Photo insights june '16 by Jim Zuckerman photography

Jim Zuckermanâ&#x20AC;&#x2122;s

PH OTO I N S I G HTS

June 2016

HDR panoramas Optical infinity The Earth as a ccomponent Photo tours Student showcase 1

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On the cover: A bronze statue of a dragon in Ljubljana, Slovenia processed in Photoshop. This page: Twilight in Ljubljana.

26. 27. 28. 31. 36.

HDR Panoramas Optical infinity The Earth Whatâ&#x20AC;&#x2122;s wrong with this picture? Short and sweet Ask Jim Photography tours Student showcase Back issues

any photographers have already made the switch to mirrorless cameras. I haven’t yet, but I’m watching closely to see the lateset developments in their capabilities. What I’m paying particular attention to is sharpness of the lenses (which reportedly are incredibly sharp), the number of lenses available in a particular system, the dynamic range of the digital files, the way these cameras handle noise, the upper end of ISO, the frame rate (critical for action photography), the convenience of the menus, the customer support, and other features such as a built-in intervalometer, north star tracking for star photography, Internet capability, 4K video, high megapixel count, and automatic HDR. One of the main obstacles for me in purchasing a mirrorless camera at this time is the viewfinder. Instead of the optical viewfinder that we are used to, the viewfinder in a mirrorless camera is like a contrasty TV screen. Colors are strange, contrast can be ugly in bright sunlight (shadows go black with no detail and highlights can be completely blown out) and the resolution of the image as seen in the viewfinder is just not what we’re accustomed to. Another issue is the viewfinder re-write rate. As you pan with a moving subject, like a kid playing soccer or a bird in flight, the digital viewfinder has to re-write the images as fast as they happen. Sometimes there is a lag in this, making it impossible to see what you’re photographing. Every six months or so new cameras are coming out that are trying to address these problems, and at some point the smaller, lighter, and less expensive mirrorless cameras are going to be irresistable. This is especially true for those of us who are tired of carrying so much weight when we travel. Fuji’s new XT-2 model will be announced in July, and I’m looking forward to seeing what new innovations they’ve incorporated into it. Jim Zuckerman www.jimzuckerman.com

HDR E

panoramas

veryone by now knows what HDR is, whether you use the technique or not. But just so we’re very clear, HDR -- high dynamic range -- is a digital way of dealing with the problem of contrast. Our eye/brain combination is so much more sophisticated than digital sensors, and we can see remarkable detail in both shadows and highlights in a scene as compared to a sensor. Photographs add contrast, which means that shadows tend to go darker than they really are while highlights become lighter. So light, in fact, that

they can lose their detail and become solid white. This is the last thing you want. One of the challenges we face as photographers is that we don’t see this gain in contrast when we look at a subject or scene. It just shows up. When we look at our pictures with the unwanted contrast increase, it’s an unpleasant surprise, and the results are disappointing. We didn’t capture the rich detail we could see with our eyes. The increase in contrast is one of the most

vexing problems in photography, and when we shot film there was little we could do about it with making complicated masks in the darkroom using pin registered 4 x 5 litho film. In the digital realm, HDR addresses this issue with ease. You simply take a series of bracketed exposures from very light (so the shadows show excellent detail) to very dark (so the highlights also show detail), and then a software program merges these 3 or 5 or 7 frames together into a perfectly exposed image in which the contrast problem has been eliminated. The panorama A panorama image is also a series of shots merged together, but instead of the frames blending exposure, they blend a very wide

view of a scene, such as the beautiful port in Monaco, below. This image took seven different compositions to make. The procedure to make a panorama is surprisely easy. There are three considerations: 1. All of the pictures should be taken on manual exposure mode so each exposure is consistent. Take a test exposure of the scene and then use the f/stop and shutter speed you determine to be the best. 2. All of the pictures should be taken in portrait, or vertical, composition. The final composite ends up being horizontal, but each component is vertically composed. 3. Each of the vertical images require an overlap of approximately 50% so Photoshop knows how

to combine them in a contiguous manner. As you are shooting the vertical image sequence, make a mental note of the approximate center of the composition. When you take the next frame, that center point is where the edge of the next shot begins. Use a tripod. Before you start shooting, pan the camera across the scene to practice. Make a mental note of where you’ll begin and where you’ll stop. Try and keep the camera as vertical as possible. If it is angled when you begin, you’ll get into trouble very quickly. Photoshop 6

