Wednesday
Oct
2013
30

It’s Guest Blog Wednesday featuring John Harrington!

by Brad Moore  |  3 Comments


Photo © Charlotte Richardson

I appreciate the opportunity to share a few thoughts and experiences here as a guest blogger on Photoshop Insider. I’ve been blogging regularly for over six years over on my blog Photo Business News. Aside from the various photo business related news, one of the common themes I blog about is the business side of photography.

Why?

Simply put, if you love photography – and want to earn a living at it – if you don’t include in your daily routine an attention to the business-side, you won’t be earning a living at it for very long.  If your dream is to one day change careers to become a professional photographer and earn a living at it – then attending to the (sometimes) hum-drum nature of estimates, invoices, bills, and receipts is critical, alongside with the matter of pricing your work to survive and thrive. In the early years I stumbled along the way. I’d like to save you some of those lumps and struggles.

DETERMINING A CLIENT’S BUDGET
Often one of the hardest things to do is to have a client tell you what their budget is. Now, there are many occasions where they will – the key is to ask! Sometimes, a client will tell you they don’t know, but more often than not when they say that, they do.

There is a point in the conversation where you have had a good dialog with the client and you feel like you’ve made a connection with them. At this point, as you’re letting them know you’ll send along your paperwork, I typically will ask:

“Did you have a budget you are trying to work within for this?”

Can you guess the operative word in that sentence? Usually when I ask that question during a presentation people say “budget” or “within,” but as the process of elimination works it’s way through the sentence, someone says “trying.” If someone asks for a portrait to be shot, and they say $100, there’s no way we’ll be able to work within that. $2,500? Yes. $1,500, maybe, it depends.


Photographing Register of Copyrights Maria Pallante for her official portrait. Photo ©Lindsay King

Consider that you’re a really good architectural photographer. There are many levels of photography within this realm. There’s the “realtor with a camera” that snaps a shot of the front of a house at high noon when the light is at it’s worst. Then at the other end there’s the high end commercial real estate photographer who will do a site visit to scout the location, identify the best time of day to take the photo for the front elevation and an alternative outside view. They will work with the building manager to ensure all the blinds in the windows are at just the right height, and that all the lights are turned on. They will get permits to clear the street in front of the building of cars, and if it’s a winter shoot with deciduous trees in front of the building, they will ensure that the finished image has a tree with leaves on it through the magic of Photoshop.


Photo © John Harrington

 

When you run into a client who says they don’t have a budget, this is when you can start asking questions:

YOU:  ”I’m trying to understand the level of production to bring into play for this shoot. Were you trying to keep this to under $5,000?”

CLIENT: “Oh my. I didn’t think it would cost that much. I figured it would be about $500.”

So here we have a huge disconnect. If this client came to you, the really good architectural photographer, because there were amazing shots of all sorts of buildings and high-end home exteriors, shot with just the right balance of dusk daylight and warm glowing windows, clearly you’re not the $500 level of photographer.

YOU: “You’ve had a chance to look over my website, and for what you’ve budgeted, I can stop by the next time I’m in that neighborhood and shoot a shot. Did you want me to worry about if the sun is on the front of the building, or did you just need a snapshot?”

CLIENT: “Oh, I really want the sun on the front of the building.”

YOU: “Ok, well, in order to know that, I’ll need to do a site visit. That takes extra time and effort.”

CLIENT: “Ok, well I might be able to afford $1,000.”

YOU: “I understand that you came into this project with a few ideas as to what it would cost to do the photograph. You’ve seen my work, and those images have been used to encourage builders to build, buyers to buy, and renters to rent, all sooner rather than later.  One extra month’s rent from one tenant is a significant amount of money, and this shoot, even at $5,000 is a small fraction of that.”

CLIENT: “I just don’t understand why it costs so much.”

YOU: “There are a number of factors. The first is time, but not just in the ‘by the hour’ type of thing. Not only do we need to do a site visit, but we need to coordinate with the building manager (or current tenant if it’s already occupied and/or a home). We then need to schedule our time to be there not just for the exteriors, but the interiors you want as well. We will then get a permit to block off the street so people can see the entire building and we don’t risk a large truck being parked outside all day. I’ll have an assistant working with me to get everything looking just right as well. Then, once we’re done with all the photography, we spend a fair amount of time on each image back in the studio making it look its best, adjusting color and light. We’ll also remove the parking meters and street signs that are visual distractions. We’ll add in green leaves to the tree as if it were Spring since this picture is being taken in the Fall after all the leaves are gone. If everything goes well, it’ll take a day. If not, it’ll take two. Then if we have weather delays when it’s overcast or rainy, we have to reschedule.”

