Suwanee Starry Night: Four Photo Techniques

Stars march across moonless sky as lightening bugs paint green highlights last April. Image assembled utilizing the Star Trail Stacking method. View larger version.

While processing master files for submission to my stock agencies this week, I had fun creating variations of a favorite starry night photograph from my camping and kayaking trip to Suwanee River State Park in North Florida. I wrote about the April trip earlier. Which version do you like best?

Star Trail Stacking

In this basic night sky technique you take a number of still photographs where the stars are rendered as distinct points, and one by one in Photo Shop stack them one upon the other, the result being star trails as the earth turned during each time exposure. It's really not that complicated, as if I can do this, so can you! 

Process you time exposures to taste, convert to Tiff or Jpeg and place in a folder. This won't work with RAW images, BTW.

First download this cool and free action from Chris Schur and put on your desktop. Load it into your version of Photo Shop by clicking on the Actions Pallet upper right fly out menu > Load Actions. Then in Photo Shop on Tool Pallet set Background Color to Black. Create a blank all black image  File > New > set to exact size of your star photos > Background > Background Color.

With the all black file open,  File > Automate > Batch and choose your folder  > Play > the Star Trails action, and let it run.

The action places each photo on a layer, sets Blending Mode to Lighten, flattens, and repeats. Lighten allows just the brightest pixels to show through the stack.  

When I stacked five hours of star points the sky was just to bright, so many stars had trailed by over time. I experimented with less time, and the result above is from about 50 images taken over about a half hour.

From starry night sky to completely fogged in, 20 second time lapse movie created from 621 time exposures made over nearly six hours. iPhone & iPad version.

Time Lapse Movie

Among the many techniques available, the simplest is using Apple Quick Time Pro, about $30. File > Open Image Sequence > choose folder > sit back and let it run. There are options for choosing frame rate, codex and the like.

I use Premier Pro as I find it very simple also. Project Panel > Import or Double Click on grey > choose image folder > select the first photo > check Image Sequence box > OK. Premier very quickly brings in all the photos as an Image Sequence, which you simply place on your time line to be edited like any other video. 

BTW, photos in folder must be named sequentially for this to work. Somewhere I had managed to throw out one or more of my 621 stills, and the Image Sequence import would hang up. My eyes went buggy searching for the missing file, so finally in Light Room I made a Collection of the 621 images, and in that collection I renamed them 0001 to 0621 in the Library module. After Save Metadata to the exported folder, it worked!

I layered eight photographs on top of each other, painting away all but the lightening bug streaks on the top seven, revealing the distinct star points from one 30 second time exposure and all the bug fly bys over six hours. 

Photo Shop Layers

This is basic Photo Shop compositing technique, which I rarely use for journalistic ethics reasons, so readers may know a simpler way to do this. 

In Light Room's Library module, I chose the eight photos that had green streaks from lightening bugs flying during the 30 second time exposures, processed and placed them in a folder. I manually stacked them one on top of the other as separate layers, then turned visibility off for all but the bottom two layers. I clicked on the Layer Mask icon for layer two, choose Black as a foreground color, then a brush, and painted everything on the top layer away except the green streaks. Now I had the first photo's stars, trees and green, plus just the green of the second layer. After painting in the green for all layers, I flattened the stack and was done. 

During 30 second time exposure I painted my head lamp around fog shrouded forest.

Light Painting With Flash Light

The last technique was to fiddle around at 330 AM once the fog rolled in and obscured the sky, I simply took my head lamp and painted cross light onto the trees and moss while the shutter was open.

Explaining "Flipping The Classroom On Its Head"

Principal Doug Romanik was very excited about his school’s new educational philosophy and how they were “flipping the classroom on its head” at his 300 student Catholic high school in Miami’s Little Haiti neighborhood. The teachers were not lecturing any more, the students were empowered to learn on their own, iPads were every where, he told me on the phone. 

Multimedia story explaining the One To One Learning Program was delivered in June 2014. Email,  iPhone & iPad link.

Beginning with the Fall 2013 term Archbishop Curley Notre Dame Prep had become the first, and only, school in the United States to fully implement this new program. Teachers and students were adapting pretty well, but all the changes were causing some confusion amongst the parents, school supporters and incoming students.

He wanted me to come in to discuss how a web site video could explain ACND’s pioneering program. Of course I would!

