SHOOT LIKE A PRO
Peter Fenech meets videographer Ben Price to discuss the differences between shooting still and motion imagery, and the challenges of each
New technologies bring both benefits and challenges. When audio was brought to cinema, silent movie professionals feared how they might fit into the new world of Hollywood. When colour film was introduced, photographers who were experienced in black-andwhite imagery struggled to adapt to the new processes required. And digital photography arrived to much opposition from film loyalists, worried about adopting a different workflow after decades of honing their craft.
Today, we have a similar situation with video. With digital cameras now able to shoot high-definition clips, it has opened up a new world of content creation. As stills photographers, we must decide how this can best be integrated with our existing work.
I’m joining Belfast-based videographer Ben Price to shadow him on a couple of shoots for his commercial clients. I’m hoping to learn the key differences between stills photography and videography at the professional level and what is required to run both media side-by-side.
Ben picks me up in his VW Caddy van, which is fully stocked with boxes of lighting equipment. I feel momentarily embarrassed by my reluctance to travel with a single speedlight.
“This is not broadcast kit. It’s streamlined for speed efficiency,” Ben explains. “People often ask which camera they should get and I always say, use your phone. Get a really good camera phone, you’ll learn it inside and out, you can work instantly and will quickly hone your eye for shots.” This makes me feel a bit better.
As we drive to our first shoot of the day, at a Porsche showroom in east Belfast, I ask Ben how he got started in pro videography. “I always wanted to be in TV. The moving image really appealed to me – the sets, the cameras, I was in awe of it all!” he replies. “I graduated with a degree in Media Production from Teesside University and wanted to be a video editor originally. I’d say
