Ron Stannett, CSC co-vice-president, is hosting a movie and pub night, Wednesday, May 22, 2013 in Vancouver. The movie will run from 7 – 8pm at Deluxe (50 West 2nd Ave.) and the evening will continue on, with the Pub, at The Sin Bin (295 West 2nd Ave) from 8 – 10pm.
Take this opportunity to get together and share news, experiences, technical information and good times. RSVP: email@example.com
The Canadian Society of Cinematographers and Deluxe is proud to present a screening of two short films this coming May 27 at Deluxe (424 Adelaide Street East) in Toronto. The event gets underway at 7pm and will feature the Oscar-nominated film Buzkashi Boys followed by a Q & A with director of photography, Duraid Munajim, and Howard followed by a Q & A with filmmaker, Carolyn Wong.
Set against the dramatic landscape of contemporary Afghanistan and the National sport of Buzkashi this film tells the story of two best friends who struggle to realize their dreams as they make their way to manhood in one of the most war-torn countries on Earth.
Duraid was one of the principal camera operators on Kathryn Bigelow’s films The Hurt Locker and Zero Dark Thirty.
An estranged uncle is murdered. The niece he never knew uncovers his complex, conflicted life as a gay man and muses about his life and death in an attempt to comprehend what it means to her.
The event begins at 7 pm sharp & seating is limited
Email firstname.lastname@example.org by May 20 and use the subject line: May 27 Cinematographers Series
General Admission: $10; Students: $5.00; Members Free
(cash or credit at the door)
We are THRILLED to be playing host to such a stellar lineup of talent at this year’s ProFusion Imaging Expo. So much so that we want to introduce them to you – one by one!
Our first presenter needs no introduction to film buffs and filmmakers, alike… so, without any further ado:
Meet Garrett Brown
Best known as the Oscar-winning inventor of the Steadicam™, Brown has shot with it on nearly 100 movies, including: Rocky, The Shining , and Return of the Jedi. Garrett holds 50 patents worldwide for camera devices including Steadicam Merlin™ for camcorders, Skycam – the robot camera that flies on wires over sporting events, and Mobycam, Divecam, Flycam, et al, that pursue athletes worldwide. His new zeroG™ technology floats tools and reduces workplace injuries. In past lives Garrett has recorded for MGM as a folksinger, sold Volkswagens, directed TV commercials, and made films for Sesame Street. And his voice was the other half of that well-known ad-lib duo on radio for Molson and American Express. He is a member of the American Society of Cinematographers, the Directors Guild, the Screen Actors Guild, and the Academy of Motion Picture Arts and Sciences. He has recently been inducted into the Sports Broadcasting Hall of Fame. Garrett’s Moving Camera lecture has been seen at film schools and festivals around the world.
Steadicam: The Moving Camera
Why is one moving shot better than another? How does one quiet little item rivet the audience and advance the plot, while another, even a grand flashy swoop, bores, distracts and sets us back? The kinetics, dynamics, psychology and narrative wallop of the moving camera – plus the daring artistry of camera operating –are the secret sauce of great moviemaking.
Videographers and aspiring Steadicam operators interested in a general overview of the Steadicam will not want to miss this event!
Vistek’s 0nline and in-store Photo Gallery continues to bring to you a wide range of amazing and talented photographers from across Canada. Currently showcasing at our downtown Toronto location, until the end of May as part of the Scotiabank CONTACT Photography Festival…
Meet Heather Saitz!
What is your background/education?
I studied Photography at Sheridan College in Oakville and Communications Design at Seneca @ York. Fresh out of photo school, I went to work as a studio assistant for a Toronto catalogue house, shooting “glamorous” stuff like tools and bedding for clients like Zellers and Home Depot. I eventually left the commercial studio to work as a freelance assistant for several years with many successful Toronto photographers, some of who have gone on to do really amazing things. I wouldn’t trade my art school experience for anything, but I’ve learned way more assisting and working in the “real world” of photography.
How long has photography been a passion?
How did you get your start? Did you have a special mentor?
I’m going to lump these into one question as they both relate directly to each other.
