Guest Blog: Story is King!

Robin Rayne is an Atlanta-based photojournalist for international and domestic magazines and newspapers. Robin is also producing a documentary film on people with significant disabilities who have been mandated to relocate from state hospitals into community.

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It was only 96 hours on an island in the middle of the Pacific, but the joy and rewards that came from leading a class of young, passionate student storytellers will rank high on my list of life experiences -- even though I learned as much for myself as I likely taught them.

I was apprehensive when the University of the Nations first asked if I would consider flying to Kona, Hawaii to teach for a week at its School of Photographic Communication (SoPC) on the Youth With a Mission campus. I was one of a handful of journalists recruited as instructors.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 1000, ƒ/5.6, 1/100

I know some photographers for whom teaching, coaching and counseling seem almost effortless. They are full of knowledge and experiences that just cry to be shared.

I'd never taught a photo class before. But I pushed through my anxiety and said yes anyway. For weeks I pondered what I'd have to offer.  What could I share that was different from the others?

What kept coming back to me was 'the story.' Because what we do is really is all about the story, or narrative, or whatever we're calling it these days.

Without journalistic depth, all those creative, artful and technically brilliant images in the world will remain nice pictures for a gallery or photo magazine, but they fall short as real journalism.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 4000, ƒ/8, 1/100

In 2015, our culture has become one of viewers – on our laptops, iPads, tablets and smartphones – than readers of the printed page.

As journalists, we need to use all the tools available to communicate: still photos, cinema, text, audio and design.

Photojournalists are first of all journalists. The world is brimming with photographers,  but it's our job to tell stories. Sometimes we have editors who direct us to specific people or situations to capture, but much of the time it's up to the photojournalist to find someone that moves a story forward.

Everyone has a story if we dig deep enough.  Too often we take the easy way, the low-hanging fruit. We don't dig. We don't get names, or if we do, we only get the top layer.  We often don't get the rich story because we don't ask the right questions, or we don't know how to ask questions and really listen to the answers.

Students interview coffee grower in downtown Kailua-Kona, Hawaii. [photo by Robin Rayne]

So that's what our class worked on for several days. As an exercise, I asked the students to pair off and interview each other, digging for something  that that was interesting, curious, unique -- or that had conflict.

We split into two production 'crews' and talked about a common narrative that had conflict. The students shaped and refined their questions for a handful of  prospective subjects and then left the campus in search of a multimedia story that could be told in two minutes.

Nikon D750, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 180, ƒ/4.5, 1/100

A few learning moments quickly surfaced as the crews approached their mission.

Rule Number One: The story is king.

Other things to remember:

2. Do your research and think hard about what the story really is. Answer the question: What's the conflict? Why should the viewer care about your subject or the story?
3.Don't fall in love with your original idea. Have a "Plan B.' and a 'Plan C, D, E and F' if necessary.
4. Be willing to dig for the real story and follow wherever it goes.
5. Look for emotional, spontaneous moments, establishing shots and appropriate b-roll.
6. You can never have enough b-roll.
7. Know your equipment. f4 at 125th sec. outside on a bright day is probably going to be overexposed. And make sure the record button is 'on' when it is supposed to be.
8. Watch your monitor. Know your camera, microphones and cables.
9. Always bring a reflector, tripod and fresh batteries.
10. Listen to the subject's answers. If they're stiff, ask the subject to say it a different way.
11. Delegate responsibility so each crew member knows her/his job.
12. Watch out for things other crew members might have missed.
13. Mediocre images can be forgiven if the audio is solid and clean. Bad audio will lose viewers even if the images are stellar.
14. Kona coffee is awesome.

Students learn how to use microphones with their DSLRs to interview subjects. [photo by Robin Rayne]

Watching the crews learn by doing was the best way to teach. All the things I knew to be true were hammered home to me as we watched the final pieces together. We learn from screwing up more than we learn by our successes.

I hope the students learned some things they might not have known before. Sitting among them rather than in front of them was a great equalizer. Because none of us has 'arrived' and knows everything. We ought to be learning until the day we die.

Students talk to a local shop employee in Kailua-Kona, Hawaii. [photo by Robin Rayne]

Now I have a few more friends who will go on to do amazing things in their lives.  I'm deeply blessed to know them. I really liked what we accomplished together that week.
They all rocked, and I hope we'll stay connected.

