I discovered that while I was overseas for three trips this year, I wasn’t covered if my gear was lost, stolen, or damaged. I thought I had done everything right. I even wrote about it on this blog on how I screwed up.

August 1, 2012 I wrote this in my blog: [Camera Insurance]

Lesson Learned

A few years ago, I read on a photography forum how people were getting great deals through their State Farm Insurance representative. I was with State Farm for my house and cars then, so I called them.

I explained that I do not have a studio, do location work all over the country, and occasionally overseas travel.  I got a quote for about 1/3 of what I had been paying. I jumped on that and had the policy for more than two years.

Just change that “State Farm Insurance” to “Allstate Insurance.” The difference in how I got burned this time was that ASMP had listed them as a benefit.

Howard Burkholtz was the representative that I talked with about switching from Tom C. Pickard & Co.

I explained that I travel and do not work out of a brick-and-mortar business. I travel to my clients all over the world.

How it all went wrong

While in Trinidad teaching in the Storytellers Abroad workshop, I got up from my chair, and my foot caught the power cord plugged into HyperDrive – USB Type-C Hub, which also my 4TB Western Digital Hard drive was plugged into. The hard drive went crashing to the floor.

Not everything on the drive was there a second copy of the files. I sent it off to get recovered. I knew that the insurance was supposed to cover this.

Well, I read in the policy they sent me to sign that the limit was $10,000 for data recovery. When I talked to the claims adjuster, they informed me it was only for $5,000.

I discovered that I wasn’t covered as told by the Allstate Representative.

When I just left my house, I was covered only by about 1/2 of the policy I had before. I also discovered that I was not covered at the requested replacement cost.

The worst thing is that I discovered that my camera gear was not covered overseas. I made three trips this year to Peru, Trinidad, and Chile. Had anything been damaged or stolen, I wasn’t covered.

So my coverage with Tom C. Pickard & Co. was around $800 a year. Allstate was initially quoting about $350. When they saw I also did a video that went up to $500.

Howard Burkholtz discovered the problem and was willing to find another policy to cover me as requested. He came back with a price of $1,800.

I canceled their policy and called Tom C. Pickard and company (http://www.tcpinsurance.com/). Allstate refunded me, and the new policy is right back to about $800 a year for all my $45,000 gear.

I learned even the insurance recommended by a professional association like ASMP could be bad for you. I recommend talking to other pros doing similar work as you and finding out what they are using.

Where there is no guidance, people fall, but there is safety in an abundance of counselors.

Proverbs 11:14

One of the most challenging things I struggle with regarding my clients is wanting to help them, but I am not invited to the table.

I have learned from my 35+ years in the industry that I have what my friend calls “accumulated scar tissue.” I have seen so many things and been in so many planning meetings that I am bringing all of this to the table when I listen to your ideas.

Just on Facebook the other day, a photographer went to an event where they had the podium in front of a window. This makes it nearly impossible to get a good photo/video of the person on the stage. This is an excellent example that someone could have spoken into the planning that has the expertise of why you are doing the event – for media coverage.

Most of the time, people will not invite you in and hold a meeting to listen to you. They are not even going to invite you to the room.

They often fear that you may only give them suggestions that benefit you and not the organization. Even if you have built a reputation for giving them advice that doesn’t help you and them, they are still so cautious they are missing out on some counsel.

How to be present when the client isn’t showing interest

Be available – Do everything you can reasonably do without being a stalker to show you are there for them. Just check in with them. Be Supportive – You are not asking for work; you genuinely offer to help in any way possible.

Be Organic – Imagine allowing things to happen naturally, and things work out, and all you did was smile and watch. To do this, you must know what you can do. You let what is going to happen, happen. Accept the outcome, good or bad. Always try and learn from the situation. If you have this attitude, when your client talks about something they are working on, you will have the perfect opportunity to offer counsel.

Do your research – Nothing is worse than having an opportunity drop in your lap and ruin it. Those opportunities come seldom, so do your homework. This is very hard to do if no one lets you know what they are working on. This is like how the US monitors North Korea; they must ask China, Japan, and South Korea to give them intel.

