Jim Zuckerman’s
PH OTO I N S I G HTS
February 2016
Window frames The Frightening Pen Tool Impossible DOF Shooting ice Photo tours Student showcase
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On the cover: Yellowstone National Park in winter. This page: Snowy steps in San Marino, a tiny country surrounded by Italy.
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4. Window frames 10. The frightening pen tool 16. Impossible DOF 24. What’s wrong with this picture? 26. Short and sweet 27. Ask Jim 28. Photography tours 30. Shooting ice 35. Student showcase 39. Back issues
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am not a fan of photography competitions. Photography is an art, it’s not a race to the finish or a game scored by points where only one person or one team can win. In this art form that we all love, there can be, and are, many winners. In fact, almost everyone who takes photography seriously has taken at least a few great shots. So, what is this winning and losing all about when it comes to imagery? To make my point, let’s say Van Gogh, Picasso, Renoir, and Rembrandt all entered the same art competition assuming they happened to live at the same time. Wouldn’t you think it would be absolutely foolish to say one is better than the other? You may like the work of Renoir better than Picasso or Van Gogh more than Rembrandt, but so what? All of these artists are recognized the world over as being great, not to mention the prices their paintings command. And what judge would have the audacity to place one of these artists above another when millions of people including art historians, curators of art collections, art collectors and many others are going to have myriad views on the subject, many of which will differ from the judge? So why doesn’t this apply to photography? Obviously not all contest submissions are great, but I can tell you that I’ve judged many contests myself and my frustration is that too many images should win. How could I decide on the best picture when 20 best pictures could win? The 19 photographers who didn’t win -- when they easily could have but for, essentially, the wim of a judge -- go away feeling they’ve been cheated. And they have . . . by the foolishness of trying to compete with art. If you like to enter contests, don’t take them seriously. I say the same thing to both winners and those who didn’t win. Don’t allow your feelings to be hurt if you don’t win, and if you do win, know that many other photographers took pictures just as good as yours and they could have won as well. Your image was chosen after the judges looked at thousands of images. With eyes glazed over from exhaustion, after the initial process of elimination, they just happened to choose yours because they were tired and wanted to go home. Trust me. I know. Jim Zuckerman www.jimzuckerman.com 3
Window Frames O
ne of the first concepts photographers learn when studying composition is framing. It is a simple and easy way to focus attention on a subject, and there are many creative possibilities once you start looking for unique windows and worthy subjects to frame. The two most fundamental strategies of good photographic composition are (1) avoid elements in a picture that are distracting and that take attention away from the subject, and (2) include elements that direct our attention to the subject. It seems like these are simple goals, but so often in the
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critiques I do for my online students I see examples of elements in a photograph that compete with the subject for attention. If achieving good compositions is a challenge for you, using a window frame is a technique that can simplify the visual elements you are dealing with and make it easy to produce a classically perfect image. The right window Not all windows are created equally. Most are functional but artistically boring. Some have unique shapes, some might be surrounded
by interesting color, texture, or compelling wall designs, and others have old glass that introduces an artistic distortion. The most important aspect of this technique is to find a window frame that is beautiful or compelling in some way. This could be the window in an ancient ruins like the image at right from Angkor Wat, Cambodia or a rustic window in a medieval shelter in the Moroccan desert on the previous page. Conversely, look for windows that exhibit beautiful architectural motifs like in the image below that I shot in Venice, Italy. The right subject Next, you need the right subject. If you have access to a model, great. When you travel, especially in Third World countries, it’s easy to find models for little money and with the help of a local guide. That’s how I found the Cambodian model as well as the Indian lady in the portrait from Jaipur on the next page.
