Sometimes you just hope the stars align. It can be the talent; are they willing to go along with this crazy idea of mine? Sometimes it’s making the client understand the intricacies of the shot. Sometimes it’s something that’s completely out of your control like the weather.
Dealing with, and planning for weather as a photographer
Weather is the bane of all photographers. At best you can rely on the weather channel to give you the conditions that may exist in, oh, say 2 hours from now. For fairly small time frames, weather predictions are usually in the ball-park of what the reality will be. But, say the shoot is 5 days away, a week, 10 days or more! Well, then you’re stepping into some really iffy territory. Sure, you can probably be guaranteed that it’s not going to snow in the middle of July, but trying to predict puffy clouds against a clear sky at sunset a week from today? Yeah, not gonna happen – most likely. If you’re lucky everything will work out, and if you’re not, you are in for total re-think of how you have to approach your photo.
I’m not trying to get a pretty good photo, I am trying to get THE photo, the one that is in my head. During rainy seasons we’ll often set a primary day and then a back up day just in case the weather is not cooperating at all. This is sort of ‘best-case’ planning for avoiding ‘worst-case’ scenarios. Even then, if your back-up date approaches and the weather still isn’t in your corner, you have to be ready to prepared to make the best of what you’ve been given. Thankfully, bad weather doesn’t mean bad photos. As Moose Peterson says, some of the best photos are made in the worst weather. Even then, however, it’s not a good idea to drag your model into a tornado and just hope she keeps her face to the light as she’s being lifted into the air, on her way to meet the Great and Powerful Oz.
There are also times when a certain type of weather is a necessity in your photo. Your rain jacket product shoot might require a backdrop of storm clouds, or that magazine shoot you’re on depends on a sunny beach while you’re taking photos of surfers. In these cases you have 3 options.
- Take your photo in whatever weather you’re given and then make any needed changes in post.
- Head into the studio and just make the weather you need
- Pay a shaman to keep the bad-weather demons at bay
You wouldn’t be the first photographer who’s had to resort to any of the above options. Personally, in a pinch, I would opt for the studio option if all else fails. But, in my opinion, there’s no substitute for the real thing.
All of this came into play recently when I had a shoot scheduled, several weeks in advance, that called for snow. I wanted the whole sha-bang. Snow on the ground and snow falling from the sky. Why was falling snow important? Well, it would be nice to capture snow falling throughout the image, but more important, nothing beats the look of freshly fallen snow on the ground. So, with my desire for fresh snow firmly in place, so began the anxiety laced waiting game. You know the game, the one where you’re checking weather.com 5 times a day to see if your dreams will come true?
Luck was on my side. As the day approached the likely hood of snow kept increasing. On the day of the shoot snow was forecast to start falling at 4pm, exactly 1 hour before the scheduled shoot – Perfect! We packed up the gear and headed out. Our location was an area next to the Cuyahoga river, deep inside of the Cuyahoga Valley National Park. Less than 15 minutes from our arrival the snow began to fall, heavily. So heavily in fact we lost control of our car for a moment as it struggled to deal with the inch of fresh snow covering the small, windy road. We made it off of the road and into the parking lot without further issues.
There was a new problem however. Remember all that snow I wished for? Well, there was so much snow falling that it caused a white out. Visibility was no more than just 20 feet or so – not so good for a photo that required a river-scape in the background. Hedging our bets we walked down the trails to our final location and began to set up our gear.
In any situation where you’re dealing with wet conditions (snow is, after all, just water) it’s important to take the safety of your gear into consideration. We took extra shoot-through umbrellas and used them as, well, umbrellas, shielding our flashes from the heavy snow. My cameras, a 5d mark II and mark III, are both weather proofed so as long as I took some simple precautions to keep them from being heavily soaked they would be fine.
By the time we finished our set up, the falling snow had slowed down to a workable level. We got the talent in place and started to snap away. Right away, we knew everything was working beautifully. The snow, the light, the location, the river – all of it was playing together just as I had seen it in my head for all of these weeks. It felt so great to have everything come together at the last moment and, pun alert, just click.
Not all shoots will work out this well. The weather is something you can’t predict with any degree of certainty, at least not 100%, so you have to plan ahead – sometimes weeks ahead. Be prepared to be flexible, and make sure your client understands they may need to be flexible too. If it’s a large budget shoot with a lot riding on the final frame, it’s worth taking the time to get it done right in the right conditions.
