An association is a conglomerate of professionals engaged in the same profession working toward goals that promote the best practices and ethical behavior and provide services for the general welfare and common benefit of all members.

But what happens when an industry starts losing jobs, as in photojournalism?

Photographers, artists, and videographers have experienced a 43 percent decrease in jobs since 2000, dropping from 6,171 to only 3,493 jobs in 2012 — the most significant difference faced by newspaper staffers, according to the American Society of Newspaper Editors (ASNE). Reporters and writers were next in line, dropping jobs by 32 percent. Copy editors, layout editors, and online producers lost 27% of all jobs.

However, while there are parts of the industry, shrinking photography usage is at an all-time high.

This year, according to the market research firm InfoTrends, global consumers will take more than one trillion digital photos.

The number of photos taken each year is exponential: It has nearly tripled since 2010 and is projected to grow to 1.3 trillion by 2017. The rapid proliferation of smartphones is mostly to blame. Seventy-five percent of all photos are now taken with a phone, up from 40 percent in 2010. Full-fledged digital cameras now represent only 20 percent of the tally and are expected to drop to just 13 percent by 2017, InfoTrends said.

Photographers produce and preserve images that paint a picture, tell a story, or record an event. To create commercial-quality photographs [photos people will pay you to take], photographers need technical expertise, creativity, and the appropriate professional equipment. Producing a successful picture requires choosing and presenting a subject to achieve a particular effect and selecting suitable cameras and other photographic enhancing tools.

I think each professional photographer either consciously or subconsciously looks at an organization as a way that will help them grow professionally and socially. The question about these organizations is whether they can meet those needs/wants and relationships that professional photographers desire.

NPPA, ASMP & SWPJC provided: [they didn’t do all these each of them, but collectively for me, they did]

1. Education
2. Advocacy
3. Networking
4. Benefits
   1. Health Insurance
   2. Camera Insurance
   3. Discounts with vendors
5. Benchmarking

EDUCATION

Before the internet, these organizations were pretty much it when it came to those services; after the internet and when it became easy for people to create their websites and share photos/videos, there was a lot of World-Wide competition.

Here are some people that put more on their websites for free photography education than the organizations ever offered:

1. David Hobby – The Strobist
2. Improve Photography LLC
3. FStoppers

Others came along and took their production of the content up to higher levels and then charged for their services. Scott Kelby was the biggest name in photography doing this, who started PhotoShop World and KelbyOne. More recently, Jeremy Cowart tells you not to spend money on a four-year college but spend it on his online See University. By the way, that isn’t an accredited school.

ADVOCACY

While I have been appreciative of all the work ASMP and NPPA have done on copyright protections, none of this helped me keep any staff job or assignment.

Professional Photographers would be lining up to join the organizations if the advocacy was helping the average photographer.

I am sure the lawyers and leaders of those organizations can point out how protecting copyright is necessary. However, for the last 20+ years, more and more clients are now more copyright-savy, asking for all rights or asking you to work for hire. We did a great job empowering those hiring us and had little to do with protecting our incomes.

I am also sure that without all this help from the lawyers, we would be even worse off. But then, Advocacy is seldom realized in a tangible way for a professional photographer to join an organization. They need help getting jobs and knowing how to keep them.

NETWORKING

Today with social media, we are more connected than ever before. We can organize with other photographers in our communities for free.

An organization/association can offer some requirements to be a member and, due to those standards, offer a quality environment for its members. This is one of the enormous benefits of an association. There is a filter so that those in the group are what you want to meet up with.

Benefits

It is difficult to get discounts without an organization that can negotiate this with vendors. The vendors want access to the membership, and the members need help keeping their costs down.

WHY?

The question people must ask is, “Why?”. Why do I need an association? Do associations need to be asking why they exist?

Once an organization can tell you in a sentence its purpose, people can quickly decide if that purpose meets their needs to survive.

Associations today haven’t caught up with where their membership lives. They lack focus that services their member’s needs.

BIG SECRET!!!!

