The Cantine Italian Cafe and Bar Video Is Complete. Please Take A Peek.

Canine Italian Cafe and Bar -- Austin, Texas from Kirk Tuck on Vimeo.
This is a video that will be used on the restaurant's website. James Webb and Kirk Tuck shot this entirely with Olympus OMD EM5.2 cameras and assorted Olympus, as well as legacy, lenses. The visual direction came from James Webb who also did the scene selections and the editing. Kirk Tuck was the producer.

I am extremely happy with my collaboration with talented film-maker, James Webb. We shot together over the course of a day and a half at Cantine. James selected the scenes and had the vision for the final edit. I worked as a second camera person and as the producer.

For this project we used two Olympus OMD EM5.2 cameras and an assortment of Olympus lenses as well as older, manual focus lenses, adapted to fit. All of the material was shot handheld with the exception of three or four beauty shots of food, which are


Just being happily amazed at online learning. I just checked some metrics at Craftsy.com...

In the last two years 170,919 individual people have taken my free course: Professional Family Portraits at http://www.craftsy.com

Nearly 8,000 more have signed up to take one of my two other classes.

Before the advent of online edutainment these classes would have been workshops with about 10 students in each. I would have had to teach 17,000 workshops to reach the same audience that I have with the free class.... amazing.

Post processing at my Craftsy.com studio with a Wacom Cintiq.

Behind the scenes at the video production.

Our Super Model: Victoria. 

I explain stuff. 

I play with gear.

And then we shoot.

Wooden Tripod Rocks.

So much excitement surrounding the Sony A7R2. Is the camera really that great or do we all just need a big dose of new camera adrenaline on a regular basis?

Some Tues. morning observations. I've had three friends send me online reviews they've found for the new, Sony A7r2 camera. Two gushy reviews, and one less than glowing review from Ming Thein. Since there is nothing else at all even remotely as exciting happening in the higher end of photography right now the new camera has become a magnet for every variation of praise and criticism. In fact, there is little on or in the camera that isn't stirring debate among the various camps of image makers. From the armchair experts, who will surely never pony up and buy one, to the online, mercantile reviewing class like Steve Huff and Lloyd Chambers who both seem to have rushed into the frothy, early waters to claim their cameras and get out in front of everyone else with a click-driving review.

The thing that seems to make this camera different to a separate group of buyers is the video specifications. The camera is being hailed as a great video creation tool (for the money) but even in the motion market there are still multiple camps who see the camera either as the savior of small production videographers or the flimsy work of commerce's dark forces.

So, where am I on this whole A7R2 deal? Happily neutral. But most of my neutrality stems from already having two camera systems that I am mostly very happy with. And then there is the fact that I seem not to be as picky about perfection as a lot of the people who post.

Look, I was pretty happy with the performance I was getting out of the old Nikon D2X camera a few years back. I can't remember why I sold it and moved on but I'm sure it had to do with the excitement of the market, the seductive peer pressure, and the fact that the full frame D700 seemed to be such an alluring camera. It was the first, affordable, full frame camera from Nikon. But in my rush to share the glory of full frame I really didn't do much due diligence when it came to the actual image quality, the color rendering or anything else. But, on dear God! It was full frame!!!

I'll go out on a limb here and admit


Crazy Day at the Visual Science Lab Headquarters. Painting, maintenance and post processing all rolled into one.

We're wrapping up Summer and I should be focusing my full attention on my commercial task at hand, creating video modules and stylized still imagery for the folks at Hahn Public. I've been in the command seat in front of the tactical imaging computer since seven this morning, hammering out extremely wide graphics to deliver into the heady swirl of commerce.

But I've also had an insurance adjuster out looking at the roof (hail storm) and a painting company power washing not only the world headquarters building, but also the family home, in anticipation of a much needed painting of all the many doors, windows and other surfaces that want, like and need paint. The scraping, caulking and painting starts in earnest tomorrow.

Seems it's time to refresh the physical plant and make right the injuries of time and weather visited upon the epicenter of the VSL compound.

I anticipate that in the next month we'll have more than our share of construction noise and craziness here but I can't see that it will effect the business too much. We'll see....

A rare image of me actually working... Thank you James Webb.

©2015 James Webb/Zilker TV.

It's a very rare thing for me to be photographed while I am actually working on a project. Usually we're all too busy to turn the cameras on each other and for months I was disappointed that I didn't have enough "behind the scenes" imagery, starring myself, with which to regale the world. 

James took this during a video shoot we were doing for a restaurant. He was shooting with an Olympus OMD EM5.2 and an older, longer Nikon manual focus lens. I'm holding an Olympus OMD EM5.2 and manually focusing an Olympus 17mm f1.8 lens (thank you focus peaking!) in anticipation of creating video of some fresh herbs. The EM5.2 is very hand holdable with its state of the art image stabilization. 

The dorky touches of the photo include the bright hair (it's normally thick and jet black but I dyed it platinum just for this shoot --- in case anyone needed something on which to white balance...), the old analog watch (worn on the right wrist as I am profoundly left-handed), and the awkward hold on the camera.

The camera in front of my face should help to preserve my anonymity. I've heard it can be stressful to be recognized everywhere one goes..... Stopped in the airport and forced to be part of endless selfies; that sort of thing...

Back to work.