Monthly Archives January 2011

Well, football season is over (at least for me, anyway), so it’s time to move on to other shoots. This weekend I was up in New York City speaking at an event Friday evening (more on that tomorrow), but while I was up there, I managed to fit in a fashion shoot on Saturday morning at Sandbox Studio in SoHo.

I was lucky enough to work with the same creative team I did for my last shoot up in NYC (link) and the shoot was coordinated by the coolest Fashion Stylist ever—the wonderful Sophia Batson (link). She coordinated and styled all the outfits, and I got to work once again with Sophia’s hand picked hair and make-up artists: Linh Nguyen and Cassandra Renee (they rock!).

With Sophia’s help, we arranged two fantastic models (Megan [Seen above] and Tanja) through a New York City agency, and before you knew it, Brad Moore and I were getting the studio ready for our 10:00 am call time. (Note: in the photo at the top of the page, L to R that’s Susan (helping out on the set); Lihn, Megan, Sophia, and Cassandra).

(Above: Here’s the lighting set-up for the shot up top [production photo by Brad Moore]. That’s a 500 watt Elinchrom BXRI strobe right above her, with a 17″ Beauty Dish attachment on it, with a diffusion sock in front on it to soften the look a bit. Below and in front of her is just a reflector—–the other light isn’t actually turned on—I’m just using it as a makeshift reflector stand. I tried the shot with the bottom strobe turned on, but even powered down as low as it would go, I felt it was too bright, so I turned off the strobe, and instead just laid a silver reflector on top of it like you see here.

There is a second strobe on the floor behind my laptop lighting the white cove background. I’m shooting tethered directly into Lightroom 3. Here’s a link for details on the tripod accessory arm I’m using to hold my ballhead and my laptop. Here’s the link to the laptop stand itself. The tripod they’re mounted on is the new Really Right Stuff TVC-33 Versa Carbon Fiber tripod (link) and this was my first time trying it out (a full review coming soon). Incredibly well made tripod—sturdy as anything, and 100% made in the USA no less).

(Above: some unretouched frames from that set, shown in Lightroom’s Grid View)

Sandbox Studio also is a daylight studio, so I wanted to opportunity to try some natural daylight stuff while I was there, but you can also limit the light for shooting with strobes which is primarily what we did.

Above: Brad shot the short video tour of the studio with his iPhone (we had Pandora radio playing in the background), which gives you a better look at where we were shooting (plus, it includes a gratuitous shot of me texting before the shoot). Very cool place, really helpful staff (and five different studios available for rent).

(Above: Here’s a beauty-style shot of Tanja [originally from Serbia, and has a thick accent, but raised in Wisconsin. Probably a Packers fan, but she kept it well hidden so I didn’t kick her off the set. Kidding.]. I like this shot because it shows off Cassandra’s beautiful makeup job.

We used the same lighting set-up as the first image, but Brad got a great perspective of the lighting set-up with this production shot, so I wanted to share it with you. The reason the Beauty Dish light looks orange is because what you’re seeing is the Modeling Light only—not the actual flash from the strobe.

(Above: some unretouched frames from that set, shown in Lightroom’s Grid View)

Over the three hours of shooting, we did six “looks” with different outfits, hair, and make-up, and Sophia coordinated everything so all Brad and I had to do was focus on the lighting and the shooting.

I’ll share some of the other looks and production photos tomorrow in Part 2. See you then.

When I’m writing a book on Photoshop, Lightroom, or photography, I would have to say that at least good chunk of the time, if not the largest chunk, is spent searching for images to use in the book (for everything from tutorials to examples to chapter openers).

Luckily, I have all my images in Lightroom, but for my last book I created a new separate catalog of images before I ever started the book, to make the upcoming few months of daily searching that much easier. But during all this gathering and sorting, something happened which had an unexpectedly fun and fulfilling effect, and I’m hoping to pass this on to you, so you can have it, too.

I’ll Bet You’re Way Better Now!
Have you ever gone back and looked at shots you took three or four years ago? If you’re like me, when you see them, you cringe. You cringe because you know you’re so much better today than you were back then, and shots you thought were awesome then, seem kinda awful now. Unfortunately, in most cases, we can’t go back and re-take them, so from one angle, we’re kinda stuck. However….

