# data[].attributes.body
https://www.youtube.com/watch?annotation_id=annotation_2944111535&feature=iv&src_vid=gT-G42cskH4&v=kxLCCZH6LOs

"I see the picture in my mind's eye, and I make the photograph, and then I give it to you as the equivalent of what I saw and felt. The whole key lies very specifically  in seeing it in the minds eye, which we call visualization.

# data[].attributes.body
http://www.bls.gov/ooh/media-and-communication/film-and-video-editors-and-camera-operators.htm

2015 Median Pay | $55,740 per year $26.80 per hour
Typical Entry-Level Education | Bachelor's degree
Work Experience in a Related Occupation | None
On-the-job Training | None
Number of Jobs, 2014 | 58,900
Job Outlook, 2014-24 | 11% (Faster than average)
Employment Change, 2014-24 | 6,400

# data[].attributes.body
https://www.youtube.com/watch?v=pFuvZL0MN3A&t=662s

# data[].attributes.attachment_link.title
How Much Money Does a Cinematographer Make?

# data[].attributes.attachment_link.description
In this episode of Cine Industry we break down the day rates of DP's at different levels of production. These rates are based on NYC/LA (2016) commercial standards. Every market is different, so just take this as one data point. Your situation may be different.

# data[].attributes.body
https://www.youtube.com/watch?v=SFgptwI8eEs

# data[].attributes.attachment_link.description
We spend plenty of time talking about framing, composition and lighting. What about the core of visual filmmaking?

# data[].attributes.body
http://www.cambridgeincolour.com/tutorials/camera-shutter-speed.htm

# data[].attributes.body
http://www.cambridgeincolour.com/tutorials/camera-exposure.htm

Aperture: controls the area over which light can enter your camera
-A camera's aperture setting controls the area over which light can pass through your camera lens. It is specified in terms of an f-stop value, which can at times be counterintuitive, because the area of the opening increases as the f-stop decreases.

Shutter speed: controls the duration of the exposure

-Shutter speed's influence on exposure is perhaps the simplest of the three camera settings: it correlates exactly 1:1 with the amount of light entering the camera. For example, when the exposure time doubles the amount of light entering the camera doubles. It's also the setting that has the widest range of possibilities

-With waterfalls and other creative shots, motion blur is sometimes desirable

-For more on this topic, see the tutorial on Using Camera Shutter Speed Creatively.

ISO speed: controls the sensitivity of your camera's sensor to a given amount of light

One can therefore use many combinations of the above three settings to achieve the same exposure. The key, however, is knowing which trade-offs to make, since each setting also influences other image properties. For example, aperture affects depth of field, shutter speed affects motion blur and ISO speed affects image noise.

# data[].attributes.body
http://www.nikonusa.com/en/learn-and-explore/article/g3cu6o1r/understanding-maximum-aperture.html

-Aperture refers to the opening of a lens's diaphragm through which light passes. It is calibrated in f/stops and is generally written as numbers such as 1.4, 2, 2.8, 4, 5.6, 8, 11 and 16. The lower f/stops give more exposure because they represent the larger apertures, while the higher f/stops give less exposure because they represent smaller apertures.

-Depth of field is defined as "the zone of acceptable sharpness in front of and behind the subject on which the lens is focused." Simply put: how sharp or blurry is the area behind your subject. Here's the equation:

--The lower the f/stop—the larger the opening in the lens—the less depth of field—the blurrier the background.

--The higher the f/stop—the smaller the opening in the lens—the greater the depth of field—the sharper the background.

-
We use focus and depth of field to direct attention to what is important in the photograph, and we use lack of focus to minimize distractions that cannot be eliminated from the composition. While there are no rules, there are some guidelines.

--For classic portraiture we separate our subject from the surroundings by using "selective focus." Choosing a large aperture (lower f/stop, like f2.8) creates very shallow depth of field with only the subject, or just a portion of the subject, in focus. This helps direct the viewer's attention to the subject.

