cameras – Journeys of a Hybrid

April 15, 2014

2014 NAB Wrap Up

Still photographers and motion shooters love to get a “first” look at “new gear”. Here are a few interesting items I saw last week at the NAB Show (National Association of Broadcasters):

Cameras

Black Magic Ursa A 4K camera at an affordable price (around $6,500) that will be shipping in July. They’re calling it the first user upgradable-camera because you can change the sensor and the lens mount. It looks like this will be a great camera for filmmaking and documentaries.
Sony A7s Sony’s latest mirrorless camera features a wide-dynamic-range sensor and amazing sensitivity. With this camera, Sony didn’t jump into the megapixel competition against other camera manufacturers, but instead concentrated on image quality at staggering ISO’s. I would use this camera more as a still camera, but it’s small and it also shoots 4Kvideo.
GoPro This company continues to innovate and make products that provide shooters with the tools that allow them to come up with incredibly creative solutions, especially in sports/action content.

Storage/Monitors

Atomos has created the Ninja Star, a tiny ProRes Recorder for theGoPro Hero 3 that has an HDMI-out port and allows you to loop the signal through the Ninja Star and out to a monitor for composition or review. Atomos also debuted their Shogun, a combination seven-inch monitor and recorder with 4K capability.
G-Speed Studio by G-Techology This product, a hardware RAID 4-Bay Thunderbolt 2 storage solution, won the “Best Storage of NAB 2014 Award.” The G-SPEED Studio is a storage device with room for four hard drives and is configurable to RAID 0, 1, 5, 6, or 10. You can bring the total storage up to 24TB; at a lesser amount, the sustained 660MB/s transfer rate will get your files going quick.

Sliders/Stabilizers/Helicopters

Kessler Unidrive This is a motion control system (slider) that’s automated to enhance your production values.
Shape ISEE 1 Camera Stabilizer for GoPro A very cool device to stabilize your action GoPRo footage. The SHAPE ISEE I is a handheld gimbal-based stabilizer for GoPro cameras and smartphones. The powered, self-calibrating ISEE I enables steady shots with the GoPro and features a joystick for up/down tilting of the camera.
DJI’s Phantom 2 Vision Plus with Gimbal and GPS The latest addition to DJI’s quadcopter lineup gives you stunning images at a super affordable price ($1,000, or $1,099 for a version with extra battery). The copter has a 1080P camera that supports Adobe DNG RAW, which is great for workflow. There are also features that allow you to stream video to your smartphone in real time and to synchronize your phone with the quadrocopter through WiFi up to 700 meters away.
Syrp Genie Time Lapse & Magic Carpet Slider This is a motion controller coupled with a simple slider that provides a relatively low-cost solution for great time-lapse photography.
GimbalGunner A new device designed for run-and-gun video shooting. It’s essentially a cross between a two-axis gimbal and shoulder-mounted rig.

Software

There were hundreds of booths demoing software, but perhaps the most impressive of the bunch for me was the iZotope RX 3 This audio postproduction software will take away your fears about working with sound. I saw a demo in which it fixed substantial audio issues with the push of a button. Technology continues to make our lives easier. There is an incredible deal on the software until May 1, with prices slashed from $749 to $249. I don’t advocate capturing bad audio, but you’ll want this repair tool if you do.

Lighting

Litepanels This company launched its new Hilio series, versatile panels that emit a raw, narrow beam that provides high-intensity light for long throws.

February 24, 2014February 24, 2014

How to Sustain a Long Career in Photography

I came across this old “tear sheet” in the process of cleaning out the attic. Tom and I have dozens of boxes containing over 35 years of printed collateral with our “work” in it.

This brochure cover was from a shoot for I Love NY. Clearly it was a low budget job, based on the fact that we were also the “talent” in our own photograph. When this photo was shot, we were just starting out in the business of photography. It’s hard to believe that it’s been over 35 years since we started Kelly/Mooney Photography, because it seems like yesterday. As I sifted through decades of work, I started thinking – “What is it that sustains a career?”

Some thoughts:

Don’t let age define you. Let’s face it; we’re a youth obsessed culture. It’s not easy getting older, especially when you’re in a creative business like photography where “fresh” is equated with “young”. But there’s absolutely nothing you can do about your age. You can’t change it. It’s like your height – it is what it is. But you can choose how you think about it. If you tell yourself that you’re old – you will be.

