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Jim Zuckerman’s

PH OTO I N S I G HTS November 2020

New Sky Replacement in Photoshop Self-critiques Sharpness vs. DOF Photo tours Student showcase Ask Jim Subject index

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On the cover: Morpho butterfly, Mexico. This page: Carnival in Venice, Italy -- photographed on Burano Island adjacent to Venice.

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4. 9. 16. 22. 24. 25. 26. 28. 34. 39.

The new sky replacement Self-critiques Sharpness vs. DOF What’s wrong with this picture? Short and Sweet Ask Jim Photo tours Student showcase Back issues Subject index for Photo Insights


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anon has revolutionized the photographic industry with their new super telephotos. In the past, when clients would ask me to recommend a good lens for wildlife and bird photography, I knew which lenses were best but I felt guilty recommending super expensive glass. 500mm and 600mm telephotos in the Canon lineup, along with the 200-400mm zoom with the built-in 1.4x teleconverter, are roughly between $10,000 and $13,000. These lenses are sharp and fast, but they are also very heavy. It’s hard to use a tripod or monopod when following birds in flight, and that means your arms and shoulders become exhausted very quickly handholding the camera and lens. That’s a good way to miss shots. Enter the new 600mm and the 800mm Canon lenses. Their prices are, literally, shocking: $699 and $899, respectively. The weight of these lenses is also remarkable: 2 pounds and 2 3/4 pounds, respectively. Compare this with the weight of the $13,000 800mm lens -9.9 pounds! This is enough to give you a hernia, crush the discs in your lower back, and encourage your friends to chip in the funds to send you to a therapist! The downside? These two lenses have a fixed aperture of f/11. This means you can’t adjust the bokeh with lens aperture and, more importantly, the lenses are slow. In low light, you’ll be using high ISO settings. Given how good Topaz DeNoise AI is in mitigating noise, however, this is a minor problem now. I have seen test shots where the new Canon 600mm is compared to its $16,000 Nikon counterpart, and I couldn’t tell the difference in sharpness. The Canon lenses are made for the new R5 mirrorless camera only. It won’t fit other Canon dSLR cameras. But now and into the future, those of you who coveted long lenses but couldn’t purchase the expensive models now have an intelligent choice. Plus, you won’t have to build up your biceps and triceps to use them. Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com

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NEW SKY REPLACEMENT P

feature in Photoshop

hotoshop 2021 was just released by Adobe, and there are a number of revolutionary changes that I would call brilliant. The one we’ve all been waiting for is an amazing tool for replacing the sky in a complex and challenging image. Most of the tutorials that have already been posted online show this tool being used on very simple sky-replacement situations such as a distant mountain range, the horizon at the ocean, or a modern cityscape with sharpedged buildings. These scenarios are too easy, and they don’t show the real capability of this

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new software development. In the photo below of a private home in France, the spires atop each of the conical terminations of the towers are very fine and easy to lose when compositing, and the trees behind the architecture have lots of detail. Using the simple options and sliders within the Sky Replacement feature, I was able to replace the bland and boring original sky with one of my own stormy skies. This transformed the shot, and the juncture between the new clouds and the house and forest is flawless. The procedure is easier than you might think: Open an image with a sky, and then use the


pulldown menu command Edit > sky replacement.” Photoshop includes some stock photos of skies you can use, but I never use anyone else’s pictures in my composites. Besides, millions of Photoshop users will be using these skies, and you really don’t want fellow photographers who see your composites to be familiar with those same sky pictures. To see the collection of sky images included with the new Photoshop 2021 (version 22), click on the down arrow in the top of the dialog box (indicated by the red arrow, right). The dropdown menu will show those images. I deleted all of Adobe’s stock photos by clicking on each of their skies and dragging them to the tiny trash can at the bottom of the dialog box (orange arrow, right). To add your own sky photos, click on the + symbol (green arrow, right) and then browse your computer. They will be accessible in the

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same dropdown menu. As soon as you choose Edit > sky replacement, the first sky in the list will be placed behind the subject, the landscape, or the cityscape. If you want another sky, simply click on another picture in the list of skies. The artificial intelligence of the algorithm is amazing, and the composite in most cases is perfect. If the composite needs tweaking, you can do so in the dialog box shown at right. The first two sliders near the top, shift edge and fade edge, shown by the cyan and magenta arrows, respectively, are the most important. The colors, tones, and contrast in every image is different, and how the new sky blends with the foreground elements may need to be adjusted with these sliders.

