Be a Joiner

Too many individuals are isolated in their jobs. Outside of their work they are unknown. In today’s volatile economic times this may prove to be a costly mistake. Staff positions have been cut, freelancers’ clients have cut budgets or gone out of business.

If your source of income is drying up one good way to find new work is through your network. Membership in professional organizations can be an outstanding resource. Having your name on a membership list can give you access to others in the organization, but to make the organization work for you – you must work for it.

Volunteer. Become involved. Help the group accomplish its goals. Volunteer to call members and invited guest to attend meetings. In the process of making these cold calls you are laying the foundation for a stable career.

You are getting to know others and they are getting to know you. If you ever need to call one of these people for a job you will be way ahead. They know who you are and it is no longer a “cold call.”

Serving on committees lets others see your skills and how you work and communicate. Committees provide an opportunity to show what can’t be shown in a resume, portfolio or reference letter.

You are probably considered an expert due to your experience. People want to employ experts. It is a good idea to volunteer to lead seminars and workshops. While this shows your knowledge in their field, it also shows your ability to communicate clearly your ideas to others. It shows you as a person who wants everyone to succeed.

Volunteer with more than one organization. They don’t all need to be within your work area so long as the help you connect to your community. Rotary clubs, coaching a youth sport team, volunteer for the Red Cross and other groups will help you expand beyond your profession.

Industry leaders are involved in community programs. What better way to get to know leaders than to volunteer along side them?

The number of groups you are a member of is not important. What is important is not to be just a name on the membership role. Active involvement develops the all-important network.

I have been working with college recruiters and admissions offices for most of my career. Many of the suggestions I have listed are things colleges look for when going through applications. They want the best students to attend their college. It is the same with employers and clients they want the best.

Networking builds communication skills. Volunteering improves skills in service roles and leadership positions.

All this volunteering is not just for the future it is for right now. The benefits of networking help in current jobs.

The foundation of building a network is giving. As we learn to give of our time and talents to those around us we learn that our greatest rewards are all the relationships we develop in the process.

How to improve your flash photography

This is the third article I have written on using your flash. My first one was about avoiding the dreadful red eye syndrome and here is a link. The second article I wrote was about should you use flash or not and this article is here for you. I want to address specifically the technique of off camera flash in this e.Newsletter.

First let’s start with what we do know about flash. We know that most cameras that come with a flash built in them give straight on harsh light and subject to red eye. This is due to how close the flash is to the lens. There are times this is the only option you may have for a situation. In this case getting the photo is more important than no photo. Almost every point and shoot has a flash built into them and most people’s photos have this harsh look. The other place we see this straight on flash a lot is in crime scene photography, which has been made more famous through TV shows like the CSI series.

What we do know is when we use the flash on the camera pointed straight at the subject it will look like most all amateurs’ photos and crime scene investigation photos. In other words anyone can get this type of photo and it is almost the norm when it comes to flash photography.

When creative directors, art directors and editors hire professional photographers there is an assumption which is expected and not always stated. The professional is hired to get something different than what they would do with their camera. While picking a unique angle with a different lens may give the client something different, the minute the straight on flash is introduced it immediately looks like something they would or could have done very easily themselves.

Lighting has more impact on a photograph than any other aspect in photography. Without light there are no photos and what kind of light determines much more than weather you can see the subject. It actually helps shape the subject and creates a mood more so than camera angle or lens choice.

When shooting in black and white the direction of the light helps shape the object and can make a photo have more pop or subdued for example. In color the color of the light as well as the direction will help establish the mood. Theater type of lighting makes your subject look dramatic for example. And lot of white light can make something look clinical or even used to simulate the feel of being in heaven.

To avoid red eye I have mentioned in earlier articles bouncing your flash off a ceiling or wall. What I consider one of the most dramatic types of lighting requires your flash to be off camera.

