Speaker`s Notes - Niagara Frontier Regional Camera Club

Transcription

!
NFRCC 52nd Annual Convention
!
“Some Speakers Notes”
1.! Jillian Bell
! ! “Sports Photography”
2.! Garry Black
! ! “A Fashion Shoot from Conception to Final Image”
3.! Craig Braack
! ! “Florida Birding”
4.! Greg Downing
! ! “Using Flash for Nature and Wildlife Photography”
5.! David FitzSimmons
! ! “Curious Critters: From Portraits to Picture Book”
6.! Mary Lou Frost
! ! “Making Photoshop Selection Tools Work for You”
7.! Joe LeFevre
! ! “25 Tips to Improve your Landscape Photography”
8.! Deb Sandidge
! ! “Digital Infrared Photography”
! ! “Long Exposure Creativity”
9.! Nevada Wier
! ! “The Photo Equipment I Use”
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Garry Black, NFRCC Convention 2013
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Florida Birding and
Bird Photography Locations:
(West Coast, south to north)
by Craig Braack
1.
Big Cypress National Preserve:
2.
Ft. Myers area: stay at La Quinta Inn,
20091 Summerlin Rd. closest reasonably
priced motel to Ding Darling NWR et al.
A) Corkscrew Swamp, owned by National Audubon Society
B) Sanibel Island-“Ding” Darling NWR
Closed Fridays ! Two parts of refuge:
1. Main driving 5-mile loop road and the Bailey Tract off Tarpon
Bay Rd. This is a 100 acre fresh-water, interior wetland.
2. Lighthouse and Public fishing pier.
C) Bunche Beach-end of road that starts at La Quinta Inn.
D) Ft. Myers Beach, pay to park at Holiday Inn and go to Little Estero
Lagoon and beach
E) Ft. Myers Beach, northwest end/tip to find tortoises
F) Cape Coral - drive around and you’ll find the burrowing owlsLibrary.
3.
Venice Rookery off RT. 41 behind FHP station
4.
Oscar Scherer State Park, Florida Scrub Jays
5.
“Celery Fields” near Sarasota (Better for birding than photos)
6.
Sarasota County Landfill
aka “Laurel Dump/Landfill
4000 Knight Rail Rd.
Nokomis, FL (Best photo ops now off-limits)
1
7.
Fort DeSoto Pinellas County Park, St. Petersburg area
8.
Duneden area west of Tampa for the
Duneden Causeway and Honeymoon Island SP (exc. for ospreys)
9.
Circle B Bar Reserve
Lakeland, FL
A superb place for a variety of water and shorebirds, no driving,
all walking and a lot of walking so be prepared !!
(East Coast, south to north)
10. Fort Jefferson National Park, 90 miles west of Key West, FL.
Access by boat or air ONLY. April best for warblers.
11. Everglades National Park, stay in Homestead. 4-miles to park.
East side of park, best place is Anghinga Trail,
Trail starts 4 miles from main park entrance;
Mrazek Pond at south end of park-35 mile drive, late afternoon only
West side of park, best place is slough in Shark Valley Visitors Center.
AM shooting best.
12. Loxahatchee
NWR
13. Merritt Island NWR at Canaveral National Seashore.
14. Viera Wetlands, Viera, FL. Stay at LaQuinta, at I-95 exit
(For Viera Wetlands and Circle B Bar Reserve, fly into Orlando)
The wetlands are now open to driving the entire complex ONLY
on Wednesdays, Thursdays and Fridays. You can drive about half
of it the other 4 days. If the roads are soft from rain, the entire
complex might be closed to driving for days and open only for
walkers so be prepared. Pull carts or backpacks for your gear.
2
15. St. Augustine Alligator Farm in St. Augustine.
End of April, all of May & June for Egrets, Herons, Wood Storks, and
Spoonies only.
Central Florida:
16. Gatorland in Orlando; DID NOT IMPRESS ME, A TIME WASTE
Contact Florida Tourism Office for copy of
The Great Florida Birding Trail, this is a
state-wide booklet. They also have regional
booklets.
3
Using Flash for Nature and Wildife Photography
Greg Downing
Using Flash for Nature and Wildlife Photography
Gear
a. More is less
• Since nature and wildlife photography is usually a fairly mobile venture the less gear you
have to carry with you the better!
• A basic kit includes an external TTL flash unit with an off-camera bracket and various
accessories like extenders and some good batteries.
• Brackets are essential for getting the flash off camera and enabling big lenses to be rotated
to vertical with the flash still on top.
• Small soft boxes or light modifiers can serve you will in various situations but are generally
best for close-up work.
•
•
•
•
•
For distant birds and wildlife a !better beamer" flash extender is essential for increasing the
effective distance of your flash unit by narrowing the flash beam and thereby increasing
intensity.
Compact light stands can be used for slave flashes and outdoor studio set-ups.
Radio transmitters and receivers are great for multiple flashes or for getting your flash
closer to your subject while you keep your distance with your camera.
Good batteries are key to keeping your flash going and getting the most out of it. I
recommend Powerex 2400mah !Imedion" batteries, which last a long time between charges
and offer good power as well as faster refresh rates than alkaline. Coupled with a Powerex
C-801D charger these batteries will last for years. And rechargeables are better for the
environment too!
Phottix also makes a 6 and 8 cell external batter pack, which works well when you#re using
the flash for long periods.
Most of the flash gear (and lots of other gear) I refer to can be found in the
www.naturescapes.net/store (and the best way to find stuff in the store is to do a search in
the upper left of the store home page.) There is also a list at the end of these notes with
links to various goodies.
Flash Basics - General Bird/Nature Photography
•
Generally you should you set both camera and flash to manual for full control of both
ambient and flash exposures independently.