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The yellow arrow on the previous page shows one of two choices -- screen and multiply -and you’ll have to experiment to see which one looks best to you. I usually choose screen. The brightness, temperature, and scale sliders are familiar to you and it’s obvious what they do. The bottom one third of the dialog box offers sliders that allow you to tweak the foreground with color and lighting. The ‘flip’ box enables you to flip the new sky horizontally. When you are happy with the image, click OK. Photoshop saves all the changes you made as layers and layer masks, and you can see these controls in the layers palette.

The polar bear photograph on the previous page presented a particularly interesting problem. Photoshop recognized the sky portion of the image, but the out of focus Hudson Bay in the background isn’t sky. I wanted to replace the entire background, including the water, but of course Photoshop couldn’t know that. The software ‘intelligently’ selected only the sky, so I had to use another approach such that both the sky and the bay were identified as the receiving area for the replacement sky. This is one of the problems with sky replacement. Photoshop may not realize that to make a better picture, more than the sky needs to be replaced. Here are the steps I used: 1. Choose Select > subject 2. Choose Select > select and mask

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3. Choose Select > inverse. Now everything is selected except the polar bear and the ground, i.e. the entire background. 4. Make a duplicate layer with Command or Control J. 5. Now apply Edit > Sky Replacement and go through the steps as previously explained.

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The picture of Saint Fin Barre’s Cathedral in Cork, Ireland, below, presents another challenging foreground in which I replaced the sky using Photoshop’s new ability. Again, with little effort, the results are more than impressive. All of the detail in the trees met with the new sky perfectly. There is no evidence this is a replacement sky. §


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great . . . or not. But I think you’ll find this list of questions valuable because they force your attention on aspects of your pictures that you might not have considered previously.

What follows is a check list of questions you can ask yourself about your work, and this should help you analyze the images. Art is in the eye of the beholder, of course, and people can differ on what makes any particular photo

1. Great subjects make great pictures, so did you photograph a subject that could be considered great, or at least very good? It could be the sweet face of a child or the weathered, lined face of someone very old. It could be a great landscape, a striking tree, a colorful insect, a graphic pattern of windows on a mirrored skyscraper, or a 19th century dilapidated school house (below). Great subjects are everywhere.

veryone wants to improve their photography, to take better and better pictures. One of the best ways toward that goal is to learn to honestly self-critique your work. To identify what you did right and what you did wrong in any given photographic situation means your photography can only get better.

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PERU PHOTO TOUR Sept. 24 - Oct 4, 2021

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2. Backgrounds are just as important as subjects in making a picture work. Is the background behind your subject busy, distracting, or unattractive? Does the background compete for attention with the subject, or does it complement the subject like in the shot of the green heron, above? Does your background have distracting highlights, graphic lines behind the subject that are not part of that subject, or are there important elements in your composition that should be sharper than they are? 3. Lighting can make or break a photo. Is the light in your shot too contrasty, unattractively mottled, or are there unattractive shadows? For outdoor images, did you use sunrise, sunset, or diffused light for the best outdoor outcomes? For indoor photography, did you use window light as in the portrait from Kazakhstan, right? Did you use off-camera flash for drama? 11


There are always exceptions in art and in photography but usually the lighting to avoid includes harsh, midday sunlight, on-camera flash, and shaded subjects with sunny backgrounds. 4. Composition is very important, so did you use the Rule of Thirds, leading lines, and/or framing? If you broke the ‘rules’ -- for example, your subject is centrally positioned in the frame -- does it work? Is the photo balanced well? Are the graphic designs of your compositions attractive, compelling, or artistic? 5. Depth of field is a crucial part of determining the success or failure of a picture. Do you have enough depth of field? Or too much? Should the subject be entirely sharp? Should the background be completely sharp or blurred attractively?

