Multimedia Workshop helps a participant navigate through the fog.

 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 280, ƒ/5.6, 1/100

I’m sorry, I haven’t the foggiest. But, in fog is how the story process was starting for Liz Ortiz. Liz’s thoughts were clouded by a thick fog early in capturing her story as a workshop participant in the Storytellers Abroad Missions Multimedia Workshop in Bucharest, Romania.

Many things were contributing to the fog.

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

I could tell Liz’s questions during her interview with the subject that she was stuck. The subject didn’t answer the question the way she was anticipating, and it appeared as if the subject didn’t answer the question.

After a few times, Liz just moved on. Liz’s question assumed that her subject, Nicolette, understood how a story about her could help not just her but bring more workers and resources to satisfy all of Romania.

Liz was learning to move beyond her preconceived ideas of what she thought the story would be and understanding to help explore the subject through observation and questions.

The missionaries are working to help the Romanians think about more than just their church. For example, Liz grew up as a Baptist and assumed that all Christians believe in evangelizing worldwide. However, this is not how most Romanians think about their faith.

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

So due to this, Nicolette never discussed the need to evangelize other communities or Romania. Instead, she saw she could use more workers for her classes at her church.

The missing part of Nicolette’s story was why the audience should care and how they could get involved. Liz initially produced the package to help a missionary raise awareness to the audience and ask them for support for children’s ministry in Romania.

After talking it through with Liz, she decided to add the missionaries to the package to help complete the storyline. Watch Liz’s first package that she did all by herself on Romania Discipleship.

Liz also had some other fun experiences while in Romania. One of them was getting licked by this cow walking down the street in the village of Herăști, Giurgiu, Romania.

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

Liz Ortiz just graduated from Liberty University and is doing an internship with ABWE this year in addition to the workshop. Maybe you are in a similar position, just graduated this coming year you are a Junior or Senior in a communication program.

If you do not have a multimedia package you produced solely by yourself in your portfolio, then you might be the perfect candidate for a workshop like this. If you are interested, then send me an email so I can put you on the list for the announcement of next year’s workshops that I am doing. Here is my email address [email protected].

Romanians Winning Their Jerusalem

 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/8, 1/320

Meet Rob Krieg, IT Director, who was one of the workshop participants in the Storytellers Abroad Missions Multimedia Workshop in Bucharest, Romania.

Rob had been a news photographer earlier in his career. He loved photography and wanted to add to his skills the ability to tell stories.

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

Rob had the most miniature camera system out of everyone doing the workshop. Rob shot his entire project using the Fuji X-T1 or the Fuji X-E2.

photo by: James Dockery

Rob was knocking it out of the park, getting b-roll. But, he understood the visual side of storytelling just fine.

What Rob worked on the most during the workshop was understanding the audio portion of the project. He had never been responsible for asking the questions for the interview and helping to direct the story.

What made the story more difficult for Rob was while he was getting the story concept, the subject didn’t see how they fit into the bigger picture. No matter how he sequenced the interview, there was just something missing.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 360, ƒ/8, 1/500

After taking some time to talk with Rob about the story of James Dockery, Jeff Raymond and I advised him to interview our host and missionary, Tom Graef. Tom is here talking with the priest for the Orthodox Church in Herăști, Giurgiu, Romania.

Now the most challenging thing was intertwining Tom’s comments with the subject Simon Bayrakcioglu. It would be easy to stay with Tom’s words because he was more articulate, but his remarks to Simon gave the story more power.

You see, the one thing that Rob learned was the whole point of getting someone’s comments recorded is the power of the first-person narrative to give authenticity to a story.

Listen and watch how Rob blended Romania’s visuals with Tom and Simon’s interviews.

 

Rob discovered that he had to have someone speak into the story. What also Rob learned was the importance of persistence.

By the way, Rob was one of the perfect candidates for the workshop. He had already mastered photography and was looking to add the storytelling skill using multimedia.

Email me if you are interested in taking a multimedia workshop next year. Here is my email address for you [email protected].

Romania Orphan Ministry

 
Fuji X-E2, FUJINON XF 55-200mm, ISO 400, ƒ/3.6, 1/2200

Last year I met Korinna Waggoner for the first time. She was one of the participants of the Lisbon, Portugal Storytellers Abroad Multimedia Workshop.

She liked the experience so much that she wanted to do this again, so she joined us in Bucharest, Romania, this year.

While hearing all the content for teaching mainly was a repeat, hearing it for the second time was beneficial to Korinna.

Fuji X-E2, FUJINON XF 18-55mm, ISO 6400, ƒ/2.8, 1/60

Last year Korinna experienced more bumps in the road with access to the subject. With all the preplanning we do, there is still a chance scheduling may need some adjusting. However, Korinna’s subject was more accessible this year and made for a much better story.

