Join Me Wednesday Night for 90-minutes of the Coolest Photoshop Tips and Tricks Yet! (and it’s free!)

by Scott Kelby  |  9 Comments

Do you totally love Photoshop tips & tricks? Me too!
That’s probably why our NAPP-a-Thon a few months ago broke records. So much so, that we’re going it again, but this time it’s a “Photoshop World-a-Thon” where we’ll be sharing a ton Photoshop tips LIVE from 7:30 PM to 9:00 PM ET this Wednesday night.

It’s 90-minutes of cool Photoshop tricks to give folks an idea of what it’s like to be at the Photoshop World Conference & Expo (coming up in Orlando on April 17-19 at the Orange County Convention Center).

PLUS, we’re giving away a Full Conference Pass to someone watching live EVERY 10 MINUTES!!!!

BUT, it’s getting crazier than that! We’re giving away everything from hotel room nights in Orlando during the conference to Walt Disney World tickets, to lots of cool stuff from the exhibitors that will be on our Expo Floor.

ALSO: We’ll be running some sweet deals on full conference passes, too so you don’t want to miss any of it!

It’s going to be a blast, so join me and the gang this WEDNESDAY night!

Who: Matt, RC, Corey, Pete, and Me (“The Photoshop Guys”)
What: A 90-minute love-fest of our favorite cool Photoshop tips
Where:  RSVP right here: 
When: This Wednesday (two days from now) at 7:30 pm to 9:00 pm ET
(Here’s a world time-zone calculator: – use New York City as our time zone).
Why: We hope that when you learn all this cool stuff, and get a preview of what it’s like at Photoshop World (we’re each going to preview some stuff from the classes we’re teaching), that you’ll say, “Yeah, this is the year….I’m going!” If you already want to go to Photoshop World — awesome — here’s where you can sign up now (and save $100 with an Early Bird discount on your Full Conference Pass).

Hope you’ll join us there on Wednesday! We’re gonna get tipsy! (wah, wah, wahhhh).



P.S. Can you please invite your friends? Everyone’s welcome and we want to get as many people to tune in as possible. Many thanks in advance. 


It’s “A Bunch of Stuff” Friday (and I made the Top 10. Woot!)

by Scott Kelby  |  23 Comments

Hi Gang: Not really one big topic today, but here’s a bunch of quick stuff that’s going on:

A big thanks to the readers of Shutter magazine, who named me as one the Top 10 Most Influential in the Industry (I came in at #6). I am very grateful to everyone who voted for me, and to Shutter who did a feature on each of the top 10, and I included some caps of their article about me below (here’s the link to the article in Shutter, where you can read the interview and see all the winners, which included my buddy Joe McNally).

“10 Tips for Creating a Successful Portfolio”
Cliff Mautner (named one of the Top 10 Wedding Photographers in the World” by American Photo magazine) was our in-studio guest this week on “The Grid” (our free weekly show for photographers) and this episode is getting a lot of buzz. Our Topic was “10 Tips for Creating a Successful Portfolio” and Cliff was the perfect guest because of his insights into the world of wedding photography. Great episode and if you missed it, you can watch it right below.


The US Navy retweeted my Carrier Shot blog post
When I saw this on Twitter:

“@scottkelby got a once in a lifetime chance – take photos aboard CVN77. This AWESOME photos & blog –>”

I was so excited, and so honored, and just totally psyched!!!! Whoo Hooo!!!!

The Evolution of an On-Location Portrait Session
Our good friend Rick Sammon has a wonderful post today over on his blog called “The Evolution of an On-Location Portrait Session.” The images and behind-the-scenes stuff are terrific, and there are some real learning moments. Also, if you’re already a Kelby Training Online subscriber, make sure you check out Rick’s online classes (they have been really rockin’!).  Anyway, if you’ve got a sec, check out Rick’s post right here:

Above: One of Rick’s shots from his post. Very cool stuff!

Tutorial: How to control the panning of still images and video in Photoshop CS6
Check out this Awesome Photoshop tutorial from our friend (and NAPP Photoshop Guru) Nicole S. Young for people who edit DSLR Video in Photoshop CS6 (and CS6 is perfect for photographers who want to edit video without learning a whole video editing program). Here’s the link: Way to rock it Nicole!!!! :-)

Big shout out to “Weekly Photo Tips” for their in-depth review of our magazine for photographers using hot shoe flash and studio lighting: “Light It Magazine” for iPad (above).

