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Thank you for your feedback. Report a problem with this page. This field is for robots only. Please leave blank. What were you doing? I printed the promo with Moo. The layout of the cards was done by myself. Tell me about the images? Most of my work is in a niche world of winter action sports. For this promo piece I wanted to choose a group of images that represented this work specifically.

Throughout the series of cards I wanted a similar feel, to showcase my style, but also wanted each card to stand alone in case an individual card got passed along. I tried to make a selection of images to showcase different styles of imagery to appeal to people either on the brand side who are interested in more product specific images, or on the editor side who might be more interested in the action.

Some of this imagery was from commercial shoots, and others were shot on spec for editorial all within the previous two winters. This specific promo piece was very targeted towards the winter action sports industry, so all in all I probably sent out about 50 pieces just prior to the winter. I have a more extensive list, but this includes people who are outside this specific space and I thought a card like this would miss the mark.

Overall I think the promo piece is an important part of my marketing. I believe delivering something tangible is a good way to differentiate my work when many people are purely focused on digital marketing. I always send cards to people I have worked with in the past as I find it is a good way to stay relevant and remind them of your work, without expecting any obligation of a response such as you might get with an email.

With this specific promo piece I had a handful of people I knew reach out directly saying thanks for sending the card. For the effort put in I would call this a success as you know they thought about you, which means your top of mind next time something comes up. It began on a whim, two years ago, as the global pandemic lockdowns were setting in, and I had a powerful intuition the world was about to go to shit.

With all the news media attention about hoarding, empty toilet paper shelves, and the newfound suggestion that humans should keep 6 feet apart, I had a compulsion to chime in. My first advice article got quoted in the Santa Fe New Mexican, a proper newspaper, so I guess my instincts were solid. Before the first reports came out of China. Do you remember how the Chinese doctor who blew the whistle ended up dying of the virus? Poor guy. What a shit way to go.

We had another horse die while I was away, of colic, so I came home to a stressed out 9-year-old daughter, who needed a lot of consoling. Then I wrote that monster of a column, which was both a weight off my shoulders, and a massive mental burden to accomplish. By Friday afternoon, a narcissistic, mean-spirited neighbor accosted me over dog drama, and eventually screamed at Amelie, just as she got off the school bus, for an incident that happened while she was still riding down the hill from school.

It was batshit crazy, but I kept my cool, never raised my voice, and stuck with logic, which kept the conflagration from turning even nastier. Or physical. Finally, by afternoon, I had just enough physical juice to walk the yards down to the stream. My plan was to listen to the water, rub a bit on the back of my neck, bask in the quiet for a minute or two, then go back to my couch to feel sorry for myself.

When I was nearly to the stream-front, I heard voices, which is not rare, as sound travels really far in our box canyon. But as I got closer, I saw there were two people between me and the water, and they should definitely not be there. They were uncle and nephew to each other, though one is only 17, and a Dad already, and he once pelted his year-old nephew with a rock, for no particular reason, opening a huge gash over his eye.

I credit my return to martial arts training, as oddly, learning to fight makes you much less likely to ever be in one. The mental discipline and emotional control one learns is powerful. A random drunk guy had shown up on their road, in a big pickup truck, and done donuts in their yard, before throwing beer bottles at their trailer, one of which broke a window. The boys had been home alone, were scared, angry and freaked out, and ended up at my place, beating on some rotten old wood.

I was clear not to include me in family disputes, or dial my digits at 3am. Both conditions were quickly accepted. The last two years have been so stressful, and awful, with Bad Guys like Putin and Trump getting away with all their awful deeds. And seriously consider studying a martial art. And rather than assuming people are out to get you, maybe set your default to giving others the benefit of the doubt.

Fueled by collaboration, Dan Goldberg takes it up a notch, gaining steam by working with talented artists to share ideas, pushing each other forward. Together they worked with prop stylist Andrea Kuhn to create an image series of deconstructed salads from the seventies. It was a trip down memory lane for everyone on the team. This trio found such success in the process that it lit the fire of ideas for future projects.

Please gather around and take in all that is Seventies Salad. Capturing food brings back emotions and memories. We shot these salads, with everybody putting in their two cents about which salad had the most memories from childhood. This project reminded me of cooking with my grandma in her kitchen. For this reason, I put the cigarette and the lemon squeezer in one shot. While each of these triggered childhood memories on set, everyone responded with their own once we posted them.

Heidi: Why was it important to you both to make this film? Andrew and MIchael: We set out to tell the story of Newtok, AK, in because we were tired of the overly simplistic media narrative that climate change was something happening in the future, predictive in nature, affecting generations down the road.

