Large editions + low prices × the internet = art for everyone.
I love this recent trend of reasonably-affordable fine art photographic prints for sale online. Love love love it. And Jen Beckman over at 20x200.com is leading the charge. Each Tuesday and Wednesday at 2pm EST, new editions go on sale. For any single image, you'll have your shot at:
-200 at $20 a pop (small), -20 at $200 each (medium), or for the more serious collectors, -2 @ $2000 each (large)
Okay, so the large prints aren't cheap, but prior to this trend, buying anything for less than the big print prices wasn't really an option. Fret no more. This trend has been good for photographers like my pal, Jackanory (his image above) and it's certainly good for those who like art. More after the jump... -- Not to be outdone, the crew over at Photoshelter have joined the party. On Friday, our Shoot! The Blog stewardess, Rachel, introduced their line of limited edition prints at $125, $250, or $450. Editions of 200 each.
I'm in the process of preparing an update for my online portfolio. Lots of new stuff to add. Having said that, we're having a meaty discussion here in the studio this morning about images. So it occurred to me that, purely out of curiosity--and if you're willing to indulge me--I'm looking for your feedback. I want to know two things, with a third thing as optional:
Thing 1: which is your most favorite image in my current online portfolio? Thing 2: which is your least favorite image in my current online portfolio? Thing 3 (optional): if you can briefly answer 'why' to either or both of the above, then do tell.
Just go ahead and list the images by number in the comments below.
Please keep a couple things in mind:
First, I'm just looking for your gut reaction. Resist noodling this (and I might suggest you don't read other comments prior to weighing in.) I've got a lot of criteria for which images I'll be featuring in the new round of edits (ones that are most personally close to me, ones that resonate with the projects I'm excited about, ones that feel like the work I'm hungry to do more of...etc), but as an artist I'm trying to understand more about raw impact, pause, stopability vs. the long take-in, and your opinion will help me learn a few things.
Second, to keep us on track, I'm hoping for this to be simply a basic count of your favorite(s) or dud(s) relative to the other images in my portfolio (not to anyone else). I've got some thick skin, but I'm not at this point looking for your comprehensive analysis. Just the facts, mam. Thanks.
UPDATE: Thanks so much for such an overwhelming response in less than 24 hours. Wow. I really appreciate your time, and the comments have fascinating. Since we got so much feedback in such a short time (my inbox looks like a pile of hangars ;) I'm going to close down the thread and take a closer look at what you had to say... Please continue to peruse and compare with the notes of others if you like. In the meantime, I'll report back in the not-too-distant future. Thanks!
If you missed my earlier post about my favorite project in a while, Songs for Eating and Drinking, you'll want to pay that entry a visit for some backstory. If you're already in the know, please enjoy. This is Arthur & Yu (Subpop) performing "3 Horses". Keep in mind that we're posting a couple new performances from #1.0 over at S.F.E.A.D. every week or so until our next evening in Portland.
Woot! Today I get to be among the very first to share with you the planet’s newest camera: the much-anticipated Nikon D90. You may have been attuned to all the recent leaks, buzz and rumors of a new Nikon camera coming soon, but I can assure you, this here ain’t no rumor. It’s the real deal and I know so because my crew and I spent several weeks testing and experimenting with this gem months in advance of today’s release, and our efforts make up the launch campaign. Hold onto your chairs for a second while I drop a few nuggets:
- 12.3 megapixels (the same luscious chip that’s in the Nikon D300) - D-movie function (that’s right, MOVIE function. 1280x720, .avi format, HD720p) - High ISO/low-noise performance (Nikon’s ace in the hole. I shot this at 3200 and dug it.) - 4.5 frames per second - 3 inch, 920dot LCD with Live View - Pop up flash with ‘commander’ mode to interface with Nikon's lighting system - GPS tagging
And if you’re at all curious to see actual 1000px detail shots of the camera, sample images, technical specs, and hear the backstory behind what a Nikon D3 pro like yours truly was doing with a D90 camera targeted to advanced amateurs, click ‘continue reading’ below. -- Ok, so I normally steer clear of too much tech hype, but today I’m right up in there. Why? Because this time it feels different. Different, sure, because I got to play with, hammer on, and test the bejeezus out of the Nikon D90 for weeks-on-end prior to anybody even knowing it existed. (Did I say lucky? Soooo fun.) But this also feels different because, beyond all the specifications, numbers, megapixels and other geeky stuff, my gut is that Nikon have really delivered on this product. After using this camera and pushing it to it’s limits, I can honestly say that it’s a camera that will deliver stunning, emotive pictures--and MOVIES for Pete’s sake! MOVIES!--to an entire spectrum of amateur photographers. And that’s exciting. The world can always use better pictures.
