Jim Zuckermanâ€™s

PH OTO I N S I G HTS December 2020

White on White Choosing a telephoto lens Focus on the eyes Photo tours Student showcase Ask Jim Subject index

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

White on white Choosing a telephoto Focus on the eyes What’s wrong with this picture? Short and Sweet Ask Jim Photo tours Student showcase Back issues Subject index for Photo Insights

On the cover: Jim’s two dogs, Princey and Teddy, exhausted after opening presents last year. This page: Snowy owl in flight, Ontario, Canada.

eople seem to learn best with repetition. This is true of school work, on the job training, and even life’s important lessons. It’s also true of learning photography and Photoshop. If you pick up a camera every month or two and, if you dabble in Photoshop once in a while, remembering what all of the buttons, menus, and commands do will be a frustrating experience. Your creative process will be diminished, and this frustration may discourage you from taking pictures in the future. Photographs leave a visual history of our lives. Whether you photograph a beautifully prepared meal at home, happy moments during a vacation, a close encounter with wildlife, or a family member shoveling snow, photos are the antidote to fading memories. We take for granted simple things we do when we’re young, but later in life it’s the simple things that take on great significance. When we record our lives with pictures (and video), it’s not only a joy to review them throughout the years, but we leave behind wonderful memories for our loved ones. Even at a time when traveling is difficult due to Covid, don’t let your camera fall into disuse. Keep your skills honed by taking pictures often. You might just find subjects to shoot that never interested you in the past and have fun doing it. Remember that every picture you take now will be significant to someone in the future, including yourself. When you think of it like that, photography takes on a whole new meaning. Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com

White on White

favorite color theme of mine is white on white, and that’s why I love shooting in winter. The purity of white is compelling, and when the various tones or shades of white are combined, some of the most amazing images result. Dealing with exposure The first question in a photographer’s mind when shooting snow and other bright white subjects (like white-feathered birds, white wedding dresses, etc.) is how to expose for the subjects. Meters are designed to determine an accurate exposure when the subject is middle

toned. This is usually referred to as middle gray,, but this could just as well be middle red, middle magenta, or middle green. The color doesn’t matter -- it’s how light or dark the tone is. If a subject is white, the meter assumes it’s middle toned and therefore dictates a shutter speed/ f-stop combination that makes the white subject or scene middle toned, i.e. gray. A middle toned rendition of a pure white landscape like the cottonwood tree on the next page produces an underexposed image. The meter is trying to make the scene middle toned, thus the highlights are darkened in keeping with the programming of the meter.

The way photographers would traditionally deal with this problem was to overexpose the pictures using the exposure compensation feature on the camera. The amount of overexposure was typically 1-1/3 to 1-2/3 f/stops. This was an educated estimate because many factors influence an exposure, the primary one being what percentage of the frame is white, and whether the center of the composition white.

we can determine whether or not our exposures are correct at the time of shooting.

When we shot film, we couldnâ€™t see our exposures until the slides or negatives were developed. If our exposure compensation guesstimate was wrong and the pictures were either too light or too dark, there wasnâ€™t much we could do about it. Two important things have changed since the film days, and these changes make getting perfect exposures easy:

2. Because of the tremendous ability of RAW files to be manipulated -- shadows, highlights, exposure, etc. -- even if your pictures are overor underexposed, you can correct them afterthe-fact . . . within reason. This means there is a wide range of acceptable exposures that will, in the end, enable you to produce well exposed images.

