Photo insights march '17

Jim Zuckerman’s

PH OTO I N S I G HTS March 2017

Focus stacking Shooting stained glass Black and white conversions Photo tours Ask Jim Student showcase

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On the cover: Lavender field, Provence, France.

This page: Cocker spaniel puppies relaxing in a box.

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4. Focus stacking 19. Photographing stained glass 24. What’s wrong with this picture?

26. Black and white conversions 28. Short and Sweet 29. Ask Jim 30. Photo tours 33. Student showcase 38. Back issues

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ometimes photographers get mentally blocked and we don’t feel inspired to go out and take pictures. Usually it’s because we’ve run out of ideas of what to shoot -- at least for the moment.

When that happens to me, I focus on my various photographic ‘collections’ and that re-invigorates me. For many years I’ve been collecting specific types of images. Albino animals, for example, and the color blue in nature are subjects I find very compelling (see page 4 for a blue bee). I also collect photographs of classic cars, abstracts, gems and minerals, lighthouses, old barns, cathedral ceilings, beautiful doors, and puppies. When I’m in a creative stalemate, I focus on one of these subjects and then I try to find more of them. A couple of years ago, for example, I put an ad in Craigslist offering to pay $50 to photograph purebred puppies between six and eight weeks old. This is the age when puppies are most adorable and most controllable. That’s how I got the picture of the cocker spaniel pups on the previous page.

Photographing collections of subjects is a great way to travel, too. Whether your passion is horses, churches, children, castles, birds, primitive tribes, festivals, flower boxes, or anything else, this gives you a way to plan a trip where you pursue the subject matter that most matters to you. Instead of being essentially directionless and wandering around looking for something to shoot, you can focus your attention and plan the itinerary so you are happy at the end of the day that you’ve seen and captured subjects that excite you.

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

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Focus Stacking

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for macro

ocus stacking is a technique whereby you take many images of the same subjec, each slightly varied, and then all of those images are ‘stacked’, i.e. combined, into a single photograph using Photoshop or a third party software program. There are several reasons to do this. When photographing stars, for example, stacking 10 to 15 frames of a star field will eliminate digital noise. When taking pictures of star trails, stacking many frames is an additive technque where all of the streaks of light are combined into long arcs in

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the sky. If you want to eliminate people from a street scene or even a large interior such as the lobby of a theater, with the camera on a tripod you can take many pictures over the course of two or three minutes, and when combined all the people will be gone -- assuming they didn’t stay in one place for the duration of the time it took to expose all of the component images.

In macro photography, which is what I want to discuss here, focus stacking is invaluable in that it produces complete depth of field in

very small subjects that even the smallest aperture on the lens can’t match. For example, the photograph of the blue carpenter bee on the previous page appears four times life size . . . and look at the depth of field. Only the background is soft, but if I wanted it sharp, I could have made that happen (but I purposely kept it soft to direct all of the attention to the insect).

To give you a sense of scale, the distance between the eyes of the bee is only 3/16 inch.

Look at this distance on a ruler or tape measure and you’ll see how amazing the depth of field is given the small size of the insect.

What does life size mean?

Life size refers to the actual size of a subject compared with the size of that subject on a piece of film or the digital equivalent. The size of a 35mm slide and full frame sensor is 24 x 36mm. So, if your subject is 36mm wide and it fills the frame, this is 1:1 or one times life size.

If the subject is 18mm and it fills the 36mm width, then it is 2 times life size. The face of the frog leg beetle on the next page is 15 times life size.

The equipment To do regular macro photography, such as the froghopper beetle on page 7, a regular macro lens will do. This includes a 50mm macro, 100mm macro, 180mm macro, etc. For serious

magnification, you need a bellows mounted on a rail with millimeter measurements clearly marked. Extension tubes won’t work

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because you need to be able to adjust the focus in the tiniest of increments. For the super closeup pictures I’ve included in this article, I moved the camera and bellows on the rail in 1/5 millimeter movements. You can’t do this with extension tubes.

I’ve seen bellows for sale online (like at B&H for as little as $45). If your camera requires an adapter to attach the bellows to the body, you’ll need one of these, too.

Next, the lens needed for this kind of work is made specifically to be used with a bellows.

