Posts By Scott Kelby

http://youtu.be/Y598ENDC9aQ

First, watch that 60-second (or so) video above from Tim about his online class on shooting close-up detail shots of cars. I’ll wait right here.

[insert mental shot of me waiting].

…see that didn’t take long. Awesome, right? I know!

After I posted some car shots I did a couple of weeks ago here on blog, and on my Facebook, Twitter and G+ pages, I had a lot of questions about the lighting and camera techniques and I wish I could take a lick of credit for any of it, but I learned it ALL from Tim’s online classes. He’s really an amazing teacher and he tells you EVERYTHING — he doesn’t hold anything back, which I totally love about him! (He’s the real deal!)

Anyway, if you’d like to watch Tim’s class, we’ve set it up so that TODAY ONLY you can go and watch Tim’s class on shooting close-up detail shots of cars for free (when you go to the link below, you’ll see a button for Rental. It’s usually $9.99 for a three-day rental (our regular price for any 72-hour rental), but today-only the price is $0.00 — free!). I explain how our online class rentals work below, but basically today you just watch for free. Free, free, free! Whee!!!!!

http://kelbytraining.com/course/twallace_cars2/

How This Usually Works
Normally, if you rent one of our online courses, you can watch it as often as you like for three full days (72 hours), from the time of purchase. To access rented courses (like this free one), if you don’t have an account, go ahead and create one (it’s free) and go to your “Account Settings” page and your rental course(s) will be listed. Just click the link to watch it. By the way, I know this goes without saying but to watch an “online” course, you need an Internet connection (and it should be a broadband connection unless you are a very, very, very patient person).

One more thing
Tim has five other online classes on shooting cars on Kelby Training already, so if you’re interested in seeing more of Tim’s training, you can sign up for a month and watch them all (along with hundreds of other classes)! or sign up for a year (you save money — it’s around .54¢ a day — crazy cheap!) and watch his classes to death! LOL!!!  OK, while you’re there check out some of mine, will ya?

OK, I get it…..
Hey, isn’t this all just a fancy way to get me to join Kelby Training Online? Yes. Absolutely. But I promise you this, you’ll love it (and if for any crazy reason you don’t, we offer a 100% money-back guarantee, so there’s really no risk, except that you might watch these classes and want to buy a large stripbank softbox. But that’s a given). ;-)

Have fun and enjoy Tim’s classes.

-Scott

P.S. This is the first time we’ve tried this particular thing, this particular way. If for some reason the link doesn’t work right at the crack of midnight, or the rental thing is grayed out, or if anything isn’t working perfectly and you can’t get to that class right this very minute…don’t freak out. It’s a one-day deal. You’ve got a whole day to get it. We’ll get the link, button [insert a random problem] here, fixed shortly. Thanks — signed, the Voice of Prior Experience. LOL! ;-)

http://youtu.be/TjUPh7FI4nQ

Here’s the behind-the-scenes video I mentioned on Tuesday from my car shoot at an airplane hangar (as luck would have it, the hanger was the exact same hangar at the airport where my wife flies out of). I used the Priolites again but I also used a new super-lightweight battery pack that let us take one of our Elinchrom studio strobes out on location (I did a quick demo of it on the video above).

Anyway, we were planning on shooting two cars and a plane, and it turned it to a six-car, six-hour long shoot with two Ferraris (an F-430 and a California); a Devon GTX, a Rolls Royce Ghost, a Spyker, and a Audi R8. We were psyched! (Plus, I was finally going to get a full-body shot of the Audi R8 I did the detail shots of last month).

Anyway, I’ll tell the rest in the captions (BTS photos by Brad Moore), but first a big thanks to my buddy David McComas who not only has some amazingly cool cars (and let me shoot them, and borrow his hangar), but he also has friends with more cool cars. Not a bad combination (thanks David!)

