Monthly Archives August 2008


This week, Westcott introduced the brightest fluorescent bulbs yet for their popular Spiderlite TD-5 studio lights. I got a chance to work with these in the past few weeks, and these new brighter bulbs just make a huge difference (they give you at least a full-stop more light).

The bulbs themselves are only about 30% larger in size, and they’re now 50-watts each (where the old bulbs were just 30 watts). So, when you get a 5-pack of their lamps, here’s what you get:

(4) 50-watt Fluorescent lamps (equivalent of 200 watts each), plus….
(1) 20-watt Fluorescent lamp (the modeling light)
For a total of 900 watts of power.

The 5-pack of bulbs above sell for around $179 (retail), and a single lamp goes for around $45. You can learn more about them, and Westcott’s Spiderlite kits by clicking here.

I believe Westcott has updated all the kits that they sell direct (well, the kits from around $800 and up), to the new blubs, and B&H Photo is now including these new brighter bulbs as part of their “Westcott Scott Kelby Studio Kit Deluxe Kit” (I’m really delighted that B&H is now including bulbs with the kit). Here’s the link to my kit with bulbs at B&H Photo.

Anyway, I know a lot of you either already have one of my kits, or are thinking of picking one up (I’m using my kit on my Lightroom Tour again myself), and these new bulbs really make a difference.

Note: I don’t get a kick-back, royalty, etc. on sales of these kits. B&H Photo has made the “Scott Kelby” kit available as a courtesy to my students who see me using the Spiderlites in my seminars, here on the blog, and during my Lightroom Live Tour, which kicks off again very soon. My thanks to B&H Photo for packaging them together and making things easy for us all. And as always, B&H offers free shipping to NAPP members in the US too.  :)


Just one more day to the history-making Worldwide PhotoWalk, and I am just totally excited!!! We now have nearly 8,000 people signed up for the walk, and we’re working hard to help our leaders make the most of their walks.

My Gear for the Walk
I’ve had a few questions about what equipment I’ll be taking for my walk, and I thought I go ahead and answer it here.

For my walk (in Dunedin, Florida), I’m taking my Nikon D300 with just one lens; my 18-200mm VR f/3.5-5.6 lens. The reason I’m taking my D300 (rather than my D3 or D700) is because I just want to use one lightweight lens the whole time, that gives me both wide angle, portrait, and a long zoom in one. If I use that lens on the D700 or D3, it will crop my image down to 5-megapixels. My dream is that Nikon would come out with a 18-200mm VR f/4 FX format lens, so then I would take my D700 or D3, but until that dream comes true (and I’m not sure it will any soon), I’m just travelin’ light.

The Two Most Important Rules For Tomorrow:

(1) The walk is for fun. It’s for meeting other photographers in your area and having fun. That’s it. The contest is just for fun, too, so don’t take any of this too seriously. It’s a social event—not a cut-throat competition, so keep smiling and let’s enjoy our time together.

(2) There’s absolutely no whining. If you get the restaurant and can’t find a seat—-you can’t whine. If it rains on your PhotoWalk—resist the urge to whine (your leader has a back-up plan). If someone steals your shot—don’t whine. Just don’t whine in general. Just have fun. If you come across a situation where you really, really want to whine, refer to rule one. Also, there’s no whining about not being able to whine.

Be A Good Walker
Most of the cities have lots of walkers, so you’re probably going to wind up in some crowded situations (just imagine 50 photographers all walking down a single sidewalk). Be patient. Be really courteous to other walkers, and to anyone you meet during the walk. Be respectful. If someone you see on your walk doesn’t want you to shoot them, don’t. Be nice to your city’s walk leader. Believe me, it’s more work than you’d imagine, and they have really been working hard to make their walks a success for you (I’m really impressed with how involved and enthusiastic the walk leaders have been).

