Photo insights march '16

Jim Zuckerman’s

PH OTO I N S I G HTS March 2016

Birds in flight Custome white balance Shooting out airplane windows Creating a 3D sphere Photo tours Student showcase

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On the cover: Carnival in Venice: models in a 16th century palace. This page: A female snowy owl in flight.

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4. Bird photography 11. Making a 3D sphere 15. Custom white balance 19. Shooting through airplane windows 24. What’s wrong with this picture?

26. Short and sweet 27. Ask Jim 28. Photography tours 31. Student showcase 35. Back issues

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did something a couple of weeks ago that can only be classified as brain dead. I transferred a flash card from my Venice workshop onto my main hard drive at home, and then, without checking to see if the pictures were safely in the appropriate folder, I dragged all the images from the card to the trash and then emptied the trash.

When I went to browse the RAW files, I discovered that some kind of glitch had occurred and about 25% of the files were grayed out. In other words, I couldn’t open them at all.

After I exhausted my vocabulary of all the self-deprecating words I could think of, making sure that I fully grasped the fact that only retards would do something so stupid, I put my thinking cap on and asked myself who could possibly help me get those images back? My first thought was Apple, but this was not a computer problem. Then I thought about the manufacturer of the card reader -- Transcend -- but they are in Taiwan with, conveniently, no phone number listed. Then I contacted a data recovery service that told me I’d be looking at between $300 and $1200 to probably get the images back, but there were no guarantees. Not an exciting option.

Finally, I called the manufacturer of the flash card, Lexar. The tech support person on the other end of the phone was, I’m sure, certain he was speaking to a complete imbecile (like, who would do something so moronic?), but he tried to keep his composure and told me that the pictures were still there. This gave me a ray of hope, but I was still not convinced. He said because I had not taken new pictures on the card, no data had written over the Venice photos and they were, believe it or not, still intact. The directory indicated the card was empty, but that wasn’t actually true.

He sent me a link to some software along with a code to access it, and miracle of miracles, I was able to retrieve everything by simply clicking a couple of buttons. It was ridiculously easy, and admittedly I was pretty amazed.

The lesson here is if you do something really nuts like reformatting a flash card or trashing the images from a card on your computer and realizing this was a terrible mistake, DO NOT use that card for any more picture taking until you recover the files. The images are still retrievable with the proper software.

Jim Zuckerman www.jimzuckerman.com

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Thoughts on capturing

Birds in flight E

very time we photographers take pictures and examine the results, we try to figure out how to improve the next time around. Or, if we did a great job at capturing exactly what we wanted, we try to analyze our technique so we can repeat it.

I just finished another successful snowy owl workshop in Canada (the next one will be February, 2017), and the techniques I shared with my clients obviously worked very well because even with photographic

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challenges that can only be described as extreme, everyone got amazing pictures.

Photographs of birds perched on a branch can make beautiful portraits, but the most exciting images of birds by far are those in flight. This is perhaps the most difficult nature photography of all, but it’s also extremely rewarding. You will trash a lot of the images because of poor exposure, composition, and focus, but if you are left with a few images that are exceptional, it’s well worth the effort and even the frustration.

Shutter speeds The best way to capture birds in flight is to render every feather as sharp as possible. Sure, artistically blurred images can work once in a while, but it’s only when we can see all of the beautiful detail in the feathers, the head, and the markings with tack sharp clarity that a flight shot is truly impressive. Therefore, you need a fast shutter speed. In my experience, the speed should be 1/2500 or 1/3200.

If you go faster than this, you are unnecessarily forcing the ISO too high. If you use a speed slower than 1/2500, you run the risk of blur.

Some birds are slow fliers, such as pelicans and vultures, and you can probably get away with 1/2000 or even 1/1600 for these types of species.

But for most birds, stick with the faster speeds.

In the shot of the pied kingfisher from Botswana, upper right, you can see that the bird’s left wing (our right) is slightly blurred. I shot this

with 1/2000 of second, too slow for a hovering, small-winged bird assuming you want everything to be sharp.

