Have you seen the recent viral ad from Levi’s of a guy walking across America wearing Levi jeans?  Peter Cote, director Sam Griffith, and the Conscious Minds Productions crew approached Levi’s jeans for sponsorship  to make it all happen.  The trip began June 17 in New York and ended July 1 in San Francisco.

Anyway, this video here shows us how they pulled it off using just one camera, a tripod, 14 days, a few thousand photos, a few thousand miles, a protractor, a string, and a bit of math. Sign me up.

You can read more about how they shot the project at Planet 5D.

The response to the “Power of Free” has been so huge that the venue needed an upgrade.  So, just a friendly reminder we’ll be at Casselman’s, not Ink Monstr on the 21st.  Same pony, different rodeo.

Hope to see you there!

Tentative Lineup:

2:00 – 3:00  Djs Mike Deez/Stretch/Daniel/Eric/Keenan – DJs

3:00 – 3:30 200 Million Years – Band

3:30 – 4:00 Next band set up

4:00 – 4:30

4:30 – 5:00 Next band set up

5:00 – 5:30 Whygee – MC

5:45 – 6:00 Next band set up

6:00 – 6:45 Astro Moveo – Band

6:45 – 7:00 Next band set up

7:00 – 7:30 Muso – DJ

7:30 – 7:45 Next band set up

7:45 – 8:30 The Pirate Signal

8:30 – 9:00 Next band set up

9:00 – 9:45 The Get down Science

9:45 – 10:15 Next band set up

10:15 – 11:00 Bukue

11:00 – 11:15 Next Band set up

11:15 – 12:00 Bus Driver

12:00 – 12:30 Next Band set up

12:30 – 1:15 The Dendrites

1:15 – 2:15 Pillow Fight

2:15 – 3:00 &One

3;00 – 4:00 Chris Specht

Artists  -  Special thanks to Melissa Belongea.  Your KILLING IT!!

Sara Ford
Tom Bond
Axel Geittmann
Patrick Hansen
Scot Lefavor
Emily Ayers
Joe Triscari
Amanda Baker
Jon Paciaroni
Mike Graves
Ryan Parker
Matt Scobey
Mike Ortiz
Bridget Mahoney
Chad Everhart
David Jones
Atsu Saisho
Andrew Hoffman
Whittney Wells
Angel Lujan
Seth Lockard
Mike Hubert
Jared King
Jon-Paul Belongea
Sandra Fettingis
Pat Milbery
Andrew Heard
Jonathan Lamb
Jon Strieby
AJ McCormick
Henry Daniel Bell
Sarah Adams
Jimmy
Kelly Monico
Pedro Barrios
Libby Wann
Patrick Duffy

….AND MORE!!

Burlesque

OOH LA LA!  Will be providing the sexiest burlesque dancers around.

Live Models Body Painting

Thats right, the whole body!!

Live Paint by Local Artists

Drinks  -  Special thanks to Red Bull and PBR

Free PBR

Free Red Bull Finlandia Vodka

Free Red Bull Cola Whisky(Jack Daniels) and Rum
Yes, you heard that last part right…. FREE booz, but no drinkin’ and driving.

Learned some painful news that we recently lost an amazing artist and true gentlemen within the flickr community.  Horst Bernhart, known as hb19 shared with us a trademark style and a creative process he made with a simple point and shoot camera.  His humorous and charismatic approach seemed to envelope his personalty into the images he made.  Whether giving us updates of the “Adventures of Woody and Chip” or a morning coffee run to Mcdonald’s, his expressive vision was one of a kind.

If his work hasn’t crossed your radar… I encourage you to browse his collections and see the possibilities of a little ingenuity with common everyday surroundings.

As for me- Horst was a daily source of inspiration within these creative confines of flickr.  My deepest condolences go out to the family.  He will be dearly missed as an artist and friend.