1
Rev. March 14, 2013
Greg Downing
•
Use your flash in manual setting if the subject is at a fixed distance. If the subject is at
varying distances from you, you might find it necessary to use the TTL (through the lens)
setting (more on TTL below).
•
When deciding on the appropriate settings, consider the amount of ambient light (provided
by a combination of ISO, f/ stop and shutter speed) and the amount of light you want on the
subject (provided by the flash) as two separate issues.
•
It is helpful to take one shot with the flash turned off, just to gauge and set the ambient light
the way you want it. Set up your ISO, and f/stop and within limits your shutter speed to give
you the background you want (e.g. if you want a nice blue sky or water). Don't even look at
your subject when you take this shot, because the flash is what will light the subject. If you
want a black background, you should have a fairly dark background in your no-flash shot.
The reverse would be true for a high-key shot.
•
Then set the flash for how much you want to light the subject. With your flash in manual,
1/1 gives you an appropriate amount of flash to fully light a middle tone subject at the
distance the subject is away from the camera. 1/2 gives you half that much light and so on.
If your subject is white, you will want to reduce the amount of flash (only in manual setting !
in TTL you would actually increase it because the camera reads the subject and reduces
the amount of light to make it middle tone grey), whereas if it is black, you might want to
increase the amount of flash in manual.
b. TTL Flash
• When you use TTL, the flash screen shows you a range of distances. The TTL has a range
within it will work, because it reads the light coming back to it and adjusts the amount of
flash accordingly. When you are photographing birds, you can get inconsistent results with
TTL because the bird can be such a small part of the picture and it doesn't give as much
information to the TTL reader. The results often are inconsistent.
2
Rev. March 14, 2013
•
Greg Downing
TTL Menu Settings for Nikon Users: If you decide you need to use TTL, you use your
camera's built-in flash as the commander. Go in the menu as follows: Custom Settings
submenu > e Bracketing/flash > e3 Flash control for built-in flash > C Commander mode.
Once you get there, set built-in flash mode to --- and Comp to blank. That means that the
built-in flash will be used as the commander and that it will not go off itself. Then set your
flash to use Channel A and under Group A in the menu set the mode to TTL and the Comp
to how ever much light you want the flash to provide. You will need to change that for
different lighting situations. For convenience, you can make this menu item a favorite, as
you likely will be using it frequently.
c. Better Beamer
• When you add a Better Beamer you get two stops of light = twice the distance. (One stop is
only 50% more or less.) Remember the Inverse Square Law: Light is decreased by the
square of the distance from the source.
•
When you set up the Better Beamer, make sure that the plastic magnifier is parallel with the
face of your lens. Also look at the direction of the BB and make sure it is pointing straight
ahead.
•
Once you have set up the Better Beamer as above, just take a picture of a wall or a bush or
something and see if the coloration is uniform. If there is more light at the top or the bottom,
adjust the direction of your flash accordingly. You might need to check this periodically
during your photo session.
3
Rev. March 14, 2013
Greg Downing
d. Macro Flash
• For macro flash, especially of animals, you will likely want to have the flash off-camera. You
can do that by having a really long flash arm attached to your camera, by having the flash
off to one side on a stand, or by hand-holding it.
•
If you are going to use the flash off the camera, you can use any one of the following
methods to trigger the flash: use a cord, hand-hold the flash and make sure that the
infrared sensor is within sight of the camera built-in flash, or use a radio-control unit such as
the Photix unit.
Hummingbird Photography ! General Principles
•
Use your shutter at the Single or Continuous Low setting with your camera set to autofocus
on a center point. The flashes will recycle in less than a second because you likely are not
using them at full power, so with this setting you can get more chances at a nice shot. Try
to take your shot when the bird is hovering, not moving fast.
4
Rev. March 14, 2013
Greg Downing
•
Location: Hummingbird flash photography has to be done in the shade ! either under an
overhang, in the shade of a building or on a cloudy day.
•
Set your camera at ISO 200-400, f/14-18 and shutter speed 1/250.
•
The shutter speed and ISO affect the lightness of the background, whereas the flash affects
the subject. If you increase your ISO to get more light on the background and you don't
want to lower your shutter speed, you have to then lower your flash by one stop. In general,
a shutter 1/60 is the very lowest you should go to avoid ghosting on the bird, and really you
should try to be higher than that, in the range of 1/160 to 1/250.
•
When photographing birds with flash, you generally should add a bit of flash for darker birds
and reduce it a bit for light birds (when the flash is in manual). But you can't keep doing that
with different hummingbirds that come to your flower one after another, so instead you
quickly change your aperture one stop either way.
•
You want to see both wings in your shot. Of course you cannot know you are getting that at
the time, but those would be the ones you save.
Hummingbird Photography Setup
a. Background
5
Rev. March 14, 2013
•
Greg Downing
The background should be 24 x 36! and printed on matt paper. It should be out of focus,
representing distant foliage. Some bokeh adds a nice touch. It should be set about 4 to 6'
behind the flower.
b. Flashes
• Four flashes are used: See Figure 1 for setup as viewed from above.
• Initial setup for a bird coming in from the right side:
o Flash 1 is to the left of the camera and a few inches below the flower about 20 to 24!
away, to just get a little light on the bird"s breast
o Flash 2 is to the right of the camera and a few inches higher than bird level about 1820 inches way from where the bird will be. The two flashes in front are at different
distances from the bird to create a shadow on the front.
o Flash 3 is comparable to a hair light, placed about 12! above the bird pointing
downward about 15-18! away. It will light the hummingbird from above.
o Flash 4 lights the background from the left and is 12 to 36! away depending on how
dark you want the background to be.
