Author: Stanley Leary

Most companies know the value of a good story, but do not know how to tell their own story. Leary has a process to find and tell stories that communicate how they change lives, so that their companies grow again. Some of his clients include Chick-fil-A, Newell-Rubbermaid, Coke, Georgia Tech, and The Carter Center. Leary’s work has taken him across the United States and beyond — to Chile, Peru, Burkina Faso, Canada, France, Ghana, Guatemala, Haiti, Honduras, Mexico, Nicaragua, Portugal and Romania. The experiences of this award-winning communications allow him to engage audiences with storytelling that builds organization’s brand. His U.S. clients find that ability translates into making their messages cross-culturally relevant with diverse American audiences and within the mainstream media. Prior to forming his own company, Leary worked on staff for The Hickory (N.C.) Daily Record and theCOMMISSION magazine in Richmond, VA. For nine years he was on staff with PR team at Georgia Institute of Technology, Atlanta, Ga. Leary is also a teacher. He enjoys sharing his expertise with others. He has taught storytelling and brand building at Grady College of Journalism and Mass Communication, University of Georgia, Athens, Ga.; The University of the Nations, Kona, Hawaii; Reinhardt College, Waleska, Ga.; Berry College, Rome, Ga.; Portfolio Center, Atlanta, Ga.; and Dallas (Texas) Baptist University. He also has been a guest lecturer at World Journalism Institute, Washington, D.C.; Southwestern Photojournalist Conference, Fort Worth, Texas; Art Institute of Atlanta, Ga.; American Society of Media Photographers. Atlanta (Ga.) Chapter; and the Southeastern Photographic Society, Atlanta Ga. Clients often contract him to teach their staffs to become more visually effective in building their brand. Leary lives in Roswell, Ga., holds degrees in social work and communications, and is married to Dorie Griggs. They have three children.

Test Your Gear Before the Job: A Lesson I Keep Re-Learning

by Stanley LearyPhotography
Reading Time: 3 minutes

Anytime I buy new camera gear—or even pull something off the shelf that I haven’t used in a while—I remind myself of one simple truth: never take it to a client job until you’ve tested it thoroughly.

Today was one of those reminders.

I’m preparing for a project in a few days, so I spent the morning working with my Nikon Z9 and the DJI Mic 2 system. I’ve been using both for a while now, but like anything in our world, settings change, firmware updates happen, and sometimes the details fade if you haven’t touched something in a few months.

Before I point a camera at a client, I want to know exactly what each setting does—and why. I don’t want to be the person who finds a “recommended setting” and rolls with it. I want to understand the concept behind each control so I know when to adjust it and how it affects the recording. That knowledge gives me confidence, and confidence lets me focus on the story instead of the gear.

Refreshing on the DJI Mic 2

I pulled up a couple of YouTube videos to refresh my memory on the DJI Mic 2—mainly because there are a few settings I dial in once, forget about, and then have to relearn the next time I use it. One of those was the “Camera” setting inside the DJI receiver menu.

What I confirmed (again!) is that this setting controls the output gain from the DJI receiver going into the camera’s mic input. That’s it. It’s easy to overthink.

Here’s how I approach it:

How I Set Gain Between the DJI Mic 2 and the Nikon Z9

Think of it like a two-stage system:

  1. DJI Mic 2 Output Gain (Camera Setting on the Receiver)
    This is the signal strength from the DJI receiver to the Z9.
    I prefer to keep this relatively low because a strong signal going into the camera can easily clip. The DJI mics are quiet and clean, so lowering the output gives the camera room to breathe. The gain is set at +9 on the DJI Mic 2.
  2. Nikon Z9 Input Gain
    This is where I fine-tune the actual recording level.
    On the Z9, I usually start around 3–4 and adjust based on the speaker’s volume. This keeps the preamps clean and reduces the risk of distortion.

In short:
Lower gain on the DJI receiver, controlled gain on the Z9. Keep camera input low, and use the receiver’s gain to boost the signal, while disabling transmitter noise reduction and using windscreens for the best quality in post-production.

That combination gives me headroom and cleaner audio.

The Two-Track Safety Net: Why I Love 32-Bit Float

When I run the DJI Mic 2 with the Z9, I think of it as two simultaneous recordings:

  1. The main audio:
    The signal goes from the mic transmitter → receiver → into the Z9. This is what gets synced to the video automatically.
  2. The backup:
    Each transmitter records internally in 32-bit Float.
    That’s a huge safety net.
    If someone laughs loudly or suddenly projects, the camera track might clip—but the 32-bit float file won’t. Later, I can pull the file off the transmitter via USB-C, sync it, and choose whichever track sounds better.

This is especially helpful when I’m filming conversations or podcasts where levels can jump without warning.

Watching, Listening, and Staying Ahead of Trouble

The most significant part of testing is simply getting comfortable enough that monitoring becomes second nature. When the job comes, I want to be able to glance at my setup and instantly know everything is healthy.

