Posts By Scott Kelby

Hi Gang: On Monday I’m excited to be announcing the Finalists and Grand Prize winner from my 6th Annual Worldwide Photo Walk, and thanks to our sponsors we have some really amazing prizes this year, which is awesome.

Besides all the fun and photos, each year we do something very important, and that is we raise money for the Springs of Hope Orphanage in Kenya (an orphanage built literally from the ground up with help from the people who read this blog and participate in the Worldwide Photo Walk) by donating 100% of the profits from the sales of official Worldwide Photo Walk t-shirts (a sample is shown above and below, but they come in different styles and colors, including hoodies, sweatshirts, ladies’ cuts, kid’s t-shirts — you name it).

Here’s where we are so far: 
Rob Jones
, of Towner Jones Photography (the wonderful, big-hearted guy who coordinates our whole t-shirt store) let me know that t-shirt sales are down quite a bit this year. So far, we’ve only raised around $6,000 but our annual goal is to send the orphanage $10,000.

Here’s How You Can help:
(1) Order a t-shirt now. If you participated in a walk this year, I hope you'll consider buying a shirt (or two) to help feed and cloth these wonderful kids (which is an on-going struggle for this small orphanage). Your donation helps more than you know (plus, you get a cool shirt besides). Here’s the link.

(2) Make a direct donation: If you already have the t-shirt, or just want to make a Direct Donation to the Springs of Hope Kenya Orphanage, click right here (and know at that moment that you're about to do something that really, really makes a difference in the life of a child). If you go the direct donation route, can you please just leave me a comment here to let me know, so I can personally thank you.

Thanks to everyone who already bought a shirt, and to everyone who will graciously help and buy one today or who donates directly, and a big thanks and big hug to Rob Jones who year after year has dedicated himself to this project, with both his time and talents, and I am very grateful (and so are the children).

P.S. Don’t forget: I'll be posting the winners of the Photo Walk CONTEST by 12:00 PM Noon ET on Monday! Also, if for any reason your local leader didn’t pick a winner for your city, we go and pick one on their behalf. 

This past week at the Photo Plus Expo in New York, I heard from my team at the NAPP booth on the expo floor that there’s still a lot of confusion among folks who are interested in upgrading to the Creative Cloud, so I thought I’d do a real quick, simple post with what your options are all the way around, along with hopefully clearing up some other misinformation.

NOTE: Here I’m just focusing on the question at hand: how to upgrade to the latest version of Photoshop, not all the plans for the full Creative Cloud and all the other applications that come with it.

1: You have never owned Photoshop:
You can get Photoshop CC (the latest version) for $19.95 a month

2: You owned a previous version of Photoshop (any version from Photoshop CS3 to CS6)
For you, Photoshop CC is $9.99 a month PLUS you get Lightroom 5 as well and 20GB of cloud storage and a Behance Prosite (custom web portfolio) as well. Sweet!

NOTE: This deal is only available until Dec 31st of this year. If you wait until after the first of the year and miss locking in this insanely low price, whining is strictly forbidden (well, at least here anyway). 

3. You owned Photoshop as part of the old Creative Suite (any version from Photoshop CS3 to CS6).

OK, at this point, you’re kind of hosed, because there is no good “downgrade path” from the full Creative Suite to just one single product like Photoshop. So, you have three options:

Option 1: You can pretend you never owned the Creative Suite and pay the $19.95 a month for Photoshop alone.

Option 2: You can get the upgraded version of your entire Creative Suite, (the full Creative Cloud with Photoshop CC all the Adobe CC Apps like InDesign, Illustrator, Premiere Pro, After Effects, Dreamweaver, and a bunch more) for $29.95 a month, which is a savings of around $20 a month over what someone who didn’t own the Creative Suite would pay. This is probably the best option, since you wind up with a totally upgraded Creative Suite called “The Creative Cloud”

Option 3: Wait and see if Adobe comes up with a “downgrade deal” so you can go from all the Creative Suite applications you currently own down to just Photoshop and Lightroom for $9.95 a month. The problem with Choice 3 is; that deal doesn’t exist yet, and there’s no guarantee that it ever will.

Do I think Adobe might come up with a downgrade deal for CS users? I hope so, and I actually think so. I’ve talked directly with Adobe about how photographers stuck in this Creative Suite Purgatory feel and while Adobe hasn’t made some of these decisions as fast as many of us would probably like, they are listening. This is all new territory for them (and the biggest business decision probably in their history), and I imagine they want to hear from everybody on all sides, really analyze all this stuff, and make sure they make the right decision.


1. You don’t EVER run Photoshop in a browser. It works just like it always did. You just use your browser to download Photoshop CC onto your computer, just like you would from an App store.

2. Do you NOT have to be constantly connected to the internet to run Photoshop CC. You can run it offline just like you always did.

