Photo by Casey Cosley

(Editor’s Note: Some links to artist websites may contain artistic nudity)

The Hidden Blessing and Stigma of Failing
Just today I realized that I have been using Photoshop for half of my life. I remember being 16 and unaware at how fortunate I would be to discover Photoshop! I was in high school during a class I took for computer animation. It was an elective and one that allowed me to come across Photoshop while fiddling around with the programs on the school computer. Notably, it wasn’t even part of the curriculum and I was cheating on another program just to go on dates with Photoshop.

Photo by Djinane Alsuwayeh

Fast forward to today, this love affair with Photoshop has consumed me whole. Charles Bukowski wrote in part, “Find what you love and let it kill you. Let it drain you of your all…” The end message being the idea of being totally immersed in what you love, far outweighing partaking in what you’re not passionate about.

Photo by Bella Kotak

Being wildly immersed in the pursuits of your passion, there comes many a time where we have to face the ugly face of failure. My beginnings were the perfect backdrop for my message. It started in school, a place where failure isn’t really celebrated. It’s precisely why my level of growth happened away from school entirely. As we grow up, we’re taught that getting an A+ is sought after, and that failing is a terrible thing. Anytime you make a mistake, it’s looked down upon and the stigma of failing is one that needs a different light.

Photo by David Benoliel

No one really celebrates you failing in school. They don’t exactly give you bonus points for expressing why you thought a certain way and congratulating you for thinking outside the box. But they should; creative ideas happen in that exact space! Grand ideas are not built on memorization, but creatively thinking outside of typical constructs that we’re so used to.

Photo by Bella Kotak

The Idea Of Failing

It seems as though it is ingrained in us that failing is an inherently bad thing. Even in school, we’re judged by our grades and not our intentions. Not by what we learned from it, but what we didn’t get right. Even in business, it applies. As creatives are already hard on themselves, I want them to know that failure is beautiful and becomes the canvas for igniting better ideas.

Photo by Eric Michael Roy

I was never the brightest student in school. I felt that I always needed to spend twice as long studying something to make a lesser grade than my counterparts. I tried so hard but barely made it into the top 30% of my class. In college, I always questioned every answer but many of them could have been the right one. Granted, you don’t really get any bonus points for critical thinking if the answer is A and not B.

Photo by Alexander Saladrigas

I found out once it was all over that school itself wasn’t for me. Being a perfectionist, I didn’t feel proud of not succeeding to the best of my abilities. I was hard on myself and school didn’t make me feel better. It wore me down mentally and I didn’t feel like I fit anywhere in life, until I found retouching.

Photo by Bella Kotak

A Personal Connection

The problem with how we perceive failure is not being able to grow from it. My mental state truly changed the moment I grasped the idea that failure is actually great. As a retoucher, I’ve been fortunate to network with some outstanding photographers in the industry. What I learned from being around them was how they approached failed shoots or ventures. They truly brushed it off and expressed exactly what benefit they attained from it.

Photo by Anushka Menon

For me, the first huge failure came early. There was a major retouching agency that I wanted to work for. Within a short period of time and progress, they took note of my work and approached me to do a test. Excitedly, I took the opportunity and did my best. I spent the entire night and I felt so proud of what I had produced! My layers were filled with joy I tell you.

Photo by Andrew Fearman

To my surprise, I was told that it wasn’t good enough. What? I was in denial to be honest.

At the time, I was extremely disheartened. I even contemplating giving up as a retoucher all together. I felt like it was my only long term goal and I failed miserably! I mean, I did my best couldn’t they see it? If top talent couldn’t see my talent, then what was the point? Maybe I’m really not that good then. I should quit!

Photo by Hagop Kalaidjian

I had just quit my job to pursue retouching as well, so in my mind, it was all gloom and doom. Yeah, I was being a drama queen, but for me that agency was one of the best.

Photo by Scott Hugh Mitchell

What it did for me was motivate me in improving my own work and being better with my own business. A few years later, it turns out I was more applicable for certain opportunities that even they had failed at. Ha! I was so proud and thrilled that I stepped up in a situation that they weren’t suitable for. At that moment, I realized that failing to that degree was such a gift. It pushed me in achieving a greater height than simply being comfortable!

