How do I use the Import dialog’s Destination panel to put the photos in per-shoot folders?

In the last post, we learned how to automatically place photos into dated folders, but if you need to find photos outside of Lightroom, you may want to store your photos in a year/shoot-named hierarchy instead. This still meets the best practice principles described in the How to organize your photos post. Here’s an example of a year/shoot folder structure:

First, in the Destination panel, look for the parent folder that contains all of your photos. In the “Where should you store your photos?” post, we suggested calling it something like Lightroom Photos.

Inside that Lightroom Photos folder, I’d recommend you have a folder per year. This makes it easy to split your photo archive over multiple drives, or archive some photos offline, as you outgrow your hard drives. For most of the year, this folder will already exist, but it’s January and you may not have a 2017 folder yet. If not, right-click on your Lightroom Photos folder and select Create New Folder (or create it in Windows Explorer/Finder and then select it in the Destination panel, if that’s more comfortable for you).

Select this year’s folder so that it’s highlighted in white. In the Organize pop-up at the top of the Destination panel, select Into one folder. This places the photos into the selected/highlighted year folder. This is a great choice for random photos that don’t need their own shoot subfolder.

But let’s go one stage further. Let’s create a new subfolder to hold the photos you’re importing, because they’re from a specific shoot. At the top of the Destination panel, check the Into Subfolder checkbox, and then enter a name for the shoot. In this example, we’ll call it Marwell Zoo, but you can add the date if you prefer.

Before you click Import, remember to double check that the photos are landing in the right place. Remember we said that Lightroom previews any new folders in italic? This is a useful double check to ensure that you have the right folder selected.


We’ll come back to reorganizing existing photos, but first, we need to learn how to use collections to group photos by topic without duplicating them on the hard drive.

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Here’s the Lightroom Class Schedule for The Big Conference Coming in April

Hey gang — we’re just about a month away from the Photoshop World Conference in Orlando (April 20-22nd at the Orange County Convention Center), and I wanted to share the full 3-day Lightroom Training Track class schedule with you (yes, you can come to “Photoshop World” and take nothing but Lightroom classes the entire time). Here’s the schedule:

THURSDAY April, 20:
Organizing Your Images with Lightroom (with Terry White)
> Getting Creative with Lightroom Presets (with Matt Kloskowski)
> Lightroom Tips & Tricks (with Scott Kelby. Hey, that’s me!)

FRIDAY, April 21:
Tack Sharp! Sharpening in Lightroom (with Daniel Gregory)
> Cityscape Master Class (with Serge Ramelli)
> Creating Unique Styles & Looks in Lightroom (with Rob Sylvan)
> Black & White Today & Yesterday (with Serge Ramelli)
> Everyday Portrait Retouching in Lightroom (with Kristina Sherk)
> The Lightroom Ecosystem: Working in Lightroom Across All Devices (with Rob Sylvan)

SATURDAY, April 22:
Creating Beautiful Photo Book in Lightroom (with me.)
> All The Other Lightroom Stuff: HDR, Panos, Video, History, Customizing, and more (with Terry White)
> Working with Photoshop (with Serge Ramelli)

Plus, there’s all this:

and it’s just a month away (and it’s not too late to register).

Sign up right now at and we’ll see you next month in Orlando for the biggest, best, Lightroom love fest on the planet! You are gonna love it! Whoo Hoo!

Hope you have a rockin’ Wednesday!


P.S. My guest today on The Grid (at 4pm ET) is none other than Adobe’s own Terry White. Come join in the discussion.

The post Here’s the Lightroom Class Schedule for The Big Conference Coming in April appeared first on Lightroom Killer Tips.

It’s Guest Blog Wednesday featuring Joe Glyda!

My name is Joe Glyda and I am a commercial photographer specializing in food photography.

I would like to thank Scott for inviting me to be a guest on his blog. This year marks my 40th year as a commercial food photographer. Yes, I am one of those photographers that worked my way through the darkroom and started my career using 4×5, 8×10, and 11×14 Deardorf view cameras that used film.