Model the behavior – Have you ever noticed that you want your client to open up so you can help, but you haven’t opened up for others to help you? This is probably my weakest area myself. Find someone you can talk to to help you think better and develop the necessary patience.

Set Boundaries – Realize your limitations. Don’t become a pest. You don’t want to put pressure on them in any way. They should never feel pressured by you.

Don’t Avoid Them – This is strange that I should mention this, but sometimes we treat our clients like they have lost a loved one or have cancer. We don’t know what to say, so we withdraw from them. Amazingly just being there for someone can mean sitting in silence with them. Having answers and ideas all the time isn’t as valuable as just knowing when you don’t have an idea.

The photo above is from the photo call for Show Boat performance at East Carolina to open the new theater on April 3, 1982. The camera I shot that on was a Nikon FM2. I would have been using Kodak Tri-X film pushed to ISO 1600. The shutter speed would have been about 1/60 @ ƒ/2.8.

Everyone was in place and told to freeze. Notice how all the guy’s hats are in the same position. Would that happen in a natural scene? Why was this posed? In the 1980s, the film didn’t allow you to move much, or you were blurred.

Before writing this blog, I surveyed my professional photographer friends who shoot theater. No one doesn’t prefer shooting real-time action over staged moments.

The 1826 photo View from the Window at Le Gras took 8 hours to expose the first photograph ever shot. When Louis Daguerre introduced the daguerreotype in 1839, he managed to shave this time down to just 15 minutes.

Technology made it almost impossible to get action shots as they happen in a dress rehearsal or live theater.

I have been doing headshots for actors for 35+ years in this profession. Recently I tried to mix some real “Moments” into the photo shoots.

I asked the theater people to give me all their facial expressions in 30 seconds. Even if those photos taken during those 30 seconds didn’t turn out the best, the images that followed were far superior. The difference is going for a “real moment” and not a “posed one.”

Here is a blog post I did for actor headshots.

In 2017 I photographed my daughter’s high school production of Oklahoma and was shooting the live performance. Here I froze the peak moment when a dancer was doing a split. This was not possible in 1982.

Until the Nikon D3 was introduced in 2008, the maximum ISO sensitivity setting that you might be able to shoot at was either 1600 or 3200 (depending on the model), and even then, not remarkably confidently.

I jumped from shooting ISO 1600 to ISO 12800. This was three full stops of ISO.

Today I have the Nikon D5 & Nikon Z6 and have had to use ISO 51200 or higher to get photos. Before now, they were not possible without a flash.

Nan Melville, who shoots for The Juilliard School performances, says, “shooting in real-time in rehearsal is important – Instead of stopping and having the actors pose. I never do that.” [Nan Melville’s performing arts photos]

Alan Goldstein says, “I’ve photographed many performances and preferred dress rehearsal because I could move around the theatre. However, I have also photographed live performances from the rear of the theatre. Nothing was staged for me, and I liked the spontaneity.” [Alan Goldstein’s work]

Jeff Widner said he shot these of the broadway show “Network” during the performance. Go here to see those photos.

Michelle Heimlich says, “I know Ball State University that I shot for 15+ years ago with the move to digital photography, has gone to all real-time photography instead of dress rehearsals.”

Now when it comes to dancing, that takes things to a whole new level. If it were born in 1982 with my Nikon FM2, this photo would have been 1/2-second-long at ISO 1250 and ƒ/5.6. Also, that wouldn’t be in color. Back then, ISO for Color was about ISO 320. Your shutter speed would have been about 2 seconds.

Nan Melville says,

“With dance, I find it almost impossible to pose pix and can generally tell when I see a photo set up. Sometimes the set-up Photos with the elaborate background can be compelling, like the posters for ballet and opera, when done on a grand scale, if you know what I mean.

That is, with a setting and lights organized for a particular effect. However, these must be good, or I think they are fake.

A dancer recently asked me to take pictures during a performance because all the rehearsal pictures were so bad, and the absolute intensity did not show.”

Only recently has it been technically possible to capture the scene above that I did recently at the dress rehearsal for “She Kills Monsters.” ISO 51200 made this possible.

As you can see, the actors don’t have the emotion on their faces as they would have had during the actual scene. Stopping and posing make for poor aesthetic images.

