Storyteller tips before you leave for your coverage

 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 1800, ƒ/5.6, 1/500

Last June, I was in Bucharest, Romania, teaching the Storytellers Abroad Workshop. I will fly to Managua, Nicaragua, to teach the same workshop with my friends Jeff Raymond and James Dockery in just a few days.

Let me give you a few tips for storytelling that we are doing this week before the class goes to Managua.

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

I had never traveled for any story that I did not have an idea of who and what the story was before I left my house. You need to prepare as much as possible, and if things change, that is OK, but don’t go unprepared.

Every one of the students will have a person/story that they will produce into a video story. Typically for the working professional, if you are traveling overseas, you will most likely have a month or more to prepare for your story due to the logistics of traveling.

Once you have the contact information of your subject, please do all you can to correspond with them as soon as possible. Sometimes I have not had the luxury of working directly with the subject. During those times, I worked with the NGO staff person on the ground in that country. Often with church organizations, this was the missionary.

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

Most of the time, someone with an organization has identified a person and tells you their story. Often in the interview process, the story can evolve or change. I always use this storyline to formulate questions to help “flesh out” the story. To flesh out something is to give it substance or make it fuller or more complete.

A few times in my career, I was able to do so much research before I arrived that the story had little changed. I had asked enough questions that I felt comfortable and could tell the story as I understood it back to the subject to be sure I was on target.

When that happens, I have an outline with the text/verbal part of the story and a visual shot list that I would use as a b-roll. In addition, interviews and documentary films may describe secondary footage that adds meaning to a sequence.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 1100, ƒ/4, 1/100

Besides interviewing the subject, I also spend a lot of time researching the country and the region. Before the internet, this meant going to the library and pulling all the books I could find and periodicals on the land. Today with Google, this process is so much easier.

I also love to read if I can find documentary novels on a culture. Sarah Vowell is one such writer who views history with a visitor’s eye. She wrote Unfamiliar Fishes, the short and awful history of Western intervention in Hawaii, up to the U.S. annexation of the kingdom in 1898.

Sometimes a novel can help you feel like you have been somewhere before you have experienced it. For example, I know many people who have read Pat Conroy’s book South of Broad feel like they know that area of Charleston, SC, just from reading the book.

Nikon D4, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/8, 1.6 sec

Now the other thing that is cool with Google is when you research a location like Seattle, Washington, you can narrow that search to see images.

Google images are a great way to get ideas on some establishing shots for the beginning of your story. When I did all this homework before I showed up in a city, I already got the street addresses and knew what the best time of day to shoot that skyline shot was. It is on my calendar with all the other appointments with the subject before I leave for the trip.

Tips Summary

  • Identify the story/subject before you go.
  • Contact your subject and find out all you can before your trip
  • Research the area you are going
  • Find as many photographs of the area before you go.

Do you like reading my blog? How about something even better?

I hope that if you read my blog regularly, I may get you excited about having more time with me in a workshop where you can ask questions and have me clarify even more than you get through this blog.

I am getting excited about teaching storytelling workshops over the next few months.

I am flying to Nicaragua in a couple of weeks to help teach a storytellers workshop abroad with my friends James Dockery and Jeff Raymond. Right after that workshop, I will be in Kona, Hawaii, with my good friend Dennis Fahringer, teaching the same skills to his students who will go to Brazil to cover stories about the Olympics.

Storytellers Abroad Workshop
Bucharest, Romania
Herăști, Giurgiu, Romania

While seeing sites like the sunset above in Kona is part of the trip, we spend a lot of time as James does with student Jon Franz. We enjoy working with people and watching stories come together over a week.

Storytellers Abroad Workshop
Bucharest, Romania
Herăști, Giurgiu, Romania

Unfortunately, the Nicaragua and Hawaii classes are full, but you can join Gary S. Chapman and me in Honduras this fall.

Come with us to the remote area of Agalta Valley in Central Honduras. We will be staying at Rancho el Paraiso, a 1,400-acre working ranch. You can learn to milk a cow if you like and watch the herd of cattle being taken out to the fields daily and brought in for milking.