The one thing I loved about shooting film was, ‘the set’ had to be ready and complete before the film was loaded into the camera. There wasn’t “I’ll just fix it in Photoshop.” Getting it all put together in one shot and looking at the subject upside down and backwards taught me to see the food ‘as a subject’ very differently. Painstaking details went into every shot, as Polaroids were used to get the test shot done, before exposing the film. But seeing that transparency on the light box was extremely rewarding.

I thought I would talk a little about my favorite subject, Food Photography. The unique aspect about commercial/food photography is that it’s ALL about the product. It’s NOT about you the photographer and your style, or your vision. It’s about the client’s vision, who in turn, hires an art director to come up with an approved layout and make the product be the hero. It then becomes the photographer’s responsibility to engage in a conversation with the art director and concur on a plan of action.

In other words, ask questions, LISTEN, then solve the problem.

Engage in a conversation prior to the photo session. Do not wait until the art director shows up to start setting up. Be prepared and ready to go. Do some testing to get yourself familiar with the product that’s about to be photographed ahead of time.

One of the key elements in food photography is finding the products with the right elements of detail that work with all the other elements in the photo. So, in the case of this print ad, what seemed to be an easy shot ended up taking a dozen cheese wedges and twice as many Polaroids to create the cut marks on the cheese wedge so they fell exactly under where the package artwork was to be placed. The client wanted the package to represent the natural look and flavor of real Cheddar cheese. Knowing what the client wants is so very important before the camera is even set-up.

That doesn’t mean photographers can’t have their own ideas or be able to contribute an idea regarding the images. At first, it’s important to leave your personal vision at the door. What I mean is, waiting for the right opportunity to share your ideas with the art director or client, after learning what the vision of the product is. Don’t be afraid to talk to the art director. Take an AD to lunch. Share ideas with them.

This image was part of a year-long campaign which stemmed from a lunch appointment with an AD who just finished meeting the client from Cracker Barrel Cheese. We talked about the client’s needs to make their snacking product look different and more trendy. Polaroid transfers were very popular at the time, so I suggested to shoot the real food on a Polaroid of an empty plate. The art director drew up layouts and our collaboration was a success.

When shooting multiple dishes, it is crucial to work with a prop stylist. They have resources beyond the photographers’ prop room. They tend to watch trends and have a pulse on what’s hot and what’s not. It’s also important to know what foods will last on the set longer than others, especially with multiple dishes. In this case, it was the spaghetti sauce that was put in place last so the sauce wouldn’t run through the tortellini.

In 1986, I witnessed my first retouching job on a Scitex Response-300 computer and knew right then that I had to get into digital technology. By 1993, I was using a Kodak DCS 460 digital camera and stopped using film by 1995. I helped convert the Kraft Foods in-house photography department from film completely over to digital by 1999. I wanted to have more control over the quality of the final image using the digital process. With the art director on set, we could see instantaneously together what we were getting, and make sure the color and direction was correct. Color management in food photography is so important. Food products have a certain color and their companies pay extra to make sure their products are not falsely advertised.

I use an X-rite color checker before every shot series to ensure the color is correct. Changing the color checker every time the light source changes is very important. This will ensure that the color of the food is right on.

Even though Photoshop 2 was a big part of the digital process, at the time, I continued to have the mind set of getting things done on set, prior to engaging the camera. I used the digital technology to my advantage whenever possible. It helped me create these images using digital fire in a campfire scene, and digital water from a pool on the deck while still having full control in the studio. Then creating outdoor lighting effects on the food to match the digital images made them look like they were photographed on-location.

Working with a food stylist is a must when working with food products. The job of a food photographer is lighting, composition, and the technical aspect of the photo session. The food stylist’s responsibility is to make sure the food looks good for the camera. They get the camera position in relationship to the plate from the photographer, and then position the food on the plate to make the food look its best. Dummy food is usually used during the set-up. Dummy food is a representation of the hero food but not yet styled. This helps the photographer light the food and create the composition needed to make the food look great. In this case, the soup was replaced by a salad and the sandwich direction was changed once the client saw the dummy food shot.