Unpredictability has it’s place in photography.  And long exposures take the cake in knowing exactly what your not going to get in an ambient setting,  So how long is this one?  Six months. That’s right. This surreal exposure made by Justin Quinnell shows each phase of the sun over the Bristol’s Clifton Suspension Bridge in the UK.  The image was captured with a pin-hole camera made from a pop can with a 0.25mm aperture and a single sheet of photographic paper.  MacGyver would be proud.

Quinnell strapped the inconspicuous aluminum can to a telephone pole overlooking the Gorge, where it was left between December 19, 2007 and June 21, 2008- the Winter and Summer solstices.  This technique; known as ’solargraphy’ shows six months of the sun’s luminescent trails and its subtle change caused by the earth’s movement in orbit. The lowest arc being the first day of exposure on the Winter solstice, while the top curves were captured mid-Summer.   The dotted lines of light are the result of overcast days when the sun struggled to penetrate the cloud coverage.

Quinnell is a renowned fine art pin-hole photographer, he stated the photograph took on a personal resonance after his father passed away on April 13th- midway through the exposure.  The picture allowed him to pinpoint the exact location of the sun in the sky at the moment of his father passing.   Not an easy thought to hang on… but the insight isn’t always as pretty as the picture.  Overall, you gotta love the artistic value to this timeline technique here (not to mention the Coke can capture method).  Good on ya Justin!

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Over the past few years I’ve been fortunate enough to work with some immensely talented athletes, art directors, and magazine editors from the ski and snowboard industry.  Another season has come to a close and I’ve been meaning to showcase the spoils of our travels into something fun, creative, and hopefully progressive…. I felt this vid pretty much summed it up in couple minutes.  It’s comprised of 1500 images stitched together and set to a stellar track by the Saturday Knights (buy it now!).

Many thanks to all the personalities and peeps flying around within.  For more content check out the Action Heroes folio.

Why I’m bringing this up is to remind you: do what you love. Not what somebody else wants you to love. Make art and feel good about it. The money will come. You think Bansky’s mom was proud that he spent so much time (“amounting to nothing”) in a dingy studio making graffiti stencils and staying out all night to deface public property? Not at first, I’m sure, but I’m guessing she’s proud now that he’s got himself a roaring fine art career. I’m taking liberties here, as I have no idea what his mom thought of him; I’m making gross stereotypes. Social measurements of success are tough to discuss in short here, but, regardless, it’s nice to see a graffiti artist doing well at Sotheby’s, doing well doing what he loves. I wonder if his art teachers in school thought his talent was going to waste? Either way, well done Banksy. Thanks for the inspiration and for keeping us focused on doing what we like and doing it well.

Aside from giving prepared responses to uneducated clients, this comprehensive list pretty much nails it all.  The goal here- not to forget the value of  a quality photographer’s vision and creativity, as well as keeping those clients informed and tightly nestled in a happy little basket.

And one final excerpt to walk away with from art buyer Suzanne Sease -

“When I first started off as an art buyer, I remember two comments. The first was from an account executive who couldn’t believe photographer’s fees. I compared the fees to his salary but with his salary, he got health insurance, a fully stocked office with the rent, phone, furnishings and all the office supplies he could wish for, the photographer had to pay for all that themselves- he got it. The second time was probably my favorite!!! The budget control manager couldn’t believe an estimate I presented. Her response was “This much for pictures” Which I quickly responded “Pictures are developed at Costco, Photographs are something you pay for” She had nothing more to say.”

Ad Agency Guide To Photography Usage

BASIC INFORMATION
With the current US copyright laws as they are applied now, artists own all rights to their created images and sell/transfer rights to agencies and their clients. All questionable negotiations have historically defaulted in favor of the artist. Technically, even minor modification of the art requires the artists’ permission. You are RENTING, not buying an image unless explicitly stated on the contract.

