(Adapted from a post from February, 2020.)
In 1972, I was hired as an intern/assistant/general dogsbody at a small, strictly non-Hollywood film production company in Chattanooga. We made what were called in those days “industrial” movies (basically short films made to promote and/or sell a product). We also made many training filmstrips, mostly for the fast-food industry. (For the younger set, I should explain that a filmstrip is a series of still photographs arranged in a story-telling sequence on a single strip of film with a recorded narration and shown by means of a special projector.)
As I said, my company was by no means a large operation. Usually, a two-man team was sent out on jobs like this: a director, who was also in many cases the script writer, and a photographer. I was just along to help out and to gain experience.
Our lighting setup for this kind of work usually consisted of three 1000-watt daylight blue tungsten floodlight bulbs in 18-inch reflectors which we called “scoops.” I was salivating with anticipation, because this was finally my chance to learn all about lighting ratios and exotic stuff like that.
We set up the lights at the work area and the photographer moved them around a bit. He turned to the director and said, “That look okay to you?” The director said, “Looks good to me. Shoot it.”
And thereby I learned the most valuable lesson I’ve ever learned about photography: photography is all about how things look. If it looks good, it is good. Shoot it!
(And then, if you can, find a different angle and shoot it again. It may look even better.)
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I post Monday, Wednesday, and Friday unless life gets in the way.
"If it looks good, shoot it," is right up there with "f/8 and be there" in terms of fundamental advice in photography!
ReplyDeleteThanks for your comment, Jim. Photography has many many aspects, but first and foremost is what is seen. So "If it looks good, shoot it!"
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