Lens aperture Depth of field is a luxury that you can’t have unless (1) you are shooting in bright sunlight or (2) you are willing to accept a high ISO. In the case of the snowy owls, below and previous page, I wanted some DOF because the

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wing span is five feet and I didn’t want a lack of sharpness. I chose f/11, and if the light became diminished I changed to f/8 to keep the shutter speed fast enough.

If the light gets too low, then depth of field must be sacrificed for the speed of the shutter. In the picture of a black collared hawk I captured in the Pantanal region of Brazil, previous page, my settings were 1/800, f/7.1, and 2500 ISO. You can see that the bird’s right wing (our left) isn’t tack sharp because the shutter speed wasn’t fast enough to freeze a bird in action. What I should have done is raise the ISO to 3200 and open the lens aperture to f/4. That change translates to a 1 2/3 f/stop difference, and therefore the shutter could have been 1/2500th of a second. That brief exposure time would have totally frozen the wings and the water drops. These are the compromises that must be made when shooting birds in flight.

ISO setting I now use a new strategy (at least, new for me) in selecting the ISO when shooting flying birds.

I use auto ISO. The reason I do that is because I can then specifically choose the shutter speed and select the aperture I want: 1. Set the camera to manual exposure mode (M).

2. Set the shutter, say to 1/2500.

3. Set the aperture, say to f/8 4. Set the ISO to auto By doing this, there is no guesswork as to what shutter or aperture you’ll have. In addition, you are essentially saying that you’re willing to have an ISO that is high (should the light level

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w

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 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.

April 2 - 3, 2016

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drop) in exchange for a fast shutter speed. This is an unavoidable compromise if you want tack sharp pictures.

If the light level drops significantly, the only way to maintain the fast shutter speed without seeing the ISO go too high is to open the lens aperture all the way. This is another compromise you must make in order to consistently take sharp images.

Focus points Some bird photographers choose a center grouping of focus points, typically 9 to 15 points, when photographing birds in flight. Their rationale is a tight grouping like this should not lock onto background elements, thus the bird should be sharp.

My strategy is different. I prefer to use all of the focus points because I know from experience that it’s very difficult to keep a fast flying bird in the center of the frame, particularly with a long lens. When using a telephoto, birds can be in and out of the frame in milliseconds, and it’s too easy for a central group of points to lock onto background elements when the bird is off center. By using all of the focus points, the outstretched wings will catch a few of the points, and the AF mechanism should be able to identify the subject. There will always be situations in which you’ll lose focus on a bird for a variety of reasons, but in my opinion using all the focus points puts the odds in your favor.

When you are faced with extreme low contrast, such as a white bird on a white sky or against

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a snow field, there is a much better chance that the autofocus will lock onto the subject when using all of the focus points. I found this to be true in my snowy owl workshop. The male of the species is almost solid white, and the only parts of the birds that the AF could distinguish from a wintry background were the eyes, wing tips, and very subtle shadows under the wings.

In the brightness of the snow field, it was even hard for my eyes to make out the bird when it was flying at a distance. Yet, by using all of the focus points, the continuous tracking capability of my camera was able to lock onto the owls . . . much to my own surprise.

Frame rate Very important when photographing flying birds is the frame rate. Six frames per second typical of high megapixel cameras as well as

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camera bodies just two or three years old are fine for shooting a child playing soccer and elephants running to a waterhole, but when it comes to birds in flight you need at least 10fps.

Otherwise you will miss too many nuances of the positioning of the wings.

What makes or breaks pictures of birds in flight is the position of the wings. If you love photographing birds in action and your present camera isn’t up to par when it comes to frame rate, make sure the next time you’re seriously considering buying a new camera that you choose one with a frame rate that is 10 frames per second or faster. You won’t be able to have the super high megapixel count (for example, you may have to settle for 20 megapixels as opposed to 40 or 50), but that’s one of the many compromises you have to make in photography. §

How to Make a 3D Sphere During my Venice photo workshop last month I gave a Photoshop presentation to the participants and suggested ideas of what could be done with photos of the costumed models in post-processing. Photographing the masked models is really like photographing nonhuman fantasy creatures. It’s not like taking pictures of real people at all. The images invite special effects that expand on the fantasy theme, and one of the ideas I presented showed a sphere wrapped by a photograph, and some of the people in my group asked me to write

out the steps for them. So, here they are.