Benjamin Lehman is a Commercial Advertising, Portrait and Wedding Photographer in the Canton, Northeast Ohio area.
Early in November I had the opportunity to photograph a wedding for an absolutely wonderful couple; Jim & Leslie. We met Leslie through a previous job, The Akron-Canton Regional Foodbank, where she works in the fundraising department. When we first met to discuss if we would be a good fit for her wedding, (We met in mid summer, several months before her wedding date), she expressed how important it was that the wedding photos shouldn’t staged – she wanted a very sweet, intimate, editorial look to her photos — it just so happens that shooting in an editorial fashion is one of my favorite styles for weddings
When someone says, “Editorial”, it can mean several different things. For the most part, editorial means any photo that happens naturally in the moment without the photographer staging or intervening in the photo in anyway. When I am shooting a wedding I’d suspect that nearly 95% of of my photos are shot in an editorial manner. The last 5% are things like formals where the photographer needs to work hand in hand with the bridal party and family in order to get all of the expected photos.
Before any wedding it’s not uncommon for the bride and groom to prepare in different areas or even completely different venues. For Jim and Leslie’s wedding this meant I would be at 3 different places throughout the day. It started in the early afternoon with the groom and the groomsmen getting ready at the Hilton. The day was overcast, and the room was lit naturally with a large window on one side of the room. The room itself was painted a soft beige on every wall, including the ceiling. These types of situations are always tricky when trying to find your white balance. The best bet would be to set your camera to tungsten – this will help immensely since the colors of the walls will even influence the color of your flash into a warm tone.
The second location I visited was where the bride and her bride’s maids were getting ready, The Bertram Inn at Glenmoor estates in Canton. This location is gorgeous. The Inn itself has a wonderful style to it, a very late 1800’s industrial-age-elegance. The room the bride was preparing herself in was a large suite, soft blue-ish green walls, a large white ceiling and several windows letting copious amounts of natural light in. This was the perfect room for pre-wedding/getting ready photos.
For the formals, my first choice was to use the attached Chapel, and while we were promised by the staff that it would be available to us for photos, we were disappointed to find out that it had been filled with empty tables and broken glass – and since it’s not kosher to have your bride walking through broken chandelier bulbs, I had to move quick and find a second location for formal photos. Luckily the front of the Inn turned out to be a perfect replacement location. We got lucky and the sun started to peek out of the clouds in the distance, which added warmth, and there was still enough cloud cover that the light remained even over the subjects. In total this provided beautiful, natural light conditions.
Once formals were done, we headed to the wedding venue; La Pizzaria, a beautiful, upscale eatery here in Canton. While the outside of the venue is fairly nondescript the inside, however, is a beautiful, open space with wooden walls and a concave ceiling, painted and lit to look like a spring sky. Wooden walls usually mean you’re in for a lighting nightmare. Trying to bounce light off of shiny, dark materials can prove near impossible. However, I knew I could use a tall light stand and hoist one of my studio strobes into the channeled ceiling and still get good light coverage where I needed it without having to worry too much about color balance issues.
The wedding itself was an exquisite affair with both the wedding party and guests filling the room with excitement and smiles. It’s always fun for me when I get to live and document a day in the life of wonderful people and this wedding was just such an experience – something I’ll cherish and remember forever.
Benjamin Lehman is a Commercial Wedding, Portrait and Advertising Photographer in the Canton and Northeast Ohio region.
I was tickled when the Hall of Fame asked me back this year to cover the events of their 2014 Pro Football Hall of Fame Enshrinement. Enshrinement week covers a lot of activities and from start-to-finish, but the total event last nearly a month. It starts with several smaller festivals in the Canton, Ohio area – fairs, hot air balloon lifts, food-festivals and fireworks all happen throughout the month. The last week covers the events directly related to the Enshrinements. Those events are dinners, activities for families and visors to the HoF, ceremonies, and the Hall of Fame game that kicks off the year’s preseason. My task was to cover the events that happened inside of the Hall of Fame and the VIP parties. It’s a wonderful job with thousands of opportunities for photographs; portraits of football stars, photos people having fun, and landscapes of beautiful events.
Below are a handful of photos taken from this year’s event.
Benjamin Lehman is a Commercial Event, Portrait, Wedding, and Advertising photographer in the Northeast Ohio Area.
I’m always looking for beautiful, ethereal places to take wedding, engagement or fashion photographs.
