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davem.jpgMy best buddy, shooting partner, travel agent, our Chief Operating Officer, and general all around beloved guy Dave Moser is getting married.

Dave is incredibly blessed to have found a really wonderful woman and she will become his bride tomorrow morning during a beautiful seaside ceremony. I’m so honored to be Dave’s Best Man, and be a part of this very special day, which I predict will be the most heavily photographed wedding in the state of Florida this year, as just about everyone in attendance is a photographer. I predict no less than 122,000 images will be taken during the short 18 minute ceremony (I feel bad for the wedding photographer he actually hired to shoot the weddingâ”every time he presses his shutter, another 70 or so shutters will be going off as well, and probably at least 30 or 40 flash units).

My heartfelt congratulations to my best buddy Dave for finding such a wonderful woman, and for sharing this day with so many people who love him, and wish him and his bride the very best. Good on ya, my friend! :)

I’m already back from Photo Plus up in NYC (up and back in the same day), and I had a really great time. My buddy Mike McCaskey joined me for the day and we trolled the show floor looking for cool stuff.

I was fully expecting that Apple would be releasing Aperture 2.0 at the show (it’s been 2 years since the first version launched), but it was not to be. However, Apple was there with a sizeable booth presence, right up front.

Adobe’s booth was absolutely jammed (as expected), with demos of Photoshop CS3, Lightroom, and Camera Raw.

Epson’s booth was another mob scene, and they had big name photographers signing prints output on their beautiful Signature Worthy Exhibition Fiber Art paper. Everybody was there checking out the paper, and the printers.

We had a 20×20′ Kelby Training Booth where I did two sessions on Portrait Retouching, and a sneak peek at my Photoshop 7-Point System for Photoshop CS3. Peachpit had a booth nearby, and they had the first copies of the book, and then promptly sold out of their entire stock, and they were scrambling to ship some more in. By the second sessionâ”they were already gone.

I liked what I saw over at Think Tank Photo; they had these very interesting modular holster systems where you strap your lenses onto a belt you wear, rather than putting them in a camera bag. I know this isn’t new (other people make these as well), but this is the first time I’ve given it serious consideration. I probably would have bought one but their booth was so slammed packed, I couldn’t get near the gear.

Westcott was there with a really nice, good sized booth, with lights and scrims galore, and I was psyched to see one of my shots on display taken with their wonderful TD-5 Spiderlites. I bought a couple of 24″x36″ black Scrim Jim flags while I was there, and I wanted to check out all their other stuff, but I had to get back to the booth.

The Canon and Nikon booths were huge, and despite their giant size, they were absolutely slammed the entire show. Canon and Nikon both had demo’s going, and Joe McNally was showing off his D3 work over at Nikon (his stuff was just staggering), and Canon had live shoots going on.

Sony had a huge booth, but each time I went by it was kind ofâ¦wellâ¦not jumping. Nice booth though.

Lexar had a booth right up front, and there had demo sessions from people like Rick Sammon and Lynn Goldsmith, among others.

Wacom was showing off their new special edition tablets, and they were in such hot demand that you literally couldn’t buy one. My buddy Mike was dying to pick up one, and even B&H Photo was sold out of them. By the way: B&H Photo was running shuttle buses over to their flagship store three blocks away all day, and every bus I saw leaving the Javits was full.

I did a quick video interview with Scott Sheppard over at Inside Digital Photo, and that will shortly (I’ll post the link when it does).

I saw (and finally got to meet in person), Derrick Story (author, and host of the Digital Story podcast), and he was interviewing Julianne Kost in the O’Reilly booth.

I briefly checked out the Bogen Imaging booth, and knew I had to get out of there, because I wanted to buy just about everything they had. They had some beautiful Octabanks (I use an Elinchrom Ranger kit with a 7′ Octa in our studio and it just killsâ”perhaps the most beautiful strobe ever), and just loads of fun gear. It was lighting paradise.

I saw Eddie Tapp. Everybody loves Eddie Tapp. I love Eddie Tapp (ya know, like a man loves Vermont).

Overall; it was a great show, with lots of traffic, buzz, and my thanks to everybody who came by the Kelby Training Booth, who joined NAPP, and picked up the first copies of my Photoshop CS3 7-Point System. :)

Last week, Epson announced their groundbreaking new Signature Worthy Exhibition Fiber Art paper, and after I wrote about it here on the blog, Jeff Revell (Over at the popular Jeff’s Photo Gallery Blog), did a post (he called it a rant), about Epson’s choice of only offering European paper sizes here in the U.S. (you can read Jeff’s rant right here).

