Do Your Photos Provide Context For Your Subject?

Professional communicators work hard at getting a message across. But first they must get the audience’s attention. There needs to be a “lead” or “hook” to stimulate their interest in the story.

Ted Koppel said that during his 25 years as anchor for Nightline, they spent the majority of their pre-broadcast time on the first 10 seconds of the show.

The hook is all-important. If it doesn’t work no one will hear the message.

A tactic used by writers to grab the attention of readers is to lead with a quote. This is a powerful literary tool for hooking an audience. It is often misused. Quoting out of context is done quite often. There are two known common practices of misusing a quote - the straw man argument and the appeal to authority. Both of these can undermine the message.

Photographers are also guilty of taking photos out of context to create impact for a visual hook.

If a writer or photographer uses the hook appropriately they will deliver context or story within the hook.

Wire service photographers have used impact as a visual hook (to the detriment of the story-telling photo) for so long that we rarely see good examples of photos with any real context. The context has been handed over entirely to the writer.

Extreme close-up photos have extreme impact but, out of context, may lack any story-telling ability. Relating the subject to its surroundings can help tell the story of the subject, but impact is still needed.

A good example of the type of photo that can contain both impact and context is the environmental portrait. The subject is shown in their environment and the surroundings portray the person and help tell their story. A simple headshot shows what someone looks like, but the environment portrait can speak volumes about the person.

I grew up watching missionaries give slide shows in churches. Invariably most of the pictures they showed were tight headshots of some person looking into the camera. A friend of mine characterized these lacking-context-pictures as “People Who Need the Lord” photos. The pictures show what they look like, but tell me nothing about who they are.

Today I am often asked to speak to these missionary groups about how to improve their photography of their mission trips. My chief complaint about mission teams going somewhere and then showing their photos is the lack of environment in their photos. They have many “People Who Need the Lord” photos, which could have been made almost anywhere. Their photos don’t tell a story, they have little context. What does the county look like? How do they live? What do they eat?

I suggest to these groups that they make pictures that tell something about these folks. Show the mother in her kitchen making a meal. Show the man at his job – what does he do to earn a living. Show the children and what they do for play.

Think of the photos as an introduction. How do we in America do introductions? After we exchange our names we usually ask what they do for a living or we ask about their family.

A real advantage of photography is how much story can be told without having to speak a word. True masters of the craft use light and composition to make sense of all the clutter and show how things in the frame relate to one another. When the photo includes people expression and body language add even more context to the image.

Here are six simple steps to help bring context to a photograph.

1. Determine the purpose of the photograph.
2. What is the mood for the photograph to be?
3. Determine the subject.
4. What should be included or excluded around the subject?
   a. Do I include some of the environment in front of the subject?
   b. Am I making an image that is just graphically strong or does the space around the subject give context?
   c. What is in the background?
   d. What is beside or on the same plane as the subject, giving it equal importance?
5. When do I press the shutter?
   a. Are they interacting with another person?
   b. Do I show a serious or light moment?
6. What about the light?
   a. Do I use the natural light?
   b. Do I bounce the flash?
   c. Do I use professional lights?

Put your subjects in context when you photograph them and your pictures will truly be worth 10,000 words.

Spring is here

Returning on Friday evening from Virginia from Spring Break I noticed more and more blooms as we got closer to home. As I was taking our luggage in the front door I heard little chirping out of the bush as I walked in. Up higher than me in the bush was a female cardinal sitting on her eggs.

Tomorrow is Easter where we celebrate Jesus who defeated death for us. It is a time of rebirth for so many and seeing the Cardinal attending her duties as mom is such a pleasant thing to see today.

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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Are you a joiner?

Too many people join associations as if they are buying tickets to a sporting event. They want to sit in their comfortable seats and watch others perform. When considering joining an organization, one of the first questions most people ask is, "What do I get for my membership?" That's a valid question, and most organizations list the benefits their members will receive.

Ask Not What an Organization Can Do for You

But sometimes the more important question to ask is what you can give. I am reminded of the famous words of John F. Kennedy:

And so, my fellow Americans, ask not what your country can do for you; ask what you can do for your country. My fellow citizens of the world, ask not what America will do for you, but what, together, we can do for the freedom of man.

Kennedy helped forge the idea of service with the creation of the Peace Corps; he believed that the success of the country depended on people becoming involved. Focusing on service, rather than entitlement, can be a key to our professional success -- as well as our personal fulfillment.

When you join a group, receiving the newsletter and being listed on the membership rolls will have little impact on your success. Unless you're willing to commit yourself, you'd be better off saving the dues money and not wasting your time -- or the group's.

The leading figures in most industries are consistently those who volunteer in their professional organizations. They network with others, they help organize the competitions and awards for the industry, and they mentor others in their industry.

Today there are groups whose sole purpose is to teach their members how to be successful. Although these groups may teach you how to be a better networker, if the only reason you join is to promote your own success, you will probably fail.

Go Where Your Passion Leads You

Success through an organization starts with matching your passions with volunteering. You can become involved in a community theater, entertain others and become known in your neighborhood. Through your involvement, people will get to know you and you will get to know others. You can join the community of faith through a local congregation, play a sport in a local league ... if you follow your passion, you'll naturally want to become more involved.