Several of the major camera companies make (or made) these kinds of lenses, but when you go looking for one it’s confusing because there are so many types of lenses available. The two that I’d recommend are: Olympus OM Zuiko 20mm f/2 Macro Bellows Lens; and Olympus OM Zuiko 38mm f/2.8 Macro Bellows Lens.

These haven’t been made for years, but you can find them used on eBay for around $300 to $400.

You can also use a Canon FD 20mm f/3.5 Macrophoto Bellows Lens, or a Canon FD 35mm f/2.8 Macrophoto Bellows Lens. All of the pictures shown here were taken with the latter.

Nikon’s 10x macro lens is also superb.

A rock solid tripod is essential, too. The thin travel types of tripods are not sturdy enough.

The slightest of movements means the pictures won’t be sharp.

The lighting To illuminate the small subjects, you can go as cheap as you want -- or more expensive. In the photo of my setup on the next page, I used two $5 LED lamps from Walmart. Admittedly 7

this is not very sophisticated, but it worked out very well.

The fact that they were LED meant that the heat generated by the lamps was minimal. Each lamp had a built in diffuser, and that provided excellent light. I liked using these because I could see exactly where the shadows fell and where there was highlight glare on the shiny carapace or on the compound eyes of the insects.

You can also use studio strobes or even a portable flash like the Canon EX600 or the Nikon SB900. With several test shots where you examine the images on the LCD monitor, you can determine how to position the flash units. The advantage to using flash is that with great magnification, there is no risk of movement from the shutter button, the camera’s mirror flipping up and down, the tripod vibrating, etc. When you are shooting with magnification greater than 2:1, the flash helps produce sharp pictures.

The subjects All of the subjects I’ve illustrated this article are insects because I find them to be fascinating.

They are full of detail that most people never see, and in addition they look like the original aliens. No science fiction movie can make up creatures that are more bizarre, more amazing, more other-worldly than insects. Most insects retain their intrique, colors, textures, and remarkable detail even when they are dead, as my specimens were. You can photograph live insects only if they are motionless. You can control virtually all insects with temperature.

When it’s too cold, many can’t move.

Other tiny subjects you can photograph with this type of setup are the insides of flowers, pollen, snowflakes, fish scales, and grains of sand.

The procedure

Canon 5D Mark III with a Canon bellows on a rail marked in millimeters and a Canon FD 35mm f/2.8 Macrophoto Bellows Lens.

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The first thing you need to do is setup the tripod on a hard surface. Hardwood, stone, marble, linoleum, concrete -- whatever you have is fine. Don’t position the tripod on carpet or on a rug. I can’t impress upon you enough how important this is because the slightest vibration

-- even the movement of the camera strap -can and will degrade the image quality. Next, set up the camera and bellows and determine the approximate working distance. This will probably be just a couple of inches or even less.

Place your subject on something rock solid, too. If you intend to use a table that has a habit of tilting slightly due to a leg that is shorter than the other three, don’t use it or stabilize the table.

Assuming the insects are dead and you bought them packaged and dried (you can find suppliers of exotic insects at this website: insectnet. com), the specimens have to be positioned on a branch, leaf, or flower so they look like they are alive. You can’t bend the legs and antennae into place because in their dried state, the appendages are brittle. Therefore, you must put them in a relaxing chamber. This is nothing more than a Tupperware container with a piece of damp paper towel at the bottom of it.

When the insect is left in this -- with the lid on -- overnight, the body parts become maleable and they can be moved into the position that makes the insect look alive. To do this, you’ll need insect pins as seen above. These are long, slender pins that enable you to reposition the appendages. Insect pins are available online from a number of sources. Here is one of them:

Frog hopper beetle from Laos

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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

Jewel beetle, Kalimantan, Indonesian Borneo

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www.carolina.com. On their website, search for Insect mounting supplies.

When positioning the insect, do not stick a pin through a leg or the body. For the legs and the antennae, place two or more pins on either side of the anatomical structures and then drive the pins into the wood or bark you’re using for support. This will prevent damage to the specimen and keep the insect in the correct position while it dries. Once dried, you can remove the pins. Everythig will stay in place because the insect is brittle again.

