Ef Vs Ef S Lenses
General objective lenses: Canon EF-S 15-85mm vs EF 17-40mm?

What would be better for the general use of a crop body 1.6? Thanks in advance!

Personally, I get the 1915 to 1985, the range of 17-40 is too limiting for me, the constant opening or not.

Ef Vs Ef S Lenses

The written word: Rajeev Jain (India Photo) Visual …. magic

Philosophy

The world has just entered its overall much smaller. I'm still in a total state of disbelief. The heinous crimes of the recent suicide bombings have been beyond comprehension and human logic. How is it that our goals and aspirations can be so different, despite sharing the same mold? As a parent I am always encouraging and my two little angels Abigail Jain (17yrs.) and Kimberly Jain (13 years) to work hard, be fair, be honest, be good and human, and especially, have a open-minded and tolerant of others.

The terrorists who carried out the deadly plan lied, cheated, murdered and tried all those who do not subscribe to their perversion of faith and morals twisted.

This moment is very difficult to be positive, but the future of our children and the rights of a free democracy depends on everyone continues to protect the opportunity to pursue what is important and appropriate for each individual.

The market is in a total state of flux. Everyone in our company is the difficulty of the existing customers and strive to maintain what they have. Add the challenge of preparing for HDTV and the plethora of options to format the equation and you have a difficult situation.

Take the higher planes of the industry was not overnight. Born in Lucknow and a graduate of Lucknow University and Academy of Bhartendu Dramatic Arts (Bhartendu Natya Academy / Bhartendu Natak Akademi), my career has led in recent years, Lucknow, Mumbai in search of my dreams. And companies have varied organizations television stations, as advertising agencies and capabilities. Despite all the achievements and of course my different skills, I am still very loyal to my first love and that love for movies.

I believe that the DOP is a primary task: to serve the director's vision of history. Some DOP seem determined to make a film different from what is the director of Decision – Such behavior is totally unprofessional, even silly. I strive to maintain a fully professional attitude if you turn 16 / 35 mm high 24P definition or video. The shooting of the film, I try to do my best every time he can be.

One of the great pleasures of cinema is collaboration. I am making great efforts and the efforts to put on something other than what I can on every shot. I try to understand the vision the director tries to bring to the forefront, presenting a vision in its entirety and make it as realistic as possible, then it becomes my only goal.

Some managers prefer to control every aspect of the image, and at the other extreme, some prefer to focus on the direction of actors and almost left the picture to me. Usually, of course, most of the Director of FIT somewhere in the middle. I am completely at ease work either.

The RFP has another job, of course, and that production is to help with the program or the time and budget. I can take these responsibilities very seriously as well. Being a director of photography is much more than being good in the lighting and camera (Even those that are primary, of course), but also to a large extent management "job, who are responsible for a number of people, different departments, equipment, etc. My experience in productions large and small, very simple to very complex outbreaks gives me the experience necessary to manage the various responsibilities and balance.

I am the head of a club as big as any else, but please!

The reality is that it is better to know the client and be honest with you on your market, make the most of their activity in the error that many people dream of what could be and not focus on what is.

For me, I have an eclectic mix of works. I continued to shoot commercials, music videos.

Personally, I think you'd better enjoy what you do and have fun as much as possible while doing it. I was very lucky to connect with many great people, crew and production in households.

I realized that the instinct is to start directing my life. You do not care "what if s", I just do what feels good and seems surprising to develop. The old rule is true, if seems too good to be true …. Hard work is the only substitute for the lack of natural luck, hell not even know how to spell opportunity. As freelancer, you must make your Luckily, you have to sit and think about what kind of work you want and then make contacts, make calls and pursue what you want.

There are hundreds of ways to deceive and a few to go right. There is only one objective: To beautiful images that serve the story and convergence on the issue.

It was an odd year (2009). I lost a series of commercials Africa, Asia, Europe and the slowdown of the economy, war and terrorism of extremism in the Middle East.

And finally this year (2010) turned 43.

So if you receive a call from me one day, do not be surprised too.

MY MISSION
To use my skills, experience and professionalism to provide different film productions and convincing.

JAIN Rajeev s TAKE ON ……

PREP
I work on complex problems in preparing to implement simple solutions production. Tracking, shot list, story boarding, script meetings, watching rehearsals, the evidence of stock lenses, makeup and costumes, programming and working with department heads – do not improvise. I prepare myself to where I can use my intuition to the unexpected, rise above the game plan and take the film to a higher level.

