Strap Yourself in for Climbing Ice – The Iceland Trifecta

In January, we called up Tim Kemple, an acclaimed photographer and filmmaker with clients like The North Face and Land Rover. When we got him on the phone, we had one burning question on our minds:

“Do you have a project that you’ve always dreamed of doing?”

This question sparked a storm of ideas, and in a matter of weeks, we had hatched a plan: bring together Tim and two world-class climbers, Klemen Premrl of Slovenia and Rahel Schelb of Switzerland, as they attempted to climb the Iceland Trifecta—an iceberg, the ceiling of an ice cave, and a very deep iceberg crevasse.

All these ice climbs would be technically challenging—some would say even impossible and too dangerous to attempt—and, from a filming perspective, we had no idea what kind of adventure we’d find once we got to Iceland. Normally, it’s exactly this uncertainty that you try to control. But for the team here at SmugMug, and for Tim, Klemen, and Rahel, embracing that uncertainty is exactly the kind of “adventure” we wanted to pursue, regardless of outcome. “Adventure” means pushing yourself beyond your comfort zone, embracing uncertainty, and using your technical expertise, physical stamina, and mental moxie to attack the photographic and climbing environment. And so we commenced the adventure of a lifetime.

On November 6, attendees of the 40th Banff Mountain Film Festival got a sneak peek of the film, which was selected as a Finalist, but today, this film makes its online premiere. We hope you enjoy the ride.

Read more of the behind-the-scenes.

Ready to go on your own adventure? These photo and and climbing tips articles will help you.

SmugMug’s Filmmaker Anton Lorimer at the Banff Film Festival
SmugMug’s Filmmaker Anton Lorimer at the Banff Mountain Film and Book Festival

SmugMug Films: Mastering the Craft Through Education by Scott Kelby

The next episode in the SmugMug Films series focuses on sports photographer and photography education giant, Scott Kelby. Subscribe to the channel now to watch and see future installments as soon as we set them free.

Photographer, teacher, business owner, father: it’s impossible to define Scott Kelby as just one thing—or any combination of titles. His love for photography and bringing the best out of other photographers through teaching goes beyond labels. Between videos, tutorials, shooting, and spending valuable time with his family, he still found time for us to ask him how he does it, and where he started.

What did you do before you became a photographer?

I was a full-time graphic designer. My wife and I had a small design firm that specialized in creating ads and collateral material for ad agencies that were too small to have their own in-house art departments.

If you could give yourself advice when you were just starting out in photography, what would it be?

Don’t worry so much about the gear.

And what’s the best piece of advice you’ve ever received?

To listen to the advice of people you trust.

What skills did photography teach you that you’ve successfully applied to other areas of your life?

Be flexible and go with the flow. On a shoot, no matter how precisely you’ve planned things out, things don’t always go as planned, and it’s the exact same thing in business. Being able to change gears and go with the flow to create a successful outcome is something I definitely learned from photography.

Any favorite tools and tricks of the trade?

This year I’ve switched from Nikon to Canon, and I’m really enjoying it an awful lot. I’m a sports shooter, and the Canon EOS 1Dx was just born for sports. I’m honestly surprised I made the switch, but it feels like Canon made that 1Dx just for me.

My favorite lenses are their 70-200mm f/2.8 and their 300mm and 400mm f/2.8. I love my ThinkTank Photo camera bags, and I can’t live without my 15″ MacBook Pro, and my iPad air.

Lightroom has made my post-processing life so much easier, and of course Photoshop is a miracle of modern technology that I can’t live without.

My love affair with lighting continues; most of my gear is Elincrhom, but I’ve been trying out some Profoto stuff that is really cool, and I’m kind of a gear hound so I’m always trying out something new. I know, I know, it’s not about the gear, but it sure is fun to play with.

What was the “aha!” moment that led to you building the Kelby Media education empire?

I think it was realizing that there was no one centralized place for learning about Photoshop all year long. There was a book here, or a website there, but there was no real recognized resource that had it all, and had it in one place. So we set out to do that. It took years of hard work and worry, but eventually things started to fall into place for that dream to become a reality.

What was your biggest challenge to turning the Kelby Media idea into reality?

It was definitely funding. We started with $750. Not $750,000. $750. We were living paycheck to paycheck pretty much.

How much are you still involved with the day-to-day running of the Kelby empire, since it is so large and you’re just one man?

