The biggest mistake made by photographers

Reading Time: 2 minutes
 

My most challenging assignments are the most personal ones to cover for our family. So while I want to sit back and enjoy myself, I also want to record these milestones in our family life.

When I arrive to cover an event, I often set up strobes to ensure I get good light on the people’s faces. For this event, I set up two strobes off to the sides to be sure the speakers had a good morning.

I took this photo without the flashes going off, so I have circled where they are in the room. The flash on the left is the Nikon SB-800, and the one on the right is my Nikon SB-900.

They are both on the Pocketwizard TT5. I use Manfrotto 5001B Nano Black Light Stand – 6.2′ (1.9m)I chose this light stand because of how small it folds up [19.3″ (49cm)] for easy travel through airports. To connect the Pocketwizard TT5 to the light stand, I am using Interfit Metal Umbrella Bracket with an Adjustable Flash Shoe.

To trigger the flashes, I am using the Pocketwizard TT1 with the AC3 to control the flash output on the TTL setting. This way, the camera sensor helps determine the flash output of the flashes.

I guess this involves pulling out the camera and shooting some available light photos or even using an on-camera flash. I want the images to look great, not just usable. I am documenting the most critical events in our family history. My family will cherish these photos much more than if I had great pictures of the President of the United States.

What is the biggest mistake made by photographers? Photographers often put more effort into covering events for clients and not enough into their own families. What is the most important?

While your clients will pay the bills, your friends and family events are the ones that help in making them rememberable.

Do you know what happens when you do this consistently? Your clients also get your best coverage—you are treating them as family. Every business should do the same thing for their families, treating them with your best efforts.

Graduation is an event, so what’s the story?

Reading Time: 3 minutes
 

If, after four or more years of high school or college, this is the photo you pull the camera out for and then put it away, you will be sorely disappointed.

We often put too much emphasis on the event and not enough on the story. For example, the level of college graduation starts long ago many times. There are many ways to tell the story, but the celebration story can be a series of images that at least capture more than one moment.

Most of the caps stay on the floor when all the hats are thrown in the air at a military school at the end of graduation. But caps are everywhere because those students are tired of wearing their covers.

My daughter wanted to have her brother’s hat from The Citadel. But, unfortunately, we couldn’t find the cap at all. We looked and looked. What we thought might be two or three minutes turned into a lot more time.

When my stepson asked his younger sister what she was doing, he just walked across the floor, found his hat, and gave it to his sister in less than a minute.

The search for the cap was one of the many stories we had throughout the weekend.

We took family photos to show we were all there for the big day. We were all excited that our son had graduated.

Here he is with one of his best friends in school. We remember him coming home and asking what it is with New Jersey. Well, his mother is from there, and I also went to junior and high school there.

As you can see, there is another story of another relationship I was capturing that weekend. So hopefully, you see that sometimes you need some words with the pictures to complete the level.

The Long Gray Line—Pat Conroy wrote about his experiences at The Citadel and being part of the Long Gray Line. The Long Gray Line refers to the men and women who have graduated from the South Carolina Corps of Cadets. Seniors march single file across Summerall Field in their final parade as cadets.

While not a story, I did put the photos together in a slide show for us to remember the weekend events.

http://www.stanleylearystoryteller.com/citadel2011grad/_files/iframe.html
I believe a series of images will do better than one photo to capture the event more completely. Maybe you can interview your graduate on video and combine this with pictures of their time at college, and if you catch why they came to this college and what they learned from the experience, you will have a story.

You could also put this together in a book. We did this with our son when he graduated from high school.

You can take a photo or try to capture the story through a series of images. I hope you see that the picture of the back of the head of a graduate pales as compared to the complete package.

The Relational Photographer: Why Connection Creates Better Pictures

Reading Time: 3 minutes

Some photographers chase moments.

Others build relationships.

I believe the photographers who consistently create the most meaningful images are the ones who invest in people before they press the shutter.

Today, there are countless videos and articles teaching photographers how to photograph strangers without being noticed. They discuss long lenses, shooting from the hip, hiding in crowds, and capturing people before they realize a camera is pointed at them.

While there is certainly a place for candid photography, I have found that some of the most powerful photographs happen after someone knows your name.

The photograph often begins long before the shutter clicks. Taking time to listen, learn, and connect helps build the trust that leads to meaningful images. Photo by Ken Touchton.

A photograph taken without a conversation may reveal what a person looks like.

A photograph taken after trust is established can reveal who they are.

Over the years, some of my favorite images have happened because someone welcomed me into their world. I have photographed people in their homes, gone behind the scenes at events, ridden in limousines with wedding parties, and documented moments that would never have been available to me as a stranger.

None of those photographs happened because I was invisible.

They happened because I was invited.

That invitation is one of the greatest gifts a photographer can receive.

