Shabazz Palaces front-man Ishmael Butler was gracious enough to pose for this 60 Second Portrait back when he was on set for the cjLIVE episode with Ian Ruhter. Ishmael was one of the subjects of our massive tintype portraits along with Chris Ballew. Enjoy!
TAKE BACK YOUR LIFE. Building a Creative Career + Life with Renowned Author Chris Guillebeau on #cjLIVE [TODAY - Wednesday, May 22 11am PDT/2pm EDT]
Update: We are TODAY with renowned author, world traveler and all-around inspiration Chris Guillebeau. My dinner with Chris last night was electrifying and foreshadowed today’s show which promises to deliver the goods on how Chris has accomplished more in his 35 years than most do in a lifetime. Head over to the live page to tune in.
Prepare to have that lightbulb moment for yourself while watching the next episode of chasejarvisLIVE on Wednesday, May 22 becuase my guest is the globe trotting, “self employed for life” hacker Chris Guillebeau. In addition to being all those things plus the founder of the World Domination Summit (most amazing name ever for a creative conference…) he is a best-selling author of The $100 Startup as well as The Art of Non-Comformity. And if all that ain’t enough – just this past April he accomplished a goal that no one in the history of time has done… visit every country in the world by age 35. [a few dignitaries have done it, but nobody of Chris' ripe age has ever pulled it off]. For a decade Chris has been championing a lifestyle that beautifully aligned with my approach. It goes something like this:
_Stop living the life others expect you to – and start living your own
_Create a life where your time is spent doing things you want to do (it sounds harder than it is, doesn’t take a lot of money, and you already have the skills you need)
_Live a remarkable life in a conventional world
_This is all closer than you really think possible – once you get over the things that scare you
If any of this stuff resonates, then I’d better see you on Wednesday. Over the years, through his remarkable books and friendship, Chris has given me an insane amount of clarity and some hefty doses of inspiration. Take your life back.
WHO: You, Me, Practicing Non-Conformist Chris Guillebeau
WHAT: Interview, discussion + a worldwide Q&A
WHEN: Wednesday, May 22, 11:00am Seattle time (2:00pm NYC time & 19:00 London time)
WHERE: Tune into www.chasejarvis.com/live. It’s free. We’ll be taking your questions LIVE via Twitter —> hashtag #cjLIVE
In addition to traveling and writing, Chris founded and organizes the World Domination Summit, an annual gathering of creatives held in Portland Oregon that runs the gamut from intellectual meet-ups and keynote speakers to hammock races and bollywood dancing. Sorry, ALL 3000 TICKETS are completely sold out, but that what happens when there are enough people who share your passions. (Note: I’m honored to be one of the keynote speakers for 2013.) Oh wait, what’s that?? Read the note below – we’re giving away a ticket $500 to one lucky soul to join Chris and I at the the WDS !! And what the hell…I’ll throw in free airfare to Portland too. DETAILS BELOW!
BONUS: This always goes fast. The first 30 people to email firstname.lastname@example.org will be eligible to part of our in-studio audience (you +1 guest) at my seattle studio. You’ll get to watch the show in person, meet Chris and some other lovelies and probably drink some mediocre champagne with us. You will receive an email confirmation if you’re one of the first 20.
HELP US PROMOTE THE SHOW AND WIN STUFF.
This is BIG my friends… – For a chance to win a ticket to Chris’ World Domination Summit – the 100% sold out summit I mentioned earlier. I’ll see the winner there with Chris. We’ll all high five. To win, send out a creative tweet promoting the show with #cjLIVE + @chrisguillebeau + the short link to this page http://bit.ly/18NM7cF included..
DURING THE SHOW we’ll be giving away signed copies of Chris Guillebeau’s books The $100 Startup and The Art of Non-Conformity. Tune in to find out more.
Contest Rules here.
Here is Chris at last year’s WDS introducing a panel to discuss The $100 Startup and their own microbusinesses.
Special thanks to our sponsors who help make this show possible – please follow them and let them know you appreciate the free content. #Respect.
Help us welcome new sponsor Borrowlenses.com to chasejarvisLIVE and follow them on twitter @borrowlenses.
liveBooks: @liveBooks (p.s. they are also offering special starter package deal for a photo website, exclusive for chasejarvisLIVE fans here.