I am 100%, all day, every day, involved in it. Luckily, I have a lot of help (including two full-time assistants), and I’m surrounded by a lot of really great, really motivated, and very talented people. My wife Kalebra handles the business side of things, so I can concentrate on the education side, which makes things a lot easier for me. I still have to get involved in everything from marketing to product development, but thankfully she takes care of everything from HR to accounting to customer service and all the stuff I am so incredibly bad at—and she’s great at—so it works really well.

With so many projects, what’s your key to prioritizing?

Sometimes it gets a bit overwhelming and my wife knows exactly that “look” I get when that happens, and she will literally sit me down with a piece of paper and say, “OK, list everything you have to do ….” And then she’ll tell me exactly which order to do what, and ya know what? She’s always right. She’s kind of my secret weapon. Heck, she’s our company’s secret weapon.

Walk us through a typical day for you.

It usually starts with either meetings or a video shoot. I wind up shooting a lot of videos—everything from reviews to features to business proposals via video to online classes, promos, you name it. Some days that’s all I do all day long. But more often than not, my days are filled with meetings, just like today was, but at 4:00 p.m. I leave because we’re taping an online class on location.

There are also days where we have shoots planned to support my live tour, or a book project, or for marketing, or for one of the 100 things they tell me they need images for. Last week I did location shoots, stills, and video, all day Monday and Tuesday, and then Wednesday I’m back in the office for meetings, and then we broadcast a live show every Wednesday. It’s really never the same routine every day, but two constants are meetings and videos—and hopefully a shoot thrown in there.

We’re astounded by all the things you’ve done and how upbeat and positive you always are. Where do you get all that energy?

I’m a really happy person in general, always have been. I’ve led a very blessed life with an amazing wife, two wonderful children, a job I absolutely love, and I’m surrounded by some of the coolest people I’ve ever met who are pretty positive people themselves, because we’re REALLY careful to hire only the very best—from talent to passion to character. When you’re surrounded by that every day, it’s hard not to be psyched and even harder to wipe the smile off your face.

What do you believe has been key to your successful marketing strategy?

I believe the most important thing we do is let our passion for what we do flow over onto our customers. We love teaching. Our customers can see it in us. They can feel it. They know we’re trying to do something really great for them. They know we’re creating the type of education we want ourselves, and I think they know we use it ourselves—we use our own product. They know we’re for real.

We never set out for that to be our marketing strategy, but it became it because we lived it, and it turned our customers into a giant force of evangelists. We feel very blessed indeed that it happened. I wish I could take credit for it somehow, but it just happened.

You’ve also taken an extremely social approach to your work. Have you gotten new ideas from all this interaction with the photographic community, or have there been any surprises as a result of this ongoing interaction?

I think one of the greatest things that social media has brought to me, besides being able to reach out to an audience, is hearing what they want next. Hearing directly, and unsolicited, exactly where they’re struggling: what they need help with, why they’re stuck, and so on helps me plan what we need to deliver next educationally. And not only what’s next, but how they want it delivered.

This goes beyond social media—it’s why I still teach 24 or so live seminars each year—you have to get there and talk to people one on one to find out where their pulse is really at, what is turning them on, and what they’ve either already conquered or which mountain they need to climb next. Standing in front of 500 photographers and seeing their facial expressions in real time as you teach live on stage is priceless. Nothing replaces that instant, genuine feedback.

If there were similar open collaboration between competitors in today’s photography industry, what cool products/services would you like to see come about that would be impossible without such collaboration between competitors?

I would love to see what a partnership between a big camera company and Apple would bring. I think you see what happens when someone outside photography “rethinks” building a camera. The first thing I think you’d see? The end of f-stops.

You still find time to shoot, too. How? And what’s your favorite thing to shoot when you do?

I really have to make time to shoot. Right now, my favorite thing to shoot is NFL football, and luckily that’s mostly on Sundays and only for around four months. I shoot for a sports news wire service and cover all the home games of the Tampa Bay Buccaneers, and when they’re on the road, I often wind up shooting with the Atlanta Falcons or Tennessee Titans if I can. I love shooting most sports, everything from motorsports to NBA to major league baseball to NHL hockey.

Kalebra also has a very busy career, so how do you balance having a family and both being so busy?

