Photo by Robin Rayne

In 2002, I left a full-time job to launch my freelance career as a visual storyteller.

I had a couple of cameras, a good amount of hope, and just enough naivety to think it might actually work out.

At the time, I didn’t know that most freelance businesses fail.

According to small business statistics, around 50% fail within 5 years, and only a small fraction survive beyond 20. The creative world — especially photography, video, and storytelling — is notoriously tough. And freelancing? That adds a whole new layer of uncertainty.

But somehow, 23 years later, I’m still here.

So, how did I beat the odds?

If I had to sum it up in one word, it would be adaptability.

The world I started freelancing in looked nothing like the one we’re in now:

• Digital cameras were just beginning to replace film.
• YouTube didn’t exist yet.
• Social media wasn’t part of any marketing plan.
• Clients mailed checks.
• And no one was asking about “vertical video” or “AI editing tools.”

Through all of that, I’ve continued to build Storyteller & Brand Builder Stanley Leary into something that has stayed relevant and effective for clients — not by doing everything, but by doing the right things at the right time.

Here are a few truths I’ve learned:

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1. Clients don’t just hire services — they hire trust.

When clients trust that you understand their mission, care about their message, and will deliver — they come back. And better yet, they refer others.

2. You can’t afford to stop learning.

I’ve taken courses, learned new software, upgraded gear, and adjusted workflows more times than I can count. The moment I get too comfortable is the moment I start slipping behind.

3. Being a storyteller is more valuable than being a technician.

Lots of people can shoot video. Fewer can find the story, frame it in a meaningful way, and create emotional impact. That’s where real value — and longevity — lives.

4. You have to be more than “just a creative.”

I’ve taught workshops around the world, consulted with businesses on branding, coached young storytellers, and helped nonprofits raise support with visual messaging. Those things not only diversify income — they deepen the impact.

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The Real Secret? Keep Showing Up.

There were slow months, canceled contracts, hard pivots, and seasons where I questioned whether this path was sustainable. But each time, I focused on what I could control: my skillset, my attitude, and my relationships.

This isn’t a story about getting lucky.

It’s about showing up consistently — for clients, for causes, for community.

If you’re a freelancer or creative trying to find your way, let me encourage you:
Longevity isn’t built in a sprint. It’s earned over time — one project, one pivot, one person at a time.

Thanks for reading. And thank you to every client, student, colleague, and friend who’s helped make this 23-year journey possible.

Let’s keep telling stories that matter.

Photo by Dorie Griggs

One of the strengths I bring to my workshops, especially the intense one-week kind, is discernment. I often see very clearly where someone needs help or correction. It’s not a guess or a vague hunch; it’s a sharp awareness and part of my brain’s workings.

Being on the Autism spectrum, I know that directness often comes with the territory. For me, it’s less about being blunt and more about being efficient, honest, and helpful. If someone is doing something that could be better, I want them to know, because I also want to know when I can grow or improve.

But I’ve learned that this can be hard for others to accept, especially in a condensed, emotionally charged learning environment like a one-week creative workshop, where students are already being stretched in vulnerable ways.

The Challenge: How do I lead with clarity and kindness?

It’s something I continue to wrestle with. I care deeply about my students and want to give them my best. I want them to grow, to see what I see in their work and rise to it. But I also want them to feel safe, seen, and not crushed by my critique.

What I’m Learning (and Relearning) About Communicating with Warmth

Here are a few things I’m putting into practice—and maybe they’ll be helpful for others too, especially those of us who are more naturally wired for truth than tact:

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1. Ask Before Advising

Instead of jumping in with a correction, I’ve started asking:
“Would you like some input on that?” or “Can I offer an observation?”

This slight pause respects their autonomy. It shifts the dynamic from “Here’s what’s wrong” to “I noticed something—would you like to know?”

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2. Affirm What’s Working First

It’s easy to focus on what needs fixing, because that’s often what stands out. But I’m learning to discipline myself to notice and say what’s working.

