Zack Seckler over at The F STOP has posted a long interview he did with Vincent Laforet that covers everything from the story behind these two aerial photos…
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New York City. Photo by Vincent Laforet.
Ice-skating rink, Central Park. Photo by Vincent Laforet.
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…to his beginnings as a photographer—how he went from shooting weddings and bat mitzvahs to covering sports for a wire service to landing a staff job at The New York Times—and his leap into shooting with HD-DSLRs.
“I could not have hired a PR agency to do what Reverie did for me,” he tells Zack at one point, referring to his much-talked-about short film, which he shot with a prototype of the Canon EOS 5D MKII. “I could have spent millions of dollars and it wouldn’t have gotten the kind of notice that the video did. … The video was viewed more than a million times the first week, and the next thing you know I was being invited to speak at Disney and DreamWorks, and I was showing my work on projection screens at the Academy of Motion Pictures Arts and Sciences. It was a wonderful opportunity.”
Vincent and Zack also talk about the effect of HD-DSLRs on the photo industry.
“…What I learned as a photojournalist working for the New York Times is that people gravitate toward quality,” Vincent says. “They gravitate toward good ideas and good execution, not glitz. The same is true for movie making. People still gravitate toward great stories and these tools enable you to focus more on storytelling as a filmmaker, and less on technique. I don’t think it’s going to affect the high-end filmmaking industry as much as it will affect the middle to low end. The high end is always going to shoot on Panavision. It’s more the indie films that will benefit from making production less expensive. …
“I do see it heavily affecting people in the print industry, however. Newspapers and magazines are on their last legs. They need to create moving content to stay in business. I think editorial photographers are going to be asked to shoot video. It’s not what the editorial people want, it’s what the advertisers want. They want moving content that gets attention. More and more photographers will be asked to shoot video along with stills, and it’s going to be a huge learning curve for people.”
There’s lots of good perspective in the interview. Click here for the full article.
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Vincent Laforet: “People gravitate toward quality. They gravitate toward good ideas and good execution, not glitz.”
Zack Seckler over at The F STOP has posted a long interview he did with Vincent Laforet that covers everything from the story behind these two aerial photos…
.
New York City. Photo by Vincent Laforet.
Ice-skating rink, Central Park. Photo by Vincent Laforet.
.
…to his beginnings as a photographer—how he went from shooting weddings and bat mitzvahs to covering sports for a wire service to landing a staff job at The New York Times—and his leap into shooting with HD-DSLRs.
“I could not have hired a PR agency to do what Reverie did for me,” he tells Zack at one point, referring to his much-talked-about short film, which he shot with a prototype of the Canon EOS 5D MKII. “I could have spent millions of dollars and it wouldn’t have gotten the kind of notice that the video did. … The video was viewed more than a million times the first week, and the next thing you know I was being invited to speak at Disney and DreamWorks, and I was showing my work on projection screens at the Academy of Motion Pictures Arts and Sciences. It was a wonderful opportunity.”
Vincent and Zack also talk about the effect of HD-DSLRs on the photo industry.
“…What I learned as a photojournalist working for the New York Times is that people gravitate toward quality,” Vincent says. “They gravitate toward good ideas and good execution, not glitz. The same is true for movie making. People still gravitate toward great stories and these tools enable you to focus more on storytelling as a filmmaker, and less on technique. I don’t think it’s going to affect the high-end filmmaking industry as much as it will affect the middle to low end. The high end is always going to shoot on Panavision. It’s more the indie films that will benefit from making production less expensive. …
“I do see it heavily affecting people in the print industry, however. Newspapers and magazines are on their last legs. They need to create moving content to stay in business. I think editorial photographers are going to be asked to shoot video. It’s not what the editorial people want, it’s what the advertisers want. They want moving content that gets attention. More and more photographers will be asked to shoot video along with stills, and it’s going to be a huge learning curve for people.”
There’s lots of good perspective in the interview. Click here for the full article.
.
.