What’s the difference between Lightroom & Photoshop?

October 9, 2009 by Robert Louis Vanelli  
Filed under Featured, News and Events

Short answer: Lightroom is for photo editing and organizing your photographs. Photoshop is for image manipulation and a whole lot more!

Adobe Photoshop is a graphics editing program developed and published by Adobe Systems. It is the current market leader for commercial bitmap and image manipulation software, and is the flagship product of Adobe Systems. It has been described as “an industry standard for graphics professionals“. Adobe Photoshop Lightroom is a digital darkroom for photographers. It is a simpler program that enables photographers to enhance and organize their photographs. The learning curve isn’t as steep as learning Photoshop. So why did Abode create Adobe Photoshop Lightroom? Simply put, Adobe created this for photographers!

Lightroom makes it easy to organize and edit your photographs. If you purchased Lightroom just for this feature alone, you got your money’s worth. Gone are the shoe box days of storing your precious memories.What’s even better, you are able to store your photographs into collections. With a few clicks of the mouse, you are able to show your best photographs without having to sift through all of them. Most of the powerful “photo editing” features of Photoshop are included in Lightroom. You are able to make changes to an entire image (global change) or by using adjustment brushes you can narrow it down to a select change (local change). You can even create slide shows, web galleries and print from within Lightroom!

Photoshop is the industry standard for graphics professionals. It has even more powerful tools for “image manipulation” than Lightroom. But it does come at a cost. It’s a very complicated program to learn on your own. Mastering the program takes years and even then you will barely scratch the surface. Professional graphic artist have no choice but to learn Photoshop. Professional photographer should invest in classes and training.

One Key Difference (described by Alan Hess)

One key difference between Photoshop and Lightroom is that photoshop edits the image on the pixel level and Lightroom doesn’t. You don’t actually change the image in Lightroom, you just add a instructions on how the image should be adjusted when it is either opened in Photoshop or exported from lightroom. The changes don’t actually happen until the image is exported out of Lightroom. This makes all the changes editable and non destructive, where as in Photoshop, if you tweak a pixel, then save the file and come back to it later it can;t be undone in a non destructive way.

Here is a sample using Lightroom with Photoshop. The only difference, Photoshop enabled me to remove two people from the image! Can you find them?

My suggestion

If you make your living as a professional graphic artist, you need the complete Adobe Creative Suite Design Premium edition. The Design Premium package comes with Adobe InDesign, Photoshop Extended, Illustrator, Flash Professional, Dreamweaver, Fireworks and Acrobat Pro with additional tools and services. Most, if not all companies, already have a site licenses for these products. If you are starting out on your own, the initial investment has a retail price of about $1799.00. It may seem like a lot, but starting your own business is never cheap.

If you make your living as a professional photographer, start out with Lightroom and grow into Photoshop. You’ll know when you are ready to incorporate Photoshop into your work flow. Lightroom retails for about $299.00 US and$99.00 US upgrade.

Amateur Photographers should start out with Lightroom. If you are not doing any image manipulation (example: look at a Harry Potter movie poster) then you will probably never need Photoshop.

Student Edition products are available for purchase by higher education students only. A higher education student is defined as a full- or part-time student enrolled at an accredited public or private university or college (including community, junior, or vocational college) that grants degrees requiring not less than the equivalent of two years of full-time study. Student Edition retail price is about $399.00 for the Adobe Creative Suite Design Premium edition.

If you are a kid or you don’t make money from your photography, check out Photoshop.com. Photoshop.com is a complete solution for managing, editing, storing, and sharing your photos online, with tutorials, inspiration, and more.

Classes and Training

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 seek training!

The best online resource for learning Abode products is  Kelby Training. Scott Kelby is a best selling author and his team has an amazing way to disseminate information. If you prefer a live seminar, they offer one day classes too. These seminars are lecture based. An instructor takes you through lessons as a group and you follow along with the class book that is yours to keep.

There are also many private and semi private classes available all over. Exposure Photographic Art Studio; that’s us, teaches hands on classes for Photography, Photoshop, Lightroom and WordPress. Our main target audience is beginners, novice and intermediate level students. If you want to take your photography or Photoshop / Lightroom skills to a new level, attend a Photoshop World Conference!

If you have time and money, train with some of the best photographers and photo editors of our era. Never in the history of photography has so many Masters of Photography taught to the general public. Take advantage of their knowledge, skills and willingness to share. Most of these classes are nestled in majestic environments. Attending some of these week long classes will have you walking away with beautiful photographs and a major understanding of photography!