When the founders started Honduras Outreach 25 years ago, they bought the ranch and created dorms and a cafeteria to house the volunteers who come year-round to do projects in the valley. Their 60 local Honduran staff members work year-round with communities in healthcare, agriculture, education, faith-building, and commerce.

Honduras Outreach has had the president of Honduras visit the ranch and come to the US to give them an award for such outstanding work.

Enjoy your days taking pictures in the beautiful Agalta Valley and showing your work to world-traveling seasoned professional photographers [Gary Chapman and Stanley Leary] for daily feedback.

We will also be teaching how to capture a story for a nonprofit. Finally, we will give you tips you can use in future travels.

Go here to learn more about the workshop.

Honduras Outreach

“The reason I do workshops is so I can learn, and I am fortunate that I’ve probably gained more from the whole teaching experience than any participant has. It is all about asking.” – John Sexton.

 There are a couple of things that the workshops I am teaching all have in common. See if this appeals to you.

  1. ACCESS – One of the most challenging things about having great images and stories is access to interesting people. All the workshops I am working with have already lined up stories for the workshop participants.
  2. MORE THAN – This is a deeper dive than that as a tourist. You get to meet someone, hang out with them, and learn more about them. Meeting people where they live is what tourists seldom get to do on vacation.
  3. SEASONED PROS – Getting feedback each day from professionals whose lives have been traveling the world and telling stories about people from every walk of life. Have them review your work and give you tips each day.
  4. LOGISTICS – All the logistics of the traveling have been taken care of for you. You must pack and get to the first location, and we will plan the rest for you.
  5. TRAINING – We will teach you how to use software, get a story, and assemble it in a package.
Rodeo Parker Ranch, Waimea, Hawai’i

The lure of travel is seeing new things and places. 

Wind Mills at South Point on the Big Island of Hawaii.

Nikon D5: Sports Camera Settings

These are the settings that I use on my Nikon D5 for shooting almost all sports action. Nikon has made it pleasant to allow photographers to save these settings, so they do not have to remember every little setting they like to use for a shooting style.

If you go to the menu under the camera, the icon picks the first item, “Shooting menu bank.” I have chosen B, which is my sports menu.

If you toggle into the “Shooting menu bank,” you can rename those settings. Once you choose one of these settings, everything you do to change the menu will be saved in that menu bank. I recommend trying all my settings and then tweaking them to your preferences.

When shooting sports, it is prevalent for the lighting conditions to change instantly. For example, while the football player runs toward you, they may go from shade into direct sunlight. For this reason, I let the camera do some of my thinking.

Go to the camera icon and look for “ISO sensitivity settings.” Select this, and you will then see this menu:

I turn on the “Auto ISO sensitivity control.” Then I set the minimum shutter speed to 1/4000. Of course, you could pick something else. I used to shoot at 1/2000. The ISO setting is what you see in the smaller window below the menu. I set this to ISO 100 and the “Maximum sensitivity” to ISO 102400.

While I am in Aperture Mode shooting, the camera will always pick 1/4000 shutter speed. So if in sunlight I am at ƒ/4, the shutter speed may go as high as 1/8000 at ISO 100, but as the scene changes and the athlete is now in the shade, the camera will automatically drop to 1/4000 @ ƒ/4, and then change also the ISO up until I can still shoot at 1/4000.

The shutter speed will only dip below 1/4000 if the ISO peaks at 102400. If my aperture is wide open, the camera is doing everything I would have done manually but faster than I could ever adjust the camera. That is how you get more shots than the guy next to you.

Next, select the Pencil on the menu and go into the Custom settings bank.

Again just like the Photo Shooting Menu, create a Sports Menu as I have done here.

Next, choose Autofocus in the menu.

Then choose the Focus tracking with lock-on.

I change the “Focus tracking with lock-on” from Normal to 4. What happens when I do this is the delay for the lens to refocus if something occurs between the camera and the subject (like a referee). For example, while following someone, the camera will not refocus immediately. Again, you need to try and pick what you like. For example, you may want the lens to be more responsive and therefore go to set one, letting the lens refocus instantly.