We felt the story was happening now across the globe and in the United States. It was important to us that we found a story in our country after reporting abroad. When you start to look at stories in America impacting citizens here you quickly find Newtok. In news, the media often distills stories into simple digestible narratives and the more we learned about Newtok, especially after our first reporting trip, we quickly learned that the story is very complex, nuanced, with a beginning that dates back further than we could have imagined.

The crisis is here in the U. This project was seven years in the making, how much photography and motion did you collect and what are your hopes for it beyond this feature film? The project has grown into a much larger body of work. Newtok began in , under forced federal mandate, and according to the land exchange deal everything must be deconstructed in Newtok and handed back to its natural habitat.

Because of this we do feel a certain obligation to document this entire process, especially since this is one of the first communities impacted by the climate crisis. The film is part of that ongoing body of work and our ultimate goal is to have an expansive multimedia document of a place that will not exist down the road.

We want to create an archive which includes a documentary film coming out April 22 , a photo book, an online website, and a traveling exhibit. The past four years have been dynamic to say the least politics, the pandemic how did that impact your project? We spent much of that time editing the film and getting it out into the world. Beyond covid, this project has now been through the Obama, Trump, and Biden administration.

So now you have a situation of a divided community which is tough for everyone. The goal is to remain together as a community in a safe environment and that has not happened. The river is still eating away at the shoreline, funding is not secured, and the community continues to fight for relocation while struggling in living their lives because of degrading conditions and families torn apart. Covid had the biggest effect on our ability to work on the story, but beyond that, the situation in Newtok is still dire and very real.

How did this self-sustaining community influence you as a parent, citizen, and creative? As journalists we try to keep our personal baggage away from conversation, but in the context of process and longform storytelling, there is value in discussing this more as a way to encourage other filmmakers and journalists, and to just personally reflect, which is always good.

To begin, throughout the making of the project we have had monumental personal change and professional growth. Personal life, all the ups and downs while working on a project like this continue, and the inherent difficulty to navigate individual stress is amplified in long form independent storytelling. This means you really have to believe in the storytelling process where you find yourself somewhat blind to what awaits in terms of success, both editorially and financially.

What the community has really taught us is the value of being more present minded in general and how to find hope and joy in the face of struggle and overwhelming odds. In a lot of ways this informs everything in terms of the filmmaking process. This has made us better communicators with each other, and strengthened us as a team.

The community has also taught us what real sustainability and self reliance look like — of knowing the landscape and ecosystem and weather patterns and nuances of your land. What incredible beauty and lessons we have to continually learn from this symbiosis. It has entirely and holistically changed the way we will approach future projects, and we are indebted to the community of Newtok for teaching us better awareness, which we grow from for the rest of our lives.

The community of Newtok trusted you both to tell this story and invite you into their homes and lives, what were some of the pivotal moments of trust building? Bringing her into the field was a seachange and a huge moment in transforming the story and gaining trust from the community. She has direct familial roots to the Newtok community, specifically her family lived in the village of Keyaluvik where the people of Newtok were prior to forced relocation, but she had never had the opportunity to visit when the community was divided.

This was very serendipitous for the project, because working on the film offered her an opportunity to visit with extended family and see her ancestral lands. So, our team not only had a known Yupik educator and leader come onboard, but someone who had personal connection to the land and people of Newtok.

She is someone who has devoted her life to better understanding her own heritage and has been instrumental in preserving the Yupik language and culture for future generations and she has given us leadership and guidance through the making of this film. We adore Marie. The second, pivotal element that comes to mind, is much broader and came through by time on the ground just continuing to show up to the village, and reiterating our intention to try and get the story right.

The community has seen a lot of parachute journalists, filmmakers, photographers, and tons of nonprofit and government agencies on top of that. What began as distrust has evolved in time to an alignment of intent, which is to bring attention to the traumatic disaster unfolding. Time has given us the opportunity to learn from the people of Newtok which is instrumental to the storytelling.

This is a very complicated question to try and begin to answer. The journalism transformation is happening so fast that we can only speculate. Photojournalism comes from a lineage that has journalistic guidelines and principles, as an example, actually being transparent in the journalism methodology itself. These ethics were traditionally shaped and defined by legacy journalism institutions and publishers, which have been folding throughout the country and world.

What has risen in the wake are numerous platforms, and even forms of storytelling, that have no clarity on the code of ethics in reporting, fact finding journalism, and publishing. Photojournalism remains essential because the intent is clear and the methodology is clear.

