If you run a photography business and you’re not using Cradoc fotoSoftware’s fotoBiz, this post is for you.
fotoBiz just released version 11, and I wanted to take a moment to spread the word. I’ve been a user since around 2005, when I first started using it to track stock photography sales and generate invoices. Twenty years later, it’s still one of the most mission-critical pieces of software in my business.
Just last month I got a real-world reminder of why. A client I hadn’t heard from in over ten years reached out to renew a license for the second press run of a book that had used one of my images on the cover. Because fotoBiz had tracked the original license from the beginning, I was able to pull up the previous terms and fees in minutes, put together a quote for the re-use, and send it off without missing a beat. Without it, I would have been spinning my wheels trying to reconstruct a transaction from a decade ago.
That’s what fotoBiz actually does in practice: it handles my contact management, generates image usage licenses, tracks payments, and helps me build assignment estimates that I can then convert into invoices. It also includes a surprisingly robust built-in business coach that covers the real-world situations photographers run into, including how to negotiate, what to consider when a client wants to buy out my rights entirely, and what steps to take if my images are used without permission. I still use the coach today.
The other thing worth highlighting is that fotoBiz 11 includes fotoquote 8, which has long been the industry standard for photography pricing. If you’ve ever agonized over what to charge for a particular use, fotoquote takes the guesswork out of it.
Whether you’re a seasoned pro or just starting to formalize your photo business, this is software worth a serious look. The business side of photography can feel overwhelming, and fotoBiz does a genuinely good job of helping me stay organized and get paid fairly.
Aerial view of Fort San Lorenzo and the Chagres river, Colon, Panama.. In 1671 the fort was sacked by Henry Morgan’s men before they sailed up the Chagres river to attack Panama City. Today the fort is a UNESCO world heritage site. Photo by, Jonathan Kingston
From 250 feet in the air, the Panama Canal appears as a thin green line carved through the verdant isthmus – a testament to human engineering that has shaped global commerce for over a century. Today, this crucial waterway faces unprecedented challenges: severe drought has forced authorities to restrict vessel traffic, while geopolitical tensions swirl around its operations and control. As shipping delays ripple through global supply chains, I find myself revisiting images captured on assignment that offer three distinct perspectives of this engineering marvel – aerial views of ships threading through the locks, underwater photographs from an archaeological expedition searching for the lost fleet of Captain Henry Morgan, and deck-level documentation while traversing the entire canal system aboard the expedition ship National Geographic Sea Lion.
The archaeological expedition, led by Texas State University’s Fritz Hanselmann and funded by Diageo’s Captain Morgan Rum, brought history and modern commerce together at the Caribbean entrance to one of the world’s most strategic waterways, and required both underwater and aerial perspectives to tell the story of the expedition. Later, multiple transits aboard the National Geographic Sea Lion gave me an intimate view of the lock systems in action, allowing me to document both the technical precision of the canal operations and the lush environment of the canal zone, including the vital work of the Smithsonian Tropical Research Institute.
The canal’s current water crisis, which has led to reduced transit slots and draft restrictions, brings new relevance to these photographs documenting its complex lock system. Having photographed from the heights that reveal the full scope of canal operations, the depths that hint at Panama‘s maritime history, and from the deck of a ship making the remarkable journey between two oceans, I’ve developed a unique appreciation for how this waterway has shaped global commerce – past and present.
The Engineering Marvel from Above: Aerial Perspectives of the Panama Canal
Vibrant aerial scene showcasing the engineering marvel of Miraflores Locks, part of the Panama Canal, surrounded by lush greenery and waterways under a cloud-dotted sky. Construction of the new locks is visible in the upper left of the frame. Photo by, Jonathan Kingston
Long before drones made aerial photography commonplace, capturing the Panama Canal from above required a Cessna, careful planning, and strong coordination with canal authorities. Our flight path from Panama City’s airport was designed to document Fort San Lorenzo’s strategic position near the canal’s Caribbean entrance and its relationship to our underwater archaeological site, but it ended up revealing much more about this engineering wonder’s scale and complexity.
