Imagery in MotionJay P. Morgan transitions from still photography to video with his DSLRs and a trio of Tamron lenses. |
Article By Jennifer Gidman Video by Jay P Morgan |
Jay P. Morgan is known for effectively incorporating the outlandish into his photography and film work, as well as for his ability to harness the latest technological innovations to execute complicated shoots that have garnered him international acclaim and a lengthy clientele list that includes Pizza Hut, Kraft, and Columbia Pictures. That's why it's no surprise that the commercial shooter has enthusiastically melded his traditional photo equipment with his cinematic gear, capturing video with his DSLR arsenal. "I shot for a long time using regular high-def cinematic cameras, and then DSLRs came out with the shallow depth-of-field I needed and sensors that gave me incredible detail - I was hooked," he says. "It's intuitive for photographers, because it's a world we're used to." Morgan uses three Tamron lenses on his DSLRs: the SP 17-50mm F/2.8 VC, the 18-270mm VC PZD, and the wide-angle SP 10-24mm. "We use all three lenses for our video work, though the 17-50 is the one we use the most," Morgan says. "All three are fast and sharp, and that F/2.8 on the 17-50 gives us full focus, which we love. Plus, we might be running six different cameras on set when we're shooting video - it's pretty monumental to be able to economically outfit each camera with its own lens." |
Adventures in Video |
Morgan has shot video commercials, organizational promos, and tutorials for his Slanted Lens website - all with Tamron lenses. "We recently shot a piece with Liz Hernandez from the E! television network that was all about using strobes and reflectors, as well as a how-to video on how to shoot black-and-white," he says. "We're about to put up a video soon that's all about the basics of shooting with DSLRs." |
Morgan also just finished a piece for Riley's Farm, a historical homestead that's part of the Providential Heritage Academy. "Using all three Tamron lenses, we shot a video about Scott Riley, the man who runs the farm," he says. "Every day this guy gets up and pretends he's an Irish immigrant, helping schoolkids push handcarts around 800 acres of property. The subject matter for this video was so rich - we started out using cinematic slider moves across his clothing as he got dressed, then moved outside to get the covered wagons, vistas, and mountains in the background with the sun going down. It felt like a film with the production value." |
Even though video for TV is typically shot at 30 frames per second (fps), Morgan shoots at 24 fps. "That rate looks and feels more like film," he says. "For your shutter speed, you generally shoot twice your frame rate - so if I'm shooting at 24 fps, I want my shutter speed to be 1/50th of a second. I shoot at the native ISOs for my DSLRs, which include 160, 320, 640, and 1250 - I'm not at all uncomfortable bumping the ISO up to 320 or 640." |
To get the really shallow depth-of-field Morgan often desires, the F/2.8 maximum aperture on the Tamron 17-50 VC comes in handy. "Other times I'll have it at F/5.6 or 6.3, which is still fairly shallow but looks really nice," he says. "Also, if you're shooting outside, you want to put a neutral-density filter on to get that shallow depth-of-field. With these cameras and Tamron lenses, the result looks as clean and high-quality as when you're using high-end high-def cameras." |
One adjustment that still photographers have to be cognizant of is the time constraint involved with shooting video. "I can't shoot more than 12-minute clips when shooting in the FAT32 format, which is useful to shoot in because it's cross-platform and can be used on Macs and PCs - the camera shuts down after that time has elapsed," Morgan explains. "You can run into problems if you're shooting a documentary with people you're having long conversations with. You just have to keep your eye on the clock and know that every 12 minutes you have to shut down your camera and restart it." |
Learning to Shoot on the Move |
For photographers jumping into cinematography for the first time, Morgan acknowledges additional challenges: moving the camera and focusing. "Shooting video is totally different from shooting still photography," he explains. "You have to be comfortable with the focus moving. For that Riley's Farm video, for instance, we would be focusing on the subject's face, then move onto his hand and watch from an interesting angle - the photos were constantly changing, as was the focus." |
To add control to the camera's movement, Morgan and his team use sliders like the crane-like structures used in traditional cinematography. "This allows you to move with the camera so your panning has that dolly-like look to it," he says. "We also use a glide-cam rig, a handheld single arm that allows for steady motion: You use one hand to hold the handle and the other hand to guide it." |
Focusing can prove challenging as well. "Generally speaking, the screen on the back of the camera isn't big enough to see the focus well," Morgan says. "Using an eye-cam loupe on the camera or a monitor helps us with the focus. If we're going to handhold using a RedRock DSLR rig, that device has a focus wheel that helps." |
Because many photographers remain entrenched in the world of still photography, a motion-filled approach may take some adjustment. "To get used to shooting like this, look at the films you really like - turn the sound off and watch the video," Morgan advises. "Watch the camera move and what it's doing." |
The biggest piece of advice Morgan offers to photographers venturing into video is to remain focused on the concept. "It's great to be able to shoot video, but it's still really about creating really good stories and exploring your subject matter," he says. "You might think in single shots too much when you're starting to shoot video, and you need to start thinking in a series of shots, which means your story is going to build, climax, and then gently glide to an end." |
To see more of Jay P. Morgan's photography and film, go to www.jaypmorgan.com or to http://theslantedlens.com/, his site for digital photography tips and techniques. |