Photo Insights November 2023 by Jim Zuckerman photography

Jim Zuckerman’s

PHOTO INSIGHTS November 2023

When You Really Needed a Zoom Color theory White on white Anatomy of Natural Light Portraits Keystoning Upside Down Reflections Photography quiz Photo toursVStudent showcase Photo tours Ask Jim Ask Jim Student SubjectShowcase index Back issues

Table of Contents 4. Color theory 10. White on white 15. Keystoning 18. Photography quiz 20. Jim’s eBooks 23. What’s wrong with this picture? 25. Short and sweet 27. Ask Jim 28. Photography tours 30. Student Showcase 36. Past issues 43. Subject index 2

On the cover: Snowy owl in flight composited with the moon. This page: A tree in Caddo Lake taken on Jim’s Louisiana Swamp photo tour.

made a mistake recently and I was angry with myself for overlooking what I’ve always known. I just wasn’t thinking. I visited a butterfly house in which the interior was extremely warm and humid. Water mist was everywhere, and the temperature was at least 25 degrees warmer than the outside. Butterflies require warm weather, and tropical butterflies need humidity. I know that, but it was painfully obvious to me as soon as I entered the facility because my lens fogged up. Not only did the fog on the glass make it impossible to shoot, but my viewfinder fogged as well as the LCD screen on the back of the camera. I felt like I was up the creek without a paddle. It took about 25 minutes for the temperature of my camera to equalize with the temperature of the room, and then I could shoot. Usually this takes only 10 minutes or so, but the butterfly house was exceptionally warm. Winter is coming, and in many places it’s already here. Cold outdoor temperatures mean there is a large discrepancy with much warmer interiors, so keep that in mind as you get ready to shoot. If you can, keep your gear in a place with a temperature similar to the conditions where you’ll be shooting. If you are doing outdoor photography and you’re home, place the camera bag in the car in the locked garage. If that’s not possible, use a window sill that is far from a heat vent. Keep large plastic baggies that can zip closed so when you come in from outside, you can place a camera and a couple of lenses inside to prevent moisture from getting in. Thinking ahead like this can save a lot of time and aggravation. Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com 3

COLOR THEORY

ome colors look good together and some don’t In essence, this is twhat color theory is all about. People will disagree because, after all, art is in the eye of the beholder. In art, though, there are agreed upon concepts and guidelines that have withstood the test of time and color theory falls into that category. The classic color wheel is shown at right and you can immediately see there are 3 major pairs or complementary colors, and they are:

-- Green and magenta

complementary colors look great together.

-- Blue and yellow

There are other color combinations that many people consider beautiful, although they can be jarring to the senses. These are purple and yellow, purple and orange, purple and red, cyan and green, and orange and green to name a few. The composite at the bottom of the next page of a 1936 Plymouth with the purple and yellow color theme of Granny’s Kitchen is an example. You can’t really say this color combination its harmonious, but it sure does draw your attention, and it makes a dramatic artistic statement.

-- Red and cyan When any of these pairs of colors are predominate in an image, they are considered to be pleasing, bold, and visually compelling. On the previous page, for example, the dominating colors of red and cyan are striking together. The same can be said of green and magenta in the shot of the foxglove flowers above, and the third pair of colors, blue and yellow, are exemplified in the architecture image I took in Morocco on the next page. Artists and photographers representing a wide range of tastes don’t embrace the power of these color combinations. It’s almost universally accepted that the

One of my favorite color juxtapositions for sheer visual power is lime green and orange. It’s hard to find these colors together by happenstance, so I usually have to previsualize 5

what I want and then set it up. That’s what I did in taking the portrait of an outragerous costumed model in Venice, Italy, during carnival (page 8). I asked her to pose in front of an orange house on Burano Island, and the resulting image is visually arresting. I love subtle color combinations that are gentle on the eyes but, on the other hand, insane colors in combination with each other are a lot of fun and they elicit strong reactions from people. Colors that don’t work well together in most situations are red and orange, yellow and green, pink and red, yellow and white, black and brown, and blue with brown or beige. There are always exceptions -- this is art, after all -and the specific shades of colors make a big difference, but this assessment is generally true. On pages 8 and 9, I used Photoshop to alter the colors in the Venetian costumes to show the difference between blue juxtaposed with