--In a landscape or scenic photograph we usually want to see as much detail as possible from foreground to background; we want to achieve the maximum depth of field by choosing a small aperture (higher f/stop, like f/8 or f/11).

-Videographers and cinematographers use Depth-of-Field to your advantage to create more interesting shots for your videos. The same way that photographers use a shallow depth of field to separate a subject from its background, or deep depth of field to ensure everything in a scene is in focus from the foreground to the background—you can use these techniques in your videos.

# data[].attributes.body
https://dailypost.wordpress.com/2014/07/31/visual-storytelling/

# data[].attributes.body
https://www.youtube.com/watch?v=7zxancgfDVg

# data[].attributes.body
https://www.youtube.com/watch?v=8q4X2vDRfRk

# data[].attributes.attachment_link.description
One overlooked aspect of Spielberg is that he's actually a stealth master of the long take. From Duel to Tintin, for forty years, he has sneakily filmed many scenes in a single continuous shot. Eight long examples: https://vimeo.com/tonyzhou/spielberg-eight Twelve short examples: https://vimeo.com/tonyzhou/spielberg-twelve For educational purposes only. English & Portuguese subtitles by Akemi Mitsueda.

# data[].attributes.body
https://www.youtube.com/watch?v=aXgFcNUWqX0

# data[].attributes.headline
Lenses - Storytelling with Cinematography

# data[].attributes.subject
Lenses - Storytelling with Cinematography

# data[].attributes.body
https://www.youtube.com/watch?v=VlnwLGtgb1o

# data[].attributes.attachment_link.title
Lenses - Storytelling with Cinematography

# data[].attributes.body
https://www.youtube.com/watch?v=CvLQJReDhic

# data[].attributes.headline
John Shaw's Nature Photography Field Guide

# data[].attributes.subject
John Shaw's Nature Photography Field Guide

# data[].attributes.body
Shaw, John. John Shaw's Nature Photography Field Guide. New York, Amphoto Books, 2000.

"Instead of being limited to one view of the world, you can switch between expansive, all inclusive coverage to tight selection of one detail, all by changing the lens mounted on the camera. ...
Photography helps us create out of the visual chaos we encounter daily. When we take a picture, we emphasize one aspect of our own experience over all others; by isolating a particular subject and choosing how much of it to include within a frame, we give it importance." (Shaw 70)

Aperture

# data[].attributes.body
Atget, Eugène, and Andreas Krase. Paris Eugène Atget 1857 - 1927. Hong Kong, Taschen, 2008.

"Atget almost always passed by the 'great sights and so-called landmarks';... Remarkably, however, almost all these pictures are empty.... It is in these achievements that surrealist photography sets the scene for a salutary estrangement between man and his surroundings. It gives free play to the politically educated eye, under whose gaze all intimacies are sacrificed to the illumination of detail."

" Atget's preference for short focal ranges led to powerfully foreshortened perspectives which highlight the Baroque hierarchy of the garden's architectural components - statues, balustrades, and flambeaux. The main subject - ornamental vases or groups of figures - is generally off-centre, and Atget did not shrink from vivid contrasts of light, which resulted in highly-charged compositions with a strong sense of space." (Atgens 93) on photographs of old parks in Paris

# data[].attributes.body
Adams, Ansel, Andrea Gray. Stillman, and Richard Woodward. Ansel Adams in the National Parks: Photographs from America's Wild Places. New York: Little, Brown, 2010. Print.

"...one, that there is a profound difference between recreation and re-creation and that the experience of nature relates to the latter through what the great National Parks and Wilderness Areas offer us; two, that art is about the only way to bring about an adequate and exciting contact between the realities of society and the implications and potentials of nature; and, three, that man must be guided, not driven, to the appropriate and effective relationship with the world in which he lives..." -Ansel Adams

"'A photograph is made not taken,'... In that simple statement are subsumed his more than fifty years in pursuit of excellence in photography-- his exploration of its expressive possibilities; his mastery of its techniques, processes, practical chemistry, and physics; his development of the zone system...; and his consistent effort to deal with photography as a fine art."- Wallace Stegner

"We are looking down through clear water to submerged rocks" "This shows how pure that water was! It's very clear, and the sky was a deep blue. If there had been clouds in the sky, you would have had a terrible time with the cloud reflections." (Adams 110) -Ansel Adams on a photograph of a lake near Muir Pass, Kings Canyon National Park, California, 1934.