It makes the actors look horrible. What I like about capturing a rehearsal and performance versus a photo call where we stop the scene for photos is that the emotions of the commission are lost.

Getting high school performers to look accurate in posed photos is nearly impossible. This is why I love shots like this of high school performance.

“Photography is not like painting,” Henry Cartier-Bresson told the Washington Post in 1957. “There is a creative fraction of a second when taking a picture. Your eye must see a composition or an expression that life offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative,” he said. “Oop! The Moment! Once you miss it, it is gone forever.”

“To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event and of a precise organization of forms which give that event its proper expression.”

Henry Cartier-Bresson

When theatre is done at its best, the storytelling becomes real and makes the audience feel. Their bodies will react to those scenes. Your body wants to run when the scary parts of the story are told and cries during the sad moment. You laugh at the times of humor.

Photography of the theatre should do the same. It should capture those peak moments and bring the audience into the moment. We kill the moment when we stop actors and tell them to hold a pose.

The TV Show “Lie to me!” is inspired by the work of Paul Ekman, the world’s foremost expert on facial expressions and a professor emeritus of psychology at the University of California San Francisco School of Medicine.

The research is based on the fact that people have micro-expressions that happen only at about 1/30 of a second. I know that many seasoned photographers can anticipate these types of moments. When you freeze actors, you will never capture these micro-expressions, which bring a level to the performance of a scene that is not possible without the actors in full performance mode.

With today’s camera, the technology allows us to capture theater and dance live, which was not possible just a few years ago. If you want to fill those seats in theaters with paying customers, the only thing that many will see that will determine if they come is the photos that promote the performance. It would help if you had the best possible “Moment” to enable it.

Hire a photographer known for capturing the “Moment” with the gear to photograph in low light to get the best possible images to promote your performance.

The photo above is of Brown Pelicans. The Brown Pelican is the only pelican that uses the plunge-dive while fishing. The bird flies some 20 or 30 feet above the water. [NIKON Z 6, Sigma VR Zoom 120-300mm f/2.8G IF-ED, Mode = Manual, ISO 800, 1/4000, ƒ/5.6, (35mm = 360)]

I love shooting with the Nikon Z6 camera during our family’s vacation at Ocean Isle Beach, North Carolina.

Combining the Nikon Z6 with the Godox V860IIN flashes, I got some good group photos and portraits on the beach.

I love the ability to see what I am getting before shooting. Less chimping and checking the LCD. Also, using the Electronic View Finder, I can see what I am getting. While witnessing the histogram is always helpful, it is less necessary with the mirrorless than the DSLR.

I loved taking early morning walks each day carrying the Nikon Z6. I used the tilting LCD screen for this photo to get the camera low to the ground.

I enjoy the dynamic range that the camera is capturing as well.

I love being able to capture the family as well in candids.

I like how the face recognition and eye tracking function works.

All positives so far in using the camera during our family vacation.

My niece, the bride, asked me to take some behind-the-scenes photos of the wedding. The venue had a package that included a photographer.

They wanted me to have fun as well. Dorie, my wife, officiated the service, and Chelle, my daughter, was the wedding soloist.

I am writing this blog for those interested in the newest mirrorless camera from Nikon, the Z6, and how I set it up and used it for this wedding photo shoot.

I brought a really small kit.

• Nikon Z6
• FTZ converter
• Sigma 24.0-105.0 mm f/4.0 Art
• Sigma 35mm f/1.4 Art
• Godox 860II Nikon
• Magmod Maggrip w/ Magsphere

I love the Sigma 35mm f/1.4 Art BOKEH when shot wide open. With the new firmware 2.0 on the Nikon Z6, the eye tracking focus helps nail the eyes when focusing.

I was in the room with the Groom and all his 16 attendants. Did I say this is the largest bridal party I have seen? 30 total. They have many friends and family, which is the best way to describe this problem.

The Sigma 24.0-105.0 mm f/4.0 let me go from this broad group shot inside to much tighter shots of the Groom with individuals.

My Flash Settings on Nikon Z6

• e1: Flash Sync Speed – 1/200s (Auto FP)
• Auto ISO sensitivity control – Subject and Background

For the Godox flash, I set the compensation to -1.

