Tips from Robin Rayne

SARAH ALLEN is both single mother and full-time — though untrained –nurse to her son Aidan, born with cerebral palsy and complex medical issues. State Medicaid regulations severely limit the number of hours her medically fragile son can have in-home nursing care, regardless of his doctor’s orders for medical necessity. Aidan needs 24-7 care and constant tube feeding. Sarah may soon be homeless because the house where she lives will be sold, and she has limited resources to find another home suitable for a severely disabled child. Her story illustrates several serious shortfalls within the Medicaid and Social Security Disability systems. PICTURED: Sarah cleans her son from a diaper changing. (photo by Robin Rayne/Zuma Press) [NIKON D4, 24.0-70.0 mm f/2.8, ISO 1000, f/5.6, 1/80]

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

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

Chelle Leary and her friends are attending their senior prom on March 10, 2017. (photo by Robin Rayne) [NIKON D4, 24.0-70.0 mm f/2.8, ISO 320, f/7.1, 1/25]

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

Kelemen Szab, Dorie Griggs, and Chelle Leary are getting formal photos before Chelle’s Senior Prom. (photo by Robin Rayne) [NIKON D4, 24.0-70.0 mm f/2.8, ISO 200, f/7.1, 1/40]

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

Parents watch as the limo pulls away, taking our kids away for senior prom. (photo by Robin Rayne) [NIKON D4, 24.0-70.0 mm f/2.8, ISO 320, f/7.1, 1/60]

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

Great photojournalists embrace their emotions.

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

– Don McCullin
Robin Rayne was the keynote speaker for the FOCUS Atlanta event held at Professional Photographic Resources on March 10, 2018. [X-E3, XF18-55mm ƒ2.8-4 R LM OIS, ISO 12800, ƒ/5, 1/30]

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

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

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

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

Ben and Sam Schwenker, now eight years old, were both diagnosed with autism when they were 18 months old. “Raising them is a daily challenge. We were unprepared, but we learn more daily,” says Jennifer, the boys’ mother.
     Autism spectrum disorders cut across all lines of race, class, and ethnicity. Autism impacts millions of children, adults, and their families worldwide. Boys have a significantly higher incidence of autism than girls: four out of every five people with autism are male. Because of the genetic link, siblings of a child with autism have a greater chance of being diagnosed with an autism spectrum disorder. Autism spectrum disorders affect not only the person diagnosed with the disorder but also significantly impact the entire family with a variety of social, financial, and other practical demands.
     PICTURED: Now eight years old, Sam (in yellow) and Ben still spend much of their day after school and weekends on their trampoline. They are still non-verbal but understand some of what they hear. (photo by Robin Rayne/Zuma Press) [NIKON D700, 24.0-70.0 mm ƒ/2.8, ISO 250, ƒ/8, 1/80]
 

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

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

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

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

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

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

Tips from covering event to celebrate Mohammad Ali

Valerie Jackson interviews Maryum Ali during the Islamic Speakers Bureau celebrating the Legacy of Mohammad Ali at the Cobb Galleria Centre in Atlanta, Georgia, on Saturday, Nov. 10, 2018. [NIKON D5, 120.0-300.0 mm ƒ/2.8, ISO 25600, ƒ/5.6, 1/250]

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

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

Nouha Zaabab is a student at Georgia Tech studying International Affairs with a minor in pre-law. Coming from a liberal arts background at Georgia Tech, Nouha believes in the importance of interdisciplinary understanding to tackle global challenges. Upon completing her degree at Georgia Tech, Nouha plans to pursue a legal education. She is speaking at the Islamic Speakers Bureau celebrating the Legacy of Mohammad Ali at the Cobb Galleria Centre in Atlanta, Georgia, on Saturday, Nov. 10, 2018. [NIKON D5, 120.0-300.0 mm ƒ/2.8, ISO 16000, ƒ/5.6, 1/250]
 

Now another issue in covering a dinner is the lighting.

Bill Bolling and Dorie Griggs at the Islamic Speakers Bureau celebrate Mohammad Ali’s Legacy at the Cobb Galleria Centre in Atlanta, Georgia, on Saturday, November 10, 2018. Bill Bolling served as executive director of the Atlanta Community Food Bank from founding the organization in 1979 until June 2015. [NIKON D5, 24.0-105.0 mm ƒ/4.0, ISO 16000, ƒ/7.1, 1/13]

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

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

Islamic Speakers Bureau celebrates the Legacy of Mohammad Ali at the Cobb Galleria Centre in Atlanta, Georgia, on Saturday, Nov. 10, 2018. [NIKON D5, 24.0-105.0 mm ƒ/4.0, ISO 16000, ƒ/7.1, 1/10]

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

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

Notice the direction of the light hitting the subject.  You move to the same position to get the light reading below.
Point the camera toward the direction of the light falling on the subject.

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

Tips for covering events

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

Improve your outside photos with flash

[NIKON D5, 28.0-300.0 mm ƒ/3.5-5.6, ISO 500, ƒ/5.6, 1/125]

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

[NIKON D5, 28.0-300.0 mm ƒ/3.5-5.6, ISO 640, ƒ/5.6, 1/100]

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

Carmen & Reaves Newsome 25th Anniversary Party [NIKON D5, 28.0-300.0 mm ƒ/3.5-5.6, ISO 500, ƒ/5.6, 1/80]

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

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

[NIKON D5, 28.0-300.0 mm ƒ/3.5-5.6, ISO 640, ƒ/5.6, 1/80]

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

[NIKON D5, 24.0-105.0 mm ƒ/4.0, ISO 2000, ƒ/9, 1/25]

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

[NIKON D5, 24.0-105.0 mm ƒ/4.0, ISO 1000, ƒ/4, 1/100]

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

[NIKON D5, 14.0-24.0 mm ƒ/2.8, ISO 25600, ƒ/3.5, 1/100]

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

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

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

Looking for fall color at Gibbs Gardens

Gibbs Gardens [X-E3, XF10-24mm ƒ/4 R OIS, ISO 250, ƒ/9, 1/100]

This time of year, we are supposed to have the temperature drop and autumn set in, but today the low in my area was 51º, and the high of 76º Fahrenheit.