The procedure in Photoshop requires just a few steps. Go to File > automate > photomerge. In the dialog box that opens, hit Browse. Navigate to the individual frames that will make up the panorama, hold the shift key down and choose each one, and hit Open. You’ll see the chosen images in the dialog box, and at this point choose OK. Photoshop will merge the images together in a minute or two, but you aren’t quite finished yet. When the image is put together, you’ll see dashed lines that show you the demarcation of the various panels. Choose Layer > flatten im-

age and they disappear, plus all of the layers are flattened which is what you want. Finally, as you can see at right, the edges of the image wil be somewhat ‘funky’. Simply use the crop tool to elimanate that and you’ll end up with a perfect panorama.

Once the images are composited together to make the panorama, you have to crop it with the crop tool to eliminate jagged and uneven edges.

HDR panorama To combine the techniques of HDR with making a panorama, each of the vertical images that 7

go into making the panorama must be HDR. Therefore, it the pano composite will be made up of seven vertical panels, and each HDR panel is, say, three bracketed shots, then the total number of pictures you need to take is 21. If there is a lot of contrast in the scene and you determine that five bracketed pictures are needed for each panel, then the total number of shots you must take is 5 times 7 equalling 35. Each of the HDR panels must be processed separately before the pano is assembled. This is important: When you are processing the first HDR panel, use the ‘save settings’ in the Adobe Camera Raw (or Lightroom) dialog box so all of the post-processing changes you make to each panel is the same. 8

This will maintain exposure consistency throughout the pano. In ACR, access the save settings command by choosing the small icon (red arrow next page), and then select the last choice (green arrow). In the next dialog box, click OK and then name the settings (such as ‘Montenegro pano’). Then, every time you open the RAW files, simple use ‘load settings’ and every command you’ve chosen such color, saturation, clarity, contrast, etc. will be applied to each HDR composite that makes up the panels of the panorama image. Realistic HDR I wrote about the technique I use to create re-

UPCOMING PHOTO WORKSHOPS Babies workshop 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 such as chameleons, geckos, snakes, and more in St. Louis, Missouri.

June 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, being creative with plugins, and more.

Oct. 29 - 30, 2016

alistic HDR images a year ago because so many people are disappointed in programs like Photomatix and Nik because of the unreal exaggeration of color, contrast, and structure when it comes to HDR composites. Images processed with these programs tend to look garish rather than photographic. If you look at each of the three HDR panorama shots I shot for this article, you’ll see that they look very real. In fact, they represent precisely what I saw with my eyes.

3. In the same dialog box, in the lower right corner, click the blue button ‘Tone in ACR’ (not visible in the screen capture below left. 4. This opens the Adobe Camera Raw dialog box you are familiar with, but now you can work in 32 bit which gives you unparalleled control over highlights and shadows.

Make the adjustments using the sliders and the other tools that, presumably, you know how to do. I usually bring the shadows slider all the Let me review the steps here because I use them way to the right (or almost all the way) and the all the time and find this procedure to be the highlights slider to the left. Then I’ll add a touch best HDR option out there if you specifically of clarity and vibrance. Click OK. want realism. 5. Go to Layer > flatten image. 1. In Adobe Bridge, click on the three or more bracketed exposures to highlight them. Don’t 6. Go to: Image > mode > 8-bit. (If you always open them at this point. work in 16-bit, then choose that option). This 2. Go to the pull down menu Tools > Photoshop > merge to HDR pro. In the dialog box that opens, below, choose 32 bit in the mode submenu and check the box ‘Complete Toning in Adobe Camera Raw’. Don’t check the ‘Remove ghosts’ box unless there are elements in your scene that have moved during the time you made the bracketed exposures, such as waves or leaves blowing in the wind.

