Photo insights april '17

Jim Zuckerman’s

PH OTO I N S I G HTS April 2017

The Aurora Borealis Opening a closed door in PS Shooting in high wind Problem/Solution Photo tours Ask Jim Student showcase 1

On the cover: A stunning ice cave within a glacier on Iceland’s southern coast.

This page: An Icelandic horse.

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4. Shooting the aurora borealis 8. Problem/Solution 11. Shooting in high wind 15. Opening a closed door in PS 22. What’s wrong with this picture?

24. Short and Sweet 25. Ask Jim 26. Photo tours 29. Student showcase 34. Back issues

are so afraid of making a mistake in photography that they ask Iple endless questions before attempting to shoot. I’m all for asking and

’ve noticed on my photography tours and workshops that some peo-

answering questions -- that’s how we learn -- but when the questions mask an emotional semi-paralysis, that’s not good.

You have to give yourself permission to make a mistake, to take pictures that are less than perfect. If you aren’t sure what camera settings to use, experiment. Even pros take test shots that are exactly that -- photos used to assess a situation. We then tweak our camera settings based on the initial information we get from the less-than-perfect test shots. Studio photographers in the past used Polaroid test prints when we all shot film just like everyone now uses information from the LCD monitor on the back of a digital camera. We assess the test shots for exposure, composition, focus, lighting, shadows, and expression, pose, and so on. No one, not even a seasoned pro with 40 years experience, expects initial test shots to be award winners.

Think of your mistakes as test shots, and then simply adjust the camera settings or your composition to improve the results. This isn’t brain surgery where if you make a mistake, the patient dies.

You’re just taking pretty pictures.

Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com

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Shooting

T

the aurora

he aurora borealis, i.e. the northern lights, is a remarkable phenomenon that is visible only in the far north and the far south of our planet. It is an awe inspiring light show that is caused by the collison of neutrons and protons that have escaped the sun’s gravity with gases in our atmosphere.

Depending on solar activity, the aurora can be bold and dramatic, it can be faint and hardly discernible, or it can be not visible at all. It can occur in a small portion of the sky, or it can

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cover the entire sky. You never see the aurora in the summer months simply because there is too much extraneous light in the sky. The sun sets very late in latitudes near the poles and it rises quite early. Above the arctic circle, for example, the sun never sets in mid-summer. I led a photo tour to Iceland a few years ago in May, and the sky never got completely dark. In June, sunset there is just after midnight and sunrise occurs around 2:55am. When you factor in the twilight that lasts a long time in extreme northern and southern latitudes, the night sky isn’t

dark enough to reveal the subtle light show of the aurora borealis.

The best time to see the aurora is from late September to early April in the northern hemisphere. The optimum times occur at the equinoxes: March 21 and September 21. Of course, you have to have a clear sky. Clouds will obscure the light show. Therefore, you are dependent on the solar activity as well as the atmospheric conditions in your location.

The equipment As with all night photography, you must start with a tripod that is sturdy. Next, you need a wide angle lens. I took all of the pictures you see in this article with a 16-35mm wide angle zoom. You can vary the focal length depending on how much of the sky is covered by the light display. I don’t recommend a fixed 14mm

lens simply because the zoom gives you so much more compositional flexibility. Other wide angle zooms that would work well for aurora photography are the Nikon 14-24mm and the Canon 11-24mm.

The maximum lens aperture is important because, obviously, it gathers more light. At night, that’s very important. An f/2.8 aperture captures twice the light that an f/4 lens does.

This one f/stop allows you to cut the exposure time in half or decrease the ISO by half.

If all you have in an f/4 lens, then that’s what you’ll use.

The settings With the aurora, what you see is not what you get. All the pictures of this light show that you see are green with some other colors possibly

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mixed in with this predominant green glow.

That is not what you see. Instead, the actual aurora appears as a white glow that is much fainter than the photographs suggest. The camera has the ability to accumulate light with a long exposure, and that’s why the aurora appears so bright in photographs. The surprising green color has to do with the fact that our night vision doesn’t see color very well. Especially in the far north and south, the green is really present but we don’t see it.

