Photography’s Business Tripod

Gitzo GT-0531 Mountaineer 6X Carbon Fiber tripod

There are three aspects to a photography business that if you do not attend to will result in a unsteady and fallen business. I have listed the three areas here with just some examples.

Quality Control – This is the core product of your business. Everything it takes to deliver the product to them is in quality control.

  • You must have a product that you deliver consistently that meets a high standard.
  • Your paper work needs to be in order. Your accounting needs to be also of high caliber.
  • You basic interaction with customers and clients needs to be professional.

2nd Mile Service – This is the little extra things you do to help out your client. It is not necessary, but you do this to just make things better.

  • You need to do little things like sending hand written thank you notes to customers after doing a job.
  • This is where you over deliver in some way. 
  • You can improve your presentation. Maybe you decide to spend a little more on the packaging of your product or deliver it earlier than promised.

Emotional Connections – You are connecting beyond your product to the person.

  •  Maybe you have a client that is going through a tough time and while they are buying a certain product you decide to give them the upgrade. Instead of the 8×10 you upgrade them to a 16×20 or just give them the 16×20.
  • Maybe a client has a nonprofit that they support and you decide to give a gift to the nonprofit in their name.
  • You take time to recognize them on their birthday in some way.

You need all three to become and remain successful. Doing all three all the time will separate you from your competition. If you are not doing all three, then you are slowly going out of business.

Tip for covering events

This is a tip I learned today from my fellow photographer friend Nathan Fowler.

If you are covering a meeting then take photo of the schedule as the very first photo on the camera. This way you can easy reference it.

Your camera will by default show you the last photo you made and there for to start at the beginning is just a click to next photo which takes you back to your first. This way you can pull up the schedule and review it easily. 

Why do this? How often are in in a dark room in the back covering a meeting and cannot see the schedule. On the LCD on the camera it is lit up easy to see. You can zoom in and read the details.

I will be doing this for now on, how about you?

My response to all those who ask how to do “Missions Photography”

Young photographers and old, but all those fairly new to missions, want to know how to start photographing missions. Their attitude and communication says they are ready and should be doing this now. This is my opportunity to empty out all those emotions that are running through my head and articulating what I’m feeling, without risking saying something to someone that I’ll regret. So here is that letter I often write to get it off my chest and never send. By the way this could also apply to doing NGO work as well.


Dear ___________________:

I get contacted almost weekly from someone wanting to do missions work.  Your request to know how to get into the field is similar to all those other contacts. You reference seeing others going on mission trips or even a short term trip yourself. Your desire seems to be to do this full-time using your photography to capture missions.

Let’s just be honest with one another—traveling the world and taking pictures just sounds fun. It has to be better than what I am doing here every day.

I believe there are four phases to becoming a missions photographer: 1) The call; 2) The Preparation; 3) The Affirmation & 4) The Corporate Sending.

The Call

You hear the call from God that this is what he wants you to do. How you hear that call is different for every person. One of the most famous calls is of Isaiah in the Bible.

Isaiah 6:8

Then I heard the voice of the Lord saying, “Whom shall I send? And who will go for us?”

And I said, “Here am I. Send me!”

The Preparation

If you were called to be a ditch digger, a doctor, a pastor or a communications person each of these would require you to become more proficient and develop that talent.

For the most part this would entail some formal training and some on the job training. Doctors go to college, then medical school and then they do a residency. My recommendation for most photographers wanting to cover missions abroad is to get some formal classroom training, work with some pros and then do a residency type of position for a year or two, just like the medical doctors do.

The Affirmation

You need others to affirm this call. Before a person is accepted into a Seminary to further their biblical studies they must have a letter of affirmation from a sending church. So to a photographer should have this same type of an affirmation where people are confirming not just that you know photography but are using it now to further the gospel.

The Corporate Sending

You need a client who is willing to pay for the content you are creating. Some missions agencies of different denominations have positions for journalists and photojournalists. You must go through an interview process just like you would if you were to be a church planter. They want to see examples of you doing now what they will send you to do somewhere else.


Where are you on these steps?

From your correspondence with me it appears you think you are ready now, but I have some hard questions for you.

What are you doing in missions right where you are?  Would God call someone to do missions photography in your neighborhood?

God hasn’t put you in Africa or somewhere else—he has you here. You are in a mission field. Do you think it is all that different just because you are in a different town, state or country?

You are like so many others who live right here with me in Georgia.  Right near me in Clarkston, GA are refugees from all over the world. There is even a book on one of these groups “The Lost Boys of Sudan.” Here is a link to that book http://www.amazon.com/Lost-Boys-Sudan-American-Experience/dp/0820328839.  Missions of the cross-cultural experience it is right there.

I am sure there are opportunities in your community for a cross cultural experience if that is where you need to serve.

Here is a NGO that works with the refugees http://friendsofrefugees.com in Georgia.

How will it be any different for you to shoot in some city in Africa than right where you live? Too many “Christians” think that missions are like a worship service. Missions is so far removed from a worship experience. Missions agencies send their missionaries to those places of highest need. Those places are where there is less than 2% of Christians in the population. This is like going to solitary confinement as compared to going to a place where the people are like you.

