Wednesday, October 07, 2015

Those who like film might also like classic cars for similar reasons

DROID TURBO by Motorola 64GB in Black Ballistic Nylon, ISO 50, ƒ/2, 1/307
Whenever I see a classic car like this Duesenberg 1935 SJ LaGrande Dual-Cowl Phaeton I too would love to have one.

Very few of the classic cars can compare to most modern cars for performance. However there are cult followings for these classic cars.

One of the reasons I love the Fuji X-E2 is it has a lot of the feel and design qualities of the Leica M6 that I used to shoot with years ago.

This is just my opinion, but I am finding those who are all about shooting film today are very similar to those who buy classic cars and love driving them. It is about the nostalgia more than it is about if it is truly better than digital.

All the research today shows that the dynamic range, sharpness and resolution of digital is superior to film.

You can even shoot digital and then in post processing make it look like you shot it on film. You can even buy those presets for Adobe Lightroom if you don't want to learn how to create the effect.

Why you might want to shoot film

Creativity is something that requires you to get into a zone and think beyond the boundaries. If you need to shoot film for you to be your best creatively then you need to shoot film.

You may even need to shoot film every once in a while just to get those creative juices flowing. Whatever the reason it is OK to shoot film.

Why I shoot with Nikon D4

As soon as the new Nikon D5 comes out I will most likely upgrade for the same reason I upgraded from the earlier pro Nikons. The new camera will give me some new capabilities to do things I could not do before.

The Nikon D3 was the game changer for low light photography. I could easily shoot at ISO 6400 and then the Nikon D4 gave me one stop more to ISO 12800.  The Nikon D5 is rumored to have a native high ISO of 102,400 and 4k video. This would be a 3–stop increase in ƒ-stops.

The last time I had a jump like this was when I went from the Nikon D2x to the Nikon D3. The D2Xs ISO 100—800, but the Nikon D3 ISO 200—6400. Those 4—stops was making all of the lenses in my bag increase by 4—stops.

To get the same ƒ–stop gains would require you to spend incredible amount of money. Just to increase those lenses would would 3 to 4 times what the present lens I own and most of those lenses just don't exist.

My creativity comes when I don't have to not shoot because there isn't enough light. If film gave me the advantage to do this over digital then I might be interested in shooting film.

Tuesday, October 06, 2015

How to create an online presence for your photo business

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 5000, ƒ/2.8, 1/250
I just stopped by my online internet presence provider today while in New York City. My website is hosted through them. I also provide my images to my clients online through them. My clients can not only download images they can order prints and much more as I add those features to an online gallery.

I also am selling stock images of my own online and helping my mentor, who passed away, sell his images through my website as well. This is my way of helping out his spouse who still is active.

Join me on PhotoShelter

Now if you click on this link you will get a $15 discount as well as I get a small amount that helps support this blog.

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 1250, ƒ/2.8, 1/250
Here I am with Kevin Davis, Director of Business Development, for PhotoShelter. I have referred many of my clients to use PhotoShelter's Libris product to organize their own in-house photo collections.

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/8, 1/160
Many on their staff are shooters as well so they understand us photographers. This morning I was helping with a client's Libris account and called and talked to John. He is in the hat closest to the wall.

John solved my problem in just a couple of minutes. I had not correctly setup some files and he told me how to correct it and even offered to do this for me. WOW!!! I am a raving fan of PhotoShelter.

Here is an earlier post I did back in 2012 on using PhotoShelter for business.

I wrote another blog talking about how their website hosting works. Here is the link to the blog post Is your photography website scalable from Desktop to Mobile?

PhotoShelter has less than 50 employees. It has a very small company feel, which means I feel like they know me.

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/8, 1/80
Joining PhotoShelter gives you other perks, like discounts to these companies:

I personally swear by and use ThinkTank products, PhotoMechanic and Cradoc fotoSoftware.

For any one starting out in photography I would recommend you use PhotoShelter for all your online photography needs. That includes your website, online galleries and stock sales. I also would recommend buying Cradoc's fotoBiz software for similar reasons.

Both PhotoShelter and fotoBiz help you run your business. They have made this super simple for the novice.