Take more risks – not less. Why not? What is the worst that could happen? Am I the only one who thinks this way? I guess I was lucky that my mom and dad put those types of thoughts in my head a long time ago and they’ve served me well. Why should I change my outlook now, when I have fewer years on the planet?

You’ll fail more than you succeed. I sure have. In the last couple of years I’ve been rejected more times than not, but only because I have been challenging myself more than at any other time in my career. I have always “been on the move” in my life and my career and I am not one to stay too complacent or static. There are just too many things left to explore.

Fear comes with the territory. Fear is what motivated me to start writing. For me fear would often visit in the wee small hours of the morning. My mind would bounce from one unfounded worry to another and I couldn’t turn off the chaos in my head. So rather than toss and turn for hours, I got out of bed and started to write down my thoughts. It’s amazing how trivial some of the worries looked in the light of the day, written on a sheet of paper.

Listen to the ideas that don’t go away. We all have ideas. But how many of us act on them? Less than 5%. When I have an idea that just won’t “quit me”, I take action. The first thing I do is I commit to the idea. Then I tell someone – someone I respect, because then I have to carry it out – just to save face. I call it forced accountability.

Don’t take things for granted. Nothing stays the same or lasts forever. Be grateful for your loyal clients and show your gratitude. Business is all about relationships and it is amazing how people seem to pop in and out of your life. Doors are always closing and windows are eternally opening in a well-lived life. Recognize those times when they happen.

Always wonder. My spirit has not aged past 25 years old. I still have dreams and they are vivid and real in my mind. My dreams are propelled by my insatiable curiosity about everything. Many years ago I made the choice to become a professional photographer because I knew that my camera would give me access to a rich and rewarding life and to interesting people, places and cultures. My cameras (“my tools”) are still a means to a life of wonderment.

July 31, 2013

6 Reasons Why You Shouldn’t Take a DSLR Video Workshop

So many photographers think that buying a DSLR capable of shooting video and taking a workshop on how to use it, is all they’ll need to do in order to get into the business of video production. They couldn’t be more wrong. It’s kind of like someone buying a really “good” camera, and thinking that’s all they need to be able to shoot a professional photography assignment. And yet, so many of my professional photographer colleagues continue to think that it’s about the camera, instead of the skill set.

For starters, most of the professional video productions I do,I wouldn’t be able to shoot with a DSLR camera. Don’t get me wrong, a DSLR can produce stunning video, but those cameras fall short on certain tasks. More importantly, they won’t necessarily meet the expectations that many high-end advertising art directors require. You’ll look like a fool if you show up with your DSLR kit when they expected a lot more in the way of gear.

I get quite annoyed when I see the proliferation of DSLR video and filmmaking workshops that mislead photographers that this “tool” or camera will be sufficient for any and all video assignments – because it won’t. It may be fine for a wedding shoot and I even made a feature length film with a DSLR, but for a lot of corporate jobs I shoot – it just doesn’t cut it.

My advice to photographers who want to learn video:

Learn how to think and shoot video. It’s not just about the camera. When I shoot motion, I’m thinking and shooting much differently than I do for stills.
Pick the right camera for the job. That means you’ll have to know how to use a traditional video camera or a more sophisticated camera like a RED or hire someone who does.
If you contain your video experience and knowledge to the DSLR, realize that your competition will be fierce. The buy in price is low – so you won’t be the only one who thinks they can buy a relatively inexpensive camera and go after video jobs.
Stay away from DSLR workshops. They are way too limited and limiting. Plus, they are based on technology that changes way too fast. It may be tempting – but you’ll place yourself in the lower end crowd and will most likely be competing on price. How low are you prepared to go – or can you go and stay in business.
Learn video and/or filmmaking the right way. Don’t make it dependent on a particular camera. Learn the cinematic language and how to translate the message in a motion medium.
The business of video is much different than that of still photography. If the workshop you are thinking about taking doesn’t address sound business practices – move on. You can lose your shirt on a video production if you don’t know how to price and/or structure your shoots.

Think about it. If you were just starting out and learning photography – would you take a workshop that was about a particular camera? Obviously not, so why would you approach learning video that way?

For more information about video production check out Gail’s guide The Craft and Commerce of Video and Motion

January 21, 2013January 21, 2013

Photographers – Grow or Die

I’ve been a professional photographer for over 35 years. While some may look at that sentence and think I must surely be “over the hill” – others may look at that and say “wow, she must have been doing something right, to stay in business that long”. I suppose, it all depends on the outlook of the person.

