Photo or Video? The Inner Debate Before Africa
The Quiet Question Before I Pack
It always starts before the gear list. Before the batteries are charged or the cards are cleared.
This time, I’m heading to South Africa. And I keep coming back to one question—not about what lens to bring or whether to pack the FX3 or not. But this:
What’s the focus for this trip? Photography—or video?
The Photographer’s Reflex
I’ve built most of my visual instincts around still images. Photography is fast. Responsive. It’s in my hands before I even think.
When something unfolds in front of me—a lioness scanning the horizon, an elephant stepping into golden light—I lift the camera. I shoot. It’s automatic.
If there’s time after, I’ll flip to video. Maybe I’ll try to “capture the moment again.” But let’s be honest: that moment rarely comes twice.
That’s the core of the problem.
The Filmmaker’s Pull
Lately though, I’m seeing in sequences. I see how the grass moves in the wind. I hear the quiet before a kill. I notice the tension, the rhythm, the unfolding pace of nature—not as a decisive moment, but as an emotional arc.
Still images freeze time. Video lets it unfold.
There’s something in my gut now that isn’t satisfied with just the click. I want to hear the breathing. Feel the silence. Watch the posture change—not just catch it mid-frame.
I’m still a photographer. But I’m hungry for filmmaking.
You Can’t Choose at the Last Second
Here’s the brutal truth: if you try to do both at once, you often fail at both. Video needs intention. A position you commit to and hold. It’s slow, methodical, deliberate. Photo needs the opposite. Speed. Reflex. Freedom to move, reframe, recompose on instinct.
If I try to “decide in the moment,” I risk missing it completely.
The Field Strategy: Shoot in Blocks, Not Bursts
So I’m thinking differently this time. Maybe the answer isn’t switching modes. Maybe it’s dedicated blocks of time.
- One morning fully committed to stills: fast shutter, high alert, no rig.
- One afternoon rigged up for video
- Or full days with one primary intent. Decide before I leave camp, not after I see the subject.
It’s not foolproof. I know I’ll miss great moments—both for video and for stills. That’s the price of choosing. But I’m learning to be okay with it. To stay in the moment.
To see a perfect photo unfold and simply think: “That would’ve been a great shot—too bad I’m filming today.” And then move on.
Am I Still a Photographer?
This trip feels different. It’s not just logistics.
Usually, before a trip, I’m already visualizing the photographs I want to come home with—certain frames, certain compositions. This time, I catch myself watching YouTube, not for images, but for structure. I’m thinking in sequences. I’m building shot lists in my head.
What scenes do I need to bring home to tell a story? What moments build narrative, not just impact?
I don’t have the answer yet. But I can feel the shift happening. One frame at a time. Or maybe, one sequence.
I’ll Know It When I See It
So what’s the plan? I’m bringing both setups. But I’ll try not to let the moment decide for me. I’ll decide ahead of time—and then lean all the way in.