I’ve been doing photography for over 17 years. I got my start through my Dad – he worked as a photojournalist in the early 1970’s in Toronto. He both influenced and nurtured my love of photography. He bought me my first camera and built me a darkroom in our basement when I was 17. I was also fortunate to have attended a high school known for its Integrated Arts Program, where I first studied photography in a formal setting.
Travel always inspires me to try new techniques, and I will often travel with film cameras. I also draw a lot of inspiration from the things happening around me. I’ve sort of trained my eye to look below the surface image of things – to see everything in the world as a potential photograph.
How would you describe your style?
I’ve described my style in the past as a type of stylized photojournalism. Someone told me once my photos sometimes look like paintings. I think this is due to my graphic design background, which definitely influences my photographic style in terms of having a very strict eye for colors and composition.
What has your greatest career accomplishment been to-date?
My greatest accomplishment happens daily: the fact that I wake up each and every morning and do what I love for a living — that’s the greatest feeling of all.
I’ve been photographing motels since approximately 2009, but even earlier than that, before I consciously realized I was documenting them. My entire body of non-commercial photographic work explores the narratives of yesteryear in order to provide a subtle social commentary on contemporary society. Motels fit right into this concept (I guess the reason why I’ve always photographed them.) I’m fascinated by the Motel’s rise and fall in society, its relationship to the automobile, and the “American Dream”; it’s post-war entrepreneurial expression and “Googie” architecture. Motels are so fascinating to me on so many levels, I just can’t pass them by.
What was your greatest challenge in shooting this series?
I found that a lot of people directly involved with the Motels didn’t want anything to do with the project, which was upsetting to me as I envisioned getting to know some owners and managers of the establishments and taking their portraits. Research was also very time consuming and not always accurate. I would spend hours researching motels I wanted to photograph, but when I finally ventured out to photograph them, some had been torn down, others renovated and were no longer photogenic, or many just weren’t as interesting as they posed to be on the internet. So I’d travel all the way there to leave with no great shots.
This series was shot over two years in a wide variety of locations across the country, do you have any travel tips for photographers? How did travelling affect your photographic process?
The two things I’ve come to rely on when travelling and will spare no expense on now are:
a really great camera bag. One that is light and comfortable but that will hold a lot of gear and still classifying as carry-on luggage size. My bag now is Tenba. I can fit two cameras with lenses in it, plus it has a super handy and fast zipper slit in the top for easy access. It’s a great travel bag.
a lightweight tripod. You never know when you may need it, and it’s an important tool to have when you do realize you’re suddenly in that ‘right place at the right time’ scenario.
What was your most memorable experience shooting this series?
The abandoned motel we came across in Quebec. It literally looked like someone walked away in the middle of the 1960s and just locked the doors. All the bedding, curtains, lamps, beds, towels, everything was left just how it would’ve been placed when the motel was functioning. Unfortunately, the ceilings had caved-in in many of the rooms so I was unable to fully get inside to shoot it. But wow – what a surreal and creepy place. It will stay in my mind forever.
We’ve been MIA for a while with regard to ProFusion, but that’s because we’re furiously crossing the Is and dotting the Ts on this year’s Expo! We’re so thrilled with the lineup of exhibitors and seminars that will be on offer this year… so you do NOT want to miss out.
Once again, this year, the event takes place at the Toronto Congress Centre. And the fun gets underway Tuesday, June 18, continuing on through Wednesday, June 19.
The Show Hours
Tuesday: 10am – 7pm
Wednesday: 10am – 5pm
An exploration in creativity, Creative Something is the ambitious endeavour of Tanner Christensen, a creative expert, entrepreneur, and online marketer from Salt Lake City, Utah. In his journey to learn everything he can about the often-ambiguous topic of creativity, he has created a blog that has become the source for creative inspiration and ideas and continues to explore creativity, how it works, and why it matters to this day.
Video Virtuosity ——
This teaser for an upcoming album release perfectly demonstrates how lighting can affect to look of a person’s face.