The one thing people are looking for more than anything else is relationships that are genuinely enriching their lives. First, they want to be accepted by people as they are. They want those relationships to help them grow. Challenge them to get better and be there when things are difficult for them.

When an organization works hardest at treating people with honor, dignity, and respect–It will grow in membership.

Why did so many photography associations shrink? First of all, many jobs disappeared in traditional places. Second I believe the members were not all treated with honor, dignity, and respect.

People want in a relationship not so much to get something but to be allowed to give. Not everyone was welcomed or cherished.

The big secret is that people are looking for relationships. How respectfully will we be to nurture this so they and the organizations will grow?

Associations are greatly needed but cannot be like your father’s association.

Nikon D100, Nikon 24-120mm ƒ/3.5-5.6, ISO 200, ƒ/8, 1/180 – 4 Alienbees B1600s

I have been looking through some older photos. I started pulling all our pictures of our daughter for a project we are working on.

Most photos have been on CDs and DVDs, and I am putting them onto a hard drive. I will be going through them, selecting our favorites, and then putting them into categories like Birthdays and Holidays.

For these photos, I found I also had a picture of the setup. Here is that photo to see how I set up the lights in our garage in my older house.

Here are a few different shots from that day back on October 31, 2002.

The Nikon D100 had a 6.1 Effective Megapixel CCD for 3,008 x 2,000-pixel images. The D100 had about 7.5 stops of dynamic range compared to today’s cameras of about 12 to 14 stops.

Just a comparison of the Nikon D100 and 13 years later, the D5

Nikon D100 Key Specs	Nikon D5 Key Specs
Announcement Date: 2002-07-26 6MP – APS-C CCD Sensor ISO 200 – 1600 Nikon F Mount 1.8″ Fixed Type Screen Optical (pentaprism) viewfinder Three fps continuous shooting No Video Mode 780g. 144 x 116 x 81 mm	Announcement Date: 2016-01-05 21MP – Full-frame CMOS Sensor No Anti-aliasing (AA) filter ISO 100 – 3280000 Nikon F Mount 3.2″ Fixed Type Screen Optical (pentaprism) viewfinder 14.0 fps continuous shooting 3840 x 2160 video resolution 1415g. 160 x 158.5 x 92 mm Weather Sealed Body Replaced Nikon D4s

1:3 lighting ratio – Nikon D5, Nikon 85mm ƒ/1.8G, ISO 100, ƒ/5.6, 1/200

When I teach lighting, I always teach the 1:3 lighting ratio. After I show how you set up the leading light and the fill, I show them some ways to change the background quickly using gels.

Now before I add the gel, I shoot this photo where the subject is on a white background. I will shoot with just the leading light and the fill light and then put both lights on with no background light so that the students can see individually what each morning is doing.

Now I will turn the main light off and then turn on just the fill light.

Now for the main light it was measured for ƒ/5.6. I didn’t change the exposure on the camera I just shot the fill light at ƒ/4 to show it is darker than the main and where the direction of the light is coming and how it affects the model’s face.

Then I combine the two lights.

Then we talk about how she is in front of the white background, but it looks like a light gray.

I put two lights on the background and then measured the light so that it was about one stop brighter than the main light. So the background here is ƒ/8.

This is the histogram without the background light. On the furthest right on the histogram, you can see that the value is a good amount away from the far right.

This is the one where I have the background light set at 1-stop brighter than the fill. Notice that most of the histogram is the same, but the far right is on the far right. This shows how the white value is recorded. If you are not butting up on the right, there will be a bit of gray or often a tinge of blue when you print out the photo in the background.

Now when I add the gels like this red or the blue above, we take a light reading of the background. We want the value to be 2–stops darker than the leading light. So here, the background is measuring ƒ/2.8.

You will notice that you need to move the person away from the background when using white for a background.

Now I demonstrate this by using a black background to make the color look like this; you need to be sure the background is 2–stops brighter than the leading light. So if this red background were black with the gel on it, the reading would be then ƒ/11, which is 2–stops brighter than the ƒ/5.6 of the leading light.

