Photo Insights August 2024

Jim Zuckerman’s

PHOTO INSIGHTS

August 2024

Symmetry When LeadingYou linesReally Needed a Zoom S-curves Anatomy of Natural Light Portraits Photography quiz Upside Down Reflections Photo tours Photo Ask JimtoursVStudent showcase Student Ask JimShowcase Back issues Subject index

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Table of Contents 4. Symmetry 9. Leading lines 10. S-curves 15. Photography quiz 17. Jim’s eBooks 20. How canI improve this picture?

23. Short and sweet 25. Ask Jim 26. Photography tours 28. Student Showcase 34. Past issues 41. Subject index

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On the cover: Cape buffalo photographed from a ground level perspective in a blind, South Africa. This page: An extinct mastodon created in AI.

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ost photographers, I think, print their favorite images and hang them in their home. I don't. I think the reason is I get bored easily with images and after a very short time -- like two days -- I'm sorry I spent the money to print and frame a picture of mine. It seems my latest images are the ones I enjoy most, but then they get replaced by even newer ones. Until last week, I didn't have a single photograph of mine displayed in my home with the exception of one 8x10 of my two dogs playing when they were young. And that's in a small stand siting on the washing machinet in the laundry room.

Things changed when my wife, Dia, decided she wanted to use one of my AI floral abstracts as a mural for the powder room. Most of our house is neutral in tone, so this would be nothing less than a wild, almost psychedelic departure from what we already have. I was game, so Dia chose the image and we ordered the 5 1/2 x 8 foot print from Murals Your Way online. The mural came in two panels. The company was very professional, specified the resolution, and sent me a digital proof. All looked good, and when it came I was very impressed. The color was true to my original digital file and the overall quality really couldn't have been better. It came with a self-adhesive backing, and I had visions of myself hanging it until I climbed an 8-foot ladder and realized I couldn't reach the 12 foot ceiling without standing on the upper steps of the ladder. That was way too high for me, so we called professional wallpaper hangers and they did a great job.

Dia chose a shade of blue paint to match the mural, and now we have a powder room displaying one of my images. I don't think I'll get bored with it because it's really just an abstraction of pretty colors. We'll see.

Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com

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SYMMETRY

any photographers struggle with capturing winning compositions. After all, the world is a compositional mess and it can be difficult to make artistic sense out of the elements before us.

In teaching composition, I feel it helps if you hold in your mind certain things to look for.

Guidelines like S-curves, leading lines, the Rule of Thirds, and balance are all designed to tease apart a scene to find the portion of it that works

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as a visually pleasing composition.

The concept of symmetry is also important to keep in mind. It is easiest to identify symmetry in architecture because so many buildings are designed in perfect balance. The stunning interior of the Marriott Marquis Hotel in Atlanta, Georgia, below, is an example, as is the medieval façade of a building in York, England, at the upper right on the next page.

Symmetry isn’t confined to architcture, though.

It can be found in many different subjects as shown on this page and the next. Admittedly, with wildlife it’s rare to find a situation like I did with the meerkats in Namibia, but it does happen. With people, it can be set up or you can simply recognize it. The photo of the two guards in Kyrgyzstan, below right, is an example where I simply saw the compositional potential and took advantage of it.

The technique To underscore the perfection of a symmetrical subject or scene, it is essential to position yourself dead center on the subject. This sounds simple, but it’s been my experience in leading photography tours that most people seem to have difficulty in locating dead center.

If you are off even by 2 or 3 feet, the oblique

shooting position compromises the shot. The symmetrical elements in the scene no longer look perfectly balanced; in fact, they will appear askew to a slight degree.

To establish dead center, the point from which you should be taking the picture, draw an imaginary perpendicular line from the plane of the symmetrical elements to where you need

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to stand. From that point -- which is simply a mental projection and may not be perfectly accurate -- move a little to the right and to the left until the elements in the scene appear to be exactly balanced. Ultimately, that’s what you are looking for -- balance between the two halves of the frame.

You can never go wrong with symmetry in photography. The images will always work compositionally. The four dancers I photographed in India, above, are a perfect example.