 Math teacher James Harnage gives one on one time to Jennifer Lamy.

Fonton Relational Education was created in 1957 by two Spanish psychologists and had been incubated at several schools in Colombia. (Great video by IBM here.) FRE had helped adapt and implement their framework and software platforms at ACND, so I began my research on their site. I quickly bogged down trying to understand sentences such as

Fontan Relational Education is a pedagogical model that customizes learning paths for different learners at an individual unique learning rhythm based on each students’ abilities and interests.

Not having a PhD in educational theory, I was as confused as the parents, and quickly realized that my challenge was to transform the complex and abstract into a concise and emotional multimedia story about the One To One Learning Program. 

 Junior Jennifer Lamy combines pencil, paper and iPad on calculus homework.

My challenge was threefold:

1. With interviews allow students in their own words describe their apprehension and eventual mastering of the changes. After conversations with ACND staff I drew up questions designed to elicit answers to hit target points, and to discover emotional surprises the kids might share.  
2. With still photographs, and sit down interview video filmed by colleague Pascal Depuhl, I would put a human face on the program, show new classroom layouts and technology in use.
3.  I would convert what I call all the Blah Blah Blah by writing a concise description of the One To One Learning Program to scroll at the end of the video. I realized there was no way the kids could hit all these points without sounding scripted. 

One To One Learning Program multimedia currently featured on ACND home page.

The non-visual aspects of One To One are explained by video end scroll:

At Archbishop Curley-Notre Dame High School, the One To One Learning Program is flipping the classroom on its head as teachers no longer lecture and students are responsible for mastering class material through guided independent study.

Teachers become coaches, first by laying out academic goals, then helping each student write their own Individual Learning Plan to achieve those goals, and  finally guiding the plan’s implementation throughout the term.

Working hand in hand with the school, students take control of their own learning while gaining time management skills, strong study habits and confidence.

Rather than sitting back during lectures, students discover the information on their own, and have instant one-on-one time with their teacher. As they move from teacher dependent to student autonomous, teachers are freed to tap into student’s individual learning styles, and students are encouraged to incorporate areas of personal interest.

During regularly scheduled classes students complete most of their homework, study in groups, and give presentations.  Grades are still earned, essays written and tests taken as students prepare for college.

Each student is issued an Apple iPad for 24/7 access to electronic books internet resources, and access to Qino, cloud storage for their learning plan and grades. The portal Showbie allows paperless submission of documents and homework.

Currently the ACND home page posts the version with end scroll, and is in standard definition. Version at top has no scroll and is in high definition.

Do you now understand what is meant my "flipping the classroom on its head"? Let me know if we were successful in explaining the One To One Learning Program in a concise and emotional manner ... there is room below for your comments.

Thank you Doug Romanik, ANCD Public Relations Specialist Lisa Morales, Pre Calculus teacher James Harnage, AP English teacher Beth Love, Daniel Briz, and Jennifer Lamy.

 Production photographs by Pascal Depuhl.

Technical Notes:

Pascal Depuhl lit and shot the video interviews, a 70 - 200 and Canon 5D Mark II for camera 1, and Nikon D610 and 85mm for camera 2 and on a slider for video portraits. I recorded the interviews with both Tram 50 lavs and a boomed Sennheiser MKH8050 hyper cardioid, the latter I much preferred due to it’s fuller sound, and used that track only. Wild sound was recorded with concealed TR50s tucked between Jennifer and Daniel shirt buttons, with Sennheiser G3 wireless packs. Stills were shot on Nikon 610 full frame cameras, with 16 - 35 f4, 28 mm f1.8 and 85 mm f1.8 primes. Sound was synced with Plural Eyes 3.0, video edited in Premier Pro CS 6 and sound sweetened with Audition, all on a Mac, of course.

History Detectives: Students' Civil Rights Legacy

I believe few Americans still hold out hope that we are living in a post racial society, now that we are well into the second term of President Barack Obama and we are finding our civic discourse just as fractured and angry as ever. For a while after we as a nation elected our first African American president in 2008, I read in magazine essays and overhead in coffee shops that "maybe race doesn't matter anymore?" 

Hopefully this 5 minute multimedia story about high school students discovering how the civil rights era of the 1960s shaped their lives is just as insightful as when completed in 2011. Please read my original blog post .

