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P H O T O I N S I G H T SJim Zuckerman’s

July 2014

• Butterfly photography• Drop shadows• Infrared photography• New post-processing course• Student showcase• Photo tours

4. Shooting butterflies14. Infrared21. New online course22. What’s wrong with this picture?24. Drop shadows26. Short and sweet28. Ask Jim31. Student showcase35. Back issues

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On the cover: Eastern tiger swallowtail

I am amused when people who like photography but aren’t really serious about it ask me what kind of camera I use. When I tell them the Canon 5D Mark III, usually their response is, Wow, that’s a great camera. It must really take good pictures. I feel like asking them what kind of pen did William Shakespeare use, and then adding that it must write really good plays!

The kind of camera you use doesn’t determine how good your pictures are. It’s your photographic eye, your sense of composition and design, your awareness of light, and your choice of subject matter that determines how good your pictures are. Don’t assume that if someone in your camera club or a person you meet on a photo tour has a camera that costs twice as much as yours did that they are a good photographer. Often this is not the case at all.

On the first photo tour I led in 1976 (to the American Southwest) when I was just 28 years old, I had a client who was 75. He had been shooting decades before I was born, and he had a Leica -- the Rolls Royce of cameras. In Zion National Park he asked me to look through his viewfinder to check a composition, and after I tweaked it slightly and he looked through the camera again, he was overjoyed with the improvement. That taught me a lot. His expensive Leica didn’t automatically translate into great pictures.

It’s not the camera. It’s the operator.

photos@jimzuckerman.comwww.jimzuckerman.com

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On the cover: Eastern tiger swallowtail

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Butterfly PhotographySummer is the time for butterflies, and

I love photographing these beauiful and fanciful insects. I thought I would

share with you my techniques for capturing them with the emphasis on perfection. I am not interested in mediocre shots or pictures with bad backgrounds, shadllow depth of field, or blurred subjects. There’s no point.

Before I explain how to get perfect pictures of butterflies and moths (which can be just as beau-tiful -- on the following page you can see a luna moth native to the eastern United States), let me

make a disclaimer. I know there will be some people who get upset with me for the way I manipulate these insects. I acknowledge this and I’m sorry you may feel that way, but no harm comes to the subjects at all. Their daily routine is merely interupted for 20 minutes or so.

One could argue that in order for people to be inspired to preserve our environment and the creatures that inhabit it with us, photogra-phers must show them the beauty of the natu-ral world. This is one way to do that.

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Photographing in the wild

The two photographs on this page illustrate what I consider to be failures. These are what you don’t want. At right, the picture of mating buckeye butterflies I shot on film in California in the 80s has a terribly distracting background. In addition, I used on-camera flash because the insects were in deep shade clinging to a branch in a tree. The flash caused the background seen through the leaves to be black. This is not a formula for a successful picture of diurnal (day flying) insects. A black background is appro-priate for a night-flying moth but not for a but-terfly.

The picture below shows the position of the wings often seen with butterflies. They form a dihedral shape -- a V formation -- and this has two disadvantages. First, we can’t see the beau-

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tiful shape of the wings, and second, depth of field is usually a significant problem. For exam-ple, if you focus on the body the wing tips will be soft. If you focus on the wings, the body and the antennae won’t be sharp. In the example I show here (previous page) the butterfly is sharp in its entirety, but only because I used f/32 in conjunction with a flash. I generally don’t like flash when shooting outdoors because the backgrounds go black, and this doesn’t make sense for butterflies. As I’ve mentioned, this is fine for moths because they are nocturnal.

Here is my technique when photographing but-terflies that are flying freely outside.