So during the wedding, it was raining. Just a few drops, but this tells you the type of light we had. I decided just to fill in to give a little pop to the photos. So outside, I was shooting at 1/2000 shutter speed with a flash.

Then I am inside shooting at ISO 10000 at a shutter speed of 1/50.

It worked just great on the dance floor. Here I shot at ISO 6400 with a shutter speed of 1/30 to add a little action to the shots.

I love shooting with the on-camera strobe in a situation like this. It lets me be sure there is light on the people and then allows me to record the background in natural lighting.

Sometimes the light was great without a flash. I just turned it off when I didn’t need it and turned it on as needed. The settings on the camera stayed the same.

I really love just taking photos as a guest and not the official photographer.

The other thing is if you know the people in the bridal party, you get different expressions than the official photographer can sometimes get.

I love the Nikon Z6 with the Sigma 24-105mm f/4 Art lens with the Godox V860IIN with the MagMod MagSphere for weddings. I think you can shoot 95% of the wedding with this setup. I think you need a long lens, like 70-200mm, for the ceremony.

The updated Adobe Lightroom is the other thing that really makes this system work. I love using three of the controls that, if used correctly, can help out some photos that, in the past, would have been so-so photos without these controls.

I love the Texture, Clarity, and Dehaze sliders. I cannot recommend them enough.

For sharpening, I hold the Option key on the Mac while sliding the Masking control.

I loved shooting the wedding with the Nikon Z6. I think a lot of wedding shooters will fall in love with the mirrorless Nikon Z6 as much as I have this year.

“Tolerance implies no lack of commitment to one’s own beliefs. Rather it condemns the oppression or persecution of others.”

President John F. Kennedy

The United States has been described as a “Melting Pot” and a “Toss Salad.” I prefer the “Toss Salad” better. We live in a very diverse country, and when you get to know your neighbor, this is a beautiful place to live.

Dorie Griggs, my wife, and I have been participating in Atlanta’s very diverse interfaith community for many years now. Dorie helped to produce an interfaith dialogue TV show, and I have helped by helping create websites and photograph these different organizations through the years.

Last night Mayor Keisha Lance Bottoms hosted a Ramadan dinner for the Atlanta Muslim community at Atlanta City Hall. The attendees were from many of the diverse faiths of Atlanta.

The three Abrahamic faiths: 1) Muslim, 2) Judaism & Christianity, all had speakers at the event, and people from those communities of faith in attendance as well.

From my time in dialogue with people of a different faith, I have discovered that we are more alike than others when it comes to living in the community. All religions hold education as core to their values, meaning their interest in public education is high.

While everyone enjoyed seeing their friends from their faith community at the Iftar Dinner, they were just as pleased to be in such a diverse community.

What I love about the Islamic Speakers Bureau of Atlanta is that they care about the education of the faiths, not proselytizing. They realized that when we learn about the different religions, we start to see some of our common bonds.

They also realized that they needed to help create a safe dialogue space so that people could learn about their neighbors and not feel threatened by them.

“If you let it [United States] give in to us versus them, at some point, America won’t be America anymore.”

President Bill Clinton

 “When we think of Islam we think of a faith that brings comfort to a billion people around the world.  Billions of people find comfort and solace and peace.  And that’s made brothers and sisters out of every race — out of every race.”

President George W. Bush

Interfaith dialogue is possible only when two convictions pre-exist in the participants:

1. No participant is seeking to proselytize any other participant.
2. The participants are persuaded of the inherent validity and integrity of all the faith groups involved in the dialogue and are persuaded that no group possesses total and absolute knowledge regarding the nature and works of God and human involvement with the Divine.

“There will be no peace among the nations without peace among the religions. There will be no peace among the religions without dialogue among the religions.”

Hans Küng, Roman Catholic Theologian & Advocate for Interfaith Cooperation

I recommend you host a group like the Islamic Speakers Bureau of Atlanta’s Interfaith Speakers Network. It is a collaboration between the Faith Alliance of Metro Atlanta (FAMA) and the Islamic Speakers Bureau of Atlanta (ISB).  The ISN provides opportunities to hear and interact with a panel of local practicing representatives from six faith traditions: Buddhism, Christianity, Islam, Judaism, Hinduism, and Sikhism. The meetings are educational and facilitate dialogue and understanding between different religions. In addition to sharing information, ISN panels showcase ways other faith traditions can work together. 