In spite of opinion polls indicating most people (mostly whites?) see no racism in their lives, I feel race still matters in almost everything we as a nation and as individuals do every day. There are under currents that race matters popping up all the time. Some could observe:

- The President is being disrespected by his political opponents because of his race. 

- A billionaire basket ball team owner is a total monster because of his comments on race.

- Miami-Dade police shoot and kill in the streets an inordinate number of young black men.

-  OJ is still suspected/ still guilty/ still acquitted because of his race.

These thoughts were going through my mind this week as I was re-editing my History Detectives multimedia piece I was commissioned to create three years ago. Archbishop Curley Notre Dame Prep in Miami's Little Haiti neighborhood asked me to explain the importance of their being the first high school in the then segregated state of Florida to integrate 50 years before.

Taylor Altidor,  then a 16-year-old Junior, told me "...we just couldn't believe that Florida used to be racially segregated, that blacks and whites didn't eat in the same restaurants...". I followed her advanced placement history class as they researched segregation and interviewed students from the early 1960s and prepared for a Black History assembly. Former students and now adults well into their 60s, Paul Wyche told me he was called the N-word at a high school basket ball game, and Constance Moor Thornton recalled "colored" water fountains.

The researching students understood such overt racism that thrived in the Jim Crow era was thankfully no longer and was not part of their teen lives. But was racism completely gone? The student detectives questioned, discussed and completed class projects that brought the topic into the open.

Addressing the assembled student body in a clear and optimistic voice, one civil rights era student said "We come from different circumstances, but color doesn't matter, it is what is in your heart." 

I hope so, and I hope some day we will be living in a truly post racial society.

Technical Notes:

This month I was in the process of updating my Miami multimedia photography portfolio and had begun transferring the original History Detectives from a Flash based player made in Sound Slides to a more universally accepted and iOS friendly H 265 video format, when ACND called looking a new high resolution file. Good timing.

I reprocessed all 123 original still photographs in the newest Adobe Light Room 5, squeezing additional color quality and dynamic range from the newest RAW processor. I always export as Tiffs with medium sharpening, believing compressed Jpegs, and over sharpening, could potentially cause video jitter. I cropped the original 4:3 aspect ratio to the video standard 16:9. This cut a little close to some image content, as I was not thinking 16:9 originally and had composed my images differently.

I added the stills to a Adobe Premier Pro CS6 timeline, imported my original sound track made with Apple Logic, and switched in a couple of new images but pretty much left the timing alone. I no longer liked the Ken Burns movement on some photos in the original, and removed it. I added a new title and credit page with a typewriter effect in Adobe After Effects CS6 ... a lot easier than this amateur video editor thought. On your P Pro time line >  right click the title > open as a After Effects composition > in AE Effects & Presets search "typewriter" > drop that puppy onto the composition and bingo, you have the type type type effect all done for you.

I digress. And I used the American Typewriter font in PP to make new lower thirds. I couldn't figure out how to animate them too, so decided would be less busy without. I exported through Adobe Media Encoder with the Vimeo 720 p presets, and uploaded to Vimeo. Easy peasy.

Talking Picture Postcard - Everglades Web

Sunday while loading up my kayak and paddle, I threw in my new Nikon D610 DSLR camera and small audio recorder, along with a sandwich and one bottle of beer. I had no set plans other than spending a day in Everglades National Park about an hour south of Miami. I could paddle inland through tunnels covered with mangroves, or across open Florida Bay skipping from island to island.

If while out in nature I heard a cool sound, I could record it. If I saw great light, I could shoot a picture. Or if something intriguing moved, I could capture video. What ever happened would be just fine with me.

 This 30 second Talking Picture Postcard was shot Sunday, with sound captured nearby. Listen first for a red-winged blackbird, and then a red- shouldered hawk. Direct link for iOS devices.

Right after entering the park at sunrise, I noticed  the subtle movement of dew covered spider webs blowing in the breeze on a vast saw grass prairie. I was just beginning to become familiar with the video controls of my camera, and other than shooting video of my cat Shadow, who at age 14 and weighting 19 pounds does not move much, the webs were my first "action" subjects.

After a long paddle, the sandwich, beer and a nap, the setting sun was back lighting gently flowing Spanish moss hanging from live oak trees. Seeing this "action" as a bookend to the morning's spider webs, I realized I could edit a short video from the day.