During the podcast shoot I’m prepping for, I’ll be:

  • Watching the Z9:
    The red box around the frame indicates it’s recording, and I’ll keep an eye on the camera’s meters.
  • Watching the DJI Mic 2 receiver:
    It gives me the same visual reassurance: a red box and levels for each mic.
  • Listening on headphones:
    No guessing. No hoping. Just explicit confirmation that the audio hitting the camera is clean.

Why All This Matters

Gear is expensive. Clients are trusting. And once the moment is gone, it’s gone.

Testing isn’t about paranoia—it’s about stewardship. It’s about respecting the people you’re serving enough to make sure your tools are ready long before you walk into the room.

Every time I sit down with new equipment—or equipment I haven’t used in a while—I’m reminded that the best storytellers aren’t just creative. They’re prepared.

And that preparation starts long before the record button is pressed.

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Bracketing and HDR: How I Capture and Process Stunning Drone and Commercial Real Estate Images

by Stanley LearyPhotography
Reading Time: 3 minutes

Shot with a 70mm lens on the drone to compress the distance from the property to I-75—a key selling point for logistics and distribution companies.

When I’m out shooting with my drone—or capturing commercial real estate on the ground—one of my go-to techniques is bracketing exposures. I typically shoot 3 to 5 bracketed exposures, giving me a range of brightness values from shadows to highlights. This approach ensures I can capture all the details in a scene, even when the lighting is challenging.

For drone photography, this is especially helpful because the sky and ground often have drastically different exposures. On commercial real estate shoots, it’s equally valid for interiors with windows or bright exterior light spilling in.

These are the three exposures, each one stop apart, shown in Photo Mechanic.

Showing the Range

Here’s how it works: I take multiple exposures of the same scene—one slightly underexposed, one at the correct exposure, and one overexposed somewhat (sometimes adding more for extreme lighting conditions). When I show clients the raw images, it’s easy to see how each exposure captures different details—shadows, midtones, or highlights.

Three individual exposures plus the final HDR merge on top. Lightroom displays all four in the corner, showing that this is a stacked set of images.

Processing in Lightroom

Once I’ve captured the bracketed exposures, I bring them into Lightroom. The software automatically aligns the images, compensating for any slight movement from wind, the drone, or handheld shooting. Lightroom then merges the images into an HDR (High Dynamic Range) photo, combining the best parts of each exposure. This automated process significantly reduces noise, especially in shadow areas, and helps retain maximum resolution.

After Lightroom’s HDR processing, I usually tweak the image slightly—adjusting contrast, vibrance, or fine-tuning exposure—to create the final look before delivering it to the client. These subtle adjustments can elevate the image from good to stunning without overprocessing.

Going the Extra Mile with Photoshop

Occasionally, I take things a step further. If I feel I can get a better result than Lightroom’s automatic process, I’ll open the bracketed exposures as layers in Photoshop and blend them manually. This method gives me complete control over how shadows, highlights, and textures interact. It’s more time-consuming but can be worth it for challenging lighting or premium commercial projects.

Using a Tripod

For ground-based commercial real estate shots, I almost always use a tripod. This ensures that each exposure lines up perfectly, making both automatic and manual blending much easier. For drones, stability comes from the aircraft itself, but the principle remains the same: the more consistent your framing, the cleaner your HDR result.

The Benefits

Bracketing and HDR processing not only give you better dynamic range but also reduce noise, preserve resolution, and allow you to deliver images that genuinely reflect the scene as the eye sees it. Whether you’re photographing a cityscape from above or a high-end office space on the ground, this technique ensures your work looks polished and professional.

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Why Do Filmmakers Always Wet the Asphalt?

by Stanley LearyPhotography
Reading Time: 3 minutes

Fun fact from my own street: Paul Rudd and Selena Gomez filmed The Fundamentals of Caring here back in 2016. They starred alongside Craig Roberts, who played a teen with muscular dystrophy that Rudd’s character cared for. Pretty wild to see Hollywood roll into the neighborhood! 

If you’ve ever watched a movie and noticed the streets glistening at night—even when it hasn’t rained—you’re not imagining things. Filmmakers often hose down the pavement on purpose. Once you know why, you’ll not see it again.

And honestly, it’s a fun peek behind the curtain for anyone who loves visuals, whether you’re holding a cinema camera or a smartphone.

1. Water Turns Asphalt Into a Giant Reflector

Dry pavement absorbs light. Wet pavement reflects it.

When you’re shooting at night, reflections are your best friend. They bounce light around the scene, lifting shadows and giving you more control over the mood. Suddenly, the frame comes alive—streetlights glow, neon signs shimmer, and the whole scene gains depth without the need for massive lighting setups.

For a cinematographer, that reflection is basically free production value.

2. It Adds Texture and Depth

Water creates subtle highlights and gradients in the ground—something a flat, dry surface can’t provide. The texture helps guide the viewer’s eye and keeps the frame visually interesting. Even in a wide shot where nothing dramatic is happening, that glisten adds movement and dimension.

As a storyteller, anytime you can add depth without distracting from the subject, you’re strengthening the scene.

Just Coffee and Frontera de Cristo

3. It Helps Shape the Light

When you wet the asphalt, you control how light spills into the scene.
A small light can suddenly feel bigger.
A practical light (like a lamp in a window or a car headlight) becomes more expressive.
You can create leading lines or shape compositions simply by how you position light against the reflective surface.

