This is when little girls and boys learn to play America’s favorite pastime, baseball.

I took some of our family’s favorite pictures while our kids were playing baseball.

I shot this photo of our son Taylor 22 years ago on film. The camera I used at the time was a Nikon F4. As compared to today’s cameras, it had very few controls.

In 1996 I was shooting Fujifilm Provia transparency film, which had an ISO of 100. When you put this into the camera, it sets the ISO. Then I had only two other controls for exposure. I could control the Aperture, an iris-like eye that can open and close to let in more or less light. The further control for exposure was shutter speed. Shutter speed would control how long the camera opened the door covering the film.

To master photography so that you can take great pictures any time of your family and get consistent results, you have to master the Exposure Triangle.

I hope this picture helps you see what you need to understand. ISO, SHUTTER, & APERTURE individually control exposure. You must know instinctively when you turn the dial which way will make it darker and which way will make it lighter.

When you look through your camera’s viewfinder and are on “M” mode, which is manual, your camera will display a meter on the edges of the screen.

You will change one or all three controls until you get the meter to read on the middle, saying it is properly exposed.

Some meters have numbers like the Canon, and others like the Nikon have hash. As you can see when you look at the two side by side as I have here, the number and hash are exactly 1-Stop from the following number to the left or right.

A stop is a measure of exposure relating to doubling or halving the amount of light.

No matter if you turn the ISO, Aperture, or Shutter-Speed dial to the left or right [if analog], when you move the distance between the number or hash, as shown below, you increase or decrease the value by 1/2 the amount of light. We call that moving it 1-Stop.

You can buy a Black, Gray, & White target to use when trying to set your exposure. If you took a picture where you had an equal amount of the three in the photo, then you can look at your histogram, which should look like this below.

Most photographers will use an 18% Gray target which looks like the Gray in the middle. As long as the meter shows 0 and not + or -, the photo will give you a histogram with the spike in the middle.

So if you want to take photos of your kids playing ball and you want them to be well exposed, then you have to master this concept of the exposure triangle.

Then you will know how to stop the ball as I have done in these photos and have just what I want in focus: the ball and the faces.

You must know the Exposure Triangle like your Multiplication Tables–by memory.

This is the foundation piece for all of the photography. Once you master this concept, your ability to get consistent results and make creative decisions about Depth-of-field and stopping or blurring action is possible.

2021 Chick-fil-A Kickoff Alabama vs Miami [NIKON D5, Sigma 120.0-300.0 mm f/2.8 Sport + TC-2001 2X Converter, Mode = Aperture Priority, ISO 6400, 1/4000, ƒ/5.6, (35mm = 250)]

Sure we love to take photos, and even traveling to exotic locations is incredible. Why would someone pay you to do that for them, rather than just traveling and taking those photos?

The difference is one of those scenarios is all about YOU, and the other is about your CLIENT.

Editor’s note: I am sorry that this is so long. I was struggling with how to make this shorter. Hopefully, when you read this, it will spark you to have some great ideas for your clients. That was my goal.

My clients are hitting the same wall I was hitting back when digital photography finally became affordable for everyone.

I had cut my teeth in professional photography, shooting sports for newspapers, magazines, colleges, and professional sports teams.

The cameras had gotten so good that it was feasible to go to a camera store, buy your gear, and show up on Friday night or Saturday to a football game and get reasonably good photos. The exposures would be OK, and the focus would be OK. If it were not suitable, you could look at the LCD and change the camera settings. In the past, you wouldn’t know if you were exposing correctly or in focus until you looked at the film.

Working at Georgia Tech, I saw this happening faster than in other places because the alumni of the school were more prone to enjoy the technology of photography. Soon we had the sidelines filled with photographers shooting for free to access the games.

While I still get called to shoot sports and am paid, the field is so over-saturated that few people can do living shooting sports compared to before the digital revolution that took place from 2002 to 2007.

One of the ways I stayed competitive was through my skills with lighting.

However, the year that was the most pivotal in our society, impacting my profession the most, was 2007.

Three things happened that year that would impact photography as nothing had for many years before that moment.

1. FIRST ~ Nikon introduced the D3 camera.

This camera almost retired my lighting kit altogether. This was the most revolutionary camera that Nikon had made in my career compared to those before it.