The Birds of Costa Rica May 13 - 23, 2024

brown versus the red/orange color palette which is much more harmonioius and visually pleasing. Some people may like the blue better, I understand that. But in color theory, the warm tones on page 9 are considered more pleasing and more artistic. One of the most beautiful color schemes turns out to be, in essence, a non-color: White on white. As much as I’ve always loved color, the simplicity and elegance of predominately white photographs can take your breath away. Winter is approaching, and this is a great opportunity to produce classic images in white. In the next article, I demonstrate how beautiful this can be, and I discuss my approach to exposure in what many people consider a serious challenge. §

White on White

ost photographers, I think, take pictures of subjects they encounter while traveling, or walking a dog, or riding in a car, or whatever they happen to be doing. Something catches their eye and they grab a photo. There was no pre-planning, previsualization, or even research. They rely on serendipity and luck. I learned a long time ago this method of photography can produce good pictures once in a while, but for consistent results of high quality imagery you need to previsualize and pre-plan your picture taking.

A case in point are the white on white images accompanying this article. I have pursued this color theme for years because I think it’s particularly beautiful, but I don’t live in an area with many months of winter. Therefore, I’ve had to plan trips to areas with snow. In addition, by focusing my attention on this particular theme, I’ve been able to photograph many different types of white on white subjects that include flowers, patterns of lace, wildlife, birds, and I even create amazing white subjects using artificial intelligence. Exposure

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

The first question people ask me when shooting white subjects on white backgrounds is how do you expose for this? Reflected meters, the type that’s in all of our cameras, typically underexpose white or light subjects because they are programmed to understand only middle toned subjects or areas of a composition. Middle tones can be represented by any color, i.e. middle yellow, middle blue, middle gray, etc., and a light meter determines its shutter speed/f-stop/ISO combination with the assumption that it is ‘seeing’ a middle tone. If the meter sees white, it assumes it’s middle toned and therefore it gives you a reading that makes the white subject gray. In other words, it will underexpose the subject or scene -- underexposed white becomes gray. That’s why with no adjustment a picture like the arctic fox, below, turns out too dark. The underexposure is the meter’s attempt to make the snowy scene middle gray.

Therefore, many instructors tell students to overexpose images by about one and one third f-stops in an attempt to counteract the underexposure that’s inevitable. The problem with that, however, is there are many kinds of snow situations. The shots of the snowy owl on page 10 and the fox below show both frames completely filled with snow and the subjects are almost totally white. The landscape of Mt. Fitzroy in Patagonia on page 14, however, includes the snow covered mountain range but it takes up only about 20%

of the total frame. Would a meter respond to a scene like this in the same way it would to the two other pictures? In other words, would the meter indicate an exposure of the mountain range with the same underexposure as in the two other pictures? Absolutely not. If fact, the landscape image wouldn’t be affected by an adverse light reading at all.

white feathers, etc. -- they can’t be recovered. By underexposing about 2/3 f-stop, I am protecting those vulnerable areas of the image from losing detail. In post-processing, it’s a simple matter of lightening the photos to taste. Any increase in noise as a result is small and, in my opinion, negligable. It can be eliminated by using the Topaz DeNoise AI plugin.

In the same way, there are so many different white subjects and white scenes that one general rule -- such as overexpose by 1-1/3 f-stops from what the meter says -- doesn’t make sense.

Color cast

The way I handle white on white scenarios is to not make any adjustments to the exposure at all. This means all or most of my pictures will be dark. I actually prefer this because the underexposure protects the highlights from becoming blown out. Once the detail is lost -- such as highlights on snow, flower petals,

When you shoot white on white subjects, especially outdoors, overcast days usually cause a bluish color cast. Address this issue by using the cloudy white balance setting. If you’re shooting in deep shade, however, this won’t be enough. Try changing the Kelvin temperature toward the warm portion of the spectrum, but the easier and more accurate way of eliminating an unwanted color cast is to use the ‘temperature’ slider in ACR or Lightroom. §

hotographers have become accustomed to accepting that photography does not capture exactly what we see. It comes close, most of the time, but even the purists among us who ‘insist they won’t change a sky’ have to admit that we never see shallow depth of field, never see blown highlights, never see telephoto-induced compression, and never see blurred images we create in the camera with long shutter speeds. Our vision is one thing, and photographic results is another. We also never see keystoning with our eyes. This is the effect in which buildings or anything with vertical lines seem to lean inward as illustrated by the skyline picture of Chicago,

below. Many photographers don’t like this artificial and somewhat bizarre interpretation of buildings, trees, flagpoles, and so on. We have accepted that it happens, but that doesn’t mean we have to like it. Keystoning occurs when the camera is angled upward such that the back of it, i.e. the plane of the digital sensor, becomes non-parallel, or oblique, to the plane of the subject. As I said, photographers have gotten used to this kind of distortion, but if you don’t like it and want to make the buildings truly vertical, as they actually are, there are three ways to accomplish this.