opens a new dialog box, above; at the same time, your picture becomes much too light. That will be corrected in the next action you take: At the method submenu (red arrow), pull down the menu and choose ‘exposure and gamma’. That brings the correct exposure back and completes the procedure. You should use Photoshop’s HDR technique when you want to capture what you see with 11

your eyes in terms of exposure and detail in the shadows and the highlights. Even subtle tones like glowing clouds deep shadows, below, are rendered exactly as they appeared to me when I took the picture. Although this scene was quite low in contrast, had I not used HDR the sky would have been so washed out that it would have been almost solid white. When you take the bracketed pictures, make sure you use the same f/stop for each one. This means you need to use either aperture priority or manual exposure mode. I normally bracket in one f/stop increments and typically shoot either three frames or five frames for the composite. When contrast is fairly extreme, I use two f/stop incremental exposures. For example, if the correct expo-

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sure per the camera’s meter is, say, at 1/125 at f/11, then I’ll shoot at 1/30 and 1/500 in addition to the 1/125 speed. As the f/stop increments increase, contrast in the final composite is lowered. That’s the point, of course. But sometimes you want to retain a bit of contrast. If your HDR images are too flat, use only a one f/stop increment between exposures and that should solve the issue. The ideal with the HDR technique to make the picture look real, not surreal. §

This kind of detail in all the shadow areas as well as in the sunrise sky at Bryce Canyon could only have been captured this well with HDR. And using the realistic HDR approach as described above, all of the colors and tones are exactly what I saw with my eyes.

OPTICAL INFINITY I

interact with hundreds of amateur photographers on my tours, in lectures and in seminars, and I constantly see confusion that centers around depth of field and infinity focus. Therefore, I want to have a discussion about this to help clear up some of these issues. All lenses, as they are focused to their furthest point away from the camera, stop focusing at some point. This point is what I call optical infinity. When the lens is focused to this point, everything will be sharp --at any lens aperture

-- from that point and further. To be clear, from optical infinity everything from that distance and further away will be sharp at f/2.8, f/8 or f/22. In fact, if you took three shots using these lens apertures, the images would look identical if no foreground elements are close to the camera. If this is true, and it is, then why use f/22 when you can use a larger aperture? F/8 is usually considered the sharpest aperture on a lens, so why not use f/8? The shutter speed will be fast-

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

er, you may be able to avoid the use of a tripod, and you can lower the ISO. You would only use f/22 or f/32 if you specifically wanted a long shutter speed to blur water, for instance. How do you determine where optical infinity is? With wide angle lenses -- lets’ say from 50mm and below -- determine the focal length of the lens and convert that number into feet. This isn’t a precise mathematical formula, but it works as a quick reference within a few feet it is accurate. I’ve been using it for years. For example, a 24mm lens goes to optical infinity at 24 feet. The photo on the page 13 illustrates this point. I shot this on my recent photo tour of the Balkans -- this is Plitvice Lakes National Park in Croatia. I used a 24mm lens, and I estimated the distance to the closest trees in the foreground to be about 30 feet. This told me that

if I focused to optical infinity, I could use any lens aperture I wanted and everything would be sharp. I chose f/22 only because I wanted a slow shutter to blur the falling water, but had I used f/4 the focus and depth of field in this picture would have been the same. When foregrounds are very close to the shooting position, as in the picture below I took above Dubrovnik, Croatia, the situations changes. The question arises regarding where the focus point should be for maximum depth of field. I also used a 24mm focal length for this shot, and since optical infinity is about 24 feet, the answer is that you focus 1/3 of the distance to optical infinity -- i.e. 8 feet. According to an online depth of field calculator (http://www.dofmaster.com/dofjs.html),with the subject distance (the flowers) from the lens at four feet and with an f/stop of f/22 on a 24mm

lens, the depth of field is 1.66 feet to infinity. If the wide angle lens you’re using is, say, a 16mm, then 1/3 of the distance to optical infinity is 5 to 6 feet. As I said, this isn’t a precise mathematical formula, but it works very well in giving you an easy to calculate, and easy to visualize, guideline that will help you with depth of field. If the lens you are using is longer than 50mm, the numbers change quite a bit. For example, with a 100mm telephoto, optical infinity is still at 100 feet but only if you use f/22 or smaller and the foreground subject is 100 feet away from the camera position. The main point is that when all the elements in a scene are hundreds of feet away and you are using a telephoto lens, as in the elevated shot of Monument Valley from Hunt’s Mesa, below