The Short Backstory: Representatives from Nikon Japan buzzed me to talk about a new camera while I was in Dubai. Two zillion dollars in cell phone bills and a bunch of airline miles later, I’m learning the details. And before I know it, we’ve piggy-backed a Nikon project on top of another commercial shoot I’ve got going back in Seattle in the spring to put this hot little camera to the test. And the best part? I’ve talked them into not only putting the camera in my hands, but it the hands of my staff too. Democracy. Nikon loves the idea. Heck everybody on my staff are advanced amateurs in their own right - so what better way to test this sucker than have everybody shooting - me and the crew...cameras all ‘round.
Speaking of The Camera, how'd you like a handful of snaps of the camera to whet your palette. For an Aperture gallery of twenty 1000px jpgs of each view (even photos of the digital menus...), just click here or an image below:
The Main Event: We had a blast, gaffer taping up the logos, running in stealth mode with all these black beauties so that they wouldn’t be noticed around other crew, cast, and the general public. Secret agent fun. We worked the cameras hard during my piggy-backed commercial shoot for more than a week. We shot them constantly, me--along with the D3--and the crew just with the fleet of D90’s. And funny how this happens, but go figure...our work with the D90 on location soon bled into shooting over dinner, then drinks, and then into the night, then into the next week, and so on. And the more we beat on 'em, the more the crew liked 'em.
Here’s one of my favorite grabs from my time with the D90. The flare is a stylistic thing, but the image really shows a great dynamic range:
Click the image above or, better yet, visit www.chasejarvisandfriends.com for more sample images, behind the scenes shots, and access to the main D90 microsite with all the bells and whistles.
The Wrap: In addition to the myriad of reasons I’ve already listed, there’s another reason to celebrate this launch: it’s cool that Nikon are listening to pro photographers, amateurs, and engineers alike, as a part of testing and adopting new products. This D90 project so nicely whips together many of the needs of aspiring photographers, as well as the photo community at large. Nikon is getting it. And Seth Godin will be happy. I hope other photography brands follow Nikon's lead.
To close this short chapter for me and hopefully open a new one for those of you who might consider rolling with the D90, I’ll wrap with a quick review. Here's 5 reasons this camera is great:
1. The D-movie. HD720 video in an dSLR is really big news. It’s so cool that we’re seeing the merging of high quality still and video pictures into the same camera. Sure, for us pros, we’ve got the RED camera. But for everybody else? This is the future. People: this is an SLR that shoots killer video! It’s the merging of features that the pros are using and it’s made accessible the the amateur at a price point of $1200+ bucks. Trust me, I played with this feature at length...all of us on location did, for that matter. It's going to be a powerful tool. You can control your own depth of field so beautifully using the manual focus ring, the audio capture is solid, the high ISO capabilities in video?! Way cool... Long lenses, fisheyes, zoom lenses...versatility. I’m a BIG fan of the D-Movie.
2. Photo J possibilities. This camera will be a great second body for pro photojournalists. Commercial guys like me will be loyal to the D3 and its future, but for any PJ shooter, all the bells and whistles we’ve discussed already-- especially video and audio capture--make this a no-brainer as a backup body.
3. Image Quality. The sensor is really top tier for a camera targeted at advanced amateurs. The high ISO capabilities are going to be a welcome addition to cameras in this price point. Want to take images of your kid in the rain at his baseball game at 7pm? This is your camera. It’s the D300 sensor with some juice.
