Off-Camera Flash Solution for the Fuji X-E2

I prefer the off-camera flash any day to the pop-up flash on any camera. I have written many articles on it here on the blog. Just put the phrase “off-camera” in the search field I have on the blog, and you will see many posts talking about doing this with my Nikon system.

Now I have a Fuji X-E2 and wanted an off-camera flash solution. I stumbled on the Neewer TT850 flash [$104.95]. This flash is a manual flash. Using 2,000 mAh Eneloop batteries in an SB900 will give you a maximum of 200 cycles. The TT850 blows its competitors out of the water. Who needs one, even without a way to plug in an external pack? Just carry an extra battery or two. But who shoots more than 650 full-power strobe shots at a shoot? You can shoot up to 1300 full power shots with just one extra battery.

The flash has a guide number of 100.

You could trigger it in a few ways.

  1. On the camera, hot shoe.
  2. S1 – Mode [Normal Slave]
  3. S2 – Mode [2nd Flash Slave]
  4. Wireless Trigger

The flash works with the Neewer 433MHz Wireless 16 Channel Flash Remote Trigger [$27].

  • Set power ratios of up to 16 groups of remote flashes
  • Switch the on or off of the modeling light or AF-assist beam & buzzer
  • Manual triggering of flashes
  • Two modes of power ratio display
  • Quite a convenience to mount onto your camera’s hot shoe
Nikon has three groupings of A, B, or C. Neewer has 16 different groups. That is a lot of flashes you could control all from the camera.
Here you can see I can control the power easily from the remote. The controller is great for shooting on the go. Unfortunately, you cannot change the zoom from the remote.
Here you can see the setup. Fuji X-E2 with the 55-200mm lens. The Neewer TT850 is on a light stand off at 45º. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger fires the off-camera flash and controls the power from the camera. Also, on the flash, I added the MagMod flash modifier system.
MagMod is a magical flash modifier system that frees your Speedlite flashes from velcro, straps, and adhesives by ingeniously incorporating the invisible powers of magnetism.
The design of each modifier is a single molded piece of high-quality silicone rubber that is sleek, compact, easy to use, and dead simple.
I used the gel holder with a 1/4 CTO and two of the grids stacked. I was keeping the light mainly on the statue of the soldier.
Now I just took some photos. I used a tripod, which let me drag the shutter for some long exposures. This way, I could shoot at a low ISO and keep the background from going too dark.
Fuji X-E2, XF 55-200mm, ISO 1000, ƒ/7.1, 1/8, flash set at 1/128 power.
Fuji X-E2, XF 55-200mm, ISO 1000, ƒ/7.1, 1/30, flash set at 1/64 power.
The great thing is I am changing the power of the camera.
I recommend getting a second battery for the flash. All three were only $171.35 on Amazon. We have Amazon Prime, which gives us free shipping.
You could get four flashes using the FourSquare system by LightWare. For under $500, you could have four flashes and one remote. For around $530, you could have four flashes and four remotes.
The FourSquare is a great option for any camera system, especially for the money.

Visual Storytelling involves being prepared

Be Prepared: The Motto of the Boy Scouts of America 

“Be prepared for what?” you might ask. For everything is the response, scout leaders will tell those who ask.

Be prepared to live happily and without regret, knowing that you have done your best.

I started scouting and then joined the Civil Air Patrol. Civil Air Patrol has continued to save lives and alleviate human suffering through various emergency services and operational missions. Best known for its search-and-rescue efforts, CAP flies more than 85 percent of all federal inland search-and-rescue missions directed by the Air Force Rescue Coordination Center.

CAP spends a lot of time in training and education around aerospace. I remember going on camping adventures where we would practice search and rescue. We learned how to read maps and use our compasses to navigate rugged terrain.

I also went to the McGuire Air Force base in New Jersey summer camp. We learned to shoot M-16 rifles during that camp. We also took a ride in a C-141. Like all young boys, I wanted to go on a search and rescue mission and be in the woods with an M-16 rifle on maneuvers. I wanted adventure.

Most of us grew up learning a great deal of stuff that prepared us for where we are today. A good amount of what I learned in scouting and Civil Air Patrol are things I hope I never have to use, but I am thankful I now know what to do in an emergency.

Photographers need to be ready.

Like the scout we study, we know what to do in a given situation. But, I had to get to capture these wildlife photos.

