ON-LINE PHOTO INSTRUCTION-- with detailed critiques of your work
My new 4-week and 8-week courses began again last Wednesday at Betterphoto.com, and it's still not too late to sign up. To improve your compositional skills, for example, click here to check out the outline course to see if you feel this material is exactly what you need.
I have a new photoshop course called Photoshop: Thinking Outside the
Box.
You can click here to see the outline of the course. It is very different from my other Photoshop courses in the types of techniques I demonstrate (include 3-D), and it's a heck of a lot of fun.
Do you want to make money in photography? Want to feel more confident in using natural light outdoors? Interested in learning more about Photoshop (like putting fireworks in the sky or removing lens flare). Are you insecure about your exposure skills?
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.
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Digital Noise and How to Eliminate It
During the photography tour I led last month to Namibia, one of the participants taught me something extremely valuable and I wanted to share this with you. Rick du Boisson has been on several trips with me, and two years we encountered the issue of shooting the night sky in Turkey. The problem that has always bothered me is that with long exposures at night, digital noise becomes quite pronounced and it is very unattractive. To accumulate enough light for the Milky Way and the vast field of starts to look dazzling (meaning much brighter than they appear to our eyes), a long exposure is required. However, if the exposure is longer than 10 seconds with a 50mm lens, the stars start to streak and that's not what I wanted. Assuming the largest aperture is being used, the only other solution would be to raise the ISO. When you do that, digital noise is increased significantly. That's the problem I wanted to deal with.
Rick had read about something online that he explained to me, and when we tried it, it was amazing. The digital noise disappeared completely, even at 3200 ISO! The photo of the quiver forest at the top of this newsletter was taken with 1250 ISO, and if you were to enlarge this to 100%, you'd see no noise at all. Rick tried this at 3200 ISO, and as I said, there was no discernible noise to be found in his picture. Amazing. The photo below is another example in which the noise disappeared. The original landscape was taken in daylight, but I darkened it to appear like it was taken with a long exposure at night.
Ok, so how is this done? The technique is simple. First, you take 10 to 15 exposures of the sky or any night scene from a tripod. In these two examples, I used 10 frames. Yes, during this time the Earth turns and the stars are not perfectly aligned, but that's not a problem. Each of the 10 pictures is taken with the same exposure, and of course I recommend using the RAW format.
Second, you open the images in Photoshop as you normally do. Then you use the pull down menu command (this is only available in CS4 or CS5 Extended): File > scripts > load files into stack. A dialog box opens and then you browse for the 10 images images, and there are two boxes at the bottom to check. They read: "Attempt to Automatically Align Source Images" and "Create Smart Object after Loading Layers". By checking these, you tell Photoshop to compensate for the movement of the stars in the sky during the time you've taken the 10 pictures.
Click OK.
The last step is to choose the pull down menu command: Layers > smart objects > stack mode > mean. Photoshop does it's magic and the final composite of the 10 images shows a sharp, noise-free image.
It's a great time to be a photographer, isn't it?
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CREATING A HUGE SUN FOR COMPOSITE WORK
Two types of images are made for each other: a large sun and a graphically pleasing silhouette. I often shoot images with strong graphic designs specifically to combine with beautiful backgrounds, and during my photo tour to Namibia last month I did a lot of this. For example, the Bushman we photographed were incredible models, and as the sun got lower in the sky my group took a lot of silhouettes of them hunting, walking, and posing in various positions.
To create an
image of the sunsuch that it appears unnaturally
large, I used along telephoto.
For the picture
of the sun behind
the Bushman, I
used a 500mm
plus a 1.4x
teleconverter. This gave me 700mm of focal length and it created the huge sun I wanted for maximum drama. Then, in Photoshop, it was a simple matter of combining the two images. Since the Bushman were black silhouettes against a very light background, I pasted their photo over the background sunset (Select > all, and then Edit > paste) and then used the 'lighten' blend mode to allow the sun to replace the original washed out sky. The blend modes can be found in the layers palette under the pull down
menu that begins with the word 'normal'. How do you expose when taking a picture into the sun? If you like to be
precise in your work, you can take a meter reading in a portion of the
sky away from the sun with either the spot mode in your camera or a
hand held meter. Hand held meters have the advantage of being able read a one=degree portion of the sky, which is obviously extremely precise. You read an area that is middle toned, or 'middle gray',
and then set the camera with the f/stop - shutter speed combination the
meter dictates. That will give you a correct exposure. Alternatively, you can simply take a shot, study the LCD monitor on the
back of the camera, and assess the exposure. If it is too light or too dark,
you can tweak it by using the exposure compensation feature in the
camera. You can do so in 1/3 f/stop increments.
The tree above was taken at a water hole in Etosha National Park, Namibia. The sky was bland, and with the huge sun it became a very different image. It is now more dynamic, more colorful, and much more compelling than in the original shot.
The original image doesn't have to be a silhouette. You can make a silhouette out of anything. The oryx below, for example, was originally taken with a flash at a water hole at night. I simply selected it very
carefully with the pen tool in Photoshop and then filled it with black (Edit >
fill).
 Then I pasted it in front of the same
dramatic sunset I used behind the tree to create a completely different look. I flipped
