Archive | September, 2011

Developing Your Photographic Style: Excerpt From A Chat with Zack Arias

I recently got a flood of questions via Twitter asking about developing a personal photographic style, which made me think about a million conversations I’ve had with my photographer buddies over the years… And I was wishing I had recorded those. And then I remembered that I DID have one that I recorded from an old chasejarvis LIVE with my pal Zack Arias. He’s a fun guy, great shooter and very talented photography instructor. Here’s a few nuggets from our banter (plucked from the middle of the conversation and transcribed…) about developing personal photographic style…

CJ: Tell me the first time you realized that you actually had a style. Because for me, I can’t believe that you can take pictures for as long as it took me to take pictures before I actually could say that I have a style. Do you remember when that moment was for you?

ZA: I’d say it was probably just a couple of years ago. I’ve been pursuing this… If I count going to school and assisting and managing a studio, and trying to get my freelance career going, and then failing miserably, and then restarting it, that’s been about fifteen years. And I’d say…

CJ: Is that where the gray came from?

ZA: Yeah. That’s where the gray and all the kids, one of which you can hear in the background. Hawk is in the audience here. I guess in just the last couple of years I could finally sort of sit back and go, huh, this is what I do and this is how I do it and this is how I approach photography and this is kind of my style.

CJ: But it took a long time.

ZA: Yeah. Style is something that takes a long, long, long time and it takes; really, what it takes is shooting and just doing it over and over and over. It has to just develop and you can think you’re sort of on like when I started in photography, I thought I knew where I was going with my photography and how I would shoot. But that changed and I’d go down a different route and that would change and even just as last year, I was trying to break out of how I shoot things, do things differently and what I found that was most successful was just to go back to doing what I do and just kind of sticking with it. Every year, I seem to try to push my style and every year I fail pretty miserably doing that.  And it’s just one of those I need to learn slowly and just slowly move forward.

CJ: If you try and develop a style from your living room, it’s unlikely that you’re going to and a lot of people, like, oh, when do you know when you got a style? You don’t know until you look back six months or a year or two years and say, oh, wow.

ZA: Or ten years or a decade. And at the beginning, you’re usually kind of replicating someone else’s style.

CJ: Right and imitation, that’s a great way of learning.

ZA: And that’s part of it. I replicated all the magazine photographers that I followed. I went out and shot just like them. I learned how they did it, but I had to get moving on from that….

If you want more, the entire video conversation is here.

Creative Mojo, Change Your Life, Make a Difference — Chris Jordan #cjLIVE Rewatch

Few people that I know who have ever encountered photographer Chris Jordan’s work can dismiss or forget it, let alone NOT be inspired to action. Here’s a re-watch of this TRULY inspiring chasejarvisLIVE episode with the eye-opening Mr. Chris Jordan.

Wondering about how to leave your safe job and become a photographer?
Want to get out from under that blanket of creative & professional fear?
Want a cause-based vision for your photography?
Want to make a difference?

Jordan tells it like it is. He’s got gallery shows, museum gigs, speaking gigs, documentary films, and this guy moves the world to action – all from a humble, hardworking place. Spread the word about the re-watch and have a great weekend.

We’re all in this together.

Feedback: New Nikon 1 System: V1 & J1 Cameras, plus Lenses

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Alright photo geeks. Indeed, Nikon just announced their new line of compact cameras, the “1″ series. Two bodies — the V1 and the J1 — along with four lenses: a 10mm f/2.8, 10-30mm f/3.5-5.6, 30-110mm f/3.8-f/5, and 10-100mm f/4.5-5.5 “power zoom” lens.

Here’s some highlighted specs on the beefier V1 in case you haven’t heard:

_12mp, CMOS sensor
_1080HD video (30, 60i frame rates…can get 60p at 720HD)
_RAW file + jpg (5 fps)
_SD card
_ISO 100 – 3200, 6400 hi
_$899.95 retail price

Confession: Its no secret that I dig little cameras, and I can’t wait to get my hands on one of these!, but please note I HAVE NOT touched one of these cameras, nor been briefed in detail about them.

So.. We (I ?) knew this was coming, but rather than me spouting off about having played with the system (I can’t), or telling you what your feelings about this system should be (I won’t), I’m turning the tables on you.

What’s your take? Love, hate, indifferent? Insights?

[Just a hunch, but your comments on this post - glowing or otherwise - might help inform Nikon about what your thinking.]

Link to so more info here via B&H.

