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.

What do I want to put on my website?

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

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.

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.

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

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.

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?

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.

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.

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.

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

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

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

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

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?

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?

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

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?

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.

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

What will draw people to my website?

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

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?

“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.

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.

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

Then we end up with this photo.

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

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.

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.

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.

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.

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

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

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

Now zoom in and get a tighter shot.

Move again and shoot more images.

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.

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.

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.

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.

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.”

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.

To maintain objectivity in journalism, journalists 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.

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.

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.

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.

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.

This past weekend I was asked to join the UGA Photojournalism workshop in Perry, Georgia as they covered the State Fair. I was asked to serve as a coach to the students.

These are very bright students who many have only been shooting with a DSLR for less than a year. Prior to buying their first DSLR they were just using their smartphones.

They are still learning about their cameras and how to use some of the creative tools of Aperture & Shutter Speed to help in their storytelling. They were also learning how to capture stories in a visual way.

After spending time at the Fair shooting, we asked them to come back to our meeting room and download their photos and get some critiques from the coaches before going back. They were doing this every couple hours from 7:30 am to 11:30 pm. Many of the students walked some 6 to 10 miles covering the fair and getting back and forth to our meeting room.

There was one common theme that I was talking to the students about over and over. I could tell from their photos a couple things. They needed to get physically closer and they need to talk more to their subjects and get to know them. The photos were very distant physically and emotionally.

Well I have been teaching this for 30+ years and then on Saturday I finally found the phrase in my thoughts to articulate this concept to the students.

Every one of the instructors were all saying how we often leave our cameras in our car and build relationships first and then get our gear. Well they were not able to do this at the fair. They had to carry their camera gear all the time. So how to tell them some concept that will help them see what they need to do was my problem.

I also needed to help them know how to shoot a variety of images using their widest lens to the tightest lens.

“Forget the camera right now. See how we are sitting beside each other?” I said to a few students. Then I would move my chair a few feet from them. “Which feels more intimate?” You need to start by talking with the person I said. Then it is much easier to start with your wide angle lens to capture them up close and intimate.

While I was talking about this concept with a student, I had the “Ah Ha Moment”.

“Talk your way in and then shoot your way out,” was coming out of my mouth. I wish I had thought of saying it this way many years ago.

I explained the benefits of this process.

First, I watched many students spend time shooting and then when they asked for their names the people didn’t want to help them. Had they started with talking first then they would have saved a lot of time.

You introduce yourself and tell them you want to make their photos and would they mind.

Second, by taking some time to listen to the person and exploring their story you could look for opportunities that might work much better visually than text alone would.

Not talking to someone and shooting before you get their information can have you treating them as objects and not human if you are not careful. Talking to them helps avoid this problem.

Third, now that you have been talking it is easier to pull out the widest lens and make some photos up close. You are sitting or standing next to them.

Lastly, but most important you are now able to concentrate on capturing people in relationship with other and at the state fair–Livestock!

Once you have spent some time getting to know someone it is much easier to build a shot list in your head or write it down if you need.

SUGGESTED SHOT LIST

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

Now my mantra for all future teaching of photojournalism and storytelling is:

Talk Your Way In, Shoot Your Way Out

When working with actors for their headshots, I have to feel them and see how much direction they need.

There is a fine line between over or under-directing a person.

If you over-direct, you are not giving them time to try and respond to your direction. If you ask them to think about something to elicit an expression, they need time to wrap their head around that thought.

I prefer a very relaxed expression, as if the person in the photo is listening to me. I think it is a very inviting expression that helps pull a viewer into the photo.

While a smile is attractive, it is often done wrong and looks exceptionally fake. Here are some tips for getting a genuine expression.

One great thing to try with models is to ask them to Squinch their eyes.

First, you must relax the muscles around your eyes; tightening them would make a squint. Next, lightly lower the top eyelid ever so slightly. But the key to a good Squinch is learning to use the ligaments to push up the bottom lid, which is harder to achieve.

This is also called the Smize, where you smile with your whole face. Smizing is Tyra Banks’ secret to a stunning photo. Smizing is considered a look that involves smiling not only with your mouth but through your eyes – smiling with the eyes – hence, “smize.”

Sometimes the best way to get a genuinely warm smile isn’t to say smile rather than a squint. You may have to show people how to do this, so practice in a mirror.

I often ask people thought-provoking questions to get that look that they want to communicate something to you, and they are looking for the right words, which they are doing.

Tonight I attended the Atlanta Legal Society’s opening reception for Picturing Justice. I was attending because my friend Robin Rayne had her photos exhibited.

Picturing Justice is an annual exhibition that explores how photography can illuminate the human stories that live behind such common shorthand as “case,” “client,” and “issue.”

