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Zen and the Art of Collaboration

I recently co-produced two pieces for Ushahidi regarding their work in Haiti shortly after the earthquake. I helped concept the stories with Sara George, Ushahidi's producer, and then we brought in Andrew Berends to direct. Andrew was already in Haiti shooting for Frontlines and had a great sense of the ground. You come into these types of projects with a particular idea of what is going to happen. You see the arch in your head. You hears the character's voices... and then you get the actual footage back from the Videographer. Andrew did an amazing job when you consider that he really had about 36 hours to pull both stories together. We got a lot of great B-roll and decent interviews.

In this sort of situation the largest hurdle to overcome is one of expectations. Sarah and I had individual ideas about how the stories should go. Andrew had his own understanding of our expectations plus an understand of how realistic those expectations where (which I will never really know). I know he had his own expectations for the projects as he sent the footage back to me, where I tried to let go of my original ideas about the story so I could find the amazing stuff Andrew found.

Lesson learned: your mind can't really be big enough in Non-Fiction story telling.







My favorite Travel Shirt(s)

[col-sect][column] As I’ve worked at becoming a storyteller, I’ve realized that we all wear uniforms. Uniforms are born out of function and as a series of visual signals to the people around them. A police officer’s hard pressed shirt, the patches on a punk rocker’s vest, the sarong of an Indian worker,,these all mean something to people who are part of the uniform’s culture.



In most cultures I work with, men wear button down shirts if they can. It’s a visual indicator that one has a job to do. This might sound shallow in our culture, but it makes a difference in other places. I was in the Democratic Republic of Congo a few years ago working on a story with a team including my boss, a writer, and a marketing specialist. My boss was a man who carried himself as one who was in charge. In the states, no one would ever question if he was running the show despite the fact that others might be more dressed up than he. He had only packed tee-shirts for the Congo trip because it was staggeringly hot and he wanted to be comfortable. When our contacts or a subject wanted to deal with us, they never came to him, they always came to me or the marketing guy. When it became a problem we started asking people why they didn’t come to our boss with stuff. They just assumed we where in charge because we were dressed like professionals. The only difference was a collard shirt.

I find that I choose my uniform in the field based on two things: credibility with my subject and enough comfort to avoid distraction/fatigue. For me this means a buttoned-down collared shirt that breaths well, does not wear sloppily, and offers some protection from the sun. I have three that I really like for different reasons; I usually bring them all on a trip with me.

The Dress Shirt (or the Airport Survival Shirt)

Call me old fashioned, but I’m of the opinion that everyone should have one or two fitted shirts at their disposal. They don’t have to be expensive, they just need to fit well, not wrinkle easily, hold up, and breathe decently. My nicest shirt is usually the one I’m wearing on the plane. Not only does it come in handy when you have issues with your airline (something for a different post) but at the end of the day, you don’t know what you might be invited to or want to cover while in country. It’s important to have something that works.

I like the basic oxford from Lands End and the Nordstrom Smartcare Traditional Fit Pinpoint.
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The Travel Shirt



Ah, the Travel Shirt. Is there anything that says “Western Traveler” quite like a travel shirt? These synthetic wonders evolved from shirts made by outdoor outfitters who specialize in safari hunts and saltwater fishing. And they look it. With their billowy, tent-like structure, their endless pockets, and their promises of mosquito, bacteria, and sun repellent it will be clear to everyone around you that you are not from around here––and that there is something about “here” which makes you a little nervous. I find that they make me look like I do not care to respect my subject by dressing appropriately.

The problem is that they are really useful. They wash easily, dry quickly, and usually breathe really well. The only protective feature I care about is UV: mosquito proofing only works if you are keeping everything buttoned up. The best ones I've used are from REI, Royal Robin looks to have some decent ideas as well. I’m not a fan of Exofficio for the reasons mentioned in the above paragraph. They are so light weight that they are flimsy and look sloppy. Just make sure you are picking a color that isn’t ridiculous and that it fits mostly like a normal shirt.

The Patagonia A/C shirt

Short sleeved, breathable, easy to wash, comfortable on the skin even wet. The Patagonia AC shirt is probably the best short sleeved, lightweight field shirt I've used. It offers less in the way of UV protection, but oh man, it is so comfortable. You really do feel about 5 degrees cooler with it on.



I Instead of a synthetic material, it uses a cotton weave that pulls sweat away from the skin and allows wind to move through with little effort. At the same time it hangs really well and wrinkles fall out of it quickly.

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New Additions to the Family

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This guy just got in today! :) It's a Sigma 50mm f/1.4

About a month ago, my Canon 50mm f/1.4 USM died on me, again. I loved that lens, which is why I bothered to send it in to Canon for repair instead of replacing it. The repair lasted about 18 months and then failed again. I gave up.

I decided to upgrade to the Sigma. The Canon, Sigma, and Ziess all sit within about 200 USD of each other, and since the Zeiss is manual focus, I'm giving Sigma a chance. So far it feels much more robust and sturdy than the Canon. The optics are clearly designed around the faster end of the aperture range and testing I've seen suggests that as well.
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In other news, I decided to bridge my prime range with a little Canon 35/2-I've been shooting with a 24/1.8 and a 50/1.4 for years now. It's a tiny, light little thing with a whirly little arc motor and plastic barrel. I'm not entirely sure about it just yet. It's very sharp--even wide open--but it seems to be extremely contrasty and insensitive to shadow detail. The focal length feels really accessible however, so I'm going to give it a try.



