Jim Zuckerman’s
PH OTO I N S I G HTS August 2016
Desaturation How to Make a Composite Depth of field issues Photo tours Student showcase
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On the cover: Desaturated portrait from Trinidad, Cuba. This page: a portrait of a little girl at the airport in Jakarta, Indonesia dressed up for Ramadan.
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4. Desaturation 6. How to make a composite 16. Depth of field issues 23. What’s wrong with this picture? 25. Short and sweet 26. Ask Jim 27. Photography tours 30. Student showcase 35. Back issues
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ompetition is inevitable among people. It’s just the way we are. Sports, horse racing, beauty, spelling bees, chili cook offs -- you name it. And photography, of course. That’s why camera clubs and magazines have photo contests. Among photographers, there is even competition when it comes to equipment. He (or she) that has the longest lens, the widest angle, and the most expensive camera body wins. In addition, many amateur photographers assume that if a person has expensive equipment, they must be a really good photographer. Along with this assumption, often, is a feeling of being intimidated and a discomfort of shooting with this individual because your pictures couldn’t possibly compete. First let me say that good equipment doesn’t imply great photography. It only suggests the willingness and ability to spend money. Nothing more. On the first photo tour I led in 1976 when I was only 28 years old, there was a man who was 75, and he had been shooting for decades. He used a Leica, the most expensive 35mm format camera at the time. We were in Zion National Park and he called me over to look through his camera to check his composition, and it was a mess. No design at all. I said to him “Fred, why don’t you move your camera to the right just a little,” and the composition was vastly improved. He was delighted.
My point is that you are wasting your time if you feel intimidated by other shooters with gear more expensive than yours. It most cases, it doesn’t mean what you think it means. If someone also happens to be a great photographer, that’s wonderful. Learn from them, be inspired by them, and try to emulate them. But don’t be intimated by them or their equipment. Jim Zuckerman www.jimzuckerman.com
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Desaturation
have always loved color. As a child I got excited about having a box of crayons with 64 colors. Little did I conceive that I’d be working with 16.7 million colors in something called Photoshop later in my life. As much as brilliant, super saturated colors attract the eye, going to the other extreme also produces visually arresting images. For example, the picture below that I shot in Jakarta, Indonesia in the old harbor approaches a black and white image but with pastel colors. The original image at upper right is very nice, too, but the desaturated version looks more like fine art in my opin-
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ion -- and something that would be printed and framed for your home or office. Desaturated colors is a technique that can be applied to all kinds of subject matter.
The portrait from China, above, and the closeup of a rose, below right, are excamples. The rose is especially interesting because we are so drawn to the brilliant colors of flowers that to render one with significant desaturation is unexpected. In the portrait of the old woman, her hat and scarf were originally bright turquoise, but in the desaturated version those colors are muted as are the tones of her skin. To create this kind of look, I use a three step process in Photoshop. First, I go to Image > adjustments > hue/saturation and move the saturation slider to the left until I like the results. Sometimes I remove most of the color, and other times I desaturate the image only a little.
box that opens, I move the clarity slider about halfway to the right. This sharpens the midtones and it makes the image really pop. With the rose image below, I ran it through clarity twice which is why it has a more gritty look. Finally, I add some contrast with Image > adjustments > levels. When you reduce color saturation, contrast is always lost, and this action restores the contrast. ยง
Next, I open the image again in either Adobe Camera Raw or Lightroom. Since I use ACR, I choose Filter > camera raw filter. In the dialog 5
How To Make a Composite any people compliment me on my Photshop skills when we discuss photo manipulation on my photo tours or in emails that I exchange with clients, and the implication -- usually -- is that they won’t ever be able to do what I do. What they are often referring to is my composite work -putting two or more pictures together. This is the backbone of what I do in Photoshop because it opens up so many creative possibilites that, truly, the sky is the limit.
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This is not brain surgery or advanced calculus. It’s just a few simple steps, a little previsualization, and an attention to detail. No big deal.
The truth is, it’s really easy to combine pictures.
