Thursday, April 23, 2015

What would you say if Eugene Smith was on the front row listening?

Don Rutledge took this in 1967 inside the Arctic Circle.  People are so comfortable with Don that he is able to be apart of the woodwork. 
Don Rutledge was the speaker on the second day of the Atlanta Photojournalism Conference in 1975. The night before William Albert Allard had blown away the group with his work on the American Cowboy. First time anyone had spoked to the group and gotten a standing ovation.

Following Don Rutledge would be Eugene Smith. Don admired Smith's work more than any other photographer at the time. Eugene Smith is sitting right in front of Don during this talk.

photo by: Ken Touchton
Listen to Don't talk here:


Here are my notes from Don's talk:

There are three types of photographers
  1. Snap Shooter
  2. Gimmick Shooter
  3. Fullness of Photography Shooter
The Snap Shooter is one who enjoys taking pictures. The Gimmick Shooter uses tricks to keep your interest. The Fullness of Photography shooter uses his eyes, brain and heart to shoot.

Don got those three elements from Ernest Haas.

The Fullness of Photography Shooter I will call the concerned photographer.  They identify where people are in this world.

Now all of us can drift away from being a concerned photographer uses excuses. Many photographers use excuses like lack of time to dominate situations.

The concerned photographer listens and looks. They put it all together and stand flat footed in this world. We are tuned into the moments, in the zone, and able to anticipate those peak moments.

1) We need to learn to turn handicaps into advantages. 

SIDE NOTE

I used to travel with Don doing stories for Black Star photo agency. These would be features that he could take at his own pace. Later I understood how this was Don's way of training himself to have muscle memory in those times when he was having to rush.

Don pointed out that all photos are taken at a fraction of a second, so it isn't a lack of time–it is a lack of discipline we lack in these times of having to work quickly.

2) We complain about photo editors who just don't understand. To update this a bit it is anyone you are shooting for today. 

Our problem is often our ego. We think we are a great photographer. We often are saying or wanting to say to our clients if you only gave me a chance. "This is where a picture is worth a thousand words," says Don with the audience laughter following.

Don's advice is to shoot the photo the way you want to and show it to them when they crop it poorly. Talk to them about what you were trying to say.

IMPORTANT!!!!!! Don said you most likely will not be heard the first time or even the second time. You are educating people over time. 

I personally watched and wrote about how long it took Don to turn around organizations in my thesis. Here are a links to it.
Storyteller: Master's Thesis on Don Rutledge: Chapter OneJan 16, 2013
For this reason this writer is doing his thesis on Don Rutledge for publication. Don has worked for Black Star photo agency in New York for more than thirty years. During this time he has also worked for the Home Mission and ...
http://blog.stanleyleary.com/Storyteller: Master's Thesis on Don Rutledge: Chapter TwoJan 12, 2013
Don was born in Smithfield, Tennessee. Not long after being born the family moved to Murfreesboro, Tennessee, south of Nashville. "Good ole' home folk," is what you would say about the Rutledges. They lived on a farm ...
http://blog.stanleyleary.com/
Storyteller: Master's Thesis on Don Rutledge: Chapter ThreeJan 13, 2013
Master's Thesis on Don Rutledge: Chapter Three. HOME MISSION BOARD, 1966 TO 1980. When Walker Knight went to the Home Mission Board of the Southern Baptist Convention, in 1959 he was handed photo story ...
http://blog.stanleyleary.com/
Storyteller: Master's Thesis on Don Rutledge: Chapter FourJan 15, 2013
When Dr. Keith Parks went to the Foreign Mission Board in 1975, his responsibility was to head up the mission support division. Establishing one of the finest communications departments possible was one of the goals that ...
http://blog.stanleyleary.com/Storyteller: Master's Thesis on Don Rutledge: ConclusionJan 16, 2013
To a non-Christian, Don would have been considered crazy for taking the positions with Southern Baptist. Going to the Home Mission Board was definitely a step down in pay and prestige for Don Rutledge. Why would ...
http://blog.stanleyleary.com/
Bottom line Don is telling us we need to prepared for some "Show and Tell."

Next Don warns us to have our Ego and Abilities in check with each other. We need to know our real abilities and not have our Ego way out and in front.

