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.

Luz Maria Marin holds the head of her husband Angel Toala one day before he died of stomach cancer in his home in Shushufindi. ©Lou Dematteis

Click below for segments from a recent audio conversation between Lou Dematteis and Michael Costuros, the founder of liveBooks. Lou speaks candidly about the tangible social change produced by the project and how his involvement with the cause continues to nourish his own passion and creativity.

Part 1: How did Amazon organizers initially use your images? “I found out that photographs I had taken that I had passed on for use in Ecuador had been used as part of an education and organizing campaign.”

Part 2: How did the book Crude Reflections come about? “In 2007 we received a Distribution Grant from the Open Society Institute, and that allowed us to print a set of photos and display them back in the Amazon, so the people living this and experiencing this had a chance to see their photos. They were literally in tears.”

Part 3: What effect has the book had in South American communities? “The book is bilingual…we didn’t just want to produce a book we were going to show in the United States. We wanted to make it useful and available to people in Ecuador and Latin America.”

Part 4: How has this project enriched your life? “I’ve developed an incredible bond with many people there. They are very thankful that I’ve helped give a voice to their community. That is tremendously fulfilling to me.”

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 »

Chris's favorite thing about the Arctic Ocean is the ice. It comes in a myriad colors, shapes, and sizes. It can stop an icebreaker in its tracks and make you feel insignificant. ©Chris Linder

The fifth Live from the Poles expedition starts on April 3 and runs through May 11, 2009. Science writer Helen Fields and I will be joining a large research team studying the impact of climate change on the Bering Sea ecosystem aboard the U.S. Coast Guard icebreaking ship Healy.

The Bering Sea is one of the most productive regions of the world’s oceans, accounting for nearly half of the total U.S. fishing catch. Climate models are forecasting substantial warming for the southeastern Bering Sea shelf region, which will dramatically alter the distribution of species of fish, seabirds, and marine mammals. Understanding this ecosystem and how it will respond to rapidly rising temperatures is of critical importance to both commercial and native fisheries. The 40+ researchers aboard the Healy will be deploying instruments and collecting samples in round-the-clock shifts for six weeks straight. Our two-person media team will be in the thick of the action, whether it’s collecting cores of sea ice or lowering high-tech plankton microscopes into the icy water.

In addition to the still photography, I plan to spend more time collecting professional-quality audio during this expedition. Although I have collected ambient sounds during previous trips (see the Polar Fun pages on the Polar Discovery website under each expedition), for this trip I plan to add interviews. I will continue the time-lapse photography I experimented with on the last few expeditions and perhaps even dabble with videography.

All of the photographs I take on this expedition will be tagged with the latitude and longitude using a GPS tagger, which will make them particular useful to the science team. But the core objectives of the project will remain the same—to deliver cutting-edge polar science to the public online through professional still photography and science writing.