Two Distinct Parts of being a Multimedia Storyteller

 
Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/5.6, 1/25

At the end of a whole week of the Storytellers Abroad Workshop in Bucharest, Romania, we showed the projects to our hosts. While not all were complete, we showed the works in progress.

We did a few with just minor tweaks that one might need.

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 5600, ƒ/5.6, 1/100

Jeff Raymond is interviewing James Dockery, lead video editor for ESPN and workshop instructor.

I, too, was interviewed about my perspective on the workshop. These clips, along with others, will be used to help promote Storytellers Abroad in the future.

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 1400, ƒ/4.5, 1/100

Anthony [Tony] Amorteguy has his own communication business and was the one capturing all the footage during the week.

As we talked, I think two things stood out the most.

Storyline

The first skill that one must master is understanding the storyline. We believe that the best students for the workshop are those like journalists who understand stories.

The one student who excelled beyond most everyone else wasn’t a journalist but a creative director. He was used to directing the capture of stories but had never done the hands-on camera/audio/video editing himself. Instead, he had always directed others.

Those who didn’t have this background struggled most with their packages.

While you do not have to have your storyline in this exact order to work, the essential elements need to be present.

Multimedia

The second skill needed to produce these packages is capturing the content using still images, audio, video, and the ability to edit this into a timeline.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 7200, ƒ/5.3, 1/100

Here you can see Jon Franz, senior creative director for Kimberly-Clark, working with Jeff Raymond, media missionary with the Association of Baptists for World Evangelism, fine-tuning his project on missions in Romania.

Nikon D750, Nikon 85mm ƒ/1.8G,  ISO 720, ƒ/1.8, 1/100

We worked around the clock shooting and editing our projects. Here is Keziah Khoo working through her lunch to get her edits done.

Which is more important?

So which is more important, the understanding of the storyline or multimedia? They are equally important. Both are needed to engage an audience.

Third major Element

The biggest mistake in communication forgets your audience is not there with you.

It would help if you thought of the audience. Why should the audience even care about this story? What would be most interesting to them? After they hear the story, what actions should they be taking?

If you are interested in putting all these skills together, I can tell you that while all three are equally important, a learning curve and steps are necessary.

I would highly recommend you first learn a storyline and how to tell one. This skill is just you learning how to tell a bedtime story or a campfire story.

My recommendation for those wanting to be storytellers is to read The Writer’s Journey: Mythic Structure for Writers by Christopher Vogler. You can get this on Amazon for $14.88 as a paperback. Here is that link

Christopher Vogler is a veteran story consultant for major Hollywood film companies and a respected teacher of filmmakers and writers around the globe.

After reading this book, then start practicing.

A simple thing to do is start practicing by telling bedtime stories. If making things up is difficult, tell the story of how you got your job. The key is that these stories are not timelines of events, but there is a crisis that forced you to seek help.

Here are some basic guidelines for interviewing a subject:

1. Prepare carefully, familiarizing yourself with as much background as possible.
2. Establish a relationship with the source conducive to obtaining information.
3. Ask questions relevant to the source that induce the source to talk.
4. Listen and observe.

After you gain the skill of storytelling, then you are ready to capture their story using multimedia. Mastering the storyline and capturing it on camera is what Storytellers Abroad Workshop teaches.

Use light to direct your audience

 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/22, 25 sec
 
We are progressing through the multimedia workshop here in Bucharest, Romania. Last night we went out on the town to get some b-roll for the student’s projects.
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 2200, ƒ/4.5, 1/500
Bucharest has canals and water fountains that it is known for. I also wanted to capture the reflections at night time in the water and the blurred car lights.
 
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/6.3, 1/200
Don’t light everything evenly if you want to make your photos better. Shooting at night is one of the very best ways to shoot and make your photos more dramatic since only where you have street lights, car lights, or anything since the sun isn’t lighting the scene helps you grab people’s attention.
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 200, ƒ/9, 1/500
Notice here in the daytime scene how the light is more even on everything, which means your eye has no direction as in the top three photos.
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 1800, ƒ/5.6, 1/500
To make this photo work as a group selfie, you get physically close to direct the audience where to look.
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 2200, ƒ/5.6, 1/500
I am only inches away from the subjects here with my AF-S NIKKOR 14-24mm f/2.8G ED lens. Being close helps me be sure you know to look at the photographers. Now, if it were pitch black, I could be a bit further back and have light only on the subjects, and then you would go right to them. However, with the light, even though the scene, you must rely heavily on composition and not the light to make the photo work.
 