Aloha,

robin rayne nelson
http://assignmentatlanta.com/

WHY? is the key to great storytelling photos

Fuji X-E2, 18-55mm, ISO 6400, ƒ/2.8, 1/6

Great Photos Often Ask WHY?

When I look at this photo above I want to know not just what they are doing, but rather the more important question WHY.

My mentor Don Rutledge talked about how photographers need to approach their work like a child asking, "Why is the sky blue?"

I have written a few times on this blog about the importance of WHY.

When I meet students of photography I like to ask what other interest do they have other than photography. I am asking this because when I look at their portfolios none of the photos have a passion in them. I don't feel the photos.

We make the choice on what we are going to photograph. If you understand WHY you like to photograph something you are understanding what is the core emotional connection between a subject and the audience.

I recommend watching this TED talk by Simon Sinek on the importance of WHY

  

I like the simplicity of understanding of reversing our normal way of talking. Get to the heart of the matter is what he is saying.

When I meet those college students they are often telling what they like to do and how they like to do it but seldom do they ever tell me WHY.

This key to not just storytelling—it is core to finding the PURPOSE in your life. Once you understand why you like to do something it is much easier for you to chart the course for the rest of your life.

Key to a successful story:

• Why should the audience care?
• Why does this matter to the subject?
• Why does it matter to you?

Here is the Law of Diffusion and Innovation that Simon Sinek talks about in the video

Click on image to see larger and to read more here is a link

Storytellers know thy purpose

The shortest distance isn't always the best route

Know Thyself

“He who knows others is wise; he who knows himself is enlightened.”
― Lao Tzu

We are familiar with the saying to "Know Thyself" because through understanding yourself you are able to accomplish so much more. You learn your strengths and limits which will help you navigate life.

Storytellers need to know the purpose of a story. Why were you hired to tell a story?

I have been driving many times in the Atlanta traffic when all of a sudden my GPS will alert me to traffic and alternative route to my destination.

Knowing your destination the GPS helps you navigate and get you to your location in the quickest amount of time.

Great Teachers

One of the best examples I experienced over and over growing up was when a student would ask my teacher a question. The teachers I have the fondest memories are the ones who could take almost any question and use it to engage the class on the subject. My worst memories are the teachers who like in the top illustration use that red line approach to everything. They somewhat answer the question, but are quick to say something like "now lets get back to ..." and in the process shut down the class.

The difference is the great teachers know their subject well and know their lesson plan. They know the goal and purpose for the lesson that day. They are willing to take a question and like the GPS use this alternative route, which is better than proceeding into what will be a traffic jam.

Great Storytellers are Great Listeners

I have traveled with some of the best writers and loved learning from them. These were all journalists and we were working together on stories. I was capturing the still images and video while they were responsible for the text.

I have also watched too many writers who are so self absorbed with where they think the story should go that they kill the story. I remember more than once with more than one writer where they asked a question and didn't listen either with their ears or eyes and missed the traffic jam taking place and hearing the subject helping to redirect them to an alternative route.

Chick-fil-A Cow out on Marietta Street in front of the new restaurant that is adjacent to the College Football Hall of Fame. [Nikon D4, 14-24mm, ISO 800, ƒ/8, 1/800—Off camera fill-flash using the Nikon SB-900.  The Flash is on the Pocketwizard TT5 and being triggered by the Mini TT1 on the Camera with the AC3 to control the output of the flash]

Today I am sent by news outlets and corporations to capture stories for their audiences. Just this week I was covering the grand opening of the Chick-fil-A at The College Football Hall of Fame. My audience was the internal staff and franchise owners. The Associated Press photographer was there covering the story and his audience was the public.

Associated Press photographer, Dan Goldberg, interviews a couple. [Fuji X-E2, 18-55mm, ISO 6400, ƒ/6.4, 1/140]

How does the new Chick-fil-A restaurant impact those audiences was my assignment? The AP Photographer and I both are covering the same subject, but because we knew our purpose we were able to adjust throughout the story as the subjects in the story helped to inform us of new content that was relevant to the story.

My primary concern in all my storytelling is the subject. I know that if I aim to please the subject that they would be pleased with the story then the accuracy is much greater than if I was focused on what someone else told me the story was all about.