I drove up to Gibbs Gardens in Ball Ground, Georgia, to see if Mother Nature painted the treetops in vibrant red, orange, and gold hues.

Colors reflecting in the water at Gibbs Gardens [NIKON D5, VR Zoom 28-300mm f/3.5-5.6G IF-ED, ISO 640, ƒ/5.6, 1/100]

While the foliage isn’t widespread, I could isolate some colors.

Colors reflecting in the water at Gibbs Gardens [NIKON D5, VR Zoom 28-300mm f/3.5-5.6G IF-ED, ISO 3600, ƒ/10, 1/100]

Here are some of the colors I captured today. Enjoy!

Gibbs Gardens [NIKON D5, AF 35mm f/1.4G, ISO 200, ƒ/1.4, 1/800]
Gibbs Gardens [NIKON D5, AF 35mm f/1.4G, ISO 200, ƒ/1.4, 1/320]
Gibbs Gardens [NIKON D5, VR Zoom 28-300mm f/3.5-5.6G IF-ED, ISO 100, ƒ/5.6, 1/320]
Gibbs Gardens [NIKON D5, VR Zoom 28-300mm f/3.5-5.6G IF-ED, ISO 100, ƒ/5.6, 1/160]
Gibbs Gardens [X-E3, XF10-24mm ƒ/4 R OIS, ISO 250, ƒ/8, 1/100]
Gibbs Gardens [NIKON D5, VR Zoom 28-300mm f/3.5-5.6G IF-ED, ISO 280, ƒ/11, 1/100]
Gibbs Gardens [NIKON D5, VR Zoom 28-300mm f/3.5-5.6G IF-ED, ISO 1800, ƒ/11, 1/100]
Gibbs Gardens [NIKON D5, VR Zoom 28-300mm f/3.5-5.6G IF-ED, ISO 220, ƒ/5.6, 1/100]

WHY??? WIIFM

It is Matriculation Day 2017 at The Citadel. Here each student goes from one line to another throughout the day. These are the student officers who will train the Knobs. They are part of the cadre. [Nikon D5, Nikon 85mm ƒ/1.8, ISO 100, ƒ/1.8, 1/1600]

Why?

Well, there are many “WHY?” questions when it comes to communication. One that I am discovering is not asked enough is, “Why should the audience care?”

Most organizations want to communicate with an audience to get that audience to help them. But the most obvious question they are missing is the WIIFM question. What’s In It For Me?

WIIFM is the stuff that shows how or why what you have to sell or say matters to those to who you are trying to sell or say it too. It’s the value proposition, the thing that makes them realize that what you’re offering is worth their money or their time.

Georgia National Fair in Perry, Georgia on Saturday, October 6, 2018. [X-E2, XF55-200mm ƒ/3.5-4.8 R LM OIS, ISO 400, ƒ/4.8, 1/1700]

I think most people think they have something important and that everyone will want to know.

The latest group of missionaries I worked with thought that churches should see their role as supporting them.

Picturing Justice at the Atlanta Legal Society – Featuring the work of Dustin Chambers, Melissa Golden, Andrew Lichtenstein, Robin Rayne & Beate Sass [X-E3, XF18-55mm ƒ/2.8-4 R LM OIS, ISO 640, ƒ/3.6, 1/60]

Now in consulting missionaries trying to connect with their supporters back home I had to remind them about WIIFM.

So, never forget that relationship building comes BEFORE favor asking. And there has to be a much bigger and better WIIFM when you approach people cold, without a solid relationship.

Teenager in San Benito, Nicaragua [NIKON D5, 85.0 mm f/1.8, ISO 100, ƒ/1.8, 1/160]

That said, sometimes people will offer favors if they are charmed by you, like you, or are just in a good mood. But given how overwhelmed most people are these days, they usually appreciate and respond well to clear propositions with a straightforward action attached—and a benefit. Otherwise, you just become part of the noise.

For the journalist, WIIFM is the stuff that shows how or why what you have to say matters to those to who you are trying to say it.

Storytellers Abroad Multimedia Workshop – Kosovo Leadership Academy (KLA) [X-E2, XF18-55mm ƒ/2.8-4 R LM OIS, ISO 400, ƒ/4, 1/105]

Wrapped up trip to Lima, Peru

Jeff Raymond talks with missionaries during our time planning the workshop logistics in January in Lima, Peru. [X-E3, XF18-55mm ƒ/2.8-4 R LM OIS, ISO 640, ƒ/3.6, 1/100]

Spending time in Lima, Peru, this week has proven helpful. We could answer all the people’s questions later when we come back with 12 students and all the instructors.

Jeff talks with the leadership team in Lima, Peru. [X-E2, XF10-24mm ƒ/4 R OIS, ISO 5000, ƒ/8, 1/100]

We covered what we are doing each day and how the team is helping us interview the people they recommended for stories.

[X-E2, XF10-24mm ƒ/4 R OIS, ISO 2000, ƒ/4, 1/100]

We went to the presidential palace to see about this being where we would bring the group for an outing.

https://www.youtube.com/watch?v=YcwiTx1Ho_U
The Changing of the Guards ceremony at the Presidential Palace in Lima, Peru. Exterior … You shouldn’t miss the changing of the guards, which takes place each day at 11:30 am. [X-E2, XF55-200mm ƒ/3.5-4.8 R LM OIS, ISO 400, ƒ/4.7, 1/1300]

At this moment, we still have like one spot left.

