Aloha from Maui, Hawaii — I’m here at Canon’s launch event for their just-announced EOS R Full Frame Mirrorless camera. I got a chance to get my hands on the new camera, and I have to say, Canon did a kick-butt job on this big-time Mirrorless. 

Get The Scoop Live on The Grid and Ask Canon’s Tech Gurus Yourself
Before we get to the tech specs — today you’ll have the opportunity to ask questions directly to Canon’s photo and video gurus, along with YouTube sensation Devin Supertramp, and Fashion Photographer Lindsay Adler, as we’re broadcasting The Grid live from Maui, Hawaii today at 4 PM ET ( or -These guys have the answers, and we’ll be taking your questions live – see you at 4PM EDT today!

OK, onto to my first impressions:
The camera specs are found all over the Web (here’s a link to Canon’s EOS R official spec sheet), but here are the features that stood out to me:


5,655 AF points (read that one again, out loud)

They nailed the ergonomics, and the overall feel (and grip) feels great! It feels like a DSLR even without the battery grip. They crushed it on the ergo side, and everybody at the event was talking about how great the camera feels in your hand.

Touch Bar in the back is very clever, and it’s customizable. You can assign what you want it to controls (like your ISO for example), but you can have it control more than one thing. Really slick when you try it.

Full articulating touch screen, up/down, flips out, the whole 9-yards

The very small size of their just announced 24-105mm is worth nothing (more on new lenses in a minute)

It has 4K video at 30-fps, and 1080p HD at 60 fps, but the one that stood out to me was the 720p HD at 120 fps for super slow-mo.

There’s a $99 mount adapter so you can use your existing Canon EF or EF-S lenses.

Only one card slot, but at least it’s SD (SD cards are probably the lowest priced cards out there).

It takes the super popular, ubiquitous LP-E6N or E6 Canon battery (thank, goodness!), and you can get a battery grip for it, to add a 2nd battery. About 370-ish shots per battery.

My first impressions of the Electronic Viewfinder
Way, way better than I was expecting. I’m not a fan of Electronic Viewfinders at all, but this one might make me change my mind. Really well done. 

But at the end of the day, features are just features 
It’s like describing a guitar by telling you what kind of pick-ups it has and what type of wood the fretboard is made from. What really matters is this — how to do the images look? I got a chance to play with one, and see the images right from a pre-release model of the camera, including large prints (so it’s not a full production unit yet, and will still be tweaked, enhanced and such), and they are just beautiful! Vivid. Crisp. Rockin! I also saw some 4K Video Devin shot and it looked absolutely stunning. At the end of the day, how the images look — that’s what it’s all about. 

I think they killed it on the pricing – $2,299. 

Anticipated Ship Date:
The body ships in October 2018  

They launched some nice new lenses for their new Mirrorless R-mount as well – smaller, lighter, very fast! 
But, I think their new control ring feature is show stealer!!! Such a clever idea for adding controls right to the lenses themselves, and you even buy an adapter to add a control ring to your existing EF lens. This is really slick! OK, on to the new RF Lenses:

> 28-70mm f/2 ($2,999) ships in December 2018

> 24-105 mm f/4L IS USM ($1,099), December 2018

> 35mm f/1.8 MACRO IS STM ($499) December 2018

> 50mm f/1.2L L USM ($2,299) October 2018

> Mount Adapter for the EF-EOS R ($99) October 2018

Pretty serious-level lenses. 

Lighter big lenses, too!
Another big announcement was the release of two big EF lenses (for sports and wildlife shooters), that are about 2lbs lighter than previous models, making them the lightest weight lenses of their kind. The crowd here dug ’em!

Lots more to share later today on our “Live from Hawaii” edition of The Grid. See you then – 4 pm EDT today! 



P.S. I also saw (though not covered in today’s launch event) Canon introduced a new EL-100 flash (Speedlight). 24mm coverage. Optical wireless. Mode dial driven. Very small, and simple. $199.99 – ships October 2018

Hey all! It’s #TravelTuesday right here at Scott Kelby’s Photoshop Insider and today I, Dave Williams, want to share with you a little bit about how photo intentions affect travel. Today, I want to provoke your thoughts.

On that note, Scott has a new class out now on KelbyOne called The Photographer’s Guide to Traveling Light. Go check that out!



Take a look around and note how much influence media has on our everyday lives. I’m talking about the entire range from personal Instagram accounts, right through to National Geographic and other such epic documentaries. You’ll even find influence coming from KelbyOne in respect of what I’m talking about today. The travel industry, in particular, is absolutely dominated by social media and influencers, so it’s absolutely no surprise that travel and photography are intrinsically linked. More and more often we are finding that our travel plans are weighed up against how “Instagrammable” (definitely a real word) the destination is. It’s actually my job to do that very thing.