In my last chasejarvisTECH piece you got a peek at the gear I packed away for the 19,000 foot climb up Kilimanjaro for the Summit on the Summit. There were more than a few comments on how much “stuff” went with me. It’s all relative I suppose, but when you get down to it that was a fairly bare-bone operation for a job that still yielded high-end results.
As you see in this next installment, we had to make do without some of the other gear that we would have loved to have had along the way but left out for obvious reasons. I’m talking about cranes, jibs, dollies and the like. So sometimes you have to get creative.
My man Chris did just that, by lashing some cordelette climbing rope to a tripod to create a makeshift cinema boom. As the footage at the end proves, you can’t tell the difference.
Here’s what went into this fine piece of jury-rigging:
If you’re swinging that camera out over an edge (like Chris does), make sure you’re on solid footing and keep a tight grip on that cordelette.
And that’s it. Super-cheap, super-effective boom solution done at altitude.
Music: Small Face – Heavy Cloud
Before the Internet made sourcing new music and rising bands a simple matter of keystrokes, bookmarks and RSS feeds, there was the radio DJ. Those with an insatiable thirst for the fresh and undiscovered relied on the savvy DJ with the right connections to feed us a steady diet of the up and coming, the unsigned, the ones-to-keep-an-eye-on.
For the unsigned and undiscovered, it was said DJ who provided the air time, created the buzz and could ultimately set the stage for stardom. Or at least greater notoriety.
One DJ who epitomized this role was Seattle’s Marco Collins, a local legend whose work on 107.7 The End helped propel the careers of notables like Weezer, Beck, Deathcab for Cutie and The Prodigy. And that’s just using the fingers on one hand. As Chris Ballew of Presidents of the United States of America puts it: “He was the on/off switch for your potential career.”
Such is the story behind Marco’s rise (he’s in the Rock & Roll Hall of Fame as a DJ) and fall (battles with addiction) that Seattle-based director/producer Mark Evans & his team have set out to create a documentary on the man, which they’re calling The Glamour & The Squalor. They’ve interviewed 32 people for the film but need a little help rounding out the interviews and editing down the footage and archival material.
Marco’s story deserves to be told. He turned his passion for new music into a career and he battled some seriously determined demons along the way. And he’s still standing.
Check out the Kickstarter video for The Glamour & The Squalor above. If you are keen to help see this project through to the end, donate here.
A NO BRAINER.
When someone comes to you and asks you if you’d like to create a photograph of your most vivid dream on their dime — let’s be clear on this one — you say YES.
Such was the case with Samsung and their creative agency Possible several weeks back. I got one of “those cool phone calls” where all your hard work comes into focus just for a second. (Dialogue in my brain = Wait a minute. Any photograph I want? Of my dreams?! And you’ll be my benefactor to make this happen? Yes Chase, creative freedom. We want to enable your imagination. Are there any images you’ve been excited to try to create but haven’t had the means or the opportunity?) Um. Hell yes. They had approached me with a completely blank canvas. Their only requirement? That the image would be a colorful expression of a dream to prove out the color quality on the Samsung Premium Monitor Series 9 for professional photographers. My only requirement? That I could make a video of the process to show you how we pulled it off.
It was a deal.
I immediately knew the image I’d make. I’ve had this reoccurring dream where I’m floating in a sea of insanely vividly colored clouds. You know those flying dreams… well, this is similar, except more floating than flying or falling. (there’s water below in my dream, but that’s of no consequence here…) In short order, I pitched them the idea, they loved it, said “yes”…and then I jumped in… only to realize a moment later that I had no idea how I’d possibly make this happen. How does one “make” clouds? How could I pull this off with in-camera capture? How could I accurately translate the stunning colors into real life? And how would I do this with just a couple weeks lead time? Gulp.
If you’re a photography buff or just plain curious, then read on to get details on the process, how we made the set + the “clouds”, the gear, the monitors, the final image, and all the good stuff that went in my mouth and up my nose.
ENTER–> THE PROCESS.
Sketch of the idea. My original sketch was so neanderthal in nature I can’t believe my team had any clue what we’d be up to. The first whiteboard scribble led to this superquick, subsequent mock-up, a speedy photoshop file using some of my other photos and some puffy clouds tweaked into rich colors. It was a hackjob at best, but it got us started down the path of what to do next. We had to find those clouds.