My sister is on the couch with my grandfather and grandmother during one of our many times of watching the slide show my grandfather had created from his recording of our family that year and often years in the past as well. Not sure if my dad or uncle took this photo.

Webster’s Dictionary defines a family historian is an authority on known or recorded family events. Most everyone on both sides of my family were recording our family history with photos and movies through the years.

April Saul won first place in the Feature Picture Story category at the 1992 Pictures of the Year competition for her portrayal of the American family. She believed that family struggles were an important topic of journalism. “I hope what it [winning] means is that the everyday struggles of an American family are as valid in their own way as the struggles going on in Azerbajian or Sarajevo — and that the private wars next door can be as compelling as the bloody, public ones thousands of miles away.”

Family photographs can be considered cultural artifacts because they document the events that shape families’ lives. Thus, the recording of family history becomes an important endeavor. In many cases, photographs are the only biographical material people leave behind after they die. But, the impact of family photo albums extends beyond merely recording history. Interpretation of family structures, relationships and self is possible through viewing family photographs.

Preserving Family History, One Memory at a Time

One of the biggest roles one can serve as a photographer is to help with the recording of their family history.

Now taking those pictures isn’t enough. You need to share them with the family. You can do this many different ways. A traditional print that you give people is still a great way for them to enjoy what you have captured. They can put it on the museum wall that most homes have, which is also referred to as the front of the refrigerator.

At my parent’s 50th wedding anniversary we pulled these photos and had them in a slide show for those attending the event.

For our daugther’s last musical we bought a 1/2 page ad and used the photos I had made of her in high school plays.

For her yearbook we bought a 1/4 page ad and used photos from early to now that captured her personality.

We take pictures to celebrate our new babies and birthdays. Later at weddings we put together slide shows for rehearsal dinners and the receptions to show the young couple growing up.

We use photos at our anniversary parties to remember all we have celebrated as families through the years.

I had the privilege of recording a video of a cancer patient who was dying and wanted to capture in her own words thing she wanted to share with them before she passed on from this life to the next. We found photos to use as she talked about her children and grandchildren.

Tomorrow I am going to her funeral where for the first time the family will see the video. I believe it will help them celebrate their family member in a way that many never get to have at their funerals. The great thing is that all the friends that will show up that may have never met their family member will be introduced to her for the first time.

First of all taking the time to make these photos shows your love of your family. Taking the time to share it with them at poignant moments in your families celebrations is a way you serve as the family historian.

[youtube https://www.youtube.com/watch?v=6F3-InOdMP4]
This Subaru ad captures that special relationship between a father and daughter using images of the girl when she is young and now.

Here is one that a dad did over 14 years to show his little girl growing up in front of the camera with just

portraits.

[youtube https://www.youtube.com/watch?v=UH1x5aRtjSQ]
Here we did a book when our oldest graduated from high school and was going off to college.

https://www.blurb.com/b/51431

Family milestones often cause us to find our photos and take the time to look at them and remember them.

As we grow older, some may start to suffer from memory loss. These photos will become what our memories used to do for us and help us know those around us and that they are our family.

Photographs can be an invaluable source of information when resolving personal problems. Photos are not subject to memory recollection, and a person’s portrayal of events can differ from what appears in the pictures. The information is intimate because family photographs are collected from the inside compared with journalistic institutions, which usually operate as outsiders. Photo albums and home movies provide the richest sources of memories about the family. They offer an intimate look at personal relationships. Psychologists recently have begun using this display of intimacy to help resolve family conflicts.

Just imagine a couple getting close to divorce that pulls out the photos and then starts to remember all the good times and takes the time to work things out because of the memories that helped to build those bridges necessary to save the marriage.

Photos are potent reminders of family ties.

Nothing means as much to me as watching my family and capturing our times together. How do you value what your photos do for your immediate family as much as you do for how the rest of the world sees them?

Fujifilm X-E2, Fuji XF 55-200mm, ISO 6400, ƒ/4.5, 1/100

“When I take you out in the surrey with the fringe on top!” sings Curly in musical Oklahoma!