ADMINISTRATION
What makes me happy – the passion is working with the directors to take risks. If the film is meticulously storyboard or improvisation, for preparing to wrap, try to unlock what the director has in mind, I understand, refine and capture.

PRODUCERS
I know how to work with a producer for one dollar fifteen cents. Whether playing my extensive contacts efficiently crew scheduling and equipment, and find innovative and ingenious ways to roll a film, nailing a shot to have a – I think that any expenditure of self.

CREW
I have contacts set up a camera and lighting equipment for most any major project and experience to delegate and supervise them. My skills and aspirations are bigger than their job titles, but also the attitude to keep the fun. I can hire a crew to take the lead, love movies and read the script.

STYLE
I hope I am not accused have it. I want the audience to feel what I shot, do not pay attention to how he was killed.

STRUCTURE
Map of the question. I framework for the drama.

LIGHTING
I think there is no better form of light. Each film has its specific requirements. Some administrators may want Dolly 360 degrees while others do not move the camera at all, others prefer to work with brands while others not, some 20 planes a day schedule, while 10 only. In any case, I must find an approach that reinforces s instincts director, is in the means of production s, whereas at the end of the day, said the drama.

FORMAT
Whether Super 16, HD or 35mm, I'm agnostic format. I work closely with the director and producer not only to choose a viable format, but also to maximize.

EQUIPMENT
Through my contacts with suppliers and rental houses, my collaboration with key staff, and years of shooting in a variety of levels – I keep productions pay unnecessary gear, while ensuring that we we need. But I also believe in finding ways to make the most of what you have.

POST
My work does not stop not in September. I oversee the look of the film The Daily digital intermediate impressions caused by the release. In the post, the eye of the RFP is essential the creation of the finish, and to maintain visual continuity and integrity.

MOVIES
New version the classic, horror, romance, I know that my films and genres. It is the experience of going on a great movie that I love. I am not a head gadget, fall in love with injections or obsessed with technical issues. I obsess films that touch me and do everything to join them.

Celebrity Quotes …… Some AD

I Believe …

"I confess a fondness for business. It is the perfect blend many skills. You have 30 seconds to sell a product or idea to the public using the visual techniques of lighting and camera movement to reflect and comment on current culture. "

"Each director brings a different perspective. Their origins are also varied as the products are and that diversity is what makes each job different and unique. My challenge is like a camera to capture this special uniqueness in the film. "

"I never wanted to be cataloged in the trade. I do not care if I confine fire as cars or a table. My training is still photography, documentaries and drama. I traveled all my life and I incorporate that into my work. The announcements reflect changes steady markets and the public. This requires a way to keep abreast of developments in the goals, the stock of films and accessories, as well as actively participate in the rapid technological developments in digital imaging. "

"Roll the children is the ultimate in spontaneity. You must be ready at any time to do something. Everything to do with lighting and planning. You also need to find the right place for the camera Children can work in a given space and be comfortable, without much noise and distraction … finger on the trigger. "

"If you know how to light, no matter what you shoot. If you do not know how to turn … no matter what you shoot." – In the shooting of films vs. HD

"The film is the art and craft of the authorship of visual images for movies ranging from design and pre-production post-production for the final presentation images. All processes and all, which may affect these images, are the direct responsibility and interest in photography. The film is not a subcategory photography. Instead, photography is not only an art, which uses the director of photography, and other physical, organizational, management, interpretation, and image manipulation techniques to perform a coherent approach. Cinematography is a process of creation and interpretation that leads to an original work of authorship, not just recording an event physics. The images that the director brings to the screen from the artistic vision, imagination and skill cinematographer working in a collaborative relationship with other artists. "

"Cinematography is the process of capturing a vision in the film. As an art and a profession that is a dynamic process that involves the composition of light, shadow, time and movement. For the cinematographer this requires a synthesis of technical skills and creative sensibility. "

"A lot of work that goes between Scouting and the shooting and can be a very tedious process. Ultimately, if the work shows that behind the scenes in the final product, so I think that the work has not been in vain.

