VR Mobile Apps For News And Documentary

Multimedia, Tech stuff, Thoughts, Virtual Reality

Do you love virtual reality or have some interest in its potential for journalistic use? The best place to start, without paying a dime, is by downloading a few apps on your mobile device. Try these out, explore a little bit, and see what you think. You don’t need a virtual reality headset or even the affordable Google Cardboard viewer to experience VR videos on your phone. Just download the apps and view the videos. If you do have Google Cardboard or a similar VR viewer, you can use those with most of these apps, too. I didn’t include the two most obvious apps, because you probably already have them, but make sure to try 360-degree videos on Facebook and YouTube. If you haven’t noticed yet, you can already view VR on these apps.

  1. Vrse (iOS + Android) These are the folks behind some of the bigger New York Times VR projects that received a lot of attention lately. This app features the NYT projects such as The Displaced, but you can also find the short horror fiction piece Catatonic. A fun one to watch after you’ve scarred yourself with the horror film is Lucy Walker’s A Short History of Cuban Dance, which debuted at Sundance.
  2. Littlstar (iOS + Android) This one is a bit more exciting. Their plan seems to be to become the Instagram of VR. You can make a profile, upload VR videos, like VR videos, scroll through a timeline, etc. You can already find videos from big names like ABC, NPR, the Kansas City Royals, etc. It will take some time to feel more authentic once actual, like, real people start sharing more content.
  3. Vrideo (iOS + Android + Samsung Gear VR) Vrideo seems very similar to Littlstar but I would say it leans toward a YouTube feel. Yes, you can like and follow people, but it seems to be less of a community and more of a collection of channels. They use the term “subscribers” instead of “followers” (Littlstar uses “followers”) so maybe that’s why I’m getting the YouTube vibe.
  4. RYOT (iOS + Android) RYOT is a news site that donates a portion of its earnings to non-profit causes. They have a VR app with two main sections: “Films” and “360 News.” As of today, the News section was filled with Iowa caucus content (even though today is Super Tuesday) but it’s safe to say they are invested in VR news since it accounts for 50% of their app’s categories! The Films section has a great documentary feel to it. Unlike the other apps, you don’t get much of a corporate branding influence, and one of the projects is a five minute collaboration with the Associated Press on “The Jungle,” the infamous refugee encampment in Calais, France.
  5. Jaunt (iOS + Android) Jaunt is another slick one with travel, documentary, and corporate content mixed together. You can watch a funny promo for Zoolander 2, a Disneyland 60 promo, NHL hockey content, or a North Face piece shot in Nepal. CBS and ABC also make appearances in this app. Judging by all of the branded logos, there must be a fair amount of money flowing through this content, and probably the app. I assume that is a good sign for the app’s staying power, but as a source for news and information, it doesn’t have the same distinctive vibe as something like RYOT, or the next two apps.
  6. WSJ (iOS + Android + Oculus Rift + Samsung Gear VR) The Wall Street Journal app is kind of convenient in that if you already have the regular news app on your phone, you can just open it up and scroll down to the “Virtual Reality” tab. Click on a few videos and learn about how Ikea rugs are made in India, etc. Pretty cool!
  7. NYT VR (iOS + Android) I credit The New York Times with bringing VR journalism to the mainstream when it released The Displaced, an in-depth feature produced by NYT Magazine, along with free Google Cardboard viewers bundled into subscribers’ Sunday Times last November. The NYT VR app is nice, but single publications like NYT and WSJ are going to have a hard time keeping me coming back when they are so slow to add new content. Hopefully soon, budgets will swell with all of that post-Spotlight Oscar journalism love from viewers and advertisers 🙂 Hey, a guy can hope, right … ?

360-Degree Video Camera Reviews: Samsung Gear 360 vs Nikon KeyMission 360

Tech stuff, Thoughts, Video

So far, the two most exciting camera announcements of 2016 are the 360-degree cameras from Samsung and Nikon. Nikon first inspired us with its announcement at CES in early January, showing off the weirdly-named yet tempting KeyMission 360. Samsung just announced the Samsung Gear 360 yesterday at Mobile World Congress in Barcelona, with the help of Mark Zuckerberg on stage. Clearly, camera makers have invested much in the belief that 360° video is soon going to play a larger role in our lives.

