Archive | July, 2009

Deconstruct This Photo: Revealed

It was fun reading all the great attempts to deconstruct the photo from Monday’s post. As you might imagine, many of you got close or even nailed some of the components, and many of you were way in left field. And that’s exactly what I expected, especially since this image has some tricky, unexpected stuff going on.

At any rate, here’s the debrief:

Concept: this image is really a snapshot. I confess to liking it quite a bit, but at it’s root, it’s a lighting test for a campaign image that’s just about to happen moments after this image was snapped. I was taking pictures every 30 seconds or so as the sun was bouncing in an out of the clouds low on the horizon. I was looking at how the light was falling on the ground, creating the dramatic shadows behind her, and examining the difference between full sun and the partially diffused sun to make a choice with the AD and the CD as to which would be better for our shot. When Chloe faced the sun, I saw this cool shot, and so I snagged it. It’s a “just” lighting test outtake, and there are 30 others that look really similar to it, but it’s a wonderful little moment here with her arms behind her head, facing the sun.

Location: we’re pretty high in the mountains on the big island of Hawaii. The smokey looking stuff in the background is…[click the 'continue reading' link below]

…just a cloud bank, settling between the hills. During our scout, we’d noticed this phenomenon and we’re hoping we’d get it again on the shoot day. We got it. As is said in some circles: location, location, location.

Lighting: all natural. Sun is near the horizon in the evening, just poking out from behind a substantial bank of clouds. The fact that there seems to be no shadow can be explained either by the our altitude relative to the setting sun, or due to the camera angle and the rough grass behind her and we’re just not seeing it.

Tech specs: Camera is Nikon D3. f7.1, 1/1000, ISO 400. Lens is Nikkor 70-200. Focal length of this shot is 190mm.

Post processing: Aperture only. No Photoshop. No composites. We tweaked exposure, contrast, blacks, clarity, cooled down the temp, and vignetted the corners just a touch to enhance the in-camera vignette that the 70-200 lens creates when it’s at its upper range. Total post processing time: 1 minute.

My direction: none. Well, almost none. I’d asked model Chloe to merely stand in her shot while I chimped away at the back of my camera with some lighting tests. She’s waiting for the “real” action to get started when we determine that the light is doing what we want.

And voila. There you have it. A high 5 to everyone who contributed. Since there was over 100 comments less than a day, seems like this is something we’ll do again at some point.

There’s a million things to take away from this exercise, some obvious, others not so obvious. Love to hear some of what you’re taking away if you care to share.

[Revisit the original post, Deconstruct This Photo]


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Deconstruct This Photo

One of the ways that helped me learn to create the kind of pictures I wanted to create from a technical standpoint was by trying to reverse engineer the work of others… work that was my friends, that was the photography masters, or, even just cool images I’d seen in magazines. I’d sit there for hours considering what might be at work. It’s a good exercise in trying to understand both the technical stuff AND it can inform the creative for sure.

As such, if anyone is willing to take some stabs, I’d love to know what you think is at work – front to back – in creating this image. Consider lighting, mood, exposures, set build or location, what direction I could be giving the model or anything else you think is relevant. I’ll tell you as much as I can recall about what is actually at work in a follow-up post and maybe kick out a high five or something else to someone who gets closest.

[update: the full story on this image has been revealed here.]

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[Depending on your RSS reader or email client, you may need to click here to see the image in this post.]

Morning of the Shoot: A Quick Video Tour

http://www.facebook.com/v/122990946404

You asked for more behind the scenes stuff, so I’m doing my best to deliver. This quick, very recent vid is from the morning of a shoot for a global ad campaign. Contracts and lawyers make it so I can’t show any details, but I thought there’s plenty to take away from the general buzz that’s going on. Sort of fun. I know this is super lo-fi, but we’re all crazy busy, so you’re getting the one-take non edit. Hope you enjoy. I’ll do my best to answer questions below. I won’t get to anything on Saturday since it’s my birthday, but I’ll get to them tonight and Sunday/Monday as best I can, so ask away.

As an aside, this vid went up earlier on my Facebook Fan page. I keep content moving around to a handful of channels based on a variety of factors (ease, production value, timing, etc), so if being in the know sooner (sometimes days, sometimes weeks) is of interest to you, I recommend tuning into some or all the channels you frequent most.

Become a Fan on Facebook.
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Have a great weekend.