Q & A with Rajeev Jain, director of photography WICA ICS in Bollywood film

Cinematographer in India, Rajeev Jain, WICA ICS is an administrator Photography based in Mumbai, India. Rajeev photography specializing in television commercials in format of 35mm film and HD Digital. Rajeev started in the early days of the music video revolution, before venturing into the film narrative. His eclectic work includes the Army, Badhaai Ho Badhaai continue Pandu, Kadach, Kalpvriksh – The tree of desire, Mirabai Notout, Pyar Mein Kabhi Kabhi and Rasstar.

Q: Where were you born and raised?

Rajeev: I was born in Lucknow, India. No event major happened to me as a young person who inspired me to be a cinematographer. Surely not quality of light in Lucknow. I remember he was gray, brown was stained with traffic and the dark sky. But when I say that I realize account of the range removed from the site has affected me emotionally. Satura jumped against the neutral, as in a dream or a nightmare post-industrial.

QUESTION: What are your parents?

Rajeev: My parents were ordinary people. I do not particularly ambitious for me. His main concern, I think it was that I was not an embarrassment. We moved to Etawah and then return to Lucknow, where I finished my studies. My degrees were in the performing arts.

Q: Do you have a career goal at this point in life?

Rajeev: I wanted to be a writer, but as Rakesh Mohan too little thought and written. Too say it was more then a reader of a writer, poet, and more academic. I have great interest in structuralism and semiotics (the study of how ideas language codes). First studied how the spoken and written work, but it became more interested in how the code has worked in other languages as the language of cinema. My interest in film language led me to a rather complicated to cinematography.

QUESTION: That's interesting. Maybe a little more specific?

Rajeev: I was very interested in how the alteration of light, composition, camera angles and camera film changes the perception of hearing a visual event, and thus the viewer's emotional response. It is hard to quantify. I specifically remember Pather Panchali to see when I was a child, and how their images remained forever in my imagination, not only for its beauty and scope of pure sublime, but he touched me emotionally, reaching a little rope unconscious but responsive. Later I saw that Ray "The Apu Trilogy. I had much the same answer, but now I understand has been informed by my studies. It is fair to say that the directors of these films, Subroto Mitra, were most influenced my decision to become a filmmaker.

QUESTION: How to make a connection between words and photography?

Rajeev: In writing essays and articles on cinema. I realized that the images of the film has worked in large part how language spoken and written language functioning. You would like to express certain ideas. It is agreed and understood culturally codas. These forms, which have accepted call letters pronunciations. These words form letters. These words have agreed meanings. But, of course, arbitrary. The word "cat" is not innate "Catness" about it, but this word the listener is the idea your brain. A cat. You can then add the adjectives and qualifiers, to be a black cat or black cat angry. These words are codes, codes, but not universal. They are specific to a culture that shares in that language. Photography in some respects, more complex language. The denotation (specific) or connotative (symbolic or implicit) meaning of an image can be ambiguous, but also complex. Perhaps the analogy literary haiku. Lyrics least have a greater potential significance – the words that are added over time forms literature, the more specific sense. An image provides specific and unspecific meanings. You can work in multiple layers, and not conscious.

Q: Have you had any mentors or have been entirely self-taught?

Rajeev: I learned a lot of other DAs. But above all, study work. Ashok Mehta and talk a lot and he gave me a lot. But I was self taught. I studied art very much, especially early 20th century artists, and artists of the late 19th century. I learned about light from them. I stole an idea of all good movies I've seen, no doubt. In particular, the work of Subroto Mitra (ISC), Ashok Mehta (ISC), Binod Pradhan and Santosh Sivan (ISC).

Q. Do you believe in yourself as an artist, a technician or both?

Rajeev: I think it is a very important distinction. I do not want to appear pretentious, but if one considers the nature of art, which is supposed to give us new eyes to see the world. I want the audience to react viscerally that our intentions are to a film. I think the film works very well as music, and it is difficult for us to measure or quantify what the public address what we do. Therefore, it is an art. And those who practice it must be artists.

Q: Tell us about your analogy of music and cinema.

Rajeev: I can sit in the newspapers and I do not see anyone else to see the movie with me physically and emotionally respond images, but it is very difficult to quantify what they respond. If you look at people who listen to music can also answer, but difficult to quantify because the respondents.

QUESTION: Let me borrow a phrase from Subroto Mitra, who said, administrators are the authors Photography images. But this is not widely recognized.