Place the subject in position on the background and set up the camera, bellows, and lights. The exact placement of the camera and the position of the lens will take a few minutes because focus is so critical. Be patient with yourself.

Here is the key: You need to establish two focus points. First, focus on the closest element in the shot that you want sharp. Make a mental note of the millimeter marking on the focusing rail. Then move the camera or the lens to the point on the rail where the back of the subject is sharp. Again, note the millimeter marking on the focusing rail. For the weevil below, I made that last focusing point on the rear foot in the upper right portion of the image. I could have held focus on the entire background, but I wanted only the insect to be sharp.

So, once you have the two focus points, you are ready to begin. Start with the camera in position to capture the foreground sharp. This is the first focus point as noted on the focusing rail.

Blue green snout weevil, Papua New Guinea

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Here is how to set the camera: 1. Mirror lockup feature enabled.

2. Two second self timer enabled.

3. ISO set to 200 4. Exposure mode set to manual 5. Lens aperture set to f/4 6. Shutter speed will depend on the intensity of the light and the distance of the light to the subject. Set the shutter speed to obtain a good exposure as you view the image on the LCD screen on the back of the camera.

7. Set the image quality to large jpeg. This will make processing the images much faster for your computer because there will be a lot of them to process.

The reason you must use f/4 is because if you close the lens down for more depth of field (a

reasonable thing to do), the image quality will be degraded significantly due to diffraction.

Only with extreme magnification is this an important factor to consider.

Begin taking pictures. Be extremely careful not to jar the tripod, bellows, or camera. After every shot, move the camera or lens toward the subject in the smallest increment you can manage. Each movement along the focusing rail should be 1/2 millimeter or less -- and less is better. I was able to move the camera in 1/5 millimeter increments.

When you reach the last focus point on the focusing rail, you are finished. Depending on the lens, the magnification, and the subject, you might have exposed between 30 and 150 pictures.

Wasp nest showing egg casings, Tennessee

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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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Processing the images You have three choices in compositing the slew of images you just took. You can use Photoshop, but the procedure is laborious and there are too many steps. You can opt for the software Helicon Focus, which is fine for combining focus stacked images for many types of uses but not for extreme magnification. It produces halos around features of the insects that are undesirable.

The third option is the best choice, Zerene Stacker (zerenesystems.com). It is a stand alone program, and the company offers various editions, from student (the least expensive at $39) all the way up to professional. Buy the student edition and it will do everything you need. There is also a free trial download that is

good for 30 days.

Once the software is installed, place all the jpegs you’ve exposed of the insect in a folder on your desktop. Open the program and drag all of the photos into the left part of the dialog box as seen above (the photos won’t appear

Molted skins of cicadas, Tennessee

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until the next step). However, you will see the entire list of images.

Next, choose from the pulldown menus: Stack > Align and Stack All (PMax).

Zerene Stacker will start compositing the images, taking only the sharpest, in-focus slices of the subject. You can see the progress in a blue progress bar that appears as well as in the right hand window in the dialog box. You’ll see the out of focus portions of the subject slowly be transformed into a sharp finished product.

When the transformation is complete, simply choose File > Save Output Image(s). The next dialog box gives you the option, among other things, to choose 8 bit or 16 bit. I always select 8 bit, but this is your choice. When you click OK, the process is complete.

Automating the process Admittedly, taking scores of images by hand like this has drawbacks. First, it is tedious.

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Second, for extreme magnification moving the camera and lens along the focusing rail in submillimeter amounts is imprecise. Third, it’s easy to jar any element in the system, and this quickly degrades image quality.

You can buy a device called a StackShot, seen below. This connects to the camera with a cable and allows you to set the number of frames to be exposed, establish the distance the focusing rail moves down to 2 microns (two millionths of a meter), and once you push the start button you don’t have to touch anything until the process is complete.

The company that manufactures this is Cognisys. Click here to read about the StackShot and to get pricing.

