Category Archives Guest Blogger

My Three Inspirations
If you had told me ten years ago that I would be making a living by traveling internationally 7 months a year while taking photos and making films, I would have laughed at you. If you had told me I would start a company called Resource Travel to share inspirational travel visual stories, I would have called you crazy. But that’s exactly what I do. And every day I try to figure out how it all happened.

Shaban, the Shisha Man Of the Wadi Rum desert in Jordan.

School children beg for money outside of a temple in Cambodia.

A man pauses for a reflective moment in the Taj Mahal, India.

I mean, I didn’t even leave the United States until I was 27 years old. Traveling and experiencing the world had mostly never even crossed my mind. I wasn’t against the idea at all, I just hadn’t had that “wanderlust” feeling since childhood, when I would thumb through my father’s National Geographic magazines.

A woman sweeps the streets of Oropesa Peru in the afternoon light.

A group of children sit on their boat outside of their home in a floating village on the Tonle Sap River in Cambodia. 

A boy shows he can write his ABC’s at a school in India.

But that all changed when I found the first real inspiration of my life. Photography. Even at 27 years old, and I had never really found anything that I was passionate about. I signed on to photograph around Peru with a company called The Giving Lens. This would be a scouting trip to work with an NGO in Oropesa, Peru called Picalor House. That trip would be the start of what would become the second real inspiration of my life. Travel. When I hit the ground in Peru, I noticed that looking at the world through my viewfinder made me see things that I had never seen before. I saw smiles, happiness, tears, and pain on the faces that I would encounter. And I felt compelled to capture those faces through my lens. And surprisingly, even the people with the tears and pain would let me take their portrait. I learned that even if someone was having a bad day, they would still let you into their world.

Lek Chailert often sings Thai lullabies to her elephants to help them fall asleep after a long day at the Elephant Nature Park. 

A Monk walks through the Tep Preah nom Pagoda while a girl and a dog play in the humid mid morning Cambodian air.

A boy stands outside of his home in a barrio in Granda, Nicaragua.

I would talk to people and try to get to know their stories. Every face has a story to go with it, and I was determined to hear them. Even if I never tell the stories when I post the photos, I will always remember them, and that is what inspires me to approach the people I meet on my travels, because I never know what their story is unless I ask them.

A monk enjoys a laugh inside a Pagoda in Cambodia.

A girl laughs on the steps of a mosque in Old Delhi, India.

I quickly became consumed with the idea of telling visual stories through the faces that I encountered on those dusty Peruvian streets. When I returned to my home in San Francisco, California, I couldn’t think about anything but traveling, camera in hand, ready to convey the emotions that I felt being in that foreign land. Soon after, I started leading workshops for the The Giving Lens, and have been fortunate to work with organizations around the world, helping to tell their stories and to highlight both the pain and successes that come from their tireless efforts.

An old merchant woman takes a nap at her stall in Peru.

Young children take a break from lighting off fireworks during the festival of Diwali in Delhi, India

While most of the travel photography you see today consists of beaches, hot air balloons, and people standing on the edges of cliffs, I still believe in also telling the stories of the people who aren’t fortunate enough to live by the resorts or walk down the main roads where the tourist shops reside. I fell in love with telling the stories of the people who make their home country come alive. Sometimes, the stories aren’t always pretty. Sometimes they can be rather uncomfortable to witness. But there is a big world out there, and a very small part of it lives in the tourist towns.

An old man enjoys a cigerette while he plays a local board game in the central square in Al-Salt, Jordan.

A merchant outside of a narrow ally way in Al-Salt, Jordan.

My love for sharing the powerful travel visual stories that I see every day is what led me to start Resource Travel. This has turned into the third inspiration of my life. I believe that, as a community, we can help others learn about the happiness and the pain of the world through our photographs. That is what inspires me to share the world’s   stories. As my friend Chris Burkard once said “If you aren’t sharing your work, then what are you doing?”

A merchant waits for a buyer on the streets of Oropesa, Peru.

A man walks outside of a Mosque in Old Delhi, India.

You can see more of Michael’s work at, and follow him on FacebookInstagram, and the Resource Travel blog.

Enter my world cautiously, for all is not what it seems, and behind every image, there is always more than a single truth. We're living in a world consumed by fear of the truthâ”but is there really such a thing as "the truth" anymoreâ”especially in visual terms? It is fear of the unknown that causes people to judge and criticizeâ”fear of an illusion created by our own experiences and teachings. One individual's perspective may not be the same as another's, because we process and interpret visual stimuli in a variety of ways. Thus, what is reality, if not a collection of diverse perspectives?