Generally, think of usage costs reflecting the amount of exposure a particular image may receive. The more exposure, the higher the price. Exact terminology may differ, but the semantics remain the same if all of the information is included in each negotiation. You can phrase it any way you want, but be clear about the INTENT by including information from all categories outline below. Talent usage is similar, but there are differences in how each medium is priced out: talent usage tends to be much more specific. Again, it is based on exposure. European terminology will differ from US terminology, particularly in the “Print” category. In Europe, “Print” includes anything that is not broadcast.

Usage is defined by the following:

TIME PERIOD or LENGTH OF TIME
This is the length of time an image or images will be used: one year, two year, one time, etc.. It is best to specify “from date of first use” when negotiating a contract for an image. Standard use generally defaults to one year use {from shoot date} in a specific medium unless terms are otherwise negotiated.

RIGHTS/QUANTITY
This is the number of times within the time period that the image will be used.
Limited: A limited number of times such as “2 insertions” or “run of 5,000” within the time period purchased. By the time you reach multiple insertions in publications such as People or USA Today, you may as well buy unlimited rights.
Unlimited: Can be used an unlimited (unspecified) number of times within the time period purchased. This does not allow a transfer of copyright to you or to your client, nor does it mean the same as “unlimited time.” You both have only the rights to use the image, not to resell it or allow a third party to use it.
Total Buyout: You have purchased the copyright to the image and have full rights to do whatever you want with the image. You own it, basically. In the case of illustration, you own the rights, but you do not necessarily own the final art. That usually requires a very specific, carefully worded purchase agreement. Expect to pay dearly for this usage!

EXCLUSIVITY
I recommend purchasing exclusivity of all images to prevent the resale of any images during the time period you’ve purchased. Unless otherwise stated, an artist has the right to sell an image to another client at any time—even if it is one currently licensed to your client. Usage defaults to non-exclusive of the selected images only if not otherwise stated.
Exclusive: The image (and the outtakes, if specified) cannot be sold to anyone else during the time period purchased.
Exclusive to Industry: The image cannot be sold to anyone else within the same industry (Liquor, Banking, etc.)
Non-Exclusive: The image (and the outtakes) can be sold to other clients at any time

GEOGRAPHIC REGION
This is the area in which the images will be seen.
National: US only. Includes provinces of the US such as Puerto Rico and the Caribbean.
North America: Includes the US and its provinces, Canada and Mexico.
Global or International: Throughout the world (internet is automatically global).
Local: Specific city or area (San Francisco Area, etc.)
Regional: Specific region (Midwest, Southeast, etc.)
Europe: Europe is often negotiated as a neat little package that includes Great Britain, Spain, France, the Netherlands, Scandinavia, Germany, Italy.
By Country: Specific countries can be purchased, but if the exposure is large, such as Europe, it may be wiser to go with Global to make sure you are covered.

MARKET
This category also gives the artist an idea of the degree of exposure. Consumer advertising generally receives more exposure and at a premium cost. Trade is not as expensive, nor as far-reaching in exposure. Editorial is relatively cheap.
Consumer: Markets to “people who buy things”; it is purely commercial (sells things) in nature and the artist want a piece of the action because of the high degree of exposure.
Trade: Markets to “people who sell things to others”; it is lower down on the food chain, and therefore not as expensive.
Editorial: Informational in nature, not commercial. Magazine layouts and textbooks fall into this category.

USAGE REALM
This category further defines how the images will be used. These categories are then segmented even further by defining specific mediums for each.
Advertising: A medium that sells something, like an ad or an outdoor board.
Promotional: A medium that promotes something, like a poster for an event like a concert.
Public Relations: Similar to Promotional, but more awareness-driven and less commercial.
Corporate: Annual reports or internal materials like sales kits.
Editorial: Again, informational in nature, not commercial. May accompany an article or be included in a textbook.