Socially Connected Creatives Make More Money, Have More Success

Hey there Mr./Ms. Creative. How are your social skills?

Think you can get by on raw talent? Think your agent, rep, manager or business partner is going to take care of that fluffy customer-facing stuff so you can be a reclusive artist, camera-hider-behinder? Think again. Like it or not, the feeling you’ve been feeling all along is becoming more pronounced. Call it unfair, call it fake, call it whatever you want, but as the world becomes more connected socially, the bias toward socially connected individuals and groups is continuing to serve out the prophecy…social skillz help pay the billz.

While geographic location clearly means a lot for earning more, growing faster, and reaping the rewards of a larger network–ie. being a professional creative located in LA, NYC, London, etc–, recent article in The Atlantic by Richard Florida (author of Rise of the Creative Class) states in no uncertain terms that you’d be way better off having more than just technical skills:

Highly developed social skills … including persuasion, social perceptiveness, the capacity to bring the right people together on a project, the ability to help develop other people, and a keen sense of empathy…are quintessential leadership skills needed to innovate, mobilize resources, build effective organizations, and launch new firms. They are highly complementary to analytic skills [read: your technical abilities as a photographer]…and indeed, the very highest-paying jobs usually require exceptional skill in both realms.

So are you prepared to get a lot more social and heighten your chances at success?

London Riot Photographer Amy Weston Tells All About Getting The Shot

Photo by Amy Weston/Wenn.com

You might recall my recent post in the wake of the London riots, where we discuss photographer Amy Weston capturing a woman jumping from a burning building here. I’ve been in those situations a few of times, even though I’m not a photojournalist by trade and I raised the question of whether I should be shooting or helping. Lots of debate ensued, with the most common answers being grounding in specific circumstances, but I thought you’d appreciate hearing from Amy – the photographer who actually shot the image featured in the worldwide media and here on my blog. Unsolicited, she reached out and…in a stream of consciousness sort of way, she had this to say…[reprinted with her permission]:

Hello Chase how are you? I am Amy Weston and I took the photo of the women jumping at the London riots. I came across your blog, but I could not figure out how to respond to some of the comments posted… [so I emailed you.] Your question was To Shoot or Not to Shoot.

My answer to that is: to shoot!

I live my life looking into my lens, I see a world passing me by and I photograph it.

Although I have said to shoot, I don’t always keep images, I …[sometimes] take the pictures to report a story of sadness and despair, and then I only send pictures of the chaos and the aftermath to a paper to be printed. The rest I delete…

To take a picture of a staving child could save a life. To take a picture of animal cruelty could save an animal. And could stop cruelty.

When I went out that night to photograph the riots, I didn’t want to get a picture of looters. I felt fear from them, it was like they had been put on the planet and were of a completely different mind set to the normal sane reality that comes with common human decency.

It was not the London I have shared for 10 years.

In front off me was a burning fire like nothing I have ever seen before and behind me was a market street bright with street lights but looked like a war zone.

When I turned my head back towards the fire and I heard the shouting that a women was about to jump I looked into my lens and…the world around me went silent. I heard nothing just the clicking off my camera, I knew what I had seen. I knew what was in side my camera, but I had no idea of the impact that it would have.

The moment I took those frames and once she had landed I could see her running away, I held my hand over my mouth in shock at what was happening.

In answer to a comment on the blog, I never hung around to get names, I was in a war zone. After the silence I experienced, it became insane noise of explosions and people screaming at each other. I covered my camera inside my cardigan and ran towards my car to be told by riot police to turn back. So I had to then run via the very road I had just seen behind me full of rioters and people turning on other people. I ran non stop till I reached another road blocked by riot police who again tried to stop me. I showed him my press pass, and he let me go past him to my car.

Getting names and ‘hanging’ around was not a safe option.

I don’t believe this [photo] fueled any rioters or looters. I think this image shows something breath taking, life and death, a moment in time. When I look at the image now I hear the silence I experienced…if that is even possible for anyone else to understand. I have not yet met Monika, the lady who jumped.

I read some very positive comments on your blog, so thank you to all those people and the positive feedback

Love and peace to this wonderful, fragile world we live in. Amy x

Photo by Amy Weston/Wenn.com

Gear Details: How We Shot “Dasein: Art of Being” Documentary

NYC street doc setupHey friends.  Erik the video guy here. We’ve had a bunch of YOUR questions come in about what gear/process/technique we used to make the Dasein docu-short we posted a couple days ago so I thought I’d chime in with a quick gear- and technique-specific follow up on how this film was made. 