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6. There are four things that are usually unattractive and should not be included as large foreground elements: dirt, gravel, cement, and asphalt. If your photo being critiqued has one or more of these four elements in the foreground, is it too dominant? Or, is there justification for the way you took the picture? One of the exceptions to this guideline is the picture at the top of the next page. In this case, the asphalt highway is a dominant leading line and the main focus of the picture. 7. Noise is an unattractive aspect of digital images, so is there too much noise in an image? Noise is most obvious in the shadows, but upon magnification it can be seen in all areas of a picture. It is unavoidable if you were shooting in dark conditions and/or you needed a particularly high ISO to support a super fast shutter


low and my settings were 1/3200 and f/11. I applied Topaz DeNoise AI, and now the photo looks like I used 200 or 400 ISO.

or small lens aperture. If noise is a problem, use Topaz DeNoise AI or Neat Image software to deal with it. Both are excellent although, depending on the picture, one may be a little better than the other. The photo below of a snowy owl was taken at 20,000 ISO because the light was getting quite

8. Body language is important in both humans and animals. Are your subjects standing, sitting, or moving in such a way that their torso and legs are positioned attractively? If human, are they sitting in a slouched manner that’s less than becoming? If animal or bird, is the turn of the head, the angle of the beak, the position of the tail or wings attractive? 9. Is the exposure right-on? If not, use the exposure slider in ACR or Lightroom to make it perfect. In Photoshop, use the pulldown menu command Image > adjustments > levels to make sure the highlights slider is pushed left to the beginning of the histogram. §

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NAMIBIA PHOTO TOUR May 22 - June 1, 2021 Monster dunes Wildlife Walvis Bay cruise Dead trees Milky Way

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ONLINE PHOTOSHOP TRAINING 4 Live Sessions Every Saturday Starting Nov. 14, 2020 by Jim Zuckerman

Jim starts at the beginning, assuming you know nothing about Photoshop. With a screen sharing meeting using GoToMeeting software, Jim describes his workflow, how to set up your desktop for maximum efficiency, how he processes RAW files for visual impact, and then he goes over the most useful tools and commands in Photoshop. He then explains how to use layers, layer masks, and how to make precise selections for compositing images. This opens the door to instruction on replacing the sky, creating silhouettes, and fixing numerous problems in your pictures. Photoshop’s new features like Sky Replacement are also covered. Jim also delves into blend modes, manipulating individual colors in your images, his favorite plugins, how to turn photos into paintings, and much more. Each session is two hours plus a 30 minute period for questions and answers. There is also time for critiques where you submit images to Jim and he gives you his professional feedback so the entire class can benefit. Each session will be recorded, and you will receive the video file so you can go over the material at your leisure any time in the future. Click HERE for more information.

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Sharpness versus Depth of Field M

any times when I’m in the field with clients on photography tours and I suggest they use the smallest lens aperture for complete depth of field, they will question my rationale because, they argue, the sharpest aperture on a lens is f/8. Using f/22 or f/32 degrades the quality of the image, they say.

f/stops down from wide open. So, if you are shooting with a lens with a maximum aperture of f/4, the sharpest apertures are f/5.6 and f/8.

The conundrum, though, is that f/5.6 and f/8 are relatively large apertures and, as such, don’t offer complete depth of field when the camera position is close to the foreground. The picture below is a good example. In order for the large Actually, the sharpest apertures are one to two rock to be just as sharp as the distant ruins and

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UPCOMING PHOTO WORKSHOPS Photoshop Online Training In the comfort of your home, learn how to be super creative in Photoshop. Learn how to make precise selections, replace the sky, create believable composites, make painterly images, and so much more. Your photography will never be the same!