Dummy Food
Hero Food

My favorite foods to photograph are desserts, for the obvious reason, they taste the best. They tend to be difficult to maneuver around the set during the set-up, but once the hero food is placed on the set, the shot is taken quickly before the food dies. My lens of choice is a Nikkor 100mm macro lens, and in some cases I love to use a bellows attached to my Nikon D800. It brings the texture and details of the food to the forefront. And the clients are thrilled because it shows off their product.

Another kind of food photography that I enjoy doing is packaging photography. It takes more patience because the image needs to FIT in between words, logos, or call-out flags. If there are multiple products, they all have to fit together like a family! Usually in this situation the camera angle is locked down so the position of the image stays the same throughout the series of shots. Notice the color under the plates on these packages change but the plate position does not.

Styles and trends, like in fashion, come and go in food photography. It’s important to watch how these trends influence the images across all media. Over the past year, straight down shots have been the angle of choice. Panera, Qdoba, and Starbucks are a few companies changing their look to this elevated level. I just had a client this month that wanted to see their cake recipe from this angle, and they loved it!

Even some of the car companies are now using this look and some say that it’s because of the increase of drone photography that has inspired the look. But I guarantee you, this trend is not new. It was very popular in the late 80’s, and here is one of my shots of asparagus I did in 1988. I remember an art director back then, saying after meeting with a client, “Do they really want to shoot from above again? I’m tired of this angle” Watch for the new trend to take over, and believe me, it will.

Finally, the secret to good food photography is backlight. The food looks best when the shadow falls under the front of the food to act as a base for the food to sit on. The light from behind the food creates a highlight effect along the top and back edge of the food to give the food a heroic effect. Fill cards are used to bounce the backlight back into the front of the food, creating a soft and pleasing appetizing appearance.

In summary, remember these five steps when working with food:

  1. Listen to the client, It’s ALL about the product, not you!
  2. Talk to the art director, engage in discussion about the project prior to the session, don’t wait till the day of the shoot.
  3. Use a color management system to get accurate color.
  4. Hire a professional food stylist. (and a prop stylist when necessary)
  5. Backlight most food subjects for ultimate results.

Using these simple ideas will make your food images more appetizing and give the illusion that they are jumping off the page.

You can see more of Joe’s work at, and follow him on Facebook and Twitter. Check out his courses on KelbyOne, and come see him at Photoshop World Orlando where he’ll be teaching a food photography workshop on April 19 and a class on creativity on April 21.

The post It’s Guest Blog Wednesday featuring Joe Glyda! appeared first on Scott Kelby's Photoshop Insider.

How do I restore some of the photos from my backup catalog?

Last week, we discussed the options for fixing mistakes using Undo, History and restoring an entire backup catalog.

But what if you only want to restore part of the backup catalog? Perhaps you accidentally synchronized Develop settings across a folder of photos, or you accidentally removed specific photos from your catalog. If you’ve worked on other photos since the backup was created, you probably won’t want to restore the entire backup catalog, as you’d lose the other work you’ve done. Instead, you can restore just the settings for specific photos.

  1. Find your most recent backup in your Backups folder. The backups are stored in dated subfolders, with the zip file named to match your catalog name, to make them easy to identify. (If you’re using Lightroom 5 or earlier, the catalog won’t be zipped.)
  2. Double-click on the zip file to decompress it. The *.lrcat file appears next to the zip file.
    Lightroom backup catalog in Finder unzipped
  3. Move the backup *.lrcat file to a temporary location, such as the Desktop. (If you’re using Lightroom 5 or earlier, copy rather than move.)
  4. Double-click on the *.lrcat file to open it into Lightroom.
  5. Find the photos you’d like to transfer to your normal working catalog. Double check that they’re not marked as missing, and if they are, fix the broken links. (If the backup catalog is quite old, you may have moved some of the files).
  6. Select the photos and go to File menu > Export as Catalog. Select a temporary location, such as the Desktop, and give the exported catalog a name such as “Transfer.lrcat”. Check Export selected photos only and leave the other checkboxes unchecked.
    Lightroom Export as Catalog dialog
  7. Go to File menu > Open Recent and open your normal working catalog.
  8. Go to File menu > Import from Another Catalog and navigate to the Transfer.lrcat catalog file you created in step 6.
  9. At the top of the Import from Catalog dialog, check the All Folders checkbox.
  10. The availability of the other options in the dialog depends on your reason for restoring the data from the backup catalog. (For a deep dive into the Import from Catalog dialog, see the Multi-Computer chapter starting on page 481 in my Lightroom CC/6 book.)
    These are the most likely options:

