Jeffrey Buras

Here ya go.  Let me know how this file works out for you:

The Hate Credits (Right-click and choose “Save as…”)

A few days ago my aunt told me she searched my name and found my website.  There are a few variations, like “Jeff” vs. “Jeffrey,” searching for my whole name with vs. without quotes, or just “jburas.”  I’ve periodically kept on eye on Google search results for my name, but I’ve never looked into the results for Google Image search.  I would hope it would show some of my photography, but that didn’t happen.

The first result is my 7th grade soccer team:

And the second is… this guy:

Go figure.

I’ve been realy proud of the photography I’ve been doing for Primer Magazine.  I’ve taken some really impressive shots that I would have never been motivated to take on my own.  At the very least, it keeps me shooting every week.

I have so many shots that are never used for Primer that I’ve decided to take the plunge into selling stock photography.  I’ve never wanted to shoot stock photography, but it might be an easy way to have a supplemental (or for now, primary) income.  I’ve always felt that stock photography cheapens my work, but why the hell not?  For now I’m avoiding microstock photography sites like iStock because the photography is less exclusive and pays less (though more often).  I’d rather have one really well-places, well-paying sale than a bunch of cheap sales.  From what I read, the best approach is to do both and save the better images for more exclusive distributers.  Since I’m not looking to spend a whole lot of time on this, I’m just sticking with one.

So I uploaded my first four trial shots for Alamy Images.  They are definitely on the high-end of stock photography, not something you would use for your cheap, generic websites.  They have strict quality-control criteria.  I have to wait an estimated 25 days before they even look at my four trial shots and determine if I’m good enough for their service.  I was initially prevented from even uploading my shots because they were not enough high-resolution.  I had to resize them with Photoshop just so Alamy would even accept my photos.

I’m really glad I invested in my macro extension tubes a while ago. Most of the shots for Primer use macro photography, and I’ve learned a great deal about macro photography from these shoots. For one thing, everything works backwards in macro photography.  I use the wide-angle lens for extreme close ups, and I use the telephoto lens for wider shots.  I’ve only used the medium-length extension tube (20mm), which is actually pretty extreme.  I’ve used a technique where I set the lens to infinity focus and I use my body position (thus camera position) to adjust focus.

I’m also glad I purchased my lights.  Some shots wouldn’t have even been possible without then, and sometimes they just made it easier.  For a large open room with a big window, I used them to fill in the room so that the entire window wouldn’t be blown out.  I also took one shot while standing on a ladder in a garage.  Without the lights, I wouldn’t have been able to get a steady shot.

I’m also glad to make use of all of my old Nikkormat lenses that have no auto-focus or metering.  That’s right, I shoot without metering.  I’ve been doing it since my DSLR lens broke around May.  It really has refined my skill for playing “the exposure game,” being a human light-reader, seeing a scene and intuitively knowing what the exposure will be.  For instance, right now it’s very cloudy outside and it has been raining.  I’m guessing that I’d have to shoot at 400 ISO with F/2 at a 1/120th shutter, maybe even 1/60th depending on what I’m shooting.

The 50mm f/2 lense I got in December is a godsend for low-light situations.  I don’t know how I ever did without it.  This was the lens I used for the shots from The Party Pit that were featured on Brightest Young Things.  At the show, there was only one 4-foot florescent bulb on the ceiling, and I couldn’t use the flash because of my lens.  With good technique, creative use of shadows, and heavy processing, I was able to pull off some great shots.

I attended the MeetUp for the New Orleans Filmmakers Group, which was attended by about 30-40 people in the area.  There was a lot of talk about “building the industry” and “working together.”  The session was geared more to performers, though admittedly about half of the people there were talent.  There was a lengthy discussion about the need for professional-quality headshots for talent in order to woo NY and LA producers (otherwise locals seem naive and unprofessional).

I didn’t find anyone in need of a cinematographer, nor anyone wanting to go for a low-budget project as a show piece.  In fact, most of the actors seemed more interested in my ability to take headshots. I don’t mind taking headshots (because I really do want to help cultivate the reputation of local talent), but it’s not really what I do.  I gave out cards and I’d be glad to do it just for the contacts.  At the very least it could give me something to do while I work toward my long-term goals.

Quite honestly it looks like I’m going to have to write and shoot myself if I’m going to get anything accomplished.  I’d love to work collaboratively with a writer (because that’s more challenging for me than production), but I haven’t found anyone yet (though I haven’t looked very far).  I feel that this industry is all very new to New Orleans, so locals don’t really know what they are doing and a DIY ethic hasn’t developed yet.  The only real successes are people working the business (the people who could actually help the most, but have little interest in developing a unique aesthetic.)

My impression is that this city is being taken advantage of by Hollywood.  There are lots of studio features shooting in the area, which is great, but most of the talent and principle players come from Los Angeles for the duration of the shoot, then go back to California for post-production.  It’s essentially outsourcing, where they do principal photography here for cheap, but most of the profit still goes back to Hollywood.  While this is does bring in a good amount of work and money into New Orleans (we all know this city could use as much money as it can get), it doesn’t take advantage of the talents and creativity of the locals, nor does it boost the reputation of local talent.  The producers, writers, directors, DPs, stars, and principle crew still come from outside NOLA, and no one is going to take a risk on fresh talent.

I’ve gotten more photo assignments from Primer Magazine.  My latest shoot on car maintenance should be out in the next few weeks.  Andrew, the editor, sent out a status update email, pushing for more word-of-mouth promotion and maintaining high-quality content.

I started teaching a local producer/director the basics of Final Cut Pro.  He’s going to Columbia for graduate school soon and he’s going to need to know how to edit.  In the past he worked with other editors to do that work.  And for me… well I don’t have anything else to do.

He showed me the picture edit of his latest film, a moody, semi-narrative post-apocalyptic profile.  I talked with him a bit about local filmmaking scene.  I told him about my frustration with DC’s obsession with political issues and documentary.  He said New Orleans is also documentary-centered, though I get the impression that the subject matter is more personal and less political.  His work seemed more in touch with what I’m trying to accomplish, so I hope he can help guide me in the right direction.

I’ve also been working on an opening credit sequence for Alex Drecun’s “The Hate.”  I saw and early cut of the film last week.  I can’t wait until I can see it in its finished form.  Although I find it funny that Alex chose to shoot 3-perf Super 35mm, only to finish the film in HDCAM.  This was a pretty high budget short, but I would have gone straight to digital to save development and transfer costs.  Although maybe it’s not too misguided considering Dave Insley told me how he intentionally shot The Wire with 3-perf Super35, only to cut out the center to make a 4:3 aspect ratio and stay in standard definition.  But this is all technical nerdiness anyway, so I’ll just stick to shooting with my standard definition MiniDV Canon GL2 (if I ever bring it from Houston).

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