You’ll Be Surrounded By Potential New Friends
We’re all in this together, and there’s no easier place to make new friends than a PhotoWalk. You can just walk up to anybody there and say, “So, what kind of stuff do usually shoot?” or “How do you like that camera” (or lens, or camera bag, or filter, or whatever?), and instantly you’ve got a conversation going. This is really what makes these PhotoWalks special. You’re out there sharing a couple of hours with a bunch of people who are just like you—wanting to meet other photographers. If not, they wouldn’t have signed up to be part of the group (they could just walk that same route all by themselves on any given day). Take the initiative. Extend a hand, or a warm smile. You’re among friends.

Another Cool Prize: (the photo lab Matt, Dave and I use exclusively), has thrown in another very cool prize for our 10 Runner’s Up; they will create a beautiful 20″x30″ poster-sized print for each winner of their winning runner’s up image. My thanks for for taking it up a big notch!

A Word of Thanks
I’m just so grateful to all the leaders around the world who have come together to do something really special, and just want to give my most sincere and heartfelt thanks to them for being willing to organize a walk for their city. Also, thanks to everyone who is participating, and to those taking the plunge to try something new. I think you’re going to have a surprisingly rewarding experience.

Also, I want to thank the walk’s sponsors; Peachpit Press, Adobe Systems, MPIX,, Wacom, Epson, B&H Photo, and CDW. We couldn’t have done it without you.

Let’s Do It!
Charge your batteries! Format your Memory Cards! Clean Your Lens! Blah, blah, blah, etc. Everybody, have a safe, fun walk and I hope you get some amazing photos!

All my best,



First, thanks to everyone who commented on my “accidental guest blog” yesterday. It was nice to see that I’m not the only one who has experienced it, and I’m not the only one it drives crazy. :)

Now, onto the news:

  • We’re just TWO days away from my Worldwide Photo Walk, and as I write this we have 7,297 people signed up to walk on Saturday. I am just blown away!!! Hey—it’s not too late to join us (here’s the link to see if there’s a city hosting a walk near you). Hope you can make it!
  • On a related note; participants who are walking in San Jose, California probably don’t realize it, but their walk leader, Frederick Johnson, just happens to be Adobe’s Lighroom Sr. Product Marketing Manager - Professional Photography (he’s also the guy who ponied up the 10 copies of Lightroom for runners up, and the full Creative Suite for the Grand Prize!). If you’re signed up for that walk—make sure you high-five Frederick for me!
  • I’ve had a number of questions relating to a post I did last week about shooting tethered, and the question is; what is that stand you’re using for your laptop on location? I actually use two stands:
  1. When I want to go really light, I use an incredibly portable laptop stand Larry Becker turned me on to from the SkyMall catalog (the one you find in the seatback pocket on airplanes). It’s called the Lizell QuickStand Workstation Plus, which I found at for $139.
  2. The other is a heavy duty Bogen Double-Head Support Arm with a Gitzo G065 13×15.5-Inch laptop platform attached. I learned about this dynamic duo from Joe McNally, and though it’s not really heavy, it is heavy duty (but it is a lot larger to carry around). However, it’s built so your laptop sits on one side of the arm, and you can put a ballhead on the other end to hold your camera. Here’s the link to the Double-Head support, and Here’s the link to the Platform at B&H Photo.
  • On Tuesday I showed how one of our London Leaders got some nice radio play for his PhotoWalk on BBC radio. Well, one of our leaders in Hawaii, my friend Jo Evans, got the write-up you see above in the local Hawaii island newspaper. You guys are doing a great job of spreading the word!!! (No wonder we have more than 7,000 walkers!). Way to go, Jo!
  • Every single week we launch one or more new online training courses at, and last week we released two classes: (1) Digital Arsenal from NAPP’s Executive Director Larry Becker, which is essentially a class that teaches you how to deal with the most common digital photography problems in Photoshop, (link), and (2) The Business Side of Photography, from well-known photographer, author and instructor Rick Sammon (link). This week, we just released “Photographing Florida Birds” with legendary wildlife photographer Moose Peterson (link).
  • Lastly, I did an interview with my Book Publisher, Nancy Aldrich-Ruenzel (at Peachpit Press) about my new book, The Lightroom 2 Book for Digital Photographers and we talked about this weekend’s Worldwide Photowalk, and some other stuff. The interview is up online now, and you can listen right here.