Nikon D750, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/1.8, 1/500 
In the last photo, we are inside, where the evenly fluorescent lighted classroom makes it difficult to use light to direct your eyes. So here, I used a Nikon 85mm ƒ/1.8 lens to isolate the subject through framing and the shallow depth-of-field to help you force the audience toward the student and teacher as they work on a project.
 
I think it is pretty apparent that the first three photos are more dramatic and grab the audience’s attention than the other photos and all of this is due to not lighting the entire scene evenly.

Shooting In A Romanian Village

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 1600, ƒ/5.6, 1/100

Shooting in a village with 10+ photographers drew much attention in a town outside of Bucharest, Romania.

 
It was challenging to get moments when people were unaware of me. So I shot some images to capture the village as they responded to us.
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 560, ƒ/5.6, 1/500
In these situations, I love shooting either with a super wide-angle lens or telephoto. Here you can see that the guys at the table thought I was shooting the wall, but I was capturing them at this table.
 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 280, ƒ/5.6, 1/100
Here I zoomed in with the AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR on my Nikon D750 to capture the smoke from the cigarette swirling around the woman.
 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 500, ƒ/5.6, 1/100
With this couple, I was in a car as we were passing. We stopped, and I shot a few frames after asking permission to take their picture. 
 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 900, ƒ/5.6, 1/100
I also shot some portraits where I interact directly with the people. Here I shot it with a telephoto lens, then switched camera and lens to get a different look with the wide-angle.
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 720, ƒ/5.6, 1/500
I like this photo because I see more context, but this doesn’t mean it is better. I like both images for different reasons.
 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 1600, ƒ/5.6, 1/100

Discovering Moments

I was also enjoying those bonus moments like this of the guys coming towards me on the cart. I just looked down the street and saw them coming our way, so I could zoom and compose the photo.
 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 12800, ƒ/5.6, 1/100
I love just showing these villagers in the context of where they live.
 
Tips when shooting with a group of photographers. Try and separate yourself a little from the pack. Shooting in a pack doesn’t get you the best of photos. However, there are moments where shooting in a group might work.
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/9, 1/320
Here the guys got their accordions and were performing for the group. This moment was easier to capture photos because this would be like shooting a concert–it was a concert for us.
 
 

Storytelling is more than ƒ/8 and be there

[NIKON D4, 14.0-24.0 mm f/2.8, Mode = Aperture Priority, ISO 1600, 1/2000, ƒ/13, (35mm = 14)]

ƒ/8 Be There

The quote “ƒ/8 and be there” is attributed to Weegee, a famous street photographer during the 1930s, ’40s, and beyond. It represents a philosophy to keep technical decisions simple and be where your vision takes you. The quote has been the mantra of photojournalists, travel photographers, and even nature photographers.

Weegee’s quote says you need to anticipate and be technically ready to capture “the decisive moment.”

Be careful not to treat your interviews as having microphone and recorder levels set and just hit record.

Interview

In interviews, you are not just listening and capturing what you hear with the microphone and recorder. Instead, you must listen and see if what you are hearing can be said more effectively.

Nikon D3s, Nikon 24-120mm ƒ/3.5-5.6, ISO 2000, ƒ/10, 1/250

You need to be actively listening. After the subject talks, you summarize their thoughts and ask if you are tracking with them. If they agree and your summary is shorter and getting to the points very effectively, ask them if they mind saying this so you can capture it.

Your goal is to shorten their comments so the audience will not doze off. Instead, they will stay engaged because the subject is now more engaging. After all, you helped them to tell their story more effectively.

Very seldom will you ever capture someone that all you need to do is rearrange their sound bites into a story? You must also help them say what they are trying to communicate better.

If you do not do this during the interview, your editing software like Adobe Premiere Pro or Final Cut Pro X will not improve the content. Get the content edited without the technology by just helping someone tell their story and then use the technology to deliver the message to the audience by putting the icing on the cake.

You are editing in real-time by actively listening and asking follow-up questions based on their answers. 

Storytellers Abroad Workshop In Bucharest Romania

 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 1000, ƒ/5.6, 1/500

Romania

This week I am helping teach storytelling with seven students with Jeff Raymond and James Dockery in Bucharest, Romania.

