..MONEY EYES (formerly MOUTH)

Martin Prihoda shares more of his professional photography knowledge & experience with us. He describes his equipment used for the photo shoot of the Delirium music band. He uses a large beauty dish as an overhead for the top light. For the sides, he uses a pair of 600 watt mono lights with probably an acetate screen placed in front of them to soften & distribute the light. He probably leaves the soft boxes at his studio because I for one know that it is hard to fix together after dismantling them. Also included is Martin shoeing off his big Honda generator. He is a devout believer in bringing your own power. As you can see the photo results are dramatic, suitable for a music group album cover or magazine pages. Tune IN!

A group of Belgian photographers are doing a photo shoot during sunset at the beach. One of the photographers in the video had rigged a kite so that it could perform as a very, very tall camera stand. The photographer used a Canon G9 for the Kite camera. I suspect the reason being is because a DSLR would be too heavy for the kite.

Also, you can see that he has a special remote control for the contraption in order to tilt the camera angles. It is a unique contraption, the camera kite. However, the photos make the photo subjects look small. Nonetheless, the photographer probably has better use for the kite camera, resulting in some amazing photos.

Chasing Sunset - Part II from Pieter Van Impe on Vimeo.

Gregory Crewdson make photographs like making a film shoot. His ‘studio’ shoots are like large film sets where everything is prefabricated. The walls are built, windows, fastened, furniture brought in, & etc. His outdoor shoots are very large, like setting up an entire movie set on location, resulting in roads being closed, & etc. Is it all necessary? For Gregory Crewdson, all the hassle is necessary to create his perfect shot! His prevalent concept throughout his work is a collision between the familiar & strange.

His style is quite scary looking, like something taken out of a non-high impact horror movie, almost a mixture of new lighting technology blasted into the 60s era. A lot of expense; presumably goes into his works of art. He wants control. He wants the final picture to be exactly as he wants it. Every tire track, every detail inside the shot, he wants to have control over it. It is his way of making his final exposure worth the effort. The video below provides us a glimpse into Gregory Crewdson’s definition of a perfect photograph. Tune IN!