You know you're plugged into a group when others are depending on you. People will not only want you around because of what you are giving to the organization, but will come to value your friendship. They get to know you and appreciate your passion.

Working with universities, I have become good friends with some of the people overseeing the recruiting. At Georgia Tech, they changed how they recruit. One of the changes had to do with the list of organizations a person was involved in; they now only want you to list your top five.

Why only five? They are recruiting the leaders of tomorrow, and they are looking for leaders -- not just members. An Eagle Scout is more than just a Boy Scout.

There are two groups I have worked with that take this concept of involvement through service way beyond most other groups. As a result, they transform those in these organizations and have a profound effect on those around them. These organizations are Youth With a Mission and Chick-fil-A.

The founder of Chick-fil-A, Truett Cathy, can be seen even today picking up the trash around a store before he goes in. All of his managers are trained to do every job regularly. They can be seen cleaning the bathrooms. When a Chick-fil-A event is over, everyone in the organization volunteers to help clean up.

When students enroll at the University of Nations, part of Youth With a Mission, they are all expected to work while going to school. They have found that some people are like Dr. Jekyll and Mr. Hyde. They talk a good game and sound caring and warm, but on the job, a different person emerges. The Mr. Hyde side might believe they are better than other people; they might not want to do certain jobs they think are beneath them.

Choose Wisely

We can learn a lot about ourselves by volunteering. It can even change who we are. Volunteering helps smooth out those rough edges we all have.

Accountability has influenced most organizations today. People don't want to waste their time or money. They want to make a lasting difference.

Habitat for Humanity changes not only those who receive the homes; those doing the building are changed as well. The first family to receive a Habitat home was so transformed that each of the children went to college and became successful. Habitat has provided volunteers with the opportunity to enrich their lives while making a real difference in their communities.

Two of the richest men in the world, Warren Buffet and Bill Gates, have joined together to give money back to society. Their foundation's activities are focused on world health -- fighting diseases such as malaria, HIV/AIDS, and tuberculosis -- and on improving U.S. libraries and high schools.

Bill Clinton, in his book Giving, tells stories of people who give. These remarkable stories suggest that the act of giving takes many forms and emphasizes that offerings of time, skills, objects and ideas can be just as important as contributions of money.

We have a choice. We can watch the game of life or be one of the leading players. Choose wisely; your success -- and fulfillment -- may depend on it.

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Are all your eggs in one basket?

To "put all your eggs in one basket" is to risk losing everything all at one time. For me this applies to two aspects of my business.

First, if you have a niche’ market it is good to develop a second niche’. Kodak saw the writing on the wall years ago and diversified beyond making film products only. If they hadn’t they would no longer be around. For me I have my interests directing my photography. I love sports and this is really where I first started in photography. In college shooting all the college sports was exciting. I didn’t out grow this interest, but added other areas.

My faith has always been what drives much of my passion. I have worked for Christian denomination’s mission organization covering missions around the world and continue to do so today. I really enjoy things that challenge my heart the way my faith does for me.

I also love technology. This challenges my mind. I love to figure how things work and how to fix things. This has driven my interest in research and technology photography through the years. All three of these loves exist in higher education. This is why I have helped many schools, colleges and universities through the years with their recruiting and public relations photography.

There are times when each of these has peaks and valleys through the year. By diversifying a little and yet still being niche driven and not all over in my work I have been able to keep my eggs in separate baskets with my work.

The second area where I have divided up my eggs is in marketing of my services. One of my best marketing is done through networking. This is getting me involved in my communities. By joining a photography association I learn from others and plug into friends who occasionally get over booked and refer to others they know in the industry. I have joined the Atlanta Press Club because many of those who are members go to the social events and meetings that I would not meet anywhere else. I have been able to meet people who not only might hire me, but become good friends.

I have gone to the library and found every list of people in the markets I am interested in working with to build a database. This database of 3,500+ names is categorized. I have categories for family, clients, prospects, and broken into almost every imaginable group I can think of. I have phone numbers, mailing addresses and emails. Each of these is a different way to contact the people. I call them, I send postcards and I send out an e.newsletter as well as individual emails.

When someone writes me back to unsubscribe to my e.newsletter I don’t delete their name—I add them to my no newsletter category. They still get postcards and occasional phone calls.

Lately I signed up for a new cell plan that lets me make unlimited phone calls as long as I am using the Wi-Fi feature of the phone. This lets me make lots of phone calls. I am learning how to have meaningful short conversations with many people. They are meaningful because I really do care about each person. If you don’t feel genuinely interested in people you have to be one incredible actor (which I am not) to pull this off. This is why I work hard to find as many new people I can to add to my list. If you are not genuinely interested in a person, it is important to have someone else to talk to if they don’t exist.

One of the gifts I have which I have learned to use more each day is my memory. For some reason once I learn something (really learn it) I usually don’t forget. This has helped me in ways I am now only beginning to realize. When I meet someone I haven’t talked to in a long time I can remember so much about them I can almost remember our last conversation. So, I tend to ask how they are doing and how something we talked about last time is going. I know others who call a lot for business need to write down something about a person when they talk to them to remind them to do this later when they call them again. I started to do this to help me and just by writing it down once I remembered it, so when I met them again in a grocery store and not planning on contacting them, I remember to ask about how they are doing with what we talked about last. This isn’t asking like I am doing therapy and they have a problem. It usually is asking about something exciting that has been going on in their life.