That’s it for today, gang. I’ll be back tomorrow with a weekend wrap-up, and some last words about the PhotoWalk. I can’t wait!!!! :-)


I know—I’m not a guest. But I looked at my calendar yesterday afternoon to see who I had scheduled as my guest for “Special Guest Blog Wednesday” and it was completely blank. I’m really not that surprised, because as my wife will attest; I have the memory retention of a hamster, and I guess I just completely forgot to get line up a guest blogger for today. So, you’re stuck with me today as your guest blogger, but next week I’ll have an actual special guest, so at least it won’t happen two weeks in a row.

An Odd Admission From A Book Author
This may sound kind of weird coming from a guy who makes his living writing books, but I don’t think there’s any method of learning that compares with being a part of a live seminar or workshop. As good as a book or a video is, it’s a one-way experience; there’s no interaction with the instructor; no opportunity to get that one question answered that’s been driving you crazy, and as passionate as an author might be, you just don’t get that excitement—that buzz—that energy you get from a great live seminar or workshop.

That’s why I love teaching workshops so much, and it’s also exactly why each year I try to attend as many of other people’s workshops as I can, as a student (I’ve recently taken workshops on everything from shooting food, to shooting home interiors).

I think for a teacher like me, it’s particularly important to learn new things, new techniques, and new ways of looking at things, so you don’t get in a rut—you need to feed that side of you that made you want to be a teacher in the first place, and for me, learning new stuff just feeds my passion (well, that and buying new camera gear, but that’s a whole different problem. Or story. Depending on how you look at it).

The Art of Being a Good Student
Now, up to this point, I’ve been talking as “Scott the instructor” or “Scott the Photoshop Insider Guy,” but what I really want to talk to you about today is something I’ve learned as “Scott the student,” so from this point on, I’m giving you my perspective as just another student in the workshop, so please keep that in mind from this point out (but I’ll check in again as regular Scott toward the end of this article). I want to talk about ‘Being a Good Student,’ and making the most from the live learning experiences you’ll come across.

There’s One in Every Crowd
When I go to a workshop; I’m there for one reason—to learn from an absolute expert on a topic. But in a couple of the workshops I’ve attended lately, one of the students literally “Hijacked” the class, which had a really negative effect on:

  • The other students
  • The instructor
  • The “bad student” himself

I’ll give you an example of how one student somewhat hijacked a recent class I was in. It was Architectual/Interiors shooting workshop Matt and I attended out in California. The instructor would tell the class, “Here’s how I would set-up and compose a shot of a room like this,” and as soon as those words were out of his mouth, “Bad Student,” would step in and say, “Well, that’s not the way I would shoot it, and he would proceed to show the instructor how “He” does it (which, of course, is exactly the opposite of what the instructor just showed us). The problem is; he’s not just showing the instructor off to the side. He’s now showing the entire class. He’s directing his comments to the instructor, but we’re all now standing there watching another student showing the instructor his methods, during our class time.

Now, this guy might be a phenomenal interior photographer. In fact, he might even be much better than the instructor (we, as a class have no way of knowing; we all just met 30 minutes earlier). Or, he might be a total hack. We just don’t know. But we do know this; we paid to hear the techniques from the instructor—not this student—but there we are—all standing around listening to the student.

Now the instructor has to spend time justifying to the “Bad student” why he uses the technique he originally demonstrated (while we all stand around), and then he continues his lesson to us. About two minutes later, after showing how he sets up a flash, the “Bad Student’ interupts and asks the instructor, “Well, wouldn’t this technique also work?” and he proceeds to move the flash over to a different location and he shows how he’d light the room. The instructor is frustrated. The students are frustrated. This guy is “hi-jacking the class.”

The instructor once again has to show why he uses the technique he does, and then we finally move to another room. The instructor starts his lesson, and the Bad Student kicks in again. Thankfully, another student who’s already got steam coming out of her ears, finally steps in and says directly to the Bad Student, “Your technique might work, but I paid good money to learn how to do this stuff from him [she points to the instructor]â”not you.” All the other students chime in immediately with a “Yeah, we paid to hear from him!” and he backed off for about 10-minutes, and then he was right back at it.

