livebooks blog

A frame grab from Martin's triathlete video. ©Martin Sundberg

Miki Johnson: What was your idea for this shoot and what did you want to achieve creatively?

Martin Sundberg: This was a personal shoot that I put together to begin cultivating my video skills. The idea of the shoot was to explore some of the new technologies and tools that are being presented to photographers, such as the video capabilities now being packaged into our still cameras. Video is a hot topic among photographers these days, and it seems that individuals on all fronts are testing the waters, exploring what this physical merging of media means for the creative process as well as the business. Having never shot much video, I was really interested to see how my mind, one that has been conditioned to create still images, might instinctually apply that vision to motion.

I chose the triathlete as a subject for this project primarily because my style of shooting is very active, which lends itself well to shooting active people. The triathlon also required that I shoot footage in three outdoor locations, which I could weave into one continuous standalone piece that would be about a sense of place as much as an activity or person. From the beginning, I conceived of this project as a collaboration between the athletes, Matt and Chris Lieto, their coach, Matt Dixon of Purplepatch Fitness, and Derek Weiss of Piton Productions.

We set out to tell the story of what it feels like to participate in the three activities — swimming, biking and running — at such an elite level. To make pictures like this, I often find that it’s absolutely necessary to get physically into the shoot yourself; otherwise, it’s too easy to capture what it feels like to be a spectator. We shot from strategic angles and a mixture of vantage points, including from the air and the water. We were constantly on the move, trying to keep up with Matt and Chris. And let me tell you, that wasn’t easy. But all of these efforts are felt, if not directly seen, in the footage, which was our goal.

MJ: How did you plan for this video shoot? How was it different from planning a still photo shoot?

MS: Planning for this shoot was very similar to producing a photo shoot. One aspect that is different is the fact that video is experienced on a continuum, thereby forcing you plan for how the subject enters and exits the frame, what will come before and after that scene, and how the transition between scenes will occur. It’s no longer one moment but a series of moments within each frame, and ultimately, within the entire piece. And not only does the entire piece have a beginning and an end, but each scene also has its own beginning and end. Everything needs to be considered on this larger continuum.

With video, it’s also necessary to plan for sound. For this project, we chose to utilize a soundtrack, which allowed us to really focus on the visual aspect of video while shooting. Otherwise, I scouted locations, coordinated with the models, discussed shots and scenes, researched access issues — basically the same planning as a still shoot.

We shot over the course of four days and took advantage of the visually powerful locations available right here in the Bay Area. The biggest differences between video and still photography is evident in the post-production work. With video, more time is spent sequencing shots; whether it’s a narrative piece or not, you’re still communicating something to an audience and the right sequencing will determine whether that ‘something’ is clearly delivered.  In addition, you’re simultaneously working with the many other variables that harmonize to complete a video piece, like transitions, sound, intro and closing.

Video always reminds me of the tremendous team effort that goes into producing a finished piece. With stills, I have a very refined workflow and can navigate my editing tools, like Lightroom and Photoshop, with ease. For this project, however, I culled footage and selected the clips that worked well individually and that told the story, but my editor Derek took over from there. I knew what I wanted to see, and he edited the many variables together to communicate the story we intended to tell. I have a huge respect for this part of the process.

Editing is absolutely vital to any final product. With most of my still photography work, I’m looking for one iconic image, which doesn’t necessarily rely on what comes before or after it. With video, sequencing is everything. Again, this is a notable departure from the process of editing still images. Unless I’m working on a portfolio, an essay, or a particular series of images, sequencing doesn’t figure into my still photography edits.

Miki Johnson: How did you fund BazanCuba?

Ernesto Bazan: The BazanCuba book is the result of 14 years of life on the island, not just my photography. I think it’s important to underscore this to understand the nature and the depth of the project. I feel very fortunate that I was able to spend so much time there and to stop being an outside observer as with, unfortunately, many photo essays that I see published these days.

I do know of many self-published books, but I only know of one (mine) that was edited with the great creative input of more than 40 of my students and friends. And as if that wasn’t enough, they also helped me raise the money needed to self-publish by pre-acquiring limited edition copies of the book, which come with a numbered and signed gelatin silver print. It was a true honor to be able to go to the printer knowing that I could get the best quality paper, printing, and expertise because of the money I was able to raise.

MJ: You decided to include your students not only in the funding of the book but in the editing. What was that editing process like?

EB: Usually when a photographer edits his or her book, at best he or she has the help of a few trusted friends and some editors working for the publishing house. I strongly felt that I wanted to democratize that process and to get a wider range of opinions. I wanted to put myself on the same level as my students because I felt that making this book was going to be a very educational and humbling experience.

Every workshop I taught, I’d bring a copy of the latest version of the book dummy (we made five different dummies during the whole editing process), and by the seventh day of the workshop, I knew that the time was ripe to get my students’ most creative feedback. It has been an extraordinary experience. We took many pictures out, moved the remaining ones around, tweaked the cover, and worked at the subtle art of sequencing a book.

Then when I went to press, seven of my students came with me, at their own expenses, to help in the different parts of the production process. We also shot some footage about the making of the book, which will be a part of a documentary film on this unique and special relationship that I’ve established with my students.

MJ: You said that this was a really important learning experience because now you know how to produce a book from A to Z. What lessons did you learn?

EB: Indeed, it was a great learning experience. My friend Juan de la Cruz decided that he was going to learn to use Indesign to help me lay out the book. Being at the printer in Verona during the printing was also very important. We finally understood so many of the different aspects of printing a book, including looking at the first signatures in day light while the wind was trying to blow them away. I’m very lucky that we got it all on digital HD video. More »

When working with consumer photographers (anyone who markets directly to the public), I always like to encourage them to show images that will make their potential clients believe that if they hire them, they’ll create that same MAGICAL moment for them. Those magical moments are why a consumer client hires a photographer. Regardless if it’s to capture their baby’s first year, their family portrait, or especially that bride’s special day, they want to believe you are the person to make that moment happen.

These are my recommendations for putting together a website of your wedding photography, which have helped my wedding photographers increase their bookings from 25-45% to 50-100%.

DOs:

• Make your galleries quick and easy to look at (15 – 25 clicks per gallery)

• Tell a story with multiple weddings –- the start of the day to the end of the day. Example: Bride getting ready, father seeing bride, bride walking down aisle, the I Dos, the kiss, the bridal party portraits, reception vignettes (flowers, table cards), the first dance, the father-daughter dance, people having a blast at the reception, the cake cutting, and finally the cliché end of the night moment (holding hands walking off into the night). Yes, you heard it right, that cliché moment gets a bride every time.

DON’Ts

• Have 10 galleries – each titled: “Joe & Sarah,” “Marc & Beth,” etc. that only show the best photos from each of their weddings

• Show a bride or anyone at a wedding at their worst moment. Some photographers appreciate a photo for its caught-moment approach. I appreciate that too –- but if it’s on your wedding site, a bride will imagine herself in that photo every time. If a bride looks too heavy or someone is causing trouble, she will think the same will happen to her if she hires you. I know this sounds elementary, but every client I work with has at least one photo that MUST be taken out.

GALLERY IDEAS:

• Have one gallery showing the entire day from start to finish, drawn from different weddings

• Have multiple galleries (no more than 3-5) breaking up the categories, such as, Getting Ready, I Do, Group Shots, The Reception, and Bridal Portraits and/or Engagement Photos

Finally, remember you are being hired to help capture that special day (a.k.a. that MAGICAL moment). Everything — including your website, portfolio, and personal presentation — has to convey that you are exactly the right person to do that.