Camera Essentials: Canon 1DX Mark II If a Canon 1DX Mark II is in your future or already in your camera bag, then this class is for you! Join Larry Becker as he gets you up to speed on everything you need to know to get started on the right foot with Canon’s flagship camera. This is a pro-level camera, so Larry skips the basics and focuses on getting you oriented to the layout of the camera, teaching you the quickest ways to do the tasks you’ll want to do, and how to customize the camera to suit your workflow. By the end of the class you’ll have a solid grasp of what this camera is capable of doing, and where to go to make any needed changes.
In Case You Missed It Get the most out of your Nikon D5! Join Larry Becker as he walks you through the important things you’ll want to know about your new D5. This is not a class for seeing every menu option and obscure function, but instead Larry focuses on the things you need to know to get the camera to do what you want it to do, as if a good friend was showing you how. You’ll learn the basics of navigating the camera, how to access various shooting modes, where to find key settings, and along the way Larry shares a wealth of tips, recommendations, and insights to help you feel like a master user by the end of the class.
Firstly I would like to thank Scott and Brad for this opportunity to talk a little about my life in the world of interior, architectural and location based photography.
I am based out of London in the UK, and specialize in taking images for a wide range of clients, ranging from architects, interior designers, kitchen designers, cabinet makers, hotels, resorts, and, not forgetting the ‘bread and butter,’ high-end real estate agents for their editorial, advertising and social media needs.
Potted History I am one of those photographers that started in a black and white darkroom.
Way back when I was sixteen years old, I lucked out and got a job with a company called ‘Brook-Tella.’ They were exhibition printers and possibly the oldest photographic company in the UK back then in the 1980’s.
We hand printed enormous photos and hand developed them in huge vats of developer and fixer. Then the photos were mounted ready for the clients exhibition needs.
The enlargers ran on rails on the floor, and we worked in enormous hanger sized dark-rooms. The enlarging wall was made of metal as we needed to hang large strips of paper with magnets, and often a print was made up of three to four strips of paper 56” deep and up to 15-20’ feet across. Sorry, I’m still not a metric head being British. These huge images adorned massive trade shows, such as the like of the Major Motor and trade shows in the UK, Europe and America.
This takes me back to how I remember being given a 4”x5” black and white negative and was told to print it day in day out for a week. I can tell you I was ready to walk out after day one, printing the same negative repeatedly; I saw no reason for it. The senior printer explained to me why I was printing this same image time and time again. His name was John, a really nice man, an absolute expert in the darkroom. He sat me down later in the week as I was close to tears and clearly feeling like the rise was being taken out of me.
This is what he said: “Murray, you still don’t know the skills of how to read a negative, the exposure, the grade of paper, what you will get when you burn and dodge different areas. In turn it will give each and every print a different look,” (think Ansel Adams). I swallowed my teenage pride and continued. That lesson has never left me. So, ‘there are many ways to skin a cat!’
I went on to be a fine art printer and then a photographer in my early twenties. Which takes us to date. The reason I tell you about that early experience is that we need to have a lateral and creative mind to get the best out of any situation and each image we create. What we may think is a good way or the best way to get the image isn’t the only way, sometimes it’s just a very simple solution – good clean light.
On Location When I arrive at a shoot, I never know what will be happening with the light that day or what I may face in terms of logistics of the shoot. It doesn’t always play out as I think it will; all I know is that my clients are expecting quality results.
So I always go with an open mind, a mind that has many solutions to get the results.
First Things First Each and every one of us has different approach to how we deal with lighting situations. When I give a talk or train anyone I always say that we have to try and make our post work as easy as possible, which means it’s all about getting right in camera first, at least most of it. Not all our clients are happy to pay for expensive post-production work, so workflow is king.
I can tell you that I probably do more post than most photographers in my field, so I am ahead on the learning curve. Down side is that if you start working out your hourly rate you could be earning not a great deal per hour. But as I said in my heading, ‘There is more than one way to skin a cat.’ So with that in mind, you should approach each shoot with that attitude.
I believe in getting one exposure images when you can. I know many of you go to HDR style stacking, and occasionally it’s the only way. But making it look like a normal image is the difficult part of that style.
Recently when I met a few real estate photographers, I asked them how they went about getting their photos. Here is what shocked me. I heard one say, “I shoot two frames and use HDR.” That’s without anything more than available lighting. So if you think about it, most households and businesses have lighting around 2600Kelvin if you are lucky.
The colour grading in your post is going to be hard work at best with deep brown light mixed in with winter spectrum of blue daylight as we are now in the Northern hemisphere.. Trying to clean up bad light is nearly impossible if you want your client to be happy with your colour grading. So, what do you need to do? Add quality light! I use continuous LED lighting these days, but I have also used speed-lights and studio flash in the past.