Now that I've got the exposition out of the way, allow me to introduce myself. My name is Gisela Calitz, and I like to create worlds that viewers can explore, fantasy realms whereâ”even if just for a fraction of a single secondâ”everything is perfect. These ethereal worlds are my personal attempts at escapism, snippets and daydreams, where anything and everything is possible and dreams can become realities (even if just in print). Sometimes, I find there are surprising amounts of people who share my love for these ethereal fantasies, which is why I do what I do. So, I guess the logical question from here would be, what exactly do I do?

I'm a high fashion advertising and editorial retoucher. Generally, we make a lot less money than our everyday advertising counterparts, but I guess if I were in it for the money I would've been a doctor, or a lawyer. Case closed. I fell in love with the industry at an early stage in my life and have not looked back since. I thrive on working with people who are stimulated by fantasy and all things whimsical in nature, and I strive to highlight these elements in everything I do. Sometimes, I get lost in an ocean of colour and light; sometimes my work feels like a lucid dream, and I don't want to wake up.

Now, I've come to a point in my career where I've embraced the parallel between what I do to make a living and how I live life. Like life, the journey of an image through various editing suites (whichever they may be), involves a series of choices, each of which has its own set of consequences. And just like life, these choices need to be approached with a certain degree of forethought and caution. In the end, tools like Photoshop and Lightroom are just that: tools. But it's the human on the other end of these tools that is instrumental in the progression and, eventually, the execution of a quality image. I'm that human on the other side.

In Photoshop, as in life, there are a myriad of approaches at your disposal. There are technical retouchers and artistic retouchers, just like there are doctors and surgeons. Sure, they may use some of the same tools, but the end results are often vastly different. In my line of work, experimentation is crucial in discovering the ideal creative process. That's why I've spent a large deal of my life experimenting. I've chosen to do things my own way, opting for a totally unique routeâ”the road less travelled, so to speak. The results⦠well, I think they speak for themselves really.

It all began a few years ago when I was studying design and working as model. I approached a photographer I admired to do a design project on his work. No holding back. We began collaborating on more projects, and so my love for retouching blossomed. From there, it developed so rapidly it consumed me entirely.


Hey, I’m Courtney and I’m a commercial beauty photographer located in Los Angeles. I was pretty excited when Brad asked me to do a guest blog, simply because I respect the Kelby Blog and its audience so much.

A bit about me: I’m originally from The Detroit Suburbs. I started my photo business in 2004, in Pontiac, Michigan. After about two years of fighting my way in a small competitive market, I set my eyes on a bigger prize. I had to move to a bigger market! NYC or LA? My sole determining factor of choosing LA, was its zillion sunny days and lack of snow. I know SO many of you feel me on this. Now I’ve been in LA for nearly 9 years and I’ve fine-tuned my studio down to one genre: I shoot beauty editorials, campaigns and e-comm for health and beauty companies. Basically, I get to work with gorgeous women all day and make money doing it. Not a bad gig at all!

Cosmopolitan Mexico

Allure Russia

Campaign image for a Fashionable health and beauty line

Back a few years ago, I had an opportunity to teach on the photography tradeshow and workshop speaking circuit. It was exciting and scary all at the same time. But, I had 10 years of professional work under my belt and many war stories. After years of fighting in the trenches with contracts, NDAs, and painful negotiations, I felt I was ready to guide others on how to close deals and how to not be taken advantage. That’s when I launched, my coaching site. Over the last few years, I’ve seen a trend in the most common topic I deal with in Skype sessions, “Licensing Images for Commercial Use.”

With the rise of social media, and specifically Instagram, the business is changing rapidly. But I always advise photographers to stay true to their business, aka don’t be a sellout.

Let’s say you are a portrait photographer in Omaha, Nebraska and you are contacted by a large mall store chain. Their email fluffs your ego as they gush about an image on your website. They would absolutely love to “feature” you in their next catalog, campaign, mailing; pick your poison. For this use, they will offer you a gift card, exposure or maybe a t-shirt. I use this as an example, simply because I see and hear of this scenario weekly.

This is where it all begins, This is where you set yourself apart from the others. Time to negotiate.