And the explanation can go on and on. There are a myriad of variables here. Maybe you don’t need to pull a permit. Maybe it’s Spring already. In the above example, a $5,000 budget would be great for a large commercial building in a business district. It would take us time to do all of the things necessary. If we had to cut costs perhaps we’d shoot fewer interiors, or one exterior view. Maybe a permit isn’t needed, and maybe maybe maybe.


No, that’s not a family member of mine and my second cousin. That’s two hired stylists staging and styling a home for a photo shoot. Photo © John Harrington

Some portraits call for a level of production that includes wardrobe, separate hair and makeup stylists, and so on. Some on-location photo shoots call for a production trailer (usually a customized motor-home that goes for about $800 a day including driver) so models can change in the back while the client has a place to work and review images in the front. Catering comes into play when there are a number of players on the shoot and we are shooting across a mealtime – who wants everyone scattering to find the nearest Subway or Quiznos? At some point your shoot will call for a producer who will make all these arrangements for you, for a fee of about $750 a day.


A separate talent trailer and one for the client means that honest and candid conversations about the talent can be had discretely, and the client doesn’t have to hear if the talent is displeased with something. Photo © John Harrington

Asking “what budget are you trying to work within?” isn’t a trick question – an honest answer from the prospective client gives you an understanding as to the level of production they expect. If it’s a portrait shoot where the client only has $750, then it’s a pretty lean shoot with a small seamless, a few small soft-boxes and one final image as a deliverable and a limited rights package. If the client wants to be able to review the images on-site and see some basic or conceptual retouching, then having a digital tech using our digital workstation with a 30″ external monitor along with a Wacom tablet adds in anywhere between $750 and $1500 to the shoot production. Adding in a makeup person for the day adds in $500, a separate stylist doubles that. Separate hair? Yep, another $500. So a lean shoot at $750 adds in $750 for a digital tech to $1,500, and then separate hair and makeup brings it to a $2,500 portrait. Yes, your take-home remains $750 plus whatever markup you have, but the production level more than tripled the bill.

ESTABLISHING CONFIDENCE TO WIN THE ASSIGNMENT
There are countless things that take place before a shoot is brought to you via a phone call or email. More often than not, the intermediaries in the PR department of an organization have been tasked with finding a photographer for a project. Perhaps there’s an ad agency and a publicist for the VIP talent, and so on. The more intermediaries, the more pressure for it to work perfectly. Even on the smallest of CEO shoots, their PR person is on the hook for you doing a good job and not making them look bad. So, if they call you and say:

“Hi, this is Jane Doe with ACME Widgets, and we need a portrait of our CEO with the production line in the background. Are you available next Wednesday?”

Saying anything other than something like this doesn’t instill confidence:

“Sure we can do that. We do executive portraiture all the time. In fact, we just wrapped up a series of executive portraits last week. Wednesday works well for us too, but we’ll need to check in with the regular makeup person we use for portraits of this caliber, unless your CEO has someone they prefer to use whenever they do media appearances?”

This sentence said smoothly and with a confident tone, demonstrates a level of professionalism and attention to detail that will set you aside from others.  Then there are a myriad of questions to ask next that will further demonstrate your experience here:

“Does the CEO have a vision for the shoot? By that I mean – is s/he trying to demonstrate they are a hands-on CEO that is connected to the production line staff, or an authoritative CEO in full command and control? A few ways to illustrate these two styles would be without a suit jacket with sleeves rolled up, or with a buttoned up dark suit and crisp white shirt shot from a low angle to demonstrate power and authority.”

“Do we need to ensure that the production line is running next Wednesday at the time s/he’s available, or is it a 24/7 operation?”

“Is the CEO approaching this with enthusiasm or are they reluctant to do the portrait? Knowing this helps us understand how to approach them on the day of the shoot to get the most out of them.”

In one instance, we were called on to do a portrait of a duo in three separate locations, within 45 minutes. What seemed as a logistical nightmare actually was an opportunity for us to sell the client on our problem-solving abilities. We demonstrated how we would pre-set all the lights with a producer for each location. Our budget was north of $10,000, but we were the only photographer who demonstrated we could do it within their timeframe. Afterwards when we asked how they came to select us, that’s how we learned that not only were we the most expensive, but also, the only one they were confident could accomplish the shoot within the available window of time.