My Wish List of 12 Photography Classes and Workshops

Scott Kelby

Scott Kelby
Editor, Photoshop User magazine

Conference Technical Chair
Scott is editor and publisher of Photoshop User magazine and Layers magazine (the how-to magazine for everything Adobe). read more »

Scott is a photographer, designer, and an award-winning author of more than 40 books, including Photoshop Lightroom Book for Digital Photographers, The Photoshop CS3 Book for Digital Photographers, The 7-Point System, The Photoshop Channels Book, Photoshop Classic Effects, and The Digital Photography Book.

Since 2004, Scott has been awarded the distinction of being the world’s #1 best-selling author of all computer and technology books, across all categories. His books have been translated into dozens of different languages, including Chinese, Russian, Spanish, Korean, Polish, Taiwanese, French, German, Italian, Japanese, Dutch, Swedish, Turkish, and Portuguese, among others, and he is a recipient of the prestigious Benjamin Franklin Award.

In addition, Scott is training director for Kelby Training and technical chair for the Photoshop World Conference & Expo. He’s featured in a series of Adobe Photoshop training DVDs and has been training Adobe Photoshop users since 1993. For more information on Scott, visit scottkelby.com.

Kevin Ames

Kevin Ames
Photographer, educator, and author

Kevin Ames is a well-known commercial digital photographer who has written several Photoshop and photography books, including The Digital Photographers Notebook, Photoshop CS2: The Art of Photographing Women, and Digital SLR Photography with Photoshop CS2 for Dummies. His company, Ames Photographic Illustration, has done work for Honda, AT&T, and Westin Hotels. He also writes the “Digital Photographer’s Notebook” column for Photoshop User magazine, and is a Photoshop World Dream Team instructor.

Scott Diussa

Scott Diussa
Photographer, teacher, writer

Scott Diussa is a photographer, teacher, musician, traveler and part-time writer. Scott is a graduate of the Southeast Center for Photographic Studies at Daytona Beach College in Florida. read more »

Scott has taught thousands of eager photographers throughout the United States on how to get the most of their Nikon equipment. His personal favorite areas of photography today are concert, aviation and travel photography. To see Scott’s images and read about where his travels take him visit his Blog at www.scottdiussa.com. For more information about Nikon Professional Services go to www.nikonpro.com.

Corey Barker

Corey Barker
Education and Curriculum Developer for NAPP

Corey is the newest education and curriculum developer for the National Association of Photoshop Professionals. He is a graduate of the Ringling School of Art & Design read more »

Russell Brown

Russell Brown
Sr. Creative Director at Adobe Systems Incorporated

Russell Brown is an Emmy Award-winning instructor, and senior creative director at Adobe Systems Incorporated. He facilitates the exchange between digital designers and software developers that is read more »

He is also the creator of “The Russell Brown Show” at www.tv.adobe.com. Always delighting in testing the creative limits of his tools, Russell is the prolific creator of an entertaining collection of Photoshop tips and tricks. His double treat of great information presented in a bold, zany style has won him a regular following among beginning, intermediate, and advanced users alike.

John Paul Caponigro

John Paul Caponigro
Author, Fine Artist and Contributing Columnist

John Paul Caponigro, author of Adobe Photoshop Master Class, is an internationally renowned fine artist. He is a contributing editor for Camera Arts and View Camera, and read more »

Rafael Concepcion

Rafael Concepcion
Education and Curriculum Developer for NAPP

Rafael Concepcion (RC) is an education and curriculum developer for the National Association of Photoshop Professionals, and the co-host of Layers TV – The How To Podcast For read more »

Dave Cross

Dave Cross
Author and Trainer

Dave Cross is Senior Developer, Education and Curriculum for the National Association of Photoshop Professionals and is involved in all aspects of the training that is provided to NAPP members, read more »

Prior to joining NAPP, Dave lived in Canada and trained thousands of users across North America. Dave co-authored Illustrator CS2 Killer Tips and is the author of the Photoshop CS2 Help Desk Book and Photoshop Finishing Touches. Dave writes for Photoshop User magazine, teaches at the Photoshop World Conference & Expo and is the Lead Instructor for the Photoshop Seminar Tour. He is also featured on a series of DVDs and is one of the “Photoshop Guys” on Adobe Photoshop TV.

Jack Davis

Jack Davis
Author, Photoshop WOW! Book and Designer/Illustrator/Photographer

A Photoshop Hall of Famer, Jack is co-author of the award-winning Photoshop Wow! Books and How to Wow: Photoshop for Photography books, read more »

Jim DiVitale

Jim DiVitale
Digital Photographer and Instructor

Jim DiVitale has been an Atlanta commercial advertising photographer and instructor for over 28 years, specializing in digital photography and computer photo illustration. read more »

Going completely digital capture in 1992, his award winning digital photography has been featured in Graphis Photo, Print, Archive Magazine, Create Magazine, Creativity, Rangefinder, Professional Photographer, Photo Electronic Imaging, Digital Output Magazine, Digital Imaging, Photo District News, and After Capture Magazine. His clients include Mizuno USA, William Carter Co, Toshiba, TEC America, Kenneth Cole, Bellsouth, BP Amoco, COX Media, Genuine Parts Company, Solvay Advanced Polymers, Witness Systems, JP Morgan Financial, Coca-Cola USA, and Scientific Atlanta. View Jim’s portfolio and blog at: www.DiVitalePhotography.com.

