I’ve met many people over the years and have made Lifelong friends.

The very first friend was Scott Kelby himself.  We met when Scott, Rob Kerr, Jim Workman  and a few others were giving a special one day “Money Back Guarantee” seminar on Photoshop. I took the class because I just opened my own Karate studio and the budget was too tight to hire a graphic artist. I remember sitting in a class with about 30 people memorized by Kelby and Kerr. I instinctively kept raising my hand asking questions. They were very patient and answered them. The second one day seminar they made an announcement to hold all questions until the break and then come see the instructor. I was the first one there. After awhile people would ask me to ask questions for them; they were too embarrassed to ask.  Scott started to recognize my face and I could tell it was bittersweet. Happy to see a devoted fan, but dreaded the questions. During one of the breaks Scott and I started talking and the martial arts came up. He mention he helped a martial arts client; who later became his instructor, launch a magazine called NAPMA – National Association of Professional Martial Artists. Not sure how it happen, but the  next one day seminar, Scott said he didn’t realize I was a martial arts master. I told him I hated that term (there is only one master I know). I was glad Scott befriended me as Robert Vanelli not Mr. Vanelli the former champion. It was always hard knowing who your true friends are when you are in the spotlight. He was excited to announce the first Photoshop World. I’ve been attending them ever since.

A connection that landed an unexpected job.

I met Ross Bushong while attending the L.A. Photoshop World in 2002. As usual, I was lost finding the convention. I heard a voice say, “hey the convention is over here, follow me.” From that day on, Ross and I became great friends. Although Ross lives in Washington State, we manage to talk several times a week. We room together when he attends Photoshop Worlds. In 2006 our families finally met as we flew to Washington State to celebrate Thanksgiving together. A few years later Ross asked me if I was interested in working with him on a web site project for a company he worked for; Cadwell Labs. It was a rewarding experience working along side him!

Hanging out with HOLLYWOOD on the set of N.C.I.S.

For those who know Mike Kubeisy knows he is HOLLYWOOD. The number of shows Mike photographs for is too long to post. Just looking at his photo gallery will give you an idea how this man shoots Hollywood! I’ve met Mike over the years at Photoshop World and didn’t realize the extent of his skills. Mike doesn’t brag or rub his success in your face. Watching the gag C.S.I. Photoshop World opening video I commented how the set looked so real. Mike said they actually shot on the set of C.S.I.. I asked how did Kelby manage to pull that off. Mike just smiled and said Scott has friends. Later Scott told me it was Mike’s connections that enabled them to shoot on the set. Mike’s character and core spiritual values make it easy to call him a great friend. His sense of humor and practical jokes makes it easy to call him my brother! Mike phoned one day and asked if I heard what Terry White did for Scott’s birthday. Being the tech gadget-man Terry is, he flew to Scott’s home and spent the weekend connecting gadgets to more gadgets. Mike said his birthday was coming up soon and asked me what I was planning on getting him. He said if I didn’t get him anything yet, how about doing what Terry did for Scott and fly out here. We both laughed and I was on a plane to L.A. the following week. Mike paid for the trip and I had a blast setting up his web site and connecting all of his gadgets. Mike took his boys and me on the set of N.C.I.S.. Watching Mike work was an eye opener for me. The way the man’s mind thinks about the shot and waste no time getting it was a valuable lesson for me. I was just setting up the shot in my head and Mike was already done!  On that trip we also connected with Ben Willmore and did shoot with him. I also was able to meet up with the ever inspiring Vincent Versace. Mike told me after he dropped me off at the airport he text Larry Becker and told him he loved hanging with me but it’s exhausting. He later texted he was rested but he missed Vanelli!

Meet inspirational mentors at the Portfolio Review & The Art of Digital Photography.