One of the three setups for this duo we photographed. Photo © John Harrington

Realizing that you have to exude comfortable and cool confidence during the initial phase of the conversation, as well as enthusiasm for the shoot will start you off on the right foot. Your job is, yes, to make great images, but also, to make the person who hired you look great too. In doing so, not only will they be happy with the results, but they will be sure to book you in the future.

Last week we got a call on Tuesday for a shoot on Wednesday. The company – which I won’t name but you’d know their name instantly – was coming to Washington DC for a last minute photo shoot. It was a big deal for them – as their top communications person who handles all of it and reports directly to the President and CEO, was flying in. We had two hours to do two shoots. No lights, one assistant. No permits, no time. During the course of the back-and-forth we talked through our creative ideas and our solutions for the shoot, as well as the workarounds to the permitting issue. We had a signed contract by 5pm, and re-adjusted our schedule for an early morning start. At 7:30pm in DC, an email came in (they’re on West Coast time so it’s still working hours for them) saying the client needed near real-time images to put out on social media. We responded by 8pm telling them “no problem” and added in our digital workstation to the mix to handle that. After the shoot, we sent an invite to the image gallery on PhotoShelter, and got back a really wonderful email:

John-

I don’t even know where to begin thanking you.

Everything could not have gone more smoothly for us because of you.

Our clients were THRILLED to have you along for the ride, and super impressed with your experience and credentials in D.C.

You made everything super seamless, and I can’t thank you enough for your flexibility and go-with-the-flow attitude.

So glad we found you… thank you {referring colleague who was CC’d} !

All the best-

This is exactly the type of client we not only strive to have, but also, strive to deliver for. This is a client who recognizes the value of a premium service, and for whom price is not a deciding factor, but instead, only a detail. They CC’d their colleague within the firm who recommended me, which makes him look good and so he’ll be sure to refer me again. The firm, in turn, looked great to this company who was doing a very high profile project that the CEO wanted executed, so the in-house guy who reports to the CEO gets kudos from his boss too.

Warren Buffett said it best: “Price is what you pay. Value is what you get.” He also said “Your premium brand had better be delivering something special, or it’s not going to get the business.”

If you’d like to hear more from John, check out this interview he recently did with The Photo Brigade!

Washington DC Photographer John Harrington has covered the world of politics, traveled internationally, working as an editorial and commercial photographer. He has completed assignments for or his work has appeared in The Washington Post, USA Today, Time, Life, Newsweek, The National Geographic Society, and Rolling Stone. Author of  Best Business Practices for Photographers, John has lectured across the country to every major trade association. He currently serves as a National Director on the board of the American Society of Media Photographers, and concluded serving his second term as the President of the White House News Photographers Association in May of 2011.  A 2007 recipient of the United Nations’ Leadership Award in the field of photography, he also received the NPPA’s Morris Berman Citation in 2007 for special contributions advancing the interests of photojournalism, and in 2013 he was awarded the J. Winton Lemen Fellowship Award  for continuing outstanding service in the interests of press photography and for outstanding technical achievement in photography.

Tuesday
Oct
2013
29

Decoding The Creative Cloud Options for Photoshop Users

by Scott Kelby  |  50 Comments

This past week at the Photo Plus Expo in New York, I heard from my team at the NAPP booth on the expo floor that there’s still a lot of confusion among folks who are interested in upgrading to the Creative Cloud, so I thought I’d do a real quick, simple post with what your options are all the way around, along with hopefully clearing up some other misinformation.

NOTE: Here I’m just focusing on the question at hand: how to upgrade to the latest version of Photoshop, not all the plans for the full Creative Cloud and all the other applications that come with it.

1: You have never owned Photoshop:
You can get Photoshop CC (the latest version) for $19.95 a month

2: You owned a previous version of Photoshop (any version from Photoshop CS3 to CS6)
For you, Photoshop CC is $9.99 a month PLUS you get Lightroom 5 as well and 20GB of cloud storage and a Behance Prosite (custom web portfolio) as well. Sweet!

NOTE: This deal is only available until Dec 31st of this year. If you wait until after the first of the year and miss locking in this insanely low price, whining is strictly forbidden (well, at least here anyway). 

3. You owned Photoshop as part of the old Creative Suite (any version from Photoshop CS3 to CS6).

OK, at this point, you’re kind of hosed, because there is no good “downgrade path” from the full Creative Suite to just one single product like Photoshop. So, you have three options:

Option 1: You can pretend you never owned the Creative Suite and pay the $19.95 a month for Photoshop alone.