Example:
“Your use of natural light in this shot is so strong—it feels honest and intentional. There’s one element that’s distracting from that, though. Want to take a look together?”

This frames feedback as refinement, not rejection.

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3. Be Curious, Not Just Correct

Instead of saying, “This doesn’t work,” try:
“I wonder what would happen if you tried this differently?”

This shifts the posture from teacher-as-authority to teacher-as-co-explorer, and that builds trust.

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4. Let Silence Help

Sometimes, my directness is less about what I say and more about how fast I say it. Pausing for a breath or letting a moment sit before speaking helps me better gauge the emotional space. Slowness can be kindness.

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5. Let Students Reflect First

Instead of jumping in with my take, I’ve begun asking:
“How do you feel about this work? Is there anything you wish had turned out differently?”

Students often already sense what needs improving, and saying it themselves gives them ownership and dignity.

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Teaching is Not Just About the Work—It’s About the Person

I’m still learning to hold this tension: giving honest, helpful, transformative feedback, without stripping the humanity out of it. It’s easy to prioritize information over connection, especially in short workshops, where time is tight. But connection is what makes the information stick.

My discernment is not a flaw. My directness is not wrong. They’re strengths. But strengths need refinement, just like the students I’m trying to help.

And maybe that’s the lesson underneath all of this: we’re all learning how to see better, speak better, and love better—even when it’s uncomfortable.

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If you’re someone who also struggles with how to confront or correct others, maybe start with this question:

“What would it feel like for me to hear this?”

Or even better:

“What tone would help me stay open to this feedback?”

Because that’s what we want—for people to stay open, not shut down. To grow, not retreat. And that starts with how we speak.

This past week, I had the privilege of teaching lighting to the School of Photography students at YWAM Dunham. It wasn’t just another class on how to use studio gear—it was a week that reminded me why teaching is one of the deepest loves of my life.

There’s something sacred about standing in front of a group of young creatives and inviting them not just to learn but to see—to see light differently, to see people differently, and to see themselves differently.

Teaching Isn’t Just Transferring Skills

Yes, I taught them how to turn on studio lights, modify them with softboxes and grids, calculate exposure using ISO, light power, and distance, and set a custom white balance so their images are true to life.

But more than that, I taught them to think, to ask why, and to see photography not just as a craft but as a language—one that speaks identity, beauty, and truth.

The Journey Is Still in Progress

Throughout the week, I shared pieces of my journey. It’s not a finished story—far from it. Many of my dreams haven’t come true yet. But I’m not discouraged. I’m not 80 like Moses when God called him to lead. I still have time. And so do you.

I’ve worked in some challenging roles that didn’t feel glamorous or even meaningful at the time. But looking back, I see the “wax on, wax off” moments. Like in The Karate Kid, they were preparing me. God used repetition to build muscle memory for service, discipline, and endurance.

Learning to Communicate, Learning to Connect

We explored more than just lighting gear. I introduced them to communicators like Vanessa Van Edwards, who teaches how body language and presence are keys to influence. Her tips on how people present themselves in profile pictures aren’t just for self-branding—they’re tools for photographers to help others feel confident and seen.

And that’s what I’m always trying to do as a teacher: help people feel seen, not just for what they can do but for who they are.

Teaching Isn’t a One-Way Street

Most people don’t realize that I didn’t just come to serve—I came to be served, too. This week, the students gave me something. Each time I teach, I grow. I learn to communicate more clearly, listen more deeply, and love more fully.

I spent this week praying for each of them and talking with close friends about how I could show up better and make each student feel heard. When you “make teachers of those you meet,” you give them permission to step into their calling. You provide them with room to bring their gifts to life.

And when I get to do that—when I get to teach and serve—I feel the Holy Spirit most alive. That’s when the joy rushes in.

The Gift of Teaching

Teaching isn’t just one of the things I do. It’s one of my greatest loves because it brings me closer to people. Because it brings me closer to God. And because I know I’m doing what I was made to do in those moments.