If you don’t like working in the secular world now, then you are not ready for the mission field.

Now up to this point I have only addressed your willingness to do mission work. Now I want to address another concern I have for missionary work.

Do you think God deserves our very best effort? Based on the assumption he would want us to do everything we could to be prepared, how well prepared are you for the call? Have you taken the talents you have been given and refined these?

Christ selected 12 disciples and then spent three years training them before they were sent out completely on their own for good. He did an internship program with them where they went out and then reported back to him.

Lets just say you have really prepared as best you can. You went to a photography school and got your training. Now you are working somewhere to get your apprenticeship time in. Just like a medical doctor must do a residency, so too you must work somewhere with supervison.

Now comes another perspective. Who will send you? If you think agencies or churches will be the supportive body to help pay for the expenses of you traveling the world to tell the story of missions why would they send you?

Another way to think of this, think of it like National Geographic Magazine. Should they send you to cover a story or someone like a William Allard, Joe McNally, Steve McCurry, Joanna Pinneo or some of their many proven professionals?  I would think they would send the person who has a strong portfolio and track record of delivering content.

So too the church and agencies should send the person best because it is good stewardship of what God has entrusted them. Sending someone because they are willing is a good way to burn relationships on the mission field.

I hope you see mission coverage can be where you are now. You should be producing content of the stories in your neighborhood. If you are able to produce solid content right where you are now—which is the mission field, then those groups that can send you to foreign mission fields will see you as a good stewardship choice for them.

Remember the Apostle Paul was not readily affirmed by the disciples. Church history shows us there is a time from his calling until the time he was sent out as missionary from the church. Paul’s Damascus road experience was when he was about age 34 [Acts 9:1-9]. Paul was not sent by the church until he was age 47 with Barnabas [Acts 13:2-3]. He preached in the synagogues in between, but sent out was not for years. He first worked in his neighborhood. If it was good enough for Paul, why not you?

This may sound harsh, but I feel you need to hear this from someone and it might as well be me.

Maybe the thing you need to do is pray for God’s guidance and let him lead you. You might be surprised at all the doors that open through him verses by our own hands.

Sorry I am so pushy with this, but I am really sad to see so many people wanting to go overseas when the largest mission field in the world is here. More missionaries come here of all types of faiths to proselytize than any other country of the world. Who should God send to your neighborhood or city to do mission work? Could it be that he has already called someone–YOU?

Your backyard is your first mission field. This is where you will refine your craft and get the affirmation of others. It is here that your friends will then recognize your calling and send you.

Your call doesn’t always mean now, but you now knowing your path. Keep the faith and fight the good fight.

Stanley

Stanley Leary
Storyteller
Roswell, Georgia
404-786-4914
mailto:[email protected] | www.StanleyLeary.com
http://blog.Stanleyleary.com   http://twitter.com/stanleyleary  http://www.facebook.com/stanley.leary

9 things you need to do before going freelance full-time

Stanley teaching at YWAM School of Photography 1 in Kona, Hawaii [Photo by Dennis Fahringer]
 
Here is a checklist I recommend going through to go full-time freelance. You may think of even more to add to this list.
 
Microsoft Excel Home Budget Template

Create a home budget – You need to have a budget on what you need to survive. This includes housing, food, healthcare, car payments and entertainment to name just a few. My recommendation is if you have Microsoft Excel is to use their home budget to help you get a solid number of what you need to live. Break this down from yearly to monthly amounts.

NPPA Cost of doing business calculator

Create a business budget – You need to know all the expenses beyond your home budget that you need to run your business that also can be written off your taxes as legitimate business expenses. I recommend using the National Press Photographer Association’s “Cost of doing business calculator.” Some things that you could be moved from your home budget to this list would be your phone. You will need to know what you need to run your business monthly and yearly. Things like a website, advertising, Internet connection and other items are things you must have even if you are not shooting a job.

6 months of savings that is equal to both your home and business budgets combined – This is a bare minimum you will need. The odds are pretty high that you will not have a regular stream of income for anywhere between 6 to 18 months.

Don’t quit your full-time job until it gets in the way of your freelance business – I would even recommend seeing if you can go from full-time to part-time with your employer so you are transitioning over a longer period of time. You can offer to go on contract with them and give them 2 – 3 days a week and then you have 3 – 4 days to build your business.

 

Buy all necessary equipment before you go full-time – You really need to have your basic camera gear, computers, software and any office equipment that you need to do your business paid for before you start freelancing. While you may have budgeted a figure each month for the business for all this equipment you will be putting some of this money away for when things break or need replacing.

Debt free – Ideally having no debts except for a house payment would be perfect. I do want to spell out why this is very important. If you purchase things on credit you could be paying 10% to 20% more for everything you purchase. When the difference between paying bills and going bankrupt is often just a very thin line your business failure is much higher by carrying unnecessary debt.

Synchronize your photography ambitions with your lifestyle desires – If you want to be a war photographer and have a family these are two incompatible desires. You might be able to delay your family dream for a while, but most likely will have to change what you photograph later. Another example is photographing for nonprofit or faith based group and be family oriented. Often these groups pay so little and many expect the photographers to raise their own support. Examine your ambitions. Maybe the reason you want to do certain kind of photography is really your desire to help people. When you get to this core value there maybe other ways to shoot for say green companies that have more money to pay a livable wage.