Katrin Eismann

Katrin Eismann
Artist, author, educator

Katrin Eismann is 1/3 artist, 1/3 author, and 1/3 educator. She received her BFA degree in Photographic Illustration from the Rochester Institute of Technology and her MFA degree in Design from the School of Visual Arts read more »

Laurie Excell

Laurie Excell
Photographer and NAPP Photo Gear Desk

Laurie spent the first 25 years of her career in photographic sales helping pros and hobbyists alike decide which photographic equipment best suited their needs. read more »

As if that’s not enough, Laurie also leads wildlife photography safaris in North America and is an instructor with the Digital Landscape Workshop Series, Photoshop World, and Cruising Through Life training extravaganzas. She also runs a business called Equipment Lady, where she sells photographic equipment on consignment for other photographers when they upgrade their equipment. Oh, and in all of her spare time, she’s the Photo Equipment Advice Desk Guru for our very own National Association of Photoshop Professionals.

Helene Glassman

Helene Glassman
Photographer

Helene Glassman is an award-winning photographer/businesswoman in Santa Barbara, California. She has been awarded the Master of Photography and Photographic Craftsman degrees read more »

Joe Glyda

Joe Glyda
Digital Imaging and Technology Manager

Joe Glyda was a Digital Imaging Advisor for Kraft Foods in Glenview, Illinois for over 25 years. He initiated their digital capabilities back in 1993, and now the Creative Services Photography Studio completes read more »

Rod Harlan

Rod Harlan
Director of the Digital Video Professionals Association

Rod Harlan is the president of DriveDV, Inc., a full service multimedia firm, live event producer, and episodic web television development studio. He is the founder and director of education for the read more »

Richard Harrington

Richard Harrington
Editor and Motion Graphic Artist

Richard Harrington is a certified Project Management Professional, Adobe Certified Expert in Photoshop and After Effects, and Apple Certified Trainer in Final Cut Pro. Additionally, he has completed read more »

Lesa Snider

Lesa Snider
Trainer, Writer & Chief Evangelist for iStockphoto.com

As the founder of the free creative tutorial web site, GraphicReporter.com, and chief evangelist for iStockphoto.com, Lesa is on a mission to teach the world to create better graphics read more »

Matt Kloskowski

Matt Kloskowski
Author and Educator

Matt Kloskowski is the Education and Curriculum Developer for the National Association of Photoshop Professionals. He has authored and co-authored five books on Photoshop and Illustrator read more »

Julieanne Kost

Julieanne Kost
Graphics Evangelist, Adobe Systems

Joining Adobe in 1992, Julieanne has learned her craft through hands-on experience and now serves as the Senior Digital Imaging Evangelist. Spanning digital imaging and illustration, her role includes customer education, product development, and market research. read more »

Julieanne is also the author behind Window Seat – The Art of Digital Photography and Creative Thinking, the founder of jkost.com and the creator of the Adobe Photoshop CS training DVDs published by Software Cinema.

Jay Maisel

Jay Maisel
Photographer

Photographer Jay Maisel’s career spans 40 years. His name has become synonymous with vibrant color photography that uses light and gesture to create countless unforgettable images for advertising, editorial, and corporate communications read more »

Dan Margulis

Dan Margulis
Author, Prepress Manager, and Color Authority

Dan Margulis is internationally regarded as the leading authority on color correction. He is the author of Professional Photoshop, which, since its first edition in 1994, has become the unofficial bible of the prepress and printing industries read more »

Deke McClelland

Deke McClelland
Author and Trainer

Formerly an art director at one of the first service bureaus in the U.S., Deke McClelland is a best-selling author on the subjects of computer graphics, digital imaging, and electronic design. Since the publication of his first book in 1987 read more »

Joe McNally

Joe McNally
Photographer

Joe McNally is an internationally cclaimed American photographer and long-time photojournalist. From 1994 until 1998, he was LIFE magazine’s staff photographer, the first one in 23 years. His most well known series is the “Faces of Ground Zero — Portraits of the Heroes of September 11th,” read more »

Some of McNally’s other renowned photographic series include, “The Future of Flying,” a cover and 32-page story, commemorating the centennial observance of the Wright Brothers’ flight and the future of aviation, which appeared in National Geographic magazine, December 2003. Joe is a 25-year contributor to National Geographic, and this story was the first all-digital shoot for the magazine. This issue was a National Magazine Award Finalist, and the magazine’s best-selling issue ever.