There are two angles which I like the best. First, having the light 45 degrees to the either side of the subject relative to the camera give a lighting affect used by the great artist Rembrandt. Rembrandt liked to have the light 45 degrees to the side of subject relative to his perspective and about 45 degrees up above his perspective as well. If the subject is looking straight at you will get a small triangle on the cheek which is on the opposite side of the light. The shape of the nose and brow help create this triangle. You may have to ask the subject to move their head just slightly to make this work just right.

Second, I think side lighting the subject works really well for people. This is where the light is 90 degrees from the camera on the left or right side of the subject.

There are basically two ways to achieve this technique. You can use a cable to go between your camera and flash. The second way is to use a remote to fire the flash.

When using a cable (check your manual for the flash and camera to get the one for your camera) you will need to be very close physically to the subject to get this to work. The reason is the further back you are from the subject the angle between the lens and the flash relative to the subject will diminish and you will have photos that look more like on camera flash. One simple solution is to buy a longer cable. There is usually a limit as to how long this cable can be and still work with your flash.

A little more expensive solution is to use a remote. There are two kinds of remotes for flashes: a generic radio remote and a wireless one designed to work with your flash. Both of these will let you place your flash away from the camera and each one has its advantage and disadvantage.

The advantage of the radio remote is it works up to a distance of up to 400 feet—depending on the unit. It works around walls and even through them. The disadvantage is if you need to adjust the power of the flash you must go to the flash and adjust it manually. Your TTL function—where the camera pretty much figures out the correct exposure is lost.

The advantage of the wireless system, like the SU-800 for Nikons, is you can control each flash unit separately through the unit. Your camera will fire the units and since it is working in TTL mode will properly adjust the exposure. While both systems will let you use numerous flashes together, the TTL wireless system lets you ratio the lights from the unit and therefore you can look at your LCD and make an adjustment and never have to move. One more major advantage of the wireless system like the one for the Nikon, you can use a shutter speed greater than the sync speed of say 1/250. This opens up many possibilities—especially outside on sunny days.

Using off camera flash requires a lot of practice to master the technique.

Will your photos be better because you use this technique? Maybe, but most importantly they will look different and sometimes this is enough to get the attention of your audience.

Presidential Politics Teaches Us Something About Marketing Ourselves

How is running your business like running for office? For one thing, the candidates are scrutinized for more than just their position on issues. We are also evaluated for more than just our product.

Just like the politicians we are evaluated on our looks, our color, age, how healthy we appear and how well groomed we are. Our clients and prospects note all this and more about us.

What message are we sending by how we look? What part of our message as an individual can we control? Well, there’s our choice of clothing. Occasionally someone may compliment us on what we are wearing, maybe the like the color or style.

Some people have gone so far as to wear certain types of clothing to distinguish themselves from others in their field. Take my lawyer for instance. I think he dresses funny. But I have to give him credit, people remember him, first because his clothing makes a bold statement, but then they remember what a good lawyer he is. Your business success may profit from a little more attention your visual presentation of yourself.

The way we talk, how we express ourselves can make a major impression on clients and prospects. As we watched the debates we listened to see if the candidates answered the question. We listened to how clearly they stated their ideas. We listened to their inflections and pace of their comments to see how confident and knowledgeable they seamed to be on the topics.

The candidates wanted to answer the questions in ways that they thought would connect with the audience at home. We too must be aware of our client’s perspective. Are we addressing their concerns or our concerns?

The candidates are being evaluated for the company they keep and so are we. This is where your community involvement makes a difference. We should let our clients know when we go a mission trips. We need to find ways to let them know that we volunteer as a coach for kid’s sports, or anything outside of work actually is valued by clients.

Obama’s two young daughters help him appeal to many folks just as Pailin’s special needs child makes her special to others. While our outside activities are not our primary message to a prospect — it may be important to some of them and shouldn’t be left out.

