This past week I was again asked by writer and director, Cjay Boisclair if I would be the “stills photographer” for another movie she was directing.
Ms. Boisclair was this year’s winner of the WIDC (Women in the Director’s chair) “short award”. That award allowed her to hire a cast and crew for her latest movie called, “Stood Up”.
When I wrote about my experience as a movie stills photographer last June I said that I drew on my background in Public Relations photography. PR photography is physically active, with never a chance to sit and where one must to constantly be looking for animated subjects to be successful.
So at 7:30AM I was lurking at the edge of the action voyeuristically capturing behind the scenes activity, and documenting the interaction and hard work of the people in that were making that movie happen.
I like tight shots that force the viewer to get involved with the subjects. I also like my subjects to be well lighted. I see no use in wide shots that have dimly lit people in the distance.
The beauty of my full-frame, large mega-pixel, camera is I can shoot wide and decide how the action and subjects are cropped in post-production with out any loss in detail or image noise in my final photograph.
I stay with a 24-70mm lens because I don’t get the edge and corner distortion of wider-angle lenses.
Modern TTL flashes offer the opportunity not only to bounce the light in any direction, and also allow one to increase or decrease flash power depending on the environment and proximity of the subjects.
When I give beginning wedding photographer’s advice on photographing receptions in large low lighting rooms, I always tell them to slow down their shutterspeed to increase the ambient light. Those “deer-in-the-headlight” type photos that are painfully common in beginner’s photos are so easy to correct by just moving the shutter dial to 1/125th or even slower.
Its that technique I used when photographing the behind scenes action. Indoors I would shoot wide with a slow shutter and outside I use the high-speed sync feature to increase the shutterspeed as needed to balance the flash in the daylight.
As with the last time I photographed for the movie’s director, I am after those classic images I have seen in the old newsreels of the Director in action. Pointing, talking to the actors, or working with the cameramen.
Photographing on a movie set is certainly entertaining experience. I have always thought that movie people were a special breed, and again this time, my first hand experience with the actors and the crew as they creatively worked, more than proved that to me.