Now Don also mentions that being apart of an institution like LOOK Magazine helps a photographer. It will open doors for you and give you a budget to work with. There is a downside to an institution for a creative. You will find that they want to stop you and make you fit their system. 

Just know that being a creative photographer and wanting to change the world sometimes will take time. Time for you to educate those around you with work you are producing. You must be able to articulate your vision to help them see it.

Tuesday, April 21, 2015

Face Recognition with Lightroom 6

Click on image to see larger
I downloaded Adobe Lightroom 6 and just fell in love with Face Recognition feature. Open a collection and then click on the little face [red arrow pointing to it] and it will bring up all the faces just like happens in Facebook when you upload images and it asks you if you want to tag people.

It takes time to explore new or upgraded software, so all I writing about is just what I discovered and loved immediately with the latest Lightroom upgrade. As I discover all the new bells and whistles in Lightroom 6 I will right about them if I see something worth my time.

Click on image to see larger
Throughout my career I have shot large projects and had to go through and identify everyone in the photo. Now I can at least scan a complete shoot and put the names that Lightroom sees into every photos metadata.

Now when you go to each photo you can check to see the names of people. If the face isn't recognized you can still click on box at bottom as I have done here and then create a box and then type in the person's name.

Click on image to see larger
Here it missed Philip Lin and I went back and then typed his name into the photo.

Click on image to see larger
It puts all the names in alphabetical order based on the first letter in the name. Now while the photo isn't captioned left to right as you would have in the caption–to have all the names from a large 3,000 + images in each photo is a huge time saver.

It put the names in two IPTC fields: 1) Keywords & 2) People Shown.


When you export you can remove all the names or add them with just a click. The names are all saved in your RAW files.

I can see most all my friends who are photojournalists and need to have names with all their photos being thrilled with this feature. The other group of photographers that will benefit is anyone who keeps a database of photos and needs to search them to find people.

I know of one client I have that this feature could possibly improve their image archive system almost overnight.


Monday, April 20, 2015

Photographing Women's Soccer

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, Sigma TC-2001 2x, ISO 1100, ƒ/8, 1/2000
I spent an afternoon shooting a girl's middle school soccer game. These are just a few of the photos from the shoot.

I shot 1458 images and edited it down to 444 images that are what I consider OK.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, Sigma TC-2001 2x, ISO 900, ƒ/5.6, 1/2000
Here is a link to all the sports settings I used for the Nikon D4 in earlier blog Nikon D4: Sports Camera Setting.

Nikon D4 Camera Settings:
  • Auto ISO 100 - 12800
  • Minimum shutter speed setting in Auto ISO 1/2000
  • RAW
  • AF Focus Tracking setting at 4
  • AFC - Continuous-servo Autofocus
  • 21-point dynamic-area AF
  • Focus point center and on lock
  • AF Activation - Auto Focus only: use back focus button to focus and shutter release only controls the shutter
  • Release Mode–Continuous High Speed
Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, Sigma TC-2001 2x, ISO 1000, ƒ/8, 1/2000
I like to stand in the endzone of the goal that the team I am covering is trying to score.


Getting on your knees is even better than standing. 

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, Sigma TC-2001 2x, ISO 1100, ƒ/8, 1/2000
The level of play of the athletes will determine how good of photos you will get. The better the game the more opportunities for great action photos will increase.

Sunday, April 19, 2015

What gear and where to sit to capture theater productions

Nikon D750, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, Sigma TC-2001 2x, ISO 12800, ƒ/5.6, 1/200
If you were on the front row of the theater you would not see this photo. The reason is simple. The actor is laying down on the stage just above the orchestra pit area.


This is why I like to go to the very back of the auditorium to shoot photos of theater productions at my daughter's high school. If I need to I can even stand because no one is behind me.

Fuji X-E2, Fuji XF 55-200mm, ISO 6400, ƒ/6.4, 1/55
This is another photo of the same theater. You can see how people in the front few rows are actually below the stage.

Fuji X-E2, Fuji XF 55-200mm, ISO 6400, ƒ/4.4, 1/400
Now the downside to being all the way in the back of the room means you will need longer glass than a kit lens.

Nikon D750, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, Sigma TC-2001 2x, ISO 9000, ƒ/5.6, 1/500 [600mm]
I love shooting with the Sigma 120-300mm ƒ/2.8 DG OS HSM | S and the Sigma TC-2001 2X converter. It lets me get pretty close like in this photo from the play Little Shop of Horrors at Roswell High School.