4. The ergonomics of this camera are great. As someone who holds a camera for a living, I think camera ergonomics are waaay underrated. This camera (light at only 1lb. 6oz) is a treat in your hand. The menus are great and everything is right where you want it.
5. Oh ya, did I mention that this thing shoots video?!
And lastly, since I’m a huge music fan and always inundated with emails asking about the great music in our videos, here’s the inside line: the music in this Nikon D90 video is compliments of one of my fav bands going right now: The Blakes. Do yourself (and them) a favor and buy some iTunes music from these guys so you can say you were listening to them before they made it really big. Hurry, your time is running out.
Throw some big-time musicians around a table with some amazing up and comers, feed 'em like kings and queens, and what do you get? You get some stunning musical performances and a bunch of honest and richly textured video--like this one above--where Stone Gossard of Pearl Jam and Barb Ireland cover "Cool Water" by Hank Williams. You also get a whole bunch of beautifully intimate still images and a really fun project that a friend and I have pulled together... Introducing: Songs For Eating And Drinking.
Okay, here's the concept: Get a bunch of insanely talented musicians together, and let them share songs, food, and drink. Many a musical career starts with small audiences, impromptu performances, late night mutterings; and then the lucky end up on large stages and tucked deep inside recording studios - often vastly disconnected from those that love their music. My friends in the music industry have bellyached that industry folk hardly ever share food in a meaningful way – or rarely just get together and effin chill. So my good friend Michael, who has been putting amazing people at big dinner tables for a several years now, reached out to me after he'd concepted this thing... We connected and decided to take this to the next level, creating these evenings for our musician friends built around long tables, remarkable locations, sturdy drinking food, and bottles of wine and whiskey – with the hope that throughout each night songs would rise up from the table...and with the hope that we could share that music with the world.
I think we're onto something.
My favorite part? Both Michael and I are physically at the table, eating, chilling, hanging out. Michael had gotten all the food lined up--an absolutely amazing job, I might add...ribs, succotash, sangria...a feast--and then he's able to just sort of direct a small but zesty staff of helpers. I photograph from the table and immediate surrounds, as the night leads us along... 3200 iso, using a D3 and an old Hassie 503cm. I'm also directing my amazing video and audio crew from the table, popping up here and there, but fully IN the evening. We've got a great plan going in, but we also keep it loose and raw and real, low profile - the crew does a spectacular job... Talk about a fun personal project. I've always longed to photograph my musician friends in this way - from within an evening rather than from outside it - and without the annoyances sometimes associated with a handcuffed music industry budget and without the cold distance of concert halls. With this project, we're able to really get in there. Simple, gritty, real, honest. But there's more...
I sure hope you want to see more videos, still photos, and get some more background on the project. If so, click the 'Continue Reading' link below.
-- This project is a collaboration between my buddy, table guru and all around genius, Michael Hebb, and yours truly. Hatched from Michael's underground one-pot dinners, and documented in my personal still photo and video style, Songs For Eating and Drinking is the bringing together of the world’s most talented musicians and letting them share songs, food, and drink. Many a musical career starts with small audiences, impromptu performances, and late night mutterings. These cozy and soulful evenings are a return to those days.
If I can talk you into checking out our S.F.E.A.D. site thoroughly, you won't be disappointed. There are two other video performances from bands that, if you're in the uber know, you'll have heard of: Head Like a Kite (so cool - we've used their music in our vids before) and Fences(a remarkable new band that has yet to release a full length album, but will do so very soon and it will rule) and if you're not in the uber-know, well, now you are.
And guess what, there's more. We'll be posting two or three videos from our last evening each week or so for the next month or two, so check in here with us (I'll be embedding some here at ChaseJarvis.com/blog), but also stay tuned to the SFEAD site via RSS or subscribe via email. The full roster of artists at our table a few nights ago:
And of course, I'd also love for you to check out some of my images from the evening. There's a handful here below, but you can get a hundred more by clicking through to this page (don't forget there are two pages...).