Above: This shot is just natural light. We only had a few minutes where the sun had tucked behind the other hangar, but it wasn’t sunset quite yet, so we actually had a decent amount of light, and that’s when I had my crew pull the R8 out in front. I wanted to take a shot that had lots of negative space (the total opposite of the close-up detail shots I took last time).

Above: The Devon GTX. What an insanely cool car (with gull-wing doors, no less). I love how the back has no bumper â” it just go straight from the truck to the rear in one solid piece. The color of the car was pretty monochromatic so I went ahead and took it all the way with a black and white conversion. Again, just natural light near sunset.

Above: Here’s a shot with me standing where the Audi R8 was parked, looking back in toward the Devon in the hangar (now you can see the full-color version).

Above: That little red circle in the back of the hangar. That’s me. 70-200mm f/2.8 lens at ISO 100. I switched to the D800 for this one to get extra resolution.

Above: Here’s the over-the-shoulder view.

Above: here’s the Spiker (the one I showed in Tuesday’s behind the scenes shot). Sick car!!! I only had time to shoot two of the car full-body and this was one of them.

Above: Here’s the lighting set-up for the Spyker. Three lights total. #2 and #2 are Priolites (the same ones I did the Audi R8 with last month), so there’s no power pack or cables â” the battery it built right into the lights (which is pretty sweet!). The #2 light is a bare blub strobe. It was supposed to have a grid on it, but we somehow misplaced it before the shoot and of course didn’t realize it until we were actually at the shoot. That posed quite a challenge because the light was spilling like crazy, but it was what it was. The #3 light is using a large strip bank.

The #1 light (with a large Tim Wallace-style strip bank) is a regular studio strobe — an Elinchrom BRX 500 (my go-to light int he studio), but we were able to take it on location thanks to the brand new lightweight battery pack I talk about in the video (though here’s a direct link to it at B&H Photo).

Above: I love the front grill of the Spyker! 

Above: I’m not a big fan of laying down on the job, but sometimes ya gotta do what ya gotta do. That’s Brad Moore holding a Priolite with a large strip bank and that’s how we made the detail shot you just saw. Shooting at f/22 makes the light fall off to black on the edges almost instantly (thank you Tim Wallace — it’s his technique). 

Above: Same lighting, same technique, same settings. It still amazes me how the light falls off to solid black like that. I know it makes sense, but it still makes me smile every time I try it. 

Above: Here’s the distinctive rear-end of the Spyker — same everything as far as lighting and camera settings. 

Above: Yes it was that bright where we were shooting, and yes shooting at f/22 makes it fall off to black like that without having to fake it in Photoshop. I was just as surprised as you are, but son-of-a-gun it works!

Above: The rear emblem and very soft lighting. 

Above: I wish I had the time to really experiment and get the lighting just right on this one, but with six cars to shoot in the absolute stiffling heat, we pretty much had to run and gun all day. Even though it was really cool to have all these cars on hand, I wish we had half as many cars and the same amount of time, because if something didn’t work lighting wise, I didn’t have the time to really make it work — I had to cut my losses and move it if it didn’t come together pretty quickly. 

Above: The Rolls was Amazing. First time I had ever sat in one, and the interior was really something to behold. I could have spent two hours just on it, but I only had about 20 minutes (we spent waaaaayyyy to long on lighting the Spyker), and it caught up with us time wise. 

Above: As the heat took its toll on all of us, I started to lame out and shoot some of the shots from a chair, and that’s the on you saw above. We were beat like you cannot believe. Drenched in sweat, semi-dehydrated (we only brought six bottles of water for the three of us — huge mistake) and though we started at 5:00 pm, none of us got home before midnight.

Above: We had two Ferrari’s but all I had time for were detail shots. I just love the Ferrari nameplate so I spent a while on trying to get the lighting right, but I still had to add a radial gradient in Photoshop to get the look I was trying for. 

Above: I’m a sucker for headlamps.

Above: I had to get an engine shot of the California — just one light — still that Priolite but we switched to a small softbox. We probably should have switched back to a stripbank, but I’m still OK with how it came out. 

