Photo Insights December 2019

Jim Zuckerman’s

PH OTO I N S I G HTS December 2019

Problem Solving with Flood Exposing for snow Dark backgrounds Photo tours Student showcase Ask Jim Subject index

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Problem Solving with Flood Exposing for snow Dark backgrounds 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: A great Pyrenees puppy packaged for Christmas.

On this page: A gray langur macaque monkey in central Sri Lanka.

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post almost daily on Facebook and Instagram, and recently I posted a photo of fishermen in Sri Lanka. The image can be seen on page 15 of this issue. This subject matter was photographed by Steve McCurry many years ago and published in National Georgraphic. Mr. McCurry wasn’t the first person to photograph the fishermen, but he did a sensational job and his pictures were widely seen in the most prestigious travel magazine of all.

One of my followers on Facebook, a public forum, actually accused me of ‘stealing’ McCurry’s image. I thought that was a particularly stupid comment. Was he suggesting if a subject or scene has been photographed by a well-known photographer, and/or published in a widely distributed magazine, other photographers can’t shoot the same? Because Ansel Adams photographed the Grand Teton Range in Wyoming from the Snake River Overlook, does that mean no one else can take the same view?

And what about a non-famous photographer? If he or she takes a picture of something, does that preclude anyone else from shooting it, lest they be accused of stealing?

By extension, perhaps this follower of mine thinks that if I, myself, photographs a subject or scene, no one else can take similar pictures. How idiotic. I was one of the very first photographers to take pictures of The Wave in Arizona in the early 80’s before anyone knew about it. I stumbled upon it by accident when I was hiking in the desert. Does that mean if others photograph it, they are stealing from me? I find the idea pretty ridiculous.

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

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Problem Solving with FLOOD W

hen a photographer is faced with a problem in a composition -- for example, the intrusion of the tourist boat on a river scene in Budapest, below -- we have four choices: 1) Don’t take the picture, 2) take the picture and accept the less-than-ideal image, 3) wait until the problem goes away (if it ever does), and 4) use Photoshop to solve the issue.

In the picture below, the tourist boat was docked on the side of the river from where I was shooting, and I wanted to position myself dead-center on the beautiful Parliament Building on the

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opposite side. That meant the boat partially blocked the river. It would be possible -- albeit quite laborious -- to clone it out, but there was a much easier way to handle the problem.

The image on the next page shows how I solved the issue. Not only was the boat removed, but the building is reflected in the water perfectly.

It is much more attractive than the original reflection. I accomplished this by using the Photoshop plug-in Flood.

Flood is made by Flaming Pear (flamingpear. com), and it’s only $35. There are two versions

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now -- Flood and Flood 2. They are both excellent and both are worth having. Flood 2 offers realistic waves appropriate for ocean seascapes.

The dialog box for Flood is simple. There are two important controls, though, that I need to bring to your attention. The first command you have to set is the ‘horizon’ (magenta arrow, below). This is essentially the water line, and by moving the slider you can choose where this is established. With the picture of the Parliament Building, I made the water line just above the top of the tourist boat.

The second command is the die (singular for dice) indicated by the green arrow. This is a randomizer, and by clicking it repeatedly, all of the sliders that control and define the wave patterns -- altitude, waviness, complexity, etc.

-- are randomly changed. This is a very easy way to quickly review various waves. Alterna-

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tively, you can move each slider manually for the ultimate in control. It’s simply trial and error. You move one, see what it does, and if you still want to modify the wave pattern, try another slider.

Flood not only creates realistic reflections, it can also hide unwanted elements in the foreground. With the photo of the Parliament Building in Budapest, I eliminated the tourist

boat by raising the level of the water with the horizon slider.

The picture of the black rhino, above, is another example of Flood making a positive contribution. The original photograph of the rhino at a waterhole is shown on the previous page.

I took this from a ground-level blind at night.

Unfortunately, a small dirt rise at the edge of the water was illuminated by the flash. This is problematic for two reasons: 1) it is out of focus, thus very distracting, and 2) the bright dirt makes a very unattractive foreground.