So if you’re a creative, a student, a photographer, or a friend—remember this: you have something to give. And maybe, just maybe, part of your journey will be teaching others to see what they couldn’t before.

Thanks for letting me be part of your story. You’ve become a part of mine.

Photo by: Dennis Fahringer

Over the years, I’ve understood that I need more time to process things than many. This isn’t a flaw or a lack of interest—it’s just how my brain works. As someone on the autism spectrum, my mind is often very active, constantly interpreting and reinterpreting the world around me. That internal processing doesn’t stop when the conversation does. It frequently keeps going long after the moment has passed.

This has made me realize how important space and time are—not just for reflection but also for functioning well in life and work.

I’ve learned to ask questions professionally, especially when working with clients on creative projects. I want to understand, not just because I need to understand. I need to hear the story behind a project, the intention, and the feeling. When I ask questions, my brain slows down and actually absorbs what’s being asked of me. It gives me the space to deliver something thoughtful and meaningful in return.

Spontaneity doesn’t come easily for me. Quick responses, small talk, and unexpected changes can all be complex. But I’ve also learned that sometimes I must step into those moments and let them happen. It doesn’t always feel comfortable, and my reactions might not always be smooth or polished. But I’ve realized that if I ask others to give me grace and patience as I process things, I must do the same for them.

I’ve been working on that mutual understanding—that give-and-take —and honestly, it’s helped me grow as a professional and human being.

Understanding this about myself has changed how I approach life. I don’t expect to be spontaneous or instantly responsive. Instead, I value thoughtful interaction, deep listening, and intentional communication. It’s not always easy, but it’s honest. And it works for me.

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As someone on the autism spectrum, I’ve learned that communication for me doesn’t always follow the expected rhythm.

Sometimes people wonder why I don’t answer right away — why I pause, why I think. But that pause is where the real work is happening. I’m not zoning out; I’m zoning in.

For many of us with autism, conversation is a full-body, full-brain experience. We’re taking in tone, expression, word choice, and social context, and sometimes translating it into mental pictures just to make sense of it.

I’ve come to see that this slower pace isn’t a flaw. It’s a different way of relating — one that’s often deeper, more honest, and more intentional.

If you’ve ever felt misunderstood in how you communicate — or if you’ve struggled to understand someone else’s pace — know that you’re not alone. There’s beauty in the pause.

Plus: Shout-out to Julie for Rocking Her Presentation!

Yesterday, my friend Julie gave a fantastic presentation to a group of actors on the power and importance of headshots—and she nailed it. As someone who’s worked on both sides of the camera and taught photography and lighting, I wanted to follow up with some tips to reinforce and build on what she shared.

Whether new to acting or a seasoned pro, your headshot is your calling card. It’s what gets you in the room. But more than that, it needs to feel like you. So here are some practical insights from behind the lens:

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1. Know Your Type—but Don’t Get Boxed In

Before your session, consider the roles you naturally get called in for. Are you the best friend? The cop? The quirky barista? A great headshot should lean into your casting, but still show range. We want to see “you” in different lighting—both literally and metaphorically.

2. Wardrobe: Keep It Simple and Purposeful

Solid colors tend to work best. Avoid busy patterns and logos—they distract. Bring a few options to your shoot, evoking a slightly different feel or character type. If in doubt, ask your photographer for guidance (we want to help with this!).

3. Be Yourself—Authenticity Reads

The best shots happen when you’re relaxed and present. Forget trying to “pose.” Instead, think of a person or memory that makes you laugh or feel grounded. A good photographer will draw that out of you—but being emotionally available helps take your headshots from decent to dynamic.

4. Lighting Should Match the Story

Lighting tells a story. Soft and natural? Bold and contrasty? These choices affect how you’re perceived. As a photographer, I shape the light to match the energy you’re bringing. Trust me: good lighting doesn’t just flatter—it communicates.

5. Eyes Tell the Whole Story

Your eyes need to be alive. The right headshot captures that subtle, electric sense of intention behind your gaze. This is where your acting chops come in. You’re not “smiling” for the camera—you’re thinking something, feeling something.