Above: In Tim’s online classes for Kelby Training, he talked about splitting the logo with the light, so we spent a few extra minutes trying to get it right on the money. 

Above: This is actually the interior of the Ferrari F-430 and I shot it with a 24-70mm f/2.8 using a technique I learned from Tim when we taped his class for Kelby Training on shooting car interiors (should be coming out soon. Brilliant class  — I learned a ton!). 

Above: Here’s a parting shot of the Ferrari California. 

Wrap up
While I’m getting much more comfortable with lighting and shooting the up-close detail shots, I still need a lot more practice with full body shots, and that’s what I’m going to focus on next. While we were out on location I heard about a studio locally with a huge drive-in cove and a giant overhead softbox made for lighting entire cars, and I got a line on a few other cars to shoot. Brad’s on vacation this coming week, so nothing next week, but when he gets back, it’s time to sweat once again!

Above: OK the lighting is kick of whacked in this shot, but I couldn’t leave without showing you at least one shot with the doors open. Is that car sick or what!!!! 

Thanks to Brad and John for assisting me on the shoot (couldn’t’ have done it without you guys), and thanks to David for rounding up lots of cool cars for us to shoot. Also, thanks to my readers for stopping by and here’s wishing you all a sweat-free weekend and lots of shooting opportunities.

 

OK, this is NOT a finished shot — just a behind-the-scenes shot from a 6-hour long, six-car shoot in an airplane hangar. I was going to show the finished shots today and include a behind-the-scenes video about a new piece of gear we took out on location, but the video’s not quite out of editing yet. Hoping for Friday.

In the meantime, you can see two of the three lights used in the shoot —- the one in the top left corner is one of those Priolites that we are totally digging on (here’s a link to my Audi R8 shoot video and Prioite demo video), and the long strip bank near the rear of the car is an Elinchrom BXRI 500 (my go-to studio strobe) running off a very cool, very small, very lightweight, and very affordable battery pack (more on it on Friday’s post).

Above: This is an Instagram shot Brad took of four of the six cars we shot that day. Top left: A Ferrari F-430.Top R:  A Devon GTX. Bottom Left a Spyker, and bottom right an Audi R8. 

Lots more to share of course (plus we got to shoot two other cars: A Rolls Royce Ghost  and a Ferrari California), here on the blog on Friday.

But Before We Get to That…
I just wanted to take a moment to give a heartfelt thanks to all the folks who took the time yesterday to leave me a comment with a kind word or a show of support. I was expecting the worst, and was pleasantly surprised (and relieved) to see so many supportive and understanding comments. Very much appreciated. :)

OK, Now We Can Get to That
Here’s wishing you all a great Tuesday, and here’s hoping all your car shots happen in slightly cooler weather than we were shooting in. Cheers, — Scott 

 

So I’m reading a review of the new features of Photoshop CC over on Mashable.com, and of course it takes all of three seconds for it to turn nasty, where a commenter accuses the reviewer of getting paid by Adobe to write a favorable review, because after all, if it is a favorable review of something he doesn’t like, the reviewer is obviously “on the take.” He wrote:

“#letsbereal — How many free months of Photoshop CC did Adobe offer for writing this…”

Essentially, he’s saying ‘You said something I disagree with, so you must be getting paid.’ If you say anything positive about the Creative Cloud, like this reviewer did, you get attacked (The funny thing was that the reviewer mentioned how he didn’t like the rental model, yet he was still attacked for liking the new Photoshop features and not siding with the angry mob).

I know this all too well.

When Adobe announced their new subscription plan, the day after I wrote a post here simply addressing some of the misconceptions I had been seeing out there. I did a Q&A where I addressed everything from the misconception that you ran these programs inside a Web Browser to the misconception that you have to be connected to the Internet every day to run Photoshop. I was trying to help, since I knew a lot of the answers. Huge mistake.

