National Geographic has always had a gift for making history feel immediate. A new 3 part series premieres on NatGeo, on July 22, and the next day on Disney+, and Hulu. It’s called Pompeii-Out Of Time

This series revisits one of history’s greatest disasters—the eruption of Mount Vesuvius in 79 AD—but instead of simply telling the story, it asks a fascinating question:

Did anyone actually survive?

Guiding viewers through the mystery is actor Tom Hiddleston, whose lifelong fascination with Pompeii began when he first visited the archaeological site as a teenager.

Throughout the series, Hiddleston becomes part historian, part detective, following the archaeological evidence as he pieces together the lives of those caught in the eruption.

The production is unlike most historical documentaries, blending dramatic recreations with documentary interviews so seamlessly that it’s often difficult to tell where one ends and the other begins.

 

To find out how they pulled it off, I spoke with award-winning cinematographer Jim Jolliffe, who shared what it really took to photograph one of National Geographic’s most ambitious productions.

PI:

The finished series feels incredibly seamless, but I understand it wasn’t filmed all at once.

Jim Jolliffe:

“It was actually three productions.”

“We spent three weeks shooting the dramatic recreations in Malta. Then we went to Pompeii for about five days with Tom Hiddleston, and after that we finished everything in London with another four or five days of studio and location work.”

Despite being filmed in different countries and under completely different conditions, Jolliffe says the goal from day one was to make audiences feel like they were watching one continuous film.

“We wanted the drama and the documentary to have exactly the same visual language.”

PI:

The visual transition between the drama and documentary is almost invisible.

Jim Jolliffe:

“We used the same camera, the same lenses, the same LUTs and the same overall look throughout the entire production.”

Everything was photographed on the ARRI Alexa 35 using Caldwell Chameleon anamorphic lenses, giving both the interviews and dramatic recreations a rich cinematic texture.

Unlike many large productions, Jolliffe wasn’t sitting behind a monitor.

“I was operating one of the cameras myself.”

For the action sequences he relied on a modified EasyRig fitted with a Mantis support system, allowing him to move quickly while taking the camera’s weight off his shoulders.

“I love operating. I’d struggle to give it up.”

PI:

Pompeii isn’t exactly a closed movie set. What were the biggest challenges filming there?

JJ:

“It was incredibly difficult.”

“We only had about two hours every morning before the public arrived.”

Once thousands of tourists entered the archaeological site, the crew had to work around them while carefully protecting one of the world’s most important historical locations.

“There were only about ten of us carrying equipment through Roman ruins. Every wall, every stone is two thousand years old. You have to be incredibly careful.”

Even drone shots had to be completed before visitors arrived.

PI:

The dramatic scenes feel incredibly authentic. The ash, the smoke, the main eruption. How much of that was practical?

JJ:

“As much as we could possibly do.”

One of Jolliffe’s biggest creative battles was convincing the visual effects department to let him create many of the atmospheric elements in camera instead of digitally.

“The ash was paper.”

“The pumice was cork.”

“And we filled almost everything with real smoke.”

Why?

“Smoke completely changes the way light behaves. Every tiny particle becomes its own little reflector. You just can’t recreate that naturally in post-production.”

Watching the finished series, it’s hard to argue with him.

The eruption feels physical.

It feels dangerous.

Most importantly, it feels real.

PI:

The color palette also changes dramatically as the story progresses.

JJ:

“That was planned before we ever started shooting.”

Jolliffe created an extensive look book before production began, sharing it with the director, producers, camera department, digital imaging technician and colorist.

“We begin with warmth.”

“As the eruption progresses, the warmth slowly disappears and the image becomes colder and colder.”

Interestingly, he deliberately avoided the fiery orange look audiences often associate with volcanoes.

“People automatically think lava.”

“But Pompeii wasn’t really about rivers of lava.”

“It was ash, darkness and smoke.”

That creative decision gives the series an unsettling realism that separates it from typical disaster documentaries.

