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  • Category Archives Photography

    So after I shot the Honda Superbike Races on Sunday in Birmingham, I hopped a flight (well, two flights), up to Kitty Hawk, North Carolina to be a part of Moose Peterson's DLWS (Digital Landscape Workshop Series) "Outer Banks" workshop, which kicked off Sunday night (I'm not teaching; I just came to shoot and hang out with my buddies Moose, Joe McNally, and Laurie Excell, and I had a blast (That's right; I did this morning's sunrise shoot then headed to the airport to head back home). They're still going to shoot sunset today and sunrise tomorrow, but I've got to head back home, see the kids, and then get ready for my Down & Dirty tour in DC (which was sold out last Friday with over 700 people for the day). Also with me was the 'Bad Man' himself, Brad Moore (who used…

    Yesterday I few up to Birmingham, Alabama to spend the day with my buddy Jeff Rease (who we now affectionately call "The Chancellor of Birmingham"), shooting the AMA Racing's Honda Superbike Classic race at Barber Motorsports Park. Matt Kloskowski came along with me, and the three of us spent the morning shooting (some of the shots I got are shown here; click on them for larger views). We had full media credentials, including a Hot Pit pass, but as luck would have it; we only got to shoot for 30 minutes total the entire day, (during the Superbike morning warm-up session), because after warm-up and lunch, a huge thunderstorm moved over the track, which delayed the actual race long enough that I had to catch my flight back home without getting to shoot another shot. We only shot from one area, and for only…

    I'm sitting at my desk one day---the phone rings, and I hear, "Hey, ya Mook; it's McNally." He told me he called to tell me that he was putting together a special week-long small-flash lighting workshop in the amazingly beautiful, lush, tropical island of St. Lucia down in the Caribbean, from July 5-12th. He told me that it would be limited to just a hand-full of students, and each day we'd all be shooting on location, including hands-on shoots on the beach, in the jungle; we'd be shooting all around the tiny island, and lighting everything from mountain bike racers to professional models, and that he was going to just immerse the class in how to absolutely nail location lighting with small flash. He said he'd cover his techniques for mixing flash with available light, how to incorporate reflectors and diffusers, how to work…

    Last week I got an email from a reader in Denver, Colorado who had seen my post about my Indy Racing assignment, and he needed a favor. He was preparing to take his family to Walt Disney World in Florida (It's one of their favorite places so they're regular visitors) and since has shot it so many times he was wondering if I had any ideas he could use for a self-assignment at Disney World. The funny thing was: I had faced that same situation (both my kids are Disney fanatics, and I grew up about 45 minutes from Disney's Main Gate and I started going there back in October of 1971, so I've shot it "to death."). I shared with him a couple of self-assignment projects I had done at Disney, and one I hoped to do in the near future. Anyway, I…

    I finally got around to covering a question that I get asked so often from readers here on the blog, and that is: "What is the difference between off camera flash (like a Nikon SB-800 or SB-900, or a Canon 580 EXII), and a Studio Strobe?" If I have time, I sometimes answer people back with a direct email, but I've gotten this question so many times, I haven't been able to answer them all. So, I thought I'd put together an example to show you my typical response to the question, which is purely my own opinion on the subject. What I usually say is something along the lines of: "Whether you use a small off-camera flash, or a studio strobe, what you get is a bright flash of white light aiming toward your subject." I know that sounds pretty simplistic, but that's…

    On June 24-28, thirty photographers will join me, along with landscape photography legend Bill Fortney, and fine art photographer Joanne Wells, for a photography and digital imaging workshop in the beautiful surroundings of Savannah, Georgia that will change how you shoot and process your images forever. You're invited to be one of those thirty photographers. This workshop, produced by the wonderful folks over at the "Great American Photography Workshops," will combine on-location shoots each day, with classroom time focused on one topic; how to create stunning landscape images. We start each day with a dawn photo shoot at some of the most beautiful shooting locales in the entire South. Then, after we break for a yummy breakfast, we're in the classroom where you'll learn about digital photography, about processing your images in Photoshop, and about how to combine the two to create really captivating…

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