The colors from my dream. This was fun… I went into a paint store and, from memory, selected a handful of paint chips that matched the colors from my recurring dream. This was the basis of moving my dream into reality. The goal is that my wardrobe, the clouds, the environment and the final image would be a perfect match based on these paint chips.
Clouds. First we worked through 101 ways to make clouds, from A-Z, smoke machines to mist. And where we ended up — after a good bit of experimenting — was absolutely awesome. Know that stuff called “celebration powder“? If you happen to be tuned Hindu celebration of Holi in India then you know what I mean…it’s a big thing. It has also migrated its way into seemingly endless fun runs here in the USA. In short this powder is made 100% bio degradable and non toxic from cornstarch. You can eat it (and I ended up eating a LOT of it). This powder, we discovered, can be ordered from some select outfits online. We ordered about 40 pounds of this stuff… some pre-made, others made to match the paint chips (above) we sent the manufacturers. Huge thanks to the Art Department on this shoot –> Loren and Darcy made this shoot happen because of the ingenius way in which they sourced the powder and — even more importantly — devised the “air cannon” mechanisms through which to fire it up into the sky and make the perfect clouds. The air cannons are, like the video explains, simply a series of tanks of highly compressed air with quick valves that can be tripped remotely. Upon flipping the switch – BOOM – you’ve got canned air firing that powder into the sky.
The “cloud tent”. Now this stuff is messy. And when I say messy, I mean…like the messiest stuff you’ve ever dealt with. After myriad of outdoor tests we discovered, duh, that it gets EV-ER-Y-where. So we built the set to be a giant visqueen tent in very large sound stage to keep it all contained. Approx 30 feet x 30 feet x 20 feet high. Our own gigantor see-thru cube.
Flight. Anytime I get the chance, I’ll do my own stunts. Since we’d agreed in advance that – if this were my dream – I’d need to be the talent… So into character I went. In order to get the floating sensation, we decided after some practice, that a trampoline was the best way to create the look in the studio. With a couple of pulled neck muscles and some body position tweaking, it’s possible to get this floating / hovering look right at the apex of a big bounce on the trampoline. Took me a few hundred tries to be able to nail the effect on autopilot, but it indeed became automatic. Not gonna lie, it had been a few years since I’d jumped on a trampoline, but this was good fun… And, as I was to soon learn, it’s an entirely different thing to do it in practice vs. wearing the wardrobe, goggles and having canons fired at you… but more of that later.
Stills. For the still portion of the shoot, we shot with the Nikon D4 tethered to our monitoring station, which consisted of three Samsung Series 9 monitors + Mac Pro. As for glass, we used the Nikon 24-70mm zoom lens stopped down around f/11 for a nice deep depth of field. The Nikon D4 was secured to a light stand and raised to a hole cut into the visqueen at the height that I would be jumping to so we could get a clean shot without jeopardizing the electronics of the camera. And of course it was tethered to the computer so it could be fired remotely and – most importantly so that the images could be reviewed immediately on the Series 9 to check focus, color + file integrity.
Strobes. We used two Broncolor Scoro A4S Power Packs and four Broncolor Unilite 1600′s to give us the light we needed. And since the strobes were positioned outside the visqueen tent (for safety and cleanliness) – aka- the one huuuuggge softbox — the only modifiers we used were directional dishes soas to aim the light in the general direction of yours truly, the bouncing kook. We used PocketWizards to fire the Broncolors remotely off the camera.