The distant pyramidal structure in the background isn’t exactly in the middle, but it’s quite subtle and doesnt interfere with the symmetry and balance of the dancers and the way they are posing. This happened for a just a second or two during the performance, but when you are looking for balance and symmetry, it’s easy to identify when it occurs.

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Another example of recognizing symmetry when you see it is the shot below taken during my Louisiana Swamp photo tour. Swamps are always compositional messes, and it’s the photographer’s job to separate the elements to make strong pictures. It’s not easy, but again, focusing your thought process on identifying patterns -- like symmetry -- will help you with recognizing excellent compositions.

Winter Wildlife Workshop

February 6 - 11, 2025y 13 - 22024

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Set ups with people When you preconceive a particular picture and set it up, you have complete control. You are, in essence, the director. In Bali, Indonesia, for example, I was in a furniture store and discovered a spectacular dragon staircase in their huge facility. The staircase alone made a wonderful image, but I thought how incredible it would be to photograph two Balinese dancers on it. I asked permission from the store manager, and then through my local guide we arranged the two dancers in full makeup and costume. This has to be planned in advance because it can take two hours to apply all the makeup.

As you can see in the image below, the symmemtrical design of both the dragon staircase and the placement of the dancers make

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the image particularly engaging.

After my photo tour group and I finished with the staircase, we did some closeup portraits Notice how symmetrical the image above is. Both sides of the dancer’s face are almost mirrors of each other and, with the central placement of the girl’s face in the frame, I underscored and emphasized the perfectly balanced symmetry.§

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Various Types of

Leading Lines

ne of the major tenants of composition is the idea of a leading line. This basically states that one or more lines begin at the bottom of the frame and extend into the picture. The concept is that the leading lines draw our eye, and our attention, into the depths of the image where, presumably, the subject was placed. This is considered good compositional technique.

Most photographers think of leading lines as roads, rivers, and walking paths of various descriptions. But a leading line can take many forms. A fence line, the dramatic architectural lines created by using a wide angle lens, tree trunks, bold graphic designs on a floor, and even the long legs of a fashion model can all serve the same purpose -- to draw our focus toward the subject which, of course, is the purpose of the image.

To be completely effective, leading lines need to be entirely in focus. Small lens apertures need to be used to garner as much depth of field as possible. When using a wide angle lens, complete DOF is easy to create. If a long lens is involved, it’s quite possible even f/32 won’t be enough to render the entire leading line in focus. In those instances, you’ll need to use a tripod and employ focus stacking.

Leading lines are not relevant to all photographs, but like the idea of symmetry, it’s good to familiarize yourself with the power of a leading line in making strong compositions. § 9

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S - curves

he one compositional element I am constantly looking for is S-curves. This graphic component is the most striking design element you will ever find, and it's also the one that's hardest to find. Spiral staircases are the most obvious places to look, like the dramatic one at right I captured in a lighthouse on the coast of France.

Also, the multi-colored repeating S-curve design I spotted in Singapore, below, is pretty amazing.

Other places to look are sand dunes, the sensuous curve of a nude, a fence line, the edge of a leaf, wave fronts on the beach, aerial views of river systems, a curvaeceous boardwalk, a slithering snake, sea shells, streaks of traffice lights at night, and the curve of a heron's neck.

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More examples of S-curves

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Ethiopia Photo Tour Jan. 21 - Feb. 3, 2025

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Like leading lines, S-curves require complete depth of field so they will be sharp over the entire shape of the curve. Otherwise, the power of the graphic design will be lost in a meaningless blur. S-curves define subjects, and subjects should, for the most part, be sharp. Backgrounds can be blurred for artistic effect, but not subjects.

Similar to leading lines, S-curves help guide the viewer's eye through the image to the primary subject at the end of the curve. It's such a powerful visual element that it rivets our attention exactly where the photographer wants us to look.

The S-curve can also be the subject itself, of course, with nothing else competing for attention as in the two images on this page. Whenever you can, incorporate S-curves into your work. §

River system in the late afternoon from 35,000 feet photographed from a commercial jet.

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Pantanal Photo Tour, Brazil

Jaguars in the wild, birds, caiman, otters and more Nov. 9 - 17, 2025

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Photography Quiz 1. Which of the following subjects make accurate metering impossible: a. Lightning b. Fireworks c. Shooting the sun with a telephoto d. All of the above e. None of the above 2.