1. If you make the shooting position high enough so it’s halfway up the height of the skyline, the back of the camera will be parallel to the distant group of buildings and no keystoning will occur. In the picture of Chicago, this was impossible given where I was standing. But had I been photographing a portion of the city from, say, the 35th floor of an adjacent building, all of the vertical lines of the architecture would be seen as vertical.

be rectifying keystoning in post-processing, include extra room on either side of the composition that can be sacrificed.

2. You can use a tilt-shift lens. This is a specialized lens that allows a photographer to make certain types of movements, called swings and tilts, to correct the keystoning.

The commands in Photoshop I use are Select > all, and then Edit > transform > distort. A box appears around the image with handles at each corner, and by dragging those handles you can ‘distort’ the image to fix the keystoning. You can similarly tweak the image in Adobe Camera Raw and Lightroom, but those tools can only be used if the keystoning is relatively minor. With extreme distortion as exhibited in the skyline shot on the previous page, you have to use Photoshop’s commands.

3. You can use Photoshop to tweak the image such that the angled lines return to being vertical. I did that in the image below, but notice I had to lose some of the skyline on the left and right sides of the frame. I wasn’t happy with that, but there was no choice. If you know you’ll

Keystoning is most obvious when using a wide angle lens, but it also happens with telephotos. With a long lens, sometimes I’ll move further away from the subject so the back of the camera becomes more parallel with the plane of that subject. §

PATAGONIA PHOTO TOUR October 15 - 26, 2024

Photography Quiz 1. The ‘Inverse Square Law’ refers to: a. The aspect ratio of the images that come out of the camera b. The light falloff from the source as it travels outward c. The reversal of light and dark values in an image d. The maximum amount of depth of field you an get in a particular composition. 2. In the old days of shooting film, fluorescent fixtures used to photograph: a. Bluish b. Yellowish c. Greenish 4. None of the above 3. Depth of field is a manmade construct. a. True b. False 4. When an extension tube is used between the lens and the camera body: a. Picture quality is degraded slightly b. Picture quality is improved c. Picture quality is unaffected 5. Using a smartphone for picture taking means: a. The artistry of your compositions will suffer b. You will be able to capture action a lot better c. The quality of the pictures will suffer 6. Using an SD card means the quality of your images will be degraded compared to a CF card. a. True b. False 7. When shooting either a horizontal or vertical panorama in which invidual images are stitched together, you should overlap each frame by aboutt: a. 20% b. 30% c. 40% d. 50% 8. On which glass element of a camera lens will a scratch show up in your pictures as more defined: a. Front glass element b. Rear glass element 9. As you shoot closer and closer to the Equator -- in other words, as you head south from the Northern Hemisphere -- contrast at midday: a. Increases b. Decreases 10. When you use on-camera flash and move further back from a subject, the light becomes: a. More contrasty b. Less contrasty c. There is no change d. This is a stupid question

Answers on page 46

UPCOMING PHOTO WORKSHOPS 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 6- 10, 2024

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 11 - 15, 2024

Carnival in Venice Photograph amazing costumes in a Medieval environment, inside a 16th century palace and in an iconic gondola. The photography as well as the experience is amazing.

February 4 - 10, 2024

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Expand your photographic artistry with

eBooks

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WINTER WILDLIFE WORKSHOP January 6 -10, 2024

What’s wrong with this picture?

e as photographers don’t have much control over the places we photograph with respect to unwanted and distracting elements. Sometimes they can be moved, but much of the time we are stuck. In the past, pre-Photoshop, this was obviously a distressing problem. Now, and especially with the new AI capability in Photoshop, we can take care of problems like never before. I took this picture in the historic section of York, England, and there are two things that bother me about this. The signs are obviously distracting, especially since two of them are bright red. My photo tour group and I got up very early in the morning to avoid people on the street. but the signs were problematic. Second -- and I know this isn’t a huge complaint, yet it still is annoying -- there is an electrical line at the center right of the image. We all accept power lines for obvious reasons, but that doesn’t mean we have to like them. 23

I used the same technique to remove both unwanted elements. For the signs, I used the lasso tool and made a rough selection around all three of them. I made sure I included enough of the detail around them so the AI algorithm would know what to use to replace the area behind the signs. In Photoshop, I then chose, Edit > generative fill. A small window pops up, and then I clicked ‘generate’. In about 10 seconds, the signs were replaced by the appropriate bricks and window design. It was truly magic. I then did the same thing with the power line. Before the introduction of AI capability in Photoshop, I would have used the clone tool or the patch tool, but generative fill is much easier and significantly more accurate. I also replaced the sky because the original overcast sky photographed white, and I felt that was distracting as well. §