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Every photographer has a different style and approach; ultimately, it’s a collaboration. You bring your essence, and we help capture it in a way that opens doors.

And again, huge shoutout to Julie for her presentation yesterday. I could tell the actors left inspired and better equipped to show up fully in front of the camera. I loved seeing that passion in action.

Do you have questions about headshots or want to book a session? Send me a message, and let’s make something great.

Caption: Stanley Leary teaches studio lighting in the School of Photography in Kona, Hawaii. [photo by: Dennis Fahringer]

If you had told me years ago that I would be a professional communicator, I probably would have laughed—or panicked. Communication has never come easily, especially in social or visual contexts.

I identify as someone with Autism—specifically Asperger’s Syndrome, even though the term is no longer officially used. That means I don’t naturally read body language, facial expressions, or social subtext like most people do. I wasn’t born with the ability to understand what others are feeling or thinking instantly. And yet, here I am—teaching, creating, and helping others learn how to see and tell stories with light.

The path that led me here wasn’t paved with natural charisma or perfect social intuition. It was driven by something much more straightforward but far more powerful: curiosity.

Curiosity made me pick up a camera. It prompted me to ask, “What happens if I move the light this way?” or “Why does this image feel flat, and how can I make it more dynamic?” Curiosity allowed me to stay in the process long enough to improve, even when things felt uncomfortable or confusing.

As a photographer and visual storyteller, curiosity is more important than talent. Talent can help you start, but curiosity keeps you going. It asks better questions. It opens your eyes to details others overlook. It enables you to connect with your subject, not because you instantly understand them, but because you’re interested in understanding them.

I now teach studio and lighting in a missions training context, and one of the first things I tell my students is this: your success as a photographer doesn’t depend on how inspiring your teacher is. It depends on how curious you’re willing to be. That’s the truth.

You can learn lighting diagrams and camera settings from anyone. But developing an eye for story, a sense for timing, a heart that notices—those things grow when you stay curious, even when the work gets hard or the subject seems quiet.

Curiosity creates a breakthrough, makes space for wonder, and invites us to keep asking, keep seeking, and keep showing up with our eyes open.

So, if you’re starting in photography or feel like you’re hitting a creative wall, don’t look for a new trick. Start with a better question. Start with wonder. Let curiosity lead the way.

That’s where the real learning—and the real light—lives.

Caption: Straight from Tel Aviv to ATL, Israeli comedian Yohay Sponder brought the house down with his sharp, witty, and relatable humor! He was the headline act for Thursday Night Live, lighting up the stage for Federation’s Young Leadership Division (YLD) & AJC ACCESS Atlanta. An unforgettable night of laughs, community, and connection!

Not long ago, I got a call from fellow ASMP member Bob Mahoney. He was booked solid and had a client who needed coverage. Bob asked if I could help out, and of course, I said yes.

All my communication with the client made it clear: I was there to help because Bob was unavailable, not to poach or promote myself. I honored Bob’s pricing with them and ensured the job was seamless. Bob’s client got what they needed, and Bob had peace of mind knowing someone he trusted was taking care of things.

This kind of collaboration isn’t new to me. Over the years, I’ve helped other photographers when they’ve been overbooked or unavailable and called on others when I’ve needed the same.

This professional courtesy fosters strong relationships, helps satisfy clients, and enhances our industry when appropriately handled.

So if you’re a photographer who might need help, or you’re someone willing to help out, here’s a quick guide to the Dos and Don’ts of subbing or referring work:

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✅ To Do When Helping Out Another Photographer

1. Communicate Clearly With the Client
   • Let the client know you’re stepping in on behalf of the original photographer.
   • Make sure the expectations are consistent with the original agreement.
2. Honor Their Pricing
   • Respect the pricing and terms your colleague offered—this keeps trust strong.
3. Stay in Your Lane
   • Please refrain from using the job to market yourself to their client.
   • Keep branding and communication focused on supporting your colleague.
4. Follow Their Style (If Applicable)
   • Ask about any stylistic preferences the client expects based on past work.
5. Deliver Promptly and Professionally
   • Meet or exceed the standard your colleague would provide. It reflects on both of you.
6. Debrief
   • Follow up with the photographer you helped. Share how it went and any notes for the future.