    • If you’re restoring photos you accidentally removed from the catalog, select Add new photos to catalog without moving in the New Photos section.
    • If you’re restoring metadata for photos that still exist in the catalog, select Metadata and develop settings only from the Replace pop-up in the Changed Existing Photos section. (To keep the current settings as a virtual copy, check the checkbox below too.)
  11. Press Import to transfer the metadata into your working catalog.
  12. Once you’ve confirmed that the settings have transferred, delete the backup and exported catalog from the Desktop.

Before we finish this topic, we should just mention one limitation. When importing from other catalogs, Lightroom imports all of the data about your chosen photo. For example, you can’t import just the Develop settings for a photo without also importing its keywords. There is, however, a workaround. If you check the Preserve old settings as a virtual copy checkbox, your current settings are retained as a virtual copy. You can then use John Beardsworth’s Syncomatic plug-in to sync specific metadata (e.g. keywords) from the virtual copies to the updated masters.

The post How do I restore some of the photos from my backup catalog? appeared first on The Lightroom Queen.

A hidden secret for using Keyword Sets

Hi everybody. First, as many of you know, I kinda messed up last week’s “Lightroom Coffee Break” by accidentally posting the wrong video (instead of the one that showed how to get more info from your library module thumbnails). It’s fixed now (sorry about that), and thanks for letting me know about it.

This week, in a video that has doubly tested to ensure that it is indeed the correct video from the awesome Benjamin Warde, he shows us a little-known secret about why Keyword Sets are limited to just nine key words, and believe it or not, it’s a good thing, because he reveals why, and the why will make your keyworking faster! 🙂

Ahhhh, see? That’s a pretty sweet little tip-a-roomie!

Hope you found that helpful, and we’ll catch ya back here tomorrow. 🙂



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What kind of keywords should I assign to my photos?

In previous weeks, we’ve discussed the benefits of keeping all of the photos in a single catalog and using Lightroom’s tools to organize them. For the next four posts in the series, we’re exploring keywords. Keyword tags are text metadata used to describe the content of the photo. Unlike collections, keywords can be stored in the metadata of the files and understood by a wide range of software, so your efforts are not wasted, even if you later move to other software.

Image recognition software is already able to identify many subjects, reducing the need for keywords. If you’re a CC subscriber, you can try it today with your own photos using Lightroom Web, or the Excire plug-in adds similar functionality to Lightroom Desktop. However, it’s likely to be some time before software can correctly name your friends and family, or tell the difference between a lesser spotted and great spotted woodpecker, so some keywords are still important.

What kind of keywords would you use to describe your photos?

If you’ve never keyworded photos before, you may be wondering where to start. There are no hard and fast rules for keywording (unless you’re shooting for Stock Photography). Assuming you’re shooting primarily for yourself, the main rule is simple—use keywords that will help you find the photos again later!

For example, they can include:

  • Who is in the photo (people – Face Recognition can also be useful)
  • What is in the photo (other subjects or objects)
  • Where the photo was taken (names of locations)
  • Why the photo was taken (what’s happening)
  • When the photo was taken (sunrise/sunset, season, event)
  • How the photo was taken (HDR, tilt-shift, panoramic)

Before you start applying keywords to photos, think about the kinds of words you would use to search for your photos.

The importance of consistency

While you’re planning the kind of keywords you’ll use, also think about consistency within your keyword list, otherwise you’ll spend a lot of time tidying up your keyword list later. For example:

  • Grouping—as with folders and collections, you can use a hierarchical list of keywords instead of a long flat list. We’ll consider the pros and cons in the next post.
  • Capitalization—stick to lower case for everything except names of people and places.
  • Quantity—either use singular or plural, but avoid mixing them (either have bird, cat and dog or birds, cats and dogs). Where the plural spelling is different, for example, puppy vs. puppies, you can put the other spelling in the Synonyms field so it’s still fully searchable.
  • Verbs—stick to a single form, for example, running, playing, jumping rather than mixing run, jumping, play.
  • Name formats—consider how you’ll handle nicknames or last names for married women. Many use the married name followed by the maiden name (e.g., Mary Married née Maiden), while others choose to put previous names and nicknames in the Synonyms field.

