Storytelling for NGOs needs to be decisive

Reading Time: 4 minutes

When we need to go out and eat as a family, I often don’t care where to eat, so I ask the family where to eat. Over the years, I have learned that it is easier to get a response if I first pick a place. After that, it is easier for people to say yes or no to that suggestion. They can then offer other advice.

However, if I ask where you want to go, it can be very frustrating. There are too many options, and the rest of the family is also tired. They don’t want to have to think about all the choices.

Nikon D5, Sigma 35mm ƒ/1.4 DG Art, ISO 100, ƒ/4, 1/200

This past week, along with James Dockery, an ESPN editor, and Jeff Raymond, a media missionary with ABWE, we trained 11 workshop participants on Storytelling using multimedia.

We taught them the storyline here:

After the first day, we asked them a couple of questions.

  • Who is the Audience?
  • What is the problem?
  • What is the solution?

Most everyone struggled because they were not focused on finding answers. Instead, they just listened to whatever the subject said in response to their list of questions. They didn’t understand that asking questions during an interview is to gain insight and help clarify the storyline. 

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 4500, ƒ/4, 1/100

Direct vs. Indirect

  • Direct – (definition) aim (something) in a particular direction or at a specific person.
  • Indirect – (definition) not in a direct course or path; deviating from a straight line; roundabout:

You’ll never have it if you don’t go after what you want. If you don’t ask, the answer’s always no. If you don’t step forward, you’re always in the same place.  We were having a real problem getting each workshop participant to understand that they needed to take charge and that this was their project. However, by the end of the week, they were taking control. They had to do this, or their project would fall apart. Once they could answer those basic questions, they could review all the content they had gathered and eliminate anything that didn’t answer those questions. Then they just cut out good content to keep only the great content. 

Call To ACTION!!

 The whole point of all the stories last week was to help those we covered and get people to help them. We were not just creating stories that had happened and were entertaining. We were telling a story to help set up a problem that the audience would help complete the level. 

 Compare this CALL TO ACTION to the Storyline. You will notice they are very similar. The audience needs to know what you ask them to do with your story. They need to know what you want them to do and how they can help. 

 

In a nutshell, you must not only identify each of the parts but also help connect those dots. If you do this in the story and at the end of the presentation, you should have a CALL TO ACTION that asks the audience if they will help. 

Nikon D5, Sigma 35mm ƒ/1.4 DG Art, ISO 100, ƒ/1.4, 1/3200

If you won’t be specific, the audience doesn’t know why they see a baby in the crib and what you are trying to say. With no ask, then you have a piece of entertainment. In business, we call this the closing of the sale. Closing differs from standard practice, such as explaining a product’s benefits or justifying an expense. Instead, it is a more artful means of persuasion. You are successful as a storyteller for a nonprofit only if you help them by raising funds or getting people to donate their time.

Enjoying photographing the children of Nicaragua who are changing their family’s lives

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Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 2200, ƒ/4.5, 1/100

Missionary Traci Warner reads to Dominga Psalms 23, who was in her last living hours. Dominga would die later during the night.

23 The Lord is my shepherd; I shall not want.

2 He maketh me to lie down in green pastures: he leadeth me beside the still waters.

3 He restoreth my soul: he leadeth me in the paths of righteousness for his name’s sake.

4 Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me.

5 Thou preparest a table before me in the presence of mine enemies: thou anointest my head with oil; my cup runneth over.

6 Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the Lord for ever.

Dominga’s story started not too long ago with her granddaughter, age 14. She was seeking comfort and went to the local church of the missionaries.

In this culture of Nicaragua, many people are hooked on alcohol and have significant problems. In addition, many young girls 13 and 14 are married to middle-aged men. As a result, many Nicaraguans lack a moral compass for their lives. In addition, so many adults are barely functioning due to the lifestyles that they are living.

The children are often the most responsible and come to the churches.

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 18000, ƒ/14, 1/100

In this photo, the family has gathered around Dominga to provide as much comfort as possible. In the last couple of weeks, Dominga asked all her seven children to come and let her talk to them. When the children came together, she told them how horrible of a life she had lived and told them, ” Don’t be like me. Turn to God and live a better life.

She had discovered her savior Jesus in her last days here on earth and wanted them to have a better life than she had. She understood that having God gave her a compass and the ability to see her choices much clearer.

It was a privilege to be there and capture what the missionaries are fulfilling in their calling to lead the people of Nicaragua to know Jesus Christ and have some guidance for living their lives here on earth.

