Taking Pictures on the Move

Taking Pictures on the Move

There’s a new trend in photography, and that’s a growing trend for candid, unsolicited and perfectly random shots.  This is embodied by the popularity of cell phone cameras.  It’s also the main concept of lomography.  Lomography as a brand uses cameras from Russia which are configured not to shoot what you see.  The simplest explanation is that these are still cameras which have visual effects included in the camera.

And since the cameras are designed to create posterized shots, these are not good for realistic renditions.  Lomography is more surreal and based on the feeling of the moment rather than the technical aspect of standard photography.move

I may be biased, but I have not gone into lomography yet.  My current direction is in digital still photography.  However, I do understand the spontaneity being spoused by both cell phone cameras and lomography.  I do have the tendency to shoot candid or stolen shots of people and of landscapes as well.

The candid shots do need a lot to setup.  The first thing I do is to hide the fact that I am going to take a picture, all the while keeping the camera in the open where everyone can see. I try to get as many shots in the open, and with permission.  This allows the people around to see that I’m taking pictures and they can relax and pose as they like.  It breaks the ice, somewhat, and would expect to have their picture taken as well.  If they don’t want to be included in any of the pictures, I would know immediately.

It would help a lot if there was no need for flash.  But that’s an option which I don’t have much choice. And I would rather go with manual focus.  Though auto-focus with a timer has work fine for me, assuming I know what would happen in 10 seconds.  The reason I would rather go manual or aperture-priority automatic is for me to set the focusing distance, and shoot without any other preparation.  Look through the viewfinder in that direction, set all parameters, and then turn and shoot the subject.  It’s a nice exercise.

The spontaneous landscape shots don’t take much preparation.  I usually do it while I’m on a moving vehicle and shooting out the window.  The subject could be anything, sunset or sunrise, billboards, some hills or mountains in the horizon, or a river.  To begin with, there’s not enough time to prepare, as the vehicle would be running with no regard for any picture I take.  I usually focus on a distant object, with no auto-focus, and a fast shutter, with as wide an aperture as possible.  And the lens should be a wide-angle, thoug a prime of 50mm works fine as well.  Long lenses don’t usually work well; zooming in on a subject while on a moving vehicle does not make a good picture.  You’d get more blurs. move2

I usually don’t have time for a light meter reading.  The shutter speed may or may not be automatic.  So far, I have had shoddy success, but the pictures are an aid to memory of my trips.

Appreciating the Artistic Values of Black and White Photography

Black And White Photography

There once was a time when black and white photography was the only type of photography that was available.  That was way before advancements in technology made it possible for beautiful colors to be reflected on photographs – even after it had already been made possible to display these images on the television screen.senyorb&n

As technology began to evolve more and more over time, black and white photography began to become outdated because more and more photographers wanted to be able to create the quality artistry that only color photography could deliver.  Therefore, what once was the only type of photography that was available soon became an alternative option that was dropped down to second place since colorful photography had clearly dominated a top-ranking position.

In recent years, though, it seems as if black and white photography seems to be making a bit of a comeback. Even with all of the technology that we have available at our disposal that allows you to create colorful images both through cameras and even our computers and mobile devices, more and more photographers seem to be going back to the traditional photography of old.  Why is that the case?

A Shift in Creative Artistry and Imagery 

In order to understand why black and white photography has become so popular in recent years, you need to first understand the evolution of the trend that has existed and evolved over the years.  When this type of photography was the only option, photographers began to search for a different way of expressing themselves that would break through the boundaries of ordinary photography and artwork.

They may have tried to apply different photo tricks to spice things up and enhance the quality of the photography but still eagerly anticipated being able to completely leave the world of black and white behind in order to find other ways of expressing themselves.

Transitioning Back to a Past Mentality

Nowadays, it seems as if most digital photographers have the same mentality as the artistic photographer had back then.  Color photography has been prevalently used to a point where it is no longer considered as being as artistic as it was once upon a time.

This is primarily because of the fact that it has become available in massive quantities around the world – even on cell phones, mobile devices and photographic toys designed for children.  Photographers that are constantly looking for ways to expand their artistic portfolio and break away from traditional boundaries in order to express themselves are drifting more and more towards using this type of photography as a more effective alternative method to achieve that goal.

More than Just a Color Change

If you are truly interested in learning DSLR photography tips and tricks when it comes to an artistic level through black and white photography, then you need to understand one important point.  This type of photography is more than just a simple color change.  Today’s cutting edge technology has made it quite simple to change the colors of any image to either black and white within a matter of seconds.

