ANTARCTICA: THE PHOTOGRAPHIC CHALLENGES
Antarctica is awesome. It is like traveling to the end of the Earth -- or possibly to another planet. It is completely foreign to anything I'd experienced in my travels, and I was overwhelmed with how stunning the landscapes are, how incredible the bird life is, and how amazing and varied the ice forms are.
There were quite a few photographic challenges I faced, and I thought you'd appreciate knowing what they were and how I coped with them.
Challenge #1: Shooting the shoreline from a zodiac. We made many landings on beaches in zodiacs, but sometimes we didn't land at all because of the rough surf or dangerous rocks. Instead, we would cruise around the shoreline to look at the penguin colonies, the elephant seals battling for dominance, the icebergs and glaciers, or the dramatic geology of the land forms. The zodiacs are stable boats with respect to safety, but it's very difficult to shoot pictures when the waves are serious.
 The only way to approach the
situation was to use a fast
shutter speed. The strategy I use
is to set the ISO until I like the shutter speed. I used speeds from 1/250 and faster, so I made sure that the ISO I was using -- usually 400 -- enabled me to use that kind of speed. Depth of field was a luxury I couldn't afford, since shutter speed was essential to counteract the movement of the boat. When I used a telephoto lens to capture birds on the rocks or in flight, I used 1/500 or faster.
When the subject is moving in addition to the zodiac, the problem is exacerbated. Such was the case with the leopard seal below. Once I knew my shutter speed was fast enough, the rest of my attention went to focusing. I was constantly focusing and re-focusing because every millisecond my distance from the animal changed. This was not easy at all. I would take at least 10 pictures for every one that was good.
Challenge #2: Exposing for the snow and the glaciers. Many photo instructors teach that when shooting snow, you should use the exposure compensation feature on the camera and overexpose by 1 1/3 f/stops or some other amount they specify. Because exposure meters are programmed to understand middle toned subjects correctly, they respond to snow by underexposing it in an attempt to make it middle toned. After all, dark gray snow is middle toned. By overexposing, you can compensate for the anticipated underexposure, thus arriving at a correct reading.
I don't do that. I use a zero compensation on my camera, i.e. I make no correction at all. I let my pictures becomes underexposed by approximately 2/3 f/stop for one reason: I am so concerned about overexposing highlights (meaning the snow) that I prefer the underexposure. When I process the RAW files (it is essential to always shoot in RAW because this mode is required to reveal the subtle detail and texture in the highlights), I can adjust the exposure and contrast to taste. Many photographers disagree with me on this approach, but please understand that once those highlights are 'blown' -- meaning a complete loss of detail due to the overexposure such that areas of the image are solid white -- they can't be recovered (not even with the recovery slider in Adobe Camera Raw). Since RAW files have the ability to lighten shadows remarkably,I would rather suffer a slight gain in digital noise rather than lose detail in the highlights.
Having said that, I have made many large prints (20 x 30 and larger) from my RAW files in which I underexposed by minus 2/3 f/stops, and I see no gain in noise at all.
Challenge #3: Getting close enough to penguins to get wide angle shots. To protect the penguins and other animals in Antarctica, responsible cruise companies request of us to stay at least 15 feet away. This is fine for frame-filling portraits with telephoto lenses, but if you want wide angle closeups -- like the rock hopper penguin below right -- I took a passive approach. I found that simply sitting on the ground often lured curious birds to within inches of me. If they approached me, then I was within acceptable bounds in photographing them. For the picture of the rock hopper, I was actually laying on the ground and I used a 14mm ultra wide angle.
 Challenge #4: Protecting my equipment from saltwater
spray. Admittedly, I did not do a good job with this issue. I assumed the zodiacs would be dry inside, and that was -- if I do say so myself -- an idiotic assumption. They weren't. When the wind was whipping up the waves, on two separate occasions ocean water sprayed everyone in the boat and I had to turn my back quickly to protect my camera and lens. Saltwater kills electronics instantly and without mercy, and both times I was very, very lucky. My camera continued to function, although someone else did, in fact, have saltwater damage and his camera no longer functioned.