My favorite line from the review? It’s where they said:

“If I could only have one photography publication, it would be Light It, hands down.” Woot!!! :)

Here’s the link if you’ve got a second:

Psyched to see one of my shots from the aircraft carrier make’s
“8 Top Google+ Photographs” list for January 29th!

Here’s the link: (Whoo Hoo!). :-)

Man, it’s be an amazing few weeks!!!!! My feet still aren’t touching the ground.

Thanks everybody for all your support, kind comments, and good vibes this past few weeks. Here’s wishing you a super-kick-butt weekend and we’ll see ya back here on Monday.

Cheers! -–Scott

P.S. Don’t make plans for Wednesday night — we’ve got something fun brewing! :-)


It’s Free Stuff Thursday!

by Brad Moore  |  115 Comments

Peter Hurley – Mastering Headshot Photography
SHABANG! The latest class in the library is Peter Hurley’s Mastering Headshot Photography, but don’t let the name fool you… If you photograph people AT ALL, you need to watch this class. Peter doesn’t focus on lighting or the technical aspects of his shoots, he focuses on the people in front of his camera. Watch as he works his magic to pull great expressions and emotions from his subject, and learn how the smallest thing can make the difference between an okay picture and a great photograph.

Leave a comment for your chance to win a free rental of this class!

Kelby Training Live
Want to spend a day with Matt Kloskowski, RC Concepcion, or Ben Willmore? Check out these seminar tours!

Lightroom 4 Live with Matt Kloskowski
Feb 20 – Arlington, TX
Feb 22 – Atlanta, GA
Mar 22 – Phoenix, AZ

Photoshop CS6 for Photographers with RC Concepcion
Feb 27 – Richmond, VA
Mar 15 – Tampa, FL
Mar 25 – Houston, TX

Photographic Artistry with Adobe Photoshop with Ben Willmore
Mar 19 – New York, NY
Mar 20 – Washington, DC

Leave a comment for your chance to win a free ticket to one of these events!

Cliff Mautner Lighting and Skillset Bootcamp
Want to spend a couple of days with Cliff Mautner in London? This summer is your chance!

When: June 11th and 12th
Where: Moor Park, Rickmansworth, Hertfordshire WD3 1QN
Why: It will empower photographers with the skills needed to obtain a style of their own.

The workshop is limited to 20, and more information can be found on Cliff’s blog. You can send an email to with questions or to register.

Leave a comment for your chance to win a free rental of one of Cliff’s classes!

Nikon Capture NX 2
Want to learn how to edit your photos using Nikon’s Capture NX 2 software? Check out this class from Scott Diussa to see how you can take full advantage of this powerful, yet easy to use program.

And, leave a comment for your chance to win a free pass for this class!

Lightroom 4 Live Ticket
- JessicaD

Photoshop CS6 for Photographers Live Ticket
- KC


It’s Guest Blog Wednesday featuring Austin Mann!

by Brad Moore  |  26 Comments

Photo by JerSean Golatt

A big thanks to Scott for his leadership and for the tremendous effort he puts into designing incredible resources that sharpen artists all over the world…You rock man.

You may know me as a travel photographer and story teller for change… most of the client work I do is in effort to improve quality of life for people in material poverty. I work a ton in Africa & Asia and love to create & shoot campaigns for initiatives like clean water projects, education, church expansion, clean wood-burning stoves and more. I feel strongly that we are called to use what we’ve been given to invest in others and up to last year, I did that mostly with my camera.

In northern Kenya with Paradigm Project, on assignment to capture the experience of cooking indoors over an open fire.

In 2011, I changed sleeping locations nearly 150 times…just about every other day. I loved it — I got to see some incredible things happening all over the world and make friends in some really cool places.

Philemon, my new friend and host in Fiji.

The Need & Dream
At the end of the year, I was sitting at a deli with my Dad dreaming about 2012… how could I use what I’ve been given to broaden my impact? One thing was certain: I wasn’t going to move faster or shoot more… but what if I shifted my focus a bit?

I’ve always really enjoyed enabling others as best I can… being behind the scenes feeding them knowledge and tools (usually geek stuff) to help them to succeed. It’s gotta be my favorite thing in the world. As we sat there, we began to dream about a a whole new way to accomplish that.

At that point, I saw (and still see) freelancers & independent creatives conducting business at home or at coffee shops all over the country… Some people are happy with working from home and others aren’t… but happy or not, lack of access to inspirational people and tools to create inhibits our ability to run with the creative muscles we’ve been given.

