July 2012
 
In This Issue
Extension tubes
Metering modes
Shooting fireworks
Online courses
Photo tours
Painting photos
ON-LINE PHOTO INSTRUCTION-- with detailed critiques of your work

My new 4-week and 8-week  courses begin again at Betterphoto.com on Wednesday, July 11, 2012. 



 To improve your compositional skills, for example, click
HERE to check out the outline of the Developing Your Creative Artistic Vision course to see if you feel this subject matter 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 this unique course that will introduce some intriguing techniques that you've probably not tried before -- like 3D, making a sketch, and more.  It is very different from my other Photoshop courses, and it's 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.



   
 

Webinar
If you missed the Webinar I gave on June 26 sponsored by Photobiz, you can see the hour-long presentation by clicking HERE:  The subject is how to dramatically improve your photography. It's free.



EXTENSION TUBES:  ESSENTIAL GEAR

 



I consider a set of extension tubes essential if you like macro photography. In addition, you can use them for other types of work such as bird photography and even portraits. Let me explain.

 

Extension tubes are basically spacers. They come in a set of three, such as the Kenko tubes pictured below, and they fit between the lens and the camera body. They don't have any glass, so the quality of your prime lens isn't affected in any way. They can be used with a macro lens, such as a 50mm or 100mm macro, or they can be used with a telephoto lens such as a 70-200mm zoom or even a 500mm super telephoto. Their primary function is to enable you to focus closer, to fill the frame with very small subjects.

 


 

When you place one or more tubes between the body and a telephoto lens, the minimum focusing distance is reduced. An example is the photo of a red bellied woodpecker, below. This bird visited the feeder outside my office window, and it was only 10 feet from my desk. I wanted to use a 500mm f/4 to fill as much of the frame as possible with the bird (this photo has not been cropped), but the minimum focusing distance of this lens is about 15 feet. By placing an extension tube between the lens and the body, I was able to focus to 10 feet.   

 

This picture was taken right through the glass window. 

 

 

Do extension tubes cause a loss of light? Yes, they do, but only when you use them for closeup photography with a short focal length lens. They don't cause appreciable light loss when used with a telephoto. When using them with lenses such as a 50mm or 100mm macro, a significant amount of light is lost. The amount of loss depends on how much extension you use. All three tubes used on a 50mm macro cause a one full f/stop loss. The same loss is experienced, though, in any closeup work with any type of lens or extension.  

 

For example, Canon has a 5x 65mm macro lens, and when you zoom in from 1x to 5x, you lose light. This is just the nature of light as it travels away from the source. Since you should be using a tripod when doing macro work, the loss of light isn't a problem unless your subjects are moving. In that case, you'll need to use flash to freeze the movement.



Many photographers who enjoy doing macro photography prefer a telephoto macro, such as a 180mm macro, as opposed to a 50mm macro lens. Telephoto macros allow you to focus on small subjects from several feet away, instead of several inches, and the background goes out of focus more readily. Completely undefined backgrounds are usually more desirable in closeup work because that forces all of the attention on the subject as you can see in the picture of the caterpillar.

 

   

If you use extension tubes on a medium telephoto, you instantly have a telephoto macro. That's why I often use an extension tube(s) in combination with my 70-200mm f/2.8 lens. This gives me a telephoto zoom macro!

 

The greater the magnification, the more depth of field is lost.  That means that when you use extension tubes, you may not be happy with intricate and fascinating subjects appearing largely blurred.  This is why I often use a flash when doing macro work.  The additional light from the flash allows the use of small lens apertures like f/22 or f/32 which I feel are necessary for most closeup work.  The photos above of the orchid, the blue dart frog, and the caterpillar were all taken with a ring flash and a lens aperture of f/32. 

 


HOW TO SHOOT FIREWORKS


 
Many of you will be photographing fireworks on the 4th, so I thought I would share my technique for capturing the best images.  Once you have a collection of great fireworks shots, you can use them in composites to embellish cityscapes, such as the shot of Singapore, above, or they can stand alone as striking abstracts.

1.  Use a tripod.
2.  Use manual exposure mode.
3.  Set the shutter to 1.6 seconds.  Start here and see how you like the length of the streaks of light. If you want the steaks to be longer, use a longer shutter speed.
4.  Use a lens aperture of f/8.  During the finale, you may want to use f/11.
5.  Set the ISO to 200.
6.  Focus manually.  I find a distant street lamp or illuminated window in a nearby house or office building, and then I focus on that.
7.  Don't use the mirror lockup feature and don't use the self-timer.

 
  
WHICH METERING MODE TO USE?

 

 

All digital cameras offer you several choices as to how the meter reads light. They are: evaluative for Canon cameras (or matrix for Nikon cameras), spot, partial, and average or center weighted. How do you know which one to use?

 

Evaluative (matrix): This is the most accurate method of interpreting the light in a scene. The viewfinder is divided into sections, and each section is assigned a level of importance with the center sections being the most important.

 

 

Spot: The center 3% to 5% of the viewfinder is the only area the meter uses to read the light. You can use this when you photograph someone standing in front of a bright window or when a performer on stage is lit by a spot light and the background is very dark. The photo above would be a lighting situation where you could take a spot reading on the women so the meter wasn't influenced by the bright sun. You would then lock the exposure in place with AE lock, recompose, and shoot. 

