t's 13 minutes long and as you can hear on the videos, I'm not good at narrating...I also added some music.
Couple of tips on editing style-
The increased noise of the video clips sound track could be toned down a bit and allow the music to continue. In fact if blending stills that do not come with ambient sound and video that does. I would select either condition and make the photos match the video or the video MOS ( that's film speak for without sound track) This will give you more continuity in your story flow.
You can hide the fact the photos are snapshots in time when put along side the live video if your shots do not capture people frozen in place but do a simple slight zoom in or out or pan across the still over time. Also, while at it the full framing of the still shot can be matched to the video full frame eliminating the small black bars in the frame edge.
The narration is more a trick of the trade than being equipped with dynamic pipes. Here's some tricks-
When you shoot, voice your "narration" on camera only as a notepad for writing your script later.
Use those notes to compile a written voice over dialog.
Now, when you feel your voice is relaxed and of good tone, sit down with your recorder and a good microphone in a quiet room and read the script. Read each sentence with several emotional styles and timings. Just allow the recorder to roll and concentrate on these repeated statements. Leave a bit of silence between takes. When you detect you are making too many mistakes, pause the recorder and take a break for 10-15 minutes. Come back and give it another try. If still bad, end the session and try again the next day. Be aware of your voice changes during the day. I only do Voice recordings before 9AM after getting a good 8 hours of sleep and before I eat any breakfast or drink any juice or coffee. Usually after about 60-75 minutes I'm spent.
Next dump the recording to your computer and begin to edit all the bad takes and assemble the phrases, playing each to listen for timing issues. slice out dead spaces to tighten up the flow. Save some room tone recorded to add back between any sliced out spaces. Once you are satisfied you now sound like a $150 a minute voice over talent, you are ready to add this to a voice track in your production. Here you will concentrate on getting good balance of volume between your voice track and any music or sound effects.
Sound ambiance intent: If your intent of the story is to show the location's real world noise level, then keep it and make it consistent throughout. If your intent is to show the images and only some real world sound, such as a unique machine running or the sound of a water fall, then kill the sound elsewhere it offers nothing. It's rather tricky but can be done if showing a series of stills of a locomotive and use a sound track of that same train. That would be cool, but if you recorded sound of a baby screaming off camera not even in the shot, then kill the track altogether. It does not add to the story.
Obviously this is more work. ADR always is but it can make the difference in a nice production and a really great one.
ADR is film speak for Audio Dialog Replacement and is used to complete most movies with decent budgets where the process uses loops of film as ques to record the VO over and over. With Digital the A in ADR was changed to Automated dialog replacement because here you can record the take close enough and then manipulate the timing in software in an automated way, avoiding the looping process.