Option 2: You can get the upgraded version of your entire Creative Suite, (the full Creative Cloud with Photoshop CC all the Adobe CC Apps like InDesign, Illustrator, Premiere Pro, After Effects, Dreamweaver, and a bunch more) for $29.95 a month, which is a savings of around $20 a month over what someone who didn’t own the Creative Suite would pay. This is probably the best option, since you wind up with a totally upgraded Creative Suite called “The Creative Cloud”

Option 3: Wait and see if Adobe comes up with a “downgrade deal” so you can go from all the Creative Suite applications you currently own down to just Photoshop and Lightroom for $9.95 a month. The problem with Choice 3 is; that deal doesn’t exist yet, and there’s no guarantee that it ever will.

Do I think Adobe might come up with a downgrade deal for CS users? I hope so, and I actually think so. I’ve talked directly with Adobe about how photographers stuck in this Creative Suite Purgatory feel and while Adobe hasn’t made some of these decisions as fast as many of us would probably like, they are listening. This is all new territory for them (and the biggest business decision probably in their history), and I imagine they want to hear from everybody on all sides, really analyze all this stuff, and make sure they make the right decision.

OTHER STUFF REAL QUICK:

1. You don’t EVER run Photoshop in a browser. It works just like it always did. You just use your browser to download Photoshop CC onto your computer, just like you would from an App store.

2. Do you NOT have to be constantly connected to the internet to run Photoshop CC. You can run it offline just like you always did.

3. You don’t have to store your photos in the cloud. Ever. You store them on your computer just like you always did.

4. Photoshop CC is the latest version of Photoshop. When you upgrade to Photoshop CC, you get every Photoshop upgrade as soon as they’re released, as long as you stay a CC subscriber.

5. Photoshop works the same way it always did, so don’t let the word “Cloud” freak you out. The biggest difference from a usability standpoint is that instead of buying a “Box” of Photoshop at the store (like we used to do), instead now you download it (so you don’t get a box, but you still get Photoshop).

6. If you don’t want to upgrade to Photoshop CC, you can buy the last non-subscription version of Photoshop, which is Photoshop CS6. It’s $699. You still have to download it, but you don’t have to pay a monthly subscription fee.

I hope that helps clear the fog on a few of these issue for people who are interested in upgrading to Photoshop CC. If you’re not interested, I’m sure we’re going to hear from you anyway, right? ;-)

By the way: here’s the link with more info on Photoshop CC, including a download link.

I’m up in Boston today, teaching my “Shoot Like a Pro” seminar, so I won’t be able to respond to any of your comments here, but hopefully some of my crew back home might jump in and help if they can. I hope to meet some of you here today in Boston so make sure you come up and say “hi.” By the way, if you’re coming to my seminar, I would dress warm. Brrrrrrr — it’s cold up here!

Monday
Oct
2013
28

Here’s What’s Going On This Week

by Scott Kelby  |  6 Comments

Check out this quick “helicopter fly-over” of my seminar
The folks from IntelligentUAS & DJI Innovations were at my seminar on Friday in Washington DC and did a flyover of the seminar crowd using a DJI Phantom (with Zenmuse H3-2D and GoPro Hero 3+). I love that overhead video view. Too cool!

I’m on my way, today!
I’m teaching my “Shoot Like a Pro” Seminar there tomorrow at the Hynes Convention Center. Over 500 Boston-area photographers have already signed up, and if you want to come too, it’s not too late: Here’s the link: http://bit.ly/14bAUDJ

Next Stop: New York City on Thursday, November 14th.

I’ll be back for “The Grid” on Wednesday
I’m heading home right after my seminar on Tuesday, so I’ll be back for live airing of “The Grid” on Wednesday. Matt had a really good topic for this week….I just wish I could remember what it was, but I do remember thinking, “Man, that would make a great topic!” so make sure you tune in to see if I was right  (LOL!). It’s this Wednesday at 4:00 pm ET (New York Time) at http://www.kelbytv.com/thegrid 

What will photography look like 10 years from now?
PC Magazine did a nice write-up on the Photo Plus Expo industry panel I was part of on Wednesday night where we tackled that very question. Here’s a link if you’ve got a sec: http://bit.ly/1g3BbNi

Here’s one for Lightroom users
I get a bunch of questions about managing your images and folders in Lightroom, and Matt just did a really great, short, to the point video about it in his “Lightroom Killer Tips” show, and I included it right here (above).

