Taking the intimidation out of video

While it is true that video is "the next big thing" for still photographers, few people ever ask what kind of video? Many clients expect the video of yesterday, which require large crews with lots of gear with cameras fixed on tripods, resulting in videos with an over-abundance of talking heads and an under-emphasis on the visuals. The successful editorial/narrative video maker of tomorrow will turn that old idea on its head to create brief, dramatic, visually compelling videos that maximize the ambient sound and the compelling visuals, while minimizing the talking heads.

In this class, you will learn how to make these "new" videos, working as a one-man (woman) band, gathering video, ambient audio, brief on location interviews, time-lapse animations and still photographs. We will then use some simple but effective editing techniques to turn the content into videos of varying length. Finally, we will explore the myriad of ways to use and then re-use those videos (or components thereof) in ways that will expand the reach of the client's message and promote your skills/expertise.

The class will explore the gear required for the simplest of audio and video capture, the software for organizing the material and the video. The class will take the students through the inception, editorial discussions, and assignment details to capture, organizing and production.

While every one ostensibly wants to direct giant projects with a crew of twenty, the reality is that such projects are few and far between. Very soon every photographer will be competing for those few projects. Their are millions of clients-to-be who are waiting to be made into clients. Once they understand what video can do for them and how it can be done simply, they will pay for these smaller videos.


  • Lessons/issues in terms of gear, planning, time-lapse imaging, contracts, negotiating usage fees for this kind of video content.
  • The importance of the dialogue with client/subject to block out shoot.
  • Location lessons in terms of video/audio gear, time-lapse, light, tripods, etc.
  • Explore all the cameras I use for a shoot including time-lapse, back up gear and the strategy of using multiple cameras at once.
  • How to review initial shoot for gaps in coverage and to formulate questions for interview.
  • Methodology of downloading/editing/organizing video, audio and timelapse media content.
  • Getting feedback on rough cut to revise final cut of movie.

Here is an example of David's award winning work:

To learn more of David, see his bio below and for more info, click here.


David H Wells

David H. Wells is a publication photographer/video-maker. He is affiliated with Aurora Photos and specializes in intercultural communication and visual narratives that excel in their creative mastery of light, shadow and sound, stills and video. Awards for his video/time-lapse work include Best of ASMP (American Society of Media Photographers) and an Eddie award from the Folio competition.

Wells focuses on multimedia productions and photo-essays for publication and exhibition. Past assignments have been for Life Magazine, National Geographic, the New York Times Magazine and the Philadelphia Inquirer Sunday Magazine, to name a few. He has worked for corporations including Consolidated Natural Gas and DuPont as well as non-profit organizations including Brown University, the Ford Foundation and the New Israel Fund, among others.

His work has been featured in one-person exhibits at Brown University, U.C. Berkeley and Harvard University. His work has been part of group exhibitions at the Houston FotoFest and the Visa pour l'Image Festival in Perpignan, France. He has been an Artist in residence at the Visual Studies Workshop and the Light Works Photography Center.

He has taught classes at the University of Pennsylvania and workshops at the Maine Media Workshops. He is on the faculty of the International Center for Photography in New York City. He was featured in Photo District News as a "Best Workshop Instructor."

His photo-essays have been funded by fellowships from Nikon/NPPA, the Pennsylvania Council on the Arts, the MacArthur Foundation's Program of Research and Writing on International Peace and Cooperation, the Alicia Patterson Foundation and the Fulbright Foundation. His project on the pesticide poisoning of California farm workers was nominated for a Pulitzer Prize by the Philadelphia Inquirer.

Course Dates

Aug 6 to Aug 12



Class Size