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Aerial Landscape Photography Porn – Iceland Style

Over the years I’ve kicked out a bunch of vids shooting from the skies on commercial gigs, like here, here, here and here for starters. But occasionally, on the heels of a commercial assignment based out of a particularly stunning location, I’ll treat myself to some heli time shooting my ongoing aerial fine art project (personal work with dose of adventure). In fact, I’ve documented these adventures before — like here in New Zealand. I even did a how-to shoot aerial photography thingie here from Belize… but truth be told, all this flying never gets old.

And so it stands to reason that I’m rolling out another bit of aerial photo porn today in hopes of bringing a little joy/beauty to your day AND of course celebrating a quick hit to a gorgeous little corner of Iceland. Please enjoy. As always, taking your questions and comments below, answering those that I can muster.

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[And, lastly, before you eeeeeven dismiss this post/video and say “This is so outrageous, when will I ever get to shoot from a helicopter,” I’ll just say that every photographer who has ever shot from a chopper has said those same words at some point... only to find themselves at a future date pulling heavy G turns and shooting from a blue sky somewhere. You can probably even hitch a sightseeing ride for less that it costs to rent a lens for the weekend, so take it all with a grain of salt and enjoy. And, of course, a HUGE shoutout to my guy Big Chocolate for the beats.]

How to Turn ‘No’ Into ‘Yes’ + Get What You Want [An Essential Strategy That Will Get YOU Hired]

It’s fair to say that I’m obsessed with the human spirit. It is amazing, bizarre and lovely at the same time and it can accomplish unthinkable things in the face of the most harrowing odds, in the face of challenge, in the face of “never”. Which is why I believe in the following quote and the following story that relates to this quote. You may have seen this story ‘blow up’ on social a few months ago, but amidst reflection (and upon this great story and the short film about it), my interest in sharing this story compounded. So, as such, here ’tis….with some extra insights to follow that’ll help you win.

Nothing in this world can take the place of persistence. Talent will not: nothing is more common than unsuccessful men with talent. Genius will not; unrewarded genius is almost a proverb. Education will not: the world is full of educated derelicts. Persistence and determination alone are omnipotent.

— Calvin Coolidge

This story opens with a man. A bizarre but fascinating man named Greg Packer — who had set out on an inexplicable journey to become the most quoted man in the news (I know, weird goal, but a seemingly impossible one as well)… but here’s the kicker: he pulled it off. Packer was so successful in his campaign in fact that the Associated Press eventually issued a memo to all its reporters to stop interviewing the guy.

Enter filmmaker friend Andrew David Watson who, when he discovered the Greg Packer story, had the brilliant idea for a perfectly ironic, smart, funny story to tell this Greg Packer’s story from within the media that he hacked. Essentially, tell Greg’s story in the news.

So Andrew pitched his story idea to a bunch of publications. No one bit. Not a one.

This is where – in a very meta way – the human spirit kicks in. Andrew shot the story anyway. And this is where the TAKEAWAY LESSON FOR YOU begins

Andrew cold emailed a rough cut to The New Yorker, they snatched it up right away. Turns out Andrew’s instincts were pretty spot on.

A month after his beautiful little piece published, The Most Quoted Man In News had over 100k views on The New Yorker and Andrew’s Vimeo page had almost half a million.

I never tire of these powerful reminders to pursue personal work, to tackle passion projects, even when the people who write the checks shut the door. In the past, I’ve told you to get used to hearing “NO” and to use it as a motivator. Now I’m telling you HOW. In Andrew’s case, he knew he had a compelling story to capture and he knew he had the tools to do the story justice.

Mark Schwartz did it with his 8×10 Polaroid, and now his work is used by Billabong, Levi’s and Surfrider. Joey L does it, and he’s now turning work away. Tim Ferriss was shot down by 27 publishing houses before the 28th said yes to his multi-million copy selling 4-Hour series of books. Jason Shelowitz (AKA Jay Shells) put up street art that he knew was going to get stolen, but something in his gut/heart/left brain said “do it anyway.”

The common thread in all of these tales of big time success is… PERSISTENCE. Someone told all of these people NO and they forged right ahead and made the thing anyway, and that thing became a successful stand-out piece of their careers.

To give you more insight, I reached out to Andrew with a few questions about this project and how he bounces back from rejection.

First, let’s hear just a little background on your Greg Packer project:

I first met Greg Packer back in 2008. I read a short article about Greg and decided to track him down. It happened to be during the World Series and Greg was in Philadelphia for the Phillies victory parade. I met up with Greg, filmed some footage of him at the parade and got to know him a little better. I thought Greg was a fascinating character but I just wasn’t sure how to make a film about him. I archived the material, kept the story on my ever evolving list of project ideas, and moved on with life.

Fast forward almost 5 years and I was digging through my note book and got thinking about Greg. My visual style and story telling skills had developed a lot in those 5 years and I all of a sudden could picture exactly how I would make the film. I called Greg and asked if he could come down to a studio in Brooklyn for an interview and he (of course!) was super into it.

The best part is the footage I shot in 2008 when I first met Greg, made its way into the final edit as archival material.

Let’s jump right into rejection. You knew you had a good idea. You pitched it, no one bit. How did you handle that rejection? More importantly, how did you handle it with integrity and turn it into resolve?

At this point in my career I’m used to rejection, it’s part of the process. Sometimes it comes down to the creative, but other times it comes down to elements outside of your control such as timing, similar content already under development, etc. I have pitched ideas in the past that I thought were amazing, but once I went through the pitch process, I realized they were not as rock solid as I thought. Other times, such as this project, even after being rejected I still had faith in the story and the passion to pursue it, which told me it was worth doing.

Can you remember the first time you turned a “no” into a project’s first step towards completion? Tell us about it.

A few years ago Etsy came to me and asked if I had any short film ideas that encompassed what their brand was about (handmade, economy of scale, etc). I pitched an idea about a very opinionated motorcycle mechanic I knew in Philadelphia. The producer at Etsy politely turned it down, saying they didn’t really see it working. However, it was a short film idea I always wanted to do and the more I thought about it, the more I just wanted to shoot it anyway, so I did. When I had an edit ready, I showed Etsy and they loved it. They decided to take it with next to no edit changes. The piece went on to get over 300k views, a Vimeo staff pick, multiple festival screenings and was one of Etsy most viewed pieces for a while.

When you resolved to make the The Most Quoted Man anyway, did you make it with the intention of re-pitching it? In other words, was the style, editing, etc. all chosen because you still saw this thing getting published in, say, the New Yorker?

Honestly, no, I decided to make the piece exactly how I saw it. I learned from past experiences that following my gut is usually better than trying to cater to a specific style thats not my own. “Most Quoted Man” is slightly different from other New Yorker pieces (with a lot more graphics and punchy music), however when they decided to take it, they asked for no editorial changes.

Rejection helps us refine our pitching process. How has it helped you refine yours? Can you tell us about some of your pitching success stories and why they were success?

I gravitated towards cameras at a young age because I find images the easiest way to communicate. I was never a strong writer, and I’m still not, so I find it ironic that now I often have to write out my ideas before shooting them. I have refined my pitches by making them as visual as possible, using a lot of reference photos and my past work to explain my vision. Just like anything, the more you do it the better you get at it, but I still have and will always be refining my pitch process.

The lessons we learn as artists can (if we let them) inform many other aspects of our lives. How does this lesson — not taking “no” for an answer — get applied to other aspects of your life (preferably in a positive way!)

Learning to not take “no” for an answer is essentially creative problem solving, which I have always applied to my life. Whether it’s where to live, how to move forward in my career, where to go to university, etc… there is no correct path to take. Feeling comfortable and confident to make your own decisions even if they go against conventional thinking, is just as important as an artist as it is in your everyday life.

You’re sitting in a room with a bunch of talented but frustrated creatives who are struggling to keep rejection from getting the better of them. What is the one piece of advice you would give them?