Here’s something very interesting, which has popped up recently; something that’s worth giving a little thought: Studies have recently shown that us humans are now very likely to recall our experiences and our photos from a third person perspective. What we’re doing, as I’m sure you will have noticed, is showing the world our images with the intention of gaining likes, comments, shares, and engagement. We’re no longer looking to have experiences, but rather we’re looking to share. It seems that our number one priority is not to reflect on the moments within ourselves, but to consider how the perception of our experience would be evaluated by our followers.



This information is worth keeping in the front of our minds because travel (and indeed travel photography) is about experience. Our travel experience is tragically becoming hindered by sharing. We give undue consideration to our photo sharing over our internal forbearance and reflection on the circumstances we face to give us the experiences we see and feel in travel, and this is a necessary evil in some regards and some situations, particularly for myself as a professional travel photographer and writer. The fact that social media has a massive impact on our experiences is now a part of everyday life, and we are still getting used to it. It has hit us all in the face, and in some cases has become a genuine obsession. We can, if we aren’t careful, become obsessed with getting something “grammable,” something worthy of a Facebook post, and the subsequent likes and follows. It can take over us and take us beyond the reason we shoot and travel. The focus. The present moment.

It takes discipline to deal with social media effectively and productively, but similarly, it takes discipline to not let social media steal your time. With respect to how this is becoming “the norm,” just remember this:  if you’re always trying to be normal, you’ll never know how amazing you can be. In a world where everything is disclosed, perhaps it’s sometimes a good thing to remain a mystery. Make experiences, remember to actually experience them yourself, and don’t use your social media to try to impress people. Use it to make an impact. Give it value.

Much love


Hi, folks:
Today is Labor Day in the US (an official US holiday), and like most government offices, the KelbyOne offices are closed today so we can rest and eat hamburgers (an American Labor Day tradition). So, I’m using that loophole as a springboard for a day off!

You know what else?
Today, I’m celebrating being married 29 years to the girl of my dreams. It’s just about a perfect day! :)

So, have a great Monday everybody, and we’ll see you back here tomorrow where Dave Williams, who is British and therefore immune to US holidays like Labor Day (of course, he’d spell it Labour Day), will be back with his crazy brand of craziness (or travel photography tips—I can’t remember which).

Have a great Labor Day today. Don’t forget to rest and eat hamburgers! :-)



P.S. We have right around 650 photo walks organized around the world as part of my annual Worldwide Photo Walk. If you’re relaxing this Labor Day, why not click this link; type in the name of your city, and see if there’s a walk near you that you can join on Saturday, Oct. 6th (it’s free, it’s fun. Did I mention it’s free?)


  • Frederick, Maryland USA
  • Caloocan, NCR Philippines
  • Torreón, Coah, Mexico
  • Ft. Myers, Florida, USA
  • Halton Hills, Ontario, Canada
  • Dublin, Ireland
  • Muratpaşa, Antalya, Turkey
  • Tarragona, Spain
  • Hendersonville, North Carolina, USA
  • Tulsa, Oklahoma, USA

These are just a few of the latest cities with Photo Walks joining 650+ Photo Walks in cities around the world for my 11th annual Worldwide Photo Walk™. The world is walking, Saturday, October 6, 2018 and you’re invited to come along (it’s free); make some photos, make some new friends, and have a ball!

> Here’s where you find a photo walk near you to join (each walk is limited to just 50 people. Here’s why).

> Here’s where to apply to lead a walk if there isn’t already a walk near you.

> Here’s where to donate just $1 to help the 51 children in the Springs of Hope Orphanage

> Here’s where to order your official 2018 Photo Walk t-shirt (100% of the profits go to the Springs of Hope Orphanage).

> Here’s where to join the walk I’m leading in Innsbruck, Austria on Saturday, Oct 6th.

You guys are awesome!

I hope you have a fantastic weekend. :)



P.S. I had a spot open up for my sold-out travel photography workshop at the end of next month in beautiful Rome, Italy. Maybe that spot opened up so you could there. Get that last ticket here, and I’ll see you in Rome next month for a workshop you’ll never forget. 

Pro Techniques for Retouching Clothing with Viktor Fejes
Learn how to retouch clothing like a pro with Viktor Fejes! Retouching clothing requires its own set of tools, tricks, and techniques, and Viktor takes you through a series of exercises that demonstrates how to get the job done. In this class you’ll learn everything from removing wrinkles to toning down shiny surfaces, removing moire patterns to cleaning up dust, defining the shape of your subject to changing the color of the clothing, and so much more. All of the files used in the class are available for download so you can work along as you watch, or refer back to them later for practice. By the end of the class your digital ironing skills will be taken to a new level and you’ll have a whole new set of retouching solutions to whatever clothing problems you encounter.

In Case You Missed It
Learn the essential elements of retouching. Join Viktor Fejes as he provides you with a solid a foundation for how to approach retouching. This is not a class on how to use the basic tools of retouching, but rather how to think about retouching in a logical and methodical fashion, so that you can develop a workflow to properly retouch a photo from start to finish. You’ll learn how to evaluate an image, how to start in Camera Raw, how to structure your layers in Photoshop, how to use techniques involving false colors to fine tune texture, tones, and color, and all the while gaining a firm understanding for why you would approach retouching in this way.