The journey began with views of the Miraflores Locks, where in 2012, massive excavation works marked the southern terminus of an ambitious canal expansion project – a modern echo of the original canal’s monumental construction. Following the waterway northward, we reached the Centennial Bridge, its striking white cable-stayed design spanning the canal like a modern sculpture against the tropical forest. As we continued north, the Culebra Cut (also known as the Gaillard Cut) came into view – a 9-mile artificial valley carved through the continental divide. From our altitude, the scale of this achievement became starkly apparent – what had once been solid mountain was transformed into a crucial shipping lane connecting two oceans. This stretch, which required the removal of hundreds of millions of cubic yards of earth and rock, stands as testament to both human determination and engineering ingenuity.
Continuing north, the vast expanse of Gatun Lake stretched below us, its artificial shores created when the Chagres River was dammed to form the canal’s central water system. The lake not only serves as the canal’s reservoir but also hosts the Smithsonian Tropical Research Institute, whose scientists study the unique ecosystem created by this massive engineering project. From the air, we could see the locks at Gatun, where a small vehicular bridge below one of the lock gates provided the only crossing point between the canal’s west and east banks in 2012. This crossing became intimately familiar during our archaeological expedition, as our team was based at Shelter Bay Marina on the western side of the canal, but needed to regularly resupply in the city of Colón to the east. What should have been a quick trip of just a few miles often turned into a full day’s journey, with traffic backing up for hours as vehicles could only cross between ship transits. It wasn’t until 2019 that the Atlantic Bridge would finally provide a permanent solution to this logistical challenge, but during our expedition, the rhythm of our research was dictated by the ebb and flow of ships through the locks.
Circling Fort San Lorenzo, the fortress’s strategic position came into sharp relief. From the air, the promontory appears like a giant thumb extending into the Caribbean, with the treacherous Lajas Reef lurking beneath the waves at its base. To the west, another massive construction site marked the northern end of the canal expansion project, where new locks would eventually double the canal’s capacity. It was near this historic-meets-modern junction that Morgan’s invasion force met disaster in 1671, when his flagship Satisfaction and four other vessels ran aground on these very reefs during his assault on the fort. Yet despite losing his ships, Morgan’s subsequent overland attack would prove successful, marking a pivotal moment in Caribbean history. After taking Fort San Lorenzo, Morgan’s forces would go on to capture the Spanish stronghold of Portobelo, its massive fortifications still standing today as testament to the strategic importance of Panama’s Caribbean coast.
The return flight to Panama City offered a comprehensive view of this massive infrastructure project. From above, you could truly grasp the scope of the expansion – parallel channels being carved alongside the original canal, new lock systems under construction at both ends, all while the existing canal continued its tireless operation. The past, present, and future of Panama’s maritime history merged into a single narrative of human ingenuity and ambition, from Spanish gold ships to modern container vessels, all seeking safe passage between the world’s two greatest oceans.
Aerial view of Fort San Lorenzo and the Chagres river, Colon, Panama.. In 1671 the fort was sacked by Henry Morgan’s men before they sailed up the Chagres river to attack Panama City. Today the fort is a UNESCO world heritage site. Photo by, Jonathan Kingston
Diving into History: The Hunt for Henry Morgan
Archaeologist Frederick Hanselmann and Juan Giermo hand fan sand to uncover part of the Encarnación, a 17th century cargo vessel that was part of the Spanish Tierra Firme fleet near Colon, Panama.
More than three centuries later, our archaeological team, led by Fritz Hanselmann, would make significant discoveries in these same waters. The recovery of one of Morgan’s cannons from the Satisfaction proved exciting, but it was the unexpected discovery of the Encarnación, a 17th-century Spanish vessel from the prestigious Tierra Firme fleet, that would prove most significant. Photographing these discoveries presented extreme challenges – the mouth of the Chagres River, vital to both colonial Spanish gold transport and the modern canal, pumps an endless stream of sediment into these waters. For 29 of my 30 days on assignment, visibility underwater was limited to just 2-3 feet in what can best be described as green pea soup. But on one remarkable day, the waters cleared enough to photograph the entire Encarnación wreck site, a rare glimpse into Panama’s maritime past lying in the shadow of its modern shipping present.