1. SECOND ~ Steve Jobs announces the iPhone. 
3. While it wasn’t the first smartphone, it leapfrogged far beyond the competition and launched the mobile revolution. Few industries or societies have been left unchanged. The iPhone transformed photography from a hobby to a part of everyday life.
5. THIRD ~ Mark Zuckerberg’s Facebook

Zuckerberg opened it to everyone, not just college students, at the end of 2006. By 2007 the iPhone was exploding. I joined in 2007.

Facebook Changed the Way We Consume Content

While Facebook isn’t the only place we consume content, it is 3rd only to Google and Youtube. Roughly 71% of 18- to 24-year-olds credit the Internet as their primary news source.

Traditional media was losing their audience through the internet and things like Facebook News Feed, a never-ending stream of content from the people and companies you’ve connected with on the platform. News Feed never ends; in theory, users could scroll on forever, an unheard-of feature when News Feed debuted in 2006.

Now that anyone can create content and reach the world using the internet and most likely do this all from their iPhone, the audience is now oversaturated.

Some forms of media have seen a resurgence. I have enjoyed my daughter’s theater performances. Just two years ago, Lin-Manuel Miranda’s hip-hop musical broke new ground. It was different. When the musical came out, they were thinking of retiring Hamilton off the ten-dollar bill, but that musical gave life to Hamilton.

Today it isn’t easy to get someone’s attention for more than a brief second. Many covering stories around the world for NGOs have to rely on one photo and just a small caption to “entertain” the audience with an “experience” rather than having their attention enough to inform honestly.

This is why FAKE NEWS has taken place. If the audience wants something for an “experience” because they are spending more time they do not have, then it is easier for those who want to create propaganda to succeed today.

How do communications offices, public relations, and marketing get their audience’s attention?

BREAKTHROUGH

Today I am seeing a lot of mediocre communications. It is working more to do with it being “different” than better.

A few years ago, one of the most powerful things I heard that changed my approach to working was professional photographer Dave Black saying that to be successful; your photos don’t always have to be better–they have to be DIFFERENT.

Just look how we do this with text. We can bold, italicize or even change the color of the type to highlight something. This draws attention because it is different from the rest of the text.

 

Fruit Stand [Nikon D750, Sigma 35mm ƒ/1.4, ISO 50, ƒ/1.4, 1/800] #FruitStand #Grapes #apples #strawberries #nikon #sigma

A post shared by Stanley Leary (@stanleyleary) on Mar 29, 2018 at 6:11am PDT

Professional communicators are not sure what works a great deal of time today. They go to Instagram and look for those people with the most significant number of followers and assume that hiring them will translate into more followers.

Little do they know that many people with a lot of followers bought them through service, and even when they post, only a tiny percentage see a post.

Wake up

Your client is struggling to sleep as much as you are working these days. The difference is in understanding who you are serving.

When your bills are mounting up and you are in a panic, as I often find myself, you need to take deep breaths and calm yourself down. [I am not good at this either, so know I might not be the best person offering this advice, but I think I need to hear it myself]

You will soon discover that when you concentrate on meeting your needs, you will go without work. It is when you focus on how to meet the needs of others that your bills get paid. You are helping someone who needs your help and will compensate you for it.

For most of her career, my sister-in-law, Pam Goldsmith, has played as part of the orchestra for many movies, cartoons, and significant records. That group is so good that almost all the music for the film has only been played once when it was recorded. They don’t practice. The music was never played before they did so the first time, but they are those excellent studio musicians.

I mention this because we should be perfecting our craft so that when we are aware of a way to help our clients with their problems using our skills, our skills are so good that it lifts the content we produce for the client.

Be transparent

If you are thinking of ways to help your client, you need to understand their problems.

I have a client whose audience is saying stop sending me more stuff already. Just stop it with all your communications. Send us just those things that are going to help them do a better job running their business.

Too often, I have proposed interesting feature ideas to my clients. While they may be interested in maybe 1 of every 1000 ideas I pitch to them. They are more likely to be interested in 1 of every 100 or even ten views I have that will help their audience run their business better tomorrow.

Now take a moment and think about your client. If they are Amazon, Apple, or Google, do they need to be more successful? Sometimes the companies we are trying to help are having capacity issues. They are so successful that their new problems are not how to make more money but how to handle their work and still enjoy doing it every day.

Our job is to help our customers to see a brighter future. We are to be serving their best interests. If you look at some big companies, they may look like they have it all together, but you talk to them internally and see that they don’t.

If you are a photographer, videographer, writer, or producer, don’t think of what you do as producing content only. It would help if you came up with suitable content ideas that your clients need to reach their audience.

