Photo insights october '16

Jim Zuckerman’s

PH OTO I N S I G HTS

October 2016

Moon Glow Focusing in the Dark Fun with Paint Dealing with smog Photo tours More 1

On the cover: The remarkable spires of the Tianzi Mountains, China. This page: Long-tailed widowbird in breeding plumage, Lake Nakuru National Park, Kenya.

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4. Moon glow 9. Focusing in the dark 13. Fun with paint 18. Dealing with smog 22. What’s wrong with this picture?

24. Short and sweet 25. Ask Jim 26. Photography tours 29. Student showcase 34. Back issues

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ou shouldn’t travel, and especially internationally and to Third World countries, without a sense of humor. Impatience, culture shock, disappointing experiences, horrible roads, language barriers, and more can put a damper on any trip, and the best antidote for sure is to reboot your mindset, so to speak, and laugh at whatever obstacles you may encounter.

The reason you travel, besides the photographic opportunities, is to see the world.

This entails interacting with other cultures and seeing the world through their eyes.

In many regards, people are the same all over the world, but the devil is in the details. Not all cultures value being on time, kindness to animals, respect for women, honesty, and cleanliness. Some people are so poor that when they offer you accomodations with a hard bed, cold running water and simple food, to them this is normal. Many cultural sensibilities that you encounter will be foreign to you, and while you may think of them as unnecessary and even foolish, to these people they may be of paramount importance -- things like eating only with the right hand, not touching the top of someone’s head, never showing anger, and not photographing someone without asking permission.

It’s so important to not sweat the small stuff. If service in a restaurant is slow, if you don’t have enough towels in your hotel room, if the lobby and hallways in your hotel aren’t heated or cooled, so what. Just deal with the issues with a smile or a laugh and go about your day with a positive attitude. If bigger problems arise, just know this is part of travel -- and part of life -- and deal with them with the gratitude in knowing that not everyone gets to see the world like you do.

Jim Zuckerman www.jimzuckerman.com

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The Moon Glow T

he problem with including the moon in a twilight or night shot of a landscape or cityscape is that there is a significant discrepancy in exposure between the very bright lunar surface and the low light earth bound subjects. The correct exposure for the moon is 1/250 at f/8 with 200 ISO -- which is a daylight exposure -- while the night shot could very well be one or two seconds or much longer.

If the landscape or cityscape is correctly exposed, the moon will be blown out. In other words, it will have no texture or detail and will look like a solid white disc. In my opinion, this is unacceptable because (1)

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this is not what we see, and (2) the overexposed moon is visually distracting.

The photo below shows the Li River and the karst formations near Guilin, China just before dawn. The exposure on the landscape was 57 seconds at 1250 ISO, and you can see that the moon is blown out.

This problem can be solved in Photoshop. I have done this dozens of times because a correctly exposed moon adds a poignant focal point to a picture. I do this by taking two separate pictures and compositing them together. First I take a shot of the moon with the

correct exposure settings and then capture the night scene, and in Photoshop I put them together. I don’t concern myself with being astronomically correct. If the moon never appears in a particular part of the sky above a mountain range or a city skyline, that doesn’t concern me.

I’m a photographer with artistry in mind, not an astronomer.

I usually use the crescent moon, below, instead

of a gibbous or full moon because I think the thin crescent is beautiful, even elegant. When I combine this phase of the moon with a new sky, the result looks believable to me. But when I’ve composited a half moon, gibbous moon (seen below right) or full moon for a different look into a new sky, there was always something that didn’t look quite real to me.

The image of Notre Dame in Paris, above, is an example. The moon looks good but it’s not

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completely believable. I never could put my finger on the reason for this until a few of days ago. I was enroute home from my China photo tour and dealing with jet lag, I was up at three o’clock in the morning working on my computer and it suddenly dawned on me what the problem has been. Suddenly it was so clear.

using the rectangular marque tool or the lasso tool that includes some of the black sky adjacent to the moon. In the example below I used the

It’s the moon glow. A crescent moon is too small to emit much of a glow, but the phases of the moon that show more of the lunar surface being illuminated are always accompanied by a discernible glow in the sky. If you look at the photo of Notre Dame, you can see the lack of the glow. While the edges of the moon blend perfectly with the sky, the absence of the glow makes this picture look incorrect.

In the photo on page 4, even though the moon is blown out, you can see the glow I’m talking about. This is what makes the moon look like it’s real and belongs in the sky.

Once I identified the problem, I figured out a solution in Photoshop. The following is the procedure for incorporating the moon glow with a properly exposed moon.