Most of the photos I take are between 200mm to 600mm.

Nikon D750, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, ISO 2200, ƒ/2.8, 1/500 [300mm] 
Here I took the 2X converter off and zoomed all the way in to get this photo.

I highly recommend shooting with a monopod so as to keep the camera steady and also that is one big beast with a Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S and the Sigma TC-2001 2x.


This lens combination is great with a lot of events and situations other than sports or wildlife.

Nikon D750, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, Sigma TC-2001 2x, ISO 2000, ƒ/5.6, 1/100 [550mm]
Theater Camera Gear Recommendations:

  • Nikon 28-300mm ƒ/3.5–5.6
  • Sigma 120-300mm ƒ/2.8 DG OS HSM | S
  • Sigma TC-2001 2X
  • Sigma TC-1401 1.4X
  • Nikon D750
  • Manfrotto 294 Aluminum 4 Section Monopod
  • Manfrotto by Bogen Imaging 323 RC2 System Quick Release Adapter w/200PL-14
Mirrorless Camera System Recommendations:
  • Fuji X-E2
  • Fuji XF 18-55mm
  • Fuji XF 55-200mm
Nikon D750, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, Sigma TC-2001 2x, ISO 7200, ƒ/5.6, 1/500 [550mm]
Camera Settings Tips:
  • Auto ISO – when shooting check the LCD and to compensate use the EV dial to under or overexpose. 
  • Check Histogram for accuracy. 
  • Use Blinking Highlights to let you know what has no details. Be sure faces always have detail.
  • Custom White balance for "White Light" if possible. Many theater lighting schemes use a lot of color, be careful that you are balancing to the lights without gels.
  • Tungsten is often the correct white balance for theater lighting–but not always. Don't try and color correct every scene when the lights are often intentionally giving a color cast.
  • Scene brightness will change the color temperature as well. A dimmer set at 10% will make the light more orange than at 100% brightness.
  • Try to use shutter speed that is closest to the focal length. If 200mm use 1/200 and if 500mm then use 1/500. This is why having a monopod will let you shoot darker scenes to help keep the camera steady.

Friday, April 17, 2015

What is an environmental portrait and what it is not


An environmental portrait is not something that has to be setup and formal. Here I captured Philip Newberry who had lost both legs and arms to spinal meningitis.  Little Philip just jumped up on the merry-go-round and was having fun and smiling at his parents. I just composed and I had a great "environmental portrait." of Philip.


This also could be used as an "environmental portrait" and may work better since here I know a little more about Philip's loss of feet and hands. It helps tell the story. Again this is not a "Posed Portrait."


Sometimes you may have to set up a portrait, as I did here in the man's kitchen. I added a light to help see his face better.

Think of setting up the photo without the man and then having the man sit down into the photo. This is what i did here.


This is often the mistake made by new photographers when they have been asked to make an environmental portrait. Too often young new photographers think portrait is the orientation.

They must think of their computer and when they go to setup their page or print it they remember there is a "Portrait" choice and a "Landscape" choice. These are referring to vertical and horizontal and not a style of photography. You can have a vertical environmental portrait, but it would not be this photo. Here I have eliminated most of the environment so that the surroundings tells us very little about the subject.

By composing the image so tightly around the subject you have "eliminated" the environment.

Environmental Portrait Tips

  1. Think first of composing for the environment first. Find the angle that best captures the space for which the subject either: works, plays or lives for example. 
  2. The environment should be enough to communicate something about the subject.
  3. Let the subject move in the environment as naturally as they normally will do if you are not there. Just sit and wait and take photos until you have a selection of different places where the subject has moved in the frame. 
  4. Look for the "moment" and not just the location of the subject in the frame. This is more subtle. They may turn their head ever so slightly to the light that the light just makes their face glow or their is an expression that best captures their personality. 
  5. Just remember people have many traits to their character and the more you shoot the better the chances you will have more options to choose from to capture the very best of the person.
  6. Use off camera flash, or turn on a desk lamp or do something to help be sure you have the best light to help communicate more effectively. You don't want a silhouette of the subject for an environmental portrait.