Being ready today is often due because I wasn’t always in the past. For example, I now carry a tripod on every photo shoot. I may leave it in the car, but I can quickly get to it.

When I am shooting sports, I have long lenses and a monopod.

I also like to use the ThinkTank belt system that I customize with the gear I need for that event. I do not want to require a flash and not have it.

I even have KWP Knee Pads to help save my knees when shooting from the kneeling position.

Being Prepared can be Depressing.

By my senior year in high school, I finally dropped out of Civil Air Patrol. I was tired of doing practice runs for search and rescue and never getting actually to do a “real” search and rescue.

“Patience, young grasshopper,” Master Po often said to young Cain in the TV series Kung Fu.

Being a thrill seeker can get you into much trouble. A week ago, on my Google alert for my name “Stanley Leary,” an email alert came in for Sean “Stanley Leary,” who died from BASE jumping. Leary’s body, rigged up in his BASE jumping gear, was found 300 feet beneath a high ridge in the park’s West Temple area in Utah’s Zion National Park.

He was a thrill seeker.

I found, as a photojournalist, my heart pumping as I covered disasters. While, on one level, I was sad about the tragedy, I still enjoyed the rush of my blood pumping.

March Madness has some of the best moments in basketball history, and then it has had some moments where everyone wishes there was a mercy rule. Take the 1963 Mideast Regional, 1st Round: Loyola 111, Tennessee Tech 42 game. A 69-point difference in the score of the two teams.

I think there are no great photos when you Google those blowout games. They may even have a headshot of the MVP. The lack of great images is because the game wasn’t that interesting.

This year there have been many games coming down to the last few seconds where the winner won by just one basket. These games were great to watch and photograph.

I have covered many games where the two teams were playing flat. There was not much emotion or effort on the field for me to capture. When I edit, I try to find a photograph that tells the story, which is somewhat interesting for the viewer.

Blowout is a big contrast to those double overtime games I covered during March Madness, where I would have so many moments I had to narrow down my selection.

Being Professional Photographer in Flat Moments

It isn’t easy to photograph these moments where very little is going on. Lack of the obvious However, this is where the great photographers start to stand out truly. They look for exciting things that they now have time to look for as compared to those moments where so much excitement is happening you are just trying to capture what is happening.

The difference can be as simple as having a very introverted subject compared to an extrovert. , So yes, you can take great photos of each, and one is not superior to the other, but one may require you to work harder.

I have gone further downfield and used long lenses like a 600mm ƒ/4 lens to find a different angle.

I have gone to the corner of baseball fields to capture something different.

I shoot with a long lens from the other end of the basketball court to get something different.

I will use off-camera flash to help improve photos to give moments a little more oomph.

While I may not have as many ” keepers ” photographs from flat events, I will always have some that will work for my client. That is what they are paying me to do.

You cannot come back and say there was nothing to photograph. At my first newspaper job, the director of photography told me then to show me there was nothing to snap and don’t come back with anything.

At that newspaper, we sometimes went to places where no one was. So we would take a picture of the empty field and make it look good, showing we were there and nothing was going on.

I get depressed after some events because I don’t have much to show. I sit and think and wonder what I could have done better. I always think of something that I could have done a little better. If, in the end, you can say you know that you have done your best, then you can be comfortable with your work.

Saint Patrick, Spring & Migration

Fujifilm X-E2, XF 55-200mm, ISO 2500, ƒ/5.6, 1/500 [Eastern Bluebird]

Imagery used as symbolism

In Native American culture, animals have specific meanings. For example, they attribute the bluebird to happiness, joy, and contentment.

Seeing bluebirds is a sign of Spring. This Thursday, March 20th, is the first day of Spring.

Fujifilm X-E2, XF 55-200mm, ISO 1250, ƒ/5.6, 1/500 [Red-bellied Woodpecker]

Many woodpeckers are protectors of the trees and refer to people who are protective of nature and their surroundings. It refers to an apparent surge of power and a dynamic outlook toward life. They are also symbolic of prophetic and mystic powers.

Most cultures use those things we see to help communicate truths through stories. However, when those things in nature are not always with us but come just during certain seasons, they help to remind us of values in our culture.

Fujifilm X-E2, XF 55-200mm, ISO 800, ƒ/5.6, 1/500 [Yellow-rumped Warbler]

Saint Patrick’s Day

Saint Patrick used the three-leaved shamrock to explain the trinity and helped establish Christianity in Ireland.