It’s one of those subtle techniques that viewers feel more than they consciously notice.

Piccadilly Square in London

4. It Makes Night Scenes More Believable

This one surprises a lot of people: wet pavement often feels more natural to viewers.
Why?
Because in real life, nighttime humidity, dew, or recent rain often leave streets looking moist—even if we don’t pay attention.

A bone-dry street at night can look oddly fake or “too clean.” Wet asphalt softens that problem and helps blend all the lighting elements, especially in urban settings.

Piccadilly Square in London

5. It Adds Mood and Atmosphere

A glistening street carries emotional weight.
It can feel dramatic, romantic, mysterious, or even dangerous depending on the story. Film is all about mood, and water enhances that mood in ways that don’t call attention to themselves.

Think of your favorite nighttime scenes in classic noir. Nearly all of them were shot on wet streets—and for good reason.

Broadway, New York City

6. It Hides Imperfections

Production budgets don’t always allow for pristine streets or perfectly resurfaced roads. Water gives you a cheap way to hide cracks, patchwork, and other visual distractions. Once the light hits that sheen, the viewer focuses on the reflections—not the flaws.

Bringing This Into Your Own Photography or Video

Even when I’m shooting for clients at Stanley Leary: Crafting Stories that Change Lives, I look for ways to use surfaces to shape light—wet pavement, shiny floors, polished tables —anything that adds depth.

You don’t need a film crew or a fire hydrant key. Sometimes, just the right angle, a small light, and a reflective surface can elevate your shot from “fine” to “cinematic.”

The Bottom Line

Filmmakers wet the asphalt because it’s one of the easiest ways to make a scene look richer, more dimensional, and more emotional—especially at night. It’s a simple trick with a big payoff.

And next time you’re watching a movie and see those gleaming streets, you’ll know exactly why.

How My Upbringing, Autism, and Photojournalism Shaped How I Connect with People

by Stanley LearyPhotography
Reading Time: 2 minutes

Andy McCree Hern took my mother’s Benfield Family photo around 1980.

Growing up as the son of a pastor and a mother who supported his work, I was surrounded by people who genuinely cared about others. My parents weren’t just interested in names or titles—they were interested in gifts, talents, and the unique ways people could serve God. They asked questions, noticed details, and encouraged those around them to step into their calling. From a young age, I saw the power of paying attention to people beyond the surface.

At the same time, my experience as someone with autism shaped how I interacted with the world. I identify strongly with the Asperger’s description—often more comfortable observing than immediately joining in, drawn to patterns, and deeply focused on understanding details that others might overlook. While this could make social interactions challenging, it also gave me a unique lens through which to see people.

That lens became even more refined through my work as a photojournalist. My job was to capture a person’s story through images—to see the life behind the face. This required more than technical skill; it required listening, paying attention, and asking questions in ways that allowed someone to open up. Over time, I learned that when people feel truly heard, when their story is sought and valued, something remarkable happens—they feel seen.

Today, I notice that even in small conversations, I carry this same curiosity. I want to know people’s stories, not just their jobs, hometowns, or favorite sports teams. I’ve noticed that few people seem genuinely interested in these deeper layers, but when I take the time to ask and listen, the conversation transforms. People respond differently—they open up, relax, and share parts of themselves that rarely come out in casual chatter.

This approach doesn’t just apply to photography or formal interviews. It’s how I try to live my life: with curiosity, patience, and a genuine interest in others. I’ve found that this practice, shaped by my upbringing, my autism, and my photojournalism work, creates connection in a way that surface-level conversation rarely can. It’s not about extracting information; it’s about honoring the person in front of me and the story they carry.

In a world that often rushes through interactions, I’ve learned the value of slowing down, listening, and letting people be seen. And the more I do this, the more I realize that connection—the kind that leaves a mark—comes not from talking, but from listening.

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Why Family Photos Matter More Than We Realize

by Stanley LearyPhotography
Reading Time: 3 minutes

Our family photo from Easter 1999 at my parents’ home in Kinston, North Carolina.

Many of us who love photography have a favorite niche that sparks our creativity. Some chase sunsets and misty mornings. Others lose themselves in macro details or the thrill of sports action. We pick up a camera because something in the world catches our imagination… yet, ironically, the people closest to us are the ones we often photograph the least.

I get it. Photographing family can feel complicated—busy schedules, wiggly kids, relatives who “don’t like how they look in photos.” It’s easy to default to landscapes, birds, waterfalls, or anything else that doesn’t talk back.

But here’s the truth: family photos matter in a way no other genre can touch.
They anchor us. They tell our story. They become the visual legacy that outlives us all.

Family eating out at the Boundary House in Calabash, NC, for Bonita Leary’s birthday.

A Legacy You Can Hold

When I photograph my family, I’m not just making pictures—I’m building a family archive. Long after the moment fades, those photos help us remember what truly matters. They remind us of relationships, milestones, seasons of life, and even the tiny quirks we forget over time.

Every family has a story, and the photos we make become the chapters future generations will hold onto. They won’t care how “perfect” the shot was. They’ll care that it exists.

