The order of worship in churches is based on the only whole worship service we have recorded in scripture, Isaiah 6:1-8.

When we start the service, the first thing that happens is acknowledging we have come into the presence of God. This is similar to how you create a story and introduce characters.

When we meet God at this moment, it will cause us to be reminded of our sin, which is similar to a story needing crisis/tension. This is where in worship, we acknowledge there is nothing we can do and only God’s grace can save us. But first, we must confess.

This dialogue continues between man and God in worship, where God is asking who will go after we confess and God has forgiven us. This is like in the storyline where the mentor is outlining to the main character what they need to do to overcome their crisis.

Often this is where the homily/sermon gives us more insights into how to live our lives. This is the direction given to all main subjects in a story that they go and then live out those instructions.

Here is the scripture that Christians and Jews use to create their order of worship.

Isaiah 6:1-8 

REVELATION– verse 1: “In the year that King Uzziah died I saw the Lord sitting upon a throne, high and lifted up; and the train of his robe filled the temple.

ADORATION– verse 3: “And one called to another and said: ‘Holy, holy, holy is the LORD of hosts; the whole earth is full of his glory!'”

CONFESSION– verse 5: “Then I said, ‘Woe is me, for I am ruined! Because I am a man of unclean lips, And I live among a people of unclean lips; For my eyes have seen the King, the LORD of hosts.'”

EXPIATION– verse 6-7: “Then one of the seraphim flew to me, having in his hand a burning coal that he had taken with tongs from the altar. And he touched my mouth and said: ‘Behold, this has touched your lips; your guilt is taken away, and your sin atoned for.'”

PROCLAMATION– verse 8a: “And I heard the voice of the Lord saying, ‘Whom shall I send, and who will go for us?'”

DEDICATION– verse 8b: “Then I said, ‘Here am I! Send me.'”

SUPPLICATION– verse 11: “Then I said, ‘How long, O Lord?'”

COMMISSION– verse 9: “And he said, ‘Go, and say to this people…'”

If you look at this order and then compare it to the Narrative Storyline, you will see they have a lot in common.

PLOT – a series of incidents that are related to one another; what happens in a story includes five stages (exposition, rising action, climax, falling action, and resolution)

EXPOSITION – usually in the beginning of a story, where the characters, setting, and conflict (problem) are introduced

RISING ACTION – the part of the story where the conflict(s) develop, in which the suspense and interest builds

CLIMAX – the turning point or most exciting moment of a story, in which the main character comes face to face with the central conflict, and a change happens

FALLING ACTION – all the loose ends of the plot are tied up, the conflict and climax are taken care of in this part of the story, and the suspense is eased

RESOLUTION – where the story comes to a reasonable ending and the outcome is resolved

Here is how I see these lining up

Worship Service	Narrative Story
Revelation	Exposition
Adoration
Confession	Tension/Struggle
Expiation	Climax
Proclamation	Falling Action
Dedication
Supplication
Commission	Resolution

All the stories in scripture have flawed characters who either turn to God for help and are obedient to those directions or refuse to be respectful. Many of those stories involve a series of times where well-intentioned characters continue to return to God and ask for forgiveness for not being obedient.

I believe this format is used in worship because it forces us to process our faith in story form. It reminds us that, like all characters in a story, we live in a crisis that we cannot solve alone. We need help. In the stories of Hollywood, you need THE FORCE in the Star Wars movies to take on your enemies. You go to someone like Yoda to be trained.

In the Disney stories like Cinderella, she needed a Fairy God Mother to help her.

Stories move us because we can relate. While the problems are different, they are problems that the main character, like us, cannot solve alone.

The other cool thing about worship services relating to storytelling is that they have a soundtrack. The music in worship services helps to set the tone for stories to be told, and as we resonate with those stories, we are reminded of the story we are living.

Thanksgiving is a time for many people to stuff themselves with food.

I am reminded of the many meals I have shared with people worldwide.

Our family traditionally cooks a turkey.

We get together around food a lot throughout our lives.

My family loves to get together for food.

I am reminded today also how some people around the world cook their food and how little they have to eat.

I stopped with David and Tammy Woods, where we bought some goat and lamb to eat while I covered them in Burkina Faso in West Africa.