Rajeev: Part of the problem lies in our collective culture. Movies are reviewed in the theater as a unique art form. Critics speak of scripts and performances. They talk about things they understand, but to understand why his cultural capital formation are mainly in traditional theater, but you can not recognize. In this context, the cinematography and music are not included, except for say they were beautiful, because there is a particular language, developed in criticism for its description. Unfortunately, many critics fail to recognize not how the decisions taken by the director, cinematographer and composer has had a profound impact on the instinctual reactions and responses intellectual audience. I'm not saying that the filmmakers are not recognized. We are, at least in the industry, but not in the mainstream press. I do not think I read a comment that mentions the importance of Subroto Mitra (ISC) of the decision to use 16mm film and other formats in some scenes on the river, but he had a profound impact. I think art is an important decision worthy of mention, in fact, essential to understanding the audience, the artistic treatment of the film.

Q: The collaboration between administrators and directors of photography is unique.

Rajeev: An important thing collaboration is that the developers have to integrate their vision of a film with the director's vision.

Q: How many music videos Shooting influence today?

Rajeev: Not really. None of my films seem music videos, but the good thing about music videos is we were able to experiment with different lighting, film types, lenses and filters. We decided to try to put four filters the lens, the process of the film's strength, or put a negative through a process of reversal film post-production to see how it comes out, and then try again backtrack. It was a great way to learn.

Q: Are there other filmmakers whose work I do?

Rajeev: I can name all the names obviously, but the truth is that to learn of all the filmmakers. I can see a picture by a television director, 29 years, and find something he or she has done and is very interesting. I am constantly learning from others. I have read all the magazines and a journal of film and photography as I can in my hands. Always study the art. I book collection of photographs and paintings. Not only others do a good job learning. I learn from my mistakes I have ample opportunity to do more of the past 20 years. When my son Adam was in seventh grade, wrote an essay in which he was obliged to say who was his hero. He told me that I was. My father is my hero because he messes all the time, and it lets me see. "So I feel good about spoiling. I think that is a lesson extremely important to learn. It's normal prey, and spoil you sometimes if you're willing to push the boundaries of his craft.

Q: Is other mentors influence their thinking?

Rajeev: I graduated from the University of Lucknow for a short period. Here Renu Saluja knew it was a very important mentor. She highlighted some very interesting in terms of theory cinema.

QUESTION: How do you decide whether something is a movie you want?

Rajeev: Early in my career, nothing that has been offered was a movie I wanted. Today, two things can affect my decision. One of them is my first meeting with the director. This relationship is like a marriage that, surprisingly, much more intense. You must decide if you will be able to agree with this person for the time you will be together. I think I got more than 90 per cent of managers worked, and many have remained friends. The second thing is photography. I 'm always interested in doing something new and different. If the project is very similar to what I did before and the script is not very large, are less likely to be interested. Sometimes, a project that is so interesting is that it is impossible to resist.

Q: What do you say to students and other young filmmakers when they ask you to share the secret of success? Did you tell the truth on the ratings?

Rajeev: I think we should be patient and do not let yourself believe that things will move quickly. You need integrity and honesty about who you want to be. Thus, even if you fail, you fail a little dignity. If you compromise and not not what you have left?

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Rajeev Jain, WICA ICS – France Photo / PDO, talks about … Kalpvriksh – Wish Tree – Their dreams are so close

Like any artist, Rajeev was born with innate talent burnished by experience and cultural influences. Born in 1968, first introduction to movie magic came looking at his uncle as a projectionist at the Teatro Ravindralaya, Lucknow. "I remember sitting in the small screening room and watch movies with my uncle," recalls director of photography in India. "It was like watching silent movies because I could not hear the sound in the cabin. I just saw the pictures and try understand the story. My uncle Charlie Chaplin shows us that, of course, silence. There is no doubt that he put his dream of becoming a director of photography in my heart. "Hailing from India, cinematographer Rajeev Jain ICS WICA studied at the Academy Bhartendu drama at Lucknow, India.

The day after the end of his studies, Rajeev went to work as an apprentice in an anamorphic image. He contributed to ten other films camera as an assistant before becoming a dictatorship of the proletariat. "From that moment, I felt that the device is a pen used to draw images, "he said. "Operating a camera is mainly on the composition and rhythm. I also used the camera for Bollywood songs. It was very primitive. While we were shooting, someone with a watch was all the time pan and zoom. He said: "You have 5 1 / 2 seconds to zoom. It was a great lesson for me, learning to do that every element of a work plan in this period. "

I thought it was fascinating that the film speaks a common language that everybody can understand, "he recalls." This is particularly true for filmmakers, because we communicate with the public on a non-verbal. "For me, making a film is like conflict resolution contrasting colors between light and darkness, cold and heat, blue and orange or otherwise. There must be a sense of energy or movement change. A sense that time passes – the light turns to night the next morning. Life becomes death. Making a film is like a journey and use of documents light in the style that best suits the particular context … the concept behind it.