Emerald Isle Leary Reunion 2023

The Value of a Few Formal Group Photos

I always encourage families—mine included—to pause for a few organized group photos. They don’t have to be stiff or overly posed. They need to get everyone together in the same frame.

Why? Because life changes quickly.

One day, these photos will become the way we remember:

  • Four generations in one place
  • A holiday gathering that didn’t happen for years
  • A season when all the cousins were small
  • Loved ones who shaped our lives

These aren’t just “nice to have” images. They become reference points for your family’s story. They show who was there, how people connected, and how your family evolved through the years.

David Leary

Simple Portraits Go a Long Way

Beyond group shots, take a few individual portraits. Not studio-perfect—just honest. These portraits capture personality, style, and spirit at any age or stage.

Families use these more than you might expect:

  • Printed and framed in homes
  • Added to scrapbooks
  • Shared with relatives who live far away
  • Held close when someone travels, moves, or passes on

Portraits tell each person, “You matter. I see you.”

Visiting Emma & Chad Miller to give presents to their son, Valor, and Titus.

Don’t Forget the Candid Moments

If group photos and portraits are the structure of a story, candids are the heart.

Candid photos preserve:

  • Laughter around the kitchen table
  • Kids playing together
  • Quiet conversations on the couch
  • The small, unscripted moments that reveal who people really are

These images are the ones that get passed around the most. They show relationships, emotion, and connection in a way posed photos never can.

Why This Matters Deeply to Me

As someone on the autism spectrum, I sometimes find it challenging to express how much my family means to me in words. Photography becomes the way I communicate those feelings.

When I photograph my relatives, I’m telling them:

“You’re important to me. I love you. You’re part of my life and my story.”

Family photos give me a way to show affection and connection, even when I might not say it out loud. And years from now, when people look back at these pictures, I hope they’ll feel the same love I was trying to express through the lens.

Pick Up Your Camera for the People You Love

So the next time you’re tempted to grab your gear only for landscapes, macros, or sports, take a moment and turn that camera toward your family too. It doesn’t have to be fancy. It just needs to be intentional.

The photos you make today will become the treasures your family returns to tomorrow.

And in the end, that might be the most meaningful work we ever create.

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When the Work Feels Fruitless: A Freelancer’s Act of Worship

by Stanley LearyPhotography
Reading Time: 3 minutes

If you’re a freelancer right now, you already know the landscape has shifted. Companies are pulling back, budgets are tightening, and many of us are staring at calendars that look far emptier than we’re used to. It’s easy to wonder if the effort we’re pouring in—updating portfolios, reaching out to clients, practicing new skills—makes any difference at all.

I’ve found myself in that space more than once. But in moments like these, my faith keeps calling me back to a simple truth:

I may not control the results, but I can control my faithfulness.

Doing the Work Even When It Feels Small

There’s a story in Scripture that has shaped the way I navigate seasons of uncertainty—the moment when a young boy handed Jesus five loaves and two fish (John 6). It was nothing compared to the size of the need. Yet it was everything he had to give.

Sometimes freelancing feels the same way.

We bring the little we have—our time, our skill, our effort—and it just doesn’t look like enough.

But the boy didn’t multiply the bread.

The disciples didn’t multiply the bread.

Jesus did.

Our responsibility is to offer what’s in our hands.

A man fly fishing on the Chattahoochee River in Roswell, Georgia.

Faithfulness as an Act of Worship

When work slows down, the temptation is to freeze—do nothing until someone calls, until a contract lands, until things feel “worth it” again.

But I’ve learned (the hard way) that this waiting posture often shrinks our creativity and steals our hope.

Instead, I’ve chosen to treat my effort as an act of worship:

  • Updating galleries anyway
  • Writing proposals anyway
  • Reaching out anyway
  • Studying anyway
  • Improving techniques anyway
  • Showing up to work even when the work isn’t showing up for me

Not because it guarantees new assignments, but because it keeps my heart tethered to the One who multiplies what I offer.

Crew Clubs on the Chattahoochee River

Offering What Little I Have

There are days when the “work” feels like five loaves and two fish—far too small to matter. Yet over and over again, God reminds me:

Please bring what you have, and trust Me with what you don’t.

So I pray over the work of my hands.
I pray that God will take my small acts of effort—my little bit of creativity, my few hours of outreach, my imperfect steps toward improvement—and breathe life into them.

Not magically.
Not instantly.
But faithfully.

Blessing Beyond My Effort

I believe God honors the heart that keeps showing up, especially when showing up is hard. He blesses the effort, not just the outcome. He sees the grind no one applauds. He holds the fear we don’t say out loud. And He multiplies what we release to Him in trust.

For freelancers, this is the rhythm:

Do the work.
Offer the work.
Release the results.
Trust the One who multiplies.

It’s not passive.
It’s not irresponsible.
It’s worship.

A Final Word for Today

If you’re doing all you know to do and the results are slow in coming, you’re not failing—you’re being faithful. And in God’s economy, faithfulness is never wasted.

Your loaves and fish may look small, but they are more than enough in the hands of the One who multiplies.