Alex Garcia, photographer for the Chicago Tribune, talks with a student about her work during the student practicum at the Southwestern Photojournalism Seminar in Fort Worth, TX last February.

Find a business coach/mentor – they do not need to be a photographer; just a successful businessperson will do just fine. They can help listen to your issues about running your business and ask questions that help guide you to being successful.

Create a business plan – If you need a loan to start you will need a business plan for the bank. If you are set, still do a plan for yourself. It will help guide you and make decisions that you need to make every day. This will be your compass. You can contact the US Small Business Administration in your area and they can help you. Often this is free.

Can you think of suggestions to add to the list?

 

Freelance Advice: Easier to get a job with a job

I had to share these photos of the eight point buck that was in our backyard in Roswell, GA. [Nikon D4, 28-300mm, ISO 1250, ƒ/5.6, & 1/2000]

The old cliché “It is easier to get a job when you have a job” is like the other cliché “It is easier to get a loan when you don’t need one.”

If you are unhappy in a job there is a good chance that those around you and even your boss will notice this attitude. Once you assess your situation and eliminate the unpleasant requirements of almost any job, you may need to find a new job or even career.

Many people will plan their exit strategy. If it is a career change you may need to go to school and maybe you can do this nights or even online. If it is just the wrong workplace and not a career change then you can start right away.

[Nikon D4, 28-300mm, ISO 1000, ƒ/5.6, & 1/2000]

It is better to be proactive than to be fired, because explaining the reason you need a job to a new employer because you lost your job is a red flag.

If you see the business struggling it is better to get out of there before you are laid off for similar reason.

The freelancer also needs to be aware that showing current project work is equivalent to having a job.

Another reason people leave companies is to increase their income. Other companies would love to hire someone away from another company that helped improve the company’s bottom line. Come and help us do what you did for your previous employer. Often this will be for better pay.

After helping the new company you may pick up a few more skills that another company will again lure you to them because of your high performance.

The Citadel playing North Georgia College in Rugby. [Nikon D4, 28-300mm, ISO 900, ƒ/5.6, & 1/2000]

Self-Assignment

The freelancer’s best way to get a great gig is through the self-assignment. Just like it is easier to get a job with a job.

If you are a truly creative person you will have many ideas that you cannot get companies to buy into.

I have a theory about this problem of good idea and no companies wanting to do it. The lack of an example is why most companies do not take on these great ideas.

The self-assignment allows you the flexibility to do a job the best way you know how. To execute that idea as best you can without interference from a client. This way you have the best example possible.

Roswell Presbyterian Church middle school mission trip to Chattanooga, TN where they are helping widows with their homes. [Nikon D3s, 14-24mm, ISO 200, ƒ/3.2, 1/1250]

I have done self-assignments for my church and denomination.  One of the first things I needed for my proof of concept was access to people and places. I wanted to show that telling people’s stories using still images, video and audio together is one of the most powerful ways to communicate.

I also know that most of the stories I have done in the past for churches had emotional hooks and were not just dry factual events.

Every year I still will take some time and cover something our church is doing. This helps keep my storytelling skills sharp. I enjoy doing it because they are not paying me and therefore no one is really able to tell me what to do. I am pretty much my own client. By giving them the package to use at the end they are thrilled. Next time I show an interest in helping I get even more access and help.

After getting the final package finalized I am now able to shop around with my concept with an example.

You can do a soft sell where you send the package in an email to potential clients. You are sharing it as entertainment.  “Take a look at what my daughter did this summer with her youth group helping widows in Chattanooga,” might be what I say to them. The clients you have to enjoy seeing what you are doing. In the process they may warm up to the concept and hire you to shoot something similar for them.

There are a couple of ways to do self-assignments. You can take on a larger project that you can work on over and over until it is just right or you can take on smaller projects and just do more of them.

Refining process

One of the best things you can do for a self-assignment is to show work that is portfolio worthy. This is where it has a WOW factor. To achieve this level it may be necessary to do like they do in Hollywood for movies—many takes.

You may show up one day to work on your project and just take a point and shoot to make visual notes. You will notice what works and what needs some help. For what I do this may mean realizing the light in the room is better in the morning than the afternoon or that I need to bring some lights to light the room.

I would then take these visual notes and use them to help me storyboard the concept. After talking to people and working with their schedules I would then setup the times to start shooting. After each step I would come back to the storyboard and see how it is going.

Often what the storyboard I started with will in no way resemble the end product. I will have discovered a better storyline than what I started with and therefore I make adjustments and let the story lead me rather than me forcing my concept on the situation. [This is very important to me when I later help sell to clients. I tell them what I started with and how I changed it to make it better.]

Presentation

When I have finished the package and start sharing it, I will also blog about the process.  I may have been blogging all along. I want to tell the behind the scene story because this is what helps clients and potential clients see me as an expert.