Lastly, before you get onto the still images ...just a heads up: we've got a whole series of these evenings planned. Many amazing musicians. I hope you get to enjoy some of your favorites in future posts, as well as learn about some new bands. Buy some of these bands' music. Support them. New, fresh music puts a bounce in your step. There's a huge range of artist in this project, from hipster, to pop, to folk, hip hop, and good old rock n roll. Also be sure to visit Michael's OnePot.org page - he's a great guy and doing really brilliant stuff.
And stay tuned for more. Thanks for letting me gush - this is a really fun one ;)
Fences. Diabetes.
Tilson and Barfly from The Saturday Knights laying lyrics over Pearl Jam's Stone Gossard
Headlike a kite, backlit.
The wonderful and elegant, Karen Loria... Pearl Jam's photographer, Ten Club champion. Shot with the good ol' Hassie.
My partner in crime, Micheal Hebb.
Jesse from Subpop's Tiny Vipers.
Early in the night, ace music writer, Jonathan Zwickel.
The amazingly cool Cheryl Waters of KEXP, along with our very own Cody and Trent from Head Like a Kite.
More than a decade ago I was in a PhD program studying the philosophy of art, with special focus (pun intended) in the philosophy of photography. Aside from tired undercurrent of learning a lot about dead white men, and despite my quitting after just two years, it was an amazing and engaging endeavor that I wouldn't have traded for the world.
It's that background that makes documentary filmmaker Errol Morris' recent piece in the New York Times titled Photography as a Weapon so fascinating to me. He wisely contends that photography is regularly used as an incredibly powerful tool of deception.
The excerpt following the jump is from Morris' article and refers to the image above left where Colin Powell used falsely annotated photographs to effect our viewpoint (of what might otherwise have been a rather innocuous image) as a reason for war... Juxtapose that annotated image with the one on the right calling out the International House of Pancakes and you get his point. Click the 'continue reading' link below to get more on his simple-but-elegant take on photography as a potentially sinister weapon. -- From Morris' NYTimes piece:
...There is a larger point. I don’t know what these buildings were really used for. I don’t know whether they were used for chemical weapons at one time, and then transformed into something relatively innocuous, in order to hide the reality of what was going on from weapons inspectors. But I do know that the yellow captions influence how we see the pictures. “Chemical Munitions Bunker” is different from “Empty Warehouse” which is different from “International House of Pancakes.” The image remains the same but we see it differently.
Change the yellow labels, change the caption and you change the meaning of the photographs. You don’t need Photoshop. That’s the disturbing part. Captions do the heavy lifting as far as deception is concerned. The pictures merely provide the window-dressing. The unending series of errors engendered by falsely captioned photographs are rarely remarked on.
It may seem overly simple at first, but it begs a brilliant question about the role of images and words combining to either solidify the truth for us, twist it, or more subtly manipulating the viewer's desire to even engage in a picture. (eg. What if the caption of the above photo read "Brittany Spears caught without her panties again"... If that were the case, you'd most certainly look more closely at the image - even if it's just for a second - to wrap your brain around the validity of either the words or the image, neither or both..)
Thus, like Morris, I believe that, in this day and age, we're stuck in a unique intersection of time/technology where we're still mentally bound to thinking that images we see in the media and the world around us are "real", yet we all know that that Photoshop exists and is widely used. It's undoubtedly very tough waters for our public psyche navigate.
[If this is at all interesting to you - the role that captions and photo manipulation can play in our world, you must read Morris' piece in the New York Times. Thanks to the ubiquitous Boing Boing for the tip.]
So in case you've been sleeping under a rock, just a quick reminder that Seattle's underground photography scene is going berserk. I'd venture to say that there are more aspiring camera shutters cracka-lackin' here than anywhere on the planet.
