Photo Insights, May 2023

Jim Zuckerman’s

PHOTO INSIGHTS May 2023

When You Really Needed a Zoom Anatomy technology of Natural Light Portraits Pre-capture Mirrored Upside images Down Reflections Shooting through texturedshowcase glass Photo toursVStudent Photography quiz Ask Jim Photo tours Subject Ask Jim index Student Showcase Back issues

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Table of Contents 4. Pre-capture technology 9. Mirror images 16. Shooting through textured glass 19. Photography quiz 21. Jim’s eBooks 24. What’s wrong with this picture?

26. Short and sweet 28. Ask Jim 29. Photography tours 31. Student Showcase 37. Past issues 44 Subject index 2

On the cover: A rusting car with a tree growing through it in Old Car City, White, Georgia taken during the Abandoned in Georgia photo tour. This page: Two male cardinals, south Texas.

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t’ve read a lot of articles and seen YouTube videos in which photographers express their panic about the advent of AI imagery technology. They fear their incomes will be hurt and the demand for stock and assignment photography will plummet.

First, the value of photographic images has declined significantly and there are very few people making decent money selling pictures now. When I joined a stock agency in 1987, the average sale was $500 with the photographer and the agency splitting this 50/50. Now, the average sale for professional photographers in stock agences is .05 to .25 per image per month with photographers getting about 1/3 of this. If you have 10,000 good images in an agency, that’s an estimated $500 to $2500 per month times 1/3. It’s hard to survive on that today, so if AI adversely affects this income, it’s not much of a loss.

Second, all new technologies disrupt the status quo. When cars became popular and affordable, all the industries related to horses that serviced every sector of the country were suddenly irrelevant. People have to adapt, embrace change, and re-invent themselves to get ahead in this world.

Finally, if making images with a camera is your hobby (which is probably 99% of my readership), then how AI impacts photography should be of no concern to you. There will always be cameras, in one form or another, to capture families, friends, vacations, and whatever you see and experience in your life. That’s not going to change. You should have nothing negative to say about AI. If you don’t want to experiment with it, then don’t. For those of us who do, it’s a lot of fun and an amazing creative outlet.

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

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Pre-capture technology

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iird photography is a passion shared by many photographers. Up to now, if you thought it was just too hard to capture great pictures of these elusive subjects, especially as they fly, now is the time to re-think your assessment. There is a new technology that puts the odds in your favor.

Actually, it’s not that new. Several years ago I met a man during one of my photo tours who had an Olympus camera, and he explained to me what pre-capture was all about. I thought it was interesting, but since I wasn’t looking for

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a new camera system to buy I dismissed it and, to be honest, forgot about it.

I just concluded a tour to south Texas in which my group photographed the beautiful bluebonnets and Indian paintbrush, and then we had 3 days of photographing birds from various blinds. My local guide had the Olympus OM-1, and she demonstrated the pre-capture technology to me. Instantly I was impressed.

This is a game changer for bird photography.

Using my Canon R5, I was struggling to react fast enough to capture flight shots as various

species of birds alighted on perches with food bait. When they took flight, again it was a contest between their incredible speed and my typical human reaction time. They usually won. I got a few shots I’m happy with, but the OM-1 virtually never struck out. The camera captured flight shots every time.

When the bird finally flies, push the shutter all the way down and the shooting stops. The camera then deletes all of the frames except the last several frames as programmed by you. So, if your camera shoots at 20 fps and you elect to retain the last 7 frames, that time period is 1/3 second.

Here is how it works. A bird is perched on something, and your camera is positioned on a tripod such that you are happy with the composition. You need to leave some room in the frame for the bird’s forward flight path (assuming you accurately guess in which direction it will fly). Before the bird takes flight, you press the shutter halfway down and the camera starts shooting. At 20 frames per second (or whatever the fastest frame rate is on your camera), it will take a lot of frames.

Capturing large birds taking flight and landing, like the crested caracara on the prevous page, is relatively easy. They are slow fliers and it takes them a bit of time to spread their large wings and work the air. Smaller birds, though, like the pyrhhuloxia, below, and the green jay on the next page, are like bullets. They are so fast that it takes patience and persistence to capture these kinds of flight pictures.

The number of frames you can shoot with this

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technology depends on the individual camera.

Fuji offers this technology, and Nikon does as well in their Z-9 model. I’ve heard that the Nikon software isn’t as good as the Olympus and Fuji, but since I don’t shoot Nikon I can’t confirm that.