That does not necessarily mean that it can be considered black and white photography, not from the perspective of an artist.  There is much more to it than just changing colors and modifying filters if you truly want to create artistic masterpieces that are black and white.  One of the key principles that you need to take into consideration is the desired subject for your photograph.

You Need to Have the Right SubjectBoscb&n

When it comes to a colorful photograph, there are many different things that can be enjoyed and focused on as the centerpiece and core element of those photographs.  For instance, if you are taking a picture of a young child with colorful clothing in the middle of a colorful garden, then there is a wide range of focal points that can be viewed both in the foreground and the background of that picture.

If you are truly interested in this type of photography, then you need to understand the value of identifying a distinct subject first and foremost.  The photograph is going to have to revolve around that subject, because it is the subject that is going to stand out the most.  There are several different photo tricks that you can implement in order to make sure that the focus stays primarily on the subject, but you need to make sure that you choose one that has the versatility necessary for an artistic work of photographic art.

By focusing on the subject and appreciating the artistic value of black and white photography, you will be able to create some of the most beautiful works of art that have the potential of impressing not only you but also anyone else that has the opportunity to see your work.

Top 10 Digital Photography Tips

TOP 10 DIGITAL PHOTOGRAPHY TIPS

#1 Learn How to See the Lights

See the color of light, see the direction of light, see the quality of light. Look for the shadows and contrast in the scene, that way you can set your exposure accordingly. I have my digital Rebel XTI set in the AV mode and I’m going to use my exposure compensation feature to open up a third of the stop so I can see into the shadows. So remember, learn how to see the light.

#2 Try to Create a Sense of Depth and Dimension

We see the world in three dimensions; height, width and depth. Our cameras only see two dimensions; height and width. It’s our job to try and create a sense of depth. One way to do that is to use a foreground element when we compose in a scene like this a landscape.

So we have that rock in the foreground, we have these mid ground rocks and we have these beautiful rocks in the background. That’s my composition. To get everything in the scene in focus, what I’m actually going to do is use the focus lock on my camera one third into the scene and then recompose and I shot. So remember, try to create a sense of depth and dimension in your pictures.

#3 Take a Hikecoloringos

Actually, take a walk. When you get on location take your time and walk around the subject. Look for all the different photo angles. There are a lot of different photo angles here. I found the best. So remember, when you get on location take a walk and take your time.

#4 Always Look Down, Back and Up

So many people miss great picture opportunities because they are in such a hurry to get to the final location that they miss what’s going on around them. Always look down, always look back and always look up.

#5 Tell the Whole Story

Take the wide angle shots, take the medium shots, take vertical shots, take horizontal shots and look for details. Shoot close ups like these beautiful carvings on the rocks. If you have a lot of pictures you can tell the whole story. As photographers we are story tellers. We need a wide variety of pictures to tell the whole story.

#6 Frame It!

Our camera man will be shooting through the opening in the rocks. This will make it a much more interesting picture than if I was just positioned flat against the rocks. When you are photographing someone look for a doorway or look for a window to frame the person. Look for some branches and you’ll get a much more interesting picture, good enough for framing.

#7 Be Aware of the Background

The background can make or break a picture. I tell my camera men this all the time. I don’t want some object sticking out of my head. Remember, always be aware of the background.

#8 Fill the Frameb&wcat

I’m here at Elephant Rock, one of the most spectacular rock formations in the Valley of Fire. I want to share my picture with my family and friends. What I’ve done is zoomed in and moved in tight so I’ve cropped out the dead space in the sky and the rocks down below that don’t add anything to my picture. So remember, the name of the game is to fill the frame.

Bonus Tip: All rules are meant to be broken. You’re in charge, be creative with your photography. In this situation for example, say you’re doing the school newsletter and you want to send an electronic postcard to someone. You want to tell people in one image where you are. What you could do is leave that dead space on the top and bottom for type, which you could put in the digital document. In general, the name of the game is to fill the frame.

#9 RAW Rules!

When you shoot a jpg file and open that file on your computer, a lot of the information is thrown away, especially in the highlight areas like the sky. When you shoot a raw file, the file retains all the information. If you want to get the most out of your pictures, remember, RAW rules.

#10 Always Envision the End Result

For me, photography is a fifty/fifty deal. Fifty percent image capture and fifty percent digital darkroom wodarkroomrk. Take this scene for example, I can turn this into a beautiful black and white. I can warm up the picture to make it look like I was out here early in the morning or later in the day.