When you think you have done all you know how to do in a particular niche’ in your field try to apply those principles to a new niche’. When you are trying to find a new client or knowing how to keep your present ones, remember dating. Be persistent and try many different approaches.

What’s the biggest room in the world? Room for improvement.

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Stanley works to make your job easier

Stanley usually provides a DVD-R immediately following your event. The ID information is printed directly on the inkjet-writable DVD-R, which is more archival than a paper label. The data includes the name and date of your event plus Stanley’s contact information making it easy to locate images later.

A duplicate DVD-R is kept on file by Stanley as an off-premises backup for you. Everyone should make their own backup as well.

Each image is high resolution JPEG. Usage rights of the images are negotiated prior to the assignment.

For most editorial assignments, photo identification is embedded with the image. This is helpful when writing cut-lines for your newsletter or matching the photo with the person in a story.

One of Stanley's clients has 500 plus new portraits made every year. Many of the faces are new. The office staff uses the imbedded identification to match the portraits to bios. This helps those who have not met the new people to match the person with the name.

Below is an example of what this looks like for you when you are using Photoshop to view the images. Go to the menu option Menu>File Info to pull down the box.

If you have many photographs made each year and have ever had trouble locating a particular photo the above example should interest you. This ID information is recognizable by most image archiving software such as Extensis or MediaDex . The file information box of Photoshop is known as IPTC for short.

Here is example of the same example of the photo in PhotoShop now in MediaDex.

As you can see, the information is the same. Since Stanley has done this work for you, after setting up the software like MediaDex to recognize IPTC then you only need to drag the folder from the DVD-R, which Stanley provided to you into the database software and let it ingest the images. You do not need to add any more information. The name of the event is searchable and you can find people because you can search the caption for names.

You can also use services on-line like PhotoCore. This provides a live, searchable database for you to use. Your photographers can upload from anywhere in the world and you can determine access by creating accounts for photographers, designers and clients. Look at some of Stanley's examples here.

With this service provided by Stanley, you can find a photo within seconds. If you choose to save all the images on a server then the artist only needs to click to place the photo into their design. It only takes a second.

You can use the information printed on the DVD-R to locate a project, place the DVD-R the computer and just drag the photo from the Database straight into your document.

Today we must be good stewards of our budget and resources. Since Stanley has completed most of the data entry for you he has saved you hours of work that translates into savings for you.

There is more than meets-the-eye in Stanley’s photos. Not only has he provided you with the images you need, he has increased their value to you because of the wealth of information he has provided about those images.

The ease of use, the ability to locate quickly a single photo in you collection and the in-depth information about that photo all located together is what makes a photo shoot by Stanley more valuable to you.

Yes, Stanley truly does work to make your job easier.

Seeing Eye to Eye Isn't Always Best

In Psychology 101 we learn the value of relating to others at eye level. Many books on photography discuss unusual angles such as a worm's eye or a bird's eye view. Such perspectives can create interesting photos, but there is much more to the choice of the angle of view than just making a nice picture. Indeed, the angle from which you photograph a person sends a message to the viewer about that person. Do you know what message you're sending?

The three letters in the illustrations below stand for Parent, Adult and Child. If you photograph another adult at their eye level the camera (audience) is, of course, on the same level with your subject. This adds dignity to the subject.


On the other hand, if you shoot down at the subject you place the audience above or over the subject much the same way a parent is above or over a child. This makes the audience feel responsible for the subject. We often see photos of starving children in Africa photographed this way.


Lower the camera angle and you reverse the camera (audience) to the subject relationship. This "shot from below" adds prominence to the subject. It increases the stature of the subject and makes them more authoritative. (Don't use flash from below a face unless you want to create the look of a monster.)


To carry the audience back to their childhood, place the camera on the floor and crawl around photographing a child at the child's eye level.


When photographing an expert, like a research scientist, keep the camera at eye level, not below. The eyeball-to-eyeball angle helps to humanize or "warm up" the expert.


Photographing people using this simple PAC principle allows you to make statements about who they are, not just what they look like.

Like everything else in photography, knowing more than ƒ-stops and shutter speeds will make you a better photographer. And remember, seeing eye-to-eye isn't always best.

How much do you cost?

My stepson looked at his first paycheck and asked, “Who is FICA?” This was his first hard lesson about where the money goes - the cost of doing business.

A lot of the money we pay for a service doesn’t stay with the service provider.

According to Dun & Bradstreet, “Businesses with fewer than 20 employees have only a 37% chance of surviving four years (of business) and only a 9% chance of surviving 10 years.” Of these failed businesses, only 10% of them close involuntarily due to bankruptcy and the remaining 90% close because the business was not successful, did not provide the level of income desired or was too much work for their efforts.”

So many good photographers I know have to turn to other ways to make a living not due to any lack of photographic skills, but because of poor business practices.

Two things caused their businesses to fail: 1^st - they didn’t know their real cost of doing business and 2^nd – they failed to promote themselves.