ISN programs promote religious pluralism by emphasizing shared values and practices and modeling respectful civil discourse when discussing our differences.

Uber asks, “Know where you are going but need a ride?” Then they offer you options.

Every time you talk to a client or a potential customer, you need to know your intent and the obstacles in your way or their way.

You need to have an objective in mind. For example, knowing where you want to go is the same as telling the Uber driver where your destination is to be for your trip.

In Barrel Racing, the rider wants to complete the course in the least amount of time, and the system is around three obstacles, which are barrels laid out in a triangle shape on the course.

When I am teaching storytelling, we use the same parts of the story that Aristotle outlined in Poetics. He wrote this around 335 BC. It is the earliest surviving work of dramatic theory. But, again, the subject wants something, and there are obstacles to overcome to get it.

The tension is great for telling the core of any story, but the one missing thing companies and organizations must have for their storytelling is a “Call to Action.” So, now that you have heard this story, we want you to do something.

Traditional Advertising Call to Action

• No obligation: “TRY” is in all caps; the email offers a full refund.
• Usability: Directing Readers to click “Subscribe Now.”
• Immediacy: The copy includes the phrase “right away,” and the Call to Action button uses “Now.”

The key to an effective Call to Action is to provide people with compelling reasons to ACT NOW rather than defer that action.

Avoid using a passive voice. Use action verbs.

Get straight to the point and make it short and sweet. 

Here is a trick that will make all your Call to Action successful. Start with the audience and the call to action. Then, find the story that will best emotionally connect with them to achieve your “Call To Action.”

The title is quote from Helen Keller.

“I’ve missed more than 9,000 shots in my career. I’ve lost almost 300 games. 26 times I’ve been trusted to take the game winning shot and missed. I’ve failed over and over and over again in my life. And that is why I succeed.” 

Michael Jordan

How does one learn? How do you grow? I believe the answers to these questions lie in our failures.

If you try and avoid all failures, you will take no risks. Without taking these risks, you cannot learn.

When watching a PGA golf tournament, you see the caddies and golfers referencing these notepads. They have the notes they have taken about the golf course. They are often called yardage books. Here is what they may look like.

PGA golfers cannot play it safe and win a tournament. They take risks. To take those risks, they assess the ball’s lie and pick where they want to hit it. Those that win the tournaments take risks.

We often picture Tiger Woods hitting the green and sinking the put.

However, we forget how often he misses.

The reason bull-riding is a popular sport isn’t that it is easy to do. It is popular because it is hard to stay on a bull for 8 seconds.

Rewards come after the risks have been taken.

“Don’t be too timid and squeamish about your actions. All life is an experiment. The more experiments you make the better.” 

Ralph Waldo Emerson

Originally posted this on the Facebook Group “Nikon Z6 Z7 Mirrorless Cameras”. This is a repost of it.

I am a little tired of seeing posts that oversell a camera. It comes off as a used car salesman. I think we need to be as transparent as possible on a camera’s merits.

Some people are looking to buy a camera and often are disappointed because they listened to some posts about selling a camera.

Nikon Z7/Z6 cameras are fantastic. I own the Nikon Z6.

We need to go back to the film cameras just before digital became prominent in 2002 to remember what I think we forgot.

We had several cameras back then.

• Viewfinder
  • 8×10
  • 5×7
  • 4×5
• Medium Format
  • 2-1/4″
  • 6×6
  • 645
  • 6×7
  • 6×9
• 35mm

When digital came along, we tried to buy one camera to do it all. The reason was simple those first digital cameras cost as much as $25,000.

Today I think we have slowly returned to where we should be. Many cameras, like the film days, work great for certain types of photography, but there isn’t one camera that does it all.

I must admit that the Nikon D850 comes close to doing it all.

After the Digital revolution in photography, we have the mirrorless revolution.

If you do this for a hobby, you will most likely buy a good digital camera that meets your needs.

If you are a pro or an amateur with the means to buy more than one camera, you will buy at least a backup camera. Then you add those unique cameras for the things that work best.