Don’t Miss Wednesday’s Guest Blog
This week, we welcome Washington DC-based photographer John Harrington, and he has some really pragmatic business advice for photographers on working within a client’s budget (and determining what that budget really is). It’s a really insightful post and you don’t’ want to miss it this Wednesday right here.

That’s it for Monday. I’m off to Boston, and I hope I’ll get the chance to meet you there! Cheers (no Boston pun intended). ;-)

Friday
Oct
2013
25

Check This Out This Deal From Amazon: Buy Lightroom 5, Get My Lightroom 5 Book Free!

by Scott Kelby  |  3 Comments

This is pretty sweet deal, but it’s only good until November 3rd — you get Lightroom 5 and the PRINT version of my Lightroom 5 book for Digital Photographers (which normally sells for $38 even with the Amazon discount)  for FREE (whoo hoo!).

I wish I could take credit for this deal, but this is Amazon’s doin’, but I’m psyched they did it.

Here’s the link (click here), to take advantage of Amazon’s free Lightroom 5 book deal.

Thursday
Oct
2013
24

It’s Free Stuff Thursday!

by Brad Moore  |  28 Comments

Scott Kelby at Photo Plus Expo
I know Scott covered this the other day, but I (Brad) just wanted to remind you of his schedule at Photo Plus Expo this week. He’ll be talking about sports photography in the Canon booth this afternoon at 2:30pm, and again on Saturday at 11:30am. If you’re there, make sure you stop by to see him! There are plenty of other amazing speakers (like our friends Greg Heisler, Peter Read Miller, Jack Reznicki, Vincent Laforet, Bruce Dorn, John Paul Caponigro, Tyler Stableford and others), so you can come by at any time and see some great people and images!

Freeze Motion Photography
This week’s free KelbyTraining.com class is Freeze Motion Photography with Frank Doorhof! The class just started airing yesterday and will run through October 30. All you have to do is go to KelbyTraining.com/onair and sign up for a free account, then click play! Of course, if you want to watch all of the other classes any time you want, you can always sign up for a KelbyTraining.com subscription ;-)

You can also leave a comment here for your chance to win a 1-month subscription!

Kelby Training Live
Want to spend a day with Scott Kelby, Joe McNallyMatt Kloskowski, or RC Concepcion? Check out these seminar tours!

Shoot Like A Pro with Scott Kelby
Oct 25 – Washington, DC
Oct 29 – Boston, MA
Nov 14 – New York, NY

One Flash, Two Flash with Joe McNally
Oct 30 – Orlando, FL
Nov 13 – Los Angeles, CA
Nov 18 – South San Francisco, CA

Lightroom 5 Live with Matt Kloskowski
Nov 6 – Fort Lauderdale, FL
Nov 15 – Sacramento, CA

Photoshop for Photographers with RC Concepcion
Nov 1 – Phoenix, AZ

Lots more dates have been added for the rest of the year, so head over to the Kelby Training Live site to get the full schedule! Don’t forget, if you register for a seminar at least 14 days in advance, you can save $10 by using the code KTL10 at the checkout. And leave a comment for your chance to win a ticket to one of these events!

Last Week’s Winners
KelbyTraining.com Subscription
-Leslie

Kelby Training Live Ticket
-KC

If you’re one of the lucky winners, we’ll be in touch soon. Have a great Thursday!

Wednesday
Oct
2013
23

It’s Guest Blog Wednesday featuring Tim Boyles!

by Brad Moore  |  13 Comments


Fishing from a kayak in the Florida Keys with a GoPro camera

There is nothing like securing a contract to photograph an event like the one I was blessed with in June.

Nik Wallenda was going to walk a high wire across the Grand Canyon, untethered, and the Discovery Channel was going to broadcast it to more than 200 countries with an estimated viewership of 200 million people.


Nik Wallenda walks a high wire across the Grand Canyon June 24, 2013

I had been hired to document the event, Nik’s family and friends who were there, and add to the already-vast Wallenda family legacy, archives and heirlooms. I would also feed to Getty Images.


Nik Wallenda gestures into the abyss on the first day of on-site training.


Nik sits on the edge of the Canyon at sunrise on the first day of on-site training.

All in all, it would be a demanding, pressure-filled shoot, four-day shoot, yet with a built-in cushion: Great visuals guaranteed. How could it get better?

By taking my near-80 year old father along.