Rejection is part of the process. It will make you more critical of your own work (in a good way) and will test your faith in your ideas. At the end of the day, rejection is often just one person’s (or a small group’s) creative choice at that given moment. Sometimes it works for you and other times it doesn’t, but the best way to ensure you continue to get the opportunity (even if it means more rejection) is to continue producing the work you are passionate about.

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Follow Andrew David Watson on these channels:

website
twitter
instagram
vimeo

Your Side Project Is Your Next Big Win [legendary Swiss Miss on #cjLIVE Wed Jun 18]

Hey, y’all, this show already wrapped on June 18, but you’d do yourself a huge solid to catch the re-watch on Youtube below or on the CreativeLive website here. Thanks as always for tuning in, and to be the first to learn about upcoming cjLIVE episodes, make sure to sign up for my weekly newsletter right here.

REMINDER: this show is TODAY Wed, June 18, at NOON San Francisco time (3pm NYC, 20:00 London) and is broadcast LIVE at https://www.creativelive.com/live5. Tune in, join the global internet audience + live Q&A w/ Swiss Miss. Details below!

UPDATE: JOIN US IN THE STUDIO. Want to be part of the live studio audience? Check it –> This is a special remote episode of #cjLIVE coming to you LIVE from the CreativeLive studios in San Francisco!! Do you live in the bay area and wanna have special access to Tina and yours truly? We just released a few more seats. Send an email to production@chasejarvis.com – you will get a response about seats and details for you +1 GUEST!

___

ENTER: Swiss Miss. Tina Roth Eisenberg (aka Swiss-Miss.com) is a force of nature who knows that “your side project is your next big win” more, better, bigger, stronger than anyone I know. Tina’s blog has been an inspiration to me since 2005 and was one of the original blogs I referenced when deciding to start my own…way back in 2006. Put bluntly, Tina is one of the reasons I got started sharing online…and NOW she again leads by example, having created probably a half-dozen business WHILE SHE’S BEEN A DESIGNER WORKING IN THE TRENCHES! Funny thing? Those businesses are now global powerhouses in their own right. AND she’s coming on #cjLIVE next week to tell us all about it.

Moreover, we’ll be LIVE from Design Week San Francisco in collaboration with the AIGA to bring you this amazing look into one of the most progressive creative / entrepreneurship minds on the internetzz. Ever heard of Creative Mornings? That global series of breakfast lectures for creatives – now in nearly 100 cities worldwide? That’s Tina (btw here’s my CM talk comparing Macklemore with Ansel Adams). Ever heard of Tattly? The hottest, most playful temporary tattoo site on the planet – doing exlusive deals with MOMA and designers like Sagmeister? That’s Tina too. Or maybe you’ve used a little tool called Teux Deux to plan your day in lists. Yep – Tina. Co-working space in Brooklyn called StudioMates way before co-working was cool? That’s Tina too. It just doesn’t stop – nor does she. And she’s coming on #cjLIVE to give us all her secrets. Taking your questions via #cjLIVE, live on the day of the broadcast – a global gathering of creative people. An all-access discussion and interactive Q&A. Get the deets here:

WHO: You, Me, creative phenom Tina Roth Eisenberg + a worldwide gathering of creative people
WHAT: Interview, discussion + a worldwide Q&A
WHEN: Wednesday, June 18th, 12:00 noon SF time (3:00pm NYC time or 20:00 London)
WHERE: Tune into https://www.creativelive.com/live5. It’s free — anyone can watch and we’ll be taking YOUR questions via Facebook and Twitter, hashtag #cjLIVE

At the bottom of this post, I’ve included Tina’s SXSW keynote that should give you a good idea of what she’s all about, but here’s a list of just a few of the details we’re going to try to cover in our 90 minute episode next week:

// Making everything you work on a labor of love
// The risk and reward of an eternally entrepreneurial spirit
// Why side hustles are key to getting noticed and doing the kind of work you want to do
// How and why it’s important to cultivate a supportive community

MY THOUGHTS ON PERSONAL WORK??? Let’s face it – you know I’m a diehard advocate of personal work. Most of my biggest career accomplishments beyond nailing a good campaign here and there – certainly the biggest game changers for me — have been “side gigs” that have become either huge or at least interesting – occasionally both. Sharing behind the scenes photos/videos/looks into the ‘black box’ of photography (back when there was no such access) helped put me on the map. Best Camera – the first photo app to share images to social networks, recognized as ‘app of the year’ in Wired, iTunes, Macworld, the New York Times and helped kick off the mobile photo sharing craze was a side project born from a desire to share MY photos with the touch of 1 button. CreativeLive was a side project cooked up on a whiteboard between myself and my co-founder Craig Swanson. Turns out there’s a pattern to this stuff and turns out you can and should be cultivating these so called “side gigs” or “side hustles” or “passion projects” because they have tremendous power to catapult your career, your beliefs, your life into a whole new realm.

PIMP THE SHOW AND WIN BIG.
If you’ve watched #cjLIVE before, you know how we do! If you’re new around these parts, well you’re in for a treat… We’re giving away $200 in CreativeLive course credits to TWO lucky winners!

Enter to win by promoting the show as many times as you can starting RIGHT NOW till the show begins. Send out a creative tweet OR Facebook post including #cjLIVE + @swissmiss + any url pointing to THIS blog post. Be sure to use the hashtag and/or point back to my Facebook so we can track all your entries. We’ll select 2 of the best ones and give you a shout-out at the beginning of the show, along with access to the $200 creativeLIVE credits.

WE WILL ALSO GIVE AWAY MORE TASTY PRIZES DURING THE SHOW… but you gotta tune in to the show to find out what we’ll be giving away in real-time! I know, it’s a tease. But you’ll be glad you tune in no matter what.

JOIN US IN THE STUDIO.
Want to be part of the live studio audience? Check it –> This is a special remote episode of #cjLIVE coming to you LIVE from the CreativeLive studios in San Francisco!! Do you live in the bay area and wanna have special access to Tina and yours truly?? First 25 people to send an email to production@chasejarvis.com will score seats and be notified this week about the details for you +1 GUEST!

Master Your Fear & Find Your Voice [with My Homie Tim Ferriss]


Okay, so maybe you haven’t created your New York Times Best Seller that’s sold millions of copies, and maybe you haven’t won the Chinese kickboxing championship or hold the Guinness Record for most consecutive tango spins, but there’s one all-important thing that you have in common with my pal Tim Ferriss….fear.

You might think a wildly successful author and innovator doesn’t experience fear like a “normal person,” but as Tim revealed here, it’s exactly that emotion that is at the heart of his success. Of all the liquid gold Tim shared with me there are 3 important subjects that stood out. I mined these shiny gems to present here with some “homework,” to get you moving in the right direction.

1. Mastering fear: fear is a creativity killer
2. Finding your voice: your voice is a creativity stimulus
3. Giving it away: sharing your knowledge is essential to your professional growth

Here’s the first of three exchanges we had on these topics:

1. Defining Your Fear

CJ: I think it’s really, really important for the folks at home to know about your take on fear. It’s basically useful in any genre of any pursuit or passion. Talk to me about how you view fear, because there’s so much fear in the photo industry. People are afraid to make mistakes. They’re afraid to get called out. They’re afraid to do shitty work. They’re afraid to be called out on something and a lot of that keeps creative people in a little shell.

Tim Ferris (TF): Fear is a real driver, and it has been for me as well, in the past, whether it was in athletics or writing or academia, whatever it might have been. I realized that it’s a driver based on risk, and that’s when people define risk or should define risk as the possibility of an irreversible negative outcome. What I mean by that is just like most people fail to achieve their goals because they are poorly defined, most people are prevented from doing things based on fear because it’s poorly defined.

[We've all been told a thousand times that goals become infinitely more achievable when they have been written down in as much detail as possible. Defined goals are reachable goals. But defined fear? This was something new.]

TF: So what I tend to do if I find myself paralyzed or indecisive, is I’ll write down all the worst-case scenarios. I mean really get high def in the absolute specific worst-case scenarios. Then the second column is…anything I could do to prevent those specific items. Then, if they happen, what I could do to reverse those or minimize the damage from each of those outcomes. You find once you do that that the worst-case scenarios are very seldom as bad as you have envisioned.