Personally, I truly believe that the secret to longevity in any career field is to be open-minded as to how they define themselves. One thing I have never done is define myself by the tools I use. Just because one has expensive camera gear, it doesn’t make them a “professional photographer”. If that was the case, then who are you if you have a camera that happens to shoot both still images and video?

I’m really amazed when photographers define themselves by the tools of their trade. I think with the way things are going in terms of how technology continues to affect our industry, if a photographer defines him/herself in such narrow terms – it’s the kiss of death.

When technology enabled me to explore video production without having to make a prohibitively investment in expensive “tools”, the creative part of me wanted to take full advantage of those new opportunities that were coming my way. After all, I’m a storyteller and I shouldn’t have to limit myself to one medium, but rather choose the

Category:Wikipedia requested photographs of ph... — (Photo credit: Wikipedia)

right tool (camera) to use that best tells the story that I need to tell. Sometimes that means delivering the message in video and sometimes the story is better told with still images.

Because I was an early adaptor of video (at least from a still photographer’s point of view), many of my peers equate me with just shooting video. Many assume I’ve abandoned still photography, which couldn’t be further from the truth. The real truth is, my clients see me as an imaging professional, who is able to deliver their message with the medium(s) that is best suited for the job. These days with print publication giving way to electronic delivery, clients are delighted that I am able to fulfill their needs because I am proficient in both video and stills and most times they need both.

My curiosity for exploring a variety of mediums and tools has not only kept me in business – it’s kept me from getting jaded and stale. I am a photographer. I am a director of photography. I am an imaging professional and am thrilled to still be in business at a time when we have so many tools and options in how we are able to deliver a visual message.

January 31, 2012

Why Did You Want to Become a Photographer?

That was one of the questions posed to me during an interview this past weekend. A young woman had asked to interview me for a college paper she was writing. The call and the questions started out somewhat clinical, most likely another task or paper that she needed to check off her list. She proceeded through the usual list of questions: “Did you go to photography school?” “What type of photography are you interested in?” So on and so forth.

I could hear her typing my answers and I paused to let her catch up. But then she asked a question that really struck me on many levels. “Did you get into photography because it was cheaper?” I asked her what she meant by that – did she mean the tools of the trade were cheaper? When she responded “yes”, I told her that was somewhat of a misnomer and that the first cameras I bought (mechanical ones) I had used for 10 years. I added that now, because of the exponential impact of technology on my profession, my cameras and the software I need on the post end, have to be upgraded at least every two or three years, and that was only part of the investment required in the “tools of the trade.”

As she typed my response, I felt myself getting a bit anxious and I started speaking rapidly. I told her that even if that were true – meaning that I got into the photographic profession because it was cheaper – that would have been the absolute worst reason for me or anyone else, to choose photography as a profession. I went on to say that you need to be passionate about some aspect of photography that makes you want to do it more than anything, if you want to have a chance of sustaining yourself financially in this profession. Pursue photography because it brings you joy and that if you are getting into it because the entry level costs were “cheaper” you’ll simply be competing with thousands or tens of thousands of button pushers.

I went on to tell her that I became a photographer as a means to an end. I had been studying architecture in college and after two years left school to travel. I traveled the world for a year and came back knowing that I wanted to pursue a lifestyle that would incorporate travel but more importantly fill my endless curiosity of people and cultures and exploration. I wanted to become a storyteller, and became a photographer as a means to that end.

As the interview progressed I noticed the typing started to diminish as I told her that I have never separated my business from my pleasure and that they have always been tied together throughout my life. Simply put – my business is my pleasure. I talked about my frustrations starting out as one of a handful of women in a man’s world and for the most part a man’s profession – at least in the early days. I talked about the endless stream of rejections and the “wins” that seemed to pop into my life when I needed them most, rescuing me in the knick of time, just when I was thinking of quitting and moving into another career. I told her that unless she really wanted to do photography, she wouldn’t survive in this profession. I talked about my mentors when I was her age and how grateful I am that I had those people in my life. I relayed a couple of anecdotes about things my mentors had said to me and how those words had been pivotal moments in my life and that when things got tough, I drew upon those words of wisdom to get me through the day.