Yesterday I went with Liz Ortiz as she interviewed Nicoleta, a children’s teacher in a small village outside of Bucharest, Romania.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 1000, ƒ/5.6, 1/500

To do the interview, we had Edith Mihaiciuc be our translator for Nicoleta.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 250, ƒ/5.6, 1/500

The hard part was keeping everyone around us to remain quiet while Liz was interviewing.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 360, ƒ/5.6, 1/500

Before we left, they had a prayer, but Liz needed to get a b-roll of the prayer for her project.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 250, ƒ/5.6, 1/500

Liz also got some b-roll of Nicolete playing a game with the children. They passed the ball as she sang and when she stopped, whoever was holding the ball had to say one way God shows us he loves us.

This project was the first time that Liz had done an interview or shot a video b-roll. We all can’t wait to see what her video looks like later in the week, so stay tuned to see the final project.

Why are some people so resistant to learning?

I love teaching and have been told that I am good at it. However, the results tell me there is still room for growth.

I love to pick apart something to a level that, quite frankly, annoys some people. I will obsess over what seems forever to examine what could be done better.

This photo of me looking at some Union Students’ work captures my intent. I think a long time before I open my mouth to give feedback. Even after thinking about it, I could still have used a healthy dose of tact to deliver those thoughts.

photo by Dennis Fahringer

There are three main things that many would say are contributing factors to the resistance to learning:

  1. Motivation—Many things impact this, from needs and desires to the environment that can create push. I have watched training at Chick-fil-A and noticed that making something a game seems to increase motivation. People can see the reward for their learning.
  2. Intelligence—We all have strengths and weaknesses; sometimes, the subject matter is beyond our capacity. Often, we talk about Intelligence Quotient, Emotional Quotient, and other descriptors that get to the core aptitude.
  3. Teaching—There are good teachers and bad teachers. The best teachers do a great job presenting their material in ways that engage the different learning styles.

Here are The Seven Learning Styles:

  1. Visual (spatial): You prefer using pictures, images, and spatial understanding.
  2. Aural (auditory-musical): You prefer using sound and music.
  3. Verbal (linguistic): You prefer using words in speech and writing.
  4. Physical (kinesthetic): You prefer using your body, hands, and sense of touch.
  5. Logical (mathematical): You prefer using logic, reasoning, and systems.
  6. Social (interpersonal): You prefer to learn in groups or with others.
  7. Solitary (intrapersonal): You prefer to work alone and use self-study.

However, I continue to come up against one thing that creates a resistance to learning. 

 #4 Resistance to Learning: Psychological Cost of Learning The most significant obstacle I continue to come up against is asking adults, significantly, to “change their ways.” A great example of this within my profession was those who resisted switching from film to digital capture. With film, some photographers were highly competent, and the switching to digital was a significant blow to their world. 

When teaching storytelling, I find that students often think they are already very competent in some areas, when in reality, they are just like those who were shooting film before they switched to digital. There are three ways people will go through this:

  1. Crisis—For some, it was finding out that film wasn’t all that available or the expense was too great.
  2. Hitting Bottom—Just like an Alcoholic who loses everything and is on the verge of death. Just like those who go to a rehab facility, some change.
  3. Learning Environment—This is like a workshop where people are exposed to the learning curve and do not have to change, but often due to the safe environment in which to learn.

This is similar to a great storyline as well. If you think where you are is because of your competency and, in reality, resist the inevitable change necessary for survival in this field, you will soon hit rock bottom or have a crisis.

My constant prayer while teaching:

God, grant me the serenity to accept the things I cannot change,

The courage to change the things I can,

And the wisdom to know the difference.

Good teachers care enough to evaluate their teaching but realize that the student is responsible for their learning. So, while teachers do their best to make learning as entertaining as possible and engaging to the different learning styles, resistance is still present many times.

There is the point that the teacher allows for the student’s failure because while we try to create a learning environment, some students will only learn from a crisis or when they hit rock bottom.

The wisdom in knowing when the success of the student is more their issue than it is mine is really about not giving up on them, but letting go of it is my problem. My life coach tells me this is not OVER thinking things.

Want better pictures? Find better light

 
Fuji X-E2, FUJINON XF 55-200mm, ISO 6400, ƒ/11, 1.1 sec

I took a Maine Photography Workshop class with Steve McCurry early in my career. I learned a few things during my week.

One thing that was quite frustrating was that no one was helping me get over the hump with my work. I felt like I was floundering. I would show my work and ask what I could do that would have improved the images.

Over and over, I would hear you need to shoot these places at a different time of day. I can imagine I probably was rolling my eyes at these comments.

For a chunk of the work, I showed projects shot for clients. Unfortunately, I will not be back; this is the best I could pull off.

Fuji X-E2, FUJINON XF 55-200mm, ISO 200, ƒ/6.4, 1/500

Therefore my work continued for a while, looking at the difference between these two images.