The composite on the next page consists of the
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Ok, let me explain first my thought process and then I’ll get into the individual steps in making a composite. For those of you who only do Lightroom because you’re intimidated by Photoshop, now is the time to take a deep breath and expand your creative horizons. You can’t do this in Lightroom.
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two photos on page 6. I photographed the Balinese dancer from a kneeling position because I wanted an upward angle on her. Although the original background isn’t terrible, it’s not very inspiring, either. It doesn’t add anything artistic to the shot, and I approach most photographic situations with the ‘what if ’ principle. In other words, what if she were in an ideal place with an ideal background? What if the background were complimentary? What if the background told a story -- the story of, in this case, the culture of Bali, Indonesia? I photographed her, then, with the idea of replacing the background. A classic Balinese door, imposing and impressive, would be perfect. These doors are elevated and built on the top of several steps. That means I’d be shooting at an upward angle, and therefore I used a similar angle when I photographed the dancer. I didn’t have available a clean background, such as a white wall or a large piece of black velvet, so I disregarded the background knowing I could deal with it later. My settings for this picture were 1/125 at f/8. I used a 24-105mm lens. When compositing pictures, the ideal is to use similar focal lengths for the various components. Otherwise, things can get pretty crazy. If you combine a wide angle portrait with a background taken with a telephoto lens, chances are it won’t look real. Viewers of your image may not be able to put their finger on the reason the image doesn’t look right, but they will sense that it’s not correct. In addition, it’s very important to match the lighting. In this example, the I photographed the dancer is diffused light and therefore the background also had to be in the same soft and diffused lighting. That makes the final product believable. In art, of course, there are al8
ways exceptions to pretty much every rule or guideline, and even with lighting, sometimes you can do something different than what I’m suggesting. For example, the photo below is a straight shot. It’s not a composite. I used off-camera flash and balanced the image with the sunrise in Venice, Italy. The Venetian photo on the next page is a composite. I photographed the model elsewhere, again with off-camera flash, and I combined her with another sunrise in Venice. Both shots feature light on the subject that doesn’t match the background, and in my opinion they work because these images are less about reality and more about ‘creative’ fashion. And, I think you’d be challenged to say which was the composite. With the Balinese dancer, I was going for a nat-
ural and realistic look, hence the need to match the type of light on the subject with the light on the background. One final thought before I describe the technique: Composite elements should be close in resolution. Don’t combine a 2 megabyte image with one that is 60 megs (unless it will only be a very small part in the larger background). The reason for this is that one of the images will be sharp and the other one will look soft and probably noisy. A guideline I can offer is that the smaller picture should not be less than 80% of the larger one. The selection options
subject so it can be separated from the original background. I strongly suggest that you use a Wacom tablet to do this because it’s easier to control the Wacom pen versus a mouse when working on detailed selections.
Once you have chosen the two images to be composited together, you have to select the
In choosing the appropriate tool for the selection process, there are several choices:
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UPCOMING PHOTO WORKSHOPS Carnival in Venice workshop Outrageous costumes in a medieval environment! Venice is great to visit and photograph any time, but during carnival it’s magical. There is nothing like it anywhere in the world.
Feb. 17 - 23, 2017
Frog & Reptile Workshop Close-up encounters with poison dart frogs and exotic reptiles such as chameleons, geckos, snakes, and more in St. Louis, Missouri.
Jan. 14-15, 2017
Home Photoshop workshop Learn amazing techniques that will give you unparalleled control over your images such as replacing the sky, making composites, using layers, being creative with plugins, and more.