This photo above is the only time on the stage during the entire musical production at Roswell High School, where the surrey is on stage. This scene captures the show’s build-up to where we see what Curly was singing from the beginning of the show promising Laurey how he would treat her on a date.

This is Ado Annie Cames singing, but because I am isolating her alone, only the corn in the background helps to place this with musical Oklahoma!

This is what I call a point shot versus the top photo, which has much more information and is getting closer to helping to tell more of the story. It would help if you still had words with either photo to make its storytelling, but hopefully, you are seeing the difference between the scene establishing shot and the closeup.

This photo of Curly and Laurey often works as well as the surrey’s shot because this particular pose is often used in posters to promote the show. Just Google “Oklahoma! Musical” and look at all the photos; you will see this style shot pop up.

Here is how I shot a promo shot versus the photo above. It is from the show. Now, while this doesn’t tell the story or have the surrey in the picture, Curly is gesturing about how the future he promises to Laurey is better than where she is now.

Google “Oklahoma Barn Scene” and see variations of other productions showing similar scenes. Again this is more of a point photo, but because I included more of the set, most theatre folks will know this is Musical Oklahoma!

People Need The Lord Photo

“I don’t need a lot of ‘People Need The Lord’ photos,” commented Jeff Raymond to a photographer shooting photos with him in the Dominican Republic. “What do you mean?” commented the photographer.

Jeff explained the photo style, like the Afghan girl on the front of National Geographic by Steve McCurry. This photo has had such an impact that many people think this is the “BEST” way to shoot.

Jeff coached the photographer to do in addition to a few portraits; please give me more context.

You see, the photo of the boy here could have been shot anywhere in the world.

Please understand this blog post is not saying Storytelling Photo is better than a Point Photo. What I am saying is you need both.

The problem I see with many new photographers is falling in love with the close-up shot at ƒ/1.4 and centered. Then they have only slight variations of this photo in their portfolio.

If you are going to be hired over and over, you must be the photographer who gives the client more than they expected. This is why learning how to use a variety of lenses, different apertures, and shutter speeds on an assignment will have clients raving about you.

Sure, you can do OK shooting the “People Need The Lord” photo, but you are a one-trick pony show.

Roswell High School had their last show of musical Oklahoma! Yesterday. What a production it was for everyone involved.

Our daughter Chelle was in the musical as Aunt Eller, which is why my wife and I were involved as volunteers.

While there are many other ways I could talk about being a volunteer, I thought this was a great way to talk about the roles of the volunteer.

If your organization uses volunteers, you must define volunteers’ roles, so everyone knows what they are doing. Most organizations that regularly use volunteers usually have a volunteer coordinator.

In theater, the term role comes from an actor being given a part. No one had the entire play in the time of Shakespeare. They just had their interest. This is why, often, their role would set up the next actor.

Each person needed to know their part/role for the play to be successful.

Think of your organization like a musical to give you an idea of how important it is for each person to know their part and for someone to be responsible for coordinating, like the director of the show.

Suppose you want to see the excitement on your volunteer’s faces like in the Oklahoma scene! Then it would help if you made everyone feel like they are part of the team.

Now everyone in this musical except for the two teachers was all volunteers. The student actors could have quit at any time.

By the way, very seldom does this not cross someone’s mind as a volunteer. The main reason for the thought of quitting is due to communication problems, which are often rooted in the poor understanding of volunteers.

Fujifilm X-E2, Fuji XF 55-200mm, ISO 6400, ƒ/4.5, 1/100

Here is a list of some suggestions for you:

• Developing ways to recognize and reward volunteer efforts
• Helping volunteers feel welcome and supported
• Developing and managing policies, procedures, and standards for volunteers
• Looking after the volunteer database and records
• Planning and goal setting
• Rostering and organizing volunteers
• Delegating projects and tasks
• Managing any associated budgets and expenditure
• Communicating with people from diverse backgrounds
• Resolving conflict or managing the grievance process.