Continuous light. Since we were also making the BTS video above, we knew we’d also need continuous lighting for the motion capture. As such we decided to go with two 9000 watt Maxi Brutes. The Maxi Brutes (9 x 1000 watt bulbs in a single unit) were phenomenal pumped out the continuous light needed for the high speed behind the scenes video cameras to get the exposures and frame rates that we wanted. This also allowed us to have to use less light in the strobes above, which kept the flash duration way quick. The Maxi Brutes are huge, look here:
Here’s a quick sketch of our lighting + setup diagram:
Motion Capture Cameras. For the behind the scenes video capture, we thought it’d be fun to bring out the big guns…and the small guns too. We hired our pal DP extraordinaire Chris Bell to shoot with his fancy Arri Alexa [stay tuned for another video about that camera]. We also brought along a Sony FS700 to shoot high speed…480+ frames per second, a Canon 5D mkiii for quick on-the-fly shots, a Canon 7D for timelapses, and lastly, we grabbed every GoPro we had in our shop – I think it was 9 of ‘em. These came in handy for rigging up shots that we didn’t want to stick our expensive high-end cameras in. We wrangled some Manfrotto pods + spreader dollies, plus a tasty Kessler crane to keep things moving. And you gotta know we made this sweet quick-and-dirty array for a Matrix-esque shot that you can see in the video if you watch it a couple times…:
IMPORTANT NOTEA ABOUT MUSIC!
Music is a huge part of the fun we have when making these BTS videos. As such, huge shout out to the legendary beat maker Big Chocolate, without whom this vid would not be possible. You can catch him at his fBook here, twitter, or pickup this very track and other radness here (please support him) on iTunes here. Alas, he will also be crushing it all summer long on the Vans Warped Tour too.
OTHER RELEVANT STUFF.
In addition to the final still image which you may see all over the globe, there is a web commercial produced some good friends of mine – that is pretty damn funny. Check it here.
Super duper big shoutout to crew who worked on this…obviously the art dept, production, and cinema crews got shoutout, but also to my stylist on this one Alvin Stillwell.
For more badass work from Possible Worldwide, go here.
They say that when you leave your old life behind and walk the path you’re meant to be on, be prepared to leave some friends behind, and be prepared to make new ones. This has definitely been the case on my own personal path. When I finally ditched the things in my life that everyone else wanted me to do and began a fulltime charge of my life’s dream of being an artist, it put my life on a collision course with energy, vitality, and some seriously creative / talented people who have both inspired me and strengthened my resolve to continue on this path. That’s not to say shit doesn’t get hard, and that there’s an unending amount of work…but it’s just one kind of work – the kind that draws you in – not the kind that sinks your soul.
One of those cool people I’ve met along the way is my homie Ian Ruhter, another man on a mission to be different, not just better. If you keep your eyes peeled here on my blog, you know that one of the ways he’s done that is through his most recent personal project titled “Silver and Light,” in which he creates photographic art using a wet plate process that dates back to the 1850s with a camera the size of a truck. I had Ian on the show last year to demonstrate his technique and teach me how to wet plat. (Episode at the bottom of this post)
Ian’s latest video posted up top, “When Dreams Collide,” he documents his journey before our meeting -across the past and present and up to his drop-in on #cjLIVE. This particular vid, while beautifully shot, really delivers on how he crossing all boundaries and bowled through all obstacles to follow his dreams. If you need to abandon your current dead-end path, it’s worth your time.
Follow Ian across these channels:
Moving The Camera Pays Big: New Gyro Game-Changer used by Teton Gravity Research [interview + video]
Fancy gimbals are the rage these days and I love ‘em all. Not withstanding some homies of mine from my action sports days, Teton Gravity Research, recently announced a partnership with Gyro Stabilized-Systems and launched the GSS C520, a game-changing 4K camera platform that makes that footy that you and I shoot look like sh*t in comparison. Having worked with these cats a bunch (see here – that’s me hanging out of the heli with Todd…) and having seen a sneak peek of the Bay Area aerial footage video above, I wanted to know more. So I sat down with TGR founder Todd Jones to get the scoop and see the new work behind this aerial gimbal game changer.
I know the details of course, but share with the readers your production company Teton Gravity Research.
The short version is… TGR is an action sports brand founded in 1996. We specialize in media creation and distribution. The core components of our company are films, television, commercials, film tours, and our digital platform, www.tetongravity.com.
From a creative standpoint what does this crazy cool GSSC520 do for you as a filmmaker?