Go to Storytellers Abroad to see how to register and come with us to Peru.

https://www.youtube.com/watch?v=RDrXTq_lvGE

Jon Stone is a professor at the Baptist Theological Seminary in Lima, Peru, and also one of those hosting the Storytellers Abroad team in January.

Basilica and Convent of San Francisco, Lima. [X-E2, XF10-24mm ƒ/4 R OIS, ISO 400, ƒ/7.1, 1/1400]

This is a must-visit for those interested in the early culture and how Christianity made its way to Peru. The Cathedral is beautifully designed, exterior and interior with natural skylights, and has a lovely garden within its compound. One of the most extensive libraries in Peru – a 2 tier, balconied library with spiral staircases that look very much like the movie of Harry Potter.

Underground Catacombs [X-E2, XF10-24mm ƒ/4 R OIS, ISO 6400, ƒ/5, 1/34]

The highlight of the visit is to the underground catacombs – up to 3 different basement tiers, and you would need a guide to bring you through. The catacombs served as a burial place for all in that era, i.e., the rich, the poor, and the priests, and the bones and esp skulls are arranged in neat rows of up to some 70,000 dead.

The Larcomar is a shopping center in the Miraflores district of Lima, Peru. [X-E3, XF18-55mmF2.8-4 R LM OIS, ISO 200, ƒ/3.6, 1/2900]

Larcomar is located on Avenida Jose Larco, along the cliff next to the ocean (mar means ‘sea’ in Spanish), thus the name Larcomar.

Souvenir Shopping. [X-E2, XF10-24mm ƒ/4 R OIS, ISO 400, ƒ/4, 1/140]

Just one block from the big roundabout in Miraflores, you find Av. Petit Thouars. On blocks, 52 to 55 are many artisan markets selling nearly everything Peruvian craftsmanship. You get the typical souvenirs, nice artisan craftworks, beautiful silver jewelry and other silverware, clothes made of Peru’s famous alpaca, funny T-Shirts, pottery, paintings, wooden pieces, and much more from all over Peru.

[X-E2, XF10-24mm ƒ/4 R OIS, ISO 400, ƒ/4, 1/150]

Traditional Peruvian clothing and products, from shoes to tote bags, are made of bright, bold textiles.

Vision Trip to Lima, Peru [X-E2, XF10-24mm ƒ/4 R OIS, ISO 5000, ƒ/4, 1/100]

The traditional Peruvian art form, known as ‘mates burilados,’ dates back 3,500 years.  The gourds tell a story of the customs, culture, people, history, and animals.  Hang them from a Christmas tree or use them as a decorative piece around your home.

[X-E3, XF18-55mm ƒ/2.8-4 R LM OIS, ISO 800, ƒ/4, 1/100]

Research Trip to Lima, Peru

You can see where we are in Lima, Peru. This is the desert. Also, you know how this is a major city with over 10 million people living. [X-E3, XF55-200mmF3.5-4.8 R LM OIS, ISO 400, ƒ/5, 1/2500]

Editor note: we still have two slots available for this trip in January. Go to Storytellers Abroad to see how to register and come with us to Peru.

Lima, Peru, is a desert. The weather patterns for South America generally move from East to West. Most of the moisture gets helped up in the Andes Mountains. The Andes is the most extended continental mountain range in the world, forming a continuous highland along the western edge of South America.

There is a haze over the city due to so much dust from the desert.

People are building where they can live in Lima, Peru [X-E3, XF55-200mmF3.5-4.8 R LM OIS, ISO 800, ƒ/5.6, 1/2500]

People find places all over the area to build. Some rooms have some buildings similar to squatters in the United States. They make housing without plumbing and electricity.

One of the schools we will help tell stories about when we return in January. [X-E3, XF18-55mmF2.8-4 R LM OIS, ISO 1250, ƒ/4, 1/2000]

During this trip, we are talking to the locals and our hosts for our Storytellers Abroad trip this January.  We are visiting some possible locations where our students will be doing stories. We are doing this to see any potential issues we may need to plan around.

Some of the taxis are on the perimeter of the city. They are not allowed in some parts of Lima. [X-E2, XF10-24mmF4 R OIS, ISO 200, ƒ/8, 1/180]

We have visited the location we will use as the classroom part of the workshop.

The classroom we will use. It will be reconfigured for our group with work tables. [X-E2, XF10-24mmF4 R OIS, ISO 2000, ƒ/8, 1/100]

Simple things like planning for power strips, projectors, sound, food, and where we are staying are all being looked at and planned for in this trip.

We are asking security questions about is it safe to walk with cameras from where we are staying to the classroom each day?

John Stone is teaching at the seminary in Lima, Peru. He has been hosting and showing us around for this visit with his wife and parents. [X-E2, XF10-24mmF4 R OIS, ISO 2500, ƒ/4, 1/100]

John’s credit card company sent him a promotion to eat at his favorite steak restaurant for 50% off. This place would likely be too expensive later for the class, but we love steak and a good deal.

Jeff Raymond and Stanley Leary at Ossa El Restaurante with our Tenderloin Steaks. [X-E3, XF18-55mmF2.8-4 R LM OIS, ISO 8000, ƒ/3.6, 1/100]

The food was outstanding.

Tenderloin Steak [X-E3, XF18-55mmF2.8-4 R LM OIS, ISO 5000, ƒ/3.6, 1/100]

Today we will meet with their team and visit the prenatal clinic they started to help pregnant mothers.

Anyone doing a story must plan. You need to know how you will get places and if the people are available and willing to participate in the story process.

