Fire and Ice—Lamborghini 1 With extensive backgrounds in shooting action — from automobile chases to high-intensity athletic motion — Edward Khoma and I together founded Abandon Visuals, a full production house specializing in the creation of unique TV, film and commercial content. It’s our mission to evolve with, create for and adapt to [...]
In photojournalism, it’s all about using pictures to tell the story. I approach every assignment the same way, asking myself, “What tools will I use? Will I use still or video? How am I going to tell this story?” More recently, I’ve been asking myself new questions: “Will I use the Ricoh Theta? Will the [...]
When you love something so much that you’re willing to put your life at risk, go without sleep for days, and experience family holidays by yourself in pursuit of it, you know you’ve found your passion. For me, that passion is photography. From the first time I picked up a camera, I was fascinated by [...]
I seek adventure — whether that be shooting surfers in Costa Rica surrounded by bull sharks and crocodiles, hiking the snowy Andes while documenting blind, wounded veterans en route to the summit of South America’s highest glacier, or filming snowboarders in waist-deep powder in the Wyoming backcountry. But 2015 proved to be a different kind [...]
Fred Blurton Productions uses the JVC GY-LS300 for 4K and HD video shoots. Fred Blurton Productions has been using technology to promote communication with style and creativity since 2002. We handle a variety of projects, including live events, corporate video, broadcast projects and still photography. One of the latest and greatest tools in our [...]
My adventure into video started in the early 2000s, when non-linear editing programs like Final Cut Pro and Avid became available for desktop computers. Much of the work was still standard definition, and I was using the Sony PD150 — an affordable mini tape camera for documentary projects. (Important projects were still shot on expensive, professional full-size shoulder video cameras.) The PD150 had tiny chips that were not especially light-sensitive and created a “PD150 look” of deep depth of field — not very cinematic. In other words, everything was in focus all the time. The high compression of the mini tape cameras left something to be desired in image quality as well.