Photo by Susanne Spiel

At the moment that you do not get something you’ve been aiming for, do not consider temporary failure to reflect on your future and your current worth! Take it from me, stay the course! Failure is truly a gift, one that will bring forth opportunities and growth that you wouldn’t have discovered if you hadn’t failed. You’ll soon learn to celebrate it.

Photo by Michelle Fennel

The Stigma Needs To Change
The reason I write this message is because many creatives are extremely hard on themselves. Even when it comes to inquiries, if a potential client doesn’t accept their rate, they feel they aren’t good enough and deserving of that rate. So many of us are even closed off from being critiqued that we consider it personal attacks. I used to be one of them. If none of these apply to you, then consider yourself lucky. The best way I’ve learned is getting critiqued by my clients. Not being open to that would have put me behind. For many of us, it’s something we need to work through.

Photo by Hagop Kalaidjian

Failure is a beautiful thing. Know that it’s okay to not please every client at all times. Know that you won’t be suitable for every opportunity that comes your way. It’s okay to not succeed at creating your vision for every shoot you do. As long as you focus on what you did wrong, and acknowledge that there’s room for improvement, you should celebrate it.

True growth can only come from failure as an artist. It’s not defined by how many likes you get on Instagram either. There are layers and masks in Photoshop for a reason. Put a few layers on your career and know that it’s okay to delete some as you build the PSD of your life!

Photo by Hagop Kalaidjian

You can see more of Pratik’s work at SolsticeRetouch.com, and follow him on Facebook, Instagram, Twitter, and YouTube.

Howdy everybody. Registration is in full swing right now for the upcoming conference in Orlando on April 20-22, 2017 at the Orange County Convention Center in Orlando. (There will be no Vegas conference this year, as Adobe is taking their Adobe Max conference to Vegas in the same time frame we would be there.) So, come and join us in Orlando (but first, watch the official 1-minute and 7-seconds conference trailer below):

Lots of cool new things this year, plus stuff we introduced last year that were hits, including new instructors, new workshops, new networking events, a very cool party, a Pub Crawl, and a whole lot more!

You can register today at PhotoshopWorld.com and save $100 by taking advantage of the Early Bird discount. Also, if you’re a KelbyOne member, you can save another $100 off the full conference pricing (so KelbyOne members get a total of $200 off ).

I hope you can join us in Orlando this Spring. It’s going to be (wait for it…wait for it…) epic! (you knew that was coming).

Best,

-Scott

P.S. Did I mention we’re going to Orlando? Well  we are. Awwwwwyeah! Come along and learn more about Photoshop, Lightroom, the Creative Cloud Apps, and Photography in three days than you have in three years. Pack your bags — we’re going to O-town!

Hi Gang — and welcome to a totally awesome Monday! On Saturday, I shot with the Falcons Crew (three of the best guys, and lights out shooters, you’d ever want to meet: Jimmy Cribb, Michael Benford, and Lynn Bass) for the NFL Divisional Playoff game between the Falcons and the Seahawks (and the Falcons rocked it with a big win!).

I brought my standard remote camera rig (more on that in a moment), but I wanted to try something new for shooting goal line stands from really down low, which is a remote camera rig (Platypod Pro Max, 3leggedthing Airhed Neo Ballhead) but I did it by controlling the shoot from my iPhone using Tethertools “Case Air” Wireless Tethering System.

The advantage is that I can set the rig down on the ground, and then see a live view of the field from my iPhone. I can change settings, set my focal point, do a time lapse, and even fire the camera all from my iPhone. The images go straight into my phone, so I could share them almost instantly if need be.  Here’s a closer look at the rig:

Above: The Case Air is that little unit sitting on top of my camera, in the hot shoe mount. It plugs into your camera’s mini-USB port (well, on my camera anyway, which is a 5D Mark III), and that’s the whole set-up hardware wise. Then you download the free Case Air app for your iPhone. The Case Air creates its own closed wireless network which you connect to (just takes a few seconds), and then you see what your camera is seeing, right on your app.