Today we will talk to those helping us identify stories to be sure those subjects will be available when we return for us to follow them for three to five days solid.

We are also planning for the transportation of how we will get all 12 students to each of their stories and who will help them also with the translation during their interviews. We have four people coming on the trip who speak Spanish, but the rest will need translators.

Today we have to help get everyone to see these stories as the stories “WE” want to tell together. The subject, the translator, the transportation, the storyteller, the caterer, and more are all helping make these stories come alive.

Night class at the seminary in Lima, Peru. [X-E2, XF10-24mmF4 R OIS, ISO 6400, ƒ/5, 1/15]

We are still exploring today and tomorrow. The more we prepare to do a story, the better the story will be for the audience.

We see the older and newer generations on the streets in Lima, Peru. [X-E3, XF55-200mmF3.5-4.8 R LM OIS, ISO 800, ƒ/4.8, 1/2500]

Reviewing Photos for Portfolio

Alex Gomez & Kevin Williams [NIKON D5, 70.0-200.0 mm f/2.8, ISO 100, ƒ/2.8, 1/4000]

Every time I review images I have taken to see if I can update my website. I have found fewer “Portfolio” ideas when I pull from assignment work.

[Nikon D5, Sigma 120-300mm ƒ/2.8, TC-2001, ISO 22800, ƒ/5.6, 1/4000]Reviewing

What do I want to put on my website?

Georgia National Cemetery is the second national cemetery in Georgia and the 123rd in the national cemetery system. [NIKON D5, 85.0 mm f/1.8, ISO 220, ƒ/1.8, 1/8000]

Often I shoot things that are just important to me. They are actual photos you would put in your journal.

Cowgirls compete in barrel racing during the Celebrate Freedom Rodeo at Wills Park in Alpharetta, GA. [Nikon D5, Sigma 120-300mm ƒ/2.8 Sport, ISO 64000, ƒ/2.8, 1/2500]

People are not always hiring photographers to document everything, but I see the value in it for no one else but me. I love to look back and remember what I have done and seen.

Paradise Helicopter Tour –– Kīlauea is an active shield volcano in the Hawaiian Islands and the most active of the five volcanoes forming the island of Hawaiʻi.[NIKON D5, 28.0-300.0 mm f/3.5-5.6, ISO 1400, ƒ/8, 1/2000]

For example, I took a helicopter ride this year over the Kilauea volcano on the Big Island of Hawaii. This is so different than what I shoot most of the time.

Hannah Broeils [NIKON D5, 85.0 mm f/1.8, ISO 100, ƒ/5.6, 1/125]
Debrinja Watts [NIKON D5, 85.0 mm f/1.8, ISO 100, ƒ/5.6, 1/125]

I do many headshots like these actors studying at Columbus State University each year.

Chelle Leary [NIKON D5, 85.0 mm f/1.8, ISO 100, ƒ/9, 1/160]

As every parent, I love doing things with our children. Making my daughter’s headshot for her to use in her career as an actress brings me great joy.

Oxnard Chick-fil-A Soccer [NIKON D5, 14.0-24.0 mm f/2.8, ISO 50, ƒ/11, 1/200]

While this isn’t a soccer game photo, I do find myself making interesting sports photos. So who will hire you to shoot this? Should this be on my website?

[Nikon D4, Sigma 35mm ƒ/1.4, ISO 50, ƒ/8, 1/200 – (2) Godox V860IIN + Godox X1NT]

How about a group photo? Well, many people do hire me to do team photos of their co-workers and, yes, sports teams as well.

Drive-Thru Bankhead Hwy FSR [NIKON D5, 24.0-105.0 mm f/4.0, ISO 2500, ƒ/14, 1/100]

Clients also hire me to photograph new things their company is doing. For example, Chick-fil-A started using canopies to help protect their team members, which helped speed up the drive-thru by being outside taking orders.

Staff in the newly renovated open work spaces at the Chick-fil-A Support Center [NIKON D5, 24.0-105.0 mm f/4.0, ISO 220, ƒ/8, 1/100]

Do you put things on your website that are more of a trend? For example, many offices are renovating to the open office space design.

Stockton McGuire [NIKON D5, 85.0mm ƒ/1.8, ISO 100, ƒ/1.8, 1/320]

The biggest issue now facing corporate America is the lack of employees. The industry refers to this as attracting talent.

Margarett Phillips, Operator Commerce FSU & Highway Heroes Coordinator [NIKON D5, 14.0-24.0mm ƒ/2.8, ISO 400, ƒ/6.3, 1/40]

Companies are also trying to be sure they communicate their culture.

The Cows at Roswell Town Center celebrate Cow Appreciation Day 2018 in Roswell, GA. [Nikon D5, Sigma 24-105mm, ISO 400, ƒ/5.6, 1/3200 – Godox V860IIN + Godox X1NT]

So this year, I captured some fun things as well for clients. Do they belong in a portfolio?

Roswell Fireworks. [NIKON D5, 14.0-24.0mm ƒ/2.8, ISO 100, ƒ/11, 8]

While fireworks are fun to see, would anyone hire me to shoot any for them?

Boats in the bay of Hilo, Hawaiʻi. [NIKON D5, 28.0-300.0 mm f/3.5-5.6, ISO 250, ƒ/5.6, 1/200]

I got a lot of likes for this photo on my Instagram account, but does this go into my website to help me get jobs?

The hood ornament from a vintage Cadillac at the Old Car City in White, Georgia. [Fuji X-E3, 10-24mm, ISO 5000, ƒ/16, 1/200]

This year, I took an afternoon to go and explore the Old Car City in White, GA. I got some fantastic shots. Again many people liked them on Instagram, so does this mean they go into my website portfolio?