Luckily, it’s one of the biggest advantages of running your own business. Because of that, my wife and I are able to juggle our schedule to be at every one of the kid’s events at school, including their sporting events and parent–teacher conferences. I’m at every daddy-and-daughter dance, and I clear my schedule for anything that conflicts because our kids, and our time together, is so important to us. We drive and pick up the kids every day from schools; we plan lots of fun, family vacations all year long, and we have well-worn annual passes to Disney World (our favorite quick family getaway).

This all leads to a lot of tricky travel schedules and a lot of red-eye flights so I can be home with the family. If I’m shooting an NFL game on the road, it’s not unusual for me to take an early flight, shoot the 1:00 p.m. game, and then fly home right after the game so I’m home that night with the kids. It’s not exactly “relaxing,” but it’s worth it!

What other things do you do for fun?

I love to travel. The whole family loves it (we started the kids traveling early), so we love to see the world. We also have family travel traditions, like going to Maine each summer to the same little cottages, and our holiday weekend trips to Disney. Those mean a lot to us.

Are you reading anything interesting these days?

Just finishing up a great book on social media by Gary Vanderchuck called Jab, Jab, Jab, Right Hook. Really great stuff.

Who are your heroes?

My dad is definitely one. He was truly a prince of a man, and an amazing father with a twinkle in his eye like Santa. I have photography heroes like Joe McNally, and my wife would have to certainly be one of my heroes because of the amazing mother she is to our children, while juggling a bunch of plates in the air.

Could you describe a specific event or moment that stands out to you from your career?

I’ve been a football fan for as long as I can remember, and I will never forget walking out of the tunnel at Soldier Field in Chicago before kickoff the day I was shooting my first NFL game. It was a pretty overwhelming thing emotionally as it had been a dream of mine for many years.

Another was when the back door of the small transport plane I was in opened after landing on the deck of a U.S. naval carrier and an FA-18 Hornet taxied right past us just a few feet away. When I stepped onto that deck, it was overwhelming in an entirely different way, but it was a very powerful moment.

Another moment just happened when my son was competing in a nationwide crew-rowing event. For the first time ever he was rowing a single (his own one-man sculling boat rather than an 8-man or 4-man boat), and I was up on a large bridge over the river, not far from the end of the race course. I was shooting with a 400mm lens, and I spotted him and started firing. I was trying to track him as he rowed, and at one point he was just in front of the bridge and I was cheering him on, yelling encouragement down to him, with tears literally streaming down my face, just like they are right now as I write this.

I shot a lot of pro sports but nothing ever hit me like that did. I was literally bursting with pride. Those shots—those really mattered.

Sportraiture: Punch Up Your Portrait Photos with Levi Sim

What’s “sportraiture?” you ask? Simply put, unique portraits of fervent athletes showing them doing what they do best. Pro photographer and SmugMug educator Levi Sim has a place in his heart for the passion and thrill of this type of portraiture, and today he’s sharing the three key tips on how to make it happen for you.

By Levi Sim

When I started photography four years ago a local photojournalist, Eli Lucero, opened my eyes to sports photography. He said, “You know when you make a great portrait that shows emotion and it’s awesome? Athletes are finally performing what they’ve been practicing, and powerful emotions show on their faces all day. It’s great to be a sports photographer.”

Ever since then, I take every opportunity I can find to shoot sports.

Still, I’m a portraitist at heart, and I can’t help making portraits of people everywhere I go. Here are three tips that let me maximize every opportunity I get to shoot great sports portraits.

1. Know Your Game

Athletes spend many hours every day for many, many years to learn to perform flawlessly. They have worked incredibly hard to have the body and the skills to do what they do. It is disrespectful to put them in front of your lens and then mess around with your camera, trying to figure out the best settings. You owe it to them to be proficient at what you’re doing because you’re photographing other passionate people.

Now, I’m not saying you have to be a pro who knows everything before you photograph someone. I’m saying that you do your practicing before you shoot the athlete. At the very least, grab a kid from the sidelines and practice your setup right before you invite the athlete over. Then you can be confident that you’ll get a good image from that same setup.

I’d also recommend quitting while you’re ahead. If you’ve just taken a good picture with a test setup, don’t say, “Let’s try this other thing,” unless you’ve also practiced the other thing, too. They’ll think you’re the best photog in the world if you fire off two frames and have a great picture; if you mess around with the unknown, they’ll be frustrated and disappointed.

Practice your setup, take a good picture and say thank you.

2. Seek Passionate Subjects

I’m not likely to get the opportunity to spend a few minutes photographing a famous athlete, like John Elway or Danica Patrick. But, if I go to the open track day at the local race track, I’ll definitely be able to photograph some very passionate people, and they are likely to let me spend more than a few minutes taking pictures of them.