Here is her story from this year on Orphan Ministry in Romania.

 

When asked the most important things learned she learned this year, Korinna had three that rose to the top:

  1. Video/Storytelling Confidence
  2. How I can do storytelling on my own
  3. Social Media
After doing this 2nd workshop, Korinna was saying sign me up for storytelling for missions.
 
I believe that after two of these workshops, most people would be ready to adventure out on their own. However, if you are a mid-career in the communications field or towards the end of your career, you could probably take just one of these workshops and be ready.
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/8, 1/250
A critical aspect of a successful workshop is feeling like you can just be yourself. Now I hope this was taking place as we drove to different locations. I think Korinna was having fun. Ha Ha, Well, I was at least.
 
Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 2200, ƒ/4, 1/100
Here Korinna is talking with James Dockery, senior editor with ESPN, about her story. Having these one-on-one times with each workshop participant is where James and I feel like we were able to help the most.
 
photo by: Jeff Raymond
We also did some lectures, but this was only about 10% to 20% of the workshop. Only a small percentage of classes is because we needed everyone to be hands-on and learn from doing rather than by being lectured.
 
You can go online and listen to all you want tips on how to use software and see lots of examples of how to do multimedia projects. The workshop helped all these students by having someone walk beside them every step of their journey and having someone who pulled from all their experience and not just doing it alone for the first time.
 
Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 900, ƒ/3.2, 1/500
Here is Korinna shooting in the village of Herăști, Giurgiu, Romania.
 
Korinna’s advice to those considering a Multimedia Workshop:

Do it! What you will learn on this trip is far more than you can ever expect!

Email me if you are interested in taking a multimedia workshop next year.

Romanian Camp Ministry

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

This photo is how I see Keziah Khoo. She is always having fun and making lots of friends all over the world.

Here she is with her new friends in Bucharest, Romania. I first met Keziah in February 2014 at the School of Photography 1 class at the Youth With A Mission campus in Kona, Hawaii. She went with a group that I was teaching on an around the Island tour before the class started.

Fuji X-E2, FUJINON XF 18-55mm, ISO 400, ƒ/7.1, 1/600

She just exudes fun, so much so that even the horses like posing with Keziah. As you can see, Keziah is all about everyone having fun, so I wasn’t surprised when she chose to do a story on camps in Romania.

Here is her finished package.

 

Throughout the process, Keziah would get tips from the leaders.

Nikon D750, Nikon 85mm ƒ/1.8G, ISO 500, ƒ/1.8, 1/100

James Dockery, ESPN Video Editor–James works as a lead video editor for ESPN and operates his own business in Charlotte, NC, where he is a photographer/ videographer. James has been a photographer for over 30 years and a videographer for over 20 years. He is helping Keziah with her edits in Adobe Premier Pro.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 2200, ƒ/5.6, 1/500

Jeff Raymond, ABWE Director of Visual Communications–Jeff works closely with ABWE missionaries to train them to use visual storytelling as the basis of their communications strategies. He also has a passion for investing in others with creative skills and creating an avenue for them to serve the Lord in missions. He is shooting beside Keziah on one of our b-roll gathering adventures in Bucharest, Romania.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR,  ISO 1800, ƒ/5.6, 1/100

We drove out to Herăști, Giurgiu, Romania, a small village outside of Bucharest, about an hour by car. Here Keziah is taking a photo of some of the local guys.

So what did Keziah think of the experience:

The teaching was really good and covered everything I needed to know about creating a multimedia piece.

Keziah listed to list 2 or 3 of the essential things she learned. She said this:

Patience – When technical stuff went wrong

Focus – in pushing through, finishing the edits no matter how frustrating it was

Flexibility – plans

It has been fun watching Keziah grow in her skills. She has also taught me how valuable it is to have photos of yourself with those you meet along your journey.

Want to be a better photographer or storyteller? Take Multimedia & Marketing Workshop

 
James Dockery saw this little boy on the steps as we went to buy some water at this corner convenience store in Bucharest, Romania. After asking his mother if he could take a photo, I captured him and the boy. [Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 1600, ƒ/7.1, 1/100]

Take on more responsibility than just taking photos for your projects; this will improve your photography skills.

Today you can take on more responsibility with a project, whereas that just wasn’t possible in the past. In addition, you can easily be in control of the entire project from start to finish today due to the access we now have.

James Dockery works as a lead video editor for ESPN and also operates his own business in Charlotte, NC, where he is a photographer/ videographer. Here he is teaching the class about sliders and how they work. [Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 1000, ƒ/4.5, 1/100]

Due to computers becoming less intimidating and easier to use, barriers no longer exist. Before the Internet, you had to use print media, radio, or TV to reach your audience. Most of these mediums require you to gain the trust of those gatekeepers to use your content. Getting their faith took a lot of time, and you not only had to have outstanding work, but they had to like you.