PI:

Some of the nighttime scenes almost look like they were lit entirely by candles.

JJ:

“They basically were.”

Modern digital cameras made it possible to rely on available light in ways filmmakers could only dream about a generation ago.

“We were shooting at incredibly high ISOs.”

Jolliffe even referenced Stanley Kubrick’s Barry Lyndon, famous for pushing available-light cinematography to its limits.

“Today, the cameras let us achieve something very similar without needing those extraordinary custom lenses Kubrick used.”

PI:

One sequence that really stood out was filming the plaster casts and skeletal remains.

JJ:

“Those were some of the most sensitive locations.”

Many close-up shots required special permission, and often Jolliffe worked alone to minimize risk around the fragile archaeological artifacts.

“The skulls and teeth you see…”

“They’re real.”

It’s a sobering reminder that behind every cinematic frame is an actual human tragedy preserved for nearly two millennia.

PI:

Did historians discover that anyone survived?

JJ:

“They did.”

“There were actually more survivors than we featured.”

The filmmakers ultimately chose three individuals whose stories best carried the emotional arc of the series, while remaining grounded in historical research.

Final Thoughts

What impressed me most wasn’t simply the cinematography—although it’s exceptional.

It was how every creative decision served the story.

The choice of lenses.

The practical smoke.

The evolving color palette.

The restrained visual effects.

None of it calls attention to itself.

Instead, it quietly places you beside the people of Pompeii as their world disappears around them.

National Geographic has produced another remarkable documentary, but what Jim Jolliffe and his team have created feels even bigger than that.

It’s part historical investigation.

Part dramatic feature.

Part archaeological mystery.

And for anyone interested in cinematography, it’s also a masterclass in how thoughtful visual storytelling can transport audiences back nearly two thousand years.

I admittedly binged this series, as look, the structure, the edit, and of course Tom, made it all so engaging, I couldn’t stop. Catch it on one of the 3 platforms.

 

It is a constant search. And the choices are always changing. Here are 3 options:

For a flash mainly for walk around fill, used primarily with a Fuji X100V, the Godox it30pro became a standard in my bag for 2 reasons:
The compact size matched the camera profile. Here it’s shown with the optional riser to move it off the camera body and angle it

I do like to have the option of off-camera flash shooting and throw the Godox X3 trigger in the bag as well.

If I’m walking and snapping with purpose, it’s an easy step to connect the trigger, and 2 hand the situation.
Then Godox came out with the IT32.

A larger footprint but has a unique feature with a magnetic trigger that fits in the base of the flash.
A simple pull apart of the 2 pieces gave me a choice of the off-camera capability I wanted I although a larger main flash body. The connection is fast, and syncs with no issue. Yes, it comes with the stand and the trigger can fit on the stand  or not.

The great news was the X5 Trigger in the base. A camera specific trigger that I could swap out with one made for my Nikon rig.
So… now I had a flash that I could use on a variety of brands, and still relatively small. and also made for Sony, Canon, Leica, Olympus, and Panasonic.
Slightly more powerful than the it30pro, plus had a modeling light.They both use a touch screen for controls
It32 comes with some filters, and other goodies.
Both of these also come with a bag, and the IT32 have 2 mag filters, which I probably won’t use.

AND bigger news was that I could connect my smaller it30 to the X5 trigger, plus other Godox Flashes. Those folks thought ahead on this product.

Like the TT350. Although and older product, still very viable. No touchscreen, but if you have used flashes in the past, easy to adjust controls. Sure, bigger than either of those, but with GN almost double the output of the other 2. Still pretty compact.

Unfortunately, you cannot (at this time) just buy the $20 X5 trigger. You HAVE to buy the it32 to set-up the X5.
I bit the bullet and bought the IT32. It does connect to all the Godox flashes as a simple trigger, so did what I hoped.

Are you following?