Access is often the result of trust. Being welcomed backstage allowed me to document a candid moment as the models met Pip away from the audience and spotlight.

When people trust you, they stop performing for the camera. They become comfortable. They allow you to witness real moments rather than merely observe them from a distance. The camera no longer becomes a barrier between people; it becomes a bridge.

Being a relational photographer starts with a simple principle: treat people as people first and subjects second.

Introduce yourself.

Ask questions.

Learn names.

Show genuine curiosity about their lives.

Explain why you are interested in photographing them.

Share the photographs afterward.

Most importantly, listen more than you talk.

The best photographs aren’t taken from the sidelines. They’re made when people trust you enough to invite you into the moment.

It’s cool to be invited into people’s lives and see how they live, work, and play. In his book Permission Marketing: Turning These actions may seem small, but they communicate something important: respect.

Respect builds trust.

Trust opens doors.

And those doors often lead to photographs that are impossible to make from the sidewalk.

The irony is that many photographers spend thousands of dollars upgrading cameras and lenses while neglecting the one skill that can most improve their photography: connecting with people.

Technical skills matter. Understanding light matters. Composition matters.

But if your goal is to tell stories about people, relationships matter even more.

Years after taking a photograph, people rarely remember what camera you used. They remember how you made them feel.

When you become a relational photographer, something interesting happens. People begin inviting you back. They introduce you to their friends. They call you when important moments are happening in their lives.

You move from being an outsider looking in to a trusted storyteller.

That is when photography becomes more than collecting images.

It becomes collecting relationships.

And in my experience, the best photographs grow out of those relationships every time.

#1 mistake made with multimedia/video

Reading Time: 3 minutes

Our teaching team for our International Missions Photography Workshop in Lisbon, Portugal, started prioritizing the subjects we teach. Poor sound is the number one technical mistake we see most often in multimedia projects.

Your audience will tolerate poor-quality images more than poor audio in a multimedia presentation.

Before teaching people how to make better audio for their projects, you must ensure they have a good microphone.

Simple Solution

For the best recording, it would help if you got the microphone as close as possible to the source. Recording with a DSLR or a video camera’s built-in microphone requires you to be on top of someone to get a sound recording of them during an interview.

Clipping a Lavalier microphone on their clothing as close to their mouth as possible will give you the best, consistent results. The best way to go is to have a wireless system, so you don’t have cables all over and don’t need to pack many extension cables.

Today’s software makes it easy to sync an audio recording with a video recording in post-production. Be sure to clap when all the recording devices are rolling, and then you can quickly line up the spikes in the software. I would even go so far as to say clapping two or three times will make it even easier.

Align the two tracks using the spikes.

So, what do you record with? My number one recommendation is based on the assumption that most of those taking our workshop will have a smartphone. The second assumption is that there is no need to spend much money on recording gear; instead, buy those things that will complement what you already have in your bag.

You can buy the RØDE smartLav microphone, designed to work with a smartphone. If you look at the link, you will notice the 1/8 plug has four connections rather than the typical 2 or 3 connections. This design makes the microphone work with your smartphone.

You can use the microphone with any recording app on your phone, including the RØDE Rec App for iPhone users. There are many apps for Android and iPhone users to choose from. You want to use a recorder that controls the gain setting and avoids the Auto Gain setting.

Practice, Practice, Practice

After buying the gear, you need to test it repeatedly. You need to practice recording with your video and audio. It would help if you got used to starting and stopping the sound and camera together. It would help if you always practiced having claps.

The clapboard has been the standard for movies. You show this in the video so that you can match the sound spike of the clap to the visual. But, of course, clapping your hands together in the camera’s frame will also work.

Practice putting those clips together in the software. Next, practice getting the sound file from your smartphone to your computer. Finally, you can email it or use Evernote or Dropbox to transfer the file.

Put those files in software like iMovie, Final Cut Pro X, or Adobe Premiere and practice lining up the two files. You may discover that the auto-sync will not always work because the sound is so faint on the camera compared to your smartphone recording.

Practice any recording scenario that you might want to use. For example, you may want to do interviews where people are sitting still or walking toward you. Always practice before you do this on the job when you must have the sound for the project.

How did your Easter family photo come out yesterday?

Reading Time: 2 minutes

Fujifilm X-E2, 18-55mm, ISO 200, ƒ/8, 1/180, flash is set for -1 EV

If you look closely, you will notice another family on the opposite side taking photos. The location for them is because they get direct sunlight. By standing on this side of the cross, we were not staring into the sun, and our faces were in the shade. So all I did was add fill-flash with the pop-up camera flash on the camera. While not my preferred placement of a flash did work OK for this family photo after church.

We were taking the photo at 12:34 p—one of the worst times to take a portrait of people outside.