Near home, when you find a photogenic window, ask a friend or family member to pose for you. You might consider using a pet, too, Another resource for models is small theater companies. The actors always need pictures and they usually don’t have a lot of money to spend on a professional photographer. The company probably has a website with head shots of the actors, and this is a way to find
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subjects who know how to pose and who probably have many types of clothing that may coincide with the look you want. Photographic considerations There are several issues to consider when photographing windows or portions of a building that includes one or more windows. 1. If you are shooting upward to a second or third story window, as I did in the Indian shot on the previous page, the back of the camera will be oblique to the plane of the architecture because the camera must be angled up. Therefore, you must make sure you have enough depth of field particularly when using a telephoto lens. I recommended at least f/11. 2. When you are shooting a single window, it must be placed dead center in the frame or de-
cidedly off-center. It definitely should not be slightly off-center or everyone will think you made a mistake. The photo below that I took in Missouri Town, a recreation of an 1855 settlement in Lee’s Summit, Missouri, shows the window placed decidedly off-center. I did the same with the photograph on page 4. 3. Sometimes you’ll see a great window and there are no models to be had. When I do my carnival in Venice workshop, I see these all the time -- classic stone frames around large, elegant windows. I photograph them and then, at some point in the future, I use Photoshop to composite a model into the window. That’s what I did for the bottom photo on page 5. I also used this technique for the Moroccan model on page 4. I actually photographed her in a doorway in my hotel. The technique for doing this requires a few
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UPCOMING PHOTO WORKSHOPS Babies workshop Jan. 29 - Feb. 4, 2016
Lots of baby animals, such as coyotes, wolves, bear cubs, skunks (adorable!), foxes, and more, plus adults in this great workshop held in Hinckley, Minnesota
June 30 to July 3, 2016
Frog & Reptile Workshop Close-up encounters with poison dart frogs and exotic reptiles in St. Louis, MO.
May 25 - 26, 2016
Home Photoshop workshop Learn amazing techniques that will give you unparalleled control over your images such as replacing the sky, making composites, using layers, and more.
April 2 - 3, 2016
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steps, but this opens up all kinds of creative possibilities for you. Here is the procedure:
shop’s temporary and invisible holding place for one photo or a part of a photo) with Edit > copy.
-- Make sure the model was taken in the same light as the window. For example, the English phone booths and puppy, below, were both photographed in diffused light.
-- Make a selection also with the pen tool of the window. You should see the ‘marching ants.’
-- Make a selection of the model. The most precise way to do this is with the pen tool in Photoshop (see the next article to learn how to use the pen tool). Because the puppy below has all that hair, I photographed him against a black velvet background which provided enough contrast with the white hair so Topaz Remask 4 could work well to give me an excellent selection which included the fine detail of the hair. -- Copy the selection to the clipboard (Photo-
-- With the window image activated, choose Edit > paste special > paste into. This places the subject inside the window. -- Choose Edit > transform > scale. This puts a box around the subject, and now you can resize it to fit the window space. Hold the shift key down to maintain the correct proportions, and grab one of the handles of the box and drag it such that the subject is sized correctly. -- Choose the move tool and move the subject into place. §
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The Frightening Pen Tool I
wrote about the pen tool in Photo Insights about two years ago, but I still hear from many people who tell me they are intimidated by it. Since it is the best and most precise way to select a subject and separate it from the original background, I feel it’s very important to be able to use it. In order to transform the picture at right, a 1913 Renault photographed at a Concourse d’Elegance car show, into the one below, the pen tool is the only selection tool that can make this happen. Yes, it takes a bit of time, but when you are finished the resulting com-
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posit is perfect. No one would believe this is a digital combination of images, even when the photograph is enlarged to 100% and you look closely at the edges of the car. Similarly, the dinosaur composite on the next page looks real only because I was able to precisely define the edges of the reptile model. The edges of the large neck plate are clearly delineated, and this kind of perfect edge is not possible with the other selection tools. Placing anchor points The pen tool (red arrow, right) does one thing and one thing only. With each click of your mouse or each tap on your Wacom tablet, an anchor point is placed on the edge of the subject to be selected. You basically outline the subject or portion of a subject with anchor points, and this defines the perimeter of the selection. The last anchor point connects with the first one, and now you’ve created a path. The number of anchor points will vary. If you are selecting a rectangular window, you may need only four of them -- one at each corner. The number of anchor points needed to select the 1913 Renault was more than 200. It doesn’t take hours to do this. The selection for the car took me about 20 to 25 minutes, and this was fairly involved. Keep it simple When the pen tool is selected in Photoshop’s tool palette, you will see there are several other tools hiding beneath it. You only need one of those: the delete anchor point tool. The place where people get into trouble, causing frustration that leads them to avoiding the
pen tool, is when they use the freeform pen tool. This works like a Bezier curve but it seems to have a mind of its own. It quickly goes all over the place with handles flying every which way, and it’s very easy to pull your hair out in frustration. The solution? Don’t use the freeform pen tool. You don’t need it. You only need two of the pen tools: the main tool that you get when you click the pen icon (red arrow, above), and the delete anchor point tool. The latter does exactly what it says. It deletes anchor points that may have been placed by mistake. The technique As you lay down the anchor points, work at a 11
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magnification or 300 or 400%. This will show you the ‘transition zone’, the 3 or 4 pixel transition from subject to background. Place the anchor points in that zone but closer to the subject to avoid any telltale color of the original background.
now has to be converted into a selection.