Here is an example of a finished project I did for Chick-fil-A where they gave out sandwiches to first responders and victims of Hurricane Sandy.

[youtube https://www.youtube.com/watch?v=VxDdW7HwJQ4]

Take it slow with the self-assignment

Musicians work on difficult passage of music by slowing it down to work on playing the notes and getting the rhythm just right. Once they have that then they work on the interpretation to give it that swing, funk or melodic feel.

The top musicians are paid really well because when they see the music for the first time they do not need to practice it a few times before playing it. The reason for this is they practice for the most part 8 to 10 hours a day working on music of all styles. This means when they see a difficult passage they have already played something similar recently and are able to execute on the fly.

My mentor, Don Rutledge, was always finding stories and going and doing them all by himself. He would: find the story; write the story; and photograph the story and then send it out for syndication. Most other photographers I knew seldom picked up their cameras like Don when they were not on assignment.

One day I asked Don why he did these self-assignments. He explained how he could slow down and take his time when doing them. He could visit longer with the subjects and do everything on his time and not have a deadline speeding him up.

I remember a few times where Don would have started a story and then decide to go back another day to do more work on it.

Don said that slowing down and shooting stories like this on his own made it possible for him to shoot better for his clients when they hired him. Like the studio musicians of Hollywood Don’s self-assignments were his practice times.  One you do something over and over you are able to start to see the nuances and it is the nuances that separate your work from the pack.

Your best and worst client

I believe the best client you could ever work for is yourself. Take on a self-assignment that will get you out of the bed and fired up to do some work today. For me I look for a project that will help an organization improve people’s lives.

The worst client I have is I. I am rarely ever satisfied with my work. I could always do something to make it better. What I still get upset about is something not working out the way I wanted and I am unable to go back and do it the way I wished I had in the first place.  This is why for most everything I do I would love a second chance to do it again and better.  If it were not for deadlines and budgets I am not sure I would finish projects. I am too much of a perfectionist.

Collaboration

Today many of the projects I want to work on require collaboration. I have had people help with voice over work, help get me places and introduce me to people.

Maybe you have a self-assignment that you need some help with. Have you thought of asking me to collaborate? Give me a shout and let me know your passion and maybe I can work with you.

Did I tell you what I love doing the most? I love helping people realize their dreams.

Nikon D4: Sports Camera Setting

In an earlier blog post, I gave you my standard settings for the Nikon D4 for how I shoot. Here is a link to that post.

These are the settings that I use on my Nikon D4 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 scene 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 C, 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 going ahead and 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 1/2000. The ISO setting is what you see in the smaller window below the menu. I put this to ISO 100 and then set the “Maximum sensitivity” to ISO 12800.

While I am in Aperture Mode shooting, the camera will always pick 1/2000 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 1/2000 @ ƒ/4 and then change also the ISO up until I can still shoot at 1/2000.

The only time the shutter speed will dip below 1/2000 is if the ISO peaks out at 12800. 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.

Under the custom settings bank (Pencil Icon), I go into the autofocus setting.

I changed the “Focus tracking with lock-on” from Normal to 4. What happens when I do this is the delay for the lens to refocus if something occurs between the camera and the subject (like a referee). While I am following someone, the camera will not refocus right away. This is something you need to try and pick what you like. You may want the lens to be more responsive and go to set one, which will let the lens refocus instantly.

Focus Settings

I set the camera to AF mode. I also run this in continuous focus mode rather than single.

I go into the menu, select the AF activation under custom settings, and choose “AF-ON only.” This means it will not focus on the lens when I press the shutter. It will only fire the camera. I am using the AF-ON button on the back of the Nikon D4 to focus.

By changing these settings, you will notice the camera stays in focus and shoots at a faster frame rate. Great for following a baseball player sliding into a plate and another player trying to tag them, or maybe a football player is running toward you to score. You will find more photos tack sharp in a series.

I generally put my focus point dead center and lock it so I don’t bump it. I am trying to get photos of moving subjects; the off-center is too tricky. I may crop later for a better composition, but I want the issue to focus first.

Now, of the 51 different focus points, you can choose groups of these to help with focusing. I went with Nikon’s suggested 21-point dynamic-area AF.

Here are suggestions by Nikon in the manual:

The only other setting is on the lens that I turn on VR.

Nikon helps to continue solving photography’s number one problem

Photos are not sharp

While the photo above is not terrible, it isn’t sharp. Look at the enlarged section here below.

  

The reason the photo isn’t sharp is not due to the camera or lens. The number one problem facing most photographers today is soft images due to camera movement.

No matter the camera you are shooting, a tripod is the best thing to combat camera movement. Your images will be the sharpest possible if your subject is perfectly still during the exposure.

The second thing you can do is to increase the shutter speed. The rule of thumb is to turn your focal length into a fraction. Put one over your focal length and then find the closest shutter speed on your camera, which is faster than it, and you are generally good to go. 

I was shooting at a focal length of 112 in the photo above. I would convert this to a fraction of 1/112 and then shoot to the closest shutter speed, which would have been 1/125 for my camera. However, I was at ISO 6400, ƒ/5.6, and 1/50. I needed to go up by more than one stop for this photo.