•
•
o These settings are all approximate # distances should be changed according to how
much light you want on the background and on the bird and how you want to create
shadows on the bird to give it more dimension.
All flashes are set at manual and 1/16 power to start with. If you want to change how much
light a flash is giving, first try just moving the flash closer or further away. If you cannot
achieve the desired effect, you can change the power to the flash by one stop.
The flashes are attached to Photix Receivers, which receive a radio signal from a Photix
transmitter, which is attached to the shoe of your camera. Set the transmitter and all four
receivers to the same channel so that your camera triggers all four flashes.
c. Shooting
• There are two ways that you can focus on the bird.
1. Put your lens in manual and focus on the part of the flower where the bird will be
drinking and use your cable release to fire off shots when the bird gets near. This
works quite well, especially if you have flowers in a set-up for which the composition
is important. A good way to focus very accurately in manual is to put your camera in
live view, then move the red square to the part of the flower on which you want to
focus, then magnify the image on your screen and turn your focus ring to the perfect
focus. Press live view again to exit. A disadvantage of this method is that you might
not have the birds perfectly in the focal plane all the time so the bird might be out of
focus some times.
2. Set your camera in continuous focus mode and follow the bird around. This is more
difficult but has the potential to give you some good shots away from the flower. One
6
Rev. March 14, 2013
•
Greg Downing
disadvantage is that you might not be able to get the perfect composition with the
bird and flower exactly where you want them.
You regularly fill the flower up with nectar, which is done via a syringe and needle. Nectar is
made by mixing 1 part sucrose (table sugar) with 4 parts water.
Figure 1. Hummingbird Setup viewed from above.
Above Illustration (as well as some of the text herein) by Chris Zink who attended one of our Costa Rica Hummingbird
workshop.
7
Rev. March 14, 2013
Greg Downing
Equipment
Item
Notes
Link
Yongnuo 560 Flashes
Manual flash for any camera
system when using with
Phottix Stratto Receivers
http://www.naturescapes.net/store/yongnuo-flash-yn-560ii.html
Lightstands
4 lightstands are used to
support flashes, one to hold
the flower
http://www.naturescapes.net/store/phottix-5-section-compactlight-stand-h-200cm.html
Mini Ballheads
Only needed when you need
the flash to be positioned
higher than the subject - will
not mount to the cheaper light
stands
http://www.naturescapes.net/store/giottos-mini-ball-head.html
Articulating Arms
This is used for positioning
the feeder/flower
http://www.naturescapes.net/store/manfrotto-articulatedarm.html
Clamp
for holding plants, flowers and
tube feeders
http://www.naturescapes.net/store/manfrotto-175-springclamp.html
Super Clamp
for attaching articulating arm
(5) mid-way down a
lightstand, or to a tripod
http://www.naturescapes.net/store/manfrotto-175-springclamp.html
Stratto Wireless trigger
transmitter and receiver
set
This set includes one
transmitter and one receiver
http://www.naturescapes.net/store/phottix-strato-ii-multi-5-in-1trigger-set-for-canon-and-nikon.html
Stratto Additional
receivers
One for each of the remaining
three flashes
http://www.naturescapes.net/store/phottix-strato-ii-multi-5-in-1receiver-for-canon-and-nikon.html
AA NIMH batteries
batteries per flash
http://www.naturescapes.net/store/powerex-imedion-2400mahnimh-ultra-low-discharge-batteries-4_pack.html
AAA NIMH batteries
2 for each Stratto receiver and
2 for the transmitter
http://www.naturescapes.net/store/power-ex-950mah-4_packaaa-imedion-ready-when-you-are-rechargeable-batteries.html
8-cell AA/AAA Battery
Charger
http://www.naturescapes.net/store/powerex-mh-c801d-eight-cell1-hour-charger.html
SPECIAL FOR CLUB MEMBERS: Use the code !CLUB" for $10 off orders of $79 of more
8
Rev. March 14, 2013
1 “CURIOUS CRITTERSTM How-To” by David FitzSimmons
________________________________________________________________
CURIOUS CRITTERSTM How-To: Producing Your Own Animal Portraits
by David FitzSimmons
Most wild animals are photographed in situ, showing logs and leaves, meadows
and mountains, whatever is in their natural habitats, but what happens when you
isolate animals against white backgrounds? By eliminating distractions, you allow
viewers to pay complete attention to animals’ shapes, colors, textures, and
postures, not to mention apparent “personalities.” Richard Avedon, who made
white backgrounds famous for portraiture, believed that even black backgrounds
represent something while white is complete “absence.” If so, such high key
photography leaves only the subject to be contemplated.
Removing an animal from its wild setting
seems to make it more approachable;
shooting from eye level puts us and the
subject on the same plane. The goal of
Curious Critters photography is an
affective response: let viewers be moved
by the unique qualities of each animal.
And this may lead to action—appreciating
and then conserving the natural world.
1. Soft Lighting
Soft light creates shadows that fall off slowly from below the animals, creating a
subtle sense of depth. A well-crafted shadow can make your white-backgrounded
portraits stand out from green screen cut-and-paste images. So pay careful
attention to lighting.
I use a Lastolite Cubelight light tent. This 3’ x 3’
x 3’ is the Cadillac of light tents, with excellent
opaque material, strong hoops framing the
sides, and three doors for entering the tent.
For studio work, I recommend placing the light
tent on a table. Anything from the size of a card
table size up can be use. Of course, you may
shoot on the ground, but it’s easier to shoot
when you can sit or stand during the portrait
session.