Temptu Cosmetics

Personally, I would never move forward with a large company offering me payment in something so small, for so something so large. It’s insulting, and exposure equals nothing. A t-shirt costs them most likely $2. I have YET to see exposure work in the real world. And you’re worth more than $2.

Before you even consider to think about what the use means to you and your business a few questions MUST be asked.

I'll walk you through the process of getting the information you need to make it worth your time for someone else to benefit from your hard work. Because no one should profit from your work, unless you're profiting too!

Footnote: Im just barely touching upon this.  These are the questions I advise my clients to get answers to before I Skype with them. 

I CANNOT stress this more. Do not negotiate until the Copyright Office have been paid $35 and it’s processing your claim. It takes 10-15 minutes and will save you a huge nightmare later! Also, if there are clients in this photo in question, look for your release STAT.

Second: Now what to ask the buyer?
You need to rank the client in order to set your fee - Are they are an ad agency, editorial, direct client, mom and pop shop, individual, etc.? I’m much more flexible for an upstart or mom and pop shop than I am for a large company. If they have a giant budget, they should have a proper budget to pay for use. I was recently contacted by a well known dentist in Detroit to do work for his billboards. Five billboards along the side of every major freeway in the area. $150 budget. Thanks, but no thanks. The way I see it is, if someone is going to market and make money off my images, I should be compensated fairly. I took the time to explain my estimate and why I charge what I do. (Every opportunity I see to educate a client, I do!)

Third: Licensing
Ask how exactly will the image(s) be used. Here are factors to consider when estimating:

  • What is the use?  Print Ad, trade ad, packaging, direct mail, billboards, Brochures – single use or multiple use?
  • What is the circulation? Local, state, regional, national, international?
  • What is the frequency?
  • What is length of the desired license? 1-2 years max Is advisable
  • Would they like the image to be used exclusively by their company (i.e. can you sell it to others or do they want to be the only entity using it?)

Now, take the time to consider all information given, and to think about where you’d be comfortable. Knowing what you know now for use, that sweet t-shirt that was offered might seem really uncool. So many companies are not very transparent when it comes to facts. They are hoping their charm will woo you. Look away from the shiny red t-shirt, and focus your attention on your worth.

Draw up a proper estimate. I use BlinkBid for my bids and invoicing. You can also use Quickbooks or other invoicing programs. What makes BlinkBid my personal choice is it has a built-in Bid Consultant that gives a range for pricing based on many of the questions asked above. Sometimes on larger bids, it really helps me find my target. Also, searching stock archives and seeing their pricing can help give you a gauge of where you should look to put your decimal in the amount. Note: do not look at Microstock for pricing. Microstock is sold over and over, and isn’t exclusive. Getting estimated rates there will only make you sad.

I promise I’m not sponsored by them. It has just been a lifesaver!

After you determine what your pricing should be, issue a PSD estimate and send it to the client. Use a friendly, but professional tone, explaining your rate and the terms of use. Ask them if they have any questions. Often they will come back with either a, “This sounds great!” or a, “This is outside our budget.” If it’s outside their budget, respond with, “Let me see if I can work within your budget. What is your range for this placement?” and most certainly they will come back with a dollar sum that is much more then that t-shirt.

It is now up to you, if the price is right for your business.

Warmest regards and Happy Bidding,
Courtney Dailey

You can see more of Courtney’s work at, check out her coaching website at, and follow her on InstagramTwitter and Facebook. If you’d like to learn from her in person, you can register for her upcoming Las Vegas workshop, Wondergloss! Use the promo code GLOSS to save $200 when you register!

The views and opinions expressed in the Guest Blog series are those of the authors and do not necessarily reflect the official policy or position of Scott Kelby or Kelby Media Group.

Pete Collins here filling in for Scott…

I don’t know about you, but when another photographer says to me… “You have to go there!” I tend to nod politely while internally I am thinking… yeah right, it can’t be that good. So for a couple of years now I have heard about Old Car City outside of Atlanta, and how great it was, but I was secretly like “it can’t be as good as they say.” Well, I am here to admit that Old Car City is definitely worth putting on your bucket list. According to the Internet, which only tells the truth, this place is ranked as the third best junkyard in the world behind the Russian space junkyard, and the Airplane boneyard out in Arizona. (of course I don’t know who rates these things or what is the criteria, but at the end of the day this place is pretty darn impressive.)