I also recommend you get those clients of yours with photo collections to sign up for PhotoShelter's Libris to help them manage and share those assets through a secure online system.

If you are starting out and used PhotoShelter and fotoBiz I can tell you would have jumped about ten years past all my mistakes. Do you want to get an advantage over other pros? Then join PhotoShelter.

Monday, October 05, 2015

Unexpected moments

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 12800, ƒ/5.6, 1/250
Sometimes you just walk out the door and you see this. Everyone will grab a camera like these did at a recent event at The Carter Center in Atlanta.

Everyone here is going for their smartphone camera.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 5000, ƒ/5.6, 1/250
I was able to zoom in with the AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR and get a much better shot than my phone's camera.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 12800, ƒ/8, 1/50
Here I had my camera at the RQN Subway in New York at the 34 Street - Herald Sq Station. I loved the music and it really made me stop and just enjoy a minute or two.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 400, ƒ/8, 1/20, Nikon SB-900 -1EV
I also had a really big treat today. I was able to visit with Brad Smith, the director of photography for Sports Illustrated. I dropped off some Chick-fil-A sandwiches from the Grand Opening that just happened in NYC this weekend. I also brought him a few of the Chick-fil-A Cows.

Since I had my cameras and also the Nikon SB-900 I was able to get a nice photo for Brad to keep and for me to have as well.

All this is really just to remind you some of the best photos are the unexpected moment. Will you be ready?

Wednesday, September 30, 2015

Photographer you get the call–Are you ready to go?

Your Go To Bag

Most of my career I have been getting assignments just a day or two before the shoot. I have had a fair number of requests that had me grabbing my bag and running out the door.

Now when you get that call are you ready? I got a call to fly to NYC and to pull this off quickly. Think about all you need to make happen for a shoot that requires travel.

  • Purchase Airfare
  • Book Hotel
  • Book Rental Car
  • Book Photo Assistant
  • Pack clothing bag
  • Pack photo gear

You are also sending emails/texts to your contacts planning your trip as well. You need to know your contact and their Phone #s, email for example and let them know when you will arrive after you have already checked with them about when is best for you to be there.

Streamlining your process is key as having your workflow down for post production.

Every pro has a go to bag that is the first thing you grab for just about every job. This is my #1 bag.

Bag #1 Gear

  • (2) Nikon D4 Cameras – 2 extra batteries and charger
  • Nikon D750 with Grip – 2 extra batteries and charger
  • 14-24mm ƒ/2.8 Nikkor
  • 85mm ƒ/1.8 Nikkor
  • 28-300mm ƒ/3.5-5.6 Nikkor
  • Sigma 70-200mm ƒ/2.8
  • Nikon SB-900
  • Nikon SB-800
  • (2) PocketWizard TT5 
  • PocketWizard mini TT1
  • PocketWizard AC3
  • Battery Charger for AA batteries
  • ExpoDisc
  • Microfiber lens cloth
  • Nikon MC-30A Remote Trigger Release
  • Nikon ML-L3 Wireless Remote Control
  • Shure FP15/83 Lavalier Wireless System
  • RØDE VideoMic Pro
  • (2) Zacuto Z-Finder, Gorilla Plate V2, and Z-Finder 3.2” Mounting Frame for Tall DSLR Bodies
  • ThinkTank Memory Card Holder
  • ThinkTank Airport Security™ V 2.0 Rolling Camera Bag

Often I need to have a run and gun lighting kit or I need two tripods and light stands for video. This is my second bag I grab.

Bag #2 Gear

  • (2) Manfrotto 5001B Nano Black Light Stand - 6.2' (1.9m)
  • (2) Interfit Metal Umbrella Bracket with Adjustable Flash Shoe
  • (2) Cowboystudio 33 inch Photography Studio Translucent Shoot Through White Umbrella
  • (2) Neewer TT850
  • (2) Neewer 433MHz Wireless 16 Channel Flash Remote Trigger
  • (2) ThinkTank Strobe Stuff
  • (2) MagMod flash modifier system
  • Gitzo GT0531 Mountaineer 6X Carbon Fiber Tripod Legs - Supports 11 lbs (5kg) & Manfrotto ball head
  • ProMaster XC525 Tripod

I just put this picture of the ThinkTank Glass Taxi to point that I have a few specialized bags that I grab like this bag for sports. It holds my Sigma 120-300mm ƒ/2.8 DG OS HSM | S, Sigma TC-2001 2x & Sigma TC-1401 1.4X.