When he was about 16, he was captured from his home in Great Britain and taken as a slave to Ireland, where he lived for six years before escaping and returning to his family. After becoming a cleric, he returned to northern and western Ireland. In later life, he served as an ordained bishop, but we know little about the places where he worked. By the seventh century, he was the patron saint of Ireland.

We observe Saint Patrick’s Day on March 17th, the date of his death.

What is powerful to me about his story is that he went back to Ireland after being treated as an enslaved person by them.

Migration

Birds and people migrate in search of work—the adage of the early bird getting the worm is why they look to work.

Nikon D3S, 24-120mm, ISO 4000, ƒ/6.3, 1/1000

This coffee farmer used to migrate to Atlanta from Mexico to find work to support his family. However, he no longer must migrate due to fair trade for his coffee.

Nikon D3S, 24-120mm, ISO 12800, ƒ/5.3, 1/60

Tommy Bassett heard the story of the migrant coffee farmers from Daniel Cifuentes in 2001, and by 2002 they had formed a cooperative.

Saint Patrick and Tommy Bassett traveled not to find work but to liberate people. Saint Patrick brought Christianity to Ireland, and Tommy helped to bring hope to the coffee farmers in Salvador Urbina and El Aguila, located in the Chiapas region of Mexico.

Today JustCoffee.org has changed the lives of more than sixty farmers, their families, and their communities.

Today many of us will Wear Green and avoid the tradition of getting pinched for not wearing it. The symbolism is to draw our attention back to Saint Patrick today. He migrated to Ireland to do God’s work in telling the good news of Jesus Christ.

Fujifilm X-E2, XF 18-55mm, ISO 6400, ƒ/8, 1/35

March is the time of year when our family craves ice cream. So one of the places when I drive by often get me to pull in, is Bruster’s Real Ice Cream.

Power of images

Today I hope every photographer takes a photo that will help remind people of something about the world in which we live that calls people to action. That is the power of the photograph.

The LCD: The Ides of March

The LCD has become the best friend for way too many photographers. Today we are reminded to be aware of those closest to us. It wasn’t good for Julius Caesar — he got stabbed 23 times by his trusted friends on this day in 44 B.C.

Those who rely solely on the LCD will most likely die a terrible death when they pull these same incredible photos into their computer and enlarge them on their much larger computer screens.

There are a couple of things that the LCD will consistently let you down on, and you need to know what they are, or you will be burned.

Focus can appear sharp on the small LCD on the back of the camera. This is especially true if you never zoom in on the photo to check the image at 100%.

I can tell you from experience that even zooming in on the LCD may not be accurate regarding the final image.

Camera movement may not show up either on this small LCD.

Not seeing details on the camera’s LCD is why they have a computer on location on significant advertising photo shoots. They pull the images up on the larger screens so the creative and art directors can approve the photos.

What are you to do in the field?

Professional photographers have always used some benchmarks to set the camera for camera movement.

First, they consider the focal length lens they are using. Depending on the focal length as w ll, you should consider your shutter speed. For longer focal lengths, you will probably need faster shutter speeds. Without image stabilization, you are best to use a shutter speed denominator larger than the length. So, your ideal rate for a 200mm lens would be 1/250 for a good-quality photograph.

Today many people are shooting with long focal length lenses like 500mm and 800mm due to the popularity of those bridges. Bridge cameras fill the niche between the single-lens reflex cameras (SLRs) and the point-and-shoot camera.

The other thing affecting the focal length is crop factors due to the size of the smaller sensors.

You may need to shoot 1/2000 of a building just because of the focal length.

Nikon D4, ISO 12800, ƒ/5.6, 1/1250, Sigma 120-300mm ƒ/2.8 with 1.4 converter

Second, you need to consider the movement of the subj ct. Athletes in sports are not standing still. My rule is to shoot sports whenever possible at 1/2 00. If you can shoot faster, you will increase the likelihood that the photo is razor sharp.

Do use the histogram on the  CD. It will help you. If it doesn’t look sharp on the LCD, it will only look worse when you enlarge the image.

Your LCD can help, but realize that you cannot depend on it to give 100% accuracy. Do zoom in on your images to check for sharpness, but know you may be close, but it could be sharper due to camera movement or focus.

Hopefully, you are now aware of the LCD being potential “The Ides of March” for the photographer.