Cameras that record 360° are not brand new, and tons of options already exist, like the leading Ricoh Theta S. However, the quality of even the Ricoh is pretty low. You can duct tape together (or buy a rig to mount) six GoPros and stitch the footage all together, but then you’ll be bald after you tear all your hair out while stitching that together on the computer 🙁

You could also rob a bank to afford the Nokia OZO. It’s only $60,000.

So, that leaves us with the Nikon KeyMission 360 and the Samsung Gear 360. What’s the catch? Neither have a release date or price. However, I’m expecting to see them in the $500 range and the companies have said they will come out soon. Samsung says the Gear 360 should come out in the second quarter of 2016 and Nikon says “this spring,” so I’m guessing they’ll be competing fiercely for our $$ and that might mean lower prices.

What are the pros and cons of each? Well, it’s unclear whether the Samsung Gear 360 will be usable with mobile devices not made by Samsung. The camera comes with an app that allows for extended controls when using a Samsung device, but there’s no mention of iOS or other Android devices. It does appear that you can still use the basic functions of the Gear 360 without any mobile device, and then transfer your footage via USB to a computer for sharing.

The pros of the Samsung Gear 360? MicroSD media storage, smaller than a baseball, and 3840×1920 HD footage.

The pros of the Nikon KeyMission 360? It’s a true “action camera,” in every sense of the phrase. It’s built to go underwater to 30m and it’s dust, shock, and cold weather proof. The best feature: UHD 4K video footage. Cons: We’ll see once we get our hands on it. Right now, the Nikon KeyMission 360 is the leader of the pack in the realm of prosumer 360° cameras.

Large Softbox Reviews

Gear, Still photography, Tech stuff, Thoughts

Shopping for a softbox? Below are three options for softboxes in the three-foot-wide range. All of these work well with small speedlite strobes, although some may require an adapter. To refine your portraiture, food, and other photography you’re probably going to want large softboxes sooner rather than later. What you’ll see below are three softboxes from leading brands, including Glow, Profoto, and Lastolite.

 

 

 

Glow ParaPop 38” Softbox $219.95

  • -Inner and outer diffusers, for a smooth, graduated modification of light
  • -Versatile, in that it works with both small flash and studio strobes with speed ring
  • -Quick setup and breakdown. With a squeeze of the hand, the rods collapse down for storage in the included bag
  • -2 lbs

 

 

Profoto RFi 3′ Octa Softbox $235.00

 

  • -Two diffusers
  • -Best for studio strobe use with Profoto branded strobes
  • -Optional space for a grid (light modifier)
  • –3.5 lbs

 

 

Lastolite Hotrod Octa Softbox $212.99

  • -Best for small flash “Strobist” photographers
  • -Two diffusers
  • -Velcro attachments to rods add leverage for those of you without huge muscles
  • -2.67 lbs

Eight Affordable Last Minute Gift Ideas for the Photographer in Your Life

Gear, iPhone, Still photography, Tech stuff, Thoughts

 

Did you procrastinate and are you ready to shell out for overnight shipping to impress that photographer on your list with a last minute, yet thoughtful, gift? Below are eight gifts that I recommend, ranging from $30 – $175.

 

Joby GripTight GorillaPod Stand for mobile devices – $25.46

Have a little class. Don’t gift a selfie stick 😉

 

Glow ParaPop 38″ Portable Softbox – $175.96

Versatile, lightweight, and sets up in a pinch.

 

Lowepro Tahoe BP 150 backpack – $69.95

Stellar deal for a camera backpack that carries a tablet.

 

Donate in their name to the Passion Projects Photo Grant

Mail a check to: SPJ Western Washington Passion Projects, PO Box 30111, Seattle, WA 98113.

 

Pring’s Photographer’s Miscellany book – $10

A fun little book that makes for the best photo nerd fodder.

 

Mastin Labs Lightroom editing presets – $119

Popular editing presets to mimic film looks of Ilford BW, Portra color, and Fuji color.

 

Fujifilm instax mini 70 instant film camera – $124.50

The smaller and more affordable version of my favorite instant camera, the instax 210.