Once we got our hands on the paper (and totally freaked out), I invited Epson’s Dan Steinhardt (everybody knows him as “Dano”), down to shoot a special segment for Photoshop User TV (you know this has to be some incredible paper to do a special segment on it. In fact, we’ve NEVER done a segment on paper, but this warrants it).

Anyway, Dano happened to mention that he read Jeff’s comments and had an “unofficial” response, so here it is in Dano’s unofficial words.

“My understanding is that the paper sizes are not European, but are ISO worldwide standards that are based on the Metric system. It’s also my understanding that Canada and the US are the only two regions in the world that don’t use the ISO worldwide standard, probably because it’s metric, and we like our feet in inches. Tradtional photograpy sizes (8×10, etc.) are all based on the aspect ratio of a view camera, so you could gang up, on a contact sheet, four 4×5 negatives and contact them onto one sheet of 8×10, and then 16×20 was the correct aspect from 4×5, to 8×10, to 16×20, etc.

11×14 is probably the exception, and I think it was based on the 5×7 view camera, but that’s 10×14, so it doesn’t quite work. The majority of people today work in a 35mm aspect ratio (which is 24×36), which means you have to crop to 16×20, or 8×10. There are many people who think the ISO sizes are closer to the aspect ratio of a 35mm frame, and what we see is, an almost equal number of people who like the new sizes, to those who prefer the North American photography sizes. So, while Epson is looking at bringing out traditional North American photography sizes, there are a growing number of people who prefer the new sizes. But we certainly recogize the installed base of pre-made frames, and storage boxes, and while Epson is not getting into the framing business, there might be an opportunity there for somebody.”

OK, there you have it: the totally unofficial take from Dano. Hey, that’s good enough for me.


Here’s one more for this week’s DLWS workshop in Cape Cod.

I have to say, the DLWS experience is really like no other. Although it’s absolutely a first-rate, professionally produced from top-to-bottom workshop, it somehow maintains a really fun, “you’re one of the family” feel, that is really unique to them. It takes the whole workshop to another level, and it reminds of the same feeling you get at Photoshop World—where there’s this buzz that runs through the whole event.

I have to give the credit to Moose Peterson and his organization, because from the moment you walk through the workshop door, you know that they’re really passionate about what they do, and how committed they are to making sure you get the most out of the workshop. My thanks to Moose, Sharon, Joe McNally, and Laurie Excell for their hospitality, and for sharing what they’ve learned so willingly with us all. :)

Today I’m up in New York City for the PhotoPlus Expo, which starts today and runs through Saturday. I’ll be doing a few sessions in the “Kelby Training” booth on the show floor today, so if you’re up in NYC for the show, make sure you stop by and check out my portrait retouching sessions. , and I’ll be checking out the latest gear, and reporting back on anything really slick I run across. I’ll be dangerously close to B&H Photo, so I fully expect to come back with a lighter wallet. :)

Now, onto some Thursday News Stuff:

  • Derrick Story has a great interview with Photoshop Elements Product Manager Mark Dalm (who is really a terrific guy, with a really engaging personality—the kind of guy you’d hope was managing a product as important as Elements), over at this Digital Story Podcast, and if you want the full scoop on what’s new in Photoshop Elements 6, make sure you check this out (click here).
  • Our man Corey Barker (The Photoshop Lad), will be teaching some sessions at the Voices That Matter Web Design Conference coming up next week on Oct. 22-25, 2007 at the Grand Hyatt in San Francisco. Corey is a brilliant teacher (if you’ve ever seen him on Layers TV you already know that), and he’ll be teaching sessions on a number of different topics, and the whole conference looks like it will be just an amazing experience. Click here for more info.
  • If you’re interested in photography copyright issues or photography and the law, you’ve got to listen to episode #71 of “The Digital Photography Show,” as it features a fascinating interview with Carolyn Wright, The Photo Attorney. Here’s the link.
  • Don’t forget; I’ll be in Tampa on October 30th for my only Florida stop this year on my “Lightroom Live Tour.” It’s $99 for the full day, or if you’re a NAPP member, it’s only $79. I hope I’ll see you there (here’s the link to what I cover in the class).

That it for this morning. More to report tomorrow. Have a great Thursday everybody! :)


Thanks to msacks and wade who both posted comments asking if they could see the “before” untouched shot of the house image (shown above–click for a larger view), to see how the Seven Point System was applied to create the final image posted yesterday.

I also think it’s helpful to see the “before” windows (the open windows I covered), and the large truck and the DLWS van on the sides, which I had to clone out, though the edge vignette effect (which is also included in the Seven Point book, even though it’s not one of the “Seven Points”), did help to minimize distraction around the edges of the image, too.

Thanks again to msacks and wade for the suggestion. :)