Some No-Nos

• Complaining about a volunteer work
• Ask people to volunteer and then when they show up not use them
• Make volunteers wait on you
• Don’t thank your volunteers

TIME

The one thing that is the most valuable given by any and every volunteer is their TIME. No matter the person, no one’s time is more valuable than any other person’s.

The only time we seem aware of how valuable our time appears to be is when our time is running out on this earth. Don’t be one who doesn’t think about how valuable your time and others are until your last days here. Each person’s hour they donate is the same value as another person.

Some who read this will disagree with me, but just like this play, if one person didn’t do their assigned part, it is noticed. An actor doesn’t appear on stage at the right moment, the other actors have to improv, and the plot can be affected by the storyline. 

Just think of the time you had a splinter and how annoying that is and affects the whole body. That is how big of a deal each person’s time is to the organization. The body will feel something so small.

Feelings Get Hurt

When people get upset working as volunteers, it can almost always be traced back to miscommunication. Often it is when the role wasn’t well defined or when volunteer shows up, and those coordinating their time drop the ball.

When you take the time to plan and organize your thoughts about using volunteers, you can get everyone in step together.

When a plan comes together

I can tell you healthy organizations are the ones that treat everyone’s time as precious as gold. When they do, the word gets out. People see what is going on and want to join. You see, way too many people are aware of volunteering and wasting their time or at least not being treated with the respect due when you are giving away your time.

When a theatre company consistently puts on great performances, it is due to someone coordinating all those volunteers and treating everyone’s time as precious.

When respecting people’s time, you will benefit from more friends and deeper friendships. You see, a good relationship is respecting one another’s time.

While Broadway plays rehearse for four to six weeks, most high schools practice for ten weeks.

40 percent of couples wait 13 to 18 months between “Yes!” and “I do.”

How about you? How long do you prepare?

For more than 25 years, I have been a part of the Southwestern Photojournalism Conference, and before that, I served on the Southern Short Course board.

I watched each year for speakers as they showed up with multiple trays and would be rearranging until they had a new show ready. Often this was happening just before they went on.

Guess how successful those presentations were for the audience? Not very captivating.

Key to Success

When you find out something that you will do, start immediately. If you get a photo assignment that is next year, then begin now researching everything you can.

The more lead time you have before an event, the only way you will be more successful is to start as soon as you know about it.

However, do you give all your projects the same amount of preparation? Are you the speaker, for example, waiting till the day of the event to put your presentation together?

Maybe you always wait till the night before.

Be thankful the actors didn’t wait till the day before a performance to learn their lines.

Professional musicians practice for six to eight hours every day, even if they do not know what they will be playing tomorrow.

The studio musicians who play in all the movies do not get their music until they walk in the door, but they have been practicing most every day of the week. Sometimes they take a day off but are prepared to perform at a moment’s notice.

Treat your work as competition – Because it is!

Every time you do a job, another photographer gets a similar position. Clients see your work and theirs as well in many cases. Who will they hire the next time?

They may hire you a second time, but they will sooner or later go with the winner, especially if they can see the difference.

Too many treat assignments like they did classroom work. They assume the client will grade them like a teacher.

One of my friends who teaches in college talked to his class about doing the assignment like the real world. Everyone turns in their work, and only one person in the class gets the job. In other words, everyone would fail other than one student.

They let that sink in for a while before saying they couldn’t get away with that in the classroom, but he paused for a while and then said, that is how it will be once you graduate.

Do you maximize your time, or do you minimize it?

photo by: Dorie Griggs

You know that God has called you to do photography. You even have a great idea of using photography in a way that others have not thought about doing. It is a great idea.

Does this sound like you? Big, powerful ideas are everywhere, and the vast majority will go nowhere. So keeping your big picture in stealth mode will likely make no difference to your ultimate success.

I realized long ago that people were lining up to talk to my mentor Don Rutledge about becoming a full-time missions photographer. I believe there are even more today wanting to use their photography as a way to serve on the mission field.

They want to use their photography for social justice issues and work with NGOs.