Oct. 29 - 30, 2016
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1. Magic wand tool. This is the favorite tool of novice Photoshop users because it’s quick and easy. However, the subject has to be clearly delineated from the background such as an egret in flight against a solid blue sky, page 9. When there is no ambiguity between what is the subject and what is the background, the magic wand tool can be used. With the Balinese dancer, though, the magic wand tool would not be able to distinguish between the two. The fingers, for example, are very close in tonality to the foliage background, and the shadow beneath her foot is much too close to the dark tones in the tiles. That makes it impossible to make an accurate selection. Another issue with the magic wand tool is that the selection, upon close examination at 200%, appears a bit jagged. This is problematic when combining images. 2. Lasso tool. I use the lasso tool all the time but to make a complex selection such as the Balinese dancer, this is not the tool to use. It’s too hard to maintain a steady hand as you run the tool along the edge. Since you must work at a significant magnification (I suggest 300%), you can only do small sections at a time before you have to move the image with the hand tool. This becomes too laborious. 3. Quick selection tool. This tool hides beneath the magic wand tool. As you run the cursor along the edge of the subject, the selection -- as indicated by the marching ants -clings to the edge of the subject. This works quite well as long as there is enough contrast between the subject and background. I could use the quick selection tool for the chameleon at upper right, but the protrusions along the dorsal surface of the reptile would
present a problem for this tool. The very dark structures are too close in tone to the black background, so I’d have to switch to the lasso tool and add or subtract from the main selection (the shift key adds and the option or alt key subtracts) until it was perfect. This wouldn’t work for the dancer. 4. Refine mask. This selection tool in Photoshop works fairly well, but it often takes so much tweaking in the dialog box that it can become burdensome. This tool also requires that the subject be clearly delineated from the background. I find that while this tool works in some situations, it’s not as precise as I like. Refine mask, like other selection tools, works on the basis of contrast. Without a lot of contrast between subject and background, it doesn’t work well. 11
5. The pen tool. This is my tool of choice for a large majority of the selections I make for one simple reason: it is very precise. Yes, it takes time to lay down anchor points around the periphery of a subject, but you can choose exactly where the edge of the selection is created by the placement of those points. It took me about 20 minutes to make the selection around the Balinese dancer. When you use the pen tool to lay down anchor points around the subject, and the last point joins with the first one, you’ve now created a path. To convert this to a selection, click on the paths tab (if this isn’t open, go to Window > paths). Now click on the tiny icon in the upper right corner of the palette (green arrow in the screen capture at right) and you’ll see a drop down menu (also shown at right). Choose make selection and the path turns into the familiar marching ants. A perfect selection with the pen tool What makes a perfect composite is a perfect
selection. By ‘perfect’ I mean two things: None of the original background shows (it looks like a thin line along the edge of the subject), and the edge of the subject has to be just soft enough to blend with the new environment in a believable way. If you look at the extreme closeup of the Balinese dancer’s costume, lower left, you can see that at 700% magnification the edge of the fabric doesn’t just end while the background begins. There is a ‘transition zone’ of two to four pixels. When you place the anchor points, you have to decide exactly where they go -- in the middle of that zone, more toward the outer edge or more toward the subject. Chances are that some of the points you place will include just enough background such that a telltale line will show around the subject when it’s pasted into the new background. To avoid this, and to make the subject flawlessly blend with the background, you have to do two things: 1. Choose Select > modify > contract. In the dialog box that opens, type in one pixel and hit OK.
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This contracts the selection by one pixel, moving the marching ants away from the original background. Usually a one pixel movement is enough; if not, then try two pixels or even three if necessary. When you work at 300%, you can see the selection contract by the specified amount. 2. Choose Select > modify > feather. In the dialog box that opens, type in one pixel. Never more. Click OK. This softens the edge of the selection slightly. After all this work, you don’t want to have to do it again at some point in the future. Therefore, go to Select > save selection. This creates a channel. Give it a name in the dialgo box if you want, or if you don’t name the channel Photoshop will call it ‘Alpha 1’. Click OK and then choose File > save. The alpha channel is now a permanent part of the file (until you discard it), and it shows up under the channels palette. In the future, when you want to activate the selection around the subject, you can do so by using Select > load selection, and then choosing Alpha 1 in the dialog box that opens. Alternatively, you can hold down the Command key on a Mac or the Control key on a PC and click on the black and white alpha channel in the channels palette. In both cases, the marching ants will appear.
activate it and use Edit > paste. The subject is now a floating layer and can be seen as such in the layers palette.
The composite
At this point, the composite has been made but most likely the subject needs to be sized and moved into place. First, go to Edit > transform > scale. A box forms around the subject, and you can grab any corner to size it appropriately. Hold down the shift key to maintain the correct proportions.