MEDIA
Media usage describes where an image will be seen and can be defined as precisely as you choose. As with photography, when negotiating with talent the specific media included will directly affect your price. Broadcast use is seldom needed, but can be purchased if necessary. Remember that sometimes being TOO specific may come back to bite you later.
Any And All Media: Covers EVERYTHING: all print, OOH, POS, Electronic and Broadcast. “Any” and “All” are somewhat redundant, but it drives home the idea that everything is covered.
All Print: Generally, anything printed onto paper that you can hold in your hand: newspaper, magazine, collateral, direct mail. You may expand your negotiations to include POS or OOH by adding it specifically, otherwise they are generally not included under this category. Exceptions may include GO cards or similar limited exposure items.
Newspaper: Use this category in conjunction with Geographic Region. Size also plays a role.
Magazine: Use this category in conjunction with Market and with specific publications.
Collateral: Includes anything in print that “goes along with” the campaign but is of secondary importance. Things like brochures, some mailers and bill stuffers fit under this category.
Direct Mail: Pieces that are mailed to people. Quantity of pieces and Geographic Region affects pricing. Where the image is seen also makes a difference, whether it’s on the cover, envelope, etc.
Point-of-Sale (POS) or POP (Point-of-Purchase): Things that will be seen where the product is sold. Banners, signage, counter cards, displays, in-store posters, table tents, hang tags.
Out-of-Home (OOH) or Outdoor: Virtually anything seen outside of your home: outdoor boards, bus sides, trans stops, rail cards, GO cards.
Trade Show: Trade show booths or materials used in a trade show. Show attendance and how the image will be used must be discussed.
Electronic: Media that is not printed: Internet, C Ds for distribution, Asset Management System, screensaver. Unless rights are specifically purchased, images cannot be resold.
Internet: Global internet use. Where it will be seen (home page or inside page)may affect pricing. Sometimes numbers of hits makes a difference also.
Miscellaneous: Things like Ad Planners must be negotiated apart from the other media because of the potential for wide-spread, undetermined use.

BODY OF WORKS
This means all of the images shot for the project, not just the selected image or images. Some photographers will automatically sell you the rights to the entire body of works, but most will sell you the rights to only the selects. You will need to clarify at the beginning of the negotiation because usage will default to the selected images only if not specified. You will also want to include a clause that outtakes may not be sold as stock until the rights on the selects expire.

REUSE
It is in your best interest to include verbiage in your initial use statement that covers future reuse. Legally, unless otherwise indicated, an artist can sell an image to another client at any time, with an increased risk after the original use expires. Because the exact date of first use may not be known at the time rights are purchased, it follows that the date of expiration may not be exact. With the proper verbiage, you can create a checks-and-balance system to at least have an opportunity to decide if you want to purchase reuse before your client sees it in another ad. I recommend stating that your “client reserves first option of reuse upon expiration of current rights.” If you and your client do not renew your option, then there is a possibility that the image will be purchased by someone else.

MISCELLANEOUS
You will want to include the right to use images for your agency to use in self-promotion. Those rights are technically not granted past the original usage period without express authorization. Although usually not a problem, it doesn’t hurt to have it stated officially. To get the maximum amount of usage time of an image, include the phrase “from date of first use” or “effective date of first use.” That way, if an image is not used for several months, your usage won’t begin until then. Otherwise, it may be a point of contention a year from the shoot date. This is especially important with talent. If the photographer is coordinating the talent, do not automatically assume that the usage for the talent matches the usage you are contracting with the photographer. You must clarify talent usage at the estimate stage.

EXAMPLES OF USAGE VERBIAGE
Here are some samples of how to phrase your usage statement:
One year unlimited exclusive international advertising and promotional rights and usage in any and all media for entire body of works, effective date of first use. Artist retains self-promotion rights forever, as does the agency. Client reserves first option of reuse upon expiration of current rights.

Two years unlimited exclusive regional (Minnesota, Wisconsin and Illinois) advertising and promotional rights and usage in any and all media for entire body of works, effective date of first use. Artist retains self-promotion rights forever, as does the agency. Client reserves first option of reuse upon expiration of current rights. Image will be
digitally enhanced in post-production.