Fujifilm X-E2, 18-55mm, ISO 5000, ƒ/5, 1/500

Last Thursday, our family went to the Alive After Five event that we have from April till next fall every Thursday in downtown Roswell. After we ate at Mac McGee’s, I strolled around and found these two Union Soldiers. I took this photo without a flash. The main difference is the time of day I took the picture. I took this photo at 7:17 pm and the sunset at 8:10 pm. Due to the sun being below the buildings, there was no direct sunlight—just a tent light effect. The whole sky is lighting the subject with equal light from all directions. Even under the hat, the guy’s face is OK without a flash.

With off-camera flash
Without flash

Remember that when taking pictures outside, especially during the midday sunlight, be sure and use a flash. However, don’t think of flash inside as much as outside.

Composition Tips from world renowned photojournalist Don Rutledge

Reading Time: 6 minutes
 
Don Rutledge took this in 1967 inside the Arctic Circle. People are so comfortable with Don that he can be a part of the woodwork.

The Eskimo family is my favorite photo that Don Rutledge took. I have enjoyed seeing the world’s approximately 150+ countries and all of the United States without ever leaving my home. Don was traveling primarily with The Commission Magazine and Missions USA. Both magazines have won some of the highest awards in the country. The Commission Magazine placed third in the “Pictures of The Year” contest sponsored by the National Press Photographers Association in 1989 and 1990. CommissionStories, a newer version of the magazine, just won as a Finalist for the Magazine division of the Pictures of the Year contest behind National Geographic Magazine for 2014. Missions USA has earned similar awards. These Southern Baptist magazines are in league with National Geographic and Life Magazine for their photography and design.

Don Rutledge’s influence was the reason for their success. Before working for these religious magazines, Don was one of the staff photographers for the elite photography agency Black Star. From the 1950s until the 1980s, if you were to look for the photographers’ credits in the major magazines, you would find Black Star, the agency that handled publishing their work.

The shoeshine man had to be told by Don that John Howard Griffin was white and not black. He could hardly believe that this man was white. [by Don Rutledge]

One of the biggest news stories Don covered was following and documenting John Howard Griffin, who transformed himself with drugs and makeup from a white man into a black man. In the book Black Like Me, he would later write about his experience as a black man.

“Don discovered these two youngsters who proudly displayed the results of their morning hunt. In that section of Cincinnati, rats were not particularly difficult to locate.” [Walker Knight, See How Love Works]

Don’s story is a series of stories. Using the storytelling model I introduced in the last blog, here is a short story about Don.

Don Rutledge knew he loved to take photos and looked and noticed the Black Star agency in all the magazines. He wanted to learn more and work for them. So he contacted Howard Chapnick, the president of Black Star.

Howard asked for a portfolio, but Don didn’t have one. So Don pitched story ideas that Howard liked. Howard pitched these to his clients and told Don one was interested. Unfortunately, before Howard had a deal, Don had already shot the story and sent it to Howard.

Howard wrote back and told Don his mistake and also told him what was wrong or missing from that coverage. So Don went ahead and went back and filled in those holes in the story and sent it to Black Star.

The client loved the package and requested Don for more coverage.

Volunteer Mike Edens taught these two pastors, Mikhail Shehata Ghaly and Anwar Dakdouk, MasterLife Discipleship training in Cyprus in 1984. [photo by Don Rutledge]

When I got to work with Don, I jumped at it. Working with Don was the Luke Skywalker and Yoda opportunity for me.

Within the Frame

One of the lessons I learned from Don was to scan the edges of the frame. Then, make the most of the entire structure from edge to trim and front to back.

If you look at the photos I have posted so far of Don’s, pay attention to two things: First, how the edges include details and do not make sloppy by cutting off legs or other items in the frame. Second, see how much layering is from front to back in all these photos.

Do you see all six people in the first photo of the Eskimo family? Notice how these are all over, and Don has introduced the family, the social status, and where they live in that one photo. He also captured the excitement and happiness that they experienced.

Take each photo and notice the edges and how people anchor the images. He pointed out, including their feet, but not too much. I was learning how to place people in context with the environment. The environment tells you a little about the people. Their expressions of them show how much they love life.

Notice that had Don cropped in tighter to the shoeshine man and Howard Griffin, you would not know he was a shoeshine man. It would help if you had the shoe polish and the footrest to help tell the story.

In all these photos, there is also just a little tension. Each image has the reader asking some questions. The pictures make you want to know more about each situation.

In the Philippines, families cluster together for meals. [photo by Don Rutledge]

One trick Don often used was just including a sliver of light to see beyond the initial scene. With the Eskimo family, it is the tundra to the right. With the family in the Philippines, the door and the floor give you a sense that there is stuff beyond them. In the photo of the men walking in Cyprus, you can see the man walking away beyond them.