Greg Thompson, director of corporate communications for Chick-fil-A, says when he hires folks he looks beyond the hands to the head and heart of the person. The hands represent to him the transactional relationship within most of business. You need a writer, well hire someone with experience and they can most likely meet the immediate needs. However, if you look beyond the transaction you will see that some writers are experts on subjects and then some have given much of their time to a cause. Their passion for the subject makes them a much better hire than just a professional writer.

The candidates running for office have people give them feedback to help them improve and refine their campaigns. We need to turn those who can offer us feedback. We can all benefit from some sandpaper helping to refine us.

Certainly prospects are interested what we can do for them, but they are also influenced by who we are as people. The candidates must present a pleasing total package, so should we.

I’ve come to realize that the dream job is not determined by pay alone; it’s working with someone who appreciates and makes use of my total package.

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Corporate Communication Visual Tips: 11 of them

Charles G. Goldman, Executive Vice president of Schwab Institutional, leads the opening general session of the Charles Schwab conference for independent financial advisers.

There can be no words without images.
— Aristotle
More than any other technological innovation, computers are responsible for the explosion in images. Today, 20 percent of the U.S. population can use a computer. But 80 percent of school-age children have learned to become computer literate. By the turn of the century, Sculley predicts that 98 percent of all the words and pictures created in the world will be computer mediated. By that time, virtual reality — the ultimate fusion of computer and television technologies in which viewers become active users of the medium — will be inexpensive and accessible.
Educational psychologist Jerome Bruner of New York University cites studies that show persons only remember ten percent of what they hear, 30 percent of what they read, but about 80 percent of what they see and do. When all members of society whether at home, in school and on the job learn to use computers for word and picture processing, the switch will be made from passive watching to active using. There will no longer be the barrier between the two symbolic structures. Words and pictures will become one, powerful and memorable mode of communication.
— Professor Paul Martin Lester, Ph.D., Department of Communications, California State University
Visual forms of communication grab the attention of today’s audiences. Graphic representations such as diagrams, charts, tables, illustrations and photographs not only catch the eye; they draw the viewer into the information being presented.
Corporate communication departments who took advantage of this visual revolution early on are today’s leaders in the communication field. They saw this “explosion in images” coming and jumped aboard.
Endless, long blocks of type spreading across pages are rarely read. Early editors discovered a visual tool that cured this ill… they broke the copy up into short, more manageable paragraphs that didn’t intimidate or bore their audience.
Ted Turner
Today, many no longer read traditional text. Just taking brochures from the past and posting them to the web will not get the message out.
Okay, if it’s true that a skilled use of visuals will improve communication and if expertise in this area seems like a foreign language… what then?
We’d probably take classes to learn a foreign language, so to become proficiency in the use of visuals perhaps we should study art, photography or theater at the local community college. This is one way to learn how the masters in these fields used the visuals.
Mr. Bean was a British comedy television series starring Rowan Atkinson. Bean, an almost totally silent character used physical comedy to entertain. The series did well internationally because words were not important to the success of the show.
Instead of a brain storming an idea try playing a game of Charades to express what needs to be communicated about that idea. The game forces thinking in visual terms. Pictionary is a board game where teams try to guess specific words from their teammates’ drawings. More than Charades Pictionary requires forming mental pictures. Both games provide a fun way to practice visualization.
Here are Ten Tips to consider when thinking about using images:
1. Humanize – Illustrate how products affect people. For example, to show how small something is, rather than using a ruler, put it in someone’s hand. If something improves lives – show it doing just that. Today the trend is to use a more photojournalistic approach or, at least, to make it look photojournalist. To make sure the expressions are genuine set up a situation, give it enough time and it can become real.
2. Good Lighting – Sometime the natural light is perfect. Just cut the flash off and use a higher ISO for the available light. Remember that whatever has the most light on it will become the main subject.