Nov. 14, 2020

Winter wildlife workshop Stunning pictures of North American animals including wolves, red foxes, arctic foxes, mountain lion, Canada lynx, and more. The animals will be in their winter coats and very beautiful. This is based in Kalispell, Montana.

January 13 - 20, 2021

Photoshop Workshop The setting is in my home and, in this two day workshop, you’ll learn enough to be truly dangerous in Photoshop! How to replace a sky, how to fix all kinds of photographic problems in your pictures, how to handle blown highlights, how to be incredibly creative . . . and more.

May 8-9, 2021

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the mountains surrounding Machu Picchu in Peru, a much smaller aperture has to be used. Even though I used a 16mm wide angle lens which has built-in depth of field, the 2 to 3 foot lens-to-foreground distance demanded the smallest lens aperture to guarantee everything would be sharp. ‘Sharp’ is a relative term, though. F/32 is not as sharp as f/8, but it has more depth of field. So, what does this really mean? Assuming the subject is in the middle of the frame and the lens is focused on it from, let’s say, five feet away, the center of the frame will be sharper at f/8 when compared to the same shot at f/32. The periphery of the composition -- the edges -- will be more defined, i.e. apparently sharper, at f/32 than at f/8.

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Sharpness is how crisp an image is at its focus point. An image with shallow depth of field can be very sharp, but again, only at its focus point. As the lens aperture becomes smaller, more of the background becomes more discernable. An optical engineer probably will say this isn’t sharpness, but the elements in the distance are definitely clearer than when you compare those same portions of the image with the out of focus bokeh produced by an f/8 lens aperture. If that’s not sharpness, I don’t know what is. Artistically, complete depth of field is essential for many types of pictures, particularly landscapes, and the only way to get that -- focus stacking aside -- is with the smallest lens aperture. §


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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W i n t e r W i l d l i f e Workshop January 13 - 20, 2021

Based in Kalispell, Montana

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What’s wrong with this picture?

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ook at this picture closely. Enlarge the page on your device and you can see that the eyes are not tack sharp. The autofocus locked onto the middle of the orangutan’s face -- that large upper lip -- and because the light level was low in the Borneo jungle and I used a 100-400mm lens for the shot, the depth of field wasn’t enough to cover the hair on the chin plus the eyes. I was shooting at f/11 because I was aware that this angle made it tough to get the kind of DOF I needed, but as it turned out, f/11 wasn’t enough. The problem, though was the low light level. I was already at 6400 ISO. So, to gain more depth of field, I had two choices: I could either choose a smaller lens aperture which would force the ISO to be higher (I didn’t want to change the shutter speed of 1/250 for fear of blurring the orangutan), or I could have

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zoomed back from the 286mm focal length composition you see here. It’s easier to analyze a picture in retrospect, but at the time these decisions have to be made in a second or two before the photo opportunity is lost. I got one shot of the orang and then he moved away. I didn’t have time to analyze how I could improve the shot. So, in post-processing, I applied Topaz Sharpen AI. In the dialog box, I chose the ‘focus’ tab and that proved to be the best option. If you enlarge this page on your device and look at the eyes, they are significantly sharper than the original. It’s obviously much better to get the depth of field at the time you’re shooting, but it’s good to know we now have software that can mitigate problems all photographers encounter in the field.

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SHORT AND SWEET 1.

Compelling subjects are dramatized in photographs by filling the frame with them. This is the eye of a wreathed hornbill I photographed in a bird park in Bali, Indonesia. I used a 100-400mm telephoto along with an extension tube that allowed the lens to focus this close. Extension tubes are invaluable for traveling.

2. Patterns and designs of color should be completely sharp from edge to edge. In this shot of boats in Jakarta, Indonesia, I felt it was important that the lime green boat in the foreground be as sharp as the blue hull in the background. I used f/16 to achieve that. Now we can appreciate the sharp detail and texture.

