Posts By Brad Moore

The Season For Giving
Since it is approaching Christmas, you may think this is an blog entry about Christmas gift giving, but it's actually not!

Let me start with a funny story! You may have heard Scott Kelby refer to me as "Bill Fortney - A Man Barely Alive!"  and wondered what that is all about? Well let me give you the back story. I met Scott about a dozen years ago when I worked for Nikon and called on him as a client. We went on to become great friends! My father died at age 66 and I was in my mid to late fifties when I met Scott. I guess I thought with heredity and all I probably wouldn't live much longer than my father did! I was a two times cancer survivor and I'm a type two diabetic so I guess I thought my leash was short! Scott found it amusing that I would answer questions about if I would be a such an such event and I would say, "Sure, if I'm still around."

So that is how that whole a man barely alive thing got started. Let's fast forward a decade and I'm coming up on my 69th birthday in February, and even closer to the big last trip! I am a huge football fan. I once was actually the official photographer for the Washington Redskins, and in football terms I'm definitely in the 4th quarter! Since none of us knows the exact moment when we will be leaving this sphere, the two minute warning could have sounded for me already, who knows!?

Being at this stage in the game of life causes one to consider some pretty important questions, questions we should consider long before the middle of the fourth quarter! What is this life really about? How famous we are? How rich we become? Who admires us? I think not. I think this life is about leaving something valuable when you leave. For me, I have three main goals at this stage of my life: Serve my Heavenly Father and share his love with everyone I meet, be the best husband, father, and grandfather that I can possibly be, and lastly leave a photographic legacy I can be proud of.

How do you leave a photographic legacy? I'm not talking about a body of meaningful or beautiful work. I'm talking about helping others that love the same craft that I do. A lot of people have inspired me, and taught me over the past 45 years and they helped me to get better each day! It's my turn. I teach workshops, speak at events, do classes on KelbyOne, and write books because I want to share what I've learned with others.

Am I a good enough photographer to have anything worth sharing? I hope so, but the "information" I share, I know can help other photographers! I am at heart, and have always been a teacher. I love to see others learn and get excited about this craft I love so much. You can visit my website to see my work, learn about my workshops and even buy my eBooks, but that is not why I wrote this article.

I want to encourage you to consider how you can take your considerable talent and knowledge and share it with those that could benefit from it! You could offer community classes in photography at your public library, or maybe your church. You could volunteer to teach a photography class for your local high school or adult education program. Many camera clubs and civic organizations are looking for programs, you could share your knowledge and entertain them! In Jay Maisel's wonderful new book, Light, Gesture, and Color, he thanked his high school art teacher Leon Friend for the incredible start he gave him, and the chance to become a member of the "Art Squad!" Just think what this high school art teacher gave us, all of us, that have learned so much from Jay!

I want to be that kind of a teacher, one that has students produce art long after I'm gone! Here is a secret… If you want to have a really great life, help others get what they need and want! Trust me, a thank you from someone that you have helped learn, is worth far more than fame and fortune!

Merry Christmas!
Bill Fortney

Adobe Photoshop Creativity Seminar with Ben Willmore
The last KelbyOne Live seminar of the year is TOMORROW, December 12, in Phoenix with Ben Willmore! If you haven’t signed up yet, there’s still time. And if you want a chance to go for free, leave a comment here this morning, and we’ll pick a winner this afternoon!

DSLR Filmmaking: Camera Motion & Support with Adam Rohrmann
Attention aspiring filmmakers! There's a lot more to camera rigs than just providing support for your camera. In this class our very own filmmaker extraordinaire Adam Rohrmann takes you through the technical how-to aspects of six of the most common camera supports used in DSLR filmmaking, and then brings it all home in a series of lessons designed to give you a camera operator's-eye view of how each rig can be used to elicit a different emotion in your viewer through the production of a short film scripted for this class. Adam's practical approach gives you a real world perspective on how to use each rig, how to keep your subject locked in sharp focus, and the importance of using camera motion with attention to the emotional impact it has on your audience.

Moose Peterson Discusses Image Quality
And he’s not talking about megapixels. Check out this video where Moose shows a print he had made and talks about how the quality of a picture has less to do with megapixels and more about the craftsmanship behind the making of the image. And if you want to see the behind the scenes from the shoot where he made the image, you can see that right here.

New Fuji X-System eBook from Bill Fortney
The Fuji X-System User's Guide from Bill Fortney is a real guide to getting the most from this system. The guide features over 300 photographs spread over 200 pages with helpful information and tips for getting the most out of the fantastic System. The book also features work from today's top pros that are using the Fuji X-System! You can find out more and buy your copy right here. Leave a comment for your chance to win a free download!