From a creative standpoint the GSS allows us to capture the highest quality footage we possibly can. In the past, when working with 16mm film and DSLR’s, we had amazing tools, but they had their limitations as well. Our push now is to use the same tools and cameras that the most high profile films in the world are shot on. We believe that the ultra hd/4k movement is here and is necessary to provide a certain level of quality delivery to the audience. I never bought into the HD cameras and distribution space. It just was not equivalent to film. I was always impressed with the cineflex footage for its stability, but it also had the HD video edge too it. The C520 allows us to get those super stabilized motion shots at true cinema resolution. We have already been getting calls from some big feature films that are interested in using it on their films. It is pretty cool to think that Hollywood is now calling us to help them create their films with our camera systems. After all, 18 years ago we were just a couple of kids who wanted to make a ski and snowboard film from our point of view.
Break it down for me and the people…what’s the difference between this camera gyro and what you’ve used in the past?
This system is the first 4k resolution system of its kind. It has the most highly sophisticated stabilization technology that has ever been released. There are so many creative ways to use this system. We film highly visual action in stunning locations. To be able to have this camera in those scenarios is a dream.
Yeah, but why is this a game changer?
I think I was touching on it above, but it is the camera system of the future. We also have the ability to put the newest cameras in the world in it. We are currently working on putting the Sony F55 in it and will follow with the new 4k Phantom. The fact that we can rapidly integrate the newest cameras in the world into this system is huge.
Give us a glimpse into the future… Does this technology point to more/new things to come?
I think it does. For one thing it points to the Ultra HD/4k movement. That is coming at us fast. If you’re going to rent helicopters and shoot aerials you might as well shoot them in cinema resolution if you can afford it.
Ok, handwaving and high-fiving is nice, but give me a specific example of where this camera creates an advantage for you…
On the above point, any footage shot with our system will be relevant as the Ultra HD movement takes over. We are already in a situation where the 16mm film we shot for years has very little stock value beyond historical pieces or the TGR brand story. It will need to be presented as archival footage in those scenarios. We can’t even put some of those super epic shots on reels anymore. I am really psyched that the stuff we have been shooting is more future proofed – at least for the next iteration of technology.
I know the answer on this one, but for the benefit of those who might now, what makes you and the TGR team so uniquely qualified to create with this tool? Hollywood here we come?
We have been filming aerials for 18 years. We have worked with limited resources up until now and made them work. Shooting with this system is crazy. The quality of shots is like nothing we have ever captured and it opens doors for us. I just spent the last three weeks working with it in Alaska and it is our best footage to date. We can’t wait to show it to the world.
And we can’t wait to see it. Thanks Todd.
Chase Jarvis TECH: Packing Photo Gear For Hiking [whether for a day trip or up to 19,030 feet on Mt. Kilimanjaro]
A few months ago I was fortunate enough to be part of an expedition to bring greater awareness to the scarcity of fresh drinking water experienced by many countries around the world. Called Summit on the Summit, the expedition was a 60 mile hike up Kilimanjaro and included some artists, educators and guides who shared my interest in this awareness project, including Mark Foster, Justin Chatwin and Beau Garrett.
I put together this short video to give y’all a glimpse of the gear I packed for the trek. I kept it pretty light and stuck to two main camera systems:
Watch the vid for the full deets on my tech choices for this amazing journey.
I’m grateful to have so many friends in the Seattle community who influence and inspire me. Among them – Ben Haggerty.
Known to the world as Macklemore, Ben and his talented musical partner-in-crime Ryan Lewis have been on rocket-ship ride to hip hop stardom in the last 7 months. They have been touring non-stop and sold millions of downloads their #1 hit song Thriftshop from the incredible album The Heist. They have appeared on Jay Leno, Saturday Night Live, Letterman, Colbert Report and all the other major talk shows and venues along the way. It’s been fun to watch. We were fortunate enough to have them on our humble little show chasejarvisLIVE back in October of 2011. After the show I caught up with Ben for this portrait. Enjoy the moment.
Macklemore is a talented and a wonderful human being who reminds us all to be honest, fun and grateful. To see what I’m talking about check out this blog post he wrote last week – here.
I don’t know what you were doing when you were 11, but I know I wasn’t directing movies. Hell, I wasn’t even standing in front of that pool. Trinity Anderson, on the other hand, has jumped into the deep end and seems to managing just fine, thank you.
The 11-year-old and her father, Barry Anderson, are wrapping up production on her latest stop-motion film (a genre she’s been at since she was 4) and have launched a Kickstarter campaign to help cover the rest of production costs. The film is titled Me & Ewe. It is a sheep love story.