Just like the teacher who knows the purpose of their lesson plan is able to adjust to bring the class along, I too must adjust to be sure I capture how this new restaurant will impact my audience.

Dan Cathy with one of the staff members from the College Football Hall of Fame reading the story of "A Better Way Ministries" person who built the table. [Nikon D4, 28-300mm, ISO 6400, ƒ/8, 1/200]

As you can see in this photo I was thrown a curveball when Dan Cathy, the president of Chick-fil-A crawled under a table and then started to talk to everyone from under the table. Just like when the teacher gets a question from a student which can help engage the classroom even more into the story, this was my question moment.

Plaque on top of the table tells about the story of the table. [Nikon D4, 28-300mm, ISO 1000, ƒ/5.6, 1/160]

You can read about the table in the photo above. Dan Cathy talked about how this partnership with A Better Way Ministries was also being done with their new coffee company Thrive Farmers. The process of picking Thrive Farmers was the realization there was a story there of the farmers. The artisans who made the table have a story and they were asked by Chick-fil-A to take a Sharpie and write their story under the table.

The artisan's story. [Fuji X-E2, 18-55mm, ISO 6400, ƒ/2.8, 1/500]

This unexpected detour actually helped me get to my destination better than without the detour. You see the story of how Chick-fil-A was interested in impacting the lives of the artisans and coffee growers by buying their products is how they were impacting those communities. It did a great job of setting up the story of how this restaurant will impact the community near the College Football Hall of Fame.

Highways vs Back Roads

Great storytellers know that those detours are like comparing the interstate highway to the back roads. Interstate highways are like the straight line from point A to point B, but rarely are they as scenic as the backroads.

I know that when I am the passenger on a drive on the interstate I am much more likely to take a nap than when I am on the backroads.

The lesson here is simple. If you know why you are doing the story, then you will know how to navigate and take advantage of the opportunities the subjects give to you which make your story a success.

To grow as a photographer you need constructive criticism

Fuji X-E2, 18-55mm, ISO 6400, ƒ/3.6, 1/210

Team Photo Story?

Today I saw the work of seven teams who were assigned themes and had to find a story on the Big Island of Hawaii to do as a team. I have never seen this done before. Usually in photo schools they give each person a story and they work on it alone.

The purpose of this class is giving young people a Discipleship Training School where they spend a month preparing to go to another country to work on a project. Some of these projects are orphanages, sex trafficking and a few other social justice issues.

To help teach everyone how to engage with people cross culturally they are using the camera to help teach this skill. Most of these Discipleship Training Schools do not use photography.

Paul & Suzi Childers [Fuji X-E2, 18-55mm, ISO 6400, ƒ/4, 1/160]

Paul and Suzi Childers had this vision of using photography for a DTS. Suzie is a professional portrait photographer by trade and saw this would work to help teach cross cultural skills and help the students make connections.

What I taught this week was how to get permission in cross cultural settings to take photos and how using photojournalism techniques would help them to really get to know people.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/4, 1/250

Working as a team they were able to potentially shoot different angles and also let one person concentrate on doing most of the talking. Another person could take notes and gather content using a recorder or video on their camera.

One group let the subject tell their own story and they used photos that they set up to help illustrate some of the concepts.

One group used an illustrative/conceptual approach of photography and combined this with them reading to the group the story.

A few of the groups wrote captions and put those up on the screen and then put the photos in a sequence that was more photojournalistic in approach.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/3.6, 1/220

After each group presented, their peers then gave feedback. The leader asked they give some positive comments as well as things that they could improve. Please don't say you just don't like the photo, tell them what they could have done to make it better.

Earlier in the week I put up a coverage of mine, which I didn't tell them until we were quite a ways into the critique. I asked each person to look at a photo and tell me what they see as something wrong with the photo. Each person was given the microphone and each got a new photo to look at that the others had not commented on.

Manny, one of the students, said one of my photos looked amateurish. Well the point of the critique session was to teach them how to give constructive criticism. I didn't let him off without him taking the time to tell everyone why it was amateurish and what he think would make it better.

Some of the students at first thought we were arguing. What they all learned was sometimes you have to ask someone to clarify their comments. Even when they are saying your photo is crap. Why is is crap?

