I wrote this morning about previsualizing a composition. I ended the blog by describing a composition I had recently found. Here’s the shot!
The virtue I possess that adds the most value to my life is my desire to continue to improve myself. I have a hunger to be better, to do better and to be a better partner in all of the relationships in my life. I believe that we generally can become smarter about a lot of things in life and can build up amazing reserves of wisdom and strength by doing a little bit every day over a period of time. My desire to improve keeps me interested in the details of life, in the day to day choices we make and in the research that we are learning from as humans about what the possibilities of being human really might be.
Every day, I work on writing, photography, research, running my business, being a dad, being in a relationship and more. It is this interconnectedness that gives me the most energy and leads to the feeling that I would describe as thriving. When my energy and inspiration are at high levels and there is plenty of work to do, I feel excited to attack each task.
The question is: what do you do when you aren’t feeling inspired and your energy is flagging?
In part, my answer to myself is don’t let it get that way. It is much easier to maintain a sense of purpose and motivation when you have momentum on your side. With that said, there is always the possibility of having to start from scratch. How do you motivate yourself when the chips are down?
As with so many things, you have to embrace the feeling of growth. If you focus too much on results or numbers, then you run the risk of too much friction from the frustration of not reaching your goals. If your goals are about growth and not about some baseline standard, then you have a much better chance of pushing through. The thing is: how do you know what is enough? That is always going to be the tough part. I can’t tell you how many times in my life I have experienced what I thought were limits only to one day burst through that imagined ceiling to reach levels previously unimagined. Whether that is going from hiking 10 miles to 20, from 300 pushups to 720, from writing 3 pages to 10 there are these activities I have done where when I push myself to go twice as far as my normal limit, I have some breakthrough experiences.
The thing is, it takes a lot of discipline to break through those barriers of discomfort. For me, the hardest part is the decision to begin. Once I’ve committed to something, I generally will put my shoulder to the grindstone and get it done. So, I know for myself that working on decision making is key. Having good time management and energy management helps, too. In order to commit to doing something epic that is going to really expand my sense of the possible, I have to create the space in my schedule for that to happen. That requires a lot of daily discipline.
It takes daily discipline to get together the economy of time and energy to take on an epic task that will double your sense of the possible, and then it takes the courage to commit to that adventure, and finally it takes the discipline to follow through when the going starts to suck. At the beginning of a challenging hike you feel so great. Your legs are full of energy, you have a bounce to your step, and you are generally without pain. At the last half mile, though, you are basically causing yourself agony with every step and as much as you breathe or focus on form it doesn’t matter. Pain is an inevitable part of this growth, which is why the question might not be discipline or masochism, but how much pain is the right amount of pain?
I also do believe that fighting through the pain that you encounter when you set yourself some challenging task builds up the strength that you need in life to deal with the pain of loss and defeat. When you are hurt by things that happen to you outside of your control your response is going to depend upon your relationship with pain. I’m not suggesting that we look at pain as a positive, but that when we embrace it as inevitable, then we can fight through the resistance it can create. If we want to accomplish our goals, then we are going to have to be willing to put up with some hurting.
If it is true that it hurts to be human, and we embrace this basic fact which makes us stronger, then how do we shift our thinking about feeling? If pain is just a temporary discomfort that is the price you pay for growth, then it becomes some sort of battle between your lack of understanding of the importance of growth and the resistance to the pain required. In other words, the way we battle our demons is by reminding ourselves why it is so important to grow that we are willing to go through tremendous fear and pain. In some ways our willingness to go through pain is a direct measure of our love.
Our character is forged from the daily decisions to undergo the discomfort of discipline or to face the horrors of disappointment. When we don’t do what we can we feel a sense of wasted opportunity, of the lack of love. When we succumb to apathy our lives are unenthusiastic and dull. But even worse, they are toxic. Because growth is also often alimentary. There is something intrinsically healthy about many kinds of growth. The kind of growth that derives from consciously chosen work generally is of a healthy variety. Occasionally, as in the case of Olympic athletes or astronauts that drive can go too far into unhealthy zones of activity. And there is cancer, of course, and suburban sprawl…
Are we suffering as a culture from too little or too much discipline?
