Posts By Brad Moore

First off, I want to thank my friends Brad and Scott for inviting me back as guest blogger. I love these dudes - because they love photography and because they love helping photographers, around the planet, make better photographs. They are also really good people.

This post is about Creative Visualization, which is the title of my latest book, Creative Visualization for Photographers. In this post I will share some highlights from the book.

What is creative visualization? Basically, Creative Visualization is envisioning the end result - and doing this is often the key to making a good photograph. It's kind of like going on a road trip: If you know where you are going, you'll know how to get there, making the right travel decisions along the way.

When it comes to making a photograph, if you envision the end result, you will know what camera settings to use, what lens is best to convey your creative vision, and what accessories might be needed. What's more, you'll envision how your image can be enhanced/processed in Lightroom, Photoshop and with plug-ins.

So seeing the end-result, developing your creative vision, is important.

This is one of my favorite photographs from my Route 66 road trip -- which my wife Susan planned out (envisioned) so we knew where we were going.

Here is the original shot from which I made the image. No, it's not HDR (High Dynamic Range). The train was actually speeding past us. This image is what I call an EDR (Extended Dynamic Range) image. EDR is about extending the dynamic range of a single file.

Knowing the EDR power of Adobe Camera RAW (ACR) and Photoshop, I snapped a quick shot.

Here is what I did to push the limits of ACR.


Exposure - makes an image brighter.

Shadows - opens us shadow areas.

Clarity - makes the image look sharper by increasing detail.

Vibrance - increases the saturation of non-saturated colors.

Saturation - increases the saturation of all the colors in a photograph.


Contrast -reduced the difference between the shadows and highlights.

Whites - preserved the highlights.

Highlights - brings back (and rescues in some cases) detail in bright area.

Blacks - makes blacks look bolder and add contrast to a file.

In case you were wondering, I corrected the perspective (pole on the left leading into the frame) in Photoshop: Select All > Edit > Transform > Perspective.

I envisioned a black-and-white image. To convey that vision, I used Nik Silver Efex Pro, using a red filter to darken the sky.

Photographing What We Recognize is an important concept. It's another chapter in the book.

What do you see - or recognize - in this photograph? Take a good look. Take your time.

When I show this photograph to my workshops students, most see a silhouette of Christ's crucifixion. That is precisely what I saw when I took the picture . . . and why I took the picture.

Other comments on this photograph have included:
– A man raising his arms to a crescent moon.
– A blue sky with a low sun.
– A lady dancing.
– Neptune and his trident.
– Sadness.
– Christ, monsters, faith, welcome, danger, decay, a duck.
– Evocative image. Very “Rorschach." There are many things to see in this image.
– A man with a crown, birds at the end of his arms, leaning against a pole with a crescent moon.
– A poor exposure and bad cropping.

The point is that photographers, myself included, usually photograph what we recognize, consciously or unconsciously. What's more, some photographers specifically travel to popular locations to get the "iconic" shot, the same shot that a million other photographers on the planet have taken. That's not necessarily a bad thing. It can be fun and rewarding, and you can learn some things by doing this.

The same is true for musicians, including myself (and my friend Scott Kelby may feel the same way). Sure, I like to improvise, but I also like (try) to play the "iconic" leads of my favorite guitar players: Santana, Jimi Hendrix, The Allman Brothers. As I said, that's not necessarily a bad thing. It can be fun and rewarding.

In the chapter, Looking vs. Seeing, I talk about, among other things, seeing a picture within a picture, and the difference between just looking around and actually seeing a photograph.

This portrait of a novice monk is one of my favorite images from my trip to Myanmar.

This is a snapshot of the same scene. Had I not been looking for pictures, I might not have focused on the single monk on the right of the frame. And speaking of envisioning the end result, I wanted to create a "sense of place" image, so I chose a medium aperture to slightly blur the writing on the wall in the background, while still being able to see that there is writing on the wall.

Photography and the Death of Reality, another chapter in the book, is not a new topic, but as we move more and more into digital darkroom enhancements, the topic becomes more and more important.