Last Week’s Winner
KelbyOne Live Ticket
– 3lyssa

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

Greetings everyone! Corey Barker here to share with you my latest holiday project. Once again I collaborated with headshot photographer Peter Hurley and we decided to do another movie poster project. Some of you may remember a little project I did with Peter on recreating the poster for the Chevy Chase movie Vacation using Peter as the main subject and then we also recruited Mia McCormick and Brandon Ford to be part of the fun. We gathered everyone in the studio and we had RC shoot the images I needed. I then took those images that afternoon and created the poster below. I love projects like this where I feel under the gun because under pressure is where I most creative. The result came out so nicely that it ended up being a featured tutorial in my Down & Dirty Tricks Book Vol 2.

Now jump ahead 2 years and it is November 2014 and Peter has once again come to visit our office. This time to work on his new book, which is going to be awesome! So while he was here some of us went to lunch and we started started talking about the Shabang! poster and how much fun that project was. He told me that he was going to be back here in December and that we should do another one. Since it was going to be Christmas time and we wanted to keep the Vacation theme going we decided to do the obviousâ¦Christmas Vacation! I was so excited and yet so bummed because I had to wait another month until we could do it. Though I had plenty to keep me busy in the meantime.

Now it is December and Peter has returned and I cannot wait to get this project started. This time he was here filming a KelbyOne class on headshots and the art of the edit, so he already had the studio set up and ready to go. Of course, while he had it set up I took advantage of that and had Peter take some new headshots of me (see the image above), but then after that it was Peter's turn in front of the camera. Using the original Christmas Vacation poster as a reference, I wanted Peter to have a similar expression to the Chevy Chase character on the poster. He was doing well but still wasn't quite there until I told him to act like a cattle prod just got shoved in his bum! That worked and gave me the shot I needed. I only needed the head because I was going to create the rest entirely in Photoshop. Let the fun begin!

The Photoshop Process (Abridged)
So now I had the shots of Peter and now I was ready to get started. Again referencing the the original post I noticed that it was originally an illustration and not a photo. Being an illustrator myself I thought I would go ahead and illustrate the whole thing. However two things occurred to me: One thing was time, to illustrate the entire poster would have taken days for me. I had two days at most to do this. The other thing was the teaching aspect. If I had illustrated it and did tutorials on it it would have only appealed to a handful of digital illustrators out there. There are no doubt designers out there that can't draw so well but really want to achieve this level of design. So I decided to mostly composite the whole poster using stock photos with a few illustrated elements added in. This would make it easier for someone to learn the technique. So I started by building the background. I created the snow and illustrated the rooftop and chimney first. This established the environment and also establishes a reference of scale as I add other elements.

Once I had the background set I was ready to get started on the main subject. Like I said, my original thought was to illustrate this but just had no time. So I went to and started searching for images of Santa. I obviously could not expect that I would find a Santa image that looked just like the image in the poster, that would be wishful thinking.

Instead I had to shift my gaze and not look at the entire image but rather break it up into parts. Each of these Santa images are obviously from the same series but each one was picked for a specific part of the design. I chose the first because of the legs and torso because they were facing front, the second and third images I chose for the boots, and the fourth one was used for the arm. I needed a straight arm and this was the closest I could find, but no problem with Puppet Warp. So now I had all the parts I needed to create the body, I already had the head shot of Peter so I was ready to go!

I started with the legs by extracting just that part of the image minus the boots and then brought it into the main design then scaled and position them in place. Then I extracted one boot each from the other two images. I needed them to be turned and did not want to use the same boot and duplicate it as that would have been obvious. Next was the torso, once again I extracted just that part and then added it to the image. Though the torso and legs came from the same image I needed them separate so that could manipulate the torso shape without affecting the legs.

Now the arms. I used the one arm of the Santa holding the bell for both arms. I extracted it then used Puppet Warp to straighten it. I erased the hand and bell and filled in the the fur cuff. I then used the Warp tool to basically sculpt the arm to the scene. Then I duplicated it and flipped it to put on the other side. Because of the abstract nature of the fabric and such it easy to make them look different. I then copied a couple little patches of the fabric to fill in the gaps.