Most photographers who use Photoshop never explore its 3D capabilities, but once you learn how to do a few things, the possibilities are pretty amazing. In this brief tutorial, you’ll see how easy it is to texture map one of your photographs onto the 3D sphere.

1. Choose an image from your photo library.

For the sphere you see below, I chose the interior of the Marriott Marquis Hotel in Atlanta,

A three dimensional object can be wrapped, or texture mapped, by a two dimensional photograph. Photoshop has a number of these objects available, such as a cube, cone, cylinder, sphere, etc. There are libraries you can find online that offer more involved objects like a human figure, a car, a plane, and so on.

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Georgia.

2. Go to the pulldown menu command, Window > 3D. This opens a new dialog box seen at right.

3. Click the button Mesh from preset (red arrow),and then in the drop down menu (green arrow) select sphere.

4. Click the create button at the bottom of the dialog box.

5. What you see now is a sphere with the photo of your choice wrapped onto it, and this is set against a perspective plane. You can rotate the sphere by using the cursor, and you can even change the lighting on the sphere by clicking the infinite light icon in the upper right corner.

6. When you are satisfied with the results,

choose Layer > flatten layers. This exits the 3D workspace and you are left with the sphere against a white background showing a shadow.

For composite purposes, disregard the shadow and select the sphere by using the magic wand tool to select the background plus the shadow (hold the Shift key down to add the shadow to the white background to make it one complete selection). When everything is selected except the sphere, choose Select > inverse. This now selects only the sphere.

At this point, you can copy the selection to the clipboard (Edit > copy) and start assembling various components to create something on the wild side. For the image on the previous page, I used the plugin Flood and smoke from a stick of incense plus the colorful sphere. ยง

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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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CUSTOM WHITE BALANCE

ost photographers are familiar with the three main white balance settings: auto white balance (or AWB), daylight or sunny, and indoors or tungsten (also called incandescent).

We also have the flash white balance setting, but this is identical to daylight WB. The florescent WB setting works well sometimes, but it isn’t dependable in producing accurate colors. There are so many types and colors of florescent bulbs that one setting doesn’t work for all scenarios. It might produce correct colors and it might not.

What do you do if the standard white balance setting doesn’t give you the colors you want? If you shoot in RAW mode, you can correct the

colors in Adobe Camera Raw or Lightroom, but I don’t like seeing an unattractive shift in color on the LCD screen on the back of the camera when I shoot. It makes the images look bad and I don’t feel like I’m capturing the best rendition of the subject.

A case in point is the interior of the famous La Fenice Theater in Venice, below. The lighting was very yellowish -- much more yellow than a typical incandescent bulb. When I tried tungsten white balance, the pictures were still much too yellow.

The solution, then, was to manipulate the Kelvin temperature. Before I explain how I did that, let me first go over what the Kelvin temperature scale is and how it relates to photography.

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Kelvin temperature There are three temperature scales: Fahrenheit, Celsius, and Kelvin. The Kelvin scale is used in science. Zero degrees Kelvin is the theoretical state of no molecular movement.

The temperature of deep space is 2.7 degrees Kelvin which equates to - 270 degrees Celsius.

When a piece of metal is heated to a temperature of 2000 degrees Kelvin, it starts to glow a dull red. This is where the term color temperature comes from because the red color is equated to temperature. When more heat is introduced and the metal glows yellow, this temperature is about 3200 degrees Kelvin.

This yellow color is what traditional household incandescent bulbs produce (excluding

the energy saving types of lights), and it’s the same color seen at sunrise and sunset.

With more heat, the metal piece glows ‘white hot’, i.e. daylight white balance, and ultimately it will glow ‘blue hot’, which is upwards of 7000 degrees Kelvin.

When you set the WB to tungsten, you should obtain the correct colors in the subject if and only if the light fixtures used to illuminate the scene are rated for 3200 degrees K. If the lights are more reddish, then you can either make the adjustment in post-processing or use a custom white balance setting in the camera.