The hood ornament from a vintage Cadillac at Old Car City in White, Georgia. [Nikon D5, Sigma 35mm Ï/1.4, ISO 100, ƒ/1.4, 1/800]

Old Car City in White, Georgia, is one of the top photographer destinations where wilderness, culture, color, and history come together on a grand scale.

It is the world’s largest known classic car junkyard.

Directions to Old Car City USA

3098 U.S. Hwy 411 – White, Georgia 30184

Take Interstate 75 north from Atlanta, approximately 42 miles, to Exit 293. Go right 2 miles. Old Car City USA is on the right.

Take Interstate 75 south from Chattanooga, Tennessee, approximately an hour’s drive to Exit 293. Turn left, heading northeast on Hwy 411. 2 miles on the right is Old Car City, USA.

Photographers have been going here for many years. Many will come and spend days exploring the 6 miles of trails with their cameras.

In 2005, the European Union forced carmakers to meet minimum standards for pedestrian safety based on damage caused by frontal collisions. The removal of upright hood ornaments helped meet the requirements and rather than make different hoods for different countries, many international automakers—including Jaguar—removed the hood ornaments altogether.

Old Car City USA hours:

• Wednesday……Open 9 a.m. to 4 p.m.
• Thursday………..Open 9 a.m. to 4 p.m.
• Friday…………….Open 9 a.m. to 4 p.m.
• Saturday………..Open 9 a.m. to 4 p.m.
• Sunday…………..Closed
• Monday………….Closed
• Tuesday………….Closed (Will begin opening 9 a.m. to 4 p.m. on April 3rd 2018)

Call: 770.382.6141

Pricing

There are two pricing options.

$25 for making or taking pictures,

$15 if no pictures are taken.

$25.00 per person option

If you have a camera, or if you will have your picture taken while on the lot, regardless of age or whether a model is professional or not.

$15.00 per person option

If you want to walk through without a camera and not take any pictures.

Children from the ages of 7 to 12:……..$10

Children ages six and younger…………..Free

Military Discount:

All active military personnel gets in at half price for both payment options.

Old Car City started as a country store by Walt Lewis. Today Dean Lewis is the owner. Dean believes the cars have been here for about 70 years.

More than 1,000 old cars are on the property.

Consider taking a break by going on a retreat or traveling somewhere new. Being away from the content of your everyday life helps you get out of the rut and gives you space to clear your mind. New faces and fresh experiences do wonders for gaining perspective. Take time to drop in, reflect and enjoy yourself.

I bought a Lensball for something to play around with for fun. My idea was that this could stretch me in some way.

To use the Lensball effectively, you must find that spot between the subject and the camera that puts everything in focus and is compositionally pleasing.

I also discovered it works best when the subject has more light on it than the Lensball. I learned there is a different focal point than shooting without it. I also learned to use a small focal point in the middle of the Lensball.

The objective for buying the Lensball is being achieved. I have to think differently. Choosing the right subject for the Lensball is quite challenging.

I also learned that the Lensball really concentrates the sun’s power and will burn you when outside. You have to watch where the concentration of light is going. I played with it and discovered you could start a fire with it if you were not careful.

If photography is not fun, you’re not doing it right.

If you do photography or anything for a job, you need to be having fun doing it, or you are not doing something right. Look for ways to put some fun back into your profession.

Freelancing is like dating. Dating, however, isn’t the same as marriage.

Dating is a tryout for marriage. Dating offers you the chance to explore and learn before you make the serious commitment of marriage. It’s not the same as being married. There are different legal aspects of marriage (such as bank accounts, taxes, will’s, etc.) that you can’t experience while dating.

The most significant difference between freelancing and dating is that your clients are not looking for marriage.

Dating provides the opportunity to build a secure foundation before entering into the marriage commitment and offers less relationship stability. Marriage lowers depression risk.

While these are breakup lines for couples dating, they are very similar lines the freelancer hears from their client.