Next I added Peter's head to the scene and then used a strip of fur I got from the Santa hat image and made it a collar around his neck. The last thing of course was the hands. I found a simple open hand stock image and then used it for both hands. However I did use puppet warp again to manipulate the fingers just slightly so they were not obviously the same. Oh and I almost forgot the pillows, in the original he had a couple pillows stuffed in the suit so thought I would add that too. Now the main subject is assembled, but we are far from done.

Once I had all the pieces together I went ahead and merged all those layers together so I could edit the subject as a whole. Did a little bit more cloning and patchwork to make the suit a little more seamless and then did some dodging and burning to make the lighting and shadows consistent.

Now it was time to start with the surrounding elements like lights, flying presents, and such. I started with the lights. I used Illustrator to create the cord for the lights because you get much smoother paths using the Smooth tool. Once that was done I brought that path into Photoshop and then used it to draw not just the cord for the lights, but I also created a brush tip in the shape of the light and painted that along the same path in various colors. Then used some layer styles and some blur effects to get the lights to glow.

Now the lighting effect around the subject I created using a custom lightning brush I created. I then just scatter painted the lightning around the edge of the subject. After that I added an Outer Glow layer style to enhance the effect. Finally there were just the prop elements floating around the subject. In the original they were just presents floating around so I wanted to use that but also add a some Peter touches as well, like a PhaseOne camera and lights. The camera you can see floating in the air and the light is in Santa' sack. Once I had those elements in place I added lighting effects based in their position in relation to the subject. The very last touch of course was the text. Peter came up with Squinchmas Vacation and I added the Yule Wonder Why! at the top.

In the end this version took about 10 hours over two days. I built it to the dimensions of a full-scale movie poster which is 27 inches wide by 40 inches tall. It is comprised of about 50 layers and the file says weighs in at about 1.5 GB. This project will be broken down in step-by-step video tutorials as part of my Photoshop Master FX Series exclusively at in the the next couple months.

A big thanks to Peter Hurley for once again being such a good sport and allowing me to to create this image. I hope you all have a Merry Christmas and watch out for cousin Eddie! LOL

You can see more of Corey’s work at, and follow him on FacebookTwitter, and YouTube.

Creative Speed Lighting for Fashion, Glamour, and Beauty with Lou Freeman
There's more to speedlights than just portability. Join the amazingly talented Lou Freeman as she shares the wisdom gained from three decades worth of fashion, glamour, and beauty photography to show you how creative you can get with speedlights on location and in the studio. From the basics of setting up your lights to her favorite accessories, Lou talks through all of the settings and gear she uses throughout the class. You'll see Lou work in a variety of locations from the soft light of a fine interior to the harsh light of the beach, before heading into the studio, and all along the way Lou shares her tips, techniques, and tricks for using speedlights in ways that will really make your images stand out from the rest.

The Business of Fashion Photography with Lindsay Adler
Looking for your big break in fashion photography? Sorry, there isn't going to be one, but with the right business skills, photographic talent, persistence, and hard work you can build yourself a career doing something you love. Join Lindsay Adler as she breaks down what life is like as a fashion photographer, and then lays out the foundation for you how you can get on the path to success. From planning your shoots to getting your work published, Lindsay steps through the key points you need to consider to avoid common mistakes, to move forward with intention, and to build yourself a business for years to come.

VIP Special Offer
We have bundled our KelbyOne membership AND Photoshop World ticket and a number of bonuses together for one spectacular offer! Check it out at

KelbyOne Live
Want to spend a day with Joe McNally or Ben Willmore? Check out these seminar tours!

The Power of One Flash with Joe McNally
Dec 9 - San Diego, CA

The Photoshop Creativity Tour with Ben Willmore
Dec 12 - Phoenix, AZ

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

Last Week’s Winners
KelbyOne Live Ticket
– volleyshots

Joe McNally eBook
– thomas Q
– Let him

If you’re one of the lucky winners, we’ll be in touch soon. Have a great Thursday!

A bowerbird gracefully lands three feet from the front of my lens, like the 500 or so birds before her (or him, I’m no ornithologist). She has come for the smorgasbord of delights I’ve spread out in the guise of capturing them on camera.

Hopefully, she’ll ignore the photographic paraphernalia surrounding her and in the exact moment that I’m ready, strike the pose I’ve been looking to incorporate into my latest body of work.

This is the dance we’ve been playing for sometime now, weeks in fact.

Step 1 / Bird lands on table.
Step 2 / I desperately trigger the camera from inside my house some 40 feet away.
Step 3 / The bird; food in beak, decides not to wait around for the second 2000 w/s strobe flash.