Sliver of Redemption? The Virtual Stock Photo Agency

I haven’t shot an image for stock photography in nearly 5 years. And I don’t plan on doing it any time soon. That sentiment governs how I’ve felt about that part of the industry for some time now.

That’s not to say there’s not some money to be made – after all, I still collect checks from old work and outtakes that would be rotting on my server – however I decided long ago not to further participate in the commodification-of-the-image race down to $1, or even Free (type that word in the search bar next to ya for more on that topic…). It’s a personal choice, a creative decision and a business decision–I’m not criticizing it as a still-viable-opportunity in the marketplace.

BUT, having said all that, here’s a little chuck of redemption: Renowned nature photographer, Art Wolfe, sent me a note yesterday…[click the 'continue reading' link below...]

…about a model they’ve pulled together over at Photoshelter where photographers are able to create their own virtual agency by pooling their collections. Imagine: Art Wolfe + Tom Mangelsen + David Doubilet. From Art’s piece in the most recent Outdoor Photographer Magazine:

“…PhotoShelter allows photographers to band together in a virtual agency, where the collections from two or more photographers become searchable under a virtual agency name. The images are still controlled by each individual photographer, and each sets his or her own licensing terms. The agency isn’t managed. It’s essentially a search pool, a way to make it easy for buyers to find what they need. If a client desires an image, the sale goes to that photographer…”

I like this idea. It further democratizes the space for photographers and gives them another opportunity to connect against the bigger players. Kudos to Photoshelter once again.

For the first time in years, I can actually see a handful of hot action photographers getting together, a handful of top celeb shooters getting together, or a handful of badass architectural shooters getting together–whomever–and creating their own little corner of the universe that actually takes a little bite out of the bigger marketplace. While this concept is not revolutionary, or even new, it’s remarkable that the technological infrastructure is no longer a barrier. It’s been reduced so low you could trip over it.

While it’s still not for me, this seems like some sort of redemption in the bigger scheme of plummeting options for those photographers seeking to license and develop their business around getting stock images direct to buyers.

Check out more of the discussion at Outdoor Photographer magazine.


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Viva La France! Prix De La Photography Paris Winners

Major props to the overall winners of the prestigious Prix De La Photographie Paris prize: Erwin Olaf for staking claim to the Photographer of the Year title, and also to Annett Reimer for owning up to Best New Talent. I highly encourage popping over to the Px# site for a through the honorable mentions if you have a chance. Plenty to oogle.

And I’ll try not break my arm from patting myself on the back here, but I wanted to say how honored and grateful I am to “the people” for having awarded me 1st Prize in the People’s Choice music category. Winning images were from my Songs For Eating and Drinking series…the selection of submitted pics after the jump. Thank you thank you!

[And if you're doubting the power of Twitter, I actually found out I'd won in my Twitter stream (following me? @chasejarvis) before hearing from anybody at Px3. Thanks @m_hagedorn!]
[Above image by Erwin Olaf.]

Word.

Photographer’s Assistant: What I look For

1. Great attitude
2. Great attitude
3. Hard working
4. Knowledge of technical/equipment
5. Great personality

Notice photo school is not on here, nor is 10 years experience, nor are a lot of things you might expect. For the newest assistant on the team, I’d way prefer to have simply a great attitude, be a hard worker, have an open mind, and a working knowledge of most things photo. And do note, this is is not for a first or second assistant. I have those on staff (you guys rock), but if I didn’t, I would only look to tweak the description above to put ‘knowledge of technical/equipment’ up one notch just below just one ‘great attitude’ and one ‘hard working’.

You get the picture. There’s actually a lot of information to take away from this…

…post. Hope we those interested can read between the lines. Happy Friday. Have a great weekend.

[FWIW, this isn't a hint that we're accepting applications or to email me about assisting, we're fully staffed....Reason for this post is that, in a strange confluence, I got asked that question a zillion times last week via email, just like this one below, reprinted with permission...]

Hi Chase,

When have a second I was wondering if you could answer a few questions for me. I was wondering what you look for in assistant before you hire them, esp. if they have just graduated from school. I live in Montreal and I am ready to adventure into the world of assisting. I know times are touch with the recession, so I would just like some input from a successful photographer and there requirements on hiring a fresh new assistant from graduated from school.

Thanks for you informative blog!

Enjoy life!

Best,

NIkol Mikus

Nikon Roadmap? D4, D4x, D700x, D3000, others – all with 1080p video?