Regardless of what you use, you need to add quality light to your interiors, and I promise you, you will be so much happier when you come to your post work.
Stacking, HDR, or one-framers, whatever your poison, just remember that if you want to create a great master file you still need to incorporate some clean light.
Having set workflow routines means you can create a style and know that the results will be scientifically based, giving you confidence in producing high quality work.
In the past I have always had to get my images right on one piece of colour transparency or film, including filtering for different light sources. It was a very methodical way of shooting that has put me in good stead right up to today.
My behind the camera work-flow goes something like this:
In the first instance, I choose my angle looking for the dynamic lines in the shot to get the room or space balanced in my viewfinder.
With the camera locked down I then look at what needs moving, redressing, tweaking etc.
Then I think about the light I am working with or against. I will normally hide some lights out of frame and hidden in frame, all just a soft helping of light, so you can’t see the images have been lit with extra lighting, which is the best way to light a space – subtly. Architects and interior designers often want to see true colour grading and the proper intensity of how lighting plays in a space to be rendered very accurately. Thus, burnt out lights and dirty colors are not an option.
It’s at this point that I decide how the post production will go. Often there will be additions of compositing and blending if need be. So always get a few extra frames exposing for any troublesome areas such as windows and views.
I would very much like to go into the post production side of my work, but that is a whole topic on it’s own, all I want to say is that as photographers we need to own the light.
If you need to go down the route of stacking or HDR, make sure you take images ranging from what looks like a burnt out frame with little detail through to the darkest exposed frame in 1-stop intervals. Two frames just won’t do it. Again, adding your own subtle clean light improves your chances of finishing with a nicely graded photograph.
I’ve got my workflows and I stick to them as I know what I will get, architecture and interiors are less about creative flamboyancy and more about methodical work practice. Knowing the right workflow that works in a certain situation is what we need in our tool kit as interior and architectural photographers.
One size does not fit all. As I said in my heading, ‘There is more than one way to skin a cat.’
You can see more of Murray’s work at RealFocus.co.uk. Murray works out of London, UK. He is considered one of the UK’s leading interior and architectural photographers. His work is published regularly and he is often found riding around London on his motorbike or flying out of the country for international assignments. He can be reached at RealFocusPhotography@gmail.com or you can follow him on Facebook, Instagram, and Twitter.
Are You Ready to Go Pro? with Stella Kramer Are you ready to go pro? Join Stella Kramer, a Pulitzer Prize-winning photo editor, as she shares what it takes from the perspective of the people who hire and work with photographers. In this class you’ll learn the importance of your communication materials, how and where to get started, where to find opportunities, how to start connecting with prospective clients, and what steps you should be taking. You can get to where you want to be with your photography if you follow your own passion, make the commitment to yourself, and make a plan that you can act on. Keep an eye out for this class later today!
In Case You Missed It Join Mia McCormick and John Keatley as they sit down to discuss the business lessons John has learned from his career as an advertising and celebrity portrait photographer. John has photographed celebrities, athletes, and politicians, and his work has appeared in publications ranging from Rolling Stone to Wired. Over the course of an hour John and Mia discuss topics ranging from developing a business frame of mind to knowing your costs before entering negotiations, and from the role of social media to how to demonstrate what you can do in an engaging way, and so much more that will help you accelerate your business today.
Today I would like to share a journey to one of the most challenging and fascinating places on earth.
Want to stand on the edge of a crater and watch lava flowing beneath your feet?Want to explore the ancient churches of Lalibela?How about witnessing the culture and rituals of the lip plated Mursi people?Well, then this place is for you – welcome to Ethiopia.
I first learned about Ethiopia when a friend showed me a photograph of Erta Ale– one of only six active lava lakes in the world. At the time I had no idea there is a place on Earth where you can stand right on the edge of an active volcano.How exciting! I knew right then and I must visit this place.
Little did I know how much more there is to see here – I explored centuries old churches of Lalibela,survived the scorching heat of the Danakil Depression and witnessed unique customs of the Omo Valley tribes.
Traveling in Ethiopia is not exactly comfortable – extreme heat and humidity, long hours in the car to get to most places, very basic accommodations with electricity and running water not always available.Almost every day I was pushed to my limits physically, emotionally and photographically.
Some of you may wonder if it was worth it? There were moments on the journey when I wondered the same.What I have learned as a travel photographer is how important it is to test your own boundaries.Just when you think you cant take that next step,when you just want to give up and go home, when you are feeling frustrated and exhausted – that’s when you need to push yourself even harder, that’s when you will grow the most and transform.Your whole world opens up and you are never the same. One of the rewards of travel I welcome even more than breathtaking landscapes – learning to live in the moment.So is it worth it – absolutely! Never stop pushing yourself beyond the boundaries.