At this magnification, it’s easy to follow a particular color or tone and then realize you have gone in the wrong direction because you didn’t see the whole image. In that case, choose the delete anchor point tool and click on the mistakenly placed points. When you are satisfied you’ve deleted the unwanted anchor points, switch to the main pen tool and click the last anchor point that still remains. Then continue laying down the points.
In the upper right corner of the paths palette there is a little icon (green arrow, below) that
In order to do that, go to the paths palette. If it isn’t open, choose Window > paths (the Layers/Channels/Paths palettes should always be on your desktop when Photoshop is open).
When you’ve completed what I call the ‘circuit’, (i.e. the last anchor point touches the first anchor point) you’ve now created a path. This
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is very easy to miss. Click this and you’ll see a pulldown submenu. Choose make selection. In the dialog box that opens, type in a one pixel feather radius and click OK. The path has now been converted into a selection. You don’t want to go through that process again, so at this point choose Select > save selection. This temporarily saves the selection with the image so you can recall it at a later time (to recall the selection, use Select > load selection). Before closing the image, make sure you choose File > save. This permanently saves the selection with the photo. Not all selections require the pen tool, but for the most precise selection, and for a selection with perfect edges, the pen tool is the best approach.
For example, the reason the 18th century carriage on page 13 looks like I photographed it in place in this twilight shot of Lindau Island in Germany is because I used the pen tool. Yes, this took a long time to cut out (this one took me an hour), but in the end I was able to create a perfect composite. Similarly, in the model photo below I used the pen tool to separate the young woman from the original studio background. That’s why the edges of her body and clothing perfectly meld with the cloisters background in England. One of the main reasons why I use a Wacom tablet is because the Wacom pen makes creating precise selections much easier and faster than using a mouse. If you do a lot of composite work, or would like to start doing it, a tablet is essential. §
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W
Impossible DOF
e all know there are many situations in which complete depth of field is impossible even with the smallest aperture on a lens. This is obviously true with a telephoto lens, such as when I photographed the young Nepalese girl, below. I used a 135mm focal length for this picture and took it at f/5.6. Because I was shooting from about eight feet away, f/22 or f/32 would have made the background more defined, but it would not have been sharp. Wide angle lenses are well known for extensive
depth of field, and when a small lens aperture is used you would expect to have complete sharpness from the immediate foreground to the distant background. This is, indeed, the case in most situations. There is one exception, though. When you compose a picture with a wide angle lens and the subject is extremely close to the camera -- say 12 to 24 inches (1/3 to 2/3 meter) -- and you focus on the subject, the background will not be sharp. It will be clearly defined and you’ll be able to see what it is,
Photo Tour to Nepal March 3 - 14, 2017 Awesome landscapes Great portraits Holi festival Birds Ancient temples
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but it won’t be tack sharp. The picture below of a rockhopper penguin I photographed in the Falkland Islands is an example. The bird was about 15 inches from my lens, and I used f/13. While this isn’t f/32, you can see that the background isn’t sharp now, and had I used f/22 or f/32, it would be sharper than this but not tack sharp. Why? Because the lens was so close to the subject. The point I’m making is that when it is impossible to get complete depth of field but you re-
ally want everything to be sharp, there is a technique you can use that ensures tack sharp detail from front to back. Enter Photoshop Much of the time when Photoshop is used, an image is altered artistically or embellished in such a way that it looks a lot better than what you saw with your eyes. The technique I describe here is a way to make the photograph look like what you saw, not what your imagina-
In the Falkland Islands, you are not supposed to approach the penguins. If they approach you, that’s fine. So, I lay on the ground with my camera and 14mm lens, and as the penguin walked over to me I extended my arm placing the camera as close to the bird as possible. I wanted a dramatic, wide angle shot with an exaggerated foreground. When I took the picture, I wasn’t looking through the viewfinder because the camera was at arm’s length. I focused with the back button and took several shots, adjusting the angle of the camera to make sure at least one or two of the pictures was well composed.
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tion can make of it. I took the picture of the leopard, below, in Kenya from a safari vehicle. Usually I shoot through a side window when using enclosed vans because I like the lower point of view, but this time I stood up and shot through the open hatch in the roof because the leopard was about 30 feet off the ground, sleeping in a tree. I used a 500mm f/4. The problem was that the large branch in front of the leopard was out of focus at f/4. I couldn’t close the lens down to f/32 because that would make the shutter speed too long. It was impossible to set up a tripod in the confines of the van, and a roof mount was not practical because there were two other photographers with me in the vehicle plus the driver, and four people are not going to be perfectly still.
