Jim Zuckerman’s
PH OTO I N S I G HTS May 2017
Photoshop palettes Outdoor portraits Freezing Ultra Action Framing Photo tours Ask Jim Student showcase
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On the cover: 1934 Bugatti Type 57 and model Lauren Isabella -- a 3-photo composite. This page: Carnival in Venice, Italy with model Cindy Peterson -- a 2-photo composite. 22
4. 6. 13. 19. 24. 26. 27. 28. 31. 36.
Essential Photoshop palettes Outdoor portraits Freezing Ultra Action Framing What’s wrong with this picture? Short and Sweet Ask Jim Photo tours Student showcase Back issues
O
n every photo tour I lead, people always ask me what lenses they should bring
when we stop at a photo destination. What they are really saying, of course, is they don’t want to carry a lot of weight and can I suggest a lens or two.
Let me say that any time you go out shooting, anywhere any time, you should always have at your disposal a wide angle lens and a medium telephoto. My guess is that 95% of your shooting is done with these two lenses. The focal length of these lenses will vary from photographer to photographer -- for example, one shooter uses a 70-200mm all the time while another person prefers a 75-300mm -- but a wide angle zoom and a medium telephoto zoom are essential. Beyond that, it depends on what you’re doing. For birds, you need the longest focal length in your arsenal plus a teleconverter. For landscapes, architecture, interiors, and festivals, you need the widest focal length you’ve got. If macro photography is a possibility, then you must have a macro lens or extension tubes. Should you carry a tripod? As newer cameras are able to handle noise better and better, a tripod is becoming less important. However, for HDR work, for night photography and dim interiors, for relieving the weight of a big lens from your arms and shoulders, and for the use of small lens apertures, tripods are still very important. You bought it, you brought it, so carry it with you when you think there is a distinct possibility that you’ll need it. As one gets older, back, hip, knee, and shoulder issues arise. You hurt in places you didn’t know could hurt. If carrying necessary gear is a burden for you, I fully understand. I have pain issues, too. This may be a time to go mirrorless, or to wear your equipment on your waist and hips instead of on your back. There are options that you can explore so you can still take great pictures while minimizing the burden of your cameras and lenses. Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com 3
Essential P
palettes
hotoshop has so much capability in working with photographs that it boggles the mind. In order to manipulate images to make them better and to be creative, you don’t need to know everything Photoshop offers. I don’t. I’m not sure there is anyone who knows it all. I know enough to do anything I want to my pictures, and the rest of Photoshop’s abilities are either redundant or not relevant to my work. When I teach Photoshop, I try to keep it as sim-
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Photoshop
ple as possible. I want students to focus on creativity rather than learning every single thing Photoshop has to offer. Much of it simply isn’t relevant or important. One of the ways you can make your Photoshop experience more simple and user friendly is to reduce the number of palettes that show up on your desktop when Photoshop is open. When you first open the program, many palettes open up automatically, and that can be intimidating, confusing, and it’s definitely messy. Some of
the palettes that may open initially are navigator, character styles, swatches, histogram, and brush presets. In my opinion, you don’t need any of these. Close them all. How do you close them? It’s easy. In the upper right area of each palette there is a small icon that consists of four tiny horizontal lines (magenta arrow at right). Click this and a pulldown menu appears. Some of these pulldown menus will have more choices than you see at right, but just select Close Tab Group and the palette closes. You must do this for each individual palette. Doing it once for a particular palette will only close that one individual palette. So, which palettes should be open? There are two essential Photoshop palettes that must be open all the time. They are: the tools palette and the layers/channels/paths palette. In the screen capture on the previous page, I show three palettes open. The third palette, the history/actions palette, is important also but not essential. In the beginning, if you want to keep things simple, open just the tools palette and the layers/channels/paths palettes. If these palettes are not open, go to the pull down menu command, Window > tools; and then Window > layers. When you choose the latter, the palette that opens contains all three components: layers and channels and paths. The tools palette will open as a single file list of tool icons. You can use it that way, but I much prefer the double columns as seen on the previous page and at right. To make the double column arrangement, click the double arrow once in the upper right corner (as indicated by the green arrow at right). Palatte Arrangement
The arrangment of the palettes on the desktop is personal preference, of course. Let me suggest, though, that you place the palettes together in the upper right portion of your desktop. This reduces hand movements as you work. Instead of moving the cursor across the monitor to the left to grab a tool and then to the right to work with a layer or channel, all the controls are in one spot. This may seem like a minor point, but over time it can feel laborious to constantly move your hand back and forth. Setting your workspace When you arrange the palettes on your desktop within the Photoshop program, you can save that arrangement. If and when they get moved, closed, or messed up in the future, one simple command resets your workspace. Once the palettes are as you like them, choose Window > workspace > new workspace. Give the workspace a name -- such as ‘Jim’s good workspace’ -- and click OK. To reset the workspace if it gets messed up, choose Window > workspace > reset Jim’s good workspace. The palettes return to the place you previously set. § 5
Elements of
S
OUTDOOR PORTRAITS
ummer is upon us (in the Northern Hemisphere) and no doubt millions and millions of pictures of people will be taken outside in the nice weather. And -- no doubt --most of them will be bad.