After making me some coffee, the boy cooked some eggs for me to eat.

For the past few years, I have enjoyed traveling with Jeff Raymond, Pat Davison, and James Dockery, where we have tasted the food in many different countries together.

I don’t always remember what the food was called, but I did enjoy it.

One thing Dorie, my wife, and I love to eat is Shrimp and Grits. We have had wide varieties in Charleston, SC.

In Lisbon, Portugal, we waited a couple of hours to eat at this restaurant where they serve the meat on a hot stone that you then cook your meat.

I wish you a pleased and blessed Thanksgiving! Wishing you the gift of faith and the blessing of hope this thanksgiving day! We gather on this day to be thankful for what we have, the family we love, the friends we cherish, and the blessings that will come. Happy Thanksgiving!

I didn’t travel to Indonesia for these photos of the Umbrella Cockatoo where they originated. I walked down the street to my neighbor’s house.

Peggy Hewitt, my neighbor, has 14 exotic birds she has rescued and is trying to find bird lovers to buy them from her.

Someone wanting to adopt a parrot must know they live a very long time as far as pets. The umbrella cockatoo is a long-term commitment for an owner — this species can live up to 70 years with proper care and attention.

Often photographers think that they must go somewhere exotic to find the unknown.

Well, my mentor Don Rutledge always said that the best stories are often in your backyard, or in my case, next door.

I have lived at my house for the past nine years, and this is the very first time I have been to Peggy’s house and seen her birds.

When we first moved to our home, my daughter, Chelle, talked to her and saw all her birds.

When teaching photography one-on-one to a student at my house, I was trying to create some things we could photograph around the neighborhood. We ran into her and asked when we were out photographing the fall colors.

I think the one thing that keeps most photographers from ever getting better is the fear of talking to people.

It is much easier to walk outside and look for nature shots than to walk next door and say hello to your neighbor.

While nature photos can be stunning, I don’t think any pictures from my yard were as exciting to look at until I talked to my neighbor. By taking the time to get to know my neighbor, I discovered something much more exotic than I would expect to find when I travel the world, but it was just next door.

Have you met your neighbors and found out what their hobbies are or what they do for work? Maybe your best pictures have been in your neighborhood all this time, and you were too scared to talk to people to find out.

We have been fighting the wrong fight for copyright registration. That is my opinion.

For most of my career, we have told everyone that you own your copyright when you click your shutter. If you are on a company’s payroll, they hold that photo unless there is some written agreement giving you the copyright.

We know that is where the work-for-hire agreement came from when dealing with usage rights and copyright.

While the ownership of the copyright hasn’t been up for debate other than who owns it based on who is paying for the creation, the issue has been about the courts.

I was informed that you needed to register your copyright with the copyright office to be able to collect legal fees. Those are all the fees you can award if you win a case. The judge reviews all the legal fees and makes a separate ruling on how much the other side must pay for you taking this to court.

I learned early on that the going rate for copyright infringement cases was about $100,000 and took at least a year or more in the courts.

For the past 30 years, ASMP and NPPA that I am a member, have spent lots of money lobbying Congress to protect that registration process.

I believe there is a better solution today. Do away with copyright registration. Get congress to change the law that you can collect legal fees if you can show copyright infringement.

As far as proving your images are yours, there is Blockchain technology already on the market.

The idea of a blockchain — protecting data through an extensive network of computers — and applies the concept to managing photo rights. It is an “encrypted digital ledger of rights ownership for photographers.” Photographers can add new images as well as archive images to the system. Because of the blockchain structure, the data is stored on an extensive network of computers that helps create a public ledger, adds a layer of protection, and prevents data loss.

There are centralized and decentralized solutions right now available for Blockchain.

The point I make is that the current registration of your images with the copyright office is outdated. With blockchain, these servers can also police the web and find anyone using your images without rights.

Because Blockchain works so well with digital photographs, it will let you sell and track any usage of your images and keeps them from being used illegally since it codes pictures and makes them no longer easily copied and shared.

Blockchain can help us not just prove we shot an image. It serves as an agency and collector.

We need to change the copyright laws and not continue to use a system that is outdated and not serving the artist community well at all.