Here I believe the "expression" of the young boy is the strength of the photo. The environment tells a little and I would have preferred more surrounding than I have.


Here I have a father with his children and wife in the background of his kitchen. This tells a little about the man that had I cropped in tight would have been left out.


I had very little time at this home and so hanging out in the room with this teenage until I could find a natural moment was just not going to happen. However, I have traveled from Atlanta to Chiapas Mexico and so I had to get what I could. 

As you can see the window behind the teenager would have made him a silhouette and therefore I am using an off camera flash to the far left pointed to his face.


Here I had him stand and I moved the off camera flash on a light stand to the right of me, his left, and then took more photos to show what a typical teenager's room would look like in Mexico.


This is a new pastor who is starting work in the medical center area of Houston, TX. Most all the photos I had of him were inside a hotel meeting room. Nothing in the room said "Houston." I wanted to be sure I had something of him showing that he is working in Houston. 

This was my intro shot of Ben telling his story in in Houston in a slideshow. Here you can see how I used the photo as a way to introduce Ben Hays in a package.

Often in print the space is so scarce that the environmental portrait is the only photo they will use. So you need to capture as much as you can in one photo to help tell a little about the person's story and introduce them to the audience.


Here is a photo of Philip and Matt Moulthrop who learned how to turn bowls from Philip's dad Ed. I wanted to capture photos of them with their bowls in addition to photos of them making them.


This is how they used my photos in the article. As you can see sometimes they just need to introduce the person to the audience. Here the bowls were as just as important, but this was an Alumni magazine package, so the people were the hook for the story.


Sometimes they do use your photo as a vertical shot as they did here for a magazine cover. Notice how this too is an environmental portrait.

Here are just a few more examples for you and see where I used artificial light sometimes to help the photo.


While this appears to be natural light is is actually not. Here is the lighting setup for the man at the desk:



My last suggestion is the think of using layers in the photograph when possible. Have things in front and behind the subject to create depth.

Wednesday, April 15, 2015

Photographers be like farmers in the Springtime–Prepare the fields

Fuji X-E2, Fuji XF 18-55mm, ISO 1000, ƒ/4.5, 1/500
This is a time you can drive around your neighborhood and see a major difference in lawn care. This photo shows just the difference between spreading Weed & Feed with watering can make in the appearance of your lawn.

It is only the farmer who faithfully plants seeds in the Spring, who reaps a harvest in the Autumn.

B. C. Forbes

Fuji X-E2, Fuji XF 18-55mm, ISO 2500, ƒ/4.5, 1/500
A few weeks ago I decided to really tackle the problem with bare spots on my yard. Well actually they are bigger than spots. There is a lot of shade so this will always be an area that needs more work than the sunny sections of the yard.

I went to HomeDepot and bought Powermate 10 in. 43 cc 2-Cycle Gas Cultivator to help turn the soil with the Rebel tall fescue, pelletized limestone, & Vigoro 15m weed & feed.

Just two weeks later and you can see in these photos the results of a much greener yard.

Fuji X-E2, Fuji XF 18-55mm, ISO 3200, ƒ/4.5, 1/500
Now here you can see the areas I didn't cultivate did not produce as much grass. Some grass seed and fertilizer fell in those areas but the difference was in the turning the soil about 2" – 3" that buried the seeds and helped them grow.

With just celebrating Easter at our church I was reminded of the Parable of the Sower that Jesus told.
Matthew 13: 3-9
“A farmer went out to sow his seed. As he was scattering the seed, some fell along the path, and the birds came and ate it up. Some fell on rocky places, where it did not have much soil. It sprang up quickly, because the soil was shallow. But when the sun came up, the plants were scorched, and they withered because they had no root. Other seed fell among thorns, which grew up and choked the plants. Still other seed fell on good soil, where it produced a crop—a hundred, sixty or thirty times what was sown. Whoever has ears, let them hear.”
Photographer Tips:

You reap what you sow. We have all heard this before, but what can a photographer learn from this? You need to go back to your present clients and reconnect with them. You need to give them more information about you and what new things you are doing. This is like fertilizing your yard.

Now some ground is hard as rock. A farmer uses a tiller to break up ground that has not been farmed or has become extremely hard. A farmer uses a cultivator for loosening the soil in an existing planting area, weeding the area during the growing season and mixing compost into the soil.