Above: The Falcons are lining up for an extra point when I took this shot using the Case Air. It was at that moment that I realized that a 14mm lens is WAY too wide for this task. Needs to be at least a 24-70mm, which is what I’ll try next week. This way, I can keep my 70-200mm ready for a pass to either edge, and the Case Air covers the center of the field (though I’m set up off center here, I won’t be next time).

We’re generally not allowed to lay down in the end zone (kneeling is fine), and the PocketWizard Route that I use for the player intros would work here too. It’s probably more responsive than the Case Air, but without lying on the ground (which I do in rare instances), the Case Air gives you a perfect way to set-up and focus the camera before the play. I can tell you — this is probably the last thing the folks at Tethertools ever imagined this being used for, but I wanted to try it anyway.

PROS: It’s super lightweight; it’s very cleverly designed, and all connects in seconds, and in the studio and for this field test I had zero problems getting it to work. I just hooked it up and it worked. The software is great, and the whole thing is fun, and I can go straight from my iPhone to the Web. Social Media folks for teams would eat this up! Plus, it’s only $149, which is around the price of just 1 of the 2 PocketWizard Plus IIIs that you’d need to fire a remote camera in an environment like this.

CONS: It was never designed for this. It’s really for wireless tethering in the studio or for portraits on location, or for a second camera behind the bride and groom during the ceremony. Because everything’s moving via wireless, the images have to transfer from the camera to the iPhone, so if you shoot a burst of images (like we do in football) you don’t see the results right away — you see a spinning status wheel as images are coming in, so you have to wait a minute to see if you “got the shot.”

Speaking of PocketWizard Plus IIIs
My regular remote camera shoot for the intros, which is usually a no-brainer at this point…wasn’t.

Above: My standard rig (except this was my 3rd camera, so it’s a Canon 5D Mark III — usually a Canon 1Dx). PocketWizard Plus III on top sitting in the hot shoe mount. Connected to my camera’s Remote Shutter Release port via a cable. 14mm lens on the camera (perfect for this); an Oben ballhead (got it from B&H), and a Platypod Pro Max plate holding it all steady.

Above: You can see my small rig over on the right, to the left of that Falcon’s logo, which soon will be spitting out fire and smoke, which is one of the reasons why you need a remote camera — you might burst into flames.

Above: Here’s the view from the camera itself. I do lots of test shots before the players come out to make sure everything’s working. The position seems pretty perfect, and it’s firing off test shots (I can see the little light on the top of the PocketWizard, and I see the image appear on the back of the screen, so even though I’m not down there on the ground, I can see it’s firing.

Above: I have a PocketWizard Plus III with me out at the center of the field to trigger that remote camera; it’s in my Hot Shoe mount, so when I fire my camera, it automatically fires the remote. At least, that’s the way it’s supposed to work, but on Saturday it only fired once — just this one picture above, and it never fired again. I have no idea why. Maybe I knocked the remote as we shifted positions after the cheerleaders came out, and the connection wasn’t solid — I don’t know — but I only got this one shot, which is pretty much worthless. This same exact rig worked perfectly at the Dolphins game down in Miami just a few weeks ago. The shame is — the positioning was on the money (at least I know for next week, right?).

Above: This was taken with my main camera with a 70-200mm — I darkened the scene except where I put that red circle so you can see where my remote camera was positioned. Oh well, it happens.

So, as far as Remote Cameras go, it was a miss and a single. I proved the Case Air can work even in an environment I doubt it was ever designed to work in, but I used a wide lens and didn’t have the one I needed with me. Luckily, I get to try again for the NFC Championship Game in Atlanta next week.

So, that’s a little behind the scenes, and a field report on the Case Air. Here’s a link if you want more details on it (and I give it a big thumbs up overall for an affordable, solid wireless tethering system.