Now that a perfect selection has been made, simply use Edit > copy to place the subject in the clipboard, Photoshop’s temporary (and invisible) holding place for a photo or part of a photo. Then click on the background photo to
Next, grab the move tool and move the subject in place. Since everything casts a shadow, even in diffused light, you may have to use the burn tool on about 30% opacity to darken certain areas to imply a shadow. § 13
NEW eBOOK Photoshop taps into your creative potential like nothing photographers have ever had in the past. Once you feel comfortable working in this program, the sky is the limit. You can do anything your mind can imagine. Pretty amazing, indeed! This eBook explains many of the techniques that Jim uses all the time. These include replacing the sky, compositing images, adding textures to photos, introducing natural looking streaks of light, realistic HDR, combining black and white with color, Jim’s favoritre plugins, using the blend modes, and more. Use this as an idea book as well as a reference. If you’ve limited yourself to Lightroom’s abilities, consider expanding your horizons and learn Photoshop. It’s about time.
Click the cover to see inside the ebook
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Depth of Field issues O
ne of the characteristics of telephoto lenses is their shallow depth of field. That works to our artistic advantage when photographing subjects like wildlife and birds because an out of focus background forces our attention on the subject and offers a non-distracting and complementary environment. The lion below is an example.
2. Focal length of the lens (the longer the telephoto, the less DOF; conversely, the wider the angle of the lens, the more DOF).
Depth of field is affected by four things:
4. Distance from the subject to the background (the further the distance from the subject to the background, the less DOF; conversely, when the subject is very close to the background, you’ll have more DOF.
1. Lens aperture (the larger the aperture, the less depth of field; conversely, the smaller the aperture, the more DOF you’ll get).
3. Distance from the camera to the subject (the closer the subject is to the camera, the less DOF; conversely, the greater the camera-subject distance, the more DOF).
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The last item is something that photographers often forget about. I am asked many times by people who travel with me on a photography tour or by email how to throw the background attractively out of focus in a picture like the portrait of a peacock on the previous page. They will tell me that their lens is wide open to the largest aperture, they are using a telephoto lens, and they are quite a distance away from the subject . . . but the background is still sharp. They are forgetting one thing. The subject is too close to the background, and that eclipses all of the other factors. In the photo of the wolf, below, the same factors were involved. Had I wanted the background grasses to be soft, there was no way to do that. Sometimes backgrounds like this one and the one behind the peacock are attractive. Othertimes backgrounds are quite distracting and even messy, like in the picture of the lilac breasted roller, above right. The ide-
al would be to throw the branches completely out of focus. Due to the limitations of the laws of optics, though, it just wasn’t possible. Learning how all the factors that define depth of field interact together takes years of experience. You have to critically analyze what your camera settings were compared to how the pictures turned out. Here are a few scenarios that will be useful to you to remember:
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Become a better photographer with
eBooks
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1. Extreme wide angle lenses, known for their extensive depth of field, when used with a small lens aperture like f/22, provide as much DOF as you can get. However, when there is an element very close to the lens -- say just an inch or two away -- that foreground won’t be sharp. The photo I took in the Natural History Museum in London, below, shows this. The portion of the railing in the lower right and lower left is soft. Depth of field started at about five inches. 2. Super telephoto lenses, known for their shallow depth of field, can’t give you complete DOF even if you use f/32 when the subject is relatively close. A 500mm lens, for example, focused on a subject 100 feet away can’t render a distant background sharply. If the subject moved further away -- say 500 feet from the shooting position -- then both the subject and the background will be sharp. 3. Macro photography has shallow depth of
field because the camera-subject distance is so close. In situations where the lens is within an inch of the subject, the smallest aperture will still only give you a sliver of the subject in focus. In this case, the only way to obtain complete depth of field is to do focus stacking. 4. A teleconverter multiplies the focal length of a lens. At the same time, depth of field is decreased because a 400mm is now, say, a 560mm lens if the converter is a 1.4x. With this particular converter, a one f/stop of light is lost, and to compensate you have to open the lens one f/ stop, thus more depth of field is lost. 5. When using long telephoto lenses, the difference in depth of field between f/5.6 and f/8 or between f/11 and f/16 is very small, almost negligible. That means rather than trying to squeeze out a touch more DOF, opt for a faster shutter instead. This helps to insure sharp pictures. §
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LEARNING TO SEE
online course
by Jim Zuckerman
The ability to ‘see photographically’, to really grasp how your camera and lenses capture a subject or scene (which is different than how we see with our eyes) underlies successful picture taking. It is the bottom line that you’ve been looking for to take that quantum leap forward in your photography. The great thing about online courses is that they can fit into any schedule. Life gets in the way at times, and Jim puts no limit on the time you can submit your work for his critiques. CLICK THIS PAGE to read more about this course.