Found my solution to sync Macbook Pro, iPad, and Android phones on Maverick OS

I need all of these to sync in addition to another backup Macbook Pro [Fuji X-E2, 55-200mm, ISO 2000, ƒ/4, 1/500]

Having my email, contacts, and calendar on my Macbook Pro, iPad, and Android phone was at one time working, then Apple introduced Mavericks OS.

I learned from one of my clients that Microsoft Exchange works great doing this. I had an account with the client, and everything synced great, no matter which device I was on.
When Apple stopped supporting syncing of their calendar and Contacts with Outlook 2011 with their Mavericks OS, I had to find something.
The solution was simple, find an exchange hosting solution. Since I was already using Godaddy, I checked out their Office 365.
Watch the video here, and you will get a basic idea of what it does for you.
[youtube https://www.youtube.com/watch?v=xvK76H9olXM]

One more thing I am now doing that I could not do before using my backup Macbook Pro running Outlook. Now I can use my backup Macbook Pro without fear of screwing up my email, contacts, or calendar.

Since I already had an account with Godaddy, the additional cost was only $3.99 a month. So I went ahead and paid for two years for $95.

I use Outlook as my assistant. It keeps me organized.

Photographers: Daylight Savings Time—More Than Clocks

Menu for resetting the Fujifilm X-E2

Saturday’s Headline—Daylight Saving Time: Set Your Clocks Ahead Tonight

Did you get all your clocks set forward? I know it usually takes a couple of weeks to remember all the watches around me.

One that many photographers forget is the ones on their cameras. So be sure you take the time today to adjust your camera’s clock.

My Nikon D4 lets you even set the Time Zone you are in. Using the Time Zone is excellent when traveling; you need to show the time zone you are shooting in.

Many people use this time each fall and spring to remind them to do more than change their clocks. Therefore, I recommend everyone add to the list of things to do around clock changes each spring and fall.

Every so often, here is something for photographers to check on, not something you must do all the time.

  1. Firmware Updates
    1. For your camera
    2. For your lenses
    3. For your flashes
  2. Software updates
Here are two links to check if you have a Nikon or Fujifilm camera.
The reason you want to get everything updated is to get the best performance out of your gear.

Fuji X-E2 with the XF 55-200mm is a great combination for shooting speakers

Fuji X-E2 18-55mm, ISO 6400, ƒ/4.5, 1/90 photo by Greg Schneider

I spent much time talking to students and pros this past weekend. So many were asking for my advice on their career path. I ended up asking them many questions and hopefully helped some get better traction for their journey.

Fuji X-E2 55-200mm @ 200mm, ISO 6400, ƒ/4.8, 1/20

Here is Larry McCormick, a photojournalist for The Tennessean who was one of the speakers at the Southwestern Photojournalism Conference. He inspired us to love every assignment and treat every one of our subjects with honor, dignity, and respect.

Fuji X-E2 55-200mm @ 200mm, ISO 6400, ƒ/4.8, 1/10

James Gregg, Staff Photographer, San Diego Union-Tribune, was another speaker who walked us through many of his assignments. He is working predominately as a multimedia producer these days.

Fuji X-E2 55-200mm @ 200mm, ISO 6400, ƒ/4.8, 1/30

Greg Thompson, Sr Director, Corporate Communications, Chick-fil-A, challenged us to be more client and audience-focused. The story is not yours, it is the subjects, and you share it with an audience.

Fuji X-E2 55-200mm @ 200mm, ISO 6400, ƒ/4.8, 1/40

Ron Londen, Chief Creative Strategist, Journey Group, opened up the weekend by telling stories. First, he started with stories where he made mistakes. Then, he challenged us to connect with people and tell stories.

Fuji X-E2 55-200mm @ 60mm, ISO 6400, ƒ/4, 1/20

All weekend I shot with the new Fuji X-E2, and when the speakers were on, I mainly shot with the XF 55-200mm lens. I think it is incredibly sharp, and the image stabilization is the best I have ever used. Look at those shutter speeds shooting from the back of the room. Shooting zoomed to 200mm is the same as shooting with my Nikon full-frame camera with 300mm. These are all handheld and sharp.

Fuji X-E2 18-55mm, ISO 400, ƒ/2.8, 1/125

We did have some good Chick-fil-A sandwiches at the meeting, and the Cow visited. Most everyone was getting their photo made with the Cow.