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Finding Light in a Season of Change

by Stanley LearyPhotography
Reading Time: 3 minutes

As we gather for Thanksgiving this year, my family and I are carrying both gratitude and grief. On Monday, we held a celebration service for my mother, who went home to be with the Lord on September 7. It was a beautiful time of remembering, storytelling, and acknowledging what she poured into all of us. In today’s newsletter, I’m sharing a group photo of our family—four generations shoulder to shoulder, holding one another through this season.

Celebration service for Bonita Benfield Leary at First Baptist Church in Morganton, NC
Katherine Wolfe

This week has reminded me of something Katherine Wolfe shared during a recent event I photographed and wrote about: that God often hides treasure in the dark places. Not treasure that denies pain or loss, but treasure that emerges because we walk through them. Katherine talked about how hope isn’t the absence of suffering—it’s the courage to look for God’s presence within it. That truth has anchored me these past few days.

Navigating Change When You’re Wired Differently

Many of you know that I’m on the autism spectrum. One of the hallmark traits of autism is difficulty with transitions—especially when they’re sudden, emotional, or open-ended. Changes in routine, environment, or expectations can feel overwhelming because our brains often rely on structure and predictability to stay grounded.

So this season—sorting through my parents’ home, making decisions with siblings and nieces and nephews, facing the reality that life will not look the same going forward—has been particularly heavy. For someone who thrives on clarity and consistency, it’s a lot to process. And sometimes, the hard truth is this: even when you need more time, the moment doesn’t always give it to you. Some things have to be handled now.

When the Story Is My Own

Much of my life is spent helping others tell their stories. I listen. I frame. I guide. I translate real experiences into images and words that help communities understand and connect.

But when the story is my story?
That’s a very different journey.

Naming the grief, embracing the change, admitting the discomfort—those things don’t come naturally. Yet they are part of the same honest storytelling I practice with others. And here’s the good news: being open to learning from my own story gives me greater compassion, insight, and patience when I help clients tell theirs. Every struggle I sort through quietly becomes a tool I can use to serve others.

Treasure in the Darkness

So today, as I look at this family photo, I see more than just a moment. I see:

  • The hope Katherine Wolfe talked about—a hope that exists even in shadows.
  • The faithfulness of a God who walks us through change, not around it.
  • The reminder that love binds a family even as roles and routines shift.
  • The quiet truth is that grief and gratitude can occupy the same room.

My prayer is that as you look at the stories in your own life—especially the hard chapters—you’ll find glimpses of God’s treasure too.

Thank you for being part of my journey and for letting me be part of yours.

Wishing you a meaningful and hope-filled Thanksgiving.

—Stanley

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Getting Everyone Looking Their Best in Our Thanksgiving Family Photo

by Stanley LearyPhotography
Reading Time: 2 minutes

Every Thanksgiving, I try to get at least one good group photo of our crew. This year’s gathering was extra special — we had four generations all together. My dad, Dorie, and I, my sisters and their spouses, their children… and now their children. Seeing that many branches of the family tree in one frame is something I don’t take for granted.

You’d think that with my background in photography, the biggest challenge would be exposure or composition. Not this time. The real challenge? Keeping everyone in the picture long enough to look their best.

The Big Group Shot

We set the camera on a timer, got everyone in place, and parents held on tight to the little ones so they wouldn’t dart off. There’s always that moment of quiet right before the shutter fires — the one where you hope no one blinks, looks away, or suddenly decides they’re done with photos for the rest of their life.

Somehow, we pulled it off.

« ‹ of 13 › »

The Great-Grandchildren Photo…

Then we moved on to the groupings.

That’s when things got lively.

Trying to get all the great-grandchildren lined up with my dad turned into its own event. Some of the kids were old enough to stand tall and smile on cue. Others… well, let’s say they had priorities of their own. Keeping J.D. from sprinting out of the frame was a full-time job all by itself.

And watching my sister work her magic, trying to wrangle the little ones in Hannah’s family? Honestly, it was pure entertainment — the behind-the-scenes that every parent recognizes immediately.

Dorie Captured It All

While I was focused on the still photos, my wife, Dorie, pulled out her phone and captured videos of the entire adventure. Watching them afterward reminded me that half the beauty of a family photo isn’t the final image — it’s the shared chaos, the laughter, and the love that goes into making it.

Here are two clips so you can enjoy the moment with us:

If you’ve ever tried to pull off a multigenerational photo with little ones, you know it’s never “perfect.” But what we did capture was genuine — the joy, the energy, and the blessing of having so many of us together in one place.

And honestly, that’s what makes the photo beautiful.

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Getting the Most Out of Video Boards on Stage

by Stanley LearyPhotography
Reading Time: 4 minutes

More and more of my clients are moving from traditional projection screens to LED video boards. It’s a significant shift—when the stage lighting is close to daylight balance, those boards look incredible. The colors pop, the contrast holds, and the overall look is far cleaner than what we used to get with projectors fighting through ambient light.

But with those gains comes a new layer of technique, especially when photographing people with different skin tones against a glowing video wall.