(I took this with a 100-400mm lens), you don’t need to close all the way down for complete depth of field. Use f/8 or f/11 to take advantage of the sharpest apertures on the lens. Even if optical infinity is a quarter mile away (the DOF calculator will tell you this) with nothing in the foreground, you can use virtually any lens aperture and get the same results in terms of depth of field. So, why not choose the aperture that gives you maximum sharpness? When you need extensive depth of field, such as when using a wide angle lens with a foreground a few feet away from the camera, a small lens aperture is essential. Yes, some sharpness is sacrified but this is in exchange for depth of field. But when the elements in the scene are all far away, opt for the sharpest aperture since DOF is no longer relevant because everything will be sharp at any f/stop. §

The Earth as a component

When people see my composites of the Earth and they ask me how I was able to take pictures of our planet, I joke with them and say that I took the pictures from the top of a tall building. Of course, none of us have access to a space platform, so the only way we can obtain these pictures is online. They happen to be public domain, so you are free to use photos of the Earth as you wish. Do a search online for “high resolution Earth images” and you’ll find many sites from which you can download the pictures you want.

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Become a better photographer with

eBooks

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To download images of the Earth, you can either drag the files to your desktop, do a screen capture, or use a right click on the mouse and copy the file to your computer. The images may not be as hi res as you’d like, but they are good enough to work with, especially if the size of the Earth is only a small percentage of the final photograph. Selecting the Earth from the background sky must be done precisely. The roundness of the Earth shouldn’t be flattened or jagged due to a poor selection. The most precise way to cut out a subject is with the pen tool. I know this takes time, but once it’s finished you can save your work with the pulldown menu command in Photoshop: Save > save selection. In the future, to recall the selection simply use Select > load selection. Make sure that as you proscribe the selection around the Earth, you include the shadow if there is one.

Another way to select the Earth is to use the ecliptical marque tool. When you hold the option key and the command key on a Mac (or the alt and control keys on a PC), proscribe the circular selection around the Earth starting in the center of the planet. It may take a few tries to get it just right, but this is quick and easy. The Earth as a component can be combined with many different types of subject matter, from the natural to the surreal. I’ve included a number of examples here to start your creative process. Your photo library is obviously different than mine, so you’ll have to think about how images of the Earth can work with what you’ve already taken, or with what you are planning to take in the near future.

I find that combining images is one of the most creative things you can do in photography, and the Earth is a component that opens many new doors. As a general guideline, I would use a digital file of the earth that is at least five megabytes. §

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. This picture was captured on Jim’s Morocco photo tour. This is the blue city of Chefchaouen.

New eBook for beginning photographers Iâ&#x20AC;&#x2122;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.

All of the basics of photography are covered including depth of field, digital noise, fundamentals of composition, how to choose 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. This eBook will be available for purchase on July 1 and will be announced in the July, 2016 issue of Photo Insights.

INDONESIA WILDLIFE & CULTURAL TOUR July 8 - 22, 2016

orangutans komodo dragons birds Bali ancient temples

What’s wrong with this picture?

he photo above illustrates one of the most important things in photography to avoid: out of focus foregrounds. The tree in the immediate foreground is not a complete blur; rather it is soft enough to be visually annoying. It’s an important element in the composition -- after all, it frames the background -- and as such it must, in my opinion, be in focus. We never see this kind of lack of focus with our eyes. If a foreground is out of focus, it should be just a haze of color with virtually no definition in the elements close to the camera at all. When we look at the tree, subconsciously -- or even consciously -- we wish we could see detail in it, but it’s simply impossible to do so. I took this picture at f/8 with a 70-200mm lens, hand holding the camera. The correct approach would have been f/32 from a tripod. This is a great example of what happens when you get lazy.