Fancy sign Fancy spelling. Photo by Clint Brownlee
The inner lair of Dean Lewis... Photo by Clint Brownlee

Located about 50 miles outside of Atlanta in White, Ga. (Yep, way too easy to make inappropriate jokes so let’s move on.) This dixieland automotive museum spans 34 acres with over 4000 American cars covering over six miles of trails. The thing that makes it so unique is that the cars are becoming one with the environment… some of them have been around since 1931 and have been reclaimed by trees, grass and bushes. I could give you a lot of facts, etc… about the place, but I am going to write this from my perspective as a photographer and first time visitor and hopefully you will enjoy the images and the insight with the end result being that you having a new place added to your bucket list. Be sure to check out their website,

The Journey
I drove down from Chattanooga with my buddy and fellow camera junky Mike Daniels; he did the navigating. I tend to get distracted and miss places, so I was glad he was there to guide us. I was then extra glad that he came along since Dean Lewis (the owner) only takes cash and I conveniently forgot my wallet. :D The cost of entry is $25, and Dean is happy to direct you down the road to an ATM if you forget. Dean was busy doodling on one of his cups and talking to a gentleman named Clint Brownlee when we arrived. Dean is what I like to call “a mess.” Now for those of you not from the south the term “a mess” can be used in a variety of ways depending on the tone/inflection and twinkle in the eye of the one speaking. This particular use of the term means “someone who is unique and inspiring, and yet maybe a bit strange.” Sort of like that uncle that you hope will come for Christmas and bring his amazing set of fireworks, but then you spend the whole time trying to not let him drink too much eggnog before he goes out to light them so he doesn’t lose yet another finger. :D (I hope that makes sense… someone you want to watch, just to see what he will do next.)

Clint Brownlee is another one of use crippled with the photography bug and is responsible for putting together the Old Car City blog, and he happens to follow Scott and our crew, so he was able to vouch for me with Dean. Actually, Dean knew of our group because last year at Photoshop World in Atlanta we had a workshop come out, and then Bill Fortney has done a class out there. I told Dean that I was Scott’s boss… but I don’t think he bought it since he then tried to charge me double. :D Make sure to check out Clint’s blog. Clint volunteered to show me around the place… which is a huge undertaking… only 34 acres… meh, we should be done in no time. As we started out, he shared with me that he and a friend of his had been coming out here multiple times a week when they first discovered the place and I now understand whey.

To get a true feel of the place, you need to appreciate this new installment that Dean has placed near the entrance to the cars. Yep, that is pretty creepy. Larry Becker titled it “Youth Springs Eternal!”

Dean says welcome! Don't mind the dolls!

Once past the baby dolls, it became sensory overload… It wasn’t a matter of trying to find something to shoot, it was trying to narrow your focus so that you could actually not spend the entire day just at the front of the place. You know that feeling when you come across something so neat and cool that giggles sneak out spontaneously? It was at that point that I felt like Roy Scheider in Jaws… “We are going to need a bigger boat!” We were going to need a longer day and more energy to be able to take it all in.

Clint was doing his best to be a tour guide, but at a certain point I just needed to play, and so I asked if I could take off on my own to wander around with my camera. It was early morning, hot, humid, wet and I didn’t care… I was in heaven. How good a place is it? I don’t know about you, but I hold my breath when I take a picture, and at one point I realized I was really out of breath from taking too many pictures back to back… it was such a target rich environment. Think of it like a giant easter egg hunt with 4,000 golden eggs.

The old Old Car City office
Just past the baby dolls, the fun begins
A photographers playground awaits
Wonderful mixture of man vs. nature

Let’s talk about my gear and my approach for the day.


Hi everyone and happy Monday! Corey Barker here filling in for Scott today because he is on vacation and Brad “The Beard” Moore asked us to post a little something. With Photoshop World coming up in a few weeks I wanted to share my thoughts around what used to be one of my most favorite parts of the event and that is the Guru Award competition. (I say used to because I can no longer enter, I actually help judge them now.) Anyway in case you are unaware, the Guru Awards is a contest open to all Photoshop World attendees who can submit images in a number of categories like Commercial, Retouching, Artistic, Photography, etc. These images are then judged by a panel of experts and then the winners are announced at the event. The reason I think this is such a great thing is because where I am at today can be somewhat attributed to winning a couple of these very awards.

