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The studio in charge of production was Janson Media. The ulterior State is a production of IamSatoshi, an argumentative documentary project. Winner of the Micro-Budget Feature award at the Berlin Independent Film Festival, the film answers the question that many members of the ecosystem have asked themselves: Can Bitcoin mark the beginning of revolutionary innovations within an obsolete currency, commerce and payments systems? The commitment that saturates through the lens in many parts of the film exposes how Bitcoin adopters want to explore, probe and, to show the world, something important, that would otherwise be overlooked.
The Blockchain and Us is a synopsis that explores the story behind the beginnings of the Blockchain supported by interviews with software developers, cryptologists, entrepreneurs, consultants, venture capitalists, and authors from North America, Switzerland, the United Kingdom, and Australia. The short film was released in with a duration of 31 minutes.
It is directed and written by Manuel Stagars, with the performance of the same director accompanied by David Pirch and Perianne Boring. With a duration of 60 minutes, this feature film released by the BitMari Foundation with the BitcoinFilm.
It is a comic film that tells the story of Ted, a father who, after losing his job, decides to convert all his money into bitcoins with the help of his brother to save his family. The film directed by Christina Kashmir has been in pre-production since , with a delay of one year for its release.
Austin and Beccy Craig star in the documentary Life on Bitcoin, a narrative of a marriage that shows the challenges of buying everything you need to live for three months only with Bitcoin in The short film was broadcast on the controversial VidAngel streaming website in , although it was released in It is a documentary released by the legendary investor Steve Sjuggerud through his research studio Stansberry Research and directed by John Laurence. It shows the history within China as a source of more millionaires and billionaires than anywhere else in the world thanks to investments in companies technology and the explosion of digital payments.
It was recorded in the beautiful Chinese area of Shenzhen in , and it lasts longer than one hour, where the wealth around the digital payment ecosystem, mining, can be observed from own and strangers and trading for the generation of 2 new billionaires every week according to the BBC. The film is about the evolution of cryptocurrencies and the technology for complete distributed registration, and how they will change the world.
According to the author, it is the easiest way for average people to understand what cryptocurrencies are and how they work, as well as to show the power of Blockchain technology. It was launched in December by GoldSilver, an investment firm focused on the custody and distribution education of precious metals owned by Mike Maloney, host of Hidden Secrets of Money, and successful author of book sales dedicated to investment in metals.
The film lasts about 75 minutes and is framed within episode number 8 of the series Hidden Secrets of Money, where it presents influential guests of the Bitcoin space such as Jeff Garzik, Andreas Antonopoulos, Trace Mayer, Chris Ellis, Jeffrey Tucker, among others. Sign in. Forgot your password? Get help. Password recovery. Chart Attack. Img source: bitcoinist. Gambling With Cryptocurrency — Guide Wars, hunger, poverty, and social injustices are just a few topics that have been recorded in photographs.
It has proven itself a powerful medium for change by simply connecting uninformed masses in a deep and meaningful way to the issue. Some of the earliest photography documentaries occurred during the American Civil War. Likewise, the settling of the American West was also the subject of many powerful images. The post-war years and the turn of the 20th century were marked by rapid industrialization and urbanization in the United States. Pictures of wild places untouched by man and the vast open spaces of the West connected deeply with people who lived in the big cities along the coasts.
Documentary images were vital in building support in Washington, D. The Industrial Revolution created many less glamorous issues for photographers to document, as well. Many mills, factories, and sweatshops were using child workers, taking advantage of gaps in labor laws that had not kept pace with industry and business. Photographers used their lenses to focus national attention on these social injustices.
As public sentiment solidified against these practices, laws changed, and working conditions improved. Like the Civil War before it, World War I catalyzed documentary photographers to share the carnage of war with the rest of the world. From the front-line trenches of Europe, photographers captured the real cost of the war. The Great Depression that resulted from the stock market crash of blighted much of the western world. Photographers used their power to document the poor and suffering, and the hungry and despondent.