One of the most fun feelings you can experience as a writer, and as an artist generally, is to be in a flow state. When you can stop thinking for long enough to just allow something creative to happen you can really create some interesting things that are entertaining to you and to other people. I am convinced that those flow states emerge out of practice and are a result of the work you have previously done. The more reps I get in, the better the results. That is why I want to keep trying to radically increase my workflow. The more I do, the better I get, the more response, the more fun, the more I want to do, etc…
And yet, burnout is a real thing. How do you explain that? Everything requires a balance, and mental fatigue is just as much of a factor as physical exhaustion. What is the connection between burnout and not getting the results that you want? I believe that burnout is a real thing, but I also believe that the answer is more work not less. How many hours can you work in a day? What about spending time with your kids? What about fun and play?
These are all important questions and I don’t have all the answers, but it also depends on what you consider to be work. Work is anything you have a resistance to doing, right? Like if you just fucking love doing bench press then that is not really work for you. You might need help with flossing your teeth. That is where you need work. Everyone knows what they need to work on but finding the time and the courage to commit to it is another thing altogether. And, as much as people might complain about things in their lives that they don’t enjoy it is not as common to find people working hard to get through the barriers to their happiness.
Is happiness a choice or is it a result of having done something? Is happiness a decision or a side effect?
I find that my happiness comes from little things I do almost every day. When I complete a workout, while photographing the sunrise or sunset with my love, delivering photos to a client, making posts on social for a client, making slime with my daughter…there are so many little things that make me happy. I love cooking food for my family. I love listening to podcasts. The wealth of daily joys I get to experience is vast. I feel extremely lucky and I want to make the most of every day.
One thing that discipline does is it limits us in a productive way. By choosing to do certain exercises you stress your body in this way and not that way. We make decisions based on the results that we want to achieve. I think that this is also true in art, and one of the decisions that I have made recently is to radically minimize the amount of energy I use in making my art. The last thing I want to be doing is driving long distances to find some spot to get a great photograph. No, I have limited myself to a five mile radius for making art.
Because I live in such a beautiful part of the world a five-mile radius still gives me a ridiculous amount of spots to choose from, but there are two or three that are my go-to spots. By not wasting time traveling to a location and by conserving my energy in making that decision ahead of time I get to focus my drive on different kinds of innovation. That means that I have to push myself to look for more things in the same places, to think about making photographs differently and to really own these locations.
The sunrise is the best opportunity for great photographs for me because I start the day without any internet and by writing. I wake up at 4:30 and drink two cups of coffee while I write five to ten pages before I’ve even looked at my phone. Fresh from dreaming, straight into writing and then out the door to photograph the sunrise, this is a moment in the day when I have my thoughts all aligned and ready to make the most of the best light of the day. Yesterday, we headed down to the wharf and the sunrise was popping off. Watching the colors of the sunrise is the closest I come to painting these days, and it is something I enjoy wholeheartedly. I hope you enjoy this photo. Thanks for reading my thoughts about discipline, pain and mental framework.
I’m most interested in photographs that include and involve humans. I find the challenges and rewards of portraiture keep me studying this mysterious art. I value work that gets me to think and to feel something unique or universal about the human condition from looking at a photograph of a person. Sometimes less is more and in the case of my taste in portraiture that is true a lot of the time. I feel like people are so complex it can only help to give them some space.
The biggest obstacle to truth in portraiture is that sometimes we carry lifelong habits of creating masks to protect ourselves. Whether it is a smile or a neutral face, there is something that you do to preserve yourself from the intruding eyes of strangers. At least, hopefully there is. Because it can be a rough world if you don’t know how to move with an understanding of the ways people are likely to behave. If you don’t have a grasp on the business, then you are going to have to learn.
Portraits have lots of uses in our contemporary lives. We can use them for our LinkedIn profile, for any articles people may be writing about us, for other social media profiles, and for finding love. Whether you need a good Tinder shot or something to show your grandma that you are doing well, a skillful portrait can go a long way towards helping you to reach your goals.
But there is more to a portrait than that. It is something that belongs to the canons of art history and if you care that much about the result, then you can make some magic happen.
