Posts By Brad Moore


When Scott asked me to pen a guest blog, I was honored and thankful to have such a great opportunity to reach so many passionate users of our application… Then I realized I’d have to constrain my piece some and focus it on a particular room in the funhouse that is Photoshop.  I feel the same way when I’m demoing; whether I have ten minutes or two hours, it never seems to be enough time.  So I’m going to attempt two things here; one, to deep-dive on some new technology that I haven’t seen thoroughly explored, and two, to let this post be a launch pad towards some great resources for information and technology related to Photoshop.

Of the many twists and turns that Photoshop has taken over the course of my (nearly) 10 years on the team, none have been as interesting to me as those related specifically to photography.  My background is behind the lens and it’s my love for the medium that first drew me to Adobe.  Being mindful of photographers and the applications we provide for them, today I want to focus on two features whose powers can be tapped directly from Bridge CS4, Lightroom 2.0 or from within Photoshop CS4 itself.

We are very excited to have JoeyL as our guest blogger today!

WARNING: If you’re familiar with Joey’s work, you know that he travels all over the world photographing many different cultures. His post today contains some National Geographic-y type images of natives, and since these natives don’t tend to overdress, there are a few images where the natives have exposed breasts. If you’re sensitive to seeing these types of images, then please don’t click the “Read the Rest of this Entry” button below. Even more importantly, now that you’ve been warned up front, don’t post complaints about the images (I’ll just delete them).  Now, here’s JoeyL!




Dustin Snipes is a full time staff sports photographer and part-time Red Bull drinker in Los Angeles, Calif. When he is not taking photos (or drinking Red Bull) he spends his time watching reruns of “How I Met Your Mother.”

For the last few months, people have been asking me about the post-production involved in the photos on my blog post “70 basketball portraits I did in two days.” I always planned on sharing it with everyone but just haven’t had time to put anything together until now. Recently, I was asked to do a guest post for Scott’s blog and thought, “What better way to share this Photoshop tip with everyone than on Mr. Photoshop himself’s blog, Scott Kelby?” I was pretty giddy, to say the least.

It’s actually a pretty simple process that has a few steps to get this “look” (and it’s not LucisArts or HDR :) ).

Here goes:

There is one thing you must promise me–and yourself–before reading this post. Repeat (or read) after me:

“I, (state your name, or clever web user ID) will not overuse this technique on EVERY photo I take. I will only use it in moderation.”


Greetings! My name is Chris Orwig , and I’m a photographer, interactive designer and educator. I whole heartedly agree with the acclaimed French photographer Marc Riboud who says, “Photography is about savoring life at 1/100th of a second.” And it is true, isn’t it? Photography enriches, enlivens and expands how we think, what we see and who we are. Photography helps us live more fully, more completely. Having a camera in hand does make a difference. Yet, throughout one’s photographic journey, there are seasons when our passion and vitality dwindles. That’s why we read blogs like this. We’re looking for a bit of straightforward information and inspiration that will further us along. In light of that, here’s a post devoted to providing you with some creative thoughts and anecdotes that will hopefully lead you to creating more compelling photographs – enjoy!

Burn out or Burn Bright
As a photography faculty at the Brooks Institute, I’ve worked with a wide range of students. Some have gone on to accomplish great things – even fame! Others have dried up, burned out and left the field all together. I’ve always been interested in this dichotomy, and it interests our students as well. They are always on the lookout for the secret that will help them excel. A few years back, one student was having his portfolio reviewed by the legendary Jay Maisel.


The review was fine, yet after it was over the student pleaded with Jay, “Tell me, how can I take more interesting photos?” With missing a beat, Jay volleyed back, “Become a more interesting person.” Or said in another way, as Chris Rainier told me last week, “…at some point photography becomes autobiographical. In order to create better photos, sometimes we need to put down the photography books and magazines. Then we need to go out and to develop who we are.”

Who we are, shapes what we see.