Raising the center column has no bearing on the stability of a tripod. a. True b. False

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Depth of field increases when: a. The subject to camera distance decreases b. A smaller aperture is used c. A medium telephoto is used for the shot d. The ISO is increased

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Lens flare can be eliminated by composing the sun in the center of the frame. a. True b. False

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The sharpest pictures when shooting through glass is when the axis of the lens is: a. Perpendicular to the plane of the glass b. At a 45 degree angle to the plane of the glass c. None of the above d. All of the above

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When using HDR, the number of frames you need depends on how much contrast there is. a. True b. False

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Large format cameras of the past could go down to f/90 and even f/128. a. True b. False

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When doing panoramas in which several frames are taken, you should: a. Use a wide angle lens so the stitching at the edges aligns properly b. Use a telephoto lens so the stitching at the edges aligns properly c. Put your camera on multiple exposure mode d. Also use image stabilization

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‘Flash duration’ refers to the actual length of time the flash tube is lit during an exposure. a. True b. False

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The ‘exposure triangle’ refers to: a. Shutter speed, lens aperture, and depth of field b. Shutter speed, exposure compensation, and ISO c. Shutter speed, ISO, and lens aperture d. ISO, lens aperture, and white balance

Answers on page 45

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UPCOMING PHOTO WORKSHOPS Snowy Owl Workshop Close up encounters with these beautiful birds of the North. Capture bird in flight shots in a snowy environment. Jim guides you in camera settings and technique to take the best pictures possible.

January 9 - 13, 2025

AI Course Online Learn how to make amazing images -- real or fantasy -- with the online AI software. Let your imagination run wild! You can create the most stunning, dramatic, and outrageous images -- as well as works of art, still lifes, wildlife, landscapes, floral abstracts, and more.

Nov. 23, 30 & Dec. 7, 2025

Carnival in Venice Photograph amazing costumes in a Medieval environment. We shoot inside a 16th century palace, in an iconic gondola, in a stunning bedroom with traditional Venetian decor, and at other great locations. The photography as well as the experience is phenomenal.

February 23 - March 1, 2025

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Expand your photographic artistry with

eBooks

Click on any ebook to see inside

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eBooks continued Click on any ebook to see inside

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Abandoned in Georgia April 21 - 27, 2025

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How Can I Improve This Image?

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hotographic images transformed into paintings have always appealed to me.

Some subjects are more appropriate for this technique than others; Carnival in Venice is such an artistic fantasy that I really enjoy turning these kinds of pictures into painterly images. The incredible costuming and the medieval environment is classic European artistry.

The image above is a shot of one of the costumed women during carnival. She was simply posing in front of an ancient stucco wall. I combined the original picture with a closeup shot of another stucco wall, blended them together in Photoshop, and produced what could very well be a painting in oil or arcylic.

I like the results very much, but I'm always thinking about how to tweak images to make them better. Adding a beam or shaft of light is often a poignant way to do that, but what I used to use in Photoshop -- the command Filter > render > lighting effects -- has been removed from the latest version, unfortunately. Adobe no longer supports 3D commands in Photoshop (you now have to subscribe to Adobe Substance to create in a 3D environment). Still, there was a simple solution.

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To create the 'spotlight' on the model's face, I made a rough selection around a portion of her hat, her face, and her gloves. I then feathered the edge of the selection by 50 pixels using this command: Select > modify > feather. By doing that, the transition between the lightening effect and the background would be very gradual. Next, I chose Select > inverse which selected everything except the face, hat, and gloves, i.e. the background and the dress, and used Image > adjustments > levels. I then moved the central slider to darken the selected parts of the picture.

I then hit Select > inverse again, and this time I lightened the selection as if a spotlight was directed to the model.

A hunded years ago Ansel Adams was experimenting with burning and dodging photographic prints. He learned a photographer could dramatically impact an image simply by manipulating the highlights and the shadows. That's all I've done here. Same idea, but now we use digital means to add artistry and visual impact to our pictures. §

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Bhutan Photo Tour March 31 - April 10, 2025

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SHORT AND SWEET 1. Shooting outdoors in the middle of the day with a 2. You can combine an AI image with your own phoclear sky is tough. Contrast is a serious problem. The only way to prevent shadows from going black and highlights blowing out is to use two sliders in ACR or Lightroom: highlights and shadows. It's still not like shooting in soft light, but it's the only thing we can do.

tograph. In the image below, I made the onyx lion in Midjourney, the software I use for AI, with a shot I took in Seville, Spain. This is done in Photoshop, just like you're compositing two photographs together.

