And if you’re still looking for a great gift idea, you should know that you (or the shutterbugs in your life) can learn to love your camera back for less than $20! Available at both Barnes & Noble and Amazon, it’s easy to ring in the holidays with better photos!

Here’s an excerpt from the most recent review: “It’s funny how many photo guides and books are out there, but when it comes right down to it, only you will know when the book in question is “the” book for you. Like that crush you had in grade school…. you didn’t know what was happening, but it just felt right. Well, Your Camera Loves You should be your crush of the season.” You can read the rest of the review here.

PS: If you already have the book, let others know how much you’ve enjoyed it and write your own review here!

Every year, the Thirst Relief Mentor Auction taps into the talent and generosity of the photography industry to create better and more successful photographers, while using the proceeds to provide safe drinking water around the world. What a cool thing!

Last year, the sponsors and 90 mentors/mentees who participated raised more than $40,700 which directly provided 8,147 people with clean water. Wow!

With 100% of the proceeds directly benefiting Thirst Relief International, at least 25 years of clean drinking water is being provided to more than 1 billion people who don’t have it.

Here’s where YOU come in! Up for grabs is a 90 minute mentoring session with yours truly, PLUS a copy of my Wickedly Fast Wedding Workflow Guide.

We can conduct the session in person, via Skype, over the phone, or at WPPI if you’ll be there too. So start the bidding and let’s change the world!

Bidding ends Nov. 17 at 11pm EST. so don’t wait!

Where could a mentoring session take YOU?

Not only do I use InDesign to build all of my contracts, pricing guides, and wedding albums, but I use it to build my presentations too.

Say what?

That’s right. I use it to build my presentations. Whether for a webinar or a platform class at WPPI (coming this February!), I build all my slide decks in InDesign.

Why not Power Point or Keynote? If you’re familiar with InDesign, you know nothing compares to the speed and efficiency you get for quickly building and editing layouts. And since slide decks are nothing more than a collection of horizontal layouts, I use InDesign just as I would for laying out a wedding album.

Most of the time, I export the finished presentation to PDF and then present from the PDF itself (if you press cmd+L on a mac it makes the PDF full screen), using the same arrow keys, mouse clicks, or remote to advance the slides. But if I want to take advantage of Keynote’s “presenter mode” where I can see a preview of the next slide before it appears, then… well… I have to use Keynote.

Messing around in Keynote for the first time, I found it frustrating, so I swore I’d figure out a better way, and I’m happy to say—I did. And here’s how: I build my presentation in InDesign as usual, but instead of exporting to pdf, I export each page (slide) to jpg, and batch import them into Keynote. That’s it.

Here’s a quick video to demonstrate. :)

PS: Obviously, if you want to embed videos and other special effects, your keynote presentation will require additional tweaking. But for the simple and clean presentations I do most the time, this works like a charm!

PSS: Curious about learning to use InDesign for your own photographer related purposes? Check out my InDesign tutorial video and save 10% with the code CRAZYFAST

(gasp!)

Make no mistake about it, I’ve experimented with RAW and occasionally shoot it for corporate clients who have specific needs—but other than that, I mostly just curse at it on the rare occasion when I find myself shooting RAW by accident.

It seems I’m never quite able to get the color I want form RAW files. They’re big, bulky, and since they end up as JPGs anyway, I prefer to cut through the middle and get straight to the point.

Because I shoot in manual mode 100% of the time and keep an obsessive eye on exposure and white balance (carrying a highly used pack of color correction gels for all my flashes), I’m able to consistently nail exposure and white balance in-camera and don’t need the extra weight or cushion of a RAW file to correct things later. It’s part of what makes my workflow so awesomely lean and efficient.

I shoot JPG because it works for me. Others love RAW because it works for them. As long as you’re shooting in a format that works for you, you’re in good shape! :)

(If you’re looking for Part 1 of this post, you can find it here.)

JPG
If you’ve never messed with the file formats in your camera, you’re shooting JPGs (the default setting). Because JPG files are compressed, they’re significantly smaller files, allowing for faster shooting, faster downloading, and the ability to store more images in less space on your memory card or on your hard drive.

On the same token, because they’re compressed—there’s less information (or “cushion”) to mess with in post-production if you need to make adjustments to things like exposure and white balance.