1. Open a picture of a landscape or cityscape in which the land portion of the image is correctly exposed and the moon is blown out but you can still see the glow around the moon.

For this example, I will use the photo of the Li River in China on page 4.

2. Open a photo of the moon taken in the night sky with a medium telephoto lens (such as a lens in the 100 to 300mm range) where the background is black and the lunar surface is correctly exposed, such as the gibbous moon above right.

3. Make a rough selection around the moon 6

rectangular marque tool.

4. Copy the selection to the clipboard, Photoshop’s temporary holding place for a photo or part of a photo, with Edit > copy.

5. Click on the landscape or cityscape photo to activate it. With the magnify tool, zoom in on the moon. Choose the clone tool, and in the tool bar click on the brush preset picker (red arrow in the screen capture, below). Make the hardness of the clone tool 30% (green arrow).

6. Adjust the size of the clone tool, using the bracket keys on the keyboard (the left bracket key makes the tool smaller; the right bracket key makes it larger) until the size is slightly larger than the disc of the moon.

7. Clone a dark portion of the sky over the white disc of the moon as shown in the magnified portion of the photo, above right.

8. Paste the image of the moon from the clipboard into the photo using Edit > paste. The result looks like the image at right. This will show up in the layers palette as layer 1.

9. Eliminate the black around the moon using the lighten blend mode. The blend modes are found in the layers palette by clicking on the submenu indicated by the word ‘Normal’. In the long list of choices, choose lighten as indicated by the red arrow, left. When you execute this command, the edges of the moon will blend with the new sky perfectly -- providing the moon was originally photographed against a black background.

10. Resize the moon so it is a little larger than the white disc that you just covered up in step 7.

If your landscape or cityscape image was taken with a wide angle lens, the moon appears much smaller than you’d see it with your eyes. Therefore, you will want the replacement moon to be larger than the overexposed moon. Resist the temptation to make the moon unnaturally large.

This is a common mistake that many photographers make. You can resize the moon using Edit > transform > scale (the shortcut for this command is Control/Command T). A box forms around the moon, and holding the shift key down to maintain the correct proportions, grab a corner of the box and drag it until the moon’s size looks correctly proportioned.11. Se 7

Select the move tool in the tools palette and drag the resized moon over the original moon that you blocked out in step 7. You may have to further tweak the moon’s size until it blends naturally with the lunar glow in the sky. You also may have to adjust the size of the dark spot covering the original blown out moon because when you use the lighten blend mode, the moon will only show well when that dark spot fits perfectly behind the new moon with the lunar detail.

The final picture is seen below, and with the addition of the glow it looks correct. Note the size of the moon. It is not too large so it doesn’t look foolish, and it’s not too small which is typical of shooting with a wide angle lens. I shot this picture with a 24mm focal length.

I usually avoid placing a full moon into a scene because it is too cliché, and doing that suggests

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Photoshop manipulation. Using a gibbous moon is more likely to look real and therefore less likely to be challenged.

Compare this image to the original on page 4 and you will see what a remarkable difference this is. The picture below is what I saw. Between the wide angle lens I used and the inability of the digital sensor to handle extreme contrast (and this was really extreme -- the exposure for the moon is just like daylight on the earth while the river landscape was virtually in total darkness), there was no way I could capture what I saw. The final composite is actually better than what I saw because with the long exposure, I was able to accumulate enough light to show definition in the karst formations, the reflection, and the river itself. In the darkness of the predawn, I could barely make out these things with my eyes. I had to use a flashlight just to see where to setup my tripod. §

Focusing in the Dark T

here are many occasions when you have to focus in extremely dark situations and it seems impossible to do so. Autofocus mechanisms rely on contrast in order to accurately focus, and if it’s too dark there just isn’t enough contrast between the elements in a scene to insure your pictures will be tack sharp.

in forest at twilight. I was recently in China, and at many of the sunrise locations my photo tour group and I visited we arrived in the dark well before dawn to make sure we got the best vantage points before other photographers as well as the selfie crowds arrived. For the night exposures, and I had to deal with the focusing issue most mornings. Even though the long exposures showed contrast in the resulting images as I looked at them on the LCD monitor, the autofocus sensor didn’t have enough contrast to focus.

For example, when you are shooting stars at night the AF function in your camera can’t lock onto the tiny points of light. Similarly, a landscape in the dark doesn’t offer enough con- Most night photography is done where objects trast, nor does an animal with dark brown fur are at infinity focus. The problem photogra-

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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.