Hope you all have a great Monday (yes, it’s Monday and it’s going to be great!). :)

Best,

-Scott

 

 

Hi Gang and Happy Friday. I wanted to talk briefly about something I see on a pretty regular basis when doing portfolio reviews or even just looking at another photographer’s work. It’s something that really weakens their portfolio, and so in this case, I want to talk about what not to do — and how to sidestep this portfolio mistake:

Don’t put the same subject in your portfolio more than once
Take a look at the portfolio above. Out of the nine images, eight are different views of the same lighthouse. Here’s what that tells me about your work overall:

(1) You’re not a very experienced travel/landscape photographer. Looks like you’ve been to one place — the Oregon Coast. Even if this was a gallery titled “Oregon Coast” people still wouldn’t want to see eight shots of the same lighthouse from different angles. That’s more a project you do in school (shooting the same subject from different angles), rather than a showcase of your best work.

(2) You must really like that lighthouse

If you love lighthouses, that’s great — now put together a portfolio of different lighthouses from different locations — not a bunch of shots of the same lighthouse. Now you’re cooking! :)

In most cases, I would suggest that you avoid repeating the same exact location twice, unless they are very different photos, maybe taken from entirely different vantage points, in entirely different lighting. So, it can work, but when it comes to portfolios, it’s your job as photographer to pick your best shot of that lighthouse, and only show that one.

This goes for shots of people, too 
For example, If you shoot weddings, if potential clients don’t see a wide variety of brides and grooms, they think you’ve shot maybe one or two weddings. That’s a warning flag for getting hired — nobody wants to hire a wedding photographer with what appears to be two weddings under the belt. Same thing with models — If you have 12 shots in your portfolio, and 9 of them are of the same model, and 5 of those are in the same outfit (I see this quite often). It says “this photographer must not have much experience.” Also, it’s just boring. Pick your best shot of that model, and then find more models to photograph and start building your portfolio.

Building  a portfolio of different people, different weddings, different landscape locations or travel destinations takes time. It’s something photographers have to constantly work at — you’ll probably wind up scheduling shoots and doing them just for your portfolio, and that’s OK, but while you’re in this process, avoid repetition as much as possible.

NOTE: An exception to this is high-end fashion, where you’ll often see the same model in four very different outfits from an editorial shoot, or a campaign, but for the most part, this “stick to one image of that subject” is a pretty good guideline to stick by. 

Hope that helped you side-step a little portfolio quicksand. :)

Hope you have a great weekend, and we’ll catch ya back here on Monday!

Best,

-Scott

P.S. This weekend, do you want to learn the “Top 10 Things Every Photographer Should Know on Their Camera?” Here’s the link.  I think you’ll dig it. :)

Painting Portraits in Corel Painter 2017 with Heather Chinn
Turn your photographs into beautiful paintings! Join Heather the Painter as she introduces you to Corel Painter 2017, and shares her tips and workflow to show you how to easily create custom paintings from your photos. Using a Wacom tablet for greater control and a natural brush stroke, Heather starts with an orientation to Painter, how to customize brushes, and how to configure your Wacom tablet for optimal settings. From there she expertly steps you through her workflow as she transforms a portrait photograph into a stunning painting. Whether you are painting for yourself or your clients, you’ll have a great foundation for getting the most out of Corel Painter.

In Case You Missed It
This class is all about photographing kids! Tamara Lackey covers the technical side of working with natural light, reflectors, and her go-to gear, as well as the critical people skills needed to recognize personality types, handle tantrums, and roll with the range of moods your subjects will exhibit. Check out Contemporary Children’s Portrait Photography on KelbyOne today!

I know this is a line that’s probably really expected from me, but I’m gonna say it anyway:

I am so EXCITED!!!

Why, you ask?! Because I just recently got back from spending an amazing week down in Tampa, Florida with the KelbyOne crew filming my new class, and somehow, by the power of the god of lightning and those little greek shoes with the wings on them that make things go really fast, the video has already been edited, made into magic and released!!!

We designed this new class around the one question that I get asked most often when people see my images:
“How are all the dogs you photograph so incredibly well-behaved?”