I caught up with Trinity and Barry before her performance rehearsals (she’s also an actor) to talk a bit more about her project.
For the record, this is my first time interviewing an 11-year-old.
How did you get into movies and directing? How old were you and what drew you it?
Trinity: When i was 4, we went to Hawaii. I used to get up early, but where we were staying was right near a big cliff and my parents didn’t want me going outside on my own. So they got me a video camera to play with inside. I had Playmobils at the time and I used to make up stories and started using stop motion. I also really liked acting at a young age. When we go to California every summer I get to go to an Shakespeare acting camp. I’ve been doing that every year for a while now.
Tell me a little bit about this project. What have been the biggest challenges? What have been the biggest breakthroughs?
Trinity: We had a lot of problems with the main tree in the film. As filming went on, the tree started to shed its leaves, so by the end we sort of had this giant dead tree. You can kind of see it in the film, but as it goes on we show it less and less. In the first opening shot it’s green and lush. As you watch it, it kind of dies on you.
Our biggest breakthrough happened when we were shooting one shot and we ran out of battery. It was a long shot and we didn’t want to retake it. We were about to disassemble when we decided to see if we could recharge the battery while it was still attached to the camera. That worked, so we were able to continue.
Barry: It was a Switronix PB70 external battery. We couldn’t have plugged it in and saved the shot had we been using a regular canon battery.
Nice. A technological breakthrough.
So tell me, how has this project help you grow as a director? What’s it like being in charge of a project and managing other people?
Trinity: This project was bigger than all the other projects. I’ve made little stop motion films with friends using the iSight on the computer, but this one used real props, real cameras. It is much better quality and we’ve spent a lot more time at at and it’s being shot in an actual studio. We’re planning to enter it in film festivals and put it online. So it’s just bigger than anything I’ve done.
As far as managing, well, we don’t have many people working on the film. Besides my dad there’s my great uncle and grandpa. My dad and I do most of the animated work, and we also have one other animation guy who is doing the background sheep. I pretty much told him what to do and he did it.
Barry: We basically spent a lot of time finding people who would put up with us.
In many ways this project is co-directed by you and your Dad. What has that been like? Has it been challenging making sure the visions are aligned?
Trinity: We have limited amount of camera angles, so there isn’t much decision there. We decide on which camera angle would be best and worked together to figure out the placements. My Dad helped a lot with the lights. But otherwise it was pretty straightforward as to which lens we should be using. I guess I was in charge of placement of sheets.
Barry: Trinity wanted to be lead animator. We spent some time talking through the story and came up with some rough storyboards. We figured out what the scenarios would be. Once we had the story down, we agreed on things. It wasn’t a major Hollywood production — there were some limitations and once things fell into place and we put on the lens we got dialed it in.
In the beginning I was tech guy at computer, making sure we weren’t going to fast to slow and Trinity was in charge of bringing the sheep to life on the screen. But once she got over her intimidation of the technology, she had no problem assuming that role, too!
Artists and creatives often get asked “who or what are your influences?” Influences can be other artists or directors, it can be books or a series of books, movies or a series of movies. Who or what are your influences?
Trinity: I always wanted to work in movies. For a short time I went through an archeology phase, but my Dad has always been directing movies, so really I’d have to say my Mom and Dad. Aside from them I really like Stephen Speilberg and his movies like Jaws, ET, Close Encounters of the Third Kind and Indiana Jones. I also like It’s a Wonderful Life and some other black and white films like, Maltese Falcon, The Navigator and Some Like it Hot.
I really enjoy comedy. Movies that aren’t funny aren’t my favorite. Buster Keaton has been an influence for me. I do some circus performance and he’s really made my comedy better.
Do you have a particular favorite stop motion director of film?
Trinity: Nightmare before Christmas. But I also really like A Town Called Panic. It’s a French film. It uses a real unique animation form. It’s different and it fits the story.
I also like the Fantastic Mr Fox. The models are good and I love the voices of the actors. Also the score is beautiful. Our test score is mostly taken from that movie. It was done by Alexandre Desplat [who did Argo]. We actually sent him an email to see if he’d do the score for our movie, but we haven’t heard anything yet.
Wow. Let’s hope he comes through. That would be something.