true of a mother and child. It won’t matter to the mother if the background is a mess, if the exposure is bad, if shadows are distracting, if the foreground is out of foucs, or if the shot is off-color. Love apparently conquers all.
When I was 15 years old I learned from a photographer family friend that no matter how inferior a portrait of a loved one is, the people who love the person won’t see the flaws. All they will see and feel is how much they care for the subject in the picture. This is particularly
For those of us who take photography seriously, though, poor photo technique bothers us and, to be honest, it’s hard to appreciate a photo unless it’s done well. So, let me go over the elements of taking outdoor portraits with this in mind.
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1. The light The first consideration is the lighting. For outdoor portraits, there are two ideal scenarios. Overcast lighting is, in my opinion, the best. Fog, shade, and an overcast sky create the kind of portrait conditions that are the most flattering to the subject. There are no harsh shadows, the person isn’t squinting from a bright sun, and contrast is at a minimum. Colors are more saturated than you think they would be given the diffused light, and everything looks good. This works primarily if the background is shaded, too. If the person is in the shade but the background is sunny, the contrast will be so extreme that if
you correctly expose for the subject, the background will be blown out. In most cases, this is the last thing you want. The second scenario for successful outdoor portraits is when the sun is very low to the horizon. The closer to the horizon the sun is when you shoot, the better. The atmosphere is thicker near the horizon and it diffuses and softens the light. When the sun is low, you have several choices regarding the direction of the light. Depending on the camera position and the orientation of the subject to the light, you can have front lighting, sidelighting, backlighting, and 45 degree lighting. The two pictures on the next page exemplify side light
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on the young French horsewoman and 45 degree lighting on the bathing suit model. Notice in these two images that even though there is directional light and a certain amount of contrast, the shadows aren’t black, the subjects aren’t squinting, and the light is complimentary. This is because the sun was very low in the sky -- within 20 minutes of sunset in both cases. Backgrounds The next thing to consider is the background. This is where most photographers (and snapshooters) fail when taking pictures of people outside. Pay as much attention to the background as you do to the subject. 1. Don’t include a background that is much lighter than the subject. When a shaded subject is photographed in front of a light background, 8
the bright area will be distracting. Our eyes are drawn to the lightest part of a picture first and they return there again and again. That’s not how a successful picture works. You want the attention riveted on the subject. 2. Don’t photograph a person in front of a background with bold graphic lines. They are inevitably distracting. An example is the photo of my niece and her daughter, right. The demarcation line between the shade and the sunny area at the top of the picture is bold, graphic, and a terrible distraction. In addition, as I just mentioned in the previous paragraph, light backgrounds behind a darker subject don’t work in most cases. 3. Throw the background out of focus by using a telephoto lens. This directs all the attention exactly where you want it -- on the subject. Don’t hesitate to use a long lens in the 300mm to 400mm range for outdoor portraits. It’s a
very attractive look. At the same time, move your subject away from the background if you want it out of focus. Even with a long lens, if the person is positioned essentially on the same plane as the background elements, they won’t be blurred enough to make the portrait look good. Environmental portraits
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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. Exotic masks, stunning colors, classic images.
Feb. 1 - 8, 2018
Frog & Reptile Workshop Close-up encounters with poison dart frogs and exotic reptiles such as chameleons, geckos, snakes, and more in St. Louis, Missouri. This is a macro workshop in which everyone consistently gets amazing pictures.
June 3 - 4, 2017
Photoshop workshop The setting is in my home, and in this two day workshop you’ll learn enough to be truly dangerous in Photoshop! How to replace a sky, how to fix all kinds of photographic problems in your pictures, how to handle blown highlights, how to be incredibly creative . . . and more.