The core of Legal Aid’s mission is to help low-income people navigate the complexities of the court system at the most vulnerable times in their lives. Their clients face evictions, health crises, foreclosure, domestic violence, education issues, and consumer challenges that can only be solved with the help of a lawyer.

My favorite moment was a little girl enjoyed the exhibited photos.

You can see this for free. The show is up until November 30th.

4th floor
Atlanta Legal Aid Society
54 Ellis St NE
Atlanta, GA 30303, USA

My wife will tell you that I never go anywhere without a camera. This is the mantra I am also telling my students if they want to get better.

“The best camera is the one that’s with you.”

– Chase Jarvis

This is from last night just down the street from our neighborhood in Roswell, GA.

We had just eaten at one of our favorite Thai House restaurants and walked out to see this sky. I had my camera and got a few photos.

“In the right light, at the right time, everything is extraordinary.”

– Aaron Rose

Now I don’t always get what I imagine when I see something so spontaneous like this. You know I would love to have the Eiffel Tower in the skyline, but you make do with what is around you.

“Don’t pack up your camera until you’ve left the location.”

– Joe McNally

In less than five minutes, it was gone.

“In photography, you’ve got to be quick, quick, quick, quick. Like an animal and a prey.”

– Henri Cartier-Bresson

Where is your camera? Do you take it with you? If you rely mainly on your smartphone, why not just sell that other gear?

“Photography is a magical kind of art that allows people to preserve time and moments, and to describe the world the way they see it.”

– Sahara Sanders

The power of the Words & Visuals was demonstrated this Sunday in my church.

My wife Dorie Griggs led our Sunday School class time this Sunday by inviting her friends from the Islamic Speakers Bureau of Atlanta. We knew from some of the comments made in our church that there were many misconceptions about Muslims. Dorie knew from her own experience that getting to know people of other faiths was a way to break down barriers and also, in the process, to grow deeper in her faith.

The word “prejudice” can be broken down into “pre-” and “judgment.” Aptly, much prejudice stems from our pre-judging other people’s habits, customs, clothes, ways of speaking, and values. We often do this with no basis for judgment other than because they (the traditions, values, food, etc.) are different from ours.

As anthropologist Richard Shweder reminds us in his Psychology Today blog, the world doesn’t come with one “Truth” or one “Reality.” Instead, what we call Truth is often a social construction that differs across cultures.
– RODOLFO MENDOZA-DENTON 

The single best antidote to prejudice and racism?
Cross-race friendship.

Before we got into many questions, the speakers took some time to give us some basic facts about the faith that was eye-opening for many.

All Muslims are not Arab, Middle-Eastern, or of African descent. Islam is a universal religion and way of life that includes followers from all races. There are Muslims in and from virtually every country in the world. Arabs only constitute about 20% of Muslims worldwide. The countries with the largest Muslim populations are not in the Middle East. They are Indonesia (over 200 million Muslims), Pakistan, and India (over 350 million Muslims combined).

One of the more considerable misunderstandings about their faith they wanted to clear up was the misconception that women are marginalized or lesser than men.

Everyone in their faith has direct access to God. Very similar concept to the Christian “Priesthood of the Believer.” Therefore they are not below a man but relatively equal to the man in the eyes of God.

They also talked about the Hijab – The term can refer to any head, face, or body covering worn by Muslim women that conforms to a certain standard of modesty. They pointed out how not all Muslim women wear one, which was clearly demonstrated between the two. They talked to each about their reasons for not wearing one and one wearing one.

Jokingly they said that the woman often says, “What’s yours is mine, and what’s mine is mine.” They were trying to explain how men must take care of not just themselves, the household, but their wives and children with what they earn. However, whatever the woman makes is her alone.

It was good to see each of us this Sunday morning learning about the “other.”

First Amendment – Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.

Since we live in an open society regarding faith, we must learn to live together. Our time together was one house of worship getting together with another place of worship for dialogue and understanding. We were not trying to convert each other.

Realizing this doesn’t happen over just one interaction Fairyal Maqbool-Halim and a few other women [some from our church] formed the Women’s Interfaith Network – WIN.

Born in 1928, Catholic theologian and church critic Hans Küng made his mark as a promoter of dialogue between religions and president of the Global Ethic Foundation.

“No peace among the nations without peace between the religions! No peace between the religions without dialog between the religions!” Those are two central sentences of your World Ethic principle. 

Hans Küng believed Religion could co-exist with democracy.

Maybe you want to learn more about your Muslim friends and coworkers. Contact the Islamic Speakers Bureau of Atlanta and see about a panel coming to your organization.

You may also want to check out the Women’s Interfaith Network – WIN. That is a link to their Facebook page where upcoming events are posted.

Jesus Appears to Thomas 24 Now Thomas, one of the Twelve, was not with the disciples when Jesus came. 25 So the other disciples told him, “We have seen the Lord!”

John 20:24-29 

But he said to them, “Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe.”