I can pull it off to make it look like it was taken at midnight and perhaps best of all, if there’s a subject in the scene that I don’t want, I can take it out! So always envision the end result.

CATCHING THE SKYLINE

 

Catching the Skyline

On top of the building where I once worked for a computer company, there’s this exclusive restaurant. It’s actually part of a chain or restaurants and has a good menu of continental dishes. The building itself is only about 34 stories high, but from the restaurant the view is breathtaking. The restaurant has a promenade deck of sorts complete with potted plants and you could see up to fifty miles away in all directions, give or take some angles where the taller buildings block the view. It’s a great place to take pictures, specially if the weather is cooperating. And, in fact, even if the weather was not cooperating, or specially if there’s bad weather moving in, the panoramic shots would have been incredibly dramatic.
Catchingtheskyline
There wouldn’t be any real problems with the shots. Panoramic shots would be simple enough to do, with a good wide angle to work with. You only need a tripod with the camera. The sunset is spectacular, but you would need some luck to catch it in its best light. This is due to the smog and haze. Better to take sunset shots after some heavy rain in the afternoon.

It could also be a good platform for taking pictures of the night skyline. What with the first class hotels nearby and the tourist district on one end while the commercial district is on the other end. And yes, lots of the buildings have full lights on deep into the night.

Really, the possibilities are endless.

Taking Pictures of Pictures

Taking Pictures of Pictures

Over the weekend, something unforeseen happened, one thing led to another, and I ended up taking pictures of old pictures.  I had wanted to scan the negatives of these pictures, but I have not had the time to do so.  In this case, my brother-in-law asked me for some old pictures of my husband, as well as any pictures I had of his youngest brother.  It’s not really a long story, I just don’t want to go into it.people-vintage-photo-memories

The task ended up as a group effort between me and my kids.  I asked my son to take the pictures, while me and my daughter filtered through the loose pictures and albums.

I was not feeling up to it, but as there was some need for urgency, I had to plow through.  We did have fun though.  And my son did learn a thing or two about taking pictures of pictures.  Truth is, given the time, I would have opted for a scan of the pictures.  But my scanner is a ten year old machine which doesn’t scan fast enough.  Hence the only alternative was to take pictures.

My son started out with the pictures on the desk and him hovering above the pictures.  Problem was the lighting.  We were just using the regular room lights.  No use for flash as that would wash out the picture.  He had to move to where there was brighter lighting.  After a while he was still slowly edging his way through his task.  He was holding the camera and not using the tripod.  This resulted in blurred pictures, besides taking a long time doing and redoing the pictures.

At that point I substituted for him, in as much as we were already done through choosing which pictures to shoot.  I got the tripod out, experimented a bit with the distance, and started shooting away.  I wasn’t able to shoot all the pictures we chose.  This was because of various reasons, including the contrast of the photos, the glare from the lights, some folding of the pictures, and the slight but very discernible slant for most of the pictures. But I was able to shoot the pictures almost like an assembly line manner:  set the picture, set the aperture, shoot, and cycle.

It was a good drill all in all.  But I guess I should really start on that project of scanning all the pictures using the negatives, if possible.  That would have to be for another day.

How to Use the Shutter Speed

How to Use the Shutter Speed

Motion blur photography is one of the most popular forms of artistic photography that is currently used, valued and appreciated on a global scale.  Being able to master this particular phototechnique, then, is towards the top of the wish list of goals for the average photographer because they know that the quality of their portfolio will skyrocket through the roof once they have been able to master it successfully.

If you have this goal featured on your own personal or professional wish list, then one of the first photo tricks that you are going to need to focus on is being able to effectively manage your shutter speed.  When focusing on how to learn digital photography and mastering this phototechnique, why is it so important to first master shutter speed management?download

The Importance of Your Shutter Speed

In order to fully appreciate the value of shutter speed when it comes to achieving this particular phototechnique, you are first going to have to focus on what creates the motion blur effect in the first place within these photographic images.  This is definitely not something that happens luckily by your camera as a fluke or some other statistical anomaly.  If you have ever had the privilege of seeing a motion blur photograph that was artistically done correctly by an expert photographer, then you are well aware of the fact that these shots were thoroughly planned out and well executed.

The reason for the motion blur overall has nothing to do with luck and everything to do with the shutter speed.   How so?  The motion blur of the photograph is able to exist only because the length of the duration of time that the camera’s shutter is open.  It has to be just long enough for the image sensor on your camera to be able to eventually detect the movement of your subject.  Therefore, you have to be able to effectively work with your shutter and efficiently manage your shutter speed in order to be able to successfully achieve the phototechnique of motion blur photography.