The Who’s Who of Photoshop and Photography are the seminar instructors. The best part, they are available for you to talk to for free! Years ago, Scott introduced me to my inspirational mentor, Vincent Versace. Vinny took me aside and reviewed my projects. He was harsh. He looked at my projects and ripped them apart. He said the photography was terrible. I made the mistake of saying I wasn’t a photographer. Back then, I would hire a photographer and I would do the ad layouts. Vinny looked at me with that stern stare and said why are you wasting your time and  mine!  I didn’t know what to do. On the plane ride home, I realized he was telling me to become a photographer! So I did. The next Photoshop World, I approached him and before  I could speak he asked what are you. I replied, “I’m a photographer“. He smiled and said, great show me your stuff. The past Photoshop Worlds not everyone had the unforgettable opportunity to meet their inspirational mentor like I did. Now at Photoshop World you can attend a free portfolio review. Helene Glassman helps organize the portfolio review. This is a once-in-a-lifetime opportunity to get one-on-one instructive feedback as your portfolio is reviewed by some of the most highly acclaimed professional photographers in the industry today. If you did not register ahead for the portfolio review, you can still attend The Art of Digital Photography. This is a night of pure magic. It’s where some of the world’s leading digital photographers come together, on one stage, for an evening that you’ll be talking about for years.

The Expo and Bonus Classes saved me from a costly mistake.

I love walking around the Expo seeing what’s new in the industry. Chatting with vendors and getting their advice. Many years ago; before desktop publishing became popular, I almost spent a small fortune on a printer that created printing plates. I came across a vendor that told me that technology will soon to be outdated. I thought he was just trying to sell me on his product. I asked around and found he was right. I purchased my first large format printer, an Encad, instead. I saved over $1,500.00 and the embarrassment  of making a financial blunder. Years later, I talked with Epson and HP at the Expo. I compared the two products side by side and was able to make an informative decision on which new large format printer I wanted. Also at the Expo are the bonus classes. These are free classes you can attend in between the seminar classes.

There are many extra benefits from attending Photoshop World, but I will leave you with these for now. I do want to say thank you to Scott Kelby. He has been at the heart of all the opportunities I’ve had. Scott’s unselfishness to share made it possible for me to meet with these talented people.

On June 29, 2009 I had the honor to be a guest blogger for Scott Kelby. I have re posted the article here on our web site.  I want to thank Terry Reinert and Sandy Foster for their valuable input.

Before I begin I want to thank Scott for including me as one of the weekly guest bloggers on his blog. To say it’s an honor for being one of the 52 guests he has per year is an understatement! You wouldn’t really think that being a guest blogger for Scott is an intimidating task until you are given the opportunity. Only then does the truth of the matter come out! I myself, a man of many words, struggled with what I should talk about and who I should target my post for. Then I remembered the KISS method; Keep It Simple Silly. For the more complex theories and techniques, I will guide you to the experts that I pull my inspiration and knowledge from. Please don’t mistake this for name dropping for shameless plugs for my friends… As they say, “it takes a village to raise a child”. In this case the saying would be “a community of artists draws inspiration”!

Title: Creative Ways to Mass Produce a Photo Shoot

There are many different types of photo shoots that a photographer can do. Although the concept of photography in general is the same, each area within photography comes with its own set of rules that have been predetermined by photographers, editors, and clients throughout the past. It is up to each individual photographer to determine which rules to follow and which ones to break in order to achieve your goal. Our goal here is to create a template that can be reused to get the same results. I am not talking about an Adobe Photoshop or Adobe Lightroom template but a template that takes us from Click to Print. The final output from our Click to Print Template will be package printing; wallet size, 5×7, 8×10, 10×13 and 16×20, all from the same print without compromising our creativeness.

The major steps that we will complete in this project are 1) doing the mass photo shoot, 2) applying any post processing, and 3) send the images off to a lab. Yes, I said a lab. In the past I did it all which included the printing, packaging, and shipping. I wanted to learn the entire process and offer custom sizes. I also wanted the ability to fix anything I screwed up in the shot! I recommend completing a full scope project like this on your own a few times so that you can gain the insight in each area of the process so that you can mitigate any risks or problems for future projects. But I know that some people do not have the ability to create high quality prints themselves so that is what this whole post is about; giving you some of that insight to help you mitigate your risks without having to drop a ton of time and money on new equipment.