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❌ What Not to Do

1. Don’t Undercut Pricing
   • Offering a lower rate than your colleague may win short-term jobs, but it breaks long-term trust.
2. Don’t Pitch Yourself to Their Client
   • It’s unethical and damages your reputation with other photographers.
3. Don’t Overpromise
   • Take only what you can truly handle. Helping out is good—burning out or underdelivering is not.
4. Don’t Skip Communication
   • Keep the client and the photographer informed before, during, and after the job.
5. Don’t Forget Copyright/Usage Agreements
   • Ensure you’re aligned with your colleague about who owns the work and how it can be used.

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Whether you’re helping someone or needing help, these principles ensure a positive experience for everyone, especially the client. Ultimately, it’s all about professionalism, integrity, and lifting one another in this industry.

I’m grateful to photographers like Bob Mahoney who trust me with their clients, and I’m always looking for ways to return the favor.

Have you ever helped or been helped by another photographer? I’d love to hear your stories.

Every time a camera company releases a new model, the internet goes crazy. The reviews start flooding in, YouTube thumbnails scream “GAME CHANGER,” and you can practically hear your credit card twitching in your wallet.

But here’s the thing: A new camera won’t automatically make you a better storyteller. The real question is—do you need to upgrade, or are you just caught up in the hype?

After decades behind the lens, I use the checklist before upgrading a camera. Whether you’re a working creative or a photo enthusiast, this will help you cut through the noise and make a decision that serves your goals.

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✅ 1. Does it solve a fundamental limitation you’re facing?

Are you struggling with low-light performance, slow autofocus, or video quality that doesn’t hold up? Maybe there are jobs you’ve passed on because your current gear can’t handle them. If a new camera removes a roadblock, it’s worth considering.

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✅ 2. Will it help you earn more or create more?

Will it open doors to new types of work? For me, a camera with stronger video specs or better hybrid features means I can say “yes” to more clients. If the upgrade expands your skillset or revenue streams, it’s not a luxury—it’s a business investment.

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✅ 3. Is this a big leap forward—or just a minor bump?

Not every upgrade is created equal. Sometimes it’s a subtle bump in resolution or frame rate, but other times it’s a complete game-changer, like vastly improved autofocus or dynamic range. Don’t get caught upgrading for something your clients won’t even notice.

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✅ 4. Are you entirely using your current gear?

This one stings a little. I’ve met photographers who chase the latest body but haven’t learned to master their current camera. If you’re not maxing out what you already have, upgrading won’t fix that. Sometimes, better storytelling techniques or lighting skills go further than a new sensor.

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✅ 5. Will your lenses and accessories still work?

If switching systems means buying all new lenses or adapters, that adds up fast. Make sure the upgrade fits into your existing gear ecosystem, or you’ll need to budget for a full transition.

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✅ 6. Is your current gear aging out?

It might be time if your camera shows wear and tear, freezing up, or you’ve outshot its shutter life. Plus, older gear drops in resale value over time. Sometimes the most brilliant financial move is selling before it’s worth pennies.

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✅ 7. Will this speed up your workflow?

I value gear that saves me time in the field and post. That might be dual card slots, GPS tagging, better battery life, or internal recording features that eliminate extra steps. If the new body helps you deliver faster and with fewer hiccups, that’s worth its weight.

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✅ 8. Are your needs changing?

If you’re doing more video, documentary, or travel work, maybe you need better codecs, in-body stabilization, or something lighter. Gear should match your direction, not just your wishlist.

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✅ 9. Can you justify the cost right now?

Ask yourself: Will this camera pay for itself in the next 6 to 12 months? That’s the business question. If the return on investment is higher than upgrading your lighting, lenses, or editing setup, go for it. But prioritize wisely.

