I have been shooting Time Lapse Video for many years and began with 35mm film.
The advent of the Digital Camera brought cost way down and creativity way up.
Today’s cameras are smaller and far more capable of capturing high rez images and video.
The Lobster Time Lapse was shot with one of my favorite small go- to cameras, the GoPro.
We use the GoPro extensively on our Video shoots. They can be utilized in very tight places and perform
beautifully even in extreme weather. They blend in seamlessly with our other video cameras.
I used the GoPro on the Lobster video with total confidence the camera would be able to focus very
nicely at 12 inches. The camera metered the scene with no problem especially as the light levels fell.
Frank Salle, in association with CBP/ Corporate Photography began principal photography on location in Arizona’s Solar Overlay Zone for Solon Corporation & McCarthy Construction in April 2011.
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The assignment will document the 8 month development and construction of the 18MW solar photovoltaics plant just outside Gila Bend for Arizona Public Service (APS). This project includes the custom fabrication of weather proof, time-lapse camera rigs, state of the art motion control and video capture.
HDR 360′s are interesting to create, and move in and out of. I found that shooting video and HDR 360′s would somehow compliment each other if the Panoramic became a story within a story. Besides shadow and highlight detail, Panoramic shots can be used to focus attention by panning into and out of the shot. Audio, via music or voice over, could add establishing, or other details about the scene.
The clip below was taken from a previous 360 shoot and created in Photoshop extended, and edited this time with Premiere Pro.
Barry Friedman is the world’s foremost authority on antique Indian blankets, and a former Hollywood comedy writer. Barry published his book “Chasing Rainbows: Collecting American Indian Trade & Camp Blankets” in 2002 and hired me to do the photography and graphic design for his new book on the subject. We’ve had a great time doing this project and if we ever stop laughing long enough to turn over the files to the printer “Still Chasing Rainbows” will be published in fall 2011.
These images are two of the 400 or so images I have photographed for this coming book. The ideal shooting situation
was to shoot these blankets laying flat versus hanging them on a wall. The camera was placed well above, and shot
tethered using large softboxes.
When shooting time lapse, different situations and climates require special housing designs.
This project required the capture of raw images and webcam capabilities. I needed to design two camera housings capable of functioning in a wet, damp, cooler climate.
I used Storm cases for the outer shell. These have o-rings and are completely waterproof and light.
A precision camera sled was leveled and installed on the bottom of the housing. This gave me total access to the camera for changing cards or adjustments. A U-bracket was attached and provided tilt and swing to the housing.
To maintain sharpness of the Zeiss lense, and to repel moisture and dust, digital HGX filters were used. A cardboard plastic hood was attached on top to flag light and add extra protection.
The yellow webcam housing provided backup. The images were downloaded and saved to a Netbook, which were then uploaded to an FTP site. I used CaptureMAX software to program the webcam. CaptureMAX worked very well in capturing the images. Thanks to Doris Lee for the IT work. The Netbook never succumbed to the environment. Both these housings worked flawlessly. Doug Lehmann did a terrific job in bringing these camera housings together which I designed.
This assignment called for shooting interior ceilings of the Pittsburg Penguins Arena. HDR worked very well in this situation. Deep shadows and bright highlights were very prominent especially in the Arena itself. Five stop brackets picked up must of the detail.
Shot this video with nothing more then two inexpensive video cameras. On the road, and being so impromptu, all I had was the Kodak Zi8, and the Canon SD960 IS.
Cazz is very talented, which made this shoot a pleasure .
This is one of my favorite places. I decided to do a full HDR 360 to capture the essence of the London Bridge located in Lake Havasu City, Arizona. Most of the images of this bridge are shot at night or the golden hour before sunset. To capture a different view, I decided to add slight drama to the image by using the golden hour just after sunrise. Location scouting was based on were I could place the sun with the full intention of having the sun creeping over the top of the bridge and flare on purpose. I used two different apps on my iPhone to gage precisely the position of the sun . Knowing this I knew the 15mm fish eye would give me the lens flare I needed to accomplish the image.
To view the full 360 panoramic click the image below. This can also be viewed full screen.
On this project, my partner John Trotto and I were contracted for a combined video/photography shoot in Los Angeles, CA. The client, L.A. Spas, required 32 product shots in their manufacturing plant including underwater photos of the spa jets. We accomplished this in two full days of shooting. The sales video, which will be played on their website and in showrooms, features their swim spa. It was shot on location in a beautiful L.A. suburb. Underwater video footage was required to demonstrate how a swimmer uses the powerful jets for a workout or the spinner jets for hydrotherapy. Creative provided by Arrowhead Advertising L.A. View the finished Video at L.A.Spas.
I like the challenge of shooting a 360 Panoramic with HDR and adding models. This client also requested the height to be able to see above the pool elevation. I normally use a fisheye 15mm in these situations but due to the height, 24 to 30mm worked out to be the best. Adding models with HDR can be a little tricky. Any slight movement can cause ghosting. The solution was having them fixate on close subjects within three feet. Two 180′s were shot first before the full 360.
"Nothing is ever the same as they said it was. It's what I've never seen before that I recognize. It's important to take bad pictures. It's the bad ones that have to do with what you've never done before. They can make you recognize something you hadn't seen in a way that will make you recognize it when you see it again." Diane Arbus