First, Chase was the director on the project but wanted to remain focused simply on the overall look and feel. Plus, since he was in front of the camera most of the time, he specifically did NOT want to get sucked into all the details to get the look he wanted, so that put me squarely in the Director of Photography (DP) role, in charge of all the details he wanted to avoid. This worked out great – we collaborate really well in this capacity.

Since I knew heading to New York that we’d be working at all hours, around Chase’s crazy schedule and with no permits, no location assistance, and (in the best way) no solid plan on when and where we would be shooting, I made the call that one of our main objectives was to stay light and quick with our gear selection.

Given that an important part of this short film is about time–creating time in your life for creativity–Chase wanted the film shot in a way that arrested time visually…that is, he wanted it shot in slow motion. This was a part of the initial treatment he’d written for the piece. And while we originally discussed shooting with a RED One or Epic, I ultimately thought this might not mesh well with the “light/fast” motto I’d already decreed above. I wanted everything, minus the tripod and dolly, to fit in one bag – something I could manage by myself — in this case, one of our fav bags, the Lowepro Classified 250 shoulder bag. And it’s small…

So here’s what I lugged around:

NYC street doc setup

Let’s start with the CAMERA/LENS SELECTION. Factoring that Chase wanted the high frame rate, that he’d not be shooting at all–only directing–, PLUS the limited budget he’d allocated to make this film happen (not enough to bring in a RED and a bunch of primes for a month), I made the call that I would simply use my own personal camera/lens gear. So I shot the piece with my Canon 7D. I’m good with a range of cameras, but the 7D made sense because it gave the film 60p slow motion that Chase required, plus it was small, very light, and since I own it personally, it was free. I also carried 3 of my own lenses; the Tamron 17-50mm f/2.8 VC, the Tokina 11-16mm f/2.8, and an old Nikon manual 85mm f/1.8 with a Nikon-EOS adapter.  They’re nothing fancy, but I was sure they’d do the job. The Tamron is a great all-purpose lens and the vibration compensation is fantastic for shooting handheld.  Most of the footage was captured with that lens.  I used the Tokina the least, but was great when Chase wanted a dramatically wide shot, and the Nikon 85mm was for when we needed that extra bit of focal length and space compression.

AUDIO.
  We captured Chase’s interviews with a Sennheiser Evolution G3 wireless lavalier set and a Zoom H4n Handy Recorder.  Pretty straight forward, not too exciting, so let’s move on to the really fun stuff…

CAMERA SUPPORT:  For this project we acquired two of my new favorite toys; the Zacuto EVF Pro and the Kessler Pocket Dolly.  These two products are brilliant on their own, but when their powers combine they create a silky smooth shooting experience.

Zacuto EVF and Kessler Pocket Dolly

The Zacuto EVF is an amazingly powerful LCD monitor packed into a compact and lightweight package.  It’s powered by the same battery that the Canon 5D/7D use and offers a plethora of helpful functions such as monochrome viewing (very helpful when you’re filming a documentary that will be black and white in the end), zebra stripes and false color for checking exposure, focus peaking assist (my personal favorite), frame lines, and a lot more.  The monitor works with or without a Z-Finder snapped onto it, and on the Pro and Flip models the Z-Finder mounting frame swings up to get out of your way when you don’t need it while keeping the Z-Finder close by so you can quickly snap it back into action.

Zacuto EVF Pro on Canon 7D

The ultra portable Kessler Pocket Dolly was great for getting some much needed movement into our shots.  We got ours with the optional outrigger feet for shooting low to the ground, and the feet are adjustable so you can maintain a level dolly move on uneven surfaces.  The dolly also has various screw threads on the base so you can quickly secure it to a tripod.  It becomes a bit of a beast when it’s setup like that, but it breaks down pretty quickly when you need to move.  I’m always amazed at what a difference a little camera movement makes in video shots, even with just a little more than three feet of track.  I highly highly recommend it.

Kessler Pocket Dolly and Zacuto EVF

Like I said earlier, these two products make a great combination.  All of us on the CJ crew consider a dolly or some sort of moving camera support mandatory for capturing dynamic footage, and the addition of the Zacuto monitor is a great way to keep from having to lay down on the ground to see what you’re shooting from your worm’s eye view camera angle.

We cut the piece together using Apple Final Cut Pro. And we did all the color (B+W) grading in FCP as well.

