So much of life depends upon location. Realtors know this better than most, but photographers also are expert in understanding place. Yesterday I photographed my friends Natalia, Antonio and Derek. Natalia and Derek are realtors. Hence, the title.A favorite collaborator over the years, Natalia Lockwood has become a powerhouse broker of homes and it is fun to watch her grow.This is Derek Scranton who was voted Capitola’s “Best Realtor” in the Santa Cruz Sentinel’s Readers’ Choice Awards. Super nice guy, easy going and fun. Contact him if you are in the market for a home.What a team! Their smiles say it all. We chose Loch Lomond for our shoot, and found some great pockets of light along the lake. FYI, you are allowed to visit the lake for fishing and hiking, but no hanging out, as we learned.The homie Antonio is a capoeira master and with supreme flexibility he busted out some moves real quick. Had to take the opportunity to get a few shots of one of my favorite couples.By the way, Antonio and I talked about podcasts the whole time. He’s the only person I know who loves podcasts as much as I do. Always fun to link up with kindred souls.
What are your favorite podcasts? Going to be brainstorming some ideas with Antonio. Could be something cool in the works! These are wild times and we need to be discussing the issues.
With all of the tragedy going on in the world, mental health is super important and hard to come by. Exercise is key for my mental well being. So is being in nature. With a camera on my back, I jumped on my bike to put in some miles on the trails to achieve both goals and to make some photographs in the pretty early-summer light.I’ve been thinking a lot about how photography is so much more than a way of documenting the world, and when I experiment with long exposure blurs it sometimes matches how I feel better than a tack sharp image. I like to experiment with drawing with the light. It decomposes the image and shows how cameras work while using all of the points of light to draw lines. I think that there is a value to both kinds of photographs: experimental and documentary. While I enjoy the feeling of experimenting with a camera to get surprising results there is also something really rewarding about a photograph that looks and feels like the world it was made in.
A huge part of being a photographer is studying light, just like a writer pays attention to language. It is the medium. The camera is a tool that uses light to render images about subjects. Therefore, we need to be very familiar with the ever-changing qualities of light.One of the ways I make a practice of studying light is by continually being out in the landscape. Hiking, mountain biking, always being out there with a camera is critical to knowing your light and locations. When you study light for a living you learn that the difference between various kinds of light can range from excruciating to ecstatic. Riding your bike mid day facing the sun without shades is a blinding and painful experience, especially during summer. As the day begins to transpire and the earth starts to cool there is a window of beautiful light that softens and illuminates subjects with a distinctly magical effect. It’s the same sun, but radically different light.For this shoot, I was visiting the location for the first time. This meant that I did not know when the light would disappear over the horizon. Located north of Santa Cruz in the mountains there are canyons and ravines that get dark a lot earlier than it does along the coastline. This means that the last direct light is going to be brighter, but it also has the potential of showing up in beams that work like spotlights.The chiaroscuro effect has always been a favorite due to the dramatic interplay of dark and light and can really help the subject to pop in the composition. By positioning Anna directly in a beam of light there is a wonderful contrast to the light softening as dusk arrives.After the direct light is gone at a mountain location like this, there is still a lot of wonderful soft light that you can use to create brighter more evenly lit compositions. With a little bit of backlit highlight in her hair, I like the warm rural feel of the above shot. Anna is originally from Russia, and there’s something really cool to me about the look of traditional Russian clothing in Northern California settings.Portraiture is a dynamic challenge of using light and location to create interesting and pleasing compositions featuring the subject. Knowing your light is as important as knowing the technical aspects of your craft so that you can give all of your attention to the subject during the shoot.Another great thing to do with portraiture is to incorporate the life of the subject. Anna wanted to get some photos with her cat and it really brought out some of her personality. You can see it in her smile. How about that expression on the cat?This photo really succeeds at Portraying Anna to me, because in the gesture of her arms holding her cat and in her expression slightly laughing at the experience you can see the way she sounds and who she is.
It’s fun to photograph Eden Edwards’ surfing. She’s a friendly person, smiling and making jokes, but make no mistake: she’s part shark. Once in the water, she lurks and waits till the ocean shows certain bumps on the horizon and then she starts moving around in the lineup and as the best wave of the set rolls closer she’s in position and she paddles with the confidence of a surfer who has caught thousands of waves.
As the Lane mostly serves up chunky rights and she is goofy footed, Edwards has mastered the art of the bottom turn to backside hack, a la Ruffo, and each year she is more aggressive in her approach and more stylish in her execution.
Stay tuned for more ripping surfing from one of Santa Cruz’s bright young talents.
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.