One of my favorite scriptures that I believe highlights the role of the photojournalist to be a visual storyteller. Photographing, editing, and presenting images tell a story in a way no other media can. The photographs serve the purpose of enhancing the story for the reader or viewer.

Robin Rayne Nelson spoke to two of my intro to photojournalism classes today.  I love my job. As a photojournalist, I met and photographed some of the most exciting people.

Teaching photojournalism gives me an excuse to invite some of my heroes of photojournalism to speak to the class.

This is one of the photojournalism books I have had for years. Robin is one of the photographers whose work is part of the Black Star Picture Agency. Robin was on staff with them for years.

Black Star, also known as Black Star Publishing Company, was started by refugees from Germany who had established photographic agencies there in the 1920s. Today it is a New York City-based photographic agency with offices in London and White Plains, New York. It is known worldwide for photojournalism, corporate assignment photography, and stock photography services. It is noted for its contribution to the history of photojournalism in the United States. It was the first privately owned picture agency in the United States and introduced numerous new techniques in photography and illustrated journalism. The agency was closely identified with Henry Luce’s magazine Life and Time.

Black Star was formed in December 1935. The three founders were Kurt Safranski, Ernest Mayer, and Kurt Kornfeld. In 1964, the company was sold to Howard Chapnick. The three founders, Safranski, Mayer, and Kornfeld, were German Jews who fled Berlin during the Nazi regime.

Black Star photographers include Robert Capa, Andreas Feininger, Germaine Krull, Philippe Halsman, Martin Munkácsi, Kurt Severin, W. Eugene Smith, Marion Post-Wolcott, Bill Brandt, Henri Cartier-Bresson, Charles Moore, James Nachtwey, Lee Lockwood, Mario Giacomelli, and Spider Martin.

Robin took photos of the Klu Klux Klan in 1985, published in the book.

We showed a short documentary Robin produced and then took just 6 of Robin’s photos for the class to see and discuss the back story of each of the images.

Here are Robin’s photos we talked about:

We didn’t have any of the captions when we showed them to the class. I asked the class to tell me what they thought the story was for each photo. Robin was surprised at how well they read the images visually.

After a couple of minutes, Robin told us the photo’s story and back story.

Students were able to ask Robin questions.

One great quote Robin said to both classes and worth leaving here is about finding your passion.

We are known by the company we keep and the passions we pursue.

The biggest question Robin asked was, “What is your WHY?”

I am noticing that more people are treating their DSLR or Mirrorless cameras like their phones regarding photo storage, which is a mistake.

Workflow with photos

1. Take photos, preferably RAW, which are stored on your memory card in the camera.
2. Take the memory card out of the camera to transfer images to a computer. Leaving in the camera and using your cable to connect to the laptop drains your camera battery, and if it goes out while moving, you can corrupt the card and lose images.
3. Put the card in the card reader if your computer doesn’t have one.
4. Download all the images, select all that you want to keep, and transfer those to a folder on an external hard drive. I call the folder “PROJECT NAME RAW.”
5. Edit photos in Adobe Lightroom or similar software. Export the finished files as JPEGs to a folder on the external drive. I call the folder “PROJECT NAME JPEGs.”
6. Make a backup of your RAW and JPEGs to another external hard drive.
7. Put memory card back in camera and format in the camera.

According to a SanDisk technical support specialist:

There are two methods to erase the images stored on your memory card.

Using the camera’s menu to ‘format’ removes all files and sets up the memory card for use in the camera. ‘Delete’ (i.e., erase), on the other hand, removes one image after another. Therefore, it is a good idea to occasionally format a memory card (in the camera and not on a computer). Delete the images if you wish to clean up the memory card daily.

Formatting helps clear the card of extraneous issues from everyday use. Erasing images tells your camera that it’s okay to write over the photos already on your card. So you will not remove images but take pictures over the existing ones. This always leaves ‘traces’ of data on the card. By formatting it, you remove the images before taking new ones. So you will start with a new data-free card.

Many people have corrupted images due to deleting images on their cards because it leaves ‘traces’ of data that corrupted the photos.

There is one more method for handling images and memory cards. Keep your pictures on your card and buy new memory cards.

I know many people who buy many memory cards and use them once. This then becomes one of the backups for the images.

For example, you can buy SD Memory cards for as low as $4 for 32GB. Most of the highly rated 32-GB SD Cards hover around $15 – $20 at the time of writing this post.

Summary

When you start a new project, you want your camera’s freshly formatted memory card. You will avoid more problems with losing images rather than putting a card in the camera with pictures on it.

There is only one thing better than this practice: owning a camera with two card slots that you record the images simultaneously to two cards—either a duplicate or RAW on one and JPEGs on the other. If you are shooting something that can’t be done again, i.e., a wedding, you better have a second card slot.