Now, you might be thinking, “It’s the instructor’s fault; he shouldn’t have let things get out of hand!” I can tell you from personal experience, it’s very tricky dealing with a hi-jacker, especially in a small group like we were. I thought the instructor did a good job of trying to give this guy a visual que (through his facial expressions), that he was holding up the class, and by trying to cut his interruptions short as possible without being rude, but with this guy, it wasn’t easy. Even a sharp, direct comment from another student didn’t slow him down.

This same thing happened to me when I was a student in another workshop earlier this year, and while I won’t go into the whole story here, the woman wanted to let the class know she was a big time pro—more of a peer of the instructor than a student (however, this could not be further from the truth, as was evidenced by a display of her work before the class started). Sadly, she proceeded to hi-jack the class big time between challenging the instructor’s techinques, and monopolizing his time.

Here’s the thing; both ‘bad students’ paid to attend these workshops. I would like to believe that they signed up because they wanted to learn about the topic from the instructor they paid to learn it from (that’s why I signed up), but then they get to the class, and they spend the day trying to become the focus of the entire class. I just don’t get it.

Thankfully, this didn’t happen in the class I took last weekend from Mary DuPrie, but there’s generally “One in every class.” Don’t be that “One.” If you pay to go to a workshop to learn something new, shut up and learn. There are other students in that class who paid, too—and they paid to learn from that instructor—not one of the students. Be a good student; stand back and just take it all in. That’s why you’re there.

Outsmarting The Class
Here’s a tip for getting the most of on-location photo workshops. I’ve been a student at many of these, and I’ll use the “Digital Landscape Workshop Series” workshops as an example. We’ll get up at the crack of dawn, drive out to our shooting location, and then Moose Peterson (world famous photographer and head of DLWS), gives us some tips for shooting that location, and then we set-up for our shoot. So far, so good. But there’s “Always One” student who thinks they’re going to “outsmart the class and the instructors” and they break away from the group—away from the instructors, and go off by themselves to get that “one shot nobody else will get.”

This is another form of “bad student.” Here you have the incredible Moose Peterson, and co-instructors Joe McNally (Yes, that Joe McNally) and amazing landscape photographer and total gear-head Laurie Excell (who runs NAPP’s own photo gear desk) right there—at your disposal. They’re there, on location, to teach you how to shoot landscapes. They’ll show you composition ideas; talk about which lenses you might use, where to set-up, what to capture, and basically share one-on-one knowledge you can’t get any other way. What an incredible opportunity for the class. Except for the One student who headed off by themselves so they could “get that one shot nobody else got.”

So, what did this student learn from their morning with Moose, Joe, and Laurie? Not a darn thing. If you’re going to wander off, totally ignore the instructors, and do you own thing; why pay for the workshop in the first place? Just fly to a nice location, wander around by yourself, and save the money. The reason people go to these workshops is not just to shoot in beautiful places—-you can do that on your own—it’s to learn from world class instructors. Be a good student, and not only will you come home a better photographer, you’ll have invested your workshop money wisely.

Why I care
There are two reasons:

  1. I’m a student, too. And just like you, I really want to absorb as much as that instructor has to share. I spent my time and money to attend the workshop, and I really want to hear what that instructor has to share.
  2. I’m an instructor, too. When I do a workshop, I really genuinely want it to be a fantastic learning experience for my students, who spent their hard-earned money for their travel, their time, and for their workshop registration fee.

I take my workshops very seriously, and I have everything planned out, and a written outline for every hour, of every day, of the entire workshop (even if it’s a full week long). Sadly, I’ve had students hi-jack my own workshops, and in those cases; nobody wins. Not the students, not the bad student, and certainly not me, because it takes my class outline and tosses it in the trash. It derails my plan for the class, it totally makes me lose my focus, and it hurts the entire workshop for everybody.

The Moral of the Story

Be a good student. Go without any expectations. Go without any preconceived notions about what you should or shouldn’t learn, and just allow yourself to soak it all in. Respect your fellow classmates and the instructor’s time. Ask questions when its appropriate, but make sure you remember it’s not a private workshop, and leave time for others to have their questions answered.