What is your go to bag?

It is easier to grab a bag than it is to pack a bag. Take your time to create your primary bag that will let you photograph most of the situations you do on a regular basis. This will be different for each person. You most likely have looked at my list and rolled your eyes. You are probably also wondering why I don't have something in my bag that you consider key to doing great photography.

I think you need a basic lighting kit. I have two basic kits. One is studio strobe kit and the other is a hot shoe kit.

It is better to have a kit ready to go and not worry that you left something at home or the office when you need it on a photo shoot than make the mistake of rushing to pack a bag at the last second.

The cost of an extra bag ready to go is cheaper than the blow to your brand when you cannot deliver for the client.

Monday, September 28, 2015

Using photography to help build a brand

Nikon D4, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 7200, ƒ/9, 1/100
This coming Saturday, October 3rd Chick-fil-A is opening their first store in Manhattan, New York.

My job this past weekend was to capture some of the inside and outside to help everyone who works for Chick-fil-A get a glimpse of the new location.

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/8, 1/250
Here I am trying to capture the street sign of W 37ST so people can get context of where this is located.

Nikon D750, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/8, 1/200
I then tried to let you see the other side to show how this is a residential area of NYC.

Not matter how hard I tried the single image just doesn't do it justice. So I did some 360º Panoramic photos of the place. Here is one from the street.

I think the 360 is a lot more engaging and helps you get your bearings as to the location of restaurant better than the single image alone does.

Friday, September 25, 2015

Photographer are you Liked or Loved

Monetizing a Like on Facebook is more important to a freelance photographer trying to make a living than how many likes you can get.

We need to understand a Like on Facebook is someone walking by a newsstand and noticing a headline. Someone may even pick up that publication and glance through it for a moment, but unless they purchase the magazine the photographer will not benefit.

You need to know what this acronym stands for as a business person. ROI is short for Return On Investment.

This means that all the money and time you put into that story will be recovered so that you can pay your bills and continue to do this as a profession.

As you can see Story and ROI applies to a profitable business but likes will not alone make you money.

Lately more of my friends are facing layoffs from working on staffs as photographers, writers and designers. While we can point to many reasons these organizations are having to downside, I think it is very wise for those losing their jobs to evaluate if their work they performed had an impact on ROI.

It is very difficult to connect communications to a ROI, but shouldn't we as creatives be concerned if after all we have done on a story that the company is still loosing money? Shouldn't we be more concerned that the content we are producing no one is buying?

Whose the Audience?

I believe way too many communications experts are more interested in if their colleagues like their work than if the client and their audience like their work.

I think we need to be very much aware of what the audience wants to consume and at the same time be forward thinking about things we think they need to know about. Have we put too much emphasis on what we think is important over what they think is important?

Are you producing work for industry awards or for the customer?

Personal Project

Now this may seem extremely narcissistic and counter to all my comments above, but we need to spend time producing work from our heart as well. Find something you are passionate about and take your time and really do your very best work to tell the story.

Show the world what you can do when you have no restrictions. You will need to fund this yourself, but when you are done you will finally have something to show people about what is possible. You will show people your style and abilities.

Once you have done this personal project then analyze it to see how this approach can be a great ROI for an audience and client. I think it is easier to figure out the audience first and then find a client that is interested in that audience that could use your approach.

When picking your personal project be sure and think through the hypotheticals. If I produced what I think might work then who is the audience that would WANT this and what client can USE this to justify their ROI?

Liked or Loved?

When people buy what you produced you are LIKED and LOVED

Wednesday, September 23, 2015

Patience Grasshopper [Patience Photographer]

Nikon D3S, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 200, ƒ/7.1, 1/100

Sunset Photos

Timing is crucial when shooting sunsets. Here the sun just barely dipped below the horizon and the sky is still getting light from the sun that is visible.