3. You don’t have to store your photos in the cloud. Ever. You store them on your computer just like you always did.

4. Photoshop CC is the latest version of Photoshop. When you upgrade to Photoshop CC, you get every Photoshop upgrade as soon as they’re released, as long as you stay a CC subscriber.

5. Photoshop works the same way it always did, so don’t let the word “Cloud” freak you out. The biggest difference from a usability standpoint is that instead of buying a “Box” of Photoshop at the store (like we used to do), instead now you download it (so you don’t get a box, but you still get Photoshop).

6. If you don’t want to upgrade to Photoshop CC, you can buy the last non-subscription version of Photoshop, which is Photoshop CS6. It’s $699. You still have to download it, but you don’t have to pay a monthly subscription fee.

I hope that helps clear the fog on a few of these issue for people who are interested in upgrading to Photoshop CC. If you’re not interested, I’m sure we’re going to hear from you anyway, right? ;-)

By the way: here’s the link with more info on Photoshop CC, including a download link.

I’m up in Boston today, teaching my “Shoot Like a Pro” seminar, so I won’t be able to respond to any of your comments here, but hopefully some of my crew back home might jump in and help if they can. I hope to meet some of you here today in Boston so make sure you come up and say “hi.” By the way, if you’re coming to my seminar, I would dress warm. Brrrrrrr — it’s cold up here!

Check out this quick “helicopter fly-over” of my seminar
The folks from IntelligentUAS & DJI Innovations were at my seminar on Friday in Washington DC and did a flyover of the seminar crowd using a DJI Phantom (with Zenmuse H3-2D and GoPro Hero 3+). I love that overhead video view. Too cool!

I’m on my way, today!
I’m teaching my “Shoot Like a Pro” Seminar there tomorrow at the Hynes Convention Center. Over 500 Boston-area photographers have already signed up, and if you want to come too, it’s not too late: Here’s the link:

Next Stop: New York City on Thursday, November 14th.

I’ll be back for “The Grid” on Wednesday
I’m heading home right after my seminar on Tuesday, so I’ll be back for live airing of “The Grid” on Wednesday. Matt had a really good topic for this week….I just wish I could remember what it was, but I do remember thinking, “Man, that would make a great topic!” so make sure you tune in to see if I was right  (LOL!). It’s this Wednesday at 4:00 pm ET (New York Time) at 

What will photography look like 10 years from now?
PC Magazine did a nice write-up on the Photo Plus Expo industry panel I was part of on Wednesday night where we tackled that very question. Here’s a link if you’ve got a sec:

Here’s one for Lightroom users
I get a bunch of questions about managing your images and folders in Lightroom, and Matt just did a really great, short, to the point video about it in his “Lightroom Killer Tips” show, and I included it right here (above).

Don’t Miss Wednesday’s Guest Blog
This week, we welcome Washington DC-based photographer John Harrington, and he has some really pragmatic business advice for photographers on working within a client’s budget (and determining what that budget really is). It’s a really insightful post and you don’t’ want to miss it this Wednesday right here.

That’s it for Monday. I’m off to Boston, and I hope I’ll get the chance to meet you there! Cheers (no Boston pun intended). ;-)

This is pretty sweet deal, but it’s only good until November 3rd — you get Lightroom 5 and the PRINT version of my Lightroom 5 book for Digital Photographers (which normally sells for $38 even with the Amazon discount)  for FREE (whoo hoo!).

I wish I could take credit for this deal, but this is Amazon’s doin’, but I’m psyched they did it.

Here’s the link (click here), to take advantage of Amazon’s free Lightroom 5 book deal.

I’ve got a busy week coming up, and I hope at some point along the way you’re a part of it. :-) [Photo above by Bede McCarthy].

Tomorrow I’m speaking on a panel with a very interesting topic: on the future of photography

Canon has invited me to speak in their booth theater on one of my favorite topics: Sports Photography, and it’s open to anyone at the Expo, so come on by — I’m on at 2:30 pm (I’d love to get to meet you in person, so if you come by, make sure you come up and say “hi”). Here’s the schedule for all the instructors and Canon Explorers of Light teaching in Canon’s theater:

Note: On Friday, Peter Read Miller is speaking at 1:00 pm. I’ll be out-of-town on Friday but that’s one I wouldn’t have missed. Also if I were there that day, I’d be sure not to miss Greg Heisler — he is really amazing (and a terrific speaker).

On Friday I fly down to Washington DC for my “Shoot Like a Pro” Tour there at the Washington DC Convention Center. Over 600 photographers are spending the day with me on Friday, why not come along? Here’s the link to grab your seat and we’ll see you on Friday.

On Saturday I’m back at Photo Plus Expo for my Canon booth presentation at 11:00 am, and then I’m headed back home to take a quick breather (Whew!) before I head to Boston for my Shoot Like a Pro tour there on Tuesday (here’s the link if you want to come and join me).