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✅ 10. Be honest: Is it FOMO or a real need?

We’ve all been there—watching reviews at 2 a.m., feeling like our current camera is ancient. But that’s marketing doing its job. If the upgrade doesn’t serve your story, clients, or craft, it might be gear envy talking.

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Final Thoughts:

Gear matters—but only when it helps you tell better stories or serve your clients more effectively. That’s the heart of what I do, and why I don’t upgrade just because a new body hits the shelves.

Do you have a camera in mind and are unsure if it’s time to switch? Send me a message—I’m always happy to talk shop and help you make the decision.

The past few days have been a bit of a reality check, and if you’re freelancing or running your own business, you might relate.

I’ve been knee-deep catching up on bookkeeping. It’s the kind of task that’s easy to push aside when you’re focused on client work, editing projects, or traveling for assignments. But when you let it go too long, it’ll take a few solid days to get everything back in order. That’s precisely what I’ve been doing lately.

For my system, I use Quicken to help manage my books and FotoBiz to create and track invoices. Every American Express and bank account transaction must be appropriately categorized for tax purposes. It’s tedious but necessary.

And here’s one extra step: I scan every tax-related receipt, turn it into a PDF, and attach it directly to the transaction in Quicken. Why? Because if you’re ever audited—and I have been, three times—you’ll be incredibly thankful you kept a paper trail organized and ready to go.

Now here’s something I wish more folks talked about when starting their freelance journey:
Running your business takes time that doesn’t always appear on a client invoice.

According to the U.S. Small Business Administration and several time-tracking studies, solo business owners typically spend between 15% and 25% of their time on administrative tasks, such as bookkeeping, invoicing, categorizing expenses, and tax preparation. That’s 6 to 10 hours per week if you work a 40-hour.

If you’re starting, it’s easy to overlook this side of the work. But it’s just as important as delivering great client results.

My advice?
Set aside regular time—weekly if possible—to handle your books. It’s a lot easier to stay organized than to go back and clean up a mess. Trust me.

If you have questions about how I organize things or what I’ve learned from those audits, I’m happy to share. After all, part of my mission as a storyteller is helping others build strong foundations for the work they’re called to do.

This morning, I made a simple mistake in Quicken—one of those errors where you realize it just a second too late. I had to pull out the Time Machine backup, go back a few days, and restore the Quicken file. It worked, but I was drained afterward—way more than I expected. It was like the smallest thing completely zapped my energy.

If you’ve ever felt this way, you’re not alone. And you’re not broken.

Stress Doesn’t Always Announce Itself Loudly

Sometimes, stress doesn’t come from panic attacks or big emotional outbursts. It’s quieter. Subtler. It might show up like this:

• You feel exhausted after a basic task.
• You’re foggy-headed, but not sure why.
• You’re spending hours at the computer and still feel behind.
• You lose your patience faster, even with yourself.
• Your motivation feels buried under a fog of “meh.”

These can all be signs of burnout, especially when your regular rhythms are out of sync.

A big part of this was realizing how much I miss being out in the field—telling stories with my camera, not just behind a screen. I’ve spent years helping nonprofits and businesses craft their message visually, and when that rhythm slows down, it hits hard.

You’re Not the Only One

I’m learning — and maybe you are too — that this experience isn’t unique.

I talk to other creatives, nonprofit workers, small business owners… and there’s a theme: work has changed, pace has shifted, and many are left wondering, “Is it just me? Did I do something wrong?”

It’s not just you. These kinds of dry seasons can happen to anyone, and their weight adds up if we try to push through without processing them.

So What Can We Do About It?

Here are a few things I’ve been doing (and recommending) that help me move forward — slowly, intentionally, and with hope:

1. Check in with yourself like you would a friend

You’d never tell a tired friend, “Well, just try harder.” So give yourself the same grace. Ask:

• What do I need right now — rest, movement, connection?
• Am I operating out of fear or purpose?