Sunnyvale FSU. [NIKON D5, 14.0-24.0mm ƒ/2.8, ISO 800, ƒ/5.6, 1/60]

I can see companies hiring me to shoot photos of their properties. They do want to remind people how to find them.

The Islamic Speakers Bureau gives Sally Yates the Courage award during their Change Makers Award Gala held at the Cobb Galleria on November 4, 2017, in Atlanta, Georgia.[NIKON D5, 120.0-300.0mm ƒ/2.8, ISO 12800, ƒ/5.6, 1/200]

Now speakers at podiums lit by stage lighting are not that difficult to do, but should they be part of my portfolio? Can people figure out that those skills often transfer to something else if I can do one type of photography?

The California Honeydrops play at Terminal West in Atlanta, Georgia. [NIKON D5, 28.0-300.0mm ƒ/3.5-5.6, ISO 6400, ƒ/5.6, 1/200]

People are often more interested in the photos themselves, and if I have enough compelling images, I might get a call to shoot their event.

It is capturing the memory that is cherished for a lifetime for daughters. It was a great Chick-fil-A Daddy Daughter Date Night held at the Memphis Zoo on November 16, 2017.[NIKON D5, 24.0-105.0mm ƒ/4.0, ISO 1250, ƒ/4, 1/10]

So how many images is enough? How many photos of events should I post?

The Summerall Guards perform half-time at the Parent’s Weekend football game at The Citadel in Charleston, SC.[NIKON D5, 120.0-300.0 mm ƒ/2.8, ISO 450, ƒ/5.6, 1/4000]

What will draw people to my website?

The Citadel. [X-E2, XF55-200mm ƒ/3.5-4.8 R LM OIS, ISO 400, ƒ/4.2, 1/250]

I can tell you these are the thoughts of not just me but every photographer working today in this profession.

Roswell Fire Department is monitoring a tree whose branches are in the transformer, causing some arcing from power lines.[NIKON D5, 24.0-105.0 mm ƒ/4.0, ISO 65535, ƒ/9, 1/100]

What do you think? Do any of these photos need to be on my website as part of my portfolio? Should some never be in my portfolio?

Get Close & Explore a Subject

“If your pictures aren’t good enough, you aren’t close enough”

– Robert Capa

This year I have been teaching Intro to Photojournalism. This is the first photography course for many of the students.

For many in the class, this is their first time taking pictures for an assignment. For most of the photos look a lot like this photo here.

Fireman [X-E3, XF10-24mm ƒ/4 R OIS, ISO 200, ƒ/4, 1/120]

Now, when you and I look at the photo, we see a BBQ Grill. They know the fireman.

I comment on their photo that they need to get closer. So the next round of shots looks more like this photo.

Fireman [X-E3, XF10-24mm ƒ/4 R OIS, ISO 200, ƒ/4, 1/105]

While this is a much-improved photo, my comments are still “Get Closer.”

Then we end up with this photo.

Fireman [X-E3, XF55-200mm ƒ/3.5-4.8 R LM OIS, ISO 200, ƒ/3.5, 1/110]

They have now switched to their telephoto lens. They are still not close enough. Again I am saying in my comments to get closer.

Fireman [X-E3, XF55-200mm ƒ/3.5-4.8 R LM OIS, ISO 500, ƒ/4.8, 1/100]

So instead of shooting with their zoom telephoto lens at 55mm, they zoomed in to 200mm.

I talk to them about getting closer with their wide-angle lenses.

This is what I show them and talk more to them about.

Fireman [X-E3, XF10-24mm ƒ/4 R OIS, ISO 200, ƒ/4, 1/80]

I want them to understand that getting close means moving their feet until they are right next to the subject. You would converse with them from a distance over a cup of coffee.

Why am I afraid of talking to people while at the same time I wish to speak with someone?

For the introvert, you are being held back because you are worried about being judged or don’t know what to say or … well, for any reason. Here is an insight that you need to know. You will discover, without realizing, that people you talk to are worried about the same things you are and feel just as afraid; they just might not show it. You are not alone.

I’m introverted at heart, but that doesn’t mean I have to be shy. The two are pretty different and realizing that shyness is a habit that can be broken was a big first step in understanding that I can develop social skills.

Realize it isn’t all about you. The trick I learned through the years was to focus on the other person. Make them the center of attention.

Instead of hiding behind texting or emails, go down the hall and talk to that person’s face to face.

The ice breaker was calm about having a camera and being on an assignment. Telling them, I am on a project and would love to feature them in a photo and tell their story worked most of the time.

Fireman [X-E3, XF55-200mm ƒ/3.5-4.8 R LM OIS, ISO 400, ƒ/4.8, 1/100]

I also learned that once I talked to someone and got to know them, I was now “Close Enough” to shoot with a wide-angle lens, and the photos were much better.

I would then take photos with those wider lenses and slowly move back to shooting with a moderate telephoto lens. For my full-frame Nikon D5, that go-to lens is the Nikon 85mm ƒ/1.8 lens for a portrait.

18mm [X-E3, XF18-55mm ƒ/2.8-4 R LM OIS, ISO 200, ƒ/3.2, 1/200]

Most students have an 18-55mm lens on a cropped sensor camera. So here is me using the same lens as they have on a similar cropped sensor. I am showing you how to shoot from wide to close as you back out. The other thing I want them to do is to walk around the subject and shoot them from different angles.

28mm [X-E3, XF18-55mm ƒ/2.8-4 R LM OIS, ISO 200, ƒ/3.2, 1/140]

Now, this is the moving around the subject. I am looking for an exciting and captivating image.

44mm [X-E3, XF18-55mm ƒ/2.8-4 R LM OIS, ISO 200, ƒ/4, 1/160]

Now when shooting from the back, I try my best to show their face still. Sometimes it might work without their face.