For various reasons, I couldn’t raise the shutter speed. To raise it would have been to push the ISO to 12,800, but the D3 didn’t look all that reasonable at 12,800. I was already wide open, so that I couldn’t open the aperture anymore. I couldn’t shoot with a tripod in the hair salon because I would be in the way of customers.

Nikon to the rescue

Nikon added two lenses to some to help with the camera shake. These lenses help with vibration and reduce the camera shake by counteracting it. They call these lenses VR, which is an acronym for Vibration Reduction. Nikon VR lenses use two angular velocity sensors, one that detects vertical movement (pitch) and the other horizontal movement (yaw), with diagonal motion handled by both sensors working together. The sensors send angular velocity data to a lens microcomputer, determining how much compensation is needed to offset the camera’s shake and sending that information to a duo of voice coil motors that move selected lens elements to compensate for the detected motion.

If you ever go on a cruise, the ships have similar devices called gyroscopes that help stabilize a boat in rough water. If you have ever been on a ship and still felt the roll of the sea, this is because there is a limit to how much they can compensate.

The compensation of the Nikon VR II lenses equals four stops. This means that if you were shooting handheld with a camera lens at 1/60, you should get the same sharpness as if you were shooting at 1/1000. So you should be able to handhold a 1000mm lens at 1/60 based on this technology. But if you have ever handheld a 600mm lens, you know few can hold one up.

The VR system can also detect the use of a tripod, recognize panning―an instance in which you wouldn’t want the lens to compensate for movement―and address the specific shake caused by the ongoing vibration patterns produced when shooting from a moving vehicle. From my experience, you want to turn off the VR function when shooting from a tripod.

Nikon D4, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 12,800, 1/80, ƒ/5.6 300mm

I am shootishootikon D4 instead of the D3 above a few years later. I can now shoot ISO 12,800 and have the newer AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, a VR II technology.

I am hand-holding this lens and just loving the results.

This is cropped area of the photo above. Notice how sharp the eyelashes are in the photo.

When I started shooting professionally 30 years ago, I used the Nikon FM2 film camera. Let me list a few things that have changed, making the above photo possible, which I could have never done before.

  • Autofocus lenses
  • The highest ISO I shot in 1982 was ISO 400 for color, and today, I regularly shoot ISO 12,800
  • Vibration Reduction (letting me handhold images four stops slower)
  • In-Camera White Balance today (Only Daylight, Tungsten, and BW film in 1982)
In 1982, Nikon had a 50-300mm that weighed 6lb 2.8oz

The lenses were manual focus early in my career and weighed much more than today. They are not as sharp as today’s lenses due to the ability of computers to help in the design today.

Today, this 28-30mm lens only weighs 28.2 oz and can focus faster than I could ever do with a manual lens.

Nikon has helped me take photos I could never have taken before in available light, helping me provide services to my clients that have never been done before.

My go-to lens

The AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR lens might as well be bolted onto my camera. I use other Nikon lenses, but this is always my first choice in most situations I shoot. This lens with the Nikon D4 is one of the best combinations in camera gear today.

Nikon D4: Normal Camera Setting

These are my settings for everyday shooting. Regular shooting is more photojournalistic for me, and I use many available lights and lenses from the 14 – 300mm range.

The first thing I do is select my shooting menu bank in the menu. I have saved two primary shooting setups.

I have normal for most average situations and shooting using studio flash. You can rename these to whatever you like to use. I have occasionally set up a sports menu bank as well. Once you select this setting, everything you set in your menu will be saved here.

My primary slot is the XQD, and the secondary slot is overflowing. I am usually shooting in RAW in this setting. This means I can change the white balance later, with more control than I would have in JPEGs.

Also, I have set the bit depth to the highest setting of 14-bit to give me the most significant possible data capture from the sensor.

I set the picture control to standard, affecting only the RAW previews. If you are saving as JPEG and RAW, then the JPEGs will be a little more punch than the Neutral, which, for me, is too flat.

I shoot in the ADOBE RGB color space, and after editing in Lightroom, I output to sRGB. I have the most significant color space in Adobe RGB; therefore, I will have more information when editing, giving better color in the final image.

I prefer to shoot in AUTO ISO. The ISO sensitivity is set at ISO 100 and set to max out at ISO 12,800. I will go into this setting and often tweak the minimum shutter speed, especially when shooting under fluorescent lights, to 1/100. I wrote about Auto ISO in an earlier blog post here. The concept hasn’t changed since the article about the Nikon D3S was written. Earlier, I wrote about why we should shoot at 1/100 with fluorescent lights here.

I only changed a few things from default to custom settings.

I use the autofocus points of 51 with the auto setting on single. It will look for faces automatically. I may override this if the auto setting isn’t locking in where I typically want it to. Often, it is faster than I am, and sometimes, I need to override who I wish to be the focus point when many people are in a photo.

I also like to embed my name in all the photos, so I put my words in the Image Comment and Copyright Information.

I will write more in future posts on studio strobes and sports settings.

Imaging USA EXPO

David Bergman speaks at the Nikon booth during Imaging USA EXPO.