Prior to diving into the details of what I am going to explain I want to tell you a quick story that shows the usefulness of what I am going to tell you. I had an opportunity to photograph one of the most sought after high school football players, a young kid named JJ Keels. My game plan seemed pretty simple; I wanted to capture his humble demeanor but at the same time make him look like a tough college level player. Another intention of the shoot was to experiment with lighting in stages and to develop a tutorial on it. At first, I took the standard safe portrait shots. Then I had my assistant, Terry Reinert, spray JJ down with water to get that sweaty tough look. Then we took it another step further into the experimental range by spraying water in the path of the lights to create the images you see here. After the shoot, I used Adobe Photoshop to continue creating my vision and also to experiment even more. Once I had the format down, I took notes on what I would do different on the next shoot so I wouldn’t have to spend a day in Adobe Photoshop for the next one. Take note, if I took on this shoot with 60 football players waiting in line, I would have to edit 60 additional images to get the results I got. There is no way that I could have done that without having done a test shoot first and got my game plan together. The test shoot enabled me to develop a format that I can use to mass produce the same type shot in the future. I was also able to develop a predefined lighting system to use as a starting point for other shoots.

Doing the Mass Photo Shoot

Running a karate studio gives me a huge pool of talent to pull from for my photography experiments. I am never limited on subjects to try out my ideas on. I emphasize the words try out because you are doing just that; experimenting to determine what will work for your upcoming mass photo shoot. Find someone that can benefit from your time and energy for your test shoot. Explain that this is a test shoot and you are experimenting with different lighting configurations and poses. In return for their help, you can provide them with the photo package that you create or put the images on a CD for them. This practice is generally known as a TFP (Time For Prints). Use your neighbors, friends or family members but I do recommend not using children or someone who is overly shy because you will need to focus on the photography side of the experiment and you won’t want to take on the added worry of dealing with your subject. Another good source for test subjects is networking websites like Model Mayhem or One Model Place. Look for upcoming models that can’t afford to pay for a portfolio and ask them if they would like to participate in your experiment and receive portfolio pieces. Word of caution, have an assistant or an escort with you when dealing with strangers for both personal and legal reasons. It pays to be safe!

Regardless of who you use as your test subject, make sure you have them sign a model release form. Ed Greenberg and Jack Reznicki teach a class at Photoshop World called, “Everything Legal”. In this class they explain the legal aspect of photography including model release forms and copyrighting your images. You can also read their column in Photoshop User Magazine. In short, Jack gave an example of a photographer doing a free shoot for a friend’s neighbor. In exchange for the shoot, they get a set of photos and the photographer gets to use the images on his web site. He didn’t have them sign a model release form because it was a free shoot. Everything was fine until the couple divorced. After that they asked him to remove the photos from his web site. The photographer doesn’t have a leg to stand on. Another area Ed explains is why you want to copyright ALL your images. These two are a great resource for legal advice. Jack is also an incredible photographer by the way! Check out his portfolio.

So now you have your test subject and are ready to begin the photo shoot. The first thing that you have to do is keep an open mind. Have a game plan but be flexible and also be ready to change it. The next important thing that you should adhere to is to avoid the pitfall of filling the whole frame with your image. Moose Peterson just had a heart attack; did Vanelli just say NOT to fill the frame??? Moose has an incredible ability to capture what he sees without cropping. He fills the frame using every pixel the camera will allow. This is what we are suppose to do and should do except on this project. After the test shots with JJ, I was ready to try a mock shoot with Brad Holmes, one of my Black Belts. I learned from the test shoot that I had to shoot a little wide to give me room to crop the image to different aspect ratios needed to create the photo package. Keep in mind that we are losing pixels which will eventually result in loss of image quality. However, the loss in quality is not enough to make a difference on the standard package sizes. You may see a slight difference on a 24×36 print but prints that large are extremely rare for photo packages.

Finally, be consistent with the composition of the shot, the pose, and the special effects. Things like fog machines, spraying water into the path of the light, and, in the case of shooting my karate students, kicking or punching are impossible to repeat for each subject. For custom shoots you should be the artist that you are and go crazy with the creativity. For mass shoots you should be creative but also a little flexible in that you can be creative but also consistent.