Notice in all these photos, you have a sense of a problem facing the characters. The boy holding the rat is probably the most obvious, but you can feel the tension each time. However, you can also sense a victory over their situations.

Surgeon Tim Pennell got five of his colleagues from Bowman Gray School of Medicine to commit weeks of vacation time and thousands of dollars to meet their Chinese counterparts. [photo by Don Rutledge]

Editors and presidents of organizations sought out Don to help tell their stories. They saw in Don’s photos more than just a good photo—they saw that Don was capturing the inner souls of people in ways others just didn’t.

Don captured moments. President of the Foreign Mission Board Keith Parks said,

Although Don took hundreds of pictures, I hardly noticed because he did it in such an unobtrusive way.  When he put it all together he had really caught the highlights of the meeting and the impact that he wanted.  I just think that he is a first rate fellow from every measurement professional.  Of course, he can and does meet the highest standards of the secular world, and yet his deep spiritual commitment has caused him to give himself to the spiritual cause he believes rather than selling his skills to the highest bidder.  I just think that quality and character come through in his pictures.

Dan Beatty, the design editor of The Commission Magazine, commented,

Don is the one person who has completely influenced the direction of the magazine. Before Don came we knew that there was a certain way we wanted to present the missions material in the magazine.  None of us had a firm grasp on what direction we should go to achieve our goals.  Don really provided the direction for us to go.  Don never expressed any strong feelings about—in a critique type way—on the magazine.  Just Don’s presence and constant example of someone who always strives for the best is what guided us along. He was constantly putting us into contact with different individuals in the field of photojournalism and layout and design.  He felt these would be good influences on the magazine or influences that would help us along the road where we wanted to be with the publication.

I would not be doing what I am doing, at the level I am doing it if it hadn’t been for Don. He is an example of consistency and integrity in a field where that is not always a constant with the different people that I’ve met.  He represented something that I wanted to achieve myself.  He has been the biggest influence that I can think of on me personally and the different photographers that I have worked with along with Don.  The thing that impressed me most with Don is his sensitivity and his regard for human beings.  I think that is what made him the asset that Dr. Parks was looking for in communicating about Foreign Missions to Southern Baptist and other people as well.  The dignity of the human being no matter what the situation is so very important to Don.  To me that is the real strength of Don’s work.

Note

Don Rutledge spent his career photographing more than 150 countries and all 50 states. He was published almost every single month of his career in magazines. Few photojournalists were more published regularly in magazines than Don. He died on February 19, 2013, at the age of 82.

 

How to fix the silhouetted subject when you want to see them

Reading Time: 4 minutes

[X-E2, XF18-55mmF2.8-4 R LM OIS, Mode = Aperture Priority, ISO 6400, 1/18, ƒ/5.6, (35mm = 27), Neewer TT850 flash with Neewer 433MHz Wireless 16 Channel Flash Remote Trigger @ 1/32 power]

This past weekend I was photographing Bottles and Cans performing at North Beach Bar & Grill on Tybee Island. There were no lights on the band; therefore, they performed as a silhouette as the night went on.

[X-E2, XF18-55mmF2.8-4 R LM OIS, Mode = Aperture Priority, ISO 6400, 1/30, ƒ/5.6, (35mm = 27)]

This photo of my wife and daughter shows no lights on the band. I added a flash later. I put it on the table where they were sitting and pointed directly at the band. 

Fuji X-E2, 18-55mm, ISO 6400, ƒ/5.6, 1/15, Neewer TT850 flash with Neewer 433MHz Wireless 16 Channel Flash Remote Trigger @ 1/32 power.
 
 
This photo is from the back of the venue, where I shot with an off-camera strobe that if you look at the table just in front of the band, you will see a bright patch where the flash went off. The flash is our table while we were eating and enjoying their music. 
 
Fuji X-E2, 18-55mm, ISO 6400, ƒ/5, 1/15, Neewer TT850 flash with Neewer 433MHz Wireless 16 Channel Flash Remote Trigger @ 1/32 power.
As you can see by the flash being on the table, it allowed me to have the light hit the singer under his hat and the other guys in the band wearing hats. This light position is what foot lights will also do at Broadway musicals.
 

Do your photos look like this sometimes? It is good exposure, and correcting the image by opening up a stop or two for the faces will wash out the color for the rest of the photograph.

Photography is writing with light. Therefore, adding light to a photograph is pretty standard to emphasize where you want the audience to look.

By just putting a flash off the camera to the left, I could not change the exposure but put light on what was a silhouette of the subject. Then, using an off-camera flash, I could “reveal” the subject with the light.

To capture the clouds and all their glory in this photo makes those subjects close to the camera silhouetted.

By adding light to the subject in the foreground, I can retain the clouds and rich colors in the photograph, but now the subject is the person in the picture, not the background.