Focus Settings

Note the lenses you choose affect the availability of focus points.

You want to pick Autofocus Continuous mode for sports.

In the menu Pencil selections, pick AF Activation under the Autofocus settings.

Then choose the AF-ON only. This means when you push the shutter release, it will not focus but fire the shutter to take a photo.

By changing these settings, you will notice the camera will stay in focus and shoot a faster frame rate. Great for following a baseball player sliding into a plate and another player trying to tag them, or maybe a football player is running toward you to score. You will find more photos tack sharp in a series.

I generally put my focus point dead center and lock it, so I don’t bump it. However, I am trying to get photos of moving subjects, and the off-center is too tricky. I may crop later for a better composition, but I want the subject to focus first.

This gets complicated, so pay attention to the highlighted text above.

  • Moving Predictable – 25-point dynamic-area AF
  • Moving Unpredictable – 72-point dynamic-area AF
  • Moving Erratically side to side – 3D-tracking in AF-C

Here are the selections again with more explanation

The only other setting is on the lens that I turn on VR.

Are you in a fog trying to find your way?

 
Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, Sigma TC-2001 2x, ISO 450, ƒ/5.6, 1/4000

In any sport, winning requires recruiting and getting the best people. You then need to practice together and have a game plan against your competition, which you have scouted and prepared to play against.

Executing your plan flawlessly will most often give you then win, and mistakes will most likely cost you the game.

Nikon D750, Sigma 35mm ƒ/1.4 DG Art, ISO 110, ƒ/1.4, 1/80

Many of my friends in communications are losing their jobs. When talking with many of these professionals, I have discovered a lack of understanding of business. Many professionals are coming out of a fog and waking up in the middle of a game. They find themselves in the middle of a contest for which they do not know the game’s rules or goals.

By 2020, 40% of the U.S. workforce will be independent workers. Today, 53 million Americans (34% of the workforce) fall into this category. That number is growing based on several factors. Some employers see this as a better choice, and many employees want more control over their lives.

Being a communications professional will become increasingly difficult if you do not understand business. But, unfortunately, this is the game you are now playing. As a result, there will be fewer staff jobs where other people take care of the business while you are just a writer, photographer, or some different role in the industry.

Business Insights for my Communication colleagues are just learning about business skills.

The first thing you need to know about every business is to have good people skills because everything about business is about people.

Your audience for communicators is people. Your clients are people. Your stories are about people.

If you do not understand how to work with all these groups, then you will not be successful.

Second, in any business is your expertise with your product. Expertise in subject matter is where many of my colleagues are also getting tripped up. They think it is photography, for example. I believe the earliest caveman communicators didn’t have cameras and used other ways to communicate using visuals. I also believe that the storytellers around the campfires during the caveman times were the communicators of their time.

Today you need to be an excellent communicator. You may be more potent as a writer than a photographer or some other skills, but today you still need to be a person who can sit around the campfire of your community and tell those stories.

Due to today’s budgets, many professionals will be responsible for more parts of the storytelling process than when they were part of large staffs where specialization was possible.

A third thing you must master to survive in business today is having worked on your processes. You must be excellent at executing your job as well. Execution means not just that you know how to research a story, but you can take care of all the travel plans and budgets so that you can create an estimate that makes it profitable to do the work. Then you must also know how to bill and pay those taxes on your business.

These are just some processes you must execute to run a successful business at the highest standards. You need to master these before you do the last step.

The last thing you must master to get business is having clarity in communicating your business to customers.

Nikon D750, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 1140, ƒ/1.8, 1/1000

How it works to get those clients

Your potential clients have communication problems they cannot solve independently. Many of these potential clients don’t even know they have the problem. For example, most of the world didn’t think they had a problem that the smartphone would help solve until Steve Jobs gave his presentation on what the iPhone could do.

It would help if you positioned yourself to fix the problems you are an expert on.

If someone asks you what you do, talk about the problems you solve for people and how you might be able to solve their problems. For example, if they see your marketing materials, is it crystal clear what you will do to help them?

Be sure your marketing articulates the problems that you are solving for your potential clients.