It’s a busy week, but I’m really looking forward to it, and for the chance to meet you in person, so I hope if you see me anywhere this week (NYC or DC), you’ll stop me and say “hi.” See you somewhere soon! :-)



This weekend, I had absolutely one of my most-fun football weekends ever, covering the University of Tennessee Vols big upset win against the South Carolina Gamecocks in Knoxville, Tennessee on Saturday and then right after the game flying over to Atlanta to shoot with the Falcons crew for Sunday's game. It doesn't get much better than that!

Today, I'll cover Saturday's game and the two locations we mounted remote cameras. I called my buddy "Big Daddy" Don Page (the head of sports photography for UT) and asked if there was any chance of us mounting a camera on the Goal Post itself. I often see video cameras mounted up there, but so far I haven't seen any still cameras, so I thought it was worth a shot. Don worked on it, and sure enough â” on Friday we got the go-ahead, with the warning that the camera or lens absolutely could not cross the plane of the goal post which could interfere with the game (and we would make darn sure it wouldn't).

 For me, there are two main reasons to use remote cameras: 

(1) To let you cover two or more locations at one time. For example, when I shoot Major League Baseball, I'll cover the batter myself, but I have a remote camera aimed right at 2nd base, so if something happens there I've got it covered with the 2nd camera.

 (2) But mostly for me, it's to give me angles and views from places either I can't shoot (like with the Falcons, right up next to the smoke and fire pyrotechnics when the player intros happens right before the game, or hanging from the truss the players run out through), or in our case, a Goal Post came up high aiming down right at the 5-yard line with a wide angle lens. I totally dig this stuff! :)

My Loadout
We packed four Canon 1DXs, a slew of lenses for the trip (long and wide), and a Pelican case full of remote rigging gear for the trip.  This was going to be challenging since two of my flights this weekend would be on Delta CRJ-900 Regional Jets with small overhead bins. I took a Thinktank Photo Airstream Roller, which is like the Airport International but about half the height. It's an amazing bag because it looks so small, but holds so much (Two 1Dx-bodies; a 70-200mm f/2.8, a 24-105 f/4, a 8-15mm fisheye zoom, a black rapid strap, my card reader, my backup drive, a Hoodman Loupe, memory cards, misc cables AND my 15" laptop and my iPad in the outer sleeve PLUS, my full-sized Gitzo Monopod. That is one amazing little bag, and believe it or not, it slides right under the seat in front of me on that small regional jet (the flight from Atlanta was only 24 minutes, so having a little less legroom was no big deal).

I carried my Canon 400mm f/2.8 in a soft-sided Lightware bag, and son-of-a-gun if it didn't fit perfectly in the overhead bin of both the CRJ-900 and the smaller CRJ-200 on my way back to Atlanta (seen above right). I checked the Pelican case (with a TSA-approved lock) as baggage along with my overnight bag with clothes (and I tossed my gel-filled knee pads as well in there).

Above: That’s Randy and this custom-made goalpost rig (see the metal bands?). 

The Goal Cam
We got to the stadium really early because we realized that the goalpost was MUCH thicker than how wide a Manfrotto Magic Arm clamp would fit, and so Don called his buddy Randy Sartin, who shoots for USA Today Sports Images and is really clever at coming up with solutions to problems like this. On Friday night he went to Lowes and bought two large metal bands (the kind you would use on a dryer hose or indoor plumbing) that you can tighten with a screwdriver, and he connected those (somehow) to a Manfrotto Magic Arm. You can see the metal bands in the shot above.

Above: That’s “Big Daddy” Don Page flashing a classic Big Daddy “I’m up on a laddar” smirk

We pulled our a big ladder (at 7:30 am) and Randy got it attached to the goal, then Brad Moore (who came on the trip with me to help out, and to visit family in his hometown while he was there), scampered up that ladder and mounted a 1Dx up there with a 24-70mm f/2.8, and we used Auto Focus to focus it on the 5-yard line (at around f/8) and then once focused, we switched the lens to Manual Focus and used gaffer's tape to make sure it didn't move.

Above: That’s Randy, me and Brad testing the remote after it’s in place. 

Above: I cannot begin to explain this shot of Brad, taken by Brad (note the PocketWizard in his right hand).

Above: Here’s a close-up look at the rig (Randy added a GoPro camera on top to make a time-lapse video). You can’t tell very well from this angle, but the camera is well behind the plane of the goal post.

We would leave the camera there all game, but we'd also get the big player entrance as they take the field (and leave the field) from right behind that goalpost, so it was the perfect place to position it.

Above: Here’s the goal post cam of the players taking the field.