You may have to do a lot a leg work and go and really beat the pavement finding those new clients. You may need to have some good examples to leave with them either through your website, e-newsletter, or printed material. You may need to get some friends that work with those potential clients to help introduce you and break the ice for you.

Competition:

Even Jesus knew that your competition will try and sabotage all your good work. He told a parable about it as well. It follows the Parable of the Sower:
Matthew 13:24-30
Jesus told them another parable: “The kingdom of heaven is like a man who sowed good seed in his field. But while everyone was sleeping, his enemy came and sowed weeds among the wheat, and went away. When the wheat sprouted and formed heads, then the weeds also appeared. 
“The owner’s servants came to him and said, ‘Sir, didn’t you sow good seed in your field? Where then did the weeds come from?’ 
“‘An enemy did this,’ he replied. 
“The servants asked him, ‘Do you want us to go and pull them up?’ 
“‘No,’ he answered, ‘because while you are pulling the weeds, you may uproot the wheat with them. Let both grow together until the harvest. At that time I will tell the harvesters: First collect the weeds and tie them in bundles to be burned; then gather the wheat and bring it into my barn.’”
They didn't have weed & feed in those days. We as photographers may not have the weed control to put out either, but the lesson is clear others will try and attack you at times. Be careful at trying to fix this–you could end up damaging the good seed you did plant.

The message is clear to have a big harvest requires you to work the field. You need to get that tiller and break up the really hard ground. You need to use the cultivator to mix the seed and fertilizer. You will need to then water the field as well if you expect to see a crop that will be worthy of harvesting.

You can't reap what you do not sow.


Capturing a "Moment" helps to build a brand

Nikon D3S, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 560, ƒ/5.3, 1/80
I was covering a meeting where Dan Cathy the president of Chick-fil-A was talking about Daddy Daughter Date Night events. He then put this image of mine up on the screen to talk about how every daughter would love to have her daddy looking at her like this and giving her this type of attention.

This is one of those really rare moments when people are talking about the work I produced and I am getting to hear it.

Nikon D3S, Sigma 70-200mm f/2.8 EX DG APO OS HSM, ISO 6400, ƒ/2.8, 1/320
This is the actual photo here. I am guessing that the photo on that stage was 45' x 30' big. I was really impressed that the Nikon D3s ISO 6400 image looked that great projected that size.

The client was comfortable enough to use the photo by the president of the company to talk about one of the most important things their brand does–emotional connections.

Nikon D3S, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 3200, ƒ3.8, 1/25–Off camera fill-flash using the Nikon SB-900.  The Flash is on the Pocketwizard TT5 and being triggered by the Mini TT1 on the Camera with the AC3 to control the output of the flash. 
My job is to look for those moments where the emotional connection happens and be sure the brand is part of those moments. Here I was capturing a Father & Son Camp Out at a local Chick-fil-A. Chick-fil-A is creating events to help bring families closer together. What better way to capture these moments than with a photograph.

Remember while you need to technically have a good quality image you also need a "moment."


Monday, April 13, 2015

Great Photography Implores Yin-Yang of ...


Photography requires one to understand yin-yang.

Wikipedia definition of Yin-Yang
In Chinese philosophy, yin and yang (also, yin-yang or yin yang) describes how apparently opposite or contrary forces are actually complementary, interconnected, and interdependent in the natural world, and how they give rise to each other as they interrelate to one another. Many tangible dualities (such as light and dark, fire and water, and male and female) are thought of as physical manifestations of the duality of yin and yang.

Yin and yang can be thought of as complementary (rather than opposing) forces that interact to form a dynamic system in which the whole is greater than the assembled parts. Everything has both yin and yang aspects, (for instance shadow cannot exist without light). Either of the two major aspects may manifest more strongly in a particular object, depending on the criterion of the observation. The yin yang shows a balance between two opposites with a little bit in each.
Here are some Yin-Yang dualities in photography that I deal with constantly and this list isn't comprehensive by any means.

Nikon D3, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 500, ƒ/2.8, 1/20, Nikon SB-900 off camera triggered with Pocketwizard TT1 and TT5 on the flash
Shutter-Speed/Aperture–You cannot change one without the other being affected. This was more true in the days of film when you were stuck with one ISO until you changed the film.