It's been three years since I contributed to my occasional Talking Picture Postcard series on this blog, so Everglades Web is a revival of sorts. Back in 2010 I described my interest in postcards:

I’m trying to think of each [ short video ] as a couple of lines on the back of a picture postcard, like those I’ve discovered while rummaging through dusty boxes in antique stores over the years.

After gleaning what I can from the photos, I turn the cards over to read the hand written lines, often family news, weather reports and plans about the future. I wonder how the parties to the correspondence lived their lives and what happened to them. Those few lines can be the best part, ease dropping on people who’ve long since passed away.

 Sorry I won't mail this postcard to you, you're have to read it here, as I'm saving the .49 cent stamp.

12,000 Kung Fu Children

The 12,000 young boys and girls kicked and thrust, their shouted responses echoed from the tall dormitories and off the concrete drill field as their instructor’s Chinese commands squawked from loud speakers. Kung Fu movements in unison as far as I could see, the children and teens were in endless formations radiating in all directions like corn blowing in the wind.

iPhone & iPad friendly version or if you've received via e-mail. Listen to 1:30 of field-recorded sound and watch still photographs from Weseng Tuan Training Center in September, associated with legendary warrior monks of China's Shaolin Temple. 

In September I was visiting the Weseng Tuan Training Center on the same day as picture day, and this being China, picture day was a BIG deal. Mr. Qin Hua was eight stores up with his Nikon to capture the assembled thousands in a grand panoramic view. I opted for a view from ground level.

The school is closely associated with the Shaolin Temple at Song Mountain in China’s central Henan Province. The temple’s legendary warrior monks date from the chaotic politics of the sixth century, when the emperor awarded favors to Buddhists with fighting skills. For centuries many martial arts traditions flourished as trade and religion between China and India flowed, with the Shaolin form of Kung Fu becoming the most prominent.

 

After just three months at boarding school, five-year-old demonstrates Kung Fu moves. 

From Wikipedia:

Kung Fu is a Chinese term referring to any study, learning, or practice that requires patience, energy and time to complete, often used in the West to refer to Chinese martial arts ... Originally to practice Kung Fu did not just mean to practice Chinese martial arts. It refers to excellence achieved through long practice in any endeavor. 

Today this blending of hand to hand fighting with Buddhist ideology continues to embrace self-defense, body-building and athletics, with Kung Fu becoming a world wide personal philosophy and sport.

Tuition, room and board at the Wuseng Tuan school is around $ 4,800 a year, a considerable sum for a Chinese family in spite of the country’s recent economic growth. Besides good basic academic education, many students hope to join the military or work as body guards. There are thousands of Kung Fu schools throughout China, all competing for a piece of a very big business. Yet the day before I saw a group of a half a dozen English speaking twenty something men and women training one on one with a saffron robed monk in the nearby Shaolin Temple.

Photograph of Russian President Vladimir Putin and Shaolin Temple abbot is proudly displayed at the Wusen Tuan training center in Henan Province, China.

With the school enrolling 15,000 students, I was wondering where the other 3,000 were, as I had taken on face value their assertion of 12,000 Kung Fu children in front of me. Give or take a handful, seemed reasonable to me.

Just as I was about to ask, several accomplished five-year-olds were trotted out to perform for us. With just three months at the boarding school these cute tikes whipped through their foot kicking, hand chopping routine, climaxing with placing one foot behind their heads while standing perfectly still. Were the future generals of the People’s Liberation Army before me, standing like tall storks? With the world’s largest armed forces, China could always use one more Kung Fu practitioner.

Surprising Guided Conversation With Foster Child

Every interview is a guided conversation, but in spite of where I think I may be headed with my reporting, my subjects always lead me down paths unanticipated, and frequently they surprise me with their insight.



Foster teen Isaac and his adult mentor Barbara K. have developed a lifelong bond through weekly Saturday visits. iPhone & iPad link. Video by Paul Morris.

My journey down one of those paths began when I answered the phone back in March. Barbara Schechter, Executive Director of the Heart Gallery of Broward County (FL) was on the line wondering if I had any ideas on how to recruit mentors for her children living in foster care. Besides organizing a traveling photography exhibit of children waiting to be permanently adopted, the Heart Gallery provides innovative programs that enrich the county’s foster children.