Many pros don’t buy every camera they will use. Many rent those high-end medium format cameras for those jobs that need that resolution.

Regarding Nikon Cameras for the advanced amateur or pro, here is how I break down the Nikon Line.

Nikon D5 – The ideal camera for a photojournalist. They are asked to shoot just about everything. They need a great sports camera, suitable for portraits, low light shooting, and video. A buffer of 200 RAW images is fantastic—also XQD Card Slots for speed.

Nikon D850 – This is one of the best cameras for almost anything. I believe the Nikon D5 is better for sports due to its low light and frame rates. The enormous resolution of this camera is a must for the landscape and commercial photographer who needs to make super large prints. Great for video

Nikon D750 is a great full-frame camera, but the buffer is small at 6.5 fps. It has many low-light capabilities like the D850, just not the resolution. It is the entry-level of the full frame.

Nikon D500 – While this is a smaller DX format is is pretty much the Nikon D5 in a smaller DX format

Nikon Z7 – This is the mirrorless version of the D850. Due to the DSLR’s focus, it isn’t the same, but close. The fact it has more focus points in some ways is better. Picking this camera over the D850 is for all the reasons mirrorless has advantages over DSLR.

Nikon Z6 – While very similar to the D750, the buffer is more significant than the Z6. This might be the best video camera as far as mirrorless on the market. It has a higher frame rate than the Z7 and ISO than the Z7. I bought it for those two reasons.

Why I like mirrorless

• Seeing what you are getting
  • White Balance
  • Depth-of-field
  • Exposure
• Quieter even with mechanical shutter
• Less need to Fine Tune Auto Focus
• Optional electronic shutter
• Lighter
• More focus points
• Face and Eye recognition
• No need for extra gear when doing video

Significantly, you are getting sports images with your camera. It is excellent that you can make huge prints from your smaller sensor.

When you start to compare your camera by saying, who said my ______ Camera couldn’t shoot __________ is the same as saying my Nikon ______ is as good as the Nikon __________.

That is what I have a problem with.

Show off your beautiful images. Talk about the love of your camera. Just don’t try and say your camera does everything that the entire Nikon line of cameras does because it doesn’t.

The closest camera to doing that was the Nikon D850, but even it has some limits.

In my opinion, no one camera does it all.

When I teach in college classrooms, many students are there to check a box. They need this course to meet the requirements for their degree.

So many people are going through life checking boxes. This is the time of year when many have just checked another box. They graduated from high school or college and now will look for a job.

I was raised in a different environment by my parents. My father had been checking boxes his life until one night in college, he found himself on his knees praying to God and felt God was asking him to change direction.

Vocation means a strong feeling of suitability for a particular career or occupation. Calling is a synonym for the word.

In some of the classes I have taught in college, I found students just trying to meet the minimums. I don’t mean minimum like passing, but rather what are the requirements for an “A” and then proceed to do just enough to get the “A.”

“Mastery is not a commitment to a goal but to a constant pursuit. What gets us to do this, what get us to forward thrust more is to value the near win. How many times have we designated something a classic, a masterpiece even, while its creator considers it hopelessly unfinished, riddled with difficulties and flaws, in other words, a near win?”

Sarah Lewis

Whether your goal is to work for National Geographic as a photojournalist or to get to the finish line of a marathon, write a book, find a partner, be a good parent or a good friend, the feeling of success and satisfaction can be found in the process, not the accomplishment.

This is key to being a successful storyteller focused on the process rather than the checkbox.

Process	Checkbox
Wants to know the subject	Wants to get the content
Arrives Early	Arrives on time
Leaves Late	Leaves Early
Extremely Curious	Indifferent, Uninterested, Average

95% of people who go to Yellowstone National park use only 5% of the park. It has been reported that 90% of the visitors never leave the road, and 95% never venture more than 100 feet off the pavement.

I consider those the box checkers. They have been to Yellowstone.

“Focus on the journey, not the destination. Joy is found not in finishing an activity but in doing it.”

Greg Anderson

Know Your “Why?”

As some might say, having a vocation or calling is being mission-minded. You are pursuing something. I believe my calling is to get to know the people God has put in my life. To develop relationships with these people and get to know them.

When I get to know someone, I learn how I can serve them.