Remembering that these are not high-power flashes and should be used within their limitation. You can bounce the light from these but only the TT350 has enough output to really utilize that option. frit is the IT32, then the IT30pro, and the 3rd is the TT350

The IT30 and IT 32 both use a built-in battery and a touch screen, and the TT350 uses 2 AA, and has the old school button settings.
Recycle time is ok, just not the fastest.

What to do?
For walkaround I’ll put the It30 in the bag with the X5. It’s a simpler, smaller set-up. I control output on the lash itself and use the X5 as a basic trigger

I will swap in the it32 and see how it fits my workflow.

With a larger camera like the Fuji X-H2, who knows, maybe I’ll carry the tt350.To wrap it up:
With the Fuji X100V-
For smallest footprint- it30pro with X5
Next is the it32 – X5 is integrated in the body
The above are everyday carries. I want to fill shadows, give portraits a specific look during the day, or capture some indoor activity

With the Fuji X-H2 it could switch to TT350 with X5 for power output. As you can see, all 3 are well under $100

To be honest, if I’m on an assignment, I’m using a Profoto A10 on camera, or a Godox AD200pro.
They each have the output and speedy recycle time I need, and the AD200Pro has more options for adding modifiers, so that becomes a situation specific call.
I always carry lots of batteries. Insurance.

There is one other Godox flash I picked up strictly for aesthetics’ Lux Master
Yes, I picked up the softbox and dome made for this unit.
Not as powerful as even the TT350, but the vintage look is fun in certain situations.

Studio light is a different matter, and I still go to Godox, with a set of AD300s, and a full compliment of modifiers, including strip box, umbrellas, grids, etc.
Raised on Balcars, moved to Dynalite, now settled into Godox

It’s that time!!

Whether is a local display, or a city rooftop viewpoint, you can get some amazing shots of the fireworks! Tips on the best ways to get the shots you’ll remember, below.

What is it about fireworks that draws us close, cause us to emit uncontrollable ooohs and ahhhhs, and brings a group experience unlike any other? That shared , almost primal feeling of amazement at seeing those colored explosives, bursting in air, and the crescendo of the finale, is an experience like no other.

Here are some tips on creating your own iconic images. And some more. Here too. 

Want the basics?
1. Shoot with a tripod or monopod
2. No Flash
3. ISO 100 is sufficient
4. Photograph peoples reactions too. You may want to get those ooohhs and ahhhhsss on record. Mass happy reactions! Remember-no flash!
5. Experiment with focal lengths for a new look at the same patterns.
6. Set your focus to infinity
7. Shutter speed should be set to “bulb” or shoot 1-4 secs. Experiment!
OR
Set your consumer camera to “Fireworks” mode and shoot away. You may not get the best , but you’ll have a memory.

Don’t forget about the festivities around the event, as you will be able to photograph the joy of people gathering for the special day. Continue Reading »

I started my career in my teens as an assistant to a very talented photographer in NYC.

We got along great, and honestly, spoke not that long ago.

One of the perks of the job was being able to use the studio and darkroom, which was so much better than the darkroom in my bedroom.

There was an exchange of service though. One of those was printing out 50 headshots of one of his actor friends.

They came out great, but he had a look, approved of the exposure, and print quality, but asked me about the spotting.

The what, now??

Yep, dust spots. I had to quickly learn how to spot a print. Basically painting in the white spots with an ink made for the fiber based photographic paper. He taught me though, which was just one of the many lessons I learned.

But 50 prints?

These bottles of spotting ink was the special sauce. Plus various very thin brushes. Oh, and a little spit.

You would mix a color match, as each bottle had a slightly different tone, in a dish, then wet the brush with your tongue, and get to coloring in the dust spot with a matching B&W tone. It was a delicate process, and a deft hand was needed.

Today I was in a gallery where this was happening, and I was immediately thrown back in time.

Now these inks are no longer made, and it seems that EBAY is the only place to find them.

When I came back home, I digitally did some “spotting” and of course it worked.

