Hi gang, and welcome to Tuesday. Day Nine in this month we call May. ;-)

I wanted to share a tip with you I did a while back on LightroomKillerTips.com (the other daily blog I write, in an effort to ensure I never actually sleep), and I still get comments about it. It’s a feature Adobe snuck into Lightroom in one of those late-night under cover of darkness updates they do to Lightroom, and it’s about why the added ability to move an Edit pin can be a huge timesaver. Check it out below:

Hope you found that helpful (it’s pretty handy, right?). :)

Have a great Tuesday everybody, and we’ll catch ya back here tomorrow for Guest Blog Wednesday!

Best,

-Scott

Hi gang, and happy Monday. It’s going to be a great week! :)

Just a quick tip today, but the thing I’m going to show you is pretty hidden, and you’d use it when a tool starts behaving differently than it usually does. You might have a made a change to a setting up in the Options Bar the last time you were you using Photoshop, and you can’t remember which setting you changed that’s now causing it to act wonky. If that happens, here what ya do:

Above: Look up at the Options Bar up top. On the very far left you see an icon of the tool you currently have selected. You see that little down-facing arrow to the immediate right of it? If you click that, any tool presets you have for that tool pop-down in a menu (as shown here, but I don’t’ have any tool presets for the Move tool, but the menu pops down either way). However, there’s something hidden here.

Above: If instead, you hold the Command-key on Mac (Ctrl-key on PC), instead you get a pop-up menu with two options: (1) Reset Tool. That resets all of the settings back to their default for just the currently selected tool (in this case, I have the Healing Brush selected, so it resets the Option Bar settings for just that one tool). If you choose ‘Reset All Tools’ it does just what it says — it resets every tool back to its factory fresh default setting (and just know if you need to choose this one, you musta really messed up somethin’ big time!). :-)

Anyway, just a quickie but I know some folks who could get a lot out of resetting a tool or two.

Did you catch ‘The Grid” last Wednesday?
It’s my weekly photography show, and last week my guests were my awesome wife Kalebra and our in-house producer Jen Coffin, and our topic was “How to produce your next shoot.” Jen and Kalebra had some great insights, and I shared my own workflow for setting up a location shoot.  If you’ve got a few minutes, I’ve embedded that episode above (you can let it play in the background while you do other stuff, ya know…like work). ;-)

Here’s wishing you a great week, and that it starts off with a much better than usual Monday!

Best,

-Scott

P.S. I’m about 11 days from my being in Minneapolis with my “Lightroom On Tour” full-day seminar. I’m in Indy four days later. Tickets and info here. 

Above: Some images from our gallery opening for KelbyOne member, and the first artist featured in “The Gallery at KelbyOne,” photographer Mark Wegner (seen in the top left image).

Wednesday on ‘The Grid” Kalebra announced some very exciting news — we’re opening submissions again for KelbyOne members to be considered for their own “solo artist gallery show” in our photographic gallery located at our headquarters in Tampa. It’s called “The Gallery at KelbyOne.” 

Our goal behind the gallery is to find an undiscovered artist within our KelbyOne community that we can raise up, celebrate, and expose them and their work to a wider audience.

Here’s how it works: 

  1. From the submissions, we will choose a single winner (here’s the link to submit a link to your portfolio, or Facebook album, or online gallery – we’re looking for a body of work) Note: this competition is only open to KelbyOne members.
  2. We will fly that winner (from anywhere in the world) and a guest of their choosing to the gallery for their solo gallery showcasing their work, where we’ll feature 14-18 of their images (beautifully printed and displayed by Bay Photo Lab)
  3. They will cut the ribbon on their solo gallery opening welcoming the crowd to a wine and cheese reception held in their honor that evening in the gallery
  4. Following the reception, we’ll move to our theater for an interview with the artist, streamed live around the world
  5. The artist will receive all the prints from the exhibition (courtesy of Bay Photo Lab), and one of their images will be included in our permanent collection

Note: The deadline for submissions is: May 15, 2017, at 11:59 PM EDT.

Here’s a short behind-the scenes video from our last opening, featuring photographer Mark Wegner. 

For a detailed Q&A on how this all works, check out my post from the previous opening (here’s the link).

We asked our first featured artist, the wonderful Mark Wegner, to share a bit about his experience at his gallery opening. Here’s what Mark had to say:

“I’ve been fortunate to participate in some gallery showings over the years but never a solo show. The staff, the professionalism, and of course the physical show itself at ‘ The Gallery at KelbyOne’ far exceeded my already high expectations when I was initially informed of my selection. Even as my photography career continues to move forward, I am not sure the experience at Kelby One could ever be equaled.  It’ll be a memory for both myself and my family that’ll last a lifetime.” –Mark Wegner

You could be next. :)

Once again, here’s the submission link for KelbyOne members. I wish you all good luck, and I hope to meet you in person soon at your own gallery opening. :)

Have a great weekend,

-Scott

Electrifying Eyes – Retouching Eyes in Photoshop with Kristina Sherk
Join Kristina Sherk from Shark Pixel for an entire class dedicated to teaching you the best methods for retouching eyes using Photoshop. The eyes are the windows to the soul, and the first things viewers connect with when looking at your photographs. Correctly retouching eyes, without going overboard, is one of the most crucial aspects of portrait retouching, and can make or break a photo. In this class you’ll learn all aspects of eye retouching, including under the eyes, opening the eyes, whitening, adding lashes, exaggerating color, improving catchlights, and more. By the end of the class you’ll have a new bundle of tools, tips, and techniques for improving your retouching skills, as well as a free set of brushes you can download and use.

