Finding and Keeping Clients

In February I go to Hawaii to teach in a photography school. We’ll cover Lighting, the heart of photography, and Business Practices in Photography, the lifeblood of the business. Below are some of the points we’ll cover that might work for you in your industry.

Finding Clients

Before you start building a database of names determine your niche. Targeting the specific audience you need to address will make your research and set-up time more productive.

Get Organized

Software programs such as Microsoft Outlook (PC) or Entourage (Mac) are helpful in organizing your material. Also, these programs are integrated with Microsoft Word and facilitate emailing.

What To Do With Collected Contacts

Set-up files in a database for the name of the company, the personal contact’s name, their address and phone numbers, email and website address. Assign each contact to a category.

I specialize in photographing people, but setting up a category for companies who hire photographers that photograph people is too broad. By assigning a contact to a category such as “Education” I can send a promotional piece to only those contacts in the education field. Assigning multiple categories to individual contacts further refines target marketing.

Contact management software has space for making notes. Keep this up-to-date as new information about your client comes to light. Use this field for their Facebook page and other information that don’t fit in any other field.

Time To Party

Parties (some parties) are a good way to build your database. Attend the “after-hours” events many civic and trade organizations sponsor that are designed to promote getting to know people and businesses in the area. Usually held monthly these events are great ways to meet a lot of folks and have fun doing so. It beats sitting at home with a computer.

Work The Room

Be sure you know your two-minute “elevator talk” about your business. Find someone you know. Get them to introduce you to the person to whom they are talking. Exchange business card and ask if you can follow up at another time for coffee or lunch. Be sure to give that person your full attention while you are with them, but move on after about five minutes. Remember, almost everyone in the room is there for the same reason you are, to meet people and find clients.

Be Relevant/Current

I recommend to the students to read industry magazines. Photo District News helps keep photographers informed on happenings in the world of photography. It is filled with the latest trends and techniques, business and legal news and new product reviews.

Contact information for magazines that might be interested in your work can usually be found in the masthead. Many magazines are online today. Read some back issues before contacting them. Offer a story idea to the editor. If you did your homework your idea should reflect the trends that are going on in the industry or plug into the style of that magazine.

Investigate – Dig Deep

Put on your investigative reporter hat and dig around for your niche. Use Google and type in your categories. Combine them with the word “organizations” and you will find many of the trade associations. When you find their websites click on the “About Us” section. It often will help you know the image the company is trying to convey. This is invaluable if you contact them and land an appointment.

Dale Carnegie said it best; “You can close more business in two months by becoming interested in other people than you can in two years by trying to get people interested in you.”

Qualify Your Lead

I know of a photographer who contacted a designer for a couple years. The photographer sent out beautiful newsletters and promotional material. One day the photographer dropped off a portfolio and met the designer. He asked if he was the person that hired the photographers. He said no, that his boss picked the photographers; he just designed the pieces.

Connecting With A Client

If you find common interests with a prospect, you can establish a business relationship. In a prospect’s office look at: pictures and plaques on the wall; the books on the shelf; anything that shows their interest. Commenting on that interest is a good way to start a conversation. People love to talk about their interest. Try to find common ground for a friendship. People are more likely to buy from a friend than a salesman.

Sales consultant Jeffrey Gitomer says, “If you establish common ground with the other person, they will like you, believe you, begin to trust you, and connect with you on a deeper level; a ‘things-in-common’ level. The best way to win the connection is to first win the person.”

Finding clients is hard work. Keeping them is all-important.

The Ten-Thousand Rule

Malcolm Gladwell tells us The Ten-Thousand Rule is a key component to how successful we are.

In his book Outliers Gladwell points to a 1990s study of violinists done by psychologist K. Anders Ericsson.

Ericsson and his colleagues divided the violinists at Berlin’s elite Academy of Music into three groups: great players, good players and those unlikely to play professionally and intended to be school teachers. The different groupings of musicians were asked. “How many hours have you practiced since you first started playing?”

Most of the fiddlers began when they were about five. By the age of twenty the great players had put in ten thousand practice hours; the good students about eight thousand and the future music teachers had fiddled around for four thousand hours.

In his book Gladwell relates how the Beatles, Bill Gates, Bill Joy and other extraordinarily successful people have not only put in the ten thousand hours perfecting their craft, but they have done so in a astonishingly short time.

Gladwell makes it clear that there is a threshold one must meet to complete in almost any field. He uses basketball players and IQ scores as examples.

Nearly all basketball players are over six feet tall. But the taller players are not necessarily the better players. However, to compete it will be difficult if you are not at least six feet tall.

There is a correlation between the six-foot threshold and an IQ of one hundred twenty. A one hundred twenty IQ is about the threshold for graduate school or other advanced learning. Just as being tall doesn’t bring success to basketball players having an IQ of two hundred or higher does not automatically insure success. However, there is a definite cut-off point for success in any business.