1. Make the back of the camera as parallel as possible to the wings of the insect. If the wings are outstretched, position yourself so the plane of the wings is parallel to the plane of the sen-sor -- i.e. the back of the camera. That will give you as much depth of field as possible, even at a fairly large lens aperture. In the picture below, you can see that the butterfly’s wings, legs and antennae are sharp because I was kneeling over it shooting downward. I took this picture at f/8, but with the wings and the sensor parallel with each other, I got what I wanted -- a sharp sub-ject. Note the busy background, though. This was natural, but not ideal from an artistic point

of view.

2. Don’t attempt to photograph butterflies in the wind. It is an exercise in frustration. You will never get sharp pictures with enough depth of field.

3. Approach butterflies very, very slowly. They detect movement, and as soon as they sense something large is moving closer to them, they take flight.

4. The way you can shoot butterflies from a safe distance such that they don’t fly away is to use a telephoto macro lens (such as the 180mm macro) or a medium telephoto lens with ex-tension tubes. This allows you to fill the frame with the insect but from a distance of several feet away. Telephoto macro lenses also make the background just a few inches behind the insect go out of focus very quickly.

5. When you approach butterflies, make sure your shadow doesn’t cross them. They will im-mediately fly away if they sense a shadow.

6. If you do use flash, you don’t want the but-terfly to be photographed on waxy leaves like in the photo below. The sheen on the surface of the leaves from the on-camera flash is very

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distracting.

7. Raise the ISO until the shutter speed is fast enough and the depth of field is sufficient to capture as much sharp detail in the butterfly as possible. That means you’ll need at least 400 ISO -- nothing less. The shutter doesn’t have to be super fast because the butterflies are perched on a leaf or flower, but the aperture should be, hopefully, at least f/11. The smaller the better in most cases.

Now, for perfect pictures every time

A unique approach you can take is to pur-chase live caterpillars or pupae (chrysalises or cocoons -- the former is the pupa stage for butterflies and the latter is the pupa stage for moths) and raise the insects at home. When they emerge, you can photograph them in con-trolled conditions. You choose the lighting, the

background, the depth of field, etc. The insects are in perfort form without tattered wings or faded colors. That’s how I got such a perfect picture of the cecropia moth, below.

You can find sources of live butterflies and moths online. Search for ‘live butterflies for sale’. Some states have restrictions on trans-porting live insects across the state line, so in-quire about which species are prohibited.

I typically buy three caterpillars or pupae for each species I order because sometimes they die at some stage of the development. It’s very important to know that each species has only one or two food plants it must have to survive. You can’t give a caterpillar lettuce or broccoli and expect it to eat. It won’t.

For example, monarch caterpillars need plants in the milkweed family, while the painted lady

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caterpillars thrive on thistles. You may have these plants growing in fields near your home, but if you don’t, you’ll have to buy them. If you buy the pupa stage in which the caterpillar is trans-formed into an adult butterfly, no food is neces-sary. Chrysalises and cocoons don’t eat.

Click this link to see a list of caterpillars and the food plants they require. Any supplier will tell you what you need to raise the species of but-terfly or moth you purchase. Keep in mind that you will need a fresh supply of the food plant, because once it’s cut it will wilt in a few hours. Caterpillars are picky eaters, and they only like fresh plants.

Whether you get caterpillars or chrysalises (or coccoons) depends on the month. If you buy caterpillars, they will eat and eat until they get large enough to pupate. Give them some sticks to climb on so they can attach the chrysalis or cocoon to it. I simply fill a flower pot full of dirt or small rocks and stick small twigs into it. Don’t forget to photograph the caterpillars, too. Some of them are fantastic.

Upon emergence, tt takes an hour or two for them to pump body fluids into their wings. When they first come out, they look de-formed, but after 30 minutes or so you will start to see their beauty. Then, they spread their wings out to dry. Photograph them like this. When the wings are fully formed, but-terflies fold them above their bodies like the monarch, below. Moths usually keep them outstretched like the regal moth on the previ-ous page.