Long before I was an instructor for KelbyOne and Photoshop World I was a regular NAPP member and had attended several Photoshop World events. When I first heard about the Guru awards I was rather intimidated because I did not think my work was good enough to win. However one year I found a piece I had done and decided to just submit it to see what would happen. Besides it was free to enter so what was there to lose? Well it turns out that image ended up getting me recognized as a finalist in the Artistic category. Suddenly my confidence got a little boost. So the next year I was determined to do better so when I registered for Photoshop World I immediately started playing around with images to submit. After coming so close the last time, I just had to see what I could do for the next one.

Why was I so motivated? I wasn’t getting paid. Yeah there is the glory of winning but I also realized I was getting something worth more. It is because competition breeds creativity. It wasn’t necessarily the award itself that was the goal, though having an award is certainly great for marketing purposes. I was once told by one of my instructors in art school to always enter art contests. Big or small, local or national, enter as many contests as you could handle because selling yourself as an award winning designer gave you and edge over others but later I discovered it was more than that. I started to realize that I was becoming better and better at Photoshop and I found ideas were coming to me a lot easier than before. The result of pushing myself to do something different, that no one had seen before. I was having fun!

A couple years later I ended up taking home the Guru award in the Commercial category. I was getting recognized for my work at a major industry event. Which was pretty cool, but I was also getting something much more valuable, I was advancing my skill set. I continued every year to enter not just the Guru awards at Photoshop World but also other design competitions until, in 2006, I was hired to be an instructor for what was then the National Association of Photoshop Professionals as well as an instructor at Photoshop World. It was a dream come true!  I found out later that they had remembered me winning a couple of Guru awards and that was how my name stuck out more than others for the job.

So the moral of the story is to push yourself to be better than you are. There’s is always more to learn. Always try to show the world something it has never seen before, or perhaps to look at something in a different way and enter as many design contests as you can. Not just for the industry recognition, which is great, but because the nature of competition will enhance your skills and make you more creative.

If you are in fact going to Photoshop World this August in Las Vegas you still have time to enter the Guru Awards. The submission deadline is July 20, 2015. Go to for more details.

A Creative Exercise
I want to leave you with a little creative exercise that I do often that helps me keep my creativity alive and also presents problem solving scenarios. It’s called the 30-Minute Composite. Choose 2-4 random images in your library of photos. Then give yourself just 30 minutes to come up with something cool. You can only use the images chosen beforehand and give yourself an assignment like a movie poster or a package design, or whatever. The key is to stick to the time limit. By limiting resources like the number of images and the amount of time you are forcing yourself to be creative in a pinch. This will condition your mind to come up with creative solutions. Now you will not succeed every time. Many times I have gotten to the end and had nothing to show but I may have gotten a better understanding of the software or how to approach something the next time. We can learn from failure as much as we can from success. Try it and see what happens. I do this exercise at least once a week to keep my wheels turning. It beneficial and it is a lot of fun! Have a creative week!

Editorial Note: Scott’s taking some time off from the blog, so he’s asked Brad Moore, Corey Barker, and Pete Collins to take over for a few days. Thanks for checking out Brad’s post today, and come back Monday to see what Corey has for you and Tuesday for a post from Pete!

Red Rocks Amphitheater… It’s one of the most iconic concert venues in the US, if not the world. It was on my list of places where I wanted to see a show during my lifetime, and thankfully I got to do that and more this past weekend! Here’s a rundown of what happened.

A few years ago David Carr, drummer for the band Third Day, started getting into photography. He found the Kelby videos and books, and through those found some of my concert photography and saw that I had photographed them before. He reached out to me to invite me to shoot an upcoming show of theirs, and since then we’ve been buds! During that time, I’ve had the opportunity to photograph them a number of times, including at their sold-out Third Day & Friends show at Gwinnett Arena in Atlanta last year.

This year they decided to do another of these shows, not just in Atlanta, but also at Red Rocks. As soon as I found out about it, I contacted the band and told them I’d be happy to come out and cover this momentous show if they wanted. Thankfully they agreed, and out I went!

As soon as you arrive, you realize this place is just breathtaking (especially if you’re going up and down the stairs a bunch)! The band took the stage for sound check, and I wondered around snapping shots without getting in their way. Over the years I’ve learned that the stage is not just a performance space, but it’s also a workplace for the band and their crew. As I am their guest, I have to be very respectful of their space and make sure I’m not doing anything/going anywhere I’m not supposed to. Now that I’ve had the opportunity to cover their shows a number of times and gotten to know the crew a bit, this becomes easier to navigate. But if it’s your first time working with a band, you want to tread lightly and triple check with the crew before doing anything.