The picture you see above is the correct way to handle this situation: complete depth of field. I used a tripod and f/32. I know carrying a tripod and setting it up is not anyone’s idea of a fun thing to do, but what’s the point of spending a lot of money on photo equipment, computers, software, instruction, and travel and then not take perfect pictures? The only thing that makes sense is to do it right. And being less than diligent in your picture taking and allowing foregrounds to become out of focus isn’t ideal. It’s true that there are many times, such as when shooting wildlife, that you just don’t have control over the foreground resolution. We just have to accept that. But when shooting landscapes like this, you have the time to do it right. So, do it right and end up with a classically perfect picture that you’ll be proud of instead of making excuses for its flaws. §

SHORT AND SWEET 1. This cathedral in Podgorica, Montenegro was origi-

nally photographed with a white sky. Even if you disagree with replacing skies because it’s not ‘real’, you can’t deny that a white sky behind a great work of architecture seriously degrades the image.

Flowers always look better in diffused light. If you are shooting wildflowers in the middle of the day when the sun is out, use your body to cast a shadow on the subjects. That’s what I did with these wildflowers in the Swiss Alps, and that made all the difference in the world.

One of the easiest ways to capture birds in flight is to photograph them as they follow boats. Fishing boats, sail boats, ferries, etc. attract birds because they are hoping for food. I captured these laughing gulls from a ferry in the Outer Banks in North Carolina.

Among the most beautiful types of lighting is the combination of tungsten lamps with daylight. In this Venetian portrait taken during my photo workshop, the model is illuminated on the right from a large bank of windows -- daylight -- and on the left from an antique glass lamp. I used daylight WB for this shot. §

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 photographed this historic mission in Santa Barbara, California many years ago with Ekta-

chrome slide film. The lighting was low angled sunlight, which is usually fairly low in contrast, but the film picked up a huge amount of contrast and the shadows went completely black. Now that I’ve scanned this into a digital file, is there any way to bring back the detail similar to what we can now do with RAW files? Allison Stude, Little Rock, Arkansas

Unfortunately not. The shadows are so dense that if you attempted to lighten the image in Photoshop all you would get is ugly noise, and most probably it would be colorful ugly noise. No detail would be recovered. If the detail isn’t there, you can’t retrieve it. This is why digital photography and RAW files have been such an advancement. Film was great at the time, but in my opinion, in retrospect it was like taking pictures with one hand tied behind our backs compared to our capabilities now on so many levels.

Photography Tours 2016 - 2017 INDONESIA July 2016

CHINA Sept. 2016

THE PANTANAL, BRAZIL Nov. 2016

CUBA Nov. 2016

ICELAND Mar. 2017

NEPAL Mar. 2017

NEWFOUNDLAND Jun. 2017

KAZAKHSTAN Aug. 2017

AMERICAN SOUTHWEST Oct. 2016

CARNIVAL IN VENICE Feb. 2017

PATAGONIA Apr. 2017

EGYPT Oct. 2017

For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.

CHINA PHOTO SAFARI Sept. 16 - 28, 2016 Unreal landscapes culture Shanghai people

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AMERICAN SOUTHWEST photo tour October 7 - 16, 2016

Student Showcase Each month, Jim features one student who took beautiful and inspiring images on one or more of his photography tours or workshops. Itâ&#x20AC;&#x2122;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.

Mike Shaefer, Atlanta, Georgia Indonesia photo tour, Cuba photo tour, frog and reptile workshop,

Venice photo workshop

ÂŠ 2016 Mike Shaefer

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Student Showcase, continued

ÂŠ 2016 Mike Shaefer

Student Showcase, continued

ÂŠ 2016 Mike Shaefer

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Student Showcase, continued

ÂŠ 2016 Mike Shaefer

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. 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

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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