Since the rhino was drinking, it made perfect sense to add Flood to the image. The software, simply expanded the surface of the water and, at the same time, eliminated the distracting

foreground mound of dirt. By moving the horizon slider in the dialog box, I was able to put the water line just under the nose and mouth of the rhino.

One of the things you have to watch carefully is that the wave pattern you create (with the positioning of the various sliders) is appropriate for the image. For example, rough water wouldn’t be correct for the rhino picture because the waterhole is very small. Even in a strong wind, you wouldn’t see significant waves on the surface of the water. Don’t overdo it. All small bodies of water have relatively smooth surfaces. When working with larger bodies of water, such as the ocean, large lakes, or wide rivers, larger waves make sense if that’s the kind of look you want. § 7

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EXPOSING for SNOW

here is much confusion about the best way to take accurate exposures of snow. If you’ve been involved in photography for any length of time, you know that meters can be easily fooled by several factors such as extremes in contrast, certain angles of light (like backlighting), and by very bright and very dark backgrounds. A snow scene is one of those situations that can deceive a meter into providing an inaccurate exposure.

to give you a meter reading so the snow looks gray -- i.e. underexposed.

Why does this happen? Meters are designed to provide accurate exposures based on middle toned subjects. If the background is extremely bright -- such as a field of snow -- the meter is programmed to assume that is middle gray and

Most photo instructors suggest a 1-1/3 or 1-2/3 f/stop overexposure to deal with this problem.

I disagree with this approach for two important reasons:

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It would seem, then, the technique necessary to counteract this underexposure is to overexpose the shot. In other words, you would use the exposure compensation feature built into your camera and move the cursor to the right, or toward the plus side, thus overexposing the pictures.

1. Not all snow scenes have the same lighting and reflectivity. Low angled sidelighting on snow doesn’t give the same exposure reading as mid-afternoon backlighting or, for that matter, overcast light.

In comparing the pictures below and on the previous page, the backgrounds behind the red fox and cottonwood tree are all white.

The landscape behind the wolves has shadows, patches of water and ice, and while there is snow throughout the picture, it’s not as reflective due to the low angled lighting. One general rule of thumb regarding exposure wouldn’t be applicable to the three images.

2. If a significant part of the frame -- especially the center -- is filled with a middle toned subject, the meter will provide an accurate reading and no exposure compensation is required.

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The red fox on page eight is centrally positioned, for example. Meters take most of their information from the center of your composition and, therefore, you can expect an accurate exposure based on reading the centrally placed subject in the composition.

What about the picture above? My wife and our neighbor’s daughter are roughly in the center of the frame and they are wearing winter clothes that are close to middle tone. Could you rely on a meter reading for this scene, based on what I just said? No, you couldn’t. Consider all the problematic challenges: -- Most of the scene is white except the sky and the bare trees.

-- The sun is exceedingly bright -- The sun’s reflection on the snow is intense 10

Finally, study the photograph on the next page of a snowy owl I took during my annual snowy owl workshop in Canada. I shot this in the winter and there is snow on the ground, but would you expect an overexposure by 1-1/3 or 1-2/3 f/stops for this scene was necessary? Absolutely not because there isn’t enough snow to adversely affect the meter reading.

Given all of these factors, you can see how no single exposure guideline can be used for all winter shooting. So, how can you consistently get perfect winter exposures? There are three ways to do it.

1. Use a handheld incident light meter, like the Sekonic L-758dr pictured on the next page, and read the light falling onto the scene. I used this method for 25 years when I shot medium format film. It is extremely accurate because

it is not deceived by the reflectivity or color of the subject. In other words, sunlight or diffused light falling onto snow or onto black lava will, with this meter, produce the same exposure settings. With the reflected-type meters built into our cameras, the two readings would be quite different.

