Posts By Brad Moore

This month is full of Kelby Training Seminars!  Mark your calendars for…

March 9Matt Kloskowski is headed to Houston, Texas with his Lightroom 3 LIVE seminar

March 18Dave Cross is coming to Arlington, Texas with the Photoshop CS5 Power User Tour

March 21Phoenix, Arizona is the next stop for Dave’s Photoshop CS5 Power User Tour

March 23Ben Willmore is bringing the Photography & Photoshop From Focus to Finished Tour to Los Angeles, California

March 24Scott Kelby is kicking of his brand new Light It, Shoot It, Retouch It Tour in Boston, Massachusetts

March 25 – After LA, Ben is headed to Atlanta, Georgia with the Photography & Photoshop From Focus to Finished Tour

As always, all the info you need is over at!

And, of course, Photoshop World is just around the corner too…

The official host hotel, Rosen Centre Hotel, is very close to being sold out. Book your room today to make sure you stay where the instructors stay!

There are only a few spots left in the Real World Concert Photography pre-conference workshop. Scott Diussa from Nikon Professional Services will have a Nikon D7000 to give away to the person who gets the best photo, so sign up before it’s too late!

The latest class over at Kelby Training Online is Getting Started with Fotomoto from RC Concepcion.  If you’re a photographer who wants to sell your work online, RC shows you how to do just that with Fotomoto!

That’s it for today. Swing by tomorrow for another this-weekend-only deal, and don’t forget that our brand new free live show, The Grid, debuts Monday at 12:30 p.m. ET over at!

First off, thanks to Scott and company for asking me back for another guest blog. It is an honor to be a part of your network and ever-growing vault of information. It is amazing to me the outreach and sharing within the photo industry and how much we can learn from each other if we take the time to look and listen.

I receive many emails a year from photographers interested in shooting sports that ask me what type of camera and lighting I use. The truth is I use a wide range of cameras and a wide range of lighting techniques. I was fortunate to be the studio manager and first assistant for Dean Collins for several years. Dean was a master technician and taught me not only how to see light, but how to control it.

Terry Norris shot on 4×5 film with an 81B warming filter, 1992.

When I started my formal photographic education at Brooks Institute and early career with Dean there was no digital capture. Everything was shot on film and most commercial shoots were proofed with Polaroids. For all formats at Dean’s studio, 35mm, 120mm, 4×5 and 8×10, there were Polaroid backs that attached to the camera so we could test lighting and composition. Because this process was both time-consuming and expensive, you really had to think and react quickly to the desires of a client. The learning curve was much longer than shooting digital and I attribute much of my success as a shooter because I came from the “old school” of photography. Many of the techniques and creative processes I use when shooting today developed from this way of working and I believe have helped me to succeed in an ever changing and challenging industry.

Clayton Kershaw shot on location in Arizona for
Sports Illustrated

Understanding the relationship between ambient light and strobes can help to create drama in your portraits. Here the daylight behind Clayton is way over exposed to create the glow behind him while a strobe next to camera is used as the main light source.

When I am given an assignment, I make my best effort to shoot what the client needs and then also get at least one image for myself.  These personal photographs have helped to shape my career and often are what now lead to more assignment work.

Since time is limited working with athletes, this is not always possible.

This image of Drew Brees was taken on the set while I was shooting the cover of EA Sports, Madden 11. The shot was lit with a Mola beauty dish that was located very close to Drew. The photo was converted to black and white with Nik Silver Efex Pro.

For the game box cover, we shot a large selection of action photos. Since there was a need for both video and stills for this shoot we elected to light the set with a series of “9 Lights” used primarily for motion picture. These tungsten light sources are very bright and would emulate lighting similar to that of a football stadium. This was not as critical in the stills, because of the ability to retouch, but more important for the reflections that would be visible in video in his helmet. Six of these lights where set up, three on each side of the set. Two large Chimera lightbanks with a 1K in each were used to add fill light from either side of the camera and help reduce shadows from the facemask.  To give Drew a stable area to run on, artificial turf was rented and laid down. Because the shoot needed to be very discreet, the client wanted to shoot indoors.  Not only did this environment give us control over the lighting, it allowed us to shoot action images from angles that would be impossible to create in a real game situation. Drew was a total pro and one of the nicest athletes I have ever had the pleasure to photograph. The final files were delivered to the client and the post-production and retouching completed by the design firm.