In 2005, Joe shot a photo diary of the New York City Opera’s historic first tour to Japan as part of the World Expo 2005. Joe’s work has won numerous awards, and appeared in a variety of publications including New York Times magazine, National Geographic, Newsweek, ESPN Magazine, Men’s Journal, LIFE, and Fast Company.

McNally’s advertising, marketing and promotional work includes Nikon, Sony, Land’s End, MetLife, Bogen, Haggin Marketing, Lifetime, AGA Marketing, Kelby Media Group, Wildlife Conservation Society, American Ballet Theatre, Coleman, and FedEx, to name a few.

Bert Monroy

Bert Monroy
Author and Contributing Columnist

Bert Monroy is considered one of the pioneers of digital art. His work has been seen in many magazines and scores of books. read more »

He co-authored The Official Adobe Photoshop Handbook, the first book on Photoshop plus many other books since. His latest books, Photoshop Studio with Bert Monroy: Digital Painting has gotten critical acclaim around the world. Bert writes a column for Photoshop User and Layers magazines.

Bert serves a client list that includes Apple Computer, Adobe Systems, AT&T, American Express, Pixar Animation, Disney Animation and Lockheed/Martin. Bert has also worked in the motion picture industry for Industrial Light and Magic, Pacific Data Images, and R/Greenberg.

In 2004, Bert was inducted into the Photoshop Hall of Fame.

Chris Orwig

Chris Orwig
Pro photographer, Interactive Designer, Author

Chris Orwig is a pro photographer, interactive designer, author and on the faculty of the renowned Brooks Institute of Photography in Santa Barbara, CA. Moreover, he brings unique perspective, creativity, authenticity and passion to all that he does read more »

Chris traces his creative roots to growing up in Northern California where his backyard opened up to rolling hills, oak trees and creeks. Chris grew up in a home that was designed/built by his father and filled with art created by his mother. From the get go this environment nurtured in him an insatiable desire for discovery, a knack for creativity and a desire to live a full and meaningful life!

Chris’ work is widely sought after and can be seen in various national publications. He enjoys a diverse and varied client base having worked with companies like Disney, Adobe, Nissan and others. Chris is extremely proud to partner with Adobe, Epson, Wacom, Nik Multimedia, onOne Software and Really Right Stuff. More importantly, Chris approaches design and photography as a way to get more out of life. As he explains, “I subscribe to Marc Riboud’s perspective that ‘Photography is savoring life at one hundredth of a second.’ When I create a photograph or a design piece I strive to create visual poetry. Poets are able to say in 10 words what novelists say in 10,000. Ultimately, after reading a poem, we simply do not have more information we have more experience. In the same way, I aim to distill idea, concept, vision, experience and emotion into poetic, provoking, intriguing and beautiful imagery.”

For more information visit chrisorwig.com

Moose Peterson

Moose Peterson
Wildlife Photographer, Author, and Educator

A Nikon Legend Behind the Lens, Lexar Elite Photographer, recipient of the John Muir Conservation Award, Research Associate with the Endangered Species Recovery Program, published in over 130 magazines worldwide, author of 23 books, and read more »

Jack Reznicki

Jack Reznicki
Commercial Photographer and Author

Jack Reznicki is a commercial photographer specializing in people and children based in New York City. His creative problem solving has helped promote products and services for many companies such as Tylenol, The Wall Street Journal, Hyatt, read more »

Jack is the author of several books on commercial photography including “Studio and Commercial Photography- A Kodak Pro Workshop” book.

For over 4 years, Jack’s insights to professional photography could be found in Petersen’s Photographic magazine with his popular “Pro Vision” column. His writings have also appeared in other photography magazines.

Believing that photographers should be pro-active in the photo community, Jack is currently the Chairman of the Board and former President of Professional Photographers of America (PPA). Previously, Jack has served as President of the New York Chapter of Advertising Photographers of America (APA), sat on the Joint Ethics Committee in New York, and served as Board Member of ASMP/NY.

Along with many other awards, Jack was very proud to receive the IPC (International Photographic Council) Leadership medal for “Excellence in Studio Photography” at the United Nations. Jack was appointed a guest professor at Shandong University of Art and Design in Jinan. Jack is also a Mo-Tse Grand Master Photographer in China and proud to be named a Honorary Fellow of the New Zealand Institute of Professional Photography.

He is one of the original “Canon Explorers of Light” an “Epson Stylus Pros” and host of the Epson Print Academy’s Track One, and a Sandisk “Photo Master”. Jack has also does Beta testing and consulting with Canon, Epson, Mamiya, Microsoft, X-Rite, Leaf digital backs, and Adobe.