All digital cameras allow you to manually adjust the white balance on the Kelvin scale. So,

Photo Tour to Nepal March 3 - 14, 2017 Awesome landscapes Great portraits Holi festival Birds Ancient temples

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eBooks

Click on any ebook to see inside

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for the La Fenice Theater, after I realized that a tungsten white balance was still going to produce colors that were unattractively yellow, I chose the manual Kelvin temperature option and, with the wheel on top of my camera, lowered the setting from 3200 Kelvin (i.e. tungsten white balance) to 2600 K. I wasn’t sure exactly which setting would prove to give me the correct colors -- in other words, the colors that I could see with my eyes as I looked at the theater -- but after a couple of test shots this number was the best choice.

You can go the other way, too. For example, if you specifically want a photograph to look moody in the blue end of the spectrum, raise the Kelvin temperature anywhere between 7000 to 9000 K. The stand of trees, above right, is an example. I shot this at dawn, and this time of day automatically imbues images with bluish tones. To accentuate the effect I raised the

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white balance to 7800 Kelvin. Yes, you can do this in ACR or Lightroom, but it’s nice to see the results of your creative thinking at the time you’re taking the pictures.

If you don’t know where the custom white balance setting is on your camera, find out. It will be explained in the instruction manual. The more you know about working with color, the more control you have over your images. §

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Shooting through airplane windows

ommercial flights don’t offer a lot of spectacular scenes to photograph, but once in a while you can see a cloud formation or amazing lighting that makes you wish you had been ready with your camera. Such was the case when I took a flight last month from Toronto to Nashville, Tennessee. I had been watching a movie on my iPad and just happened to raise the blind to see a stunning cloud pattern that seemed to be lit from below.

The orange light was penetrating the blue-gray clouds beautifully. Usually, I place my camera pack in the overhead compartments, but on this commuter jet they were (obnoxiously) small

and it wouldn’t fit. Giving up any semblance of leg room I placed the backpack at my feet.

Fortunately, as it turned out.

I quickly grabbed my camera and Canon 100400mm lens (the only lens I had with me at the time) and started shooting.

There are a few things to keep in mind when shooting from a commerical jet. First, most of the best photo opportunities will occur at sunrise and sunset. Second, the sunrise and sunset opportunities will be best when the plane is

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taking off or descending and the cloud layer is very close in altitude to the plane. If you know that you’ll be beginning or ending your flight when the sun is in an ideal position in the sky, have your camera ready.

Unfortunately, in a commercial jet we have to shoot through two layers of Plexiglas. That degrades image quality, but the alternative is being sucked out of the airplane and/or freezing to death if the window were open. In light of that, we can’t complain too much. The way to optimize picture quality, though, is to compose the pictures so the lens axis is as perpendicular to the surface of the window as possible. As soon as you angle the camera and lens downward and the lens axis is oblique to the window, the sharpness of the images is reduced significantly. Sometimes you have to shoot downward to take a particular composition, but just know that the quality of the pictures will suf-

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fer. Photographing at a perpendicular angle means that you are actually shooting through less Plexiglas than when the angle is oblique.

The lens aperture should be wide open for three reasons. First, this will permit a faster shutter speed which will mitigate the vibration of the plane. Second, you don’t need depth of field because the clouds and the ground are far enough away to be at optical infinity. And third, if there are any scratches on the Plexiglas, they will be rendered so out of focus they won’t show up in your pictures.

The focal length of the lens you use should be in the 24-105mm range. You won’t need much else. If you are sitting over a wing, then you won’t be able to shoot at all, which is one reason for carefully choosing your seat on the next flight. §

Stockton Lake, Missouri from 35,000 feet with late afternoon sun reflecting on the water.

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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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like very much this wide angle composition. I used a 14mm lens, and the disproportionately large foreground dramatizes the model in blue and elongates the picture in a compelling way. Some photographers may think that the sconce light is distracting because our eyes are usually drawn to the lightest part of a picture first. Since we should focus on the subject(s) instead of the light, they might argue that I should have hidden the sconce with the fan.