Once I was happy with the results I was seeing in the camera, I acted like I had 60 people standing in line waiting for their turn in front of the camera. I put pressure on myself to get the shot and move on. This is very important especially when dealing with subjects that have limited time to be at the photo shoot.

Applying Any Post Processing

My first word of advice here is to use Adobe Lightroom! This part gets confusing to most people. If I have Adobe Photoshop, why do I need Adobe Lightroom? Think of Lightroom as a digital darkroom where you go to develop your digital photos. Photoshop’s purpose is to manipulate the image. Lightroom not only organizes your photographs and projects but it allows you to quickly and efficiently post process your photos.

I always start my Lightroom work flow by following a series of simple steps I learned from the Guru himself, Scott Kelby. His book “Lightroom 2 for Digital Photographers” has a permanent spot on my desk. When I can’t quickly find what I need, I log onto Kelby Training and watch the Lightroom videos. For this article I outlined my steps below. For a more detailed look at my work flow I created a video tutorial for you to follow along.

1)     Import all images from the shoot in DNG format.

2)     Select the keepers and delete the unusable shots.

3)     Color correct one image and, if the lighting is the same, apply it to all the images from the same shoot.

4)     Adjust the exposure.

5)     Fix the eyes.

6)     Remove any skin blemishes.

7)     Smooth the skin on females.

8)     Export image in Photoshop

9)     Add a vignette, if any, at the very end (more on this later)

Looks like a lot? It should only take about 45 seconds per image. David Ziser, best known for his outstanding wedding photography, developed a system with his employees. He is able to tell you how much each image cost him to have his employees process them. Once you get a system to work for you, use it!

On step 8 above we export to Photoshop. Now we are into the Mack Daddy of all imaging programs (sorry Rod Harlan for using your well deserved nickname but it was for a worthy cause). Photoshop has grown so much over the years and has developed into an overwhelming program for beginners. I remember working with version 2.0. I must have called Adobe Tech Support three times a day. Finally one patient technician told me that their support system is for when the program didn’t work and not for learning how to do something. I asked how I was supposed to learn this stuff. He turned me on to KW Media. KW stood for… Kelby and Workman. I wish I knew the name of that technician. I’d bring flowers to the insane asylum I probably sent him to. The moral of this story is save an Adobe technician and go to Photoshop World.

Once I import my photograph with the Lightroom adjustments, I open a template I created; merge the two files together, and save the photograph using the same name that you imported it with. Showing how I created the template is beyond this article but I do have a video that shows the process. Using this process organizes the files better in Lightroom.

Send Images Off to the Lab

The last stage in the process is to crop the images and get them off to the lab. I use a Nikon camera that has a native 2/3 ratio. This gives me an 8×12 image that, when cropped, will keep my project centered. Upload the image to your lab of choice. Use their tool for cropping the package sizes. Remember back in my work flow I left the vignette until the very end?  This is why; if you apply a vignette to the original image the outcome will not be what you are looking for when you go to crop the image. If you need to apply a vignette, use the printing lab’s tool for that. If you are printing the project yourself, start with the 8×12 print and crop from there. Each time you crop, save the image and then start with the 8×12 again. Don’t crop and then crop the crop. This will throw your ratios off. You’ll notice certain sizes crop even such as wallets (2.5×3.5) and 5×7 or 8×10 and 16×20. To make printing this package easier, use the built in picture package feature in Lightroom. If you use this feature, you don’t have to crop, the picture package will do it for you and the vignette will look consistent.

Printing is an art by itself. In my case it pays to have Miller’s Lab do my printing and packaging for me. The cost is very reasonable and the quality is impressive. I have an Epson 9800. I can print as wide as 44″ by almost any length. Although the printer can do mass printing, I use it for my proofs and for large scale one print projects. Anything in quantity, use a lab. It takes a large load off of me and allows me to spend more time doing what I would rather be doing than sitting next to my printer cutting and packaging images.

Last Word of Advice: Game Day!