Due to not having a relationship with God, many choose to leave their troubles through alcohol and a promiscuous lifestyle.

Nikon D5, Nikon 85mm ƒ/1.8G, ISO 800, ƒ/1.8, 1/100

Before this trip, I would have never thought that it would be the children changing Nicaragua.

Matthew 18:2-4
Jesus called a little child to stand among them. “Truly I tell you, He said, “unless you change and become like little children, you will never enter the kingdom of heaven. Therefore, whoever humbles himself like this little child is the greatest in the kingdom of heaven.…

Nikon D5, Nikon 85mm ƒ/1.8G, ISO 800, ƒ/1.8, 1/100

Great photos require building relationships.

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Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 2800, ƒ/4, 1/100

We spent time in the small village of San Benito, Nicaragua, helping the students in our Storytelling workshop on how to get access to take those photos that help you show how the people in another culture live.

Nikon D5, Nikon 85mm ƒ/1.8G, ISO 1000, ƒ/1.8, 1/100

Now we did piggyback with a team that did a puppet show for the children in the village. They had already built relationships with the community. The puppet team gave us a considerable advantage because of all the good relationships that the puppet team had made; let us say while walking down the dirt streets, we were with the puppet team.

We also took photos of the meals Servants with a Heart had prepared back in Matthews, NC, with two little boys holding those meals. Again this helped us establish we are there to help them.

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 110, ƒ/4, 1/100

After pulling up and walking down the street with cameras, it didn’t take long for many people to come out to see all the Gringos with cameras walking down their street.

I showed the students that I started with some small chit-chat with an interpreter, taking portraits of the people and showing them the results on the back of the screen.

I asked the lady how many people she cooks for and if she would show us her kitchen.

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 7200, ƒ/4, 1/100

So to get good photos you must do it in stages. You are building a relationship. If you try and jump to the image you want right away rather than doing it in stages, you may shut down the connection. Take your time and get to know the subject.

Turn your aperture dial to help direct the audience

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Nikon D5, Sigma 35mm ƒ/1.4 DG Art, ISO 100, ƒ/1.4, 1/800

A shallow depth-of-field like ƒ/1.4 that I used here is a great way to force the audience to look where you want them to see.

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 14400, ƒ/11, 1/100

Using a deep depth-of-field like ƒ/11 as I did here really helps keep the eye moving through the frame.

Nikon D5, Sigma 35mm ƒ/1.4 DG Art, ISO 100, ƒ/1.4, 1/500

Don’t fall in love with an ƒ-stop. Instead, use what helps you for that moment. For example, the danger of always shooting ƒ/1.4 is that you are not giving context to your subject.

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 4500, ƒ/4, 1/100

Here I used ƒ/4, which was just enough depth-of-field to show the lady’s kitchen and cooking.

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 4500, ƒ/4, 1/100

You don’t turn the ƒ-stop/aperture from one end to the other. Use just enough to help you show what the viewer needs to see. Again the ƒ/4 was adequate while shooting with the 24mm to capture the rest of the kitchen.

Great people photos are about building relationships.

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Nikon D5, Sigma 35mm ƒ/1.4 DG Art, ISO 100, ƒ/1.4, 1/1600

Before introducing a subject using your camera to an audience, you must have introduced yourself.

Here in Managua, Nicaragua we are teaching photographers/videographers how to make your photos work. Yesterday I watched one student shooting with a Nikon 5300 and 28-300mm lens. She was zooming out, so her lens was 450mm. She was so far away from the people and often shot the sides or even the backs of people’s heads.

I pulled up the photos above and showed her what I was getting. I helped her to see the importance of being engaged with the subject.

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 100, ƒ/5, 1/200

I also realized I needed to show her what to try and thanked her for doing the same t

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 110, ƒ/5, 1/200

I even took photos next to a pastor preaching to show the congregation and give a different perspective to help engage the audience.

I asked her to follow me and shoot the same photos. She was getting the difference very quickly.

Nikon D5, Sigma 35mm ƒ/1.4 DG Art, ISO 100, ƒ/1.4, 1/1600

Now I can tell you and even show you that there is that one subject that may get a little upset with you like here. It just shows I may have moved too quickly. As I am doing here in Nicaragua, you must smile at a subject if you don’t speak their language. If you want your audience to feel like they have been right were you are standing, you have to get close, and to do that, you have to build relationships with people.