To this day, some of the most famous documentary pictures came from the Depression Era. The Farm Security Administration was formed in and hired many now well-known photographers to help them take persuasive images of the endemic problems associated with the extended economic recession.
This was not only done to maintain a historical record but also used successfully to boost public support of the government's social programs. Images of the Holocaust and atrocities throughout Europe during World War II remain powerful reminders of one of the world's darkest hours. Besides wars and major economic events, documentaries have also been used as a powerful force for conservation. Ansel Adams' vast collection of landscape works are often cited as a conservation documentary.
Legions of photographers have helped document decaying ruins of past civilizations and various location's histories. John Beasley Greene Much of documentary photography is about recording history and events for future generations or just for scientific study. Greene was a French Egyptologist who traveled extensively to photographs ruins of the ancient world.
Additionally, he and others of his day worked with French historical societies to document the rapidly disappearing heritage sites around France. During the war, records are fuzzy about exactly how O'Sullivan served. In all likelihood, he was a civilian who documented maps, records, and plans.
He documented other events along the way. He continued to document the war through photography. He traveled with other photographers and artists and documented important events like the Battle at Gettysburg and General Lee's surrender at the Appomattox Court House. His work was often shockingly brutal, showing dead bodies, gore, and the general horrors of war. He pioneered a new type of landscape photography that was not influenced by classical painting techniques. Instead, he focused on science to use the art of photography to capture accurate records.
O'Sullivan also helped with early surveys for the Panama Canal and was one of the first people to document the ancient ruins and pueblos of the southwest United States. Jacob Riis Riis became a police reporter for the New York Tribune and working in one of the most impoverished and crime-ridden parts of the city. His reporting was known as melodramatic, and he was accused of exaggeration, so he looked for better ways to show the upper classes the conditions in which the poor lived.
Riis turned to photography to document the blight that he saw daily. He began by hiring professional photographers to work with and eventually learned the artform himself. Throughout his career, he documented the terrible living conditions of the slums of New York. His most famous book, How the Other Half Lives , raised awareness of poverty and led to many reforms that limited slum lords. Riis' photography showed situations that many people couldn't have even imagined existed at the time.
Lewis Hine Hine was a former teacher when he became a staff photographer for the National Child Labor Committee. He was already familiar with the power of photography as a tool for social change. He had led classes and taken many photos of immigrants passing through Ellis Island. At his new job, Hine took thousands of photographs of the working and living conditions of children.
At the time, many sweatshops, mills, factories, and street trades took advantage of loopholes in labor laws that allowed minors to work. It was a dangerous beat for Hine, with foremen and security guards working hard to keep the child labor under wraps. He often had to work undercover. His goal was to create an empathetic response in the viewer, to have them connect to the subject in a way that spurred them to action.
He documented poverty during the Great Depression and living conditions in the American South. Steve McCurry b. He is known for his full-color portraiture, especially his image titled Afghan Girl that appeared on the magazine's cover. He has had his work published in every major magazine around the world and has received countless awards.
Fazal Sheikh b. From the latter, he produced The Erasure Trilogy, a collection of exhibitions and books that explore the Israeli-Palestinian Conflict from the perspective of lost memories. Pieter Hugo b. Born and working in post-Apartheid South Africa, his first projects involved portraits of those "whose appearance makes us look aside. He has documented social problems and marginalized societies throughout the African continent.
He has worked in Rwanda extensively, and in he was commissioned for a portrait project that was eventually displayed in The Hague. He also produces fashion photography features. Shooting your own documentary isn't very difficult, but there is some planning required.
The first step, after you've picked your subject, is to decide exactly what the public needs to see to raise awareness. What change are you hoping for, and who needs to hear about it to make the change happen? Sometimes this will be clear in the beginning, and sometimes you'll need to start shooting the project before the path becomes clear. In many ways, the history of documentaries has been linked closely to the camera technology available at the time.