According to Canon rumors, there is supposed to be an imminent major release of firmware for the Canon R5 that will give this camera the pre-capture technology. The brand new Canon R6 Mark II comes with this remarkable feature. When enabled, similar to the Olympus, a half-press of the shutter tells the camera to begin firing and buffering frames. Once the shutter is fully depressed, the camera disregards all of the frames except the last half second of the buffered pre-click images.

This is such a valuable technology because 6

birds display their most beautiful wing positions when taking flight and landing. You can use pre-capture in both scenarios.

An alternative If you don’t have pre-capture yet, and you are working with bird set-up shots in which you bait them with seeds, nuts, mealworms, or suet, place the perch with the food about 15 to 20 feet from a tree or some kind of protective cover.

Birds will first assess the scene from the safety of the cover, and then they will swoop down to eat. 15 to 20 feet is far enough so the birds have to fly to your perch as opposed to gliding down to it, and you can prefocus on the point where you expect them to land. The camera is mounted on a tripod. You can watch the birds leave the protective tree with your eyes, and that gives you the time to starting shooting.

Morocco Photo Tour

August 29 - September 10, 2023

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All the bird photos in this article were taken with this method because I don’t have the precapture technology yet. Hopefully, within a month or so, the Canon firmware update with change this.

When I photograph medium or large birds, I typically use a shutter speed of 1/3200th of a second. That freezes even the wing tips. However, for smaller birds that are particularly fast, I prefer to use 1/4000th if there is enough light. This usually is fast enough to freeze even the fastest fliers like the scissor-tailed flycatcher, above.

My other settings are f/8 or f/11 (I prefer the latter if there is enough light) because birds have depth, especially when they spread their wings.

F/11 provides a little depth of field. I let the ISO setting adjust per the ambient light. Because mirrorless cameras allow you to see the expo8

sure in the viewfinder, I never use the exposure compensation feature now. On manual exposure mode, which is what I use for bird photography, it’s a simple matter to change the ISO in order to adjust the exposure to taste.

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ven before Photoshop, I experimented with mirrored images. I’d make a print with the correct orientation, and then I’d flip the negative or slide in the enlarger and make another print with everything reversed. I’d then mount them together to create the unique optical illusion.

In Photoshop, you can create a simple mirrored image in about 15 seconds. The results are usually surprising only becaused it’s difficult to fully previsualize the results. But that’s part of the fun. If you go the next step

and create a repeating pattern, as I did in the image of Venice, below, you’ll be truly intrigued by what you end up with.

There are two different ways to mirror an image.

You can mirror the entire photograph or only a portion of it. Let me demonstrate both of these because the results are quite different.

Mirroring the whole image 1. Open an image in Photoshop, either horizontal or vertical. For this example, I’m using

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the elevated view of Prague, Czech Republic (right). Copy it to the clipboard with Select> all then Edit > copy (the keyboard shortcuts are Command/Ctrl A, then Command/ Ctrl C). The photo is now in Photoshop’s clipboard, the temporary holding place for a picture or part of a picture. You can’t see the clipboard, but it’s there.

2. Now choose the command, Image > canvas size. The dialog box that opens is shown at lower right. At this point, you have to make a decision. Do you want the image to be mirrored on the right side or the left side? The results will be very different. In this case, I elected to mirror it on the left. So, in the tictac-toe box (yellow arrow), I clicked in the center right square. The white arrows show you where the new, expanded area will be: to the left.

3. I doubled the width dimension (red arrow) to 2400 pixels. That gave me the image at the top of the next page. The color of the blank area doesn’t matter (that comes from the background color box at the bottom of the tools palette) because it will be covered up.

4. Next, I pasted the clipboard photo into the opened image using Edit > paste.

5. Finally, I used Edit > transform > flip horizontal, and then with the move tool I simply moved it into place to create the mirror as shown at the bottom page 11.

It’s a good idea to enlarge the composite to examine how precisely the two images align. If they are not perfect, use the arrow keys (when the move tool is selected) to nudge the layer into place. Then flatten the file with Layer > flatten image.

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If you start with a horizontal photo, the mirrored composite will end up looking like a panorama shot because it will be double the width of a normal image. Depending on the subject matter, if you prefer a more normal

The color that shows up as you expand the canvas doesn’t matter because it will be covered by the new layer.

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

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aspect ratio, you can resize it to 3:2. This compresses the elements in the scene, of course, but sometimes that turns out to be quite interesting. Alternatively, you can expand the canvas downward with the command, Image > canvas size. This time you double the vertical dimension. Use the Photoshop plug-in Flood to add a reflection at the bottom of the frame. This is what I did with the twilight image of Brugge, Belgium, below. Without the reflection added, this would have been a long, panorama-like picture. I added the stormy sky for drama before I mirrored the image.

with the command, Image > canvas size to accommodate the broadened image. I did the same with the the mirrored composite on page 9, but in this case I didn’t use Flood. Instead, once I had the four panels composited together, I then copied that entire image to the clipboard, expanded the canvas downward (Image > canvas size with a doubling of the verticle dimension), and then pasted the clipboard image below. With Edit > transform > flip vertical, I was able to create a mirror-like reflection of the entire upper section of the image.