Andrew Rodney

Andrew Rodney
Author and Trainer

Andrew is owner of The Digital Dog, a digital imaging training and consulting business located in Santa Fe, New Mexico. Andrew Rodney, aka the Digital Dog, has successfully provided services and training read more »

Andrew has been a Beta for Adobe Photoshop since version 2.5 and is currently an Alpha tester for Adobe Systems. Andrew is one of the principle partners of Pixel Genius LLC, a company that has created such products as PhotoKit and PhotoKit-Sharpener. Andrew was named a “Top 40 Photoshop Expert” by Wacom Technologies. In 2007, Andrew was inducted into the NAPP Photoshop Hall of Fame. Andrew’s web site can be found at www.digitaldog.net.

Jeff Schewe

Jeff Schewe
Advertising Photographer and Consultant

Jeff Schewe is the co-author of Real World Camera Raw with Adobe Photoshop CS3 published by Adobe Press/Peachpit and a member of the NAPP Photoshop Hall of Fame. read more »

Fay Sirkis

Fay Sirkis
Portrait Artist, Photographer, and Instructor

Fay Sirkis is an internationally recognized portrait artist, photographer, and instructor. She speaks at training conferences and events throughout the US and Europe. read more »

Fay’s studio is in New York and she is a contemporary digital artist with a background in traditional fine art. Fay attended the Pratt School of Professional Studies in New York City where she became certified in Graphic and Web Design. Fay also attended Rockhurst College CE in New York City where she earned her certification in printing and pre-press.

Fay has been honored by Canon as a “Canon Print Master” and her paintings are featured in numerous Canon marketing campaigns. Fay currently trains for Canon at conferences and trade-shows throughout the US.

Fay is a Painter Master, Beta tester, and on the Advisory Committee for Corel Painter. She was instrumental in the launching of Painter IX and X. Her work is featured in Corel’s Painter Masters Art Gallery, as well as their numerous ad campaigns.

Fay is a member of the Photoshop World Conference & Expo “Dream Team” of instructors, produced by the National Association of Photoshop Professional’s. Her tutorial on “Photo Painting” with Photoshop and Corel Painter was the featured article at Photoshop World Boston in 2007, and in Photoshop User Magazine. She is best known for her simplistic way of teaching, making the learning curve in the digital world easy to master.

Her commissioned portraits and paintings are held in private collections internationally, and also exhibited in museums and art galleries. Fay is the founder of “Fays Art Studio,” a high-end commission portrait painting studio, as well as a digital art training and consulting firm based in New York.

An accomplished Portrait Artist, Photographer, and Instructor, Fay Sirkis provides her students with simple recipe’s to transform photos into beautiful paintings! Learn how to paint like a Master with Fay Sirkis as she shares the secrets and techniques behind her signature style of “Photo Painting”.

To see more of Fay’s work, please visit www.faysartstudio.com.

Alan Hess

Alan Hess
Concert photographer, writer, instructor

Alan Hess is a San Diego-based commercial photographer specializing in concert and live-event photography. read more »

He has photographed hundreds of concerts three songs at a time. From small club shows to big arenas, Alan enjoys the fast pace of shooting on the fly, the rush of the house lights going down, and the drive to capture the “show” in the images of first three songs.

Some of the Bands/Musicians that Alan has photographed include: Billy Idol, Bob Weir and RatDog, Bruce Hornsby, Citizen Cope, The Dead, Death Cab for Cutie, Derek Trucks Band, The Grateful Dead, Jackie Greene, John Legend, Mickey Hart Band, Robin Williams, Shepard Fairey, The Smashing Pumpkins, Steel Pulse, Widespread Panic, and Willie Nelson.

Alan’s work has been published online and in print in the following outlets: Associatedcontent.com, Bruuce.com, Dead.net, Glidemagazine.com, Jambands.com, Jambase.com, MarkKaran.com, MiaBrazilia.com, Poughkeepsie Journal, Mill Valley Herald, Otherones.net, Pauserecord.com, Philzone.com, Ranch & Coast Magazine, Rat-dog.com, Ratdog.org, Relix Magazine and Vintage Guitar Magazine. His images have been used for various CDs and other promotional work.

Alan is currently the house photographer for a large concert venue in southern California and when he isn’t out shooting concerts, he is writing photography books.

He has written two books on Sony DSLR cameras, the “Sony Alpha A700 Digital Field Guide,” and the “Sony Alpha A200 Digital Field Guide,” and is currently working on the “Exposure Digital Field Guide,” all for Wiley Publishing. Alan has contributed to Photoshop User magazine and is a key contributor to the Lexar.com website.