You want to know the big secret? They’re not. :)

We thought – what a brilliant idea it would be to take a look behind-the-scenes, to pull back the veil and show you what it’s truly like to photograph dogs in real world situations. (And not just any dogs – no, we’re talking extra challenging, extra wild, extra wacky dogs!) The class was an absolute blast to make and, harkening back to my earlier sentiment, I am SO excited to share it with you! Here’s a quick way to get there if you’re dying to see!

I thought – before I get into telling you about all the things I really want to tell you about today – it would be fun to share a few behind-the-scenes shots from the class filming. (forgive the quality of these photos, they’re just iPhone snaps. Because, you know, why would you use one of the 6 or 7 high end DSLRs that were just hanging around within a 10 foot radius of you when you could use a cell phone? HA!!) Oh, and you should be especially excited about that puppy. Because I am.


Now let me get in to what I’m here to talk to you about today:

The Immeasurable Importance of Personal Work

This is a really, really good time for me to be writing this blog post and I’ll tell you why.

In January, everything feels new. I get to start again, wipe away the slate and build everything even bigger and better than I ever have before (of course, I could do this at any time, during any month or any day of the year  – but like the rest of society, seeing January 1st pop up on my calendar usually kicks my butt into gear in a way that any other date on the calendar could only dream of). So all of this being said, in January, I tend to do a lot of dreaming. I do a lot of thinking up big ideas, of making tremendous plans and setting goals that are so high they scrape across the sky. I have all these wild schemes to travel here, to journey there, to chase the last bits of yellow light across faraway landscapes, to follow my heart to shelter dogs across the world. I want to share more stories and give a voice to countless more voiceless.

I guess what I’m trying to say is; I have a heck of a lot of things I want to do. :)

So what’s my point here? When I think about all of these big dreams and adventures, I realize that almost every single one of them wouldn’t fall under the category of ‘commercial’ or paid client work. I suppose that’s the thing about chasing down that flickering light that’s causing such a burning in your heart – its intentions come from a place unmotivated by money or material things.

So, I have this great big pie-in-the-sky dream for this year. And that is to do more personal work.
And when I say ‘personal work,’ I’m talking about the kind of work that sets my soul on fire. The kind that makes my heart beat just a little bit faster. The kind that fills my stomach with little yellow butterflies just thinking about it.

See, here’s the thing about commercial and private, commissioned work. That stuff is great. Brilliant, actually – and I’m endlessly grateful for it. It pays the bills, keeps me sheltered and warm during these miserable New England winters, and keeps my favorite little four-legged dude’s bowl full of food.

However, commercial work can be creatively limiting. Commercial work means having a client that you have to please and whose preferences and opinions must be considered. There are deadlines and invoices and approvals. And most times, this translates to creativity and vision being controlled and ultimately, compromised.

But personal work? You know what’s so impossibly beautiful about personal work? It’s all up to me. I can make magic as big and as colorful and as absolutely unapologetically ‘me’ as possible. It’s limitless.

I have had the lucky privilege of traveling quite a lot and working all over the world. Throughout my adventures, I’ve been blessed to have met a lot of talented photographers. But here’s one thing I’ve found quite commonly in a lot of the creatives that I meet: It strikes me to discover that a lot of photographers seem to forget the immeasurable, unmatched value of personal work – only shooting for their clients, but never for themselves.

So here’s my secret for you: You don’t have to be being paid to be shooting. Just go outside and shoot.
When I was sitting in my studio today, thinking about all of the things I wanted to say in this blog post – something really big hit me. But don’t worry, I’m okay. …

(That was a joke. How’d I do?)

I realized that I have built my entire career on a foundation of personal work. It is at the very core of how I got to where I am today.

Say Whaaat?!

It’s the truth. I got my start in photography by volunteering my time at my local animal shelter. There was no motivation for money. There was no end game or specific intention to do anything other than share the stories of the animals that I loved so much. I watched them as they patiently waited for their families to come find them and I was fueled by passion. I was fueled by the way I felt when I looked through the bars of those cages and saw the big, round eyes of the forgotten looking up at me. Nothing more, nothing less.