Multiple mirrors

The mirrored composite of tree branches on the next page was done exactly the same way.

Any subject can work for this technique: nature, people, macro, wildlife, still lifes, etc.

Another thing to note about the composite below is that I mirrored the original photograph four times. If you look closely, each of the rows of buildings -- left and right -- are mirrors themselves. I kept expanding the canvas

Mirroring part of the image

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For a completely different look, try selecting only part of the image to set up a mirrored composite.

See the image at right I took in a 16th century palace in Venice, Italy. The red arrow shows you the selection line. I purposely selected half of the mask, and the entire selection goes to the top of the frame and to the bottom.

I then hit Edit > copy, and now only the right side of the photo per the selection was placed in the clipboard. I chose Select > deselect and then with Edit > paste, half of the image was pasted into the photo.

Using Edit > transform > flip horizontal, the layer was flipped. With the move tool, I carefully moved the left half of the image into place, thus completing the mirror. You can see the results on page 15.

This technique can produce intriguing (and bizarre) composites. You don’t have to select half the image.

Instead, for example, you can select 1/3 or 1/4 the image, depending on what the original photograph is and what kind of result you’re looking for. §

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Shooting thru Textured Glass

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technique I’ve enjoyed since the early 70’s is shooting through textured glass. There are many ways, now, to abstract photographs and to add all kinds of effects for artistic purposes, but I’ve never seen any of them simulate what you can create by using textured glass.

All that’s needed is a small piece of glass. If you want to do portraits, then a 16x20 piece works well. For flowers, you only need an 8x10 inch piece. Many times, glass companies have remnants of various types of textured glass which can be cut to your specifications for just a few dollars. When you purchase glass, the first thing you need to do is tape the edges and corners with thick duct tape to protect yourself from cuts. Glass is

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incredibly sharp and unforgiving if you handle it carelessly.

To set up the shots, make sure the glass is held perpendicular to the floor or ground. For a makeshift stand, I made a narrow cut in a small piece of 2x4 wood, and the glass sits in there perfectly.

You can control how much definition your subjects will have by the distance between them and the glass. The closer the glass is to the subjects, the more definition there will be.

For example, the glass was about four inches away from the flowers shown below.

I prefer to use extensive depth of field so both the texture in the glass and the subjects are

sharp. Note that even though you are shooting abstracted subjects, sharpness is still important. There is a big difference between a blurred abstract and a sharp abstract. I typically like to use f/16 to f/32.

I always use a tripod for this technique because that frees my hands in case I need to hold something else. It also makes using a small aperture with a low ISO feasible.

It’s important to make the back of the camera, i.e. the plane of the digital sensor, as par-

allel as possible to the plane of the glass. This helps increase depth of field. You’ll be shooting fairly closely to the surface of the glass, and this decreases depth of field. The combination of a small aperture and making the sensor parallel is enough to recover that loss.

I recommend both the subject itself and the piece of glass be photographed in diffused light.

If you are going for the look of a painting, this will help a lot. If you selected the ideal textured glass, the results will look very much like a painting, a real work of art. §

There are many types of textured glass.

Choose one (or two) in which the texture is more subtle as opposed to pronounced and bold. You want the focus to be on the subject, not the texture.

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AI ONLINE WORKSHOP Learn how to produce stunning images with Artificial Intelligence

Starts June 10, 2023

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Photography Quiz

1. The background behind a subject is: a. Not that important and can be ignored b. Virtually as important as the subject and must be carefully considered c. Best to be rendered with complete depth of field all the time d. Best to be rendered with shallow depth of field all the time.