 

AquaTech Oli Rain cape – $40

Get that shot underneath the waterfall and still stay dry!

 

 

 

Red Giant Shooter Suite 12.6 Review

Gear, Multimedia, Tech stuff, Thoughts, Video

Red Giant Shooter Suite, now available in version 12.6, is a suite of six plugins/programs that offer an array of video editing tools. I took it for a spin and will explain what’s in the package in case you are shopping around for tools like these. Here’s what you get for $299 ($149 for an academic license): PluralEyes, Offload, Denoiser II, Instant 4K, LUT Buddy, and Frames. Below is a quick breakdown of each of those.

 

PluralEyes 3.5

Red Giant PluralEyes is technically an entire program of its own, so you don’t have to worry about compatibility. It was the first Red Giant product that I had ever heard of and has always been a reliable solution for synching audio and video. It’s a classic. If you learned on Final Cut Pro 7, like I did, you probably learned to use PluralEyes when syncing your DSLR footage with the external audio that you recorded. PluralEyes has always been great and continues to be one of the best in the game. If you use Final Cut Pro X, as I do, you know that there is now a built-in audio sync feature. So for me, I don’t really need PluralEyes. Some FCPX users will still use PluralEyes because you can actually still sync inside PluralEyes and then export a sequence for use in FCPX, but I don’t really need to use that step. As far as compatibility goes for that sequence exporting feature, PluralEyes does work with the major video editing programs: FCP7, FCPX, Premiere, Avid, and Sony Vegas.

 

The PluralEyes interface

Above: A detail of the PluralEyes interface

 

LUT Buddy

Red Giant LUT Buddy will generate Look Up Tables for use in Adobe After Effects and Premiere. Essentially, Look Up Tables are little formulas for color that help you get your footage to look good in its final medium – which could be actual printed film, for instance. Let’s say you have color corrected your video project and it looks good on your calibrated monitor. Well, when you print it to actual film it may look different due to the color cast, contrast of the film, etc. It’s kind of like when you have a photo that looks good on your screen but when you print it out it’s too dark, etc. This is an age old problem for photographers. Anyways, LUT Buddy is popular industry tool for using LUTs.

 

Offload

Red Giant Offload pretty much works with every camera/memory card system out there, according to Red Giant. What it does is manage the import of your media. For me, this is the one inclusion in the Red Giant Shooter Suite that isn’t a must have. The program does verify the files and make sure that everything was transferred, which is kind of comforting. Sometimes I scroll through the finder on my Mac and look to see if everything made it, and might even check the size of the folder to make sure it’s correct, so I guess Offload would, er, offload some of the stress of making sure my precious media assets are safe and secure on my drives. You can also program it to create an automatic backup upon import.

 

Denoiser II

Red Giant Denoiser II might be the most aptly-named and straightforward tool in this collection. It, well, it denoises your footage. It’s a solid addition to your kit and can help with those clips shot at high ISOs that you’ll want to clean up without losing detail. Just like the noise reduction slider in Lightroom.

 

Instant 4K

Red Giant Instant 4K builds upon the older Instant HD, which made HD footage out of smaller resolution footage. Instant 4K makes high resolution out of HD and smaller resolution footage and is supposedly four times as fast as Instant HD was. Basically, the program has an algorithm that takes your footage, be it SD, HD, or whatever, and creates new pixels, adds sharpening, anti-aliasing, etc. to create new high resolution footage. You just pick whether you want to output your footage as 720p, 1080p, 2K, or 4K.

 

Frames

Red Giant Frames can de-interlace your interlaced footage to output as 24p. I believe this feature is built into Adobe Premiere, but Frames has added features for cropping and broadcast details, like NTSC, PAL, HD, etc.

I think this is a good package, and there is a significant savings in choosing the package deal; however, you can of course pick and choose from these six and select only the tools you want. Personally, I would skip Instant 4K, only because I would generally just shoot 4K if I needed 4K. Of course, it’s probably meant to help you in a pinch when you have a 4K project and maybe just one or two clips from an HD camera, but if that’s the case then I probably wouldn’t use the tool enough anyway. All in all, these are all fine products and I don’t see any red flags that I would want to pass on to my colleagues, so, happy editing and good luck.