The struggle now is there are fewer platforms for publishing the work which makes it extremely difficult to have a career which is a great loss to journalism in general. The community is in a constant state of migration: homes they grew up in, their land, culture and tradition. How did this project make you rethink what it means to be home?

This project made us reconsider the definition of home in a visceral, tangible way, that it is more than just a physical structure as we have perhaps defined it prior to the project. It is a much broader swath of the Yukon Kuskokwim delta, where, for millennia, they have moved between seasonal hunting grounds, a migratory understanding of the word. There is an argument made by some fiscal conservatives that it is too expensive to relocate communities like Newtok and that it would be cheaper and easier to simply offer a buyout to residents, forcing migration into a major town.

This argument hinges on a limited western definition that a home is definable by a four-walled structure, or version close to that. Such suggestions lack ethical consideration especially considering the community of Newtok only became attached to western infrastructure under forced mandate by the same government that would be suggesting a buyout. How did the community receive the film and how can folks give back or get involved?

We began showing the film to the community in stages. After we received notes from the advisory board and incorporated their thoughts into the film, we showed the film to the people depicted in the film and had conversations with them.

Throughout this process our aim was to make sure we were getting the story right, being culturally accurate and culturally sensitive and to learn about our inevitable blind spots. Then we showed the entire community of people the finished film. How difficult was it to use your equipment in the elements? Operating in Newtok was never easy — we were exposing our gear to degree winter snow storms, giant Bering-sea storms, salt water spray, mud, muck and moisture.

To the camera manufacturers unending credit, we never had any issues with our cameras — they worked amazingly well throughout the entire production. What were the advantages of being a crew of two? Photojournalism puts a lot of focus on the individual — one byline, one person, one credit, and filmmaking is so collaborative by nature.

There is strength in numbers and we really wanted to collaborate on a project and move towards a team approach. The process of that had a lot of growing pains and forced us to really listen and rely on each other in a way that is really incredible when you start finding the cadence of that other person. At the end of the day we usually always land in the same place, in agreement, and along the way we have grown as collaborators and friends. Tour dates here and see how you can support climate justice.

The group begins to converse, and at some point, one of the other people mentions the elevator is red. And so a blue elevator becomes red in your mind, because you have no counter-factual information available, beyond your own recollections, and an entire group of people is challenging your conception of reality. If I could go back in time to September , tell myself to let it all drop, and plug my ears with tissue paper, like Larry David, I would. If any of you has a functioning time machine, please email or DM me.

It must have been the Spring of , about a year ago, that I first started noticing some NFT info popping up on my Twitter feed. I kept seeing the name Justin Aversano , who was making a project about twins, but that was as much as I absorbed. Then I heard my colleague Kris Graves was getting in on the game, with Justin, and that made an impression.

Those earliest NFTs might as well be Sumerian statues, with the massive mono-brow, given how fast things seem to move within this subculture. Stranger still, in that same time-frame, a guy I went to High School with, and was friends with on Facebook, with whom I had not spoken in almost 30 years, reached out to see if I was interested in joining the NFT world. It was the full-court-press, with texts coming in first thing in the morning, late at night, all weekend long, and it was intense, to say the least.

That simply posting my archive images on an NFT platform would not solve all my problems, and make me rich and famous beyond my wildest dreams. But I kept discussing it with my wife, and we both agreed even a small chance of life-changing money meant I should keep an open mind, and see where it went. My new NFT cheerleader certainly knew some of the key players, and told me about the large sums of money he was spending, so on the surface it seemed legit, but then again, there were so many articles out there calling this crypto world a scam, a pyramid scheme, a multi-level-marketing program gone global.

Eventually, this High School colleague and I considered going into business together, to create a platform to sell NFTs, because it seemed like the sales-platforms were where the real money was. From what I could gather, these money-making-orgs were founded based on a collab between some photo-world players, and crypto-money-people. Then I learned how the platforms were interconnected with DAOs, which were more or less, unlicensed companies that in some ways, via fractionalized ownership of risky assets, behaved like the collateralized debt obligations and subprime lenders that crashed the global economy during the Great Recession.

But again, it felt like the more I knew, the less I understood. Over the course of my reporting, I spoke with a group of NFT artists who truly love their new community, and the opportunities it affords. It was also far cry from the capitalistic land grab I kept hearing about, where people were getting rich, and only a sucker would stay on the sidelines.

So we spoke again, after his work had indeed quickly sold out, and he was still giving off a whiff of disbelief. As he cashed his Ethereum out immediately, and made a killing, before the crypto-currency market had a crash. If it were really that great, why were so many people trying that hard to constantly recruit a new batch of players?