1. “Something about us doesn’t feel right, and I have to act on that.”
2. “I don’t know what I want, and as long as I feel this way, it’s not fair to you.”
3. “I need something more.”
4. “We’ve tried to make this work, but now it’s time to let it go.”
5. “I have much more growing to do before I’m ready for something like this.”
6. “I love you, but I’m not in love with you.”
7. “I wish I’d met you five years from now. I’m just not ready for this yet.”
8. “Someone out there is perfect for you, I promise. It’s just not me.”
9. “We are not each other’s soulmates.”
10. “We’ve both changed and grown apart.”
11. “You’re my best friend, which is much more important to me than a lover.”
12. “I just don’t see this working.”
13. “Love shouldn’t be this hard.”
14. “I love you enough to want something better for you than what I can give.”
15. “I think we need to work on ourselves before we can ever share a life.”
16. “You deserve to find your perfect match. It’s just not me.”
17. “I’m not in a place to date someone right now, but I still love you.”
18. “I need to figure out myself before I can share my life with someone.”

What you should hear in all these breakups is you can be great looking, be a wonderful person, but still they are looking for something different. They do not want you to change to accommodate them.

Now we need to look for some of those silver linings. When you go on staff, you will not be able to do as much work for others.

Employees have to deal with the politics of working for a single employer. A freelancer may have to deal with solitude and loneliness. I mention this because we need to be honest; freelancing is challenging and an emotional rollercoaster.

I have lost my job two times as a photographer on staff jobs. I realized with so many others in every profession that the days of working an entire career for one employer are rare today.

While Divorce peaked at the end of WWII and even with it going down through the years to the lowest ever, it impacted the mindset far beyond families.

“Welcome to the family…” is how many employers greet you when you are hired. However, the uptick in divorcing those employees has been climbing. Now, more companies are using temporary employees/contractors over hiring and making them employees.

This is why today, you are more likely to be freelancing than working as an employee.

Not surprising to me is that the latest findings from the U.S. Centers for Disease Control and Prevention’s National Vital Statistics Report show that from 1999 to 2014, the suicide rate in the U.S. increased by 24 percent.

Prayer for Financial Peace

Dear Father,
     You who are gracious and kind, hear my prayer! I face more financial pressure than I can bear.
     “Save [me] now, I pray.” Show me, Lord, what I must do to get out from under this heavy burden.
     Give me Your wisdom and discipline, I pray, that I may move toward resolution of this situation.
     Guard my heart, Lord, and my steps; protect me from bad advice and foolish actions.
     Draw me close to You, for I need Your comfort and guidance.
     In Jesus’ name Amen.

When Your Parachute Says Cliff-Diver, you are in trouble. So many freelancers are losing clients for all the reasons similar to the breakup list above. Your clients didn’t marry you–they were only dating you.

Like it or not, your industry is changing. Everything changes; it always has, and it always will. You can keep up with and be part of the changes, or you can overlook and ignore changes and let others pass you by.

Take the time to read up on the industry and how things change. At the same time, some traditional media are going down, like newspapers the upswing of media like Instagram is growing.

Join an association like NPPA or ASMP. Both of these associations communicate what is happening now, who is making the most of the changes happening, and who is going out of business.

Build relationships with people more intelligent than you. “If you’re the smartest person in the room, you’re in the wrong room.” I found that I was getting better when I played basketball with better athletes than myself. When I played people with similar skills, I didn’t evolve all that much in my game.

Create your board. Boards advise executives of large companies. Executives go to their boards and bounce ideas off them before implementing them. Do you have a small group of friends that serve as your advisors?

Listen to your customers. When customers are talking, you need to listen. What is on their minds? Also, ask them questions about what is important to them now and what they see as a future need.

Look for ways to change. Try and adapt to trends rather than letting your competition come in and do this for your client because you were resistant to change.

Here is a great scripture, a prayer I will end with for you.

Psalm 25

A Prayer for Guidance and Protection

To you, O Lord, I offer my prayer;
in you, my God, I trust.
Save me from the shame of defeat;
don’t let my enemies gloat over me!
Defeat does not come to those who trust in you,
but to those who are quick to rebel against you.

Teach me your ways, O Lord;
make them known to me.
Teach me to live according to your truth,
for you are my God, who saves me.
I always trust in you.

Remember, O Lord, your kindness and constant love
which you have shown from long ago.
Forgive the sins and errors of my youth.
In your constant love and goodness,
remember me, Lord!

Because the Lord is righteous and good,
he teaches sinners the path they should follow.
He leads the humble in the right way
and teaches them his will.
With faithfulness and love he leads
all who keep his covenant and obey his commands.

Keep your promise, Lord, and forgive my sins,
for they are many.
Those who have reverence for the Lord
will learn from him the path they should follow.
They will always be prosperous,
and their children will possess the land.
The Lord is the friend of those who obey him
and he affirms his covenant with them.