Need some ideas? While controlled vocabularies are overkill for most amateur photographers, they can be a great place to get ideas for your own keywords and list structure. Here’s a list of some popular keyword lists, both free and paid.

In the next post in the series, we’ll consider the advantages and disadvantages of flat and hierarchical keyword lists, and then we’ll put the theory into practice in the following posts.

The post What kind of keywords should I assign to my photos? appeared first on The Lightroom Queen.

Lightroom Catalogs – Top 10 Misunderstandings

confusionLightroom has two primary functions – organizing your photos and editing them. Although its organizational tools are powerful, they’re also the most misunderstood, so over the forthcoming weeks, we’ll discuss the best practices for using catalogs, folders, collections and keywords, and then we’ll discuss how to tidy up your existing catalog, if you wish to do so. First, however, let’s talk about some of the most common catalog-related misunderstandings.

#1 – Your photos are not “in” Lightroom

When you import photos into Lightroom, they’re not really “in” Lightroom. The metadata describing the photos is added to a database (called the catalog) as text records, along with a link to that file on the hard drive. Small JPEG previews are also stored next to the catalog, so you can view the photos when the original files are offline.

Imagine an index of the books in a library. The library catalog tells you a little about the book and which shelf it’s stored on, and maybe even gives you a preview of the cover, but it doesn’t contain the book itself. The Lightroom catalog works in the same way.

We’ll come back to the catalog concept in more detail next week, but for now, remember one thing: don’t delete your original photos thinking that they’re safely stored in Lightroom. They’re not.

#2 – Your photos are not hidden away by Lightroom

The photos are not stored in some magical location, hidden away from your view. They’re just normal image files stored in folders on your hard drive. You choose where they’re stored when you import them. This means you’re not locked into just using Lightroom, but it also means YOU are responsible for looking after the photos. If you move, rename or delete photos outside of Lightroom, you’ll create a mess.nocloud

#3 – Your photos are not “in the cloud” either

Even if you have a Creative Cloud subscription, and you’ve set all of your photos to sync, Lightroom only syncs low resolution previews to the cloud. The original photos are still stored on your computer, and you still need to back them up. You’re still responsible.

#4 – Lightroom’s Catalog Backup does not back up your photos

When you quit Lightroom, it’s probably asked you to back up, and you may have hit ok without reading the rest of the dialog. In doing so, you’d have missed a very important warning: Lightroom’s catalog backup only backs up the catalog. It does not back up your photos.

Lightroom's backup does not back up the photos

You need a solid backup system, and ideally something that’s automated. Copying and pasting files onto another drive when you happen to remember does not constitute a reliable backup system. Neither does RAID. And if you’ve ever tried restoring from backups created using the “Make a Second Copy” option in the Import dialog, you’ll have the grey hairs to prove it.

There’s a multitude of backup software available free of charge. One easy option is Crashplan. Their software allows you to back up to another hard drive free of charge, and if you have a fast internet connection, their online backup is also inexpensive. For the more technically minded user, Vice Versa (Windows) and Chronosync (Mac) allow even more control over your local backups.

#5 – You still need Lightroom’s catalog backup even if you run your own backups

Even if you have your own backup system, you may still need to run Lightroom’s own catalog backups too. Why? There are two main reasons:

1. Many backup systems overwrite the previous backup with the latest one. If your catalog becomes corrupted (relatively rare) or you make a mistake that you don’t spot immediately (incredibly common!), your normal backup system will overwrite your last “good” backup with the corrupted/incorrect catalog. Lightroom’s catalog backup, on the other hand, is versioned, which means that it keeps each of the backups, so you can go back to an earlier version at any time.