________________________________________________________________
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!!2013 David FitzSimmons. All rights reserved. www.fitzsimmonsphotography.com
Also sponsored by
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The light tent may be illuminated from outside or inside. I prefer to use two
monolights on the outside, one positioned above the tent two or three feet, the
second placed to one side or the other and a couple feet from the corner. The
second light should be pointed straight at the tent, with the bulb six to eight
inches above the bottom of the tent. I use a wireless remote to trigger the lights.
Lighting from the inside may involve anything as simple as one hot shoe flash
pointed at the ceiling of the tent. Most of the time, I use two or three Dynalite
strobes. These provide lots of power—ensuring enough light for great depth of
field—short flash durations, and consistent color temperature. On the road, when
I don’t have access to A/C outlets, I carry two or three hot shoe flashes, firing one
flash on the camera and triggering additional flashes wirelessly. My Sigma
flashes can be triggered either with radio frequencies from Sigma, Canon, or
Nikon flashes or via a built-in electronic eye.
2. Building a White Sweep
The materials used to make the walls of most light tents do not provide the
smoothest surface under and behind animals. In addition, the back seams of light
tents show up in photos. So creating a curved “sweep” inside the tent is best. Of
all the materials I have tried, paper creates the least reflections and is relatively
inexpensive.
You can use scrap matte board, utilizing the white back side. I purchased a white
polystyrene sheet from a local sign shop and then cut it to fit tightly into the back,
top edge and the front, bottom edge. If you go this route, make sure to round the
corners so as not to puncture the light tent material. I then tape sheets of white
paper to the plastic sheet.
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3. A Good Case of the Blinkies
When you photograph your subjects, shoot in
RAW and keep the exposure pegged on the high
end. I try to achieve blinkies (flashing LCD
indicators of 255 values in the data) all around the
subject. If you shoot in RAW, you can always bring
the exposure down a bit if you have to. Shooting
with blinkies assures low noise.
4. Shooting Tips
When photographing Curious Critters, keep the doors of the light tent closed,
especially in the front. If you keep the front door open, the subject’s face may be
the darkest part of the photograph, undesirable for most animals. Sometimes an
on-camera flash is necessary even when using external monolights: the flash will
provide a catch light in the animal’s eyes.
Shoot with dedicated macro lenses for most smaller subjects. I use the whole
range of Sigma macro lenses (50mm f/2.8, 70mm f/2.8, 105mm f/2.8, and
150mm f/2.8, 180mm f/2.8) for most of my shots. For a few of the animals that
move fast, I use zooms, especially Sigma’s wide angle fast glass (such as the
17-50mm f/2.8 OS zoom or 24-70mm f/2.8 zoom). Make sure to attach any and
all lens hoods: lots of light is bouncing around inside the white-walled tent.
Shoot from eye level to create the best connection with viewers, who will feel like
they are on the level of the animal. Few people ever get down on the level of
frogs, turtles, insects, or small mammals.
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5. Finishing Your Files in Photoshop
Process RAW files with Adobe Camera Raw or your favorite converter. Turn on
the highlight warning indicators (red coloration in ACR) to keep the area around
the subject completely white.
You will probably want to increase contrast greatly. I usually use a custom curve
with far more contrast than standard landscape or wildlife shots. In addition,
boosting the xxx can help increase saturation along the edges of subjects.
After saving your RAW file (I save DNG files), open the image in Photoshop for
additional editing. I use a the Polygonal Lasso with a Feather of about 22-33
pixels, clicking points 10-20 pixels from the top of the animals and 20-30 pixels
beyond all shadows beside and below the animal. Then Invert the Selection.
Using a Curves Adjustment Layer, I drag the white point to the left until no debris,
seams, or other objects are visible. In other words, create pixels of 255/255/255
all around the subject.
Next, using a white background, crop the image. Make sure that you don’t crop
into the shadow.
What to Do with your Curious Critters
Now you have unique animal portraits that can be dropped into PowerPoint
programs, positioned in handouts, or utilized in any number of other ways.
However you use them, make sure you tell others the stories of the animals you
photographed, helping people better understand you, your art, and, most
importantly, the curious and inspiring world of animals.
________________________________________________________________
!
Also sponsored by
________________________________________________________________
CURIOUS CRITTERS is a 32-page nonfiction children’s picture book featuring
the animal portraits of David FitzSimmons. CURIOUS CRITTERS won five
national book awards, including the coveted IBPA Bill Fisher Best First Book
Award. See more CURIOUS CRITTERS, games, and educational resources at
www.CURIOUS-CRITTERS.com
(click to visit the book’s web site)
To reproduce any portion of this material, please contact David FitzSimmons, (419) 892-2900, [email protected].
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Selecting Objects in Photoshop Elements
(The same technique can be followed in Photoshop CS)
When selecting objects there will be many times when you want to deselect the object. This is best done
by using the keyboard commands: Control/D on a windows PC or Command/D on a Mac. Also,
remember to keep the “Undo History” palette available when you make an error and want to undo it.
The Rectangle Marquee Tool
Select this tool from the tool bar. If you look at the options bar you will find 4 icons at the left side.
The first icon makes a new selection. The second icon will add to the existing selection. The
third icon will subtract from the existing selection and the last icon will select the intersection with the
existing selection.
(If you prefer to use keyboard commands, the second icon can be used by holding down the shift key;
the third icon requires that you hold down the alt/option key, and the fourth icon requires that you hold
down both the shift key and the alt/option key at the same time.)
It is recommended that you leave “Feather” at zero. It would make the edges of your selection blurred.
The “anti-alias” control is not available because it is only used with curved selections.
When the “mode” is set to “Normal” you can make any rectangular selection. When it is set to “fixed
ratio” you can determine the relationship of width to height. When it is set to “fixed size” you can
determine the number of pixels in the width and height.
