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I had the wonderful opportunity to work with Brad Davison at Templar Tactical Arms in Bozeman Montana on some photos. TTA makes some amazing AR15 rifles. They are machined out of 7075 T6 billet stock unlike most other makers that use forged castings. What does machined mean? It means that TTA will be able to make receivers that have details that are not available in forging. Be it mag-well details or stippling.

Either way enjoy the pictures.

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Here is a film I shot for Filmmaker Matt Cibelli way back when. It’s good to see that’s online. I don’t know how I missed it.

We shot on Super16 with Fuji 64D and 500T. We transferred to HDCam and even had 35mm Film-Out made.

One little ‘war story’ in making of film this scene on Cannon Beach. During our scouting were really afraid that character of Min wouldn’t able to push the old man in his wheelchair on the sand. We tried numerous times to push each other and every time the chair would sink in sand. Well, at worked out no one saw it coming and at happened and fell in place.

Hope you enjoy the film.

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Despite the fact that I think of my self as a young guy I can remember “Mikey” tv ads, VHS rental when the store also rented players, Laserdisc, DVD and Divx wars, the wide acceptance of HD TV. More over the migration from film toward digital imaging.

By no means does this mean that I am a Luddite and want to keep my head deep in the sand as the world passes me by. It’s more that the progression of the world doesn’t seem so progressive. You go from grabbing a roll of film and knowing its look and feel, making a choice in seconds–Now, a picture is made but it’s not ready for until someone spends hours in front of a screen just to get it look like right. Then more time to get it to look good on paper.

There was darkroom time in the bygone days but it seems that to take a photo from light to paper takes longer in the era of 1’s and 0’s.

Many will say that the darkroom has simply been replaced by the screen. But, I don’t see it that way. The darkroom was an effiencent place where you would print a test strip and go. Or, at least for me. But, I would also try to work with the same film and paper and developed an understanding of what results I would get in all matter of conditions.

Retouching seems to take hours to do something as simple as building the overall look and feel of the image. What could be made in the time it takes to load a camera to get the contrast, grain, hue, saturation, vibrance now is done in hours in a chair. What was built in by Fuji, Ilford, Kodak is now in the eyes of the viewer at the desk or coffee shop.

But, as Pathé said “The March of Time!”

I had the chance to work with Seattle based artist Susie Lee on her latest project called Swimming The List. It was a really fun project for a few reasons. 1) I have always wanted to shoot dance and never had the chance to. 2) The concept of the dance was right up my alley. 3) The light was really cool in a few ways.

For a long time I have wanted to shoot dancers. It started when I was in college and attempting to capture ballet. There is something really powerful about the body moving so quickly and fluidly that has been stuck in my mind. I don’t think of ballet in terms of a bunch of small steps on tip-toes across a stage as a fairy. I think of long strides with legs that act as catapults to jump like a Jaguar. It has been this type of dance that has most intrigued me.

Susie Lee’s Swimming The List while isn’t filled with big movements it is very dynamic the dancer moves according to tasks that fill her daily life. What is most interesting about the piece though is the dancer’s vocal parts. As she speaks she talks about the trials and tribulations of being an artist. Struggling with who she is in relation to who she would like to be. This strikes a cord as it is something I too struggle with almost daily.

As a cinematographer the piece had some elements that were very interesting. The light used in Swimming The List isn’t light cast from a Leko or Fresnel. Rather, the key light came from two projectors that allow an artist to paint onto the X and Y axes in real time. This gives the dancer the ability to interact with the light in a way that isn’t possible with standard stage lighting.

When watching this interaction your mind makes connections to and with the light that gives it the appearance of having tangible mass. The light is ‘picked’ up, moves and plays with the dancer so that it becomes another player in story. It was really challenging to capture this light in a way that will make it translate to the screen. While easy to do when the light stays on a plane it is very difficult to truly convey the way it looks when it is moving across and through planes.

It all made for a really fun project. Stay tuned for links and clips from the final project.

The Las Vegas based rock band Imagine Dragons were opening for The Parlotones at the High Dive in Seattle last Spring. Imagine Dragons can really put out some good stuff.  What struck me most about this band was just how much energy they have.  From the time they took the stage until the time they finished it was non-stop.  Their song “It’s Time” off the album of the same name has undertones of Tilly and The Wall which is a good thing in my mind. Be sure to keep an ear out for their music and hopefully they will be playing close to you soon.

Twitter: @ImagineDragons

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