College

Too many people go to college to get a degree, and not enough go to college to learn a subject. I want an engineer who understands physics that builds the bridge I will drive on. I don’t like the engineer who checked off they took the class.

At Georgia Tech, I was in a Civil Engineering class where the students built a bridge out of balsa wood that the professor had given them. The bridge would be tested to see if it held a certain weight.

Little did they know, but the professor gave them faulty plans. They were to check the design and build it. The lesson wasn’t the building of the invention but rather the ability to think and go back to the professor telling him that the design was flawed. This is a real-world example.

Many of the students failed that assignment that day. They were box checkers. Those who loved learning and were there for the process found the mistake and passed.

I really love covering events. Why? You have to constantly problem solve.

The first problem was ensuring the faces in a group shot were visible. I used two Alienbees B1600 strobes powered by the Paul Buff Vagabond batteries. Now to fire them, I was using the Pocketwizard Plus II Transceivers.

The problem to be solved was the group was under a large carport with a background sun lit trees.

I took photos of the individual graduate with the founders of the school and the administrators. The diploma had to be in every shot; if I were not careful, it would have been not legible. The solution is the same setup as for the group photo. By using the two Alienbees B1600 lights at a 45º angle to each other, I was getting an excellent, consistent morning for each person.

To make my post editing go quickly, I also did a custom white balance using the ExpoDisc.

By the way, can you make some headshots while you are here? Yes, I can. Again the same setup, but I just moved closer to the trees and shot some headshots of the founders.

One part of the assignment was to get the first group shot to them before the 5 pm ending time of the event. So I had to carve out a few minutes to get those group photos for posting on social media.

To get all these photos promptly, I chose to work with the Nikon Z6 and the Sigma 24-105mm ƒ/4 Art lens. While I shot the group photo at 32mm, I could go wider. I loved shooting the headshots at 105mm.

Grandparents, parents, siblings, and friends came to celebrate the GAP Year program graduates in Pine Mountain, GA.

I used Bluetooth technology to help sync my camera with my phone using Snap Bridge. I was being sure the time was correct and set the GPS Coordinates.

When I ingested the photos into PhotoMechanic, it took those GPS Coordinates and turned them into a street address.

I click on the world, and then it will look for the GPS coordinates, and as long as I have an internet connection, it will search for the street address.

Now, since I was also shooting with my Nikon D5, which doesn’t have Bluetooth technology, I just selected all the images and applied those GPS coordinates to those images.

The students dressed up in all types of fashion statements. I love this guy’s tie.

This family is from Ecuador. I love his Panama hat.

As soon as I took this photo, they asked me in Spanish if they could get copies. Yes, they can.

I provide the client with an online gallery where they can download the images using a password.

I was getting candid photos as well as occasionally finding families altogether. I would take these as well. I just had to watch the light on the faces. Way too many of the guests were posing people with the windows behind them. I put the large glass windows to their side or on my back. Again it is about Lights, Cameras, and Action!

The room was quite large, and the best place to stand to get photos of the stage was in the back of the room. This way, I wasn’t upfront blocking the guest’s view.

I brought my Sigma 120-300mm ƒ/2.8 Sports lens and a 1.4X and 2X converters. I started with the 1.4X converter; this is the view it gave me and made the lens a 420mm ƒ/4.

I quickly changed the converter to the 2X, which gave me this view with the now 600mm ƒ/5.6. Once again, I am problem-solving. This time, the camera and lens combination allows me to get photos that no cell phone will get.

As you can see, this is what the guest was getting with their phone.

I moved around the room with the long lens and looked for different perspectives. I thought the microphone was too much with some speakers in front of their faces from the back of the room.

I didn’t need to move to get a different angle with every speaker.

I was shooting with three cameras and various lenses. My wife also shot some photos with a camera.

• 2 Nikon D5 cameras
• Nikon Z6
• Sigma 24-105mm ƒ/4 Art
• Sigma 35mm ƒ/1.4 Art
• Sigma 70-200mm ƒ/2.8
• Sigma 120-300mm ƒ/2.8 | Sport
• Fuji X-E3
• Fuji 18-55mm ƒ/2.8-3.5
• Fuji 10-24mm

The lenses I used for different reasons. First of all, I am not shooting one specific style. I do not shoot all prime lenses wide open, which many people do. I love the shallow depth-of-field shots.