the image (Edit > transform > flip horizontal)
so the animal faced the sun.
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Self Critique
I worked hard to get this picture in Namibia because I had never seen or photographed a long tailed starling before. It was taken with a 500mm f/4 lens, and I like the fact that we can see the wonderful colors on the top of the bird. The diffused lighting was ideal to show the color because contrast was at a minimum.
The problem with this picture is the background. There is a very light stone behind the bird just to the left, and that's distracting. Our eye is always drawn to the brightest part of a photo first and it feels compelled to return over and over again. This inevitably pulls our focus away from your subject or from the important parts of the picture. This is true if the light area is behind or in front of the subject, and whether or not it's in focus or out of focus. I obviously had no choice in the matter since the stone was there, but it's not the ideal. I still put this image on my website because I love the bird, but the background will forever annoy me. At some point, I will replace the background entirely.
The other problem is the cactus. Those graphic lines are too pronounced and too light, and they also draw the eye away from the bird. We can't always choose our backgrounds, of course, but these are things to be aware of. The glossy starling below has what I consider an ideal background.
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SHOOTING LOW FOR A MORE DYNAMIC PERSPECTIVE
I have now been to Africa 10 times, and the typical procedure is to photograph wildlife from a vehicle. This makes sense, of course, because
the phrase 'eat or be eaten' is never more true than here. Yes, some lodges offer walking safaris, but I can guarantee you that the guides are not looking for lions or large bull elephants with harems. A vehicle protects us from becoming an appetizer. However, the thing that frustrates me is that we are forced to shoot several feet off the ground and, in my
opinion, this isn't ideal.
Much better would be to shoot from ground level. This gives animals
greater statue and makes much more intimate and compelling portraits.
For example, the photo of the lion above was taken when I was able to shoot from about two feet above the ground. I was crouching down and the huge cat was actually higher than I was. The same is true for the wild dog.
By comparison, the lion below was taken in amazing lighting (this almost looks like a studio setup, but it was at a water hole and the setting sun illuminated just the head of the lion as it yawned), but the vehicle was high on a ridge and I had to shoot down on the animal. I love the image except for the perspective. You can see how dynamic the lower point of view is compared to when I had no choice but to shoot downward.
How is it possible to get such lower perspectives, especially of the big cats? I found a fantastic facility in Namibia that protects animals from
farmers and hunters would kill these cats on site. They capture problematic predators as well as orphaned babies whose mother has been killed, and they care for them on a 32,000 acre farm. The animals are captive, but they have large areas to roam and they are in the exact same environment as they would be in the wild. The photographer-friendly fences give us the opportunity to have safe close encounters with them and still get the kinds of pictures we want.
I include this facility in my Namibia photo tour. Being able to shoot from ground level makes all the difference in being able to get the most outstanding wildlife images ever. We all agree that photographing animals in the wild is the best case scenario, but there are many types of images that are simply impossible to get without risking your life to get them. In Namibia, I've taken the best wildlife pictures because I discovered this wonderful refuge for animals that, without the protection offered by the dedicated people who operate this facility, would most likely be dead.
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PHOTOSHOP WORKSHOP in my HOME (just 3 spaces left)
Sat. & Sun., Dec. 4 & 5, 2010
 Photoshop is a photographer's best friend, and the creative possibilities are absolutely endless. In this personal and 'homey' environment, 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. I will do my best to inspire you with all the great things Photoshop can do. All you need is a laptop. If you don't have one, I have two laptops (they are Macs) I can loan out. photos@jimzuckerman.com
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LISTING OF PHOTO TOURS/WORKSHOPS FOR 2011
I am now offering some new photo tours for the first time. A brief description follows, and if you would like more information about them, you can either drop me a note (photos@jimzuckerman.com) or you can visit my website: jimzuckerman.com.
A note about my photo tours. The entire emphasis is on getting great pictures of great subjects. You will expend a lot of energy in that pursuit, and you may be exhausted when you get home, but you'll take the best pictures of your life. My motto is you can rest from your vacation when you get home!
Costa Rica hummingbirds, March 16 - 22, 2011.
Capturing exotic hummingbirds in flight is one of the most exciting photographic endeavors I've pursued. Once you know how to do it, it's easy -- easier than you would think. I provide the entire setup on this photo workshop -- the flash units, the backgrounds, the locations, and the instruction. All you have to do is sit comfortably in a chairand take outstanding images. This week-long workshop will be tremendously rewarding in the experience of being so close to these stunning jewels, and you will cherish the images. Also included is a visit to a reptile zoo where we set up natural looking backgrounds so you can photograph some of Costa Rica's fascinating frogs, snakes, and other interesting creatures.
The image of Mt. Arenal, the most active volcano in Costa Rica, was taken right from the balcony of my hotel room. It's a 90 second exposure.
There are two instructors on this workshop, myself and Adam Jones, a fantastic photographer and teacher in his own right. We work very well together, and on this trip you get a combined 80 years of experience and knowledge to help you get the best images possible.
 