A big part of a great portrait is the lighting. The way you place the model in relation to the light is going to determine how a viewer’s eyes might travel around the composition. The light is going to give shape and interest to the form of your subject’s face, hair neck, etc. You can use light to draw attention to important parts of the face, like a catch light for the eyes. This is when you place a light in view of the subject so that a small white light appears in the dark of their pupil helping to create a sense of depth and importance in the eyes.
One huge advantage of working in the studio is having the ability to create a comfortable environment for the subject. In general, there is a lot more ability to control the results. Natural light can be amazing and the experience of being outside sometimes can make a person really shine, but there is a much higher rate of success with the advantages of studio lighting.
I like to use continuous lights, because I find it is much more comfortable for the model. Not having the flashing of the lights and the beeping of the unit recharging makes it a much more enjoyable atmosphere. The vibes of the shoot always matter. That is one reason why working with someone you really like can help to make great work, or in my case with someone you love. When I photograph Madison I know that there is going to be a whole world of energy, emotion, intrigue, mystery and fun all bundled up into one frame. The feelings. Oh the feelings. We have a lot of them, and they show up in the work. I like that. That is what I like art to be. This portrait is an expression of love, fear, lust, faith, and so many other things all at once.
The other night we set up the studio and had two continuous lights going to get this shot. What we did next was something amazing. We did an experiment with using long exposures and candle light. This is one area where it is so radical to have a model as a girlfriend because she is so beautiful and I tell her that all the time. She knows it. It’s not a question. It’s not an issue. What is great about this, is it give us the freedom to be silly and to have fun. We did a series of portraits that are not flattering even though they have a beautiful topless woman in them. I’m not going to show them here, but not for the reasons you might think.
This series is art. As a series, it is a powerful experiment that worked. The images are intriguing as fuck. She looks powerful but sometimes scary in these portraits. Because we have done a lot of work together and have a deep sense of creative trust, we were able to do something original and cool.
Now, we have a few different series going and I am super excited about the direction and shape our work is taking. Our collaboration is getting stronger and smarter at every turn and I can’t wait to see what we learn next. So many lessons. I’ll be sharing more of them here as it makes sense in the coming days. I feel as though I have made some very important discoveries and I am excited to put them into practice and to share with other people looking for ways to be more effective and to improve their outlook.
Searching for style is an interesting task in photography. Why do you choose the compositions and subjects that you do? Are you finding things that please you and sharing them with the world? How is what you are photographing representative of you as a person? How do you recognize your own photos?
In some way, style is unavoidable. It is the result of lots of work. The more work you do, the more you are able to distinguish your style from the rest of the world’s photographs. And it is a world full of images, more photographs than ever before by far. Every day it seems to increase, too.
There are different formal choices you can make that will mark your images as being yours. You could do only black and white or only focus on one color or any other number of ways to say this is your photograph. You can also do this with subject matter.
Your editing has as much to do with it as your shooting. I like to see natural looking light in photographs, so I tend to edit with an aim to having it look as close to the scene as possible. I care about color and want my photographs to show the truest version possible. Other people opt for a super saturated look. The important thing is to have a reason for your decisions. Why is this your style?
Another key distinction with style in photography comes from the use of perspective to achieve depth or flatness. Some photographs (with a foreground, middle ground and background) invite you to look into them as though mentally stepping into a world. On the other hand, some photographs lack perspective and are more for looking at than in.
You also have to choose where along the spectrum between abstract and figurative your work will exist. Some photographers focus on color, texture and geometry and exclude storytelling elements to create a formal viewing experience. Other photos attempt to show you a world, to depict a scene, to tell a story.
It is also very possible for one photographer to have several styles. It is fully possible to create different styles for your work. Different series have different elements needed for their effects.
What is enough? Enough is enough? Have we had enough? What a funny word.
First of all, there’s the spelling. What’s this shit? For one thing, it has what my daughter calls a sneaky g and h. We have a very confusing language, but English is the one I know best and I love it. It’s a funny thing to love words, but there are worse things to become obsessed with, for sure.