In 2001, I left a staff position and started full-time freelancing. My business has averaged a 20% growth rate each year for the past six years. Many of my colleagues ask me how I do it.

This coming week I go to Hawaii to teach business practices for the third year in a row at the University of Nations in Kona. First, I require the students to calculate how much it costs them to live for a year. I’ve found that even the older students who have been on their own for a time typically do not know what it costs them to live.

No matter the profession, if you do not know your cost you cannot estimate what you are worth in the market place.

Once you’ve know your cost and decided how much net income you want to earn it is easy to determine what to charge for each project in order to reach that goal.

Take a moment and think of everything needed to do your job. Here are some categories from the National Press Photographer’s Association list I use just substitute your terms for similar categories to figure your annual cost of doing business.

• Office or Studio
• Phone
• Photo Equipment
• Repairs
• Computers (Hardware & Software)
• Internet (Broadband, Web site & email)
• Auto Expenses (Lease, Insurance & Maintenance)
• Office Supplies
• Photography Supplies
• Postage
• Professional Development
• Advertising and Promotion
• Subscriptions & dues
• Business Insurance
• Health Insurance
• Legal & Accounting Services
• Taxes & Licenses
• Office Assistant
• Utilities
• Retirement Fund
• Travel
• Entertainment (meals with clients)

Add your desired net income to your annual business expenses, divide that total by the number of projects you reasonably expect to do in a year. The answer gives you the average per project you must charge clients so you can pay those bills, stay in business and live the way you want to live.

Now you must find out if the market place will sustain this charge.

Let’s say you need to charge on average $1,000 for per project to reach your goal. If the services you provide are what people can get anywhere then they will shop for price. If the going rate in your community is $1,200 then you are in good shape. If the going rate is $900 then you need to look at cutting your overhead—your hoped for income or business expenses or both.

The key to earning what you want comes down to service. You must be able to demonstrate to potential clients that you offer something more if you want/need to charge more than other photographers do.

I have found that I need to know about the subjects I cover more than other photographers do. In addition, I deliver my images a good deal faster than most others do. I also listen carefully to what clients say they want and try to, not only meet their needs, but to go beyond their expectations.

When I first determined my cost and income goals, it was a revelation just as my stepson’s response to FICA and other deductions from his pay were for him.

I do my best to keep my overhead low, but even so close to 50% of my gross goes to business expenses. It was quite shocking for me to see what I must charge to pay the bills. This knowledge was the fire I needed to get me to put the time and effort into finding ways to make me more valuable to clients and to find those clients by seriously marketing myself.

Do you know what you cost?

Guidelines for Portraits, Headshots and Mug shots

There are a few do’s and don’ts, which if you know them can help you look your best the next time you have your photo taken.

When you are having a head and shoulders photo made the photo is suppose to be about the person and not the clothes. I doubt seriously a clothing manufacturer wants a headshot of the model to sell their shirts—they want to see the clothing predominately.

The reverse of this is what will help you look your best—the photo is about you and not your clothes and/or jewelry. So here are a few guidelines about how to keep the attention on you and not the clothes.

Solid Colors—Avoid Patterns
Keeps the viewer from looking first at the clothing due to the design over the face

Darker clothing is preferable
Your eye will go to the lighter area of the photo, which will be the eyes. White shirts are difficult for printers to hold together and makes your head look like it is floating on the page without a shirt sometimes.

Avoid herringbone jackets
On the web and television you will get a moiré effect.

Classic over trendy clothing
The classic look tend to stay fresh looking without going out of date as quickly as some of the fashion trends of the day and makes the photo look more current longer.

Simple or no Jewelry
One strand of pearls and matching earrings verses pendants and large earrings help keep the attention on you.

Do you wear casual or a suit for the photo? If you are using the photos for business—it is always best to have the suit in addition to a casual dress if you choose to use as your primary photo a casual dress. The reason for the backup suit photo is we often need a more serious tone at times. If your company is going through a merger—the suit photo would probably be a better choice to send out with the PR packet.

As you plan for portraits in the future it is always best to follow these guidelines and always bring two or more outfits to change into. If you are part of the executive team of the company you want to look your best so the company will benefit. Having a few different portraits with different outfits to pick from gives you the ability to choose the best option—and this is what most executives do each day—make choices.

If you need additional help in planning your next portrait session—give me a call and I will be glad to answer any additional questions you might have.

Sometimes a Detail Tells the Whole Story

We have all seen photographs with too much "stuff" in them. Because the photographer makes no attempt to select one subject, the image fails to communicate. It's the visual equivalent of a run-on sentence.

A close-up of a detail frequently reveals more of the subject than a picture of the whole subject. So many photographers want to shoot general views because they believe they offer "good composition" or to capture the beautiful light. The detail photograph can have more impact and communicate more because the photographer is forced to be interpretive with the detail. The isolated part can tell more, be more emphatic, and be more quickly appreciated and understood. It tells the story in compressed, sometimes dramatic, fashion by scaling down to point out a specific idea to greatest effect.

In approaching a subject, decide how much to include in the viewfinder of the camera. Force yourself to look around the subject and look at each of the corners and everything within the frame of the viewfinder. If there is anything that detracts from the theme, move in closer to eliminate it; if there is not enough to tell the story, move back to include more. The key to this process is to know what you want; the details will fall naturally into place and "composition" is achieved.