3. When shooting aerials, depth of field is not an is-

4. Diffused light from an overcast sky is the most flat-

sue. There is nothing in the foreground that needs to be sharp. Therefore, shoot wide open or close to it so the shutter speed can be fast. The vibration of the plane plus any turbulence you experience has to be dealt with by using a shutter speed of at least 1/1250.

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tering type of lighting for outdoor portraits. Even the shade from a building or tree works as long as the background is shaded as well. I photographed this young Javanese bride in the backyard shade of her Indonesian home. ยง


ASK JIM

Every month, Jim will answer a question from his online students, from people who participate in his tours and workshops, or from subscribers to this magazine. If you have a question you’d like Jim to answer, please drop him a note at photos@jimzuckerman.com.

Q:

Jim . . .I took this shot of a lilac-breasted roller last year in Africa, and it’s a beautiful bird but the branches that surround it are messy and distracting. You are a Photoshop expert. Is there any way to make this picture better, or is this pretty hopeless? Sheri Kunz, Anaheim, California

A: All of the branches, except the one on which the roller is perched, can and should be replaced with

sky. The biggest challenge are the three branches that cross the tail. In order to eliminate them, you have to rebuild the portions of the tail that are currently hidden by those branches. That means you have to borrow from other portions of the tail and size them to coincide with how the tail feathers taper. This is doable, but it’s tricky. This picture is worth the investment in time, though, because if your Photoshop skills are up to par, the end result will be a beautiful image.

© Sheri Kunz 2020

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Partial list of Photography Tours 2020 - 2021

WINTER WILDLIFE Jan. 2021

NAMIBIA May/June 2021

ETHIOPIA Mar. 2021

MOROCCO Jun. 2021

HOLLAND/BELGIUM April/MAY 2021

LAVENDER FIELDS (France) June/July 2021

ICELAND July 2021

INDONESIA July/August 2021

NORWAY/DENMARK Sept. 2021

PERU NATURE Sept/Oct. 2021

POLAR BEARS Nov.. 2021

WHITE HORSES Apr. 2022

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


Lavender photo tour -- France jJune 29 - July 5, 2021

I replaced the sky using Photoshop’s new Sky Replacement tool. 27


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 gets great photographs on Jim’s trips.

Bob Vestal, Boise, Idaho Patagonia photo tour, Iceland photo tour, Palouse photo tour, Yellowstone in Winter, Costa Rica photo tour, Tuscany photo tour, Photoshop workshop, Online Photoshop Training, Snowy Owls workshop, Winter Wildlife workshop

© 2020 Bob Vestal

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Student Showcase, continued

Š 2020 Bob Vestal

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Student Showcase, continued

Š 2020 Bob Vestal

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Student Showcase, continued

Š 2020 Bob Vestal

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POLAR BEARS from Ground Level! November 6 - 12, 2021

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PHOTOSHOP WORKSHOP in my home

Sat. & Sun. May 8-9, 2021

Photoshop is a photographer’s best friend, and the creative possibilities are absolutely endless. In a personal and ‘homey’ environment (I have a very cool classroom setup in my home), I start at the beginning -- assuming you know nothing -- but I quickly get into layers, cutting and pasting, plug-ins, using ‘grunge’ textures, replacing backgrounds, using layer masks, blend modes, adding a moon, and a lot more. I promise to fill your head with so many great techniques that you won’t believe what you’ll be able to do. I go over each technique several times to make sure you understand and can remember it. Photoshop instructors approach teaching this program from different points of view. My approach is to be as expansive in my thinking as possible in creating unique, artistic, and compelling images. In addition to showing you how to use the various tools, pulldown menus, layers, and so on, I spend a lot of time giving you

creative ideas that will inspire you to produce amazing images with the pictures you’ve already taken. I live in the Nashville, Tennessee area, and if you fly into the airport (airport code BNA) I will pick you up. If you drive, I’ll give you my address and you can find my home on Mapquest or with a GPS. For the $450 fee, I include one dinner in my home (prepared by my wife who is an amazing cook and hostess) and two lunches, plus shuttling you back and forth from my home to your nearby hotel. Contact me if you would like to participate in the workshop and I will tell you how to sign up (photos@jimzuckerman.com). All you need is a laptop and a lot of your pictures. If you don’t have a laptop, I have two Mac Book Pro laptops I can loan out for the duration of the workshop. §