Nov. 11 - 12, 2017 10 10
Environmental portraits make the background or the environment around the subject an important part of the image. In essence, there are two subjects. In the picture of the little girl at the bottom of page 9, she’s one subject and the flower garden is the second subject. The photo below also exemplifies an environmental portrait. In this case, I used a wide angle lens and stood close to the shepherd to make him the dominant element, but the background Spanish castle is just as important because it gives a sense of place and it’s a strong, graphic element. These kinds of portraits are more challenging than when the subject is the single focus because you have to consider both foreground and background. Both have to be interesting/compelling/artistic/complementary in some way. First you must find the
background, then the person has to be photographed in front of it. Much of the time I like to use complete depth of field, as in the Spanish castle photo, and other times less than total depth of field is acceptable as in the photo of the little girl and the tulips on page 9 as well as in the girl at the beach, above. Notice how in both shots the girls are engaged in something and not just looking at the camera.
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The smile Don’t ask your subjects for a fake smile. It looks ridiculous. When smiles are natural, they light up a face. When they are forced, they look artificial and stupid. And who says that a person is supposed to look happy for the camera? Be honest in your photography. A phony smile is a lie. Capture the person in the moment complete with their feelings and emotions. I use a fast frame rate when photographing people in the hope of capturing a natural and spontaneous smile or laugh like I did with the young girl playing in a water fountain, below, and the girl who is being spun around by her father, right. These are great moments to capture. However, when you ask your subjects to “Say cheese,” usually any hope of a great outdoor portrait is reduced significantly because
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everyone can see through the bogus smile. There is nothing wrong with photographing someone with a contemplative, introspective, or moody expression. Even a pouty or angry expression can produce an engaging image. It’s interesting that decades later, a person can look at an honest picture of him- or herself and remember what they were feeling at the time. §
I
Freezing Ultra Action
used a medium format film camera, the Mamiya RZ 67, for 25 years before I sold it and went digital in 2005. I used it for all of my shooting including wildlife photography even though I was definitely at a disadvantage on many levels when compared to a 35mm camera system. My rationale for using such a large, totally manual camera was that the larger transparencies, when I got something good, would out-compete 35mm shooters in the marketplace. They did, in fact, sell better than 35mm slides, but the price I paid was that I missed many action shots.
One of the disadvantages of the big camera was shutter speed. The top-end speed was an abysmal 1/400th of a second, and I could only use that speed if I had enough light. Medium format lenses were slow. They had maximum apertures in the f/4.5 to f/6.3 range. Many of my actions shots, like the interaction between wolves, below, were taken with a speed of 1/250. My photos of fast moving animals ran the gamut from soft to blurred. In the film days and within the medium format community, this was acceptable only because there was nothing else we could do.
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The shutter speed 1/250th of a second, when you think about it, seems very brief indeed. It makes sense that this short exposure time would be able to freeze fast moving subjects like birds flying, water drops splashing, and wolves fighting. It’s not. Compare the film image on the previous page with a shot I took above of the same kind of interaction between wolves. In the diffused light from an overcast sky I used a lens with an aperture of f/2.8, and that allowed me to shoot at 1/640th of a second. Notwithstanding the shallow depth of field and the soft foreground, the wolves are tack sharp. There are many subjects you will encounter that move faster than wolves, of course. Birds in flight, and particularly small birds, are lightning fast. So fast, in fact, that it’s literally im14
possible to follow them in flight. Just keeping them in the frame -- forget about focus tracking -- isn’t doable at all. You have to focus on the nest, food bait, or some other fixed position and then hope you capture the action. For these kinds of pictures, nothing less than 1/3200th of a second should be used if your goal is sharp pictures. The ringed kingfisher on the previous page illustrates what you can expect from this kind of shutter -- a sharp wing formation, sharp water drops, and no blur at all. Slower flying birds such as storks, egrets, hawks, herons, and eagles have large wings, and you can get away with slower shutter speeds, but not less than 1/1600 if you want to make sure the wing tips are sharp. There is one caveat to this. If the birds are flying directly at the camera, they are closing the distance so fast that I would still use 1/3200 of a second. This shutter speed is what I used when I captured the black-collared hawk in
the Pantanal, above. I shot at 14 frames per second and 800 ISO. For the picture of boys having fun at a waterfall in Bali, Indonesia (and performing for my photo tour group), I used a shutter speed of 1/1250th of a second. This was fast enough to freeze the falling water as well as the boys in mid-air. I used the same shutter for the horses on the next page.