You have everything set. The lights are on, battery is charged and now you are ready for the first subject. Before any participant steps in front of your camera, make sure they filled out an order form, signed model release form, and made their payment ahead of time. Your assistant can collect them one at a time. After you take the shot, record the photograph number on the subjects order form. This way you are not scrambling to put a name to a face. Play music, be pleasant, and have fun with what you are doing. If something goes wrong you will have the knowledge to fix it on the fly; that’s what the test photo shoot was for! When the day is over, follow the Lightroom and Photoshop work flow. Make sure you keep a back up of all the photos just in case something goes wrong!

I mentioned having an assistant at the shoots quite a few times. I am a firm believer that every photographer should have someone assisting them on shoots. This frees your time to be creative and the assistant will gain valuable knowledge. My assistant, Terry Reinert, is more of a colleague than an assistant. When Terry has a shoot lined up, he sometimes asks me to assist him. When I do, I keep my mouth shut and let him run the show. I only give advice when asked. I’ve developed this concept while teaching karate for the past 28 years. It turns students into instructors, helps them grow, and develops a tight bond. One of my most memorable photo shoots, using this theory, was when I was in Los Angeles visiting Mike Kubeisy. Ben Willmore heard I was in town and made a special trip to see us. How incredible it was to shoot with these two creative shooters. We took turns assisting each other on the shoot. I learned so much from keeping my mouth shut and ears open. Thanks Dad for teaching me that one!

Conclusion

So there you have it, from Click to Print. I hope that I was able to give some insight into each of the steps that will guide you in the right direction when doing a mass photo shoot. I mentioned many names in the article in the hopes you will research these talented artists and draw inspiration from them. Thank you for reading and thank you again to Scott for this great opportunity.

As always, Vanelli’s trip isn’t just all work and no play. He has been having a blast spending time with Michael and his family. They went to the set of CSI:Crime Scene Investigation yesterday and today they are scheduled to shoot on the set of NCIS. My wife Heather Reinert, a talented graphic designer, has been a huge fan of Mark Harmon for many years so she has been bugging me to make sure Vanelli knows to get his autograph for her if he gets the chance. There is also a large cast party this evening that they will be covering… I wish I could be there for that. Not to meet all the stars but to watch how they all react to Vanelli. Come on… you have all seen him at Photoshop World… can you image him in the same ballroom as a ton of the biggest stars in Hollywood right now? Just wait… next thing you know you are going to be seeing Vanelli walking around the various award shows wearing a security t-shirt and making the stars do Hula-Hoop races on the red carpet!! There has also been rumors that he is going to stay an extra day to do a combined shoot with Vincent Versace, Ben Willmore, and Jack Davies. Yes… Vanelli is going to be out shooting with Ben “The Man of HDR Photography” Willmore and I am stuck here in Florida telling all of you about it. I am going to wear a shirt to Photoshop World in Las Vegas that reads “CAUTION: Disgruntled Photographers Assistant”.

– Terry Reinert

Are you ready for today’s ride into the Mind of Vanelli? I hope so cause here we go!!

Vanelli is having trouble finding his notes on Ben Willmore’s class on “Mastering the New Adjustment and Masking Panels” and Jack Davis’s class “Lightroom 2 Enhancement Effects with Presets”. Jack Davis is the preset king… he has a preset for everything! His philosphy is that anything you do in Photoshop, create a preset so that you can go back and immediately do the same effect on any other photo. During the class, Jack gave away hundreds of his own presets to conference attendees. He tells everyone to take his presets, adjust them to fit your own needs, and then save them as a new preset. Then jokingly he added that you could them sell them on eBay as your own. We all know Ben Willmore as a guru when it comes to photography. But he has really advanced his photography in recent times in his ability to capture an image and the wide range of colors in a scene.

Vanelli’s last class of the day was with Vincent Versace on sharpening a blured photo. Versace went through a very intesive action that he made that brings back that sharpness. In order to explain what all he did you would have to talk to him directly as it was that intensive. But here is the theory to give you a general idea… As usual you follow the same process as other photos… get rid of the noise first, then do all your enhancement techniques, and then run the unsharp mask at the very end before you save the file. High Pass filter and set that layer to soft light. He would do this multiple times to build up the sharpening. The amount of sharpening that he does all depends on how he is going to print or display the image.