It’s just the nebulous, dark phantasm of a bad outcome that prevents you from taking action. What you actually realize: oh, worst-case scenario, I go back to my last job. Worst-case scenario, I take a part-time job doing this. Worst-case scenario, I have to suck it up for a month or to do twice as much work with that one client I don’t like, and then this. Then it really doesn’t seem as scary and you can actually move ahead with it.

Brilliant. Actionable.

Just like most people fail to achieve their goals because they are poorly defined, most people are prevented from doing things based on fear because it’s poorly defined.

Your Homework on #1

You’re probably sitting on a great idea right now. Maybe it’s a short film project that requires you to quit the desk job and start an indiegogo campaign. Maybe it’s a photojournalism road trip across America documenting classic diners. It doesn’t matter. The point is you’re sitting on it. Why? Fear, probably. Right?

If this is you, here’s what you do:
List ALL the possible worst-case scenarios. be specific and then for each scenario list all the possible steps you can take to prevent that scenario.

Doesn’t look so bad anymore, does it? Boom!
_____

2. Finding Your Voice

When he set out to write 4-Hour Workweek, Tim knew he had great ideas, but we all have great ideas, right? For an author (or would-be author, as the case was for Tim) the challenge was turning those ideas into actionable advice and doing so in an authentic way. In other words, he had to find his voice. Turns out Tim’s approach is applicable across many disciplines:

TF: I first ended up with this really pompous like Princetonian shtick that I was doing. Shit, too. Like four or five-syllable words. That was horrible, so I scrapped it, and then I went to like Looney Toons/Three Stooges slapstick, which was also horrible. Scrapped that. So I threw away four, five chapters and had two glasses of wine and sat down and said I’m going to write this like I would write an email to my best friends. That’s how it started. That’s how I found my voice.

Great approach, right? Stop burdening yourself with the prospect of a worldwide audience. Present your work as if to your friends. This applies to writers, photographers, musicians, etc. You’ll be lest apt to force a voice that isn’t yours, and you’ll probably be less apt to see your creative cogs seize up under the pressure. If you have true and trusted friends, I’m betting the bank that you already have an authentic voice within that circle. Use THAT voice to tell your story, whatever it is.

Your Homework for #2

Look back through social posts, photos, your work etc. that you shared with or sent to friends and family and find the little ticks and tickles that are truly unique to your vision, your special sauce, your mojo. Now apply this to your future work.

Sounds simple, but it’s harder than you think. But you’ll thank me (us) when it’s done.
_____

3. Give [Some of] It Away

To a large extent we photographers make our living because of intellectual property rights. The idea of putting our best work on Flickr without our rights reserved is antithetical to what we know—or think we know—as businesspeople.

But Tim made a great point about releasing some of your best work “into the wild” even though there’s no promise and very little prospect for being paid for it. It’s about getting eyeballs on it:

TF: I have a friend, Eben Pagan, a really fascinating guy who’s built up a very successful online content business…and he talks about moving the free line. Meaning giving away, in many cases, your best content as a way to introduce people to your work and to drive people back to your other work. I cannot tell you how many times I have gone onto Flickr and found a photograph—now I’m not saying that everything needs to be Creative Commons—but I’ve wanted to introduce someone’s photograph to a few million people and I choose not to, of course, because it’s all rights reserved. Instead I go to Creative Commons search and then sort by most interesting and I always find amazing stuff. But I always credit and if you were to simply take let’s say two or three of your best pieces and make them Creative Commons, then people like me, and there are plenty of them, hundreds of them, would be able to use that to help promote you.

CJ: Yeah, and you know there’s a big, there’s a big discussion that’s been going on for years now, again, historically photography’s been a fear-based protective, very closed loop, because intellectual property is how photographers make their living. So that’s been a very dicey conversation, and I’ve been at the middle of it several times. I remember five or six years ago talking about Creative Commons with Larry Lessig…as the marketplace unfolds and emerges into this new era, photographers specifically are faced with a decision on how and where to share your work. So it’s interesting to know that you notice that stuff.

TF:…I was traveling with Matt Mullenweg at one point. Matt Mullenweg, genius of a guy, good friend of mine who is known as the lead developer of WordPress. Matt was largely responsible for a lot of that code base in the beginning days, and now runs WordPress.com and Automattic. Really smart guy. We were on the plane, and I remember being really stressed out at this point…because The 4-Hour Work Week was on RapidShare. It was on all these different Torrent sites, and I was like, “Oh, God, how are artists going to be incentivized and writers going to be incentivized to produce work if this is happening?” And he said, “The people who are downloading your stuff on Rapture are never going to buy your book in the first place. They’re not your paying audience, so you’re getting additional eyeballs on your work for free. They would never buy it anywhere.”

I think photography, we could get really futuristic about it, but I do think there are ways that photographers can maintain a better user experience with the paid version, whatever form that takes. So I’d encourage people to think of unleashing some of their best content into that wild, whether it’s Creative Commons or [the] pirated world, because those people aren’t your customers anyway. They’re not the people who are going to spend a $100,000 to get a blown-up print and put on their living room.

Give it away for free. I’ve used this platform to highlight passion projects left and right, from Jay Shells and his Rap Lyric Street Sign project to Andres Amador’s sand art. You MUST get your work seen by the world. And there will always be those who download/use/distribute your work for free, possibly illegally. But this is a risk you have to be willing to take in order to get it seen by those who WILL pay for it.

Your Homework for #3

Assuming you have some sort of body of work, it’s time to get it out in the world. And not the factory seconds, either. Here’s what needs to happen:

Identify 3-5 of your best photos/songs/poems and 3 websites where your work is most likely to be seen + distributed (Flickr, Soundcloud, etc.) Then upload your work under Creative Commons or otherwise.

Controversial? Only if you want to stay in your rut.
_____

And that’s that. You’ve got your assignments; you’ve got no more excuses. If you’ve got a hankering for a little more Tim Ferriss in your life, check out the full cjLIVE show below, which aired back in August of 2011. We also recently recorded an episode of Tim’s podcast in collaboration with CreativeLive. Check that out here. Otherwise it’s time to get to work.

Get Tim’s books The 4 Hour Work Week here and 4 Hour Body here and the 4 Hour Chef here.

Daring Greatly to Unlock Your Creativity with Brené Brown on #cjLIVE [Wed, April 9 @ 10am PT/1pm ET]

 Brené Brown Chase Jarvis LiveIf you missed this show when it aired on April 9, be sure to check out the rewatch on the Youtube embed below. To keep your ear to the ground about all the upcoming cjLIVE episodes, subscribe to my weekly newsletter right here. And as always: thank you for watching!

REMINDER: this show is TODAY Wed, April 9, at 10am Seattle time (1pm NYC, 18:00 London) and is broadcast LIVE at www.chasejarvis.com/live. Tune in, join the global internet audience + live Q&A w/ Brene, or just in by to say hey. Details below!

———

I can say with clarity that the most defining moments of creative/professional success for me have required overtly pouring my most honest, imperfect, afraid, guts-and-all parts of myself into my work. In short – those successes were built on vulnerability – on being real. They were built on daring greatly. What do the viewers/consumers of your art really want? YOU. They want to see YOU. And in seeing YOU, they see themselves.

And so, we’ve got the perfect guest for #cjLIVE – a woman who might just hold the keys to the thing that’s been holding back your unbounded creativity…her name is Brené Brown. You’ve probably seen her on the TED stage (millions of views), or perhaps as a regular on Oprah (they’re pals), and at damn-near every bookstore (where Daring Greatly is a best-seller). But it’s not necessarily for all her accolades that you’ll want to tune into #cjLIVE this coming Wednesday April 9th. You’ll want to join our LIVE broadcast because you’ll have full access to Brené in a way that few other forums can grant — interactive Q&A with you from wherever on the planet you might be (via my Twitter and Facebook) and she just might have the keys to unlock the thing that’s been holding back your creativity. It was the missing link for me – and I’m guessing it’ll help you too.

