Camp 4 Collective is an adventure film production group with clients like RedBull, The North Face, and National Geographic, so they are often found at the edge of the world, camera equipment in tow. Recently, some of the Camp 4 team traveled to Alaska to shoot some aerial footage. In this video, Anson Fogel explains the Cineflex helicopter camera system, and in the full post he and Tim Kemple answer my questions about its controls, production costs, and what it’s like to play in helicopters.
Category Archives: Landscape
Minimalism is a very subjective concept in the art world. The Webster dictionary defines it as follows: A style or technique that is characterized by extreme spareness and simplicity. Some love it, others hate it, but no one seems to be indifferent. Many artists thrive in the openness of the concept, others have a problem with the lack of definition and direction. Many of us are drawn to ‘less is more’ with simple lines, geometric patterns, strong shadows, contrasting colors, lone subjects, etc. For others, deciding what to leave out of the frame to make a stronger image is a difficult exercise. Here are a few tips and examples to get you started in your quest for minimalist imagery.
Documents the process that went into creating the short film “War Paint for Trees” for the “Hello, Again” series by Lincoln Motor Company, which asks filmmakers to reimagine the familiar into something fresh and new. Jeff gives insight into the title of the project, describes how he selects trees, and talks about the gear he uses.
Watch the feature film “War Paint for Trees” at vimeo.com/channels/helloagain/64596297
Created by Jeff Frost
Camerawoman & Assistance – Stephanie Alva
Special Guest – Cain Motter
“Week Thirty-three” by Ben von Wildenhaus (http://www.benvonwildenhaus.com/)
Produced by The Lincoln Motor Company
For the most part, as photographers, we avoid shooting into the sun for fear that we’ll get some unsightly flaring. The sun DOES present some exposure challenges, and of course, flare is a concern, but by carefully composing your shot, and properly exposing, including the sun in your images can create stunning results.
The first secret to using the sun is about positioning. When you can, position the sun behind something else in your image. In the image of the photographer above, this gives the effect of a halo, helping create the silhouetted image. By using exposure compensation to darken the exposure, I kept the sun from blowing out, and darkened the main subject into the silhouette. I then adjusted the white balance and color saturation to get the final result. Because the image was shot at f/2.8, the sun appeared as a giant ball in the image. In another example, the image of the daisies, a wide angle lens was used to make the sun smaller in the image, and was then positioned just behind the stem of the daisy. Because the image was shot at a smaller aperture, f/22, the sun appears as a star rather than a ball. One of the cool things that happens when shooting into the sun with a wide angle lens at a small aperture is that the light falls off in the areas away from the sun, creating dramatic skies that go from near white by the sun, to deep blue in the corners.
“This is our last intervention “Radioactive Control”. It was created for the Dockville Festival in Hamburg which tried to demonstrate, in a humorous tone, the paranoia that we are suffering from since the escape of radioactive material in Japan, has brought into question the safety systems at the nuclear power plants.With our mysterious army of 100 illuminated radioactive figures, which advanced threateningly on the natural environment of the festival, we wanted to invite reflection regarding the use and abuse of nuclear energy, cheap in economic terms, but which can cause grave secondary effects for the environment and health, forever irreversible.”