I tread very gently in the gear world, and even more gently in the rumors world, because both can be slippery and boring slopes, but this caught my eye because I like what I see, however nefarious it might be. Apparently Wired GadgetLab has picked up a document that highlights the roadmap of Nikon’s dSLR program thru 2010. Call in the real deal or the fanboy fantasy…your guess is as good as mine (more likely the latter). Take this all with a grain of salt: It doesn’t affect my photography or yours, and it’s just “possible” gear options out there in the future, but regardless it’s sort of interesting/fun to consider.

Couple that caught my eye:

Nikon D4
15.7MP (more sensitive and with less noise)
Up to 16fps with “double exposure”
ISO 200-12800 (plus extended range)
61-point AF
1080p video at 30fps
CLS control (although no flash is mentioned)

Nikon D4x
30.2MP
ISO 100 – 6400
6fps
1080p video at 30fps

The rest of the possibly leaked cameras + a pretty serious pile of lenses after the jump. [click the 'continue reading' link below].

From the Wired post:

“2009

Nikon D3000
12.3MP
7 AF points
ISO 200-3200 extendable to 6400
3.5fps
Video unknown

Nikon D300s
12.3MP
7fps
HD video (1080p .mov h.264, 24fps)
CF and SD cards slots
920,000 pixel LCD screen

D700x
24.5MP
5fps
HD video (1080p .mov h.264, 24fps)

Plus a bunch of new lenses, mostly updating older classics with new G-version, the ones that come without an aperture ring, and adding internal autofocus motors to work with lower end models. These will be:

AF-S Nikkor 24 to 135 mm f/3.5-5.6G ED VR
AF-S Nikkor 70-200mm f/2.8G ED VR II
AF-S Nikkor 35 mm f/1.4G
AF-S Nikkor 85 mm f/1.4G

Then, 2010. Here come the big ones:

Nikon D4
15.7MP (more sensitive and with less noise)
Up to 16fps with “double exposure”
ISO 200-12800 (plus extended range)
61-point AF
1080p video at 30fps
CLS control (although no flash is mentioned)

Nikon D400
13.8MP (more sensitive and with less noise)
8fps
Up to 12fps with “double exposure”
ISO 200-6400 (plus extended range)
61-point AF
1080p video at 24fps

Nikon D4x
30.2MP
ISO 100 – 6400
6fps
1080p video at 30fps

Plus lenses for 2010

AF-S Nikkor 14 to 28 mm f/3.5-4.5G ED
AF-S Nikkor 120 to 450 mm f/4.5-5.6G ED VR
AF-S Nikkor 300 mm f/4G VR
Nikkor AF-S VR 400 mm f/5.6G
AF-S Nikkor 70 to 240 mm f/3.5-4.5G VR
AF-S Nikkor 105 mm f/2G DC
AF-S Nikkor 24 to 85 mm f/4G VR
AF-S DX Nikkor 60 to 95 mm f/2G VR
AF-S DX Nikkor 17-60 mm f/2.8G VR”

And also from the Wired Blog, the somewhat-messy, whole enchilada document they were sent, all in text form:

1. August 2009: introduction
Nikon D3000,
D300s,
AF-S DX Nikkor 17 to 65 mm f/3.2-4G ED VR

Nikon D3000: Effective pixels: 12.3 million … Image Sensor Cleaning, Image Dust Off reference data ….
[S] 4.288 x 2.848 … pentamirror … 95% coverage … 0.78x magnif. …. Compatibility AF-S and AF-I …
1 / 4000 p. 30 … p. 3.5 fps … 420-zonal RGB sensor …
Auto modes (auto, auto [flash off]), Advanced Scene Modes (Portrait, Landscape, Child, Sports, Close up, Night portrait, Night landscape, Party / Indoor, Beach / snow, Sunset, Dusk / dawn, Pet portrait, Candlelight, Blossom, Autumn colors, Food, Silhouette, programmed auto with flexible program (P), shutter-priority auto (S), aperture-priority auto (A), manual (M)
Exposure compensation + -5 EV in 1 / 3. Exposure bracketing – not known, ISO 200 – 3200, steps 1 / 3, N-1 Lo, Hi +1 (?)
AF MultiCAM 380 (* new) – 7 focus points, 1 cross type, AF-S, AF-C AF-A, M + electronical rangefinder,
AF area mode: Single point, dynamic area, car area
Live View focus – contrast – detect AF, face priority
Movie – not known!
Active D-Lightning: Auto or Off
Internal flash sm. number 17/56 at ISO 200
LCD monitor: 2.7-in, 230 to-dot … FIXED
HDMI – N
Battery: EN-EL9a
124 x 92 x 62 mm, 480 g.