If you have enough passion for the thing you’re photographing – for the moments that you’re capturing –  being paid or not being paid to make those images is an irrelevant detail. Because you can’t fake passion. You can’t change it. You can’t control it. And that is what’s so brilliant about it. That kind of authenticity brings people from miles. When you’re shooting personal work – you’re shooting something you’re passionate about – no rules or restrictions or regulations. It’s the closest you’ll ever come to your one true voice as an artist. And thats why it’s just so damn important.

So you’re reading this and you’re probably saying — “well, this is all well and good Kaylee, but I’m a professional photographer, and I need money to live, I can’t just be shooting personal work all the time.”

You’re right.

But here’s the thing. Personal work pays off in a huge, huge way. It’s the magic in your body of work that moves the hearts and minds of clients.

It’s the icon – the face – that defines you and what you stand for. It’s the visual representation of exactly what it looks like on the inside of your heart, and it will very likely be the most moving reason that a client will dig into their wallets and hire you.

You know when you wake up in the middle of the night with an idea? And that idea is so big it fills your head and spills over the edges of the piece of paper you’re furiously scribbling on to document every last detail? And you think of it for days and days and it makes your heart beat faster and it makes your head buzz with the feeling of possibility? That’s where the magic is! Put your finger on it and hold it right there!!! That’s exactly the thing that you need to be shooting! Money or no money. You go, you chase that idea down and grab it by its tail and you create it. You breathe life into it. JUST SHOOT.

So, getting back to that whole ‘extreme value in personal work thing…’ I thought, sure, I could write this blog post and rattle off all my thoughts and feelings and leave you with a million pretty adjectives about why I think personal work is important, but maybe I should put my money where my mouth is and actually show you some real life examples of what personal work has done for me.


This sweet girl here is Abby. I met Abby last year when I was visiting a friend’s ranch property down in Southern California. We were there to relax. Hike. Have campfires. Walk under the stars. You know, just generally get away from the madness of business and emails and deadlines, etc. We were there to be simple. To ‘vacation’.

Here’s the thing though — a funny little thing I’ve found throughout the years —  you can’t take a vacation from passion.

I saw Abby happily chasing the rancher’s tractor as she was transporting bails of hay out of the barn. I looked up and saw that fairytale sky – those sweeping clouds, dancing through the deep blues of the late afternoon. The California sun was sparkling overhead, swirling through Abby’s fur and warming our skin. When I have moments like this — moments where inspiration strikes me like a dagger in the chest – they feel so familiar. My heart begins to slam against my rib cage in a syncopated rhythm – reminding me that moments like this don’t come twice. So I shoot. I just need to shoot. That’s passion. There’s no rhyme or reason or formula that can make any sense of it. No. It’s nonsense of the absolute best kind. It’s actual magic. So, I did what I needed to do and was suddenly on a mad chase back to my cabin as quickly as my feet would carry me to grab everything I needed to make Abby’s photo.

I spent about 20, maybe 30 minutes, photographing Abby that day. The resulting images brought me no money, no fame, no special awards or accolades — they just brought me joy in my heart. They simply brought me pride and satisfaction for bringing and idea to life and capturing that spirit of canine that I love so much. That’s all.

Well, fast forward a few months later – I got a call from the editor of one the biggest dog magazines in the industry. My heart skipped a beat when they told me they had seen Abby’s photo and wanted it on their cover. Not only did that opportunity bring me a paycheck – but it also brought me that unbelievable feeling of walking into a Barnes and Noble and seeing my work staring back at me from the shelf.


How about this next one? This is my own dog Joshua. That basically means that every photo I take of this magical little creature is really just personal work. It’s me wanting to document every moment of silliness and joy that he so selflessly brings me on a daily basis, just as one would want to document their wedding or vacation. No one is paying me to photograph my own dog. When I create his images, all I know for sure is that, while not getting paid in dollars, I’m getting paid in beautiful, tangible memories that I’ll be able to put in my pocket and hold close to my heart for the rest of my life. And that’s all I need for motivation.