The chapter leads off with this image of the Blue Swallow Motel on Route 66, which we planned to be at for sunrise - because, again, we envisioned the end result.

Before I go on, I'd like to share a story with you about Ansel Adams, relayed to me by one of his assistants, the talented John Sexton. Here goes: A man writes Ansel Adams a letter (condensed here): Dear Mr. Adams, I have your wonderful books. Your beautiful pictures of Yosemite inspired me to visit this National Park. However, when I got there I was disappointed. The park does not look like the pictures in your book.

So much for reality.

Since the early days of photography, people with cameras have made images that don't represent reality, even when they tried. That's due, in part, to the way cameras record light, and how lenses bend light and compress or widen a scene or subject - not to mention that we see in 3D and camera see in 2D, and that our eyes have a dynamic range of about 13 f/stops compared to the five or six f-stops our digital cameras see (in a single exposure without digital enhancements).

The chapter has three main messages:

One, it's designed to encourage you to make your most creative images ever, and not to be afraid to follow your heart when it comes to making digital enhancements.

Two, it's important to consider the reality of your photographs and the photographs of others.

Three, photographers are somewhat like magicians, or illusionists if you will. The creative process of image making is like the art of doing a magic trick. If you don't know the trick, the trick is amazing. If you do know the trick, you know that it's a relatively simple procedure.

The scene needed some digital darkroom magic, for sure. This is a straight shot (no image processing) of the scene.

The magic started with a bracketed set of images, from which I created my HDR image.

Here's another example of creative visualization, combined with some HDR magic and basic image enhancements. It's an image from Fairy Glen in the Conwy Valley in North Wales.

The scene looked like this upon arrival at Fairy Glen.

In the book I talk about the space-time continuum - which may sound a bit far out. I'll end this guest blog post with this concept for a good reason: I think it will make you feel good about being a photographer.

The space-time continuum is a mathematical model that combines space and time into a single idea. That concept came to mind when I took this photograph of a lenticular cloud near Mt. Rainier in Washington State.

If you had been there, you might have chosen a different space (composition) for your photograph. You might have taken a wider or tighter shot, or you may have composed your image differently.

What about time? You may not have pressed the shutter release button at exactly the same time as I had, so the clouds might have been in slightly different position. You also may not have used the same shutter speeds that I used, which could have affected the movement of the clouds in your photograph.

Back home, you probably would have processed the image differently, perhaps making it a more saturated image or a black-and-white image.

When you think about, a photograph you take is a single idea - of your individual creative vision. Acting on your ideas, and accomplishing your goals, will give you a good feeling about your work - and yourself.

Creative Visualization is not limited to photography. It applies to your life, too. In his book, Real Magic - Creating Miracles in Everyday Life, Dr. Wayne Dyer talks about (basically) how you can create your own reality. Visualization is the key.

You can see more of Rick's work at and follow him on Twitter, Facebook, and Google+. Rick will also be talking about creative visualization at Photoshop World in Vegas later this year, and you can check out his classes on KelbyOne.

Available in paperback and Kindle versions

A Real Wedding, Live and Uncensored with Cliff Mautner
Get the inside scoop on what it takes to photograph a real wedding with Cliff Mautner! Cliff has shot over 900 weddings, and he knows that each one takes on a life of its own. In this first part of a two-part class Cliff takes you right into the unscripted action as he goes to work photographing a real wedding from the moment he arrives at the venue through shooting family portraits just prior to the ceremony. You'll learn about all the gear Cliff takes to a wedding and why it earns a place in his bag, you'll see how Cliff interacts with the bride and groom as he builds a rapport that helps to put the client at ease and keeps the focus on their big day, and you'll gain the benefit of Cliff's insights into how he approaches a wedding shoot, what his priorities are, and how he prepares for all the unpredictability that a wedding presents.

In the second part of A Real Wedding, Live and Uncensored, Cliff continues the experience of putting you right by his side as he works to photograph a wedding as it happens. The class begins as the ceremony is about to start and continues to the dancing at the reception. All the way through Cliff brings you into the situation by thinking out loud as he calls on his experience to overcome challenges, adjust settings, change lenses, and adhere to the number one rule: Get the shot!