Bill Griffeth moderates panel with Greg Valliere and Liz Ann Sonders during the Charles Schwab conference for independent financial advisers.
3. Try Black & White – Some war photographers feel that color may make even war look pretty. Black and white is a good way to focus attention on faces and graphics.
4. Get Closer – Almost any photo will be better closer up.
5. Watch the background – Look around the subject. Be sure nothing is growing out of a head or sticking in from the edge on the frame. Use a shallow depth-of-field like ƒ/2 versus using ƒ/16 to make your subject stand out from the background. If the background helps tell the story increase the depth-of-field by using f16 or f22, or vary the background anywhere in between fuzzy or sharp.
6. Consider a worm’s eye view or the bird’s eye view – Shoot really low or high above the subject. Change the height of the camera in relation to the subject; avoid making all the photos from a standing position.

Lou Dobbs
7. Turn off the date stamp – Digital cameras embed the time and date in the photo information so it is not necessary to have it print on the photo itself.
8. Variety – Make plenty of photos from different angles. In addition to using the zoom actually get closer and farther away from the subject. Make wide-angle and close-up photos. Try some without flash, some with direct flash and bounced flash.
9. Give it time – Make a few photos then stop for a few minutes. Let the subject get used to being photographed. After a while they’ll relax and the really great photos will start to happen.
10. Action and posed –Show the subject doing what they do. Let them do their job and make lots of pictures. Pose them for a good portrait, not just a headshot, but do an environmental portrait showing their work environment or signage of the place they work in the background or foreground.
11. File Size Matters – You can always downsize an image, but you can’t do much to upsize the image. Many think they can get more images on their SD or CF card by changing the file size and you can. The problem is unless you are never have plans to use the photo for more than an avatar or profile picture on Facebook then you will not be able to make prints or use it in printed pieces. Use RAW or at least the highest JPEG at the finest setting possible for your camera. You might have to find the owners manual to know how to do this for your camera.
There are many other ways than these that can improve visual communication. Like everything worth doing visual skills come from doing… from practice.
Think about it this way: Who is going to SEE your message today?

What’s a good camera for me?

Jesse Hill Jr. held many positions including the first Black President of the Atlanta Chamber of Commerce, the first Black Member of the Georgia Board of Regents, and the first Black Member of the Board of Directors for Rich’s Department Store. (Nikon D2X, ISO 400, f/5.6, 1/250, Sigma 120-300mm f/2.8 with 1.4 converter)

When I speak to groups someone usually asks me what camera I use. Next someone else will ask, “Would I take better pictures if I had a better camera… maybe one like you use?”

The best answer I’ve ever heard to “The Camera Question” came from Joanna Pinneo, a former colleague of mine. Joanna is an outstanding photographer who has worked for Newsweek and National Geographic. Joanna had just finished wowing an audience with some of her photographs when a little old lady asked, “If I had a camera like yours would I take better pictures?”

“Probably not,” Joanna said, “you will take the best photos with a camera that is easy for you to use. When you see something you want to photograph the less you have to think about the camera the better your picture will be.”

Joanna went on to point out that professional photographers are so familiar with their cameras that using them is second nature to them; like driving a car. She told the little lady that unless she planed really study photography she should find a camera that was simple and easy to use then just concentrate on the subject of the photograph she wanted to make.

She was right, of course. In general most of your best photographs are taken to capture a moment. If you are switching lenses, fidgeting with a flash, or trying to remember how your camera works you’ll miss the moment. By the time everything is set just right the shot is gone, the moment has pasted.

On the other hand, if you have a point-and-shoot camera you can just (pardon this) you can just point-and-shoot and capture the moment. You’ll take a better picture precisely because you did NOT have a “better” camera.

Ambassador Young was a top aide to Dr. Martin Luther King, Jr. during the civil rights movement, was involved in its inception, and served as Vice- President of the Southern Christian Leadership Conference. He presently serves on the Board of the Dr. Mar Martin Luther King, Jr. Center for Non-Violent Social Change. (Nikon D100, ISO 400, f/4, 1/180, Nikon 70-200mm f/2.8)

Not long ago I was photographing the keynote speaker at an event in Atlanta. Beside me was Ambassador Andrew Young with his point-and-shoot camera. He was photographing the speaker as well. Later he showed me his shot and it was quite good.