2. Backup systems that create versioned backups, for example, Time Machine, may run at a time while Lightroom is open. As a result, the backup can be corrupted. Lightroom’s catalog backup, however, runs when Lightroom quits.

If in doubt, let your backup system back up Lightroom’s own catalog backups.

#6 – Keep the photos in Lightroom even when you’ve finished editing them

If you remove photos from Lightroom when you’ve finished editing them, or only add specific photos in the first place, you’re kind of missing the point of Lightroom. It’s designed to help you search and work with ALL of your photos now and in the future, and it can’t do that if you’ve removed them from the catalog.


Some people remove finished photos because they’re concerned that their catalog will get too big. The largest known catalog is 4.2 MILLION photos, and yes, that’s getting a bit big to handle. But most Lightroom users don’t have 4.2 million photos.

While we’re on the subject, let’s state the obvious. Don’t delete your original photos from the hard drive when you’ve finished editing them. That would be like throwing away the film negatives when you’ve made a print, or throwing away the recipe when you’ve finished making a cake.

Unless you’re completely deleting the photos from your archives, add them all to your Lightroom catalog and leave them there.

#7 – Adding all your photos to Lightroom doesn’t mean using masses of hard drive space

If your photos are already on the hard drive, you don’t have to duplicate them when adding them to your Lightroom catalog. In the Import dialog, you can select Add to leave them in their current location, or Move if you want to rearrange them into a new folder structure.


Once the photos are added to your Lightroom catalog, you still have plenty of options. You can move all of the photos to another hard drive if you start to run out of space, or you can split them over multiple hard drives. Archive hard drives can be disconnected. Even if you split over multiple hard drives, Lightroom can manage all of this in a single catalog, and I’ll explain how in more detail in a few weeks time.

#8 – Sometimes moving photos in Lightroom can be a bad idea

You’ll often hear Lightroom experts (including me) tell you only to rename, move or delete photos inside of Lightroom, because otherwise you’ll break the links. There is one exception. If you’re moving entire folders containing large amounts of data, for example, you’re archiving old photos off to another hard drive, it’s actually quicker and safer to move them in Explorer/Finder and then immediately update Lightroom’s links.

#9 – You don’t have to “Save” when you’ve finished editing

In most conventional photo editors, you must save the changes to each file when you finish editing. Lightroom is different. The database is automatically updated whenever you move a slider or update the metadata. You don’t have to do a thing.

There is a Save Metadata to Files command in the Metadata menu, but this isn’t a conventional save either. It writes the metadata to the header of the file (or a sidecar XMP file for proprietary raw files). We’ll come back to the pros and cons in a future post, but if you want a head start, see pages 343-346 in my LRCC/6 book). Saving the metadata to the files doesn’t touch the image data, so your Lightroom Develop changes still won’t show up in other photo editors. To do that, you have to export the photos, which is like a Save As.

#10 – You don’t have to keep your exported photos

To see your Lightroom edits in other software, or send your edited photo to someone else, you must export the photos out of Lightroom as a JPEG, TIFF or PSD file. This creates a copy of the image with your Develop settings applied, so the original isn’t touched in the process.

You don’t need to keep these copies once they’ve served their purpose. Why not? Because as long as you have the original photos and the records in the catalog, you can export another identical copy when you need it, in exactly the size and format you need.


In the next post in the series, we’ll discuss the concept of a catalog and how it relates to your photos in more detail.

The post Lightroom Catalogs – Top 10 Misunderstandings appeared first on The Lightroom Queen.

Another Custom Lightroom Photo Album Layout Idea (and free downloadable template)

Hi Gang – I had planned on doing another photo book/print layout last week, but my whole schedule got off with my trip to Philly on Monday, and then the HDR camera thing, and blah, blah, blah, etc. here it is today:

This is another 5-photo layout (since Lightroom doesn’t have any 5-photo template), and I give you an alternate layout as well, and a free downloadable preset, too! Here’s how to make your own:

And without further ado, here’s the downloadable template I made for you:


Hope you found that helpful.

Here’s wishing you a spendifilious Monday!