Fuji X-E2, 18-55mm, ISO 5000, ƒ/3.2, 1/500

I would offer to them if they paid my expenses and make up for all the income for the next two months to join them and critique every day, but that just isn't practical. What made much more sense was to help them understand how to look at photos and talk about why a photo worked or didn't work.

What they really were learning was how to listen to feedback in life. Hopefully this process will teach them how to build community with each other and grow in maturity as they learn how to serve one another.

I can't wait to see their work from around the world. They divide up to go to Panama, Turkey, Germany, Thailand and China.

How using portrait in a photo story ...

Nikon D4, 85mm, ISO 125, ƒ/1.4, 1/100

These are three quick photos I made of a student yesterday in class to help the students see two things that they can do very quickly to introduce a character into the story.

We preferred to not have a posed portrait but rather something of her in action. I did not take a photo to illustrate that point, but did want to illustrate lens choice and as well aperture.

The first photo here is shot with a shallow depth-of-field of ƒ/1.4.  The emphasis is all on the lady.

Nikon D4, 85mm, ISO 12800, ƒ/14, 1/100

I then just stopped down the aperture to create a greater depth-of-field so that the map was much sharper.

Now I talked to the class that my purpose was to show the student was in a class with photo students and they were going to then leave the class and do stories around the world.

Nikon D4, 14-24mm, ISO 9000, ƒ/14, 1/100

For the last shot I change the lens to a wide-angle and then had the class behind her. We talked about how we can then introduce her in our story this way as well.

All three photos are acceptable photos in their own right, but the question was which one does the best job of helping tell the story.

Today I will show them another technique, so stay tuned for that example.

Summary of my teaching points I had for Lisbon Multimedia Workshop

I just returned a week ago from Lisbon, Portugal where I was teaching a Storytelling Workshop with Jeff Raymond of ABWE and James Dockery, coordinating editor for ESPN.

Nikon D4, 28-300mm, ISO 800, ƒ/9, 1.3 sec

I taught the students the elements of a storyline, which then they used as they interviewed their subjects.

I have written a blog on storyline and breaking down each of these components if you want to know more about it here.

You can then break down this storyline into a shot list, which all the students worked on to put together their multimedia package.

• Opener: Sets the scene for the story
• Decisive moment: The one moment that can by itself tell the story
• Details: Besides being like visual candy to the story, help often with transitions--especially in multimedia packages
• Sequences: give a little variety to a situation
• High overall shot: Gives a good perspective to how the elements all fit together
• Closer: Besides the classic shot of the cowboy riding off into the sunset there are other visual ways to help bring the story to a close
• Portraits: These photos are great for introducing the characters of the story

Before they even started we had them tell us who the audience is for the story. We want them to reach into the audience and pull on the experiences of that “specific” audience.

Audience

When I was telling the story on the coffee cooperative I was keeping the audience broad. I could have easily just targeted the Presbyterian Church who gave money to support the missionary who was instrumental in funding the cooperative. I could have also targeted the Catholic Church because they too had a role in starting the cooperative.

Nikon D4, 14-24mm, ISO 12800, ƒ/2.8, 1/50

I chose to keep it broad enough, but yet I had those audiences in mind. I told the story with those people who are concerned about immigration and looking for a solution. The story was to establish the conflict of illegal immigration with the resolution being the cooperative. 

I have worked on stories for mission organizations many times through the years. The goal of those stories was to get the audience to: Give; Go; or Pray for missions. 

Who, What, Where, Why, When & How

In Journalism 101 the five Ws and H are taught as the questions whose answers are considered basic in information-gathering. Importantly, none of these questions can be answered with a simple "yes" or "no".

Before the formal interview each person was interviewed to gather and determine the story. If you didn’t do this you would be editing forever your project.

B-Roll

B-roll is the supplemental or alternative footage intercut with the main shot in an interview. People are generally not going to sit and watch a person talking in a video for very long. This is why you shoot lot of B-roll so you can show this while the subject is talking.

Our students quickly discovered the story needed to revolve around the now and not the past or future or you couldn’t shoot much B-roll. 

Here is a photo of me doing an interview in Lisbon.

photo by Jeff Raymond

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PhotogenX DTS

In a couple weeks I am teaching another Visual Storytelling Workshop in Kona, Hawaii. I will be teaching students Visual Storytelling before they head out for coverages around the world: orphanage in Cambodia; poor in India; working with prostitutes in Thailand; and finally coverage on the street children in the Philippines. Go here to read more about the program.