I have been teaching photographers how to make this all happen for years. I wrote one blog post, “How to become a humanitarian or missions photographer,” that continues to be read by those searching for how to make it happen.

While I have outlined the things that you must overcome to become a photographer, there still seems to be what I call the “Frozen Chosen” audience.

While there are a few meanings to “Frozen Chosen,” it refers to Christians who sit still in worship. They are lifeless. I am using it here to refer to those Christians who love listening to inspiring messages but never implement those messages into their lives.

Why people fail to act

I have a few reasons why it is so difficult for people to act.

Analysis paralysis. Many people let questions and doubts paralyze them. They believe they can’t start on a goal until they have all the answers to every “what if” scenario. However, no matter how long and hard you prepare, you will never have all the answers to the questions you ask.

Misunderstanding of Goal Setting. Many think setting goals and objectives is writing a list on paper. Goals are about making fundamental changes in your life. Plans are not about a one-time moment but something that changes you over time.

No Destination. I remember learning how to shoot a basketball. My teachers all said the same thing. You must look at the goal and picture the ball going through the net before you shoot. Your destination needs to be precise – something you can visualize and describe to others. Without such a clear view of what you want in life, you’ll be forever changing course and falling short of your potential.

You are distracted by too many goals. You only have so much time and resources, so you need to limit your efforts to that which will be the most significant Return On your Investment. You need to be focused. Yes, you can have more than one goal, but do your best to put your effort on one at a time. Once you accomplish it, move on to the next one.

Don’t seek help. Too many people do not understand that the things we desire most usually will require stuff we do not have to attain. We need mentors, coaches, and teachers to help us on our journey. Just like we often go to a bank to get a loan to buy things like a car or house, we go to people to get their help to achieve our goals.

https://www.youtube.com/watch?v=JZzZERmk05o

Boils down to Execution

I love this clip from Indian Jones where he must take that “Leaf of Faith” to achieve his goal.

Are you expecting the following steps to have no risk? Maybe that is your problem.

You see, there are usually two things that keep us from achieving our goals: 1) Time & 2) Money.

If you have the time and the money to make your dream a reality, then there is no need for a “Leap of Faith.” It is a no-brainer.

I believe God calls those without the resources to make it happen because he needs you to take that “Leap of Faith.”

Why would God call you to do something and not give you the Time and Money to execute it? Because then you could take all the glory.

Without God, I know I wouldn’t be doing this as a career. I know because I cannot explain any of my success as to my abilities. I was born with autism. I have Asperger’s Syndrome.

Autism – a mental condition present from early childhood, characterized by difficulty communicating and forming relationships with other people and using language and abstract concepts.

I cannot believe that God called me, a person with a communications deficiency, to be a professional communicator. I can attest that it has been an arduous journey, but I can also say God made it happen.

Will you take that “Leap of Faith” today?

I had a lot of fun capturing the brand new Chick-fil-A food truck tested in Athens, Georgia. It was parked in the restaurant parking lot to show their customers, hoping they would book the car for an event.

This shot was taken at sunset, with the sun setting behind the truck. To show the truck, I put one flash on the side, lying on top of some bushes, to light up the side of the truck.

My assistant pointed the second flash on the front of the truck just off to the camera’s left.

I love using the Neewer T850 with the radio remote. I can control the power output from the radio remote. I just set each flash to a different channel, and then I can vary the power from the camera—no need to walk over to the flash to make a change.

Now I have the more expensive Nikon SB-900 but have found it challenging to use in manual mode and change the power from the camera of several flashes. Also, if you barely move the camera, shooting in TTL can change the moment and how it puts out light. Having the lights set to power gives you more consistent exposures than TTL.

Dave Black, former speaker at SWPJC

SWPJC March 10 – 12 and Student Workshop 9 – 10

“Next Year” is the common thing I always hear from people when I ask them if they are going to Southwestern Photojournalism Conference this year.

This is the 25th annual meeting of the conference. The conference has changed through the years to reflect the industry as best we can.

In 2007 and 2008, the economy was a brutal hit, and our numbers suffered because everyone’s budgets were hurting.