While I’ve lived in Northeast Ohio for nearly 5 years, I am still amazed by how little of the area I’ve explored. Because I am a rather restless person, this is works out in my favor — I love exploring new places for possible photographic locations.
My most recent scouting excursion was to an area within Cuyahoga Valley National Park known as the Virginia Kendall Ledges. Formed millions of years ago when much of Ohio was a great inland sea, the ledges were most likely the walls of a large island formation. What’s left now are beautiful ledge and cliff faces made up of a sandy, rocky material known as “Sharon Conglomerate.” What was once a scene of fast moving rivers is now a serene and tranquil forest with a thick canopy and graceful hiking trails.
I arrived a few hours before sunset, when the sun was starting to get low in the sky. The result was a forest floor with a gorgeous level of ambient light and equally wonderful spots of deep red, dappled sunlight peaking through the tops of the trees. I can’t overstate just how red that sun light really was — the areas where the sun’s rays hit the ground were lit up with a laser-pointer red that was so unnaturally vibrant it took me a few moments to realize it wasn’t something else just laying on the ground and was, in fact, the sun’s setting hues.
It didn’t take much imagination to realize this would be the perfect backdrop for gorgeous, empyrean photos. A wedding, engagement, or any other type of portrait session here would instantly take on a ghostly, magical quality. The surrounding area has no end of possible backdrops. There are small patches of open ground looking up at the cliffs, areas on the cliffs that look over the forest, and still more areas with stone stairways carved out of the rock face itself. Everywhere you looked there was a photograph waiting to happen.
I look forward to suggesting this area to my clients in the future, and I know when they see it, they will be overcome with how exquisite the location is.
Benjamin Lehman is a Commercial Wedding, Portrait and Advertising Photographer in the Northeast Ohio area.
Some conditions are better than others when it comes to photography. In mid-day sun, open shade is your friend. In your studio, or a portrait situation, you have all of your lighting gear at your disposal for crafting a gorgeous photo. Night time land scape photography offers you the ability to take long exposure, giving your sensor all the time needed to soak in what available light there is. However, there are times where you’ll be presented with a situation where all of the fail-safes have been removed. Every crutch has been kicked out from under you and you’re left on the floor wondering, “How do I get back up and take an actual photo that’s worth the effort?”
That was my issue yesterday when I was asked to shoot a live band performance for some friends. It’s a venue that I’ve shot at before, and I remembered it really wasn’t a great place for photos. First off, it’s cluttered and the stage is small. There’s no place to swing your lens where you won’t catch some sort of unflattering background element bleeding into your pictures. That told me right away that I would be shooting tight. No fisheye, or 24-70mm here. I would be shooting long all night, 70-200mm and I would be focusing on individual performances to tell the story.
Next, because I knew the light was limited (read: non-existent) I would have to bring some of my own lighting solutions to help me out if I wanted to shoot anything other than frames of pitch black. The venue, while not too small, is usually packed to rafters, or drop ceiling as the case may be, so I also had to pack mobile and take equipment that wouldn’t get in anyone’s way. I choose an on camera speedlite (600ex) and a second flash on a small stand (430exII) with a Rogue Flashbender modifier.
I’d use the on camera flash as a bounce light. I could take just the one speedlite and point it directly at the subjects but we all know what that looks like – mugshots. Add to that the fact that people sweat on stage and they would look like mugshots taken after a high speed chase – not a good choice, so bounce flash it is. I’d use the flash on the stand in many different ways; I’d use it as a fill, a kicker, back light, rim light – pretty much anyway I could to squeeze out a good looking photo.
When I arrived to the venue any small hopes that I had left for the shoot were quickly thrown out of the window. The stage light, which I were told were, “Totally awesome, man.”, were turned in such a way that they only lit the audience. THE AUDIENCE! I don’t know who made that decision but it wasn’t me. There’s was nothing I could do about it either. The lights were so bulky, their foot print so huge, that moving them was completely unrealistic.
So, now I literally have no light pointed at the stage, my speedlites were going to be doing all the work. This also forced me to make an important decision about the artistic direction of the shoot. My first thought was I could slip out the back without anyone noticing me and just go home where I could make up a story about a falcon stealing my gear earlier in the day, but these guys were my friend and they were relying on me to take some photos. Also, the story was pretty lame and I am sure almost no one would believe me. So I soldiered on and came up with a realistic solution.
