The Stone Mind T-Shirts Are Here!

The Stone Mind logo T-shirt


Available now! The Stone Mind T-shirts via Adorned on the chest with a logo designed by artist Kristin Marine, these organic ringspun cotton shirts are lightweight, double needle stitched, and come in three colors.

Recommended uses: climbing, writing, meditating, or even chilling with a fine whiskey on a fall day.

More designs to come…



Nothing Is Unpossible

Kristin after her run

The first time I talked my wife Kristin into going for a run with me, it was around the 1/4-mile high school track by our house in Boulder, Colorado. After the first lap, she had to take a break, partly due to the altitude (she’d just moved out from Philadelphia), and partly because she hadn’t done much in the way of physical activity in her 25 years of life. I don’t think we made it to a mile that day.

Despite at first hating that oh-so-special feeling of heart, lung, and leg exhaustion you get from running, Kristin didn’t give up. She felt it was important to get active and live a healthy life. Plus, we were in Boulder — it just felt natural to do as the Boulderites did.

Over the years, we had an on-again, off-again relationship with running, and Kristin eventually got fit enough to run three or four miles without keeling over. Then, about four months ago, unprompted, she declared she wanted to run 10 miles, whatever it might take. We Googled up a basic training program and started running four days a week, with increasingly longer runs on Sunday. We’d rise at 5:45am to beat the summer heat, pull on our shorts and lace up our shoes, and hit the road. The runs didn’t always feel great while we were doing them, but we always felt refreshed afterward and into the workday. Kristin got hooked on that feeling, the way most people do if they stick with running for long enough.

Just over a month ago, we made it to eight miles, but then Kristin tweaked her foot. She finished her run that day but could barely walk the final block back to our house. She was despondent, afraid she’d never get to her goal. “Maybe my body isn’t made to run 10 miles,” she moped.

We started up running again last week. We ticked off one three-miler and then, on Sunday, halfway into a planned four miles, we decided to just go for it. Nearly two hours later, we finished the elusive Mile 10.

We certainly didn’t break any speed records that day, but we finished, and pretty much off the couch, too. I know: people run 100 miles across Death Valley in the summer, so in the scheme of things, our 10 miles was not what you’d call a “big deal,” but what’s important is that Kristin set a goal for herself, a goal that at the time seemed distant, and she worked until she met it. Sunday’s run was, for her, one big step towards learning to ignore the niggling gremlins of self-doubt that plague us all. Genuine confidence (and, dare I say, happiness) is built on a foundation of moments when you did what you set out to do — when you did more than you thought you could.

Sure, I’m happy — I haven’t run 10 miles in many a year — but I am most proud of Kristin. She is now 10 miles closer to understanding that, with hard work, confidence, and a willingness to just fucking try, all things are possible; nothing is unpossible.

The only question now is, which half-marathon should we do?

Telling A Story With Video — A Work In Progress

To practice rapid-fire shooting and editing, I made the above short video of my fiancée, Kristin, at work on a new painting. Kristin earned an MFA at the Pennsylvania Academy of the Fine Art, in Philadelphia. Today, she works full time as a graphic designer, but tries to get some painting in after hours. Like me, she faces a constant struggle to remain creatively active, but I think we have both managed to find a tolerable balance. It’s better some weeks than others, but, as always, it’s a work in progress…

I took the basic order for the shots from a handy little article by University of Florida Journalism Professor Mindy McAdams. She describes a simple method for capturing a scene in just five shots. I’m fairly certain she didn’t devise this method (I’ve heard of similar approaches from other sources — in fact, there’s a nice BBC video on the “five-shot rule” here), but she does a nice job explaining it.

If you decided not to click the link, I’ll distill McAdams exercise here:

[In the case of a subject who is relatively stationary and using her hands]

  1. Shoot the hands up close (tight)
  2. Shoot the face up close (tight)
  3. Pull back and get a shot showing hands and face together (medium)
  4. Shoot over the shoulder (medium)
  5. Shoot “something else,” typically from a wider perspective

In making the short video above, which would typically be  just one scene in a longer documentary-style piece, I considered this approach and tweaked it a little based mostly on my own gut. I do not believe in any hard and fast “rules” about communicating, whether it be via video or the written word, or any other form or medium. We can get our point across in many different ways, and strict adherence to rules or formulas, although it can save time and effort, is a good way to bleed the life out of a story. That said, starting with a solid understanding of the basics is really a must for any aspiring creative.

As you can see in the stills below, I used more than five shots, but the basic ideas were covered:

1. Close-up of hands at work.

2. Medium shot showing hands and face (notice I skipped the suggested tight shot of the face — that comes in later).

3. Vertical pan on the painting. Again, this is not in keeping with the suggested five-shot order, but I felt it made sense to show the piece up front, for context.

4. Back on track, here’s the sometimes-tricky “over the shoulder” shot. I think it works well enough.

5. Because mixing paint was the first tight shot, I figured it would make sense to do a second, this one focused on the act of painting. I like the precision with which Kristin paints.

6. This shot falls between tight and medium, in my estimation, but it’s probably closest to what McAdams identifies as “something else,” a creative shot that adds visual interest to the edit. Kristin was interested to see it, as she didn’t realize she held the brush so high up. “It looks like Japanese brush painting,” she said. It’s her favorite shot and mine.

7. Here, I decided to go back to the face (what would be the second shot in the McAdam’s method). Not sure why, really… In retrospect, it may in fact have made more sense to put it up front.

8. A quick cut to an even tighter face shot. If I could lose any of the shots in the piece, it would be this one, as I don’t think it adds any information that shot No. 7 didn’t already convey.

9. To close out, I decided to give the contextualizing wide shot, which is how McAdams suggests finishing the a sequence. It’s not the most interesting image, and informationally it overlaps with the pan in my third shot, but I like how it gives a sense of scale — this is quite a large painting!

In the end, I used nine shots instead of five, although I’ll admit that for this very basic sequence, eight or even seven would have sufficed. I have shot and edited much longer, more complex videos, but as I’m self-taught, I try to go back and brush up on basics regularly. Like a lot of media makers in the digital age, I learned quick-and-dirty at the U of Hard Knocks. Without going back and practicing fundamentals, it’s easy to get caught in a big project with shaky foundations.

Always curious to hear what rules of thumb you use when telling a story with a video.