We added a Student Workshop to the front end of the conference for students to get some one-on-one time with our speakers. This has proven to be very helpful for students to get their work reviewed and talk to the industry leaders.

The industry has been hit hard. Last year Canon and Nikon Sales were down close to 50%. All this doom and gloom doesn’t mean there is no longer a need for photographers.

At the same time, the industry is changing the number of pictures taken last year. That adds up to more than 14 trillion photos annually (14,600,000,000,000). Much more conservatively, if only one billion people have cameras or phones and take less than three photos per day/1,000 pictures yearly, that’s still 1 trillion photos captured annually.

The need for those who know more than just how to push the button is in great demand. People know that with all these photos being created every moment for their “Brand” to be seen, it must break through with images that “Capture the Audience.”

I know I go to the conference to meet people I can hire throughout the year as projects pop up for my clients. Last year I hired many photographers for projects and continued to look for more photographers. This is where I go to find great shooters and those who see this as a calling.

Don’t wait for next year anymore. Commit to meeting with other photographers who see this as a calling. Come to Fort Worth this year and connect. Listen to some of the best in the industry tell you where they see things going for the professional photographer.

Go to the website to learn more about SWPJC.org. Then go and book your transportation and hotel. I hope to see you there.

Don’t resort to Next Year when there might not be a Next Year conference. Signup and come while we are still doing SWPJC.

Nikon D5, Nikon 28-300mm f/3.5-5.6G ED VR, ISO 1100, ƒ/5.6, 1/4000

Many things go into the making of a photograph. However, only one will indeed be the key to a great picture.

Exposure Triangle

The exposure triangle is a common way of associating the three variables that determine the exposure of a photograph: aperture, shutter speed, and ISO. One must balance all three of these to achieve the desired result, an adjustment of one requiring adjustments of at least one of the others.

If you execute this flawlessly, you still can have a photo that lacks any connection with the audience.

Principles of Composition

In photography, the composition is the arrangement of parts of a scene to form a particular visual outcome. Design can also be about picking a viewpoint to create a pleasing visual effect. In practical terms, the photographer uses both “arrangement” and “choice of viewpoint.” 

In general, composition aims to direct the viewer to see the point of the photograph. The “point” may be an aesthetically pleasing scene or something containing a more complex story. Even a visually disturbing or discordant outcome is the result of efforts in composition. 

The finer points of a particular composition rely on a range of “photographic elements” and the “principles of photographic art” for using them.

When you execute the composition and Exposure Triangle rules together, your photos will look even better but still fall short of connecting with the audience without one more thing.

Previsualization

The greatest proponent of previsualization was Ansel Adams, and it was he who perhaps summed it up best with a single sentence, “You don’t take a photograph; you make it.” Great photographs require you to work out everything that goes into making that photograph before you take it. So how do we mere mortals go about previsualizing our shots?

The first book Ansel Adams wrote started chapter one by explaining this concept to people.

While my work cannot stand up to Ansel’s, I still believe there is a better way to describe this process of previsualization by asking a simple question.

WHY take the photo?

For example, Ansel Adams assumed no one could look at Half Dome and not be moved. Half Dome is a granite dome at the eastern end of Yosemite Valley in Yosemite National Park, California.

When you ask yourself, “Why am I taking this photo” you will get to the core of the element that will help you connect with your audience. This is the #1 Key to Great Photograph.

I love the two words “so that” in the Bible.

“So that” is used as a subordinate clause to show purpose or to give an explanation. It indicates an action producing an intended result or a cause having an effect. In Sentence 1, “so that” in Sentence 2, the first sentence is the action/cause, and the second is the intended result/effect. In the format “So that” Sentence 1, Sentence 2, the first subject-verb clause is the intended result/effect, and the second is the action/cause.

I push my shutter on the camera to inform, imagine, influence, meet social expectations, and express feelings.

Show & Tell

I believe that photos alone cannot tell a story. I think, at best, they can capture a slice or a moment. People need words to help understand what is going on in the photograph.