Why Skin Tone Matters With Exposure

Every face reflects light differently. When I’m photographing one of their executives who has very dark African-American skin, I rely on spot metering with face detection on my Nikon Z9. The camera naturally opens up a bit to give him proper exposure, which is precisely what he needs for both printed material and screens. The challenge is that when the camera opens up for him, the video board behind him can get a little too bright.

On the other end of the spectrum, someone with very pale skin can easily cause the camera to underexpose. That keeps the video board looking perfect… but can leave the person themselves too dim.

Neither result is wrong—it’s simply the camera doing what cameras do. My job is to guide the viewer’s eyes to the story we’re telling, and that almost always means prioritizing the face. A well-exposed subject is far more important than a perfectly exposed background.

DTT Techsgiving & Ignite
DTT Techsgiving & Ignite
Common Ground Wednesday Next 2023
Monday Common Ground Next 2023
DTT Techsgiving & Ignite
DTT Techsgiving & Ignite
DTT Techsgiving & Ignite
DTT Techsgiving & Ignite
Life 2025
Life 2025

Using Lightroom to Bring Balance Back

This is where the newer masking tools in Lightroom are game-changers.
If the video board gets too bright when I open it up for darker skin tones, I’ll mask the background and gently pull it down. If it looks muddy when I expose for a very pale subject, I’ll brighten it a bit. That simple control keeps the scene natural while making sure the person looks their best.

When I’ve got both extremes on stage at once—a very dark skin tone and a very light one—the People Masking tool makes life so much easier. I’ll select each person individually and adjust their skin tones separately. It’s a small step that makes a massive difference in the final image.

Getting Color Right When Time Is Tight

Accurate color is just as important as exposure. I try to get to the venue early and set a custom white balance using an ExpoDisc. That always gives me the cleanest base color.

But sometimes schedules don’t allow for that. In those cases, the eyedropper tool in Lightroom becomes a lifesaver. One trick I’ve learned: sampling the gray or black body of the handheld microphone often gets me surprisingly close to proper white balance. It’s not perfect every time, but it usually gives me a much better starting point.

Final Thought

LED video boards really elevate an event’s look, but photographing them well takes a little extra attention. With intentional exposure, thoughtful masking, and a solid white balance workflow, the images you deliver to your clients—whether they’re used on social media, in printed pieces, or on the organization’s own screens—can look stunning.

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Unlocking Sony E-Mount Lenses on the Nikon Z9 with the Megadap ETZ21 Pro+

by Stanley LearyPhotography
Reading Time: 5 minutes

I spent the weekend at the Atlanta Photojournalism Seminar with two Sigma ART lenses you’ve probably been seeing around the internet lately — the Sigma 28–45mm f/1.8 DG DN | Art and the Sigma 135mm f/1.4 (ART) — and I mounted them on my Nikon Z9 using the Megadap ETZ21 Pro+ Sony E → Nikon Z autofocus adapter. Short version: the lenses are gorgeous, the 28–45mm is a deceptively versatile little beast, the 135mm is glorious (and heavy), and the Megadap adapter made it painless to shoot them on the Z9 with no obvious performance sacrifice.

Below are my impressions from shooting during the seminar, along with some background on each lens and why the Megadap matters if you like mixing mounts.

Sigma 28–45mm f/1.8 DG DN | Art — zoom that behaves like a prime

This is one of those lenses that changes your mental kit list. It’s the world’s first full-frame zoom that holds f/1.8 across the range, and it really does behave like a set of very nice primes — sharp straight through the frame, with pleasing rendering and bokeh. For event and photojournalism work, the focal spread is beneficial: 28 gives you room, 35–40 is classic documentary/portrait territory, and 45 brings you in when you need it. The autofocus system (Sigma’s HLA / high-response linear actuator implementation for the DN line) is quick and smooth for stills and video. On the Z9 via the Megadap, it focused responsively and provided the shallow depth of field I wanted without the hunt or lag you sometimes expect when adapting lenses.

Practical notes: it’s larger than a typical 35mm prime, but not uncomfortably so. I liked how the zoom feels balanced on the Z9 and how usable f/1.8 was at 28mm for low-light seminar shooting.

[NIKON Z 9, Sigma 28-45mm F1.8 DG DN | Art, Mode = Aperture Priority, ISO 140, 1/250, ƒ/1.8, (35mm = 45)]
[NIKON Z 9, Sigma 28-45mm F1.8 DG DN | Art, Mode = Aperture Priority, ISO 500, 1/250, ƒ/1.8, (35mm = 28)]

Sigma 135mm f/1.4 ART — a portrait lens that eats background and serves it back soft

If you shoot portraits, editorial headshots, or want a super-tele short-portrait lens, the 135/1.4 is the kind of lens you’ll want to spend time with. It’s big and solid — you can feel the engineering — and the optical performance is what you expect from Sigma’s ART line: subject separation, gorgeous bokeh, and excellent resolution. It’s not a pocket lens, but it gives you that “subject pops out of the frame” look that single-lens portraits benefit from. On the Z9 with the adapter, it tracked and locked on without drama in my sampling of seated-portrait shots and candid captures.

