Coming up in the September/October issue, an interview with advertising photographer and video director Michael Rubenstein.
Whether he’s working alone or with a crew, Rubenstein’s forte is telling stories about real people doing real things. It’s a look advertisers and editorial clients alike are into.
Like a shark that can’t stop swimming, even to sleep, Rubenstein is constantly moving forward. Trained as a photojournalist, he soon evolved into an advertising photographer, then a lifestyle shooter, and now a cinematographer and video director as well. He approaches the discussion of his various professional interests with an implied shrug, as if he’s saying, “Of course, I’m always trying new things. Why aren’t you?”
Over the last several years, the thing Rubenstein has been trying—and succeeding at—is video production. As someone who’s always eager to grow creatively and professionally, he took full advantage way back when the Canon EOS 5D Mark II first integrated HD video capture, and he’s doing the same today with his arsenal of 4K-ready Sony cameras, including the a7R II, the a7S II, the a6300, the FS7 and, budget permitting, the F55. He shoots stills and video, sometimes on the same assignment, but always with the passion and dedication he has long brought to making world-class imagery.
“On a lot of the advertising jobs that I’m doing,” he says, “I’m shooting stills, and a director and large crew is shooting the motion side of it. But for smaller jobs or for editorial, or for content jobs, social media jobs, it’s all in one. And it’s a lot. It really depends on what I’m doing. I like to shoot them at different times if it’s at all humanly possible. It’s obviously going to screw up your shot if you’re stopping to make still images in the middle of the shoot. Plus, it’s different equipment; it’s not just the camera anymore when you’re shooting video. I think you can see it in the product when you have someone who’s almost exclusively a photographer and they shoot a little bit of video. You don’t get as much camera movement. You get more of, like, a moving photograph, if that makes sense, with a lot of photographers doing video. I think as more and more photographers get in to shooting motion, they need to learn more about how to shoot motion. And we are. Slowly. It’s a lot of work. There’s a lot to learn. It’s an entirely new industry.”
Look for the full interview by William Sawalich when the issue goes on newsstands September 5, 2017. Visit Michael Rubenstein’s website at mrubenstein.com.