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New eBook for beginning photographers I’ve not seen a book on beginning photography that I thought was clear, concise, and relevant to taking good pictures, so I wrote one. If you are insecure about your knowledge of how f/ stops, shutter speeds, and ISO interact, or what exactly the various exposure modes on a camera are for, this is the eBook for you. Or if you know someone who just bought a camera and is having a hard time understanding the manual that came with the camera, the information in this new publication is essential. It will take much of the frustration in learning photography out of the equation. Instruction
manuals for cameras do not teach photography. All of the basics of photography are covered including depth of field, the simple mathematical relationships between lens apertures and shutter speeds, the issues surrounding digital noise, basic fundamentals of composition, the features you should look for when choosing your next camera, the different kinds of lenses and how to use them, how shutter speeds and lens apertures allow you to express your artistic vision, and creative considerations that enable you to start taking photographs rather than mere snapshots.
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THE PANTANAL, BRAZIL November 2 - 10, 2016
Jaguars in the wild
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exotic birds
caiman
capybara
What’s wrong with this picture?
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here a lot of things that one could criticize in this image of a Komodo dragon that I captured on my recent photo tour to Indonesia. The background is cluttered, busy, and there are distracting branches everywhere. The immediate foreground is out of focus, a large trunk is partially obscuring the huge reptile, and the lighting is a bit too bright especially in the upper left portion of the image. All of this is true, but I still like the image. Even though this shot breaks so many of the principles I talk about all the time, I like the image because it shows the animal in its natural, gritty habitat. This isn’t fine art is the sense that the jaguar on the previous page is artistic. Instead, it’s like an intimate portrait of the largest living lizard captured by a priveledged intruder. This is a female dragon about to dig down into her nest to hide from the heat of the day, and I
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was shooting from a very low angle -- as low as I dared so I could still get up fast and run for safety if I had to -- in order to add intensity and visual impact to the shot. The photo above of a large male on Komodo Island is what I envisioned capturing before I arrived in Komodo National Park. In fact, this is my favorite image of the two pictures. But they are very different ways to tell a story. In this shot, I like telephoto compression because it shows the hulking way this very primative reptile moves. I like the beach environment so nothing diverts our attention from the unique subject, and the diffused light was perfect. Had the sun come from behind a cloud, the contrast would have been too much. I shot this at six frames per second on the Canon 5D Mark III for two reasons: I wanted a lot of choices regarding the positioning of the feet, and I wanted the full extension of the forked tongue. It would flick in and out of the mouth so fast that it was almost impossible to catch with a single shot. ยง
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SHORT AND SWEET 1. Diagonal lines are strong compositional elements.
Look at all the diagonal lines in this image. I positioned myself to the side of the green boat specifically to use its diagonal direction in the frame. Also note the complete depth of field. I shot with f/16.
3. Darkening a background is a great way to make a subject stand out. Here I used the adjustment brush in Adobe Camera Raw to tone down the green foliage behind this delicate flower I captured on Komodo Island in Indonesia. Using the adjustment brush, as opposed to the burn tool in PS, gives you more control.
2. Out of focus foregrounds are only an artistic ad-
vantage when they are so blurred that they almost look like a haze of color. In this example of a Komodo dragon, I wouldn’t want the foreground grasses any more defined than this.
4.
The wings of this black collared hawk in the Pantanal are not tack sharp. My settings were 1/800, f/7.1, 2500 ISO. This was a mistake. I should have opened the lens more in exchange for a faster shutter speed. Birds in flight, especially with takes offs and landings, require at least 1/2000th of a second to freeze the wings. §
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ASK JIM
Every month Jim will answer a question from his online students, from people who participate in his tours and workshops, or from subscribers to this magazine. If you have a question you’d like Jim to answer, please drop him a note at photos@jimzuckerman.com.