There are 662 comments on that post. About 656 of them are direct personal attacks on me, many saying, essentially “I said something you disagree with, so I must be getting paid.” The other six were probably spam. I have literally had people emailing me, and coming up to me in person while I’m out on the road with my tour apologizing for the unwarranted public flogging I took. But that’s where we are today. If any one reviews a product of any kind, and you don’t agree with the reviewer for whatever reason, the reviewer must be getting paid because your opinion on this is so obviously correct to everyone, that only a person getting paid by the company could see it any other way than you see it.

Nobody read where I said, flat-out, at this point I wouldn’t recommend the Creative Cloud to photographers. Nobody seemed to acknowledge that I wrote in-depth about having direct discussions with Adobe about my concerns and the concerns of the 70,000 NAPP members I represent. In fact, I wrote “I've given my opinion [to Adobe] to the point that I can't believe they would actually continue to take my calls.” Yet still, I read again and again how my post was “crafted or written by Adobe’s PR dept.” Geesh.

It’s not just Adobe
This isn’t my first public trashing. I’ve had it nearly as bad once before, when I did a post where I said I was going to buy an iPhone. I didn’t review the iPhone. I didn’t tell other people to buy an iPhone. I just said I thought it looked cool and it had the features I wanted, so I was going to get one. I read comment after comment asking how much Apple had paid me to say I wanted an iPhone, because after all anyone that wants a phone different than that they want is obviously being paid off.

It’s Getting Better Now, But….
Well, last week the Creative Cloud products were released to subscribers, and while I was hesitant to even mention it (which is just sad that it’s come to that), I did post on Facebook, Twitter and Google+ that it had been released and I mentioned that my favorite CC feature was the ability to apply Camera Raw as a filter. It’s one I’ve been waiting years for. I’ve begged everyone at Adobe I know, and it’s finally here, and I love it even more than I thought because it’s faster than I thought it would ever be. But I made the mistake of mentioning it. Cue the haters.

For example, I read this comment:

“I’m going to ignore anybody promoting Photoshop CC, Scott – just cannot afford it, so stop teasing us poor people. Will have to be stuck with CS6 for the rest of my life ;-)”

If you have CS3, CS4, CS5 or CS6, a Photoshop CC subscription is $10 per month for the first year. Two cups of coffee. That’s it. If you can’t swing $10 per month, perhaps Photoshop shouldn’t be your biggest concern, but this is just typical of what I’m reading — not just on my posts, but anywhere somebody posts anything positive about the Creative Cloud.

By the way, the old deal was this: Photoshop is $700. Take it or leave it. Now, anyone can subscribe to Photoshop for $20 a month. I think that’s progress (unless you fear the idea of people who don’t “deserve” to use Photoshop will now actually be able to afford it and become your competitors).

The Entitlement Factor
Another thing I read a lot, still, is from people who skip upgrades complaining that Adobe is being unfair to those “loyal customers.” In fact, in that Mashable article, I read an argument from a guy who skips three releases before he upgrades. I’ve got news for you. You’re not an Adobe customer. Let’s test this theory.

Go to Best Buy, ask for the store manager, and complain about how much the new 4K TVs cost and let him know that he’s being unfair to you, his “loyal Best Buy Customer.” Here’s how that might go:

You: My name is Bob Johnson, and I’m one of your customers.

Best Buy Manager:
OK Bob, let me pull up your records here. Hmmmm. I don’t see any purchases in 2013. Did you buy anything from us this year? No? Let’s check 2012. Hmmm. Nothing there either, Bob. How about we check 2011. Gees I’m checking there and I don’t see any purchases from you in 2011 at all. Let’s go back to 2010. Oh, OK, wait….here it is. You bought something from us back in April of 2010.

Me:
Guess what Bob? You were a Best Buy customer. Yup, back in April of 2010. But Best Buy doesn’t consider you a customer any more. Now, I’m sure the Best Buy manager would like to have you back as a customer again in 2013, but buying something back in 2010 doesn’t keep you as a customer entitled to gripe about…well…anything. Customers are people who buy a company’s products on a regular basis. By the way, if you’re still using Photoshop CS5, it came out in April of 2010. Just so you know.