Nikon D5 comparing ISO 800 to 66535

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Nikon D5, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 800, ƒ/11, 1/200–4 – Alienbees B1600 w/45º reflectors, PocketWizard Plus

I shot this group photo of 400 musicians, and to get the most even light, I ended up bouncing 4–Alienbees B1600 strobes with 45º reflectors bouncing off the ceiling. I also used the ExpoDisc to get a custom white balance.

Here is a pretty heavy crop of the above photo.

Nikon D5, Sigma 35mm ƒ/1.4 DG Art, ISO 7200, ƒ/5, 1/200

Now, this is a performance shot with available light. If you notice, the light on the orchestra at the bottom wasn’t very even, so I shot with strobes rather than using available light for the group photo.

Now to give you an idea of how good ISO 7200 looks, here is an enlargement of a similar size to the first photo.

Pretty awesome if I say so myself.

Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 66535, ƒ/5.6, 1/200

I was blown away by the ISO 66535 quality of the french horn player.

Shoot some with other photographers so you can grow

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Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 500, ƒ/8, 1/500

Just the other night, our instructors got on a conference call and talked through our plans for one last time before our trip for the Storytellers Abroad workshop in Managua, Nicaragua.

The chart was the first draft, and all that pink and green is our time shooting our stories. All the light blue is class time and editing time.

One of the best things you can do to improve your photography is to network and shoot some things with other photographers. So plan an outing soon where you can get that immediate feedback from others.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/8, 1/30

I will be teaching techniques to help steady one’s DSLR as they are shooting video. All these tips and tricks help the students capture the stories of the people in Nicaragua.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 400, ƒ/5.6, 1/100

I look forward to helping the students as they shoot by tweaking the settings on their cameras to get a better image.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 100, ƒ/5.6, 1/125

Maybe you would like to learn how to tell stories using video/audio/stills and need someone to help you navigate all those settings on the camera and all the possibilities of using software like Adobe Premier.

 
While the trip next week is sold out, you can join Gary S. Chapman and me in Honduras. Spend a week with us getting to know the people and countryside of Honduras, and having time to show us your work and get some feedback and tips.
 
Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/5.6, 1/25
We wrap the workshop up with a showing of all the videos. We show them what we put together that week on them.
 
Well, I am off to buy some more bug spray to prepare for mosquitoes in Nicaragua.
 
Check out how to go with us to Honduras here http://workshop.stanleyleary.com/

Storyteller tips before you leave for your coverage

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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?

Reading Time: 3 minutes

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

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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?

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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.

Shooting Nikon D5 at an event with ISOs of 66535, 51200, 28800 etc

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Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, Neewer TT850, Neewer Wireless 16 Channel Remote, ISO 51200, ƒ/5.6, 1/100

This week I was shooting for the first time at high ISO numbers that I would have never used before for an event.

The event was in a restaurant/bar where the lighting was quite dark. The lights were spotlights from above, meaning natural light often inadequately lighted the subjects’ faces. Once I used a flash to correct the background went highly dark.

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, Neewer TT850, Neewer Wireless 16 Channel Remote, ISO 66535, ƒ/5.6, 1/100

There were windows, but that meant an even more significant problem that only a flash could solve. So my assistant is holding a moment off to the side, and I am triggering it wirelessly.

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, Neewer TT850, Neewer Wireless 16 Channel Remote, ISO 28800, ƒ/5.6, 1/100

Here are the camera settings for the Nikon D5

  • Aperture priority [ƒ/4 or ƒ/5.6]
  • Auto ISO
    • 100 – 102400
    • 1/100
 
When I was using the Neewer TT850 flash, it was too bright even at 1/128th power. To fix this, I was using the MagMod light modifier system. I put two Neutral Density Gels over the flash to wink a light while shooting at those highly high ISOs.
 
 
While it took me a couple of minutes to figure out this system, having done something similar in the past with lower ISO settings was helpful.
 
As you turn the ISO up, your flash needs very little power to do the job. Just remember this if you try something similar.
 
Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, Neewer TT850, Neewer Wireless 16 Channel Remote, ISO 66535, ƒ/5.6, 1/100
The Nikon D5 is more than just a sports camera. It is a camera for every situation.
 
Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art Lens, Neewer TT850, Neewer Wireless 16 Channel Remote, ISO 66535, ƒ/5.6, 1/100
I am thrilled with the quality of the high ISO of the Nikon D5. I now can do things not possible before with my Nikon D4.