Really Looking forward to working working with Cressi USA again in 2013 on all their campaigns, here is a little teaser of the Cressi Spearfishing team.<p><a href=”http://vimeo.com/52002065″>fINAL cUT</a> from <a href=”http://vimeo.com/user863827″>JASON ARNOLD COLLECTION</a> on <a href=”http://vimeo.com”>Vimeo</a>.</p>
That I use to be a sports photographer before I got into shooting in the marine industry, well its true. I spent the first 5 years of my career working for Reuters and then Getty Images. By nature Im a super competitive person and the professional sports photography arena is defiantly competitive. Anyways I got the chance to jump back on board with Getty Images and shoot a few days of baseball and to see if Im still has sharp as I use to be and to shoot in the new Marlins Ball Park which is awesome to shoot or watch a game at. Below are 2 views of the game, one from the dug out and one from the upper deck. ENJOY!
1. Experts aren’t the answer.
The blogs, the teachers, the mentors, the seminars aren’t the answer. They’re not there to tell you exactly what you need to know. If they’re good, then they are there to give you some ideas, some guidelines, or some rules to learn and subsequently break. This isn’t about the expert, it’s about you. In creative pursuits especially…what’s going on inside you is where the answers can be found. Hear what experts say, but don’t always listen to them.
2. Clients cannot tell you what they need.
Clients hire you because they have a problem. They need a great visual representation of something, a solution. They think they know the best way to photograph something, but they don’t really. That’s why they hire you. Take their suggestions to heart, because they definitely know their brand, product, their vision–perhaps even shoot a few versions of the images they THINK they want to see first–but then go nuts with own vision. Add value. Show them something they didn’t expect. Don’t be a monkey with a finger. Remember why you got hired…that YOU are the badass image maker. If you are good enough to get selected for the job, you should be good enough to drive the photographic vision.
3. Don’t aim for ‘better’, aim for ‘different’.
It’s funny how related “better” and “different” are. If you aim for ‘better’ that usually means you’re walking in the footsteps of someone else. There will often be someone better than you, someone making those footsteps you’re following… But if you target being different–thinking in new ways, creating new things–then you are blazing your own trail. And in blazing your own trail, making your own footprints, you are far more likely to find yourself being ‘better’ without even trying. Better becomes easy because it’s really just different. You can’t stand out from the crowd by just being better. You have to be different.
4. Big challenges create the best work.
If you get assignments that are pushing your vision, your skills, then awesome. Kudos to you, keep getting those assignments. If you’re not getting those assignments, then you need to be self-assigning that challenging work. Give yourself tough deadlines and tougher creative challenges. You do your best work where there is a challenge that is clearly present and 10 feet taller than you think you can handle.
5. Aesthetic sensibilities actually matter.
Go figure on this one… I’m constantly surprised as how much this is overlooked. Read this and believe it: You must develop a keen understanding of design, color, light, and composition. To just say “I know a picture when I like it” isn’t going to get you anywhere. You need to know –for your own sake as well as the sake of your clients who will ask you– WHY a photo is a great photo. WHY is this one better than that one. If you don’t have any visual vocabulary, opinion, or aesthetic sensibility you won’t be able to explain these things. You won’t get the job. Or if you do get the job, you won’t be able to explain why your photos are worth getting hired again by the same client for the next campaign, story, or video. Trust me on this. Develop a sense of visual taste.
6. Simple is good.
Almost every photo that is bad has too much information. Outside of technical basics, the number one reason that most photos fail is because there is no clear subject. Often this is the case with design, film, fashion, you name it. Remove clutter, remove distraction. Tell one story, and tell it well.
7. Make mistakes, learn quickly.
Simply put, you need to be able to learn from your mistakes. Avoiding failure is not the goal. The goal is recovering from mistakes quickly. That goes for ever element of your photography–creative, business, vision…you name it. If you’re not willing to make mistakes, you’ll be paralyzed with inaction. That is the devil. Get out there and do stuff. If it works, do more of it. If it doesn’t work, change it. Quickly.
8. “Value” is different from “price.”
Don’t compete on price alone. That is certain death in any creative field. Focus on delivering value and price yourself accordingly. If you deliver great value with your images — better than expected, and better than your competition– and you can illustrate that through any means, then you should be more expensive. And remember that value comes in many forms.
9. A-Gamers work with A-Gamers.
If you are good at what you do, then you work–or seek to work–with other people who kick ass too. If you suck, then you put yourself around sucky people to feel better about yourself. If you want to be the best, seek to be around awesome people–be it other artists, assistants, producers, clients, partners, whatever. Shoot high. Shoot for better than yourself.
10. Real artists create.
Magical…. thats the word that comes to mind when i think of the past 2 days of shooting the summer snook spawn. The water was clear as gin and the fish were stacked like fire wood hundreds of yards long. I was on a mission to shoot a campaign for Berkley Gulp and I couldnt ask for everything to come together so perfectly, but it did and I made some of the best snook images of my life and landed my personal best snook.
Stoked to partner up on a colab with a great Florida based company HOO-RAG who produce some of the most bad ass Seamless Bandanas on the market. The Leaping Tarpon Hoo Rag is the first in a series of Signature gamefish photo rag that will come out on the next few months. They are available here for purchase click here
Its rare to have everything go right when you are chasing fish to photograph, but on this trip to Biscayne Bay the Bonefish were ready and waiting for me. Big thanks to Junior and Chris for putting me on schools of bonefish. Below is a small sample, if you would like to see more please go to http://jarnold.photoshelter.com/gallery/bonefish/G0000zUCPF43rPlU/