In the past, you shot your images and handed these to someone like an editor, designer, or publisher, who would then take it from that point to reach the audience. Today you can find your audience and get them literally with just a few clicks.

Workshop participant Liz Ortiz interviewed a small village; and was her first interview, and was having to work with a translator as well. [Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 1000, ƒ/5.6, 1/500]

By creating your project, you can control the entire process. Today learning how to do this for yourself will improve your skills in any of these parts, like photography. I know from editing a project it is rare that I don’t realize I could have used more b-roll. Had I not been responsible for the entire project, I would not be the one yelling at myself to do a better job.

Nothing beats you holding yourself accountable.

Pictures alone do not tell a story. All these years as a photojournalist, the only way my photos communicated the story entirely was when accompanied by text or audio. If you wrote your own story, shot the images, and laid them out in a newspaper, it didn’t take long to see the holes you left while covering a story. Understanding the role of the producer would help you the next time to have a better checklist to be sure your account was even better than your last one.

On our last night in Bucharest, Romania, the workshop participants and hosts got together for a premier of the projects shot that week. While they are not the primary audience, they live there and see this firsthand; they are the ones that will use these stories to help tell their mission supporters back home what they are doing. [Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/5.6, 1/25]

The biggest mistake made today–forgetting your audience is not there.

We too often spend all our time with a subject and think this is our story. Instead, we need to take responsibility for the account connecting with the audience.

Why should the audience care? If you know your audience, you will not only be able to answer that question but also learn how to engage them; by the way, your cover the story. If the audience is kindergartners versus working professionals, they will have different interests in the take on the story.

Here is my advice. Take on a personal project that an audience will be interested in or should be interested in and do the story from start to finish.

Maybe help a local nonprofit tell its story and help them raise funds. The key here is not to say to the report, but be sure it is put on the web or in some printed piece and gets to the audience. Then you need to measure the success of your story. Did you help them raise more money than they did last year without your help?

Keziah Khoo, the workshop participant from Singapore, listens to James Dockery giving some editing tips in Adobe Premier Pro to help polish up her project. [Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 12800, ƒ16, 1/50]

In telling the story, you need to do it all. I recommend using multimedia. Multimedia is where you can interview subjects and capture them telling their stories. Use great b-roll to support their comments. Then put this on the web. Be sure you are promoting it as you are producing it.

When you take a photo of the subject on the first day, write a small paragraph and put it on social media. Then, tell people to stay tuned to see the whole story.

This photo is an example of a still image in that you would write a small paragraph about the lady and her community. Then you would say stay tuned and look for the story on your blog or YouTube feed, for example. [Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 900, ƒ/5.6, 1/100]

After you have taken on a project, you will start to see how all the pieces fit together. You will understand how to ask better questions in the future to help you do your role better when you are just part of the team and not doing it solo.

If you are used to just taking pictures of a story, will your photography suffer by doing it all? YES! However, will the project have more impact? YES!

I just got back from Romania, where the workshop participants I helped teach with James Dockery and Jeff Raymond for the first time did the entire project from start to finish.

Please take a look here at what Jon Franz did with his story. I know Jon’s work is helping because I didn’t just “LIKE” the package; I am “SHARING” it.

Does all this sound too intimidating? I recommend taking a multimedia workshop like the one I led in Bucharest, Romania, and last year in Lisbon, Portugal.

More than 80% to 90% of the time you are in the workshop, you produce the package. 10% to 20% is formal class time. James Dockery and I have discovered that getting people doing it hands-on works better than lecture. We then come alongside you and advise. We found that each workshop participant is different.

This approach lets the workshop participants draw upon our years of experience.

I am working on two workshops right now for next year. One will be in Roswell, Georgia, and one more in a foreign country. These will be 5 to 6-day workshops.

The workshop will match you with a local nonprofit to create a powerful photo story about their mission. We will have lectures, hands-on instruction, and business skills seminars throughout the week. Finally, we end with a public slideshow.

You will work directly with nonprofit staff and clients with an end project designed to be a call to action for the audience. You will have 1-on-1, personalized editing for each student happening every day. Our lectures will contain some of our work with storytelling, teaching storyline, how to interview subjects, getting that all-important b-roll, and how to put it all together using Adobe Premier Pro.

If you are interested, contact me at [email protected] so I can put you on the mailing list for more details.

Should I buy primes or zooms?

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 2200, ƒ/5.6, 1/500

Primes vs. zooms. Well, that is not a simple one-size-fits.

Don’t be the photographer who always says prime or zoom–you will be like the guy who uses a hammer to fix everything.