This is my pal, Jeremy. He’s the one who told me about the open track days, and his wife’s a member of my local SMUG, so he invited the group down to make pictures. Now it’s become an annual event on Memorial Day for the club, and we have a great time.

The track is crawling with guys and gals who are so passionate about racing motorcycles that they travel across the country to race on a world class track.

These people spend their lives working to earn money so they can blow it on a few tanks of fuel and a few sets of tires in a single weekend. They aren’t the kind who ride because it’s cool. They ride because they can’t not. These are the kind of people you really want in front of your lens, and they are the kind of people who will be pleased to help make a picture.

All athletes fit this category of Passionates. I hope you do, too.

3. Use Technique, Timing, Lighting – Anything It Takes to Create a Memorable Shot

It’s interesting that when talking to athletes they can describe the winning goal of a game they played ten years ago. Passionate athletes remember the intricate details of a split second for their entire lives. And if you think about it, that’s exactly what we do as photographers, too.

When you make a picture after a game, that picture will be part of their memory, and an important piece of the experience. I recommend that you prepare a few techniques that will allow you to create a memorable image –something your subjects will be happy to show off to future generations.

In these motorcycle portraits, the guys just got off the track where they broke speed records passing others around the turn, one knee dragging on the ground and sending sparks flying. They have the courage to get back on their bikes after tipping over and sliding through gravel for a hundred yards. I’m just taking it for granted that you have the courage to approach them and ask to take their picture.

After chatting for a sec about the bike, or the game (or whatever), I usually say, “There’s some really good light right over here, and I wonder if you’d let me make of picture of your bike — yeah, with you in it!”

I’ve never been turned down.

Now, put on your widest lens and get in close. No, closer! These portraits were made within inches of the subject, almost touching their bikes with my lens. I used the incredible Nikkor 14-24mm f/2.8. When you get in close with a wide lens you make a picture that is distorted and absolutely not normal. And not-normal makes it memorable.

The key to these pictures is the lighting. These are all made within a half hour of noon, so the sun is straight overhead, and there is no light in their eyes to fill the raccoon shadows on their faces from their eyebrows and ball caps. My solution is to use a speedlight to pound some hard light back into their faces and the shadows on their bikes. These are hard looking guys with sunlight casting hard shadows all around, so using a bare bulb speedlight really fits the scene.

Remember: the speedlight is not mounted to the camera–that would be obvious in the picture and ruin the look. The flash is off to the side, and high, as if it’s a little more sunlight from a slightly different direction. Whether you use your camera’s proprietary speedlights controlled by the camera, a radio trigger or an extension cord, you’ve got to get the flash off the camera to control the direction of the shadows. When using a very wide lens (shorter than 35mm), you can even hand hold the flash to the side and it will be enough. I prefer to have my buddy or my subject’s buddy hold the flash.

One More Thing…

For best results in sportraiture, bring a friend. Or two. The more the merrier! You’ll have more people there to help make your vision happen, and more visions to make things happen. You help each other hold stuff, ask each other questions, make the rest of the town jealous by talking about “that great time you spent at the track,” which then gets more people to join in next time. Photography is always better with friends.

All photos by SDesigns Photography

SmugMug Success Stories: Kent McCorkle Photography, LLC

The Sportsman: Kicking Off a Second Career and Having a Ball

Name: Kent McCorkle
Position/Title: Owner/Photographer
Company: Kent McCorkle Photography, LLC
Location: Metro Atlanta, GA
Market: Sports (professional, college and high school), plus local news and company-sponsored events
Bragworthy Factoid: Earning back his initial investment in his SmugMug site within a few months of launching his business.
SmugMugger since: 2004

Career Highlights…

  • First time being accepted by a media wire service to cover sports.
  • Breaking into Division I college and professional sports.
  • Seeing his work published in Sports Illustrated, on ESPN and in other national publications.

