Pulse Oshkosh was simply amazing.
Months of prayer, Ministries coming together, 5000 in attendance, and 800 responses to the Gospel. I am so grateful to be a part of what God is doing across the college campuses of America.
Photos credits: IPS Photo, Rowan Gillson, Jocelyn Gillson, Matt Derrit.
There’s a lot of work to be done in the next two weeks, – both for editing and live production – but I’m really excited about getting everything ready for PULSE Oshkosh, on March 4th. If you’re in the area, it’s free with a valid Student I.D. Here’s a taste of what we’re in for:
Skillet
Superchick
Flame
I’m glad I was able to play a small role (shooting the first two lapses) in 9Mark’s new promo video working with Edd Blott, Andrew Lisi, and Lukas Naugle. And just in case you’re wondering, it was 8 degrees out with a windchill, when I shot it.
You can find additional information on Reverberation and a link to the book here.
PULSE | UW Oshkosh Promo
Skillet, Superchick, Flame, Nick Hall
Kolf Arena – March 4, 2011
Pulseoshkosh.com
Animation & Edit: Telescope
Jack’s Christmas – Canon 50D 50mm F1.8 1/125 ISO 250
Last year, I began the tradition of taking individual portraits of the children on Christmas day. First of all, this serves as an excellent chronology of the family, and it’s an easy day to remember. I’m also a sucker for shooting anything with the bokeh of Christmas lights in the background – especially when we find a vintage shirt of mine that fits our little Jack.
The interesting thing for me – technically speaking - is that I always shoot them under constant illumination. I do this for a couple reasons – on a practical level, I only own one flash, and professionally, I’m simply more comfortable with a traditional 3 or 4 point video lighting kit.
Is this a bad approach? I don’t think so. If the final result looks great, I’m not one to critique how you get there. Additionally, a similar technique has already been used for such high-profile projects as Megan Fox’s Esquire cover and online spreads for the New York Times. Now, I know I’m simply snapping stills of my kids here, but I’m becoming increasingly convinced that constant illumination and/or a combination of available light will be the future of lighting for still photography. With cameras like the Red One, Epic, and others on the way that shot moving images in raw format, I think still photography – especially lighting for portraiture – is going to become a game of shooting for motion and extracting a still in post in the next couple of years.
In the mean time, I’ll keep happily snapping portraits of my children with my video light kit and probably pick up a softbox and extension cord for my flash.