But back to enough. What does it mean to have enough, to give enough, to be enough? Enough is the right amount. If there is too much of something, then we say that we’ve had enough. But, if we want to buy something beyond our budget, we have to raise enough capital. Enough is a happy medium, a transactional middle, a form of health, a proper measurement. When adding salt, you taste the food to know if that’s enough. When you look to see if a task is finished you ask if it’s good enough. So, it’s qualitative as well as quantitative.
This is one of the key judgments in photography. Finding the right exposure, the right shutter speed, the desired depth of field, the clarity of shadows, the quality of light you have to experiment to find out what is enough light, speed, dynamic range, etc. Once you have a composition, photographic technique consists of experimenting with the settings to create the desired visual effect. The funny thing about this is that you have to feel it out to learn what is enough. It is a feeling. Keep pushing the settings one direction and then the other until you find the right exposure.
Moderation is a value I believe in, and it has everything to do with the idea of what is enough. Excess leads to sickness, scarcity leads to desperation, but enough leads to the zone of happiness and health. In art, there is a concept known as density, which describes the amount of visual information within a given work or collection of works. Some work is very light and minimal, and some is very dense and baroque. You have the ability to make this choice when composing photographs, too. What do you look for to make a minimalist composition? What is interesting enough? How engaging is the work? Does it ask enough? Does it give enough?
Content creation can be a tricky thing. When you are working for clients you have a much different task than when you are creating content for the public, but they are very much related. In both cases, you have to consider the purpose of your task. When you work for a client, there are multiple overlapping areas of concern. You have to create content that works for you, for the brand, for the brand’s investors, and for the public. When you do personal work, you have the same categories of viewers to consider, but their rank of importance is different.
For example, if you are a content creator and you are posting on your own page, you have different goals. You are trying to sell the service, not the content. You are showing people that you can consistently put out high level quality content.
One thing that I want to think about is the difference between content and art and where art lives in today’s world. The marketing world, the media world and the academic world all thrive on content. They are pushing messages. Art is different. What is the message of art?
On one hand, I am not sure that art has any validity in our world at the current juncture. Who are your favorite contemporary artists? What are they doing? Maybe this is a common feature of art, to be misunderstood. Isn’t that part and parcel of the experience of putting art out into the world? In order to push the boundaries of art, you can’t do work that is already accepted. This means that you are going to have to endure lots of people not understanding what it is you are doing or why you would want to do it. Not that artists always understand either. But you have to do things that are not part of the program. At least that’s my understanding of art. I remember Seth Godin talking about how there are places in developing countries where people crank out oil paintings of scenic views and that is not art; it is painting. There is no invention, no originality, no thought. It is simply craft, just a going through the steps to make something.
What is this element that we call art, then, and does it apply to content creation for brands? On the one hand, we have a definition of art as something done extremely well. There is an art to anything. When Kobe Bryant worked his magic on the court there was an artistry to his movement. This is something else, though, than Rodney Mullen figuring out the most insane flatland tricks on a skateboard. Kobe Bryant always had the goal of scoring a basket, of winning the game. In art, the goal is less clearly defined, and the expressivity is much more important. Sure, there is a technical execution to what Mullen does on a skateboard (he either succeeds in making his tricks or doesn’t), but the goal is to do something new, something innovative. Kobe Bryant wasn’t trying to play basketball in a new way, he was just trying to be the best.
It is these two competing definitions of art that leave us somewhere in the middle. Is art a form of experimental research designed to bring new things in the world, or is it a talent contest that aims to bring the best of what already exists into being? Probably both are valid even though they are so different, but they definitely contribute different values to the world. One is playing golf better than it has ever been played. The other is inventing an entirely new game. We need new games, too, since we are evolving as a culture.
I think of these two qualities that we describe as art, excellence and innovation, as being the result of technique and experimentation. In order to hit a golf ball so well that we consider it an art, you have to master the technique of golf. While there may be subtle nuances of invention in your particular version of the swing, it will be fundamentally recognizable as golfing to anyone who knows about golf. This type of “art” is recognizable based on the results and the form of the technique. It is a much easier thing to see. We already know what the activity is and how it is supposed to go, so it is a recognition of quality not of kind.
When you understand the difference between these two definitions of art, you begin to see how people get confused about contemporary art. They are looking for a display of the mastery of technique when what they should be asking is what the artwork means. Art is not just be a display of talent with technique, but it can also be evidence of originality, of invention.