The first important decision regarding the images was shot in anamorphic (2.4:1) format, as they had in Kalpvriksh – The Wishing Tree. Rajeev says he likes to manipulate opinions Manika subjective and objective, sometimes in the same framework, or even simultaneously. In a simple example, a sudden departure on a topic, then a player is not in the frame creating a shot over the shoulder, the change of subjectivity – that the viewer sees what the character sees – the target. "One of my first suggestions shooting Kalpvriksh – The Wishing Tree in the Super 35 format, "Rajeev continues." I felt the film received a benefit not expect to see in drama. I felt that I could use the framework to create a sense of claustrophobia in the cave and Shabana Shabana more interesting composition showing worldwide. "It Manika Sharma Director, designer Mansi and other members of the creative team discussed the possibilities for composing Kalpvriksh – The Wishing Tree in widescreen format, while those based on visual references as another drama with a story unlikely. Although the scenes Manika storyboards, sketches Rajeev used primarily as a communication tool. During filming, the director remained open to deviate from the storyboard to take advantage of unexpected opportunities. "Mansi Our designer and costume designer production has given us rich scenery and costumes. Although the development push two-stop is not always as faithful to the colors, their cooperation with this technique allowed us (especially fancy dinner Video) have a hot scene and yellow, as if everything was lit by candles, "he said.

In a spectacular scene, director of the school (Mahabano Kotwal) sits in the chair, looking out the window in the pouring rain. "The scene was lighted with a daylight drive, ARRI 6K" Rajeev said. "We made a light by the window. To illuminate the door, we used a 4 by 4 mirror of his box to the right. The light is modulated by the rain in the window, and it covered the book. We have been "gathering nuts. It was a happy accident, and everything worked perfectly with a light. To fill light in this film, which is used both very, very little or not at all " he said. "I think that the existence of films have been using, if you overexpose a little more, you can read the details in the shadows incredibly well. When I saw the photo on the theater screen 70 feet wide, on the dark side, which is dead black, you can actually see the hair on the head of the players. I found it very interesting. I hope it works on a subconscious level to the public. "Although Rajeev knew that he could not shoot wide open in a T2 or T2.8–because the Super 35 format was chosen depth – always wanted to give this tool history a greater presence on stage. The biggest negative is allowed to push the limits. And I knew that the grain still be acceptable if He remained in the T4 T2.8 ranks inside. "We still use real sources and would not be difficult for our crew to monitor development, "he said confidently.

Like many of his colleagues, Rajeev Jain Director of Photography has many concerns about changes that can be introduced into images during the subsequent process of our electronic age. These considerations have intensified when dealing with a profusion of visual effects, which in the case of Kalpvriksh – The Wishing Tree. "I tried to make a concerted effort to maintain effort active in post-production as much as possible – it is sometimes difficult because it is "out of the upcoming work" – in collaboration with Digital Effects Optical and House to ensure that there would be no problem with the answer print process. "No to emerge in capture teachers, "he said. "Vaccine began with a teacher who could not come to light. We stuck together in the corner with a 35mm lens and had a two way mirror in the background. As Rajeev Jain has used a technique called "drilling. In short, you're usually shooting horizontally across the room, and there are horizontal surfaces, like the tops of chimneys and tables. If you come down with a light and drilling in this area and it works quite well. It seems wrong. If the light comes from a place that is not normal or ordinary people seem to accept the element which is illuminated without really knowing what is happening in terms of a source. The shades go down, so they do not end up looking strange to attention to the source. You as indicated in the table, then he comes to the table and the lights are facing a certain degree. This is interesting because you are not lighting at all the people. You are ambient light in.