WHO: You, Me, Bestselling Author Brené Brown + a worldwide gathering of creative people
WHAT: Interview, discussion + a worldwide Q&A
WHEN: Wednesday, April 9th, 10:00am Seattle time (1:00pm NYC time or 18:00 London)
WHERE: Tune into www.chasejarvis.com/live. It’s free — anyone can watch and we’ll be taking YOUR questions via Facebook and Twitter, hashtag #cjLIVE

This won’t be a marketing lesson or a therapy session, but it will be be THE shortest path between your most authentic self and the professional/personal hold-up-the-mirror, tear-down-the-barrier “success” you crave. Hello, the new you.

A FEW KEY CONCEPTS WE’LL COVER ON THE SHOW
// Vulnerability does NOT equal weakness – it equals strength (the world’s best artists are living proof)
// How to cultivate creativity, “gratitude” & “worthiness”
// Personal + professional transformation happens when we ask the hard questions
// Explosive creativity happens when we have the courage to share our struggles
// How to harness the space between our aspirational values (what we want to do, think, feel + become) and our practiced values (what we’re actually doing)

And another big announcement. For those of you who know and love CreativeLive… The chasejarvisLIVE show is now broadcast on the CreativeLive network too! They are the world’s largest live streaming education company, has been featured all over the place like in the New York Times, Wall Street Journal, Time, CNBC, Fast Company, etc etc and we are joining forces to incorporate an even larger worldwide audience.

WITH THAT IN MIND….HELP US PIMP THE SHOW AND WIN STUFF.
In order to reach the largest audience possible, we’re kicking out a couple nice prizes… We’re giving away $200 worth of free creativeLIVE course credits to two (2) people.

Enter to win by promoting the show as many times as you can starting RIGHT NOW till the show begins. Send out a creative tweet OR Facebook post including #cjLIVE + @BreneBrown + any url pointing to THIS blog post. Be sure to use the hashtag and/or point back to my Facebook so we can track all your entries. We’ll select 2 of the best ones and give you a shout-out at the beginning of the show, along with access to the $200 creativeLIVE credits.

WE WILL ALSO GIVE AWAY MORE TASTY PRIZES DURING THE SHOW… including signed copies of Brené’s book. You gotta tune in to the LIVE SHOW for a chance at winning those.

JOIN US IN THE STUDIO.
Want to be part of the live studio audience? We’ll invite the first 20 people who send an email to production@chasejarvis.com to join us +1 guest of your choice. You’ll receive a confirmation email with attendance details if you’re one of the first 20.

SORRY: The in-studio audience is already overbooked.

——

I’m doubting many people chose “be more vulnerable” as their resolution for 2014, but here’s a Ted Talk Brené gave about the power of vulnerability that may prompt a re-think. One of the most popular TED talks of all time…:

Hands-on with My Favorite Still Photography Camera

Hello camera geeks, gearheads and… well… those of you who just want the best tools for your trade. You heard right, I’m back with another unboxing, this time of the hotly anticipated Nikon D4s — generously sent to me to by my friends at DPReview for a hands-on first impression, and it’s available from my homies/gear partners at Adorama. So here goes…

First impressions: that familiar Nikon gold box looks pretty much like all the Nikon boxes I remember, going all the way back to the F5 (that was a film SLR – remember those?). In fact, the only time I can remember Nikon changing its SLR — “D” or otherwise — boxes was for the Nikon Df, which was flat, matte black, and kinda cool looking. This makes sense – as the chassis for all these top-of-the-line pro cameras have basically been the same or very similar for a decade.

Get past all of the standard straps, warranty cards, manuals and trinkets where… wrapped in cellophane, the D4s has the same heft as the D4 I’ve carried around for a few years now, just with that fancy new “s” after the name.

Nikon D4s and Nikon D4 comparison - front view

The “s” models are typically feature updates, not body or appearance changes, so the size and ergonomics of the D4s are basically identical to its predecessor. There are a couple of touch-ups; the control sticks on the back have a bit more texture to them and the battery door is shaped differently, but that’s about it. If you want to be super-picky about it, the D4s is 60g heavier than the D4.

Does that add up to new features? The short answer = a few nice upgrades that add value to the camera.

Power up this sexy beast and you notice right away that the screen looks a bit nicer than the D4’s display. That might be because mine’s been through a few knocks and bumps, but for those of you keeping an eye on specs, Nikon has added the ability to fine-tune the color on that LCD. Nerdy but nice to have when showing clients over your shoulder.

What else? Well, trigger that shutter and you might be able to detect one extra frame in that burst every second. Nikon has upped the max number of frames the D4s can take per second with autofocus active from 10 to 11. And the buffer is larger.

Nikon D4s and Nikon D4 comparison - rear view

And speaking of autofocus, Nikons says their focus algorithms have been tweaked to accommodate that extra frame per second, and is less likely to get distracted by objects crossing in front of the camera. There’s also something called the Group Area AF, where you can designate a cluster of 5 points to focus on, rather than just one. The guys over at DPReview have more details on this, but any improvement to AF is good news.

There are plenty more changes on the inside, but that new sensor is probably the one that’s got everyone’s attention. Nikon has redesigned the 16MP full-frame CMOS sensor and it’s now capable of — hang on to your pants, folks — a whopping ISO 409,600 in Hi4 mode. Daaaaaamn.

That is NOT a typo. I checked.

Of course, 409,600 ISO is going to be pretty noisy, but hey, you’re going to get those shots of the inside of your lens cap now!

For video shooters, that new sensor has one more trick up its sleeve; combined with the new Expeed 4 image processor, it can now deliver 1080p video at 60p. That’s right – slow motion has finally come to the Nikon flagship. At freakin’ last! Also, if you shoot timelapses, the maximum shot count has gone up to 9999 from 999 and there’s a new smoothing feature for you as well. I don’t even know what that means, but I’m told it’s an improvement. Let’s just go with it.

If you were hoping that Nikon would ditch the XQD slot for another CF or even an SD slot, you’re out of luck; the XQD slot is still there. One bit of good news with regard to storage, though; you can now record video to internal storage while at the same time capturing it via HDMI to an external recorder, something that wasn’t possible earlier.

So there you have it. These are the tweaks that caught my eye — there are, as I said in the video above, a handful of others. The guys at DPReview do the whole multi-page review shebang, so you should really check out their definitive review. I’m just a 15 year pro with a passion for great cameras, not a lab geek. Those guys can really get under the hood. Hopefully, a combo of their detail and my gut and experience is a balance that helps you decide if this upgrade is a worthy one for your hard earned coin.

Final thoughts: this thing is every bit as solid as Nikon’s other flagships. I like it when cameras get upgrades. This is not a revolutionary update — the “s” series don’t fall into that category — but it’s a solid update nonetheless. The internal improvements make it even more useful to speed junkies and videographers, and the insanely high ISO will continue to make it even more appealing to photojournalists, and the other little changes like the battery, buffer, and RAW size improvements are quite welcome too. I am adding 2x of these to my gear bags and relinquishing their predecessors to the camera heavens (actually to the used market ;) )

As always, thanks for watching and head to Adorama here for more info. And feel free to add your thoughts about what you saw in the comments below, on my Facebook page, Twitter, or Google+.

Essential Photo & Video Gear Review — My Detailed, Piece-by-Piece, Don’t-Leave-Home-Without-It Gear Breakdown

I skip 99% of the gear gabbing you’ll find on other photography sites, primarily because I’m more interested in the creative side but also because so many other sites already do it really well. I make the occasional exception, like when a new toy falls into my hands before anyone else, or when I feel some industry hype building around an imminent release that needs to be tempered with some realistic expectations.

I did this popular review of my entire kit and how to pack it for travel…um…but that was 6 YEARS AGO. So as you might imagine, a lot has changed. Between that older video post and the number of times I get asked to highlight my fav gear — I figured it was high time for an update in one single vid. Therefore, I present you dear friends & readers a complete breakdown of my essential “working” photo kit AND the kit that we use to make all our behind-the-scenes videos, plus a few extras. Hope you dig – questions / comments encouraged. I’ll be all over it like white on rice.