If you missed our first such photo evening, highlighted in last January's vid - Chase Jarvis RAW: Seattle Flickr Roundup - this time we took it to the next level. Thanks to the hard work of my crew and the likes of Glazers Camera here in Seattle, during Friday's community outreach photo shoot event we were able to provide 100 photographers with the resources they need to help them learn: 30,000 square feet of shooting space, 25 models, 4 stylists, a breakdance crew, a freestyle ramp complete with BMX riders, 7 fully professional lighting stations, and a whole lotta positive vibes...all at no charge to them. In the words of Spinal Tap, this one went to eleven. Click the 'continue reading' link below to get the deets on this historic and collaborative event. --
So, if you're a pro shooter, consider rounding up some local photo enthusiasts, reaching out to your community and sharing some knowledge. On the other hand, if you're an aspiring photographer and this sort of thing is of interest to you, consider rounding up your homies and sharing resources. It's good fun and remember, a rising tide floats all the boats.
Check out some of their photos from Friday's gig here:
[Thanks again to our staff, the models, the Fraggle Rock Crew, the stylists, the volunteers, Glazers Camera, and all the participants. And, of course, thanks to Trent at Nine Inch Nails for the tunes. RSS readers may need to click here to see the video.]
So many of the photography videos out there show great behind-the-scenes footage and tons of gear-related details. This video is more than that. In this Chase Jarvis TECH, I'm responding to the dozens--seemingly hundreds--of emails I've received recently asking me to highlight the various steps that comprise a professional commercial photo shoot. Therefore, follow along in this 3 minute video as I walk you through a recent commercial assignment where I was hired to photograph 3 hot young golf ladies of the LPGA.
[And of course I included a lighting diagram and tech specs in the video for you photo geeks out there.]
Click the 'continue reading' link below for a more complete description of the shoot, including the 6 core components to almost every commercial gigs, a detailed list of the equipment used, and more.
-- We all like to focus on the creative aspects of our jobs as photographic artists. I know that's my favorite part - it keeps us sane and engaged. However, often overlooked are the nuts and bolts, or the framework for what enables our professional creative vision to become a reality.
As you see in the vid, it's my belief that nearly every commercial shoot has 6 core components or phases. Roughly, those are:
1. Contracts, creative concepting, and pre-production. In this phase you're putting the deliverables in writing, your flexing your creative muscles with the client, and you (or your producer) are lining up the logistical details of the shoot.
2. Travel. While it's not a component to every shoot (eg, in your studio?), it is a big part of many shoots. Whether you travel across the country, the world, or just your home town, you're still moving bodies and equipment, and thus this deserves your attention.
3. Scouting. Whether you do it weeks, days, or hours in advance, you should--if at all possible--build time into your schedule to visit the location before you shoot. Take into consideration how the light looks, where the sun moves, logistical challenges, etc. Take sample images and look at various angles. Make a game plan.
4. Shooting. This is the fun part where you get to do all the stuff that made you want to be a photographer in the first place. Focus on creativity and executing your vision.
5. Post production. This is the step where you process your images, retouch them according to the client needs, and most importantly add your personal mojo. This is often overlooked, so be sure to build time into the schedule. (See an earlier post for my opinions on this.)
6 Delivery. Whether you deliver online via FTP or via hard drives, DVDs, or whatever media via Fed Ex, it's important that you have a smooth system that works for both you and the client, with special attention to file format, color space, and timeline, etc.
Obviously, these 6 components are just a shell meant to act as a guideline. You could thin-slice this to death and include color palette review, stylist collaboration, prepping the models or talent, etc, but I've chosen to sort these things into these 6 larger buckets. Of course you could also add things before and after this set of six, like wooing the client before and following-up after the job with a thank you, etc. Again, I'm truncating these elements in favor of focusing on the big 6 elements so that you catch my drift.
Pay Vincent Laforet a visit today, and put him on your regular hit list. His Pulitzer Prize winning eye and his New York Times journalism brain should combine to give you plenty of good stuff to devour (especially about the Beijing Olympics in the very near term).
[Oh, and in case you think the cloud is falling, join me in focusing on the end of his article. Think big. With great risk lies great reward.]
Quick favor to ask of those in or around Sydney, Australia. I've got this Emirates Airlines campaign running right now...it's print magazine and OOH (out of home - slang for billboards, busboards, etc). I've got the digital art file (pictured), but I'd love a photo of the billboards for my records. Rumor has it they're around the city and on road approaching the international terminal at the Sydney airport. I'll send off one of my limited edition hipster t-shirts to the first couple people willing to email me a nice jpg or two. Thanks!