Anamorphic gives you space through doing, "says Rajeev." Manika has no problem filling a box in an anamorphic contemporary image. The story focuses also elegiac, so I say it looked better without cutting rock movement of the frenzy of camera. With the amazing cast, we knew that this film would be the procedure. All these ideas – and "if it is not broke, do not fix it" – an account in our decision to shoot anamorphic. "For establish a visual approach appropriate for the mood required in a number Kalpvriksh – The Wishing Tree, Manika and Rajeev chose to waive a large part of the regular business of seeing other films during preparation. "We use a lot of work book, with reference to other types of artists working in two dimensional shapes, photographs and drawings of all ", Rajeev is concerned." It was a good way of preparation and different. As for the movies to see how a particular sequence is really great work, but this approach me presented in this incredible series of self-education, which goes until 1890, the photograph 'til now. Now I can not help to buy books. It's amazing the amount of material is eye contact when I get there to basics. These points of departure have been great for us.

The filmmaker was also to avoid revealing reflections of camera equipment and personal surface water. With a disciplined team, which requires a careful choice of a distribution of light and camera angle. He concluded that the introduction of the plastic at the correct distance from the lens to harden plans perspective Shawn slightly distorted images rendered with a hint of grain, which amplifies the light that he and the director wanted Manika. Rajeev also occasionally added the reflections of the characters and objects on the surface water to attract the attention barrier that separates the child from others. Sometimes, the camera takes a subjective view, as a spectator, while other times the public seems to share the experience of Shawn's life-in-the-bubble. "There was no simple formula for deciding when put the public at the heart of the bubble with Shawn. It was a question I asked the director of each plan to each scene. Are we to Shawn inside the bubble, or if you are looking from the outside? "

I do not believe that and, of course neither the director nor Manika Sharma and producer of diamonds Movies. Another photo shot in an old house we had Bollywood actually two sets all the lights. In the time it was made, However, I was able to draw two-thirds of a long series of reflections seen traveling in a fish pond in the Long Night (Shabana Cave). "I think it is a visual reflection of the fact that his position in life can change almost immediately," he said. "It is very effective visually. It seems to work in a number of different levels. Using this different approach seems to be cool all purchases and investments. There is a very interesting scene between Shabana and the child was carried out in one under the tree, and there is a feeling of unease and aggression possible. It is very ambiguous, however, the dynamics Space really focus on feeling. "

There is a great advantage in the job set in place before a study. For example, the house said Muslims marble floors. Experience DOP knows how to use something that really can not be simulated in a studio, he said Rajeev. Projectors have been widely used Throughout the film, usually on the side of the landfill to pick up some environment or edge of the main spot to redirect some of that light on the side of the landfill. In most cases was very subtle, but reflects just the brightness of the skin. "We use the spotlight, as almost no one EyeLight" says Rajeev. "Not until there is tension between three characters. There are a lot of inner emotion beneath the surface of the film. I felt that the public should have access to the inner lives of characters, so I tried to continue Eyelights, especially when we put in close. It has often been done with a small reflector on the last shot time.

One of the most important aspects include the nature of Shabana preview itself. "For the nailed, we started working on storyboards with an artist, "says Rajeev", which attracted large boards and is a great artist too. We told him our thoughts on how the saw and Shabana went to work. Manika credited with creating much of the final appearance since their designs have been used to communicate with hair, makeup and clothing departments Manika looking for his eyes. "Part of disguise Cave" involved the use of a wig, which often obscures the actor's face – which is sometimes a less than ideal lighting. "For hair and makeup tests, I saw that, while Shabana seemed incredible that would be difficult to treat for 2 weeks. He had a big hat and a costume too, so there was a question whether they will ever be able to see really. Manika said that, sometimes, was becoming a hat-hair. Very sensitive to the needs of actors, Manika want no facial hair, so he tried not to mess with and solve it by ourselves. "

In Kalpvriksh – The Wishing Tree, Rajeev chosen Vision 200T (5274) throughout, but the night outside, and explained the emulsion seed tender logs for this black non-intrusive deep colors realistic and a wide dynamic range. Rajeev shot outside of Eastman EXR 100T day (5248), using a filter of 81 correct half-EF and maintain the cold blue of the winter. 250D balanced day (5246) Vision of values was selected within days, while which benefited from Vision 500T (5279) in most indoor and outdoor night. Since the filming, the director of numerous tests with different materials to find the right thickness and translucency. "It's the same as using a cheap filter on the ice and was realized that any distortion or loss of concentration is amplified when the optical laboratory 'squeezed' images in the aspect ratio 2.40. In addition to choosing the right plastic, it was important for us to record a strongly negative image in the home. We turned to through the filters at least 90 percent of the time.