I also realized when shooting that large group shot that I needed to be at a more significant depth of field. This is why I shot those photos at ƒ/8. The front row and back row are all in focus.

I love to isolate moments using the shallow depth-of-field and know that sometimes you need more.

Technical & Aesthetic

Just yesterday, on a forum, a photographer asked if the new camera would make you a better photographer. The old argument was that it wasn’t the camera but the operator. However, I wasn’t going to take this clickbait as it was set up.

“It will make you technically better–Aesthetically the same.”

Stanley Leary

These new cameras today let me take photos that were not possible without a flash just years ago.

So I pride myself on knowing my gear and how it can help me get photos I couldn’t do before. So, I try and keep my bag updated. I also know that you can have a technically perfect picture with no aesthetic qualities.

Social Work Training – Capturing Action!

All my training in reading body language and studying for a master’s in photojournalism has helped me concentrate my efforts to capture moments. I was trained in social work to read people. I was evaluated repeatedly on how well I listened with my eyes and not just my ears.

Adequate photographers are more technicians. They get the photos in focus and well exposed.

Great photographers are doing more than being a technician. They are using the camera to capture moments that help tell a story.

I like moments like this one. The students show how much respect they have for this teacher from this year. No words are necessary to communicate their care. You need words to know why they are giving him this type of respect.

Do you want to learn how to cover meeting better? Do you need me to cover your event? Give me a call, and let’s talk. I teach one-on-one sessions and love to use my gifts to help you capture those critical moments in life that happen only once.

While doing a story on coffee growers in Salvador Urbina, Chiapas, Mexico, the farmers taught me how they produce the Arabica Bean Coffee.

I learned that arabica coffee does best with shade. The tree requires some but not too much direct sunlight; two hours a day seems ideal. The lacy leaves of the upper levels of the rainforest initially shaded the coffee tree.

When they prune the banana trees, you can see the trunks, which look like corrugated cardboard to me. Those channels help the water get to the leaves and bananas.

Salvador Urbina, Chiapas, Mexico is in a rain forrest. Salvador Urbina has significant rainfall most months, with a short dry season. 

What can we learn from these coffee growers?

The production of coffee is a time and labor-intensive process. From the plantation of the first coffee seeds, it can take three to four years before a newly planted coffee tree will begin bearing fruits.

10 Steps from Seed to Cup

• Planting
• Harvesting the Cherries
• Processing the Cherries
• Drying the Beans
• Milling the Beans
• Exporting the Beans
• Tasting the Coffee
• Roasting the Coffee
• Grinding the Coffee
• Brewing the Coffee

Fairtrade

Fairtrade was started in response to the dire struggles of Mexican coffee farmers following the collapse of world coffee prices in the late 1980s.

Fairtrade coffee is certified as having been produced by fair trade standards. Fair trade organizations create trading partnerships based on dialogue, transparency, and respect that seek more significant equity in international trade. … Fairtrade practices prohibit child or forced labor.

Café Justo was the coffee cooperative I partnered with to help tell their story back in 2010. I had been producing videos for a short time, which was a turning point for me. We focused on telling the story focusing on the crisis the farmers were suffering and the difference the cooperative made in their families and communities.

Listen to what I captured back in 2010:

Maybe you are like those coffee farmers who had to leave their farms to find work to feed their families. By just learning to come together and tell their story, the consumer didn’t pay more for coffee. They changed where they bought their coffee. You can support these coffee growers by buying them here at Just Coffee.

While forming a cooperative and selling directly to the customer helped the coffee growers to prosper, it wasn’t the cooperative, the roaster, or their willingness to come together that made them successful.

It was when they told their stories that customers rallied behind them. People are waking up to the fundamental unfairness of world trade and demanding a better deal for the people who do our dirty work. Are you getting a bargain or exploiting people when you always shop for price alone.

Are you telling your story? Remember, what made a difference in the Fairtrade movement was the telling of the stories of people being exploited.

Once you have your customers, don’t stop telling stories. Now tell a different story. How about how bananas help produce great-tasting arabica coffee?