Notebook Articles

It's not every day that you get invited to shoot a UBS campaign alongside one of the artists you grew up looking up to: Peter Funch. If you don't know his street photography work (for example 42nd and Vanderbilt) you certainly will remember the photographs of the Sony San Francisco bouncy balls campaign. But for this campaign, the agency selected his long exposure slow-sync flash work posing inherent technical challenges for the moving visual I was to create alongside his stills.

A question I ask myself a lot is how to improve upon existing visual storytelling techniques. Unlike other parts of filmmaking the ways in which you can move a camera to convey an emotion without pulling the audience out of the experience are fairly limited. Often I see camera motion as a potent way to help out actors in their performance. Contrasting my movement decisions from one sequence to the next in the same way as an actor does is one way to go about this. But what if you want a character