When you shoot in JPG, the camera records the image, processes or “cooks” it per your liking (based on your picture style settings for contrast, saturation, sharpness, etc.), then writes the baked JPG to your memory card. The images are ready to download and print/share immediately (you can still finesse them gently in post-production if you choose).

RAW
Compared to the nice tiny file size of a JPG, RAW files are huge. They can easily be 4x as big (or more). Their uncompressed (unprocessed) nature leaves them with all their information in tact, allowing for more dramatic adjustments in post-production later.

Because the camera doesn’t help with any of the “cooking” when you shoot RAW,  you’re responsible for processing the files yourself. Software like LightRoom makes it pretty painless, but nonetheless, it’s a step that can’t be skipped, as RAW files are unusable until they’ve been processed. (In other words, you can’t post a RAW file on Facebook, or upload a RAW file to your lab for printing.)

Bottom line?
Ultimately, there is no right or wrong answer to the question of RAW vs. JPG. It really comes down to personal preference. In the end, the files that are printed for your clients are sent to the lab as JPG, so the result is the same no matter what path you take to get there. The difference is who does the cooking—you or your camera.

For more details, check out my book Your Camera Loves You, Learn to Love it Back, and come back next week to find out which format I personally prefer and how I make it work. Until then, don’t let this topic weigh you down! ;) It’s not as scary as you think!

I’ve gotten a lot of questions about the software I use and recommend. My favorite combination includes Lightroom, Photoshop, and InDesign. But the guide is about so much more than software—it’s about the philosophy of building a wedding package with your clients’ best interest at heart, ultimately making their lives (and yours) easier. It’s about setting up a system so that no one (you or your clients) has the chance to drop the ball and delay the process. And it’s about the potent combination of efficiency and effectiveness.

You can download the first 2 chapters to see for yourself, or you can hop on over to PhotoDough and get it while the gettin’ is good! :)

I hope it truly changes your life! Here’s what other folks have had to say:

“I thought my workflow was ok—but after reading the guide’s tips on how to cut images down, how to design and set up a winning wedding package, my workflow has been blown completely out of the water! No wonder I hated the whole process before!” —Carly Rodgers

“Being new to the business, I was overwhelmed at what seemed like never ending post production.  I’ve read about photographers finishing in 8 hours… but no one was telling me *how* to do it…  Until now! Khara’s guide laid out everything… from leaving the wedding, to ordering the album. She even talks about the steps she takes before the wedding to make sure everything afterwards is seamless.  My New Year’s resolution is to have proofs and album design back to the client in one week!” – Lauren Mingus

“I just put the finishing touches on the edit from this past Saturday’s wedding thanks to Rock My Workflow this season!” —Sandra Regier

If you’re a wedding photographer who struggles with workflow and album design, I’ve got your back! In an effort to save our industry from potential production pitfalls, I’ve put together a wedding workflow guide and InDesign tutorial video that will take the sting out of your production schedule. You can even save 10% with the code: CRAZYFAST. I hope it rocks your world! :)

In the meantime, here are some of my favorite spreads from Mitch & Carrie’s book (they’re still in Mexico… but it will be ready and waiting for them when they get back!). :)

***This post will continue to be updated as needed.***

Point-and-Shoot Gear

First up on the docket is my beloved point-and-shoot, the Canon S95. I fell in love with this puppy when I initially planned to buy something else, and found myself stopped in my tracks by this little treasure. 10 megapixels, a huge 3″ LCD screen, glorious high ISO noise reduction, a smorgasbord of shooting modes (including manual mode which can be hard to find on a point-and-shoot)—and it fits in my pocket!? Sold! :)  It’s the size of your phone with much of the power and control of a dSLR. Amazing! I love this camera so much, when Emir and I went to Morocco last January, it was the only one we brought with us. (Check out the photos from Marrakech and the Sahara Desert to see why it was the only camera we needed!)

The S95 comes with a standard wristlet strap, but I opted instead to keep my camera more accessible with a traditional neck strap, which has served me well whether riding camels in the Sahara or jogging down the Vegas strip.

To keep my S95 safe when it’s not in my hands, I tuck it into this neck-strap-compatible case. Truth be told—as much as I love the high-level protection it offers, if I were looking again, I’d give serious consideration to this other case too, as it also works with a neck strap, but unlike the case I have, this one has a pocket for memory cards, etc. Bonus!