I have talked about shooting enough photos of a subject to allow our imagination and creativity to kick in.  Now that we are all doing just that (making plenty of pictures every time we approach a subject), we can see how even a millimeter’s change in angle can make the difference between a good and a great photograph.  Or, for that matter, it doesn’t take much to make the difference between a good shot and a crummy one.

If we print all the digital images from a shoot as large thumbnails, we’ll have several pages of images we can study side-by-side.  This should give us some insight about our work that is looking at our photos one at a time will never give us.

Editing software like PhotoShop allows us to rate photos from zero to five stars.  Here are some guides to use as we look to see if we have any FIVE STAR photos in that shoot.

Exposure.  Not just the technically correct one, but the proper exposure for the effect we wish to convey.  We can under-expose a little to emphasize graphics or over-exposed (this is done a lot in fashion photography to diminish skin tones or to highlight eyes and lips).

Focus.  I love selective focus, where the depth of field is very shallow.  This lets me direct the viewer’s attention to where I want it to go.  It makes the subject pop out.  We see this used in fashion and sports photography a lot.  Just the opposite (a deep depth of field) may be just what is needed in landscape photos, and indeed, it is a necessity in macro photography.

Anytime we make someone feel as if they can see into our photography, we have accomplished something.  After all, it is only a two-dimensional object.

Composition.  Medical students are told, “First, do no harm.” Photographers should take the same advice and leave out all unnecessary elements.  All composition is the selection of what should be in and out of the frame when we release the shutter.  Speaking of framing… to add depth to a picture, frame it as you take it.   Shoot under the branch of a tree or through a door or window.  A frame is only one of many visual elements that can draw a viewer into our photo.  Elements like leading lines will give it a three-dimensional feel.

Anytime we make someone feel as if they can see into our photography, we have accomplished something.  After all, it is only a two-dimensional object.

See how the feet are cut off.

We can include the feet and anchor the photo, barely moving the camera.

Lighting.  Light can draw one into the photo, too.  Light is probably the most dramatic, mood-setting tool we have as photographers, next to expression and body language.  The color temperature can be powerful.  The warm late evening light, the cool early morning colors, or the green cast of fluorescent office light each carries a mood of its own.

Expression.  Realtors like to say what matters is location, location, location.  Portrait photographers KNOW that the composition may be beautiful, the lighting creative, the clothing and background perfect, but if the EXPRESSION isn’t what it needs to be…. No sale!  Is a smile what is needed? (By the way, NEVER tell ANYONE to smile.)  Most adults can’t turn it on an off and kids will come up with some rather unusual expression, but generally NOT a real smile.  If, as a photographer we need the to smile – naturally – then it is up to us to elicit one from them.  We owe them that.  After all, we ARE the photographers.  Usually pictures of people should show their faces.  Sounds obvious, but if our subjects are watching something happening, say a ball game or a birthday party, we must be sure we are not so distracted by the event that we forget what is important… our main subject, the faces of our subjects.

Body Language. We can photograph someone several feet away (and not even show their face) and still communicate much about them if we watch their body language.  Watch their arms.  It’s incredible what we say just by the position of our arms.  Do our subject’s arms communicate what we want?  Are they open or closed?  Is the person in our photo leaning forward or backward?  Does their position engage or pull back?  Do they appear to be sensitive or cold? Are they reaching out to another or pushing them away?

The Eyes.  An eye doctor may tell us that the eyes don’t change.  Perhaps that is true in a technical sense.  Be that as it may, watch the eyes.  They describe it all!  However, it happens the eyes are the essence of a portrait.

The Head.  A millimeter’s turn of the head and a slight tilt is all it takes to distinguish between zero and five-star photography.

This is in no way a comprehensive list; it is only a sampling of many things we must consider when “grading” photos.

By moving the camera merely a millimeter, you can include their feet rather than chop them off, leave them out, or have another person change the mood.

A millimeter can keep the tree from growing out of your spouse’s head.  Moving an inch to the left may let the camera see a person’s face better or distinguish the main subject from their surroundings.

When we shoot enough photos, we see the difference that just a millimeter’s change can make.  Then we will begin to see why one image is terrible and another is good.