This was not the only time I’ve seen him making pictures. I’ve worked with him on several occasions and once I asked him about his photography. He reached into his pocket and pulled out the small point-and-shoot camera. He said he always carried it with him and that he loved to take pictures and share with his friends.

Then Ambassador Young laughed. He told me he even pulled it out of his pocket at his daughter’s wedding. He was officiating the wedding, but he still took a photo during the ceremony at the altar.

Point-and-shoot cameras are not just for amateurs.

My good friend Dave Black, who shoots for Sports Illustrated, used one for a job. One of the greatest qualities of these point-and-shoots is they make no noise. They are so quite that manufacturers have put a speaker in them and created a clicking noise you can turn on or off to let you know when the shutter fires.

Pat Perez during play at the BellSouth Classic being played at Sugarloaf in Duluth, Georgia.(Nikon D100, ISO 100, f/5.6, 1/800, Sigma 120-300mm f/2.8 with Sigma 1.4 converter)

PGA rules will not allow a picture to be taken of a professional golfer during their back swing since the noise might distract the golfer. Steve Williams, Tiger Woods’ caddy has thrown a few cameras into lakes when people have fired away during Tiger’s backswing.

When Dave Black showed the editor from Sports Illustrated at the event the photos of Phil Mickelson in his back swing you can understand why the editor started to quiver and gasp for air. Dave pulled out the little camera and made a picture or two of the editor. When the editor found that he couldn’t even hear the little quite camera he began to breath normally again.

No one had any photos of golfers in their back swing before Dave so Sports Illustrated ran the photos big made with the little point and shoot.

Today’s cameras are so much better than before. Take for example the point-and-shoot Nikon P80. Nikon’s enhanced Face-Priority AF automatically finds and focuses on one person’s face or up to 12 people’s faces within one frame. Face-Priority AF provides faster and sharper focus to produce clear, crisp portraits wherever the subjects are positioned in the frame. The P80 is equipped with an 18x optical zoom lens with a 27 – 486mm (in 35mm equivalent) focal length coverage. The maximum aperture is F2.8 to 4.5. It has 10.1 megapixels letting you capture fine detail with the creative freedom to crop and edit.

The amazing thing is that the professional grade Nikon camera body with all the lenses needed to match the zoom power of the little P80 would cost close to $15,000, but the P80 sells for just $399. (Hay, I’m beginning to wonder if I really need all this expensive photographic equipment!)

Another camera similar to the Nikon P-80 is the Panasonic Lumix DMC-FZ28K. It is equipped with a Leica lens and is similarly priced to the Nikon P-80.

Joanna Pinneo said it so well, when she said, “You will take the best photos with a camera that is easy for you to use.”

Guess the old adage is true after all. I’ll paraphrase: It would be Stupid not to just Keep It Simple.

Little Details Make a Big Difference

“God is in the details” — Gustave Flaubert (1821-80) … or “the Devil is in the details” (a variant of the proverb). However you choose to look at it, there’s no question that little details make a big difference in your work.

The ancient Greek artisans took this so seriously that the statues they carved are complete all the way around, even though they knew their carvings would be in places where no one would ever see those details. This attention to detail is perhaps one of the reasons we marvel at their art thousands of years later.

A Photojournalistic Approach to Corporate Training Materials

Recently I was working on a crew creating training materials for a restaurant chain. We decided to approach the assignment photojournalistically rather than stage the photos. This approach, showing the employees doing their jobs properly, made the photos more believable than set-up shots. These pictures will be used to train other employees and show them in detail how things should be done.

Even though we didn’t stage the shots, we still had to set the stage by cleaning up the place. We had to make sure it looked as the company said it should look, that everything was in its place.

In past training programs, the photos occasionally showed that a store didn’t always follow the company line in every detail. It may be as small as some item not being in its normal place, or something that’s not present in every location.