2. Reconnect with people who already know your value

Instead of chasing new leads, I’ve started reaching out to past clients. Just checking in, reminding them I’m here, and seeing how they’re doing. These are the relationships where trust is already built.

3. Create small, clear offers

Sometimes people don’t hire you because they don’t know how to. I’ve been working on packaging things more clearly — story-driven videos, photo sessions, or even consulting. That way, it’s easy to say yes when someone is ready.

4. Share your own story

This post is part of me practicing what I preach. Vulnerability creates connection — sometimes, that opens the next door.

5. Rest isn’t optional — it’s fuel

Resting doesn’t mean you’re giving up. It means you’re smart enough to know you can’t run on empty. I’m learning this the hard way, but I’m learning it.

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If you’re in a season like this, I see you. And if you want to talk through ideas, get perspective, or just hear, “No, you’re not crazy,” — I’m around.

We’re all storytelling through seasons. This happens to be one of mine. Thanks for being part of the journey.

As a storyteller and brand builder, I’ve found that embedding GPS data and utilizing facial recognition in my photography workflow enhances my organization and adds immense value for my clients. These tools go beyond the basic EXIF data, providing deeper insights and context to each image.

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📍 The Power of GPS in Photography

With my Nikon Z9, GPS data is embedded directly into each photo. For my Nikon Z6, I sync GPS data using my smartphone, ensuring location information is captured even when the camera lacks built-in GPS. This geotagging is invaluable, especially when revisiting shoots or organizing large photo libraries. Camera Bits, Inc.+2forums.camerabits.com+2Camera Bits, Inc.+2

However, GPS signals can be unreliable indoors. I take a single photo outside the building to capture accurate GPS data to address this. Then, using Photo Mechanic, I apply this GPS information to all other images from the session:

1. Select all relevant images.
2. Right-click and choose “Set GPS Coordinates.”
3. Input the GPS data from the outdoor photo.
4. Click “Accept Location” and then “Apply to All.” forums.camerabits.com+3forums.camerabits.com+3Camera Bits, Inc.+3YouTube+8Camera Bits, Inc.+8forums.camerabits.com+8

This method ensures consistency across your photo set, even when GPS data isn’t available for every shot.

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🧑‍🤝‍🧑 Organizing with Face Recognition in Lightroom

Lightroom Classic’s facial recognition feature is a game-changer for organizing photos: Tutkit.com+7Adobe Help Center+7Adobe Help Center+7

1. In the Library module, switch to the People view by selecting View > People or pressing “O.”
2. Lightroom scans your catalog for faces, grouping similar ones.
3. Assign names to recognized faces, allowing Lightroom to tag them across your library. Honcho+3Adobe Help Center+3Tutkit.com+3SLR Lounge+3Honcho+3Lightroom Killer Tips+3

This system becomes more accurate over time, making locating photos of specific individuals easier, whether for personal memories or client projects.

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🔍 Enhanced Search Capabilities

Combining EXIF data, GPS information, and facial recognition allows for powerful search functionalities:

• EXIF Data: Search by camera settings like aperture, shutter speed, or ISO.
• GPS Data: Find photos taken at specific locations or within certain geographic areas.
• Facial Recognition: Quickly locate all images featuring a particular person.

This comprehensive metadata approach streamlines finding and organizing photos, saving time and enhancing efficiency. Camera Bits, Inc.

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🤝 Benefits for Clients

When working with clients, these tools offer additional advantages:

• Event Coverage: Clients can easily identify and access photos from specific events or locations.
• Personnel Tracking: Facial recognition helps catalog images of staff or participants, which is helpful for internal records or promotional materials.
• Customized Deliverables: Providing organized and searchable photo libraries adds value to your service, enhancing client satisfaction.

By leveraging GPS and facial recognition technologies, I improve my workflow and deliver a more comprehensive and user-friendly product to my clients.