During the filming of scenes in the forest with a main character, Rajeev employees what he calls Sandwich a new light. "Others might call it a book light, but at least we have a game nine Maxi light crude a piece of board of accounts, then allowing light to pass through a dissemination framework generally well equipped with 216 or grid of light. Soft lighting is striking, He had a beautiful quality, plus some serious flying foot candles. The light was soft enough to pierce the hair Shabana, and could control the amount light with a single click from different balloons. But it also requires a large amount of signaling and took a lot of space. Others times, Rajeev lit forest directing light from multiple angles extreme. "I came to much smaller and more with its key what would be normally, but the approach has succeeded in dropping the hair naturally, so even if it was hard work. He indeed grateful for the scenes where Shabana wears her hair pulled back, and I could get an advantage of Nice, taking the side lighting. "

When children reach the tree before the end, output settings for the shooting of famous actors in front of the screen blue and green screen. These elements were composed digitally with the lower values of selected plates Ladakh. Harry and Arjun installation Red chiles in house "supervised the visual effects shots." I do not think that these scenes might be more credible if he had traveled to Ladakh learned to live, "marvels Rajeev. "How I miss you when you start with 70 mm plate in the bottom? We matched every dish. "

There was daylight scenes are rare, so decided that the cracks in the ceiling of the cave to the left in the sun, he continues. "I put signs in the walls behind the players and let some light bounces off the ground. For the most part, however, the scenes of cave set at night – lit by Firelight or flashlights or glow comes from the imagination, which is not connected to anything. On the water I chose to use a blue light on key actors, but did not put any movement of oscillation, because I felt that was distracted. The flickering on their faces only came to the actual water. What I did add a slight flickering effect on the walls, what appeared to be more enjoyable while loans a bit of realism.

laboratory work before the end was performed by Gemini, which give the film a day. "After his experience in the business where he works on a screen the whole time, liked watching the movie Manika daily – which opened a new world for her, "says Rajeev." For example, there is a Shabana offers an image of a line at the end of a long shot in the tree. When she saw him playing in the video Manika [TAP follow] does not feel good about it. It seemed too quick on the ball. He suggested that the line should disappear in publishing. After a while, Manika was projected on a large screen and the shot heart. "When asked if such good news extends to the drama on the screen together, Rajeev smiled and said, "Would you be surprised if I said there is a happy ending?"

The film does not diffusion on the lens of the camera, preferring to soften his subject, as required by selectively affects the source of light. "I've never liked in the movies where the general resolution of the objective changes visibly during breaks to honor at a scene, "he said. "The case for placing before the release of heavy target of Actress] [Search" best "is fool me. You do not want to see the efforts of the picture to make someone look good. Instead, I see the character looks good, and I think what happens when the actor is embedded in the scene bright and flattering. My solution is to soften the light source, and the image is as clear as possible. Some people think Primo lenses are too strong, but I like everything perfectly. When combined years and years of research and development in Kodak film stock, which occurred in the Arri lenses and laboratory work in Gemini, then put it in a movie projected on the screen correctly, the result is amazing how perfect! So, I take great pride in providing a perfect negative reality. We may want Mess later, and that's fine, but I think in the beginning of something good exposure and strong. "

With all the visual processing necessary to illustrate the perceptions of Shabana, Rajeev and Manika necessary to decide the parameters from the beginning of the most elaborate visual effects required. "We're telling a story that resembles in part through the eyes of a madman," Rajeev offer. "This is a brilliant madman, but crazy however, there is a sense of fantastic visions, but not in the tradition of the effects of science fiction movie. We have presented a wish list of effects visuals for the budget, but prices still four or five times higher than expected. This forced us to retreat, and the decision it is better worked for the film ended up. Most effects are things we have done, with practice tracks of light, or a combination of these keys with an improvement digital. "

I are happy that this movie seems interesting to watch, but I am also happy that the images do not replace history. Early reviews are praising Shabana performance as one of the best ever given, it makes no sense to do something he drew from this aspect. Much movies now seem overwhelmed by effects, but does not know what kind of story Manika.

When India Photo Rajeev Jain, WICA ICS is asked if he would do things differently today, the master artist replied: "Ninety-nine percent of the time when I see my films, I am serene. It was the best I could do at this point in my life I had to work. The important thing is your life and how they evolve as a human being and artist.

