There are countless distractions that often hinder our creativity and photographic expression. The pressure and comparison that comes with social media can make digital photography end up feeling like a burden: Each shot must be better than the last and a photo with subnormal likes is a failure.
A year ago, I wrote an article over at 35mmc in which I discussed some of the jobs I had worked on using 35mm film and the way I handle a film workflow for assigned work. Since writing that piece I have taken on many more commissions for film-based work, and I thought it would be useful to take a more detailed look at some of the implications of shooting film as part of these projects.
Patience is not one of my many virtues and I've always preferred practice to theory. Instead of taking the time to learn the essentials before starting, I usually jump in head-first... come what may! This behavior has caused me disappointment, loss of time and money.
British filmmaker Philip Bloom was recently in Frankfurt working with digital agency Szyygy, and while he was there, he was selected as the subject of a filmmaking exercise he assigned the students of the 3-day private workshop he gave.
The assignment was to film a mini doc, and the four students picked Bloom as the subject, choosing to interview him about the street photography he shoots during his time off.
In their most recent "Pro Photographer, Cheap Camera" challenge, DigitalRev managed to get world-renowned, Pulitzer Prize-winning photographer Vincent Laforet to participate. Known best, perhaps, for his tilt-shift work, Laforet was asked to trade in his 1D X and 45mm tilt-shift lens for a Canon A2e and Lensbaby composer.