The Elliptical Marquee Tool
When you hold down the mouse over the rectangle marquee tool, you can change it to the elliptical
marquee tool
This tool is used to select elliptical objects. The option bar
will be the same as for the rectangular selection tool except that now the anti-alias object is checked.
This is necessary to get smooth curved selections.
All of the controls which apply to the rectangular marquee tool also apply to this tool. In addition there
is another very important control for the elliptical marquee tool. It is difficult to know where to start
when drawing an ellipse. If the selection doesn’t match the object you are selecting, you can hold down
the space bar while the mouse button is still held down. This will temporarily turn the control into a
“hand” and you can move the entire selection. Alternating between the ellipse tool and the space bar will
allow you to perfectly match the selection to any elliptical object.
Holding down the shift key while using the elliptical marquee tool, makes it conform to a circle.
Selecting Objects
Mary Lou Frost – March, 2013
1
The Lasso Tool
This tool exactly follows where you draw with the mouse. For this reason, it is usually not
the best tool for making an entire selection. I find its best use when making corrections (adding or
subtracting) to an existing selection. Simply drawing along the edge while holding down the shift key (to
add to selection) or alt/option key (to remove from selection) and then completing the lasso selection
(completing the shape) will accomplish the correction.
The Magnetic Lasso Tool
The magnetic lasso tool will attach itself to the edge you are selecting,
dependent on the choices in the option bar. The brush size will control how fast you can move along the
edge. The contrast setting which looks for the edge by comparing contrast is usually best left at its
default setting. The frequency option is the most significant because it controls how often anchor points
are placed. Since anchor points definitely increase the accuracy of your selection, set it at 100%.
Remember that you don’t have to make a perfect selection with this tool. It is best used to get a quick
selection that is pretty good. Use other tools like the lasso tool to improve it. Once you define where
you are starting, it is not necessary to hold down the mouse button. Just move the mouse along the
edge. When you think you have completed the shape, one click should close it. If it doesn’t finish the
selection because you didn’t get exactly back to the beginning, double click and it will draw a line back to
the beginning.
If your selection has gone wrong and left your desired edge, move the mouse back to the place where the
selection was good and then press the backspace or delete key to get rid of the anchor points that are
wrong. Now you can go ahead and move the mouse along the edge again. If you’ve completely “goofed.”
you can cancel by pressing the escape key and start over.
The Polygonal Lasso Tool,
This tool will allow you to select objects that have straight lines but which are not in rectangular shape.
Click your mouse where you want to begin and without holding down the mouse button, move to the
end of your straight line. Click the mouse here and you will establish an anchor point. Now you can
continue to add straight lines to your selection.
It is also useful when shapes have long straight lines and a few curves, too. When you get to the place
where you need to select the curve, just hold down the alt/option key and your tool will become the
lasso tool. When you are ready to return to the polygonal lasso tool, just release the alt/option key and
you can continue to add straight lines to your selection.
While using this tool if you make an error you can press the backspace or delete key to get rid of the
previous anchor point. Now you can return to making the selection.
Selecting Objects
2
The Magic Wand Tool
This tool gets its name because one click of your mouse can select a large area, dependent on the
similarity of the pixels in your image. Before using this tool it is important to go to the eyedropper tool
on the tool palette
and set the sample size on the option palette. This control determines how
similar pixels must be to be included in the selection. In Elements you have 2 options: 3x3 or 5x5. Start
with 5x5 to get a bit larger range of pixels. (In Photoshop CS you will have more sample options.) Now
you are ready to pick up the Magic Wand tool. Go to its option bar and notice that it begins with the
same 4 buttons to determine whether you select, add to selection, remove from selection or choose
intersecting pixels.
There is a new option “tolerance” which determines how strictly this tool adheres to your pixel
selection. The larger the tolerance the more pixels that will be included. It is suggested that you
experiment by doubling the number until you find a tolerance which makes a pretty good selection.
Don’t try to make it perfect because you can hold down the shift key and add to the existing selection.
The option “contiguous” is also pretty important because it determines whether the pixels selected need
to be adjacent to be included or if they can be discontinuous and still be a part of the selection. The exact
image you are working on will determine which option you use. For example, if you are selecting the sky
in an image and there happens to be a reflection in a lake, you may not want to include the reflection so
you would choose “contiguous.”
The “sample all layers” option is usually left on unless you are working with a composite of several
images and only want to work on one selected layer.
The Quick Selection Tool
The quick selection tool is really an improved magic wand. To use this tool, you simply drag
over the area you wish to select.
The options bar is slightly different from all the previous tools. There is no “intersect” option and as
soon as you begin to drag your mouse to make a selection, the “add to” option is automatically active.
The brush selection is easier to control from the keyboard using the left and right square bracket keys.
Sample all layers works as before and is usually left checked. The auto-enhance option is also usually
best left checked because it helps this tool find pixels to select. If the tool isn’t working well, you can
try unchecking it.
As you drag your mouse over the area to be selected, it will make a selection dependent on the tone,
color and texture of the object being painted over. How well this tool works depends, in part, on the
contrast in your image between the background and the image to be selected. Remember, that it doesn’t
have to be perfect. You can fix any inaccuracies by adding or deleting from the selection, or by using
another tool like the lasso tool.
Selecting Objects
3
The Magic Extractor
This tool is most useful in versions of Photoshhop Elements before version 11, when the object for
extraction has a soft margin, such as hair on people or fur on animals. The tool gives very thorough
directions as you use it. The following links will give you a tutorial that should help you begin to use
this tool. This tool is located at Image/Magic Extractor.
http://video.about.com/graphicssoft/Magic-Extractor-in-PS-Element.htm
The following link is a good place to go to get some free graphics to practice with.
http://www.freefoto.com/browse/11-00-0?ffid=11-00-0
Now what do you do with a selection!