SHORT AND SWEET 1. A small lightbox is a great way to create a white 2. AI can be used to create realistic imagery of wildbackground, enabling you to photograph white on white subjects in your home. It can also provide diffused backlighting. This is great for translucent subjects. I photographed this lily using auto white balance, and there was enough light to hand hold the camera.

life, birds, and even insects. For this mute swan, I specified I wanted backlighting, outstretched wings on a dark background plus a realistic reflection. I wasn’t disappointed. This certainly doesn’t have the thrill of shooting this in the wild, but it’s still pretty amazing.

3. When a subject is far enough away that your lens

4. Panorama images don’t have to be photographs of

is focused to infinity, depth of field is no longer relavent. This means the image will look the same at f/4 or f/22. Therefore, in this kind of situation, opt for the sharpest lens aperture which is one or two f-stops down from wide open. Usually this is f/8.

vast landscapes, which is what most people think about when considering the pano option. They can also be photographs of much smaller areas, such as this courtyard in Chefchaouen, Morocco. This is a 7-frame pano, and the entire width of this area is only about 25 feet. §

Coast of France and the Loire Valley April 4 - 13, 2024

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 . . .What is your opinion about off-brand lenses like Sigma, Tamron, Rokinon, etc.?

Are they sharp? Do you have any of these brands? Peter Collins, Lawrenceburg, Tennessee

A: Sometimes these off-brand lenses are even superior in quality to the name brands.

Such was the case when I bought the Sigma f/1.8 14mm wide angle lens. I had the second iteration of Canon’s 14mm, and the Sigma was noticeably sharper at the edges. Canon has since corrected that issue, but I love the Sigma and use it all the time with full confidence that my images will be sharp. Many times, it’s a lens by lens issue when it comes to sharpness. Generally, I prefer to use Canon glass -- and I’m sure Nikon, Sony, and Fuji users prefer the lenses made by those companies. But if you want to save money, or weight, or if one of the off-brand manufacturers makes a lens that is so amazing and the larger companies don’t, then I heartily endorse that choice. §

Taken with the Sigma f/1.8 14mm wide angle lens.

Partial List of Photography Tours 2024

WINTER WILDLIFE Jan 2024

SNOWY OWLS Jan 2024

CARNIVAL in VENICE Feb. 2024

ABANDONED in GEORGIA March 2024

HOLLAND & BELGIUM Apr/May 2024

WHITE HORSES, FRANCE May 2024

COSTA RICA BIRDS May 2024

LAVENDER FIELDS, FRANCE Jul 2024

INDONESIA Jul/Aug 2024

ICELAND DRONE TOUR Aug/Sept 2024

PATAGONIA Oct 2024

LOUISIANA SWAMPS Oct 2024

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

White Horses of the Camargue May 6 - 11, 2024

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.

Lloyd Parks, Grapevine, Texas Holland/Belgium photo tour, Heart of Eastern Europe, Vietnam/Laos/ Cambodia photo tour.

Student Showcase, continued

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Student Showcase, continued

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Student Showcase, continued

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Beginning Photoshop course

4 online sessions: Finally learn how to be super creative with your images S t a r t s S a t., N o v. 1 8, 2 0 2 3

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 AI plus Photograpjhy Oct. ‘23 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 Black backgrounds Aug. ‘23 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 Clone tool, fixing an issue Sep. ‘17 Clone tool technique Jul. ‘20 Color theory Nov. ‘23 Composites and Light Dec. ‘17 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 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

Subject index for past Photo Insight issues

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 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 Great subjects Great ceilings & HDR Panos Green screen Ground level shooting Grunge technique

Jul. ‘20 Dec. ‘15 Jun. ‘3 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 Home nature projects Jun. ‘23 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 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 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 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

Subject index for past Photo Insight issues 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 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 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 Sepia, Traditional look of 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 Soap abstracts Aug. ‘23 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

Subject index for past Photo Insight issues Tamron 150-600mm Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 Texture Mapping in 3D Jul. ‘21 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 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 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

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 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. c 3. a 4c 5. c 6. b 7. d 8. b 9. a 10. a

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

PHOTO INSIGHTS published monthly by Jim Zuckerman

Edited by: Donald Moore

email: photos@jimzuckerman.com

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