Now, look at what makes all these photos pop.

Fuji X-E2, FUJINON XF 18-55mm, ISO 200, ƒ/9, 20 sec
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 200, ƒ/14, 1/320–off camera flash
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/2.8, 1/60
Fuji X-E2, FUJINON XF 18-55mm, ISO 6400, ƒ/2.8, 1/90
Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS, ISO 100, ƒ/5, 1/250–Off camera flashes
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 125, ƒ/14, 1/250–off camera flash

You have to be willing to get up early or stay up late and look for the best light, or you have to create your lighting as I often do today. You see, photography is writing with light. So you need to learn all you can about light and when it occurs naturally to take advantage of those moments or when the light isn’t all that good, bring your light to help improve the existing light.

There are two things you need to remember; it is often easier to plan your photos to coincide with the time of day that the light will look the best and, when necessary, know how to add light to improve an existing condition.

Annual Family Reunion Photo

 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 500, ƒ/8, 1/60

I memorialized our family reunion at Emerald Isle Beach in North Carolina this year with the family photo of those who could make it.

Here is the setup I used for the photo:

To fire the Nikon D750, I used the Nikon ML-L3 Wireless Remote Control (Infrared) to trigger the camera. After that, I just had to go into the menu on the camera to set it up for triggering remotely.

Here are those instructions for you:

Here is an older blog post I did on doing these photos on the beach.

Here are some photos from another year at the beach:

While posed family photos are great, I love capturing spontaneous moments even more. So here is that blog post where I talked about doing this.

Key To Good Reflection Photos

 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 1100, ƒ/16, 1/100

The key to getting dramatic photos of reflections is getting your camera as close as possible to the ground.

I am using the technique I mentioned earlier when photographing mushrooms in my yard. I am using LIVE VIEW with the Nikon D750 and flipping out the LCD screen so I can compose my shots.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 2200, ƒ/16, 1/100

I also used this same technique to get photos of the shells on the beach. Again, I set the aperture to ƒ/16 and focused on the shell closest to me.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 1600, ƒ/16, 1/100

The beach was fantastic this evening; I could capture the clouds catching the last bit of sunshine as the sun dipped below the horizon.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 1400, ƒ/16, 1/100

I kept playing with the horizon and what to include or exclude in the photo.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 2500, ƒ/16, 1/100

Here I eliminated most of the sky and just captured the sky’s reflection with the waves in the background.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 900, ƒ/16, 1/100

Here I brought the camera up a little, so the reflection isn’t quite as good. So now I am just getting the hint of the sky in the reflections off the water.

Now you know.

Looking for moments that trigger nostalgia at the beach

 
Fuji X-E2, FUJINON XF 18-55mm, ISO 1250, ƒ/6.4, 1/500

Whenever I go to the beach, I look for those moments that are timeless and make me connect to years gone by. Honestly, it isn’t easy to do, but I try each time again.

Fuji X-E2, FUJINON XF 18-55mm, ISO 3200, ƒ/9, 1/500

I do this by just looking and seeing if there is an emotional pull from the scene. Then, I try to isolate objects and try different angles.

Fuji X-E2, FUJINON XF 18-55mm, ISO 800, ƒ/9, 1/500

I think sometimes the silhouette helps to make objects and people more symbolic.

Fuji X-E2, FUJINON XF 18-55mm, ISO 1250, ƒ/9, 1/500

For an image to create a timeless mood, it must be a great use of light. You have to grab people’s attention and pull them in.

Fuji X-E2, FUJINON XF 55-200mm, ISO 200, ƒ/8, 1/800

Sometimes the activities are more timeless and can bring back those memories.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR,  ISO 100, ƒ/9, 1/250

One thing I am noticing is that the light is flat in the middle of the day, shooting on a beach.

Fuji X-E2, FUJINON XF 55-200mm, ISO 200, ƒ/4.8, 1/2400

I have some new memories of our family enjoying the beach, so that we will cherish these; however, to communicate beyond our family and have an impact, that must be universal in their language of imagery.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR,  ISO 110, ƒ/14, 1/100

You must stay tuned to see if I finally find the images. After that, I hope you will want to pack your bags and head to a location.

Cleaning Up Background By Panning

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 6400, ƒ/5, 1/3

I was taking some photos of the band Farewell, My Love when I realized the background wasn’t really what I wanted.

I thought for a moment and decided that since the shutter speed was already slow, pan the shot to blur the background and use the flash to freeze the band.

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 6400, ƒ/5, 1/5

In hindsight, I would have changed one thing. I would have changed the flash from Slow Sync to Rear Sync. Rear Sync would have sharpened the band and put the blur behind them.