I look to the Lord for help at all times,
and he rescues me from danger.
Turn to me, Lord, and be merciful to me,
because I am lonely and weak.
Relieve me of my worries
and save me from all my troubles.
Consider my distress and suffering
and forgive all my sins.

See how many enemies I have;
see how much they hate me.
Protect me and save me;
keep me from defeat.
I come to you for safety.
May my goodness and honesty preserve me,
because I trust in you.

From all their troubles, O God,
save your people Israel!

You may want to take up the challenge today of finding something interesting to photograph. The first trick is to come up with something that interests you.

For me, I chose to photograph a Dodge Viper one day. I have just always liked the design of the car and thought why not photograph it.

I put the car in my studio and use a white background that I could throw the red gel on for dramatic effect if I chose to or just keep it simple with the white background.

One thing I noticed was that just shooting at a different focal length changed the look and feel of the car. Starting with the first photo I shot it at 119mm, then to 55mm and this third one is at 30mm.

I moved around the car trying all kind of angles and focal lengths.

I thought it was a fun shooting assignment. Just studying the car from all different angles.

Getting close also was fun and mixed up the variety of looks I was getting.

I found all I had to do for all these shots was get a basic lighting set and I then just picked the car up and moved it around for each photo.

CONTEXT

What I was hoping to surprise you with is that without some visual clue you cannot tell how big or small something is in a photo. That is why it is so important in some situations to leave things out or include them.

This was my lighting setup for the photo shoot and this was the camera I used for all the photos.

To teach yourself how to see start with a subject and then really explore just that one subject. Force yourself to take as many different photos of the one subject as you can.

The one thing I didn’t do in this exercise was to change backgrounds. With a small model car that is simple to do. Just take your can with you to different locations. See how much a location can impact the mood of the subject.

Here is a great article Model Cars Look Life-Sized Through Forced Perspectives. 

I think I spent less than $20 for the car and continue to have fun pushing my visual perspective pulling it out every once in a while and learning to see it in new ways.

Nikon D5 ISO Setting

On your camera, you can pick your ISO setting, or you can select Auto ISO.

On my Nikon D5, you choose the ISO setting, and then you can toggle right into the AUTO ISO setup screen.

You pick your range of the lowest ISO and the highest ISO you want the camera to use. This is great for the photographer who says I like up to only ISO 5000, and another photographer is ok with ISO 102400.

On the Nikon D5, you also set the maximum ISO when the flash is detected. This works with the flashes using the hot-shoe and has TTL.

Now, in photography, we talk about the exposure triangle. These controls can over-expose, under-expose, or adequately expose a photo.

When you set your camera to Aperture priority, then you put the Aperture, and the camera will adjust the shutter speed if you have chosen a specific ISO like ISO 100.

If you are in Shutter-Speed priority, you pick the shutter speed, and the camera selects the aperture.

Now, if you have AUTO ISO, the Auto ISO will pick the lowest ISO as the Shutter-Speed you selected, and then you can control the Aperture when in Aperture priority.

If you are in Manual mode and using AUTO ISO, the camera will pick the lowest ISO to expose the picture based on the Aperture and Shutter-Speed you chose.

If you choose not to use AUTO ISO, you must manually change this every time you change Aperture or Shutter-Speed, and the camera lets you know you are either over-exposed or under-exposed.

I found that 99% of the time, the camera is making the same choice I would make when I set the AUTO ISO to what I want as the low and high ISO and the Shutter-Speed.

When I need to turn off the AUTO ISO for things like shooting with strobes on the Nikon D5, I just push the ISO button on the back, spin the front wheel, and turn it off. To turn it back on, I do the same thing.

Auto ISO for me, is similar to anti-lock brakes on a car. The AUTO ISO will adjust the camera faster than I can and let me get more correctly exposed photos.

Billy Howard was the keynote speaker for the FOCUS Atlanta event held at Professional Photographic Resources on March 10, 2018.

This past weekend Billy Howard gave an excellent presentation to FOCUS at Professional Photographic Resources in Atlanta, Georgia.

Billy talked to us about the people he had met that ended up being subjects in the stories he was doing.

Getting a letter from his dentist saying he was no longer practicing started him down the road of photographing people with Aids that became a book.