The Salt Trade of Northern Ethiopia Each day the salt miners make a 100km journey to Mekele – the nearest hub of the “white gold” trade.Starting from the Danakil Depression where the salt is mined, it’s a three day trek through one of the hottest and cruelest places on earth with temperatures rarely falling below 40-60 C (104-140 F) during the day. This has been the livelihood of the Afar people for hundreds of years, and still continues to this day.Barren landscape, dust storms, unbearable heat and lack of water – after spending just a few days here – I’m truly fascinated by the resilience of the people living in this region.
Erta Ale Volcano – Staring Into The Mouth Of Hell After a nine hour drive over lava fields, salt flats and sand, it’s a three hour hike in the dark until you finally reach the rim of the caldera. Not too far in the distance, you see the red smoke and ash coming from the ground – a mere 500 meters and you will witness what you’ve traveled so far to see – Erta Ale’s active crater.
Excited, you forget about exhaustion and want to run to it as fast as possible, but the local guide cautions you that this is the most dangerous part. As you descend there is no trail – you are walking on freshly crusted lava that cracks under your feet, one false step and you can fall into an air pocket – who knows what’s underneath?Finally you made it – it’s a live volcano right in front of you – you feel the heat, hear the lava bubble, see the ash and sparks flying up in mini explosions… It is one of nature’s most mesmerizing and dangerous shows.
The Faces Of Lalibela Lalibela – the center of Ethiopian Christianity – is famous for its monolithic churches built underground. To this day the exact details of their construction remain a mystery. All the churches are active and priests still use century old books to pray, with the only source of light shining though small windows cut in the massive walls.
The Tribes Of The Omo Valley Over 20 tribes live in the Omo Valley in the south of Ethiopia, close to the border with Kenya.Each tribe still follows unique rituals and traditions passed on from one generation to the next.Decorative scars, lip plates, being here feels like a time capsule to a foreign traveler.
I hope you enjoyed reading about Ethiopia. For those interested in joining me on adventure trips to some of the most unique corners of the world, feel free to send me a message at firstname.lastname@example.org.
Natalia Stone is a travel photographer based in New York City. Her passion for adventure and photography has taken her to over 40 counties and some of the most remote corners of the world. Whether standing on a rim of an active volcano in Ethiopia, photographing the northern lights in Norway or navigating through glacial waters of Greenland, her goal is to tell visual stories of the incredible treasures our planet holds.
Perfecting Selections in Adobe Photoshop with Dave Cross Perfect your Photoshop selection powers! Join Dave Cross as he equips you with all the information you need to know to create accurate selections as efficiently as possible. Dave goes through all of the various selection tools, discussing their pros and cons, and demonstrating how to get the most out of each one. From learning pre-selection strategies to mastering techniques for fine tuning your selections, Dave will provide you with the key elements needed to choose the right selection techniques for the job at hand to end up with a great selection.
In Case You Missed It Learn the core fundamentals of retouching hair! Join Kristi Sherk as she teaches you how to retouch hair smarter, not harder. From removing stray hairs to changing your subject’s hair color, and from creating custom hair brushes to adding dimension and shine, Kristi will show you how to do the best things possible in the fastest amount of time. Every photographer working with people can benefit from adding these hair retouching techniques to their set of skills, so that you can deliver outstanding work to your clients and get back behind the camera. By the end of the class you’ll know how to make your clients look red-carpet ready and how to do it faster than ever.
First of all, I would like to thank Scott Kelby and his wonderful team for this amazing opportunity.Like many photographers I am self taught.The classes and learning resources Scott has made available through the years has served as a foundation from which I built a career doing what I love.
I have so many passions in life but three bubble up to the top: photography, travel, and teaching. I’m truly blessed to be able to do all three full time. They feed off of each other, as I write this blog post I’m in a motel in West Virginia making my way across the country from NYC, working on a personal project and scouting several locations for future workshops.
I have a very close connection with my students; there’s a real bond there. I understand that fiery passion of the creative process, that unyielding obsession and the frustration that inevitably comes with it. They’re two sides of the same coin. That frustration, that struggle, as Scott has said once, is a good thing. The frustration is the result of the recognition that we’re not where we want to be creatively. Yet! It’s also, however, an acknowledgement that we have a creative direction, we know where we want to be, if only (fill in the blank here).
That frustration is an acknowledgement of our potential. Imagine the alternative. Take the top performers, in any creative endeavor, if there’s one thing they have in common, they’ll tell you their work is not finished, there’s more to the story. It’s a game of continuous improvement, with each step up the ladder a result of struggle, failure and success. There is no top to this ladder, it just gets higher and higher, the view just gets better. We’re all at different points on this latter. Joe McNally has a great view. No matter where we are and how good the view, we all get stuck.