This blog post may seem a little disconnected, but it is more like a journal of my experience today at the Imaging USA Expo. I had a lot of fun and learned a few things.

Kevin Ames is photographing a model at the Sigma booth. Kevin is is sponsored by Sigma.

The reason I drove to the convention was to see my friends. All the gear I have seen before and no company was rolling out new gear at the show that I knew about.

One person that always is good to have in town is Bill Fortney. Bill is retiring July 1st from Nikon as one of their representatives. I knew I wanted to have some time with him as well as get a chance to talk with his boss Bill Pekala, the head of Nikon Professional Services.

Bill Fortney is handling all the questions from the convention attendees.

In a few weeks I will be doing a similar role to Bill when I am answering student questions about their next purchases. While Bill thought I was just hanging out to say hello, I was actually listening to how Bill handled all their questions.

Bill was helping people understand the Nikon lineup of cameras. For the most part Bill was talking to people about the differences between the Nikon D800 and the Nikon D600.  For most folks the Nikon D600 fits the bill just fine is what he was telling them. Fortney thinks of his Nikon D800 like a 4×5 camera. When he shoots with it this is serious. He knows he wants all the detail possible and pulls this camera out of the bag.

For the most part Bill explained how much he enjoyed shooting for the most part with the Nikon D600 as his everyday shooting camera.  You can read a blog Bill wrote on this here.

Dr. Charles Stanley asks Bill for some advice on his upcoming trip to Africa. He didn’t want to take all his gear and asked Bill for what he recommended. Bill recommended the Nikon D7000 and the Nikon 18-200mm lens for the trip.

You need good relationships with the camera representatives because they know the gear the best and great people to help one navigate their lineup of cameras and lenses.

I went by the Nikon Professional Services room and even met for the first time face to face Melissa DiBartolo. For years she has helped me with getting my cameras repaired and answering questions. I walked in and she knew me right away and this was so reassuring to know they are taking the time to help us out.

Jeff Raymond enjoys meeting Dr. Charles Stanley in the hall of the convention.

While I was having a chance to renew friendships I also was starting new ones. Jeff Raymond was able to meet Dr. Charles Stanley and talk about his work in missions.

Coming up the escalator was my friend Tara Patty who has a photo studio in Colorado Springs, CO. I was enjoying hear how her business is growing and changing. Years ago she was shooting 90% commercial and only about 10% portraits for the public. Today she is shooting 10% commercial and 90% portraits and her business is growing.

I then met my friend Mark Turner who said the last three years have been great for business. He only wonders how much better if the economy was stronger.

As I talked to friend after friend I was finding they were all doing much better and had made changes in their business as well.

If you have time I recommend taking it in yourself if you are in Atlanta on January 22nd.

You can go here to register and enjoy the event www.imagingusa.org/registration.

How to get repeat business and referrals from assignments

Myth

A popular myth maintains that those who know how to do something can teach others. Not True.

The ability to communicate a concept to another person and teach them is more than just knowing how to do something. Giving instructions has a lot in common with teaching. Giving assignments to creatives about something which can be very abstract requires more than an understanding of what you want. I know it when I see it isn’t a good teaching technique.

I have written this blog for two different audiences: 1) those giving assignments and 2) those doing those assignments.


Assignment Photography

Just because you know what you want from a photographer does not necessarily mean you know how to communicate it to a photographer for an assignment.  One of the biggest mistakes made in communication is making some assumptions.

Everything is “Clear Only If Known.” We can make assumptions as simple as telling someone directions and assuming they know where certain landmarks are along the way. Another example is telling someone to turn on something. Sometimes there are many steps to turning on something. They need to know where the place is to turn something on and sometimes there are multiple steps before it will turn on.

There are two standard ways many people making assignments like to communicate: 1) written and 2) spoken.

Most likely the person you are giving instructions to doesn’t do well reading or listening. To be sure you have covered your bases you are best served speaking to the person and sending them written instructions.

The problem with using only these two methods is there are some people who don’t listen and read instructions very well.  Understanding instructions can easily be linked to someone’s learning style. This is how they best learn to do something new.

You see there are seven different learning styles:

The Seven Learning Styles

    Visual (spatial):You prefer using pictures, images, and spatial understanding.
    Aural (auditory-musical): You prefer using sound and music.
    Verbal (linguistic): You prefer using words, both in speech and writing.
    Physical (kinesthetic): You prefer using your body, hands and sense of touch.
    Logical (mathematical): You prefer using logic, reasoning and systems.
    Social (interpersonal): You prefer to learn in groups or with other people.
    Solitary (intrapersonal): You prefer to work alone and use self-study.

One thing I think that can really help in addition to spoken and written assignments is some examples.  Many clients have given me and I have given to others have included visual examples.

Sometimes when the clients talks about a style or approach I will look for my own examples and send these to them for confirmation of an approach.

Besides conceptual approaches just the business side of the assignment can cause problems. For example, if a client needs photos sent to them electronically using a ftp site, then it is a good idea to do a dry run. I have done this to find out that the information they gave to me wasn’t correct. It is better to find that out before you are on a deadline.

The dry run is a great way to verify understanding of the instructions or at least most of them.