EPITAPHS FOR THE LIVING–Words and Images in the Time of Aids

Billy printed 11×14 prints and left a large area for each person to write their own words. One person took over a year to get the print back to Billy. When the guy talked about how hard it was to write what would most likely be his last words is when Billy realized these words were Epitaphs.

Blending words and pictures all started when Billy was a writer for a newspaper and wanted to take photos.

To hear more about how Billy became a photographer and the many other projects he is working on, click on the video below to hear and see his presentation.

Robin Rayne Nelson was the keynote speaker for the FOCUS Atlanta event held at Professional Photographic Resources on March 10, 2018. [Fuji X-E3, 18-55mm, ISO 12800, ƒ/4, 1/90]

A young college student asked Robin Rayne Nelson after her presentation to the FOCUS meeting on Pixels and Picas, “How do you deal with your emotions when covering a story you shared?”

Robin said, “We’re taught that journalists are to be objective in their work. That should be our goal. But we are human, not robots.”

Click on the photo here to see the story that Robin shared as used by the Marietta Daily Journal.

I realized hearing this question that the young college student didn’t understand being a human being means you should feel all the emotions that the story takes you. You don’t bury these emotions; you embrace them. You explore them. It is through embracing you are tapping into the subject’s world. It lets you get closer to understanding their struggles.

When you are honest with your emotions, you can be unbiased. You can understand what you feel is accurate and then back up and look at things from a different perspective, which the subject often cannot do.

Robin said, “Some might call what I do advocacy journalism, and I’m okay with that, but I am first and always a journalist.”

While doing stories on disability for the Institute on Human Development and Disability at the University of Georgia, Robin says, “Most important; my ‘why’ is to help reshape how society views and treats those with developmental challenges.” Robin tries to persuade the audience to consider the realities of people dealing with disabilities.

In persuasion, your message must focus on emotions while maintaining a balance between logic and feelings. Logic and emotion are the two elements that make for perfect influence. We can be persuasive using only logic or emotion, but the effect will be short-term and unbalanced.

If you want to move your audience emotionally, you must first experience it as the communicator. People will not cry if you don’t cry. The audience will not laugh if you don’t laugh.

The subject’s story must move you enough to pour all you have into the storytelling process so that the subject’s story will move the audience’s heart and minds into action.

You can hear Robin’s presentation here in my video of her talk.

My message for students learning this craft of journalism and storytelling is not to fear stories impacting you emotionally; my concern is that you are not being more emotionally moved.

As you peel the onion of a person’s story to get to the core of the story, you should be experiencing a more profound emotion than when you started. It may be tears of laughter or sorrow. Each story is different, just as each person is different.

Chelle, our daughter, is excited to meet Snow White and show her she is in her shoes at Disney World at Magic Kingdom. [Nikon D100, 24-120mm, ISO 200, ƒ/5.6, 1/180]

Do you remember meeting your hero? Our daughter had just turned four years old when we were visiting Disney World. She was usually dressed in pink but loved her Disney princess sneakers.

She ran over to Snow White to talk to her. Snow White even came out of character for a brief moment when Chelle told her to have a Happy Thanksgiving.

The Disney Princess Alice in Wonderland wasn’t just staying on script. They interacted with my daughter where she was and made her day. Isn’t that what happens to our hero.

For my daughter, she fell in love with their stories. Isn’t that how it happens no matter our age? We fall in love with their account.  We want to meet them and interact with them.

I created a group called FOCUS. It stands for Fellowship of Communicators Uniting Socially. We are professional communicators who meet in various locations around Atlanta throughout the year to support each other and our work.

I had reached out to Billy Howard, Billy Weeks, and Robin Nelson in the past to speak to the group. This is the first time that all three have agreed to be our keynote speakers.

All three of them are my Storyteller Heroes.

Here I am with two of my other Storyteller heroes, Bill Bangham and Eugene Richards.

There is one thing to see your Hero from afar, and it is quite another thing to meet them and ask questions.

This Saturday, I will have an opportunity not just to see Billy Howard, Billy Weeks, and Robin Nelson but also to ask them some questions that have been on my mind.

You are also invited to see their work and hear them talk about what they do in Storytelling.

Go to the FOCUS Facebook Page for more details and how to get there.

You can show up and hang out with us, or you can let me know today you are coming, and I will have a FREE Chick-fil-A Meal for you. I have to know today to have the meal for you.

If your plans change and you can join us, please show up tomorrow.