So when I read people whining about how they’re entitled to upgrades and entitled to this and that, I just shake my head in amazement. Maybe I should go to Exxon and complain how I’m somehow entitled to $2.85 a gallon gas because that was the average price of gas back in April of 2010. By the way, that was probably the last time I bought gas at an Exxon station. I wonder if they still consider me their customer?

I know you’re waiting for an Open Letter to Adobe from me
I still get letters each week from outraged people asking why I haven’t risen up to be the “voice of the people” like I did back in November 2011 when I wrote an “Open Letter to Adobe” here on the blog about a policy Adobe had announced (but totally flew under the radar) which had to do with the cut-off date for when users of CS3 and CS4 would be eligible to upgrade to the Creative Cloud. I didn’t know about it until I read it on an Adobe blog, and I called Adobe out on it, asking them to consider giving those users more time, and thankfully Adobe reconsidered their policy and moved the date until the end of the following year. Very fair I thought, but it was your comments that changed Adobe’s mind, not my letter.

So, where’s my letter this time? When I wrote that letter, it was asking for something very simple â” move the cutoff date. This is a totally different situation. This is a multi-billion dollar software company, the 6th largest software company in the world,  re-inventing the way they do business forever. The software industry is changing faster than ever, and the development, engineering, costs, delivery and methodology of how software is created today is in a state of rapid evolution.

This new plan isn’t something Adobe decided on a whim â” this is the biggest change in the history of Adobe, and one that I’m sure has been considered from every possible angle. I’m certain an open letter from me would be accepted as warmly as I would greet Adobe telling me how much I need to charge for my products. There is a line, and me telling Adobe what to charge for their products, is clearly over it. The public is responsible for telling any company what “the right price” is for their products, and the market always determines what that price will be, which is why you see sales, rebates, deals, and price changes on everything from cars to cameras.

You can’t name a concern you have that I didn’t voice to Adobe before their official announcement. I didn’t just write a letter. I sat in front of them, face-to-face, carrying your message forward but there are some things that I just flat-out have no control over, and no right to interfere with, but yet…they are listening.

Look, Adobe is listening
How could they not be? They read every article. They read every forum comment. I’ve forwarded every single email I’ve been sent directly to the executives at Adobe because I want them to hear from the people I represent.

Yet, haters are still waiting for someone, anyone, to mention the Creative Cloud so they can say the same things over and over again that they’ve been saying since the subscription-only plan was announced. Believe me, Adobe’s heard it. They’ve read it. Adobe realizes all the concerns around pricing for photographers and about the whole file access/editing thing if you ever leave Creative Cloud. This subscription-only plan is still new, and like any plan, it can be tweaked, improved, and modified (but it's not going to be reversed), so hopefully now we can take a deep breath and start looking using the new features we've been waiting for.

By the way, posting the same exact thing on every forum you can find and publicly knocking anyone that disagrees with you doesn’t help your cause. It actually makes you seem like a troll or spammer. When you see 300 negative comments but then realize 150 of those are by the same few people making the same point again and again, makes Adobe or anyone else realize “this isn’t as bad as it looks.”

When I did write an Open Letter back in November of 2011, Adobe did respond but it was two months later. Big multi-billion dollar companies are like aircraft carriers — they’re not speed boats — it takes them a while to turn. Give them a chance to digest all the feedback; consider their options, and give them the benefit of the doubt.

Haters — prepare for a shock
One thing that drives me kind of crazy about the haters is that they feel that everyone out there feels exactly the same way they do. They feel like everyone hates this new plan, it’s universally bad for everyone, and Adobe will soon be in huge trouble financially for it. They completely ignore the fact that there were 500,000 Creative Cloud subscribers already in the program before Adobe announced the Subscription-only deal. These are people who felt it was a better deal for them, and for their business, to sign up for the subscription plan than it was to continue the old plan. Well haters, your day is about to get worse, because this news kind of flew under the radar but Adobe just announced that in just a few weeks, more than 221,000 more people jumped on the Creative Cloud subscription plan (That’s 221,000+ in one quarter alone and that was BEFORE the new CC Apps were available for download).