Insignificant, but incorrect, details are not insignificant to those responsible for training employees. In the Nixon/Kennedy debate of 1960, it was the sweat on Nixon’s brow that’s remembered — not what anyone said.

On most high-investment photo shoots, stylists are employed to catch the small details that can distract from the message. Attention to the details is the fine distinction that separates the professional from the amateur.

Communicating Clearly, Without Distractions

I’ve told you this story before, the one about sitting by a grandmother on a flight from Dallas. She showed me a snapshot of her grandchild standing in front of a house. The child was a mere speck in the picture, but the grandmother, so intent on the memory of the child, was not even aware of all the distractions in the photo. She remembers what the child looked like and so she saw her clearly, but only in her mind’s eye.

Musicians, poets, writers and photographers are well aware of how important a detail can be. Musicians listen as they play to keep themselves in tune. Poets search for the one precise word. Writers look for the verb to carry the action. Photographers look at the subject, plus scan the complete frame to eliminate details that distract or add ones that compliment.

As professional communicators, we must show what we want people to see and show it clearly and without distraction.

If a trainee is sidetracked by a detail that should not be there, he or she may miss a point being taught. If there are too many distractions the trainees may not be trained as they should be.

It is our job to make certain the message does not fail due to things overlooked. That’s why details make the difference.

Photographing Fireworks

Good fireworks photos have one thing in common – good foregrounds.

The fireworks are way up in the sky, of course, but what you put between you and the fireworks can make the difference between an okay photograph and a great shot.

During the 1976 Bicentennial Celebration at New York harbor some photographers used the Statue of Liberty in the foreground of their fireworks pictures. In Philadelphia some photographed the fireworks in the sky over Independence Hall. These pictures truly captured the mood and meaning of the celebrations because of the foregrounds chosen. 


The most difficult part of using a foreground is balancing the exposure between it and the fireworks themselves. Since it is impossible to know the correct or preferred exposure for the fireworks it is impossible to know in advance how to balance the exposure for the foreground. While this may be done “on the spot” an assistant or two would be necessary because of shortness of time of the fireworks show. To solve this problem use a foreground object that will work as a silhouette.


Prior to the event try to find out where the fireworks will be launched. Then visit the site before the show and look around. Sometimes the best location could be really far away and shot with a telephoto lens.

Pick your spot carefully because there will not be time to move once the excitement begins.

It’s hard to know how high the fireworks will go before they explode or how big they will be when they do. So after the first couple of shots check the composition. Make sure it’s not too loose and the fireworks are too small or too tight that they are going outside the frame. 

Equipment and Exposure 

A sturdy tripod and a cable or remote release are needed for successful fireworks photographs.

Start with the camera on the lowest ISO (100 or less). Set the aperture at ƒ/8 or ƒ/11 and the shutter speed on bulb (this keeps the shutter open for as long as the shutter release is held down; hence the need or a cable or remote release to avoid camera shake).

A small flashlight is a nice addition to you equipment for the shoot.

Take a shot or two then check the exposure. It should be close, but tweaking it a little should make the colors pop.


As soon as you hear the sound of the firework being launched open the shutter and hold it open for two or three bursts before releasing it. Blues don’t photograph as well as reds or greens, so hold the shutter open longer for a blue burst. For different effects change the length of time the shutter is open.

Out of around one hundred shots of a typical show twenty or so should be excellent photos.

The really cool thing about this – an expensive camera isn’t needed. Any camera that accepts a shutter or remote release, can be set to “bulb” and has a tripod socket should work. Many of the point and shoot cameras will work nicely.

So check it out before show. Find a spot with a workable foreground. Take a plethora of pictures. Isn’t digital great – no film cost!

Taking an Interest in People Is a Reward in Itself

Cecil Court is believed to be the inspiration for Diagon Alley for the Harry Potter movies. London

According to Mark Twain, “America and England are two great nations separated by a common language.” He was right. For many Americans arriving in the U.K., it’s a shock to discover that American English can be vastly different from English English. When we think we fit right in and don’t stand out from the natives, it’s easy to make some embarrassing mistakes. (Don’t ask for an order “to go” at a British restaurant; it’s a “take-away.”)