To take the pictures, use natural diffused light such as in the shade of your house or by an open window. You can also use a ring flash. In additon, control the background. For ex-ample, it’s an easy matter to make a 13 x 19 inch matte print of out of focus foliage. The print is then placed behind the insect, and even at f/32 (so every part of the subject is sharp) the background stays attractively out of focus like in the picture below. You can ei-ther mount the print on foam core or simply tape it to a piece of cardboard to keep it flat.

A male monarch butterfly just emerged from its chrysalis with a 13 x 19 inch print of out of focus foliage in the background. The diffused daylight came from my kitchen window.

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Another approach to perfect pictures

There is another technique I use to take con-trolled (and therefore perfect) pictures of but-terflies, and it is based on the fact that these insects are very sensitive to temperature. They require at least 55 degrees Fahrenheit (12.8 Celsius) to fly, and if it’s colder than that, they can’t get airborne.

Therefore, you can capture a butterfly with a butterfly net (click here to see one). When you first use a butterfly net, you will feel un-coordinated and foolish as you try to catch fast flying butterflies. You will swing and miss many times. Just know that this is part of the challenge and eventually you’ll catch one.

When you are finally successful and you see it flying around in your net, hold the bottom of the net to the sky and it will fly up into it

and away from the opening. Have a small con-tainer of Tupperware handy, along with the lid, and insert the plastic container up into the net so the fluttering butterfly is forced into it. Put the lid on, and then you can remove the Tupper-ware from the net and place it in a refrigerator. If you are in the field, have a cooler available, if possible, because even if this isn’t very cold, the darkness will make the insect inactive. You don’t want the butterfly to injure or tatter it’s wings in an attempt to escape. The darkness will prevent this.

Once home, the coolness of the refrigerator will make the butterfly very sluggish after 15 min-utes or so. Don’t put it in the freezer unless it’s extremely hot outside. If you have to do that to make the butterfly inactive, don’t leave it in the freezer for more than 45 seconds or it will die.

When you take it out of the cold and out of the

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Tupperware, the wings will be folded above the body and it will be motionless. Hold the in-sect very, very gently and place it on a flower, a leaf, a piece of bark, or whatever you want. Its legs will grab hold of the rough surface. In the picture on the previous page of a red spotted purple butterfly, I simply placed it on the bark of a fireplace log. Choose a background that is natural, complementary, and non-distracting. In the picture of the eastern tiger swallowtail, below, notice that the distant foliage is so out of focus that it’s complementary and, at the same time, the butterfly and the flowers are entirely sharp so we can see and appreciate all of the beautiful detail.

If you shoot indoors, as I did with the red spot-ted purple (I shot this in my kitchen), I suggest a ring flash because the light envelopes and sur-rounds the insect, and this simulates soft and

diffused light. I took this picture with a 50mm macro lens, which meant I was very close to it -- about 6 inches away. The ring flash pro-vided enough light so I could use f/32 to make sure everything was sharp. This also meant a tripod wasn’t necessary because the brief flash duration takes care of the problem of blurred pictures.

If you don’t have a ring flash, then use a por-table flash along with a diffuser such as an Omnibounce. This will simulate diffused light, which is the ideal.

Even though these types of pictures will be taken under controlled conditions, I still rec-ommend making the back of the camera as parallel as possible to the plane of the wings to insure the image is sharp from edge to edge.In my opinion, most macro subjects should be tack sharp. §

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I n f r a r e dI

started experimenting with infrared photography six months after I bought my first camera, which was in December, 1968. I loved it. The surrealism, the wild

colors, the altered reality -- it was great. My favorite color palette was using Kodak Ektachrome Infrared 35mm film with an or-ange filter. Vegetation became electric orange and the sky turned mint green. Wow! You can see what this looked like in the photo at right. I took this picture in 1972 at a botanical garden in Cali-fornia.

Black and white infrared film was dramatic in a different way. Vegetation became white while the sky turned black, and the con-trast was stunning. We can still do this now with digital technol-ogy, but for color the technique and the color palettes are quite different than with film.