Alan teaches Lightroom and Bridge workflow at Essy’s Studio in San Diego, and writes a regular blog at www.alanhessphotography.com.

Eddie Tapp

Eddie Tapp
Photographer, Lecturer, Consultant, and Author

Eddie Tapp is an award-winning photographer, lecturer, consultant, and author on digital imaging issues. With over 25 years of experience in computer technology, Eddie has been actively involved in educating and consulting corporations, studios and agencies read more »

Eddie is Director of the Institute of Visual Arts in Maui, Hawaii, an Explorer of Light and Print Master with Canon USA, and is on the Photoshop “Dream Team” with National Association of Photoshop Professional where he was recently inducted into the “Photoshop Hall of Fame”. He served 6 years as the Chairman of the Committee on Digital and Advanced Imaging for the Professional Photographers of America, where he holds the Master of Photography, Master of Electronic Imaging, and Photographic Craftsman degrees, Approved Photographic Instructor and is a Certified Professional Photographer. He also served as Commercial Council representative to PPA for the Georgia PPA. His articles have appeared in the Professional Photographer, Rangefinder, Shutterbug, Photo Electronic Imaging, and Southern Exposure & Digital Capture. He also has served on the Adobe Photoshop beta team.

Corporate clients include Epson, Eastman Kodak, Foveon, Polaroid, and Apple Computer, as well as many other international corporations and government agencies.  He has also served as print judge at many professional photographic competitions and is a Nationally Qualified Juror for the Professional Photographers of America association in Electronic Imaging.

Eddie hails from Atlanta, Georgia and has been accused of using his southern charm to put his students at ease. His teaching philosophy is simple: solve people’s problems by giving them straightforward answers in clear language. Visit www.eddietapp.com

Vincent Versace

Vincent Versace
Photographer, Trainer, and Contributing Columnist

Vincent Versace is a recipient of the Computerworld Smithsonian Award in Media Arts & Entertainment and the Shellenberg fine art award, a six-time nominee to the Photoshop Hall of Fame read more »

Terry White

Terry White
Technical Resources Manager, Adobe Systems, Inc.

Terry White- Director, North America Creative Pro Technical Sales for Adobe Systems, Inc. Terry has been with Adobe for over a decade and has extensive knowledge of Adobe’s Creative Professional product line. read more »

In his current position, he leads a team of Solution Engineers and Product Specialists that focus on Professional Publishing, Web Authoring and Digital Video/Audio. Terry is an Adobe Certified Expert and Creative Suite Master. He has been active in the industry for over 20 years and is the founder and president of MacGroup-Detroit - Michigan’s largest Macintosh users group and is a columnist for Layers magazine and X-Ology Magazine. Terry is the host of the top ranked Adobe Creative Suite Video Podcast. He is also the author of Secrets of the Adobe Bridge and co-author of The iPhone Book and InDesign CS/CS2 Killer Tips. Terry is a key presenter at major industry shows around the world.

Ben Willmore

Ben Willmore
Author, and Instructor

Ben Willmore is author of the award-winning, best-selling book, Adobe Photoshop Studio Techniques and co-author of another bestseller, How to Wow: Photoshop for Photography read more »

David Ziser

David Ziser
Photographer, Lecturer, and Trainer

David Ziser, an internationally-renowned wedding photographer, has shared his knowledge with tens of thousand’s of photographers in five languages and in 14 countries worldwide. Studio Photography acclaimed read more »

Silver Efex Pro: a different approach

October 9, 2009 by Robert Louis Vanelli  
Filed under News and Events

I attended Vincent Versace’s class on “Practical B&W Conversion for the Common User” at Photoshop World 2009 Vegas. I’ve said it a thousand times, Versace is a GENIUS!  I’ve been using Silver Efex Pro, a Photoshop plug-in from NIK Software, for years. It’s main use was to give me that perfect black and white. At the seminar, Versace showed us a totally different use for it, to enhance COLOR. Yes, a black and white plug-in for color. The simple trick; after converting your image using Silver Efex change the layer blend mode to Luminosity. If you don’t have Silver Efex Pro, you can still get better color by using Adobe’s built in Black and White adjustment layer. Although you don’t have as many creative options, it does a pretty good job. This simple tip casually said by a modern day Art Master has given me another tool in my creative arsenal.

I spent less than 5 minutes on this sample. I’ve included the original, (right out of the camera no adjustments), cropped and the Silver Efex versus Adobe’s Black and White adjustment layer.