So… how did you gain access to a 400 year old baroque castle? I’m frequently asked this in reference to the series (A Frozen Tale) I shot last year (2013) in Skokloster Slott, one of Europe’s finest examples of baroque architecture. And much like the birds above, hundreds of failures culminated in the gaining of access to the location which would ultimately set the stage for this series.

It’s rare to see the evolutionary failures today, we’re fed a constant feed of content through social media, a story carefully curated to display the success of the individual. Of course it needs to be curated to create headlines, buzz and click-bait, but what’s missing from it is the sense that the success is the sum of our failures.

With this constant barrage, we can sometimes incorrectly assume that these individuals are constantly given all the breaks, handed the keys to the castle if you will. However, what’s more likely the case, was that you never saw the 499 rejections, the failed attempts, the heartbreak, and the …

If you’ve never experienced unrelenting failure… then watch this video for a glimpse. Just quit before you see the P&G logo, and go buy Ludovico Einaudi’s album on itunes, it makes for great retouching music.

Originally when I was asked to write this guest blog post, I had just finished a commissioned artwork for a rather large charitable organization. This artwork, which my team and I took months to produce for little recourse is for a cause I fervently believe in. I had hoped to de-construct this project in its stages, to lay bare what it took to create what I think is one of my best works to date.

However as with lots of projects involving many cogs (re: people), delays often push back launch dates and with them, extend the silence I must hold.

In its place, I thought I’d de-construct the pivotal chapters to how I claimed the keys to the castle and in turn the commission for the charitable organization.

We all need to draw inspiration from somewhere to get us started. It was the early to mid nineties and while studying art-history at Australia’s National Art School (NAS) I was struck by the pre-raphaelite brotherhood, a group of painters from the mid 19th century. Their genre was depicting the romantic form in narrative and symbolic pieces. Perhaps it was the emotionally charged teenager in me or my love for the theatrics that drew me in, who knows, I was hooked.

I was majoring in photography & sculpture, and progressively spent more and more endless nights hunched over the enlarger, inhaling the crisp smell of developer & fixer, it became an endless world of trial and error, and error, and error. At times the other classes that NAS forced me to take seemed trivial and meaningless, I had shunned the archaic forms of drawing and painting, after all if “Botticelli was alive today, he’d be working for Vogue” — Peter Ustinov. But to graduate I would require passes across the board. Today drawing, illustraion & painting are crucial to my image making process.

Frustratingly… for the faculty that was, Photoshop was starting insert itself into the domain of traditional arts photography, threatening the status quo of those who fought so hard to establish photography as a validated medium (in fine-art).

They rejected the practice from many of the institutions.

Literally for over a century manipulating images in the darkroom was completely acceptable, want to dodge and burn for contrast, no problem! Want to composite the head of a president onto the body of another, sure, splice some negatives together, but add the ability to do it without inhaling noxious chemistry, that be witchcraft!

I wanted to see what was possible in Photoshop and soon realised that unless I had very very deep pockets I was going to have learn the craft. Having recently graduated and only just coming to grips with the $6,000 I spent on printing and framing for my exhibition earlier that year, I needed an avenue which would grant me the opportunity to learn while just scraping by financially. Fortunately I was granted two scholarships, one for my post-graduate masters in fine-art, the other a traveling scholarship in association with my masters. Remember this was pre dot-com boom 1.0, so there was no online learning, no YouTube tutorials. Like my darkroom escapades 3 years earlier this was going to be trial and a whole lot of error. I needed to produce a series for my masters, one that encompassed the emerging technology coupled with my love for the romantic.

I set off on my grand tour, like so many before me seeking inspiration through the arts, architecture & culture of Europe. The traveling scholarship was only partial funding and ended up being a very tiny component of the expenses I incurred on the trip. Its real benefit was to give me the confidence to back myself, to understand that if you don’t back yourself (in life), can you expect someone else to? I returned to Australia with a wealth of background imagery, to be exact: 100 rolls of 120 negative film. I had borrowed the Uni’s Bronica 6×6 and now, upon my return had the mammoth task of scanning, cleaning and documenting 1200 background plates.

The biggest gift the experience bestowed on me was the concept for my masters. For the next three years I compiled a list of the famous, infamous, powerful & obscure women of the past two millennia. They were all interesting in some way, and the list was excruciatingly long. From hundreds of stories I whittled them down to a manageable twelve. They would become the regal twelve, my regal twelve. These twelve women would reside somewhere in the 1200 plates shot prior, and they would all be composite images. I had set the framework which would push my skills way beyond my comfort zone.