Then there was a very loud audible sigh, followed by a long period of silence and my mind raced through the various things that I had said to her. Was I too harsh? Did I paint too bleak of picture? Or worse yet – did I make it sound too easy and that all she had to do was “just do it”. I felt this overwhelming sense of responsibility that maybe I said something that was going to dictate the rest of her life and I kind of panicked in that moment of silence. And then she said “thank you so much for talking to me today, I started out just wanting to write my paper, and I’m going to have a great paper, but you have no idea how much talking to you has helped me.” She went on to tell me that she had been struggling with a decision that she was trying to make between going to law school and going to film school. I told her that she needed to make that decision all by herself and that it wasn’t a decision that anyone else could make for her – not I – not her parents – not anyone else. I told her to dig down deep into herself for the answer, beyond the influence of others, the dogma of the day and all the noise. And most importantly to remember that it was her life and that she got to choose how to live it and that she had every right to change her mind along the way.

Quite honestly, it has been one of those “onion” months for me, with layers of setbacks and second-guessing myself. I got off the phone feeling good about paying forward what I have learned along my way and in that moment, I realized that this might be my “purpose” at this point in my life. The day had turned into one of those sweet “strawberry days”. She didn’t know it, but she had helped me as much as she said I had helped her. It’s those conversations and those little moments that keep me going, and come to my rescue, just in the knick of time.

I would love to hear from you all – why did you want to become a photographer? Something you say or write just may help someone and paying it forward is the best feeling in the world.

November 15, 2011

Competing With Yourself

I started writing this blog a couple of days after I got to New Zealand. Now I am in the airport lounge waiting for my departure after an incredible 16 days in this country.

When I began this post, I had just won the Bronze award for Travel Photographer of the Year at the SATW (Society of American Travel Writers) convention in Wellington, New Zealand. I was up against some pretty stiff competition from some of the best travel photographers in the world, so it was an honor that I greatly appreciated.

On the last evening of the convention, they announced the winners of the Photographer Shootout that had taken place the first 3 days of the trip. The starting point was the Auckland airport where all the photographers involved were given their own vehicle – each identical in every way so as not to give anyone an unfair advantage. You could make your own itinerary and go anywhere you wanted to on the North Island – as long as you returned the car in Wellington – 3 days later by 5PM.

The weather was mixed as it usually is during springtime in most countries. We had some clouds, some sun and one morning of hard rain. One of the challenges of course was driving on the left side but that wasn’t as frustrating as the lack of a “shoulder” along the road to pull off to when I saw a magnificent sight – which was just about every 5 minutes. The distances were deceiving and invariably I had twice as much on my itinerary that I ended up getting to.

When I finally returned the car, I was happy to be rid of it – weary of the winding roads that were quite challenging at times. I felt good about the photos I had captured – but not overwhelmed by them because there were so many that I knew I had missed. When they announced that I had won second place silver portfolio – I was surprised and delighted because it had been so challenging for me on many levels. I’m mostly a people and city photographer, so in a country that’s known more for their scenery than large population centers – I was constantly pushing myself out of my norm.

I think that is why the shoot out reward is particularly meaningful to me. I wasn’t trying to beat out my competition and in fact I didn’t feel like someone else needed to lose in order for me to win. I felt good that I had pushed myself out of my comfort zone and every time I have done that, I have been richly rewarded. It was nice to be recognized by my peers and it was nice to win a prize but the best part of all was the feeling that I gave myself. I succeeded in what I had set out to do and that was to try something new and face some trepidations.

The older I get I realize that it’s all about the journey – not the destination.

June 17, 2011June 17, 2011

The Making of a Movie with a DSLR

It’s been a wild ride since I first began this journey of making a feature film with a DSLR camera – in my case, the Canon Eos 5D Mark II. I had already completed three short documentaries to date – all made with traditional video cameras from my first Canon XL-1 to my current HD Sony EX-1. But this time I was heading out on a 99-day journey around the globe, with my 23 year old daughter in search of ordinary people on six continents, who were making a difference in the world, and we had to pack light.

We were “the crew” – the two of us. We had to work efficiently and with gear that would fit into two backpacks and would endure the adventure as we traveled to 17 different countries on 30 flights. I also wanted to shoot both still images and motion, so I opted for the DSLR solution. Of course, I was enchanted by the “big chip” and the cinematic look of these cameras, but I was also thinking of my gear in practical terms – how I was traveling – how I would be shooting – and of course the desired outcome.

So with my daughter “running sound”, doing the interviews with our subjects, shooting still images, and navigating us through the subway systems in Moscow and Buenos Aires, and me taking care of all the logistics and shooting both video and stills, we came back 99 days later with almost 3000 gigabytes of content – that’s approx. 150 hours of footage and 5000 still image captures!