Now think about your Photoshop skills. I’ll bet you’re dramatically better at your post processing today than you were even just a year ago, and you’re probably light years ahead of where you were three or four years ago. But not only are you better—-Photoshop itself has come along way, too and there are features and things you can do today you just couldn’t do back then (and even if Photoshop could, Photoshop can probably do them better now—everything from stitching panos to creating HDRs to making selections are all vastly improved in the past few years).

I Wanna Go Back….and Do it All Over…..
So, the special thing that happened to me was; as I was looking at some of these images I had taken years ago, I would run across one here and there that I still liked, but the first thing I thought when I saw them was, “Man, I could sure edit that photo a lot better today than I did back then.”In fact, some of the techniques I used back then are so dated now, that I wouldn’t apply those moves, or those filters, to any image today. So, I went back; found the original Raw or JPEG files, and post processed them from scratch, knowing what I know now, and it completely transformed those images, and made them new. It’s like I was seeing those images through a new set of eyes.

Here’s a weekend project you might just love
Since I imagine you’re way better at Photoshop today than you were a few years ago, why not at least go back and look at some of the stuff you shot years ago, and see if a new crop, a new treatment, a new way of post-processing the image might bring an image you once loved back to life with a fresh new look after being edited with the new skills and new tools you have today? Of course, you might go back and hate all your old stuff, but my guess is you’ll have some great and unexpected surprises that will absolutely make the time and effort all worth it.

Go back and look at your vacation shots from four years ago. Go back and scan in some photos from a trip you took 10 years ago, and then apply your latest post processing techniques to them, and see if those images don’t take on a new meaning for you. Warning: if you’re really successful on the first images you re-edit, it’s kind of like playing “Angry Birds.” There goes your whole weekend.

Happy Hunting! :)

Jim Begley sent me a link to an article on Gizmodo that was one of the best articles on shooting football I’ve read.

The article was written by Rod Mar, a Seattle-based photographer working with the NFL’s Seattle Seahawks. First, he’s a really fantastic sports photographer, but beyond that, he’s a great writer and teacher as well, and his article has great examples and great insights.

So, definitely read the article first (here’s the link), but after you do, if you’re into this stuff you’ve got to check out his Seahawks photo blog, called “Eye on the Hawks.” I absolutely loved his images, and how he shares off field moments and images you don’t normally get to see. Very well done, and definitely worth checking out. Thanks Jim for sending this my way. :)

Brad here with this week’s pimpy! Check out this goodness…

Trey Ratcliff over at Stuck In Customs recently released his 100 Cameras-In-1 iPhone app, which is getting great reviews!  This app has tons of awesome effects that you can mix together to create your own unique look, plus the ability to adjust the amount of the effect. And there are even “achievements” for experimenting with different combinations to make sure you get the most you can out of the app.  Check out screen shots and get the full run-down right here, or just go ahead and download the app for only $1.99!

Ready for some killer one day seminars? Here’s what’s coming up! Matt Kloskowski is bringing the The Adobe Photoshop CS5 for Photographers: Essential Techniques Tour to Covington, KY tomorrow, January 28 and Austin, TX next Friday, February 4. Then Dave Cross is coming to San Antonio, TX on January 31 with The Adobe Photoshop CS5 Power User Tour. The Kelby Training Live tours are the “Official Adobe Photoshop Seminar Tours,” so register now to join us for a day!

If you haven’t registered for Photoshop World Orlando yet, sign up now and save $100 on registration!  Don’t forget to add on the Pro-Pass upgrade to get your After Hours Party ticket, NAPP Backpack, NAPP Badge Holder, T-shirt, and other goodies!  Also make sure you check out the great pre-conference workshops while you’re there… The NAPP Photo Safari is already sold out, and the On Location Wedding Shoot with David Ziser only has a few spots left!

The latest Kelby Training Online course is another offering from Frank Doorhof. In Photoshop Techniques for Fashion Photography, Frank walks you through his techniques for skin smoothing, cleaning up backgrounds, creating images with high tonal contrast, and more.

Have you gotten your free digital copy of Photoshop User Magazine from Dell yet? Hurry, because this offer ends Friday!

Moose Peterson just announced his upcoming his Air2Air Workshop at Fantasy Of Flight, a few minutes outside of Orlando, on April 29! Check out Moose’s blog for all the info.