Lately, I’ve been reading about autism. Asperger’s syndrome is a type of high-functioning autism where the language skills are better than with other forms of autism; people with this condition are often found in higher education as professors. They have the capacity to lock in on a subject and stay focused. In the movie Rain Man, Dustin Hoffman showed us the savant aspect of autism with his ability with numbers. He also showed another aspect of autism — being clueless about things around him.

As a photographer, I study people and how they act and react to all sorts of things, so that I can photograph them and show who they are. As a result, I have over the years become an armchair sociologist. I’m fascinated with people’s behavior, especially within groups.

This little girl was enjoying being photographed. She changed the head wrap a few times to get our student photographers to take more photos of her in her village of Adeti-Kope, Togo, West Africa

Converting the Natives

I have watched missionaries in Africa “convert folks,” only to find out that the locals were just being kind and didn’t want to embarrass them. These missionaries were used to how people respond “back home” and were unaware of the foreign culture.

In parts of America, people are extremely polite. It’s difficult to know where you really stand with them. In other parts of the country, people don’t hold back their feelings and, unless you are accustomed to this behavior, it’s easy to take it personally. Sometimes your best friends will point out your worst faults, yet your worst enemy is always pleasant to you.

The most successful business people try to win and hold clients for the long run — not just long enough to close a sale. If we focus on selling a product and just finding a one-time buyer, we are focusing on the short-term. Like the missionary who thinks she has “converted a soul” but has not learned the culture, it’s a short-sighted approach to life.

Many successful people I have encountered are collectors. They may collect baseball memorabilia or classic cars or art. They enjoy finding something and holding on to it. I think this is also how they feel about people. They enjoy “collecting” them and keeping them around. They are interested in developing a relationship with these people — not just conducting a transaction.

In some cultures, it is rude to immediately jump to the transaction or point of the visit. You must spend time with a cup of coffee or tea, talk about families and complete other cultural necessities before getting down to business. Most cultures reward those who pursue relationships and not just transactions.

Herăști, Giurgiu, Romania [Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 1600, ƒ/5.6, 1/100]
With Relationships Come Rewards

I believe if we focus on connecting with people, the rewards will follow. On the other hand, I believe focusing on rewards, rather than relationships, is the surest route to failure.

It’s easy to tell the difference when you deal with people. How many people have you met who made you feel like you were important to them? How many made you feel that you were just a stepping stone on their path to success? Which of these did you look forward to meeting, or working with, again?

Showing an interest in other people and cultures is not only good business. It’s a more personally rewarding way to go through life.

Backing Up for a Disaster

The severe weather warning sirens in my town have been going off more and more lately due to tornadoes. But this isn’t what prompted me to write about the importance of backing up your computer.

One of the students I taught in Hawaii packed her computer and backup drive in the same bag. This, of course, is the bag the airline lost when she flew home. She lost everything she had worked on at school.

My cousin works for a large furniture store. They dutifully backed up all their computers; however, they kept the backups in the same store with the computers. One night the store burned to the ground and they lost all their computers and their backups.

I am not even going to go into my losses through the years.

Tornadoes, computer crashes, lost luggage, burglars, floods — there are a lot of things that can make our important files and photos vanish. So I’d like to talk a bit about planning a system for backing up our computer files.

My Backup System

First, I prefer a permanent backup of important files to CD/DVDs. It is a more stable solution than a hard drive. Hard drives fail more often than CD/DVDs.

I make two copies of these backup CD/DVDs and put them in different locations. I keep one backup with me where I can get to it in a hurry if my computer fails, but I put other copy in a safety deposit box or at a friend’s house.

Second, I have an external hard drive and make regular backups to it. Most external drives come with software designed to help you make backups.