As Vistek’s Pro Products Manager I get the opportunity to play with a lot of cool gear, and to teach our clients how to use it. A few times a year I teach our Saturday Seminar series here in the Toronto store. This past weekend we offered 2 classes: Portrait Lighting Basics, and Advanced Portrait Lighting/Fashion. I thought I would share some of my insights from these classes, and turn it into a bit of a product review for all of you.
In our Portrait Lighting Basics class, I always demo what can be done with just 2 electronic portable strobes. I’ve been wanting to shoot with the new D-Lite RX ones since they came in a few months ago. The value that these lights have, for the price, is just unbelievable. Just look at the feature list included for $599 for the umbrella kit:
Built-in EL-Skyport receiver for Radio triggering
EL-Skyport with 8 Frequency Channels with 4 Groups
EL-Skyport Speed Sync mode for synchronization up to a 1/320 s on enabled SLR cameras
Pre-flash detector system to enable the use of D-Lite ONE RX with speedlights
5V sync socket for maximum protection of digital cameras
Automatic temperature controlled ventilation
Multi-voltage auto-detection: 90-270 V (excluding modelling lamp)
Visual Flash Confirmation option. The modelling lamp comes on to confirm the flash has been triggered
Proportionality adjustment of the modelling lamp range
Variable f-stop steps: 1/1, ½, 4/10, 3/10, 2/10 or 1/10 steps are available
Programmable ready beep function
Radio Remote Control of flash power settings, Modelling lamp on/off, Speed sync mode and Triggering
Take full control of your units settings with the EL-Skyport App for IPod Touch/Ipad/Iphone via the optional WiFi module
Additional features can be found when used with the EL-Skyport Software such as Flash-Delay for strobing effects
Firmware update option
Accessory bayonet accepting all accessories and Rotalux softboxes up to 135 cm.
Stand bracket with extra umbrella fitting for larger umbrella shafts
Oftentimes I want to shoot with professional studio strobes with the light modifiers that are available with that system, and use my fast Nikon lens to shoot wide open – lets say somewhere in the 1.8-2.8 range.
Now, some of you might be thinking, “Why? What’s the point of that?” Have you ever heard the term Bokeh? If not, take a quick look at how wikipedia explains it.
These little RX One lights let us dial down the power from 100WS all the way to 6 – that’s a 5-stop range. When you get down that low, you’re able to shoot with your lens almost wide open, and you can also keep your main light fairly close to your subject – which is great for those of you working in really tight spaces.
The 2 images below were shot with the Nikon D800 and 85mm 1.8 lens. The first shot was done with the D-Lite RX One at full power, with the shoot-through umbrella; our meter gave us F-8 at about 6 feet from our subject.
This second image was shot at F-2.0, almost all the way open.
And both images were shot with focus maintained on our subject’s eyes. Note: focus is critical when shooting this wide open. So take your time with your shots, and make sure to double check your focus.
Notice how soft and dreamy image # 2 has become, really helping to pay attention to your subject’s eyes, and emotions. This lighting diagram demonstrates just how simple the setup is.
For this third photo, I’ve changed our main light above to a reflective umbrella – meaning that our strobe is pointed away from our subject, and that the umbrella is opaque, reflecting the light back at our subject. You’ll notice in this next shot, that the lighting is a bit more contrasty. I’ve also now taken our shoot-through umbrella and moved it behind our subject on the camera’s right, so it is being used as a hair light. We’re still shooting with the camera fairly wide open to achieve the nice bokeh effect, at F3.5.
Again, see how simple the setup is:
One my favorite all time gadgets is my iPad, and I decided to test the Elinchrom EL Skyport Wifi unit during this shoot. I have to say that it performed flawlessly, and is a great tool for quickly adjusting the output of your lights. I would highly recommend this and a light meter that can read flash exposures. My weapon of choice is the Sekonic L-358 .
If you’d like a bit more info on the El Skyport WiFi, check out this product overview:
I have to say that I’m mightily impressed with these compact and portable little D-Lite RX ONE lights from Elinchrom. Not only are they great for beginners, but they will give Pros the ability to use the many Elinchrom light modifiers that are available and shoot at a wide-open lens aperture to achieve some beautiful dreamy portraits.