Category Archive: video
Photographer Adam Magyar, whose slit-camera photographs Scott wrote about in 2009, has a new project called Stainless. It is composed of both massive prints of subway cars and subway riders and innovative slow-motion videos of subway platforms as trains arrive at stations around the world. It is captivating work. And involved a tremendous amount of ingenuity and invention by Magyar to make it possible.
There have been a lot of articles about the work recently so do have a look: Matter has published a feature and interview with Magyar as Einstein’s Camera: How one renegade photographer is hacking the concept of time that I highly recommend. PetaPixel also published a piece about the Stainless videos and followed-up with a link to a fascinating video where Magyar speaks about the technology and code that he developed himself to make these projects work.
The Wire (official site) is often held up for as a paragon of modern television, and with good reason, but rarely for its cinematography and visuals. Writers have criticized the show for being so plainly shot (David Bordwell calls The Wire “uninspiringly shot” here, for instance), but the video above by Erlend Lavik, a postdoctoral fellow at the Department of Information Science and Media Studies at the University of Bergen, persuasively argues that The Wire’s plain shooting style belies the complexity of visual metaphors, compositions, and camera use throughout the series. The video is worth a watch…I rarely sit through video online, but made it through the 36 minutes of this essay with ease.
Lavik argues that just as the show doesn’t hold the hands of viewers in subject matter, dialog, characterization, and so forth, the cinematography of the show works subtly and effectively to communicate complex ideas in a visual way. Whereas the current crop of “cinematic” television can be quite heavy-handed with visual styling (Breaking Bad’s over-the-top sepia/yellow-toned scenes are a notable example), The Wire deftly uses camera movements and compositions influenced by documentary filmmaking to create a sense of verisimilitude and honesty in the story, all without really drawing attention to its techniques. The series uses wide compositions, frames within frames, lingering shots, a lack of flashbacks, music used only as experienced by characters, and a variety of other techniques to suss out mood, character, and plot, in a way that few other shows have been able to do, even with much flashier visual language.
If you liked the series, watch the video above. If you haven’t watched the series, watch the show, and then watch the video above.
While we’re at it, here’s a thread on reddit in which the supervising sound editor on the show talks about his work for the series; this comment is particularly interesting. And here’s an interesting oral history of the making of The Wire published last year. Matt and I could both go on and on about this show, having watched it as it aired, but that’s enough for now. Oh, an here’s a post from 2009 about the 100 greatest quotes from the show.
I was in Russia for a couple of weeks at the start of August, and the trip went well (you can see a few pictures on my tumblr). That is, it went well until my last night. Thieves stole my 35mm lens right off the front of my camera in the metro in Saint Petersburg. The red ring on the front of an L lens might as well be a neon sign.
I’d spent the afternoon near the water outside the Peter and Paul Fortress (site of this Cartier-Bresson image) and, as the sun went down, joined the crowds getting back on the metro at Gorkovskaya Station. Getting on to the metro, I put my bag and my camera across my body in front, as is my habit in crowded situations. The train car doors opened and suddenly I was being jostled more than I should have been for the size of the crowd. I saw hands going for my camera, and instinctively reached to protect camera, camera bag, wallet, and phone. It was too much to protect and the 4 or 5 guys, all dressed alike, kept gently jostling me back and forth. That was enough. I finally pushed through the crowd, but then felt that some weight was gone. I looked down, and my lens had disappeared. The pickpockets had quickly run out of the train car right as the doors shut.
There was a bit of distance before the next station, and once there, I found a metro worker and got the police involved. The thieves were no doubt long gone and I would be leaving the country the next day, but I needed a police report. I don’t know how the process would have gone if I didn’t speak Russian, but I have to say the metro police were quite pleasant to deal with. They took down information about the crime, noted descriptions of the guys who surrounded me (all wearing baseball caps, buzzed haircuts, nondescript gray t-shirts), and had me look at a book of mugshots. They had apprehended one person in the area about the same time as my theft, but I couldn’t make a satisfactory identification.
I consider myself lucky. I didn’t get hurt, my gear was insured, I didn’t lose my passport, and so on. I wouldn’t hesitate to go back to Russia (this was my 4th time in the country, and the first during which anything bad happened) or Saint Petersburg, but I’ll stay a bit further away from crowds in touristy areas next time.
