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.


Hi Gang: Once a month on “The Grid” RC and I do our “Blind Photo Critiques” episode where we ask our viewers to submit images for a live critique on the air. When the submitted images are portraits, we often see the same type of problems again and again, so I thought today I’d share a few hopefully helpful things to ask yourself about a portrait image to see if you’re on the right track â” kind of a checklist to mentally take your image through to see if it’s working.

This checklist is short and simple, and certainly not complete, but at least if you’ve asked yourself these things about it, you’ll be ahead of the game. Here we go:

(a) Does your subject look engaged, either with the camera or someone in the frame (or just off frame)?
Peter Hurley has a great staying for this, he says “Are they giving you anything?” This “engagement” from the subject is incredibly important, and without it, the rest of the stuff below, even if you have them all, probably won’t make it without this (unless “e” below works well enough).

(b) Is the light either really flattering or really appropriate to the subject?
That doesn’t necessarily mean soft â” it might mean hard light, depending on who your subject is, whether they’re male or female, and the mood you’re trying to create, but generally the flattering light part is pretty important.

(c) Is the background clean and simple?
If your background is simple for a straight up portrait, your chances for success go way up. This is bigger than it sounds. If the background is distracting, or has very bright areas that draw the viewers eye, your viewer won’t be looking where they’re supposed to be looking, and that’s not a good thing.

(d) Is the subject separated from the background?
In an outdoor portrait, creating some separation between your subject and the background usually helps put the focus on your subject. Try the lowest-numbered f/stop your lens will allow (f/2.8, f/4, f/5.6 â” the lower the number the better), and zoom in on your subject to help create that separation.

(e) Is the subject doing anything interesting?
They don’t always need to be engaged with you (at the camera) or someone in the scene if your subject is doing something interesting to the viewer. Seeing someone doing something interesting is justâ¦wellâ¦interesting!

Again, this isn’t the be-all, end-all list, but the next time you’re sitting in front of a portrait and you’re wondering if it “works,” run it through this checklist and see how it holds up (an ideal time to do this, is when you’re reviewing images during the shoot, while you can still do something about it â” if not, it’s still something to strive for on the next shoot).

Hope you find that helpful, and here’s wishing you an usually awesome, Tuesday! :)



P.S. If you live in the UK, I hope you’ll catch my monthly column in Digital Camera World magazine (link). I’ve been writing it now for about 7-months and having a lot of fun with it. 

Active Lifestyle Photography with Erik Valind
Get up and moving with Erik Valind in his latest class on active lifestyle photography! Lifestyle photography is all about capturing believable moments and showing that ideal reality in an image. When done right it should make you want to jump into the photograph and join the people in the picture. In this class Erik takes you through the basics of planning for your shoot, doing your research, and selecting your gear, and then moves through a variety of locations and activities to demonstrate how it works in the real world. Working with natural light, reflectors, studio strobes, and speedlights, you'll get a good handle on how to tailor your lighting to fit the mood of the scene, so you can capture those hero images showing the peak of action.

Click here to watch the first lesson of this class for free!

Adobe Encore: In Depth with Greg Mulvey
Greg Mulvey has been authoring DVDs since the late â˜90s, and in this course he will teach you how to use Adobe Encore to bring any project to life. Greg will go through the steps on how to create motion menus in after effects, pop up menus for blue ray, as well as publishing the full version of your project to the web.

KelbyOne Live
Want to learn from Scott Kelby, Joe McNally, or Ben Willmore live in person? Check out these seminar tour dates to see if they're coming to a city near you!

Shoot Like A Pro: Reloaded with Scott Kelby
July 14 - London, UK
Sept 22 - Phoenix, AZ
Sept 28 - Austin, TX

The Moment It Clicks with Joe McNally
July 13 - Ottawa, ON
July 15 - Calgary, AB
July 17 - Toronto, ON
Aug 21 – Orlando, FL
Aug 24 – Miami, FL

Lightroom & Photoshop Creative Integration Tour with Ben Willmore
Aug 4 - Kansas City, MO
Aug 6 - St. Louis, MO
Aug 26 – Charlotte, NC

These are just some of the upcoming dates for these seminar tours. You can find the full calendar of events right here, and leave a comment for your chance to win a free ticket to one of these events!

Last Week’s Winner
KelbyOne Live Ticket
– Michael Scott

If this is you, we'll be in touch soon. Have a great Thursday!

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 PhotoBeautyCoach.com, 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 CourtneyDailey.com, check out her coaching website at PhotoBeautyCoach.com, 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, OldCarCityUSA.com.

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 www.photoshopworld.com 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!