 

How To Photograph Wildfire: A Safety Guide

Education, photojournalism, Still photography, Thoughts

Photo by David Ryder/Reuters. Members of the Jackson Hotshots run from the Okanogan Complex Fire as it advances unexpectedly in Twisp, Washington on August 20, 2015. The fire is the largest in state history and has claimed the lives of three firefighters, in addition to more than 170 homes and 300,000 acres.

 

In my limited experience covering wildfires as a photojournalist, I’ve learned a few key lessons that I would like to pass on to anyone interested in doing this kind of work. When I first started out, I remember feeling lost when approaching wildfires, and I don’t want anyone taking needless risks. It can be dangerous, yet important work, and you should only attempt to do it if you have the proper gear and training. Below are a few tips to get you started.

 

Your first priority should be your own safety. Remember that, and then try to make the pictures.

 

If you’re covering firefighters, your second priority should be their goals and their safety. Firefighting is the reason that they are there, and you don’t want to impede that work.

 

Research the laws of entering fire zones. Some states allows journalists free reign in an area under level III evacuation, while others only allow residents and emergency personnel.

 

Learn about wildland fires and how they may behave. You can take free online courses through the National Wildfire Coordinating Group’s training development program. Look for course S-110, Basic Wildland Fire Orientation and course S-190, Introduction to Wildland Fire Behavior. You’ll have to create a FEMA student ID before registering for these trainings.

 

Marry a banker. You are going to need to invest in a lot of safety gear on top of that camera gear you own. You must have all of this if you want to protect yourself in addition to being taken seriously and gaining access to crews working: Fire shelter (new generation; look for the blue case), 8″ wildland firefighting boots (look for “NFPA certified”), Nomex pants and shirt, hard hat with chin strap, leather gloves, and eye protection. You may also want to shop for a Nomex hood, a headlamp, and clear goggles. You can shop on Craigslist, Ebay, logging and work stores, or the following websites: nationalfirefighter.com, thefirestore.com, malloryco.com, Benmeadows.com, chiefsupply.com, wildlandwarehouse.com. I prefer The Fire Store.

 

Learn how to use your fire shelter. The Washington State Department of Natural Resources hosts a training for journalists every year in Seattle and your region may have similar resources.

 

Photo by David Ryder. A destroyed car, golf cart, and home are pictured near Alta Lake Golf Course after the area was overtaken by the Carlton Complex Fire, which can be seen burning in the distance, near Pateros, Washington on July 19, 2014. The fire was the largest in state history until this year’s Okanogan Complex fire.

 

Prepare for working in hostile environments and learn how to care for yourself and colleagues in a medical emergency. I have taken two hostile environment/crisis zone workshops and I highly recommend both: Reporting Safely in Crisis Zones (Columbia University) and Hostile Environment Training (Hawthorne Proactive).

 

When approaching a fire scene, know your exit routes and park your vehicle pointed in the direction you plan to escape. Leave your keys on the seat or in the ignition in case someone needs to move your vehicle. Make sure that you are out of the way and that fire engines can get by.

 

Pack a lot of food and water in a backpack. Firefighters work shifts that can push 24 hours and if you really want to do this, you’re going to have to be there with them. If you have the chance to embed with a wildland crew, practice sleeping while standing up and remember that it’s hot during the day but may be ice cold at night! Be prepared.

 

Approach victims and scenes of devastation with care and empathy. The folks you’ll meet have been through a lot and may not want to talk to you. Sometimes you’ve got to just leave them alone and walk away; other times they will invite you into their lives to witness something extraordinary. Also, never enter private property without permission. If no one is around at that burnt house you just found, you’re going to have to photograph it from the end of the driveway.

 

Care for yourself if you experience symptoms of post traumatic stress disorder. If you experience things like bad dreams, poor sleep, wanting to sleep all the time, isolating yourself, feeling numb, feeling irritable, overreacting, drinking too much or using drugs, etc., you may need to seek help. The Dart Center for Journalism and Trauma may have useful resources for you.

 

Good luck and I hope this post can help photographers make good pictures and stay as safe as possible.

