Jordan Matthew Yerman started writing during his third year of high school, where his teacher discouraged his use of the eff-word as "crude, unnecessary and uncouth".
While attending UC San Diego for his degree in Political Science, Jordan picked up acting; he would later attend the London Academy of Music and Dramatic Art, living in the UK for four years before relocating to New York City. To get by, he has worked as a proofreader, model, technical consultant, HR trainer, sign-placer, sales director, crate stacker, bartender, photographer, real estate broker, and as an exhibit at the Bronx Museum.
As an actor, Jordan has performed in the USA, England, Scotland, Germany, Belgium, and Netherlands, from stage to indie screen to voiceover, including London's West End.
Jordan has been around the world 2 3/4 times. He currently lives in Vancouver and works in New Media; capital N, capital M.
You can reach him via jordan at international jet trash dot com.
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Besides allowing avian predators in the cabin, Lufthansa – which recently inked a codesharing deal with Etihad – has focused on improving the passenger experience for falcons. According to Lufthansa Technik, the Falcon Master “enables VIPs to bring their falcons on board while keeping them nearby in the cabin during flight – a safe and comfortable solution for both owner and falcon.” It’s common to see falcon stands that look like small plinths, but the Falcon Master more closely resembles a horizontal rod, wrapped in artificial turf, with a shallow plexiglass tub underneath – similar to what you’d see at a Japanese owl cafe. Lufthansa’s patented bird stand, which launched in 2014, is moved through the cabin like a trolley, and installed over a row of folded seats upon its adjustable legs.
While occasionally sharing travel stories and tech tidbits on International Jet Trash dot com, I mostly keep this site because I love the domain name. If you want to read what I’ve been writing, or see what I’ve been photographing, check out these links.
The Capture Photo Festival is entering its third year, and doubling down on its public presence. Vancouver isn’t super-huge on public space, but watch for billboards, transit stations, and even a power station to pull double duty as giant surfaces on which to display lens-based art.
Besides the public art, galleries across the Greater Vancouver Area will be hosting photo-based exhibitions, resulting in a many-faceted megashow that Vancouverites would be crazy to miss.
I was thrilled to get a glimpse of what’s on tap as Executive Director Kim Spencer-Nairn and Program Director Meredith Preuss hosted a media preview in Gastown.
Nine stations along the Canada Line will display a series of giant-sized images. The King Edward stop will be showing off John Goldsmith’s Bondi Beach, winner of the Georgia Straight/Capture Festival Canada Line Competition.
The Dal Grauer Substation (that building with the huge transparent outer wall next to the Scotiabank Cinema) will host a massive work by Steven Waddell. As with last year’s Dal Grauer installation, it will only be revealed at the last minute.
My favorite of the evening was a sneak peek at Viewpoint, by Erin Siddall and Sean Arden.
Siddall and Arden turned a shipping container into a camera obscura, aptly named Burrard Inlet Big Camera, which will sit at Lonsdale Quay. It gets its name in homage to Giant Camera, the camera obscura perched near the Cliff House in San Francisco.
Big Camera will sit atop another shipping container, in which Cate Rimmer will curate images from First Nations artist Ryan McKenna.
Yes, it’s a change. Think of it this way: instead of the runway pattern, the sail-like curves evoke the “port” in “airport”. Better still, don’t overthink it. Just go with it. It’s a PDX-carpet world, and we just live in it.
As a photographer, you must get comfortable with compromise. For example, I wanted to use a crane to hoist a Tokyo taxi up into the air above Shinjuku.
I then wanted to lean out a window and photograph it, lit only by the ambient lights of Kabukichō’s iconic signage and the street below.
Reality check: I have no taxi and no crane. I’m also not in Tokyo at the moment. What I do have, though, are a toy taxi, a portable hard drive, some white paper, my phone, and my bathroom.
I turned out the lights, and used my phone to light-paint the front aspects of the toy taxi. Then I slowly moved the phone around behind the taxi to approximate the signage.
I held the phone still in a few spots to get some of the busy-ness of the screen to approximate the aggressive signage of the actual street; otherwise it’s quite easy to create a smooth, streaky background by simply sliding the phone (or any light source) behind the model.
I guess my point is, should anyone in Tokyo be able to hook me up with a crane and a taxi, I feel I’d do a great job with that shoot.
Babies are babies, and so shall they act like babies.
I usually fly from Vancouver to NYC aboard the second leg of Cathay Pacific’s HKG-JFK megaflight. It’s… very family-oriented. Lots and lots of screaming babies. The moms and dads are like, “Whatever.” That’s the right attitude, in my opinion, provided they’re actually trying to comfort their kids. Which they are. Because nobody likes having a tiny person with no volume control screaming in their ear.
My latest for the APEX Media blog discusses JAL’s rollout of the AVANT IFEC system. The Android-bases in-seat entertainment system is configurable… so JAL was able to launch the first-ever in-flight manga library.