Nikon D3S, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 200, ƒ/7.1, 1/100
Nine minutes later the sun is having very little impact on the sky.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 12800, ƒ/8, 1/100
Here in Chicago I just wanted a dark blue sky so that the lights of the city popped, but the edges of the building were still visible.

Nikon D750, Sigma 70-200mm f/2.8 EX DG APO OS HSM, ISO 160, ƒ/7.1, 1/160
As the sun is setting I was taking this photo in Seattle of the skyline. By just waiting for seventy-eight minutes later I was able to capture this photo from the same spot.

Nikon D750, Sigma 70-200mm f/2.8 EX DG APO OS HSM, ISO 100, ƒ/8, 6.2 sec
Finally the lights in the city are brighter than the sky allowing for them to create a more powerful photo.

Dusk Photo Tips

  • Pick your location an hour before sunset
  • Use tripod
  • Use low ISO
  • As the sun goes down shoot lots of photos
  • Shoot good 20 to 30 minutes after the sun disappears below the horizon

Monday, September 21, 2015

Workshops Help Photographers Navigate the Precariat Class

Fujifilm X-E2, FUJINON XF 18-55mm, ISO 6400, ƒ/5.6, 1/90

Business of Photography Workshop 

presented by Todd Bigelow

This past weekend for two solid days Todd Bigelow shared from his perspective business tips to the American Society of Media Photographers Atlanta Chapter. ASMP believes that if everyone is fully informed about the business of photography that this will help photographers know how to run a successful business.

The meeting was hosted by The Creative Circus. The Creative Circus mission is to graduate the best-prepared, most avidly sought-after creatives in the marketing communications industry. Unlike traditional college programs their emphasis is on portfolios and really good ones. The teachers are all working professionals as opposed to many professors who have been mainly in academia.

ASMP wanted to be sure that these students not only have a great portfolio but understand how to run a business.

Todd Bigelow believes in the 80/20 rule where 20% of how to be successful is your portfolio and the other 80% is your business practices.

There were about 23 people taking the class. The majority of the class was made up of very successful photographers with more than 20+ years in the industry. Why were they taking the class you might wonder?

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 12800, ƒ/5.6, 1/20

While photographers are not required to do continuing education to maintain a certificate–everyone taking this class understands that continuing education keeps them up on the latest ideas in the industry. 

Photographers join the Precariat Class

In sociology and economics, the precariat is a social class formed by people suffering from precarity, which is a condition of existence without predictability or security, affecting material or psychological welfare as well as being a member of a proletariat class of industrial workers who lack their own means of production and hence sell their labour to live. Specifically, it is applied to the condition of lack of job security, in other words intermittent employment or underemployment and the resultant precarious existence. The emergence of this class has been ascribed to the entrenchment of neoliberal capitalism.

– Wikipedia
Todd Bigelow introduced me to the term Precariat, which was a great description of how my career had felt for many years. Photographers are not the only ones going through this, but we have joined other professions with this sense of unpredictability.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 5000, ƒ/25, 1/40

Classmates become the professor

It is quite common at all the workshops I attend that the other class participants will often chime in with expertise that is just as helpful and sometime even more than the main instructor.

Annalise Kaylor who has more than a decade of experience as a social media strategist and content marketing consultant was taking the class as well. She was able to help the class understand some of the social media realm and even gave some great examples of how photography is now used to help companies.

One such example was a well known company that used a photograph with their social media buy of 2 million dollars for a one week use on social media.

We all learned how much photography was not just helping tell stories, but being used to gather data that helps companies then to do a better job of marketing and selling this information. Just imagine if you had the names of the people who are hiring photographers for projects. You could cut down on that 80% business and spend a lot more time on the 20% of photography and increase it.

Another person taking the class was Mitzie Goldman who was a CPA and was able to add information about taxes.

When we talked about working with NGOs besides my own experience we had Gary S Chapman who has specialized in this for his entire career since the late 1970s.

I mention these classmates as just a small part of what everyone contributed in class. When you take workshops like this you will learn not just from the instructor but from those taking the class. I think of this as the serendipitous bonus factor of continuing education. Sometimes these tidbits you pick up that you had no idea might happen sometimes are the best part of the class.

Workshop opportunity I offer

This January 9 – 16, 2016, I am running a workshop with my friend James Dockery in Chiapas, Mexico.