How to Properly Manage Your Shutter Speed

As mentioned above, you need to focus on the timeline that is necessary for your camera’s image sensor to detect the movement of your subject while your shutter is still opened.  Therefore, the top priority that you should be focusing on when it comes to capturing the motion of your subject is to choose an extended shutter speed.

For example, if the shutter speed that you have selected is quick (such as 1/4000 of a second), then it is not going to be able to detect very much movement unless your subject is also moving very fast.  However, if you decide to go with a shutter speed that is much longer (such as 4-5 seconds), then your subject will not need to move much at all in order for you to start being able to see the motion blur appearing within your shots.   Even though you may have thought that shutter speed was not important when it came to mastering this particular phototechnique, hopefully you can now see that you were sadly mistaken.

Getting the Shutter Timing & Lighting Just Right

What timing schedule, then, should you use in order to get the best shot when trying to use this phototechnique?  As briefly discussed earlier, you first have to focus on the speed of the subject and then work your shutter speed into the equation accordingly.  However, the primary factor that is going to play the biggest role is the timing of the subject itself.  For example, you are going to get a completely different shot when capturing the motion of a crawling caterpillar than you would when capturing the motion of a running cheetah – especially if you are using the same shutter speed for both scenarios.

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Another factor that needs to be taken into consideration is the amount of lighting that you are allowing into your actual setting.  Why is the lighting going to affect your shutter speed when trying to master the phototechnique of motion blur photography?  You have to remember that the longer that you decide to leave your shutter open, the more light that will become exposed directly to your camera which will then jeopardize the shot through potential overexposure.

The “Miracle Timeline” Does Not Exist

There is never going to be a “miracle timeline” that works well for all subjects and speeds to refer to when trying to capture the perfect shot.  As the photographer, you have to be able to stay in control and learn how to manage the shutter speed and lighting exposure primarily based on the subject that you are photographing.

By experimenting with different subjects at different speeds, you will eventually find your way to mastering the phototechnique of motion blur photography and will be able to achieve this monumental, career-changing goal.

 

The effects of f-stop values on light

The effects of f-stop values on lightfstop camera

The amount of light that enters the camera through the aperture diaphragm is measured by f-stops. The most common f-stop values are:

f/1.4 f/2.0 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
The higher the f-stop value, the less light goes in the lens (because the aperture is smaller). The mathematical definition of an f-stop is the ratio between the diameter of the lens and the focal length.

What are f-stops and how is their value determined?

The ‘f’ stands for the diameter of the lens and the number following it is the value by which to divide it. An example: with a 50-millimeter lens, f/2 means an aperture opening of 25 millimeter (50 divided by 2). Similarly, using the same lens set at f/4 will mean that the aperture will be 12.5 millimeters.
Since f-stop values are fractures, the larger the f-stop the smaller the aperture. Setting the aperture at f/2.8 will let less light than setting it at f/2.
It’s time for some geometry: if you take a square and divide each of its sides by two you’ll end up with four smaller squares. This is consistent in other shapes as well and also with the aperture in your camera – if you half the diameter of the aperture the reduction in light will be more than by a factor of two. So setting the aperture at f/2 lets in four times more light than setting it at f/4.
To summarize, there are two key things to know about f-stops:
  1. The higher the value the smaller the aperture and the less light that gets in.
  2. Every single-step reduction in the f-stop value reduces the amount of light by a factor of two.
fstop values
 

The f-stops influence the sharpness of a photo

The f-stop you choose will directly influence the sharpness of the resulting photo. A higher value will let less light in and objects in the photo will look sharper, a lower value, on the other hand, will let more light in causing the object that’s in focus to be very sharp and the rest of the photo to be out-of-focus.
This is a wonderful way to shoot outdoor portraits, such as your kid in a field of tulips. Your kid’s face will come out sharp and the field of tulips will be out-of-focus. You can further your knowledge in this topic by reading about aperture.
Now that you know more about f-stops, expand your knowledge of photography and read up on photography lessons, including composing shots and leading lines. Even simpler – click here to sign up for a free email course and get weekly photography lessons straight to your inbox including tips and exercises.

How do you choose a camera bag

Whether you have a point-and-shoot camera or a DSLR, it’s the camera bag that you will be carrying around everywhere, so make sure it is camera_bag2comfortable and that it fits your needs. It should also be adequate for your gear today and your gear one year down the road.
Let’s review the biggest bag-buying mistakes people make and then look at some tips to finding the right camera bag for you.