Make the Ordinary Extraordinary
Regardless of who you are or what your do, it is easy for anyone to fall prey to “if only” thinking. If only I had that lens. If only I had that camera. If only I was given that assignment. If only I lived in that town. If only. Yet, to counter such stifling thoughts, many photographers I know use their imagination to redefine circumstances. And right now, I’m not talking about photographically finding beauty in unlikely circumstances. While that is critical, here I’m talking about defining who you are and what you do. Let me explain. (more…)


Extreme Photography: First Frame

When high school guys have a little too much courage (or booze) in their system, they sometimes hit the road for a game of “chicken.” In the game (primarily designed to thin the herd of the stupid young males before they get to breed) two people drive right at each other in cars, until one blinks and swerves out of the way first.

This person is the loser of the game.

Get a little more age and enough alcohol involved — and a handgun — and you may end up with a game of Russian Roulette, which is an even faster ticket to a finalist slot in the Darwin Awards.

As a young sports photographer 20 some-odd years ago, our professional equivalent was a little game we liked to call “First Frame.” I was introduced to it by my friend Rich Riggins, who was a ridiculously good sports shooter at a very young age.

The rules were simple: Two competing photographers shooting the same game shot the first frame of a 36-exposure roll of Tri-X at each other, thus verifying that no rolls of film were switched later. The very next frame was your entry in the game. Whoever had the best action shot (moment, composition, focus, etc.) won.

Mind you, this was in the days of film and manual focus cameras. We didn’t have 11FPS auto-focus digital Uzis with 4000-shot clips. And yes, we walked to school, five miles, uphill both ways — in the snow. Barefoot.


Photo by Reann Huber

Cultivating a Photographic Vision

First off, I would like to thank Scott and Brad for this opportunity, it’s an honor to be a guest on here. I also want to thank Scott for hiring me back in 2013 as an assistant to help with remote cameras at an Atlanta Falcons game. I had been a Sports Illustrated assistant for several years before helping Scott, but that opportunity led to me shooting an entire season for the Falcons, which in turn led to many other opportunities (including being featured by Instagram for my Falcons work).

Adrian Clayborn. Atlanta Falcons, 2015

For this post, I’ve decided to write about having a vision for photography. It may sound grand and vague and only reserved for fine art photographers, but it’s something I think photographers from many disciplines, if not all, should aim for.

It can be hard to define what having a vision really means. It’s a lot like art itself; it can be easily recognized, but very difficult to put into exacting words.

Omar Shekhey, who runs the Somali American Community Center in Clarkston, Ga. Here, he drives a taxi for extra money. NPR, 2015

Talking to Chris Aluka Berry, a good friend and a remarkable photographer, we discussed what having a vision meant, and I think he summed it up well:

It becomes apparent that a photographer has a vision when you can see the photographer in the work. If a portrait captures the essence of a person, then the photographer’s body of work should capture the essence of what he or she is trying to say.

Chris Aluka Berry

But how does one go about doing something like this? I don’t pretend to be an expert on this topic or be able to give a step-by-step guide on obtaining a vision for one’s photography, but I am offering some experiences and what has guided me towards a personal vision of how I see.

A Bit About Me

It was about 15 years ago when I first remember hearing the words “vision” in this context. Barely a photographer myself, I was intrigued and wanted to begin working on my own. It was 2004 and I was attending the Atlanta Photojournalism Seminar, an event that attracted young and old, seasoned veterans to rookies like myself.

Several of the speakers mentioned finding and following your personal vision. I had an idea, but I really didn’t know what this meant. But I wanted it. I wanted to feel like all of my work came from a place deep inside, guiding me to make photos that were truly saying something.

I had been shooting professionally for a couple of years by this point. In 2001, I took my first journalism job as a reporter for The Moultrie Observer in South Georgia, a sleepy town with a magnificent courthouse and a downtown surrounded by what seemed like endless miles of cotton fields and pine trees.

Part of a reporter’s job at many small newspapers is to take photos to accompany his or her stories, and working at the Observer was no exception. I was one of two reporters — and though we had a staff photographer, I couldn’t count on him covering all of my stories because of the sheer volume of work he was responsible for.

But this turned out to be one of the biggest blessings of my life. I fell head over heels in love for photography and knew that capturing images would be my path. By 2004 when I was attending the Seminar, I had started working at another small town newspaper — but this time as a staff photographer. My dream had arrived.

Griffin High School baseball. The Griffin Daily News, 2006