The shoot was very involved to coordinate and involved me hiring a video, sound and lighting crews, wardrobe and make-up artists, extras, a producer, a digital tech, assistants, catering and a motor home. In addition, a second shoot was done for the sports fans that appear on the box. This shoot also involved casting, wardrobe and make-up and a still crew. I think a photographer’s ability to produce and finance a shoot of this size is just as important to clients as your ability to shoot it.

Another shoot from last year involved shooting two MMA fighters, Randy Couture in Las Vegas and Fedor Emelianenko in Russia. In each case, both portrait and action images were captured using strobes on location with the final images being used for a variety of marketing and promotional materials.

An interesting opportunity that also came from this job was to create a game release trailer for a trade show. Since this was not part of the original assignment, I worked with a video editor and shooter, Jeff Wiant to create the piece. Using interview and some video footage Jeff and I shot on location, we integrated my still images by reshooting them in studio with the Canon Mark IV. 8×10 prints were made and then shot while we made focus and lighting changes to create dramatic visuals of the stills. We also contracted the music composition and oversaw the script recording.

I always enjoy using unique formats of cameras to shoot. Here are a few Polaroids I took while on assignment. The images were lit with a large Super Pro Chimera softbox. To get the Polaroid camera to fire the strobe, a strobe “slave” was attached to the end of a sync cord and it was taped to the small flash on the Polaroid camera. When I fired the camera’s flash, it triggered the softbox resulting in this nice window light.

When I have limited time with  subject, my “go to” light is usually a large, Chimera Super Pro, which is 4×6 feet in size or a Chimera Octaplus. Both are beautiful sources for both studio and location and can make just about anyone look good. This photo of Tour de France winner Carlos Sastre was lit with a Super Pro and shot with my Wisner 20×24 View Camera on Polaroid film.

I love shooting outdoors with both strobe and daylight. Here a triathlete is lit outdoors with a large softbox and the daylight ambient exposure is slightly underexposed.  This is the straight capture without Photoshop. Sometimes, less is more.

For this series of images, we shot 30 players in one day. This was one of two set-ups we shot for The Upper Deck Company. With only a few minutes per player on each set, I kept things simple and went with a Profoto ringflash with a soft white reflector and just let the guys be themselves.

This shot of Lance Armstrong was taken on Kodak EPP 4×5 transparency film and lit with four Kino Flo double, daylight tube sources. The transparency was then re-photographed onto Type 55 Polaroid. This black and white positive Polaroid was then re-shot back to 4×5 EPP during a long exposure. The only light source was a small flashlight that backlit the Polaroid. The tungsten source created this warm lighting effect on the daylight balanced film.  Since Type 55 is no longer available, I have tried to achieve the same feel of this image using Photoshop, but can’t quite get the softness and light quality that this process created.

A few new images for Easton Hockey, shot on location on a white sweep on 35mm digital. Two Chimera striplights were used on either side of the set to create edge lights from 45 degrees behind the subjects. The main light was a Mola beauty dish on a boom arm positioned just above the athlete.

I shot the backgrounds on location on a separate day and added them in Photoshop. Using Nik Color Efex Pro and Silver Efex Pro, multiple layers of the images were merged together for the final images. The client requested this style of post work for the final images.

This year will mark my twentieth year since I graduated from photography school and I still love making images just as much.  My best advice is just to play, explore and, most importantly, to grow into becoming yourself.  Find your own voice in your work. If you don’t love what you are shooting, stop! Go shoot people, places and things you love and are passionate about, I promise that it will show in your images. Work on finding out who YOU are as a photographer and don’t get too caught up in all of the technology. Ansel Adams didn’t use Photoshop and said it best, “There is nothing worse than a sharp image of a fuzzy concept.”

Thanks for reading.

You can see more of Tim’s work over at, keep up with him over at his blog and on Facebook, and check out his previous guest blog here.

All Photos by Terry White

Hey gang, Brad here with this week’s pimpy!  Got a few important posts today, so let’s get started:

Why You Should Bring Your Camera To PSW Orlando
First off, MAKE SURE you bring your camera to Photoshop World next month!  Westcott will once again be setting up their “shooting stations” which feature models in various setups lit with Westcott Spiderlites.

It was a huge hit in Vegas, and I’m sure they’ll take it up a notch in Orlando.  The LA Times even did a write-up about them in Vegas!

Early Bird Special Ending TOMORROW!
If you haven’t registered for Photoshop World yet, today and tomorrow are your last chances to save $100! Head on over to and register now!

While you’re registering, make sure you grab your After Hours Party ticket for BB King’s on Thursday Night and upgrade to a Pro Pass.