In Case You Missed It
Learn the core fundamentals of retouching hair! Join Kristina Sherk as she teaches you how to retouch hair smarter, not harder. From removing stray hairs to changing your subject’s hair color, and from creating custom hair brushes to adding dimension and shine, Kristina will show you how to do the best things possible in the fastest amount of time. Every photographer working with people can benefit from adding these hair retouching techniques to their set of skills, so that you can deliver outstanding work to your clients and get back behind the camera. By the end of the class you’ll know how to make your clients look red-carpet ready and how to do it faster than ever.

Photo by Jason Menon

Wet Plate A Hundred And Sixty Six Year Old Photo Process

Number one question I get on a weekly basis.. What goes into a typical wet plate shoot? Well, I’m about to walk you through what wet plate collodion is, and what I do when I setup to shoot on location.

Photo by Luis Velez

To create an image, I hand pour the emulsion (collodion) into a pool on a glass or black aluminum plate, then carefully move it around until its evenly coated. The excess is drained back into the bottle. Next, I lower the plate into a silver nitrate tank and let it sit in there for three minutes while the chemical reaction takes place. Once it is time to take the plate out of the tank, it has essentially turned into a sheet of extremely slow film.. In my mobile darkroom I place the plate into a custom holder so that it can then be loaded into a view camera and exposed.

After the plate is exposed, it is taken back to my darkroom where it is immediately developed and stopped with water. Once developed and stopped the image is no longer light sensitive and can be taken out of the darkroom into white light. The image now looks like a blue negative. The final chemical step is fixing the plate. This turns the image from a negative into the final positive form. Later on the plate is washed with water, dried, and varnished with shellac.

Photo by Justin Conant
Photo by Jason Menon
Photo by Jason Menon

Okay, so now that I have filled you in on some of the technical aspects of how each plate is made, I will go through my setup for an on location shoot.

My most recent project, called “Stillwater,” is a documentary project that explores the heavy rock community through wet plate portraiture. Most of the time bands have very limited time when it comes to their schedule. So to create work for this project I meet bands at the venue to make their portraits. My car is loaded to the brim with strobes, stands, power packs, 11×14 view camera, beauty dishes, and some other miscellaneous equipment. I unload all of my equipment, and set it up in the venue.

Once it is set up I will go out to my car and then set up my mobile darkroom in the trunk of my car. This whole process usually takes me an hour and a half to two hours… After both of these are set up I can start to shoot. Each portrait takes me about 20 minutes per shot which includes the plate prep time. So there is no room for error… I only have time for one shot per person, so I have to be very mindful in each aspect of the process.

Photo by Jason Menon
Photo by Jason Menon
Photo by Dave Bichard

The number one issue that I ran into when I started this project was trying to figure out how to make these images without available light. I learned how to shoot wet plate with using the sun as my light source. However, most bands arrive later in the day and by the time I get set up, it’s dark outside. So, I implemented the use of strobes to make my exposure.

Wet plate is not that light sensitive; the working ISO is around .5 to 1, therefore you need A LOT of light. About 12,000ws for 11×14 plates, and 7,200ws For 8×10 plates. So my favorite tool to increase my output is the Profoto twin tube heads. This allows me to combine my 2,400ws Acute packs into one head with an output of 4,800ws. I am constantly changing my lighting setup. However, my most recent setup has been implementing two Profoto soft light silver beauty dishes for my key light, above and below my subject. As for the rim light I use a Profoto magnum reflector. These tools help me achieve the maximum power output that I need for my images.

Photo by Jason Menon
Photo by Jason Menon
Photo by Jason Menon
Photo by Dave Bichard
Photo by Dave Bichard
Photo by Dave Bichard

It has been a long journey from when I first started working in this medium to where I am now. I encourage people to try out wet plate for themselves. However, it is a long learning curve that requires patience… Just be prepared to make a lot of bummer plates before you make any good ones. That’s part of the fun of the process, and it’s that much more rewarding once you make a plate that you are proud of.

You can see more of Matthew’s work at MatthewDeFeo.com, and follow him on Instagram and Twitter.

Hi, gang – Happy Tuesday! Today I wanted to share some Lens Correction stuff in Photoshop (this works in Lightroom, too!) that a lot of folks have overlooked (like the Aspect slider for one). This is really powerful stuff — it uses a number of different parts of the Lens Correction and Transform panel, but it’s good solid stuff; it’s easy to use, and there will be times when you really oughta be using it.

I made a video for ya (below). Lots of little tips inside this one:

Again — that works the same way in Lightroom — the panels are just in a different location.

Hope you found that helpful. :)

I’m in Indy in three weeks from today with my Lightroom Seminar
You can be there, too. Here’s the link with details. 

Have a great Tuesday everybody, and see you tomorrow for “Guest Blog Wednesday.”

Best,

-Scott

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