The ideal length of time for the shutter to be open is 20 seconds or less. Longer than this and the movement of the stars across the sky begins to show. The stars no long appear as points of light; rather they start to take on the oblong shape that is the precursor of a star trail. My choice of shutter speed for these photos was 15 seconds, and I used 1600 ISO with an f/2.8 lens.

If you have a lens with a maximum aperture of

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f/4, then you have to use either 30 seconds at 1600 ISO or 15 seconds at 3200 ISO to get the same exposures as you see in each of the images that accompany this article.

A cable release can be used to trigger the shutter, or you can simply use the 2-second selftimer.

Focusing The biggest challenge in photographing the night sky is critical focus. You can’t use autofocus to focus on the night sky, so don’t even try.

There are two ways to correctly focus: 1. Put the focus on the lens to autofocus, and then focus on a distant street light, house window, or some other illuminated object that is at least 30 feet away. Make sure the confirming beep is turned on so you know that the camera

has successfully focused on the light. If you are using a wide angle lens in the 14 to 24mm range, a distance of 30 feet is ‘optical infinity’ -- i.e. everything from that point and beyond will be in focus.

If there are no illuminated objects nearby, use a flashlight. Place it on the ground or have a friend hold it for you at a distance of 30 feet, and then autofocus on the light and listen for the beep. When you take photos of the night sky, don’t touch the focusing ring.

2. With the lens set to manual focus, switch to live view and magnify the image large enough so you can focus on a bright star.

Night vision Because the aurora borealis is relatively faint, it takes a few moments for your eyes to adjust

to the darkness so you can see it clearly. If you are photographing with friends, make sure everyone understands that they shouldn’t be using a flashlight to see their camera in the dark while others are photographing. Once everyone sets up their camera and focuses on a distant object, a flashlight is no longer needed except to change shooting location in the dark. To adjust the camera, use the built-in light in the LCD display.

That won’t disturb your night vision, and it won’t interfere with long exposures.

Another option is to use a head lamp with a red light feature. A red bulb allows you to see the surroundings without disturbing others.

The aurora isn’t static. It’s a moving light display.

Don’t think that once you’ve taken a good picture of it, you’re finished. Watch it and photograph it as it changes. You’ll be rewarded with amazing pictures. § 7

The Problem: T

he aurora borealis was behind this church in northern Iceland. The illumination on the church was very bright relative to the subtle aurora, and that meant the exposure discrepancy made it impossible to capture with one shot what I saw. To be specific, the exposure on the church was 1/6 second and 500 ISO, while the correct exposure for the northern lights was 15 seconds and 1600 ISO. Both images required the maximum aperture of f/2.8. If I exposed correctly for the sky, the church would be totally blown out. If I exposed for the church, as you see below, the aurora is so underexposed that it’s not even visible.

The other problem is that the yellow/orange lighting on the church illuminated the ground as well as the building, and this didn’t look good with the northern lights in the background.

I took the photo at right the next morning just as the sky was getting light, and this took care of the unwanted yellow/ orange color on the ground. The cobalt blue color coming from the sky neutralized the illumination on the ground from the sodium vapor lights. But the problem of showing the aurora with a good exposure wasn’t solved. The northern lights can’t be seen in the muted light of dawn. They only show up with a black sky.

So, what to do?

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The Solution: The only way to solve this problem and show what I saw was to do a composite. I took a correctly exposed shot of the aurora and combined it with the dawn image of the church. Using Photoshop, I selected the sky with the magic wand tool. I included the street lamps in the selection because I thought the picture would be better without them. When the aurora was pasted behind the church, the street lamps would disappear.

I expanded the selection by one pixel (Select > modify > expand) to eliminate any trace of the original cobalt sky. Then I feathered the edge of the selection one pixel (Select > modify > feather).

When I make a composite, I always feather the edge of the selection to make the juncture of the two images blend together flawlessly. I choose a one pixel feather radius.