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For a visual guide on using facial recognition in Lightroom Classic, check out the following tutorial: Tutkit.com+4Adobe Help Center+4Adobe Help Center+4

This video provides step-by-step instructions to help you organize your photos using facial recognition.

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Embracing these technologies has transformed how I manage and deliver photographic content, making the process more efficient and enriching the storytelling experience for myself and my clients.

Photo Caption: David and Tami Woods are beginning a new chapter in Bobo, Burkina Faso—and they’re not doing it alone. As they move into their new home, they were welcomed by homeowner M. Augustus Dembele (blue boubou) and supported by local friends who helped unload the truck: Karim Illa (brown boubou), Abraham Tankoano (checkered shirt), Colette Dembele (blue jean dress), and Ejemeba Dembele (brown top). This move isn’t just about a new house—it’s about building relationships and walking together in community.

Editorial Note Update:
After receiving thoughtful feedback, I want to clarify a distinction not fully expressed in the post. While the missionary I referenced still works where the Gospel is needed, the context matters: there’s a difference between serving in regions where 70% or more of the population already identifies as Christian and those where less than 2% have access to the message of Jesus. The latter often means people have little to no opportunity to hear and understand who Jesus is. That’s an important nuance in how we talk about missions—and why word choice does matter.

If you’ve been around faith-based nonprofits or international ministry work long enough, you’ve probably heard these words:

“I’m heading to Africa as a missionary.”

But here’s the thing: many countries people are “going to” today have more Christians and more active churches than the countries they’re coming from. Places like Nigeria, Kenya, and Ethiopia aren’t just “reached”—they send missionaries to Europe and North America.

So what happens when we continue to use outdated words like “missions” or “missionary”?

It sends the wrong message.

Even with good intentions, it can sound like we’re arriving to fix or lead—when the church is already thriving. These words can accidentally carry the baggage of colonial-era ministry: one-way help, top-down control, and a posture that doesn’t reflect today’s reality.

Our language needs to grow with our purpose.

Most of the global work happening now isn’t about proselytizing. It’s about partnership.
It’s about equipping, learning, building up, and being invited into what local churches are already doing.

That means it’s time to consider better words. Words that reflect mutuality and humility, like:

• “Cross-cultural partnership”
• “Global service”
• “Faith-based collaboration”
• “Supporting local leaders”
• Or even plainly say what you do: “I help train media teams in Uganda.”

We’re not just changing labels—we’re telling better stories.

As a visual storyteller and brand consultant, I’ve seen how a single word can shift the perception of an entire mission. The language we use becomes the lens through which people see our work. That’s why this change matters.

It’s not about semantics.
It’s about truth.
It’s about respect.
And it’s about showing up in a way that honors the people we’re working with, not just working for.

If you’re in this space—whether you serve, support, or send people into cross-cultural ministry—consider how you communicate the “why” and “how” of that work. The more clearly and authentically we speak, the more trust and impact we build.

Have thoughts on this? I’d love to hear your take.

Please drop me a comment or shoot me a message.

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Ministry vs. Missions: Understanding the Church’s Two Fronts

Ministry

Ministry refers to any act of service done in the name of Christ, often within the local church or Christian community. It’s the day-to-day expression of faith—serving others, teaching, leading worship, counseling, discipling, or running programs like youth groups, food banks, or small groups. Ministry often focuses on building up the body of Christ (believers) and supporting the local church.

Example: Leading a Bible study, organizing church events, or serving as a pastor are all forms of ministry.

Missions

On the other hand, Missions is about going beyond your immediate cultural or geographic context to bring the gospel to people who don’t yet know Jesus, especially those with little or no access to it. It’s often associated with cross-cultural work and focuses on evangelism, church planting, and discipleship in places or among people groups where Christ is not yet known.

Example: A missionary going to an unreached tribe in Southeast Asia, or even someone planting a church in a spiritually dry part of a Western country, is engaged in missions.

The Core Difference:

• Ministry is usually within the church or to those already exposed to the gospel.
• Missions are about reaching out beyond the church, often cross-culturally, to those who have not heard the gospel.