I have found the following exercise effective with my students at Reinhardt College. First, shoot a large scene, then close in on it and cut it in half. Close in again and again until, finally, you isolate the most important subject and thus make a statement about the main thing in the scene. In this way, you learn that much of what you see in a picture may not really be that important -- and how to select the part or parts that are most meaningful.

Great photographers know that composition is a matter of feeling rather than of rules learned by rote. You will develop this feeling as you gain experience, but you will never really "know it all" because, as you learn more about life, you will put emphasis on different things. Composition, ultimately, is just another way of looking at life.

Don't Be Satisfied with Just Showing Up

Many in today's iGeneration have had a childhood of T-ball, soccer, and dance classes where if they just participated, they were given a trophy. I assume most people know there is more to life than showing up on time -- but you'd be surprised how often meeting minimum standards will put you way ahead of the competition.

I just handed in the grades for a class I taught in photojournalism at Reinhardt College. Every project I assigned was designed to give the students a real-world experience. They had three assignments: an environmental portrait, covering an event and a photo story.

The students were asked to turn in their assignments as if they were submitting them to an editor. They needed a cover letter to tell me about what they were submitting. They needed a folder with their selects and another folder with all the images they shot. Each of the photos in the selects needed to have a caption embedded in the IPTC fields. Most editors enjoy being able to send a photo to the designer which already has the caption in the photo.

Some students forgot the captions, some forgot the cover letter and, yes, some were late handing them in. While most had everything done properly, we still had some where the captions were lacking the essential five Ws.

I continue to hear horror stories from clients about photographers who didn't meet their minimum expectations. I even know of photographers who did the work and never handed in an invoice! It is amazing how just being sure all the elements are done for a project and turning them on time (or early!) will be received with excitement.

One of my favorite creative directors is Tony Messano. He gives sage advice. I can understand why he is asked to judge advertising work all over the world.

Tony expects a photographer to shoot the assignment the way Tony conceives it -- but his favorite photographers not only give him what he wants; they go beyond his concept and shoot it their way, too. Often, they will shoot it just as he says and then will push the idea a bit further with lighting composition or another element. They bring something extra to the table.

If you are meeting the expectations of your clients, you are doing better than most others in the industry. To rise to the top, go a little beyond the expectations.

Don't be satisfied with the trophy everyone gets for just showing up. Be the person singled out for going beyond the call of duty. Never stop looking for a unique approach or something different. The stretching will keep you youthful and nimble in today's ever-changing marketplace.

Solving the Mystery of the Headless Photograph

My wife Dorie was standing in line at a local drugstore and overheard a customer complain about his photos. He asked, "Why is their head chopped?" The clerk told him that the photo technician was off, but could help him tomorrow.

As I walked up to Dorie, she told the customer that I was a professional photographer and could probably help. Many years ago I managed a one-hour photo lab in Texas, where I was asked this same question almost daily.

Missing heads (and other disappearing objects) are a common occurrence when making prints. The reason? Digital cameras make pictures that are a particular shape, a ratio of height to width. When we order prints, say a 4 x 6 or an 8 x 10, the shape or ratio is different for each size print.

Unfortunately, the machine that prints the pictures doesn't know how to crop the images in the best way because it's a machine -- so heads go missing from the edges of our photographs. To overcome this problem, photographers need to understand that parts of our photos will be cropped off, and allow for this when we make the picture.

The relationship of an image's width to height called an aspect ratio. Digital cameras produce files with an aspect ratio of 4:3 or 2:3 in most cases. But common print sizes have different aspect ratios. For example, a 4 x 6 print has an aspect ratio of 3:2; an 8 x 10 has an aspect ratio of 5:4.

To avoid having an image arbitrarily clipped by your software or photo printing service, you should crop the photo to the correct aspect ratio, the way you want it to look, prior to printing. Most of the newer software will have preset aspect ratios in the crop tool for common photo print sizes.

In Photoshop and Photoshop Elements, for example, you can enter the height and width in the options bar before making a crop selection to crop to a specific aspect ratio -- but avoid putting a number in the resolution field if you don't want the image resampled when you crop it.

If you don't have Photoshop, try using a lab such as myPhotopipe. Labs of this nature have software you use through your Web browser to crop before you order your prints. This software has a crop-and-preview tool. It allows you to see crops instantly of all photo sizes. Since Photoshop costs more than $600, this free tool can be a great option, particularly for photographers just starting out.

The Integrated Photographer

When the camera merged with the computer to give us digital photography, the skills to be a successful photographer changed dramatically. Prior to digital photography, the professional photographer only had to know how to use a camera.

Almost everyone who was working prior to the computer becoming commonplace has experienced this phenomenon. The computer was integrated into many people's jobs. Everyone has had to learn how to do word processing and e-mail. Using the computer to maximize your efficiency for work depended on your comfort level with computers.

There were those who didn't handle this transition well. They always had to ask the office's resident "computer guy" to help them with everything -- mail merge, printing envelopes, attaching documents to e-mails, and so on. Because they didn't learn, they became less valuable employees, while the computer guy became more valuable.