42mm [X-E3, XF18-55mm ƒ/2.8-4 R LM OIS, ISO 200, ƒ/4, 1/140]

Now go to the other side and see what that looks like.

39mm [X-E3, XF18-55mm ƒ/2.8-4 R LM OIS, ISO 200, ƒ/3.6, 1/140]

Now zoom in and get a tighter shot.

55mm [X-E3, XF18-55mm ƒ/2.8-4 R LM OIS, ISO 250, ƒ/6.4, 1/60]

Move again and shoot more images.

55mm [X-E3, XF18-55mm ƒ/2.8-4 R LM OIS, ISO 320, ƒ/6.4, 1/60]

When shooting an event, I do this exercise over and over and over again. I want to have at least 10 to 30 images, of which I will pick only one of them for the photo story package.

“Spray and Pray” is a common phrase associated with the practice of shooting rapid fire, as many images as possible, and then hoping and praying that you’ve got something good. That approach rarely works. Notice in these examples I am moving and taking a couple of frames.

There are a couple of times where a motor drive can help. In those cases, such as photographing things like sports, doing panning shots, or anything with action like birds or wildlife – shooting in burst mode, and taking multiple frames at a time, will likely help you get some good images.

I have found that trying to get your first photo to be the one you want is much better than just starting to fire randomly and then picking an image later.

I suggest slowing down and taking fewer photos than the “Spray and Pray” mode. I am always looking.

When you are starting, it is better to overshoot. It would help if you pushed yourself early and became more aware of what will and will not work. You will find yourself walking around the subject, exploring and picking moments and compositions.

Ministry of Presence core to my Photojournalism

John-Michael Riggs, from Knoxville, TN, dressed like a warrior to be part of The Annual Trans March which started at Piedmont Park in Atlanta, Georgia, on Saturday, October 13, 2018. Riggs says he alternates from a peace outfit to a warrior outfit each year. [X-E3, XF10-24mm ƒ/4 R OIS, ISO 200, ƒ/4, 1/1250]

While covering the Transgender Parade, which is part of Atlanta Pride events, I watched as the people in the parade were reacting to each other like a family reunion.

I found everyone that I talked to very open. I needed to get their information for writing captions for the photos I was taking.

Robin Rayne and Emily Graven are covering The Annual Trans March at Piedmont Park on Saturday, October 13, 2018, in Atlanta, GA. [X-E3, XF10-24mm ƒ/4 R OIS, ISO 200, ƒ/4, 1/200]

Emily Graven, a UGA Photojournalism student, was shadowing me for the day. We met with Robin Rayne, who has been covering this event for many years, getting some tips.

In looking for stories, we spend time talking with people. When we have done an excellent job of building relationships with people, they will come out of their shells.

Emma & Zoe are sisters whose dad (behind them), Christian Zsilavetz, is the founder of the Atlanta Pride school. They are at The Annual Trans March at Piedmont Park In Atlanta on Saturday, October 13, 2018. [X-E3, XF10-24mm ƒ/4 R OIS, ISO 200, ƒ/4, 1/1250]

Being present with people is very important in being a good photojournalist. This means you listen, laying down our defensiveness and agendas and offering empathy instead.

Jackson Wells, Sebastian Broome, Caire Mattera, Ariel Washington, Cat, Jessica Renee, and Jas Rochelle meet each at The Annual Trans March at Piedmont Park in Atlanta on Saturday, October 13, 2018. They are from all over Georgia and Virginia. [X-E3, XF10-24mmF4 R OIS, ISO 500, ƒ/5.6, 1/100]

The most courageous thing we can do is listen. The bravest thing we can do is to stand with them.

I had learned about the concept of the ministry of presence through some pastoral counseling sessions and a great deal more when my wife was a chaplain at the VA hospital.

The ministry of presence is a way of “being” rather than of “doing” or “telling.”

The Annual Trans March – alongside Piedmont Park, has people dressed all up participating on Saturday, October 13, 2018. [X-E2, XF55-200mmF3.5-4.8 R LM OIS, ISO 400, ƒ/4.8, 1/1500]

My undergraduate degree was a B.S. in social work. It was this training that helped me be a better photojournalist. That, coupled with my pastoral classes in seminary, taught me how to prepare to be with others suffering is not to think about what to say or do. We are not anticipating how to react to certain situations that might develop.

We prepare by being present in the moment–The NOW.

The Annual Trans March – alongside Piedmont Park, has people dressed all up participating on Saturday, October 13, 2018. [X-E3, XF10-24mmF4 R OIS, ISO 200, ƒ/9, 1/240]

To maintain objectivity in journalismjournalists should present the facts whether or not they like or agree with them. Objective reporting is meant to portray issues and events in a neutral and unbiased manner, regardless of the writer’s opinion or personal beliefs.

Now when I show up anywhere, I am bringing all of me to that place. My faith is one of the most incredible things to change my life. When I read my bible, I do not condemn others; I use it to help change me. Through the years, the scriptures have challenged me in ways that have helped me become a better journalist.

23 “The virgin will conceive and give birth to a son, and they will call him Immanuel” (which means “God with us”).

Matthew 1:23 

When telling the story of Jesus, the Bible talks about the birth of Christ and him being called Immanuel. In most of the Bibles I have, they have in parenthesis what Immanuel means. “God with us.”

“By this everyone will know that you are my disciples, if you love one another.”

John 13:35

The scripture points out that we are to be like Christ to others. We are to “be” with others.