Unlimited exclusive global advertising and promotional rights and usage in any and all print for an unlimited time. Includes entire body of works. All images, including outtakes, may not be sold as stock until all usage expires. Client reserves first option of reuse upon expiration of current rights. Artist retains self-promotion rights forever, as
does the agency. Total buyout of rights, usage and copyright. Artist retains self-promotion rights. {The word ‘buyout’ by itself is meaningless and will not hold up in court}

This information was provided by Former Art Buyers and current photography consultants Amanda Sosa Stone and Suzanne Sease. Usage terms guide created by Kat Dalager.

A: Yep. Rent it. Seriously. This goes for almost all high end pro gear. And here’s the thought of the day:

Most rental houses are closed on Sunday. Also true is that you can normally pick up stuff at your local shop at 3pm(-ish) the day before you’re actually “renting” it. That said, consider reserving your rental for Saturday; pick it up Friday at 3pm. Nerd out with it, practice, learn, do a shoot or whatever Friday night. All day Saturday it’s yours. Sunday too. Return the gear Monday by 10am (or whatever the store’s policy says) and you’ve just had your way with this stuff for almost three days for the price of one.

And don’t tell them I sent you.

The current status of the economy has effected all sides of life.  For the first time ever, it’s more cost effective to rent than to own a home.  Now even our financial institutions are asking for money.  The bricks are standing, but the mortar needs some serious repair…. we know it’s getting ugly.

In the creative world it’s no different.  Bad economic times are crucial deciding moments for us all.  I feel it’s the make or break moments that can define us as artists.  And historically speaking, the worst economic times, produced some of the most well known artists over the past few centuries.  Why should that be any different today?  Right now is the best time ever for artists.  A web 2.0 world has given the us the ability to upload and share with the world with a couple clicks.  No more walking around New York with a your portfolio and an appointment list.  Photographic imagery is being used more than ever before.  It’s a incredibly exciting time to be alive as an artist….. just trust me on this.

So boiling it down-  agencies are downsizing, marketing budgets are slim, and the CEO doesn’t want his picture taken this year.  This isn’t a dilemma; it’s opportunity knocking.  Diversify your files and get involved in the stock game.  Yes it’s competitive, but it’s also a chance for you to get assignments with full creative freedom of how, and what you shoot.  Not only that, but your building a portfolio on your terms- not with a client or art director peeking over your shoulder telling you how to take and make a shot.  Just like Burger King- you can make it your way…. and hopefully that’s why that client hired you in the first place.  For your vision….. not someone else’s.

Currently I’m represented by Getty Images and am now with Aurora Photos as well.  It takes some time, effort, and a little homework to get in with the right stock agency.  But once you find your fit, you’ll find your inspiration and creativity will pulse a little harder everyday.  And that’s what will keep you where you want to be as an artist as well as tidying up your portfolio.  It’s also another way to meet a potential commercial clients; not to mention making some cash shooting whatever suits your fancy.

So get involved, get off the couch, and go shoot your own vision.  Your future clients will thank you.

And be sure to check out my images in Aurora’s featured  “Surf. Skate. Snow. Ride.” slideshow.  All of which were shot without a paying client and are currently available for commercial usage.

We recently participated in a collective holiday project to give back to our local community. Jeremy Cowart’s idea went global upon the launch of the Help-Portrait website. More than 8300 photographers and volunteers participated in 715 locations in 42 countries.

Michele and I rolled the dice and decided on Dayspring Villa- a low income assisted living home. And being so charmed by the residents, we’re making a return visit today to pass out some pictures and a few more hugs.

Please consider getting involved next year. We’re planning on it. If you any ideas for us, let us know so we can begin organizing and keeping the Help-Portrait effort in full stride. It’s a good thing.