 

Photo by David Ryder. Volunteer firefighter Ray Sandy ignites a controlled burn shortly before sunrise while fighting the Okanogan Complex fire near Brewster, Washington on August 15, 2015.

 

 

 

 

Adorama Flashpoint AutoStand Review

Gear, Lighting, Tech stuff, Thoughts

Adorama has a new series of heavy duty, lightweight light stands that they call the AutoStand. They sent me one to try out and I’ll try to give you a good sense of what it’s like so you can decide if it’s right for you. They come in seven and nine foot heights. If you’re considering the Flashpoint AutoStand, review my thoughts and learn more about it at Adorama.com here.

The first thing you’ll be looking for, if you’re in the market for a Flashpoint product, is the low price. These are affordable products and that is usually the first selling point. So, if it’s so affordable, does this light stand hold up? Is it going to break after I throw it in and out of my car fifty times for a busy year of shooting? Well, it is indeed affordable at about $80 for a nine foot light stand. That is quite tall, and it does feel pretty sturdy, too.

 

 

It’s a light stand, so it’s a pretty basic piece of kit. You just want something that is going to be nice and tall, fold down small, and not break your back or your wallet. This is a solid alloy stand with just enough size to feel substantial. It’s not going to beat a Manfrotto or comparable stand that retails for more than twice as much; however, it is the real deal. It’s all metal, it opens and closes smoothly, and the plastic wing nuts clamp down just fine. Keep in mind, it is a pretty big stand. Not heavy, just nice and large. It folds down to 40″ but it’s not a tiny little cheap travel stand, if that’s what you’re looking for.

There’s really not much else to say. It’s a good product at an affordable price. They also throw in a little bag to sweeten the deal.

 

 

Photos: Adorama (top), David Ryder (middle, bottom)

Q&A with Tiffany L. Clark

Other people's work, photojournalism, Still photography, Thoughts

(Note to readers: Some graphic content)

In this post I’ll be sharing just a small sample of the intimate and moving photo essay by Tiffany L. Clark called “A Release: Stories of Self-Injury.” Chances are you haven’t seen many stories like this before, partly due to the graphic nature of self-injury, and also because it is a very difficult story to tell. Some publications may decline to cover this topic, or some may not be able to find anyone willing to share their story.

Tiffany has done a very good job of gaining the trust of women who are walking an often lonely and hidden road, in order to document an important and underreported issue. Below, I’ve also asked Tiffany a few questions about her project. You can see more of Tiffany’s work on her website.


(Photo by Tiffany L. Clark)
Caption: Thirty-three year old Jenn started self harming when she was 17 by cutting herself, but finding that wasn’t enough moved to burning her body. Everyday can be a struggle, she finds herself getting tired very easily throughout the day. At the time she was not aware that she was diagnosed with Lyme disease, which has added to her daily struggles. A mix of depression and different events that have taken place throughout her life has attributed to her self-injury.

Q: What is self-injury and why do certain women become drawn to it?

Tiffany: The act of self-injury itself is usually an impulsive physical way for people to control their feelings. Self-injury is similar to other addictions and disorders (i.e. drugs, alcohol, eating disorders) in the fact that it is not about attention or fatally hurting oneself. It’s about dealing with things and this is their outlet. Doctors attribute self-injury mainly to depression, other addictions and PTSD, indicating that some incident happened (usually when someone is young) and learned a proper way to handle the influx of emotion and some how they stumbled upon self-injury as a way of release.

I don’t believe there is a specific reason why people choose to self-harm as their form of emotional release; I think it just happens. Like any other incidents’ that occur in our lives most find a way to deal with these events – I have found sports and running is how I deal with stress and difficult events in my life, we all know people who found alcohol to be their release; self-injury for some just happens to be what they have found.

I’d like to state that it is not only women who self-injure. Yes, the majority of people who do are women but men do self-injure as well, it just may not be reported as greatly. People speculate that the reported numbers of people who self-injure are higher with women because females are more open to sharing and talking about their emotions and actions with what’s going on in their lives. Whereas men tend to keep everything in and not admit to their own self-harm.