I would say that the success of the regal twelve was equal parts luck and relentless hard work. At the time the major fashion designers like Cristian Lacroix, Alexander McQueen & John Galliano were in a renaissance, re-interpreting the romantic past and in doing so setting the fashions of the time. The fact that my worked aligned with this renaissance was fairly coincidental, the exhausting work in creating the opportunity to take advantage of that luck was not.

After successfully exhibiting at numerous institutions in Australia, the work toured internationally, with each exhibition another would germinate, the work self propagating into new found regions. It was not perpetual motion, it required constant attendance and lots of persuasion on my part, but it was a different kind of work.

Years later, I received a letter from the Royal Armoury of Stockholm requesting the usage of my Christina of Sweden in their exhibition Bilder av Kristina. It was to be quite the regal affair with an opening from the King’s sister and artifacts flown in from the Vatican library. The letter extended the invitation to the royal opening and with my exhibition fee roughly equating to the cost of a return airfare to Stockholm, I thought it would be rude of me not to attend.

Of course, I had now become seasoned in the art of identifying opportunities where they weren’t quite as apparent. This would be the closest I have come to a royal bloodline, and it would be silly not to request the opportunity to photograph a princess. I had read somewhere before that Annie Leibovitz had repeatedly requested an audience with the Queen (of England), and Annie Leibovitz was rejected multiple times. (She obviously got there in the end).

I asked, and although I wasn’t denied, I wasn’t granted either.

I needed an angle, If I had a publication I’d get the royalty, and if I had royalty I’d get a publication. I contacted multiple outlets from fashion to news. I tried so many angles, from the interesting succession laws Sweden had passed granting the eldest child regardless of sex the line to the throne, through to my presence as an Australian in the exhibition. Nothing was biting, just a lot of rejection.

20,000 miles is a long way just to attend an exhibition opening. So if I wasn’t going to get an audience with royalty perhaps I could ask for something else. Perhaps a theatrical shoot amongst the amazing artifacts of the royal armoury, perhaps a carriage, or a horse in barding. Most of these requests, as always, were declined but if I never asked they would never have thought to offer Skokloster Slott.

I hit up Google images for everything pertaining to Skokloster, like the anticipation of a perfectly cooked medium-rare eye fillet, I was salivating at the visual feast that adorned my screen. I had to have it. Of course, later I would find out that it came with certain caveats understandable of a 400 year old castle, and a quid-pro-quo deal requiring an exhibition of my work without fee, but here was an opportunity I could work with, one that I could build a series around.

It isn’t cheap putting together a series, shot on location, where said location is literally on the other side of the planet. My partner/producer and I put together a quick budget and it was by no means a persuasive argument for the affirmative. Nevertheless the mantra of investing in oneself is powerful. Whether it’s education, equipment or the time & space you need to be creative, once you’re committed there’s no turning back.

I won’t talk about the specific production details from A Frozen Tale as they’ve been discussed on various blogs enough. All you need to know for this story is that; We, for the first time ever had handed over the production of the behind-the-scenes footage to a friend of ours who wanted to join in on the experience. We needed as much help as we could muster, with around 40 cast and crew volunteering time and services to make something special, my video producer (re: husband) was too busy with general logistics to pick up the 5D MKII.

The other piece of information you should probably know is that late the evening before the shoot, during our recce of the castle, I ear-marked some globes sitting up against a map as a possible location. I had pre-visualized nearly all the shots of the series based on what I could find online, but this simple wall, with the light filtering in onto the antique globes was simply gorgeous. My gut told me to use it, to incorporate it at all costs. Two evenings later with the crew exhausted, the batteries all but depleted and my body screaming for sleep, I carried the 80 megapixel Phase One medium format up the ten flights of stairs to the attic library and shot the only image that didn’t have subject in situ.

We landed in Australia only 120 hours after we had departed. Along with other commissions and obligations I decided to launch the work 4-6 months later. This would provide me with plenty of time to procure the additional photography I needed. You see one of the caveats of a 400 year old castle is that you’re not allowed animals next to a priceless Giuseppe Arcimboldo painting. Similar to the native wild birds I’m photographing today, I would spend hours each day in Sydney’s centennial park, canvassing dog walkers that suited my concept sketches.

The plan was to release the work in the fourth quarter of 2013, along with the behind-the-scenes video and an online workshop covering the complete post-production process. The deadline wasn’t randomly assigned, I failed to mention earlier in story that right when I was climbing those stairs to the attic, I was also 7 weeks pregnant. This whole project needed to be wrapped by December, ready for me to sign-off on 3 months maternity leave.