As a basis for adjusting that part of the image
Let’s assume that you want to make this tiger grouper “pop”
away from its ocean background.
1. Once you have selected the grouper and saved the
selection, open an adjustment layer. Perhaps a levels or
brightness and contrast adjustment level would be useful?
When you create this layer, your selection will automatically
be masked so that the adjustment will only apply to the
selection.
2. Perhaps you would also like to darken
the background to let the fish stand out more.
Since you saved the selection of the fish, you can
go back to the “Select” menu and “Load
Selection”. By also checking the “inverse” box, all of the image beyond the fish will be selected. If you
go to the Layers palette and open an adjustment layer for Hue/Saturation this is what you will get.
The fish will be masked so that any adjustment you make will only be applied to the background.
3. If you want to apply an
adjustment other than by using an
adjustment layer, e.g. applying a filter, than
you simply make a copy of the background
layer with the selection active (Ctrl/Cmnd and the letter “j”) and a new layer will appear which only
contains the selection. Now you can apply a filter or other adjustment to the fish. Similarly, if it is the
background that you want to apply a filter to, you would invert the fish selection before making a copy
of the background layer.
Selecting Objects
4
Moving a selection to another image. If your intention is to move a selection into a new background, you
will only optimize the selection to be moved. The instructions for inverting the selection in order to
adjust the background will be unnecessary.
You should have the two images open in front of you: the image containing the selection to be moved
and the image with the new background . I will demonstrate moving some hot air balloons into another
background.
Using the selection tools described above, select the two balloons away from their background. Zoom
into the image to make sure that your selection is carefully done, Remember that the Shift key adds to a
selection and the Alt/Option key subtracts from the selection.
Once the selection is complete, go to Select/Save Selection to save your work. As long as this file is
saved in the “photoshop” format your selection will not be lost when closing the file.
Refine the edge of the selection by going to Select/Refine
Edge command. The settings to use will depend upon
the resolution of your image. For the file size of the
example used in this tutorial, I have chosen Smooth: 20;
Feather: .2.0, and zero for the other sliders. If you are
using an earlier version, this window may look different..
Next, unlock the background layer by double-clicking on
this layer.
With the selection active, add a
layer mask. The background
layer will show a mask based on the selection.
Selecting Objects
5
With both images visible, use the move tool to drag
the balloon selection into the new background image.
It will be automatically placed on a new layer above
the background.
You will automatically have the transform tool active.
You can resize the balloons and move them around on
the background. When you are satisfied with the
location, Press the return/enter key.
Using the zoom tool, zoom into the image and check the edges where the balloons intersect with the new
background. It is easy to see some telltale “halos,” especially where the red balloon is over the darker
blue water. This easily gives away the fact that the subject has been moved into a new background. A
simple “repair” can be made by following these directions:
1. Check to see that the layer mask is active.
2. Check that the foreground color in the color picker is black.
3. Choose a soft black brush and set the brush mode in the options bar to “overlay”
4. With the layer mask active, paint over the edge of the balloons and watch the halo disappear. It
doesn’t require precision. The brush can be slightly larger than the edge.
The blend between the balloons and the new background is perfect. No one will be able to tell that you
moved the subject into this new background. Remember to save your image.
Selecting Objects
6
Using the New Refine Edge Command
Photoshop Elements 11, Photoshop CS5, CS6
This new command permits the user to make a much better selection of objects with poorly
defined edges, such a human hair and animal fur. This makes it possible to move such
subjects into a new background.
Open an image needing this type of selection. I have chosen the image below.
Traditional selection tools used by themselves
have always made the selection of these curls
very difficult. Earlier versions of Elements
have the Magic Extractor which is useful. The
new Refine Edge commands make this job
easy.
Begin by making a quick selection of the
subject. I will use the “quick selection” tool.
It isn!t necessary to do it perfectly.
In Elements 11, the Option Bar for
each tool now appears at the bottom
of the screen and is much easier to
read. It is seen at the left.
The magic takes place in the Refine Edge
section circled in this example.
The View Mode in the Refine Edge
menu, permits you to see your final
selection on the background which most
closely matches the final background
you will be using.
In the Edge Detection section an
improvement to the original selection
can be made by carefully adjusting the
pixel radius of the selection.
The final magic in this new tool is found in the Edge Detection Brush. By dragging
this brush over the soft edges of your image, those fine hairs can be selected without
including the background.
By checking the examples shown below, you will see the changes between the initial selection
done with the quick selection tool; the change that comes by selecting a radius size and then,
the final results after applying the “Refine Radius Brush” and “Decontamination Color”
with quick selection
After edge detection radius
The last section of the new Refine Edge tool is named
“Decontaminate colors.” When a bit of the original
background color remains in the selection, this
adjustment can help to remove it.
After applying Refine Radius Brush
After applying “Decontaminate Colors”
There are several ways of outputting the resulting selection. I recommend doing so on a new
layer with mask.
Note: The more traditional edge adjustment tools may
be useful in some situations but are not the key to this
new set of tools.
Mary Lou Frost - 2013
Tutorials for Learning to use the Refine Edge Command
in Photoshop Elements 11 and Photoshop CS5, CS6
http://www.youtube.com/watch?v=xrl3Qwg6zSc (refine edge)
http://www.photoshopelementsuser.com/learningcenter/
!