Well, it costs Ethereum to do so, so you have to convert your dollars or Euros, Pesos, or Yen, into Eth via a digital platform like Crypto. The big takeaway from speaking with all three artists was that the NFT world, which had developed around Discord and Twitter, had introduced them to an entirely new group of friends, colleagues, and opportunities. Danielle now writes and does Twitter Space interviews for a platform, Mickey has been featured on a billboard, and Chavi just co-founded an NFT platform called Nemo , which aims to raise money by selling NFTs of environmental projects, to help support the collapsing coral reefs.

They were all genuine, honest, cool, hard-working artists, yet for them, greed, and get-rich-quick schemes, had nothing to do with their interest in that world at all. That reeked of nepotism to me, and inside baseball, and I said so at the time, so again, this is not necessarily a negative thing.

But I kept thinking, only the tiniest fraction of artists ever has a resale market, so how does that help, unless the entire endeavor is meant as a bit of a trading scheme? Just this morning, Rob, who actually bought a few NFTs to see how the system works, and support artists, was Tweeting about the seemingly shady situation surrounding a set of August Sander NFTs, which went to market via Fellowship Trust , despite not being sanctioned by the copyright holder.

People bought and sold things they did not have a right to own, and then the files were removed from OpenSea. So all the NFT skeptics, and there are many, are having a field day, as it seems to prove their fears of massive scammery going on. Even Kris Graves, one of the official godfathers of the NFT world, expressed concern about them to me, saying in February, on the record,. There has to be more rules in place for me to even think about being a part of any those things.

He has always created photographs in serial form, and the images make sense to collectors, so they buy them. Eco-wise, there are so many larger issues to worry about, and carbon offsets are available. Much obliged!

Fence lines divide the acres of open land, but time disappears watching the wranglers at work. Being one with your horse, tending the cattle, the dogs and the land is a hard way of life but satisfying. Texas cowboys are the ultimate in classic Western heroes. What with the meditation advice and such. I know it can seem preachy, sometimes. So I try to be careful. Humans are social creatures, and need contact. Nor a long one. Having fun, hanging out with friends, keeps us emotionally and physically happy.

Or for most of you, maybe it already has. I make no pretense. I feel comfortable in the town. Honestly, it has to be the Spanish and French roots. It shows wherever you look. And yes, I gave him money. So much fun, those few days. Please, loosen up when you can, and have a jolly good time. Live a little. Which is now two and a quarter years old. We all need to break it, sometimes. Having fun is a great way to do it.

And I speak from experience. This year, though? As to the real purpose of my trip to New Orleans? This time out, as before, the artists are in no particular order. And thanks to all of them for allowing us to share their wonderful work with you! To begin with, Laurie Peek had a sad story. Call it your trigger warning. She lost her son, Jackson, during the pandemic, when he tragically drowned.

Like many others, he had no funeral. Like I said, super-sad. But processing that grief through art is a powerful way to go. Just ask Marvin Heiferman. But when we met at the the review table, he showed me something different. Vikesh told me she delivered babies in a town of She also includes landscapes that are imaginary views out the widow of the mini-homes.

Seriously, someone needs to give these two a show together! Or, at least, I offered one. They were nice, but not super-distinctive. I suggested Peter focus on subject matter to which he felt a more intense, personal connection. And it was a pass for this article. He did, and here we are. Thanks, Peter! Friday night of the festival. I offered to publish them on the spot, and again, here we are. To see more of this project, click here To purchase this beautiful book, click here Instagram APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world.

Instagram Success is more than a matter of your talent. Fascinating stuff. Buck the trend, as it were. So I stopped by the stream, to capture a moment of Zen. Hope you like it. I had to discuss photography eventually, right?

Making art is still the most powerful self-care arrow in our quiver. Today, though, I chose not to do another rant about how great photo festivals are. As usual, the artists are in no particular order, and we hope you enjoy the portfolios. Talk about creative expression. I also suggested she take good care with certain techniques, like light quality and cropping. However, some tropes are alluring for a reason.

John showed me multiple-image-composite photos of Mardi Gras revelers. Diane is based in LA, and showed me some really amazing work. Congrats, Diane! Like fabric art had a baby with photography, and I loved it back in December. See you then!

By Craig Oppenheimer, Wonderful Machine Concept : Images of employees at work in industrial settings Licensing : Collateral and Publicity use of all images captured in perpetuity Photographer : Industrial and Lifestyle Specialist Client : Energy company Here is the estimate: Fees: The client had three facilities across the country, and while the scope included one shoot day at each facility, the overall production including travel time would equate to a day project.