Since most out of focus foregrounds are distracting and visually annoying, I had to have both the leopard and the branch sharp. The background was correctly blurred, but the foreground branch is so prominant that it had to be as sharp as the cat. The solution was to take two pictures. First I focused on the leopard and took the shot (below), and then I focused on the branch and took the second image. The camera was resting on a bean bag, and I tried not to move it between shots. It obviously wasn’t a perfect match, but it was good enough to give me what I needed. When I got home, I combined the two photographs. I did that by opening the shot of the sharp branch in Photoshop, and using the pen tool to precisely select it. In the dialog box that opened, I chose a one pixel feather radius. This
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is the standard choice I make for all of my selections -- a one pixel feather radius. I then copied the selection to the clipboard (Photoshop’s temporary holding place for one photo or a portion of a photo such as the branch) with Edit > copy. Opening the picture in which the leopard was sharp, I used Edit > paste to place the sharp branch into the image. I used the move tool to move it in place, but it was obvious it didn’t fit exactly because I didn’t use a tripod. It was skewed ever so slightly. Therefore, I had to stretch and pull it until the floating layer -- i.e. the new branch -- covered the out of focus one. To do that, I used Edit > transform > distort. A box formed around the banch, and I grabbed the corners and pulled the image until it covered the soft branch below. In the picture below, I was able to create the
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image that I saw with my eyes (notwithstanding the soft background). Remember that you never see anything out of focus when looking at a subject or scene. . . unless you need glasses and aren’t wearing them! I used the same technique for the picture on the next page. I photographed this model on Burano Island near Venice, Italy during carnival, and the bridge over the canal from which I was shooting was very narrow. I couldn’t back up more than about three feet from the subject, and I used a 70mm focal length which meant the background houses were out of focus. Due to the overcast light, that also meant I couldn’t use f/32 unless I raised the ISO too high. So, I took two shots, one of the model and one of the background. To separate the costume, I again used the pen tool so the edge of the selection was perfect. When I pasted the model onto
the new background, I showed more of the colorful architecture than you can see in the straight shot. The final composite shows what I could see as I stood there shooting -- everything was sharp. Once I flattened the image (which I do to save hard drive space and because I don’t need the layers any more), I then replaced the sky with storm clouds from my sky folder. Something important to keep in mind is that when a subject or an important element in a photograph has a strong graphic shape and/or it is very colorful, such as the houses on Burano
Island, it should be either tack sharp or so out of focus that it’s a comlete blur. If it is just a little out of focus, as in the houses behind the model in the original picture, it will be visually annoying. Before Photoshop when we all shot film, we had to settle for images like this. Now we don’t. §
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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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INDONESIA WILDLIFE & CULTURAL TOUR July 8 - 22, 2016
orangutans komodo dragons birds Bali ancient temples
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What’s wrong with this picture?
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ost photographers, I think, would look at this image and see nothing wrong with it. The composition is balanced well, the dark exposure adds mood and drama, the sun is huge which adds a strong focal point, and the colors are good. So, what is the problem with this Kenyan landscape? What defines the success of silhouettes is the nature of the subject’s graphic design. If the design is artistically pleasing, meaning nicely shaped, the silhouette will be successful. If the graphic design is busy, confusing, unattractive, or truncated in some way, this hurts the design and therefore the picture will be diminished. The picture above suffers from the fact that the tree trunk is truncated by the
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dark line of shrubs. The top part of the umbrella acacia tree is beautiful, and the large sun behind it is perfect. But we can’t see the trunk of the tree, and that hurts the graphic design. In the picture you see on this page, both of the main trees show most of their trunks, and that makes the difference. In spite of the surrounding bushes and low trees, I was able to find a shooting position to emphasize the beautiful shapes of the trees. That’s why I like this image more than the comparison photo. Note also the depth of field in this shot. There are many planes of focus, and in landscape photography almost without exception it’s important to maintain sharpness throughout the image so we can see and appreciate all of the detail that attracted you to take the picture in the first place. My settings for this were 1/160, f/20, 200 ISO, and I used a 70-200mm zoomed to 200mm. I hand held the camera. § 25
SHORT AND SWEET 1. When you can break off a chunk of ice, hold it up
to the sky or to the sun and shoot through it. You can create some very beautiful abstracts. Make the camera back as parallel as possible to the ice to maintain complete depth of field.
3.