In 1990, the publication industry took a big hit. I was laid off due to the recession. Many of my friends also lost their jobs since newspapers were dropping like flies; many two-newspaper towns lost one of their publications.

Fortunately for me, I had computer skills to fall back on. These skills helped me to sell computer systems to corporations in Long Island for Tandy Corporation. I used my knowledge to help design networks for clients, and to create databases for mass marketing. I enjoyed the photography forums on CompuServe long before 1993, when the World Wide Web was created. I took a class at Georgia Tech on designing Web sites and created my own Web site back in 1995.

In the early 90's I was scanning transparencies and film to digitize photos for publication. Once the digital camera surpassed the quality from this process, it was easy for me to make the transition. Today I speak to my peers at conferences and workshops as an expert on digital photography and on how to use the computer to run their businesses.

Ever since I moved from a staff position to a full-time freelancer, I have watched my business average 20 percent annual growth. Many of my friends have been losing their businesses and staff positions during this time. I've come to realize that the greatest single factor in my success is the knowledge of computers as it relates to photography. Those who have failed have generally not kept up with technical developments.

The successful photographer today is the integrated photographer. In technology, "integrated" refers to two or more components being merged together into a single system. The integrated photographer is the professional who has merged mastery of the camera with mastery of the computer.

Macro Photography: The Magic of Nuance

I remember the moment clearly. I had just finished playing Haydn's Concerto In E-Flat Major For Trumpet for the first time without any mistakes.

"Now you are ready to start working on it," my music teacher said.

I was so disappointed; I thought I had nailed the piece and was ready to move on to something else. But while I had played each note on the page correctly, I was being taught an important lesson: only by mastering the nuances could I avoid sounding like a robot on the instrument.

Artists look at things differently than nonartists do. We notice detail; we appreciate nuance and beauty. Artists respond differently to things than nonartists do. We tend to be more sensitive.

Nothing can sharpen your understanding about the nuances of photography more than macro photography. This is where you photograph objects extremely close, where the image projected on the "film plane" (i.e., film or a digital sensor) is close to the same size as the subject. We would say the image is a 1:1 ratio.

There are a few ways to get this close to the subject with a camera. You can buy a macro lens, which gives you 1:1 or even closer. You can buy a set of close-up filters that you screw onto the front of your lens that let you get closer. There are also extension tubes that go between your lens and camera to let you get closer. Another tool is a bellows that acts like a zooming extension tube. The last way to get closer is using a teleconverter. These teleconverters increase the magnification of the lens and come in 1.4 or 2.0 powers. They go between the lens and the camera to work.

Once you choose the way you want to do macro photography you will soon discover the closer you get to the subject the less depth-of-field you have. This is to say the amount of area that is sharp in front of the point you choose to focus on to the space behind that point is quite shallow. You typically will need a ƒ/number of ƒ/11, ƒ/16 or even greater for just the subject to look like it is in focus.

Since you will be working with such a small aperture (ƒ/number), you will need a lot of light or a good tripod to keep the camera from moving while taking the photo.

Today's flashes, which you can buy for your camera, are so advanced that they can make this a lot of fun. Before you had to be a physicist to understand all the math to make a good exposure. Now just buy the flash with TTL feature and the camera and flash together will give you the perfect amount of light to make your photo.

I recommend buying the extension cord, which lets you take the flash off the camera and put it where you need the light -- right in front of the lens.

Once you have all the equipment you will be at the place I was when I finally learned how to play all the notes of Haydn's trumpet concerto -- ready unleash the artist within by discovering the nuances of a subject.

The Beauty of the Slideshow -- Now Available to Everyone

Even before the Internet, I appreciated the slideshow. I created presentations with multiple projectors and audio, and I was always impressed with what the combined media could communicate. Even compared to video -- where you move right through a moment so quickly you can miss the subtlety of it -- the slideshow has its unique charms.

The problem, in the old days, was that you had to have the audience present to deliver the program; it was a lot of work for a small number of people. The printed page reached a much larger audience.

Today, with the Web becoming the leader in delivering the news, we are no longer limited to printed words and still images on the page. Rather than publishing a quote, we can deliver audio of the interviews and the experience, giving a story authenticity in a way that we couldn't achieve before. We can create slideshows for everyone -- to watch whenever they choose.

Those in radio, like NPR, are increasingly the keynote speakers at today's journalism conferences. They are teaching their print-media brethren how to gather audio to improve the multimedia content on their Web sites.

For a while now, I have been working on gathering audio. I learned very quickly you need a good digital recorder and an excellent microphone. It also didn't take long to realize if you don't have your headphones on when you are recording, you will be surprised later at what you picked up or didn't pick up.

I did one of my multimedia projects at a petting farm; my goal was to capture everything naturally. It was fun capturing the sounds of the animals and hearing Farmer Sue talk to her guests.

Later, I decided I wanted to put together a slideshow that helped to communicate what I do best -- capturing the moment. Here's that presentation.

Most recently, I have been in the Yucatan photographing the mission projects my church has been working on for the past 12 years. A small handful of members -- electricians, plumbers and other skilled workers -- work side by side with the locals to build churches, camps and water wells. Here you can see and hear the results of this project.

