Description
Book SynopsisBased on the author''s real-world experience, this book provides a comprehensive guide on how to develop a professional career and client base as a unit stills photographer in the entertainment industry.
Industry veteran Jace Downs takes readers behind the scenes as he explores production from the perspective of a unit stills photographer. Honest and entertaining, chapters cover the production environment, set etiquette, equipment, dealing with difficult talent, shooting on set, developing a client base, joining the union and much more.
Accessible to those within and outside of the entertainment industry, this book is ideal for intermediate level photographers looking to expand their skillset and client base, as well as for aspiring photographers who would like more insight into photography work in entertainment production.
Table of ContentsPart I: Introduction to Unit Photography
1. What Is Unit Photography?
2. How Production Stills Are Used
3. Why Unit Photography Is a Great Job
4. So What's the Catch?
5. A Final Word About the Pros and Cons
6. A Day in the Life of a Unit Photographer
Part II: A Brief Introduction to Production
7. Production vs. Distribution
8. Production Roles and Departments
9. Key On-Set Phrases
10. Set Etiquette, Priorities and Politics
11. Working with "Sensitive" Talent
Part III: The Unit Photographer's Kit
12. Equipment Overview
13. Selecting a Camera System
14. Selecting Lenses
15. Computer Hardware and Software
16. Travel Lighting Kit
17. Protecting, Acclimating and Carrying Your Cameras
18. Weather Gear
19. Insurance and Pro-Gear Organizations
Part IV: The Art of Unit Photography
20. Looking Back and Ahead
21. How to Read a Call Sheet
22. The Lay of the Land
23. Who and What to Shoot
24. Getting Complete Coverage
25. Shooting Positions on Set
26. Camera Settings for Unit Photography
27. Editing and Image Delivery
28. Beyond Publicity Stills
Part V: The Business of Unit Photography
29. Tips for Starting Your Career
30. Who Hires Unit Photographers?
31. Developing a Client Base
32. The Camera Union
33. Image Rights
34. In Conclusion