The advantage of this method is accuracy of exposure. The disadvantage is the time it takes to read the light. For static subjects such as landscapes and architecture, time is not of the essence. For moving subjects, though, time can be critical to getting the shot.

2. Take a spot meter reading of a middle toned element in the frame and then use the f/stop - aperture combination determined by the meter for the shot. You can use a handheld light meter for this or the in-camera reflected meter on spot mode.

The challenge is being able to identify middle gray, which is another way of saying middle toned.

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In the two photos below and on the next page, I’ve indicated with a red circle the area in the frame I would use as a middle gray target. It is from here that an accurate light meter reading can be taken. For the shot on the rim of Bryce Canyon, I used the deep blue sky because this is consistently accurate as a middle tone. In the picture of the giant Sequoia trees, bark is often ideal for the same purpose unless it is very light (such as birch bark) or very dark.

The procedure is to take a spot reading on the middle tone, set the camera to manual exposure mode, and then manually set the aperture and shutter based on the reading obtained from the meter.

3. Using a digital camera, take a shot of the scene, look at the LCD screen on the back of the camera (not the histogram), and determine whether or not you are happy with the

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exposure. If not, make adjustments in 1/3 f/ stop increments using the exposure compensation feature until you like what you see.

I specifically suggested that you not assess a snowy winter scene using the histogram because it won’t give you accurate information.

For example, the white sky in the picture of the Sequoia trees on the next page will cause a ‘spike on the right’ in the histogram. This indicates you’ve blown the highlights, something we all know isn’t desirable. This means one or more areas of the image are solid white with no texture or detail. But . . . in this picture, a solid white sky is exactly what I saw and appropriate for this picture.

Don’t rely on a digital graph to tell you what your eyes can determine with more accuracy and with more artistry. §

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MOROCCO PHOTO TOUR October 18 - 31, 2020 Exotic culture

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Camel train at sunset

Blue City

Great portraits

POST-PROCESSING online course

by Jim Zuckerman

Learn how to process your images to give them visual impact. You will be introduced to Photoshop techniques that go beyond what you see and even beyond what you can imagine. This four-week course is invaluable to making your pictures look as good as the photographs you envy! You will receive detailed critiques on the images you submit for every lesson.

The great thing about online courses is that they can fit into any schedule. Life gets in the way at times, and Jim puts no limit on the time you can submit your work for his critiques.

CLICK ON THIS PHOTO to read more about the course.

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DARK BACKGROUNDS I

have written for years that backgrounds are just as important as great subjects in making a picture work well. There are many things to look for in making backgrounds complimentary. One of my favorite techniques is to make them unusually dark. This can range from solid black, as in the picture of the columbine flower at right, to the muted cityscape in India, below. In doing this, all of the attention becomes riveted on the subject.

I use four techniques to achieve this kind of look.

1. For a relatively small subject like a flower or a portrait, using a piece of black velvet in the back-

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ground is perfect. The black fabric absorbs light better than any other material. If you light the subject such that there is little spill on the background, then the texture of the velvet

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UPCOMING PHOTO WORKSHOPS Carnival in Venice Workshop Outrageous costumes in a medieval environment! Venice is great to visit and photograph any time, but during Carnival it’s magical. There is nothing like it anywhere in the world. Exotic masks, stunning colors, classic images.

Feb. 14 - 20, 2020

Snowy owls workshop Stunning pictures of snowy owls in flight.

Up close and personal encounters with owls in the wild. Based near Toronto, Canada.

January 20-23, 2020

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.

June 6 - 7, 2020

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won’t show at all.

2. I use the composite technique. I darken the background using the Levels command in Photoshop (Image > adjustments > levels), and when a properly illuminated subject is pasted over the background, the result is dramatic.

That’s what I did in the portrait from India on page 16.

The procedure I use to composite images in Photoshop is as follows: a. Select the subject with one of the selection tools. b. Copy that to the clipboard with Edit > copy. c. Activate the background image and use Edit > paste. d. Move the subject into place with the move tool and resize it appropriately with Edit > transform > scale.