I will never do that again. Thinktank has a product designed to protect cameras and lenses (both large and small lenses) in these type of circumstances, and this is what I'll use in the future. Here is a link:
http://www.thinktankphoto.com/products/hydrophobia-300-600-rain-cover.aspx
Challenge #5: Photographing birds in flight. When a bird is flying across your field of vision, it's not that difficult for the autofocus mechanism to follow focus when the camera is set to AI servo. However, when a bird is flying toward the lens, it's very difficult to keep it in focus.
The technique I use first involves choosing the correct autofocus points in the viewfinder. Most 35mm DSLR cameras allow you to do this. Instead of using a central point of focus, I choose all the focus points available. The reason I do that is because it's tough to keep a fast-flying bird in the center of the frame, and if it's body moves to one side of the viewfinder the wings will still 'catch' one or two of the focus points. In that way, the camera stays focused on the bird.
If you would like to see all of the Antarctica photos I've uploaded to my website, here is a direct link:
http://www.corporatefineart.com/-/corporatefineart/gallery.asp?cat=135546&pID=1&row=15
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PATIENCE PAYS OFF
Photography has taught me to be patient. When I was young, I wanted everything right now -- like most young people -- but most of life doesn't work that way. If you are impatient, you can forget about shooting wildlife photography. It will drive you crazy. If you love photographing animals, then you must learn to invest the time required to wait for those peak moments that will be so rewarding.
A case in point was this leopard seal. This is one of the feared predators in southern oceans, and I found one on a lava beach on Deception Island. It was sleeping, and a seal that's not animated looks like nothing more than a big torpedo-like blob of blubber. I wanted something more, so I sat down and waited. It took about a half hour, but suddenly the seal raised up and opened it's huge mouth. I'm not sure if this is a yawn or an aggressive display, but it made the shot.
 I also waited for quite a while and watched an
adelie penguin with its chicks. The two babies
competed for food (even though it looks like they are buddies, the truth is they are fighting for survival), and I took many shots hoping for a peak moment with a clean background and where each bird was sharp. This kind of thing lasts for only fractions of a second, so you have to watch the behavoir through the viewfinder and be ready to take the picture. If you watch them with your eyes, see the shot you want, and then go to the viewfinder to take the shot, it will most likely be too late.
When I photographed the southern elephant seals below, I used the same strategy. I watched them through the viewfinder without taking my eyes away until the action was over. I shot constantly, and all of my energies were spent in making sure the two animals were in tack sharp focus. In a situation like this, since I was using a 500mm telephoto, the depth of field was very shallow. Therefore, I waited until the two seals were equidistant to the camera to shoot. In other words, when they were on the same plane, I knew they would both be sharp. When I use a long telephoto lens, I usually shoot wide open -- f/4 in this case -- because closing down one or two stops produces very little additional depth of field. It is more important to have a fast shutter speed with long lenses.
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ON-LINE PHOTO INSTRUCTION-- with detailed critiques of your work
My new 4-week on-line photo courses begin again on Wednesday, February 3. As preparation for an African safari (for example, my Namibia photo tour later this year), you might consider my Wildlife course: http://www.better
photo.com/course
Overview.asp?
cspID=87
My 8-week courses begin again on Wednesday, March 3.
I have a new photoshop course beginning in March. It is called Photoshop: Thinking Outside the Box. Look for it on the betterphoto.com website in the 8-week course listings
Do you want to make money in photography? Want to feel more confident in exposure? Interested in learning more about Photoshop (like putting fireworks in the sky or removing lens flare). Are you insecure about your compositional or exposure skills?