Robin Rayne, Bureau Chief of Zuma Press, Talks with Monica Helms, who created the Transgender Flag more than twenty years ago at the staging area for The Annual Trans March at Piedmont Park in Atlanta, Georgia. [X-E3, XF10-24mmF4 R OIS, ISO 640, ƒ/9, 1/100]

As journalists, we also need to learn to “be” with others. This is where you are there to listen. You ask them questions to understand them. You ask for their stories.

I don’t want to hear, “If Truth be told.” This means they feel somewhat uncomfortable.

I mention that because many people feel they must be guarded. They don’t believe people will believe them and use their words against them.

My mentor Howard Chapnick wrote a book whose title alone says what the power of photojournalism is all about–Truth Needs No Ally.

Artes is from Birmingham, AL, and came to be part of The Annual Trans March at Piedmont Park in Atlanta, GA, on Saturday, October 13, 2018. [X-E2, XF55-200mmF3.5-4.8 R LM OIS, ISO 400, ƒ/4, 1/1800]

TRUTH is the rock foundation of every great character. It is loyalty to the right as we see it; it is the courageous living of our lives in harmony with our ideals; it is always—power.

I challenge you to learn to “be” with others today. Learn to listen. One of the most complex parts of doing this correctly is not letting someone’s comment have you thinking about a reply. Truth comes when we hear with the intent to understand.

Photojournalist Instagram Feeds I Follow

Eugene Richards

He is a photographer, writer, and filmmaker born in Dorchester, Massachusetts, in 1944. After graduating from Northeastern University with a degree in English, he studied photography with Minor White. In 1968, he joined VISTA, Volunteers in Service to America, a government program established as an arm of the so-called” War on Poverty.”  Following a year and a half in eastern Arkansas, Richards helped found a social service organization and a community newspaper, Many Voices, which reported on black political action and the Ku Klux Klan.  Photographs he made during these four years were published in his first monograph, Few Comforts or Surprises: The Arkansas Delta.

Gary S. Chapman

Because impacting lives matters, Gary helps organizations tell their stories visually. He has covered humanitarian stories in more than 70 countries worldwide, assisting groups in creating awareness, expressing their vision, and building their community. You can trust him to bring an honest, photojournalistic approach to your commercial, corporate, editorial, or non-profit assignments.

William Albert Allard

The son of a Swedish immigrant, William Albert Allard studied at the Minneapolis School of Fine Arts and the University of Minnesota with the hope of becoming a writer. He enrolled in the journalism program after only a year to transfer to the University of Minnesota. He graduated in 1964 with a double major in journalism and photography…

Looking for work in the field of photojournalism, Allard met Robert Gilka, then National Geographic’s director of photography, while in Washington, D.C., and was offered an internship. His most notable work as an intern included his photographs of the Amish for an article entitled “Amish Folk: Plainest of Pennsylvania’s Plain People”(published in August 1965). It is said to be regarded as a landmark in the photographic evolution of National Geographic. His work led to a full-time position with the magazine.

Randy Olson

Randy’s 30+ National Geographic projects have taken him to almost every continent. National Geographic Society published a book of his work in 2011 in their Masters of Photography series. Olson was the Magazine Photographer of the Year in the 2003 Pictures of the Year International (POYi) competition. It was also awarded POYi’s Newspaper Photographer of the Year in 1991—one of only two photographers to win in both media in the largest photojournalism contest operating continuously since World War II.

Lynsey Addario

An American photojournalist, Lynsey, takes us through the raw nooks and corners of the world with her photographs, building a visually pleasureful experience for us to witness the world through her eyes.

Ed Kashi

Documenting the ongoing mayhem in Syria, Kashi, a photojournalist, filmmaker, and lecturer, through his Instagram, portrays the world of Syrian refugees, oozing emotions and getting us up, close, and personal with their misery amongst the others.

Robin Rayne

Documentary photojournalist, filmmaker, and writer. A unique perspective on society.

Joanna B. Pinneo

Ted Scripps Fellow, Environmental communications, mentor, and instructor Joanna Pinneo’s photos tell stories with tenderness & insight.

DAVID TURNLEY

The winner of the Pulitzer Prize is Inspired by Family, Passion, Love, Purpose, Respect, and Dignity as he Photographs around the World!

Peter Turnley

Peter Turnley is renowned for his photography of the realities of the human condition. His photographs have been featured on the cover of Newsweek 43 times and are published frequently in the world’s most prestigious publications. He has worked in over 90 countries and has witnessed most major stories of international geopolitical and historic significance in the last thirty years. His photographs draw attention to the plight of those who suffer great hardships or injustice. He also affirms with his vision the many beautiful, poetic, just, and inspirational aspects of life.

David Alan Harvey

Born in San Francisco, David Alan Harvey was raised in Virginia. He discovered photography at the age of 11. Harvey purchased a used Leica with savings from his newspaper route and began photographing his family and neighborhood in 1956.

Instagram storytelling works best with enticing narrative

Disclaimer: I have been researching how to do a better job of writing captions that are story-oriented and yet still journalistic. This is some of the research I have done. If you were to grade my caption writing at the moment, I think it is a passing grade at best. I hope what I have found helps not just you but me in the future to write better captions.

If you are to Google how to write a caption, you will find similar guidelines often based on the Associated Press model.

This is from the guidelines I got from Mark E. Johnson for teaching Intro to Photojournalism.

Good captions have five basic elements

Who?
What?
Where?
When?
Why?

The first sentence must have the first four items: who, what, where, and when. The second sentence explains why this photo is essential to the viewer. Quotes can be used in the second or third sentence if it helps advance understanding of the image.

All captions are written in AP style – names, titles, dates, locations, etc. – and in the present tense.

The standard comments on length are often like this:

Keep it brief: You do not need to summarize the entire story in the caption; it should supplement or complement the story. If the caption is as deep as the photo, it’s too long! Please keep captions to a couple of lines.