We have a lot of gear heads who read the blog. They’re going to want to know a little bit about the gear you use in the film.
Barry: For cameras we used two Canon 5D Mark II’s. We’re using Dragonframe software to do the actual animation. It’s been used in a lot of features. It’s powerful and not that expensive.
Trinity: It’s great because it’s not as complicated as some programs, but it’s not so simple that it can’t do all the things you want. It’s really the perfect medium. The other cool thing about the project is that most of the lighting is done with lights we got at Home Depot.
Barry: We used to 1K source lights with soft boxes, but every other light was a Home Depot light. We built a grid over the field and used everything from 15 watt up to 300 watt, both clear and frosted.
Trinity: And a lot of gaffe tape.
To help Trinity and Barry finish their project, contribute to the Kickstarter campaign, here.
Here are some behind-the-scenes stills from the set of Me & Ewe. Enjoy:
Update: It’s official now, I’m dropping in as a guest on JoeyL’s show TODAY at 10:45 Seattle Time (1:45 NYC; 18:45 London). Join us – ask questions. I just was sent over the topics he’s going to grill me on and I haven’t given an interview this in-depth about commercial photography in more than a year. Tune in HERE to watch…
Occasionally I hand pick certain people that I’d like to see on creativeLIVE. Joey L is one of those people — and starting NOW, AND for the next 3 days, he’s going to be sharing everything he can muster about his approach to commercial portrait photography and personal projects. Specifically he will be walking photographs from concept, thru lighting, posing, shooting and post production…and doing it all LIVE (so you can ask questions) and FREE.
Why did I choose JoeyL?
Here’s 3 reasons you should watch:
1. Few photographers today know how to make the pictures they see in their mind. But Joey can do this as well or better than any long standing pro – he turns his vision into reality. In truth this is one of the hardest things for people trying to “make it” as a photographer, and Joey shows you how.
2. Professional photography is more than just capturing the image. This is the simple secret that few people know. It’s about 3 distinct steps… planning for the picture, taking the picture and then making it come to life in post production. In this course, Joey walks you thru all 3 steps with flair.
3. Combination of hard work and technical execution. Most photographers I see in the world have one of these keys, but not both. You can’t succeed with just hustle and yet having shitty technique. And you can’t succeed by being a genius technician without any hustle. JoeyL exudes both of these, and you’ll be able to learn the balance of these in action by watching him.
So check it out. (I’ll be roaming around off set for 2 of the 3 days, maybe even drop in. Hope to see you.)
Photo geeks and space nerds unite. Saw this and had to share it. This is the first time mankind has ever seen the planet Mercury in its entirety. Scientists used thousands of images collected for over a year by the MESSENGER probe to completely map the surface of the planet, taken at a resolution of 1km per pixel.
The yellow-orange sections are highly volcanic lava plains, and the dark blue areas are assumed to be minerals.
Watch the planet spin a complete 360 degrees and read more about the process HERE.
Serious credit goes to those slackers at NASA/Johns Hopkins University Applied Physics Lab and the Carnegie Institution of Washington for the images.
Stop Creating False Barriers Between You & The Photos You Want to Take [aka Going to the End of the Earth to Get the Shot]
Are you pursuing your personal passions to get the pictures you want, or are you letting…ahem…”too many obstacles” stop you?
Here’s a little inspiration. Using a weather balloon, a Gopro 2, a Multiplex Funjet and some other lo-fi equipment, David Windestål decided to get some first person footage of a trip to space. What he ends up with is an awesome video of the camera’s trip into orbit, and a ton of inspiration for the rest of us. Sure he could massaged the footage and edited differently / better. But whatever. In this post its the spirit that counts. Because truth be told, he’s doing cool shit. And you…?
The takeaway is this: you might not be as handy as David with a soldering iron, but it doesn’t matter, that’s not the point. The point is to stop creating false barriers between you and what you want to be taking pictures of…
Take that project that you’ve pushed off… decided is “too difficult” or “too expensive” or “too [whatever]” and hack into it. If you can find step by step instructions on how to send a camera into space with a couple of mouse clicks, what else might you figure out how to do with a little elbow grease and that good, ol’fashioned get-off-your-ass-and-do-it attitude adjustment?
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