When replacing a sky behind subjects photographed up close with a telephoto lens, the sky should be out of focus because telephotos have such shallow depth of field. A sharp sky would look unnatural because we have become accustomed to the limitations of the laws of optics in photos.
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2.
Have fun abstracting flowers in a florist shop or grocery store. I shot this bouquet in Costco and used 1/6 of a second as I rotated the camera in a circular motion. Because of the mercury vapor or florescent lights in these large stores, I suggest using AWB.
4. When shooting fast running pets, use a shutter speed
of at least 1/2000th of a second to show every detail in the hair, whiskers, and feet. I use the same speeds for birds in flight as well. This can only be done if you have enough light. Otherwise the ISO is forced so high that the noise becomes unacceptable. ยง
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 . . .In your daily blog you posted the picture below and said you used a small aperture. How do you know when to use f/22 or f/32 and not worry about defraction and the resulting softness in the picture? Carlton McEachern, North Bay, Ontario, Canada
A: If you need depth of field, you just have to put up with the softness particularly at the edges. It’s not
terrible, but it is noticeable with significant enlargement. The point is that the sharpest apertures, f/5.6 and f/8, will not give you the extensive depth of field you want in many situations, such as landscapes. The only other way around this is to do focus stacking in which f/8 is typically used and you take a series of images focused incrementally from the furthest point in the picture to the closest (at least 12 shots but sometimes many dozens with certain subjects), and then a software program assembles the pictures into one composite with complete DOF. Sometimes focus stacking is not possible (for example, when shooting wildlife), and sometimes it’s too much trouble for people given the subject matter and the time they want to invest. Ansel Adams, who died before the digital revolution, used f/64 and f/90 in his 8x10 view camera because he wanted complete depth of field. If it was good enough for him and his superb prints, I figure I can live with the slight loss of sharpness in exhcange for complete DOF.
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Photography Tours 2016 - 2017 ARMENIA & GEORGIA June 2016
INDONESIA July 2016
KENYA migration Aug. 2016
CHINA Sept. 2016
GREECE Oct. 2016
AMERICAN SOUTHWEST Oct. 2016
THE PANTANAL, BRAZIL Nov. 2016
ICELAND Mar. 2017
CROATIA, MONTENEGRO, SLOVENIA. May, 2016
PATAGONIA Apr. 2017
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NEWFOUNDLAND Jun. 2017
KAZAKHSTAN Aug. 2017
For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
KENYA PHOTO SAFARI August 4 - 15, 2016 The greatest concentration of wildlife on the planet - The Migration
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SHOOTING ICE I
ce is one of nature’s artforms. It is my favorite subject to photograph in winter because its abstract forms and brilliant translucency are endlessly captivating. This is the time of year in the Northern Hemisphere to focus on finding ice formations. Blue ice If you photograph ice in deep shade, a daylight white balance will cause the pictures to be quite blue as in the photo of an ice cave at right. I don’t eliminate the blue color because I think it’s beautiful, and it also connotes cold.
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Photographing ice under a clear blue sky, as in the shot I took in Iceland, below, also imbues the ice with stunning shades of blue. This adds a magical quality to a subject that already seems
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magical. Backlighting Make sure you take advantage of the translucent quality of ice. When the sun is out, position yourself behind the ice and photograph the bright light coming through icicles, icefalls, or any large chunks. In some frames include the sun itself as I did in the picture on page 30. In the past, exposing for this kind of brilliant translucency and contrast was a real challenge, but now it’s easy. Simply take a picture, study the LCD monitor on the back of the camera, and then tweak the exposure if necessary in 1/3 f/stop increments using the exposure compensation feature in your camera. The bright backlighting will cause underexposure, but you may like that kind of dramatic treatment. If not, add + 1/3 or +2/3 f/stops to the exposure until you
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are happy with what you see. Waterfalls in winter are especially dramatic as you can see on the next page. Just make sure that you wear appropriate boots and, if necessary, ice crampons that allow you to walk on ice while still maintaining a good grip. Also, knee pads are a good idea because kneeling on ice is cold and hard on your knees. §
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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 place. Everyone gets great photographs on my trips.
Karen Colan, Frisco, Texas Burma photo tour, White Horses of the Camargue, Carnival in Venice.
Š 2016 Karen Colan
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Student Showcase, continued
Š 2016 Karen Colan
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Student Showcase, continued
Š 2016 Karen Colan
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun., April 2-3, 2016
Photoshop is a photographer’s best friend, and the creative possibilities are absolutely endless. 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, pull down menus, layers, and so on, I spend a lot of time giving you
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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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