Photoshopo World 2009 Vegas: Pre-con

October 1, 2009 by Robert Louis Vanelli  
Filed under News and Events, Photoshop World

I always love this day! Class doesn’t start until 12:00 p.m. so there is plenty of time to chat with old friends and make new ones. I took the NAPP Photo Safari with Moose Peterson and Joe McNally. When I attended the March Photoshop World 2009 in Boston, I shadowed Moose so this safari I made it a point to shadow McNally. Before we went into the field to shoot, the two spoke to the class and answered questions. I finally have a better understanding on how to make the remote flash dance gracefully with the camera. I”m going to break from the story and add my notes for you, then I will continue it below.

Think in terms of global and local change. When you make a global change, you effect both the camera and the flash. When you make a local change, it effects the camera or flash separately. The example I’m giving is aperture priority mode using f/8 with an off camera SB 800 flash set to remote and TTL (through the lens). The camera sees the scene and  exposes it correctly with the proper shutter speed. It then sends a signal to the flash and tells it how much light it needs. This is seamless and yields great results using an auto mode.When you want to be creative this is where we make the camera dance with the flash. Dialing the camera with a -2 EV (exposure value) will trick the camera into underexposing the scene by adjusting the camera and flash equally. The dance begins when you adjust the TTL flash by adding a +1. Now you made a local change to the flash that will effect the power of it. A great example is found in Joe’s new book, “The Hot Shoe Diaries“. Look for cowboy Chris standing in front of a barn.

We then boarded two buses and headed to our ghost town. The bus ride is always informative. I had the pleasure of sitting with Drew Gurian, Joe McNally’s assistant. Drew’s knowledge on lighting and skills as a shooter are amazing. Joe answered people’s questions and gave advice on how to capture the ghost town. When we arrived, we were set free to shoot on our own for a few hours. Joe and Moose were always in range to answer any questions. As an added bonus, Laurie Excell and Sharon Peterson were also on hand to answer questions. I was extremely impressed with their wealth of knowledge. They definitely have emerged from the legendary shadow that Moose cast. Before the class split into two groups, Adorama‘s very own Jeffrey Snyder captivated the crowd as he gave pointers on how to shoot a moving subject with flash. I’ve known of  Jeffrey as the Pro Service Account Executive for Adorama, but I had no idea he was a great shooter. He was motivating and inspirational as he pumped up the crowd. Then Joe and Moose took their group and gave a lesson on flash photography. When we finished, we boarded the buses again and headed home. It was great hearing fellow participants share their adventure!

We arrived back around 8:00 p.m., just in time to attend the Tweeter meet up at the House of Blues. At first, Larson thought there was going to be dead silence as tweeters sat and text each other instead of speaking. Just kidding! It was great putting faces to people that you have only met through text.

NAPP 2009 Vegas Photo Safari

September 30, 2009 by Robert Louis Vanelli  
Filed under News and Events

At noon today I will attend  NAPP’s Photo Safari with two great legends, Moose Peterson and Joe McNally. The safari was limited to 50 participants which means not everyone was able to sign up.  I’m creating this post for those of you who missed out. Send me a question that you would have asked Joe or Moose and  I will do my best to get them answered by the time I leave Photoshop World Vegas 2009.

Although it is always best to attend the seminar, I hope this can be another alternative.

Valley of Fire

September 30, 2009 by Robert Louis Vanelli  
Filed under News and Events

A few of us headed out to the Valley of Fire to do a sunset shoot. We miscalculated the time and only had about 35 minutes to shoot. I have my travel Netbook with only Lightroom installed. The images you see are untouched except for a few adjustments in color and clarity in Lightroom.

Camera Gear

  • Tripod
  • Nikon D300
  • Nikon Lens 17 – 55  2.8
  • Remote trigger
  • Circular polarizing filter

How I got the shots:

I shot at a focal length of 17 mm on aperture priority with an F/stop ranging  from F/11 to F/22.  I kept a low angle using the remote trigger.

What would I do different:

I knelt on cactus needles AGAIN, so either long pants or knee pads. The rock in the Valley if very sharp. I also would have made sure I cleaned my lens and sensor. Ohh and of course arrived a little earlier!

Neon Photo Contest: PSW Vegas 2009

September 19, 2009 by Robert Louis Vanelli  
Filed under News and Events

SPONSORED BY PEACHPIT

Peachpit has been publishing top-notch books on the latest in graphic design, desktop publishing, multimedia, Web design and development, digital video, and general computing since 1986. They are sponsoring a special contest for Photoshop World attendees.

The bright lights of…Bakersfield, California are calling your name! Or perhaps it’s Tempe, Arizona. Or Butte, Montana. It’s time to capture the Neon in Your Neighborhood! Quick! Before it’s replaced with energy efficient bulbs. Grab your camera and take a few shots of your favorite local neon signs or art and submit one to flickr.

