• air-jordan-3
  • air-jordan-3-fire-red
  • air-jordan-3-infrared-23
  • air-jordan-3-powder-blue
  • air-jordan-3-white-cement
  • air-jordan-4-bred
  • air-jordan-4-columbia
  • air-jordan-4-oreo
  • air-jordan-4-white-cement
  • air-jordan-5-fire-red
  • air-jordan-5-grape
  • air-jordan-5-oreo
  • air-jordan-5-v
  • air-jordan-6
  • air-jordan-6-carmines
  • air-jordan-6-olympic
  • air-jordan-7-bordeaux
  • air-jordan-7-french-blue
  • air-jordan-7-marvin-the-martian
  • air-jordan-8
  • air-jordan-8-bugs-bunny
  • air-jordan-8-chrome
  • air-jordan-8-playoffs
  • air-jordan-9
  • air-jordan-9-birmingham-barons
  • air-jordan-9-cool-grey
  • air-jordan-10-chicago
  • air-jordan-10-powder-blue
  • air-jordan-10-stealth
  • air-jordan-11-gamma-blue
  • air-jordan-11-legend-blue
  • air-jordan-11-low
  • air-jordan-11-low-bred
  • air-jordan-11-low-citrus
  • air-jordan-12-gamma-blue
  • air-jordan-12-obsidian
  • air-jordan-12-taxi
  • air-jordan-13
  • air-jordan-13-he-got-game
  • air-jordan-14
  • Posts By Brad Moore

    [Note from Brad: This post contains a little PG-13 language/imagery.]

    I would first like to thank Scott and Brad for inviting me to be today’s guest blogger… it’s quite an honor and hopefully I won’t make them regret asking me. Like most of us here, I am an image guy and words are my enemy. So, I will do my best to finish a thought, not use run-on sentences, and in the end, shed some light on what I do as a digital artist.

    For those of you who don’t know me or my work, let me give you the elevator ride explanation of who I am. I have been in the business of making images for high profile clients, ad agencies, and celebrities for over 15 years. After graduating from the University of Michigan, I cut my teeth in a small retouching studio and worked my way up through studio/agency life until venturing out on my own. I consider myself a digital artist, who’s specialty is creating hybrid images. This is done by combining all of my skill sets into one image, CGI, illustration and photography.

    One of the most rewarding aspects of what I do is collaborating with some the best photographers in the world. Working with another artist on a project can be very rewarding, especially when you can combine your talents and create something better than you could have alone. I have had the luxury of working with some great photographers and I would like to shed some light on how the whole process works. Keep in mind that there is no one formula for working together, as we all know, people are very different and so is my approach when working with photographers. The best way to explore this topic is to use real world examples and talk a little bit about approach, collaboration and promotion.


    Photos by Tim Tadder

    I will start off with a photographer who has done the guest blog before and who has inspired me to be a better artist. That guy is Tim Tadder. Tim and I met a few years ago and we both felt an instant connection in our work… wow, that sounded more like a “bromance” story, not that there is anything wrong with that. Anyways, Tim and I have come to rely on each other for creative inspiration and as sounding boards for ideas.


    Photo by Tim Tadder

    Photoshop Design Challenge Corey Barker has just announced the first Photoshop Design Challenge, inviting you to submit your best Disaster Movie Poster designs (each person can submit two)! Prizes include a NAPP Membership, a year of Adobe Creative Cloud, a year of Squarespace, a new Wacom Intuos Pro tablet, some great books and more. Submissions will be judged by Corey, Bert Monroy, Pete Collins, and NAPP Creative Director Felix Nelson. Head over to Corey's blog to get all the details and start working on your designs! Worldwide Photo Walk Have you signed up for the Scott Kelby Worldwide Photo Walk yet? We’re less than a month away, but there’s still time to find a walk near you and sign up. There are over 17,000 already people signed up to take part in this year’s event! New walks are being added every day, so if you don’t see one near you,…

    Photo by Claude Bauschinger If you decide to read about portrait photography, you’ll find a lot about cameras, lenses, lighting setups, and tricks. Most of that misses the most important ingredient of all -- your relationship with the subject, so frequently overlooked yet just as important as the technical mumbo-jumbo. I was going to call this post “Why I Use Wide-Angle Lenses and Get Up In People’s Faces,” but thought better of it because there’s so much more involved. For me, meeting and talking to my subjects during a shoot is a big reason why I love taking portraits. The camera settings and technical considerations melt away (or, more often, are left to muscle memory), and it becomes two new friends getting to know each other. Since taking portraits is an active process, “taking” doesn’t adequately describe what happens. It’s collaborative, and when it’s…

    Worldwide Photo Walk Have you signed up for the Scott Kelby Worldwide Photo Walk yet? We're less than a month away, but there's still time to find a walk near you and sign up. There are nearly 15,000 already people signed up to take part in this year's event! New walks are being added every day, so if you don't see one near you, keep checking back. If you're already signed up, don't forget to pick up your official Worldwide Photo Walk shirt (or hoodie). All of the profits from the shirt sales will go to the Springs of Hope Kenya Orphanage, so you're helping kids in need when you make your purchase. The Evolution of My Gear with Zack Arias Have you ever suffered from G.A.S. (gear acquisition syndrome)? You are not alone! Join Zack Arias at his Atlanta studio in his latest KelbyTraining.com…

    Photo by Mike Corrado of Nikon USA Love and Pictures... Around this time, during that fateful fall 12 years ago, Mike Wernick came into the Giant Polaroid studio, then on 2nd St., near the Bowery. He had walked over from his firehouse, Ladder Nine-Engine Thirty Three, tattered, dust laden bunker gear in hand. He got up on the stage we had built for subjects to stand in front of the behemoth camera known as Moby C, the 40x80, the world’s only Giant Polaroid. The camera couldn’t be focused. It was the subject who had to be focused, shuffling, every so slightly, back and forth until their eyes resided within the slimmest of depths of field. The lights would go out. In the darkness, 25,000 watt-seconds of strobe flashed, like the briefest blare of the trumpet section of a mighty orchestra. Then all returned to…

    Close