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Infrared photography doesn’t appeal to every-one, but if you like to expand your vision be-yond what you see, it’s a unique way to shoot. Today you have to devote one of your cameras to be converted so it is sensitive to infrared light. Many people convert inexpensive point and shoot cameras, and this is a good way to go if you just want to see if you like the medium. Expect to pay about $300 for the camera and the conversion. The picture quality is only fair, however. The digital files can’t stand an en-largement if you want to make a fine art quality print. If you want to make large prints, you’ll want a higher end camera. That will cost about $250 to $325 to take your camera (dozens of models can be converted) and turn it into an infrared model.

When the camera is made sensitive to the in-frared portion of the spectrum, you will have several choices in terms of the color palette and

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the contrast of the images. You can choose only black and white or several color palettes. For example, you can choose a blue sky and white vegetation, a mustard color sky and red-dish vegetation, etc. The conversion company will show you the choices. If you like both black and white and color, then choose one of the color palettes because you can remove the color at will in Photoshop.

[The best way to convert color into black and white in Photoshop is to use Image > adjust-ments > black and white. You’ll see many slid-ers that allow you to tweak the contrast of the black and white tones.

The conversions are measured, or defined, in nanometers. The conversion I use is 850 nm, You can discuss with the conversion company, such as Kolari Vision (kolarivision.com) what you are looking for and they can advise you as

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to the best way to go for your taste.

What you see is not what you get

What is interesting about color infrared is that the beautiful colors and contrasts are not what come out of the camera. The conversion com-pany gives you some actions that, when loaded into Photoshop, show up in the actions palette. You click on one of several actions and decide which results you like best. The colors you ini-tially see, though, are disappointing. Just ex-pect that. Only when you tweak the images using an action will they come to life.

Below you can see the before and after pictures of a town along the Rhine River in Germany, and the difference between the original digi-tal capture and the final version is remarkable.

The brown/reddish tones are what I took with the camera, and in Adobe Camera Raw I added contrast, clarity, and saturation (the photo be-low left actually looks better than what came out of the camera because you are seeing it af-ter I tweaked the contrast, etc. in ACR). Then, I opened the image in Photoshop and applied one of the actions (in this instance it was the ‘590nm to 665nm’ action), and instantly the colors changed to what you see in the final ver-sion, lower right. I did tweak the image a little more, such as adding color saturation to the magenta trees and darkening the sky some-what.

With digital infrared you don’t use filters the way we did back in the film days. The colors come from the type of conversion you choose and the post-processing techniques. In ad-

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dition, I always add sharpen-ing because the nanometer filter placed over the sensor in the conversion causes a slight amount of image quality degre-dation. The settings I use with Filter > sharpen > unsharp mask are: amount--100% ; ra-dius--1.0; threshold--0.

Lighting

When you photograph out-doors with normal color, such as when shooting landscapes, the best type of lighting to use is sunrise, sunset, and over-cast conditions. The opposite is true when using either color or black and white infrared. It seems strange, but the more contrasty type of light, the bet-ter.

The picture at left, for exam-ple, was taken near noon. The contrast between the high-lights and shadows is extreme. Nevertheless, the foliage is lu-minous white as it should be, and the shadows have detail

and texture. Notice the patchy lighting. This is something I advise photographers to avoid when possible, but in this case it works. The pattern on the ground adds interest and design.

As I’ve mentioned, post-processing is still required for infrared imagery. Using all the controls at your disposal in either Adobe Camera Raw or Lightroom, you can tweak the highlights, shadows, and colors to fine tune the images so they look their best. I usually use the following sliders: shad-ows, highlights, exposure, clarity, and when working with color images, vibrance and saturation. If there is too much digital noise, I will also use the luminance slider to minimize this unwanted side effect. This may soften the image slightly, and that’s one reason why sharpening is necessary. You’ll find that there is a fine line between how much luminance is used versus how much sharpening needs to be applied in order to reduce the noise and still maintain a sharp photograph. §

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What’s wrong with this picture?