My final plan was to portray motion. I’d use my speedlites to stop the action, but then I would drag the shutter (slang for using a slow shutter speed) to let the action trail through the frame. One great side effect of a packed house means that people would be using cell phones to shoot their own videos. And since it was so dark, all of those cell phones would most likely have their little LED lights blazing, and that’s exactly what happened. Those little LEDs gave me just enough ambient light to let me use the slower shutter speeds and actually capture some movement. You can see in the photo here just how this works. The on-camera flash (zoomed to 200mm and pointed straight up at the ceiling) freezes the action on the right side of the photograph, while the ambient-only lit left side of the photo makes motion trails as the musician plays. The final effect is pretty cool and gives the viewer the sense of what the subject is doing in the frame. Here, with D.J. Kob, we can see that his arms are all over the place during his performance. Note the thin orange outline of light around his face and arms – that’s my other speedlite on a stand with a full cut CTO gel positioned right behind him to help him pop out of an otherwise black background.
The last hurdle was focusing. We’ve all come so reliant on auto-focus that it can really throw you off your game when no-light conditions render it useless. There are some tricks you can use to manually focus. First tip is simple – shoot a lot more frames. Without auto focus your chance of getting a razor sharp picture drops through the floor, so shoot a lot and hope for the best. The next tip is to look for small reflections on your subject that you can manually focus off of. Glints in eyes, sweat on foreheads, jewelry. Anything that catches light is your friend. Just focus on those objects, turn the focus ring until you can see that they are sharp and start shooting. It’s all you can do. If done right, you’ll have a set of compelling, artistic photographs that tell a story and convey motion.
Benjamin Lehman is a Commercial Portrait, Wedding and Advertising Photographer in the Canton, Northeast Ohio area.
Edit: 7/23/2014 – More Awards added for my Balloon Liftoff Photograph!
When I moved from San Francisco to Canton the challenge was made to find things, people and events to put in front of my lens. San Francisco is a feast for your camera. In most areas of the city, every direction holds a great picture waiting to be captured. Canton, and Northeast Ohio is a different type of beast. There are pictures to be found here too, you just have to seek them out, rather than having them come to you. San Fran taught me to love photography, but North East Ohio has taught me how to be a better photographer.
One of these photographic searches lead me to the Foodfest, Balloon Lift Off, and Hall of Fame fireworks that’s held every year at Kent State University’s Stark county campus. It’s the perfect event for photographers. It has a slight carnival feeling to it. Food vendors line the streets and field. People from all walks of life mill around the attractions. There are VIP venues that hold smiling faces and wonderfully prepared food. As evening starts to creep in, one of the large fields there becomes home to hundreds of trucks hauling their cargo — hot air balloons.
The Balloon Lift Off is the highlight of the weekend’s festivities with balloons from all over the nation converging to celebrate the kick off of the Pro Football Hall of Fame’s larger enshrinement celebrations. In the 5 years I’ve lived here I’ve never caught an actual lift off – the weather has always been to windy or wet for safe balloon flying. With the weather this year being a little windy and very cloudy I feared I’d have to wait another year for a chance to actually see these things soar. So I was rather caught off guard, left scrambling back to the car for my tripod, when I noticed a balloon lofting over a hill – ack! Time to move!
I got my tripod and raced back to the field, where to my relief, most of the balloons were just now being unfurled. Thanks to that one balloon’s early liftoff I knew which direction they would be traveling, so I set my camera up and just waited for the moment when the sky would start to fill with airships. The moment came near the end when many of the balloons had already drifted off into the distance. I framed my shoot and hit the shutter. BAM! I was so happy with the result, and apparently others were as well. Earlier today I noticed my inbox was filling up with new friend requests from Flickr. On closer examination my photo had been selected as the explore/photo of the day honors, wow! The comments left for me were both flattering and humbling and stood as a wonderful cap to an exciting and delightful night.
The celebrations end the next evening when the Hall of Fame hosts a fireworks show on the same field that held the balloons. It’s always a wonderful way to cap off the weekend and it’s something that I’ll always look forward to shooting in the years to come. It’s one of those times where searching for a photo can lead to a new, unique experience that will leave you smiling, and a better photographer.
Pixoto adds a Photography award to the list
Benjamin Lehman is a Commercial Portrait, Wedding and Advertising photographer in the Canton, Northeast Ohio area.
Note: This is a subjective article about photography, adobe lightroom and hdr . Take whatever I say as you wish.