Feb. 17 - 23, 2017

Frog & Reptile Workshop Close-up encounters with poison dart frogs and exotic reptiles such as chameleons, geckos, snakes, and more in St. Louis, Missouri.

Jan. 14-15, 2017

Wildlife in Autumn Colors Photograph beautiful North American animals -- wolves, bears, mountain lions, lynx, bobcat, skunks, etc. -- in the stunning colors of autumn.

Oct. 5 - 8, 2017

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phers have is that most lenses don’t focus critically to infinity when the lens is turned all the way to the infinity mark. There is a little bit of ‘play’ in the focusing ring, and the true and correct focus is slightly back from maximum infinity focus. Unless you’ve tested each lens and know exactly where that point is, you can’t assume that you can approximate where it might be by manually turning the focusing ring back ‘just a little bit’.

There are several techniques I use to achieve correct focus in situations like these.

1. Focus on the moon. Assuming that you are shooting a landscape, seascape, or some distant subject, the moon is the ideal focal point. You need to change the focus point array as seen in your viewfinder to a single, central point, and that will lock onto the moon no matter what phase it’s in. Even a thin crescent moon gives

you enough contrast for correct focus. Make sure the beep is activated so when focus is achieved, you’ll hear an audible confirmation.

2. Focus on an illuminated street lamp or distant window. Artificial lights at night work very well, but make sure the distance from the light source to the camera matches the distance from the subject to the camera. In other words, if you are photographing a distant scene that is far enough away to be at infinity focus, then the light source should be similarly far away.

For the night picture of Kotor, Montenegro seen on the next page, I focused on the brightest lights of the city across the water. I did this with a single focus point activated in the viewfinder.

3. Focus on a flashlight. The reason you should always carry a small, lightweight flashlight in

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your camera bag is for critical focus at night when there are no other light sources to rely on.

By pointing the light directly at the camera, the single and centrally positioned focus point will lock onto it and focus correctly, giving you the audible beep in the process to indicate you’ve achieved tack sharp focus. If you are focusing

on a distant scene, the flash light must be held further than optical infinity of the lens. To determine what this approximate distance is for a lens 50mm or wider, take the focal length of the lens and convert it to feet. This will tell you the minimum distance from the lens where the flashlight must be held for you to focus.

For example, a 24mm lens goes to infinity at about 24 feet. Therefore, in order to focus accurately on distant objects in the dark, have a friend hold the flashlight at a point 24 feet or farther.

A 50mm lens goes to optical infinity at about 50 feet. If you aren’t shooting with someone else, simply lay the flashlight on the ground far enough away from you such that it is pointed directly at the camera.

Once you hear the audible beep and know you’ve achieved critical focus, turn the AF off.Now you can shoot at any subject farther away than 24 feet (assuming you’re using a 24mm lens). It’s important not to touch the lens barrel after you’ve determined the correct focus because you might inadvertently move the barrel, thus destroying the critical focus. §

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Fun with Paint I

f you like creating abstracts and having fun with photography, you’ll want to experiment with photographing paint. It’s amazing what you can do with it.

You can purchase small quantities of paint -samples, actually -- at places like Home Depot and Lowe’s for $3 each. You can then mix the chosen colors together in a Tupperware container, for example, and then photograph the abstract. You can also pour the paint onto an object or apply the abstract combination of colors onto something using various size brushes.

In the picture below, I took a pill container that I had purchased in Bali and used both of these

techniqeus: I painted some of the areas and then poured paint on other parts of the stainless steel horse design.

Use water based paint so when you pour it onto the subject you can easily wash up when finished. I also suggest shooting the subjects against a black background. I place a piece of black velvet fabric behind the subject because the velvet absorbs light better than any other fabric I know. Very litte light is bounced back into the camera.

For pure abstracts, simply mix the paint colors and photograph the result. Make sure the back

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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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of the camera is parallel to the plane of the paint to insure you have complete depth of field. It is important that the pictures be sharp from corner to corner, so I suggest using f/11 or f/16 in addition to making sure the plane of the digital sensor is parallel to the paint.

The picture at right was a fun accident. I was mixing paint colors in Tupperware with a kitchen fork (I thought if I washed up well afterward my wife wouldn’t know I was using her silverware) and the fork slipped out of my hand and fell in the paint. Red paint just happened to cover the the ends of the tines, making them look like fingernail polish. I used off-camera flash to take the picture. If you don’t want to use flash, photograph the paint outdoors in the shade with a tripod. This will give you diffused light which is the ideal. Choose cloudy white balance to prevent the colors in the paint from becoming too bluish in the shade. If you use flash, then daylight or flash white balance will give you correct colors.