INDONESIA, JULY 24 - 29, 2011. My wife is from Indonesia, and I have been there 20 times. It's a fantastic photo destination, and this tour includes exotic Bali, two active volcanic areas, an unbelievable fashion show, and 1000-year old Hindu and Buddhist ruins. In Bali, we photograph the amazing stylized dancing this island is famous for, a bat cave used as a temple, sculpted rice terraces, and we will have a private model shoot of Balinese dancers. On Java, we will photograph a Javanese bride.
As an aside, the shopping in Bali is amazing. My wife, whose bargaining skills can only be described as brutal, will help get the best prices on anything you want to buy.
 
VERMONT, OCT. 2 - 8, 2011. (4 spaces left) Autumn in Vermont is so beautiful that I remember the first time I photographed it. I was glad when it was night because I couldn't take any more beauty! I was visually overloaded. On this photo workshop, we visit classic New England churches, cemeteries, covered bridges, quaint villages, round barns, and all of this is set in the most glorious natural color imaginable. Bring more flash cards than you think you'll need because this is a photographer's paradise.
 
TURKEY, Oct 18 - 30, 2011. Turkey is a fantastic photographic destination with tremendously varied subject matter. From ancient ruins to stunning mosques, from exotic dancers to dramatic landscapes, Turkey is a place I am always happy to return to. Our local guide is fantastic. He is extremely knowledgeable about Turkish history and he loves sharing his insights with us. Our hotel in Istanbul gives us the best view of the Blue Mosque you've ever seen, and the people of Turkey are incredibly friendly and a joy to be with.
  
NAMIBIA, April or May, 2012 (dates to be announced next
month). Namibia is a photographer's dream come true. It has the largest sand dunes in the world, great wildlife, and primitive tribes right out of the pages of National Geographic. Some of my favorite pictures from Africa were taken here. We visit the primitive Himba people as well as the Bushmen and photograph them in their natural environment. The stark beauty of the Namib desert creates some of the most compelling landscape images you'll ever make. We also visit some unique wildlife rescue facilities that afford amazing opportunities to get face to face with cheetahs, lions, leopards, wild dogs, and other coveted species. This is a trip not to be missed.
To see my favorite images from this last trip to Namibia, click HERE.
 
SPAIN & PORTUGAL, April 5 - 15, 2012
 
I choose a different itinerary almost every year in Europe because there is so much to photograph. In 2012, I've chosen Spain and Portugal. Spectacular castles, beautiful cathedrals, ultra modern architecture, fascinating history, and warm and friendly people make this destination a great photographic experience. We shoot twilight in the evening, we take advantage of sunrise and sunsets, and as always I find the best vantage points and I choose subjects that, well, knock your socks off!
INDIA, February - March, 2012.
Exact dates to be announced in next month's newsletter. No place in the world is like India. The color, the faces, the architecture, the festivals -- there are outstanding pictures everywhere you look ... literally. This photo tour is timed to coincide with the elephant festival in Jaipur where elephants are painted in wild colors and patterns. We will have exquisite models to shoot in numerous locations throughout this trip, including a camel caravan at sunset in the Thar Desert, dancers, holy men, and much more.
 
FROG AND REPTILE SHOOT, April 30, May 1, 2011
Join me for a fun-filled weekend photographing poison dart frogs (not poisonous in captivity), exotic reptiles, and a few other unique creatures. The location is St. Louis, Missouri, and you are guaranteed visually arresting images that will knock your socks off! This workshop is really all about macro photography, and the subjects you will be shooting (over 50 species) will keep you excited and engaged for the entire weekend. Everyone who has taken this workshop over the past 4 years has loved the experience to have close encounters with these rare and engaging animals. The plants I buy for backgrounds add color and pizazz to the images and make the shots look like they were taken in the tropics.
For more information, click HERE.
 
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For a listing of other photo tours and workshops I'm leading,
please click here.
Drop me a note for any additional information you may want
at photos@jimzuckerman.com
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Missed a newsletter? You can see all of my past newsletters (starting with the February, 2008 issue) if you paste this link into your browser:
http://archive.constantcontact.com/fs031/1101654139463/archive/1102299763866.html
For AOL users have difficulty at times seeing the pictures in my newsletters, this feature is especially helpful.
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