Scroll down the page for the refine edge tutorial.
http://www.tipsquirrel.com/selecting-hair-in-photoshop-elements-11/
http://www.peachpit.com/podcasts/episode.aspx?e=a0a4646e-9154-4b4eaaef-9048c9576d8f (elements 11 refine edge Matt Kloskowski)
http://www.youtube.com/watch?v=iUUFIdAsj2o (More advanced information on using
Refine Edge)
http://www.youtube.com/watch?feature=player_embedded&v=ssJRkbkHAa4
(advanced refined edge commands)
http://www.digitalcameraworld.com/2013/01/26/photoshop-effects-how-to-use-refineedge-to-add-a-new-background/ (A written tutorial)
Mary Lou Frost - 2013
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MY EQUIPMENT
Compiled by Nevada Wier / Revised October 2012
Linked to B&H website
I also highly recommend working with Hunt’s Photo & Video in New England
http://www.huntsphotoandvideo.com/ who offers personalized service and competitive prices.
Note: Links can be slow to load in the browser after you clink on it.
PRIMARY CAMERA BAG
I primarily use the Lowepro Orion AW, which has a built-in hip belt and can also be used as a backpack.
Often I go light with the Lowepro Field & Street light belt and pouches. I carry my Infrared Camera
separately in a Lowepro Topload Zoom AW or a Lowepro Reporter Stealth 400AW. I carry my computer
in a Lowepro Tropolis 1250. www.lowepro.com or an Eagle Creek Global Commuter
CAMERA GEAR
• Primary camera: Canon 5D Mark III
• Backup camera: Canon 5D Mark III & EOS 1Ds Mark III
• Converted Infrared Cameras: Canon 5D Mark II with 24-105mm f/4L IS USM lens
http://www.lifepixel.com Standard IR conversion. I have also converted my Canon 5D with the
Super Enhanced IR filter also at http://www.lifepixel.com/
• Iphone 4S & Compact cameras: Canon S95 (for fun and underwater)
• Film camera: Canon EOS 1V with a Power Drive Booster PB-E2 or Battery Pack BP-E1 (I
am primarily digital, but I am keeping my film cameras for backup on extended expeditions without
electricity.)
**Note: I use an Ec-D Laser Matte with Grid Screen in all my cameras and protect my LCD
with a Super Hoodskin film.www.hoodmanusa.com
LENSES
• Canon EF 15mm f/2.8 fisheye
• Canon EF 24mm f1.4L USM
• Canon EF 16-35mm f/2.8L II USM
• Canon EF 24-70mm f/2.8L USM
• Canon EF 85mm f/1.8 EF USM
• Canon EF 24-105 mm f/4L IS USM (kept on my Infrared camera)
• Canon EF 100-400mm f/4.5-5.6L IS USM
• Lensbaby Composer Pro with Sweet 35 Optic for Canon cameras www.lensbabies.com
FLASH ACCESSORIES
• Canon 600EX-RT flash (with a Kodak Wratten 81A gel (or you can use a 1/8 CT)O taped to the
output)
• Canon ST-E3-RT Speedlight Transmitter
• Pocket Wizard Flex TT5 for Canon
• Pocket Wizard Mini TT1 Radio Slave for Canon
• Sto-Fen Omni-Bounch for Canon 600EX-RT (kept on flash)
•
•
•
•
•
•
•
LumiQuest FXtra (gel holder with eight Rosco gels)
Gary Fong Lightsphere Cloud C4 (with white dome kept in camera bag)
LumiQuest FX (I use it without the gels or sometimes with the amber gel)
Rotolight RL48-B LED RingLight Stealth
LumiQuest Pocket Bounce with gold reflector
Rogue Flashbender – Small Positionable Reflector
Extra Rosco filters (check out Rosco Strobist 55-piece Filter Kit I only use a few)
I HAVE THESE BUT DO NOT USE THEM OFTEN
• Honl Photo 5" Speed Snoot
• Honl Photo Autumn Filters
• Honl Photo Gobo Bounce Card
• Canon Compact Battery Pack E-2 (only put in bag when I need extra recycle power)
• Visual Echoes Flash X-tender (** I rarely use this, only for ultra long lens use for wildlife.)
REFLECTORS
• Photoflex soft-gold/white reflectors (12" in camera bag)
• Photo flex Multidisc 5-in-1 (24" carried separately)
FILTERS
• Singh-Ray Hi-Lux on all my lenses.
• Singh-Ray LB Warming Polarizer
• Singh-Ray Vari-ND (Variable Neutral Density Filter)
• Singh-Ray Graduated Neutral Density Filter (a set of four: 2 & 3 stop each of hard line and
soft line filters) Note: I sometimes (but less and less) use these for landscapes.
BACK UP GEAR -- SOMETIMES BROUGHT ON TRAVELS & ASSIGNMENTS
• 1.4x II tele-extender
• Canon EF 300mm f/4L IS
• Canon EF 50mm Compact Macro f/2.5
• Canon 70-200mm IS II USM f/2.8
• Timer Remote Controller TC-80N3
CAMERA STRAPS
• I love the Black Rapid RS-4 Strap www.blackrapid.com (very cool design and comfortable)
• UPstrap www.upstrap-pro.com
• OpTech straps www.optechusa.com
Accessories in camera bag: Micro-fiber cleaning cloths, rechargeable batteries, 12” Photoflex softgold/white reflector, compass, pen, small mag-lite flashlight, neon green Gepe Card Safe Extreme
Watertight Case with 16GB cards, model release forms, Swiss army knife (have to remember to
remove it for plane rides though), ASMP press card, business cards, and travel Wet-ones.
IN EXTRA BLACK CASE
• Separate accessory bag: Camera and flash manuals, black duct table, extension for cable
release, Canon off-camera shoe cord 2, Lensbaby accessories, black duct tape, small towel,
lens cleaning fluid, super glue, screw drivers, Leatherman tool, Q-tips, cleaning cloths, extra
lens caps, pens, Sharpies, tabletop tripod, and extra quick release tripod plates for my tripod.