P.S. Do you know a photographer in Chicago? Maybe one in Detroit? Can you let them know for me that I’m headed their way next month with my full-day Lightroom training seminar (Monday, April 10th in Chicago and the 11th in Detroit). Much appreciated. 🙂

The post Another Custom Lightroom Photo Album Layout Idea (and free downloadable template) appeared first on Lightroom Killer Tips.

Behind-The-Scenes at the Opening Night of “The Gallery at KelbyOne”

It was just a couple of months ago when Kalebra called us all together to share her idea of showcasing the work of our KelbyOne members — to lift them up and help them reach a wider audience — and give them a solo gallery showing and a live broadcast to share their work with other people around the world. Of course, step one was — build an art gallery, and with the help of a lot of wonderful folks, it all came together in seemingly no time. Saturday night, we were thrilled to be able to cut the ribbon (see below) on “The Gallery at KelbyOne” — a place where our members’ work would be celebrated and showcased in openings just like this all year long.

After nearly 1,000 submissions from around the world, our judges chose the photographic work of Sonoma, California graphic designer Mark Wegner to open the gallery. We flew Mark and his lovely wife Carol in for a wine and cheese reception in the gallery on Saturday night, followed by a one-on-one interview with Mark about his work, his life, and his vision. It was such an inspiring, fun evening with Larry Becker hosting the presentation/interview (and of course, Larry was just marvelous).

I’m going to share some behind-the-scenes images from Saturday (below), but I wanted to give a special shoutout to the folks at Bay Photo Lab, who graciously not only provided the beautiful prints (and they were gorgeous), but also their clever mounting and exhibition system called “Xpozer” which couldn’t have been a better fit for our gallery, or for displaying Mark’s beautiful images. We had so many questions about the printing and mounting, that we were literally doing demo’s to the guests to show how it all works. Very clever (thank you Bay Photo — you guys rock!).

Here’s a peek behind the scenes (I’ll tell a bit more of the story in the captions — photos by Melvin Rodriguez unless otherwise noted):

Above: Cutting the ribbon to officially open “The Gallery at KelbyOne” (L to R: Jean A. Kendra, yours truly, Kalebra Kelby, our featured artist Mark Wegner, and our host for the evening, Larry Becker). 


Above: A couple admiring one of my favorite’s of Mark’s images — his dramatic black and white shot of a Bison.

Above: Mark chatting with some of our guests in the gallery. 

Above: One of our guests (far left) peeks behind one of the prints to see how they’re mounted. 

Above: Lots of wonderful cheeses and wines on hand for our guests as they head into the gallery. When you first enter the gallery, we have a collection of photographic work from our KelbyOne instructors on display.

Above: Giving some love to BayPhoto for their awesome prints and mounting system. 

Above: Mmmmmm. Cheese. :)

Above: A few scenes from Mark’s opening. 

Above: Mark chatting with guests about his work.


Above: We opened the video area so guests could take a peek at the KelbyOne Studios and the sets we use for everything from training classes to live webcasts and even the set of “The Grid” (both the new one, and the classic set which is still intact for a few more weeks).  

Above: After the reception, we moved into the KelbyOne theatre to learn more about Mark and his wonderful work. This is me briefly welcoming the crowd as I introduce Larry Becker, our host for the evening, and our featured artist, Mark Wegner. 

Above: Larry and Mark begin their chat, streamed live all over the world. 

Above: Larry was such a great host. Such a great wit, but also, so great at getting the most out of his guests. It made for a very inspiring night. 

Above: Mark shared so many great insights, tips, and he was funny, clever, and such an inspiring artist.

Above: Mark talked about a number of his pieces in the gallery and what went into making them. 

Above: A little behind-the-scenes from the production side of things. That’s Leighton on the jib crane camera. 

Above: The chemistry between Larry and Mark really made the talk captivating. 

Above: It was the perfect setting for such an intimate talk with the artist, and before you knew it, it was time to say goodnight.

Above: Larry looks on as Mark shares the story of his work.

Above: At the end of the night, after we said goodbye to our last guest, Kalebra snapped this shot of the gallery with her trusty iPhone. For me, it was really something to see her idea come to life so quickly, and it was especially gratifying in how our team embraced the idea of showcasing someone from our own community, and how they all came together in such a short amount of time to build a beautiful gallery to give our members that opportunity. I’m so proud of our crew — Kalebra, Jean Kendra and I are very blessed to be able to work with them each day. 