Commonplaces – Surreal From The Real

I’m a big believer in story. Several years ago I made a 365 Project that was all storytelling based, because it’s a topic that really intrigues me. I love creating photographic stories. I find storytelling inspiration through studying paintings and painters of the past. Norman Rockwell has allowed me to see things differently in this world. His illustrations show an idealized version of life, the world as he wanted it to be.

“Commonplaces never become tiresome. It is we who become tired when we cease to be curious and appreciative. We find that it is not a new scene which is needed, but a new viewpoint.” Norman Rockwell

Norman Rockwell used photographs to help him tell stories.  His images started with a concept, were photographed by photographers he worked with, and then through a combination of tracing and his incredible painting techniques, he created the finished image. This is what I try to do with my work through Photoshop and compositing. I create several images and then arrange them in a way that allows me to layer them and create the story I want to tell. I am a photographer (because by no means do I have amazing artistic painting technique) but the key is where you start with a composite. You and I start at the same place as good ol’ Norman, with a story in mind. Trust him, he’s a genius of using common places and common people to tell simple stories with emotion and paused action.

The simpler the story the better: Norman’s paintings were detailed, but the action was always simple.

Story is how we relate to one another in visual or literary ways. In my opinion it’s what gives a photograph purpose. What story do you want to tell? That is the first question we all struggle with in our work. Headshots need to tell a story of trust or peacefulness, or warmth, or coldness for that matter (think about the actor who plays a villain). In Rockwell’s paintings it was usually a look that told the whole story. What are we trying to convey to our viewer? How can we create an image that others can relate to in their own lives? How can that most simply be conveyed? These are some of the questions I ask myself when developing a new piece.

There are so many questions that it can become overwhelming when trying to start a story. Start simply. Take a moment, stare at the clouds, sniff some orange peels, whatever you do for inspiration, then take out a sheet of paper. Yup. Paper. Write down a couple of thoughts you have about what you’d like to do in a photograph or composite. Figure out a story to place into that image. When starting I try to find the following:

  • A ubject (person, place, or thing)
  • An emotion
  • A location
  • A reason for them to all be there together

Look around the room right now. There are objects there; choose one object. Think of any emotion. The location is the room you are in right now. You are the subject. How do you interact with that object and why? Just try it for a second. You’ll have an idea. You may think it’s crummy or dumb or genius. Any of those thoughts are okay to have right now. Just choose one…be it silly, serious, playful, or any number of things. Look at this list of emotions below to find one if you need help.

After choosing subject, object, location, and an emotion, I draw up a little sketch of what I’ve come up with and see if it is feasible to do. Below are some simple sketches for a 365 Self Portrait Project I did awhile back and what they became. 

This is how they turned out in the end.  They aren’t identical, but they are pretty close to what I had been thinking when I designed them. 

Subjects: Male and cloud
Object: Leash
Emotion: Contentment

High Stakes
Subjects: Gamblers
Emotion: L to R – Concern, frustration, frustration, elation
Objects: Money
Location: Casino

Tips For A Better Story… Find The Paused Action
This is one of my secrets for compelling imagery; find the moment with your subject where they are in the middle of a compelling emotion. Viewers of art like creating their own stories based on our imagery. It is compelling to guess what is happening next in a visual story. Miss the apex of the emotion, just before or just after, and we are told too much or too little about what is happening in the scene. Allow people’s minds to fill in the gaps. Try to find examples of this in some of Rockwell’s paintings and then make it happen in your own work.

Some other examples of when I was inspired to do this is when I was living in NYC. I was living in a small apartment and found inspiration there all the time even in one room. Below are some of the concepts I used in one location and changed my viewpoint to shake up the way I saw the same room. 

All 17 of the above images were done in the same room. Look up, look down, look around a corner; different concepts, different emotions and different props can entirely change a story. Usually I didn’t spend money on props, it was all what I had in the room at the time (I’m weird, I know). 

Most of these are based on an emotion of some sort: sadness, surprise, wonder, relaxation, terror, loneliness, etc. Through changing the subject, emotion, or lighting, I was able to completely change the story.

Norman Rockwell has allowed me to see things differently in this world.  His illustrations show an idealized version of life, the world as he wanted it to be. This is what I try to do with my work, albeit in a different way. What does the world look like through your eyes? What commonplace object, location, or subject that you encounter every day could contain the most extraordinary image if you looked at it slightly differently? What if you added a different subject, a random prop or a different emotion? 

Be curious. Be appreciative. Show others the way you see the world, one story at a time.

Thank you Scott for inviting to share my view of photography and Photoshop. Your introduction into this world gave me my inspiration to become what I’ve become today.

If you have any questions feel free to reach out and ask! Find Kirk on Instagram, check out his photography at, and check him out at!