In this video, I broke my kit into four sections: Still photo gear, [behind-the-scenes] video gear, data management gear and gear extras. For both the still kit and the video kit, I always roll with two of each body (Nikon D4 and Canon 5D Mark III) and 8 additional batteries for each. This basically gives me enough juice to last a week.

On the data management side, you’ll notice we also double up on our drives, both for the road kit and back at HQ. [Side note: if you're traveling with two drives on the road, keep them separate -- separate vehicles, separate hotel rooms, etc. That way if one crashes and burns, you've got back up.]

For gear extras, we have a few supports to choose from (always carbon fiber), some choice audio gear and a real sexy slider from Rhino Camera Gear that’s affordable and quite portable.

REMINDER and to be extra clear…in both photo & video scenarios what we’ve shared is the BASE kit – the kit that goes everywhere without exception. This is gear I think is worth investing in if you are a working pro. It’s NOT my complete gear list and it’s not the complete solution for every gig –we almost always add speciality pieces for particular assignments– but I thought we’d get too deep into the woods and it woulda made a video that was an hour long if we reviewed all that non-essential, non-”core” stuff. So we kept it focused as we could. Here it is. The camera kit I have with me on 99% of the commercial shoots I do:

Nikon D4 – My go-to for stills since it first made its appearance in early 2012.

Nikon 14-24mm f/2.8G ED-IF AF-S Zoom Nikkor Lens

Nikon 24-70mm f/2.8G ED-IF AF-S Nikkor Lens

Nikon 70-200mm f/2.8G AF-S VR II Nikkor ED-IF Lens

Nikon 85mm f/1.8G AF-S FX Nikkor Lens

Nikon SB-910 TTL AF Shoe Mount Speedlight Flash

Canon EOS-5D Mark III

Canon EF 16-35mm f/2.8L II USM Ultra Wide Angle Zoom Lens

Canon EF 24-105mm f/4L IS USM AutoFocus Wide Angle Telephoto Zoom Lens

Canon EF 70-200mm f/4L IS USM Autofocus Telephoto Zoom Lens

Canon EF 35mm f/1.4L USM AutoFocus Wide Angle Lens

Promise Technology Pegasus J2 512GB SSD Thunderbolt Storage Solution, Up to 750 MBps Read Speed

Promise Technology Pegasus J4 2.5″ 2TB Thunderbolt Hard / Solid State Drive Enclosure

Zacuto Z-Finder EVF Pro 3.2″ High Resolution Monitor

Tiffen 77mm Variable Neutral Density ND Filter

Manfrotto MVH500AH Professional Fluid Video System, Carbon Legs

Manfrotto Kit with 190CXPRO4 Carbon Fiber Tripod and MH054MO-Q2 Head

Manfrotto 057 4-Section Carbon Fiber Tripod with Rapid Column

Rode Stereo VideoMic Pro On-Camera Microphone

Zoom H4n Handy Mobile 4-Track Recorder

Sennheiser EW122PG3A Wireless Kit

So that’s it. If you look through my BTS posts and videos, there’s a damn good chance you will see some combo of this gear in use. Time-tested; Jarvis-approved.

Special thanks to Adorama for helping me assemble my kit.

Creatives, Geeks, Freaks & Voyeurs of the World — Join Me LIVE from SXSW!

UPDATE: this is TODAY! starting at 9am SEA time (11am Austin, 12noon NYC, 17:00 London) you can join into the conversation with your truly + the most creative minds from photo, design, tech & music. If I do my job right, you’ll get more insight in a weekend than at a semester of any college – all from people who have found success. LIVE at www.creativelive.com/SXSW. Ask questions all day at #UberLIVE or @chasejarvis.

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Certainly you’re in the know of famed South-By-Southwest (aka SXSW) – that two weeks every year where the creative, film, music & tech worlds all come crashing together in little ol’ Austin, Texas. I LOVE all that stuff, so I’m here all week and ….through the miracles of technology I’ve got 2 LOVELY THINGS to set right on your lap – both of which had better add a bunch of value to YOU, or else the next round of bourbon is on me.

THING #1
chasejarvisLIVE (my internet show) & creativeLIVE (my creative education startup) are having a man-child together this week in the back seat of a Cadillac Escalade. That is right, my LIVE show + the best in online education + the ridesharing service that has taken the world by storm are all coming together in one delicious collaboration to bring you LIVE-on-the-innnernetz, real-time interviews with the best + brightest luminaries from film, photo, tech & music worlds … all while rolling the streets of Austin in the backseat of an Uber. This is your free, front row ticket to join me and an insanely talented group of creative genius without leaving the comforts of your own internet connection, wherever that might be. Things are crazy here and this list is always in flux, but here’s a couple names you might recognize that I’m preparing to hang with and bring you their nuggets of wisdom & the inside scoop….

-Austin Kleon. artist and best selling author of Steal Like an Artist & his newest…Show Your Work
-Dana Brunetti. executive producer of HOUSE OF CARDS, the netflix original hit that has reinvented TV
-Kevin Rose. founder of Digg, Revision 3 & is now a partner at Google Ventures
-Brandon Stanton. photographer & creator of Humans of New York, the world’s most popular photo project
-Gary Vaynerchuk. entrepreneur, media maven, best-selling author and wine geek
-Kristen Chenowth. actress from Glee, The West Wing, BeWitched, and other stuff
-Steven Kotler. best selling author of Rise of Superman and guru for accessing & maximizing creativity
-Lewis Howes. Former pro athlete, entrepreneur, business coach & world record holder.
- and many many more…including..ahem..perhaps some surprise musical performances

Here’s where you can RSVP for the free #UberLIVE event, find more info, and watch the LIVE broadcast this Saturday & Sunday http://creativelive.com/sxsw. (srsly – you should RSVP)

WHO: You, Me, a handful of GENIUS people from SXSW + 100 countries tuning in worldwide
WHAT: Interview, discussion + a worldwide Q&A from the backseat of an Uber
WHEN: Sat & Sun, March 8th & 9th, 8am – 5pm Seattle time (10a-7pm Austin, 11a-8pm NYC time)
WHERE: Tune into www.creativelive.com/sxsw. It’s free — anyone can watch and we’ll be taking YOUR questions via Twitter, hashtag #UberLIVE, my @chasejarvis handle and @creativeLIVE too

THING #2
Heyyo. I’m giving a little keynote speech for this SXSW thingie on Monday, March 10th at 3:30pm (1:30 Seattle, 4:30 NYC, 21:30 London). Here’s the tasty link to that hot mess http://schedule.sxsw.com/2014/events/event_IAP18955. If you’ll be physically at SXSW, come join in, heckle me from the audience, throw tomatoes, or whatever. If you’re at home in your pajamas, rumor has it my keynote will be live-streamed, compliments of our friends at U-Stream, but I haven’t got a link yet – will update that ASAP when I get one and I’ll tweet to let you know.

Don’t forget to RSVP for #UberLIVE. And, as always, you can follow along here… Facebook, Twitter, and Google+.

Unlock Your Creativity: 7 Stages To Experiencing “The Zone” + Why It’s Good For You

rise of superman chase jarvis creativity flowThere are times when the work is easy. When it’s 3am and there is a connected feeling, when ideas flow effortlessly. When the inner critic who otherwise stunts creativity gets gagged, bound and shoved into a dark closet. And then there are the opposite times. When the feeling of being “blocked” or stunted creatively is powerfully frustrating and the inner critic rages supreme – where nothing of value seems to find its way to the surface.

Whether trying to break a creative block or sustain a creative flow, we have been searching for a secret on this topic for centuries. And unless you’re completely new to this blog, you’ll know that unleashing the creative potential in everyone is a lifelong mission of mine – both personally and at scale (ala creativeLIVE). I’ve given some talks on how I believe creativity is the new literacy and anything we can do to further creative forces – I’m all for it.