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- Small – Kalpvriksh healthy trees dreams are far from a tap

The twice winner of the Indian Rajeev Jain ICS Photography WICA world create special light, the shadows in his latest film Tree desire Kalpvriksh your dreams so close

Rajeev Jain a way to see that you have an image to its outer limits. In his last years as an assistant, electrician, grip and Last 16 years as director of photography, has developed a visual sensibility and experience.

Rajeev draws its inspiration in directors like Satyajit Ray (Pather Panchali) and filmmakers Ashok Mehta, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for his use of color and light and shadow to extend the emotional content of stories. I seems the ability to allow people to operate in the shadows is a true art, "he said. Ashok Mehta allows its characters to work in the dark. He turned to blacks are really rich – however, you can see.

His work in Kalpvriksh, a film by Manika Sharma emerges quality time with an advantage. Rajeev was particularly intrigued through non-narrative writing fragmented because it offers a variety of visual possibilities. Shooting especially in contrast to Kodak outdoor scenes, Rajeev experimented with hot and blue filters to get the look he wanted. The result is a journey marked, almost surreal in the minds and actions of strange characters in the film.

prior collaboration is essential in a film, Rajeev said.

It is important for me to go through the script scene by scene with director Manika Sharma, Rajeev said, trying to see what's on your mind. I want to know what the scene is said, is most important at the time, and how characters move around the stage. They also share photos and movies, which gives us a visual basis for work.

A graduate of Bhartendu Academy of Dramatic Arts in Drama and a principle still photography, Rajeev took a film class. Intrigued by the middle of the film, given the opportunities to combine their interests with the commercial film. Looking for a way to learn the camera, has offered to help (without pay) for cameraman Subroto Mitra to learn the trade.

He taught me much about the SR packet, which the lenses are, and how to load magazines, "he said. Then I started working in Shyam Benegal film on Nehru.

In 1996, Rajeev has first opportunity to shoot a film, the army, with Mukul Anand. After eight weeks Production stressful – all their movements were.

After 6 functions, Kalpvriksh then came in 2007, has explored a technique Rajeev add new visual nuances in the story. The film offers a dream vacation Rajeev wanted to give a dreamlike quality. We tested the filters and an laundering process in order to circumvent this section of the film its own look, "he said. "Instead, He decided to use a swing angle attachment for the camera allows the operator to modify the plan development. It allowed us to launch the different parts of the structure of development, which is difficult to make a general level, because of greater depth of field.

Rajeev is currently finishing production Continue Pandu, a feature shot in Mumbai, as well as advertisements that.

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India, photography, DOP, Kalpvriksh, Rajeev Jain, Wishing Tree

About the Author

Surendra Rahi was born and raised in Delhi, India, surrounded by pet animals. After twenty years as a farmer, he turned to teaching and then to writing children’s books.
Rahi writes mostly about animals: farmyard fantasy, as he likes to call it, often about pigs, his special favorites. He enjoys writing for children, meeting the children who read his books, and knowing that they get enjoyment from what he does.
Among his well-loved books is Kid, The Gallant Kid, which was recently made into a major drama, and was nominated for an Award.
Surendra currently lives with his wife in a small cottage, about three miles from the house where he was born.

What is the purpose would be better for general use: Canon 17-85mm 85mm vs 15?

Both are EF-S mount lenses that I use for my Rebel XS. The 17-85 has a maximum aperture of 4 to 5.6 The 15-85 has a maximum aperture of 3.5-5.6 which would be better for general use? And yes, I realize 15-85 more expensive than a few hundred dollars …

The new EF-S 15-85mm f/3.5-5.6 IS USM is optically better than the EF 17-85mm. I would really choose, but is an EF-S (but it is very well built EF-S). Based on a review of the EF-S 15-85mm … "The Canon EF-S 15-85mm f/3.5-5.6 IS USM offers image quality on a high level of excellent general purpose zoom range, a good size / weighted / body constructed Great AF and excellent implementation of image stabilization in one-what-you-get a great price. I'm impressed. "And …" The objective EF 17-85mm is always a decent goal. However, many recommend the Canon EF-S 15-85mm f/3.5-5.6 IS USM 1917-1985. "And …" The new EF-S 15-85mm is certainly an improvement compared to the EF 17-85mm, offering sharper results every focal length, and significant improvements over chromatic aberration, shading and corner distortion. Plus, you get 2 mm wide, and half-quick stop at the end wide. "

Canon EF-S 15-85mm Review/Test Shots