Café Justo is a coffee grower cooperative based in Salvador Urbina, Chiapas, Mexico. You will work with one of the coffee farmers to capture their story of how the coffee cooperative help to change their lives.

This workshop is designed for photographers who want to add to their skill set multimedia. We will teach you how to create the storyline, capture your subject telling their own story using audio/video, create video/stills to accompany that story and then how to put it all together using Adobe Premier Pro.

One of the most difficult parts of storytelling is access to a great story. We have put in place everything to help you tell a great story in an exotic location.

Register before the end of October 2015 and save $200.

Audio for DSLR Filmmakers

Another great opportunity for workshop is the one ASMP/Atlanta is hosting with Michael Schwarz on Audio for DSLR Filmmakers. Michael shows how to get the best quality audio while shooting DSLR video. Microphone selection, placement, recording directly to camera or with a digital recorder are critical to creating compelling motion projects. Michael explains, step-by-step, simple, best practices for shooting multi-camera interviews.

Here is a link to that 2 hour program on November 4, 2015.

Thursday, September 17, 2015

Love of photography can cloud your judgement

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, Sigma TC-2001 2x, ISO 12800, ƒ/5.6, 1/1250
There are two things I love to shoot more than anything else: Sports & Humanitarian subjects.

Both of these subjects are like an adrenaline rush for me to cover.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 1400, ƒ/5.6, 1/100
I am not alone and find that both of these subjects have photographers lining up in a row to shoot them for free just to have the chance to do so.

Here is a big clue to your brain cells–ANYTHING that people are willing to do for free requires you to be the very best there is to make a living at it.

The odds of you being a professional sports photographer earning all of your living doing this full-time maybe more difficult than playing the sport professionally. The reason is simple, since so many people want to stand on the sidelines and will do whatever it takes to do it even if it is for free.

In sports we call these jock sniffers. Well that may sound crude but they just want to be close to the action.

Not sure what we call them if they are willing to do whatever it takes to do humanitarian photography for free, but there are so many of these folks out there it is scary.

In a Facebook group there was a comment/question about covering missionaries for church organizations. Here is a small snippet:
The missions organization pays you little or in some cases NOTHING for your work after all is said and done. There are some of us who can walk away with photos worthy of National Geographic. I ask you, is it fair and right for missions groups to get all the benefits of having talented photographers shooting for them while the photographers get little or nothing to show for it? 

Here was my response

There are basically three types of mission organizations. 

1. The William Carey model of mission societies where people give to the society and then the society hires missionaries and pays them as staff is one model.
2. Each person raises their own funds. They have their supporters give to the organizations that endorse them and they take a percentage [usually 10%] but this gives people a tax write-off. So the entire organization raises their own support. Campus Crusade works this way for the most part.
3. There is often a blending of the two models where a small support staff that might be staff but the majority raise their own support.

So if the person who hired you to work on the project is raising their own support then I think you don't really have a case in the traditional sense in their eyes.

The problem in missions is when everyone is not operating on the same model.

I have a capitalistic freelance business. I find clients who I charge for my services. I either must make enough to subsidize my missions photography or I must charge to cover my costs.

In My Humble Opinion

I think there are way too many unqualified “missionaries” who are able to convince people to give to their cause. They are great fund raisers and not necessarily great “missionaries.”

I think the movement away from the William Carey Mission Societies to each person crowd funding is basically funding those who are fund raisers and not missionaries by skill set.

The problem also has been that many “missionaries” in the William Carey Mission Societies were not good at communicating their work when people visited them on the mission field. Many visiting the missionary would think they were not doing enough. Often the visitor would think they did as much good as these seminary trained missionaries. In some cases this was true, but many times the lack of understanding of cultural differences played into the equation.

You cannot change these models, but you must be aware of them and decide for yourself how you will respond. You can create your own 501c nonprofit and crowd source for example and have people give to the communications efforts of missions work around the world.

You can go and be a tentmaker who makes most of their money like Paul one of the first missionaries and author of much of the New Testament did as a tentmaker/missionary.

You can find those organizations that have set aside budget to hire you because they value true expertise and understand how this will help their missions objectives.