KelbyOne Live
Want to learn from Scott Kelby or Joel Grimes live in person? Check out these seminar tour dates to see if they're coming to a city near you!

Shoot Like A Pro: Reloaded with Scott Kelby
Apr 13 – Salt Lake City, UT
Apr 15 – Los Angeles, CA

The Photographers Creative Revolution Tour with Joel Grimes
Mar 25 - Washington, DC
Mar 27 - Minneapolis, MN
Apr 17 - New York, NY
Apr 22 - San Antonio, TX
Apr 24 - Houston, TX

Leave a comment for your chance to win a free ticket to one of these events!

Denver Sports Photography Workshop with Peter Read Miller
The Peter Read Miller Sports Photography Workshop is back for its 15th year in a row! It’s happening in Denver, Colorado April 13-19, and he’ll be covering mountain biking, basketball, soccer, baseball, lacrosse, and boxing. Not only that, but he’ll also be showing his secrets for location and studio lighting, including arena lighting, and even using remote cameras. If you’re interested in any of this, having your work critiqued, or trying out gear from Canon and Dynalite, you can find out more info right here.

Leave a comment for your chance to win a free copy of Peter’s book, Peter Read Miller On Sports Photography!

Last Week’s Winner
Down & Dirty Tricks for Designers by Corey Barker
– Bill Guy

If that’s you, we’ll be in touch soon. Have a great Thursday!

Hey Gang! Holy cow am I seriously writing as a guest blogger for Scott Kelby?! I am honestly a little freaked out right now. When I started working for Scott and Kelby Media Group almost 5 years ago, I never would have imagined I would be asked to speak to such an amazing group of readers. Some of the brightest and most talented photographers on the planet have graced these pages and I am truly honored to share my time with you.

Some of you may know that I direct our on-location KelbyOne classes with our amazing line up of instructors. But I also teach classes on KelbyOne showing you how to edit video in Adobe Premiere Pro. As I sit here trying to figure what exactly a videographer can talk about with photographers, one big topic comes to mind; how can you, as photographers, start to become filmmakers? So I came up with these 5 tips:


1) Watch Behind The Scenes On Your Blu-Ray Movies
This is, for me, one of the most underrated and most valuable first ways to learn filmmaking. Most movies will come with some kind of behind the scenes footage on the disc or in download form. By watching these, you will get to see how the film's set works, hear from the director and cinematographer, see all the fancy gear that's being used, and you may even learn out how they pulled off an amazing shot in the movie.

I have two tips for you in regards to these BTS videos. First, if you buy the "Special Edition" version of the movie (like the Anniversary Edition, and even the 3D Blu-Ray combo packs), they tend to have much more BTS features than just the normal version of the film. Second, do not skip over watching the film with the commentary turned on, often times that will be the most detailed conversation on the film you will ever hear.

2) Make Short Films⦠Lots Of Them
Another great way to learn filmmaking is by telling simple short stories. They can be about your dog roaming the neighborhood, or your kids playing at the park, really any short story will work. Now, your first set of films are going to suck. And that's okay. They are not supposed to look good. But rather it is supposed to help you start thinking like a filmmaker and help you gain valuable experience by making mistakes.

3) Be A PA (Production Assistant) On Someone Else's Film Set
Not only will you see how things are done during filming and how people work on set, you will gain lots of experience and titles for yourself without spending any money. In fact, you might even get paid to learn by working on their set. Another benefit besides seeing how things work on set is that you will most likely see how things can go wrong on set as well. So you can learn valuable lessons from someone else's mistakes and that can save you a ton of headaches in the future.

4) Use Your Smartphone Video Option
One of the cheapest, simplest, and most effective ways to practice filmmaking is by using your smartphone. You can practice camera angles, and test how your scenes will look before you actually film with more expensive gear. There is a phrase in photography that goes like this: "The best camera is the one you have on you," and this applies to video as well.

5) Mute Your Films
This tip can truly be a game changer for people just getting into filmmaking. You need to watch films. Lots of films. From the summer blockbusters, to the less popular independents, to the "lovey dovey" romance films (yes, guys I said it) to comedies. All types of films. But, the one major thing you need to do when watching films for study is turn off the volume.