Two SCUBA divers set up a grid to begin mapping the Encarnación, a 17th century shipwreck discovered during an expedition looking for Henry Morgan’s lost fleet of 1671 in Panama.
Inside the Locks: A Photographer’s Journey
View of a red cargo ship advancing through the Gatun Locks guided by locomotive mules. The locks are a key point in the Panama Canal region, showcasing industrial engineering and marine transportation. Photo by, Jonathan Kingston
Years after my aerial documentation of the canal, I found myself experiencing this engineering marvel from an entirely different perspective – at water level aboard the National Geographic Sea Lion. While aerial views had revealed the canal’s grand scale, this expedition offered an intimate look at the precision choreography that makes the canal function.
From the ship’s deck, the true mastery of the canal zone workers became apparent. These skilled professionals guide vessels through locks with clearances often measuring less than a foot on either side. The operation’s unsung heroes are the ‘mules’ – not the four-legged variety, but gleaming silver electric locomotives that run along the lock walls. These mechanical mules, as they’re known locally, work in perfect synchronization to keep massive ships perfectly centered as they’re raised and lowered through the lock system.
A night view featuring a boat maneuvering inside the historic Miraflores Locks on the Panama Canal, with illuminated structures and workers overseeing the operation, showcasing an iconic feat of engineering. Photo by, Jonathan Kingston
The expedition also provided opportunities to explore beyond the mechanical aspects of the canal zone. At the Smithsonian Tropical Research Institute, the canal’s role in creating unique ecosystems became clear. The flooding of the Chagres River Valley to create Gatun Lake had transformed hilltops into islands, creating natural laboratories for studying evolution and adaptation. Among the most memorable moments was witnessing the intricate society of leaf-cutter ants at work – watching as one determined ant transported a brilliant pink and purple flower twice its size back to its colony. This seemingly simple act illustrated the complex relationships that exist in the canal zone, where the flower would become part of the sophisticated fungus farming system that sustains the entire ant colony.
These different scales of observation – from massive ships being guided through locks with millimeter precision, to tiny ants engineering their own agricultural systems – highlighted how the Panama Canal zone is much more than just a shipping channel. It’s a place where human engineering and natural systems have created something entirely new, a unique environment where global commerce and tropical ecosystems coexist in delicate balance.
A Photographer’s Guide to the Canal Zone
Close-up of a leafcutter ant (Atta cephalotes) carrying a pink flower back to its colony on Barro Colorado Island, home to the Smithsonian Tropical Research Institute, Panama.
After experiencing the Panama Canal from the air, underwater, and at ship level, I’ve discovered that each perspective reveals different facets of this engineering marvel. While my aerial work and archaeological documentation each captured unique elements, I found that sailing through the canal itself offered the most complete photographic opportunities.
During my transits aboard the National Geographic Sea Lion, I discovered that time-lapse photography was my most effective storytelling tool for documenting the lock process. What I witnessed took hours to unfold, but through time-lapse, I could capture both the methodical precision and the grand scale of these operations in a compelling way.
When I moved back to still photography, for storytelling I found myself constantly switching between my wide-angle 16-35mm lens and my telephoto 100-400mm. The wide-angle became my go-to for establishing shots – I could capture our vessel in context with the massive lock structures, show the mechanical mules in action. When I switched to my telephoto, the story became one of compressing the perspective to emphasize the true scale of ships moving through the locks.
On land, particularly during my visits to the Smithsonian Tropical Research Institute, I found myself reaching for different tools. My macro lens became essential for documenting the incredible biodiversity, from those industrious leaf-cutter ants to the delicate rainforest flowers. The telephoto proved invaluable for capturing the howler and spider monkeys moving through the canopy, something I never could have captured with a shorter lens.
Through these different focal lengths and techniques, I found myself piecing together a visual narrative that spanned from the microscopic to the monumental. The canal zone’s story isn’t just about massive ships and locks – it’s about the intersection of industrial might and natural wonder, of global commerce and local ecosystems. Each lens choice became a way to reveal another layer of this complex story, from the determined march of a leaf-cutter ant to the graceful passage of a container ship through the locks.