In just a few weeks, we’ll start on the course to find the next KelbyOne member who’ll have their own solo opening here in our gallery, and I’ll be sure to let you know when submissions are open.

Again, our hearty congratulations to Mark for sharing his beautiful work, and for sharing his wonderful wife Carol with us during their visit. She was a joy. They both are — and it’s the icing on the cake to be there when really good things happen to really good people. Also, my humble thanks to my wife Kalebra for sharing her vision, and her heart for making people’s dreams come true, and for letting us all be a part of it.

Here’s to a day when your dreams come true. :)



The post Behind-The-Scenes at the Opening Night of “The Gallery at KelbyOne” appeared first on Scott Kelby's Photoshop Insider.

It’s “Lightroom Love” Friday!

Hi Gang — the weekend’s almost here, and there’s a lot going on in Lightroom land, so let’s get to it:

Freakin’ awesome Lightroom guest blog post from Lightroom Guru Rob Sylvan
The guest blogger this week on my blog was none other than Photoshop World Instructor Rob Sylvan, and he did one heck of a Lightroom post called “10 Years of Lightroom Help Desk Advice” where he shared the answers to some of his most-asked questions over the years. Such a helpful, practical post — you’ve got to read it — here’s the link. Thank Rob!

If you went to my Lightroom seminar in Boston or Philly, and you downloaded the custom presets I made for you…
Here’s how to install them:

Go to the Presets panel in the Develop Module, and right-click on any existing preset to bring up the pop-up menu you see here. Choose Import, and navigate your way to the preset of mine you want to import, and click ‘Import.’ That preset will now appear in the Presets panel under ‘User Presets.” That’s all there is to it!

Big shoutout to Boston & Philly!
I had over 650 photographers come out to my new Lightroom seminar, and I am so grateful for the wonderful turnout and gracious welcome to your towns. Such fun days — such totally engaged crowds — I loved it (and I got out before the storm hit). Thanks for coming out, and for making me feel so at home.

If you’re thinking about using the Cloud to back up your photos…
Then check out this past Wednesday’s episode of The Grid (my weekly show for photographers) where our topic was Backing up; my guest was backing up techie guy Erik Kuna, and we answering so many questions, but really dug deep into cloud backup strategies and pricing (including some that were free, or that maybe are included in something you’re already paying for). Really good stuff — you can watch it below:

…to save $100 using the “Early Bird Discount” on the Photoshop World Conference 2017 coming up April 20-22, 2017 in Orlando — make sure you sign up now, today, and save 100 bucks. Right here for details and tickets. 

NOTE: We have a ton of Photoshop, photography, flash, and lighting training (nearly 100 classes in all), but come for the Lightroom training Track – and  lose yourself in three days of “Lightroom love!” 

My Lightroom Tour is Coming to Chicago on Monday, April 10th
I hope you can come out — I’ve got lots of helpful stuff to share, including how finally get your images really organized (on a level you’d never thought they’d be — you will so dig it). It’s just $99 for the full day (you can save $10 if you sign up now). Skip another boring day at work and come out and spend the day with learning all the latest Lightroom techniques. It’s 100% money-back guaranteed if it’s not the best Lightroom seminar you’ve ever been to, at any price, period! Here’s the link for tickets (Boston sold out in advance, so don’t miss out — seating is limited).

Here’s wishing you an awesome weekend! 🙂



P.S. Tomorrow night is the grand opening of The Gallery at KelbyOne, and we’re having a wine & cheese reception (open to KelbyOne members) at our Headquarters in Tampa, Florida. If you can’t make it, you can watch LIVE as it happens on my Facebook page (including the interview with our featured solo exhibition artist, Mark Wegner), and you’ll be totally inspired seeing Mark’s images, hearing his story, and seeing all the Behind-the-scenes stuff. It’s starts at 8PM ET tomorrow (Saturday) over on my Facebook page (where we’ll be streaming live) or at 

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