2. High res jpeg mode gives you the same quality as RAW. a. True b. False 3. When shooting doors and windows, to emphasize symmetry the shooting position should be a. Dead center b. Slightly off-center c. At a 45 degree angle 4. The two most important aspects of fine art photography are a. Depth of field and shutter speeds b. Fill flash and Aperture priority c. Aperture priority and Shutter priority metering d. Graphic design and lighting 5. When you shoot at twilight or night and your subject is a city skyline, you should use a tripod and a. ISO 100 b. ISO 400 c. ISO 800 d. ISO 1600 6. The primary enemy of macro photography is a. Depth of field b. Wind c. Tripods d. Wide angle lenses 7. Outdoor portraits look best (you may choose more than one) a. When the sun is at your back b. At noon c. At sunrise or sunset d. On a cloudy day 8. Most landscape photographs should a. Have complete depth of field b. Be taken on a bright sunny day c. Be taken without a tripod d. Be taken with a high ISO 9. Converting color to black and white with digital technology (or film) always causes a. An increase in noise b. A gain of contrast c. A loss of contrast d. A loss of sharpness 10. In your camera menu, the option ‘sRGB’ gives you the most extensive color gamut a. True b. False Answers on page 47

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UPCOMING PHOTO WORKSHOPS Frog and Reptile Workshop This is a macro workshop where you will have up close and personal encounters with exotic poison dart frogs and primitive looking reptiles. Jim will explain how to use a ring flash to simulate difused daylight, and he will talk a lot about depth of field as it relates to macro work.

This workshop takes place in Kansas city.

August 19 - 20, 2023

Mystical Swamps of Louisiana Autumn in the swamps of Louisiana (and Texas) is spectacular. The mix of orange and green leaves is beautiful and, at this time of year, we have the best chance of photographing fog. There are egrets, herons, and osprey to photograph as well as alligators in this primeval and mystical environment.

October 21 - 25, 2023

Winter Wildlife Workshop Photograph beautiful North American mammals plus a snow leopard in natural environments. Mountain lions, red foxes, arctic foxes, bobcats, lynx, wolves and more are in their full winter coats. This is a very special workshop.

January 5 - 10, 2024

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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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WINTER WILDLIFE WORKSHOP January 5 -10, 2024

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What’s wrong with this picture?

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There is nothing wrong with this picture per se. The composition is good with Shiprock off center, the lighting is beautiful, and the complete depth of field shows everything in focus as it should be with landscapes. But, despite the striking shape of this landform, it’s a boring picture because: 1) the sky is dull and uninteresting and 2) the foreground is boring as well.

So, what to do in a situation like this? You can accept the image as is and be somewhat disappointed, or you can use Photoshop to improve it. The picture on the next page shows you the remarkable difference.

Here is what I did. Planning ahead, I looked for a foreground I wanted to use and spotted these grasses. I photographed them with a 24mm focal length. The grasses were too far away from Shiprock to make the single capture look good

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because the wide angle lens made the impressive rock too small.

In Photoshop, I used Image > canvas size and expanded the canvas, i.e. the picture area, into a vertical composition. I then copied the horizontal grass picture into the clipboard and pasted it (Edit > paste) into the Shiprock image.

I then added a layer mask with Layer > layer mask > select all. Finally, I used the gradient tool (with the foreground/background color boxes black and white, respectiverly) to blend the grasses with the original landscape beneath the mountain..

Everything was now perfect except the boring sky, of course. So I used the sky replacement feature in Photoshop (Edit > Sky replacement) to add a more dynamic one. § 25

SHORT AND SWEET 1. When painting with light at night, as I did here in

2. You don’t have to accept the fact that a beautiful

3. Telephoto compression looks great with a repeat-

4. Photographers typically prefer black backgrounds

Old Car City in Georgia, you have to keep the flashlight moving. Your shutter has to be long enough to give you the time to do that. Otherwise, you’ll have hotspots in the picture. This was done over a 20 second exposure.

ing design as in Bibury, a village in England. However, it’s essential to have complete depth of field so all of the elements from the foreground to the background are sharp. Either raise the ISO so you can use f/22 or f/32, or use a tripod.

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subject is in an unattractive location. This classic English building was right on a road through a small village, so as I drove around England I looked for a foreground that could replace the road. I used this field of grass, and then I cloned from one picture to the other.

for subjects, and admittedly they look great behind flowers. But white is also effective. A simple white poster board works well to achieve this kind of look.

Just make sure the bright white background doesn’t adversely affect the meter reading. §

Coast of France April 4 - 13, 2024

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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 . . . Do I use auto ISO for HDR? Edward Gabelman, Cinncinati, Ohio

A: No, it’s best to use a fixed ISO. With HDR, there should be one variable that gives you

the bracketed images, and I feel it is best to make that variable the shutter speed. If the ISO varies, you’ll have different types and amounts of noise for each image and I think that may not look good. §

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Partial List of Photography Tours 2022 - 2024

MOROCCO Aug/Sep 2023

ENGLAND and WALES Sep 2023

HUDSON RIVER VALLEY Oct 2023

POLAR BEARS/Canada Nov 2023

WINTER WILDLIFE Jan 2024

SNOWY OWLS Jan 2024

CARNIVAL in VENICE Feb. 2024

ABANDONED in GEORGIA March 2024

HOLLAND & BELGIUM Apr/May 2024

PATAGONIA May 2024

INDONESIA Jul/Aug 2024

ICELAND DRONE TOUR Aug 2024

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

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Polar Bears from Ground Level November 9 - 16, 2023

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Based in Churchill, Canada

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.