I love deadlines, I’m not sure why… It’s most likely the obsessive compulsive drilled into me during one of my summers as a chef tucked away in a smokey 104º F (40ºC) kitchen on the small island of Skiathos (Greece). Like cooking, photographic production requires specific ingredients, they need to be sourced, prepped, cooked, presented and consumed. It’s not formulaic, it’s a framework. Good chefs will continue to experiment with their recipes, they will refine their craft, they will do this within their framework, and a deadline just adds to the excitement.

I had knocked over the post-production of the work in a couple months around my day to day work. I had planned to do this so I could spend the majority of my remaining time recording the workshop, something I had not tried before. It wasn’t that I wasn’t willing to share my knowledge, I’ve lectured photomedia at the College of Fine Art and spoken at large conferences, it was that with anything new, expect the trial-run to contain a whole lot of error.

We had days remaining on the clock, and while I had completed all the artworks and recorded 17 instructional videos we didn’t have any behind-the-scenes footage from our shoot 6 months earlier. Unfortunately the relationship with our friend the video producer had diverged through differences of opinion and while we would have loved to share the experience with the world we respected his wishes not to release his footage.

Despite this, I still needed a video, something to say thank-you to all those who helped us on our journey.

The idea behind The Cabinets of Curiosity, the final artwork for the series had been bubbling away in my mind since that day I saw the wall of globes. It was going to be a tough pitch to my partner that we should produce this artwork so soon after the birth of our daughter, but we needed a video and I desperately wanted to use that plate. 17 days later, on the last Sunday before Christmas we shot the final character for A Frozen Tale, and with it the 4 minute video that would launch the series.

I’m often asked how I know when I’ve finished an artwork (or body of work for that matter). This will no-doubt sound contrived, but the truthful answer is that I usually tear up. It’s probably the exhaustion, or the sheer delight that I’m finished, who knows. The Cabinets of Curiosity is a self portrait, not literally (I’m not a 19 year old model), but figuratively. It relates to me as the explorer, always looking for new opportunities in which to partake.

How does this entwine with the story I wanted to tell, the one about the commissioned work for that charitable organisation? A Frozen Tale was picked up and seen by the consulting curator to the organisation. It encompassed the spirit of what they wanted to communicate, the belief that we all can make a difference. The curator was litterally 1 in at least 3.2 million impressions (at last count).

It’s the 499 birds before the 1 that works.

Alexia Sinclair is an Arist, Photographer & Story Teller. Follow her on Twitter and Facebook. You can view the complete collection from her series at

Check out these AMAZING DEALS from KelbyOne!

Learning Bundles
First off, if you want the most bang for your buck, you’ve gotta check out these Learning Bundles! Choose from any of the three bundles, and you’ll get a KelbyOne membership, the Nik Collection by Google, a subscription to Photoshop User Magazine, online access to both the Lightroom Learning Library Vol 1-10 and Light It Learning Libraries Vol 1-10, and the KelbyOne Creative Presets Bundle starting at just $299. Go up from there and you can get great deals on Photoshop World tickets, the Photoshop CC Book for Digital Photographers, and more! Check them all out right here.

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If you’re just looking for a straight-up KelbyOne Membership, then we’ve got some great deals for you as well. Not only can you get an annual membership for the best price of the year, but for a limited time, annual memberships also include the Nik Collection by Google! If this is the bundle that you want, you can get it for just $149/yr to also include the digital version of Photoshop User Magazine, or $169/yr if you want both the digital and print versions of Photoshop User Magazine! Just click here to take advantage of these deals.

Signed Limited Edition Print from Scott Kelby
If you’ve ever wanted a signed print from Scott Kelby to hang in your home or office, or to give as a gift, now is your chance! These prints are made on 17×22″ Exhibition Fiber Paper, and feature one of Scott’s favorite images of a 1951 Chevrolet Bel Air Convertible from his trip to Cuba. There are only 100 of these prints available, so hurry before they’re all gone!

Special Deals from Joe McNally
If you’re looking for even more special deals on photography training, you’ll want to check out our friend Joe McNally’s Language of Light downloads! He’s running a special for 25% – 40% off right now, so grab those while you can. He also just announced the release of his brand new Fuel Book, The Light and the Life, available in both English and Spanish versions! Joe and the team at Fuel/Peachpit are giving away one copy each of the English and Spanish versions, so leave a comment for your chance to win one of those!