The camera was up and running by 8:00 am, so we went up to the roof of the stadium where I shot some fisheye shots of the empty stadium (it was scary as anything up there for someone like myself who has a fear of heights). On our way down to the field, we passed right over the tunnel where the players stack up right before they take the field and I took a fisheye shot of it empty, and showed it to Donald and said "Ya know, we've got another camera, and a couple more Manfrotto Magic Arms" and about an hour or so before kickoff, we mounted that camera, with the fish-eye set to 15mm on a railing above the tunnel. So, when I fired my camera, it would fire both the goalpost cam and the tunnel cam.

Above: Here’s the tunnel remote cam right as the players take the field. The two cameras both fire simultaneously when I fire my camera, or press the “test” button on the PocketWizard.

We used PocketWizard Plus IIIs to trigger these remotes, which are just perfect for stuff like this (with a 300+ foot range) and they are just so easy to work with and incredibly reliable. You just need a cable that goes from the remote into your camera's sync port, and you find the exact right cable that works with your camera using the free cable-finder widget on the PocketWizard site. Works like a charm.

After the players took the field, Brad quickly removed the remote and the rest of game I just kept a PocketWizard Plus III in my pocket, and when the play got near the end zone, I'd fire shots with it, no matter where I was in the stadium.

Field Camera Gear & Settings
I used pretty much the same gear I've been using all season: two Canon 1Dx's with a 400mm f/2.8 on my main body (with a 1.4 tele-extender attached most of the game) supported by a Gitzo monopod, and a 70-200mm f/2.8 on my 2nd body. Canon sent me this loaner gear at the beginning of the season, and I already let them know not to expect it back any time soon LOL!! (and by soon, I mean not until well after football season. 2015). ;-)

Above: I do this when I get sleepy. ;-)

At the beginning of the season a friend at Canon who shoots sports too asked if I'd like to try out some of their gear, and ever since their 1Dx came out (and my buddies from the Falcons all shoot the 1Dx and just rave about it), I've been anxious to see if it's "all that." Well, I can tell you, "it's all that" and then some. So much so, that for shooting sports I've totally switched over to Canon (in a related note, I saw my buddy pro-sports shooter Paul Abell [who guest blogged here my blog] at the Falcons game yesterday and I noticed he had switched over to Canon as well).

Anyway, I haven't had much time with Canon's other bodies, just my trip to Rome using a 5D Mark III, and I'm still getting used to using it, but it's been a lot of fun trying out some goodies. I also tried out some Sony gear at a studio shoot last month which was really interesting, but I didn't get to shoot with it long enough to get used to the electronic viewfinder.

At some point, I'll do either a video review or an in-depth blog post about the 1Dx and Canon lenses, because there's a lot I want to share about why that body was born for shooting sports, but this week I'm off to Photo Plus Expo in New York, and then my Washington DC seminar on Friday, and then back to NYC on Saturday (whew!), and then off to Boston for another tour date on Monday, and wellâ¦it's gonna be a few weeks, at earliest.

Canon did invite me to do a presentation in their booth about shooting sports at Photo Plus Expo this week, so if you're in NYC, I'm on stage at the Canon booth at 2:30 pm on Thursday, and at 11:00 am on Saturday, so I'll hope you stop by, so I can meet you in person (I haven't been on stage at Photo Plus Expo since 2010 so it's exciting to be back, and my thanks to Canon for the invitation to talk about one of my favorite topics).

What was especially exciting about all this though, was the game itself. For the past two years I've been only  shooting NFL games which are great, don't get me wrong, but the traditions of college football, and the passion of the fans is really something special, and something I have definitely missed, so it was great to get swept up in it all again. When the game came down to a last-second field goal for a big upset Vols win, the place just erupted into celebration that was beyond those even any college bowl game I've covered, and that was just amazing, since I was right in the middle of all of it. I have had special access to the locker room after the game, and that was just insane!!! A really amazing experience.

At the end of the game, when the Vols lined up for the last-second kick, instead of covering the kick (which I knew they had covered by the other team photographers), I turned and focused on the Vols bench and I figured I'd know whether the kick was good or not based on their reaction, and either good or bad it would still have the makings of a interesting story-telling shot. The kick was good, and the players exploded off the bench to rush the field, where I got the shots you see above.

I haven't had a chance to process all the images yet (I sent some to the Vols that they needed right away), and I I'm working on more Falcons stuff today, and I'll share those as soon as I can, but since I did some different stuff with remotes from this game, I wanted to share those here today.

Above: A really great moment when Coach Jones jumps up on the podium and directs the UT Marching Band in a rousing chorus of the Vols fight song “Rocky Top” — the place was just going nuts!!!

Above: I was able to fight my way through the sea of players and photographers and video camera crew to get this shot from the front side. 

Above: Go Vols! 

Here's wishing you call an awesome Monday (well, as awesome as a "monday" can be anyway).