Once the selection around the church was made, I copied the aurora photo to the clipboard with Select > all, and Edit > copy. I then pasted the sky picture behind the church with Edit > paste special > paste into.

Most photographs of the aurora are horizontally oriented, but I previsualized this composite and knew I needed a vertical shot. I like how the vertical streaks of the aurora fit very well with the church. ยง 9

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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 2 - 3, 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

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Shooting in Extreme Wind

ind is a constant problem for photographers, and extreme wind makes photography extremely difficult. On my recent Iceland photo tour, my photo tour group and I had two separate occasions where the wind was -- by my estimation -- in excess of 60 miles per hour. The same severe conditions occurred on one of my Namibia trips, below, where the waves coming ashore at Cape Cross were dramatized even more by the off-shore gale-force winds blowing the surf in the opposite direction. I could hardly stand up.

There are several things you should know about photographing in these conditons that have to

do with protecting yourself, protecting your camera gear, and being able to take sharp pictures. Admittedly, we don’t often think about finding ourselves in extremely windy conditions, but a few simple precautions can prevent unfortunate consequences.

1. High winds at the beach or in the desert can be dangerous. Wind-driven sand can go into your eyes and can cause damage to your cornea. Even one grain of sand in an eye will essentially shut you down for more picture taking and will cause enough discomfort to force you back into your vehicle or the nearest shelter from the wind. A simple pair of goggles (not glasses) that cover both eye sockets com-

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pletely will prevent this problem. They are virtually weightless, they take up very little room, and it is a good idea to make them standard equipment when you travel. You can also use ski goggles to protect your eyes.

2. In seriously extreme wind such as hurricanes, take shelter. Don’t shoot. You risk your life if you go outdoors. In Iceland last month, my tour group and I were photographing on the Ice Beach (next page) with mild wind. The sea was rough, and dodging waves to get close to the chunks of glacial ice was a challenge. But an hour after we left, the wind picked up and reached 90 to 100 miles per hour. Stones from the ground were blown into vehicles, and Icelandic news reported 40 vehicles had windows smashed. In addition, a jet full of passengers was blown into a vehicle on the tarmac causing minor damage to the plane. In these kinds of

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conditions, don’t go outside.

3. Wind-blown sand and sea surf are deadly for electronics, including camera gear. Repairing a camera with sand forced into the crevices of a lens or body is very, very expensive. If salt water gets into the electronics of a camera, it probably can’t be repaired at all. On the plus side, though, it can be used as a nice paperweight!

It is a good idea to carry with you a folded piece of cellophane or Saran Wrap. This can be used to wrap a camera body and lens and prevent severe damage in unexpected high winds. The plastic material clings to the shape of your gear nicely and you can still work the camera’s controls through the cellophane. You also should use a lens hood which protects, to a certain degree, the front glass element of the lens.

4. When shooting, don’t face into the wind.

Sand, dust, dirt, and other particles will damage the glass of your lens. Shoot with your back to the wind or, if you can’t do that, take pictures such that the camera is perpendicular to the direction of the wind. Never shoot into the extreme wind.

5. Even when using a sturdy tripod, a strong wind will cause it to vibrate. For long exposures and for HDR work, this will cause blurred photographs. There are four things you can do to mitigate this problem. (a) Put your hand at the top of the tripod and exert a strong downward pressure to stabilize the tripod. (b) With your other hand, exert a strong downward pressure on the camera itself. With both hands pushing downward, this will minimize the buffeting of the camera and tripod. (c) Use your body to block the wind as much as possible from striking the camera and tripod. This takes the brunt

of the wind force from your gear. (d). Don’t raise the center column of the tripod. It’s never a good idea to raise it, but especially in strong winds it’s foolish because you increase the instability of the tripod.