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Lisbon, Portugal Scene Setters

Nikon D4, 28-300mm, ISO 800, ƒ/9, 1.3 sec

Who, What, WHERE, Why, When & How

In Journalism 101 the five Ws and H are taught as the questions whose answers are considered basic in information-gathering. Importantly, none of these questions can be answered with a simple "yes" or "no".

Last week while teaching Multi-Media Storytelling Workshop in Lisbon, Portugal we covered getting images that help give context for their stories.

Below here are some possible scene setters that help address the WHERE for the storyline.



When you examine the Five Ws and H most of those questions can be captured visually. The adage "A picture is worth a thousand words" refers to the notion that a complex idea can be conveyed with just a single still image. It also aptly characterizes one of the main goals of visualization, namely making it possible to absorb large amounts of data quickly.

This is why visual storytelling can be extremely powerful. You can get across a lot of information to the audience in a very short period of time.

While one image can capture "WHERE" a series of photos in a multimedia can do even more. Depending on the sequence, some music and the human voice can pull you even deeper into the context of the story.

Fuji X-E2, 18-55mm, ISO 200, ƒ/13, 1/180

Here is a photo of Nazaré, Portugal where I am at Sítio (an old village, on top of a cliff) overlooking Praia (along the beach). This is how you as a tourist give context.  Shoot too tight and you could be anywhere in the world. Don't make that mistake or you could have just stayed home and taken photos in your backyard.

Depth-of-Field

Context photos are difficult when you use a shallow depth-of-field. Compare these two photos with where changing the aperture to gave a greater depth-of-field.

Fuji X-E2, 55-200mm, ISO 200, ƒ/3.7, 1/1000

Fuji X-E2, 55-200mm, ISO 640, ƒ/10, 1/500

Wide Angle Lens

Personally I prefer to get close with a wide angle verses using a longer telephoto lens, but here in these photos it does work.

Nikon D4, 14-24mm, ISO 100, ƒ/8, 1/500

Remember when you travel and you want to take establishing shots that capture where you were and not just photos of you that could have been taken anywhere.

Are you filling holes in an organization or using holes to fill the organization?

Pastor Emanuel Yameogo is in front of the church he pastors in Koudougou, Burkina Faso, Africa.

Many photographers are enjoying giving of their time to travel the world for a NGO in exchange for access to subjects. You can get hooked on doing this for the wrong reasons. Getting one more country stamped on your passport can feel good to even those who are doing it for all the right reasons, but be sure this is not the motivation for you to see the world.

I just had someone post this on a forum that I contribute to and enjoy.  I posted this as a response and believe too many photographers with big hearts and giving to organizations are often doing more harm than good in the big picture for those organizations.

San Antonio Catholic Church in Tikul, Yucatan, Mexico

"NGO/NPO's have a budget for marketing. Do not let them tell you they have no budget."

Sadly this is not true in all cases. While there are many reasons they have no or inadequate budget for marketing there is one that many of us contribute.

Altruism is one of the biggest problems with these organizations. Many media professionals out of wanting to help actually have hurt many of these organizations over time.

A giving photographer isn't able to give to their charity $20,000, but chooses to give of their time of what would amount to a $20,000 gift. This is how many organizations are able to do more with less.

Let's say that for the next 20 years this photographer gives annually a week of their time doing projects from multimedia, still photography and maybe some writing to help with marketing materials for this organization.

Jacob Tarnagda [left] and Jay Shafto walk through the Jacob's courtyard. Jacob is a leader in the church in Soumagou, Burkina Faso, West Africa.

Sadly the photographer dies one year for whatever reason. Slowly this organization is loosing traction. Their marketing is not as good as it was. They cannot find a veteran photographer like the one they had before. Now they rely on college students and amateurs who give of their time.

Sometimes they just stop doing any photography. That was something someone gave to them but not something they needed in the minds of the NGO.

While the photographer was alive and giving the organization flourished, but once he/she was gone they started to wither. 

Street scene in Tikul, Yucatan, Mexico.

Please don't be that photographer.

Be altruistic and give of your time just like the photographer did all those years. However, this is how you can be different and help the organization.

Take the time to have conversations with the leadership. Sit them down and get them to understand the real costs and encourage them to start creating a marketing budget. Get them to put it into the budget that they vote on each year.