With AI, there are no limits.

3. A large flock of birds in flight in which each bird

4. When you are shooting action, you have to err on

is sharp is impossible to take. Telephotos have limited depth of field. These are red kites I shot in England. I took many frames and then cut and pasted the various sharp birds together in one frame and then added the sharp clouds.

the side of a fast enough shutter to freeze the movement. It's better to overestimate the speed of the shutter you need as opposed to underestimate it. You wouldn't want a picture like this to be 'almost' sharp. I took this shot with a shutter speed of 1/500. §

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England & Wales September 4 - 14, 2024

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ASK JIM

Every month, Jim answers 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 know you are a Canon shooter, and I think you primarily use the R5. The R5 Mark II was just announced, and I wanted your opinion whether or not there have been sufficient upgrades to warrant the expendit ure.

Doug McAllen, Anaheim, California

A: The answer is yes. I was waiting for the pre-capture (Canon is calling it 'pre-burst') feature that is

primarily for shooting birds, and the new camera has it. I was also hoping for a faster frame rate. The R5 is 20 fps while the new Mark II is 30 fps. For super fast moving subjects like birds, this is significant. §

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Partial List of Photography Tours 2024 - 2026

COLORADO in AUTUMN Sept/Oct 2024

SNOWY OWLS in CANADA Jan 2025

GREAT GRAY OWLS, CANADA FAROE ISLANDS Feb 2025 Apr/May 2025

WINTER WILDLIFE Feb 2025

BHUTAN Mar/Apr 2025

AUSTRIA Sept 2025

VIETNAM Oct 2025

MOROCCO Oct/Nov 2025

PANTANAL Nov 2025

SCOTLAND'S PAST May 2026

THE GREAT SPAIN ECLIPSE Aug 2026

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For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.

Great Gray Owls, Canada February 16 - 21, 2025

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Student Showcase

Each month, Jim features one student who took beautiful and inspiring images on one or more 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 places. Everyone takes great photographs on Jim’s trips.

Helen Bryant, Two photography tours to China.

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Student Showcase, continued

© Helen Bryant

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Student Showcase, continued

© Helen Bryant

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Student Showcase, continued

© Helen Bryant 3331 34

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PHOTO TOUR to AUSTRIA September 11 - 21, 2025

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Online Course in AI Starts November 23, 2024 Let your imagination go wild!

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Subject index for past Photo Insight issues

1/3 focus law Jul. ‘15 3D sphere Mar. ‘16 90 degree finder Mar. ‘13 Abstracts in soap Feb. ‘15 Abstracts, Shooting Mar ‘19 Aerial photography Jun. ‘13 Aerial photography Jan. ‘21 African safari May ‘16 AI plus Photograpjhy Oct. ‘23 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 Anatomy of an Action Shot Feb. ‘24 Angled perspectives Jan. ‘19 Aperture vs. shutter speed May ‘14 Aperture priority Sept. ‘14 Aperture priority and other modes Jul. ‘24 Aurora Borealis Apr. ‘17 Auto white balance Dec. ‘13 Autofocus, when it fails Apr. ‘15 Autofocus failure Aug. ‘15 Autofocus failure Jan. ‘17 Autofocus challenges Apr. ‘18 Auto ISO Nov ‘17 Auto White Balance Mar’ ‘21 Autumn Foliage Sep. ‘18 Autumn Color Sep. ‘20 Autumn foliage photography Oct. ‘21 AWB versus Daylight WB May ‘24 t Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Backlighting Oct. ‘22 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Birds in flight, camera settings Jan. ‘23 Bird Photography Jun ‘19 Black backgrounds Aug. ‘23 Blacklight photography Feb. ‘21 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white infrared Apr. ‘24 Black and white solarization Sep. ‘17 Black and white with color Jan. ‘20 Black and white plus color Mar. ‘23 Blown highlights Feb. ‘18 Blue monochromes Jan. ‘22 Black Plexy Aug. ‘22 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Botanical gardens, shooting Apr. ‘22 Butterfly photography Jul. ‘14 Buying nature Jul. ‘24 Camera buying guidelines Dec. 21 Camera settings for landscapes Feb. ‘23 Camera setting priorities Jun. ‘17 Canon R5 Mar. ‘21 Capturing lightning Jun. ‘13 Capturing lightning Jun. ‘24 Capturing what you don’t see May ‘21 Catchlights Jul. ‘16 Changing perspective May ‘21