On the other hand, there is the kind of art that is unrecognizable, at first. This kind of art is entirely based upon experimentation and questioning what can be interesting as an art experience or object. Think of Marcel DuChamp’s readymades. There is almost no technique required. Someone else did the work of manufacturing the object. All DuChamp had to do was select it, sign it with a pseudonym, and place it in a context where it was sure to cause people to ask questions. This changed the conversation from technique “how did the artist do this?” to concept “how did the artist dream this up?”
Robots are already making art. We have used machines to create images for almost two hundred years, now. The human element in art is the courage to experiment when failure is both highly probable and when the results matter greatly. This is the thing that defines the kind of artist I admire: the courage to experiment under fire.
And it is for this reason, that I understand art to be more about experimentation than the flawless execution of technique, that I have begun to understand business, war, and media as more related to art than not. Not only is there an art to war, but war is a form of art as well. Business, media, military force, and art all are attempts to influence others in order to create a space to exist. Through these efforts (to build a brand, to produce media, to enact military campaigns, to create art) we collectively create our way of life. Politics and Religion do this also, but I don’t like to discuss those topics because I like you too much to do that to you.
So I’m asking you next time you see something that calls itself art, that is shown in an art context, to ask different questions. Instead of looking to the work to display talent and technique, see if you can just sit with the thing long enough to see what it does to you. If it makes you mad, note that. If it makes you hate art, note that. But whatever it makes you feel, the way to get the most out of an experience of art is to ask what it could mean, what were the stakes of its being made, why does this matter to other people? If nothing else, this kind of art is a form of mental exercise to practice being open minded. Can you sit with a work of art that doesn’t go out of its way to please you long enough to listen to what it might have to say? In a world full of visual yes men, some art that keeps itself at a distance might be just the thing we need. Think about when you go to the grocery store. The cereal boxes are practically jumping off the shelves to give you pleasure. Is this a red light district or Safeway? Chill, cereal boxes, I’m not looking, lol.
Victim mentality: what is it and why does it happen? People are complicated creatures with lots of layers and many of the deeper ones are unknown if not unknowable. Our interactions are so numerous, varied and of different qualities that it can be difficult to understand who is having what effect on us. How do the people you relate to change the way you experience the world? More importantly, how do you take charge of the situation.
I think that one of the reasons that we can get stuck in a victim’s mentality when something goes wrong is our inability to see the negative in our own personality. Instead of looking at your own decisions, you see your problems as external. This is something that Covey talks about in 7 Habits. It is very easy to be reactive instead of proactive.
The thing is, your happiness depends upon you reclaiming your own power. Whatever has happened to you in your childhood or even this morning is not going to help you to make good decisions today, unless you face it and figure out why you made those decisions back then. That can be very scary, but the other alternative is far more worrying.
I think that part of the challenge of life is an idea that we could ever get to a comfortable place. That is just not going to happen. Any illusion of comfort you have is just a side effect of the distortion of space. You are just focusing on one part of the picture in order to feel pleasure, but what you are ignoring is possibly going to be much harder to deal with when it arises.
How do we move from a victim’s mentality to a warrior’s attitude of unrelenting drive? I think you have to keep asking what it is that you can do. If you focus on how you can improve the situation, then you give yourself a chance.
Still, things will happen that are beyond your control and some of them are going to be negative and will hurt. How do you experience your losses without sliding into a victim mentality? The easiest way to let go of a loss is to own it. I gave it my best shot, but it was not enough. The competition found a way to do more and they won. It is really that simple. You cannot blame anyone else for your problems.
One way you can identify the degree to which a victim’s mentality has infected your thinking is by looking at the language you use. Are you writing in the active voice or are you using passive voice? This is such an important difference, but sometimes we do not even know that we are doing it. Let me give you an example and hopefully it will show how the language we use is more than just descriptive, it is formative. Language creates meaning, it doesn’t just communicate it.
Say you want to share a story about going to photograph the moon. Every sentence has a subject (the hero of the sentence) and a predicate (the hero’s action). If you phrase it so that the action has more importance than the hero you have fallen into passive voice. If you put the hero of the sentence in the driver’s seat, then they have the chance to be actively leading the charge. Let me show you in an example.