I use this external hard drive to mirror — completely duplicate — my computer’s hard drive. When my computer dies, I only need to do a restore and everything will be put on the new hard drive or new computer.

Third, I bought yet another backup hard drive. I labeled one A and the other B. I alternate backups between the two. I make sure these A and B drives are rotated, not just with the computer, but the location where I keep them (bank vault, neighbor, etc.)

Another option for backing up important files, like photographs, is to use an online backup. To take advantage of this solution, a high-speed connection is needed. Your first backup takes the longest, but once this is done only the changes to your hard drive from the last backup are needed each time. I program my computer to do this at night after I’ve gone to bed. It takes longer than backing up to a hard drive connected to a computer, but it is off-site, and it is one more place to keep your data. One such provider is Carbonite, which is only $49.95 a year for unlimited storage.

I stay away from tape backup systems. The computer department where I used to work decided to use a tape system to backup their image library. The system corrupted the files and, after five years of inputting data, everything was lost. After restoring all that had been lost and adding four more years of images, it happened again. As far as I know they never recovered the images from those nine years.

You Need More Than One Safe Place

The estate of President John F. Kennedy’s personal photographer, Jacques Lowe, archived all their images in a safe deposit box housed in the vaults at 5 World Trade Center next to the Twin Towers.

I make sure my images and other important files are stored in more than one location.

Now, when I hear a weather alert, I’ve got one less thing to worry about.

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Relationships Help Shape Excellence

Editors note –

Taking better pictures and being a better communicator has a lot to do with working with people. My latest series of e.Newsletters addresses areas which have helped improve my photography. Becoming an expert on people is what helps me to specialize in covering people.

I love to play basketball. Over the years I’ve had the rare opportunity to play with not only good players, but with a few professional basketball players as well. However, just because I played with outstanding players didn’t make me a pro player. It did open my eyes to the potential of a player.

I’m not in the physical condition of my youth, but my improved understanding of the game makes me a better player than I was when I could jump above the rim.

Being around the best in a field will help us learn. On the flip side when we reach out to help others, more often than not, we are blessed at least as much as they are.

I have photographed the homeless in downtown Atlanta and heard them pray for the wealthy people in the suburbs. They’re worried that wealth may cripple the hearts of the rich and harm their relationships with others. They’re not praying for handouts, they are praying for people’s hearts.

I’ve served dinner at an overnight shelter to men who are homeless yet they have jobs at places like UPS. They send their money to their families living in towns where the cost of living is much less.

I’m not sure if I could make some of the sacrifices these homeless are making. Just being around these people teaches me a lot.

Some of my neighbors are from Bosnia, Croatia, Chili, Jamaica, Kenya and Mexico. One family, from Croatia, had to pack in the middle of the night, leave everything they owned and flee from danger – not just once, but twice.

Another neighbor, having already escaped the war and living safely in the US, returned to Bosnia to help his family and friends in the war raging in his home country. Now, back in the US, he spends his time in a wheelchair with a bullet in his back from that war. Last year his wife suffered a heart attack and died.

Just living around these immigrant neighbors teaches me so much about sacrifice. Their determination to make a better life for their children is astounding.

As a photojournalist I have had the opportunity to meet so many people and hear their stories. It has given me a better perspective in life.

Another way I have been able to expand my relationships is through education. Formal education in the classroom forced me to learn about subjects I would have never encountered had the classes not been required. What I gained from my education experience is the desire to learn.

Reading biographies helps me to discover how a person was changed through time and experiences.

The Internet helps me connect with many people and reconnect with friends from the past. Our oldest son went off to college this year. Through the Internet and cell phone was able to remain connected to many of his high school buddies.

This is a major change from when I left for college. Then, with no Internet and cheap long-distance phone service, we just had to sever ties to many of our friends.

I’m learning that in order to improve my game I need to reach up to those who are further along than me, out to those alongside me and down to those who may need my help. I’ve also learned that when I reach down I’m often really reaching up.

Reach out and get connected—it can change your life.

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