Early plate cameras required a large amount of setup and either long-exposure images or the use of large flashes. When small portable cameras like Leicas came along, journalists and documentarians were able to use them in low-light situations discreetly. Printing techniques allowed images to not only be reproduced for newspapers but also transmitted from printer to printer. All of these things affected the artists by giving them more tools and more options.
To learn more about how lighting can work for your photographs, click here. There are no hard-and-fast rules about the equipment you use. It needs to capture the images in a format that is appropriate for your intended medium. If you want to sell the photos to magazines or have them printed, you'll want something with an excellent lens and a good-sized sensor.
But if you are looking to publish work solely on the web or social media, even your smartphone will do. Of course, you might choose option C, all of the above. Use multiple cameras and lenses to capture different aspects of the project.
You might start with one setup and realize that it's not working out like you'd hoped, so you switch up all of your gear choices. The decision is entirely yours, as long as your final choice helps you communicate the goals of your collection. As always, no matter what equipment you shoot with, use the RAW file format. Photo editors will always want the highest quality image available from a shoot. Think through your project and be ready for a selection of shooting environments.
Things that are always handy to have are both a wide-angle and a telephoto lens, a small and inconspicuous camera, and something very good at shooting in low-light. No matter what subject matter you're shooting, it's important to keep the role of the subject clear in your mind. The subject isn't there to pose or to be placed in the most beautiful light. The subject is present in your photos for the purpose of furthering your mission, of helping your photos communicate your message.
Images are always candid and the presence of the photographer is downplayed as much as possible. The results may be unflattering in some ways, and that's okay. It's also worth noting that while having your subject's face is vital in many other areas of photography, it's not necessarily relevant in a documentary image. This power image not only shows a small figure at a distance, but it's also grainy. Yet this photo is one of the most recognized documentary photos in existence, and it shows no faces or other characteristics that we usually associate with beautiful photography.
Even though you are not posing or working with your subject in a portraiture sense, it's still important to communicate freely with them. Kindness and open communication are extremely helpful in connecting with your subject and getting them to trust you. The more uncomfortable or surprised they are, then the more your presence will be felt in the photographs.
Privacy issues should likewise not be ignored. All identifiable individuals should sign proper model releases, even if you aren't explicitly using them for commercial gain unless your images are for editorial use only. Here is an article on Photography Contracts and a few critical things that should be included in them.
Since the subject matter and even the types of locations you shoot in documentaries vary so widely, it's impossible to speculate what the best equipment might be. But one thing is for certain. You don't want to be stuck with the wrong equipment. Two considerations must be prioritized. First, you want equipment that is appropriate for the time and place you will be shooting. In harsh environments, you may want a sturdy adventure camera, while on the street, you might opt for a compact camera.
Secondly, you want to make sure that your camera of choice produces acceptable photos. That adventure camera's super-wide-angle lens distorts photographs and has a tiny sensor. Major magazines are probably not going to print those photos, but they can be used on the web.
Photographers working on documentary projects don't come into it casually. The issues are nearly always something near and dear to them already. At the very least, they are something that they have researched and know very well. If you don't understand the issues at play that you are trying to document, you're going to have a lot of trouble capturing images that speak to people. The problems that make the best documentary photos are deep and systemic, and they are seldom simple and black and white.
Understanding them means knowing the history, the present state of affairs, and where you'd like things to go and how to get them there. This is really the difference between photojournalism and documentary images. Forget everything you know about portraiture or studio photography. Documentaries are made up of candid images , and sometimes not flattering ones.
Your job is to document what is there and not to affect the situation in any way. Beyond making sure that people are comfortable with you around and are okay with your shooting, the photographer is a fly on the wall. Documentary projects often span over weeks or months, and that probably means thousands of photos. Make sure to back up your project somehow. Invest in a rugged backup drive and duplicate everything.
If you have a decent internet connection, you might want to save it to the cloud, too. Don't rely on just the card in your camera, or even just your laptop's hard disk. Save your work often to make sure that if a loss does occur, it is minimized.