That trip down memory lane was a reminder of how analog my time in photography began.

It’s just about at the season where we all starting hitting the road. Whether you are driving, flying, or planing the stay-cation, you need some goods to plus up the experience
Here is a round-up of a few things that may help you enjoy your trip just a little bit more. These are the inside goods, and more outside goods coming next!

Take advantage of the Amazon Prime Days!!

Twelve South Air Fly

Soundcore Translating Ear Pods

Anker Mag Safe battery, 10,000 mAh

Ulanzi MagSafe Phone Stand

Rolling Square Multi Tip charging cable

Rolling Square AirCard Pro

First up is one of my all time faves, the Twelve South Air Fly
When you are on the plane, might as well enjoy the carriers content wirelessly!
Seats are not getting any bigger, and not being tangled up in wires is the best!
Blue Tooth connect your headphones, and you are free as a bird.

You know, I will not use airpods on a plane, too easy to lose, and seat mates can hear the sound spill, so choose your over ear earphones with care.
Personal fave is the Sony.
But… last year Anker came out with a set in their SoundCore line for under $70, that has surprised me for its superb audio quality, and features. Highly recco!
And the AirFly can also be used in the car, as you can BT connect your phone, and hear your fave podcasts, or music lists.
I give these out as gifts, and they are the best!

One other new travel item just came in:
The Soundcore AeroFit 2   is not only a solid ear pods set, but most importantly for those traveling to another country, it has AI translation!  Highly rated on consumer reviews as swell

I am low key obsessed with these! Not only superior sound and 4 mics, and comfortable, it will allow you to translate up to 100 languages! They can speak in their language, you hear it translating in your ears, and then hit a speak button on the app, speak you language and the speaker on your phone will do the translation. I have used this with people who work in my building, and at a local Mexican restaurant  and confirm it works like crazy! Plus the case is magsafe so you can charge without wires.

Remember the Seinfeld episode where Elaine a was being trashed by the attendants in the nail salon in their language? Yeah, this could solve that little issue.

Now I’m looking to use this on the subway so I can understand those around me.

If you are flying, we have seen flight delays becoming a common occurrence.
You need to keep your phone charged, if for nothing else, to get notices about your flight.
The smallest best battery that is always with me is this mag safe Anker battery with a whopping 10K mAh on board to keep you going.

If you are needing to charge your laptop, I’d suggest a move up to this Anker power brick.

Yep, heavier no doubt, but is has all of the juice you’ll need to power up all your devices, while you wait to board. And TSA approved!

Another unit that is always in my bag is this Ulanzi Carabiner with mag safe. Folds, lets me do a hands free phone zoom call, or watch content while dining alone.

It folds flat, and then opens up to hold your phone so you can be hands free to do a zoom call, watch content, or just scroll while having the phone securely held.

One thing that is always in my bag is the Rolling Square Multi-Tip charging cable. Basically with this, I know I always have the right connection. There is a magnet at the tips so it always stays tight and never tangles.

We all have tracking tags in our bags, and when you want one in your wallet, without a bulge, or just need a slim tracker, this new Rolling Square AirCard Pro is a great call and super affordable. Not only is a nice, loud audible device, it is rechargeable, with each charge lasting up to 12 months. AirCard™ Pro comes with an ultra-flat wireless charging lithium 220mAh battery. When it runs out of power, simply place AirCard Pro on a wireless charger and wait around 1 hour and 30 minutes for it to be fully charged and ready to track your valuables again. it also has a QR code you can customize with your contact details and use as a digital business card, or just as a lost and found extra info if someone found your item.

Thin, rechargeable, works with Find My, and QR code for contact info. Yes, works great with iPhone or Android!

So there you have a few items that can make your travels a bit easier, and they all pack small and play big!

I have used them all and do just what they say they will.

For these lists I only tell you about items I have actually used, so trust in that. Of course you can always return items from any of the stores that are linked in the photos!