If you are the person giving the instructions then you want a balanced approach. Here are some tips that will increase the odds of understanding and implementation of your instructions.

  1. Spoken instructions – Be sure to give your instructions orally and in person if possible. This helps with them asking you to repeat things and getting clarification. Your tone of voice also helps communicate. When in person your body language will also help inform them.
  2. Written instructions – Be sure you also have all your instructions presented in writing. This will help you also review all your desirable outcomes. You have now a permanent record of your request. Sometimes this helps avoid problems in your voice tone or body language.
  3. Visual examples – If you have examples of past assignments and what you liked from other photographers please send this to them. If you have examples of how it will run in a printed piece or a link to a website then send this as well. 
  4. Test shots – Try to have a contact on site or be there yourself to look at what is being produced. You can ask the photographer to email you an example of what they have setup. Let’s say it is a portrait of the CEO. You can have a model stand in and take some test shots, then if the style and/or approach is off or just perfect you and the photographer can verify or make changes.

How do you learn best?

If you are on the receiving end of instructions you need to know your learning style to be successful. If you get an email asking you to take on an assignment and you know you are a verbal learner you may ask if they mind you calling them to clarify a few things.

When writing your contract it is always good to spell out the deliverable. I have even put photo examples into a contract and stated that the deliverable will be similar to what is in the contract.

Ask questions and clarify those expectations so you can meet and exceed their expectations. Even if everything is sounding really easy and routine, take the time and restate their expectations in your words to show you understand the assignment. It is very important when this is your first time working with someone to be sure you have complete understanding.

If you do better with written instructions and the person is just calling and not sending instructions ask them to send it in writing. Stress that you want to be sure they get exactly what they want and having the written instructions to refer to will help you. Now if they for some reason cannot send you instructions, make written notes. Be sure to stop and clarify points.

Use an App on your smartphone to record the phone call. Google Voice needs no introduction, its features and uses are well known, but one feature that not many know exists in Google Voice is the ability to record calls. This can be achieved by pressing the number four while in a received call. With the price of free and no hidden fees, Google Voice is a winner. If you really want to get a lot of features for phone calls that happen to include recording then go with Google Voice, you will not regret it.

Your self perception of the assignment is based on what you see and what you think or know and not what is actually there. What I am saying is that just because you are using the same language and words as the person talking to you or writing to you it is still very easy to have different interpretations as to what you are talking about. This is where having some samples of previous assignments to refer to will help you clarify the expectations. You might just follow up on the phone call and summarize your take on the assignment and then maybe attach or embed a photo or two saying this is an example of what they are looking for.

Your individual temperament and motivation are the personality traits that must be taken into consideration. Temperamental variables include impatience, mood swings, and a distorted perception of goals. As we get older we become more aware of how some of these traits of ours can interfere in our communications. If you like taking pictures and cannot see yourself doing anything other than this for a career and you have bills this will help motivate you to suck it up and learn to compensate for the few moments it takes to get an assignment.

You want to practice with some friends to be sure you are being perceived as a good listener and test to see if you are comprehending instructions. Even if you think you are polished it is a good idea to work on your replies that you will use with people. This is very important when you are maybe dealing with your own learning disabilities and need a few things from the person to help insure you are understanding them correctly.

You may find in practicing you need to work on your delivery so the tone of voice communicates your desire to help and not so blunt as it puts off people. Your friends can help you evaluate how you are coming across. It is much better to get experience through practice than with clients. Making the mistakes in practice will help you avoid a failure with a client.

Do a great job with a client and not only do you get repeat business they tell others about you. Do a bad job and the reverse is true.

Business Tip: The Piggyback Assignment

Liliuokalani Park in Hilo, Hawaii located on Banyon drive.

One of the best ways to get a job is to have a job. We have heard this comment made to people looking for jobs or career change.

Some reasons for this being said so often:

•    It’s a lot easier to explain why you want a better job than why you were fired from your last one.
•    You are already plugged in
•    They say that a friend in need is a friend to avoid.
•    You are already battle tested. Someone else’s already taken the risk and keeping you

For the freelancer having a job where you need to travel is a great time to Piggyback assignments. In essence you are just like the employed person looking for another job.

When a client is sending you around the country or globe the best thing you can do is to now leverage this into more assignments on the road.

There are some obvious reasons and not so obvious reasons to always try and piggyback assignments. 

•    Saving clients on travel expenses.
•    Great way to show to your present clients and potential clients that other clients use your services
•    You are not a needy photographer
•    Shows you are thinking of them

Stanley at Hawai’i Volcanoes National Park.
You may think of more reasons this could be a positive in your column with clients and potential clients. The key is to remember to reach out to your clients and let them know they have an opportunity to save on their budget and maybe there were some photos they would like but didn’t pursue because of the travel expenses.

You need to have a good database of clients to send these requests to and then you can make the most of an opportunity.

How many times does this turn into an assignment—well not that often. But it only takes one time here and there for the payoff to make it worth it.

This is also not just about getting a Piggyback Assignment. This is also another way to market you. Just think of this as another legitimate reason to contact a client that they will not see as SPAM or an annoying phone call.