Yes you read that right. By muting the film, it actually takes you out of the illusion that is the film story, allowing you to really study the scenes in the movie. Pay attention to how shots are used and how scenes are edited together. Look at how often they cut back and forth, and how long they hold on shots. It's much harder to do this with the volume up because the sound draws you in and you get lost following the story instead of studying the filmmaking process.

So there you go! Those are my 5 tips to help you get started in the world of filmmaking without going to film school. As you can see, you don't need a fancy degree (although it helps) to learn to tell visual stories. After all, we ALL already do that with still images right? The major difference is instead of concentrating on just the one frame, as a filmmaker we are now concentrating on 24 frames every second.

I want to give a big shout out to Scott Kelby and Brad Moore for asking me to share some of my experience with you all here. I am truly honored and thankful for the opportunity!

You can check out Brandon’s classes on KelbyOne, and follow him on Facebook, Twitter, and Instagram.

Photoshop In-Depth: Advanced Filters with Pete Collins
Join Pete Collins as he takes you on an in-depth tour of Photoshop's most powerful and useful filters. Whether you are a photographer or a designer, there are filters you'll want to add to your repertoire of techniques. There are so many ways these filters can help you with your work, and once you've had time to experiment with how they can be used you'll be on your way to finding creative ways to implement them in all of your Photoshop projects.

The Best of Down & Dirty Tricks in Photoshop with Corey Barker
Straight from one of the most popular columns in Photoshop User magazine, Corey Barker takes us through his favorite Down & Dirty Tricks in Adobe Photoshop. Corey has an amazing ability to take inspiration from the world around him and leverage it to discover creative and cutting edge techniques in Photoshop that can be applied in all kinds of projects. Each project reveals new techniques for everything from compositing to 3D text effects. You may have read the columns, but seeing the tutorials come to life with Corey's narration and insights takes them to a whole new level!

Leave a comment for your chance to win a free copy of Corey’s latest Down & Dirty Tricks for Designers book!

Updates from WPPI 2015
If you weren’t able to make it to WPPI in Las Vegas this week, Larry Becker was there to cover all the latest news and gear releases from the expo floor! You can catch up on all the latest from WPPI over at the KelbyOne YouTube channel.

Three New Apps from David Ziser!
This is David’s first go-around with apps and he’s put something very educational and cool together for ALL photographers, not just wedding photographers. The apps are sort of like his book - great info on Lighting, Lenses, and Composition but with brides and grooms as the main subjects - still the info crosses all photography lines. If you want to check them out, head over to David’s blog for more info!

Last Week’s Winner
KelbyOne Live Ticket
– Brian Dreyer

If that’s you, we’ll be in touch soon. Have a great Thursday!

Firstly I want to thank Scott and Brad for allowing me a space here. I wondered what to write about, but I suppose, in the end, I thought it just made sense to tell the story of why I shoot and how I shoot.

<<<< REWIND >>>>

It's a Monday in June 2009. My wife has just given birth to our first daughter. I get up at 5am. I get on the train at 5:20am. I sit on the train for two hours (same seat, every day. Same newspaper, every day, same people around me, every day). I get to my desk in central London at 8:30am.

Tip, tap, tip, tapâ¦.. I tinker away at the computer keyboard writing code. I have lunch at 1pm, with the same people. Every day (cool people btw). At 5:30pm I leave my desk. At 6pm I get on the train and stand for the next two hours next to same people I stand by every day. I get home at 8:30pm.

Gemma has already put my new daughter to bed. I go and see her. Smile, a little, and then thinkâ¦â¦ it's time.

I go downstairs.

Gemma, looks at me like only a wife who knows you are about to drop something very substantial (but not necessarily in a good way) on her plate.

I've not said a word yet. She looks. I look. She sits down. I sit down. Then I stand up again. Then I get a beer. Change my mind, and grab a Scotch instead.

Gemma looks on.

"I've quit. I'm going to be a wedding photographer," I say.