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Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Choosing a telephoto lens Dec. ‘20 Chromatic aberration May ‘13 Chrome Dec. ‘18 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Clone tool technique Jul. ‘20 Color theory Nov. ‘23 Composites and Light Dec. ‘17 Composites, Secrets to perfect Jun. ‘24 Compositing images Apr. ‘19 Compositing, 7 steps Jan. 22 Composition, different approach Jan. ‘15 Content-aware, New Aug. ‘20 Content aware move tool Jan. ‘23 Contrast vs. exposure Jul. ‘15 Converting to black and white Mar. ‘22 Correcting keystoning Jun. ‘21 Creating a star field Jan. ‘14 Creating Art out of Motion May ‘22 Creating a Sketch Dec. ‘17 Creative blurs Jan. ‘14 Custom functions Jul. ‘23t

Dark backgrounds Nov. ‘19 Dawn photography Jan. ‘17 Dawn photography Feb. ‘17 Dead center Jan. ‘13 Dead center Oct. ‘23 Dealing with smog Oct. ‘16 Decay photography Sep. ‘15 Define Pattern Sep. ‘18 Depth of field Aug. ‘16 Depth of field confusion Jan. ‘20 Depth of field and distance Dec. ‘18 Depth of field and obliqueness May ‘21 Depth of field, shallow Apr. ‘20 Depth of field vs. sharpness Nov. ‘20 Double takes Apr. ‘20 Drone photography Mar. ‘23 Drop shadows Apr. ‘19 Dust, Minimizing Aug. ‘19 eBook, how to make Elevated vantage points Eliminating people from photos Embedded in Ice Energy saving bulbs Equidistance and telephoto lenses Exploring the power visuals of AI Exposing for the sun Exposure, the sun Exposure technique Exposure, snow Exposure triangle Exposure, to the right Exposure compensation Exposure compensation Extension tubes Extension tubes

Jan. ‘13 Aug. ‘23 Jun. ‘22 Oct. 17 Sep. ‘14 Apri. ‘23 Mar. ‘23 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14 Nov. ‘14 Apr. ‘15 Sep. ‘16 Mar. ‘21 Dec. ‘13 Jul. ‘23

Face sculpting Apr. ‘21 Face sculpting Feb. ‘22 Festival photography Sep. ‘20 Fill flash Sep. ‘13

Subject index for past Photo Insight issues

Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fireworks, Compositing Jun ‘20 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Fisheye fantasies Oct. 21 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Flexify 2 Mar. ‘20 Flood fixes problems Nov. ‘19 Floral Portraits, Indoors Aug. ‘21 Flowers May ‘15 Flower photography Apr ‘21 Flowers in harsh light Jul. ‘16 Focus on the eyes Dec. ‘20 Focus points Mar. ‘15 Focus points Sep. ‘20 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign Dancers, Photographing Nov’ 17 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Fractals Jul. ‘19 Framing May ‘17 Framing Jan. ‘24 Freezing ultra action May ‘17 From Terrible to Beautiful Aug. ‘19 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Fundamentals That Make Great Photos Jan. ‘19 Fun With Christmas Lights Jan. ‘21 Fun with Food Graphic Design Garish imagery Generative fill Getting money for used gear Getting the blues out Great subjects Great ceilings & HDR Panos Green screen Ground level shooting Grunge technique

Jul. ‘20 Dec. ‘15 Jun. ‘23 Jan.’ 22 Dec. ‘23 Apr. ‘15 Jul. ‘19 Mar. ‘13 Oct. ‘22 Feb. ‘13