Fuji X-E2 18-55mm, ISO 2000, ƒ/2.8, 1/500

I was capturing fun moments with everyone enjoying themselves.

Fuji X-E2 18-55mm, ISO 1600, ƒ/2.8, 1/500
Fuji X-E2 18-55mm, ISO 6400, ƒ/3.2, 1/480
Fuji X-E2 18-55mm, ISO 6400, ƒ/4, 1/210
Fuji X-E2 18-55mm, ISO 6400, ƒ/4, 1/170

Storytellers: Who’s Your Audience—NO REALLY!!!

James Gregg, Staff Photographer, San Diego Union-Tribune [Fuji X-E2, XF 55-200mm, ISO 6400, ƒ/4.8, 1/10]

All photos from the Southwestern Photojournalism Conference

At every conference I attend today, I am passionate about “Storytelling” and “Giving a Voice to the Voiceless.”

I don’t think this is all that new, but what is new is the focus on moving from bullet lists on a PowerPoint presentation to telling a story instead.

We have always done this, but now we are more aware of the power of an authentic story.

However, with all this emphasis, I am still not feeling the stories that people are sharing. The reason I am not feeling it all that well is pretty simple. The storyteller forgot all about me.

I can tell they got lost in the story and the subject and forgot all about the audience.

I am sure there are many ways to connect with the audience, but let me talk about one that I believe is the most powerful way to connect your audience and subject in a truly engaging way.

Andrew Silk, lecturer at California Baptist University [Fuji X-E2, XF 18-55mm, ISO 6400, ƒ/3.2, 1/200]

Authenticity

Preaching to me turns me off, primarily lecturing about what I need to do.

Here are what I think are three elements you need in storytelling to engage an audience.

Tension—You need to have the audience asking the question about the outcome of the subject. The narrative of your story must incite the audience to want an answer. Many a screenwriter talks when an account is not moving you along that you need a “dead cat.” You are missing the tension, and then there is no need for the audience to need to read the story.

Unpredictable—I think of Disney’s latest movie, Frozen, and how the ending has a twist so different than all the other princess movies I have seen. This twist has people talking and loving this movie. As a visual storyteller, I sometimes use visuals to help create the unpredictable. The unpredictability should be full of suggestion, foreshadowing, and recall. Not gimmicky shots and tricks; instead, One should design the video to tell a story in a not predictably sequential way.

Personality—The salesperson sells himself before they can sell the product. The narrative must have a warm and inviting style, not boring and dull.

Mike Martin, pastor [Nikon D4, 14-24mm, ISO 2800, ƒ/10, 1/2000]

The last one on personality is often where the subject reveals their flaws. The best stories are where the main issue is flawed and not a perfect Barbie Doll or Ken Doll.

Too many people will go to a church revival, and the testimony of someone who had a terrible life moves them. They were on drugs, beaten, or even raped, and the power of their story about how awful their life was.

I often hear people say I wish I had a story like that. They even may jokingly say they wish they had a drug addiction. But, they feel like they don’t have an account because they don’t have a “dead cat” in their story.

I know of people who are the most attractive people you could imagine that appeared to have it all who attempted suicide. The key is not that they tried or thought of suicide, but the power of the story comes in the authenticity of why they thought their life was not worth living.

Giraffes at Fossil Rim Wildlife Center [Fuji X-E2, XF 55-200mm, ISO 200, ƒ/4.5, 1/200]

You see, they compared themselves to their siblings or someone else who had what they thought was a successful life. They maybe had older siblings that were star athletes or straight “A” students. In their eyes, they are a failure.

The key to this person telling their story is not in how bad they thought they had it; the power tells the story of how they are a broken vessel.

I think great leaders are the ones who do share a little of their humanity and do not try to appear that they have it all together.

Every person feels adequate. They all feel they are not as good as those around them at some level—even those who are the most successful in life struggle sometime during their day as missing the mark. Learn to connect to the audience on how this story you want to tell is similar to their account.

When we tap into the audience and where they are in life, we will have a better time engaging them in the story. Nonprofits can tell their story as long as they connect to the subject’s struggles and how the audience can make a difference. But to do this, they must establish how and why the subject cannot do it alone.

They must show how the audience can make a difference and connect the emotional part of the story to the message.