Boom. There it is. She looks at me as if a second head has popped out of my ear.

"A wedding photographer?" she says - like only a wife who's just had something substantial (but not necessarily in a good way) dropped on her plate.

"But you've never even owned a camera!" And I hadn't. But I knew I'd need one soon.

Gemma went to bed. I finished my Scotch.


It's Monday 23rd March 2015 and I'm writing this. I'm sat in my studio, in my home town. I've just dropped my kids off at school and here I am, writing something for Scott Kelby's amazing blog. In a few hours I'll pick the kids up, we'll go home.

And here⦠I'm going to be talking about my pictures.

My pictures. Talking about MY PICTURES.

That's me, talking about my pictures, to you, and to Scott, and to well, anyone else who cares to readâ¦â¦ You get the idea.

5D2: I like to look for the extraordinary in the ordinary

5D2: This little fellow has the same opinion of formal shots as me!

This is quite something. I wonder how on earth this has happened. My pictures are far from technically perfect, far from it, and I know many people won't like them. But hey - here we are and I wanted to recite that little story as I know there are many people out there who want to make that leap of faith. It can work. Honest.

X100S: I love to capture the "feeling" of the wedding itself


 X-Pro1: I like humour to play a big part in my images

I shot my first wedding on the 9th August 2009. One day before my 35th birthday. It was hell. The pictures were OK, and the client's lovely, but the experience was hell.

I did everything I thought I should do. I played by the rules and followed all the instructions I'd read about in wedding photography magazines, online forums and social media (as it was then). I shot 41 group shots, I got a lovely close up image of the wedding rings in their boxes, I made lovely portraits of the bride and groom, I got them to walk up and down in a field for thirty minutes while I changed the settings on my new Canon 5D Mark 1. I took photos of them doing a "mock" cutting of the cake in front of an empty room. We went for a walk at dusk and took more portraits while their guests drank champagne and wondered where they were.

Lovely. Lovely pictures. I was happy with them. But then it hit me. I'd given up my career to do this, every Saturday, for the next however long. I didn't enjoy it one bit.

By now Gemma had started talking to me again and I discussed it with her. She said, "Why don't you just shoot it the way you want to?"

Bingo. Epiphany number one.


5D3: Eye contact and simple interaction are core elements of my images

Since the "epiphany" back in 2009, I've shot near 300 weddings and I've made some of the most amazing friends on that journey. I've been around the world, and I've even written a book.

But mostly, I've completely and utterly changed my life, and that of my family and for the better too.

Although I'd never been a photographer of any kind, I always found myself drawn to story-telling pictures. Pictures of a photojournalistic nature. I was drawn to people such Mel Digiacomo and so, from wedding number two onwards that was the way I was going to shoot.

I pretty much decided, there and then, to shoot "reportage," "documentary," "photojournalism…" Whatever you want to call it⦠Really, I decided to shoot in a candid way going forward.

And, with the odd bump here and there, it hasn't changed at all since.

Now, to go completely against the clich©, I actually don't like weddings. I know, right? I'm a wedding photographer who doesn't like weddings. Crazy.

But that's not the end of it. I can turn that clich© around and follow it up with, "But I love people." And I do. I love photographing people, being people.

I love the humanity element of weddings. I don't like the contrived, formulaic elements of it. And I shoot my weddings as a Street Photographer would shoot on the streets of London; searching for moments and looking for the unexpected in a world of expectedness.

X-E2: Emotion is such a powerful thing, yet I think we leave it behind a lot of the time


I look for light, I look for moments. And I love that.

For me, a wedding is about the interaction, it's about touch, it's about eye contact, it's about humour, it's about emotion, and it's about loveâ¦â¦


I wanted to give my clients the view of their wedding from their guests’ point of view. I wanted to deliver my clients bang, right back at that moment in time.  I wanted to see my clients smile, cry with joy, laugh⦠I wanted to see my clients "remember" their wedding, recite moments that happened and give them the opportunity to witness moments they didn't see on the day.