Favorite Features…

Making the most of a moment

Kent McCorkle knows the exact moment he became a photographer. After more than 30 years working in the corporate world, raising a family and flirting with image-making, everything changed with a single email. Although he had enjoyed capturing youth sports, vacations and other personal moments for years, he hadn’t thought seriously of working for profit. Then he was contacted out of the blue by an architectural design firm about photos he’d shot and posted of antebellum homes during a family holiday. Interest sparked, McCorkle quickly sold them the images for publication in a book. Fast-forward to today: McCorkle has settled firmly into sports photography, fashioning a second career out of his passion for capturing exciting moments in youth athletics. Riding the digital photography wave and fueling his interest with online support resources, he honed his skills and bided his time. “The idea of selling photographs had never crossed my mind…[but] after the surprise of selling my first photographs, I began to wonder if parents might be interested in purchasing the sports-action photographs I had been taking of their kids.”

Fit to print

Along with technical mastery, McCorkle has acquired a deep knowledge of the byzantine world of sports photography. His advice for the aspiring and uninitiated? Get your feet wet covering youth sports before attempting Division I college and professional athletics, both of which require extensive credentialing. “The first step is to gain lots of experience photographing sports at lower levels,” he says. “Develop a portfolio that shows your best work. Standards for acceptance by wire services are very high. Compare your work to what you see in major sports publications. You can also visit media wire service websites and see examples.” Photographers must be affiliated with approved media companies to shoot higher-level sporting events; the sports governing associations license the images for distribution. McCorkle suggests honing your craft by connecting with other photographers. “Even at high school games, you may have opportunities to pick up tips and learn techniques from more experienced photographers.”

SmugMug and sports

Citing SmugMug’s “remarkable” customer service, continual innovation and “flawless” order processing, McCorkle considers the service foundational to his business model. From the outset, SmugMug helped McCorkle streamline his burgeoning business needs. He especially likes the one-stop shop aspect. “I started with SmugMug because it offered the ability to create a gallery-based photographic website and sell photos. Order placement and fulfillment were the clinchers for me,” he says. He continues to add SmugMug features to his arsenal, sometimes evolving his workflow to take advantage of SmugMug’s conveniences. “I was slow to get on the Proof Delay bandwagon because every image uploaded to my galleries had been fully post-processed and I considered them print-ready,” he points out. “But then I started using it in order to allow me one last chance to make sure everything is right.”

Pounding the pavement

McCorkle’s business acumen has proved invaluable since his transition to photography. Underscoring the importance of building multiple revenue streams and diverse customer segments, he has cultivated clients ranging from athletes’ families and high school booster clubs to local news outlets and national publications including Sports Illustrated and ESPN. “In all but one case, my freelance work with newspapers resulted from my making initial contact with either the editor, sports editor or publisher,” he says. “Sometimes a simple email expressing your interest in working with the paper is all that is necessary to get the ball rolling.” McCorkle adds that persistence and patience are key. “Each time that I’ve expanded the types of sports I photograph or my customer base, I’ve followed a simple principle from my corporate career. Stated simply, it is ‘gentle pressure, relentlessly applied,’ ” he says with a smile. McCorkle markets his business in creative ways, ranging from hardcopy business cards he passes out while shooting games to requesting links to his portfolio on booster club sites to emailing booster officers gallery links and asking that they forward them to coaches, parents and fans.

Love what you see? Check out our other incredible SmugMug Success Stories.

SmugMug Success Stories: Graham Watson Publishing, Ltd.

The Master: SmugMug Helps a Seasoned Pro Adapt to Cycles of Change & Finish Strong

Name: Graham Watson
Position/Title: Director
Name of Company: Graham Watson Publishing, Ltd.
Location: Lives in Hampton, Middlesex, UK, but works globally
Market: Professional Cycling
Bragworthy Factoid: One of just 4-5 pros worldwide who cover cycling at this level
Website: and
SmugMugger Since: 2009

Career Highlights…

  • 30-plus years photographing cycling
  • Apprenticed to society photographer Leonard Green as a teenager (Green, AKA “Lenare,” was the UK’s leading mid-century celebrity portraitist)
  • Authored or co-authored 20-plus books
  • Offers online, same-day race coverage of more than 160 racing days/year

Favorite Features…

Portrait of a master

Watson attributes discovering his life’s passion to impoverishment. Signing on to study photography as a teen in 1970s London and unable to afford the train, Watson invested in a bicycle to make the 15-mile trip into the city each day. He points to the 1977 Tour de France, his first as a fan, as pivotal in his journey from portrait to cycling photography. “It’s one big adventure. The photography purists would be horrified if I said that. My passion, if anything, is the adventure.” Purists aside, Watson clearly had the chops: Following the event, he won a photography contest sponsored by Cycling Weekly and his career took off at a sprint.