Jeremy Cowart recently returned to Haiti and created a gallery of iPhone images that show the current conditions in the area.  Swing by and check them out, as well as his newly re-designed website.

This coming Tuesday is the GRAND PRIZE DRAWING for the South Africa Photo Safari Sweepstakes! You can enter here for your chance to win an all expenses paid trip to South Africa for a 10-day photo safari with John Paul Caponigro, plus a ton of other great prizes. You can also get more info and register for the trip right here.

That’s it for today. We’ll see you right back here tomorrow!

My name is Ted Waitt, and I’m an editor at Peachpit Press / New Riders. Since 2004, I’ve had the honor and privilege of working with Scott Kelby, as well as his extremely talented and hardworking team in Florida.

For many years now, Scott’s blog has been the first thing I read every day—and I suspect I’m not alone. I’d like to thank Scott for the opportunity to blog here. And I’d like to publicly thank him for all of the opportunities that working with him has afforded me over the years. Thank you, Scott.

I’ve had a DSLR for just under three years now. I don’t shoot nearly as much as I’d like, but I do venture out in San Francisco somewhat frequently. These solo, meandering photo walks are often as much about taking pictures as they are a chance to just get out of the house and see the city. Often I return home empty-handed, so to speak, but that’s okay. And every once in a while, I come back with a decent shot.

About a month ago, a former colleague recommended me to a friend who was starting a holiday photo blog called Photo Advent. The idea behind the blog was to get someone to contribute one image each day—along with a “lesson learned”—as a kind of holiday gift to the photo community. I agreed to do it, though it seemed a bit of a stretch that I’d have much of a lesson to give, and I haven’t ever really shared my photos much beyond posting them to Flickr.

I honestly thought the post would go up, a friend might see it, and that would be it. Well, that’s exactly what happened…except the friend was Scott! He liked the shot and asked me if I’d repost here as a guest blog. So, without further ado, here’s that post (slightly edited):


Moody’s Jump

Metadata: ISO 200, f/5.6, 1/1000 sec., 17mm on a Canon 17–40mm f/4, Canon 40D

This is the first image I ever asked permission to take, and it was one of the first shots where I had started to become conscious of the direction and quality of light. It was August in the Mission in San Francisco. I went out for a walk with my camera late in the afternoon. I had no particular direction in mind, but noticed that the light was low and strong, so I suspected I’d be shooting either in open shade on the west side of the street (in, for example, the shade of a building) or with that hard, directional light if shooting the east side of the street.

For me, what usually happens in a situation like this is one of two things: either a) you take exactly zero shots and, within an hour, find yourself succumbing to the open door of a bar; or b) you take a bunch of crappy shots, knowing you’ll go home, import them (“Maybe something will look good on that big monitor”), delete them all, and then head to the bar.

But eventually, persistence pays off. If you go for enough walks, you will eventually, definitely get some shots. Walking up Harrison, I saw three guys around 20th, on the east side of the street, jumping their bikes from a ramp onto a loading dock in that half-industrial, half-residential space between the Mission and Potrero Hill. They were all a bit older than one might suspect—20s to early 30s. (But then again, it’s San Francisco, where age seems almost always irrelevant.) I watched them for a couple minutes, then decided to approach one of them and see if they’d mind if I took a few pictures. What the hell, right? They decided that one of the guys, who called himself Moody, would be the best subject—as he could get the highest on the jump. (By the way, Moody looked a lot like Will Oldham.)

All I knew was that I wanted a fast shutter speed to freeze the motion, and that I’d have to shoot in continuous “burst” mode to increase the chances of capturing Mr. Moody at the height of his jump and in an interesting composition. So I switched to Shutter Priority mode and dialed in 1/500 of second—which, after looking at the shots of the first jump, ended up being not quite fast enough. Increasing the shutter to 1/1000 of a second worked (though it couldn’t’ve hurt to go a bit faster; the shot is still a bit soft…). I shot another jump, showed the guys the back of the LCD, and—with the exaggerated effect of the wide angle making it look more dramatic than it really was—they became somewhat interested. The shot here came on the third and last jump I shot. (I didn’t want to take too much of their time.) I grabbed Moody’s email address and sent him the shot later that night.