Dad made friends easily. He laughs with Jack Hanna’s wife, Suzi, at the Grand Canyon within five minutes of meeting her

Nik Wallenda is a nice, kind, sweet, friendly, talented, charming, devoted family man. I didn’t steal that line from any press release. I learned it on my own. This year he let me photograph him nearly a dozen different times.


Nik Wallenda walks a high wire over downtown Sarasota on January 29, 2013


Nik Wallenda poses holding a piece of the cable he used to walk a high wire over Niagara Falls February 15,2013

His family is always there. Most times it’s the physcial presence of his wife and three children, his mother and father and many other family and close friends who rig his cables, handle his media calls, guarantee his safety and hundreds of other details that go along with being part of the most recognized high-wire family in history.

Always present is the shadow of his great-grandfather, Karl Wallenda, and others who carved out history in the 200 years the Wallendas have been performing.


Nik’s wife Erendira (Left) and his sister, Lijana, share a hug after the Grand Canyon walk.

I really like breaking rules. The big one on this trip, if Nik would allow it, would be to bring my father along. It’s not professional to have family and friends along on shoots. We all know that.


Nik Wallenda tugs on the wire that he’ll use to walk across the Grand Canyon during a training session two days before the actual walk.

When I thought about Nik’s devotion to family and legacy, I couldn’t help but think how great it would be to have my 78-year-old father, Marvin, along with me. He was a truck driver for most of his adult life. He’d never seen a TV stage in real life, much less one that crossed the Grand Canyon. But, he is in good shape, he is warm, smart, funny, charming and very sweet. He is devoted to his family.

He is much like Nik, in other words. I had to ask.

“Nik, can I bring my dad along?” I wrote in an email two weeks before our journey was to begin. ”I’d be honored to have your dad along,” Nik wrote back.


With Nik in the backround, my father Marvin and I pose for a photograph. Photo by Thomas Bender

So, for three of those days, my father was at my side as we followed Nik Wallenda and his family and crew to press conferences, training sessions, meet and greets with fans, rehearsals, meals, horseshoes and hijinks, and finally to Sunday, the day Nik was going to create history and put his life on the line in front of 200 million people on live television.


Nik Wallenda walks a high wire across the Grand Canyon

My father became a minor celebrity himself along the way. His hometown newspaper, The Altoona Mirror, wrote a story. Dad said he couldn’t go anywhere without people asking him about his trip with Nik Wallenda to the Grand Canyon.

He developed a true friendship with Jack and Suzi Hanna who invited dad to visit them at the Columbus Zoo and Aquarium. (We went this month)


I never asked Nik to pose with my father until the after-party. Dad was tired. We had been working together for about 12 hours by the time this photo was taken.

I think a lot of people were moved about seeing my father and I hanging out together at the biggest event in the world.

Two other photojournalists there told me they had lost their own fathers recently. One teared up, I believe from the wish that he could have been in my sooty shoes, with his own father. I was reminded how blessed to have mine there.

The successes were huge. Nik finished the record-breaking walk despite immense heat, windy updrafts from the Canyon floor, slippery desert dust on the wire and a thousand other challenges he and his team faced and conquered.


Nik blows a kiss to his wife and children as he nears the end of his historic high wire walk.

My dad and I had a great time, bonding and making memories and photographs that will be around long after we’re all are gone. One thing I didn’t plan on, but was incredibly satisfied to find out: Not only did I add to and enhance the Wallenda family heirlooms and legacies, but those of my own family as well.


My father and I at the Grand Canyon. Photo by Douglas Hay


iPhone close-up of Nik’s autograph on the 16×20″ I printed for my father.


iPhone shot of note we received from Jack and Suzi Hanna. I sent them a 20×30″ print of their choice. He said he wanted it signed. I told him, “you know Nik, you ask him to sign it.” He said, “I want you to sign it.”


Show hosts Willie Geist and Natalie Morales pose with Nik at sunrise on the morning after the walk.


Nik back on the wire at sunrise on the morning after the walk.

Thank you to Scott Kelby, David Hobby and Joe McNally for showing me the light.

Thank you to Nik Wallenda for saying yes to just about anything I ever asked him and for always giving me something interesting to shoot.

Thank you to my Jack and Suzi Hanna for treating my father like he’s the most important man in the world.

Thank you to my father, Marvin, for always having a sense of adventure and my mother for things I could never put into words.

You can see more of Tim’s work at TimBoylesPhotography.com, and follow him on Twitter and Facebook.

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