"... Ansel published a book of his photographs of the Sierra Nevada... President Franklin D. Roosevelt, who was greatly impressed [with the book] and, in 1940, signed legislation creating Kings Canyon National Park." (Adams 132)

# data[].attributes.body
http://www.elementsofcinema.com/cinematography/composition.html
-Composition rules and conventions are older than cinema and photography. Most of the concepts in this page have been used for thousands of years in painting.

-lead room or lead space: If a character is looking frame left, then he should be placed frame right. This makes the framing comfortable because the subject is looking at the open space in front of him.

-Rule of Thirds: imagine the frame with two vertical lines and two horizontal lines. The intersections of the lines are points of interest, where important objects are often placed. These points of interest are comfortable to the eye, thus the middle portion of the frame are kept "empty" or clear.

-Static Composition: Compositions with the majority of lines being horizontal or vertical... In theory, horizontal and vertical lines are somewhat soothing, calm, tranquil.

--Dynamic Composition: composition [that] has many diagonal lines.... The dynamism or excitement comes from the fact the diagonals are somewhat unsettling

# data[].attributes.body
http://entertainment.howstuffworks.com/cinematogr-apher1.htm
-The cinematographer discusses the director's vision for the film

- decides on the best combination of cameras, filters and lenses, as well as where the cameras will be placed, what the lighting should be and when the scene will be shot.

-works with the processing lab to make sure the film retains the color and mood that he and the director wanted.

-Having a good artistic eye for photography, or in other words, being able to frame shots and recognize good shots, as any photographer would.
-Having knowledge of film-specific photography equipment and techniques, such as film cameras on dollies, hand-held cameras, the Steadicam and blue screen. This includes both set-up and operation.

Becoming a cinematographer requires a lot of technical training that never ends. That's because the technology behind cinematography changes constantly as new equipment and new techniques are developed.

# data[].attributes.body
-http://photographyconcentrate.com/camera-buying-guide/

# data[].attributes.body
http://digital-photography-school.com/21-settings-techniques-and-rules-all-new-camera-owners-should-know/

-Aperture and Shutter Priority Mode –  Aperture and Shutter Priority modes take you out of Automatic mode giving you more control over your images – but don’t thrust you fully into manual mode

-Introduction to White Balance – one of the most common problems that I see in beginner photographer images are shots with incorrect color.

-Understanding Histograms –  little graphs or charts on their camera. While they might seem a little technical it is amazing how simple a histogram is to interpret. Know what you’re looking for and with just a glance you’ll know if your image is under or over exposed. It’s a useful tool to master.

- Automatic Exposure Bracketing (AEB) – this feature is another of those often unexplored settings that many cameras have built into them that will allow you to get well exposed shots in even the trickiest of lighting situations.

-Shutter Release Technique – another ‘basic’ or ‘beginner’ type tip that many do intuitively – but which can drastically improve your photography if you don’t do it.

-Focal Lock – yet another beginner technique that many of us take for granted yet which is at the core of how all digital cameras focus automatically. Get this wrong and you’ll take a lot of shots of out of focus subjects and in focus backgrounds!

-Shallow Depth of Field – a great technique to learn if you’re into many types of photography (portraits, macro etc) is how to control the depth of field in your shots and make your main subject ‘pop’ out by making your background nicely blurred

-Exposure – this post talks new camera owners through the three main elements of Exposure.

-Points of Interest – an image without some visual point of interest in it is unlikely to hold the eye of anyone viewing it.

-The Rule of Thirds – whether you know it to follow it or break it – it’s something you should at least know about.