They now have over 721,000 subscribers, and it’s growing at an incredible pace. The fact is, there are a great many people who feel the Creative Cloud subscription plan is perfect for them, for their needs, and there are a ton of new Adobe customers who could never even dream of using Photoshop that are now becoming Photoshop users. That is cool!

I still feel the same
I still feel that the deal isn’t there for photographers yet. But I talk to Adobe all the time, and I know they are considering lots of options and possibilities and I know one day, hopefully sooner than later, I’ll be able to say “Hey, photographers, now it makes sense.” It’s just not yet. No one will ever acknowledge that I wrote that.

But the tide is starting to turn 
A few weeks ago, it was all negative. I just went through the Mashable list of comments (there were plenty), and son-of-a gun the tide is changing. 721,000+ people are already on the Creative Cloud. By the end of the year, it’ll probably be over a million. There are people out there totally digging it, and they’re starting to stand up for it, and let people know what it’s really about and that it can be really great. They’re going to the forums and writing positive things, despite the trolls and haters, even though they will be accused of “Getting paid by Adobe.” Just like I was.

So what am I going to do?
I’m going to move forward with what I’m supposed to be doing — teaching people how to use Photoshop and Lightroom, and by gosh that’s exactly what I’m going to do. I’m tried of arguing about it — I want to get back to using it. I’m going to go back to reporting what’s going on with Photoshop CC; I’m going to talk about the new features, and I’m going help people along their path and I’m going to continue to voice your legitimate concerns to Adobe.

I’m going to ignore the haters, the trolls, and just move on about my business of teaching, evangelizing, and enjoying the coolest software product ever. If you’re coming with me for the ride, I welcome you along with open arms. If this is the end of our journey together, no worries — I understand, and maybe we’ll meet again one day. :-)

Cheers everybody and thanks for letting me get all this off my chest. Now, I just can’t wait for Apple to release that iPhone 5s. ;-)

All my best,

-Scott Kelby

What an amazing day!!!! Over 1,500 photographers (capacity) at the B&H Photo event in person — literally thousands more watching the live stream from literally all over the world — Adobe was there, including the new Lightroom Product manager Sharad Mangalick, who was answering questions all day, one-on-one from attendees at the event — and I’m training alongside Adobe Evangelist Julieanne Kost and The Photoshop Diva herself, Katrin Eismann. What a blast! :)

Lots of learning. Lots of laughs. Lots of Lighting. Lots of Lightroom. Canon was there. Sony was there. Elinchrom, Square Space and Westcott, too (among others). That’s (L to R above): Yours truly, Katrin, and Julieanne during the opening session showing off some cool Lightroom 5 stuff.

I’ll tell the rest in the captions, but all morning we shared Lightroom tips, new features, news techniques, and so on. Then after lunch I did a live shoot, and then passed the images off to Katrin & Julieanne to do some retouching and finishing effects (they wound up doing a Twilight effect).

Above: We had a team put together to work with our model for the shoot. Here’s a shot from backstage with makeup artist Cassi Renee and hair stylist Eric Williams. The shoot was styled by Sophia Batson (not shown here, and darn if I could even find a shot with Sophia in the frame, but she is truly awesome! Fourth time I’ve worked with Sophia — she is wonderful to work with it and very talented).

Above: Our staging area was a small empty meeting room right next to the ballroom where the class was taking place, and at lunch time we did a quick test shoot to test the lighting, and go over with the model what we’d be doing on stage in about 30 minutes from then. That’s photographer David Teng helping us out as 2nd assistant and behind me is photographer Jason Joseph who was our third assistant on the shoot. By the way: I did have breakfast available for the entire crew (anyone that watched last week’s episode of “The Grid” will know why).