For my own career, the single greatest thing that has and continues to enable me is connecting with others. Talking with them. Learning from them. Being sharpened, inspired & encouraged by their complimentary skill-sets.

Years ago, photographers would hang out at the lab together as they developed photographs… there they would build friendships, working relationships and businesses together. It’s there that they would be inspired to spontaneously create, dream new ideas and find food for their creative soul.

In this digital age where we develop images isolated on our Macs and everyone is satisfied with Twitter follows and Facebook likes, what if there were a REAL PLACE, a physical hub that facilitated camaraderie? What if there were a place designed specifically to enable creative people?

I looked and found nothing quite like this… so about a year ago, I decided to put my travel photography work on hold and take a somewhat scary leap of faith into creating what we now call WELD.

Thanks to my cousin Brandon, co-founder of WELD, we had an awesome space in no time. I can remember sitting in the 10,000 square feet of white walls and concrete floors for hours on end dreaming about what this place could be.

The fun thing is, even before launch we began seeing beautiful collaborations taking place. Talented people came out of the woodwork to bring their gifts to the table and help make it happen. We all worked together to dream about the space, build it and shape it… all along the way shooting fun little art projects on the side. We began to discover the magic of being together, of creating together and of constant collaboration.

WELD’s communal workspace aka the bullpen. 

We opened in June and today WELD is a collaborative work & shoot space that exists for one reason: to enable creatives to create. WELD does this by connecting them to like-minded people, equipping them w/ tools and giving them a place to hone their craft within a community instead of alone.

From the moment we opened our doors, people at WELD began to dream with the abilities of their peers instead of just their own — and beautiful things have come out of it.  Member collaborations continue to flow and every day I’m more excited to go in and see what’s being dreamed up.

The Creative Struggle
All these things have been incredible and I’m so proud to be a part of what WELD is and will be but it hasn’t been without it’s challenges. I’m up here writing this at 4:01 AM because there’s a billion things to be done, very few of which directly relate to things I’m most passionate about.

I’m constantly navigating the unexpected, inventing solutions, executing mundane tasks, troubleshooting problems… but something keeps relentlessly fueling my fire: vision.

I see so many people give up when their creative project doesn’t go as planned. QUIT DOING THAT. If you’re project is worthwhile you will always encounter a force against you and you’ll never get anywhere if you don’t passionately stick to your vision.

Don’t give up when it’s tough… by it’s very nature it will be tough. If achieving your goal was easy, someone else will have already done it and it wouldn’t even be vision, it’d be reality.

There will always be Resistance, working against you…to discourage you, to deflate you, to tell you your stupid, to distract you. Don’t accept that. Dominate it.

If Scott had given up on Photoshop when he couldn’t figure out the Pen tool in the early ‘90s, you wouldn’t be reading this. If FedEx had given up when they had $5K left in their bank account, global courier service wouldn’t be the same today.  If George Lucas had given up when everyone told him his film was too wacky, we wouldn’t have Star Wars.

Do I put myself in the same class as these guys? Not for a second. But you know what kept them going and pushed them past the Resistance? Vision. Vision for the possibilities of digital image editing. Vision for the first ever overnight delivery service… vision for a beautifully told story of galaxies and lasers and love.

The WELD Vision
The vision for WELD is pretty simple: to help creators achieve their vision.

Whether that’s a single image, a film or a full-blown business, WELD is a streamlined hub to help artists create something from nothing. It exists to reduce friction in the creative workflow to grow your vision and get you there faster. It’s a place to feed starving artists and rejuvenate the plump ones. To thrust freelancers into previously unchartered frontier.

Above: One of WELD’s fully equipped studio spaces where members have collaborated to create visions like this piece below: 

Created by Chris Titze

WELD is designed to be an environment where the first scene of Star Wars could be conceived, written & shot. Even now, creative businesses are thriving here… we’ve already seen feature length films, international non-profit campaigns, iOS apps and more born at WELD. I just can’t wait to see what’s in store for this place.

I hope and pray WELD will continue thrive here in Dallas but also grow across the country and impact thousands of artists and millions more through their work.   I can’t stop dreaming about the possibilities.  About the ideas conceived, the relationships built, the business strengthened, the stories told and the lives changed through the visions achieved by WELDERS.

Whatever your vision may be, don’t accept not trying… and when you try, refuse to quit. Don’t give in to Resistance… focus on what you were made to do and do it — if you persevere, there will be no end to the beauty you will create.


