SHORT: New portrait series -- Portrait of a Photographer

[Fists]

We wanted to startted a series of short portraits where people work and make a living through their art. So it will look sometime like this. Tell me what you guys think.

 

[OldCorpse]

Way, way, way, way, way, way, way, way, way, way, way, way, way, way too much slo-mo. Folks, you have to understand, that slo-mo is a special use case, not something that you pull out only because you are bereft of ideas as to how to add gravitas to the subject matter, or because you don't know how to handle cutting rhythms, or because the footage is meh and you're hoping slo-mo is going to rescue it (it won't). Slo-mo in 99% of the footage it's used in out there, is the tool of the lazy. It's irritating as all get out and it adds nothing but hatred for the material. The best way to improve your game immediately and graduate from the class of hopeless amateur is to take a firm vow to never use slo-mo unless it's for a very specific reason, like you need to capture a bullet in flight - which should happen almost never in your career. I can't even comment on anything else about this short, because the slo-mo crime is so huge and overshadowing that to comment on anything else is beside the point... sort of like asking "other than that, how was the play Mrs. Lincoln?" - there is no "other than that", the slo-mo pushes everything else out. It's a felony crime of the highest order.

 

[Fists]

Normally I would agree. But the main reason of using the slow mo was to incorporate the way the mind of a photographer works, how when they go out and shoot somehow time slows down, they get into this bubble. And I get why you believe that I was just a guy that was trigger happy with the use of slow mo, but I was not. When you do street photography you have this kind of super focused and heightened awareness, because you're trying to find beauty in the mundane.

So my slow mo was used for a reason.