3. I select the subject with one of Photoshop’s selection tools, then use Select > inverse. Now everything is selected except the subject, i.e. the background. I then darken the background within the Levels dialog box: Image > adjustment > levels.

4. I use off-camera flash as I did in the photo of the Balinese dancer, upper right, and the costumed carnival model in Venice on the previous page.

To expose a scene like I did in these two shots, you have to first take a light reading for the ambient light. Use aperture priority, and take a reading while considering the ISO and depth of field. In addition, the shutter speed can’t be too slow to blur the image or faster than the

sync speed (which is 1/200 or 1/250, depending on your camera. Now choose manual exposure mode on the camera and set the f/stop and shutter according to the reading you just obtained.

For the flash exposure, set the flash unit to eTTL. This is the automatic exposure mode on the flash, and it recognizes the lens aperture of the camera. Take a test shot. If the flash exposure needs adjusting, use the flash exposure compensation to make the changes in 1/3 f/stop increments until you like what you see.

Since the camera is on manual exposure mode, you can use the lens aperture to make the background (ambient light) darker without affecting the flash exposure on the subject. The reason this occurs is because the automatic exposure on the flash kicks in and adjusts the flash output based on the new aperture. § 19

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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CARNIVAL in VENICE October 14 - 20, 2020

Unbelievable costumes in a medieval environment

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What’s wrong with this picture?

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he problem with this image jumps out at me and it probably does the same for you. Large parts of the white sheer curtains are blown out -- meaning a total loss of texture and detail. This is usually (but not always) not good. In this case, I find the solid white areas to be very distracting because they are so much lighter than the subject. Our eye is directed to the lightest part of a picture first, and it returns again and again. If the lightest part of a picture isn’t the subject, this is almost always a negative.

The only way to prevent blown highlights in this situation would have been to use HDR or take two separate exposures, one for the model and the bedroom, and one for the window. Then cut and paste them together.

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I took this picture in the same bedroom in Venice, Italy. You can see how much better it is when we can see detail and texture in the curtains. In addition, the blinding white area doesn’t detract from the subject.

One of the most valuable tools we have in our post-processing arsenal is the highlights slider in Adobe Camera Raw and Lightroom. This is the tool that in many cases brings back detail in highlight areas of your pictures. Many images can be saved by using this simple tool. §

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SHORT AND SWEET 1.

2. This black-hooded oriole from Sri Lanka is cropped

During fast action stage performances, like the Tropicana show in Havana, Cuba, it’s impossible to compose your shots well. Things happen too fast.

Therefore, it’s best to set the camera to high speed continuous and shoot tons of images. It’s a lot of editing, but you’ll find some great shots in the mix.

about 50% so the bird fills most the frame. The big advantage for bird photographers with high megapixel cameras is the ability to crop and still retain a hi res file. Canon is rumored to be releasing (soon) a 70 MP mirrorless model. Let’s hope so.

3. The Georgia Aquarium in Atlanta is one of the best

4. I photographed this Buddhist temple in Colombo,

places to photograph whales outside of scuba diving.

Their beluga whale exhibit is fantasic. To make the sharpest pictures possible, keep your shutter speed fairly high -- not less then 1/200 -- and shoot straight through the Plexiglas, not at an oblique angle.

Sri Lanka with the city skyline in the background during midday. The contrast was extreme. To give this image reasonable contrast, in the ACR dialog box I moved the shadows slider all the way to the right and the highlights slider all the way to the left. §

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ASK JIM

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

Q: Jim . . .Is stock photography still a viable way to earn a living today? What about microstock? It’s easy

to get accepted into many microstock agencies, but do they generate any kind of serious income today?