Point of View

Sometime back while flying out of Dallas I was sitting by a sweet little grandmother. She had been visiting her grandchildren and was eager to talk about them. She showed me a snapshot of a red dot in the middle of someone’s front yard. The red dot (at least to her) was a compelling photograph of her granddaughter in a little red dress my new friend had made for the child.

All I could see was a red dot, but the grandmother could see, in her mind’s eye, the beautiful little girl and her handmade red dress. If I had made photographs like that one, while I was on my assignment, it would have been the last time I ever worked for that client!

That grandmother held a snapshot that was a memory jogger for her and those who already knew the little girl. A photograph that can communicate to anyone is something else altogether.

If my assignment had included that child I would have needed to show the cute little daughter up close enough for anyone to see for themselves how charming she was and perhaps through body language the child could let the viewer know how proud she was of her new dress.

I believe there are two main reasons people make photos: (1) people take pictures to please themselves or (2) people take pictures to communicate something to others.

Making photos for ourselves is pretty easy. We know right away if the photo was successful. Either we like it or we don’t. If we don’t like it we probably can figure out what would make it better. Photos we take for ourselves belong into the category of snapshots. They are intended for the family photo album to hold memories of vacations, birthdays and other of life’s special events.

One year I decided to help my father transfer the family movies to video. It was a pretty crude setup, but it worked. We projected the movies onto a screen and video taped them while our family watched the old movies. The video camera captured the comments we made as we watched the old films. The funny thing is every time we watch these videos together, the same comments are made by the family and we catch ourselves laughing at how these old pictures always trigger the same responses.

As I think back I realized that the older films, the ones made before I was born, don’t do much for me. You just had to be there for these snapshots to work.

Okay, so if we want our photos to communicate we must consider another person’s point of view. How can we attract and hold the attention of our audience? One way to learn to do this is by studying the work of photographers whose work does just that.

I suggest aiming for the top. If you like sports then open Sports Illustrated and study the photos. Ask yourself and others why these photos work. If you enjoy travel photography study National Geographic, Southern Living or other magazines that do a good job keeping paying audience.

There are some key elements that keep the viewer’s attention. Editorial photographers try to stop the viewer with their photographs. They want the photo to spark curiosity; to make us read the caption under the photo. A good caption will make us want to read the story.

Here are some of the key elements that distinguish a good photo from a snapshot:

Stopping power. The world is full of visuals vying for out attention. There are photos on products, TV, magazines, newspapers, the web… everywhere pictures, pictures and more pictures!

I believe the key is to show our audience something different. Most snapshots are shot from standing height and way too far away. Get down to the ground for a worms eye view or get up on something for a bird’s eye view. Get a lot closer. This will give our photo a little stopping power. It’s out of the ordinary. It’s a surprise.

Communication of purpose. Getting the attention must be followed by good content. People want to be amused, entertained or learn something from a photograph. We need to think about why we are taking a picture. If we aren’t sure, no one else will be either and we’ve made another snapshot.

Emotional impact or mood. Some folks can just tell stories better than others. The same is true with making photos, but we will make better photos if we consider how to bring more drama into them. The key to creating emotional impact is to first experience the emotions we wish to convey. We need to have a genuine interest in the subjects we photograph.

Our photos need to be technically correct, that’s understood, just as a musician is expected to at least play the right notes. But if the photo doesn’t draw the viewer in and move them in some way it’s like listening to a machine perform Chopin. What we choose to include or exclude makes up the graphical elements that can catch the viewer’s attention.

Remember a technically competent photograph often is no more than a technically competent snapshot and quite boring. Of course we must be sure the camera’s settings are correct, but this is only the beginning. We need to look for a new perspective, look for another point of view so that people will want to see more of our pictures rather than looking for ways to get out of enduring more snapshots.

How to Make the Most of a Mentor

"I have three treasures which I hold and keep. The first is mercy, for from mercy comes courage. The second is frugality, from which comes generosity to others. The third is humility, for from it comes leadership." -- Master Po

"Strange treasures. How shall I hold them and keep them? Memory?" -- Caine

"No, Grasshopper, not in memory, but in your deeds." -- Master Po

What makes a great mentor is an inquisitive student. I often think of the old TV series Kung Fu, where the main character has flashbacks to his childhood, asking many questions of his master. We do not see the master pressing the boy so much as we see the young boy seeking out the master's wisdom. If you truly want to learn and are open to criticism, you can learn a great deal from a mentor.

I watched one of my mentors, Don Rutledge, mentor many people. I was privileged to work with Don and down the hall from his office. Don Rutledge was a staff photographer for Black Star and later worked covering missionaries around the world for Christian magazines. He traveled throughout the United States and in more than 150 countries.

I watched, noticing that no matter who came by, Don made the time to sit down with the person and talk. They would bring their portfolios and mostly just want a job doing what he was doing. Most were just using Don; some were so bold as to go to Black Star trying to take his job. Many went on to prosperous careers but never called to thank Don -- either for his wise counsel or his generosity in providing industry contacts.

Like everyone else, I sat down with Don and had him review my work. But where I gained the most valuable insight was when Don invited me to come along on some of his shoots. We took trips together where I would just watch him work and occasionally hand him a lens. This is where I was able to learn from a master of the craft.