(Photo by Tiffany L. Clark)
Caption: Anne, 29, displays cuts on her chest from her self-injury. Anne has been cutting herself since she was 14 years old. Stress from a tough childhood, the death of her biological mother and ending up having to live in an orphanage for a period of time, she believes, is her reasoning for starting self injury. Anne stopped cutting for 10 years when her first son was born but started cutting again when she had her third miscarriage. Like everyone who self-injures, she wants to stop.

Q: Why do you care about this topic in particular and what challenges have you faced?

Tiffany: I grew up and went to school with people who self-injure and it hurt hearing what others would say about them in terms of why they thought people were harming themselves. There are so many misconceptions and stereotypes put out there that I got so tired of people not understanding and assuming these people were freaks/crazies doing it just for the attention (which the act of self-injury is not about). When I was in school studying photojournalism and had to begin a long-term project I knew this topic had to be it. I want to bring my representation of self-injury to help create awareness because there is an obvious lack of understanding and too many false assumptions about self-injury. Without awareness, people who self-injure stay in the dark and don’t know how to receive help out of fear of the repercussions and thoughts their family and friends will instill on them if they tell them that they self-injure. Out of any of the most common addictions and disorders, self-injury is by far the loneliest one to deal with and seek treatment for because of the lack of support and the social fear of telling people that you are a self-injurer.

One challenge I have faced, like anyone else doing a documentary project, has been trying to find people to share their stories visually to the world. What holds people back is that fear of what others will think of them and how their lives could change. But access has not been my biggest challenge. Getting the work published and seen has been the challenge. I have heard from people and editors that it is too tough of a story to publish because it is hard to look at images knowing someone has harmed themselves intentionally and they have difficulty understand this fact- but isn’t that the reason than to present work like this? I believe that the only way people can really learn and understand is by bringing awareness.


(Photo by Tiffany L. Clark)
For twenty year old Nicole, writing out her thoughts and feelings is a way for her to cope with her overwhelming emotions, but at times it is not enough. This letter that she wrote has a line of dried blood across it after an episode of cutting herself. The hardest part of self injury, compared to other addictions, is that it is all in the mind. You can try and take alcohol away from an alcoholic, but you can’t take away the thoughts of self hatred or lose of control from anyone. A self harmer knows how to hurt themselves with any object.

Q: How did you gain the trust of these women and what are your plans for the future of this project?

Tiffany: I gained the trust of them by being honest. I tell them why I believe their stories matter and that I want to represent them and self-injury in a truly honest way and they know I am not there to expose them or judge them. They fully understand and agree about the lack of help and awareness that is available about self-injury and want to be a part of that change. One of my subjects told me afterwards that by sharing her story and being photographed, it helped her to fully stop self-harming. I mean, just knowing that, how can I stop doing this project and stop trying to share people’s stories?

My future plans would be a video/multimedia piece so viewers can hear the voices of self-injurers tell their stories. So much of self-injury happens and begins mentally, and to try to photograph and represent that mental side of it is truly a difficult task. This is where multimedia gives you the opportunity to hear what thoughts are taking place along with seeing these visually striking images.

 


See more from Tiffany L. Clark on Twitter, Instagram, Facebook, or at www.tiffanyclarkphotography.com.

 

Red Giant Universe Review

Tech stuff, Thoughts, Video

 

Red Giant has done a few things right over the past year since it launched Red Giant Universe, its new subscription-based collection of editing/effects tools for filmmakers. In my opinion, the key to Red Giant Universe’s success (since it’s a subscription service) lies in its ability to add new and interesting tools, and they’ve done just that. In order to produce useful tools, Red Giant has utilized Universe Labs, where users can vote on potential new additions. So far, Red Giant has added a Compound Blur effect, an Exposure Blur Transition, a PixelGlow EZ effect, and a Soft Wipe transition. I think it is really cool that Universe doesn’t just add new tools periodically, but it actually listens to its customers and adds tools that the community members are asking for.

 

 

Other than keeping things fresh, Red Giant made the right choice in creating Universe as a subscription-based service. You can opt in at no charge for access to the basic tools and to vote, or you can choose from the followed paid options: $10/month, $99/year, or a $399 one time payment. The paid options allow access to a premium set of tools, of course. I enjoy using subscription services because they automatically update and I no longer have to worry about spending large amounts on new versions of the software.