The New Orleans mask on the next page was made from porcelain, and it made a perfect

subject with which to experiment because it’s easily washable. I poured a mixture of paint onto it, and in this instance instead of using a black background, I used an abstracted paint background. I had placed the mask on a piece of foam core, and the paint from the mask simply ran onto the background. I used a flash to take this image.

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With a thin layer of various paint colors covering the bottom of the Tupperware container, try angling the container so the paint slides over itself and mixes in artistic ways. That’s how I created the pattern below.

In selecting the various colors of paint, you can go with harmonious colors such as purple, pink, and mauve, or complimentary colors like red-cyan, blueyellow, and/or green-magenta. You can also experiment with outrageous color combinations like green and orange, purple and yellow, etc. You can also try very subtle color combinations like various tones of white mixed together.

It’s also fun to try manipulating the colors in Photoshop. Once you have the abstract paint image opened in PS, choose Image > adjustments > hue/saturation.

In the dialog box that opens, move the hue slider to see the colors change dramatically. If you want to go from positive to negative to see the complementary colors, use Image > adjustments > invert. §

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Become a better photographer with

eBooks

Click on any ebook to see inside

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Dealing with SMOG T

here are a many places in the world where the air quality is poor, and sometimes it’s terrible. China is one of those places. It’s not terrible everywhere, but the amount of coal-burning factories and other polution producers make large cities tough places to photograph. Even scores of miles away in nature areas that should be free of smog, on some days -- depending on the wind and a possible temperature inversion layer -- the air can obscure the beautiful scenes you want to photograph.

The picture below of the Tianzi Mountains in China is an example. To help deal with this problem, there are several steps I take in Adobe Camera Raw or Lightroom to minimize the ef-

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fect of the poor air quality. I do this to the RAW file before it’s opened in Photoshop.

1. The first tool I use is clarity. I move this slider to the right as far as it takes to cut through the bad air. Of all the tools I know, this one is the most effective.

2. I then use the contrast slider, and this also helps minimize the hazy quality of the image.

3. Next, I choose the tab that takes me to the list of colors and I desaturate the blue as well as the cyan.

4. Finally, I sharpen the image a little because this counteracts the softening quality of smog. §

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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New eBook for beginning photographers I’ve not seen a book on beginning photography that I thought was clear, concise, and relevant to taking good pictures, so I wrote one. If you are insecure about your knowledge of how f/ stops, shutter speeds, and ISO interact, or what exactly the various exposure modes on a camera are for, this is the eBook for you.

Or if you know someone who just bought a camera and is having a hard time understanding the manual that came with the camera, the information in this new publication is essential.

It will take much of the frustration in learning photography out of the equation. Instruction

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manuals for cameras do not teach photography.

All of the basics of photography are covered including depth of field, the simple mathematical relationships between lens apertures and shutter speeds, the issues surrounding digital noise, basic fundamentals of composition, the features you should look for when choosing your next camera, the different kinds of lenses and how to use them, how shutter speeds and lens apertures allow you to express your artistic vision, and creative considerations that enable you to start taking photographs rather than mere snapshots.

PHOTO TOUR to KASAKHSTAN August 23 - September 3, 2016 Dramatic landscapes

amazing architecture

eagle hunters exotic culture

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What’s wrong with this picture?

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oth this picture and the one on the next page were taken from the same vantage point, the difference being focal length of the lens as well as the density of low clouds. The clouds where swirling through the mountains in a breathtaking manner due to the high winds, and every few seconds the scenes changed.

The problem with the image above is that the lone tree at the top of the spire is too close to the top edge of the frame. It doesn’t have enough breathing room. I see this kind of mistake with many of my students, and it can happen with any kind of subject.

I was shooting very fast because the clouds and fog kept changing, and when I saw the flaw on the LCD monitor I quickly zoomed back on the 24-105mm lens

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and included more ‘negative space’ above and to the left of the scene. In just those few seconds, more clouds came in and changed the dynamics of the shot in terms of clarity and exposure. With the new composition, though, the image above is better. The image on the last page of this issue is the same tree that I photographed the following day.

The LCD monitor on the back of the camera serves several purposes. It tells us how our exposures look, whether or not our images are focused correctly, how our subjects look at the moment the picture is taken if we’re shooting people, animals, or anything else that moves, and what our composition looks like.