6. If you hand hold the camera, as I did with the picture of the wave on page 11 and the dune shot on the previous page, use a fast shutter speed. This will freeze the action, but it will also help insure a sharp picture. I used a 500mm f/4 Canon lens for the wave, and it was hard to hold it steady in the high wind. I chose the 1/1600th of a second shutter speed to deal with the wave action and also to mitigate the fact that the wind was buffeting the camera and lens. To protect my gear from blowing sand, I wore a large jacket to cover the camera and lens when I wasn’t shooting, and I only took pictures with my back to the wind. §

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ESSENTIAL

KNOWLEDGE

Photoshop taps into your creative potential like nothing photographers have ever had in the past. Once you feel comfortable working in this program, the sky is the limit. You can do anything your mind can imagine. Pretty amazing, indeed!

This eBook explains many of the techniques that Jim uses all the time. These include replacing the sky, compositing images, adding textures to photos, introducing natural looking streaks of light, realistic HDR, combining black and white with color, Jim’s favoritre plugins, using the blend modes, and more. Use this as an idea book as well as a reference. If you’ve limited yourself to Lightroom’s abilities, consider expanding your horizons and learn Photoshop. It’s about time.

Click the cover to see inside the ebook

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Opening a Closed Door in Photoshop

D

uring the photo tour I led to Nepal at the beginning of last month, my group and I were in a palace in Bhaktapur. There was a newlywed couple being photographed by a local photographer, and I was immediately attracted to the exquisite outfit the new bride was wearing. It was dazzling.

Taking pictures of architecture is one of the areas of photography I really enjoy, but with the introduction of the human element, the images are that much more compelling. This is true, though, only if the subject or model is striking in some way. I don’t add people in my pictures

to ‘show scale’. I do so to add artistry and visual interest.

Much of the time the Nepalese photographer placed the couple in harsh sunlight. A bad choice in my opinion. I waited long enough for him to take a few shots in the shade, and that’s when I grabbed a couple of shots myself. I focused on the bride and eliminated the groom from my portrait.

Next, I looked for a good location in the palace to place her digitally using Photoshop. I didn’t

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like any of the locations that the Nepalese photographer was using, so I looked around and saw the beautiful corner, below. I considered placing the model in front of the doors, but that’s not really what I wanted. I wanted to make it look like she was inside the room in the palace looking out into the courtyard.

rectangle. I laid down only four anchor points with the pen. This created a work path as seen in the paths palette, below. I then selected the

The problem, though, was that the doors were closed.

I was discussing this composite idea with one of the tour participants, and I said to her “I wonder if I can open one of those doors in Photoshop.” As I asked that question, a light when on in my head and I realized I could do it. Here is the procedure I used: 1. I selected the right hand door with the pen tool. This was easy to do because it’s a simple

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tiny icon in the upper right corner of the paths palette (red arrow) to pull down a submenu. I clicked ‘make selection’ (green arrow) and that turned the path into a selection. In the dialog box that opens (not shown), I selected a one pixel feather.

2. I then went to the background color box at

Expand your photographic artistry with

eBooks

Click on any ebook to see inside

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eBooks continued Click on any ebook to see inside

Fantasy Nudes is in production and is coming soon 18

the bottom of the tools palette and made it 5. I then selected the bride in the original phoblack. to of her, below, using the quick selection tool plus the lasso tool. I feathered the selection by 3. Next, I chose the pull down menu com- one pixel (Select > modify > feather), and then mand Edit > transform > perspective. This put copied the selection to the clipboard, Edit > a box around the selected right hand door with copy. pull-handles at all four corners. I grabbed the upper left handle and moved it downward. At 6. Finally, I used the magic wand tool to sethe same time, the lower left handle of the se- lect the black ‘interior’ -- the areas above, belection automatically moved up to mirror the low, and between the doors --feathered the sedownward movement of the upper left handle. lection, and then used Edit > paste special > In other words, the top and bottom left corner paste into. This placed the young woman into handles of the door moved toward each other. the selection. I then chose Edit > transform > scale and sized her appropriately. On page In a two-dimensional image as seen in Photo- 15, you’ll see that she takes up the entire height shop, when an object is selected and moved, of the doorway. I did that because the doors a blank area is created where the object had in this ancient palace were exceptionally small originally been. This blank area is filled with and, based on what I saw, this is correct. § the color in the background color box. You can see this in the photo below, except I used white for demonstration purposes so you can clearly see what I did. In the composite with the bride, I used black to simulate a dark interior.