Today, however, I’d like we’re on the verge of something great. Getting unstuck using science. In this upcoming book The Rise of Superman (Amazon link here), author and personal friend of mine Steven Kotler breaks down the science of this state of mind, the science of ultimate human performance (called “Flow”)

YOU know what flow feels like. You’ve felt it creatively when amazing ideas flow like water, in life when everything is just right, or perhaps in sports where you’re “in the zone”. THAT’S flow. So what actually happens in our brains when we achieve this feeling of effortless creative energy? You might be surprised to find that there is a sequence and a science behind this “zone” of flow that you we can actually tap into with regularity, and in Rise of Superman, Kotler sets out to decode exactly this. He’s been releasing a series of trailers and interviews with artists (me!) and elite athletes (Dean Potter, Travis Rice, Danny Way, others) and has uncovered some common threads to their own experiences with Flow.

For all our benefit, I reached out to Kotler with a few questions about Flow and his upcoming book. The interview below is our back and forth…Enjoy.

CJ: How did you come to the idea of flow?

There’s two answers here. The first is this is not my idea. Flow research dates back to the 1870s. There’s 150 years of really hard work that has gone into this topic. Thousands and thousands of researchers have worked on it. I just stumbled into that lineage. The story of how that happened is told in my second book (West of Jesus), but the very short answer is that flow states saved my life. Literally. I spent 3 years in bed with Lyme disease and the doctors had given up on me. No one knew if I would ever get better, but for complicated medical reasons they had pulled me off drugs—so there was literally nothing anyone else could do for me.

But it was a series of flow states that brought me back to health. It was radical and rapid. I went from like 10 percent functionality back to about 80 percent in under six months. I wanted to understand how this was possible. I mean, on the surface, it seemed crazy. An altered state of consciousness beats back a chronic autoimmune condition—like how the hell does that work. So, some 15 years ago, I decided to find out. That’s where all this started for me.

CJ: Where does the term “flow” come from, and is there actually a definition of flow?

The technical definition of flow is “an optimal state of consciousness where we perform our best and feel our best.” But the reason these states as called “flow” is because of the sensation conferred. When you’re in flow, every action, every decision, leads fluidly, seamlessly to the next. In other words, flow feels flowy.

CJ: Is flow on a progressive scale, or are you either in or out of flow? My own experiences say it feels like a scale…a progression, but what does your research tell us?

When University of Chicago psychologist Mihaly Csikszentmihalyi did his groundbreaking research on flow, he discovered there are seven different attributes to the state. This is essentially a checklist of things experienced in flow: intense concentration on the task at hand, the merger of action and awareness, the loss of a sense of self, the distortion of time, etc. And flow is progressive. It exists on a spectrum that is sort of like emotions. With anger, you can be mildly irate or deeply homicidal. The same is true for flow. When only a few of these categories show up, we’re in a state of “micro-flow.” When all ten show up at once, we’re in “macro-flow.”

[To go deep on the 7 Stages, how to get there, and what that unlocks, pickup the book here.]

CJ: Your book connects some very diverse terrain: action-sports, creativity, business, and neuroscience. How did you realize that flow crossed between them all – what’s the thread?

This wasn’t actually my realization. Very, very early flow researchers (back in the 1870s) believed they were looking at an experience brought on by high risk behavior (the action sports category), but, in the 1940, famed psychologist Abraham Maslow discovered the flow experiences are a commonality shared by all successful people. Then, when Csikszentmihalyi got involved in the 1960s and 70s, he discovered the state is ubiquitous. Everyone everywhere has access to flow. So flow applies in pretty much every domain. But this isn’t a business secret. Companies like Toyota, Microsoft, and Patagonia have flow woven into their corporate philosophies. A lot of the really innovative things that companies like Google and Facebook do to manage their knowledge workers comes down to flow science. Flow is everywhere in business—it’s just that most people are unaware of it.

Here’s a 3 minute video interview of yours truly and Steve Kotler about flow and creativity. You’ve felt it before, but you wanna get back there again, don’t you?

CJ: I’ve read the advance copy of the book. I’ve sat for interviews w you, etc. The book is really focused on action sports, but flow is certainly present in so many other areas – ie the creative process — as well. Tell me about that.

Flow is arguably as well-linked to creativity as it is to athletics. As a writer, I would be absolutely unable to function without flow. Every idea I’ve ever had for a book has come out of a flow state. Every article I’ve ever written that has won awards was written in a flow state. To put this in scientific terms, in recent years we’ve begun to look under the hood of creativity. We now know that the three key mental functions that produce the most creativity are mental risk-taking, pattern recognition (our ability to link ideas together) and the size of the database searched by the pattern recognition system. Flow massively amplifies all three functions. It jacks up our ability to take risk by making us feel less fear. It amps up pattern recognition and expands the size of the database the pattern recognition can search. This is why studies have shown people are far more creative in flow. It’s a huge boost. In work done at the Flow Genome Project, we found that most people report being 7x more creative in flow—that’s a 700 percent boost in creativity. More importantly, at Harvard, Teresa Amiable discovered that not only are people more creative in flow, they report being more creative in the days after a flow state. Thus flow doesn’t just amplify creativity in the moment, it literally trains the brain to think more creatively over the long haul.

CJ: One of the core arguments of your book is that the chemistry and function of the brain actually change during flow. How does portions of the brain shutting down help me be more creative?

Flow is causes by profound changes in neurobiology including something known as “transient hypofrontality.” Transient means temporary. “Hypo” is the opposite of “”hyper,” it means to slow down or deactivate. And frontality is show for the pre-frontal cortex—i.e., the part of your brain in charge of higher cognitive functions—shut off. One of the areas deactivated by flow is the dorsolateral prefrontal cortex. This part houses your inner critic—that relentless, defeatist nag that is always part of waking consciousness. When the inner critic shuts off, we feel this as tremendous freedom, as liberation. This is fantastic for creatives. It means the portion of the brain that is always judging creative ideas—shooting them down before they get off the ground—is turned off. This allows you to move from idea to idea far faster.

CJ: You have compared the chemicals released in your brain during flow to some of the most addictive drugs in the world. Does this mean that people have similar feelings in flow that they might experience on drugs?

That’s a really interesting and complicated question. Flow cocktails five of the most powerful neurochemicals the body can produce and each of these neurochemicals have a drug analogue. For example, when you snort cocaine. All the drug does is cause the brain to release copious amounts of the neurochemical dopamine. Well, dopamine is released in flow. So are norepinephrine (speed), anandamide (marijuana), endorphins (heroin) and serotonin (ecstasy). You actually couldn’t produce this cocktail with drugs. Trying to take all those drugs at once and you’re going to end up drooling or dead. But the brain does it naturally. So yes, being in flow is an altered state, just like being on drugs. Does flow feel like any one of these drugs—not exactly. It actually feels a lot better. Moreover, while being addicted to drugs can lead backwards, being addicted to flow—because the state requires meeting challenges and learning new skills—leads forwards.

CJ: In your book and communications, you talk about this concept of “flow hacking,” or doing things to help trigger a flow state. Do you mean that people can create flow in their own lives?

For certain. Flow has 15 triggers—that is, pre-conditions that lead to more flow. Anyone can pull these triggers.

CJ: Besides jumping off a cliff on skis, what’s one trick you might use to help you get into flow?

As I said before, flow has 15 triggers and risk—or what we call “high consequences”—is only one of them. But even here, within the high consequence trigger, their possibility. For example, sure, you can jump off a cliff and take a physical risk. But you can also use emotional risk, social risk, creative risk—it doesn’t matter. It’s also very individual. A shy guy needs only to cross a room to talk to a pretty gal to pull this trigger.

But the most important thing to know is that flow follows focus. This is why people recommend always following your passion if you’re chasing flow. Why? Because our brain pays way more attention to stuff we’re passionate about. Put differently, a lot of what we call “flow hacking” is really ways of tricking the brain into paying more attention to the here and now.

CJ: I understand that you do a lot of consulting with business leaders on how to facilitate more flow in their workers.

Yes, I have done a fair bit of this work. My partner in the Flow Genome Project, Jamie Wheal, has done far, far more. The flow triggers we’ve been talking about are really accessible—it is not hard to design businesses around them.