ISO/Noise–As you change your ISO you are affecting the image quality. Today's cameras high ISO capabilities are making this less noticeable, but it still exists.

Flash/Authentic Moments–When I shoot with a flash I announce myself and it is much more difficult to blend into a room.
Nikon D3S, Nikon 24-120mm ƒ/3.5-5.6, ISO 12800, ƒ/5.6, 1/200
Mixed Lighting–Situations where you have say window light and fluorescent lights in a room competing as the subject moves closer or further from the window the constant fighting of color temperature is ongoing.

Gear/Photographer–This is the biggest issue I have on a daily basis when it comes to the Yin-Yang. There is an ongoing struggle between the science and philosophy of the image. It is like a struggle between science/technology and the liberal arts where you need both to make the very best images.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 200, ƒ/2.8, 1/160

Lifelong Learning

What I love the most about photography and yet continues to frustrate me just as well is I have rarely looked at my work and felt like the images I made couldn't be improved upon.

Great photos I believe are the results of years of understanding and knowledge of the gear to make it perform at the peak of it's capabilities along with years of understanding of the subject. You are able to anticipate and execute an incredible image because you are then fully ready for the "moment."

Sooner or later I have had gear fail me because I pushed it beyond it's capabilities. Photographers complain and the manufacturers listen and create newer gear that exceeds the previous gears abilities.

I have to admit while photography can frustrate me it pales to the learning curve of mankind and my ability to anticipate what people will do.

While I know today's cameras will do even more than their predecessors I don't think we ever fully maximized all that the simple box camera will do.

Nikon Coolpix P7000, ISO 100, ƒ/2.8, 1/1100
Two topics that will result in better images

I think we need to first spend more time getting to know our subject of the images. We need to become experts on our subjects so we truly can start to capture moments that help people connect through our images to those subjects in ways they did not see before.

Second we need to constantly be learning all that our camera gear will do and what we can do to capture those "moments" with our subjects that help clear up the image so that the "moment" really "clicks" with the audience.

Saturday, April 11, 2015

Forming a Photographic Style

Nikon D4, AF NIKKOR 85mm f/1.4D, ISO 200, ƒ/1.4, 1/80
My friends and I were teaching a class and we had one student that we all were trying to figure out why they were taking the class. He found each of us and wanted to tell us all he knew about photography.

One of us mentioned how it takes 10,000 hours to master something. Malcom Gladwell talks about this in his book and I have written about it as well on the blog. Here is that link.

The student then went on to say then I am a master then. One is a master when others acknowledge it about you and not the other way around.

My mentor Don Rutledge was trying to form a style and talks about how one guy told him about his style. Listen to Don talk about it here:


Now if you want to hear the entire talk by Don then here it is for you.



Why is it so hard to establish one's style? I think the hardest thing for most pros is the lack of feedback.

Once you were a hobbyist your friends would compliment your work and tell you how good you are and you should be a photographer. Once however you become a pro, they no longer give you that feedback. Why? You see now you are expected to make great photos.

I think professional photographers need to seek out and pay for feedback.

The other day my friend Will Flora did an experiment with some workers. He is a training director for  a company. He got some front line workers to come to a bowling alley where he paid them to bowl for the day.

There was a catch. He had covered all the monitors and put up a curtain so they could not see how many pins they took down or see their scores. After a while the workers wanted to quit and go home.
They were being paid to bowl for the day and they wanted to quit.

As they were taking off their shoes, Will removed the curtain and uncovered the monitors. A guy asked if they could still bowl without the stuff in the way. He said of course. They then started to bowl and have fun. You see people enjoy work when they understand their part–especially when they can make a game of it.

Nikon Coolpix P7000, ISO 100, ƒ/7.1, 1/1000
While it is important that you get paid as a professional photographer and paid a good wage for your creative talents we still need and want feedback. How are we doing?

Here is a to do list for you:
  1. Find Mentor/Coach to help you discover your style
  2. Be sure the style you are pursuing is the core of who you are and want to become
  3. If you like a photo and you know the photographer take time and tell them that you like it and why. You gotta be willing to give feedback if you want to receive it.
Fuji X-E2, FUJINON XF 55-200mm, ISO 6400, ƒ/8, 1/400
Don't be the photographer that is a legend in their own mind.