I wasn’t mentally prepared for what came next and that was 2 intensive months on my part ingesting all the content into my editing system, transcoding and adding metadata to the files and culling through hours of interview soundbites until I had cut it down to three . It was grueling and my winter months were spent putting in 14 hour days – 7 days a week. I was overwhelmed, yet somehow driven by some force. It was a lot of work, it was tedious and it was daunting – but yet it was my passion and somehow this inexplicable “force” got me through it.

I raised money along the way through crowd funding on Kickstarter and with that, I hired an editor. After I handed the project off to my editor, Erik Freeland of Springhouse Films, there was a huge sigh of relief on my part. I knew the post production had a long way to go but, I also knew that I had to let it go for a while and step back. Working with Erik has been amazing in itself and he has brought enormous value to this project and film. I have learned a lot from his insights and his talents in knowing how to” tell a story”, and we are finally coming to the completion of this film. Or at least in getting the “first cut” done for a sneak preview on July 17th, at the State Theater in Traverse City, Michigan. The screening is by invitation only and if you would like to attend, just drop me an email at gail@openingoureyes.net and tell me how many people would like to attend.

Since I first dreamed up this project in the final days of 2009, to the departure of our trip in the Spring of 2010, to where we are now, it has been a continual journey on every level imaginable. And I have had many angels working on my behalf – my husband Tom Kelly who has been the “wind beneath my wings” and without his support none of this would have been possible, my extended family who have been amused over the years with my schemes and dreams, my dear friends Angel Burns and Ally Raye who have believed in me and this project and have made incredibly exciting things happen for this film. (I’m not quite ready to divulge some of those exciting things publicly, just yet), Maria Grillo and Jason Harvey at The Grillo Group who have been so giving with their time and talents and created all the graphic design for the film’s release, and so many other “angels” who have helped me with foreign translations, been financial backers, helped me spread the word globally, and every person who was there for me when I needed support and encouragement. I am deeply grateful to have all these people in my life.

We live in an empowering time. When I began my career as a still photographer, over 30 years ago, I never would have imagined doing any of this. In fact just two years ago, none of this would have been possible. Our dreams are as big as we want them to be. I have seen this dream clearly from the start and each day I get closer and closer to seeing it become a reality.

Watch the Trailer

May 23, 2011

The “Real” Cost of Shooting Video With the DSLR

There was an interesting thread on ASMP’s video listservlast week. It started when a still photographer asked if a particular

DSLR camera would help him get into the game – of video.

Jan Allklier, a Seattle based photographer, shooting both stills and motion summed it up:

“If you simply want to ‘explore the medium’ a hybrid DSLR may well be the right ROI, although it really will only give you a flavor for moving images, not the workflow of professional moving image production, which encompasses a wide range all the way from feature film, to corporate work, to webisodes for small business; and many tools and skills well beyond the image capture device at hand.”

Kevin Kamin, Minneapolis based shooter, reminds us that it’s not just about the camera (or tool), but about the story:

“I understand why some photographers are looking to expand into video, it’s definitely doable, but I believe there is a tremendous underestimation of what is required to do so. I feel like video is being perceived as simply moving photographs-95% of the videos I’ve seen on commercial photographer’s website are not at a professional level (most feel like overly long, clunky, rough cuts that lack sophistication and a clarity of message). They say that ‘people who are good with a hammer tend to think everything is a nail’ So along that idea, many  of the videos feel like videos made by photographers, who haven’t fully grasped the spirit of the medium. People can enjoy a still photograph for a minute or  two, if it is compelling and engaging, but if you have three seconds of video footage that doesn’t move the story or lingers 15 frames too long, you just lost your viewer no matter how pretty it looks. Photography functions differently  within time based media.   Storytelling is the core of video. “

And Chuck Fadely, of the Miami Herald, connects the dots for us, first by passing along a link to Shane Hurlbut Visuals blog that lists the “standard” movie making rental gear for DSLR video. More importantly, Chuck reminds us that shooting motion is a skill set. It’s a different way of seeing and shooting.

“The hardest thing about video for a still photographer is learning to shoot in a totally different way. You’ve got to learn to shoot in sequences, with transitions. It takes years to overcome the habits you’ve built up as a still photog — like reframing, adjusting exposure, following action — which are death in video.   I was a news and feature photog with several decades of experience, with extensive lighting skills, good technical ability, and a knack for learning new stuff. I switched over to video full time and it was shocking how little transferred over. Video is a different beast.”