X100T: People, being people

So, I have to say this, because it's very true; although I shoot in a candid way, this doesn't mean I don't have an appreciation for photographers who shoot more formally. There are many clients who would shriek at my pictures, and for them there are many wonderful wedding photographers out there who will deliver images way above my skill level and ability.

However, what rocks my boat, is the story. And it's the uncontrived story I like to tell, through my pictures.


I originally started shooting using the Canon 5D (Mark 1,2 and 3 in the end). Initially I was shooting using the big 70-200 and a 24-70.

But I knew there was something missing. I couldn't put my finger on it but for the first year I wasn't really satisfied with any of my wedding photographs.

Then I decided to ditch the zooms and use a two lens system only. From then on, I shot 100% with an 85mm f/1.2 and a 35mm f/1.4 lens. They were heavenly. I adored those Canon systems and I adored those lenses.

I genuinely believe that shooting with a couple of prime lenses adds a uniformity to your images. Across the board editing, workflow, and look and feel of my images were brought into line. The 85mm f/1.2 especially was a lens that brought me some very memorable images.

I was shooting 95% available light too, with the odd flash brought out for the first dance when the ambient light wasn't good enough.

X100T: I prefer to shoot with available light as far as possible

X-T1: Light remains paramount, even in our dark winter UK churches

The Canons were great, and I loved them, and would never knock them but…

I then had another epiphany at Photokina in 2010. I saw a picture of this little retro-looking camera in a little glass box. It kind of looked at me, as I looked at it. I was intrigued and at the time I was going through another crisis of confidence. Once again I couldn't put my finger on it but my pictures weren't quite delivering for me what I wanted. Clients were loving them, but for me, there was something I wasn't quite connecting with.

X100S: Even seemly ordinary moments can hold interest, and certainly memories

I didn't know it at the time, but when I gazed at what was the Fuji X100 in its little glass box I wondered if what I was lacking in my images was a rawer connection with my subjects. Something I could perhaps only get by getting closer. Getting more intimate, but at the same time remaining as discreet as possible and ensuring the integrity of the moment.

I pointed my stubby little finger at that camera and said, "…that's it.  That's what I need."

About five months later I received one of the first Fuji X100's that came into the UK. I took it to a wedding, I shot all my normal stuff with the Canons, and then I shot an hour or so with the X100.

I took the X100 home. I looked it squarely in the eye again. It looked back at me. And I said to itâ¦"Now mister - I like you; you are small, you are discreet, you are deadly silent and you are good to my back. But, if we are to get on, you are going to have to work faster, more reliably and make me swear a lot less often."

X-Pro1: I'm always looking for context around the wedding setting

X-E2: There are stories within stories at the periphery of all wedding moments


At the time, the Fuji X100 was really my only option at getting on board with the [affordable for me] mirrorless technologies. Of course, there is also now Sony, Olympus etc who each have amazingly good systems. For me, though, at that point I'd pinned my flag to the embryonic Fuji X-Series tree and whilst in the beginning I saw "potential," I now, four years later, see how moving to the X-Series has dramatically changed the way I shoot weddings.


I now shoot 100% with my X-Series of cameras. The current set up is an X100T and an X-T1 with the 56mm f/1.2 lens attached. It's no coincidence that that setup, in full frame equivalent, is approximately 35mm and 85mm - just like my preferred shooting lengths with my Canon system.

XT-1: Using lighter, smaller equipment has definitely added a dimension to the way I like to shoot

Here's the thing about these cameras for me; they allow me to get closer still. They bring an intimacy to the imagery that I simply wasn't able to get with the Canon system (the images were fine of course, it was a mindset of shooting more than anything).


I'm now just a guest at the wedding. In fact, many guests have larger and more expensive equipment than me. Has any client ever said to me "we expected you to be using large SLRs?" No. Never. Has any client ever said "Wow, really, we just hardly noticed you all day." Yes. Many.

So, going back to what I wanted to shoot and with regard to shooting "people being people" - the Fuji cameras have really exploited that ambition for me and allow to fulfill that for myself and for my clients.