A great camera bag should contain:

A great camera bag should fit all of your gear today, but also all of the gear you will have in the future. The same thing always happens: a week after you buy your new camera you will want another battery as a back up, a month afterwards it’s another memory card, and after three months you’ll decide that you need the RCA cables with you because your parents can’t view your pictures on the camera’s 3-inch LCD.
For these reasons you have to make sure your camera bag:
  • Has room for the camera itself – the camera needs to be tucked, cushioned, and protected. Not loose.
  • Has room for an extra battery – an extra battery is essential, especially on long trips.
  • Has room for the charger – if your camera comes with rechargeable batteries you will probably want to take the charger with you on longer trips.
  • Has a compartment for a memory card – the extra memory card will get lost quickly if it’s not in a dedicated compartment within the bag.
  • Has room for cables – you might need TV cables or computer cables; it depends on your needs.
  • Has room for additional lenses, filters, and other advanced equipment – this mainly applies to those with additional gear for an SLR (reflex) camera.
  • Has room for your wallet and keys – we sometimes see camera bags that turn into carryalls. It makes sense then (if we take the camera with us often) to have a bag with compartments for things such as a wallet, keys, or a bottle of water.
  • Most camera bags these days are made of some sort of waterproof material. This does not mean you can go ahead and dunk them in a swimming pool, but they do offer invaluable protection from water damage. It is a good idea to check the bag at the store by drizzling a few drops of water on the bag and checking to see if they drip away from the bag or get absorbed in the fabric. Just make sure you ask for permission from the store clerk.
    Some bags (especially the pricier DSLR bags) come with an added rain cover that wraps over the whole bag. Make sure that it covers the whole bag, that it’s taut (it might fly away easily otherwise), and that it can be stored in a special compartment in the bag (most of the time it won’t be raining, but you’ll want to have quick access to the cover when it does).

    Camera Bags for Compact Digital Cameras

    A bag for a compact digital camera is usually a slim bag that only fits the camera and a couple of batteries. It’s important to have a comfortable strap, and enough space for your next camera (from our experience, you will want a new camera before you’ll need a new bag, so make sure the bag you buy today will be able to fit all sorts of cameras). Also, pick a bag that has lots of padding on the sides. It’s not something you want to save a few pennies on and then find out that your camera gets banged up quite hard when you lug it around.

    Camera Bags for DSLR Cameras – Nose-shaped Bags

    Bags for DSLR cameras (reflex cameras) have a compartment for the lens that looks like a nose on a face. The lens fits into the ‘nose’ part of the bag and the camera itself fits in the sides. Important – you must make sure that the length of your bag (the nose) is as long as your longest lens! If that’s not the case you will be forced to always put your camera away with the shorter lens installed (and the long lens stored somewhere else). This is very inconvenient, especially when you want to put the camera in the bag for a short while but you still want to continue shooting with the long lens.
    The biggest mistake made by people who buy a camera bag for their reflex camera is not considering all the additional gear they will have in the future. Avid photographers who have reflex (SLR) cameras almost always purchase additional equipment at some point rendering the expensive bag they bought with their camera unsuitable for the additional lens, the backup battery, and definitely not the tripod. It’s a good idea to think about the gear you will need in the future and get an appropriate camera bag.
    On a different note, the tripod almost never fits into a camera bag and it requires using another bag or strapping it on somehow to your camera bag. If you have lots of gear you should definitely consider buying a large bag (not of the nose-shaped kind) that looks like a medium-sized hiking bag and has many compartments that can fit lenses, a grip, cables and other accessories, and sometimes even a medium-sized, collapsible tripod.

Discover the secrets of your camera’s focus

Which method is best:camera_focus_1

Taking a picture with the use of manual focus or set to autofocus mode? How to focus on an object located at the edge of the frame and what effect it produces in the picture? Focus has become an automatic component in the modern camera and no one really sets their mind to it. On the other hand, with the use of manual or automated focus and “half clicks” you can make the best out of every scene.