I teach several 8-week and 4-week courses on-line. The way the courses work is this. Every Wednesday, you receive a lesson that consists of text and photos, explaining various principles in photography, marketing your work, digital manipulation, or whatever subject you are studying. At the end of each lesson there is an assignment, and you have plenty of time to take pictures and upload them for my critique. You can use photos you did specifically for the assignment or images that you have taken previously.
On-line photo courses are like virtual classrooms but not in real time. Other students can see your pictures, read my critiques, and comment on your work. Similarly, you can comment on the pictures of other students. It is a unique and wonderful learning experience.
One of the great things about these on-line courses is that students participate from all over the world. In a single lesson's uploads, you may see pictures from Bryce Canyon or Brazil, or from Singapore or South Carolina. It's a very stimulating environment, and it will help you become the photographer or digital artist that you would like to be.
On the Betterphoto.com website, you can read the lesson outline of each course and see sample photos. In addition, you can also access the courses I teach directly by going to my website, jimzuckerman.com, and clicking on the link 'On-line Photo Courses'. at the top of the home page.
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SELF-CRITIQUE
I was very happy to find this bird in Antarctica. This was taken on South Georgia as we were heading south to the continent. It is a light-mantled sooty albatross, and its unique eye and beautiful coloring make it a wonderful find. I like the fact that I was able to get so close to it and fill the frame, especially since this was halfway up a cliff, but at the same time I was very disappointed with the patchy lighting. The sun had just come over the top of the hill and created the pattern of light and dark which I find to be very visually annoying.
The pattern on the bird can be minimized in Photoshop, but not by much. You should usually avoid patchy lighting, especially when the sun is high in the sky like it was here. This kind of light is too contrasty, and what usually happens is that the highlights end up being a little bit too light and the shadows turn out a little too dark. In addition, the pattern of light and dark shapes draws the eye away from the subject, or away from the part of the subject that deserves most of our focus -- such as the face or head in this case.
I put this picture on my website, so I don't consider it a total failure. It will forever bother me, though, that I wasn't able to take a perfect portrait of this beautiful bird. 'Perfect' by my definition would be soft and diffused lighting. I am also not happy with the out of focus grasses in the foreground, especially since they are receiving direct light the sun, but they don't bother me as much as the patchy lighting does.
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WHITE SKIES
 We have all had the experience of shooting subjects where the background sky becomes white. Much of the time, a sky that is very light or white is not desirable. It pulls our attention away from a darker subject, and that's not how a good picture is supposed to work. This is particularly true of landscapes, where white skies often ruin an otherwise beautiful shot.
Sometimes, though, a white sky is not only acceptable, it is desirable. I would say that in the case of this displaying chinstrap penguin, the sky was perfect. It compliments the black and white bird and makes the background completely unobtrusive. There is a little tonality in the sky, but not much.
In some of my Antarctica shots where I had a white sky, I chose to replace it entirely with a completely new background. I did this in the iceberg photo below because I thought the sky added artistry to the image. In this case I felt the very light sky in the original picture didn't compliment the ice, so I used one that looked much better.
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NAMIBIA PHOTO TOUR
Oct 17 - Oct 31, 2010
The 2009 Namibia photography tour was extremely successful. My group got amazing pictures of the classically beautiful sand dunes and the primitive Himba and Bushmen, and we had an amazing photo session with cheetahs in a natural bush environment at a rehabilitation center, as you can see below.
I changed the itinerary for 2010 to include another facility that I would have to describe as the best and most exciting wildlife photography I've ever experienced. The photo of the lion below attests to what I'm talking about. These animals are in captivity, but they have acres to roam and the photography is exactly the same as if you were in the bush -- except that you are protected by photographer-friendly fences (meaning the openings are large enough for telephoto and wide angle lenses).
Namibia is a safe place to visit, our local guide is awesome, and the photos you take will like nothing else you've taken before. There is a lot of driving on this tour, but I feel the distances we cover are worth it to see and experience some of Africa's best subject matter.