Today, as the Panama Canal faces unprecedented challenges, I find myself reflecting on the multiple perspectives I’ve been privileged to document. From the air, the canal appears as a testament to human ambition, carving a path between oceans. At water level, aboard the National Geographic Sea Lion, it reveals itself as a precision instrument, where every inch matters and every drop of water counts. And underwater, in the green pea soup near the canal’s entrance, the remains of Henry Morgan’s fleet remind us that this strategic crossing has long been a nexus of power and control.
A 17th century cannon, found near the Lajas reef, Fort San Lorenzo, Colon. The cannons are in conservation at the Patronato Panama Viejo laboratory in Panama City, Panama. The cannon most likely belonged to Captain Henry Morgan’s lost fleet of 1671. Photo by, Jonathan Kingston
Conclusion
The canal’s current challenges are as complex as its history. Water shortages have forced restrictions on ship traffic and draft depth, while increasing global trade demands push the system to its limits. Meanwhile, debates over Chinese influence at the canal’s terminal ports and calls for changes in canal control echo historical struggles over this crucial waterway. Just as Henry Morgan’s privateers once sought to wrest control from Spanish authorities, modern powers continue to recognize the canal’s strategic significance in global trade and security.
My images from these various assignments now take on new meaning. The aerial photographs of Gatun Lake, once simply showing the canal’s central reservoir, now document a water system increasingly stressed by changing climate patterns. The lock photographs demonstrate the engineering marvel that has served global commerce for over a century – a system now being tested by larger ships and greater demands. The photographs of leaf-cutter ants and howler monkeys remind me that the canal zone is not just an engineering achievement or geopolitical chess piece, but a unique ecosystem where human ingenuity and natural processes have found an intricate balance.
Perhaps most striking is how the past and present continually interweave here. The Chagres River, once the route for Spanish gold and the target of privateers, now serves as the lifeblood of global commerce. Fort San Lorenzo still stands watch near the canal’s Atlantic entrance, though today it guards camera-wielding tourists rather than gold-laden galleons. As the canal faces modern challenges – from climate change to international politics – these layers of history remind us that this crucial waterway has always been at the intersection of commerce, power, and adaptation – a legacy that continues into an uncertain future.
I have been wanting an automatic dive watch for years. When my Aquadive Bathysphere 100 GMT arrived from Austria this week I felt like a grade-schooler that had just been told summer vacation was going to last an extra month. The watch ticks all the boxes I have been considering, namely: automatic swiss movement, ceramic bezel, scratch resistant sapphire, a classic diver look and of course waterproof to some insane depth. This guy drips of industrial design that harks back to iconic dive watches of yore like the Doxa. Designed in America, milled in Germany and movement from Switzerland… if that doesn’t sound like a match made in heaven, I don’t know what is.
Watch the unboxing below…
Designed in America, milled in Germany, Swiss movement… a match made in heaven.
Photographers love to take all the credit for their work, but anyone who has shot for National Geographic knows it is the photo editors who are the unsung heroes. Here is a great little piece that appeared on National Geographic about the photographer/editor relationship.
This is heaven, This is my land, This is Crow land, This is home. -Icezada Little Light, National Geographic Photo Camp Student
“I can be on a plane to Montana tomorrow” I said confidently. “Book the ticket,” Stacy Gold replied. My stomach fell through the trapdoor of anxiety as I tapped the red circular end call button on my phone. I didn’t know if the trip would produce the miracle I had just promised, but like a rock climber on a difficult ascent who is past the point of no return – my only option was up.
On my first trip to Montana twenty one years before I had felt this same knot of anxiety as I pulled off Highway 90 past the hot pink colored Ammaaiisshuuwuua laundry mat that sits on Makawasha Ave across the street from the white and red Teepee gas station in the reservation town of Crow Agency. I was a tall and lanky 18 year old filled with wanderlust. As I watched my friends enroll in various universities around the country, I packed my small gold colored Nissan Sentra and drove from Virginia to Montana to volunteer at an after-school youth center filled with ping pong and foosball tables on the Apsáalooke (Crow Indian) reservation. The rain washed streets and dense green canopy I knew from Virginia couldn’t look more different than eastern Montana’s alfalfa covered hills that looked like massive green ocean swells under an endless sky. I had discovered photography two years earlier in high school and had the crazy dream that someday I would be a professional photographer. To that end I had packed my Minolta Maxxum 8000i and a few rolls of black and white film in the back of my hatchback and this new, strange, big sky landscape captivated me.