I'll be testing both of these lenses in still and video in the coming week. I hope it will help some of you out.
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VJ vs MJ vs PJ - or The Medium is the Message.

[col-sect][column]The introduction of foreign objects in a pool has a way of stirring up the silt at the bottom. It's been like that for Journalism lately. The explosion of  internet access, shrinking consumer demand for paper news, digital photography, compressed HD video, HDDSLRs... the last 10 years have been a decade rocks falling into the journalism pool. Those who once carried one type of camera now cary two, or one and a audio kit, or a cell phone.... It's a lot to think about: learning curves distract from our ability to excel.

When the  HDSLRs came into being we all hoped we had found that ONE tool for Multimedia Journalism.  We tried with frustration to make it our only camera for the last two plus years, but it's just not there yet.

Right now, I'm putting HDSLR in the same category as a Medium Format: focal length and aperture have a much bigger effect on hyper focus and depth of field than they do on small chip cameras, they have better exposure depth, less noise, and a cleaner image.  But because of this they require more consideration while shooting, and then there is that audio issue....

When we talk about what tools we use, I think we need to start with who we really are as storytellers. Our vision of end products determine the mediums and methods we employ. This isn't a new concept for the visual end of Journalism.

Christopher Morris being hardcore as always.

Christopher Morris with a Rollei TLR, a Contax G2/28mm f2.8, and a Canon EOS 1N(V?) w/ something long circa 1990. photo by Greg Mironchuk[/column]

[column]Most of us recognize Mr. Morris's kit and why he would go to the trouble of hauling around three cameras: best camera for the focal length.  SLRs are really best at telephoto focal lengths, Range Finders excel with wider lenses; while the resolution, size, and simplicity of a TLR makes it a winner for your medium lens. People who make this kind choice are doing it for the sake the final image. By the '90s zooms could manage all of Christopher's focal length needs, but not with the clarity, contrast, and lack of distortion that he wanted.

When Morris's style has changed recently and he's elected to shoot with one camera and a 24-70mm/F2.8. Why cary more gear if you don't need to?  Now Morris also shoots Video, but it's clear that he is comfortable letting the medium (HDSLR) dictate his video style.

If your shooting video/stills/audio right now, you probably came from Photography or Videography.  In both of those fields we have been able to shoot with one piece of equipment for years.  But the pool is stirred up, the expectations are changing, the boundaries are down, and there is no longer a single piece of equipment that wins all the time.  But instead of feeling like you need everything strapped to you all the time, take a good look at your work, your ideas about story, and ask your self what you need.

For some of us, having three cameras and an audio pack is going to be the new norm and it will work if we have a vision for it.  For others accepting the limitations of a single piece of gear is what we need to be successful.  This isn't the death of straight video or photojournalism.  It's certainly isn't the death of HDSLRs for the SoJo.  This is the middle of the silt settling back down to the bottom of the pool.  It's time to figure out where you want to end up.[/column][/col-sect]

Are we done with DSLR Video?

[col-sect][column]Two weeks ago Vincent Laforet gave the VJ world permission to shoot on traditional rigs again. He did it during an interview with Dan Chung of DSLR Shooter at the NAB conference and ever since the VJ/PJ blog world has been a'tizzy about  how excited they are to get away from DSLRs and back to ENG kits like before. Cliff Etzel of Solo Video Journalist said "I’m calling it as I see it. DSLR video is a fad – at least in solo video journalism it is."



For his part, Mr. Laforet made the remarks to Chung while hanging out at the Canon Video booth at the NAB trade show in Las Vegas. Vincent, in his reluctant-poster-boy sort of way, said he felt that DLSR video has a ways to go before it can match "something like one of these." pointing to one of Canon's new solid state MPEG-2 ENG cameras, the XF300. He made points about DSLR work flow not being ironed out, no XLR, the general problems with sound sync, and the complications of form factor.[/column]

[column]And He's right about all of that, but I feel like we forgot how we got here. Does everyone remember three years ago when there was no DSLR video?.

I was shooting on Panasonic HVX200s and Canon HF20s when I needed something really small. Do we all remember that? If you guys want to leave the DLSR Video Journalism sandbox, that's cool, but I'm staying.

I can't wait for everyone to leave and go back to shooting on $7-12K rigs that push up overhead on production and insurance, weigh roughly twice as much, have blindingly inferior low light performance, poor wide angle options, and expensive propriety storage mediums; all on chipsets smaller than a nickel. I'm sure it will be a party.

Snark aside, Vincent Lauforei isn't an idiot and he's not a jerk, I hear he's a really nice guy. I think he was being honest when he said that he would rather shoot a documentary with an XF300, but if I had another $7,000 to drop into a second camera, I would probably get a 1D mark4. Vincent wouldn't because he already has two 1Dmark4s. He already has a XF300 as well I'm sure. He's sponsored by Canon. So he get's to choose the best camera for the situation as he perceives it.

But what I'm still hung up on is why you can't have both? More on this to come.....[/column][/col-sect]