Your gifting of time can cover the costs while you are able, but by this being on the visible budget you will be helping the organization slowly create a budget. 

I would help them over time realistically put together a budget just like each of us who are independent have to do for our budgets. Maybe get them to slowly hire a few independent media specialists to help your projects be better. 

Night street scene in  Tikul, Yucatan, Mexico.

Once more thing besides creating a physical budget for the organization, help them to know how to use entry level communications people. Help them to understand the importance of strategic creatives and how they can mentor the newbies. 

Maybe you help them by training students and having them work with you on these projects for internship credit. Be sure if you do this, that you are communicating the importance of the seasoned pro. Let them know how this is saving them money in the long run. Show how new fresh perspectives of the students can also help them grow. Just be sure they understand the importance of strategic communications rather than just photos and videos being created to have something "visual."

This is the hanger used for the ministry story point in the bush village of Sabtenga, Burkina Faso, West Africa.

You need to help the organizations understand the difference between filling holes and using holes to fill the organization.

Facebook now with more stories than ever

Frontera de Cristo shared a link.

November 11

https://www.youtube.com/watch?feature=player_embedded&v=Z4QNgR9t7Qo

Check out this 1:30 minute video by Stanley Leary, a professional videographer who participated in our border to border delegation. Thanks Stanley!

Joshua Ediger

www.youtube.com

This video is about Joshua Ediger's comments about Just Coffee

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• Top Comments

  6 people like this.
• 
• 

  Jocabed Gallegos Wow!! I have enjoy this clip! thanks Stanley.

  Like · Reply · November 12 at 11:26am
• 

  Jozef De Groot That was quick!! Great clip!!

  Like · Reply · November 11 at 6:58pm

I love it when my clients are posting packages I have done for them on their Facebook page like Frontera de Cristo did with one of the videos I did for them

What is just as exciting is seeing the responses. Five people went ahead and shared this on their Facebook pages as well. Within a few hours the video was seen by more than 300 people.  Maybe more if more than one person watched it for each click.

Stories are what people are spreading on their social media.

In Russia is everything possible

zasmejsa.com

In Russia is everything possible

• My feed on Facebook is full of stories everyday. Many are multimedia. I am seeing more storytelling than I have ever seen before in my lifetime.

Some of the stories will have you crying.

If you own a business and you are not creating story content for your Facebook then you are missing an incredible opportunity. 

You won't believe that everything in this video is a still photograph

sploid.gizmodo.com

Here's the closest thing we have to magic. Make Productions turned still photos from the World Wildlife into a short movie that looks more like a documentary about nature. Using parallax shots, they were able 

I am encouraged to see that people really do love good storytelling. People want to be entertained and educated. 

This Awesome Ad, Set to the Beastie Boys, Is How to Get Girls to Become Engineers

slate.com

This is a stupendously awesome commercial from a toy company called GoldieBlox, which has developed a set of interactive books and games to “disrupt the pink aisle and inspire the future generation of female engineers.” The CEO, Debbie Sterling, studied engineering at Stanford, where she was dismaye...

• Here is one that is quite interesting on body image.

2 People Described The Same Person To A Forensic Artist And This Is What Happened

upworthy.com

How he did this will surprise you.

Some of my friends like Alex Garcia are always posting the best stories they are finding like this one here on the recent Tornadoes.

Surviving residents of the Washington IL tornado talk share their experiences. http://www.chicagotribune.com/chi-131118-downstate-tornado-victims-stay-positive-video,0,2702436.embeddedvideo

Maybe this is why so many of us are going to Facebook in addition to catching up with friends. Our friends are sharing great content.

Man with awesome dance moves will amaze you (VIDEO)

edisproduction.de

Man with awesome dance moves will amaze you.

I am loving all this, how about you? My friend Kathleen Murray shared this series of photos of dancers in real life situations.  Very cool.

Dancers Doing Real Life Stuff

incrediblethings.com

Photographer Jordan Matter brings us this photoseries called Dancers Among Us. It features ballet dancers posing in real life situations like showering, catching the subway, shopping, working, and ...

Give me a call if you need some help telling stories for you to post on Facebook, Google+, or Instagram. Remember for them to be shared the content has to be entertaining. The best way to do this is hire a professional.