Update: We are hosting a free happy hour on Friday (Feb 8th) at WELD. We are live screening of one of Kelby Training’s in-studio lighting workshops with Joe McNally (huge thanks to Scott for permission to do so!) Wine & cheese provided. Come out, pick up some studio tips and meet some awesome creative people just like you… hope to see you there.  details here.

Thanks again to Scott & Brad for this opportunity to share — hope to see you at the upcoming happy hour!

- Austin Mann

Learn more about WELD and the artists here.

Keep up with Austin via Twitter & Instagram. And he’d love to hear from you! Shoot him a note about anything at


It’s “I’ve got almost nuthin’ Tuesday” so…watch this short video (plus a quick giveaway)

by Scott Kelby  |  15 Comments

Hi Gang: When I post after 10:00 am, ya know I’ve pretty much got nuthin’ for today, however I do have 100 free passes to watch Ed Greenberg and Jack Reznicki’s classes on copyright, protecting your images and model releases, so that’s at least something, right?

The first 100 people to visit the address below get a free 24-hour pass to watch those classes (Well, technically you would watch any classes on Kelby Training Online for that mattter), but make sure you watch Jack and Ed’s classes first — they are really fantastic, eye-opening, and as a photographer they just may save your butt by protecting you and the images you take.

Hey, I just got word that tomorrow we are releasing an absolutely kick-butt online class on shooting headshots from none other than Peter Hurley himself. I heard from Adam (one of our very talented directors/video editors) this morning and he told me he thinks it is literally one of our best classes ever!  If you’re already a subscriber, make sure you check it out tomorrow when it’s released. If not, what are you waiting for? Here’s that link.

Cheers everybody and here’s wishing you an awesome National Pancake Day!! (Hey, that’s what our buddy William Beem claims today is, though that sounds like a totally made-up holiday. Not a bad idea for a holiday, mind you, but I would have preferred National Pancake Month! LOL!). :)


Well, Football Season is Now Officially Over, and Here’s My End-of-Season Post

by Scott Kelby  |  15 Comments

Well, it’s over, and what a season it was. I’ve had so many questions about mypost-season of sideline shooting (and lots on the use of remote cameras), so I thought I’d answer a few of them as my last post of the season (until probably late July or Early August when football cranks back up again). Here we go:

Q. So, what was the Super Bowl like?
A. It was really amazing! I remember at one point during the game, I turned to my bother who was watching the game with me on the couch, and I said “Man, if San Francisco scores here, this is going to turn into a tight game!” and then he took a bite of one of the sandwiches my wife made for us at halftime. See, gotcha! I used that 49ers shot from last season (vs. Giants) to reel you in and make you think I was there shooting it, and then bam — I pulled a fast one on you.

Q. What??!!You mean you weren’t shooting the Super Bowl?
A. Nope. I watched the game at home with my brother Jeff and his girlfriend. Great game though, especially the 2nd half. After that long power-outage, my buddy Bill Fortney texted me what I called the “Quote of the Week” on Twitter when he said “San Francisco fans killed the power hoping it would clear the scoreboard!.” LOL!!! Still, it turned out to be a great game (and I’m glad Flacco got MPV. He’s one of the most under-rated QBs playing today. With the way the football media loves Tony Romo, I’m surprised they didn’t give it him, even though he wasn’t in the Super Bowl (don’t get me started). Anyway, it was a great game, even just watching it at home. :)

Q. OK, ready for some real questions actually asked by your readers?
A. Sure, Scott’s ready. Fire away!

Q. You’re not going to be talking about yourself in the third person are you?
A. Scott never talks about himself in the third person. Scott’s not like that. Fire away!

Q. [When you're shooting a game on the sidelines...] Do you move around or stay in what spot? And if you’re in one spot, is it assigned or do you stake out a spot?
A. Thankfully, we’re not assigned spots — we’re pretty much allowed to roam anywhere along the sidelines with the exception of shooting inside either team’s bench (for obvious reasons). However, the official team photographer is often allowed to shoot in there, but he’s the only one. We do have to stay behind a yellow-dotted line that is set about 3 yards out from the edge of the playing field, and if you step over it, a security guard or police officer will come over and tell you to move back a bit. How they tell you varies between stadiums and personalities, so it’s best just to stay safely behind that line.

