prize Winner will receive $1,000. In addition, other awards (such as Best Cinematography, Best Editing, etc.) will be announced on May 9.

NOTE: Non-finalists are still eligible for the Best Use of Genre awards. We will announce those awards after Hot Docs.

Congratulations to all of the finalists! And to all of the other filmmakers who finished their films by the deadline – a heroic feat in and of itself.

Cheers,

Doug Whyte
Doc Challenge Producer

Doc Challenge DVD

Our short film Bend & Bow is now available on the International Documentary Challenge DVD, selling through amazon.com.

"This DVD collection features a variety of short non-fiction works from around the globe - from China to New York City; from Seattle to Amsterdam; from Montana to Japan - representing the very best from filmmakers who participated in the first three years of the International Documentary Challenge."

More information at Typecast Films.

Finally in Stock

Our film Bend & Bow is now available on the International Documentary Challenge DVD, along with 16 other great short films. Buy it through amazon.com.

"This DVD collection features a variety of short non-fiction works from around the globe - from China to New York City; from Seattle to Amsterdam; from Montana to Japan - representing the very best from filmmakers who participated in the first three years of the International Documentary Challenge."

There's more info at Typecast Films.

Newspaper Collapse 101

There's been endless speculation on both the short-term and long term future of newspapers. Most of it has been uninformed and ill-considered. (In fact, I ignored the first wave of it, since much of that was politically-fueled "serves 'em right!" posting by morons. Also, as I've said before, I tend to gravitate to the "let it go" stance on any collapse.)

Clearly, though, the crunch is here. I've already lost one major great video production gig because of the downturn -- we made one video out of a planned 32 just as things hit and the project disappeared.

And as someone who has freelanced (a lot) for the New York Times I've kept an eye out for stories on their future as well. For example:

Times Co. Announces Temporary Salary Cuts

"Also on Thursday, The Times laid off 100 people in its business operations, and Mr. Keller said it would make other cuts, like reducing spending on freelancers by 10 to 15 percent and possibly consolidating some sections."

So what do we know, and what's the real deal? Well, the clearest, most level-headed article I've seen on this lately is here, by the excellent writer Donna Trussell:

Newspapers: It’s All Over But the Cryin’

"For years my interest in media’s evolution was tepid at best. Until now. As Samuel Johnson noted, hanging at dawn tends to focus the mind. My husband, a Kansas City Star journalist since 1977, was just cut to part time.

What do you do if, after 32 years on the job, your industry suddenly starts to crater? Do you accept the part-time offer? Leave? Sue? Launch your own website?

For guidance I turned to the Internet."

Go and see what she found....

"12th and 3rd" Screening at ASU

12th and 3rd in Brooklyn, our short film on stickball, is screening at the Thirteenth Annual ASU Art Museum Short Film and Video Festival Saturday, April 18, 2008 at 8 p.m. In Tempe, Arizona, of course.

I notice they've listed me as director, but the film is also co-directed by Iris Lee and Maya Mumma, as you can see here, so I'll send them a note asking to correct that.

Hello, My Name Is

This may be -- technically -- the worst photograph I've ever made. Just pulled out my iPhone and snapped. Still, it's of a famous person and in focus, which Warhol said was enough.

You Can Call Him Al

Saw Albert Maysles speak today. As always, inspiring.

Al Maysles at AIPAD

Went to the AIPAD Photography Show today to see the exhibition and to attend two panel discussions. Seemed like a bigger turnout than last year.

The first panel was a rather uninspiring discussion on The Art of Fashion Photography. Very few images were shown, and nothing new or interesting was said. To be frank, what was said was vague and at times just factually incorrect. One repeated theme was the strange idea that museums haven't paid enough attention to fashion photography, which is just not true. (I won't bother making a list of shows here, but search for yourself -- every few years there's been a large fashion-related show.) There's been too much attention to fashion as art. How about some art as art?

The second panel, however, was much more to my taste: Timothy Greenfield-Sanders and Albert Maysles were in attendance for a panel on Photographers as Filmmakers. Both artists made some great points about making documentaries, and both showed some of their stills as well.

Above: Al Maysles arrives.

Protagonist

Lately I've been focused on interview-based films.

One of the best I've seen in the last few years is Jessica Yu's "Protagonist." It's now on Snagfilms, so you can watch it for free, right here. Set aside an hour and give it a chance -- I really like the weaving of the stories, and the subtext of the traditional concerns of Greek drama: character and fate....

Great puppets, also.

The Kinda Sutra

I'm a big Jessica Yu fan. So here's a three-minute documentary she made (funded by Cinelan, shown via Snagfilms) on how babies are made. Sorta. I love the setting for the interviews. Enjoy.