Accompanying my beloved S95 is my favorite bendable little tripod, the Joby Gorillapod (for point-and-shoot cameras).This little baby comes with me when I travel and has made all kinds of shots possible that couldn’t have happened otherwise. I’ve used it on table tops for self-portraits, in the desert sand for night shots, or wrapped around Times Square barricades when shooting a long exposure. The clincher? It fits in my purse along with the S95! :)

The G12 was the other semi-compact camera that almost tore me away from the S95—but not quite. The key differences of the G12 include a faster shutter speed capability (up to 1/4000),  a built-in neutral density filter, and slightly better zoom. For more details on why my decision to go with the S95 was so tough, check out this in-depth comparison.

dSLRs

Ok, ok… so what if you’re looking for a dSLR? They can range in price from about $500 to well upwards of $2500 and the differences between them can sometimes be hard to spot.

Professionally, I shoot with the Canon 5DMII. It’s a great camera that I love dearly, but it can be more camera than some people care or have need for, so it might be worth a look at some solid alternatives. :)

If you’re looking for an entry level dSLR, I love the Canon Rebel series. The Rebel T3 is a great place to start and is available with a kit lens for roughly $500 (at the time of writing). That’s a lot of power for less than $500 bucks! Why is it so cheap? It’s only 12 megapixels (which is more than plenty for most people, provided you’re not committing violent acts of cropping!). It’s also important to note that it shoots HD video in 720 rather than full HD at 1080p, but other than that, it’s a pretty rad way to get your feet wet in the dSLR world without breaking the bank.

If you prefer an entry level dSLR with more megapixels and a full 1080p, check out the Rebel T2i. For less than $700, you get a great camera that gives you 18 megapixels of yumminess along with plenty of freedom and flexibility for a surprisingly great price.

If you are inspired to jump beyond the Rebel series, check out the EOS 60D. You get total cinematic control (manual exposure!) over your HD video shots along with the ability to add external audio components—all with 18 megapixels of photo deliciousness. With a basic starter lens (18-135mm, f/3.5-5.6), it’s all yours for less than $ 1300 (at the time of this writing). Already have a Canon EF or EF-S lens? Get the camera body itself without the lens for less than $1000.

Let’s Talk About Lenses

A good lens can make a dramatic impact on your photos, so if you’re on a budget and aren’t sure where to get the  most bang for your buck, it’s better to have a modest camera body and a great lens, than the other way around.

So what makes a lens great? Well—like so many things, it depends on what your needs are. But before you think about  your needs, it helps to understand what to look for in a lens. For those of you who haven’t read my book yet, here’s a crash course on the main two factors to start with when comparing lenses: focal length and maximum aperture. (This information is generally included with the name of the lens and is also written on the outside of the lens itself.)

The first set of numbers you’ll see represent the focal length, measured in millimeters (mm). Smaller numbers represent wider angles (fitting more of the scene into the lens) while bigger numbers are referred to as being telephoto (more close-up to your subject).For example, a 24mm lens will take photos that appear further away than photos taken from the same location using a lens with a more close-up focal length of 135mm. Some lenses are referred to as “fixed” lenses, meaning they offer a single focal length only (like 50mm), vs. “zoom” lenses that offer a range of focal lengths (like 70-200mm for example).

The second set of numbers is the maximum aperture. It refers to how wide the aperture on a given lens is capable of opening. That means, a 50mm, f/1.4 lens has a focal length of 50mm, and a maximum aperture of f/1.4. Simple stuff, right?

Most “kit” lenses that come included with dSLR camera bodies are a good place to start for a general, multi-purpose lens. They often range in focal length from something like 18-55mm or 18-135mm, are relatively inexpensive ($175-450) and generally feature a maximum (widest) aperture of f/3.5 – f/5.6, depending on where you are within the zoom range. (This means that your maximum aperture may be f/3.5 when you’re zoomed out as wide as the lens will go, as you begin to zoom in, your maximum aperture will be reduced to f/5.6.) If you want some additional zoom power, check out the 18-200mm, f/3.5-5.6 (right around $600 at the time of this writing).