1. We have the advantage of the LCD screen on the back of the camera which immediately shows the results of our pictures. Therefore,

The technique I use now for shooting on snow is to use Matrix or Evaluative exposure mode and zero exposure compensation. Because of

Related to this is the fact that mirrorless cameras show the exposure value in the viewfinder in real time. So, as you are viewing a scene through the camera, you can actually see the image get lighter or darker as you adjust the controls.

the whiteness of winter scenes, the pictures look underexposed when viewed in Bridge or Lightroom. I then make the necessary adjustments to the exposure to make the images perfect. The underexposure isnâ€™t severe enough to introduce additional noise, and this technique

allows me to protect the vulnerable highlights from blowing out. The blue bias In the two photos above, you can see a color

discrepancy. The picture on the left is obviously more blue. When shooting in winter, the color temperature (i.e. the white balance) is often on the cool side of the spectrum (meaning bluish) because of a thick cloud cover. Cloud covers make the lighting soft and diffused, which is beautiful, but at the same time pictures tend to appear bluish. Seen by themselves, you may not notice the color shift, but when seen next to snow that’s devoid of the blue tone, you can immediately see the difference.

You may like blue/cyan tones in winter landscapes or when photographing wildlife because this color connotes cold. If you don’t, though, you can eliminate the cool tones in Adobe Camera Raw and/or Photoshop.

In addition, the number of daylight hours in winter are reduced, and photographers often shoot at dawn and as late in the day as possible to extend the amount of time for photography. This also yields blue-toned images because reduced natural light and deep shade always photograph on the cool side of the color temperature chart.

In Photoshop, go to Image > adjustments > hue/ saturation. In the submenu (click on the ‘master’ tab), sliders are revealed that make it easy to desaturate the blue and/or the cyan colors. Move the saturation slider to the left until you are happy with the results. This will bring your snow pictures back to a neutral white which looks like what you saw with your eyes. §

In ACR, go to the ‘color mixer’ down arrow (in the latest release) and there you will find the color sliders. Often, the cool tones are both blue and cyan, so you’ll need to desaturate those colors by moving the sliders to the left.

ust when I thought there couldn’t possibly be any more revolutionary breakthroughs in photography, Canon announced new telephoto lenses that change wildlife and bird photography significantly.

For wildlife and birds, these expensive lenses produced the best results in terms of sharpness, speed of autofocus, and contrast. Even if money was not the inhibiting factor, the weight and volume of these monster lenses prevented many people from buying them.

In the past, when I was asked by clients or subscribers to this eMagazine to recommend a long lens, it was very difficult. The typical Canon or Nikon 500mm or 600mm lenses with an f/4 maximum aperture were very expensive, very heavy, and very large. Many people can’t afford a lens in the $10,000 to $13,000 range.

At the other end of the spectrum, inexpensive telephotos were not as sharp as the expensive glass, especially at the edges, and they were typically quite slow. At full extension, a low-priced long lens would be in the f/6.3 or f/7.1 range. When we were all shooting film and 400 ISO was considered ‘fast film’, the small maximum

PERU PHOTO TOUR Sept. 24 - Oct 4, 2021

apertures were problematic, especially in low light situations. We couldn’t use a shutter speed fast enough to freeze fast moving animals and birds in flight. With the first serious digital cameras, the problem was noise. I remember my first expensive Canon digital, the 1Ds Mark II, was a revolutionary (in 2005) 16.7 megapixels, but it was terribly noisy above 1000 ISO. 3200 ISO was completely unusable. A few years ago Sigma and Tamron brought to the market zoom lenses in the 500mm and 600mm range for a very reasonable price, but at their full length they weren’t as sharp as one would hope for. At least these lenses gave photographers an option without breaking the bank. They weren’t as heavy as the f/4 glass, but they were still heavy when you consider handhold11

ing the lens as you track a flying bird across the sky. The Tamron 150-600mm f/5-6.3 is 4 1/2 pounds. Today, thanks to remarkable improvements in post-processing software like Topaz DeNoise as well as incredible refinement of digital cameras, high ISO settings unthinkable in years past have enabled manufacturers like Canon to introduce a new line of low-cost, relatively small, and relatively lightweight telephoto lenses. A new generation of telephotos The lens shown at right is the new Canon 600mm made specifically for mirrorless cameras. It is priced, remarkably, at $699 at B & H. It weighs in at 2 pounds and it’s about 10 1/2 inches long. Anyone can hand hold this lens with ease. By comparison, the expensive 600mm f/4 telephoto that costs $13,000 weighs 6.71 pounds, and this new version is lighter than its predecessor. How can this new lens be so inexpensive and light? The answer is what’s happened to the maximum lens aperture. It is f/11. Not only that, but it’s a fixed aperture -- meaning the aperture can’t change at all. Every picture you take with this lens will be at f/11. The lens below is Canon’s new 800mm super telephoto.