In the Olympics, the difference in millimeters determines who wins and loses a race.  In photography, it can be what differentiates a great photo from the others.

Robin Rayne says, “Make your emotion work for you and not against you; remember, God gave you tears.”

Robin spends most of his time photographing today in the disabilities community. He is a photojournalist and documentary producer for the University of Georgia’s Institute on Human Development and Disability. His compelling images illustrating human rights, disability, and gender diversity issues are distributed internationally by Zuma Press.

When I was traveling and could not photograph my daughter’s senior prom, Robin helped out for our family by getting photos of the critical event in our family.

I can always count on Robin to capture those moments. I called Robin when I knew I was away for that all too important Prom.

Robin sees moments and captures the emotions we feel. When asked how he does it with such emotional moments, he says, “I am thankful for autofocus when covering some stories because of all the tears.”

Great photojournalists embrace their emotions.

“Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures.”

– Don McCullin

After Robin spoke this past weekend at the Atlanta Photojournalism Seminar, he commented that after talking with people about their portfolios, he always asked the critical question “WHY?” for the photos.

WHY does this story need to be told? WHY should the public care?

What is surprising to myself and Robin is asking this question you see the “deer in the headlights look” on their face.

Though it may be interesting or even entertaining, the maximum value of news is as a utility to empower the informed. The purpose of journalism is thus to provide citizens with the information they need to make the best possible decisions about their lives, communities, societies, and governments.

Robin is a photojournalist and not just a photographer. Robin is not interested in just entertaining the public; he is interested in informing the public. He is most concerned with telling the stories of people who cannot tell their own stories.

Robin is the voice for the voiceless. Robin also sees his role as one who is calling the next generation to take up the call of photojournalism. He knows he alone cannot tell all the stories needing to be said.

When I asked Robin to speak to my Intro to Photojournalism class at Grady College of Journalism & Mass Communication, he challenged the class.

If we want to feel an undying passion for our work, if we want to feel we are contributing to something bigger than ourselves, we all need to know our “WHY.”

Robin explained how his why probably came about having a son with disabilities.

You have to find your niche. The combination of your WHY and HOWs is exclusively yours as your fingerprint.

Covering events requires you to think as a photographer. This event was to honor Mohammad Ali; to do so, they had his daughter Maryum Ali as the keynote address.

On the stage off to the sides, were banners with Mohammad Ali’s photo. I worked to the side to get that behind Maryum, so it helped to tell the story using primarily visuals.

Now another issue in covering a dinner is the lighting.

To be sure the people’s faces looked good, I had to use a flash, but the problem was then the background would go black.

I used a higher ISO 16000 to keep the background visible.

I arrived early and had the guys running the sound and lighting board turn the lights on as they would be during the event. I then walked onto the stage and did a custom white balance using the ExpoDisc.

Using the ExpoDisc, I put this over the front of the lens and did an incident light reading and custom white balance.

With the perfect color space from doing a custom white balance, the dynamic range is increased to the fullest potential with that light source.

Tips for covering events

• Arrive Early and Leave Late
• Adjust your ISO to work with your flash to show context
• Look for angles to help capture visually what you need words to say about the event
• Get custom white balance
• Shoot RAW – Because no information is compressed with RAW, you’re able to produce higher quality images, as well as correct problem images that would be unrecoverable if shot in the JPEG format.

When should you use a flash, inside or outside? Would it surprise you that I use the flash more often outside than most people?

Compare this photo without a flash of the couple exchanging vows to celebrate their 25 years of marriage—no flash in this photo.

Now, having a flash of the camera could put some light on the husband’s face.

You see, outside, you get some sunlight that will create harsh shadows. Off-camera flash lets you put the light where it needs to be.

Often outside, like at this party, the background is so bright, and the people are in the shade. Without a flash, you would have blown out the background and very flat light on their faces.

In this group photo, I have the flashes off at 45º from my camera, which lets me improve the faces’ light.

I find that an off-camera flash at 45º to 90º creates three dimensions to an object.

I also take photos without the flash outside. Knowing when to use a flash and when not to use one is good. Sometimes the image can look great both ways, with and without a flash.

I recommend you try using off-camera flash outside. See what it can do for your photos.

Here is the Godox flash system I use and tips on using it.