I use Lightroom all of the time, as I suspect many of you do as well. It’s a great tool which has gotten better and better with each iteration. Lightroom 5, with it improved Shadows and Highlight sliders can really make the difference in a photo where, for whatever reason, the exposure got out of control. A master craftsman like Joe McNally would probably just tell you to take a better picture to begin with, but when I am running and gunning it’s not always an option for me to spend 30 minutes to an entire day making sure every zone of a photograph is properly exposed.
One of the bonuses of Lightroom’s Shadow, Highlight and Clarity slider is that you can start to get into the realm of HDR photography with just a single photo. Traditional HDR requires at least two bracketed photos. I’d say 3 would be the average, but I know some people who claim to use as many 11, to achieve better overall zone exposure in their photographs. I guess if they need 11, that’s fine. HDR programs like Photomatix makes merging multiple files into an HDR file fairly easy and straightforward. Even Photoshop has a Merge to HDR function, although I find it’s results to be less than optimal.
Only a few years ago, Photomatix was practically the only game in town; there were and are still other options, but Photomatix seems to be the most widely used. So, when I would take a series of photos for HDR purposes that’s the program I used. Then one day, while playing around with my merged file in Photomatix, I decided, eh, maybe this photo wasn’t a good candidate for HDR after all. So I went back into Lightroom, grabbed my 0.0 exposed photo out of the batch and started to play with it there. What I found was that I was readily able to create an HDR-ish image that kept in line with what I was originally looking for. Then I thought, what if went back into my library and found other images that I had originally merged into HDR? Could I use a single photo out of a series to create a photo that closely matched the file that Photomatix had output? The answer was, yes… sort of.
First off, I was impressed that I could use Lightroom 5’s sliders to change the global tonality as much as I could. And while it never recovered the shadows or highlights as drastically as a true HDR process could, it came close enough and the results were actually more to my liking.
HDR’s main function is to compress the over all exposure in such a way that the tonal quality of the image is pretty much the same across the entire image. The result is a dramatic, if not sometimes flat, image that reveals all types of details from highlights and shadows. The problem with that is the story and the mood of a location are often rooted in those highlights and shadows. It’s great to bring more depth into your photos, but too much is, well, too much and we’ve all seen what too much looks like. Do a Google image search for HDR and you’ll be blitzed with clown vomit colors and images so normalized that they almost hurt to look at it. A great HDR artist, (see my friend Neil Kremer’s stream here on Flickr), puts a lot more work into his HDR images rather than pressing a button in Photomatix and posting the result. He spends a lot of time in Photoshop dodging, burning and blending to make sure his images are both real and surreal. And, honestly, if you’re going to do HDR you should be doing it Neil’s way.
But I think there’s a great middle ground hiding within Lightroom that let’s you bring out these extra details without losing drama — all with a single, well exposed image. The image above is an example of a 3 bracketed photo. merged and output from Photomatix, and then a single photo (the 0.0 exposed photo from the batch) processed in Lightroom. There are differences, no doubt, and some people may still prefer the look of the Photomatix image over its Lightroom cousin, but you can see that there’s a great possibility there in Lightroom to create some dynamically ranged photos that still retain character.
Benjamin Lehman is a Commercial Portrait, Wedding and Advertising photographer in the Canton, Northeast Ohio area.
If you have a social, water-loving dog, then there’s no better place to be than Bow Wow Beach in Stow, Ohio.
Being the proud dog-dad of an Austrialian Cattle Dog and yellow Labrador, we decided to take our dogs to this dog park and wow, were we blown away by what a great experience it is. It’s large, (7.5 acres!), fenced in and features a lake at it’s center, complete with sandy beach. We’re asked constantly for pet portraits and Bow Wow Beach provides the perfect backdrop. No prim and proper dog-wearing-tuxedo photos here. No, this is a place for your dog to run around, get wet and jostle with the other natives.
If you want a photo of your dog with a genuine smile across his or her face, then plan on taking them here. You’ll have a blast too, watching your four-legged friend run around, diving in the water, and chasing the other pooches.
Benjamin Lehman is a Commercial Portrait Photographer in the Canton, North East Ohio area.
I had the great pleasure and honor to be the wedding photographer for Jesse & Chris. The ceremony was at Saint Joseph Catholic Church in Massillon, Ohio.
The wedding was exceptionally fun for me because it presented me with a few creative challenges — which, by the way, is something I truly love. Unique obstacles are a great way to improve creativity in a new situation, and the lessons you learn under these circumstances can be taken with you into the next photography project and put to great use.