Harsh light, the problem of Apr. ‘24 Heavy Lens Debate, The Feb. ‘23 HDR, one photo Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR, hand held Nov ‘17 HDR, hand held Jul. ‘18 HDR panoramas Jun. ‘16 HDR, choosing the number of frames Jun. ‘22 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Histograms, Why I Don’t Use Jun ‘19 Histogram problems Apr. ‘20 Home nature projects Jun. ‘23 Hotels with a view Mar. ‘20 Humidity Oct. ‘13

Hummingbird photography Hyperfocal distance

Apr. ‘13 Jul. ‘13

Image resizing Aug. ‘18 Implying motion Sept.‘14 Impossible DOF Feb. ‘16 Impossible DOF Jan. ‘17 Indestructible camera bag Dec. ‘14 Infrared photography Jul. ‘14 Insane ISO settings Dec. ‘22 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17 iPhone photography, pros and cons Apr. ‘22 Jungle photography

Dec. ‘14

Kaleidoscopic images Jan. ‘15 Kaleidoscopis images Aug. ‘20 Keystoning Nov. ‘23t Keystoning, correcting Aug. ‘15 L Bracket Feb. ‘18 L Bracket Feb. ‘21 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Layer Masks, The Power of Feb. ‘22 Leading Lines Aug. '24 Lessons Learned from Extreme Cold Feb. ‘24 Light fall-off Feb. ‘14 Light painting Dec. ‘21 Lighting a face Oct. ‘13 Lightning photography May ‘20 Liquify Feb. ‘18 Liquify Distortions Sept/Oct. ‘19 Lenses, Essential Aug. ‘23 Long lens portraits Oct. ‘18 Long Lenses for Flowers Jul. ‘20 Low light photography May ‘15 Luminar 4 Jan. ‘20 Macro flash Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Macro flash Aug. ‘22 Macro photography and DOF Feb. ‘22 Macro trick May ‘19 Managing soft focus Jul. ‘21 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meters, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Milky Way, Shooting thet Minimizing dust on the sensor Nov. ‘21 Mirrors Jan. ‘19 Mirror images May ‘23 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 Museum photography Mar. ‘13 Natural Light Portraits Negative space Neon edges on black

Aug. ‘21 Jan. ‘16 Aug. ‘14

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Subject index for past Photo Insight issues

Optical infinity Neutral Density filters New depth of field preview New shooting style Neutral Density filters and water Night photography Night Safaris Night to Twilight Noise reduction

Jun. ‘16 Jun. ‘18 Mar. ‘24 Mar. ‘24 Mar. ‘22 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17

Off-camera flash Oil and water Organization of photos Out of focus foregrounds

Jan. ‘24 May ‘20 Mar. ‘18 Jan. ‘20

Paint abstracts May ‘13 Paint abstracts Aug. ‘21 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Parallelism Nov. ‘19 Parallelism and DOF Feb. ‘21 Perspective, Super Exaggeration of Dec. ‘21 Photo shsaring Apr. ‘23 Photo terms Nov. ‘22 Photographing Christmas Dec. ‘23 Photography to Art Dec. ‘17 Photography solutions Jan. ‘18 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique Apr. ‘13 Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13 Photoshop, soft foliage Oct. ‘13 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Photoshop, drop shadows Jul. ‘14 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Photoshop, liquify Mar. ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14 Photoshop, enlarge eyes Nov. ‘14 Photoshop, darken the periphery Dec. ‘14 Photoshop, mirror images Dec. ‘14 Photoshop, beam of light Apr. ‘15 Photoshop, polar coordinates Mar. ‘15 Photoshop, chrome May ‘15 Photoshop, actions palette Nov. ‘15 Photoshop, cut and paste Nov. ‘15 Photoshop, geometrics Oct. ‘15 Photoshop, plugins Oct. ‘15 Photoshop, multiple selections Apr. ‘16 Photoshop, sharpening Apr. ‘16 Photoshop, Flood plugin Apr. ‘16 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Photoshop new tool May ‘20 Photoshop, place one element behind Aug. ‘18