The complete itinerary and pricing can be found using this link:
http://www.jimzuckermanworkshops.com/namibia-oct-17-31-2010/
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PHOTO TOUR to IRELAND
May 21 - 31, 2010
Come join me on a wonderful photography tour to beautiful Ireland. I've created an itinerary that encompasses castles, ruins, landscapes, cathedrals, old cemeteries and more. Ireland is a joy to experience, and you will cherish your pictures from our trip.
Here is a link to the promotional page on my website where you can see photos and read the day by day itinerary in brief:
http://www.jimzuckermanworkshops.com/photo-tour-to-ireland/
 If this interests you, drop me a note at (photos@jimzuckerman.com) and I'll send you the complete schedule. I'll be happy to answer any questions you may have.
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COSTA RICA HUMMINGBIRDS
May 1 - 11, 2010
If you have a passion for bird photography, and you've always wanted to shoot exotic species of hummingbirds, Costa Rica is the place. I am conducting a 10 day photo tour there where we will focus on three different locations. Feeders have been placed to attract the birds, and awesome images are guaranteed. It's really like shooting ducks -- or in this case, hummers! The flash units are provided, as is everything else, and all you need is your camera.
Also included in the trip is the active volcano Mt. Arenal, which night photography of the lava flows is incredible, as well as some other surprises. Here is a link on my website for more information:
http://www.jimzuckermanworkshops.com/costa-rica-may-1-11-2010/
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PHOTO TOUR to
EASTERN EUROPE
August 27 to Sept. 9, 2010
My Heart of Europe trip was very successful in 2008, and I spent this past summer in Europe planning a Heart of Eastern Europe trip. As usual, I find the best vantage points, the most stunning cathedral interiors, and the best locations for twilight photography, and you will return home with images you will cherish. The countries we will visit include The Czech Republic, Slovenia, Poland, Hungary, Croatia, and Austria.
Ceiling in the Monastery at Melk, Austria
For a full description, pricing, and more photos, please check out this link on my website: http://www.jimzuckermanworkshops.com/heart-of-eastern-europe-2010/
Bled Castle, Slovenia
The
photo below is a beautiful window I found in Warsaw, Poland. This is one example of the wonderful details you can find everywhere in Eastern Europe. If you have any questions, my direct email
is: photos@jimzuckerman.com.
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PHOTOSHOP WORKSHOP in my HOME
Sat. & Sun., April 24, 25
The February workshop is sold out, so I have scheduled the next one for April. Photoshop is a photographer's best friend, and the creative possibilities are absolutely endless. I start at the beginning -- assuming you know nothing -- but I quickly get into layers, cutting and pasting, plug-ins, and a lot more. I promise to fill your head with so many cool techniques that you won't believe what you'll be able to do.
Photoshop instructors approach teaching this program from different points of view. 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.
A lot of people, once they learn what the tools and commands do, still need help in deciding what images to work with, what composites look good, and how to be artistic within Photoshop. This is one of the main things I address in this workshop.
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 it on Mapquest. 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. All you need is a laptop. If you don't have one, I have one laptop (a Mac) I can loan out. jimzuckerman.com
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PROBLEM SOLVING
This picture was taken yesterday when a snow storm hit Tennessee. I was trying to get a majestic picture of my seven month old great Pyrenees 'puppy', Rexie, and I was using a 70-200mm lens. I realized that was a mistake, because this lens requires me to be fairly close to him to fill the frame, and all Rexie wanted to do was play with me. He kept coming in too close to focus.
To solve the problem, I went into the house and changed lenses. I put my 500mm f/4 telephoto on the camera, and now I could shoot from 100 feet away. Rexie's attention was elsewhere when I was that far and I was able to take some very nice images of him.
The blue color in this photo comes from the fact that I was using daylight white balance and the light was starting to fade in the late afternoon. The deep overcast lighting caused the blue color. Had I switched to cloudy (which I never do), that would have solved the problem. I also could have corrected the color bias in Adobe Camera Raw, but I kept it this way because I like it.
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