Q. Where do you get those steel safety cables? [to secure remote cameras]
A. We’ve been getting ours at Home Depot, but we just got a line on a guy who does rigging for Sports Illustrated and he makes and sells his own, so we’re ordering some of his. I’ll let you know how they are once we try them on a remote for another sport. Maybe basketball.

Q. When do you use the 14-24mm? Is it for after the game?
A. Usually, it’s for pre-game stuff, like for the player introductions and during warmups. Also, it’s now my go-to lens for floor-mounted remote cameras.

Q. Has TSA ever stopped you or asked to have your carry-on weighed?
A. It hasn’t happened so far (knock on wood).

Q. Wish you would write about how u keep your equipment from being stolen traveling at hotel & game
A. I pretty much keep my gear with me almost all the time. After the game, if I can’t get it back to my hotel, it literally rolls into the restaurant with me. During the game, I keep my gear bag locked, and it gets tethered and locked to something that won’t move easily. In the hotel, it’s with me or it’s locked down too! I have lots of locks and locking cables. It’s a bit of a pain sometimes, but less of a pain then replacing all your equipment. 

Q. Scott, do you prefer the [Nikon] D3s or D4?
A. They are very similar cameras, but the D4 has more megapixels which is helpful if you have to crop in tight on a shot when the play has quickly moved down the field (like a long pass or kick-off return). So the D4 is my main lens, the D3s is my 2nd body. 

Q. Where do you buy those gel-filled kneepads?
A. Home Depot or Lowes (they use them for installing carpet, and they’re worth their weight in gold).

Q. What is the fplate floor mount?
A. It’s a steel plate that sits on the floor and it’s designed to let you attach a Ballhead, so you can mount a camera on top and aim it anywhere you want. I use mine to mount cameras at ground level when the players make their entrance, but you can use them for other sports (motorsports, basketball, hockey, horser acing — you name it). They come from and they run about $55 each. Totally worth it (they’re very well made and thought out).

Q. So what glass are you using for remote?
A. Usually really wide angle stuff down on the field, and for the rig we mounted up at the top of the George Dome  aiming down at the 50 yard line (For the NFC Championship Game), it was a 70-200mm f/2.8 zoomed out to 200mm.

Q. What and where do you use a remote during a football game?
A. I use one during warm-ups; I mount a wide angle or fisheye on the end of monopod and trigger it with a wireless remote. Then the rest are usually just for the player intros, but this time I’m adding one overhead. 

Q. How quickly do you have to get to your gear to collect it before they clean up the game after the player intro?
A. I have literally about 60-seconds. In two minutes that stuff is gone, so I have to literally run and grab it. For the NFC Championship game, I had to on the ground and one mounted to the truss. My buddy Matt Lange grabbed one rig; I grabbed the other; we set them on the sidelines beside a security guard (there goes 30-seconds) and as soon as I turned around they were tipping the truss over on its side. I ran up and as they were walking with it, I unlocked my Magic Arm holders and took off. Speed is the key (and it doesn’t hurt to have a friend like Matt, or you’ll stuff will get lost or run over).
Q. Am I just missing something or you’re using Pocket Wizards without any lights?
A. They’re used to fire the remotes like a wireless remote shutter release which can fire multiple cameras at once with a range of like 300 feet. For the last game, I tried the new Pocket Wizard Plus IIIs and they were terrific. When I got back, we ordered four of them (I had borrowed some for the game). 

Q. Maybe you’ve discussed this before but I’m curious about the cards. Are they provided by the club/organization for which you are shooting or do you use your own? If the latter, do you get them back somehow after they have been downloaded? How does that work, logistically?
A. I normally use my own cards, but at last week’s game they had cards provided for us. After the player intros, a runner takes the memory cards from my hand-held and remote cameras. Then at the half, right at the 2:00 minute warning, they take them from both of my cameras, and then at the end of the game, I go up to the press box and they take two more cards. I have my name on all my cards, and they give them give them back to me once they’re all offloaded.

Q. Are you able to set up as many remotes as you want? Are there restrictions on where they can be and what they can capture? You make it appear fairly simple, but I’m sure it is very intense.
A. You pretty much always need permission, but since I’m shooting for the Falcon’s team themselves, they have a lot more latitude over what can be done, and they have been totally cool about letting me put up remotes (as long as they’re not in anybody’s way, and set up way in advance. Also, I need permission from the Pryo crew to mount stuff on their truss or near their fire and explosions going off, but in Atlanta they have been absolutely fantastic to work with. In fact, earlier this year at the Falcons/Cowboy’s game, the head Pryo tech came over and said, “Hey, if you want to take it up a notch next time you’re here, just get here early and we can do some really cool stuff.” (By the way, that scenario doesn’t happen very often). So, needless to say, I’ll be there WAY before game time tomorrow, and we’ve been communicating via email all week. The only part that is intense is getting all the gear pulled down immediately after the players come up. They pyro crew has to disassemble all that stuff in just a few minutes, so I have to get my gear out of that really, really fast. Outside of that, it’s really a lot of fun.