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Shutter speed versus ISO
nothing you can do to fix it.
Using very fast shutter speeds forces the ISO to be high. In low light circumstances and if depth of field is required, the ISO has to be very high. This is a problem because elevated ISO means an increase in noise. So, what to do?
Methods of reducing noise
The first thing that should be sacrified is depth of field. After all, what good is depth of field if the shutter isn’t fast enough to produce a sharp picture? Therefore, shoot wide open so the lens can gather as much light as possible. Second, if the choice is between a blurred image without noise or a sharp picture with noise, you have to choose the latter. That means the fast shutter speed trumps the issue of noise. There are several methods of mitigating noise in post-processing, but if the action picture is blurred and you wanted it to be sharp, there is
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1. Luminance. In ACR and Lightroom, use the luminance slider on the raw file. 2. Topaz DeNoise 6. This is an effective way to minimize noise in most images. 3. Nik Dfine 2.0. Google has stopped supporting Nik Software, so this excellent program will be available for an indeterminant future. 4. Neat Software. This is my personal favorite method of eliminating noise. As I demonstrated in the February, 2017 issue of this eMagazine, I used Neat on a snowy owl flight photo taken with 12,800 ISO. The result made the picture look liked I’d used 100 ISO! It was amazing. §
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eBooks continued Click on any ebook to see inside
Fantasy Nudes is in production and is coming soon 18
M
FRAMING
any photographers like to use the compositional technique of framing a subject or a distant scene with a foreground element. I do, too, but I do it judiciously. By this I mean I don’t do it often, and I only do it when the foreground element adds something interesting or artistic, or it blocks an area of the image that isn’t so compelling (like a large expanse of boring sky). Also, and this is very important, the foreground element must be sharp. If it is even a little out of focus, it will look bad. Compare the two pictures of a castle along the Rhine River in Germany, below. The image on
the left shows the branch and leaves at the top of the frame out of focus. I used a lens aperture of f/2.8, and the soft foreground element is distracting and unattractive. It does not complement the subject and the landscape at all. The picture on the right is correct. I used f/16 in this case for complete depth of field. Everything is sharp as it should be and the branch blocks the mundane sky and adds a frame to the picture. Frames are a way of directing attention to the subject, and they can come in many forms. Beside branches, you can use doors and windows, archways, a rock outcropping, a nicely shaped
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flower, and more. In the photo above, I framed the ice structure in the background with a foreground arch made of ice blocks at the Ice Festival in Harbin, China. With the carnival participant in Sao Paulo, Brazil, right, I used the uniquely designed float behind her as the arch. In this instance, the arch that frames the subject is behind her instead of in the foreground. Note in both of these pictures, both the foreground and the background are sharp. Sometimes, due to low light levels and other factors, it’s not possible to have as much depth of field as you really want and need. In those cases, I will take two separate shots. I focus on the foreground and shoot it, and then I focus on the background and take a picture of that part of the shot. Then, in postprocessing, I cut and paste the two images together to create complete depth of field. 20
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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The picture below from San Marco Square in Venice, Italy shows another way to use framing. In this case, the costumed model was framed with an arch at a distance. The result is the same in that our attention is directed to the subject. In another scenario, I framed the mountain lion cub at right with a niche in a log, but I made a mistake here. I didn’t use enough depth of field. My lens aperture was only f/3.5, and as a result there are some places in the wooden arch that are a bit soft. If you enlarge this page on your computer or iPad (an iPhone will be too small to see it), look at the top center of the arch as well as on the left and right sides of it. Areas of the bark are not quite sharp
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enough. Despite the fact that this is a very cute picture, and otherwise successful, I should have raised the ISO to enable me to use a smaller lens aperture. In retrospect, I should have used f/11 here. Given the juxtaposition of the bark frame relative to the cub, that would have been enough. §
PHOTO TOUR to EGYPT October 5 - 14, 2017 Awesome ruins
Great history
Ancient art
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What’s wrong with this picture?
I
was excited to capture a frame-filling shot of this gharial crocodile in Nepal. They are unique among crocodillians because of their very narrow snout. My photo tour group and I were drifting peacefully down a river in Chitwan National Park, and without the noise of an engine we were able to approach the crocs quite closely. I had to shoot quickly, though, because we were drifting with the current. Every second the composition changed. The aquatic vegetation in this picture is the problem, of course. It is too light and it draws the eye away from the more muted subject. In fact, it’s impact is twice what it normally would be because we see the bright yellow/green plants behind the croc and they are also reflected in the water in the foreground. It’s almost hard to see the reptile at first because the environment demands our attention.