Your friendly photog authors, David DuChemin and Chris Orwig will pick 20 of their favorites to win a Phantastic Photowalk at the Neon Museum Boneyard in Las Vegas and lead them on a photo adventure that will include many more prizes and a few other great authors to help: Matt Kloskowski, Russell Brown, Frederick Van Johnson, Jeff Revell, Rick McCleary and more!

My talented neighbor, Scott Larson, and I went around Melbourne Florida taking photos of neon signs. Like most cities, neon signs are hard to find. Scott went out the night before scouting locations for our shoot. Here are a few tips from the shoot.

  1. Scout ahead for locations
  2. Wear a white shirt: I was heading out the door and I realized I was wearing all black. Not a good idea at nighttime. If you have a reflective running shirt that would be a better choice.
  3. If people are working where you are shooting, go inside and tell them what you are doing.
  4. Tripod, Tripod and….Tripod: The best way to get night shots is by using a tripod.
  5. Use a remote trigger for the camera: This will lowers the chance of camera shake.
  6. Experiment with a circular polarized filter and your EV mode (exposure value)
  7. Shoot in Aperture priority mode using a high F-stop. (Most of our shots were F/11 to F/22)
  8. Experiment with moving the camera around or zooming in or out after you press the shutter release. This will give you some interesting effects.
  9. Shoot high, shoot low, take shots from all angles.: My tripod enables me to shoot at ground level. I also raised it as high as it could go and shot down.
  10. Talk with you partner and give each other advice!

Camera gear: Nikon D300, Nikon 80-200mm f/2.8 D lens, Nikon ED 17-55mm f/2.8G IF DX and a circular polarizing filter. Larson had the Moose Peterson’s warm circular polarizing filter.

_MRV2677-5I had to take this shot for the staff at NAPP. They seem to love Krispy Kreme. We shot at this location for a short time. We really weren’t feeling the creativity. There was a lot of street lights around and cars were coming in and out. I went inside to let the manager know what we were doing. I was tempted to grab a nice hot doughnut but the health freak Larson made a comment that he couldn’t believe the amount of people going in for junk at this time of the night! Wish I brought Reinert, he would have gone in on a few doughnuts!

_MRV2678-6_MRV2689-15To get the shot of the logo’s reflection in the window of the truck, I had to raise my tripod as high as it would go. Once I did, I couldn’t see what  I was shooting. I realized the Nikon D300 has live view. I never used it before and I heard it’s a battery killer. After Larson showed me where it was, I fell in love with it. I should add, Nikon is loaning me the D300. I normally shoot with the D200 and D2h. The point I’m making is you should know your equipment before you go out and shoot. I didn’t have the manual with me and it was too dark to see the dials. I was lucky Larson has the D300!

_MRV2734-52 We went onto Checkers! I forgot to tell the manager what we were doing and they came out to inspect us. (Must have been the tripods.) I explained what we were doing and I apologized for not asking permission. She was more than happy to let us shoot. At first we shot in the drive thru and we realized that may not be the best place with the cars coming in from behind us. We moved all around the building and found the front to be the best. My tripod enabled me to lay flat on the ground.

_MRV2744-61 _MRV2763-76_MRV2762-75After several traditional shots, I looked over at Larson and saw he had a blurry photo. He said he moved the tripod during the exposure. That gave me an idea. We started to shake the camera on purpose to get a few crazy shots. Back on the tripod, I experimented with long exposures using F/16 and -2 EV (exposure value). This gave me about a 10 sec exposure. After pressing the shutter release, I slowly zoomed my 17-55 in and out. I found that starting at a focal length of 55 and then zooming out to a focal length of 17 showed the logo of Checkers better. Plus it made the words “Order” and “Pick up” jump out of the frame.

_MRV2748-65 I used Lightroom to boost the colors and added a -74 Post Crop Vignette. My goal was to do everything in the camera. I must admit, I did take a safe shot at first; meaning I didn’t move the lens. This gave me a fall back plan if the wild stuff didn’t work. I could have used Photoshop to get similar results, but it is always best to get it right in the camera.

From Click to Print

September 1, 2009 by Robert Louis Vanelli  
Filed under News and Events

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.

Keel_BWKeel_downKeel_PointKeel_Stand

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.

10x8_Brad

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!

Alec-Vanelli-BrownChloe-GarvinIsabel-DavisTristen-KahnDavisAnthony

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.

Lighting in Stages

May 19, 2009 by Robert Louis Vanelli  
Filed under Tutorials

In this video tutorial you will learn how to light a subject using multiple lights and what each of those lights do for the overall lighting scheme. Read more

Photoshop World 2009 Boston : Day 0

Today Vanelli took part in the Photo Safari pre-conference workshop with Joe McNally and Moose Peterson. Again, this my interpretation of everything that Vanelli told me about his day. Take a look…

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*