X-T1:  I like to capture the moments in between

It's imperative to me that my pictures reflect the honesty of the wedding. There are many "wedding photojournalists" who work in the same way. There are equally as many who call themselves wedding photojournalists yet stage and contrive the images. For me that's not the same. Shooting candidly is not necessarily the same as making documentary pictures and so I prefer to use the adjective â˜candid' (which the dictionary defines as "truthful and straightforward") when describing my style of photography.


For me it's all about the integrity of the moment. I often say to my clients that I'm simply the curator of memories. You, and your guests, make those memories - I simply record them. I don't want to have any influence on anything at the wedding itself. It is my responsibility to understand the given lighting conditions, take note and understand the characters at the wedding, be responsible and sensitive to every situation and use all my senses help me to record, in pictures, the story of their day.

X-T1: Ultimately, it's about emotion.  It's about humanity. It's about allowing people to be people




X-T1: And it's absolutely always about the love

This incredible, short journey, has given me some great privileges, but I think the most humbling experience in my career came last year when another photographer who had been at one of my workshops approached her to document the Caesarean birth of her daughter.

X-T1:  First Moment

At first I was very reticent to take this on, but I wanted to do something at that stage of my career that was out of my comfort zone and this was the perfect canvas.

In a nutshell, that's the story of my story so to speak. How I went from corporate misery to shooting social documentary photography. I made it sound so easy right?

Well, it was kind of easy, because I unshackled myself from the "rules" of the industry. I believed in the way I wanted to shoot, picked up the ball and ran with it.

But let me tell you, running with that ball hasn't been all plain sailing. I could write just as much about how often I've wanted to give it all up.

How my wife has saved me from doing so on several occasions.

I could tell you about the anonymous hate email I received stating "your photographs are snapshots. Why don't you leave it to the professionals?"

I could tell you about how I've sat and watched my images ripped apart by judges at international competitions and dismissed as "snapshotography" (and by the way, they had a point).

I could tell you about the time that a simple sentence from Zack Arias whilst having a beer in a Japanese bar saved my career.

I could tell you all of that stuff too.

â¦but instead, I'd like you to press play on the video below. Turn the sound up and at the endâ¦.smile. Life is good!

For me, the key here is the human story. I use the clock to anchor the segments together but the little looks, the eye contact, the touch, the first sights of Majaâ¦.

So bringing it all back together - I enjoy story telling pictures. I enjoy stories that have a start, a middle and an end. I enjoy creating picture essays that curate these memories for my clients.

It's different to the "norm." There is no formula. It's 100% candid and I guess I simply enjoy taking pictures of people, being people.

I hope you've enjoyed my ramble, and even if you don't enjoy the pictures, I hope it helps people teetering on the edge to make a decision. One way or another. Life changing decisions usually work out for the best!

I'm happy to answer any questions you may have, just leave them in the comments.

Thanks so much for reading!

You can see more of Kevin’s work at and, and follow him on Twitter, Facebook, and Instagram.

Digital Art: The Inspirational Series with Bert Monroy
During Photoshop World, Mia McCormick had the opportunity to sit down with Bert Monroy, an insanely talented pioneer in digital art, to get his perspective on art and what inspires him to keep creating. Bert has been an artist his entire life, and is a master in Photoshop and Illustrator with impressive roster of clients and his work hung in galleries around the world. Bert and Mia touch on topics ranging from how he sees digital fitting into the world of art to the impact his work has hard on others, and so much more! Check it out at

KelbyOne Live
Want to learn from Scott Kelby or Joel Grimes live in person? Check out these seminar tour dates to see if they're coming to a city near you!

Shoot Like A Pro Tour with Scott Kelby
Mar 9 - Sacramento, CA

The Photographers Creative Revolution Tour with Joel Grimes
Feb 23 - Indianapolis, IN
Feb 25 - Atlanta, GA
Feb 27 - Arlington, TX
Mar 25 - Washington, DC
Mar 27 - Minneapolis, MN
Apr 17 - New York, NY
Apr 22 - San Antonio, TX
Apr 24 - Houston, TX

Leave a comment for your chance to win a free ticket to one of these events!

Last Week’s Winner
KelbyOne Live Ticket
– Al

If that’s you, we’ll be in touch soon. Have a great Thursday!