Tom and Marj Green, Los Altos Hills, California Abandoned in Georgia photo tour, Balkans photo tour.

© Marj and Tom Green

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Student Showcase, continued

© Marj and Tom Green 32

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Student Showcase, continued

© Marj and Tom Green

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31 35 29 29 33 3329 31 33

Student Showcase, continued

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© Marj and Tom 33 Green 31 33 31 33

ENGLAND & WALES PHOTO TOUR Medieval ruins Quaint villages Awesome architecture September 12 - 22, 2023

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HOLLAND & BELGIUM April 24 to May 2, 2024

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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 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 Angled perspectives Jan. ‘19 Aperture vs. shutter speed May ‘14 Aperture priority Sept. ‘14 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 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 Blacklight photography Feb. ‘21 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 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 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 what you don’t see May ‘21 Catchlights Jul. ‘16 Changing perspective May ‘21 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

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Clone tool, fixing an issue Clone tool technique Composites and Light Compositing images Compositing, 7 steps Composition, different approach Content-aware, New Content aware move tool Contrast vs. exposure Converting to black and white Correcting keystoning Creating a star field Creating Art out of Motion Creating a Sketch Creative blurs

Dark backgrounds Dawn photography Dawn photography Dead center Dealing with smog Decay photography Define Pattern Depth of field Depth of field confusion Depth of field and distance Depth of field and obliqueness Depth of field, shallow Depth of field vs. sharpness Double takes Drone photography Drop shadows Dust, Minimizing

Sep. ‘17 Jul. ‘20 Dec. ‘17 Apr. ‘19 Jan. 22 Jan. ‘15 Aug. ‘20 Jan. ‘23 Jul. ‘15 Mar. ‘22 Jun. ‘21 Jan. ‘14 May ‘22 Dec. ‘17 Jan. ‘14

eBook, how to make 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

Jan. ‘13 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

Nov. ‘19 Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Jan. ‘20 Dec. ‘18 May ‘21 Apr. ‘20 Nov. ‘20 Apr. ‘20 Mar. ‘23 Apr. ‘19 Aug. ‘19

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

Subject index for past Photo Insight issues

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 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 Getting money for used gear Great subjects Great ceilings & HDR Panos Green screen Ground level shooting Grunge technique

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

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 Hotels with a view Mar. ‘20 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance 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 Kaleidoscopis images

Jan. ‘15 Aug. ‘20

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 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 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 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 Neutral Density filters Neutral Density filters and water Night photography Night Safaris Night to Twilight Noise reduction

Aug. ‘21 Jan. ‘16 Aug. ‘14 Jun. ‘18 Mar. ‘22 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17

Oil and water Optical infinity Organization of photos Out of focus foregrounds

May ‘20 Jun. ‘16 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

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Subject index for past Photo Insight issues Photo terms Nov. ‘22 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 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

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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 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 Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting in Inclement Weather Nov. ‘22 Shooting through textured glass May ‘23 Shooting through wire mesh Sept. ‘14 Shooting into the light Jun ‘20 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 Soft light Jan. ‘13 Smart phone photography May ‘19 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Sunrise & sunset Jan. ‘19 Tamron 150-600mm Ten reasons photos are not sharp Texture, Adding Texture Mapping in 3D Topaz AI Gigapixel Topaz glow Topaz glow Topaz Impression Topaz Remask 5 Topaz Simplify 4 Topaz simplify 4 Topaz Studio

Apr. ‘14 Jan. ‘19 Mar ‘19 Jul. ‘21 Mar ‘19 Jan. ‘15 Sep. ‘17 Sep. ‘15 Oct. ‘17 Dec. ‘12 Jun. ‘14 Apr. ‘18

Subject index for past Photo Insight issues Translucency & backlighting Nov. ‘18 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Tweaking exposure on the fly Apr. ‘23 Twilight photography in the rain Apr. ‘19 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

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 vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 Wide angle conundrum May ‘19 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 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

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

Your score 90% - 100%: You could have been a pro 80%: Your glasses probably need a new prescription 70%: Don’t quit your day job 60%: You should really be using an iPhone 47

PHOTO INSIGHTS® published by Jim Zuckerman All rights reserved © Jim Zuckerman 2023 email: photos@jimzuckerman.com Edited by: Donald Moore This page: A beautiful road in South Carolina

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