The crescent moon was going to set at 7:20, so we had to get in place early in order to capture that last twenty minutes of moonlight.
What or who is the hero of the sentence? What actions are they taking? In this version, it could be easy to mistake the moon for the main actor, because the moon is going to set. It is driving the action. Let’s try it another way.
We knew that the crescent moon was going to set at 7:20, so we positioned ourselves on the beach ahead of time, and we were able to capture that last twenty minutes of moonlight.
The difference can be subtle. It is a matter of agency. Is it the moon that is driving the action or is it your decision to photograph it setting? If the moon is in charge, then you are positioned as a victim who is slavishly doing what you have to in order to achieve your goal. While it might seem subtle, the difference is huge. You are either putting yourself in the position of being the hero of your own story, or you are being acted upon.
This is especially important in a world with mobile internet, because we are subject to news all day every day, so it becomes very easy to slide into a passive mode of reacting to what is happening. The victim mentality is sneaky as fuck. We have to watch the way we think.
Yesterday we got some very troubling news here in California, the land of celebrities, the oasis of cultural heroes. One of our greats, one of our all-time legendary basketball players died in a helicopter crash along with his daughter, another family, and the pilot. Nine people died. Obviously, most people care about all of them, but not many people knew the other family. Basketball fans of a certain age KNEW Kobe, though, and that was why we were so devastated by the news. If you were following Kobe’s story, then you probably were loving his dedication to his daughters and his care in passing down his skills and drive to them. Learning that he died with his daughter on their way to a basketball game sent an enormous wave of grief through our entire country if not the world. Every father’s worst fear came to life in that moment. We all experienced something of the sheer inability to protect your daughter from death as you plunge towards the earth in a fiery death trap when we realized what actually happened and that, that, that is just too much to bear. It is too fucking tragic to believe. When I heard the news there was a moment where the emotional well inside of me threatened to break through the dam. I could feel all the fear and grief of fathers immemorial inside of me as I considered that last moment of fear and of love. Did Kobe comfort Gigi? Did he tell her that he loved her and that it is going to be ok?
Grief is something that enters our life unexpectedly and puts a heavy weight on our minds and hearts, but we do not need to let grief get the best of us. How do you own your grief? How do you take charge of your own process of feeling sad about something you have lost? There is nothing any of us could have done to change the outcome of Kobe and his daughter and that poor family who was with them and the pilot who had no ability to save them. It was an accident. There is nobody to blame. How do we act in a way that reflects our own agency?
You own your grief. You experience sadness and melancholy in proportion to the amount that you care. When you hurt because of a loss, it means that you care about winning, you care about life. You have to translate that pain into strength. It might seem impossible, but the human spirit is beyond what we can imagine. People have endured and transcended unthinkable challenges, and we can too.
Kobe taught us many things. He inspired us with his single-minded-focus and unshakable drive to win and to excel. He also combined the strange ferocity of an apex predator with the goofy sensibility of a kid who loves basketball. While he is undoubtedly one of the all-time greats, I love Kobe because he reminds me of a kid I never knew, a kid who was a basketball nerd, a gym rat, a hoop god. But, what I loved most about Kobe was the way he talked about his daughters.
When tragedy strikes, we are tempted to fall into negative patterns, but if we have the courage to own our own sadness, then it can make us grow stronger, more careful and more available to our loved ones. You never know what is going to happen, so it is always important to let the people in your life know that you love them. RIP Kobe and Gigi. Prayers for the Bryant family, for the Altobelli family, for the Zoboyans, and for the Mauser family. We grieve for those we know, but it is not difficult to remember these other people and to feel for them as well. Prayers and thoughts go out to everyone affected.
Why are people drawn to the edges of things? When you fly over the country, you see the patterns of our development very clearly. We form tight grids and stick to the edges of things. It is almost like the edge of a territory is the surface of some kind of water. We tend to remain where there is visibility. We stay out in the open.
