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How a micro-budget video series caught the mood of an international non-profit event – part 1

The International Folk Art Market | Santa Fe is a non-profit with a flagship event of an amazing market which sees 20,000 people come to buy the work of 150 folk artists from around the world. The revenue raised by the artists (who often work in co-operatives) helps to preserve folk art traditions and strengthen and support communities in places as diverse as Ecuador and Mozambique, Uzbekistan and Timor Leste.

I’ve worked with the Market on website and content projects for years, and for the tenth anniversary market this year, I suggested we produce a video series about some of the artists, looking at the impact of the Market or introducing artists that were new this year. We wanted to stress the personal success stories that underpin the Market but that can sometimes get lost in the scale of the event. Visitors get the chance to meet and interact with the artists, and take home an object created by hand with skill and passion, while the artists take home money they earned from sales to individual people.

The budget was extremely tight – I could only spend five or six hours on each of the five videos we planned – and the technical constraints were also daunting: we couldn’t go and shoot interviews with the artists. In two of the cases, however, we could source amateur video that Market employees or supporters had shot when they were in-country (those for the SEWA co-operative in India, and La Mega Cooperativa de de Saraguros in Ecuador). That left a co-op in Pakistan, a vodou flag maker in Haiti and a master basket weaver in the south of France with no video footage. I proposed using Skype to record video sessions, supplementing all the videos with lots of still photography.

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How to take better photos for your blog and social media channels

It’s great to see real organizations posting regularly on Facebook and Twitter, writing blogs and being open and authentic in their communications.

Part of this is strategic – we’re moving away from the old days of a senior figure in the company or non-profit checking every communication that goes out of the place themselves and  hiring PR people or ad agencies to polish a message until it shone (even if it didn’t represent the truth of the organization). Now, your audience wants to know what’s it really like behind the scenes, and for its employees to show some of their own personality and that of the organization.

Not all images are the same

But after the strategic comes the practical – you’ve got the plan and now you have to implement it well. So let’s assume that your organisation is writing blog posts, tweeting up a storm and using Pinterest like nobody’s business. You’re taking lots of photos at events or of products, but the problem is that none of the images look very much like the ones you see on the charity: water or ONE sites.

Poor photography makes you look amateurish, and turns the most lavish party into a dull-looking event or an attractive product into an e-Bay advertisement. NYC event organiser Jeremy Norman speaking in a Photoshelter blog post on event photography made it clear: “We’re very big on creating moments in the events – different opportunities for exciting photographs. Because if you’re going to spend one, two, three hundred thousand on an event you definitely want to have memories that are well shot and well photographed.”

canada goose You might not spending that much on your events, but the chances are you still need some better photography to create more impact and reflect your organization more positively. And if your blog posts have a more news feel to them, or you case studies tell particular stories, then you also need good photojournalism-style photographs to accompany that content. Finally, if you’re a fundraising organization, photography can play a key role in engaging potential donors.

I can make a very good case for employing a professional (and I’d love it if you’d call me, especially if you want documentary-type work or multimedia), but if that’s not an option here are some key tips to help you get better social media and blogging photos on your own.

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“Everything we do, we film or photograph” – how Greenpeace uses photography

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The crew of the Greenpeace ship MY Arctic Sunrise construct a ‘heart’ with the flags of the 193 country members of the United Nations on an ice floe north of the Arctic Circle. © Daniel Beltra / Greenpeace

In a recent interview the magazine for pro photographers Photo District News spoke to John Novis, head of photography at Greenpeace International about the way his organisation uses photography to further their mission. (The article is here, sadly behind a paywall.)

For the past three years, Greenpeace has won World Press Photo competition prizes for news and nature stories they’ve commissioned – showing their commitment to quality photography, and also showing how the lines between journalism work for publications and for non-profits and NGOs are blurring.

Novis was very clear about the results Greenpeace get for their investment in quality photography (emphasis mine). ” We have always put a big budget in visuals. Everything we do, we film or photograph. We hire good freelancers, go to remote places and do good stories. . . It used to be basic direct action [coverage] on the hard news side. Now there’s much more documentation and stories in response to environmental news events.”

He’s also very keen on adding a multimedia element to the work the photographers are doing as the expectations change: “Everything is more Web based, so we’ve been doing a lot of work that combines photography, video and audio.”

One element of this is the Greenpeace Photos iPad app – a regularly-updated portfolio application that showcases the best of Greenpeace photography.

Like all NGOs and non-profits Greenpeace is trying to have the most impact for the least amount of money. If they’re investing so heavily in quality photography, it’s obviously because it works.

That old online forum cliché that ‘this thread  is useless without pics” has never been more true across the internet, especially for social media channels. Look for strong stories in the work you’re doing, and then tell them visually. Are there events, programs and projects that your organisation is engaged in that aren’t getting the photography they need?

 

Why the websites I’ve built have failed

I’ve built a lot of websites over the last 8 years of running a web design firm and working for other firms before that. The first professional website project I worked on was in 1995 – so let’s call it 75 sites since then, but it might be nearer a hundred. Most have been small and medium sites for small creative business and non-profits.

And when I look back at them and check out the ones that are still up, it’s clear that most of them have failed. They look fine (or better), the client’s have been satisfied (or happy), and there’s been no catastrophic disasters leading to law suits or even anything but a tiny amount of downtime.

But even though a lot more than half the work I do on the website side of things now is repeat business with long-standing clients it’s clear to me (if not always to the satisfied clients) that nearly all of the sites I’ve built could have done a lot more, and delivered more to justify the money and effort that went into them.

Not a technology challenge

Years ago, I was an early employee at the Dublin-based internet consultants iQ Content. Morgan McKeagney the boss would tell clients that building a successful website is not a technology problem as much as it’s a people and process problem. He was right then, and he’s even more right now. Setup a Squarespace account, or go for a one-click WordPress install with an off the shelf template and you’ve just launched a site that’s more robust, easy to use and attractive than 90% of websites out there.

It’s what’s happened before and what happens after that launch that will define whether or not your site actually ends up working for you. Solid technology won’t count for much when there’s not been an update for five months, or prospective clients can’t find what they’re looking for because management decided they would only put up sales fluff not detailed specifications.
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It’s Time to Get Real – Notes from a Documentary Photography Workshop

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I’m not much of a manifesto guy, but the last week has made me want to jump up on the barricades and take a stand for a particular type of photography.

I’ve just finished the Documentary Storytelling workshop with Pulitzer Prize-winning photojournalist Deanne Fitzmaurice at the Santa Fe Photography workshops. Over four days (that included class time), I shot and edited a story about French chef Jean-Luc Salles, who’s given up running high-end restaurants to cook excellent food from scratch that he serves out of a 1960s Airstream trailer called Le Pod that sits in a parking lot here in Santa Fe. (I’ll write a post about him and show more of the photos later).

I learned a great deal, met lots of good people, and the experience enhanced my love of documentary photography as the most powerful and compelling type of shooting (not to mention the hardest to do well).

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