There are also a few spots left in some of the pre-conference workshops, including Real World Concert Photography, HDR Crash Course, Photoshop for Beginners, Quality of Light In Depth, The Art of Contemporary Painting in CS5, and Photoshop Channels & Masks.

And make sure you book your room at the Rosen Centre Hotel so you can stay where the instructors stay! The cutoff day for the special rate is March 7, or as soon as all the rooms are gone.

That’s it for Photoshop World news today, but there’s more pimpy coming your way! Read on…

Did you know that you can find all of our podcasts under one roof?

Check out Kelby TV for the latest episodes of Photoshop User TV, DTown TV, Photoshop and Lightroom Killer Tips, Ask Dave, and more!

You can watch each episode of your favorite show right on the site, or open them in iTunes and subscribe there if you like.  Also be sure to leave comments with your feedback and questions :)

Get Your Photography On The Web – Now Shipping!
Not only is Rafael “RC” Concepcion’s brand new book Get Your Photography On The Web now shipping… It’s sold out on Amazon! RC was definitely all smiles around the office yesterday as we watched his book climb up the charts and break into Amazon’s Top 150 Books :)

They should have more in stock soon, so you can place your order there or at Barnes & Noble, or order a signed copy from RC here!

New Kelby Training Online Classes
Ever wonder why you need to sharpen your photos, and when? In Matt Kloskowski’s latest class, Tack Sharp! Sharpening in Photoshop and Lightroom, he explains sharpening inside and out. From getting sharp photos out of your camera to sharpening in Lightroom and Photoshop, to the different types of sharpening for web and print, Matt takes you through it all!

And in Photographing Children, Canon Explorer of Light Jack Reznicki is in the studio with kids of all ages to show you his tips and tricks for getting that perfect shot. He covers baby wrangling, keeping your patience, using bubbles, making faces, and more!

Kelby Training Live
Ben Willmore is bringing his Photography & Photoshop CS5: From Focus to Finished Tour to San Jose, CA tomorrow, February 25!  Ben takes you through his techniques for getting great photos, then brings them into Photoshop and shows his killer processing techniques for fixing, finessing, and finishing the images to get the best final product!

Matt Kloskowski is heading to Houston, TX on March 9 with his Lightroom 3 LIVE Tour! It’s a day full of tips and tricks from Matt on setting up Lightroom, editing, printing and more, all to help you be as productive and efficient as possible!

Peachpit Photo Club with Moose Peterson
Peachpit is hosting the mustachioed wild(life) man himself, Moose Peterson, on their next Photo Club webcast! Click here to register, then tune in on Tuesday, March 8 from 8pm to 9pm ET.  Moose will be sharing the stories behind his breathtaking images, sharing advice for wildlife photography, and even giving viewers an assignment. Once the assignment is completed, Moose and the Peachpit crew will give their feedback via Flickr!  All the info can be found over at

Scott’s Gear Page
And last, but not least… Scott’s Gear Page has just been updated to include some of the most asked-about items that hadn’t gone up in the first revamp! New additions include lenses, monopods, “tripod rig” items, USB tether, software, light modifiers, other accessories, and a whole new Grip section with light stands, sandbags, and other studio accessories.  That should have everything pretty well covered, but we’ll keep updating it as we continue discovering cool new stuff to share with you all :)

That’s it for this week. Have a great Thursday, and don’t forget to register for Photoshop World by tomorrow and save $100!!

Dave who?

As humbling as it is to be here, I can’t wrap my head around the fact that I have been asked to be a guest blogger on Scott’s site. It’s an honor to have this opportunity and be the little guy standing in line next to such ‘big leaguers’ as Jeremy Cowart, Joey L, David Hobby, Drew Gardner, Zack Arias, David duChemin, Joe McNally and so many others I look up to. Needless to say I have some big shoes to fill. It goes without saying, I’m truly grateful to be here. I really am.

Some people may ask themselves, ‘Who the heck is David Jackson?’ In fact, it’s a question I’ve been asking myself for a long time. Well, I’m just a regular dude from a small town in Wisconsin, who pays his bills with a camera, trying my best to make a living for my family. You see, I haven’t spent time on speaking circuits or been featured at international trade shows. I don’t have a timeless success story to share, a marketing tip or harrowing tale from behind the camera. I don’t have a lengthy client list riddled with celebrities and acclaimed publications. Heck, I’ve barely made a name for myself in the creative industry. Who I am however, is an emerging photographer struggling to have my voice heard over the roar of a very intimidating crowd. I’m standing in line to get on the roller coaster of my career and I need to find a seat before they’re all spoken for.

A few years ago a friend of mine called me out; (more…)