An advertising agency client recently got themselves into a little pickle. They had hired me for a gig, we spent tons of time on pre-production, and before you know it, we were whisked off to location. It soon became clear to everyone on set that the scope of work outlined in our signed contract was a little different from what was really required. The budget had been fixed and there were the same number of final images required, but the route to get to those finished images was going to be much more challenging than previously imagined... This shot suddenly required two angles, this other shot required a third version, there was extra talent needed, etc. It was a week-long shoot and despite the rigorous pre-production we'd all agreed to, the CD and the AD had to make some changes on set.
I was faced with a handful of options:
A) Meet all the client's needs with no changes to the contract B) Change the contract before agreeing to any changes on set C) Meet all of the client's needs on set and wait to re-negotiate changes after the scope of work was known D) Don't agree to the additional work since it's wasn't in the contract E) Some answer not contemplated herein
What would you do? Seriously. Answer the question. After that, click the 'continue reading' link below to find out what I did and why.
-- Ready for this?
I chose A) Meet all the client's needs with no changes to the contract
What the? Why? Who tha? Huh? You're saying to yourself "He chose A!! That's what contracts are for, they outline responsibilities. Why would you do stuff that's beyond the scope of the signed contract? You're selling yourself short! You're undermining the industry!"
The answer is simple: I did the extra work because I wanted to and because I could. Because making clients happy is part of my job. Because it was the right thing to do.
OK, now the explanation. This was a bit of a trick question. You didn't have the details in this particular case, but to make my point here: the details you didn't have DON'T MATTER. The point I'm trying to make is this: changes and challenges on location happen. It's a part of the creative process whether you like it or not. Regardless of your contingency plans and all your experience, shit happens. Sure, we mandate that our productions are always impeccable, and this was no exception, however stuff is ALWAYS different out on set than you picture how it is during the pre-production conference calls! Where a real professional creative shows his or her gold stars is in getting the job done--whatever the requirements-- with style and grace, and in the face of any adversity that might come your way.
I have a tremendous respect for contracts - they're meant to guide us. But they are not the end-all be-all.
I confess I did a little impromptu analyses: Is this extra work going to make the final images better? (yes) Is this gonna change the number of final campaign images? (No) Is this going to add extra days to the job? (No) Is this pounding my bottom line? (Not badly) Am I being compromised to an unreasonable degree? (No) Is this client a great client that I want to impress? (Yes) Is over-delivering going to help strengthen my relationship with this client? (yes Etc. Etc.
Suffice to say, this stuff happens all the time. Look at it as an opportunity. Not to give stuff away or devalue your work or any of that. Because considered rightly, it really is none of those things. It's most often the right thing to do. Over-deliver. Avoid becoming a primadona. Embrace collaboration and give and take.
Understandably so, I think photographers and artists everywhere get it beat into our skulls from a very early age that "creatives get taken advantage of... don't let that be you. Be a great business person, play hardball, yada, yada, yada..." Sure our ilk have been fed the short end of the keilbasa sausage more than once, but truth be told, good business also means taking a big perspective view of the relationship. It means being a good human being. Sure we should all be smart is business, but do so with as long a term view as you can possibly afford to take. Balance yes and no. Keep perspective. Resist being the photographer that is proud of being a stubborn jerk. Contrary to what you'd read in lots of blogs and books, there is a middle ground between getting taken advantage of and being friendly and hardworking.
In the case of this real-life example, I did all the extra work without so much as raising an eyebrow. Why? Because is wasn't going to hammer me and it was going to yield a better result. It was a lot more work than expected and certainly more than the contract outlined, but it was the right call.
After the shoot, both the CD and the AD thanked me for going the extra mile. They loved it. And you know what? Shortly after we returned from the gig, they immediately booked me again for their next project.
You might be learning, might be just another solid artist, or you might be the best artist in the world and have the buyers eating out of your hand. Regardless, I promise you: taking good care of your clients will never go out of fashion.
Large editions + low prices × the internet = art for everyone.