As you can see from the pictures in this article, you can do everything manually without this machine. I did it, and so can you. But for extreme magnification, the StackShot is invaluable for its precision, repeatability, and submillimeter movements. §

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

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Photographing Stained Glass

he problem with photographing stained glass in large cathedrals is contrast. The daylight that backlights the colorful glass is several f/stops brighter than the interior of the cathedral, and while our digital sensors are getting better and better, they still can’t handle the huge discrepancy in exposure values. Therefore, if you expose correctly for the windows, the interior architecture turns out black or close to it with little or no detail. You can see this in the photo on the bottom of the next page. Conversely, if you expose so the interior looks good, the windows will be blown out. And if you com-

promise between the two extremes, no areas of the photographs will look good.

There are two ways to handle this problem.

First, use the HDR technique in which you bracket at least five f/stops. It’s been my experience, though, that in order to retain detail in the darkest shadows as well as the brightest highlights in a cathedral, you need seven or even nine bracketed exposures to make up the HDR composite.

In order to take this many exposures and align them perfectly so the final HDR image

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is sharp, you need to use a tripod. Since many cathedrals don’t allow tripods, you will have to use another technique.

2nd approach Take two pictures, one where you expose correctly for the stained glass and a second one where you exposure for the interior architecture. For the latter, you’ll have to raise the ISO to obtain a shutter speed fast enough for a sharp picture. Take both pictures from the exact same spot, and make the two images as close as possible in terms of framing.

Then, when you get home, put the two pictures together in Photoshop. Make a selection of the window with the pen tool, copy that to the clipboard, and paste it into the architecture background. Now you’ll have a perfect exposure in a picture that is too contrasty for a digital sensor to handle.

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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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The parallax issue On pages 19 and 20, the pictures of the stained glass windows show the vertical lines of the architecture to be parallel with the sides of the frame. This is how they are in reality, and this is what you see when taking the picture.

However, when you use a wide lens and angle it upward to photograph the windows, the back of the camera -- i.e. the plane of the digital sensor -- is now oblique to the plane of the glass.

This causes parallax, or the apparent leaning inward of vertical lines. I took this to an extreme in the photo below of Sainte-Chapelle in Paris in which the 14mm lens was aimed at the altar.

If you want parallel vertical lines, you can make that happen in-camera as you take the pictures or in post-processing. To do it in-camera, the

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back of the camera has to be as parallel as possible to the stained glass. That means instead of using a wide angle lens and shooting upward, you have to get much further back and use a telephoto lens. Since stained glass windows are always very high on a wall, the greater the distance from which you shoot and the longer the lens, the more you will be able to correct the parallax.

In post-processing, you can correct angled verticle lines by selecting the entire photo with Select > all, and then choose Edit > transform > distort. A box forms around the image, and you can grab any of the corners and drag them until the picture is corrected. The picture will be distorted slightly, but this will be unnoticeable. It may take dragging two or three corners to completely fix the picture. This can be done in just a few seconds, and it’s very easy to do. §

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

Great history

Ancient art

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What’s wrong with this picture?

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othing is wrong with the photograph of the moth, above. Not really. Technically and compositionally it’s fine. The diffused light looks good, I captured the detail in the insect very well, and the colors even harmonize nicely.

The issue simply comes down to this: Great subjects make great pictures.

While this is an attractive moth with a nice pattern, it’s brown. The color brown is dulls-ville, so to speak. It’s boring. Brown doesn’t get anybody excited. No one looks at this picture and says, “Wow, that’s amazing.” Instead, they go, “Nice shot.”

Enter a subject with visaul impact. A moth or butterfly that has brilliant color and an amazing design will trump a brown moth any day. The mint green

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luna moth, above, is an example. Color is a very powerful element, as I’m sure you know, because it draws the eye immediately to the subject and it holds our attention.

When I seek out subjects to shoot, color is often at the top of my mental list of what makes pictures great. Brightly colored fabrics on women, beautifully colored birds, metallic green and magenta insects, incredibly colorful architecture in churches, mosques, and Buddhist temples, and gardens with dazzling layouts of flowers all are amazing subjects and they make great pictures -- assuming they are photographed well.

To dramatically increase the success rate of your picture taking, choose carefully the subjects you seek out with your camera. Go for the color and you’ll see what I’m talking about.

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Black and White Conversions

onverting color images into black and white means that you inevitably lose contrast. The monochromatic images look muddy and flat, and the pizazz seems to be drained right out of the picture. This happened with film and it happens now in the digital realm as well.