One reason you want to make friends with the crew (besides just to be a kind, decent person) is if you want to set up a remote camera on stage…

This is a Canon 5D MkIII with a 14mm f/2.8. On top is a PocketWizard Plus III, and it’s all mounted to a Manfrotto 244 Variable Friction Arm with Camera Bracket and Super Clamp. The clamp goes around the rigging for the lighting, then I positioned the rest of the arm and camera accordingly. Once everything was in place, I tightened it down and secured it with zip ties and a safety cable. Because of the wide variation of light, I set it to shoot bursts of three bracketed shots: two stops under, even, and two stops over. Auto ISO, aperture priority at f/5.6 (just for depth of field/focus safety), evaluative metering. I also focused the camera, then switched it to manual focus so it wouldn’t be focus searching during moments of low light.

Because of the size and uniqueness of the venue, I wanted to set up a remote camera at the top/back as well (also so I wouldn’t have to be going all the way up and back down throughout the show and missing up-close moments).

This is the same setup as on stage, but with the 8-15mm f/4 fisheye lens at 15mm, also set to f/5.6. The fisheye allowed me to capture the full rock on the left side of the image all the way over to the stage on the right, as well as some of the landscape beyond that, which you’ll see later. I triggered both of these remotes with a third Pocket Wizard Plus III that I kept with me and fired by hand instead of putting it on one of the cameras I had on me. I did it this way because the moments I would be shooting with the cameras I had on me wouldn’t necessarily be the moments I wanted to capture with the remote cameras. The remotes were more about the crowd than the stage, so I had to wait for moments where the crowd was lit up and not just the stage.

After sound check, there’s a good bit of time to set up the above remote cameras, chill, and grab food before the show starts. Of course even the dressing rooms in this venue are amazing because the venue is built around the natural rock formations!

The first half of the show was the “Friends” portion featuring Warren Barfield, Peter FurlerPhil Wickham, Brandon Heath, and Matt Maher. During this portion, the acts alternated between performing on the main stage and a secondary stage that was set up above the front of house sound area in the middle of the crowd.

To cover the show, I had two Canon 1DX bodies on me set to auto ISO with a 1/250 minimum shutter speed, aperture priority, and spot metering. One had the 70-200mm f/2.8 and the other switched between my new favorite lens ever, the 11-24mm f/4, and the not as favorite but still very useful 24-70mm f/2.8, all shot wide open at f/2.8 or f/4.

After the Friends all performed, there was intermission, so I retreated back to the band’s dressing room to snap some candids of them getting ready.

Just before they took the stage, they took a minute to go sign the iconic tunnel that leads from backstage, underneath the seating area, and up to the front of house sound area…

Pretty much everyone who plays at Red Rocks signs the tunnel, so it’s covered in legendary names. You could spend hours searching for your favorite musicians if you wanted!

With that rite of passage under their belts, the band took the stage for their sold-out show!

As the band performed, I shot from on stage, in front of the stage, side stage, the front of house sound area, and anywhere else I could find a decent vantage point. And all along the way I kept an eye on the crowd waiting for moments where it was lit up, then laying down on the remote trigger and hoping for the best.

I learned a lesson about remotes that are a decent distance away from you in large crowds of people that night… Theoretically every time I hit the trigger, both cameras should have fired, thus having pretty close to the same number of shots by the end of the show. But that was not the case… The on stage camera fired over 3,300 shots, while the one at the back of the venue only fired around 500 shots.

When I set them up, I tested the trigger distance, and it worked from the back of the venue all the way to the stage. But my guess is that once the venue filled up, all of the cell phone and radio frequencies caused interference. Since I was much closer to the stage throughout the show, that remote fired more reliably than the one at the back. Should I do another similar setup in the future, the remedy to this would be to set up another PocketWizard Plus III halfway back in the venue to serve as a “repeater.” This would receive the signal from the trigger, then relay it on to the remote with a stronger signal to ensure it fires reliably.

At the end of the show, the band took a bow, then I ran out to get a shot of them facing me with the crowd in the background.

And that was that! It was an amazing experience, one that I won’t soon forget. A HUGE thanks to the band for bringing me out to the show and letting me have a dream come true experience!

You can see more of Brad’s work at BMOOREVISUALS.COM, and follow him on Instagram and Twitter.