Nikon D300s – differences from the D300:
Continuous high-speed mode: 7 fps, without batterygripu, 8.5 fps with batterygripem, 14-bit mode included
1 Release mode addition: Self-timer + MUP
2200-pixel RGB sensor
LCD monitor: 920 to-dot, 2.9-inch, Výklopný
Enhanced contrast detect AF
Enhanced phase detect AF: new 2,200-pixel RGB sensor cooperates with 3D Tracking, Auto-Area AF-C is dynamic area,
flashing auxiliary section plus focusing direction “display in the viewfinder with the” user-control “change of direction
The new processor speeds up AF and significantly increases the quality Movie mode as compared to the D90 and D5000,
Movie – mode: 1920 * 1080 at 24 fps Quicktime MOV, H.264 codec
3.1-fold compared with the cache memory D300
795 g
Extra High Lightning D-mode
AF Fine Tuning enhanced: -30 to 30 for the near focus distance, infinity, the shortest and longest focal length
CF + SD slot
…. I do not see a price anywhere!

AF-S DX Nikkor 17 to 65 mm f/3.2-4G ED VR:
– Lightweight zoom middle class at an affordable price for use with the new D300s with other Nikon DX cameras,
2 ED and 2 aspherical members, 72 mm filtrov thread, enhance contrast-detect AF-S mode (??!)

1. October 2009: presentation
Nikon D700x,
AF-S Nikkor 24 to 135 mm f/3.5-5.6G ED VR
AF-S Nikkor 70-200mm f/2.8G ED VR II
AF-S Nikkor 35 mm f/1.4G,
AF-S Nikkor 85 mm f/1.4G

Nikon D700x – differences from the D700:
effective pixels: 24.5 million … Image Sensor Cleaning, Image Dust Off reference data ….
[S] 6.048 x 4.032
Continuous high-speed mode: 5 fps without batterygripu, 6.5 fps with batterygripem
1 Release mode addition: Self-timer + MUP
2200-pixel RGB sensor
LCD monitor: 920 to-dot, 2.9-inch, Výklopný
Enhanced contrast detect AF
Enhanced phase detect AF: new 2,200-pixel RGB sensor cooperates with 3D Tracking, Auto-Area AF-C is dynamic area,
flashing auxiliary section plus focusing direction “display in the viewfinder with the” user-control “change of direction
Movie – mode: 1920 * 1080 at 24 fps Quicktime MOV, H.264 codec

AF-S Nikkor 24 to 135 mm f/3.5-5.6G ED VR:
lightweight and affordable zoom with high image quality, 77mm filtrov thread, 610 g, 7 rounded blades diaphragma,
3 aspherical and 2 ED members, enhance contrast-detect AF-S mode

AF-S Nikkor 70-200mm f/2.8G ED VR II
revised lens for maximum optical performance in the digital FX zrcadlovkách Nikon,
VR II for up to 4 stops, filtrov thread 82 mm, 1530 g, Nano – Crystal Coat, enhance contrast-detect AF-S mode

AF-S Nikkor 35 mm f/1.4G:
peak lens completely revised design, Nano – Crystal Coat, enhance contrast-detect AF-S mode

AF-S Nikkor 85 mm f/1.4G:
top portrait lens with SWM focus and Nano – Crystal Coat, enhance contrast-detect AF-S mode
/> Q1/2010: performances:

AF-S Nikkor 14 to 28 mm f/3.5-4.5G ED:
77 mm filtrov thread!, Enhance contrast-detect AF-S mode

AF-S Nikkor 120 to 450 mm f/4.5-5.6G ED VR
VR II for up to 4 stops, 82 mm thread filtrov, 1480 g, enhance contrast-detect AF-S mode

Q2/2010 time:

Nikon D4,
Nikon D400

Nikon D4 – new features:
effective pixels: 15.7 millions, FX sensor completely new design with maximized by increasing the sensitivity of more than 1 EV
as “ultra-fast pixel register cache”, which allows to double the frame rate or increase dynamic range, including
effective aid noise reduction with natural lodging details.
[S] 4.852 x 3.234
Continuous high-speed mode: FX & DX mode 11 fps, 16 fps mode FX with a double-exposure with the phase detection AF & mirror up 8/sec.,
DX mode 18 fps with a double-exposure
FX & DX DR enhanced double-exposure mode: 5 fps for dNEF (* new) JPEG, and without the composition, 3 fps for the car, the JPEG
DR enhanced double-exposure mode: Auto, manual setting of time for both the ISO and exposure in “M”,
in the “A”, “S” and “P” mode with a semi-double exposure corrections in the range of + -5 EV in the range of 1 s. and 1 / 8000 p. and ISO 200 – 6400
Format dNEF,
ISO 200 – 12800, Lo-1, Hi 2
100% Viewfinder, 0.78x magnification, integrated hledáčková magnifying glass for the DX cropping
Integrated sensor management Nikon CLS
Movie – mode: 1920 * 1080 at 30 fps
Multi-CAM 4500: 61-point AF, Auto / User Drive dynamic AF-C, intelligent co-operation with 2200-zónovým 3D Color Matrix meter
to achieve the elusive success of autofocus, the possibility of combination with contrast-detect AF final doostřením
for specific uses. The possibility of the electronic image projection or additional information to the entire area of a large viewfinder.
Dual histogram for the double-exposure mode. Highlite map.

Nikon D400 – new features:
effective pixels: 13,8 millions, DX sensor completely new design with maximized by increasing the sensitivity of more than 1 EV
as “ultra-fast pixel register cache”, which allows to double the frame rate or increase dynamic range, including
effective aid noise reduction with natural lodging details.
[S] 4.550 x 3.034
Continuous high-speed mode: 8 fps, 10 fps with BG,
12 fps with a double-exposure phase detection AF & mirror up 6/sec.,
14 fps with BG to double-exposure with the phase detection AF & mirror up 7/sec.,
ISO 200 – 6400, Lo-1, Hi 1
Movie – mode: 1920 * 1080 at 24 fps
Multi-CAM 4500 DX 61-point AF, Auto / User Drive dynamic AF-C, intelligent co-operation with 2200-zónovým 3D Color Matrix meter
to achieve great success autofocus.
Screening of additional information across a large area of the viewfinder.
Dual histogram for the double-exposure mode.

Q3/2010 time:

AF-S Nikkor 300 mm f/4G VR
Nikkor AF-S VR 400 mm f/5.6G
AF-S Nikkor 70 to 240 mm f/3.5-4.5G VR
AF-S Nikkor 105 mm f/2G DC
AF-S Nikkor 24 to 85 mm f/4G VR

AF-S DX Nikkor 60 to 95 mm f/2G VR
AF-S DX Nikkor 17-60 mm f/2.8G VR

Nikon Coolpix P1DX
Compact camera with DX 12.3 MPx sensor.
Hours outbreaks distance from 28 to 85 mm, f/3.5-5.6 speed, stabilization sensors,
2.9-inch LCD for the 920-dot, Výklopný, head-up viewfinder, the internal flash
Telepředsádka 1,8 x

Q4/2010 time:

Nikon D4X – new features:
effective pixels: 30.2 millions, FX sensor completely new design with maximized by increasing the sensitivity of more than 1 EV
as “ultra-fast pixel register cache”, which allows to double the frame rate or increase dynamic range, including
effective aid noise reduction with natural lodging details.
[S] 6.736 x 4.490
Continuous high-speed mode:
FX 6 fps, 10 fps with a double-exposure phase detection AF & mirror up 5/sec.,
DR enhanced double-exposure mode: Auto, manual setting of time for both the ISO and exposure in “M”,
in the “A”, “S” and “P” mode with a semi-double exposure corrections in the range of + -5 EV in the range of 1 s. and 1 / 8000 p. and ISO 200 – 6400
Format dNEF,
ISO 100 – 6400, Lo-1, Hi 1
Movie – mode: 1920 * 1080 at 30 fps

(all via Wired GadgetLab and pretty sure it tracks back to my pal at NikonRumors.)

Priced To Sell: Gladwell vs. Anderson Considering Photography

About 18 months ago, I wrote about Chris Anderson’s ‘Free’ in the context of the ever-evolving landscape of photography, video, and their relation to new media. In today’s New Yorker Magazine, Malcolm Gladwell (author of The Tipping Point,Blink,and Outliers,) offers some cogent analysis and great counterpoints to Anderson’s claims that are well worth the read:

“…And there’s plenty of other information out there that has chosen to run in the opposite direction from Free. The Times gives away its content on its Web site. But the Wall Street Journal has found that more than a million subscribers are quite happy to pay for the privilege of reading online. Broadcast television—the original practitioner of Free—is struggling. But premium cable, with its stiff monthly charges for specialty content, is doing just fine. Apple may soon make more money selling iPhone downloads (ideas) than it does from the iPhone itself (stuff). The company could one day give away the iPhone to boost downloads; it could give away the downloads to boost iPhone sales; or it could continue to do what it does now, and charge for both. Who knows? The only iron law here is the one too obvious to write a book about, which is that the digital age has so transformed the ways in which things are made and sold that there are no iron laws.”