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You don’t have to be passionate about cars to appreciate the classics such as this 1914 Amerian Undersling. They are works of art on four wheels. Most photog-raphers go to car shows to photograph the beautiful details of spare tires, hood

ornaments, detailing, hub caps and spokes, etc. To photograph the entire car forces you to include unwanted elements like other people, distracting backgrounds, other cars, and often vendors selling food and souvenirs to the crowds. In this picture, the people are definitely problematic, but compared to so many of the pictures I’ve taken at these Concourse d’’Elegance shows this picture is pretty good. The trees in the background are not bad (although the bright sky seen through the foliage is distracting) and the green car in the bzckground isn’t that obtrusive but it would be much better had it not been there.

The biggest problem are the people. I couldn have cloned them out, and that would have given me a picture that most photographers would be happy with. Not I, though. I don’t like pictures that are pretty good. For me to be pleased with my efforts, I need exceptional

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images. Therefore, the entire background had to be replaced.

When replacing backgrounds, the most important thing is to match lighting and perspec-tive. I photographed the car in diffused light (nothwithstanding the small highlights from an early sun in the lower right corner), and therefore the background had to have been taken in similar lighting conditions. In addition, I used a slightly wide angle lens to shoot the car, and the background was also taken with a wide angle. Only by paying attention to these details will the resulting composite be believable.

Backgrounds are virtually as important as the subject in making a picture work. A distract-ing or overexposed background can ruin an otherwise wonderful capture. Your photogra-phy will take a quantum leap forward in my opinion if you learn to replace backgrounds. To make this composite, I used the pen tool in Photoshop which is the most precise way to make a detailed selection. If you look at the steering wheel and the spokes of the right front wheel (our right), you can appreciate the kind of precision necessary to make this picture perfect. Once you learn how to use the pen tool, this becomes a piece of cake. §

DROP SHADOWS

Everything casts a shadow, no mat-ter how small the subject is or how subtle the shadow. Therefore, when

you cut and paste a subject into a new back-ground and you show the floor or the ground where the subject appears to be standing or sit-ting, you have to create a shadow. If you don’t, people will look at the picture and know some-thing is not quite right. When that happens, your Photoshop work becomes suspect.

There are two ways to add a drop shadow at the bottom edge of a layer. The first method is easy and straightforward. Make a duplicate layer with Command/Ctrl J and then apply the burn tool from the tools palette. You can vary the size of the brush with the bracket keys on the

keyboard, and it will be necessary to adjust the opacity of the brush as well. I usually work at about 30% opacity. It takes finesse and pa-tience to add a realistic looking shadow, so ex-pect to make mistakes and to start over.

The second method is the one I use the most. At the bottom of the layers palette there is a small icon, fx. When the subject is a layer (be-cause you’ve pasted it into the background), click on the fx and a drop down submenu ap-pears (next page upper right). Choose drop shadow, then a dialog box opens in which you can control the size, spread, direction and opacity of the drop shadow.

The first thing to do is to set the direction of

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the drop shadow. In the dialog box above left, the red arrow points to the wheel that controls this. If the radius line points to the upper right, the shadow will extend in the opposite direction, i.e. the lower left.

You then choose the other pa-rameters As you move the slid-ers, the shadow changes and it’s easy to adjust it on the fly.

For the picture on the previous page, I used the drop shadow feature. For the composite of a model at right, I used the burn tool to slightly darken the floor under her. I also created a sub-tle reflection of her because the floor was shiny and it seemed appropriate. To do that, I pasted the model into the image again and used Edit > transform > flip vertical. I then moved the re-flection in place with the move tool and lowered the opacity to 20%. Finally I used a blend mode so the color matched. §

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SHORT AND SWEET

1. When taking pictures of ducks, geese and other wa-terfowl, the ideal background is usually the water in the pond. If you include a shoreline or aquatic vegeta-tion in the background, it will usually be distracting to the birds.