There are several ways of making the conversion in Photoshop. For example, in Image > adjustments > hue/saturation, you can move the saturation slider all the way to the left. You can also use Image > adjustments > black and

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white. This method gives you quite a bit of control in terms of regaining the lost contrast.

By working the sliders in the dialog box, you can make drastic improvements in the image.

You can also use Nik Software’s Silver Efex Pro 2. Nik gives you many presets from which to choose, and then with sliders and contrast controls you can tweak the image further.

For the ultimate control, though -- control that Ansel Adams would have loved -- you can select individual areas of a black and white con-

verted image and tweak them separately. The selection doesn’t have to be ultra-precise. Use the quick selection tool to make the selections and then feather the edges two or three pixels. Then, using Levels, Curves, the burn and dodge tool, or clarity, adjust the tones to make them brighter, darker, or more contrasty.

You don’t have to make multiple layers for this. Work on the same layer to make things simple and easy.

Save the selections (Select > save selection) in case you want to return to an area for further tweaking.

All three black and white photos in this article were adjusted using this technique. In each of them, you can see highlights and shadows that were enhanced and embellished using the tools I’ve mentioned. This takes time, but it’s very effective. §

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SHORT AND SWEET 1. When various types of lights are used indoors, the

colors are exaggerated and in the resulting photos they can be dynamic. For example, florescent light mixed with tungsten and/or daylight produces compelling shots like this locomotive in the Henry Ford Museum.

3. Always seek out elevated vantage points to photo-

graph beautiful cities. This is Tallinn, Estonia. Rooftop restaurants, bars, and cafes are often situated with great photographic advantage. Observation decks on high rises, hills surrounding a city, and hotel rooms on upper floors are also great.

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2. A small piece of black velvet weighs nothing and

takes up virtually no room in a camera bag, but it can be very useful. I photographed these flowers I found growing wild in Ethiopia against a piece of black velvet. I shot this in the back seat of a Land Rover.

4.

When photographing animals with dark fur, the only two types of natural light that work are soft and diffused or front lighting from a low angled sun. The dark recess of the fur show up with detail and texture.

Backlighting or when the sun is overhead doesn’t work at all due to the contrast problem. §

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 took this photo on a recent trip to Mexico, and I wanted to know if model releases are needed

even though the faces of the people in the picture are not visible and there would be no way to identify them.

Steve Norman, Miami, Florida.

A:

Because we live in such a litigious society in the U.S. where people sue for pretty much anything -- and get awarded large settlements -- stock agencies and other end users of photographs insist on model releases even for situations like this. You can always submit this to an agency, publisher, manufacturer, etc. and let them know you don’t have a release. It is then up to them whether or not they want to take the risk (albeit very small) of being sued. You would have to decide as well because if a lawsuit does come to pass, the plaintiff sues everyone involved, which would include you. §

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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

Giraffe drinking, 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.

Artur Stankiewicz, Houston, Texas The Pantanal Photo Tour

© 2017 Artur Stankiewicz

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Student Showcase, continued

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Š 2017 Artur Stankiewicz

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Student Showcase, continued

Š 2017 Artur Stankiewicz

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Student Showcase, continued

Š 2017 Artur Stankiewicz

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PHOTOSHOP WORKSHOP in my home

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

Ice sculpture with a gradient background and a digital reflection.

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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A Cool Marketing Tool A unique and classy way to make a presentation of your work is to have custom made USB memory sticks with your logo or your company name imprinted on it. You can present a portfolio this way to a publishing company, magazine editor, or gallery owner and/or when you speak in front of a camera club or any other type of organization, you can hand out these customized memory sticks with items for sale (such as eBooks), information that supports your speech, or any other type of data.

There are many types of designs, colors, and styles from which to choose. As you can see in the photo below, I selected a green leather

design. The number of choices is extensive and you’d have no trouble finding one you like.

If you don’t have a company logo -- as I don’t -you can simply print your name on the memory stick casing as well as your contact information.

The company that makes these is USB Memory Direct. Their website is: www.usbmemorydirect.com, and their phone number is 866 404-4645. If you call from outside the U.S. then add the number ‘1’ for the country code. The very affordable price is based on the design you choose and the number of pieces ordered. §

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