 

How does the camera’s focus work

When we say focus, the intention is that what comes out focused is loud and clear, and whatever isn’t comes out blurry. For example, a child stands close to us and behind him a there’s a group of children playing. While we could see the boy in front clearly and visible, the kids behind may seem a little smeared and not in focus.
In most cases the focus of the camera adjust on the object located in the center of the frame, and ensures that the camera will catch a clear image of the main object and everything around it. (e.g. If you take a picture of a girl standing in the middle of the frame ten feet from us –everything that aligns at the same distance from us will be focused. On the other hand, a cat standing six feet away from the second corner might come out blurry).
The simplest cameras contains fixed focus, which by using in a combination with a relatively closed aperture and a relatively long lens, can make almost every object in the frame sharp (Today, compact cameras also come with relatively sophisticated focus mechanisms).
Advanced cameras, such as the Canon EOS models, allow focus according to the direction of the eye. In these cameras sensors located at the Magnifying detect in which direction the pupil are looking, and focus on the object in these areas.
Another possibility is to select manual focus, which allows you (while rotating the lens, or in simpler cameras pushing some buttons) to choose for yourself the objects in focus, as they are reflected in the view or the LCD screen of your camera.

Manual focus or autofocus- Which one is the best for you?

Some photographers choose to operate their focus manually, because they like the feel of full control over every photo they take. Other photographers choose the convenience of auto focus, which in most cases operates just as if they would adjust it manually. Ironically, auto focus allows the photographer to focus on other parameters affecting the photograph such as the shutter speed the film speed etc..
The use of auto focus can also affect the targeted object while applying the simple technique explained below. With the use of this technique many photographers find themselves often giving up manual focus for the benefit of autofocus.
One of the problems with auto focus is that it often focuses on the object at the center of the frame. But, sometimes you wish to focus on the object located at the edge of the frame (e.g. While applying the rule of thirds). In order to set focus on an object located on one side of the frame – First, position the frame so that the object will be located in its center, press “Half a click” in order to set the autofocus, and then move slightly so that the object will be located at the point of selection. Now, complete the click. The final result you’ll receive is a picture with a clear focused object located at the side of the frame.

When it is almost a necessity to use manual focus

There are a few cases in which it is almost a necessity to choose manual focus. Here are some:
  • Shooting flowers and insects – Since insects and flowers tend to move with the wind, autofocus might have a trouble focusing on them. The use of manual focus will ensure that even if the object moves during the shooting – the focus will remain fixated on them.
  • Shooting in haze or strong wind conditions – In a case of haze or strong wind condition, the auto focus mechanism might have a difficulty focusing. Manual focus is the best solution in this case.
  • Low contrast between objects – If the main object and the background are not contrasted enough it might be best to use manual.

 

Why do objects go blurry – even though the focus was “okay”

Always keep in mind that the focus is not the only parameter that determines the sharpness or blur. There is a blur caused as a result of movement, such as a car or a child running. Another parameter might even be the photographer’s trembling hand while taking a shoot. At the same time, remember that as open the aperture is – it is more likely that the objects will turn out blurry. Search pictures of anything you want to get ideas
Read more about photography lessons, camera’s aperture and shutter speed in order to understand how to use them on your way to produce better pictures. You can also simply register for a free photography course and receive every a weekly lesson directly to your mailbox, including a short practice and better Photography Tips: Photography course.

Making An Indie Film? Online Workshops That Help You

Indie Film Making Online Courses


indie film maker online course directorOne website that comes to mind for online training is Indie Film Hustle (IFH). 

IFH provides invaluable film making advice aimed at providing a centralized discussion platform for indie filmmakers around the world. IFH is a very well organized site packed with rich new age content that’s displayed across an elegant mobile responsive and easy to navigate theme. Filmmakers can locate information and search content with ease using IFH.

Alex Ferrari is an Independent Film Maker who decided to launch IFH with one goal in mind, “Helping others and giving back” says Alex. IFH has helped hundreds of indie film makers by providing answers to tough questions through Alex’s blog posts. Whether you have questions about costs or lighting, IFH is full of great advice from peers in the industry.

Visitors have the ability to reach out to Alex directly through email or his contact form in the site. “We love hearing about successes and failures when it comes to film making” says Alex. Input from other indie filmmakers allow Alex and staff to incorporate more information to answers throughout the blog and in Alex’s online courses. Alex went on to say, “Our courses are constantly being updated with new situations and real life experiences from others in the industry.” As we all know, film making even 5 years ago has gone through significant changes that greatly effect the overall strategy for producing an indie film. You can see some of the IFH sample content for how to make an indie film here.

More About The Courses:

The IFH courses online provides students with first hand knowledge about film making from film makers with real life experience. Indie Film Making Online Courses topics included:

  1. Film making Hacks
  2. Marketing & Social Media Dominance
  3. Directing
  4. Screenwriting
  5. Acting
  6. Cinematography
  7. Post Production
  8. Film Distribution