Lenses start getting more expensive when you do any of the following:

• increase focal range (greater zoom capacity)
• increase maximum aperture (the wider the maximum aperture, the more $$$ you should be prepared to spend)

(Note: As you move from inexpensive kit lenses to higher quality specialty lenses, you’re also generally moving from plastic to glass construction, which also tends to increase not only the price, but also the weight of the lens.)

Lenses with wide maximum apertures (usually f/2.8 or wider) are referred to as being “fast” because their wider apertures make it possible to shoot without flash and hand-hold the camera in low-light situations with a “faster” shutter speed that doesn’t require a tripod. They’re also great for achieving very shallow depth of fields.

If you’re looking for a “fast” lens to try, I suggest starting with a 50mm prime lens (a prime lens means that it has a fixed focal length, and doesn’t “zoom”). 50mm is a great standard focal length that let’s you practice active compositional skills by moving yourself closer (or further) from the action as needed. (My 50mm lens spends more time on my camera than any of my other lenses—combined!) You can find an inexpensive one with a maximum aperture of f/1.8 for less than $120. Or, if you want glass construction and a slightly “faster” max aperture of 1.4, you can score one for about  $420.

My personal favorites amongst my current lens collection include the 50mm, f/1.2, the 16-35mm, f/2.8, the 70-200mm, f/2.8, and the 100mm, f/2.8 macro.

Of course, owning all the greatest gear in the world won’t do you any good if you don’t know how to use it. :) For a fun, non-intimidating introduction to getting the most from your camera (whichever one you have), check out my labor of love, Your Camera Loves You: Learn to Love it Back!

I started my learning process 10+ years ago with an old, enormous, 1000+ page book called “Inside Photoshop 6.” (It could possibly win the award for the worst cover design of any book I’ve ever seen. Don’t judge!). As I carefully worked my way through each exercise (even the ones that looked less than exciting), I made a point to explore the why behind what the author was having me do, rather than mindlessly clicking along without much regard to what was actually happening. In other words, it’s easy to work your way through even the best of educational books and come out knowing little more than when you started if you don’t pay attention to the why behind the process. Using your critical thinking skills while you work through the exercises in any book will help you learn to “think” like Photoshop, understanding not just where to click… but how, when, and of course—why.

Of course, we’ve moved quite a bit past Photoshop 6 (currently with CS5, the equivalent of Photoshop 12), and my beloved book that first introduced me to the wonders of Photoshop is now pretty outdated (which also means it’s cheap… you can get it on amazon for as little as $0.01!). Thankfully, other incredible authors like Deke McClelland have put together more recent books like “Photoshop CS5 One-on-One,” which I highly recommend and use as the text book for the various classes I teach.

After pouring my way through books, I moved on to other awesome learning materials like Photoshop User Magazine and website. Super guru and genius Scott Kelby leads the charge as well-known Photoshop trainers, writers, and artists pool their knowledge together into a one-of-a-kind educational magazine with an incredible online component.

For $99/year you get 6 issues of the tutorial stuffed magazine, access to their vast collection of online resources and tutorials, a direct phone number to their Photoshop  help desk, and—free shipping from B&H (among other benefits!). If you use this link and enter the code FRIEND, you’ll also get the “Best of Photoshop User: 12th Year DVD” free!

All these years later, I still subscribe to the magazine and am continually amazed with each issue.

My advice to newbies is: learn as much as you can about every aspect of Photoshop. Work your way through as many lessons and tutorials as you can, even if you don’t particularly care for the specific example or final outcome. Your goal should be not just to learn how to set text on fire or create the illusion of molten lava, etc., but to understand the various available functions, commands, and techniques and how you can use them to suit your fancy whenever the spirit moves you. Many of the same techniques can be applied in different genres whether you’re a mixed media collage artist or a portrait photographer.

Sometimes, the best thing you get out of a tutorial is a by-product of the lesson itself. Discovering a new way of doing something, a command you’d never noticed before, or a simple keyboard shortcut you’d somehow missed previously. The more you read, the more broad your knowledge becomes.

If you’re anxious to play but are stuck for ideas, check out the contests and galleries at Worth1000. They have assignments and Photoshop competitions for users of all levels. It’s sure to inspire some exciting pixel play.

Enjoy!