Find a show you like and click the 
button. The show will be added to your My Playlist page and updated 24/7 with new videos.
Search Results
16 Views
18:09:14 08/07/08
Chase Jarvis TECH: Photo Shoot In 180 Seconds
[LESS INFO] 16 VIEWS | ADDED 18:09:14 08/07/08
So many of the photography videos out there show great behind-the-scenes footage and tons of gear-related details. This video is more than that. In this Chase Jarvis TECH, I'm responding to the dozens--seemingly hundreds--of emails I've received recently asking me to highlight the various steps that comprise a professional commercial photo shoot. Therefore, follow along in this 3 minute video as I walk you through a recent commercial assignment where I was hired to photograph 3 hot young golf ladies of the LPGA. [And of course I included a lighting diagram and tech specs in the video for you photo geeks out there.] Click the 'continue reading' link below for a more complete description of the shoot, including the 6 core components to almost every commercial gigs, a detailed list of the equipment used, and more. -- We all like to focus on the creative aspects of our jobs as photographic artists. I know that's my favorite part - it keeps us sane and engaged. However, often overlooked are the nuts and bolts, or the framework for what enables our professional creative vision to become a reality. As you see in the vid, it's my belief that nearly every commercial shoot has 6 core components or phases. Roughly, those are: 1. Contracts, creative concepting, and pre-production. In this phase you're putting the deliverables in writing, your flexing your creative muscles with the client, and you (or your producer) are lining up the logistical details of the shoot. 2. Travel. While it's not a component to every shoot (eg, in your studio?), it is a big part of many shoots. Whether you travel across the country, the world, or just your home town, you're still moving bodies and equipment, and thus this deserves your attention. 3. Scouting. Whether you do it weeks, days, or hours in advance, you should--if at all possible--build time into your schedule to visit the location before you shoot. Take into consideration how the light looks, where the sun moves, logistical challenges, etc. Take sample images and look at various angles. Make a game plan. 4. Shooting. This is the fun part where you get to do all the stuff that made you want to be a photographer in the first place. Focus on creativity and executing your vision. 5. Post production. This is the step where you process your images, retouch them according to the client needs, and most importantly add your personal mojo. This is often overlooked, so be sure to build time into the schedule. (See an earlier post for my opinions on this.) 6 Delivery. Whether you deliver online via FTP or via hard drives, DVDs, or whatever media via Fed Ex, it's important that you have a smooth system that works for both you and the client, with special attention to file format, color space, and timeline, etc. Obviously, these 6 components are just a shell meant to act as a guideline. You could thin-slice this to death and include color palette review, stylist collaboration, prepping the models or talent, etc, but I've chosen to sort these things into these 6 larger buckets. Of course you could also add things before and after this set of six, like wooing the client before and following-up after the job with a thank you, etc. Again, I'm truncating these elements in favor of focusing on the big 6 elements so that you catch my drift. Other specs from this job: -I shot using the Nikon D3, and -I shot primarily with the Nikkor 24-70mm 2.8 lens, and -I shot primarily on a Bogen carbon fiber tripod and a Manfrotto head, and -I shot tethered to an Apple MacBook Pro (see Pimped Laptop Case vid), and -I shot directly into Apple Aperture, and -I used 2 Profoto 7b packs, and -I used Pocket Wizards to fire the strobes, and -I used one medium and one small Chimera softbox. The great LPGA golfers I was fortunate to shoot for this gig were: -Erica Blasberg -Charlotte Mayorkas -Irene Cho
0 Views
14:01:41 08/23/07
11 Pimp My Cube Van
[LESS INFO] 0 VIEWS | ADDED 14:01:41 08/23/07
06.15.06 In order to make the trip out to Drumheller Alberta, there were a few things that had to be sorted out. Of course there’s equipment and actors, and a little thing called pre-production, but most critical to the trip was the method of transportation. We decided that flying was out of the question; one piece of equipment mis-handled by a baggage thrower at the airport and we’d have had a broken lens or a smashed lighting kit... any one of hundreds of items damaged could be a production halting screw-up. So that meant we were driving. Which meant we needed something to drive. Sure we’ve got cars, but a Sunfire and an Intrepid could hardly haul seven guys and all the gear and props for Six Reasons Why. Enter the Cubie. It just so happens, one of our masterfully skilled audio engineers came across the opportunity to trade his ability to master an album for a 16-foot french-Canadian Ford Cube Van. It’s a long story. Needless to say, this was going to become our production vehicle. After spending over a grand to get her certified and after three attempts to get the plates changed from Quebec to Ontario, we were finally driving the van legally. Whether it would make it all the way to Alberta or not, not even our mechanic could say, but at least she was driving... and stopping. The only thing left before hitting the road to the prairies was to make the van distinctly Campagna... a bit of orange paint, a few A/V gadgets and a week later, we had our Six Reasons Wagon. And Brandon had one hell of a paint job to do if he ever wanted to sell her off again. | Matt & Jeff Campagna