For this wedding, it was a very compressed time-frame. The Bride & Groom would be showing up only an hour before the ceremony. The real catch, however, was that there was a service being held in the church that was scheduled to last 15 minutes into that hour. That would give me 45 minutes to set up lights, photograph preparation, candid and detail shots; all of which no wedding should be without. I realized the day before that this was more a test of my own personal speed and aptitude rather than a test of my ability to come overly prepared. I loaded all of our gear into the car as usual and readied myself to move like the wind once the parishioners had filed out of the church and that’s exactly what I did when I arrived on the spot. Read on about my adventures below the video.Read More»
Near the end of winter I was approached by the Akron-Canton Regional Foodbank. Their request was simple – help them document the people and neighborhoods that rely on the foodbank’s assistance for food. I couldn’t say yes fast enough.
I’ll be honest, a photo essay project like this is a photographer’s dream. We all want to capture real people living in real moments. It’s why street photography is so popular. It’s why photo-journalists will risk their lives in war torn countries. There’s a deep need for us to expose the emotions of people, and those emotions are best found where they are near the surface. Sadly, that often means areas of homelessness, the victims of war, disease, and people struggling with poverty in general.
I thought I knew what I was getting into. When describing my photographic approach to the Foodbank I insisted that I wanted to take the pictures that were given to me. At the time that meant to me I would be taking a lot of photos of people with faces labored with burden, bodies that bared the weight of the world. My first day on the job took those expectations, tore them up and threw the pieces into the wind.
Where I expected to find sadness, I found strength, optimism. I thought I would find shame, but instead I encountered honor. It wasn’t the dark emotional alley I expected it to be. Instead it was cohesive community working together to make everyone’s lives better.
Let’s talk about the Foodbank for a moment. The Akron-Canton Regional Foodbank (ACRFB) serves 8 counties in Ohio. They distribute over 24 million pounds of food each year, with 65% of that food given to their member agencies at zero cost. If those numbers sound impressive, they are. The ACRFB was named Food Bank of the Year, which is the highest recognition achievable among the Feeding America national network. The people who work for the Foodbank are the typification of first-class. They tackle the problem of hunger tirelessly and employ innovation for improved fundraising, problem solving and program services.
You can see their efforts at work the moment you walk into any of their sponsored agencies. Time and time again, I was told, “No one leaves hungry. No one is turned away.” Walking around one of the Foodbank’s agencies it doesn’t take long to see that those words are an iron-clad promise. The first location we shoot at was an old church. On Sundays the halls are filled with parishioners, but on that day it was filled with volunteers and the people they serve.
The volunteers were also not what I had expected. I figured that the average volunteer force at a food shelter would be made up mostly of younger, college aged kids. Instead I found many of the volunteers had once, or still were, the same people receiving assistance from the shelters. They felt so strongly about the work the Foodbank and shelters had done for them that they wanted to give back and be part of the solution. Our first subject was one of those people; a lady who had received assistance for years who now served the folks she once stood in line with.
Our next location, a shelter out in the middle of Amish country, was the same. As was the one after that, and after that. Each shelter greeted me with smiling faces – not the sadness I was prepared for. And in those moments are where I became swept up in just how amazing these people were. Mothers with small children, fathers, families, even the wonderful lady who was fighting MS while relying on the Foodbank, turned out to be nothing short of the some of the strongest people I’ve ever met.
Hunger and the people who suffer from it belong to no stereotype. They are individuals with unique reasons for needing assistance. Many of the people we talked to and took photos of worked at least one job. Some of them worked two.
All of them shared one commonality, and that was the gratefulness they shared towards the Foodbank and its shelters. One such person was a man named Mark. He has relied on food assistance from a shelter aided by the Foodbank. Now he spends free time at the shelter, manning a wagon he uses to ferry groceries to the cars of other shelter clients. He was kind enough to take a few moments out of his day to let me photograph him, but the whole time I was clicking the shutter I could see he just wanted to get back to work, to the people he cared for.
Once all was said and done, I had visited shelters in the middle of country fields, in the woods, and in the middle of urban America. I had taken my camera, ready to take pictures of people overcome by circumstance and instead I found smiles and pride as far as my lens could see. This job destroyed any misconceptions I ever had about hunger and the people living with it, and this will stay with me forever as one of the best jobs I’ve ever had the honor to work on.
Special thanks to Kat Pestian, Michael Wilson, and Melissa Link. You can follow the wonderful work of the Akron Canton Regional Foodbank here.