4. With the door still selected, I chose Edit > transform > scale. This put another box around the door. I grabbed the center left handle and pulled it to the right. This compressed the door but gave the look I wanted: A partically open door. I clicked OK and deselected the door with Select > deselect.

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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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PHOTO TOUR to EGYPT October 5 - 14, 2017 Awesome ruins

Great history

Ancient art

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What’s wrong with this picture?

M

ost of you can identify the problem with this picture right away.

Despite the beautiful lighting, the striking pose, and the out of focus background, the problem is that the horizon line cuts through the cheetah’s head. That bold graphic line is distracting.

Whenever you have defined and pronounced graphic lines behind a subject -and they are not part of the subject -- they will inevitably draw your attention away from the subject itself. This is not how a successful picture is supposed to work. Our attention is supposed to be riveted on the subject. After all, that’s the point of the picture.

The solution here would have been to shoot from a lower perspective or a higher one. Although I prefer a lower point of view, either solution would have eliminated the horizon line from the equation.

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One thing I do like about the portrait on the previous page is that the entire cat is sharp. I used enough depth of field to make that happen. Too often when a telephoto is used only part of the animal is sharp.

The tight shot of a cheetah, above, taken on another trip to Africa is much better. Nothing in the background is distracting at all. Our attention rests on the cat’s face, especially those compelling eyes.

One of the big advantages of photographing wildlife at sunrise and sunset is that their eyes are illuminated and we can see the remarkable color in their irises. When the sun is higher in the sky, their eyes are often in shadow. Within an hour of sunrise and an hour of sunset, the sun is low enough that beautiful eyes like this come alive. §

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SHORT AND SWEET 1. Wildlife can often be approached closer from water than from land. Most animals are wary of preditors from land. Danger usually doesn’t approach them from the water. These spotted deer in Nepal allowed my boat to get quite close before they ran.

3. An effective photographic technique is to photo-

graph a brightly colored subject surrounded by dark and/or muted elements. This holy man in Kathmandu, Nepal stands out and directs our attention to him because of the colorful clothing he’s wearing in contrast with his environment.

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2. Depth of field is easy to achieve when photograph-

ing butterflies if you can shoot down on them. If they nectar on a flower or plant close to the ground, you can stand above them (move slowly) and make the back of the camera parallel with their falttened wings.

4.

I don’t critique photojournalism images with the same criteria as I do fine art images like landscapes, architecture, wildlife, etc. I took this picture in Nepal at a construction site, and even though there is rebar sticking up in the background, it doesn’t take away from this 70-year old woman laboring so hard for $3/day. §

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 want to take long exposures so I can capture blurred waves, waterfalls, and rivers. I know I

need a neutral density filter for that, so my question is how many f/stops do I need to underexpose the imagers? In other words, do I need a 3 f/stop ND filter, an 8 f/stop ND filter, or more? How about a variable ND filter?

Alison Buchanan, Lansing, Michigan

A: I reommend a 10-f/stop neutral density filter for moving water. If you also want to blur clouds as they

move across a sky -- a technique I don’t especially like but many others do -- I would get an ND filter that reduces exposure by 15 stops. For the picture below that I just took last week in Iceland, I used a 10 f/stop ND filter. The exposure time was 25 seconds at f/14.

A variable ND filter can be useful as well, but for the ‘cotton candy’ look that a long exposure produces, you will get the most use out of a 10 f/stop ND filter in my opinion. §

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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

Leopard snarling, 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.

Melissa Anderson, Hudson, Wisconsin Snowy owl workshop, Photoshop workshop, Wildlife babies

workshop.

© 2017 Melissa Anderson

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Student Showcase, continued

Š 2017 Melissa Anderson

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Student Showcase, continued

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Š 2017 Melissa Anderson

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Student Showcase, continued

Š 2017 Melissa Anderson

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PHOTOSHOP WORKSHOP in my home

Sat. & Sun., November 11 - 12, 2017

Burano Island, Venice, Italy

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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