So there ya go.  That was my setup, front to back. Hope you can dig into this stuff in more detail this weekend. And hopefully this post has showed you how–with some good artistic vision–a fairly minimalist video kit can produce dynamic results like this:

What I Learned From An Experiment in Creative Living

You have certainly heard this from me before, but the more I think about it, study it, and live it, the more I can say definitively that the photographic snapshot has quietly emerged as one of our culture’s–if not the world’s–most unsung creative heroes. (Here’s some deeper explanation.)

This little film is an exploration and summary of some thoughts and personal experiences, having just recently carved out a month to live with the snapshot top of mind via the Dasein: Invitation to Hang installation during my month-long artist in residency at the Ace Hotel NYC.

While this story is quite a personal one, I hope it carries a collective meaning back to you and your life. For the film’s simple aim is to make a case that a more creative life–through whatever mechanism you can use to break your life out of routine and for however much time you can allot–is one more worth living.

Thanks and love.

[much gratitude to my entire crew, especially erik hecht for all the effort on this work]

[UPDATE: if you're a gear/techie head and want to see how this short film was shot, using what gear/techniques, check out this post here.]

Which Photo is Better A or B? [Sir Mix-A-Lot Album Cover]

A while back I had Grammy Award Winner, Sir Mix-A-lot on chasejarvisLIVE. The guy is smart – dropped some pretty serious knowledge on the show [here's the re-watch if you missed it].

At the end of the show, I shot the cover for his upcoming album, live, online. Here are the results.

The lead one that shows his face is my fav, but there’s plenty of debate, because the other shot is tough and mysterious. I’ll resist the temptation to make any real case for one or the other, and I’ll let this is a straight up survey – which photo do you like better A (top) or B (bottom)? (please answer in the post, not via other social channels so we don’t have to chase your feedback – thx!)

Here is photo A:

Here is photo B:

So which is better??

Thanks for your input.

||And if you missed it: Here’s the chasejarvisLIVE episode with Mix||

49 Amazing Artists You Must Know [+ Some Other Guy & a Good Cause]

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Two weeks ago I announced a labor of love collaboration project (plus some behind the scenes photos…) that’s been underway for the past few months. It’s a group art show called Made in Polaroid 50 | 50 | 50 – top artists from photography, painting, graffiti, filmmaking, design, theater, acting, sculpture and more all have come together to raise money for Free Arts NYC, a nonprofit that provides under-served kids and families with art education, mentoring, and support. Some seriously talented & famous artists and then…uh…me, have come together to make this happen. It’s finally here. I’m so damned excited. And, to be brutally honest, I toured the final show this weekend…It is seriously badass. [do yourself a favor and scroll through the photos in viewer above when done reading this post...]

The show is open to the public, for free, and on display for 2 more days at the Phillips de Pury Gallery Space at Milk studios NYC (450 west 15th, 3rd floor), from 10am to 6pm. If you are in NYC, or tri-state area, please don’t miss it. If you are able/willing to support/donate (any amount $5, $50, $500, or anything) to support this cause, please visit FreeArtsNYC here. Everyone in the project is humbly grateful for your giving.

***note: IFF YOU ARE A SERIOUS buyer, collector, gallerist, curator or media and would like to attend the VIP auction on Wednesday night, Sept 14th at the PHillips auction location (450 Park Avenune) there are a limited handful of remaining slots. If you are in this group and would like to attend, please send an email along with a note about your credentials to info[at]chasejarvis[dot]com. I cannot promise availability, but I will forward those contacts to the event coordinators in hopes that we can get you in.

The artists featured in the show include, in alphabetical order: Chris Anthony, Damian, Aquiles, Tyra Banks, Gary Baseman, Michael Bernard, Liz Brizzi, Scott Brooks, Tory Burch, Taylor Christensen, Peter Coffin, Anne Collier, Will Cotton, Sante D’Orazio, Patrick Demarchelier, Phillip-Lorca DiCorcia, Eine, Fabrizio Ferri, James Franco, James Frey, Brad Goreski, Olaf Heine, Stella Im Hultberg, Krista Holt, Hush, Chase Jarvis, Norman Jean Roy, Sivia Ji, Joka, Eric Joyner, Kinsey, Steven Klein, Anita Kunz, Vashtie Kola, Jim Lambie, Aled Lewis, Phillip Lim, Charles Lloyd, Nate Lowman, Maripol, Marily Minter, Nico Muhly, Dabsmyla, Estevan Oriol, Billy Norrby, Alex Pardee, Hilary Pecis, Joshua Petker, Jean Pigozzi, Rob Pruitt, Brett Ratner, Joey Remmers, Risk, Matthew Rolston, Cynthia Rowley, Aaron Ruell, Natalie Shau, Jason Shawn Alexander, Joe Sorren, Jennifer Juniper Stratford, Gary Taxali, Max Vadukul, Nick Walker, and Kent Williams. And that, my friends, is an effing powerhouse of a list.