This allows us to make changes at the time of shooting, so use this remarkable tool to monitor your picture taking so you can make it as good as possible. It’s very disappointing when you discover mistakes similar to what I’m describing here when you get home. It’s obviously too late to address the problem at that point. § 23

SHORT AND SWEET 1.

Dark backgrounds force attention to the subject which is the ideal in most types of photos. Look how this blue-gray tanager in Costa Rica stands out. Also helping this image is the fact that the background is completely out of focus due to the 500mm lens I used.

3. In a pattern picture like this of the famous terracot-

ta soldiers from a Qin Dynasty tomb in Xian, China, depth of field is paramount to show all of the incredible detail. Selective focus is not appropriate here -what’s so good about out of focus, anyway? I used a lens aperture of f/29 for this photo.

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2.

Converting color images to b & w causes a loss in contrast and this must be regained in Photoshop.

You can use the levels or curves command to do this.

In addition, burning and dodging goes a long way to create a powerful image like this Chinese landscape.

4.

When traveling, unexpected photo opportunities can happen at any time. For example, this is a restaurant in which my photo tour group and I had dinner. Before we sat down to eat, we photographed the remarkable decor. Had we left our cameras back at the hotel, we would have missed this shot. §

ASK JIM

Every month Jim will answer a question from his online students, from people who participate in his tours and workshops, or from subscribers to this magazine. If you have a question you’d like Jim to answer, please drop him a note at photos@jimzuckerman.com.

Q: Jim . . .I have heard that in high contrast scenes like sunrise or sunset, you can expose for the sky,

expose for the mid-ground, and expose for the foreground and blend the exposures. What is the proper technique for metering for different exposures? The metering area is in the center of the viewfinder. In my Canon 7D, I have been unable to move the metering spot around the viewfinder like you can the focus spot. How can you meter in different spots of a scene without changing the composition?

Jim Davis, Seven Lakes, North Carolina

A: Regarding exposing for contrasty scenes like sunrise and sunset, you’ve basically described HDR.

This is the technique where you typically shoot 3 to 5 frames in one f/stop increments from the stability of a tripod and then blend them together using software such as Photomatix, Nik HDR Efex Pro 2, or Photoshop itself. When you set your camera to take these bracketed frames (with the auto exposure bracketing function -- AEB), you can slide the group of exposures to add or subtract exposure. Each camera is different, so consult your camera manual to see exactly how to do this on the 7D. The shot below is a sunrise shot from China in which I took five frames in one f/stop increments and used Photoshop to composite them together. See the June ‘15 issue of Photo Insights to read the steps I used in Photoshop to do this.

Regarding moving the metering spot, what you have to do is point the camera at the area in the scene from which you want to take the reading, push halfway down on the shutter button to take the exposure, and then hold down the AE Lock button -- auto exposure lock. This locks the exposure in place and then you can recompose and shoot.

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Photography Tours 2016 - 2018 CARNIVAL IN VENICE Feb. 2017

NEPAL Mar. 2017

CHINA WILDLIFE Jun. 2017

ECUADOR BIRDS Jul. 2017

EGYPT Oct. 2017

NEW ZEALAND Apr. 2018

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SOUTH AFRICA & NAMIBIA Nov. 2017

WHITE HORSES, FRANCE Apr. 2018 (date TBA)

MOROCCO May 2017

KAZAKHSTAN Aug. 2017

SNOWY OWLS (date TBA) Jan. 2018

THE BALKINS May 2018

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

South Africa & Namibia photo safari November 6 - 20, 2017

Awesome wildlife exotic birds huge dunes

Drinking leopard photographed in 2015 right in front of our lodge at Sabi Sabi, South Africa

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KASAKHSTAN PHOTO TOUR August 23 - September 3, 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 my trips.

Joyce Pernin, New York, New York China Photo Tour, Kenya photo tour, Photoshop workshop, and

Patagonia in 2017.

Š 2016 Joyce Pernin

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Student Showcase, continued

© 2016 Joyce Pernin

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Student Showcase, continued

© 2016 Joyce Pernin

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Student Showcase, continued

© 2016 Joyce Pernin

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PHOTOSHOP WORKSHOP in my home

Sat. & Sun., Oct. 29 - 30, 2016

Photoshop is a photographer’s best friend, and the creative possibilities are absolutely endless -- 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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• Topaz Glow • A different approach to composition • Photographing puppies • Kaleidoscopic images • Online photo course • Student showcase • Photo tours

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