This holds true in the field of photography as well. David Lyman, the founder of The Maine Workshop, began each class with a discussion on creativity. Lyman says it is essential to “marry the intellect and the heart with the hands.”

He talks about how important persistence is to success and states that it takes about ten years to refine the craft of photography.

How do you get to be invited to play at Carnegie Hall? — by practice, practice, practice.

Bobby Fisher became a chess grandmaster in less than ten years, but it was close. It took him nine years.

Great artists are indeed talented, but talent can be wasted. The masters of their crafts combined their talent with the thousands of hours of work at the canvas, the instrument, the camera or the free-throw line. The Masters put in the ten thousand hours or more essential to master their chosen playing field.

This is good news for any aspiring professional photographer, rock star or whatever. Want to be one of the greatest in your field? - then put in the time. Ten thousand hours is a lot of time, but over the ten years it takes to perfect a task it breaks-down to fewer than three hours a day even if you’re Bobby Fisher.


Five Characteristic of Success

1. Persistence It takes about 10 years or 10,000 hours to refine a craft. Woody Allen says just showing up is 90%. The successful show up prepared. Watch out for the Draculas out there. They drain your time and you. Get rid of them.

2. Be Nice

3. Your Resources
Four people you need to get to know.
1. Teacher
2. Coach
3. Facilitators
4. Mentors
4. Be Skilled in Your Craft
5. Talent — Aptitude for the Profession

Earl Nightingale says that we can become an expert in our field in as little as five years. Malcolm Gladwell tells us the Great Players put in ten years. The trip of ten thousand hours can begin now.

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.

What Kind of Photographer Are You?

I’m not asking if you shoot weddings, sports, or just make snapshots of your family. These are one way to define a type of photography, but there is another way to describe your pictures.

If you have your subjects turn and look at the camera and say “cheese” there is a good chance you enjoy making photos for mainly your personal use. You like making photos and putting these in photo albums so you can revisit these moments in time. I think everyone likes to make these types of photos for recording their family history. Earlier in my career when I managed 1-hour photo labs I saw some incredibly well done photography that would fit into this category.

I had a few customers who did an excellent job of getting good expressions of their friends and family looking at the camera. The photos were not so tight of the people that you didn’t know where they were, but they would show their friends in front of the Eifel Tower where you could see the people close to the camera with the location in the background easily identifiable.

This type of photographer, snap-shot or memory jogger photographer, is concerned in recording a moment in time and who was there at that moment.

Another style is abstract photography. This would be an instrumental composition with no words to use music as an analogy. The composition and lighting may be well done, but the viewer’s responses are usually wide-ranging.

Ansel Adams is one of the most prominent abstract photographers. His photos create a mood and tone rather than deliver a specific message.

Elliott Porter, another giant in the genera of abstract photography, gave a prefect example of the portrayal of beauty or eliciting of an emotion with his photography rather than a photojournalist statement of fact. When asked (by a photo editor for a news magazine) what he would do if he came upon a stream polluted and covered with oil Porter said, “I could not help but show the beauty of it regardless of the tragedy.”

In some abstract photographs the subject is recognizable, yet others may be so bizarre there is no subject recognition at all. The common theme for these types of photographers a striking image. A specific message is not the purpose.

Then there’s the communications photographer. Their goal is to deliver a precise message. Many techniques used by the abstract photographer are employed, but the message is the thing.

Some communication photographers are conceptual in approach. Their work is thematic. The theme maybe as simple as illustrating an intangible, say hot or cold or “going green.” Their photos communicate an idea.

Life magazine was one of the first places Americans were exposed to photojournalism. These photographers deliver a message, but beyond the message they are pursuing truth. They want to tell the subject’s story accurately in order to obtain a response from the viewer; to make those seeing the photos want to take some action.

In between the conceptual photographer and the photojournalist are many breeds of photographers who are concerned with capturing a message and having the audience engaged with it.

Some photographers can move easily between these approaches. One day they may be covering a news event for a wire service (photojournalism) and the next day shooting and annual report or recruiting guide for a college. They know how to adjust the approach so they are not violating ethics of the professional photojournalist.

What do these styles have in common? The finest photographers shoot what they love most. This enjoyment usually means they have invested time into their subjects and know them well.

Understanding these approaches will better help you identify the best photographer for your projects. Maybe you’re the best for the job. Maybe you need to hire someone to shoot the project for you.

Most clients look beyond a photographer’s ability with the camera. Can you trust this photographer to do the job on his own? They will be representing you. Do you need to be there directing this person?

If you have a message you need communicated you don’t need have a snap-shooter or an abstract photographer – they can fill the “holes” where the pictures are to go, but that doesn’t express your message to your audience.

Be sure your photographer can communicate your message and be someone you can trust. It is easy to hire a known quantity. It’s not so easy to find the one who will get the job done, but the search is worth the trouble.

Be a Joiner

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

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

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

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

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

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

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

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

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

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

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

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

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

How to improve your flash photography

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Presidential Politics Teaches Us Something About Marketing Ourselves

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

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

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

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

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

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

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

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

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

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

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

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

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Corporate Cummnication Visual Tips: 10 of them

There can be no words without images.