Here’s a few samples of what the press are saying at: Juxtapoz Mag, CoolHunting, Nylon, DesignBoom, and Daily Du Jour to give you a taste.

Large and humble thanks. I’ll keep you posted. Please spread the word and thank you for reading.

[and don't forget to scroll through the photos in viewer above]

Order to Chaos — My Favorite 60 Photos of 21,000 From A Single Night

I’ve shared the whole lot of these before in video format, but today it gives me great pleasure to present my favorite 60 or so images– edited down from a body of work called “Life of the Party” containing more than 21,000 images captured in a single 5 hour evening. Yes you read that correctly…(via an out-of-control set up at our last studio anniversary party).

Click here for my favorite results.

[***UPDATE: BTW, a lot of people have asked how we edit huge volumes of work like this down to our favs. So to learn how we do it (works for any level photograher), check out our infamous post: Photo Editing 101 .]

Party pics or cultural ethnography?…I’m not the judge. I’m just presenting the priceless facts that I’ve come to love. Most of all, Happy Friday – perhaps share with a friend who is stuck in a cubicle.

Annie Leibovitz Shoots…um…Sears…with um…the “Kardashian Clan”?

Annie Leibovitz Shoots Sears with Kardashians

Is it just me, or is there something dreadfully bizzare just off with this whole thingie?

The Gothamist thinks so.

So seriously, am I off my rocker being sort of suspended in disbelief?

Here’s the behind the scenes video from Elle.com, which was even weirder…

Commitment To Your Work = Taking An Entire Year To Make a Single Image

Want to know about commitment to your art? Think you have what it takes? Listen up.

For the last 40 years, Sam Abell has worked as a documentary photographer, primarily for National Geographic. In this video interview for the Atlantic (created by Alex Hoyt & Ross McDermott), Sam recounts his year-long quest to find the perfect image for a story.

No excuses about modern timelines, budgets, or any of that. When was the last time you hunted for an image, a clip, a specific shot for a year?

Didn’t think so. Confession = me neither. #Inspiring

Transformed Photographer Chris Jordan on chasejarvis LIVE — Thursday Sept 8

Lots of people would have called Chris Jordan crazy to leave a career as a well-paid attorney to pursue a career as a fine art photographer with a cause-based mission to document the human impact on the world. That is, they would have called him crazy, until they saw his work and the impact that work is having. Gallery shows, museums, speaking gigs, documentary films, and moving the world to action.

That’s why you must not miss chasejarvis LIVE this Thursday, September 8th, where we’ll be spending an hour with Chris. The guy oozes inspiration to photographers that want to make a difference in the world AND–importantly–those people who are stuck in a job that’s not giving them the fulfilled, who want to transition to the creative life that they seek to live. We’ll look at Chris’ stunning work, talk in detail about his meteoric transition from corporate gig to photographer, and we’ll learn a helluva lot in the process. When I posted a story about Chris a few months ago, I know you were moved–I got hundreds of comments and more than 30,000 of you watched the short video clip (bottom of this post again…). This will be an amazing opportunity to have Chris answer your questions during the live show using #cjLIVE.

Who: You, Me, Chris Jordan & a worldwide gathering of creative people
What: Interview and LIVE Q&A with photographer Chris Jordan
When: this Thursday, Sept 8th at 11:00am Seattle time (2 pm NYC time or GMT -8)
Where: tune in to www.chasejarvis.com/live. It’s free and anyone can watch.

***AND, for some fun and so that the show can reach as many people as possible, we’ll be giving away a signed copy of Chris Jordan’s amazing books, Running the Numbers, to those that help spread the word… Specifically, to the two people who send out the most interesting tweet that contains the URL (or short url) to THIS post AND hastag #cjLIVE, starting right now and ending at the beginning of the show on Thursday. Enter as many times (tweets) as you want.

It’s free. It’s live. Looking forward to seeing you and yours at http://www.chasejarvis.com/live on Thursday.

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