Travel: I included appropriate rates based on local research for the day production details in the job description Misc. Results: The photographer was awarded the project. Tracey Mammolito Who printed it? I need time after a trip, before I write. To let things settle. We stayed in a little, now-defunct, beach motel in Leucadia, on the North side Encinitas.

Was Sea World over there, maybe? I know that sounds like a lot, but I swear, it was super-reasonably priced. Plus, the ocean is cold then, as it is most of the year. Just a heads up. Though it was a small sample size, so maybe it was just one solid hotel.

Not sure which marketing firm rigged-up the concept, but consider me their target demo. View from the hotel room, Tucson, the morning after a massive desert storm But you get a very-large-suite, with a sitting room, a kitchen, and a big, two-bed sleeping space. Only two ingredients. This is the way to go. Or even Arizona, really. These Saguaro cactus trees, though, they have gravitas.

Make this a memory! South Mission Beach, as a little neighborhood, is actually surrounded by water on three sides. South Mission Beach, a mostly-car-free slice of California Beach Paradise And the residential streets, going East-West, are pedestrian only, with little sidewalks, and nothing else. It runs along the beachfront for miles. Lucky us. No, seriously. For real.

Like, Climate-Change-level record rains. That would have sucked. But we were lucky. And boy, did we. Our first night there, we went for takeout at the closest possible place. We tried pizza the first night, and got a good Margherita pizza with meatballs. I thought it was solid, if unspectacular. Waiting for fish tacos at Mr. Can you imagine? Como estas? Ruriberto, I would. I would like to be your friend.

Inside the pizza place It was also more-reasonably-priced than Capri up the street. The moonlight on the black Pacific Ocean made it shimmer and shake, like rustling charcoal. Walking along the waterfront makes you feel good. Most of us, anyway. Crane in the foreground We stopped and watched for a while in the quiet, and it felt like the California Dream was still alive.

Theo and I made a friend, Orrin, while shooting hoops at the public court at the beach. I made a quick video of Theo taking in to the rack, just for fun. As to the roller coaster itself? The cars shook you around, with quick changes in speed, so you really felt it in your gut. Surprisingly great roller coaster, for such a small one. But not today. After we did a quick studio visit. Weird, right? From there, we drove through the rock mountains, windmills, and sand dunes.

No pun intended. Wrecked his knee something fierce. Jessie and I checked out his studio as well. This photo of a geyser at night stopped me in my tracks. It is just so exquisite. We drove through more majesty the following day, hundreds of miles of it, on our way home. Road-fried, with bellies full of gas-station-burritos. And all was right with the world. See you next week. What story do you hope these photographs tell? Would you say this has been a personal project for you and in what way?

Ben Girardi Who printed it? Courtesy of keepcalmandposters. Me, brain-fried on a sunny Thursday. Got that one right, unfortunately. RIP Li Wenliang. Image courtesy of the BBC. Since I got back from California. But then things got even stranger. Courtesy of AllPoetry. What the fuck? Immediately, though, I recognized two neighborhood kids with whom we sometimes play basketball. One used to bully my son in elementary school, but somehow we moved past it. Rather than yelling at them, or escalating the situation, I began with a simple question: Did something bad happen to you guys today?

Turns out, I was correct. And what is my point in sharing this story, exactly? Like I said, this is a stream-of-consciousness advice column. Seems his calculations were correct. It gives me no pleasure to say that, though. Please, people, chill the fuck out! Remember to belly breathe. Take more walks. Appreciate your loved ones.

Watch more funny movies, so you can laugh. Invest heavily in your self-care. So if it seems OK for people to lose their shit these days, try the opposite. Keep it together. Be your best self. Try to be the bigger person, and worry less about your pride.

We have to do something about it. To see more of this project, click here Instagram APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. Gaslighting is such a great word. Having fallen prey to the tactic in the past, I empathize with others who do. For example, imagine you are in a blue elevator with three strangers. All of a sudden, the lights go out, and the car freezes. The room is red, they all say.

Over and over again. Dodger blue color sample, courtesy of crispedge. Slowly, their bluster begins to erode your knowledge of what you saw. When Putin declares war against a Jewish president, and accuses him of being a Nazi? Am I finally writing that long-promised article about NFTs? You bet I am. Buckle up. Courtesy of backtothefuture. Was that the right mentality? That never happens, so it made me curious. Why would people who were normally cool with me all of a sudden tuck their heads?

What were they afraid of? Or perhaps the better question was, what were they protecting? We all know the old saying: anything that seems too good to be true is too good to be true. Each day, I found myself wondering, WTF? That seemed to be the key. Again, massively ambitious, political, and fascinating.

Shame on me!

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