After more comments where people still felt like they should be paid by those organizations who often are all raising their own funds, I thought I needed to add some more thoughts. Here they are for you.

I don't think you will get very far with feeling people should pay you when they are raising all their funds.

If you need to be paid then just state that and if they want to work with you they will find a way. If they don’t then move on. This is true with even clients who offer you money but it is below your cost of doing business–you must walk away.

There is another aspect to the discussion other than pay versus fund raising.


Those photographers who are able to tell stories effectively and in the process help organizations communicate why they are needed and why they need supporters to give to their cause they will be pursued and paid.

Too many who want to do “missions” or “humanitarian” are more in love with themselves traveling and getting paid to take photos. They are not ones who really believe in a cause. Their work is average and not what people will want to share in social media. They don’t have followings. They are irrelevant with their work, but in their own minds they are legends.


You cannot just be a great storyteller these days alone. You must also be one who connects with the audience. There are photographers that when they “Tweet” they are communicating with more than 100,000 followers. They are a media outlet themselves. The reason they have so many followers is they are communicating in a way that it appeals to the audience.

They have an audience and when they share people get involved and those who are blessed to have them working for them benefit. Many organizations will hire them just for the access to their audience.


You need to have outstanding work today. That is a given. But you need so much more. You must understand the entire process of a crisis needing people to get involved. You understand what it takes to engage that audience and you are part of a team helping them to understand all that must take place with your work to make it successful.

Those photographers who are running successful businesses are more likely to help a missions or humanitarian agency than a photographer struggling to get by. The reason is simple–they know you must make good business decisions for something to be successful.


ANY PROFESSION where people are willing to do something for FREE there will always be those who at the very pinnacle of that profession can earn a living. Here are some professions you find many people doing for free all the time:

  • Music
  • Theater
  • Sports
  • Humanitarian 
  • Photography
To get paid and earn a living you must not just be the best technically. There are many amateur golfers who can out drive many on the tour. There are many musicians who are technical wizards with an instrument. 

Those who get paid are the total package. In photography that means you understand better than your client how you can best help them. You also understand everything that needs to happen for your ideas to create a real impact for the client. You are able to communicate and work with a client to achieve those goals. 

You also understand the business of the profession and understand what you need to charge to make a living. You are able to convince people you are the solution to their problems and that they need to pay you to help them achieve their goals.

You are also a person that exudes a confidence that makes people know you have their back and are on their team.

You can own all the very best gear available. You can have the best portfolio there is in the profession. But if you don't know what business you are in and what problems you are solving for others you will never make it.

Don't fall in love with what you get to do in a profession, fall in love with how you love to solve other people's problems and it just happens that photography is part of the solution.

Community Journalism with Fujifilm X-E2

Fujifilm X-E2, FUJINON XF 18-55mm, ISO 6400, ƒ/3.6, 1/50

Community Journalism

Last night at my daughter's high school the county had an informational meeting about the planning for schools in our county. I took my Fuji X-E2 camera with me just in case I wanted to use it.

There were less than ten people in attendance. No real reason to have a meeting you would think, but this is how a lot of meetings happen every day in our communities that have major long term impact on our communities.

Fujifilm X-E2, FUJINON XF 18-55mm, ISO 6400, ƒ/3.2, 1/30
Those who show up and speak up are the ones they hear from and they must assume this is the will of the community because they asked them for their feedback and this is what they get.

Those in attendance at the Fulton County Schools Educational Space Standards Community Meeting were able to hear how the county has hired outside experts in educational space to help the county set those educational standards that then the designers and architects will use to help in implementing changes to improve our schools.

They will now have the WHY part of the process answered if anyone asks why they were making these changes. Also when the changes recommended come up against budget restraints everyone will know what they are falling short of doing.

Fujifilm X-E2, FUJINON XF 18-55mm, ISO 6400, ƒ/4, 1/18
So imagine you go to one of these meetings in your community. Do you think a photo with some explanation would be a great way to communicate with your friends through social media?

Fujifilm X-E2, FUJINON XF 18-55mm, ISO 6400, ƒ/4, 1/18


Next community event you go to be sure and take some good photos and add some text as a caption. This can help us build stronger communities.