Practical notes: Weight and size are crucial considerations if you plan to hold your device all day. If you have the room in your bag and the shooting scenario calls for long, shallow-DOF portraits, it’s worth it.

[NIKON Z 9, Sigma 135mm F1.4 DG DN | Art, Mode = Aperture Priority, ISO 160, 1/250, ƒ/1.8, (35mm = 135)]

The Megadap ETZ21 Pro+ adapter — the unsung hero

What made shooting those two Sigma lenses on a Nikon Z9 straightforward was the Megadap ETZ21 Pro+ (Sony E-mount lens → Nikon Z-mount body) adapter. There’s a lot of adapter options out there; the Megadap Pro+ sits near the top of the list because it supports electronic communication, AF, aperture control, and it’s built with practicalities in mind: weather sealing, improved electrical contact plating, customizable buttons, and mechanical upgrades that make lens mounting/release more robust. In short, it’s designed to keep modern electronic lenses functional when moved between ecosystems.

Two detail points worth calling out:

  • Thickness / mechanical fit — some cheaper adapters add significant spacing or play that can affect infinity focus or mount robustness. The Megadap family advertises a thin adapter ring (listings specify a 2 mm dimension for related models), which helps preserve flange distance and optical behavior when adapting FE lenses to Z bodies. That thin-but-solid construction matters — it’s part of why my adapted lenses focused accurately on the Z9.
  • Real-world AF & performance — reviews and hands-on tests (including long-form reviewers who’ve used the ETZ21 Pro/Pro+ on high-res Nikon bodies) report that AF performance for many modern Sony/third-party FE lenses is very usable — single-shot AF and subject lock are reliable for stills. Continuous tracking performs well with lenses that have fast AF motors. That matches my experience at the seminar: no noticeable drop-off in AF responsiveness or tracking for the Sigma lenses I tried. As always, results vary lens-by-lens, and firmware updates for both lens and adapter can improve behavior.

A few takeaways for people who shoot events and stories

  • Suppose you’re considering the Sigma 28–45mm. In that case, it’s a great one-lens solution for low-light, documentary, and interview situations where you want the look of primes but the flexibility of a zoom. It’s become one of those lenses I’d reach for when I need speed and range in a compact kit.
  • The 135/1.4 is a specialty tool — offering huge payoffs for portraiture and subject isolation. However, be prepared for a heavier carry and to budget time for composition, as the shallow depth of field requires deliberate framing.
  • If you need to mix-mount lenses on a Z-body, a high-quality adapter like the Megadap ETZ21 Pro+ is a practical option that preserves AF and electronic functionality for many lenses, which can save you from buying duplicate glass across ecosystems. Do check compatibility lists and keep adapter firmware up to date.

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Reflections from the Atlanta Photojournalism Seminar

by Stanley LearyPhotography
Reading Time: 5 minutes

The Atlanta Photojournalism Seminar wrapped up today, and I’m heading home with a full heart and renewed passion for visual storytelling. I only caught two of the keynote presentations this year because I was helping at the NPPA table, but the two I heard—Doug Mills and Carol Guzy—left a lasting impression.

Atlanta Photojournalism Seminar 2025
Atlanta Photojournalism Seminar 2025
Atlanta Photojournalism Seminar 2025
Atlanta Photojournalism Seminar 2025
Atlanta Photojournalism Seminar 2025
Atlanta Photojournalism Seminar 2025

Carol Guzy: Bearing Witness So No One Disappears

We closed the seminar with Carol Guzy, whose name has become synonymous with compassionate, world-shaping journalism. Carol is one of the most honored photojournalists alive today—she’s the first to receive four Pulitzer Prizes, recognized for her work in Haiti, Colombia, Kosovo, and other regions marked by conflict and loss.

She shared her recent coverage of ICE operations inside the New York City courthouse, documenting immigrants being taken away from their families. The images were heartbreaking, but necessary. Carol spoke about her previous year in Syria, where families were searching through rubble for the bones of loved ones who disappeared. That connection was chilling.

Here at home, if not for journalists, some stories might fade the same way—unseen, unheard, unacknowledged. Carol reminded us that the camera can be a lifeline to truth.

Atlanta Photojournalism Seminar 2025
Atlanta Photojournalism Seminar 2025
Atlanta Photojournalism Seminar 2025
Atlanta Photojournalism Seminar 2025
Atlanta Photojournalism Seminar 2025

Doug Mills: Forty Years Inside the Rooms Where History Happens

On the first day, I heard Doug Mills of The New York Times, who has photographed every U.S. president since Ronald Reagan. His career has taken him from campaign trails to 16 Olympic Games, and much of his work has become part of the nation’s visual memory.

Doug shared how he got his start, including a couple of challenging early encounters when editors made it clear he needed to improve. Those challenges shaped him into the journalist he is today—one entrusted with moments most of us only read about.

He spoke about photographing President George W. Bush on 9/11 as he learned the second plane had hit the Twin Towers. And, more recently, the unforgettable frame of a bullet streaking past former President Trump. Humor, humility, and resolve all wove through his stories. It was a reminder that history isn’t just documented—it’s stewarded.