Well, one hot Summer day, I took Joshua to his favorite lake for a swim. We got into the water and started splashing around, playing fetch and just being generally silly and carefree, as we like to do. But then, minutes in – I got that familiar feeling again — that pang in my heart and that pounding in my chest when I know I absolutely must capture a moment. So right then and there, I left Joshua with his Dad and I hopped in the car, wet bathing suit and all, and went flying back home to grab my gear just as quickly as I could so I could return and make this image.

Since then? Not only has this image brought me countless smiles on a personal level – but it’s also been featured in multiple commercial ad campaigns across the world – – bringing me a sum of well over 5 figures in licensing fees to date.


If you’re not convinced on personal work yet, hang tight, I have a few more for you…

Here’s Joshua again. It was another one of those times – the kind of vision that would wake me in the middle of the night. An idea that brewed in my head, taunting me in every quiet moment, until I took the time to give it life. I took Joshua to a local park, bought a comical amount of balloons from the local party store on the way, and with the help of one of my best friends  – made this image. (If you’re thinking ‘it cant be that simple’ – you’re right — don’t let me fool you –  this image was an absolute marathon of frustration and obstacles and audible cuss words to make. ha! But I suppose that’s another post for another day.)

Now, I have this photo of Joshua as a 40 x 40 piece of artwork hanging in my studio. I look at it everyday and his joy and spirit infiltrate and inspire me like absolutely nothing else does. But, what has this image done for me, professionally, you ask? Fair Question.

Last year, it was featured in an ad campaign by a large pet food company bringing me income and brand awareness. It was also the cover image on The Unexpected Pit Bull calendar — an organization whose work I care very deeply about.

It was an interior image in my 2016 calendar ‘Pawsitive Thinking’, it’s in circulation on the front of a Birthday greeting card, and it’s printed on the new Dog Breath Photography clothing line that was just released this past Fall. WHEW! (oh, and shameless clothing line plug: BOOM!)


Okay. As I said above – what’s all this personal work talk without real life examples, right? Right. So, I saved the best for last, because here’s my favorite one ever.

A little while back, I took a special trip down to a quiet little city in Florida called St. Augustine to visit my grandmother. When I was in town, I got in touch with an old friend of mine who I knew lived in the area and we made time to meet. This friend of mine has 4 beautiful dogs and we decided to take them on a walk. I casually brought my camera along, thinking I might be able to do a little practicing of photographing multiple dogs together while we were out there. I snapped this photo on the forest path just as we started walking in. I delighted in the image as I looked at the back of my camera, but then counted that moment as nothing more than a documentation of a special afternoon with a dear, old friend and 4 beautiful canine souls. And that was all I needed.

I never, in a million years, would have imagined that this image from our walk in the forest would soon be solely responsible for making one of my longest-standing, most surreal dreams come true. Earlier this year, I was contacted by National Geographic who had seen this image and wanted it as their cover photo for the premiere issue of their brand new magazine  – Nat Geo Wild. (hang on a second while I go sob joyfully and uncontrollably for like 30 or 40 minutes..…)


So, here’s the thing. Personal work MATTERS. It matters more than I can ever say. It creates untold opportunities. What is inside your heart is far more important than any client plan or commercial call sheet for any shoot that could ever happen. So, that’s why, this year, I plan to do a heck of a lot more of it.

If I could recommend one thing, it’s this: Don’t sit back and watch your email inbox, waiting for something big to happen to you. You go happen to IT. Go make yourself opportunities. Go find those dreams.

‘Cause heres the thing about dreams; they can be elusive, sneaky little devils — but take it from me, if you chase them down with every last breath in your chest – you can catch them,

…and they do come true.


Now that I’ve inundated you with some of my favorite images, I would LOVE to see some of the personal work that you’re most proud of. Post away in the comments and I’ll be keeping my eyes peeled for your work! I’m excited to see what you’re all up to!! :)

From the very bottom of my heart, thank you for reading this and for filling this world up with color and creativity. Grateful to be living, breathing and creating alongside all of you!

-Kaylee

You can see more of Kaylee’s work at DogBreathPhoto.com, and follow her on Facebook, Instagram, 500px, and Twitter.

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