What is the difference between cinematography and photography

Apr 22, — A DP collaborates with the Director to establish the look and feel of the film and figures out how to get that look with the camera, lights or other 10 ….

However, photography uses 11 …. Dec 3, — So just like a photographer makes photos, and a videographer makes videos, a cinematographer is someone who makes cinema. That should be 12 …. LC: How do you feel about film versus digital, both in cinema and photography? For my photography, I shoot with a small Rx digital camera. I need my camera 13 ….

Aug 10, — While the work of both cinematographers and videographers may involve essentially filming with a camera, there is a marked difference in the 14 …. A cinematographer also referred to as the director of photography or DP , is the individual in charge of the camera and lighting crews on a movie or other 15 ….

Jun 3, — The person in charge of the camera and lighting crews on a movie set is a cinematographer, often known as the director of photography or DP 16 …. In film typically it is 24 frames per second. Photography is all about capturing a moment of time, capturing a still Picture. Whereas Cinematographers also capture 18 ….

A cinematographer is the head of the camera and lighting crew working on a film or A cinematographer or director of photograph also known as DP or DoP is 19 …. All of the differences come down to usage. What is the lens designed to do? Still lenses are durable, lightweight, and have high optical quality. Would a good photographer necessarily make for a good cinematographer or vice versa? Jun 14, — Cinematographers are typically also called directors of photography, or DP for short.

The DP is in charge of much more than the camera itself. Feb 21, — They head the camera department and work closely with the director. After the introduction of digital cinematography in the late s, movie creators started 25 …. That's a good point, though I would argue that as the viewer studies the picture, he or she becomes aware that the event it depicts is already history.

The man died a second after the photo was taken; there's nothing the viewer can do now to save him. Instead, our gaze lingers on the face of the soon to be, already? Then we look at General Loan, and examine the small hand gripping the tiny pistol, the wiry muscles of his outstretched arm, the rolled sleeves of his clean uniform, his expressionless face.

We feel pity for the prisoner, and horror at what war has revealed about human nature - that we are capable of killing each other without feeling much of anything. That's the story the picture tells. Watching the 16mm newsreel footage of the execution, I'm struck at how quickly it all happened.

The filmed event seems at once more real and less meaningful than the photograph. I guess that's the tyranny of cinema, that we're forced to experience events in the flow of time, rather than outside of it.

I still dig cinema though! In a still photograph, you have to "read" the image and use your imagination to work out what happened a second or a year or a lifetime before the shot was taken, and what will happen next. In a moving picture, you can at least see the immediate past and future of any given instant of time - but only as much as the filmmaker shows you.

And there is still room for imagination and "reading" of the image to figure out what is happening outside the frame. I was recently asked to do some still photography for a corporate client. Having not done any still work on a professional level in several decades, I was rather intimidated by the thought of having to reacquaint myself with the whole electronic flash thing.

It made me realize that there's another big difference between still and motion pictures. Lighting techniques and equipment for stills is incredibly primitive compared to what we have in motion media.

Everything is about big old softlights that blow out the background and make any real control difficult to achieve. It takes so much putzing around to get an electronic flash to be civilized.

Measuring ambient light against the flash. Trying to finesse a pleasant looking picture from the harsh blast of a flash has been a real challenge.

The thing I miss the most might be barn doors. It had never occurred to me that I take these little guys for granted. I will have to flag the dickens out of this setup to even get close to what I can do with a few fresnels.

Quartz or HMI lighting was actually the plan at first. I came to the conclusion that for most of the shots, I would really need more depth of focus than I was going to get using anything but some serious lighting. The thought of ruining 70K worth of product scared the heck out of me. Besides, I grew up on the northeast Atlantic coast and can't stand the smell of rotting fish.

A photograph can be wonderful, beautiful, arresting, etc. But it can never touch the magnificence of a masterful painting.

Cinematography forgetting museum-quality crap is one of the more significant elements of the highest medium of the modern age. As a singular medium, however, all bow down to music. All of the above in a purely artistic sense. A photograph gains prominence when it enters the consciousness of the masses. Emmett Till, for example, and history is stamped and shaped by an image. This need to name is shared with still photography, suggesting why the two are often considered synonymous.

The decision on how long a shot should be on the screen is based on registering the content and its narrative purpose. The viewer can take the time to enjoy the riches experience offers as independent, evanescent moments, with neither the certainty of the still nor the partial purpose of the narrative fragment.

Thus, as motion both attracts and distracts, the cinematic image finds its fullest expression in rendering movement as time rather than space, a haunting reminder of mortality. Like this: Like Loading In any business meeting or conference, they will either video shoot the event solo or in coordination with one or two co-workers. They will adjust the camera moves and angles, exposure, shutter speed, etc by their own. They will not give or receive any instructions. Nature of Work: Cinematographers have an unlimited scope in a limited field.

They work mostly in films and other storytelling projects like short-films, and drama serials. But they have an incredible option to customize their project timings, for instance, they can work on first half of a film now, and continue the second half after few months. Since these are not a few days job; they can work simultaneously on different projects. Videographers have a limited scope in an unlimited field.

They work exclusively for business meetings, conferences, TV shows, marriage and wedding receptions, birthday parties, school and college functions, corporate events, etc. Even though they got a plenty of openings here and there, they will work hard for two to ten days a stretch and they will relax for a while. They start a project and work on the same till it gets finished. Complete motion-picture and Important moments: Cinematographers will take a complete motion picture.

They will never miss noticing a single scene. Right from the pre-production, they will listen to the script very carefully. Videographers will capture only the important moments.