Mix this in with your snail mail promotions, blogs, eNewsletters and phone calls. You now have one more way to reach out to your clients that will be perceived as a positive from their perspective.

A little secret I learned from my friend Ken Touchton. When you have nothing going on you can always use the Piggyback Assignment on top of your own personal trip. This is great to do if you know there is work in an area where the client is not willing to spend money on travel but you want the work anyway. This way a client will not know if you lowered your rates to get some jobs. Also, once one client gives you the assignment you only need one more in most cases to do really well.

Business: Jot or Tittle assignment details

A tittle is a small distinguishing mark, such as a diacritic or the dot on a lowercase i or j.

If you leave out a dot or tittle you can screw things up. This has been true since biblical times and now with computers it is just as true.

Today you hear on the radio and TV the announcer saying you can find such and such business at www dot and then they give you the rest of the address. Sometimes there are many dots in that url address. You miss just one or add one too many and you get error messages.

Read the instructions

So you are really gifted and can put together anything on Christmas morning under the tree without reading the instructions.  Good for you. However, assembling something and shooting an assignment for a client is not the same thing. You forget to read the instructions sent by the client and you could be creating a mess for your client.

You may want to know why some clients send very detailed explanations. Just hire photographers for projects around the country and you will soon discover how many photographers cannot follow instructions.

Lets say you have dyslexia or just some other learning disability making this a struggle for you. This is where you must be proactive with the client.

If the client has a specific uploading site they want you to put your photos–ask them for a dry run. With computers you can save all those settings in most software so when you finish shooting an assignment you know you will deliver the photos.

Go through the instructions one by one and be sure you understand the instructions as the client wants you to understand them. This means read each detail and if it could be interpreted a couple of ways or you are not sure what they are asking then call them or email them with your clarification questions.

Sometimes the instructions are wrong

I have had numerous assignments where the client is still using the same set of instructions from 20 years ago. If you don’t believe me just look at some of the listings in Photographer’s Market. They still want you to shoot film and when you contact them to check on that they say no we haven’t done that in years.

I had one client who wanted the highest resolution images and then so many I was shocked when they requested them all as TIFF files. It was going to take a few hours with a high speed connection to upload them. They were still dealing with lower resolution cameras and files that were quite small.  With my camera now we are taking about a 50 meg TIFF file for each photo.  Send a few hundred and you will not being going anywhere soon.

Stanley’s Tips for the freelancer

  • Always ask them to send their request in writing–preferably an email is how i like to receive them.
  • Always have in writing what you are providing the client for the assignment. The best thing is to have a contract spelling this out. It protects both the photographer and the client. 
  • Spell out when payment is expected and deliverable is expected.
  • Review all instructions and ask clarifying questions. This doesn’t make you look like you don’t know what you are doing, but often helps to know you are paying attention to their details.
  • If you need to send them files electronically clarify how this will be done. Do they have an ftp server or do you need to provide that.
  • Do a test run with one image to be sure they get it and it is like they like it.
  • If your project has multiple days of shooting, try and give your client some images as soon as possible to be sure you and they are on the same page. Much better than shooting on and on only to find out you were not on track and they will not be paying you.
  • Many clients today may have file naming protocols due to their database system. With software like PhotoMechanic and Adobe Lightroom you can easily rename your images for them and then keep your own system.
  • Metadata is important for you and the client. If the client doesn’t need any metadata you still should be putting your © information on every photo. Be sure you put something in the caption and keywords so you can search for the image.  Both the PC and Macs will search the metadata and find it for you.
  • Keep receipts and scan these and attach them to your invoice. I prefer sending a PDF with all the receipts attached in the PDF as extra pages. I also attach each receipt to the ledger in Quicken Home and Business. So if it was a VISA, AMEX or Check the receipt is scanned and attached to that transaction.  Helps for taxes later.
  • Always send a W-9 with your first job with a client. My W-9 is a PDF that I attach to the email which also has the invoice.
  • When you send an email letting them know you have sent everything to them you can attach your invoice and W-9 to this email or ask them to see if everything is OK that is delivered and then once they respond then send your Invoice then in response. This gives you two things. First you have them acknowledging everything is acceptable and they have the bill. I usually send the invoice and W-9 and ask if everything is acceptable and then I have acceptance and acknowledgment that they recieved my invoice and W-9.

You may have great photos on your camera, but you must get them off the camera and to the client. The speed and accuracy of doing this will win you a client for life. Believe me you would be surprised how many photographers do not follow through on all the instructions given to them by the client.

Those photographers who clearly follow directions make the life for the client so much better.

One agency I do work for confided in me about they have staff photographers that have never completed a project yet. A typical assignment for this agency is to take just a few of the images from a shoot and send them with a press release. The rest of the project goes into their database from the shoot to be used in their stock file system.

The staff photographer had always sent just a few images from their world travel.  Yes this photographer was being sent around the world.

The agency was always in need of their stock images for more than those press releases.

By the way even when the photos were sent they were never captioned and key worded correctly.

Needless to say the photographer lost their job.  They didn’t loose their job because they didn’t shoot good images–they failed to follow through.

You want to be successful–Big Clue is to follow the directions of the client.