It lists at B &H for an astonishing $899, and it weighs 2.77 pounds. The expensive version of this lens, also $13,000, weighs in at 10 pounds -- roughly 4 times heavier. The maximum, fixed lens aperture on the inexpensive version is also f/11. How significant is such a small aperture for photographing wildlife and birds? Here are the pros and cons: 1. Pro -- Enables manufacturer to pro-

duce lenses exceptionally light in weight. For women, people with shoulder, neck, and back pain, and older photographers who can’t manage a heavy lens, this is an incredible development. 2. Pro -- Enables manufacturer to make a lens very inexpensive. 3. Pro -- Enables manufacturer to make the lens small in volume so it can easily be carried in a photo backpack. 4. Pro -- Being challenged at airports with the weight of your carryon is much less of an issue now. 5. Con -- Forces the ISO to be high because of the reduction in light reaching the sensor. 6. Con -- Makes using a teleconverter virtually impossible due to the loss of more light.

7. Con -- Makes it impossible to create out of focus bokeh backgrounds typical of large apertures like f/4 and f/5.6. In my opinion, the Pros out weight the Cons by far. With the ability to mitigate noise in postprocessing, the biggest concern most photographers have regarding high ISO settings can be dealt with. Tests I’ve seen indicated these lenses are sharp, too. Although we can’t manipulate depth of field due to the fixed aperture, I’m planning on buying one of these the next time I travel to Africa. Other camera companies like Nikon (if they survive their financial problems), Sony, Olympus, and Fuji have or will have similar lens designs to enable so many more people to capture beautiful pictures of wildlife and birds. § 13

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

ONLINE PHOTOSHOP TRAINING 4 Live Sessions Every Saturday Starting Jan. 24, 2021 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. Photoshopâ€™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.

Focus on the Eyes W

hen photographing an animal or a person, or even an insect for that matter, the general rule is to focus on the eyes. It can be acceptable for other parts of a face to be less than tack sharp, but the eyes have to be in focus for the picture to work. In the shot of the cheetah, below, you can see the eyes are sharp but the nose and the ears are somewhat soft. Would I have preferred for the entire head to be tack sharp? Yes, but the image

is successful as it is now. Many photographers donâ€™t understand depth of field clearly. For example, when a subject is relatively far from the shooting position, clients on my tours ask me if they should focus on the eyes. At some point, itâ€™s not feasible to focus on the eyes because the subject-camera distance is such that depth of field has increased beyond the point where you can distinguish between

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!

Jan. 24, 2021

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 12 - 17, 2021

Photoshop Workshop The setting is in my home and, in this two day workshop, youâ€™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

focusing on the eyes and focusing on the nose. Remember that depth of field increases as you move back from the subject. This is true for every lens. Depth of field also increases as the focal length of the lens gets wider. Study the picture below in which I used a 24mm focal length. I was about 8 to 10 feet away from the Balinese dancers, and that distance combined with the wide angle lens meant focusing on the eyes of any of the dancers wasnâ€™t feasible or necessary. At this distance and with this lens, I concentrated on focusing on their bodies because -- and this is the point -- even with a large lens aperture, the entire face and body would be sharp.

the eyes. In the shot of the wolf above, the nose protrudes quite a bit. A closeup portrait would have to deal with depth of field, and focusing on the eyes would be relevant. But at this distance, both the nose and the eyes will be sharp.