I watched as Don would get out of the car and introduce himself to the subject. He would talk for a while with the person in a casual conversation, which was really an interview. He was listening and learning all he could. What would make a good photograph? What would be good quotes for the story? And by the way -- his cameras were either in the car or in his bag during this time.

After each story, during our car ride back I would ask lots of questions and learn even more about what Don was thinking as he was working. When the contact sheets came back from the lab, we would go over the photos again. I only knew of a few photographers who sat down and looked through Don's contact sheets and learned from him how he worked. Most were only interested in guidance about their own work; they didn't know what they were missing.

When looking for a mentor, find someone who is at the top of the industry and has a personality and work that you admire. Show them your work on a regular basis and ask for advice. Ask if you can watch them work, and ask to help them. Most importantly, become friends with them for a lifetime; don't just use people for your career development. And finally -- give back, by mentoring someone yourself.

"But Master, how do I not contend with a man that would contend with me?" -- Caine

"In a heart that is one with nature, though the body contends, there is no violence, and in the heart that is not one with nature, though the body be at rest, there is always violence. Be, therefore, like the prow of a boat. It cleaves water, yet it leaves in its wake water unbroken." -- Master Po

How did I learn about Don? My uncle Knolan Benfield worked with him from 1969 to 1979. Knolan told me so much about Don that when I met him I thought I already knew him. Don had impacted Knolan's work and improved his photography.

My master's thesis was on Don Rutledge; you can read it here. It will take a minute to load.

What I learned from Don changed my life. Today I teach at colleges and workshops and, like Don, I am willing to help anyone, because Don showed me it was important. Ultimately, I learned why Don had given so much. It was because in giving we receive so much ourselves.

New Venture

I am helping a good friend of mine, Chris Gooley, market his software Photocore. It is an online database for people to store their images and search their images. They can give access to clients and friends through passwords and keep records of who visits their website and what they see and download.

We are in the beta versions of the software now and you can see it by going to my website www.StanleyLeary.com and clicking on . We hope to have this were you can license your images 24/7 365 days a year while you do your own thing. People can log on agree to a license and pay you for using your images.

Another function will be to order prints online. These two functions will help photographers turn their images which normally sit on their computer or in a drawer into profits.

I am going to be presenting this software to companies and individuals. If you would like a personal demonstration give me a call. Believe me PhotoCore is the most efficient way for photographers and agencies to catalogue and search their images from any where in the world.

Just what's in the viewfinder

On my latest trip abroad to Haiti I realized not knowing the language keeps me focused on just looking for images. This is great in many respects because I am trying to understand what is going on by watching visual cues and listening to the tone in people’s voices.

Since I do not really have the verbiage to clue me in about what is taking place, I am really more focused on what I should have been doing for years. I am seeing the situation my viewers will be seeing it. They cannot hear the conversations through the printed pages or on the web.

I spent a lot of time looking for interesting visuals because I had no idea what they were saying. I would smile and nod to those who I made eye contact with. Amazing how close I felt to people when I couldn’t talk to them.

This has helped to remind me the audience cannot hear and pick up on what is going on in a still image. I must really look for those moments which communicate visually intimate moments which bring the viewer closer. Photos get better when I realize I must concentrate on what is in the viewfinder. Sure understanding what is going on can help me anticipate better, but the end results still must be what is in the frame of the viewfinder.

Team Photos

There are many ways to approach team photos for posters. For Georgia Tech's football team the theme for the 2006 year is "Take Your Best Shot." We made the photos at a boxing gym. What really made the photo was the players getting into the concept.

I have always thought people look their best with pleasant expressions or smiles in portraits. However, getting male athletes to smile has proven difficult in the past years. They all want to look tough and having an attitude like we see on MTV.

We embraced their attitude and what they want to portray about themselves in this photo. I think it works because it is a peak into their dreams.

Women athletes smile much more than their male counterparts. They enjoy being the princess or queen for the day. Here they are on top of Atlanta with the Skyline behind them. It is like the last photo of the Disney movies where the Prince and Princess ride off into their kingdom. Their kingdom is Atlanta in this photo.

Cades Cove - Personal Retreat

Knolan Benfield, my uncle and professional photographer, and I took a few days to do what we love to do—photograph wildlife in Cades Cove.

“It is great to take time like this to put all those years of honing your craft to make a living and then spend some time shooting for yourself like this,” Knolan commented just before we finished our time in the Great Smoky National Park this past week.

When I first picked up the camera I shot for myself and it was a lot of fun. I then pursued this as a career. Over the years I knew I could do a better job, so I continued to go the workshops, seminars, read books and did a lot of self assignment tests to sharpen my skills.

It had been a while since I spent time photographing nature like this—back when all I shot was film. I would shoot and then look at the back of the camera, evaluating the image. I would pull up the histogram and look to see if it could be improved. We played with different white balance settings to see the outcomes of our efforts.

We just had fun.

Only another photographer would put up with all of our long shoots with 1 deer and a tripod. Most of our friends would think “haven’t you got enough already?”

What I noticed the most was the memories in my mind of conversations, bears we saw that turned and went in the woods before we could get our camera up and funny moments rejuvenate the soul.

I hope I do not take as long between this adventure and the next time I just shoot for myself.