I’m shooting a Canon 5D Mark III here (Canon was the major sponsor of the event, so they gave me the Mark III to use for the live shoot. Sweet camera!)

Above: Here’s an over-the-shoulder view of our model Caroline, who did a really terrific job! After a few test shots, we broke everything down; moved it out to the stage for the live shoot in front of the class.

Above: Ya know what’s stressful? Doing a live shoot in front of 1,500 New York photographers. Oh yeah, want to take it up a notch? Standing in the back of the room — Joe McNally. Cue the sweat!

Above: Here’s a Lightroom grid of some of the shot from the live shoot in front of the class.

Above: Lightroom 5 has a feature (which I showed earlier in the day) that lets you visualize any type of cover design, brochure cover, photo book cover , etc., as an overlay right within Lightroom, so I took one of the images; did the retouching myself (more of a straight-up fashion retouch), and did the cover mock-up you see here.

Above: Here’s the un-cropped shot used on the cover, just so you can see it without all the text.

Above: Here’s the view from backstage (behind the seamless, Julieanne and Katrin wait patiently for the shoot part to conclude and then I hand them a hard drive with the images on it for them to “do their thing”). Just one light — an Elinchrom BRX 500 strobe with an Elinchrom Rotalux 53″ Midi Octa Softbox, and David is holding a 5-in-1 Westcott reflector to kick a little light back into her eyes. We’re shooting tethered directly into Lightroom 5, and my live shooting rig uses a utility bar from Manfrotto mounted on a tripod, and then the platform itself and orange USB cable are from Tethertools.com

Above: I’m including another backstage shot so you can see the shooting rig, and lighting set-up a little clearer.

It was a Lightroom love-fest!
Everybody I talked with was over-the-top in love with Lightroom, and there was a great vibe going all day. If you missed the live event, B&H Photo will be posting the entire summit online for free so you can go and watch it any time (as soon as its posted, I’ll post a link here, and over on my Facebook and Twitter accounts).

A big thanks to David Brommer from B&H Photo who put this entire event together (you rocked it, dude!). Plus, thanks to all the wonderful crew at B&H Photo, including our dear friend Manny Steigman (best guy ever!). They did an awesome job!

Also, it was a honor to share the stage with both Katrin and Julieanne who not only put up with my lame jokes, but who both taught me some new Lightroom tricks as well, which is always sweet! Thanks to all our fantastic sponsors, and to everybody who came down to the Javits Center yesterday, and who watched the streamed live event at home. We’re all lucky to be using and learning Lightroom together, and we’re very fortunate to have a partner like B&H Photo who values education like they do, and who makes live events like this possible.

Cheers, and hope to see you all again soon!

-Scott

 

 

 

 

Sorry for the late post, but I was up REALLY late prepping for my sessions today at the B&H Photo Lightroom 5 Digital Photography Summit at the Javtis Center (it kicks off at 10:00 am this morning). I took the shot above (the view from my hotel room at the Hilton Garden Inn on 8th) with my iPhone last night when I got in, and I processed it in Camera+ on my phone (Oppa Kalebra Style). 

I did get to meet up with my buddy, NYC-based photographer Jason Joseph (shown above) at one of my favorite New York restaurants, the incredible Keen’s Steakhouse. Mmmmm. Keen’s. We were hoping this photo makes it into the grainy, noisy hall-of-fame, and I think we have a decent chance at it.

After dinner my brother Jeff (who is here with us in NYC for the B&H Summit too), and I walked down to Times Square and did the tourist thing (sat in the bleachers and marveled at all the giant high-def screens), and I took this iPhone pano of it all.

Look forward to meeting many of you today at the Javits center (if you’re there and you read the blog, make sure you come up and say “hi”). Cheers and have a great Monday!

-Scott

P.S. If you’re not in NYC, you can still watch the event – Here's the link to sign up for the free live streaming.

 

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