Why These Stories Matter

Both Carol and Doug have spent their lives giving voice to people and moments we cannot afford to ignore. And yet, it has become increasingly complex for audiences to access this kind of reporting. With shrinking newsrooms and the rise of paywalls, fewer people encounter journalism that could change how we think, vote, act, and care for one another.

We need these stories. We need journalists who help us hold leaders accountable and remind us of our responsibility to one another, whether across the world or across the street.

Gary Fong is speaking with photojournalist Kathleen Greeson, accompanied by Keven Vandivier, Leslie Schanen Vandivier, and Ron London, at the Christians in Photojournalism table in the Vendor room during the Atlanta Photojournalism Seminar.

A Community That Encourages and Lifts Up

This year also brought the joy of seeing friends from Christians in Photojournalism hosting a table in the vendor room. Gary Fong, Ron Londen, Kevin Vandivier, Sam Cranston, and Tom Mills spent time in conversations, offering encouragement and prayer. In a profession often marked by emotional weight, that ministry matters.

Patrick Murphy-Racey [PMR], Gary Fong, and Ron Londen at the Atlanta Photojournalism Seminar 2025

I loved meeting students who are preparing to tell their own stories and catching up with colleagues—some still active in the field, while others have retired but remain deeply connected to the work and the friendships that formed around it. Photojournalism isn’t just a profession; it’s a community and, for many of us, a calling.

Leaving Inspired

These events always reignite something in me. I leave reminded of why I pick up my camera and why I continue teaching and consulting on storytelling. I wish I could attend more of these gatherings each year, as they refill my creative well and remind me of the power and necessity of visual storytelling.

Here’s to truth.
Here’s to compassion.
Here’s to the storytellers who help the world see what it might otherwise miss.

Until the next story,
Stanley

Finding Treasure in the Darkness: Lessons from Katherine Wolfe

by Stanley LearyPhotography
Reading Time: 4 minutes

Katherine Wolfe is a powerful storyteller, speaker, and advocate whose life was forever changed at the age of 26, when she suffered a massive stroke out of the blue. Before that morning in 2008, Katherine and her husband, Jay, lived what she describes as a “charmed life” in Los Angeles—pursuing acting and attending law school while raising their first child. But everything shifted when she collapsed in her kitchen while her infant slept nearby. Rushed into a grueling sixteen-hour brain surgery, she survived but was left with significant and lasting physical challenges.

She spent forty days on life support in the ICU and another two years in a brain rehab facility, relearning how to walk, talk, and eat. Nearly two decades later, she lives with a “new normal”—communicating differently, walking with difficulty, and unable to drive—but she has turned her second-chance life into a mission. Since 2013, she has shared her journey through speaking, writing, and community building, co-founding the nonprofit Hope Heals, which offers camps, inter-ability communities, a coffee shop, and more to help others embrace the truth that life can be good and hard at the same time.

I had the privilege of hearing Katherine speak recently at the Life 2025 event, and her message is one I won’t forget. She offers a perspective on suffering that is both raw and profoundly hopeful, inviting others to see their pain through a different lens.

One of the first images I made of her is a moment I keep returning to. Katherine stood beside her wheelchair, hands lifted high in a visual sign of rejoicing. She wanted to stand—showing that while she relies on her wheelchair to get around, she can still rise and celebrate moments of victory. That simple act set the tone for everything she shared: our trials don’t have to define us; they can reveal resilience, joy, and a deeper kind of strength.

Trials Don’t End—They Transform

“If it could be true for me, could it be true for you?”
Referencing Isaiah 45:3—“I will give you treasures hidden in the darkness, riches stored in secret places…”—Katherine reminds us that trials are not just obstacles; they can be opportunities for growth and unexpected blessings.

Life 2025

Joy Isn’t Pain-Free

“Disrupt the idol that joy can only be found in a pain-free life.”
She challenges the cultural lie that happiness depends on comfort. Romans 12:2 reminds us to be transformed by renewing our minds. Katherine’s life demonstrates that joy can coexist with struggle, and suffering can refine character, rather than destroy it.

Suffering Can Be a Gift

“My suffering can feel a little more bearable when I love who I’ve become because of it.”
Drawing from Isaiah 43:19—“See, I am doing a new thing! Now it springs up; do you not perceive it? I am making a way in the wilderness and streams in the wasteland.”—Katherine emphasizes that our deepest wounds can bring healing to the world.

Perseverance Brings Value

“I can see my suffering as a curse on the people I love, or as an inheritance of breathtaking value.”
Referencing James 1:4—“Let perseverance finish its work so that you may be mature and complete, not lacking anything.”—she encourages us to reframe pain as a pathway to maturity and lasting impact.

Hope That Will Not Disappoint

“Suffering produces perseverance; perseverance, character; and character, hope. And hope will not put us to shame.”
Romans 5:3 reminds us that hardship, when met with faith, can yield hope and resilience. Katherine’s story is proof that even ongoing struggles can produce beauty, strength, and purpose.

Hearing Katherine speak from her wheelchair was incredibly moving. She doesn’t promise a life free of pain, but she shows that even in the hardest seasons, God can reveal treasures hidden in the darkness—treasures that can transform us and the world around us.

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