I will have to wait and try this again and try the Rear Sync flash.

Six Tips To Improve Your Next Project

 

James Dockey, a Senior Editor with ESPN, helped a student with settings during our Storytellers Abroad Workshop in Lisbon, Portugal, last year. [Fuji X-E2, FUJINON XF 18-55mm, ISO 6400, ƒ/2.8, 1/60]

We are finalizing all the plans for the workshop I am helping teach in a couple of weeks in Romania. Through all of this, there are things I am making notes about for any future workshops.

After reviewing some of my notes, here are some tips that are not just about workshops but really apply to everyday assignments and projects.

1) Be Prepared–I think another way of thinking of this is to continue to review and think of anything you can do now that will improve your work. We used to joke in agency work that the person in charge of the deadline was the FedEx or UPS guy; when they come to pick up the package, that is when it is complete.

So until you leave your house or workplace to go to a job, you still have time to make changes and adjust.

Being prepared is making a list of all the gear you need to contact, all travel plans, and most importantly, being sure you have prepared those you will work with on the project. Do they know all they need to do before you arrive? Have they had time to dialogue with you about their responsibilities?

Do you have your contingency plans in place as well? That is when you don’t just have plan B but C, D, E, and so on.

2) Learn from previous jobs–It never fails that while doing a job, I don’t realize there was something like miscommunication that creates a bump in the road for a project. Each time I make a mental note about how to avoid this in the future. Most of the time, I do, and then the next project, another new thing is put on the list.

While I was in Honduras last October, just after we arrived, we sat down to go over the ‘RULES.’ They numbered them, and after we reviewed the list, we signed a piece of paper saying we had reviewed the rules and would abide by them.

The last thing we said was a great way to think of why we have these lists in the first place. The leader said that through the years, as situations arose that caused problems, the organization created a rule to put on the list. “Please, people, think and use your common sense; we don’t want a new ‘RULE’ because of your time here.”

James Dockey talks to the group about how he would approach shooting nighttime shots for b-roll use later for their projects. [Fuji X-E2, FUJINON XF 18-55mm, ISO 6400, ƒ/2.8, 1/30]

3) Create a Timeline–Think through each step and what needs to happen at that step. What must you have done by then, and what will you need to make that happen? I suggest talking this through with someone and asking them to see if a step is left out. If you do this to the end, you will have done your best to plan for every project phase.

I like to think of creating a timeline as reverse engineering your project. Reverse engineering, also called back engineering, is the process of extracting knowledge or design information from anything manufactured or reproducing it based on the extracted data. The process often involves disassembling something (a mechanical device, electronic component, computer program, biological, chemical, or organic matter) and analyzing its features and workings in detail.

4) Intentional Communication–You need to create a dialogue and not just a list to hand out to people that need to be a part of the process. You may say, “Here is a timeline I have created for this project. Here are the specific areas I see us working together on, and can you see if you agree with this or have changes I need to make? My goal here is to be sure we have adequately planned for this project and to make this a great success for everyone involved.”

Remember, if they are a part of the project, you need them, and you need them to help you see what they need from you to help them meet your expectations and the team’s expectations.

James Dockey taught everyone how important pastries were. In addition, he was teaching us how to have fun and build relationships with everyone–even the worker at the pastry shop. [Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 7200, ƒ/8, 1/100]

5) Put the priority on the people and not the project–Too often, we tend to concentrate on getting the task done, which has us looking at the shortest distance from A to B.

Pretty much everything that became a ‘RULE’ involved a person. The success of a project then, at the root, relies on how people perform. People’s performance often comes down to how well they feel treated by those involved in the project.

Don’t use the philosophy, “The squeaky wheel gets the grease,” to decide if a person is OK with everything if they don’t complain. Instead, take the time to get to know your team. The key to success is when everyone feels appreciated and accepted by one another.

Treating someone with honor, dignity, and respect does not mean you agree with the person on everything. No two people will ever agree on everything. If so, then one of them is not necessary.

Everybody is better at something than you. The key to getting the best performance out of people truly is making it your job to be sure you recognize another person’s strengths and tell them.

Make the relationships more important than the end product; if you do this, the project will be more successful than making it more of a priority than the people involved.

6) Go with the flow–When you try to oversteer a car, you wiggle the vehicle back and forth. Once you start to look further down the road and relax, the car needs less steering. The vehicle will steer itself if it is properly aligned. Your hand makes minor adjustments to the steering wheel. So too, should your project be produced.