--- Aristotle

More than any other technological innovation, computers are responsible for the explosion in images. Today, 20 percent of the U.S. population can use a computer. But 80 percent of school-age children have learned to become computer literate. By the turn of the century, Sculley predicts that 98 percent of all the words and pictures created in the world will be computer mediated. By that time, virtual reality -- the ultimate fusion of computer and television technologies in which viewers become active users of the medium -- will be inexpensive and accessible.

Educational psychologist Jerome Bruner of New York University cites studies that show persons only remember ten percent of what they hear, 30 percent of what they read, but about 80 percent of what they see and do. When all members of society whether at home, in school and on the job learn to use computers for word and picture processing, the switch will be made from passive watching to active using. There will no longer be the barrier between the two symbolic structures. Words and pictures will become one, powerful and memorable mode of communication.

-- Professor Paul Martin Lester, Ph.D., Department of Communications, California State University

Visual forms of communication grab the attention of today’s audiences. Graphic representations such as diagrams, charts, tables, illustrations and photographs not only catch the eye; they draw the viewer into the information being presented.

Corporate communicator departments who took advantage of this visual revolution early on are today’s leaders in the communication field. They saw this “explosion in images” coming and jumped aboard.

Endless, long blocks of type spreading across pages are rarely read. Early editors discovered a visual tool that cured this ill… they broke the copy up into short, more manageable paragraphs that didn’t intimidate or bore their audience.

Today, many no longer read traditional text. Just taking brochures from the past and posting them to the web will not get the message out.

Okay, if it’s true that a skilled use of visuals will improve communication and if expertise in this area seems like a foreign language… what then?

We’d probably take classes to learn a foreign language, so to become proficiency in the use of visuals perhaps we should study art, photography or theater at the local community college. This is one way to learn how the masters in these fields used the visuals.

Mr. Bean was a British comedy television series starring Rowan Atkinson. Bean, an almost totally silent character used physical comedy to entertain. The series did well internationally because words were not important to the success of the show.

Instead of a brain storming an idea try playing a game of Charades to express what needs to be communicated about that idea. The game forces thinking in visual terms. Pictionary is a board game where teams try to guess specific words from their teammates' drawings. More than Charades Pictionary requires forming mental pictures. Both games provide a fun way to practice visualization.

Here are Ten Tips to consider when thinking about using images:

1. Humanize – Illustrate how products affect people. For example, to show how small something is, rather than using a ruler, put it in someone’s hand. If something improves lives – show it doing just that. Today the trend is to use a more photojournalistic approach or, at least, to make it look photojournalist. To make sure the expressions are genuine set up a situation, give it enough time and it can become real.

2. Good Lighting – Sometime the natural light is perfect. Just cut the flash off and use a higher ISO for the available light. Remember that whatever has the most light on it will become the main subject.

3. Try Black & White – Some war photographers feel that color may make even war look pretty. Black and white is a good way to focus attention on faces and graphics.

4. Get Closer – Almost any photo will be better closer up.

5. Watch the background – Look around the subject. Be sure nothing is growing out of a head or sticking in from the edge on the frame. Use a shallow depth-of-field like ƒ/2 versus using ƒ/16 to make your subject stand out from the background. If the background helps tell the story increase the depth-of-field by using f16 or f22, or vary the background anywhere in between fuzzy or sharp.

6. Consider a worm’s eye view or the bird’s eye view – Shoot really low or high above the subject. Change the height of the camera in relation to the subject; avoid making all the photos from a standing position.

7. Turn off the date stamp – Digital cameras embed the time and date in the photo information so it is not necessary to have it print on the photo itself.

8. Variety – Make plenty of photos from different angles. In addition to using the zoom actually get closer and farther away from the subject. Make wide-angle and close-up photos. Try some without flash, some with direct flash and bounced flash.

9. Give it time – Make a few photos then stop for a few minutes. Let the subject get used to being photographed. After a while they’ll relax and the really great photos will start to happen.

10. Action and posed –Show the subject doing what they do. Let them do their job and make lots of pictures. Pose them for a good portrait, not just a headshot, but do an environmental portrait showing their work environment or signage of the place they work in the background or foreground.

There are many other ways than these that can improve visual communication. Like everything worth doing visual skills come from doing… from practice.

Think about it this way: Who is going to SEE your message today?

Little Details Make a Big Difference

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

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

A Photojournalistic Approach to Corporate Training Materials

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

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

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

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

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

Communicating Clearly, Without Distractions

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

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

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

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

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

Taking an Interest in People Is a Reward in Itself

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

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

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

Converting the Natives

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

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

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

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

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

With Relationships Come Rewards

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

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

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

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Backing Up for a Disaster

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

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

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

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

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

My Backup System

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

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

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

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

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

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

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

You Need More Than One Safe Place

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

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

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

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Relationships Help Shape Excellence

Editors note –

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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