CJ: Now that the book is releasing, you’re going to continue to work on flow research through the Flow Genome Project. Can you tell us a bit about that?

The Flow Genome Project is an international, trans-disciplinary organization dedicated to decoding flow. As you pointed out above, we do a bit of consulting, but our core focus is to seriously advance flow state research. We’re also in the process of building Flow Dojos—dedicated flow research and training facilities. But the most important thing to know is this is an open source project. The goal is to hack ultimate human performance. This is relevant to everyone—who doesn’t want to be able to perform at their best. Thus, we want everyone involved. Go to our website, sign up for Flow Hacker Nation, and get involved.

If you’re hungry for more, jump over to The Rise website to peep all the material Kotler has assembled there in preparation for the launch of the book in early March.

HUMANS OF NEW YORK [Best Photo Project Ever] Brandon Stanton on #cjLIVE Wed Feb 19th — Plus Win 30 Days w A Dream Photo Kit

chase jarvis hony humans of new york brandon stantonREMINDER: this show is TODAY at 11am Seattle time (2pm NYC, 19:00 London) and is broadcast LIVE at www.chasejarvis.com/live. Details below – tune in & come say hi.
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I’ve personally nailed several large scale photo projects in my career…Personal work that I grew to a large scale project. And I’ve witnessed hundreds of great photography-based projects come to life in every corner of the world…BUT there may be none better than HUMANS OF NEW YORK, by Brandon Stanton. Seemingly overnight he took a simple photo project from inception to a global phenomenon with a worldwide audience of millions, plus turned it into a #1 New York Times best selling photo book, while staying humble & hardworking through it all. In order to follow his dream, Brandon quit a well paying day job and followed his passion …. with a certain savvy that can be learned by us all.

Lucky for us, Brandon will be our guest AND our private advisor / mentor / coach / inspiration for 90 minutes on the next episode of chasejarvisLIVE this coming Wednesday, February 19th at 11am Seattle time (2pm NYC, 19:00 London time) at www.chasejarivs.com/live. Specifically, we’ll learn the key ingredients for pursuing your YOUR OWN PASSION, how to stand out in a crowded, noisy world, and how to turn your dream life/project/vision into a reality.

WHO: You, Me, Photographer Brandon Stanton + a worldwide gathering of creative people
WHAT: Interview, discussion + a worldwide Q&A
WHEN: Wednesday, Feb 19th 11:00am Seattle time (2pm NYC time or 19:00 London)
WHERE: Tune into www.chasejarvis.com/live. It’s free — anyone can watch and we’ll be taking YOUR questions via Twitter, hashtag #cjLIVE, and my the ChaseJarvis Facebook Page

***NOTE: if you are in Seattle or the PNW and can’t join us in-studio for the live broadcast, but still want to meet Brandon and have your book signed, we are hosting a reception / meet & greet / book signing immediately following from 12:30 – 1:30pm at my studio. There will be books on hand for sale. The address is 3333 Wallingford Ave Seattle 98103. Corner of Wallingford & 34th Street. Ground floor, Wallingford side of the building.

There’s a video at the bottom of this post that highlights HONY, but some more detail on what we’ll cover are here:
_How to conceive of a photography, art, or any project that matters to you
_What were the key steps to transitioning OUT of at 9-5 job and into a dream career
_How did Brandon teach himself to be a photographer?
_How to keep your dreams alive in the face of so much negativity and uphill odds

HELP US PIMP THE SHOW AND WIN THE MOST BOSS PRIZE EVER.
In order to reach the largest audience possible, we’re right now kicking off an amazing prize. To help jump start YOUR dream photo project, give you experience with the best gear in the business, or augment the gear you’ve already got, we’ve partnered with our pals at BorrowLenses.com to give you a chance to win a 30 day rental of a top professional camera body from Canon or Nikon, plus FIVE (5) amazing lenses. (details at the very end of this post). The equipment value is certainly more than 10 grand, and the rental value alone is more than $3000. The contest starts NOW and we’ll announce the winner on chasejarvisLIVE, Wed March 19th

To help wrangle this prize, we’re trying out a new widget below. It does a few things really well:
1. manages all entries into a secure database and properly randomizes a winner
2. gives you info about how much time is left in the giveaway / how many entries there are etc
3. allows you to earn extra entries by participating more deeply in the community (following on social channels, sharing, etc)

To enter just fill in your info in the widget below and follow along. Contest rules in the widget. And note: this giveaway is live all the way through 12 noon PST during the show on 19th February.

UPDATE: THANKS TO EVERYONE FOR ENTERING! The winner has been selected–give a holla for Courtney Zerizef. :)

JOIN US IN THE STUDIO!!!!!!!!!
Want to be part of the live studio audience AND/OR get photos + books signed with Brandon?? We’ll invite the first 40 people who send an email to production@chasejarvis.com to join us +1 guest if you’d like. You’ll receive a confirmation email with attendance details if you’re 1 of the first 40. Champagne, donuts, coffee and other stuff will be there too.

And then here’s a lovely video that Facebook made about Brandon’s project.

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The Camera Rental Package you could win is either….

Canon 1D X or a 5D Mark III
16-35 f/2.8L Mk II
24-70 f/2.8L Mk II
70-200 f/2.8L IS II

PLUS The 200-400 f/4L with Built-in Extender AND your choice between the 85mm f/1.2L or the 50mm f/1.2L Primes

OR ………..

Nikon D4 or a D800
14-24 f/2.8G
24-70 f/2.8G
70-200 f/2.8 VR II

PLUS the 200-400 f/4G VR II AND your choice between the 85 f/1.4F or the 50mm f/1.4G Primes

Whichever you choose, also enjoy a 1 year complimentary membership to BorrowLenses.com, which gets you 10% off rental orders, cancellations with no fees, and drop shipment of items you absolutely need even if they are out of stock for us. A $100 value and you get a t-shirt, to boot!

Chasing a Photo for a Lifetime [chasejarvis RAW video]

When the Seahawks raised the Super Bowl trophy before my very eyes last Sunday I couldn’t help think that I’d been waiting a lifetime for this. But it was far more than being born + raised in Seattle that overwhelmed me – it was that I knew I’d captured a photo that I’d been chasing my entire life.

ENTER, the 12the man. Backstory courtesy of Wikipedia.
As most [American] football leagues allow a maximum of eleven players per team on the playing field at a time, referring to a team’s fans as the 12th man implies that they have a potentially helpful role in the game…The presence of fans can have a profound impact on how the teams perform…Thus these fans will often create loud sounds or chant in hopes of distracting, demoralizing and confusing the opposing team while they have possession of the ball; or to persuade a referee to make a favorable decision. Noises are made by shouting, whistling, stomping and various other techniques.

SO, while I’ve spent so much of my life steeped in athletics — from my middle school years as raucous little skate punk, to an athletic scholarship that put me through college, further still to a life spent in part making art around the lives and dreams of athletes from every corner of the globe — I had shot literally millions of images of the highest levels of competition known to humankind, yet I had never done any meaningful photography of… “the fan”.

NOW….armed with a lifetime of supporting my beloved Seattle Seahawks, as a kid in the 80′s when we could never beat John Elway’s Denver, to the 90s when my grandma gave me her season tickets and it was hard to get anyone go to the game with me let alone sit thru all 4 quarters (because we sucked), my team was finally headed to the big game. Never before in history was there a better time for my undertaking. SO, dreams do come true, and over the course of last weekend while 99.99999% of the cameras were focused on the field of play, I had the distinct opportunity to meet, wrangle, hang with and –most importantly photograph — hundreds, even thousands of “12th Man” Seattle Seahawk fans.

The following is a short vid we made along the way to share this all with you. Amidst the street photography, face paint and fan fare, be on the lookout for a floating BudLight hotel, a Foo Fighters concert, a muppet with a gun, a full court swish, a broken camera, cameos from Anchorman’s “Champ”, a bacon cheeseburger bigger than my torso, and –the man who made it– Epic Meal Time’s Harley Morenstein.

Big big ups to Big Chocolate + K.Flay for the beats. This song is so dope.
And double up thanks to BudLight for making all this possible. We had a blast, made some mischief, and made some art.