The lessons here are: a) Just look around and consciously make note of the light—the hard light creating the hard shadow on the wall is what, for me, makes this shot; and b) approach people. Seeing the light quickly gets easier and easier, but walking up to someone is still difficult for me; I approach only about 5–10% of the people I would really like to shoot. But it gets easier, too, and the worst thing that can happen is they say no. You’ll get exactly what you would’ve gotten had you not approached them to begin with: nothing.

On second thought, I suppose the worst thing that could happen is that you’ll get robbed, shot, and left to bleed out on the sidewalk, but the chances of that are probably pretty low, one would think.


So that’s pretty much it. Thanks again to Scott for the opportunity to share the post and the picture!

Here’s the ol’ Twitter handle if you’re so inclined: @TedWaitt. And if you’d like to check out a few more shots, here’s a small, fairly random set on Flickr.

And, of course, be sure to check out all of Peachpit’s great stuff at ;)


As a Bears fan, the game sure didn’t turn out the way I had hoped, but getting to shoot a game like that was still an incredible thrill for me. The level of excitement in that stadium, and surrounding the stadium (out in the tailgate sections), was just amazing.

I was there as a guest of my buddy, and Bears Chairman, Mike McCaskey, who shot the game alongside me the whole time (though thankfully he wasn’t there when Rogers came crashing into me at the goal line—link).

I was born and raised in the Tampa Bay area, so naturally the Buccaneers are my home team, but through my friendship with Mike and his family these past years, I’ve totally adopted the Bears as if they were my own, and I’m so glad I did (football is even more fun when you get to root for two teams each week).

Shooting a Team you Care About is Harder Than It Looks
I stunk shooting this game. Seriously. My friends were all asking yesterday how I did, and I said, “I pretty much sucked.” I literally missed a dozen or more plays because I’m cheering (or cussing) as a play unfolds in front of me. Then I’d realize, I wasn’t shooting at all—-I’m just watching the game, and I kind of have to snap out of it and get back to shooting.

I saw a shot of me on ESPN’s Sports Center last night, where Green Bay had just intercepted the ball, and everyone else is shooting, and I don’t even have my eye to the viewfinder—I’m just watching in shock as the play (and the game) run away right in front of me. Needless to say, there’s another shot I missed. When it’s your team out there playing, it changes everything.

So, I’m going to Blame it on that. That and Rogers breaking my Monopod
I’m glad I wasn’t shooting for a wire service this time, because I don’t think I got anything—anything at all—in the entire first quarter. My monopod got broken during Green Bay’s first possession, and I tried hand holding the 400mm for a few plays, but it’s front-heavy, and really hard to wrangle (a 200-400mm or a 300mm f/2.8 would have been no problem). So it took me a while to get adjusted (and to get the dirt off everything).

Shooting with half a monopod
I could still kinda shoot with the stump that was left, but it was shorter than I would actually set it when I’m on my knees, so it was really awkward the entire game. Plus, there was no foot on the stick, so it kind of impaled itself down into the dirt. I lugged the broken other piece with me the entire first half, as a momento.  So, I’m going to assign a 22% “lame shooting blame” to my mini-monopod.

I’m going to assign another 26% of the blame to the cold weather, even though I was dressed so warmly, and it was such a beautiful, blue sky, sunny day that the 23° temperate at game time really didn’t affect me at all (Hey, these are all excuses, not actual reasons why I didn’t get good shots).

I wore Under Armor’s “Cold Gear” base layer (link) which worked great, and then I had layers and layers on top of that (I felt like the “Michelin Man”) and I was so comfortable I didn’t even ever consider putting on the face mask. In fact, it wasn’t until the last five minutes of the game, when it was already dark that I thought, “Hey, it’s getting a little chilly.” So, I should probably lower my “lame blame” on the weather to maybe around 17%.

The Refs. Ahhhh, the Refs
I think I broke my all time record for plays with the ref blocking my shot. Well, them and the video crew. There was one point where I was following a receiver running with the ball and a video camera man walked right in front of my lens—and stopped. Suddenly, everything went black. I pulled my eye away from the viewfinder and I’m staring at his butt two feet in front of me. I said a few choice words. However, it wasn’t their fault—it was mine. I wasn’t in position. I could have moved more, but having to be on your knees every single play gets old fast (I’m on my knees a lot during a game for a better perspective, but sometimes you need a break for a few plays. Well, at least you do at my age).