Here are some tips for meeting your Hero:

Be a photojournalist – Take lots of candid photos. Tell a story with them. Capture emotion, not just posed smiles. Include shots of the venue to set the tone of your account. The little details matter. By doing this, you’ll be able to look back at your photos and relive the experience.

Stop taking photos – Don’t forget why you’re there. Put the camera down, breathe deeply, and let your gratitude fill you. Look around at everyone else and know that you are sharing a special moment. Be present.

If you speak with your hero – do one or more: express gratitude, ask a good question, say something funny, or share a short but fantastic story about how your hero changed your life.

If you don’t know about these guys’ work, go to their websites and learn all you can. They each have a following, and clients seek them out for their projects. Come and know why they are so special. I promise I will tell you more about them at the event.

“What’s the best type of lens for the city at night?” This is one of the variations of the question on the best lens for the question that I see pop up on photography groups all the time. Then the responses are so predictable.

“A 23mm f2 is fine. A faster lens will give you a bit more latitude, but I’ve had great results with my 35mm f2.” is one of the responses.

There is no best lens for everything. There is the best lens for what you are trying to accomplish in a specific photo.

Just as there is no best bike for world-class bicyclists. Bicycles are custom-made for a bicyclist when you are at the world-class level.

The correct answer depends not only on what you are shooting but on how you are interpreting the scene. I shoot skylines with wide to telephoto for example.

I have seen great shots from about every lens. You don’t need a fast lens either. That is a myth. People have been shooting night scenes with tripods since the beginning of photography when ISO didn’t get above ISO 20. Today with a camera that goes to ISO 102400 it frees up the photographer to not have to always shoot wide open aperture.

Now, this photo of a rodeo at night was shot at ISO 64000, ƒ/2.8 @ 1/2500. Now if you were just shooting photos around the stadium of people watching then you don’t have to shoot the higher ISO or the higher shutter speed.

Same rodeo and I caught the sun dipping into the sunset and shot ISO 640, ƒ/1.8 @ 1/160. Due to the ISO capabilities of the camera, I could have shot this at ƒ/22 @ ISO 81920 and the same shutter speed of 1/160.

If you want to get the shot versus getting a style of a shot then zoom lenses are great. I find that the combination of Nikon 14-24mm and the Nikon 28-300mm will let me get just about any photo I need for a client on a photo shoot.

Here is a recent blog where I talk about using just those two lenses for shooting an assignment.

What about primes?

Now there is another reason to use a different lens–Special Look. I think shooting with the Sigma 35mm ƒ/1.4 gives you a beautiful look.

You isolate the subject very easily at ƒ/1.4. However, you also need to have your focus locked in on those eyes and shoot quickly before they or you breathe again. The depth-of-field is razor sharp and thin at the same time.

The other lens I love to shoot with is the Nikon 85mm ƒ/1.8. I used to own the ƒ/1.4 earlier version, but after shooting with the much lighter ƒ/1.8 I fell in love with the look and the lens.

What about Wide Angle versus Telephoto?

Should you use a Telephoto lens or a Wide-Angle lens? Well, that all depends.

Here I walked across the street and up a small hill and shot back at all the First 100 Campers sleeping over the night in the parking lot for the Grand Opening of Chick-fil-A at Northeast 8th Street in Bellevue, Washington. The First 100 get free Chick-fil-A for a year.

I think I did a great job of showing the campers in front of the store.

Here I walked a lot closer and shot it with the 14-24mm at 14mm to emphasize all the tents in the parking lot.

Which photo is better?

Well, that all depends on what you are trying to say. The real reason I am covering this story is that Chick-fil-A is just now with this Grand Opening getting into the Seattle, Washington market.

I think the first photo shows the city of Bellevue and even the corporate offices of Microsoft just next door to Chick-fil-A. The lower photo could almost be shot anywhere because the emphasis is more about what is the same at the grand openings–tents in parking lots.

Now if I were to only need one photo I would shoot the top photo, but I am a seasoned journalist and know to cover it completely, so I shoot them all and even more angles. This is critical when you are telling the story. This is especially true in multimedia where you may show both with other photos in a series. You may talk about the campers and how this is in the city of Bellevue.

The question is not just which is best but why not shoot both and then decide later as you figure out what you want to say. Maybe you will need both.

A great question about which lens might be which lens did Henri Cartier-Bresson use when he did the picture of the guy jumping the puddle? That is trying to find the lens that helped him get that photo.

I would follow that question up with why is that a good lens for that photo and could other lenses work just as well? This is how you learn.