Within weeks of my residency in a room a hundred yards from the Northern Pacific Railway tracks in Crow Agency, I realized it was much more than the landscape that had taken me captive. There was something different, something hard to place a finger on, something the Apsáalooke people shared that was incredibly powerful. I noticed when a man tripped and fell on the uneven sidewalk of Makawasha Ave, a complete stranger, handed him a couple dollars. I noticed every time I visited a home, no matter the time of day or night, food was pushed into my hands – even when many of the homes seemed to be living meal-to-meal. At first, this baffled me. It went against the law of the jungle. The law of conserving limited recourses. As the bitter winds of winter raced onto the planes of Montana, I began to understand. I moved from my house by the tracks into the home of Kenneth and Hannah Pretty On Top where I witnessed this kindness and generosity every day. I realized the intangible I had failed to grasp could be summed up in the Apsáalooke word Ashammaliaxxiia. Ashammaliaxxiia is the word for the Apsáalooke clan system and it translates to “Driftwood Lodges.” As the name metaphorically implies, the purpose of the clan system is to provide spiritual and material support to one another. Just as driftwood bands together in turbulent waters, so do the Apsáalooke people. As spring turned to summer, Kenneth and Hannah adopted me into the Pretty On Top family. I had fallen in love with this place, I had fallen in love with the Apsáalooke people, and now I too was a branch in this driftwood lodge.
Now, 21 years later, I found myself braced against the wind on the black tarmac parking lot of the Billings airport in search of my rental car with a knot of stress in my stomach. Against all odds, I had managed fulfill the crazy dream of my younger self, and become a professional photographer. Thanks to a chance encounter the year before with Apsáalooke tribal member and anthropologist Aaron Brien, we had hatched a plan to bring the National Geographic Photo Camp to the Crow Reservation. Aaron had been one of the 12 year old kids playing ping-pong and foosball in the after-school youth center I ran in Crow Agency in the 90’s – and now was a rising star in the world of anthropology with a recent masters degree and TEDx talk under his belt. It quickly became a new dream to share the vocation that I was passionate about with a group of high school students that were the same age I was when I discovered photography. Over the course of many conversations about what the camp might look like, Aaron said “You know JK, the clan system was given to us to keep us socially and spiritually alive – and the idea of it is dying. It is the one thing that makes Crows unique and it needs to be an everyday thing. But we don’t teach that anymore. What if we used photography as the tool to talk about the clan system?” I was sold, and much to our delight, National Geographic was sold as well. There was only one problem. It was early May, the camp was scheduled to begin in a month and we only had 1 student enrolled.
A lot has changed on the reservation since I lived there in the 90’s. The small community college has blossomed into an incredible campus of modern geometric patterned brick structures complete with fiber optic internet connections. The trash that lined the streets of Crow Agency has largely disappeared thanks to residential pickup that was implemented 8 years ago. But even in the age of cell phones and Facebook – the only way to get work done in Crow country is still face-to-face. Aaron and I had budgeted a week to visit the schools on the reservation to recruit students, but thanks to some incredible help from guidance councilors and staff at St. Labre and Hardin High schools the photo camp was full after the first day of visits. By the time I boarded the airplane in Billings at the end of the week, the knot of stress had turned into a knot of joyful anticipation for the camp.
In June of 2015, I was invited to present my work at National Geographic Creative in Washington D.C.. For the talk, I chose to tell the story of how I became a photographer. Here is a recording of the slideshow.
One of the questions I am most often asked about Lightroom is how to combine two Lightroom catalogs into one. This need arises for me every time I return from an assignment – as I keep a traveling catalog on my laptop and a master catalog on my desktop. When I return home, I combine the traveling catalog into the master catalog using the following technique…
Jonathan Kingston Explores the World in Search of Images and Insights