The end zones, where I usually like to shoot because you avoid most of the refs and video crews, were packed because the TV network had complained that photographers were getting in the way of TV cameras in the end zone. So, they backed the photographers up at least 20 or more feet from the End Zone, so there was just a little strip to shoot from, and it was always packed.

There were more photographers here than any game I’ve ever shot. I tried to take a photo of the photographer’s work room for you guys at half time, but my lens totally fogged up when I got in there. So, whose fault was it that I was not in the right position to capture the action? Mine. So to whom am I assigning a portion of the blame? The Refs and video crew. 14%.

So, it’s really not my fault
OK, it totally is. However, had I been there on assignment, I would have just manned-up and got the job done no matter what, but since I was there to hang with my buddy Mike, I get to blame anyone and everything for having a really off day of shooting (totally kidding—it’s all on me). Oh yeah, where’s the shot you got flattened for? Blurry. Even the ref is blurry, but not nearly as much as Rodgers. Ugh!

I felt bad for Mike
Mike and I were on the 10-yard line when the Bears were in position to tie and take the game into overtime, and Mike and I were watching more than shooting at this point, and then Green Bay picks off  Caleb Hanie’s pass at the 2 yard line, and I just saw Mike’s heart sink. (By the way: I thought Hanie did a great job coming in cold as a third-string Quarterback. Talk about pressure! That’s his reaction above after his first regular season/post season NFL touchdown).

After the game, Mike and I watched part of the Steelers/Jets game with his lovely wife Nancy (Nancy is an incredibly gracious hostess, and a really fun person all the way around) along with their daughter Catherine, (who is just as gracious as her mom, and funny as anything) while having a delicious dinner comprised of foods I shouldn’t eat. We talked and shared stories and made the best of what must have been a very tough night for them.

More Time For Photography
This is Mike’s last year as Chairman of the Bears, and I know there is nothing he would have loved more than to see his team go to the SuperBowl this year (Of course, I think particularly it would have been because he’d get to shoot another game. See how it is with shooting sports? It really gets under your skin). Afterward, they dropped me off at my rental car for the drive back to the airport hotel, broken monopod in tow.

Mike is a really passionate photographer, and he’s gotten really good at shooting football, really fast (he even had an amazing 10-foot long pano/collage of one of Devin Hester’s run backs that was being auctioned off for charity during the game).

I feel very fortunate to have become friends with the McCaskeys, who are some of the most genuine, friendly, and community-minded people you’d ever want to meet. Few photographers I know have worked as hard at their photography as Mike has during these past years, and it has really paid off for him. Although he’s been shooting a lot of football lately, he’s a people photographer, and that makes sense, because he’s a “people person.” (When we’re walking through the stadium, people recognize him and ask for autographs and to pose for photos with him. He treats everyone, from the elevator operators to the security guards, like they’re his personal friends, and Mike always has a smile and time for a quick chat with everyone, no matter who they are or what they do. He treats everyone like they’re important. He treats everyone like they own the Bears, and to me, that speaks volumes).

Joe McNally, who did a portfolio review of Mike’s work will tell you, Mike’s one heck of a people shooter—-so much so that Mike’s now selling prints of his work (RC designed his new photography Web site), and I imagine he’ll devote even more time to his photography now that he’s retired (though knowing Mike like I do, his first love and most of his attention will always be helping other people in need, which is probably why I feel about him the way I do).

I’m thankful for the friends I’ve made in the Bears organization, including Bears Team Photographer Bill Smith (who is very special person outside his amazing photography skills, and I’m trying to get Bill to be a Guest Blogger here so you can learn more about his work outside photography), and I want to thank Mike and his wonderful family for taking me in and making me feel like family every time I visit. GO BEARS!

One Last Thing
I went into this game wanting to try to capture a series of images I could apply a Bleach Bypass effect to, and I did manage to at least do that part. I know this effect isn’t for everybody, and some folks are going to hate it, but for certain things like this, where you’re just capturing the player’s emotions before the game, I thought it would look kinda cool, and I actually like the way these turned out.

These were all taken with my 24-70mm f/2.8 out wide at 28mm, and then post processed in Lightroom by increasing the Exposure until the sky totally blew out, then I opened each image in Nik Software Color Efex Pro 3.0 and applied their Beach Bypass filter using the default settings. Hope you like ’em.