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So, there were two choices. First, accept the image as is. Subscribe to the “get it right in the camera” syndrome. Or, second, change it in post-processing so it is exactly what I would have wanted had there been the time (and if it was safe) to make that happen. To create the corrected image you see above, I selected the crocodile with the quick selection tool and then hit Select > inverse. Now I could use the clone tool to eliminate the vegetation from the top part of the image. The reason I selected the background was to protect the back of the reptile from the clone tool. This is the true power of Photoshop -- to do something to one area of an image and while not affecting another. I then applied the plugin Flood to eliminate the reflected vegetation and still retain the ripples in the water. § 25
SHORT AND SWEET 1. We all know that it’s most important to focus on the
eyes of an animal. If the nose protrudes, though, it’s also important to make sure the tip of the nose is sharp as well. That means shooting on aperture priority and choosing, in this case, at least f/11.
3. When photographing wildly creative architecture,
try using a fisheye lens. I shot the lobby of the Marriott Marquis Hotel in Atlanta, George with a 15mm Canon fisheye and the effect is pretty crazy. I used tungsten white balance to add a blue cast to the graphic design of this outstanding lobby.
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2.
Be aware of distracting shadows. For example, there is a shadow on the right side of the bundle of leaves this woman is carrying in Nepal. I should have waited a moment longer to take this picture after she had moved past the building casting the shadow.
4.
When you are taking a flight and the departure time or the arrival time is during sunrise or sunset, get your camera ready. You can take some stunning shots of clouds, of great lighting, and of great color during these times. For maximum picture quality, make the lens axis perpendicular to the plane of the window. §
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 . . .You mention that the Canon 100-400mm (version 2) is a favorite lens of yours. The Tamron
and Sigma Sport 150-600mm have further reach and good reviews. Wny not these? Tom Gibson, Marina, California
A:
The Canon 100-400mm and the Tamron and Sigma lenses are really in two different classes of lenses. For maximum reach, I opt for the Canon 500mm f/4 because it’s so sharp. A fixed focal length is certainly not as compositionally flexible as a zoom, and the Canon lens is much more expensive than the Tamron and Sigma. But the results with it are superior. Compared to the Canon 100-400mm, the Tamron is 1 1/3 pound heavier, while the Sigma is three pounds heavier. I use the 100-400mm for a lot of my photography (it’s only 3 ounces heavier than the Canon 70-200mm f/2.8, and it’s easily hand-holdable), but for serious reach such as for wildlife and birds, I use the Canon 500mm and the 1.4x and 2x teleconverters. The Tamron lens is known to be sharp up to around 500mm (although the ‘sweet spot’ is 450mm), but beyond that quality suffers. For the Sigma lens, I’ve read reviews that indicate the quality slightly degrades at 300mm and above. Having said that, given the expense and the weight of Canon and Nikon supertelephotos, the Tamron and Sigma lenses are reasonably good options. §
Crowned crane in Kenya photographed with the Canon 100400mm hand held at 4000 ISO 27
Photography Tours 2017 - 2018 THE PALOUSE Jul. 2017
KAZAKHSTAN Aug. 2017
EGYPT Oct. 2017
TUSCANY/CINQUE TERRA Oct. 2017
SNOWY OWLS Jan. 2018
CARNIVAL IN VENICE Feb. 2017
COSTA RICA BIRDS Nov. 2017
NEW ZEALAND Apr. 2018
WHITE HORSES, FRANCE May 2018
CROATIA, SLOVENIA, etc. May 2018
GRIZZLIES in CANADA Sep. 2018
THE PANTANAL Nov. 2018
For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
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South Africa & Namibia photo safari April 25 - May 9, 2018
Awesome wildlife exotic birds monster dunes
Juvenile leopard, Sabi Sabi, South Africa
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CHINA WILDLIFE PHOTO TOUR September 4 - 17, 2017
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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 Jim’s trips.
Emily Mitchell, Pasadena, Maryland The frog and reptile workshop
© 2017 Emily Mitchell
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Student Showcase, continued
Š 2017 Emily Mitchell
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Student Showcase, continued
Š 2017 Emily Mitchell
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Student Showcase, continued
Š 2017 Emily Mitchell
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun., November 11 - 12, 2017
A three-photo composite
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,
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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