 

Partial: The meter reads the center 9% of the viewfinder.

 

Average: The entire viewfinder is considered by the meter, but the center is given a little more importance.

 

Since I bought my first high-end digital camera in 2005, I have only used one metering mode: evaluative. I never take the camera off this mode. Obviously I have encountered thousands of exposure situations that are challenging, so let me explain my rationale for doing this.

 

First, I try to minimize the camera adjustments because this saves time. Fiddling with camera controls while colorful festival dancers are performing, like the Papuan dancers, below, means I may very well miss a great photograph. The same is true when photographing children with quickly changing expressions, sports, birds, and so many other subjects. 

 

 

Second, I check the LCD monitor on the back of the camera constantly to make sure my exposures are correct. If they are not, I use the exposure compensation feature to tweak them in 1/3 f/stop increments. In this way, I can make imperfect exposures perfect very quickly.  And, there is no guesswork. 

 

Third, with the ability to adjust the exposure in post-processing, my exposures can be off somewhat but I know I can correct them to a large degree after-the-fact. In fast-changing situations, I feel I need to get the picture and then, if necessary, modify it later.

 

Fourth, even if I choose another metering mode, it's only an educated guess as to the results. I would still have to study the LCD to see if the exposures were good.  I may still have to tweak the results with the exposure compensation feature. I would much rather save the step of changing the metering mode in lieu of speed - getting the shot - and then dealing with the exposure when I had the time during post-processing.

 A NEW WAY TO PAINT PHOTOS 

 

In the new Photoshop CS6, there is a built-in filter that allows you to quickly add 'brush strokes' to your images.  You access it here:  Filter > oil paint.  There are just few sliders in the dialog box that opens, and the possibilities are fairly limited compared to paint programs like Corel Painter and much deeper plug-ins like Alien Skin's SnapArt, but you can have a lot of fun experimenting with it. The effect I added to the tulip, below, took about 10 seconds. 

 

If you have CS5, this filter isn't built-in, but it is a free download using this link.  This filter isn't available for versions earlier than CS5.

 

 

 eBOOKS 

Click HERE to read about the contents of each ebook and to see sample pages.

 

eBooks are great because they are much less expensive than conventional books, and you can carry them with you on an iPad, iPhone, or laptop.  In addition, trees don't have to be cut down to make the paper for the books. The colors in the images are dazzling, too -- much more so than in a conventional print book because the photographs seen on a computer or an iPad are illuminated from behind. What a great time it is to be a photographer!    

 

The ebook on composition is my newest.  The toughest subject in photography to teach and to learn is composition simply because the world is what I call a compositional mess. It's hard to make artistic and visual sense out of all the elements we must deal with in taking great pictures.  I think this ebook will help you sort that out.  I give you concrete things you can look for to significantly improve your photographic compositions. The ebook is generously illustrated with lots of pictures that will inspire you to be a better photographer.

 

I'm proud of my other ebooks, too.  I've had tons of wonderful compliments on them regarding the images, the clarity of the instruction, and how much people appreciate learning important creative concepts in the ebook format.  

 

A new ebook on travel photography will be available next month. 

 

 
 

    

 

    

 

 


 PHOTOSHOP WORKSHOP in my
HOME  
Sat. & Sun., Sept. 8 -9, 2012.


Photoshop is a photographer's best friend, and the creative possibilities are absolutely endless.  In a personal and 'homey' environment (I have a very cool classroom setup in my home), I start at the beginning -- assuming you know nothing -- but I quickly get into layers, cutting and pasting, plug-ins, using 'grunge' textures, modifying lighting, 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.  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.



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 in the workshop and I will tell you how to sign up (photos@jimzuckerman.com).


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.


PHOTO TOURS/WORKSHOPS FOR 2012 - 2014



NEW ENGLAND, October 7 - 14, 2012




 

BHUTAN PHOTO TOUR, October 15 - 24, 2013



INDONESIA PHOTO TOUR, July, 2013 (exact dates TBA
because the date for the Jember fashion festival hasn't been
announced yet)
 
 


FROG and REPTILE WORKSHOP, Nov. 3 - 4, 2012    
 

PHOTO TOUR TO MYANMAR (Burma), Nov. 9 - 24, 2012   

 

 

WHITE HORSES OF THE CAMARGUE, April 6 - 13, 2013) 

       

    

TIGERS & PANDAS, CHINA, Jan. 4 -16, 2014 

     

  

    

     

SAVE MONEY WHEN YOU BUY PHOTOSHOP

If you don't own the full, extended version of Photoshop and you want to save money when you buy it, go to academicsuperstore.com.  The 'educational' version, which is the same as the full priced version but much less money, can be purchased for under $200.  All you need to do to qualify for this discount is to email them a copy of a student's report card from school.  Any student (their last name can be different from yours), any grade (including elementary school).  If you are a teacher, you automatically qualify for this discount.  You will save HUNDREDS of dollars.


Missed a newsletter?  You can see all of my past newsletters as they are archived online (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.