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Download firmware for your Canon product. Calvin Hollywood was working as a boot-camp instructor in the German Air Force when he decided to make a career change. When you see this video in five years, I'll have made it. A friend introduced Calvin to photo editing in He liked it. The problem was that he didn't have any photos to edit, so he started taking his own — just so he had something to retouch. He shot everything and anything, from cars and clouds to his own feet.
Photo editing took over his life. He taught himself in the days before YouTube tutorials, reading books and searching forums for retouching advice. Click here to get inspiring stories and exciting news from Canon Europe Pro.
Sign up now. After a while his interests switched, and he began to see himself less as a retoucher and more as a photographer. So, as an artist, photography was my first goal. In Germany, it was not a well-known style but there came a point where I said, 'Hey, I can be creative. Where do you get your inspiration from? I also get a lot of inspiration from other photographers. Usually, I form a final image in my mind and I write down all of the things that I need to make it real.
Then, I look for a team and I go for it. What's your preferred subject matter? I love to meet interesting people — I always learn a lot from my subjects. How long does a project take to complete? In the last few years, I haven't had so many jobs like this — maybe five or six times in a year. Most of the time I shoot portraits of artists, fitness guys and sports people, whose images could potentially take a lot of time to manipulate.
However, most of the time it's no longer than minutes on each image. I'm very fast, so my 30 minutes is maybe 90 minutes for other people. My workflow always starts with RAW conversion, then fixing problems, then adding a 'look', and then it's done. How do you compose your images? All I can do with the camera and lighting, I try to do — then what I can't do, I'll do in retouching. In my early days it was the opposite, but now I'm more of a photographer than a retoucher.
When I shoot composites and photo manipulations, I have to shoot every single image with the same lighting and the same perspective. Then I bring everything together. When it's one shot, I try to find the right location, the right lighting, the right light modifiers, and the right time to shoot. What gear and settings do you use?
I don't have typical exposure settings — it depends on the image. I hate to manually focus, so I use the autofocus. I have my own Picture Style settings because I like to see the best sharpness in the image.
How do you set up your Picture Style? I want to keep as much detail in the shadows and highlights as possible, all with maximum sharpness. Then I can see what is possible later when retouching. When I don't do this — when I don't sharpen or use a Picture Style that includes maximum sharpness — I have to guess whether it's the best I can get, or whether I'll need to fix it later. How do set up your lighting? It depends on the set and what the picture is for, but my favourite is a three-light setup: two strip lights from the back, and one main, soft light coming from the top-front to get this gritty, edgy look — my unique style that looks a little bit more like a painting, an illustration, or 3D.
What do you admire most about photo editing software? So I can make photos into art and create a particular look. I don't think there's much room for improvement in image manipulation. I think the future is more and more about getting faster with one click.
The resulting color aberrations were then added as layering in the DI to achieve an organic look for the shimmer itself. Format: Digital, 2. I knew it would affect my photography but I was interested in taking that risk.
I wanted to find new textures. I wanted to get surprised by my own images. I also wanted to shoot in 8K to get very precise details in the landscapes and the trees. I never thought of shooting this movie on film because of the way I wanted to be able to operate. I needed a camera as small as an old Hasselblad. I reduced the Red Helium to the smallest box possible with two big wooden grips to hold and I was able to run in the fields like a war photographer.
I could follow Willem Dafoe everywhere and improvise complex shots. I wanted the hand-held operating to be very alive, like if the camera was a character in the movie. The Kowas lenses were very special and dangerous to use because they had nearly no anti-flare coating. So when I was framing the sun I was getting very interesting ghost circles around it.
It looked very similar to the way Vincent Van Gogh was painting the sun. These lenses were far from perfect and this is why I loved them. I often added split diopters on them to blur the bottom of the frame when we were shooting subjective shots of Vincent having a crisis.
Format: 35mm Film Kodak , Anamorphic with Seamus McGarvey: From my very first discussions with director Drew Goddard about the cinematographic look of the film we always talked about shooting on film using anamorphic lenses.
You can throw the background out of focus more effectively. It is also a beautiful format for portraiture. We had extreme wides in our set, but also a lot of key moments play in close-up. The older C series lenses bring in a bit of personality. Sometimes people want a bit of distance and a gauze between you and the set and the actor.
It somehow brings in a little bit of the essence and magic of cinema. Shooting with film as our medium lent the movie texture in color, contrast and grain. I love how film depicts the profundity of the darkness and the detail in highlights especially in flames which were crucial elements in our story. Shooting on film demands a discipline which I have witnessed disappearing on some of the digital productions I have shot.
With film there is a respect for the actual take… it almost makes the set a more holy place! Bruno Delbonnel: I was trying to keep things as simple as possible since it was the first time Joel and Ethan Coen were using a digital camera. Light and framing are more important than the new toys. For this project, the closest to this set on digital was the Alexa studio and its optical finder and a set of master primes because of the extra stop I would need on remote locations with a very limited access to big generators.
Six different very remote landscapes were shot during a very bad summer weather-wise. I guess the Alexa and its wide latitude helped me to get the contrast I needed when going from a sunny morning to an overcast afternoon. Ruben Impens: We wanted the film in a aspect ratio and a look that feels not too modern, the movie takes place in When analyzing the test footage we very quickly feel in love with the hawk look.
I had never used this 1. We had a lot of sunny exterior locations and the anamorphic bokeh felt just right. The Alexa 65 was interesting but too clean and the lens choices rather limited, plus because we only had a couple of weeks left in prep I was uncomfortable going down that path. I needed more time. About the camera movements. The pace of the movie is rather slow and so is the camera, it creeps on you.
That was the idea and it worked out very well. Format : 3. We shot the majority of the film on the 27mm, 30mm and the 35mm. Rachel Morrison: We ultimately chose spherical 35mm sensor over 65mm or anamorphic because [director] Ryan [Coogler] really wanted a naturalistic feel and wanted a deeper depth of field so that the audience could see and experience the world of Wakanda.
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