Even when a telephoto lens is used, if the distance of the subject to the camera is far enough, focus on the face rather than trying to focus on

Is there a general guideline here for distance versus depth of field. Unfortunately, no. Knowing what to do comes with practice. Â§

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W i n t e r W i l d l i f e Workshop January 12 - 17, 2021

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What’s wrong with this picture?

o many times when we’re shooting, there are photographic problems that we just can’t fix at the moment. Unattractive lighting, bad backgrounds, the sky, and distracting elements are things we have to deal with all the time. In the case of the picture of tall ships above, the lighting was less than ideal. Overcast and misty weather is a familiar weather condition along the East Coast of the United States, but I didn’t want a bland and boring sky. The problem in replacing the background was all the rigging on the ships, particularly the tall ship in the foreground. Even Photoshop’s new Sky Replacement feature didn’t work because all of the lines that comprise the ship’s rigging are so fine that many of them disappear when the software attempts to distinguish between the foreground elements and the background.

The rendition of the tall ships above is, to me, a more compelling image. To replace the sky, first I had to find clouds that worked. This means two things: 1) The new sky had to make sense in terms of providing the right kind of light. The soft and diffused light on the seascape could only come from an overcast sky. 2) The new clouds, when blended with the ship, can’t obscure the ship itself. You don’t want to see the clouds through the sails. In the Layers palette within Photoshop, I used the multiply blend mode. This perfectly blended the new sky with the ship, although it was about one f/ stop too dark. I flattened the layers and then used the dodge tool to carefully lighten the sails. Finally, I brought the image back into Adobe Camera Raw with Filter > camera raw filter and added clarity for visual impact. § 23

SHORT AND SWEET 1. It’s certainly uncomfortable to get down to ground

level, but that often makes the best pictures. What I find so compelling about this picture is the low angle to the penguins when usually we see these birds from a standing vantage point. The wide angle lens allowed me to have complete depth of field.

2. These girls in China are from an ethnic group known for bright clothing. I set this shot up, but notice that it looks natural -- not like a setup. When you arrange models in your travels, try to make the shots look like you just got lucky and happened upon a real situation. The images will look a lot more natural.

4. Because of the distances involved at air shows, depth

When shooting birds in flight, it’s not possible to get the bird sharp and the background blurred to suggest motion. It has to be done with two separate pictures composited -- the bird photographed with a fast shutter speed (1/3200) and the background taken with a slow speed in the 1/15th of a second range.

of field is irrelevant. That means you can shoot wide open, and that in turn means you can use fast shutter speeds with low ISO settings. A tripod and a gimbal head takes the weight of a long lens off your arms and shoulders, but at the same time a tripod is inhibiting.§

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 land iguana in the Galapagos Islands a few years ago, and it has always

bothered me that the background cacti are somewhat out of focus. Do you feel the same way, or is it acceptable for a landscape to be soft in a situation like this? What could I have done at the time to have complete depth of field? James Walker, San Antonio, Texas

I agree with you. The background should be sharp. That’s a subjective viewpoint, but you asked my opinion. To make the background sharp, you either needed a small lens aperture like f/22 or f/32, or you could have taken a separate, sharp picture of the landscape and then composited that with the iguana. That’s what I would have done to make sure both elements were tack sharp.

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

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 Photoshopâ€™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.

Sylvia Papachristou-Rourke, Montreal, Quebec, Canada Botswana photo tour, Photoshop Online Training, Next Level Online Photoshop Training, Travel Online Course.

Student Showcase, continued

29 29

Student Showcase, continued

31 33 35

Student Showcase, continued

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

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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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 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 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 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 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

Jul. ‘20 Dec. ‘15

Subject index for past Photo Insight issues Great subjects Apr. ‘15 Great ceilings & HDR Panos Jul. ‘19 Green screen Mar. ‘13 Grunge technique Feb. ‘13 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 Negative space Jan. ‘16 Neon edges on black Aug. ‘14 Neutral Density filters Jun. ‘18 Night photography Feb. ‘14 Night Safaris Jun. ‘18 Night to Twilight Dec. ‘17 Noise reduction 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

Subject index for past Photo Insight issues 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 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 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 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 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 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

Timber wolf, black phase, Montana

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