A few quotes from Versace that Vanelli really likes… “Don’t confuse workflow for habits.” and “Think globally; global to granular.“

Vanelli apologizes to everyone for losing his notes for those two classes but said he is going to find them and provide more information on those classes soon.

I want to take a second to throw my own words in here to quickly discuss the two quotes that Vanelli picked up from Versace. If you are familiar with what a workflow is, it is basically the step-by-step process you follow when processing an image. When you constant follow the same procedure it gets habit forming and you miss out on taking advange of new techniques or processes that could benefit what you are doing. For example, I used to have one workflow. I used it for everything; photoshoots with models, HDR landscapes, etc. One day I realized that I could be saving a ton of time in Lightroom 2 by organizing my HDR bracketed images in a different way than my portrait work with models. So do not form a habit around your workflow. Be aware of what you are doing and read up on what the pro’s are doing. If you read something good, adopt it into your workflow. If you find that you are doing something better than the pro’s, write a blog on it or post it as a comment on other blogs! The key is that your workflow is YOUR workflow… do what works best for you… But be careful not to form a habit around it and not adopt better techniques.

As for the second quote, I think the idea there is to start on an image zoomed out looking at the image as a whole. Do whatever adjustments you think are needed to the image as a whole. Then start looking at smaller parts of the image and processing just those areas using layers, adjustments, and masking. Don’t get me wrong… you do need to look at the image as a whole when adjusting each area to make sure that your composition isn’t negatively affected by local changes. I would be very interested in hearing more about this from Vanelli or Versace to get a clear picture of exactly what Versache is recommending.

I should have the Day 2 dispatches sometime today and will get them posted shortly after I receive them. I know yesterday was a big day for Vanelli with Midnight Madness and all. I’ve only heard bits and peices so far but I heard it was a riot. Stay tuned!!

One of the questions that Moose was asked a lot by attendees is what his favorite lens is. He takes a lot of different lens out with him and one thing Vanelli noticed is that there are a lot of fixed lens in the bag. But he always takes a wide angel and a fish eye lens with him as well.

On the photo safari itself Vanelli said that he stood right next to Moose and used Moose’s camera with all the same settings but his photos were not anything like the ones Moose was taking. Moose just has a great eye for composition and capturing that moment. Another thing to note is that Moose does not crop his photos at all. What you see composition wise is what came out of the camera from the exposure he took. When using a zoom lens he said to move forward or back; don’t use the zoom!

Some more good information from Moose… he doesn’t use a flash on most animals, only birds. Using a flash with birds will bring out their color. Another thing to think about is that when an animal gets wet, a bear for example, there will be a lot of spectral highlights because of the light reflection off of the water.

He also picked up a few tips on composition from Moose… the minds eye goes to the whitest and brightest point. There is also a strong tendancy to start at the top of an image and go down. So those are two things to think about when composing a scene. You want to lead the viewer through your composition instead of having their eyes wandering around aimlessly. Exposure and light produces emotion, mood, and passion. Make sure that your composition tells a story so include or excluse various things to make sure you are telling the story that you want to tell. He also looks for sharpness and depth of field in his compositions.

With Joe McNally, the master of light, they were using a lot of diffusers and reflectors in his shooting. The distance of the lights from the subject depends on how much you want the light to spread. Of course using a diffuser and reflector will change this variable as well.

One killer thing to think about that Vanelli picked up from McNally is this… when you change the EV setting in your camera it is a global change. So everything is effected by it. When you change the EV on your flash, it is a local change. So if you use a light meter and exposure for the background and then change the EV in your camera, suddenly your exposure on the background is going to be off. To shoot with a model you shoot your background first and get the exposure right using the camera settings. Changing the EV on your camera will help to saturate the colors in the background scene. Then you bring your model in and use the EV on the flash units to change the power to get the proper exposure of the model.

So there you have it… Vanelli’s experience and knowledge that he picked up from the NAPP Photo Safari pre-conference work shop. And, of course, right as I finish typing this up Vanelli sends me a photo he took from his Black Berry of him and Ben Willmore hanging out. Apparently Ben’s question to me is “Where are you??” My answer… “Sitting at home typing up Vanelli’s notes!”. Photography assistants never get the glory. *Sigh*