I see photos like this all the time in recruiting guides for colleges. The photographer is just capturing what anyone can do with even their smartphone.

Take the time and carry a light stand with a flash. It is more equipment, but look at the difference it makes in the photo.

You will not balance a projected image and the speaker that often without using the off-camera flash. Here I used the flash on the speaker to help me show they had a large enough crowd that they needed to project him on the big screen.

If you don’t have a way to do off-camera flash, you need to invest in something, or you will always have what everyone else can get with their smartphone or point-and-shoot camera. Remember, photography is writing with light. So take control and be the author of your photos.

16 Travel Mistakes Made By Photographers

Reading Time: 6 minutes

Don’t make these common mistakes when traveling for vacation this year. They are in no particular order, but here to ensure you are ready for travel abroad.

1. Forget you need a Passport—When traveling abroad, you need a current and up-to-date passport. It takes 4 to 6 weeks to get a passport by standard processing, and you need to allow the six weeks, so you have plenty of time.

2. Travel without a Visa—According to the “Henley Visa Restrictions Index 2013,” holders of a United States passport can visit 172 countries and territories visa-free or with a visa on arrival, and the United States is currently ranked 2nd (tied with Germany, Denmark, and Luxembourg) in terms of travel freedom. However, there are 196 countries, so you need to check to see if you need a visa to travel.

3. Forget an AC Plug converter—There are many variations of plug and socket types around the world. If you fail to plan, you might have difficulty charging your devices. Check the voltage requirements for the desired country and bring a power converter, if necessary.

4. No Phone Plan—Your phone may work fine overseas, but you will be surprised at your bill when you get back. Check with your provider to get the best rate for phone and data while traveling abroad. Type frequently used the telephone, emergency contact, hotel, and transportation numbers on the phone and saved them in the phone’s address book. Make sure to enter the telephone numbers using the international dialing format. For example, when calling the US, use the prefix “+011” followed by the area code and telephone number because calls made abroad will initiate from the local phone carrier.

5. Delay buying airfare and other transportation—I often see this as a mistake by many travelers. Waiting is apparent at car rental counters. You can save by preplanning, booking, and sometimes paying for the rental car early. Let go of brand names when looking. For example, Sixt’s, a German rental, was renting a Mercedes C-class for $38.81 a day in late May at Sixt’s Orlando airport. Compare this to Hertz, for the exact dates were $50.57 daily for a Kia Rio or similar economy car. Often you can find deals way out on international travel. You can also set up alerts on some travel websites to tell when prices drop. Register those places you want to go far in advance and then get an email alert when a special comes along.

6. No Travel Insurance—You need to consider medical, Emergency Evacuation, Travel [flights, hotels, etc.], and baggage. If you get seriously hurt and need to evacuate due to a fall, car wreck, and so on, this could cost $25,000 or more. Check with your health insurance also about travel out of the country. One of my friends was in a hurricane in southern Mexico, and they feared not making it out.

7. Failure to do research on your destination—I see so often that the consequences can be all over the map from the lack of planning. If you are going to Hungary, for example, you will be arrested if you take photos of anyone in public without first getting their permission. This law just went into effect. Knowing this upfront may make you decide to travel to another location.

Convertible wick away pants

8. Failure to plan for the weather—While I had packed a coat when I went to Kona, Hawaii, I left it in my main hotel room in Kona when I drove around the Island to Volcano National Park. As a result, I had to go and buy some long sleeve shirts to wear in the cold, wet rain. Finding a coat in Hawaii isn’t easy on Sundays when all the shops are closed.

9. Inadequate clothing—When traveling, you don’t always have the luxury of time to wash clothes. You can also find yourself in torrential rain and soaked. Getting those items dry before your next day of travel can be a problem. I highly recommend clothing made of wicking, which will pull moisture away from the skin, keeping you more relaxed, but also some synthetic wicking clothing dries very fast. In addition, I recommend layering clothing when traveling. Two thin layers can be warmer yet lighter than one thick layer because the air trapped between layers serves as thermal insulation.

10. Poor footwear—I am surprised at how many times I see people in flip-flops in places where hiking gear is necessary. Looking fashionable is not as important as feeling comfortable when you are on your feet all day for many days on vacation. I recommend Clark’s Wave Walker Shoes. They make a variety of styles for men and women.

Photography Mistakes

11. Under shoot—I hear way too many people thinking that they took a lot of photos when they just took a picture of each place they saw. You spent all this money to get somewhere; there is no additional expense with digital to make a few thousand photos versus a couple hundred—except maybe a $30 to $50 memory card. Your trip may cost you more than a few thousand dollars, and when you return, your photos are the only thing you have to remember about the journey into your retirement. Most people will experience a memory that diminishes as we get older—so take pictures to help preserve those memories.