This was one of the easiest blog posts that I’ve ever written and maybe the most beneficial for readers. It brings up another important point and that is how much we can learn from each other. When I started shooting motion back in the mid ‘90’s – there really weren’t any listservs or social media forums where my peers were so forthcoming with information.

When people ask me why I’m so giving and sharing with my knowledge, I always tell them that I get back so much more than I give. What a great time to be alive.

February 9, 2011

Grow or Die

I’m borrowing the title from Ian Summers, a creative coach and visionary. Through personal sessions with Ian as well as from his writings, I’ve learned that there is joy in any exploration, especially the exploration of the creative self. Ian expresses what he does more beautifully on his blog: Heartstorming

“ I co-create an environment where people are safe to bring what they love and what matters to come into being by being a compassionate teacher and expressive painter.”

There is so much to learn simply because it’s such an amazing age we live in. I try to take advantage of that and embrace new skills and knowledge to further my creative self. Learning and exploration is a necessary ingredient in my life. It stimulates me, it brings me wonder and joy and it empowers me. The more I learn, the more I grow, and the more the universe opens to me and sets my creative spirit free to be the one I am meant to be. Learning is happiness.

Here are some links to some wonderful sources for learning – some technical and some inspirational – but all valuable in their own way.

To start with don’t miss Selina Maitreya’s Clarion Call 2011, a free 2-day professional photography telesummit.
I’ll be on at 10AM Friday, Feb. 11th.

If you’d rather have the benefit of networking face to face with your peers then sign up for ASMP’s Strictly Business 3
Next one coming up is in Philadelphia Feb. 25-27, 2011.

Here’s a few a my favorite links to continued learning:

Video Vimeo School – Tutorials, articles
Creative Cow – Tutorials, forums, articles
2 Pop – Forum, articles
Ken Stone –Tutorials video

If you have any real or virtual places that you frequent to learn, please feel free to share.

The key of course to learning is to apply the knowledge that you’ve learned. So be ready to grow when you set out on your explorations of learning. Embrace that thought and ready your mind to be open and receptive to new ideas and ways of seeing.

February 2, 2011

Telling the Story with the DSLR

The sub-title should read…”or with any camera for that matter”. For those of you not new to this blog, you know that my mantra is “it’s not about the tool”. And my other mantra is “embrace collaboration”.

But back to the thought behind this blog entry and that is “telling the story”. I recently read a great book that a dear friend had given me about screenwriting called “Save the Cat” by Blake Snyder. Snyder’s book is geared more toward writing a fictional screenplay, as opposed to writing a narrative for a documentary, but I thought it would be helpful for me as far as learning more about the dynamics of story telling – and indeed it was.

Snyder talks about the different genres that most movies fall into. The category that my documentary came closest to if I was writing a fictional piece was what he referred to as The Golden Fleece. Blake writes:

“The name comes from the myth of Jason and the Argonauts and yet it’s always about the same thing: A hero goes “on the road” in search of one thing and winds up discovering something else – himself.”

“Like the twists of any story, the milestones of The Golden Fleece are the people and incidents that our hero or heroes encounter along the way. The theme of every Golden Fleece movie is internal growth, how the incidents affect the hero is, in fact, the plot.

“It’s not the mileage we’re racking up that makes a good Golden Fleece, it’s the way the hero changes as he goes”.

Wow, I thought as Snyder’s words resonated with me and how I “saw” the documentary that I was in the midst of editing. In my case, I had many heroes who in setting out to make a positive difference in the world had also experienced intense and rewarding personal growth. I too had changed and grown, along with my daughter who journeyed with me to tell our subjects’ stories.

As I read more of Snyder’s book, my vision of our film became much clearer in my head. This week, I had a meeting with the editor who will be collaborating with me on this film. I’m thankful that I was able to have a face to face meeting with him where we could both get a better feel for each other and more importantly – the story. We had a wonderful conversation about the story that I wanted to tell – the heroes – the conflicts – all those things that are part of a good story. I knew we were on the same page when he said: “It’s not about the trip – it’s about the journey”.

Or as Snyder writes:
“It’s not the incidents encountered. It’s what the hero(es) learn about himself from the incidents that make the story work.”

We’ll see if I can do my heroes justice in telling their stories, but I’m not alone in this task. I’ll be collaborating with an editor who not only has an understanding of “the story” but the skills and ability to make it come to life. What joy.