We learned this concept in Kindergarten when we had a “Show & Tell” day at school. The objects your classmates brought into school needed them to tell us why they got them to school. Without their words, we didn’t understand.

Now the best part of “Show & Tell” was that the visuals gave us a great deal of information that the words alone couldn’t do as well and briefly did as the visual.

Here is the formula I think works well for photos that communicate:

Ask Why

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Previsualize

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Take Photo

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Add Words

Ask yourself why I want to take this photograph. For example, how is the situation affecting me, and what do I want the audience to understand that I am experiencing?

Once you know the answer to WHY you must use all your photographic skills to best capture this moment, this “previsualization” is understanding how the best shutter speed, aperture, ISO, composition, and lighting, all controlled by me, can be used to capture what I want to communicate.

I then execute the previsualization and make the photo.

Last we know that the photo by itself will make the audience ask a question. What is going on here? They will need more information to be sure the message is not left up for interpretation. You will then need to marry the photograph with words to complete the communication process.

Example

I think this is a compelling photo, but I want to know more. Now compare this same photo to one using it with words:

Together with the words, the picture completes the communication process.

Now I am not saying put words on photos always. Captions under photos work just as well.

Use the caption to tell the reader something new. When readers look at the photo, they’re usually confronted with some form of emotion and information (based on what they see in the picture). The caption, in turn, should provide the reader with a piece of information they were unaware of from simply looking at the photo. In short, the caption should teach the reader something about the image.

Now go forth and make photos!

Last night I took in Gilley’s of Dallas with a large group. At the end of the night, I was really pleased with my ability to shoot everything without a flash.

The reason is the Nikon D5 has such a wide range of ISO. ISO 100–104200 can also be pushed to 3 million ISO.

Since there was a lot of line dancing, I wanted to crank the shutter speed to a minimum of 1/250. The stage lighting was lighting the people in front, and then the rest of the place was incredibly dark in comparison. However, the dynamic range of the Nikon D5 did a great job. I could pull out all the shadows in Adobe Lightroom from the RAW images.

Now when the people jumped up on the mechanical bull, I needed to capture this without everyone being blurred. No problem. I set the camera to my Sports Settings.

These are the settings that I use on my Nikon D5 for shooting most all sports action. Nikon has made it pleasant to allow photographers to save these settings, so they do not have to remember every little setting they like to use for a style of shooting.

If you go to Menu and under the camera, the icon picks the first item, “Shooting menu bank.” I have chosen B, which is my sports menu.

If you toggle into the “Shooting menu bank,” you can rename those settings. Once you choose one of these settings, everything you do to change the menu will be saved in that menu bank. I recommend trying all my settings and then tweaking them to your preferences.

When shooting sports, it is prevalent for the lighting conditions to change instantly. While the football player runs toward you, they may go from shade into direct sunlight. For this reason, I let the camera do some of my thinking.

Go to the camera icon and look for “ISO sensitivity settings.” Select this, and you will then see this menu:

I turn on the “Auto ISO sensitivity control.” Then I set the minimum shutter speed to 1/4000. You could pick something else. I used to shoot at 1/2000. The ISO setting is what you see in the smaller window below the menu. I set this to ISO 100 and the “Maximum sensitivity” to ISO 102400.

While I am in Aperture Mode shooting, the camera will always pick 1/4000 shutter speed. If in sunlight I am at ƒ/4, the shutter speed may go as high as 1/8000 at ISO 100, but as the scene changes and the athlete is now in the shade, the camera will automatically drop to 1/4000 @ ƒ/4, and then change also the ISO up until I can still shoot at 1/4000.

The only time the shutter speed will dip below 1/4000 is if the ISO peaks out at 102400.  If my aperture is wide open, the camera is doing everything I would have done manually, but faster than I could ever adjust the camera. That is how you get more shots than the guy next to you.

Here I am letting BOKEH create the mood for the nightclub. Shooting at ƒ/1.4, let that background go to a silky smooth out of focus while directing your attention to the man in the foreground.

I love the Nikon D5 because it lets me capture anything I can see with my naked eye.