Q:
Jim . . . I have read that graduated and neutral density filters are great for landscape photography. However I’ve also come across the argument that you can accomplish the same thing (a more balanced image with detailed lights and darks) by doing HDR (multiple exposure) photography? What is your opinion? Burt Rein, San Francisco, California
A:
There are really three techniques you are asking about. First, gradual neutral density filters are designed to darken a sky that’s much brighter than the landscape to make the exposure more like what we see. In other words, they help to reduce the contrast in a scene but only between the sky and the land. Neutral density filters are used to reduce the light striking the sensor -- not to affect contrast -- for the purpose of forcing a long exposure. As in the picture below of the skyline of Sydney, Australia, the long exposure softened the water by blurring its movement. HDR is the ultimate technique in reducing contrast throughout an image. It enables us to lighten shadows to show more detail, and at the same time it darkens highlights for the same purpose -- to show more detail in areas that otherwise might blow out.
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CHINA Sept. 2016
CUBA Nov. 2016
NEPAL Mar. 2017
ECUADOR BIRDS Jul. 2017
Photography Tours 2016 - 2017 AMERICAN SOUTHWEST Oct. 2016
CARNIVAL IN VENICE Feb. 2017
PATAGONIA Apr. 2017
KAZAKHSTAN Aug. 2017
THE PANTANAL, BRAZIL Nov. 2016
ICELAND Mar. 2017
MOROCCO May 2017
EGYPT Oct. 2017
For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
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CHINA PHOTO SAFARI Sept. 16 - 28, 2016 Unreal landscapes culture Shanghai people
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AMERICAN SOUTHWEST photo tour October 7 - 16, 2016
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Student Showcase Each month, Jim features one student who took beautiful and inspiring images on one or more of his photography tours or workshops. It’s really fascinating how photographers see and compose such different images even though we may go to the same places. Everyone gets great photographs on my trips.
Renee Doyle, Surfers Paradise, Queensland, Australia Three Venice workshops, Holland/Belgium
photo tour.
Š 2016 Renee Doyle
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Student Showcase, continued
© 2016 Renee Doyle
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Student Showcase, continued
© 2016 Renee Doyle
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Student Showcase, continued
© 2016 Renee Doyle
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun., Oct. 29 - 30, 2016
Photoshop is a photographer’s best friend, and the creative possibilities are absolutely endless -- like replacing the background behind this 1947 Delahaye 135M. In a personal and ‘homey’ environment (I have a very cool classroom setup in my home), I start at the beginning -- assuming you know nothing -- but I quickly get into layers, cutting and pasting, plug-ins, using ‘grunge’ textures, modifying lighting, replacing backgrounds, using layer masks, blend modes, adding a moon, and a lot more. I promise to fill your head with so many great techniques that you won’t believe what you’ll be able to do. I go over each technique several times to make sure you understand it and can remember it. Photoshop instructors approach teaching this program from different points of view. My approach is to be as expansive in my thinking as possible in creating unique, artistic, and compelling images. In addition to showing you how to use the various tools,
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pull down menus, layers, and so on, I spend a lot of time giving you creative ideas that will inspire you to produce amazing images with the pictures you’ve already taken. I live in the Nashville, Tennessee area, and if you fly into the airport (BNA) I will pick you up. If you drive, I’ll give you my address and you can find my home on Mapquest or with a GPS. For the $450 fee, I include one dinner in my home (prepared by my wife who is an amazing cook and hostess) and two lunches, plus shuttling you back and forth from my home to your nearby hotel. Contact me if you would like to participate in the workshop and I will tell you how to sign up (photos@jimzuckerman.com). All you need is a laptop and a lot of your pictures. If you don’t have a laptop, I have two Mac Book Pro laptops I can loan out for the duration of the workshop. §
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PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2016 email: photos@jimzuckerman.com mail address: P.O. Box 7, Arrington, TN 37014
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