[Fuji X-E2, XF 18-55mm, ISO 6400, ƒ/7.1, 1/25]

Knowing more about the audience before you work on the story can help you find those emotional connections between the two. Appealing to an entrepreneur to help support microloans or even macro loans to help another entrepreneur achieve their dream changes the world. But, first, they must establish why they cannot get a traditional loan.

If your organization is struggling, I would guess that one of the primary reasons is they forgot about their audience.

Fuji X-E2 shots at the Southwestern Photojournalism Seminar

Fuji X-E2, 18-55mm ISO 200, ƒ/5.6, 1/1300

These are all JPEGs right out of the camera from my time here in Fort Worth, Texas, at the Southwestern Photojournalism Conference.

Tonight was the start of the student workshop.

Fuji X-E2, 18-55mm ISO 6400, ƒ/5.6, 1/85

These are some photos of my friends trying out the Fuji X-E2. My friends Bob Carey and Ron Londen both had the X-E2 and had just bought the new X-T1 camera. Unfortunately, I have only been able to play with their cameras.

Fuji X-E2, 18-55mm ISO 6400, ƒ/5.6, 1/60

Enjoy the photos and see how great the camera does on Auto-White Balance and shooting JPEGs.

By the way, I also have a RAW file for each of these.

Fuji X-E2, 18-55mm ISO 6400, ƒ/2.8, 1/110
Fuji X-E2, 18-55mm ISO 6400, ƒ/2.8, 1/240
Fuji X-E2, 18-55mm ISO 6400, ƒ/3.2, 1/210
Fuji X-E2, 18-55mm ISO 6400, ƒ/3.6, 1/220
Fuji X-E2, 18-55mm ISO 6400, ƒ/3.2, 1/220
Fuji X-E2, 18-55mm ISO 6400, ƒ/3.2, 1/200
Fuji X-E2, 18-55mm ISO 6400, ƒ/3.2, 1/210
Fuji X-E2, 18-55mm ISO 6400, ƒ/2.8, 1/280
Fuji X-E2, 18-55mm ISO 6400, ƒ/4, 1/170
Fuji X-E2, 18-55mm ISO 6400, ƒ/2.8, 1/160
Fuji X-E2, 18-55mm ISO 6400, ƒ/2.8, 1/150

Fuji X-E2 is excellent for meetings

 
Fuji X-E2, 18-55mm, ISO 4000, ƒ/3.2, 1/500

I am on my feet for the second day of a four-day meeting. The day starts around 6 am and goes past midnight every day.

Walking around from place to place with gear for this many hours can take its toll on you.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/4, 1/105

The Fujifilm X-E2 holds together the dynamic range I regularly see at this meeting. I love the color and the detail it captures.

Fuji X-E2, 18-55mm, ISO 2000, ƒ/4, 1/500

I only regret this meeting because I only have one Fuji X-E2. If I had two, I could run around with just two lenses and get everything I needed with the cameras. I would keep the 18-55mm on one camera and the 55-200mm on the second camera.

Of course, the only downside I see with the camera compared to my Nikon D4 cameras for this event is the battery life. So, I am going through about three batteries a day.

The best part of carrying the cameras all day long would be the simple fact of the weight and size. I feel so much better if I all had two cameras and two primary lenses. As soon as the 10-24mm comes out, I would add this to the other two and have everything I need to cover meetings.

Photographers: How to turn a “Cold Call” into a “Warm Welcome.”

No matter if you are using a phone or meeting someone in person who you do not know, you are “Cold Calling.” If you play it right, this could be a “Warm Welcome.”

COLD CALLING is the sales process of approaching prospective customers or clients—typically via telephone, by email or through making a connection on a social network—who were not expecting such an interaction. The word “cold” is used because the person receiving the call is not expecting a call or has not specifically asked to be contacted by a sales person. A cold call is usually the start of a sales process generally known as telemarketing.

WARM WELCOME is a hearty, hospitable reception or greeting, as in We got a very warm welcome when we finally arrived.

My friend and I have met with a few photographers struggling these days. Today we had lunch with another newspaper photographer who lost their job. Sadly this is happening a lot these days.

First, this feels like crap for anyone going through this, and I have been through it two times. From the get-go, we wanted to let the person know that this has nothing to do with their skills but was most likely a numbers game. When that happens, you often will see some folks who kept their jobs while you lost yours, and it is hard to see the logic.

