About this site

This is the Rebellion against overproduced images often in the digital world. These are images made from my film cameras. Each image I shot myself. The subjects are often friends, and acquaintances in their world.

tumblr visit counter

Find me on

Recent tweets

Liked on Tumblr

More liked posts

Photographers should stick to Photography. Usually at tradeshows they try to bring attractive girls to occupy the booths so that you the trade show nerd, can 1)interact with them, and 2)learn about the product while show off a little of your expertise.  This Korean Company (and their version of a sultry female) had a battery powered LED 1x1, that was a knock off of a 1x1 made by Litepanels.  Battery Powered LED is pretty convenient for a fill light.  Often times you are using daylight and so you need something portable and something fast and something with a variac to adjust levels and that the color temp stays at around 5000 K since you are most likely filling in the big “HMI in the Sky”(Sun).   They are amazing and make life a lot more easier since we don’t need a floater “redhead” or a “blonde” which emits tungsten and then we have to cool the color from 3200K to 5600K or something close to that knocking the intensity of the light by at least 1/3 to 1/2 a stop. So when you get an eyeball on the shot and camera placement, and your 1st AC has measured the camera height, and we got matching focal lengths from the Script Sup, boom has checked for shadows along the glide path of her walk, which has already been measured by the 2nd for the 1st AC to pull focus with.  Local 80 is checking the barrel for flares, and 728 is monitoring the genny juice as well as placing lights for the next setup, I’m checking eyelines with Scripty in the frame, and the Director is giving the background information of where this character is in the scene, and in the entire piece (since we shoot out of order according to talent and location and budget which has already been orchestrated by the UPM and 1st AD in a strip board) and you got to make your actress beautiful, your gaffer calls in an electric to float in the 1x1  instrument by camera and bam-o, the 1st AD is stoked that you are at least ready for a rehearsal or last looks on make-up/hair.  I usually give a nod to the director or 1st AD and say, “You like?”  and then..”Let’s burn one.” In which the 1st usually smiles and goes for his PTT button on his walkie and says: “Quiet all around, this is for picture, lock it up…roll sound…(Speed)…roll cameras…(A Speed)…(B Speed)…(A Set)…(B set)… and… “Action.” I love motion picture cinematography.  The cohesive process of a team of people, all working together towards a common goal.  The industry rules of following the chain of command, of rising through the ranks as an enlisted man, and eventually getting an education at Annapolis or West Point and getting a department to command.  These are the rites of passage of motion picture guys.  There is an order to it that is respected because filmmaking is a TEAM effort of the biggest kind.  That’s what Photographers who try to be directors do not comprehend unless they were in the trenches.  And Photo Assistants do not count.   The vanity of photography is more a personal expression.  That’s why I think photographers by trade make lousy lousy lousy motion picture people.  Often times they try to go into “Directing,” which is a hoot.  Because they don’t know that the very person they emulate on a motion picture set if they kept their “Photographer’s mindset and workflow” is a camera nerd fresh out of film school who could only get a job working as a PA on a low budget indy production. “Oh man this would be a neat shot.” or “Oh wow, this is a great beauty shot.” Screw all that jazz. Tell a story.  Develop you characters.  Friend the Audience.  Make your characters real. Flesh out the dialogue.  Make your script efficient.  Consider your transition points. And don’t shoot crap that you don’t need.  Most of all, do not act like a photographer who is trying to make it in the motion picture business because you are going to cause your crew to Mutiny.  When its all about you and your vision, the blowback from that can destroy you unless your last name is Bay, Abrams, Spielberg, PTA, Fincher, or Nolan.    All your encouragement and all your accolades as a photographer mean absolutely buck-oh in movies, they are actually the things that get you replaced in a Hong Kong Minute for another PA at Crafty. Paramount Pictures New York Street, Hollywood, CA Rolleiflex 2.8E 80mm Schnieder-Krueznach Porta 160 NC

Photographers should stick to Photography.

Usually at tradeshows they try to bring attractive girls to occupy the booths so that you the trade show nerd, can 1)interact with them, and 2)learn about the product while show off a little of your expertise.  This Korean Company (and their version of a sultry female) had a battery powered LED 1x1, that was a knock off of a 1x1 made by Litepanels.  Battery Powered LED is pretty convenient for a fill light.  Often times you are using daylight and so you need something portable and something fast and something with a variac to adjust levels and that the color temp stays at around 5000 K since you are most likely filling in the big “HMI in the Sky”(Sun).   They are amazing and make life a lot more easier since we don’t need a floater “redhead” or a “blonde” which emits tungsten and then we have to cool the color from 3200K to 5600K or something close to that knocking the intensity of the light by at least 1/3 to 1/2 a stop.

So when you get an eyeball on the shot and camera placement, and your 1st AC has measured the camera height, and we got matching focal lengths from the Script Sup, boom has checked for shadows along the glide path of her walk, which has already been measured by the 2nd for the 1st AC to pull focus with.  Local 80 is checking the barrel for flares, and 728 is monitoring the genny juice as well as placing lights for the next setup, I’m checking eyelines with Scripty in the frame, and the Director is giving the background information of where this character is in the scene, and in the entire piece (since we shoot out of order according to talent and location and budget which has already been orchestrated by the UPM and 1st AD in a strip board) and you got to make your actress beautiful, your gaffer calls in an electric to float in the 1x1  instrument by camera and bam-o, the 1st AD is stoked that you are at least ready for a rehearsal or last looks on make-up/hair.  I usually give a nod to the director or 1st AD and say,

“You like?”  and then..”Let’s burn one.”

In which the 1st usually smiles and goes for his PTT button on his walkie and says:

“Quiet all around, this is for picture, lock it up…roll sound…(Speed)…roll cameras…(A Speed)…(B Speed)…(A Set)…(B set)…

and…

“Action.”

I love motion picture cinematography.  The cohesive process of a team of people, all working together towards a common goal.  The industry rules of following the chain of command, of rising through the ranks as an enlisted man, and eventually getting an education at Annapolis or West Point and getting a department to command.  These are the rites of passage of motion picture guys.  There is an order to it that is respected because filmmaking is a TEAM effort of the biggest kind.  That’s what Photographers who try to be directors do not comprehend unless they were in the trenches.  And Photo Assistants do not count.   The vanity of photography is more a personal expression.  That’s why I think photographers by trade make lousy lousy lousy motion picture people.  Often times they try to go into “Directing,” which is a hoot.  Because they don’t know that the very person they emulate on a motion picture set if they kept their “Photographer’s mindset and workflow” is a camera nerd fresh out of film school who could only get a job working as a PA on a low budget indy production.

“Oh man this would be a neat shot.”

or

“Oh wow, this is a great beauty shot.”

Screw all that jazz.

Tell a story.  Develop you characters.  Friend the Audience.  Make your characters real. Flesh out the dialogue.  Make your script efficient.  Consider your transition points. And don’t shoot crap that you don’t need.  Most of all, do not act like a photographer who is trying to make it in the motion picture business because you are going to cause your crew to Mutiny.  When its all about you and your vision, the blowback from that can destroy you unless your last name is Bay, Abrams, Spielberg, PTA, Fincher, or Nolan.    All your encouragement and all your accolades as a photographer mean absolutely buck-oh in movies, they are actually the things that get you replaced in a Hong Kong Minute for another PA at Crafty.

Paramount Pictures New York Street, Hollywood, CA

Rolleiflex 2.8E 80mm Schnieder-Krueznach Porta 160 NC

Notes