Workshops and seminars are really what you make of them. If you go in with an open mind, it will come out full. If you go in already knowing everything, there’s not much room for anything new to find its way in. Go in with the idea that you’re going to learn a ton, and you’ll get double your money’s worth, you’ll make new friends, and you’ll be a better, more-informed, well-rounded person for sharing in the experience.


If you’re not familiar with any of the “P-series,” (technically Epson calls these “Multimedia Viewers” because they play videos and music), they’re part portable hard drive for safely backing up your memory cards on location, part photo-viewer with a big bright screen, and part in-the-field laptop replacement, because you can create collections, do slideshows with a music background; you can sort and rate your images on them, and a half dozen other things in a size so small you can fit it in your camera bag. I’ve been using these “P’s” since there was a P-2000 and I take one on every location shoot without fail, as it’s become an important part of my workflow.

Anyway, I got to play around with the P-7000 quite a bit this past week, and I wanted to give you a quick review on what’s new, and why I like the P-7000 so much better than my beloved P-5000.

Here’s what I loved:

  • The Larger Storage Size; Epson has doubled the storage sizes of both units (compared to the previous P-3000 and P-5000). At 160GB the P-7000 has double the memory of my P-5000 and the P-6000 is 80GB (vs. 40GB for the P-3000). Last week (at my Mary Duprie workshop), I had to delete files on my old P-5000 to fit the shots from that day, so the 160 GB version is going to mean more to me than I once thought.
  • Better Software: If I had a gripe with the P-5000, it was that the software needed to be a little more robust. It did a lot, but it fell short in a couple of areas (especially when it came to importing images), but luckily the new software is MUCH better (it looks pretty much the same, but it has enhanced functionality in a number of areas).
  • It’s faster at Importing Images. These new units are supposed to be 35% faster at importing images ( I didn’t run lab tests to confirm, but I can tell you it definitely feels faster).
  • The Screen Display is Off The Hook: The new screen technology, using Epson’s “Photo Fine Premia” technology (which displays 16.7 million colors) is just stunning. It’s incredibly crisp, bright, and pretty much blows away what you see on the back of your camera’s LCD (and the new screens encompass 94% of the entire gamut of the Adobe RGB Color Space used by many photographers). When you zoom in tight to view your images really close (to check sharpness, etc), the display is tack sharp, and you can get in really, really close.
  • They added a new Jog Wheel to help you scroll through your images more easily (this is bigger improvement than you might think. Ask anyone who has an earlier P-series).
  • The P-7000 comes with a nice little travel pack, which includes a travel case, a car charger, and dual battery charger, and a few other little kickers.

What I Wish Were Different:

  • The software is much better for sure, but the overall design of the interface still needs a lot of work. Since this was designed for photographers, the interface design should appeal to creative types. Looks matter, and I’d love to see the look of the interface get the same amount of attention everything else has. Right now, the software is very functional. The problem is; it needs to look better, be easier to use, and more fun to use.
  • They’re pretty darn expensive; The P-6000 has a street price of $599 and the P-7000 goes for $799. I know they replace you having to carry an expensive laptop into the field to back up and view your images (which is does for me), but it shouldn’t actually cost as much as a laptop (for example, Dell’s new Vostro 1710 laptop, with a 17″ widescreen LCD display, 1 GB RAM, an 80GB hard drive, and built-in DVD burner sells for $100 less than the P-7000; at just $699). I think Epson needs to reevaluate the prices of both units, but the marketplace will ultimately decide if it’s too high or not.

The Bottomline
It is, without a doubt, the best P-series Epson’s ever made. The software, while not where I’d like it to be, is certainly much improved over earlier versions. The speed is better, the screen is insanely good—all the hardware parts of this puppy just rock. Best of all, it fits snugly in my camera bag (even my smallest one) and knowing that my images are backed up while I’m on location is absolutely invaluable to me. If price isn’t a big factor, and you want the very best back-up and photo viewer on the planet, pick up either the P-6000 or 7000 when they come out in September.

(Photo above courtesy of Epson).