12. Don’t bring extra batteries or memory cards—You planned for years, and then you are where you dreamed of being, and your camera is dead because your battery died. Also, you will use your camera more than usual when you travel. So while you have never experienced your camera dying on you, it can and will die on a vacation of a lifetime. Also, buy a few extra memory cards. Rather than bringing a computer, it is much easier to carry a few memory cards rather than getting a laptop.

13. Carry too much or too little gear—I have done both in my travels. Gear problem is where your lack of research on your destination will impact your shooting. A great example is thinking you need to go and buy an 800mm ƒ/5.6 lens for your African Animal Safari trip. Once you get there, the tour guides take you out on open vehicles where for the most part, you are so close you could use your 50mm lens to get the shot. You can also go on a bird-watching tour, and your iPhone will not let you see the photo clearly and close enough in a tree. What about flash, or will you go somewhere where flash isn’t allowed? You may need a camera with a high ISO to get those photos.

14. Too big of the camera—Even if you are a teenager carrying your gear all day for a week or more, sightseeing can injure your back. Be sure that the equipment you bring will be something you don’t mind carrying around with you all the time.

15. Not ready for special situations—If you go to Charleston, SC, and get up early to cover The Citadel Summerall Guards performing on a Saturday morning in the late spring or early fall, you will be dealing with condensation on your lens. I carry a Fog Eliminator cloth for my camera lenses. Leaving a hotel or car with air conditioning and stepping out in Charleston’s high humidity will take 10 to 15 minutes for your camera to stop fogging up. Maybe you are going to a rainforest for a few days. Moisture can destroy your electronics. Make plans to keep your gear dry.

16. Cultural and location mistakes—Too many people do not take the time to read about where they are going. They may find that in their research, they want to be sure to go to a specific location and find out how to avoid security issues. Too many people have stolen things because they are identifiable as tourists and become a target. Those who do their research will be better prepared to avoid these mistakes. Also, even simple things like hand gestures in one culture can mean something different in another, so you must do your best to prepare.

It isn’t accessible to over-prepare, but it is straightforward to under-prepare for your travel. Is it going somewhere soon for a vacation? I hope this inspires you to take the necessary steps to make your trip a lifetime trip.

Stills + Video | NOT Video OR Stills

Reading Time: 4 minutes

 
A client wrote to me the other day. Here was her question:

CLIENT:  A production company did a video on cup recycling, and I noticed this evening that if we could get stills from the video, we’d actually have most of the images we need. I recall you saying once that stills from video on are not high res/print quality. But I went back and asked, and they assured me because they shot it in high def, they could create hi res stills. In your opinion, is that accurate?

I responded first with these two sentences:

STANLEY: First I am really impressed you remembered my comment. My comments were not so much about the resolution, but how they are shot. 

Then I went on and talked about these points below here. But to inspire you to read on, here was the client’s response to my comments:

CLIENT: This is AWESOME, Stanley. I hear every word of what you are saying. All  of it. I am taking it to heart and will influence this on my own team.

Aesthetic
Video is about movement, and stills are about a moment. So you need to preplan if you are the one doing stills and videos. Often many moving shots are not very compelling when you freeze them to one frame from that movement.
Getting both by one is impossible is why on every movie set has a still photographer. Capturing stills is slightly different than the video. 
 
The Technical
If the video camera is 4k, you might have a high-resolution image that is usable. However, if I were to grab a frame from my video DSLR camera, it still isn’t the resolution when the camera is set for still photography.
Today many crews use a 4K camera that is a usable high-resolution still image for print and the web. I want to be sure the image is sharp. Sometimes, the sharpness of a single frame isn’t that noticeable during the movement until you grab just one frame.
If you like the image in the video and it was shot on a 4K video, then the frame may work.
Know who is pitching to you
There is way too much emphasis on video. Those promoting it are selling themselves on this as a replacement to stills—BIG MISTAKE!!!
Those motion capture guys [new name for videographers] that are promoting this as a replacement are showing a lack of industry knowledge.
The News Media
The news media have gone through many changes due to digital and, most importantly, since 1995, the web.
 
For the first ten years, the issue that slowed the progress was the bandwidth. It took a while to get us from dialing up to the ability to stream HD video on the web.
Once the ability to deliver video became possible, many naïve PR folks started to think this was the new standard and that the still image was dead.
I recommend it before reading. Further, you go to these television websites where you expect the video to be king. Take a moment and do the following.
  1. When looking at the main page, notice how many images, in general, are used and how big the photos are as compared to the text.
  2. Pay special attention to the visual promotion of a video link.
  3. Click on a few of those links to the videos.
  4. How often did the still image you clicked on show up in the video?
  5. Do your survey of a few of the stories on the website.