3. The best imagery of cities and architecture is usu-ally at twilight because of the beautiful cobalt blue sky. Sometimes, though, if you can get a sunset glow, the brilliant orange sky combined with the artificial light makes unsurpassed pictures. This photo of a huge temple in Delhi, India is an example.

2. Repeating patterns or elements of design make strong images. Make sure that you use complete depth of field, though. It’s important in my opinion that the entire image be sharp. Usually that requires a tripod and f/22 or f/32.

4. Nature and wildlife photos don’t always have to be ‘clean’, i.e. devoid of natural chaos. For example, the roots hanging down into this fox den could be cloned out, but I left them in because it makes this look entirely natural . . . even though I photographed this in captivity during my annual babies workshop in June.. §

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Photography Tours 2014 - 2015

Check out the itineraries and photo galleries from these and other tours: www.jimzuckerman.com.

INDONESIAAugust, 2014

JAPAN February, 2015

CHINA January, 2015

POLAR BEARSOctober, 2014

MONGOLIASeptember, 2014

THE PANTANAL, BRAZILNovember, 2014

MOROCCOMarch, 2015

MADAGASCARAugust, 2015

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CARNIVAL IN VENICEFebruary, 2015

NAMIBIAJUNE, 2015

BOTSWANA/SOUTH AFRICAJune, 2015

CUBAOctober, 2015

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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 photographed this merry-go-round horse and didn’t see the young boy behind it. Is it pos-sible to clone this out? If so, what approach would I take?Bob Kaufman, Boise, Idaho

A: Yes, you can remove the boy’s head (and hand) from this picture, but cloning is the not the way to do it. The reason I say that is because you have to clone from somewhere that makes sense, and in this case the area to be eliminated (the boy’s head) is larger than the backkground sections that would be used. If you tried to clone this, it would quickly become a mess.

The way to do this is to use the pen tool to make a selection from the dark horizontal line down to the back of the horse, and on the right side of this area stopping at the gold vertical pole. Save that selection with Select > save selection. Now make a rough selection of the upper left section that includes the lights and the mirror and copy that to the clipboard, Edit > copy. Activate the saved selection with Select > load selection and use Edit > paste special > paste into. This puts the clipboard image into the selection. Now you have to adjust the size, so choose Edit > transform > scale and drag the image larger until it fills the entire selection. §

© Bob Kaufman 2014

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Polar bears from ground level

plus arctic foxes, snowy owls, and other wildlife

Oct. 28 - Nov. 3, 2014

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Get professional critiques of your work with Jim’s online courses

Betterphoto.com

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Get professional critiques of your work with Jim’s online courses

betterphoto.com Learn composition, exposure, Photoshop, beginning fundamentals, techniques

in low light photography, flash, making money in photography, and moreat your convenience and on your schedule.

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Student ShowcaseEach month, Jim features one student who took beautiful and inspiring images on one 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 place. Everyone gets great images on my trips.

Danielle D’Ermo, Simsbury, Connecticut Wildlife babies workshop

31 © 2014 Danielle D’Ermo

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Student Showcase, continued

© 2014 Danielle D’Ermo

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Student Showcase, continued

© 2014 Danielle D’Ermo

PHOTOSHOP WORKSHOP Sat. & Sun., December 6 - 7, 2014

Photoshop is a photographer’s best friend, and the creative possi-bilities are absolutely endless. In a personal and ‘homey’ environ-ment (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 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 dif-ferent 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. 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. §

i n m y h o m e

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PHOTO INSIGHTS®published by Jim Zuckerman, all rights reserved

© Jim Zuckerman 2014 email: photos@jimzuckerman.com

physical address: P.O. Box 7, Arrington, TN 37014