I suggested we produce a multimedia piece featuring one adult mentor who has developed a successful relationship with a Heart Gallery child so we could tell the story through their eyes and in their own words. I’ve found viewers easily relate to the combination of photojournalism and audio story telling, what I call Public Radio With Pictures.

 

 Isaac, 13, leaps into mentor Barbara K.'s swimming pool during weekly Saturday visit. Still photographs by Tom Salyer

While Barbara set to work finding the subjects, I began researching mentoring on social service agency web sites and building a list of keywords that would help us filter our story telling decisions. What activities should we photograph, at what locations and the questions we should ask? Why are we making this film?

My keyword list included: guidance, friendship, relationship, trust, sharing, teacher, listen, adult, growth, role model, permanence, family problems, self confidence, support, patience, time, heart, consistency, commitment, approval, the future. Shortening the list to four or five, I was able to state the purpose of the film in one sentence:

Mentors provide children living in foster care with positive adult relationships that encourage trust, self-confidence and friendship.

During a brief telephone pre-interview with our adult mentor, Barbara K. described how for two years she has called 13-year-old Isaac every Friday afternoon to talk about their Saturday plans. Keyword consistency. How they went swimming and made cookies. Keyword friendship. Washing the car, doing homework and attending a baseball game would make great locations. While drawing up a list of questions I tried to anticipate the arch of our story, how to open, our subject’s journey and a final resolution.

Mentor Barbara K. lets her dog lick cookie dough as Isaac, who lives in a foster care group home, looks on.

On interview day in April colleague Paul Morris, running the video cameras, and I were joined by Barbara Schechter and new Heart Gallery Executive Director Ken Crooks. First we interviewed Barbara K., who quickly gave us unanticipated answers.

Among the reasons she wanted to be a mentor:

Selfishly, I have two grown children in their 40s, neither one is married, neither one has any children. I wanted some grand children!

Wrapping up her mentoring experience:
  

I hope that what ever happens to Isaac that he’s in my life ... forever... you’re have  friend for life, you really will.

When we asked Issac our written question about what his life was like before foster care, he firmly stated he didn’t want to talk about that. But later he offered this unanticipated journey:

I really love Miss Barbara because she is always there for me... like when I do bad stuff, and she tells me the right things to do, like when I ran away...she’s like, Isaac, you should of never (done) that, you could of gotten hurt, and...nobody could of found you, and you could of been dead...

One more guided conversation full of surprises.

This video “Miss Barbara Is Always There For Me” will be posted on the Heart Gallery’s web site, on YouTube and shown live at foster family and adoption training and fund raising events.

 Former Heart Gallery of Broward County Executive Director Barbara Schechter, left, and current Executive Director Ken Crooks supervise car washing scene during filming of "Miss Barbara Is Always There For Me."

Technical Notes:

Paul Morris recorded the video with Canon 5D Mark II and Mark III cameras and lenses. During my still photography, I recorded the ambient sound and conversations with concealed Tram TR50 lavalier microphones and Sennheiser G3 wireless units, and the interview with a boomed Sennheiser MKH 8050 hyper cardioid. I edited stills in Adobe Light Room and Photo Shop, and assembled the video in Adobe Premier Pro and Audition CS 6.

These Wheels Are Walking Wheels: Disabled Teen

When Laterence was just three days old, his mother realized that because of his disability she could not care for him, and straight from the hospital placed him in state custody. Now a teenager, he has been living in Florida's foster care system all his life, with families and in group homes, all the while hoping he would be permanently adopted by a loving family.

This multimedia piece incorporates video, still photos, interview and field-recorded natural sound. iPhone & iPad friendly link.

Four years running his photograph has been in the Heart Gallery of Broward County (FL), a traveling photo exhibit of foster children available for adoption. Hoping to spark frank discussions around adopting children with disabilities, the Heart Gallery commissioned this multimedia audio slide show. The show will be utilized by social service agencies charged with recruiting and training adoptive parents.

Laterence - he prefers LT - is now a very articulate 15-year-old, and in this three minute story he narrates his emotional journey and has advise for prospective adoptive parents.

Does LT ever find his "forever family"?

 From left, LT gets to know Jennifer and Brad during visit to South Florida in July.

This multimedia piece could not of been created without collaboration with colleagues, as there are just to many moving parts for one photographer to keep track of when video is incorporated into narrative story telling.