Q. If someone else has the same remotes, how do you keep from having them trigger your mounted camera?
A. That’s what great about the new PocketWizard Plus III — rather than just four channels (like the Plus IIs), you have like 29 channels (not certain about the number, but it’s a bunch). There won’t be that many folks shooting remotes unless Bill Frakes shows up (LOL!). He shots 30 remotes for SI at the Kentucky Derby. WOW! Anyway, I’m most concerned about the one mounted in the ceiling of the dome; I’ll pick some obscure channel and hope for the best.

Q. Do you have one master trigger that fires all remotes together, or a separate button for each camera? Any issues with battery life during the game?
A. I had two triggers — one master that triggered all the remotes during player introductions (that one is mounted on top of my handheld camera, so when I fire it, it fires the other three automatically). The 2nd trigger was for the one mounted up top in the Dome. I didn’t fire it until something was happening near center field, and I just had to push the “Test” button on it to fire it. I had fresh batteries in the dome-mounted camera with a back-up battery and it made it through the entire game (but it was pretty low). Ideally, I’d have a power adapter for a remote that would be left “live” for hours before the game, during, and an hour or so after. So, we’ll just say in this instance, I was lucky to have two batteries (one in the camera, one in the battery grip).

Q. Using that much gear in a quick and efficient manner is impressive.
A. OK, I had never actually ever used that much gear, and I can’t say with a straight face that I used it in a quick and efficient manner (outside of the player intros). I covered the player intros from four different angles and it worked out pretty well. I wanted to do something different for the Falcon’s photo crew —- They’re all really good shooters and I’m not sure they need another shot of Tony Gonzalez catching a pass in the end zone, so I tried to bring something different with interesting perspectives for them. 

Q. Just curious… you have help with you, an assistant maybe? That’s a lot of work for one guy.
A. I didn’t have an assistant during the game — all the sidelines passes were already taken, but it absolutely would have made a big difference, and I would have wound up using more remotes during the game (in the end zones and such), if I had an assistant. It would make a big difference. The Falcons did hire a great guy(Kevin Liles) to help us rig the remote in the dome and on the truss, and he was a big help of course, but his work was all before / after the game. 

Q. Any hassles transporting your gear?
A. Not really. We put all the remote gear (except camera bodies and lenses) in a rolling Pelican Case, and I check that bag as luggage, locked with a TSA-approved lock. Sure enough, they opened it and checked it (they put TSA-tape over it to let you know they checked it). Then I carried on my camera bag, and a backpack on the plane with all the cameras and lenses.

Q. I know you likely shoot hundreds if not more, shots per game. Crazy question but how many are tossers would you say percentage wise?
A. There are a LOT of tossers from the remotes, because there are so many test shots, so I won’t count those. For regular game shots, I shoot around 1,200 to 1,500 shots, and if I get 75 shots that I would upload to the wire service I shoot for (or to the Falcons in this case), I’m pretty happy.

Q. Care to share your camera setting for capturing action shots?
A. Absolutely. I usually shoot in Aperture Priority mode and I always shoot “Wide Open” so f/2.8 if the lens allows, or f/4. My goal is to make sure I shoot at 1/1000 of a second or faster, so for day games I can leave my ISO at 100 or 200 most of the time. For indoor or night games, I’m between 1,600 and 3,200 most of the time. Occasionally 4,000 ISO, but it just depends on the light.

Q. What about the exposure [for the remote cameras]? Are you using Auto or Manual settings? I see those fireworks form left and right… I think they will affect your picture and  change the exposure. 
A. Yeah, I learned this one the hard way, and Manual is the way to go so it doesn’t change with the fire. It does get brighter (and yellower) when the pyro goes off but only by a stop or so, so it’s not bad. 

Q. Were they any “De-Motivational Poster” moments in the Post Season?
A. Sadly, there always are. We’ll wrap things up with another tender moment from my series of posters. Until next season my friends!


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