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Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Photoshop, My favorite plugins Jan. ‘20 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portrait Professional Nov. ‘19 Portraits, Lens choice Sept/Oct. ‘19 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Practicing graphic design, Part I Dec. ‘22 Practicing graphic design, Park II Jan. ‘23 Practicing graphic design, Part III Feb. ‘23 Pre-capturing technology May ‘23 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem Solving in Photoshop May ‘22 Problem with cruises Jan. ‘18 Protecting extremeities from the cold Dec. ‘22 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Reshaping faces Oct. ‘22 Restoring old photos Jun ‘20 Ring flash, advantages Jul. ‘21 Ring flash versatility Oct. ‘21 Rule of Odds May ‘22 S-curves Aug. '24 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Seeking Cool Snow Photos Jan. ‘21 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Self-critiques Nov. ‘20 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Sepia, Traditional look of Shade May ‘14 Shady side Jun. ‘18 Shadows define the shot Dec. ‘23 Shadows, Paying Attention to Mar. ‘18 Sharp, 6 reasons why photos are not Apr. ‘24 Sharpness problems Mar. ‘14 Shooting in Inclement Weather Nov. ‘22

Subject index for past Photo Insight issues

Shooting thru glass May ‘24 Shooting through textured glass May ‘23 Shooting through wire mesh Sept. ‘14 Shooting into the light Jun ‘20 Side lighting Jan. ‘24 Silhouettes Jun. ‘13 Silhouettes, How to make Apr. ‘22 Silhouettes, Exposing for Sept/Oct. ‘19 Silvered landscapes Mar. ‘20 Sketch, How to Make Jun ‘19 Skies make or break a picture Aug. ‘21 Sky replacement Nov. ‘20 Sky replacement strategies Aug. ‘22 Snow exposure Nov ‘17 Snow exposure Nov. ‘19 Soap abstracts Aug. ‘23 Soft light Jan. ‘13 Smart phone photography May ‘19 Stained glass Mar. ‘17 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Sunrise & sunset Jan. ‘19 Symmetry Aug. '24 Tamron 150-600mm Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 Texture Mapping in 3D Jul. ‘21 Too much lens Jul. ‘24 Topaz AI Gigapixel Mar ‘19 Topaz glow Jan. ‘15 Topaz glow Sep. ‘17 Topaz Impression Sep. ‘15 Topaz Remask 5 Oct. ‘17 Topaz Simplify 4 Dec. ‘12 Topaz simplify 4 Jun. ‘14 Topaz Studio Apr. ‘18 Total solar eclipse, How to shoot Mar. ‘24 Translucency & backlighting Nov. ‘18 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Tripods, not allowed Jun. ‘24 Tweaking exposure on the fly Apr. ‘23 Twilight photography in the rain Apr. ‘19 Twilight, Creating Oct. ‘23 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Two subject focus rule Jan. ‘20 Two subject focus rule Jun. ‘21 Urban heights Ultra distortion Unusual Panos Upside Down Reflections

Jun. ‘21 May ‘18 Nov. ‘22w Aug. ‘21

Quiz answers 1. d 2. b 3. b 4. a 5. a 6. a 7. a 8. b 9. a 10. c

Your score 90% - 100%: You could have been a pro 80% - 89%: Your glasses probably need a new prescription 70% - 79%: Just don’t quit your day job < 70%: You should really be using an iPhone 45

Subject index for past Photo Insight issues Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 When You Needed a Zoom Aug. ‘21 White on White Dec. ‘20 White on White Nov. ‘23 White vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 White balance, What Jun. ‘23 Wide angle conundrum May ‘19 Wide angle distortion, correcting May ‘24 Wide angle lenses Mar. ‘13 Wide angle portraits Nov. ‘14 Wide angle lenses Jun. ‘17 Wide angle lenses: Outside the Box Jun. ‘22w Wide angle keystoning Nov ‘17 Wildlife photos with wide angles Mar. ‘15 Window light Dec. ‘15 Window light portraits Aug. ‘18 Window light portraits Feb. ‘24 Window frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Winter photography Nov. ‘18 Wire Mesh, Shooting Through Jul. ‘18 Workflow May ‘13

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PHOTO INSIGHTS published monthly by Jim Zuckerman All rights reserved © Jim Zuckerman 2024 email: photos@jimzuckerman.com A vertical pano of the ruins of an abbey taken during Jim’s England andWales photo tour.

Edited by Donald Moore 4747