I’ve got to commend Package Choice, my gear and liability insurance company, for handling this as well as they did. Less than a week after the theft, I had a replacement lens in hand. I’ve never filed a claim with any insurance company before, but this was easy. Pay a small deductible, provide a few documents (police report, proof of ownership), and they did the rest. I shopped around a bit before settling on them a few years back, and I couldn’t find anyone else that offered the same service and coverage. From the get-go, they’ve provided domestic and international coverage for theft and accident, domestic liability (and a little international, or more if you pay extra), and very quick responses on everything from updating gear lists to getting same-day insurance certificates for free to getting my lens replaced in this case.
This ad (above) is a few months old, but just came across my desk again. Made for the launch of the Leica M-Monochrom rangefinder at the Sao Paulo Leica store, it recreates vignettes from Robert Capa‘s life, including paratroopers landing at Normandy, his relationship with Gerda Taro, and his death by landmine in Indochina (and his final images). The spot is beautifully shot; there’s no wonder why it has won a number of industry awards.
I just caught up with the trailer above, and I’ve got to say I’m excited about Everybody Street. It’s a look at street photographers who’ve been working in New York over the past few decades, long before Humans Of New York or street style blogs such as The Sartorialist rose to popularity. They’re photographers who’ve found the gritty, the sublime, and the human moments in the city over the years. The movie includes photos from, footage of, and interviews with Bruce Davidson , Elliott Erwitt, Jill Freedman, Bruce Gilden, Joel Meyerowitz, Rebecca Lepkoff, Mary Ellen Mark, Jeff Mermelstein, Clayton Patterson, Ricky Powell, Jamel Shabazz, Martha Cooper, Jeff Mermelstein, and Boogie, with Max Kozloff and Luc Sante.
The film started as a kickstarter campaign and an old duckrabbit post seems to show that it was originally a 30-minute short documentary. Now, it’s an 83-minute documentary drawn from Cheryl Dunn‘s three years following these photographers around the streets. Here’s a recent interview with Dunn about the project.
The screenings page hasn’t been updated in a while, but here’s hoping the movie will be showing soon near you (and me!).
Related: Check out Bill Cunningham New York right now if you haven’t already.
Serbian photographer Boogie, known for his street photography from all over the world, has been working on a series of wet-plate collodion portraits in his hometown of Belgrade over the last few years, a project that he calls “Demons”. I had the chance to see the fascinating process of making this work up close in 2011 when I was photographed in his studio’s courtyard for an earlier version of the project. This year Boogie took delivery of a new custom-made 11×14 inch wet plate camera and he is pushing forward with new portraits (and still lifes). You can see a lot of the new pictures on his website for Demons.
He recently posted a link to this great behind-the-scenes video made by Stud 7 and Sima Film in Belgrade, which reveals somewhat how his massive camera works and the complicated chemistry that goes on to make the pictures happen. A cool little video that shows off Boogie’s process. The Tom Waits soundtrack and mad scientist vibe fits him too.
We all know that if you wear Google’s new glasses (Google Glass), you are an asshole. Now, Youtube channel Grovo has made a parody video imagining what it would like to actually use Google Glass as a still camera.
I still haven’t seen Google Glass in the wild. While some people think privacy fears relating to having a video and still camera always on are exaggerated, that hasn’t stopped some places from banning the technology preemptively.
We linked to a few of these images on twitter a few months ago, and the video above offers a deeper look at photo collector and editor Thomas Sauvin‘s project rescuing discarded negatives from Beijing’s recycling centers. The result is Beijing Silvermine (video by Emiland Guillerme above) a glimpse inside the lives of ordinary Chinese people, mostly in Beijing from 1985 to 2005, when digital photography overtook silver-based negative film photography. I’m often intrigued by photography that isn’t intended for the public, and this obsessive project has fascinating results. You can see more images at Shanghaiist and the Guardian.
(via LPV on twitter)
A few years ago, I stopped talking about my work completely. I found that the process of trying to explain it to others got in the way of my own attempts to understand it myself. But this is a TED talk and I very much wanted to accept the invitation to be here. So, I’m going to show you some of the images that I’ve made and to go with them I’ve stolen some words. Some as you’ve heard from T.S. Eliot, some from James Agee, from Tom Waits, from Herman Melville and from Wim Wenders. And I’ve added a few of my own.
- Mikhael Subotzky at TEDxStellenbosch
David Lynch has been responsible for haunting and intriguing images on screen (including one of the scariest moments in movie history). He was invited by Paris Photo to create a book selected from the 1000 photos shown at Paris Photo 2012. He described the process as intuitive rather than intellectual, and in the video above (which is a little slow at first) talks about how he looks at images and what they mean to him. If you’ve got a few moments, give it a listen.