 

 

I use Final Cut Pro X, so I can only speak to the Red Giant Universe experience in Final Cut, but Universe is also compatible with Adobe Premiere Pro, Adobe After Effects, Apple Motion, Sony Vegas Pro, Davinci Resolve, and HitFilm 3 Pro. Within Final Cut, the Universe tools are supposed to be much faster because they are GPU-accelerated. I honestly can’t tell too much of a difference on my current iMac, but I do think this is a good design that will allow for quicker plugins as I update my hardware.

 

I counted almost 90 tools, and of course this number will only increase with time. I’m pleased with what I’ve seen so far, and some of my favorites include Turbulence Noise, Streak Blur, Texturize, and OverLight. They are not all mind-blowing plugins, but everything is useful. Some tools might parallel what you’ll see prepackaged in Final Cut Pro X, but you will also find plenty of new tools that are much more creative than the prepackaged options.

 

My suggestion is: go for it. At the very least, you can spend $10 for one month and decide whether or not you like it. That option within the subscription model is, to me, really empowering.

 

 

 

 

Red Giant Magic Bullet Suite 12.0 Review

Gear, Tech stuff, Thoughts, Video

Red Giant just dropped an update to its ever-popular Magic Bullet Suite, which includes Magic Bullet Looks 3.0, Magic Bullet Colorista III, Magic Bullet Mojo 2.0, and Magic Bullet Cosmo 2.0.

 

(Above image credit: Red Giant – Magic Bullet Looks screenshot)

 

If you’re not already familiar with Magic Bullet Suite, it is a set of tools for color correction, finishing, etc. for filmmakers. It’s a robust addition to what you might find built in to your video editing software, such as Adobe Premiere Pro or Apple Final Cut Pro.

I generally use Final Cut Pro X and I’ve found that it has some nice basic color and finishing tools, but Magic Bullet Suite 12.0 can really take your visuals to the next level.

Here are some pros and cons of Magic Bullet Suite 12.0; review them and see if the $799 is really worth it to you:

Pros:

  • Versatility: It’s compatible with Premiere, After Effects, and FCPX
  • The tools are robust: Change someone’s shirt color!
  • Tools are available from within your editing software: You don’t need to launch anything else

Cons

  • The price tag is a bit high for independent shops like my own
  • The tools vary from application to application, as they say: “All of the tools work in Adobe Premiere Pro, After Effects and more  – but it varies by host application.”

 

(Above image credit: Red Giant – Magic Bullet Mojo screenshot)

 

All in all, Red Giant’s Magic Bullet Suite 12.0 is definitely a top notch collection of tools. You really can’t go wrong, if you can afford it 🙂 It does seem silly to run $799 Magic Bullet with my $299 Final Cut Pro X, but that is what filmmaking has come to these days, and you do indeed get what you pay for when it comes to Magic Bullet. Wait, what does that mean about the low price of FCPX … ? That’s a topic for another blog post …

Reflections on Photographing Tragedy

My work, photojournalism, Published work, Still photography, Thoughts

Last Friday morning I found myself frantically running out of the house to get to Marysville-Pilchuck High School. I arrived to find a chaotic, scary, and tragic scene. Another school shooting had happened in the U.S., and it was the second in Washington state this year. It was odd, in a way, as I found myself taking pictures while high school students broke down in tears. I’ve taken pictures of many similar scenes before, but something felt more strange on that day.

Tragedy had recently struck in my personal life. I had lost a cousin only days earlier, and he was much too young to go. I wondered, “What would my own family members think if they were the ones here at Marysville-Pilchuck High School being photographed? What if it were me?” It didn’t feel wrong to be present that day near the high school, when busloads of evacuated kids were reunited with their loved ones, but it was a strange, sad, and chaotic experience.