Blocking with the best

Watson’s business includes magazines, books and online print sales for race fans. He brought his online business to SmugMug in 2009 after it was recommended by a developer with knowledge of both cycling and photography. Watson relies on SmugMug to leave him free to do what he does best — take brilliant photos. He likes leaving printing in SmugMug’s capable hands and concentrating on other areas of his business. Citing cycling’s worldwide following and the need for quick turnarounds — globally, fans number in the millions — Watson takes his role in fan appreciation seriously. “You entertain people. It means a lot to see pictures of the sport they love. It’s a responsibility.” SmugMug’s platform has allowed him to make prints available to a bigger audience at a more competitive price; it helps him stay in touch. Watson links to SmugMug from social media to deliver a race-day postmortem, tracking the day’s happenings through pictures. He loves focusing on his commentary while SmugMug takes care of post-race ecommerce, enabling fans to order directly from the site.

Riding the pegs

Like a lot of seasoned pros, Watson initially had mixed feelings about the industry shift to digital. Now, they’re gone. “Digital prints better in a magazine than slides ever did. Digital photos go straight to press (no 15 minutes sending one image!). The romance is gone, but it’s efficient.” Watson says the increased competition enabled by digital technology has changed the game. “Most of us thrive on the challenge of staying ahead of everybody. It’s very expensive and [digital] has more people getting involved, so I try to find extra ways to keep pace with my rivals.” He points to SmugMug handling print fulfillment as a benefit that allows him to focus on his core competency: capturing exciting sports moments. Watson’s studio relies on SmugMug for every aspect of order processing, from selection and payment to delivery and customer service. They are pleased to have had exactly zero issues with fulfillment since they became a client. One favorite feature is the ability to link directly to an individual order with full details after payment is received, via the Tools button on their homepage.

Bagging the peak the smart way

Because digital is making access easier for non-pros, Watson says it’s important to move with the times. This means recognizing what’s good about digital. “Even 10 years ago working with film, the day never ended. It was eight hours of shooting cyclists and another eight getting film scanned and emailed. With modern tools, you’re in bed by midnight.” He likes that clients can get their images very quickly following events, view their full archive and choose what they need, without having to contact him and wait for source images. “I use Twitter as a way to entertain and promote my work,” Watson says. “It’s proven to be a commercial tool. You get low-res pictures on the website, and, true, it’s not the same as being published in print. [It’s] a different medium, but a very important one.”

Interested in seeing more SmugMug Success Stories? Look here!

Photog Tip of the Week: Sell Smarter with Smart Galleries by David Evertsen

Today’s guest post is by sports shooter and Smugger David Evertsen of Phabulous Photos. Any event shooter understands how tricky it is to manage and organize large volumes of files, particularly when parents, friends and fans are beating down the door to see photos and buy prints. Since the fall sports season is ramping up, we thought this post would help you manage your workflow and feed happier customers. Here’s how he used a program called Photo Mechanic and SmugMug’s Smart Galleries to give his fans the pictures they want to see.

by David Evertsen

For the past 3 or 4 years that I have been shooting high school sports there’s been one hurdle: Parents only want to see their own child when looking through sports pictures on my site. While they enjoy looking through the galleries, it’s a completely different story when it comes to choosing prints to buy. Sports galleries are quite large and it becomes a chore for parents to look through everything to find shots just of their child.

Then think about how one photographer shoots many games per sport, several sports at a time and the problems start to multiply.

I’ve used Smart Galleries from time to time on my site combined with simple keywords assigned in Lightroom, but I needed something more powerful that could help simplify the keywording process without writing a sentence for every image. Here’s a solution that worked for me.

Step 1.  Build your Code Replacement file in Photo Mechanic

I started working with some other photographers that are required to caption and upload images to a newspaper or press site and noticed they used a product called Photo Mechanic from Camera Bits. Photo Mechanic uses something called Code Replacement. This feature is perfect for photojournalists and sports photographers: they create a simple code replacement file that acts as a library, so that they type a few keystrokes and the info (like name, position, team and number) is automatically entered into the captions. This means fast, consistently accurate information with minimal work.

First I need to show you what code replacement is and how it saves me time. Code Replacement is a form of short hand that allows you to enter in anything you want by only pressing a few keys.