Here are the links. I recommend that you take a few minutes to do your research and then come back and read the rest of this blog. [FYI, to avoid copyright infringement, I did not copy the screens and post them here]

Newspapers even realize after trying to lead with video for a while that the numbers don’t lie. People will click on the still image galleries more than they will watch a video.
A good article addressing the use of stills as engaging  Photos on Facebook generated 53% More Likes Than the Average Post.  
Notice that even when all these news articles talk about Photos and Video, they are using only stills or graphics for engaging you and not video Photos and videos drive the most engagement on social media.
My point is you have video production companies overselling and burning chunks of your budget on video when your media may need that but need still first. Video is in addition and not a replacement for stills.
So think about it this way. You have the opportunity to supply all that an editor needs to post to their website in the way they post their own stories. Sure, they may grab a frame from a video in a pinch, but this is the exception and not the rule for even TV.
PR needs to start supplying the package as the media shoots it. Way too many PR firms continue to operate the way they did in the 1970s. They continue to pitch, assuming new media outlets have the budget to come and cover their event. Instead, get them to like the story and let them go and cover it; that was the mentality back 30 years ago.
Today is 2014, when their slashing budgets. I worked at Georgia Tech, where we supplied the entire package. Text, Stills, and Video for packages are standard all over the media. On average, we were in the AJC every day of the year. 
Georgia Tech is still ranked one of the top schools, and it had a great deal to do with the PR office I worked in for more than ten years created. John Toon, director of communication for many years, was the master of getting stories placed. He knew not to pitch something just because a researcher or professor wanted it promoted. Instead, he vetted those requests and helped get the crop’s cream.
When John Toon’s material went to a news director’s desk, they opened it because he was known for giving them great content, and in a way, they could use it with minimal effort or budget.
Both—Not Either/Or
Please don’t hear me saying don’t use video and stills instead. I am saying you need stills and video. I think video production companies do a disservice when they tell you they can do it all, and they never have their material in significant magazines or news outlets regularly.

Many of these companies produce high-end videos used in meetings and events. Their work is superb. But it isn’t what the media creates and runs. 

Storytelling is about capturing moments

Reading Time: 4 minutes
 
Nikon D2X, 24-70mm ƒ/2.8, ISO 800, ƒ/2.8, 1/40

Storytelling is about moments.

You may think that sitting around a room where people are just talking; things move at a much slower pace than, say, a baseball game.

You would be wrong. I think the action moves just as fast as in any sporting event.

Nikon D2X, 120-300mm ƒ/2.8, ISO 400, ƒ/8, 1/1500

Sports photographers are not pushing their shutter on the motor drive and then picking a significant moment in sports any more than they do with people sitting around in a room. The motor drive is to take the photos after the moment the photographer is capturing them. Concentrating on after is because you don’t know if the ball will pop out of the catcher’s mitt, and the player sliding home then is safe.

Nikon D2X, 70-200mm ƒ/2.8, ISO 400, ƒ/5, 1/160

The ever-so-slight head tilt or body posture can communicate so much. It doesn’t have to be a big gesture like one of the men with the hand gestures. It can be ever so subtle as the lady in the photo above.

Nikon D2Xs, 18-25mm ƒ/2.8, ISO 400, ƒ/6.3, 1/100

Can you see the moment?

One thing that can kill a great moment is not being able to see it.

Impact 360 Block party for Pine Mountain Apartments.
Impact 360 Block party for Pine Mountain Apartments.

As you can see in these two photos of the young girl, the off-camera flash adds life to the face giving more dynamic range and, therefore, more color and energy to the photo. However, capturing the moment is more than just squeezing the shutter at the right moment.

Impact 360 Block party for Pine Mountain Apartments.
Impact 360 Block party for Pine Mountain Apartments.

Can you see how much more “POP” this photo has with the off-camera flash?

Impact 360 Block party for Pine Mountain Apartments.
Impact 360 Block party for Pine Mountain Apartments.

Photographers do all they can when they are telling a story. However, they must get the best light to help communicate the report on the subject and the best moment.

Kurtis Fitz-Ritson and John Wesolowski painted a fire hydrant as part of their community service in the IMPACT 360 program in Pine Mountain, GA, on November 28, 2007.

Sometimes I crawl on the ground to get into a position so you can see the subjects’ faces, and then since sometimes the best location for the issue has the sun right behind their heads, as in the photo of the guys painting the fire hydrant [fire plug for those out west] I again use an off-camera flash to fill the subjects faces with light, so they are not just silhouettes.

Other times I get as high as I can to look down on the subject to capture the expanse of surroundings and their faces.

IMPACT 360: Graduation

I rarely have people pose and hold it for me, as in this photo of the two ladies. There was just a moment, and I shot it. It worked well, and I liked the moment but had I said hold it just a second, OK now 1 …, 2 …, 3 … this would have killed the expressions. So even when people pose for you, if they hold their face, it isn’t as good as just before they hit their peak smile. I love to shoot just before they reach it.