If you know what and how you like to shoot, it is much easier to find the best lenses.

To get a lot of variety with a prime lens requires you to move a great deal more with a subject to get a variety of images.

For example, a prime works excellent if you are looking for a portrait lens. You have more control of the subject. You can have them stay still, and then you can shoot wide open and get that silky bokeh. When shooting wide open apertures like ƒ/1.4 and the closer you are to the subject, just taking a breath can cause you to move and miss your focus.

Nikon D4, Nikon 85mm f/1.4 AF-D, ISO 12800, ƒ/1.8, 1/250

However, if you are shooting more photojournalistic and you need to capture a story in which you cannot stop the people and have them pose as well as needing more variety of photos you might want to consider zooms over primes.

I shoot a lot with a 28-300mm lens which lets me move quickly and not worry too much about do I have the right focal length on the lens. In other words, I get the shot more often than had I been switching lenses.

Not all primes are better than zooms, and with today’s lens profiles built into software like Adobe PhotoShop and Lightroom, the software can practically make what was inferior glass due to chromatic aberrations perfect. For example, lens Profile Corrections is a tool within Lightroom’s Develop Module that allows fixing such lens problems as distortion, chromatic aberration, vignetting, and perspective correction “non-destructively” without leaving Lightroom.

My point here is that it is not as big of an issue as it was in film days.

 
Here you can see the scores on zoom lenses. While overall, the scores are lower than primes, as shown below, not all zooms are inferior to heights.
 
 
Notice that Sigma 18-35mm ƒ/1.8 is the sharpest of all these lenses.
 
 
Here is my favorite lens the Nikkor 14-24mm ƒ/2.8.  It is exceptionally sharp.

The primary issue that most photographers consider is the variety of images they like to shoot. If you are shooting all these photos, for example, a couple of zooms would make it easier to get the pictures than primes.

Opener: Sets the scene for the story
Decisive moment: The one moment that can by itself tell the story
Details: Besides being like visual candy to the story, help often with transitions–especially in multimedia packages
Sequences: give a little variety to a situation
High overall shot: Gives a good perspective to how the elements all fit together
Closer: Besides the classic shot of the cowboy riding off into the sunset there are other visual ways to help bring the story to a close
Portraits: These photos are great for introducing the characters of the story

Nikon D4, Nikon 85mm f/1.4 AF-D, ISO 400, ƒ/1.4, 1/125

However, if you are shooting a headshot, then a prime like the Nikon 85mm ƒ/1.8 would be my choice.

If money is of significant concern, I will go with zooms because I can have more focal length choices.

Zoom or Prime?

Photo A

Here is the same situation with the other lens

Photo B

Now here is one more that you need to compare even more

Photo C

These two lenses, the 1) Nikon 85mm f/1.4 AF-D or 2) AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, shot these three photos.

  • Photo A – Nikon D4, 28-300mm (300), ISO 100, ƒ/5.6, 1/25 – Off-camera fill-flash using the Nikon SB-900. The Flash is on the hot shoe of the Pocketwizard TT5. They are triggered by the Mini TT1 on the Camera with the AC3 to control the output of the Flash. Flash is -2 EV, and the Camera is -1 EV.
  • Photo B – Nikon D4, 85mm ƒ/1.4, ISO 100, ƒ/5.6, 1/50 – Off-camera fill-flash using the Nikon SB-900. The Flash is on the Pocketwizard TT5 and is triggered by the Mini TT1 on the Camera with the AC3 to control the output of the Flash. Flash is -2 EV, and the Camera is -1 EV.
  • Photo C – Nikon D4, 85mm ƒ/1.4, ISO 100, ƒ/1.4, 1/50 – Off-camera fill-flash using the Nikon SB-900. The Flash is on the Pocketwizard TT5 and is triggered by the Mini TT1 on the Camera with the AC3 to control the output of the Flash. Flash is -2 EV, and the Camera is -1 EV.
Summary
 
Which lens is best? Well, that depends on the photographer. Some photographers could make just about any camera and lens look great, while others can do just the opposite. However, some lenses best fit you based on your shooting style and subject matter.
 

If you are still confused, then rent these lenses before buying.

By the way, I own both.

Use light to direct your audience

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

Shooting In A Romanian Village

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

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

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

Discovering Moments

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

Storytelling is more than ƒ/8 and be there

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

ƒ/8 Be There

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

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

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

Interview

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

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

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

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

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

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

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

Storytellers Abroad Workshop In Bucharest Romania

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

Romania

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

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

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

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

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

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

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

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

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

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

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

Want better pictures? Find better light

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

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

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

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

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

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

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

Now, look at what makes all these photos pop.

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

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

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

Six Tips To Improve Your Next Project

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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