Here is an example of five of keywords I put on an image:

1; bk1 ;Kevin Kyle; Boone Varsity Baseball; 2010-2011

And here’s what that means, so you can do something similar for yourself:

  • 1 – Players Jersey Number (used for reference in file)
  • bk1 – A SmugMug keyword I use to build my Smart Gallery
  • Kevin Kyle – The player’s name.
  • 2011 – Year, also used to build my Smart Gallery.

Now what keys did I press to get the bold line above added as a keyword in Photo Mechanic for the picture?

1” and “\

How this works: You build a master list of shorthand codes you want to use and define which keyword terms you want entered when you type each code. This is just a simple text file that Photo Mechanic will use to automatically plug in keywords when you type the right codes.

Tip: Remember that SmugMug keywords have to be an minimum of 3 letters to work unless you enclose them in quotes.

Step 2. Choose Your Keywords

Let me show you what I had to think out before I built my code replacement file. You’ll want to write up keywords and macro codes that make it simple for you to remember but are specific to each event you shoot. I had to create a master list of sports that I use all year round so I don’t mix up the schools and sports. That would cause disaster!

Here are a few additional example sports in the same format as the above example:

bl Boone Boys Varsity LAX
bjl Boone Boys JV Lax
bgl Boone Girls Varsity Lax
bt Boone Track
bs Boone Varsity Softball
bjs Boone JV Softball

Make the codes easy to remember – after all, the point of this is to make your job easier.

What does the Code Replacement file look like? My file is really long and includes all the sports I shoot. As the seasons start the numbers and names of the players per sport are added. The final file can contain many schools and many different sports. Here are just a few other examples:

bk1 1; bk1 ;KEVIN KYLE; Boone Varsity Baseball; 2010-2011;
bk2 2; bk2 ;FRANK  THOMAS; Boone Varsity Baseball; 2010-2011;
bk3 3; bk3 ;TRIPP CABLE; Boone Varsity Baseball; 2010-2011;
bk4 4; bk4 ;MITCHELL BOMBER; Boone Varsity Baseball; 2010-2011;

Tip: Use semicolons between the terms to ensure that they get entered as complete keywords in the SmugMug gallery when I upload.

Step 3. Create your Smart Galleries

Smart Galleries are an easy way to automatically group together your photos by keyword. At the beginning of each year I go in to the season and set up a team subcategory (Under a custom school year category) and then individual Smart Galleries (one for each player).  In this case, I’ll use one Smart Gallery to pull in the photos with the “bk1” and “2010-2011” keywords in one place.

I make one gallery for each player on the team. Then I go into settings for each gallery and add Rules to pull in the keywords:

Rule #1: Include > My Photos > Keyword > 2011
Rule #2: Include > My Photos > Keyword > bk1

Then I’m done. Setting up the Smart Galleries takes a little time at first but you only have to do it once.

Step 4. Apply your codes in Photo Mechanic

Next I finish my post processing. I do my adjustments and use Lightroom’s bulk keywording feature to automatically enter the first portion of the Code Replacement macro, bk\ , to all of my files. This saves me time later.

I then open Photo Mechanic, click on the folder I created when I exported and double click on the file information. Up pops the info window where I can save and change the keywords. Then I press “1\”. The opening “\” (added by Lightroom to all my files) and the closing “\” (that I just typed into Photo Mechanic manually) means, “look up in your designated code file and insert the following line.” The string of keywords gets entered:

1; bk1 ;Kevin Kyle; Boone Varsity Baseball; 2010-2011

SmugMug indexes only 30 keywords per photo so take it easy on the number of keywords, lest you run out. I use about five, as shown here.

When I am done with the keywords on each individual image I click the Save button in the info pane and it brings the next one up. I do not keyword every player if I can’t tell who they are or if they are on the opposing team; they are not the primary focus of the shot.

It takes only about 10-15 minutes at the end of my processing to add the keywords.

Step 4. Upload Your Photos

I then use Photo Mechanic to upload to the team gallery and my work is done. When all the images are uploaded I make a lot of customers really happy because the Smart Galleries automatically pull in the specific photos I’ve set for them. I did the initial leg work but SmugMug does all the heavy lifting for me. I realized how important this was for sales when I set the Gallery Download price for my galleries and sold a bunch of player-only photos.

Each sport is different and the complexity varies by how many players are on each team. But even if a player plays only a few times in the season, you can easily find them by keyword. Then you can keep looking to shoot more shots of them later in the season.