That doesn’t bother me in this case. What bothers me, though, is that the model in yellow isn’t sharp. When you have two subjects as I do here, both need to be sharp and in focus. The lighting here was dim and the ISO was already fairly high -- 1600 -- and my lens aperture was almost wide open at f/3.5. This was a private shoot for my photo tour group in Venice, and tripods in a relatively small room would have gotten in the way. So we hand held everything, and this

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meant that depth of field was tough to get unless I raised the ISO above 4000 which I didn’t want to do.

The way I handled this situation was to move a few feet back from the foreground model. This changed the composition, but it enabled me to increase the depth of field such that both models were in focus. I used the same lens aperture of f/3.5, but by increasing the distance between the lens and the foreground, depth of field increased.

Just because you use an extreme wide angle lens such as a 14mm, don’t assume you have complete depth of field. The lens-subject distance is critical. When the lens is placed very close to the foreground, say two or three feet away, depth of field is diminished. The only way to mitigate the loss of DOF is to either move back or use a small aperture like f/22 or f/32. § 25

SHORT AND SWEET 1.

Parallax, or the angling inward of vertical lines such as minarets, occurs when the back of the camera is oblique to the plane of the subject. When the back of the camera (i.e. the plane of the sensor) is parallel with the subject, vertical lines look vertical.

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When wildlife subjects are photographed in the shade, their eyes are fully open and we can see the beautiful colors of the iris. You can never go wrong with taking portraits of animals (and people, too) in diffused light. If you use direct sunlight, make sure the sun is low to the horizon to avoid harsh contrast.

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2.

Shocking color combinations make compelling images, whether they are in clothing, interior design, spices in a foreign market, or anything else. The more outrageous the colors, the greater the emotional reaction you get from people.

4. To make a composited image look like it really be-

longs in a scene, it must cast a shadow. Everything casts a shadow, even in diffused light. At the bottom of the layers palette in Photoshop, find the f/x icon and click it to reveal a drop down menu. You’ll see the ‘drop shadow’ option there. §

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’m uncomforable using flash cards that have huge capacities because if one fails, it can be a devasting blow to lose all of those hundreds and hundreds of images. What size flash card or SD card do you use, and how do you protect yourself from a possible failure?

Leonard Evans, Portland, Maine

A:

I have never used memory cards with the maximum capacity. When 8 gig cards were the largest on the market, I used 4 gig and 2 gig cards. Now with 128 gig cards available, I stick with 32 and 64 gig cards.

To protect myself from a failure, I backup a day’s shoot every evening by transferring the photos onto my laptop. If you don’t want to carry a laptop when you travel, then backup the data on a portable hard drive.

When I transfer the images to my laptop, I don’t erase them from the flash card, even when it’s full. I keep the images there as a redundant backup for security purposes.

Regarding my editorial on page 3 of this issue, I initially panicked over possibly losing some images because, for the first time, I didn’t transfer the last day’s shoot to my laptop as I usually do. I got complacent and almost paid the price. Always backup your work as soon as possible -- and I’m reminding myself as well as you. The photographs that I feared might be lost were the boudoir shoot, below.

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Photography Tours 2016 - 2017 CROATIA, MONTENEGRO, SLOVENIA. May, 2016

INDONESIA July 2016

KENYA migration Aug. 2016

CHINA Sept. 2016

AMERICAN SOUTHWEST Oct. 2016

SNOWY OWLS, CANADA Feb. 2017

CARNIVAL IN VENICE Feb. 2017

ICELAND Mar. 2017

NEWFOUNDLAND Jun. 2017

KAZAKHSTAN Aug. 2017

PATAGONIA Apr. 2017

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THE PANTANAL, BRAZIL Nov. 2016

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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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.

Mark and Patti Van Donsel, De Pere, Wisconsin Frog and reptile workshop

Š 2016 Mark and Patti Van Donsel

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Student Showcase, continued

Š 2016 Mark and Patti Van Donsel

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Student Showcase, continued

Š 2016 Mark and Patti Van Donsel

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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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