The caption must do more when you have just a photo and a caption that is not part of a story. It needs to tell the story.

Monetization is what is driving many of the changes in journalism today. One of the topics discussed more and more is your engagement score when it comes to analytics which helps you know if the audience is reading your stories.

As you can see from this chart, Instagram accounts for the highest number of actions by far of the four networks measured but the lowest number of posts. In part, Instagram’s higher engagement rates are due to the increased use of visuals and little, user-friendly response icons.

This means that right now, the best way to tell stories to an audience is through Instagram.

If you are a News Outlet wanting to leverage Social Media, according to THE ASSOCIATION OF MAGAZINE MEDIA, only Instagram will work.

So if you are working hard on a story and want the most eyes on it, then Instagram is one of the best mediums today.

I must be sincere and say that I was blown away by Brandon Stanton’s Humans of NY Instagram feed regarding how many followers he has acquired.

By the way, Brandon started by posting to Facebook and still does. He has 18 million followers on Facebook.

Here is a video of Brandon Stanton where he shares what he does to get stories of random people on the streets of NY and now the world. I am sharing this because many of the students I teach read my blog and teach people how to do storytelling. This is great for learning to meet people, take photos, and find their stories.

Stanton now has 8.2 million followers. This is a crazy number for sure. Stanton’s website www.humansofnewyork.com has 18 million followers. Be sure and see how Stanton writes his captions today.

To give you some context, his numbers are DOUBLE that of the New York Times. So Brandon Stanton is more significant in followers than the NYTimes. The New York Times has long been regarded as a national “newspaper of record.” So having a more substantial following than them is enormous. This is why I wanted to study what he does and how I can engage my audience better.

Brandon was doing this all through the caption.

I wanted to know how to write engaging journalistic captions that tell stories with my photos going forward.

Good Instagram captions come in all shapes and sizes, from short and sweet to more extended, in-depth stories (Instagram captions can be as long as 2200 characters), which is enough to tell a short story with a photo.

The idea here is you can also add more photos to this post, but you are still limited to 2200 characters.

Here are some tips I have come across in many places, so I think they are now common knowledge to many.

I think the general rule in social media is to use the inverted pyramid of writing style.

Another way to start in social media is the “anecdotal lead,” which begins the story with an eye-catching tale or anecdote rather than the central facts.

When I teach how to create a multimedia piece [which is video] for social media, we teach that the first 4 to 8 seconds you need to hook the audience. We often used something so different for those 4 to 8 seconds as a tease and would go to black to start the story.

You can still be journalistic in your writing, but you need to engage the reader with something that will keep them reading. I think you are writing in a more entertaining style but do not go so far as to lose the journalistic credibility.

One thing that differs with Instagram is that readers can comment, as long as you have that turned on for your posts. This has created something new for those writing captions—the call to action.

The simple act of including a call-to-action in your Instagram caption and inviting your audience to comment or engage can go a very long way in driving more engagement on your posts.

The idea is that you are creating a following. This is very similar to getting subscribers.

You should also consider turning your call-to-action into a question, using the 5 W’s (who, what, where, when, and why) to encourage your followers to comment!

Aside from the apparent tips on using proper grammar and spelling, brand voice is one of the essential parts of any good Instagram caption. Many journalists follow the AP Style Guide. Some organizations like NPR have their caption-style guide.

Hashtags

When adding hashtags to your Instagram caption, please don’t limit yourself to keeping them at the end! Integrating hashtags throughout your post adds dimension to your caption, and since hashtags are a different color on Instagram, the right hashtag can also highlight and contextualize your content.

The hashtags help organize and categorize photos and video content, which aids the process of content discovery and optimization.

For example, a sports blogger could post a picture of an action shot and then use the hashtags #actionphoto #actionphotography and #championship when uploaded to Instagram.

Instead of using the most popular Instagram hashtags, it’s better to use the top hashtags that have an engaging community and are specific to your audience.

So, how are you supposed to find these cool, creative, and community-oriented hashtags? The best way is to look and see what Instagram hashtags your audience, competitors, and industry leaders are already using.

One last tip about #Hashtags keeps them to 5 or less. That might change, but the algorithms Instagram uses to put your post higher in feeds will ding you if there are too many right now.

What about legit Journalism on Instagram?

You may be very interested in how prominent news outlets are writing stories to accompany their photos on Instagram. I know I was very interested.

Here are some mainline media Instagram feeds.

Today I believe one of the best places for photojournalists to publish the stories they want to tell is on Instagram. To do so, these journalists will have to change how they write their captions.

I hope this helps you think of how to engage your audience with the 5 Ws and limit this to 2200 characters.

Here are some photojournalists worth following on Instagram.

Lynsey Addario

An American photojournalist, Lynsey, takes us through the raw nooks and corners of the world with her photographs, building a visually pleasureful experience for us to witness the world through her eyes.

Ed Kashi

Documenting the ongoing mayhem in Syria, Kashi, a photojournalist, filmmaker, and lecturer, through his Instagram, portrays the world of Syrian refugees, oozing emotions and getting us up, close, and personal with their misery amongst the others.

Andrew Quilty

As his bio reads ‘Stories not selfies,’ this storyteller has embarked on a journey to take us along with the naked world, putting out the beauties and flawless imperfections through these photographs.

Randy Olson

Overwhelmed with emotions, hues, and drama, Olson has his perspective on the world and puts it across through spectacular visuals.

Gary S. Chapman

Because impacting lives matters, Gary helps organizations tell their stories visually. He has covered humanitarian stories in more than 70 countries worldwide, assisting groups in creating awareness, expressing their vision, and building their community. You can trust him to bring an honest, photojournalistic approach to your commercial, corporate, editorial, or non-profit assignments.