Counter to some predictions, photography and video are are not bound to ‘Free’. I’m in agreement with Anderson that ‘Free’ is most certainly carving out its space–even reasonably so–in every digitally based industry, but I’m in complete alignment with Gladwell that the two markets ‘Free’ and ‘Not Free’ can and will continue to co-exist reasonably nicely. The trick is/will be in…[click the 'continue reading' link below]


…finding the balance. I find this to be the case in my own personal preferences, both in regards to how I obtain digital content as a user, as well as my life as a content creator and distributor.

Suffice it to say, this article is an essential read if you’re at all interested in the intersection of art + new media. Get it here (for free ;) at the New Yorker: Priced to Sell, Is Free the Future?

Update…Featured Comment: I thought this comment by Craig Swanson of CreativeTechs was particularly smart and did a nice job of bridging the gap between Gladwell and Anderson. As such I’m featuring it here. I’d also say you could sub my name out of his thoughts and insert any independent artist who has taken a similar path…be it you or any other photographer on this march…

I’ve spent the weekend listening to the abridged audiobook of Chris Anderson’s FREE. Which I (of course) downloaded for free as digital MP3 files. I think there is a tremendously important, and frequently missed point in the concept of “Free” as a business model tactic in today’s digital economy.

In Chapter 3, Chris Anderson compares the results of abundance vs. scarcity in the prices of digital items in today’s information industries.

I can’t easily find the specific quote in the audiobook (which is one reason I’ve already ordered and paid for the printed edition), but Anderson compares the prices of digital commodities that are racing towards “Free” with other digital products such as Microsoft’s Windows, or Adobe’s Photoshop which have held their prices even while the marginal cost of manufacturing individual copies has dropped to nearly nothing.

The difference being that, for the moment, Microsoft and Adobe have maintained a level of monopoly with their products. If you want “Photoshop” there is only one company who makes it (Leaving out piracy and theft for the moment).

The question becomes where you and your creative work falls.

Today, we’ve seen the great abundance and availability of stock photography reducing the value and revenue from individual stock collections. Based on results, I think it is fair to note that generic stock image libraries are among the digital products already on a steady march towards “Free”.

Meanwhile, the value of time and creativity from certain specific photographers (like you Chase) have increased greatly over that same period. While photography as a whole is quite abundant (abundant digital items are racing towards “Free” status), the availability of, for example, “Chase Jarvis” is quite scarce these days. (Scarce items maintain and even increase their value).

So I think this has a lot to do with how we manage our careers and art in the future. To maintain our value we must become our own monopoly. Become a “generic” photographer, designer, copywriter, or in my case Mac IT tech, and watch your market value drop as the world shifts.

Become a monopoly of one, and watch your value grow. I may be able to hire a generic photographer at a wide range of prices (including free in some cases). But if I want to hire Chase Jarvis, there is a single person who controls the price and availability of that particular monopoly.

It isn’t easy. It isn’t even fair. But it is the world we’re living in.

[Thanks @mcbill for the tip! Gladwell image by C. Davidson/Hastac; Anderson image by Joebeone.]

Chase Jarvis CURRENT: The Consequences of Creativity

I was recently invited to speak to the Art Director’s Club of Denver and the ASMP about creativity, and subsequently delivered that keynote two weeks ago. This video is a recording of that talk. Hope it strikes a chord with you.

I had a blast connecting with some of the creative community in Denver/Boulder while I was in town, and it was also a great honor to judge your annual advertising awards show with some rather distinguished ad gurus from around the country. Thanks to the ADCD for being such gracious hosts.

Additionally, the video should be downloadable via my iTunes podcast within the next 24-48 hours.

Related Posts/Videos:
[Consequences Of Creativity: ADCD Teaser #1]
[Consequences of Social Media: ADCD Teaser #2]
[Consequences of Creative Vision: ADCD Teaser #3]

If you can’t see the video in your RSS reader, click here.

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