The great thing about these photographers is they are taking their time to asses their situation. They are also not sitting still either. This photographer had already created categories he will put on his website later. Personally, this photographer’s work was excellent. I wish I had all those images in my portfolio.

The photographer had some names of folks he was going to call. The plan is excellent that he had a portfolio just moments from being on his website and had some contacts already.

My friend and I had about 70 years of experience. However, this tip we shared with him didn’t exist for us until later in our careers.

What to avoid

The surest way to hit a dead end with a potential client is to ask them questions that are simple “Yes” or “No” answers.

Do you have any photography jobs that I can do? The answer is “Yes” or “No.”

What to do

Ask open-ended questions, more about the person and less about you and your photography. For example, someone just laid off can call someone and ask if they would meet with them. They explain that they were just laid off and would like to pick their brain.

Ask questions from your experience. If you could go back and start over, what would you recommend to someone like me? People like being asked for their expertise and will most likely talk to you.

Asking them for guidance and suggestions creates a sense of you seeking advice which is much different than asking for a job.

Some of the best folks to talk to are those who also went through a layoff. Surprisingly you will find many folks have been through this before. Most have a great deal of empathy and will offer some words of their wisdom.

Ask them before you leave if there is someone else that they recommend you talk to that could help them. Also, ask if they tell the new person that they referred them; most of the time, they will, which will help you get that next appointment.

Asking someone to look through your work and recommend how they might arrange it is a great way to get your work seen and keep the dialogue open with them.

You are starting a relationship.

It is much easier to follow up with them and say you listened to them and took their advice. You have done some things, and I wanted to review the changes you have made with you. Again, no need to ask for work.

The best advice I could ever give here is a simple observation. Those who are genuinely interested in building lasting relationships with people and not just using them are the ones who are the most successful in life.

If you ask for all this advice and never follow up to show the person how you listened and would like them to see what you have done, they know you were there only for a job and not a relationship.

Tom Kennedy, the director of photography at the time for National Geographic, had Don Rutledge, my mentor, contact him and ask to take him to lunch. Don continued to stop by every few months and enjoy lunch with Tom. Tom would also do the same thing with Don after a while.

One day Tom asked Don why Don had never asked for work from Tom. Tom then said that Don was the only photographer he had ever met that ever done this. Tom discovered that Don was genuinely interested in just having a friend.

Many people through the years had done the same to Don that photographers had done with Tom. They were not interested in a friendship; they just wanted a job.

My long-term goal for my career is to one day work with my friends. Guess what–that day is now for me. The reason is I did want a relationship with people and not just their money.

12 week photography workshop for those who believe photography to be a calling

Dennis Fahringer has been leading a photography program in Kona, Hawaii for more than 25 years. I first heard of the program back in the 1980’s from my friend and mentor Don Rutledge.

Don was leaving on a trip to do work in Hawaii and at the time Don worked for the International Mission Board for the Southern Baptist. I joked with Don and asked what Hawaii had to do with international missions since it was a state.

This is when Don told me he was just teaching at the Youth With A Mission’s University of the Nations campus in Kona, Hawaii.

Dennis Fahringer teaching in SOP 1 [Fuji X-E2, 55-200mm, ISO 6400, ƒ4.8, 1/250]

Some of the past guest speakers that Dennis brings in for every class have included Gary S Chapman, Louis Deluca, Joanna Pinneo, Don Rutledge, Patrick Murphy-Racey, Gary Russ, Anacleto Rapping, Ron Londen and many, many more.

Most of the students are just starting out. The ages range in the class from 17 to 69 for the class I am presently teaching. Most of the classes I have taught the majority are from 18 to 30.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/6.4, 1/25

Dennis has collected a large selection of books and videos for the students.

Dennis shares with his students many of his notes he has collected through the years on photography using Evernote app.  Dennis has shared some 3,700+ notes with the class that he has in Evernote: just short of 30,000(!) Just this alone is worth the price of admission.

If you are really wanting an intense photography program for twelve weeks then this is it. Before you can take this class you must do a DTS.  This is a 12 weeks lecture phase, plus 10-12 weeks outreach phase, thus 6 months total.  This is a Discipleship Training School where for part of your time will be a cross cultural experience. Many of these DTS groups go all over the world.

In my present class we have nine different nations represented. Those perspectives are great when learning photography.

Here is the YWAM Kona webpage for you to learn more about the program here.

Many who take the class go into business as photographers, other may use this in missions and even some just keep it as a hobby.