I hope this helped you learn how to do something that will make your customers able to find the pictures they want to see and purchase them easily. I have talked to people on the Digital Grin forums that are using this workflow for all types of sports where the participants have numbers. Quick Code Replacement combined with Smart Galleries saves you time and helps drive up your sales.

Good luck!

Other links you’d like:

Photog Tip of the Week: Shooting Sports with Steve Mills

Spring has nearly sprung, sports fans!  If you’re a fair-weather photographer, you’ll soon be blowing the dust off of your gear and heading to the track, course, court, or diamond.  We’ll offer some tips we hope will make your photos a home run. Today’s Photog Tip of the Week comes from Master Support Hero and sports pro, Steve Mills of Downriver Photography.

What makes a great sports photo?

In a word: Drama! With today’s amazing digital cameras shooting in excess of 10 FPS, it’s tempting to be a ‘machine-gun-mama’ holding down the shutter release anytime there’s action, rattling off shots from your dSLR Uzi.  Fight the urge and use it sparingly!  After your memory card stops sizzling and your batteries return to something below 500 Kelvin, you’re almost certain to have some ‘keepers’.  You’ll likely capture the bat hitting the ball, but it takes practice, restraint and discipline to look beyond, to the player’s wide eyes and the self-satisfaction of their first home run and capture the shot you really want.  Drama.

Know your sport!

For great sports photography, it’s essential to know your sport so you can anticipate the decisive moment.  The swing on the pitch, the slide to home, and the frustration of a strike-out are all important decisive moments not only to anticipate the action, but the emotion of each. If you’re not sure what a flag on the field means, or what a feat running 100 yards in 9.4 seconds is, you’re sure to miss some drama.

Isolate your subject(s)

One rule of composition says, ‘If it doesn’t contribute to the scene in some way, it’s best left out’.  This is especially true in sports photography. Nearly every sport has tons of distraction.  From refs, to spectators, to sponsors, they all compete for attention in your frame.  Don’t let a screaming spectator steal the scene from your slugger.  Use a respectable telephoto lens to fill your frame with drama and adjust your aperture to control the depth of field, blurring out the blight.  If most of your shots show the whole infield and cause viewers to hunt for the action and drama, it’s time to upgrade your lens.

Get a Proper Exposure

Most cameras have a number of different exposure modes including spot metered, center weighted, and evaluative metering.  Most are pretty reliable if you understand how they work.  I’ve often heard, “It was such a bright, sunny day, but all my photos came out dark!” followed by cursing their camera.  Regardless of the exposure mode you choose, the camera will look at the metering area you defined (a spot, the center, or the whole scene) and crunch some numbers to come up with a value for that area.  That value will be considered the middle value for the scene.  This means if your metered area consists mostly of bright clouds, sky, or player uniforms, the camera will now consider them the mid-tone! This turns your bright whites into something near middle-gray, and your whole scene turns dark.  To combat this, add exposure compensation to let your camera know, ‘these whites should be white!’ then check your camera’s histogram for proper levels (see Canadiann’s histogram tips from last week).

Optimize Camera Settings

ISO: The old standards still hold relatively true with 50-200 for bright sunny days, 400 for overcast, and 800-3200 for downright gloomy, with even 6400+ for twilight sports.  Newer dSLRs can handle high ISOs with surprisingly little digital noise so don’t be afraid to push it.

Shooting mode: Just say ‘No’ to sports mode!  AV (Aperture Priority) is my favorite for outdoor sports.  It allows you to control the depth of field [depth of focus], and lets the camera worry about shutter speed. Consider bumping up your ISO for a faster shutter speed if needed.

Shutter speed: How fast is enough?  This depends on three things:  Mood, Sport, and Lens.

  • Mood:  A fast shutter speed will freeze action.  If you want to convey motion or speed with some motion blur, a slower shutter speed will be required. (1/60th of a second will blur most bat swings, where 1/250th will freeze most)
  • Sport:  Formula-1 racing will require a faster shutter speed than badminton, to freeze action.
  • Lens:  For hand-held photography, your shutter speed should exceed the focal length of the lens to prevent camera-shake.  Example:  With a 200mm lens, you’ll want to shoot at a minimum of 1/250th.  Many cameras and lenses now have image stabilization that compensates for hand jitters that cause camera-shake, which allows you to shoot at even slower shutter speeds without noticeable blur.

I hope these tips inform, inspire, and encourage you to get out there and get shooting.  We’ll be looking for all your action-packed artistic drama on SmugMug!

-Steve Mills