The Unplayable Piano In Cologne, Germany in 1975, American jazz legend Keith Jarrett, already world famous, sat down to give the performance of his life. The recording of this session produced the best selling piano album and best selling solo jazz album in history. Just hours before however, he refused to play. There was a problem; the piano was the worst he’d ever seen, half the size of a typical piano, the keys stuck, the pedals broken. It was an unplayable piano. Sitting in his car outside the concert hall, listening to the pleas of a desperate teenage promoter standing in the rain, begging him to play, he agreed.
Playing in the middle of the range, no pedals, standing up and literally banging on the keys at point for bass and to project the sound, that unplayable piano allowed him to give the performance of his life. This story is recounted in a recent Ted Talks by Tim Harford, which I highly recommend. During the talk, he states, “We don’t want to be asked to do good work with bad tools. We don’t want to have to overcome unnecessary hurdles, but Jarret’s instinct was wrong.” Had he been playing on the best piano, if everything was finely tuned and working perfectly, that magical night never would have happened. He certainly wouldn’t have chosen those circumstances intentionally. None of us would. Perhaps we should. That frustration, that limitation, that hurdle makes us more creative.
Last year I discovered my unplayable piano.
Apple reached out to me last year and asked me to give a presentation for them on iPhone photography, to simply inspire people to go out and shoot more with their iPhone. And so I did, using it as an excuse to embark on a road trip with my DSLR and my iphone and put it to the test. Before then, honestly, I would never have considered shooting with my phone. I’m a professional photographer, I take what I do very seriously, no self respecting photographer would… My instinct, like Jarret’s, was wrong.
Over the past year, my unplayable piano has taught me much about photography, about the creative process, about myself as a photographer. Ultimately, the experience has helped me to reflect who I am as a photographer and what is important to me, the quality of the image and the quality of the experience.
It’s still crazy to me how we’re supposed to capture our vision, our unique vision with this ridiculous piece of glass and metal and circuits we call a camera. I now know what every setting is, I know what every menu means, I know what every dial does. Who cares? Now what? The ability to create a meaningful image is much different than actually creating one. If you’re like me, the achievement of technical perfection and gear lust and acquisition is a comfortable safe distraction. Technical mastery is not the top rung of the latter, it doesn’t even have a good view.It’s the start of something more. I feel like I’ve been stuck on this rung of the ladder for a while now, pursuing perfection over creativity, knowledge over experience. My unplayed piano helped me climb higher.
My iPhone is handicapped compared to my full frame 42 megapixel DSLR in every way. Paradoxically however, these limitations, the lack of choice and options, are the very things that have challenged me, inspired me and helped me grow as a photographer. The limited resolution has forced me to carefully consider my compositions, the fixed focal length, severely limiting my options, has forced me to use my feet more, the lack of depth of field has required me to pay more attention to all of the details at the edge of the frame as well as more carefully considering the background.
Up until recently, shooting RAW wasn’t an option, shooting compressed jpegs required a more careful consideration of color balance and exposure control. The lack of a viewfinder has been incredibly helpful in breaking the habit of pulling the camera up to my eye and taking every picture from the lofty perspective of 5’7”. Holding the camera away from my body, the very thing we’re taught not to do, has allowed me to see a scene and compose with much greater freedom of movement. Also, a funny thing happens when you don’t have a big camera and lens in front of your face… you’re more approachable. This is me banging on the keys, flexing my creativity, making the system work for me.
Consider again Jarrett’s performance. What made it the best selling solo jazz record ever, was how much it resonated with the audience. It was that what was being played was much more important than how it sounded, the bass was muffled, the treble sharp, it didn’t matter. If we can just suspend the importance of edge to edge sharpness, frame rate and ISO performance long enough, then maybe we can focus on what really matters; our vision, what initially caught our eye. Then, the light, the color, the composition, the gesture, the moment.
These are the timeless ingredients that truly comprise a great photograph and they have so very little to do with the camera we sling around our neck or the lens attached to it. If we can redefine, for ourselves, what image quality truly is, then maybe that camera we all have in our pockets is all we need to create meaningful work. Maybe, like that unplayable piano, it’s exactly what we need to create our best work yet.
I’d like once more to extent my gratitude to Brad Moore, Scott Kelby and the team at KelbyOne for this opportunity as well as Ron Martinsen from Ronmartblog for making the connection.
For those interested in learning more about my capture and post-processing workflow, I will be teaching several workshops this year in NYC and around the world this year. For those in NYC, in March, I’ll be leading my annual two-day Lightroom Bootcamp in NYC, in April I will partnering with world class street photographer Steve Simon in a special iPhone street photography workshop in NYC, October will be a very special and unique photography workshop on the island of Cape Breton in Nova Scotia in concert with the Celtic Colours festival and in November, an active adventure photography workshop in Bhutan with Zephyr Adventures. More information can be found by clicking the links above, signing up for my newsletter or reaching out to me directly at email@example.com I’d love to hear from you.