• Separate battery bag: Extra rechargeable batteries (AA, AAA and other pertinent sizes),
lithium AA batteries, AA and AAA alkaline batteries.
• Separate cord bag: Extra USB, Firewire cords, and any cord I can think of that might fail.
• And the rest: Extra model releases, CF card recovery disk, backup Mac OS disks, MonsterPower Outlets To Go Power Strip, extra flash, lens hood for 100-400mm lens, CF card
reader.
• Cleaning Sensor: Visible Dust Sensor cleaning brushes and swabs. www.visibledust.com
TRIPOD and BALLHEADS
• Gitzo Traveler G1550T Carbon 6X with GH2781TQR Ballhead (Quick Release)
(I do not use a tripod often, and have found this to be the perfect compact tripod for when I must use
one. This is probably discontinued, but you get the idea!)
• Gitzo GT2541 Series 2 Carbon tripod with Gitzo GH2780QR Series 2 Ball
• Cable Release (Remote Switch RS-80N3)
FLASH CARDS
• SanDisk Extreme Pro 8–16GB (CF & SD cards) in Gepe Card Safe Extreme Watertight
Case (Neon Green)
CARD READER
• Lexas Professional USB 3.0 Dual-Slot Reader
PORTABLE STORAGE
• (2) 500 GB LaCie Rugged All-Terrain Triple Interface Portable Hard Drive www.lacie.com
waiting to see what portable drives are announced for USB3 and thunderbolt
• (2) Hyperdrive Colorspace UDMA www.hyperdrive.com with 500GB Hitachi TravelStar
drive from OWC. http://eshop.macsales.com/item/Hitachi/0A56417/
• (2) Hyperdrive Colorspace for ipad UDM www.hyperdrive.com with 500GB Hitachi
TravelStar drive from OWC. http://eshop.macsales.com/item/Hitachi/0A56417/
**NOTE: I usually bring an Apple 15”MacBook Pro on my travels for simple editing. I download the CF card
to two Lacie Rugged 500GB portable hard drives. When I have limited electricity or do not want to bring a
computer, then I use the two Colorspace digital wallets. I edit off of one hard drive and do not touch the RAW
files on the 2nd hard drive or digital wallet until I have a backup at my main office.
TRAVEL
For the main international flight: I put my LowePro Orion AW or Lowepro Stealth Reporter
400AW bag inside a regulation size 22” Eagle Creek roller carry-on that also holds my hard drives,
extra camera body, camera charger, and such. I take all my little accessories out of my camera bag
and put them in a separate pouch so everything is simple to hand check if they ask to look inside. I
carry a briefcase (see above) as my “purse” with my Apple 15” Macbook Pro computer and things I
need on the flight.
For my extra flash, filters, and other accessories – I pack them inside a medium sized 1520 Pelican
case (with all the inserts removed) and put it inside my duffel bag padded by all my clothes and such.
This bag will be checked in. There is no way I can hand-carry all my gear these days, and this is a
workable solution for me. I use TSA locks on my checked luggage.
Once I get to my destination I reorganize everything so that I leave a bag at the hotel (usually I
return to the same city for my return flight). I also leave the roller bag that I used for carry-on. On
my main trip I usually only bring a soft suitcase for clothes and my Pelican case for gear, along with
my camera bag and small bag with my computer (although sometimes I also leave this behind and
put the computer in the Pelican case).
I carry my valuables in an Eagle Creek Departure Pouch (now discontinued) attached to my belt;
I've never been robbed with one of these. And, I lock everything with TSA security locks. I use a lot
of Eagle Creek’s other products but I know this is beginning to sound like a commercial, but,
truthfully, I have been using Eagle Creek products since they first came on the market.
Unfortunately, they often make something that I like and then discontinue it! This is true also for
Lowepro, Canon, Gitzo, and others.) www.eaglecreek.com
•
•
•
•
•
Pelican 1520 Case (Interior: 17.88"L x 12.88"W x 1.75" Lid over 4.88" Base)
Eagle Creek Tarmac 22” For international flights.
Eagle Creek Tarmac 25” I put my pelican case inside this for international flights.
Eagle Creek Wheeled Duffel 25 or ORV Trunk 25 for my clothes
Eagle Creek No Matter What Duffel (Medium or Large) or Hybrid Hauler Medium if I want
to use a bag without wheels
Trekking:
• Lowepro Orion AW, shoulders bag with a waist strap and a detachable daypack. (Discontinued!
I protest! You should also!)
• Lowepro Street and Field System: I like the Light Belt with various pouches for a comfortable
lightweight system when I don't want to be carrying a bag. I also attach different S&F
pouches to my Orion AW on the belt.
• Rain: Shutter Hat
Sea Kayaking/Rafting/Snorkeling:
• Tundra SeaKing or Pelican hard-shell cases. Pelican cases are also integrated into the
Lowepro Omni Extreme Series
• Lowepro DryZone Rover
• S95 Underwater Housing (for a cheaper alternative, you can use a Ewa-Marine flexible
housing www.WeatherOrNotPhoto.com and www.rtsphoto.com)
Horseback riding:
• Lowepro Topload Zoom AW or Topload Zoom 2 (I put my Infrared camera in this bag)
Running or hiking:
• Lowepro Photo Runner
• Occasionally, I use the Pro Photo Trekker AW or (if I really need to carry a ridiculous load)
the Super Trekker AW.
• Lowepro DryZone Rover (great for rainy hiking)
nevada wier
po box 8032
santa fe, new mexico 87504
telephone (505) 982.0877 fax (505) 983.2542
e-mail: nevada@ nevadawier.com
www.nevadawier.com
Revised 10/06/2012

Speaker`s Notes - Niagara Frontier Regional Camera Club

Transcription

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