This way, they are smiling and not just posing.

Visual Storytelling involves being prepared

Reading Time: 5 minutes

Be Prepared: The Motto of the Boy Scouts of America 

“Be prepared for what?” you might ask. For everything is the response, scout leaders will tell those who ask.

Be prepared to live happily and without regret, knowing that you have done your best.

I started scouting and then joined the Civil Air Patrol. Civil Air Patrol has continued to save lives and alleviate human suffering through various emergency services and operational missions. Best known for its search-and-rescue efforts, CAP flies more than 85 percent of all federal inland search-and-rescue missions directed by the Air Force Rescue Coordination Center.

CAP spends a lot of time in training and education around aerospace. I remember going on camping adventures where we would practice search and rescue. We learned how to read maps and use our compasses to navigate rugged terrain.

I also went to the McGuire Air Force base in New Jersey summer camp. We learned to shoot M-16 rifles during that camp. We also took a ride in a C-141. Like all young boys, I wanted to go on a search and rescue mission and be in the woods with an M-16 rifle on maneuvers. I wanted adventure.

Most of us grew up learning a great deal of stuff that prepared us for where we are today. A good amount of what I learned in scouting and Civil Air Patrol are things I hope I never have to use, but I am thankful I now know what to do in an emergency.

Photographers need to be ready.

Like the scout we study, we know what to do in a given situation. But, I had to get to capture these wildlife photos.

Being ready today is often due because I wasn’t always in the past. For example, I now carry a tripod on every photo shoot. I may leave it in the car, but I can quickly get to it.

When I am shooting sports, I have long lenses and a monopod.

I also like to use the ThinkTank belt system that I customize with the gear I need for that event. I do not want to require a flash and not have it.

I even have KWP Knee Pads to help save my knees when shooting from the kneeling position.

Being Prepared can be Depressing.

By my senior year in high school, I finally dropped out of Civil Air Patrol. I was tired of doing practice runs for search and rescue and never getting actually to do a “real” search and rescue.

“Patience, young grasshopper,” Master Po often said to young Cain in the TV series Kung Fu.

Being a thrill seeker can get you into much trouble. A week ago, on my Google alert for my name “Stanley Leary,” an email alert came in for Sean “Stanley Leary,” who died from BASE jumping. Leary’s body, rigged up in his BASE jumping gear, was found 300 feet beneath a high ridge in the park’s West Temple area in Utah’s Zion National Park.

He was a thrill seeker.

I found, as a photojournalist, my heart pumping as I covered disasters. While, on one level, I was sad about the tragedy, I still enjoyed the rush of my blood pumping.

March Madness has some of the best moments in basketball history, and then it has had some moments where everyone wishes there was a mercy rule. Take the 1963 Mideast Regional, 1st Round: Loyola 111, Tennessee Tech 42 game. A 69-point difference in the score of the two teams.

I think there are no great photos when you Google those blowout games. They may even have a headshot of the MVP. The lack of great images is because the game wasn’t that interesting.

This year there have been many games coming down to the last few seconds where the winner won by just one basket. These games were great to watch and photograph.

I have covered many games where the two teams were playing flat. There was not much emotion or effort on the field for me to capture. When I edit, I try to find a photograph that tells the story, which is somewhat interesting for the viewer.

Blowout is a big contrast to those double overtime games I covered during March Madness, where I would have so many moments I had to narrow down my selection.

Being Professional Photographer in Flat Moments

It isn’t easy to photograph these moments where very little is going on. Lack of the obvious However, this is where the great photographers start to stand out truly. They look for exciting things that they now have time to look for as compared to those moments where so much excitement is happening you are just trying to capture what is happening.

The difference can be as simple as having a very introverted subject compared to an extrovert. , So yes, you can take great photos of each, and one is not superior to the other, but one may require you to work harder.

I have gone further downfield and used long lenses like a 600mm ƒ/4 lens to find a different angle.

I have gone to the corner of baseball fields to capture something different.

I shoot with a long lens from the other end of the basketball court to get something different.

I will use off-camera flash to help improve photos to give moments a little more oomph.

While I may not have as many ” keepers ” photographs from flat events, I will always have some that will work for my client. That is what they are paying me to do.

You cannot come back and say there was nothing to photograph. At my first newspaper job, the director of photography told me then to show me there was nothing to snap and don’t come back with anything.

At that newspaper, we sometimes went to places where no one was. So we would take a picture of the empty field and make it look good, showing we were there and nothing was going on.

I get depressed after some events because I don’t have much to show. I sit and think and wonder what I could have done better. I always think of something that I could have done a little better. If, in the end, you can say you know that you have done your best, then you can be comfortable with your work.