But there are some who choose to live up in the mountains. Some people make that commute each day and nestle away in some canyon nook up in the higher elevations. There are lots of reasons to live in a remote location, but can we escape from the advance of the digital age? These things are hard to answer, because we don’t know what is going to change. For example, we only learned about CFCs and their effect on the ozone layer after the damage was done. Now, we are seemingly waiting on an innovation from technology to save us from catastrophe.
We are experiencing a high degree of Techlash, or backlash against tech, and are putting all of our faith in technology at the same time. The thing is, we have no reason to trust. That is possibly our stupidest trait, but maybe it is also our most beneficial. Intelligence doesn’t equal the good. For something to be good it has to work for people and there are so many different ways that things work or don’t. You have to judge things by their results.
In some ways we are on the edge of a new territory because of the rapid advance of technology. We are entering a new phase of discovery. Some of those ways are literal. Elon Musk is planning on sending a million people to Mars. I didn’t think that was possible, but there he went and said it and he seems to be quite serious about it, too. Now talk about proactive, that’s really getting ahead of the curve. That is a serious programmatic attempt to radically increase the human sphere of influence. Why is he doing it? To get away from AI? Is it inevitable to colonize other planets? Are we already beyond repairing the earth’s atmosphere? If it is possible to make Mars suitable to human life, then why are we so worried about global warming? Isn’t Mars hotter than anything we experience? Lots of questions with that one. The edge of where humans call home is about to radically expand.
There’s one big unanswered question: will there be waves on Mars? What kind of gravity is there? Is it possible to harvest water from deep space to create a wave pool? Will Kelly Slater still be ripping at that time? Questions, questions, questions…
I don’t want to go to Mars, but I can see it happening. That shit is likely as fuck. I don’t know why. It just seems like something I would do. Hopefully it’s cool. The main thing I don’t like about Mars is the whole family aspect. I don’t want to leave my family. Maybe we will all go? Hopefully, we will make that voyage after they’ve worked out a few of the bugs and have that wave pool pumping. What about skateboarding? What is the gravity situation like on Mars? I’m sure they will be pouring tons and tons of hempcrete up there, so there are sure to be some sick spots. But what about the oxygen levels? I know so little about the red planet.
I know that Elon Musk is a highly effective person, though, and it makes me wonder if he read the 7 Habits of Highly Effective People, because he would make Stephen Covey proud as a pride of lions. I’m studying that landmark book because I think that it is one of the most helpful self-development books of all time and anyone who I respect is basically working through different parts of this system. Covey was a genius. All hail Stephen Covey. He is a lighthouse in the darkness for people who didn’t receive adequate discipline or structure as a youth. For anyone who wants to be more effective in what they are doing, the book is a treasure trove of wisdom and practical advice.
Say you are a skateboarder and people are starting to comment on your style and you want to try to move beyond casual and occasional sponsorships to really create a career for yourself, then this book can help you to master the process of creating your path in such a chaotic world. I mean think about Elon and all of the thousands of things for him to think about, but he is still coming up with these huge visions. It’s because he has good habits and has mastered how to make effective use of his time.
The first habit is to be proactive. That is such an important word. It has roots in Ralph Waldo Emerson’s idea of self-reliance. To be able to get things started is to increase the likelihood that business will happen, that other people will care. If you take it upon yourself to produce your own media, to curate your own projects, and to communicate with the public about the work you are doing and want to do, then lots more things are likely to happen for you. Being proactive is key to attracting opportunities you want.
What does it mean to be proactive in photography? It can mean all kinds of different things depending on the kinds of photos you take. It could include contacting models, brands, clients, doing a podcast, having a YouTube channel, creating tutorials, networking with other photographers, etc. The only limitation to the ways you can be proactive is your imagination. You can study other photographers. What is working for them? Why? You can learn about art history. What is the meaning of the way we make photographs today? You can learn about the technology. What makes a mirrorless camera different? Education is always a way to expand the circle of your influence, as Covey suggests. You need skills, knowledge and desire in order to do good work and there are ways to develop each of those elements. That is part of what it means to be proactive as a photographer.
It also means having vision. You have to get really good at knowing what you like and why and how to get it. How do you make your photographs? What would you say your style is? That is always the question that keeps coming back up. Being able to answer it is an important first step to increasing what you are able to do.