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Dec. ‘14 Jim Zuckerman’s

PH OTO I N S I G HTS January 2015

• Topaz Glow • A different approach to composition • Photographing puppies • Kaleidoscopic images • Online photo course • Student showcase • Photo tours

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• Realistic HDR • Selective focus • Simulating bokeh • Sepia & Dark Contrast • Online photo courses • Student showcase • Photo tours 1

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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 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 Autumn Foliage Sep. ‘18 Autumn Color Sep. ‘20 Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Bird Photography Jun ‘19 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Black and white with color Jan. ‘20 Blown highlights Feb. ‘18 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 Camera setting priorities Jun. ‘17 Capturing lightning Jun. ‘13 Catchlights Jul. ‘16 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 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 Composites and Light Dec. ‘17 Compositing images Apr. ‘19 Composition, different approach Jan. ‘15 Content-aware, New Aug. ‘20 Contrast vs. exposure Jul. ‘15 Creating a star field Jan. ‘14 Creating a Sketch Dec. ‘17 Creative blurs Jan. ‘14

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, shallow Depth of field vs. sharpness Double takes Drop shadows Dust, Minimizing

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

eBook, how to make Embedded in Ice Energy saving bulbs Exposing for the sun Exposure, the sun Exposure technique Exposure, snow Exposure triangle Exposure, to the right Exposure compensation Extension tubes

Jan. ‘13 Oct. 17 Sep. ‘14 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14 Nov. ‘14 Apr. ‘15 Sep. ‘16 Dec. ‘13

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 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 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus points Sep. ‘20 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 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 Graphic Design Garish imagery Great subjects Great ceilings & HDR Panos Green screen Grunge technique

Jul. ‘20 Dec. ‘15 Apr. ‘15 Jul. ‘19 Mar. ‘13 Feb. ‘13

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Subject index for past Photo Insight issues 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 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 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17 Jungle photography

Dec. ‘14

Kaleidoscopic images Jan. ‘15 Kaleidoscopis images Aug. ‘20 Keystoning, correcting Aug. ‘15 L Bracket Feb. ‘18 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 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 trick May ‘19 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meter, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 Museum photography Mar. ‘13

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Negative space Neon edges on black Neutral Density filters Night photography Night Safaris Night to Twilight Noise reduction

Jan. ‘16 Aug. ‘14 Jun. ‘18 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17

Oil and water Optical infinity Organization of photos

May ‘20 Jun. ‘16 Mar. ‘18

Out of focus foregrounds

Jan. ‘20

Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Parallelism Nov. ‘19 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


Subject index for past Photo Insight issues 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 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Restoring old photos Jun ‘20 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 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 through wire mesh Sept. ‘14 Shooting into the light Jun ‘20 Silhouettes Jun. ‘13 Silhouettes, Exposing for Sept/Oct. ‘19 Silvered landscapes Mar. ‘20 Sketch, How to Make Jun ‘19 Sky replacement Nov. ‘20 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 Topaz AI Gigapixel Topaz glow Topaz glow Topaz Impression

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 Twilight photography in the rain Apr. ‘19 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Two subject focus rule Jan. ‘20 Ultra distortion

May ‘18

Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 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 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

Apr. ‘14 Jan. ‘19 Mar ‘19 Mar ‘19 Jan. ‘15 Sep. ‘17 Sep. ‘15

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Photoshop grunge technique with a costumed model in Venice, Italy

PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2020 email: photos@jimzuckerman.com

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Profile for Killer Stock, Inc.

Photo Insights Nov. '20