My hands were more than full with recording the audio while conducting the interview, so Paul Morris helped me by recording the A roll on two video cameras, then picking up B roll afterward. Heart Gallery Executive Director Barbara Schechter helped me plan the coverage, conduct the interview and shape the editing of the piece. Miami video journalist Chuck Fadely gave me invaluable feedback. And of course we would be unable to tell this story without LT, Brad and Jennifer.

Notes for still photographers beginning to work with motion capture ... it’s not rocket science nor do you need a ton of expensive gear. First, you need a great story, and then you must shape a compelling narrative arch that captivates your audience.

- Video cameras, Canon 5DMarkII & Canon 7D (no rigs, EVFs, focus assist)

- Video camera rolling wheels in mall, Canon s100 point ‘n shoot

- Still cameras, Nikon D300

- Interview Mics, Tram 50 lavalier & Sennheiser ME 64 cardioid; wild sound, Giant Squid

- Sound Devices MixPre D field mixer & Tascam DR 100 recorder

- Adobe CS 5.5 Premier Pro, Audition & touch of After Effects

 Please visit my Miami commercial photography portfolio.

Video Stories With Vision & Collaboration

As a group still photographers are creative, independent and stubborn as we’ve relied primarily on ourselves in pulling successful photos from challenging assignments while at the same time embracing the digital information age.  But as we’re being asked to add video to our story telling tool set, we’re being forced to - gasp - learn new skills and - double gasp - collaborate with others.



Four still photographers collaborated in producing a web video promoting Nancy Brown’s photography book “Simply China”. Paul Morris with video, lighting and studio space. Tom Salyer recorded sound and edited. Jonathan Rios as production assistant. Nancy Brown, on camera talent and stills. http://vimeo.com/39290394

On my section of the long tail of photography the four-year economic crisis has reduced my assignment budgets to hiring an assistant to very rare. I’m producing my shoots, setting up my lights and processing my own files. That’s were stubbornness comes in for us, we can do it ourselves doggone it.

I’ve heard wondrous stories of colleagues working on high budget advertising shoots with a producer, hair and makeup, assistants and digital tech. And a lunch budget, oh my! 

OK, I agree, the idea of every photographer being a lone wolf working completely on their own is not completely accurate, at least in the commercial photography field. We all have colleagues we can call for advise and insight with projects, our art directors give us direction, and most still shoots are not overly complicated.

Working either on our own or with a small crew, our independence drives our ability to visualize our images in advance and make them happen. Our “eye” is our strongest asset, and can be transferred to another medium.

By comparison, with motion projects the nuts and bolts of producing technically successful video is very complex and has a steep learning curve. You thought learning about color spaces and layer masks were hard? Try mastering Final Cut Pro, motion graphics and compression codices.

Video requires many jobs: director, producer, director of photography, camera operator, lighting grip, sound recordist, and editor. On simpler shoots a person can handle multiple jobs, but there are to many moving parts for one transitioning still photographer to handle them all. The story line will be jumbled, the picture overexposed, the sound levels low.

NFL St. Louis Rams head coach Jeff Fisher is interviewed last weekend by Paul Morris, far left, and Orlando Noah, left center, at The Breakers, Palm Beach, FL. Photo by Tom Salyer.

Photographers need to collaborate with the people who already have these skills, and our unique vision is the key to success. We already approach image making with our life time of experience as visual story tellers. We already know how to compose a great image, capture a decisive moment, and creative lighting is a piece of cake.

Clients are beginning to come to still photographers asking to add on motion for web sites and social media because they trust their eye and ability to successfully complete jobs. Don't worry big video production companies, most of us aren't competing with you. Yet.

Examples:

- Minneapolis based Ryan Siemers has been expanding his architectural photography business by adding motion, interviews and animations.

- Jeffery Salter, a Miami portrait and fine art photographer, collaborated with videographers on stories for Readers Digest: Richard Patterson on former football player Keith Fitzhugh, and with Chuck Fadely on long distance swimmer Diane Nyad.

- Miami commercial photographer Paul Morris has added video to two still photography assignments in the past months: executive interviews for farm equipment trade association American Equipment Manufacturers, and National Football League head coaches for New Era head wear suppler. I was sound recordist on both, and Orlando Noah and Meine Smith of Digital Decaf provided video and digital services on the latter.

Please see example of my Miami multimedia photography portfolio.