Many things about working as a photojournalist in Washington in 2014 have been tragic. A massive mudslide in March between Oso and Darrington killed 43. A KOMO News helicopter crashed near the Space Needle, killing two. A shooter opened fire at Seattle Pacific University in June, killing one and wounding two more. The Carlton Complex Fire, the largest in state history, burned over 250,000 acres this summer, consumed scores of homes, and caused one heart attack death. I was on scene during or shortly after all of these events, subjecting myself to trauma but with acute awareness that yes, I choose to be here. The question is: Why? And how can I make sense of so much tragedy?

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(Above: Aftermath of the Carlton Complex Fire. Photo by David Ryder)

It’s normal to feel angry, sad, or fearful. There may be no answers to our questions, but I talk with friends, family, and colleagues. Some turn to religion, which has played a massive role in Oso, Marysville, and at SPU. I also approach my work with an academic lens to find meaning and to heal.

Much has been written in the academic realm about journalism and tragedy, but I think Susan Sontag’s words continue to resonate decades after she wrote them. This is a poignant quote from her book, Regarding the Pain of Others, that helped me this week: “There is nothing wrong with standing back and thinking. To paraphrase several sages: ‘Nobody can think and hit someone at the same time.'”

(Robin Youngblood on Surviving the Oso, Washington Mudslide. By David Ryder for The Weather Channel.)

She wrote this in a portion of the book on the act of looking and why we value the sense of sight so much. She says “standing back and thinking,” but that is tied closely to standing back and looking. I think that the pictures produced by photojournalists help us to stand back and to think during times of crisis. The more we can find ways to stand back and think, the more peaceful (and at peace) we can be.

This Susan Sontag quote has helped me during what has been a difficult week, a difficult October, and a quite challenging 2014. Hopefully you might find it useful, too.

 

 

 

 

 

 

 

Domke Metro Messenger Camera Bag Review

Gear, Tech stuff, Thoughts

Photojournalist Jim Domke designed the first Domke camera bag in 1975 while he was on staff at The Philadelphia Inquirer. The bags haven’t changed much over the years (for good reason) except for the new Next Generation line that just launched. I had a chance to try out the Domke Metro Messenger and I’ll tell you a little bit about it in case you’re considering this or similar bags.

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The first thing you’ll notice is that this is a really sexy bag. Credit to Domke for creating this military green color and using the RuggedWear material. The RuggedWear is a waxed and oiled cotton material that looks a little like leather but seems to be more durable and weatherproof. It’s not waterproof, but I’d be comfortable spending a day with this bag while shooting here in the Seattle rain.

The metal clasps on the bag look great and feel like they will last forever. I’m a bit disappointed about the plastic clasps that attach to the shoulder strap and I’m not sure why they chose to go that route. Perhaps the plastic was a lot lighter than metal.

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The interior is a perfect size for me, as it fits two DSLR camera bodies with space for lenses, a flash and plenty more (read: snacks). It comes with moveable dividers and customizable pouches, which is pretty standard nowadays, but still awesome. My 15″ Macbook Pro fits perfectly in the “tablet” sleeve, which I think would even fit a 17″ laptop without issue.

The bag weighs in at 5.25 pounds, which isn’t light. I absolutely love the 2.2 pound Tenba Messenger bag, which was given to me at the Eddie Adams Workshop in 2008 (read: humblebrag) and is still my workhorse. The two bags are very similar in design, except … the Domke bag is way cooler. It’s going to weigh more but it has a much more classic, and classy, look. And don’t get me wrong: It is still extremely practical and built for working professionals.

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All in all, I do really love this bag. My guess is that Domke wasn’t worried about the competing Tenba, Think Tank, or LowePro messenger bags, because Domke sells a ton of bags and has nothing to worry about. What I think the designers wanted to do was compete with the Filson line of bags co-designed by Magnum photographersDavid Alan Harvey and Steve McCurry. Those guys are awesome, and Filson is awesome, and they are making pretty cool bags with a similar look. But, if I am going to shlep my gear around the city all day on assignment, I would probably lean toward a Domke bag.

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Hopefully this review was helpful, and just let me know if you have any other questions. Thanks for reading.

Bag reviewed: Domke Metro Messenger in RuggedWear Military (also available in RuggedWear Black and Cordura Black)
MSRP: $499.99
More info on the Domke Next Generation bag line: http://tiffen.com/products.html?tablename=domkenextgen