The final piece is a limited edition 36×60″ Giclée Print. Inquiries here.

chase jarvis 12th man

Travis Rice: 60 Second Portrait of the World’s Best Snowboarder

One of the many things I love about Travis Rice is his refusal to be pegged into a single hole. Yes, he’ll always be a snowboarding legend, but that athletic pursuit is powered by a creative, artistic soul, as evidenced in one way by his art gallery initiative, Asymbol, and in another by his on-going work with the Brain Farm cinema crew.

When I had Travis on cjLIVE last year [re-watch here], he spoke of being bold, and being different. It was about 6 months later that he walked the talk, and pulled the curtain back on Asymbol, his online + physical gallery celebrating the artist/athletes who capture the raw beauty and energy found in the moments that make up a snowboarder’s life, run, park session, etc. [Check out Travis's curated corner of the gallery, here.]

This 60-second portrait of Trav is a part of my ongoing project (now created about 50 of these – from Macklemore to Reggie Watts and beyond) and was shot when he was on our set for cjLIVE. Enjoy and share with your Snowboarding homies — I’m banking they will appreciate this nugget featuring the world’s best.

Nikon Df Unboxing Video + Test Images + First Impressions While Actually Shooting Photos [gasp!]

When the Nikon Df arrived on the scene a couple months back, I tried to temper the hype (my own included) with a good dose of high expectations. Yes, it looked bad ass. Yes, it housed the same sensor as the D4. Yes, the optical viewfinder has 100% field of view.

But as a compact camera fiend and someone whose owned probably 50 cameras or more, I’m no pushover. So when Adorama shipped the Df to my door, I filmed the unboxing in old school 2006 internet style and wasted no time taking a test run (sparse couple images below).

To determine if the Df hit all the marks, let’s take a look back at those point by point…

From my original notes on appearance when the camera launched…. 1. Ergonomics. Roughly… “I like how all the dials/controls for shutter speed, exposure compensation, and ISO give you the option of being really hands on with setting your exposure. Shooting this way really increases my connection with what you’re creating with the camera. The Nikon DF looks like it’ll do a nice job of recreating (or perhaps simulating) that experience of “making” pictures like the cameras of old… That feel helps me be connecting to the art just a little bit more–i.e. slowing down a tad– than some of my other tools in my shed.”

ACTUAL THOUGHTS on ergonomics having shot with this thing. I’m NOT happy with ergonomics. The dials are pretty cool and give you the retro feel, but they’re in goofy places and hard-ish to reach. The aperature dial on the FACE of the body at your right finger is bizarre. The shutter sound is nice. The grip depth is in no man’s land…not flat enough to feel retro and not deep enough to hold it like a “new”camera. Feels “plastic-y”. Which is easy to see why… because the shell of the camera is entirely largely out of styled plastic. The lens? Plastic.

Now my notes on The size. The size was a huge surprise – as you can see from the video. WAY bigger than I thought from the original marketing materials. WAY bigger. In truth I feel like the product shots were actually aimed to trick me into thinking this would feel like a little body. It doesn’t. Yes, it’s smaller than a D4 or pro body – but bigger than I want for lots of circumstances…similar to a D7000 of D600 or any pro-sumer higher end body. When I’m on a pro gig I use/need the pro body to lean on, bang around, pound nails and otherwise be tough and sturdy. But in this class of camera, I really prefer the portability. So what gives here? I dunno. They made up a nice advertising story about “back to basics” with a “real camera” but they among other things, it’s really just styled like an old camera. Also, rumor has it they couldn’t keep the guts cool enough to shoot video because mechanically that stuff takes up space. That’s probably why it doesn’t shoot video – not based on any “purity”. Jury is out. I like the purity angle, but it’s 2014…

I guess my reaction above says it all. There are good surprises and there are bad surprises. I think we know where that shoe dropped re: size.


3. The sensor. This is this cameras very best feature, bar none. I LOVE LOVE LOVE this sensor. It has the same 16.2-megapixel sensor as Nikon’s pro-focused D4, which is the best still sensor of all time IMHO. You can basically shoot this thing in the dark – can it focus in the dark? Not all that well it turns out. But I still love that they packed that sensor in this body. The images are buttery but not overly so like Canon 5d sensors.


MY ORIGINAL NOTES ON….4. Focus. It better be decent. Nikons have historically kicked everyones ass in this department. This better not be a let down. I hope the focus is fast and accurate. (Speaking of fast…we know it’s not fast in frames per second department. 5 ‘n’ change. Not bad. But not fast. Who cares really – that’s not what this camera is for.) We really do want the focus to be fast, however, if it’s to stand out from it’s peers. BTW, how is the manual focus mode? It better kick ass. I’m curious to see if there are any features to assist with this. There’s a lot of marketing around this camera pimping its ability to use all the old non-AI lenses, but the cameras from that time had focusing screens built for manual focus. Without tools like focus peaking, a split image screen, or a microprism screen, shooting with manual focus lenses might just be a pain in the ass. Let’s hope they get it right.

ACTUAL THOUGHTS on FOCUS having shot with this thing. It didn’t measure up. It wasn’t fast. It was pretty accurate, but it wasn’t fast and accurate, which is what I really wanted. I’m sure that Nikon would respond…”but it has the same x and y as the z so it will do …blah”. It’s a great sensor, but the focus isn’t as fast as other cameras in the compact/mirrorless class. Which is sort of a travesty if you love Nikon still cameras given that that is a huge advantage for Nikon in nearly every other case.

MY ORIGINAL notes on this… 5. Pro shit. I’m excited to see how “professional” the camera can be. Can I pound nails with this thing? Is it heavy and durable? We use a ton of different cameras for video, but the D4 is my go-to camera for EVERY SINGLE commercial photo shoot we do. Could the DF could come along on our shoots as a good BTS rig? Even in our BTS stuff we expect pro quality That would be nice if this delivered. I will always have a couple D4 backups, but for the solo photographer, the DF could potentially save pro photographers some weight and coin if (and only if) it can produce professional results in a pinch.

I can’t tell if it has an alloy metal chassis, but its exterior is plastic-y. That isn’t pro. This isn’t a pro backup camera. The images look really nice, a great sensor but it falls short in other categories.

OVERALL
This is a good camera. Actually it’s a great camera. It will make nice pictures. It’s just not the camera I thought I was gonna get. If you LOVE Nikon you should buy this body. You will not be disappointed if you take what I’ve said here with a grain of salt. I know they are selling like hotcakes so the world really likes this camera. I’m just a tad hard on it. Like I said above, the plus on this baby is the D4 sensor in a much cheaper body. Beautiful dynamic range and looks great in low light. Another plus is that Nikon is at least watching what other manufacturers are doing with their products. The negatives are that they don’t know what their consumers want. Generally speaking we are not posers. This camera’s appearance it trying too hard. And it’s too damn big. But like I said – if you’re a photog who loves Nikon – you might be pleased as punch – so take my words here w a grain of salt.

Bounce on over to Adorama to see the Nikon Df HERE

IMAGES
I did have a short day around our cabin making pizza with my pal Jeff and then taking a quick walk on the beach to grab a few snapshots for this initial post to you guys… I intentionally shot slow moving, simple stuff where I thought this camera could perform. It worked well for that – but I knew the limits. The below are just very very minimally processed jpgs. You can see the magic simplicity with this sensor. It just WORKS. (check out the one image with the white house, the open, dark garage with the lightbulb on, during the day. Crazy subtle. THATS the kind of camera I want in my pocket. Portable.

It also does a nice job with a completely flat scene on the grey beach on a grey day shooting photos of grey stuff. Again, quality sensor. Focus? it was a pain to shoot inside and nail the focus shooting at F2.2 etc. But overall you can tell this camera works. If you can take the gimmicky styling it’ll do you right. If you can’t, then you’ll need a different sword of choice.

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Nikon Df camera in silver

Nikon Df camera from rear

Nikon Df camera side view

Bounce on over to Adorama to see the Nikon Df details HERE

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