American PHOTO - July August 2010 by American PHOTO

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When serious DSLR video requires the adjustment of focus during the shot, this might be the only alternative that works. That’s an argument for setting up video shots with a single plane of focus, making sure you have enough depth of field to cover any error and keeping the subject (or anything else you want sharp) as much as possible in the same plane. In general, video requires much more advance planning than still photography. It demands a way of thinking and working to which many interested still photographers will have to adapt.

That’s really where I first saw that there was this whole scene,” she recalls. ” All along, she documented the colorful backstage action with a compact camera (see “Behind the Lens”). The resulting images offer an insider’s view into this distinctive mix, equal parts burlesque, carnival and performance art. ” AP Burlesque might thrive in the spotlight, but Curtis was drawn to life behind the curtain. “That’s the best part of the whole experience,” she notes. “It was important for me to capture a side you never would see unless you were a performer.

Thus a 24 fps frame rate calls for a shutter speed of 1/50 second (rounded up); likewise, 30 fps calls for 1/60 second. These combinations are considered by many to produce the most natural-looking motion. Shutter speeds ranging from 1/30 to 1/125 of a second can also be used, producing acceptably smooth movement — and giving you a little more leeway with your exposure control. But keep in mind that higher shutter speeds might produce abrupt, jerky motion. David Harry Stewart cautions that you must use 1/50 or 1/100 O P P O S I T E : © G U Y R H O D E S ; L E F T, TO P TO B OT TO M : © R O B E R T C A P L I N ; © G U Y R H O D E S Top: A scene from Betrayed, a short HD video thriller shot by photographercinematographer Robert Caplin and directed by Joshua Grossberg, created entirely with the Canon EOS 5D Mark II.

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