Juliette Mills, Sandusky, Ohio

A:

The answer, in short, is no to all your questions. The agenices make the money; photographers now earn a pittance. In order to earn any kind of decent income, you would have to submit -- and have accepted -- literally tens of thousands of excellent images. The time commitment alone would mean you’d probably be working for pennies per hour. If you want your ego massaged, sure, join some agencies and you can tell your photo buddies your images are selling. Just don’t tell them how little you make from the few sales. §

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Partial list of Photography Tours 2020tw - 2021

SNOWY OWLS Jan. 2020

SPAIN/PORTUGAL Mar. 2020

MOROCCO Oct. 2020

ETHIOPIA Mar. 2021

CARNIVAL IN VENICE Feb. 2020

HOLLAND/BELGIUM Apr. 2020

INDIA & HOLI FESTIVAL Mar. 2020

PERU NATURE Sept. 2020

NORWAY/DENMARK Sept. 2020

POLAR BEARS Nov. 2020

BATS & BIRDS Apr. 2021

WHITE HORSES Apr/May 2021

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

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Snowy Owl Workshop January 20 - 23, 2020

Guaranteed great shots of these magnificent birds 2 spots left

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Student Showcase Each month, Jim features one student who took beautiful and inspiring images on one or more of his photography tours or workshops. It’s really fascinating how photographers see and compose such different images even though we may go to the same places. Everyone gets great photographs on Jim’s trips.

Cheryl Schneider, Hammond, Louisiana China photo tour, Myanmar photo tour, Japan photo tour,

Venice workshop, Botswana photo tour, Namibia photo tour, frog /reptiles workshop, and many more.

© 2019 Cheryl Schneider

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Student Showcase, continued

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Student Showcase, continued

© 2019 Cheryl Schneider

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Student Showcase, continued

© 2019 Cheryl Schneider

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POLAR BEARS from Ground Level!

November 5 - 12, 2020

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PHOTOSHOP WORKSHOP in my home

Sat. & Sun., June 6 - 7, 2020

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

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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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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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PH OTO I N S I G HTS June 2015

• 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 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 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 Composites and Light Dec. ‘17 Compositing images Apr. ‘19 Composition, different approach Jan. ‘15 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 Day for Night Dead center

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Nov. ‘19 Jan. ‘17 Feb. ‘17 Oct. ‘18 Jan. ‘13

Dealing with smog Decay photography Define Pattern Depth of field Depth of field and distance Drop shadows Dust, Minimizing

Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Dec. ‘18 Apr. ‘19 Aug. ‘19

eBook, how to make Jan. ‘13 Embedded in Ice Oct. 17 Energy saving bulbs Sep. ‘14 Exposing for the sun Sep. ‘16 Exposure, the sun Jul. ‘13 Exposure technique Sep. ‘13 Exposure, snow Jan. ‘14 Exposure triangle Nov. ‘14 Exposure, to the right Apr. ‘15 Exposure compensation Sep. ‘16 Extension tubes Dec. ‘13 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 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 Flood fixes problems Nov. ‘19 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 for Scale 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 Garish imagery Great subjects Great ceilings & HDR Panos Green screen Grunge technique

Dec. ‘15 Apr. ‘15 Jul. ‘19 Mar. ‘13 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

Subject index for past Photo Insight issues Histograms, Why I Don’t Use Jun ‘19 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 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 Liquify Feb. ‘18 Liquify Distortions Sept/Oct. ‘19 Long lens portraits Oct. ‘18 Low light photography May ‘15 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 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

Optical infinity Organization of photos

Jun. ‘16 Mar. ‘18

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

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, 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 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

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Subject index for past Photo Insight issues 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 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 Silhouettes Jun. ‘13 Silhouettes, Exposing for Sept/Oct. ‘19 Sketch, How to Make Jun ‘19 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 Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 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 Ultra distortion

May ‘18

Warm fingers in winter Water drop collisions What NOT to do in photography White vignette White balance White balance, custom Wide angle conundrum Wide angle lenses Wide angle portraits Wide angle lenses

Nov. ‘15 May ‘18 Apr. ‘18 Aug. ‘15 Feb. ‘15 Mar. ‘16 May ‘19 Mar. ‘13 Nov. ‘14 Jun. ‘17

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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

PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2019 email: photos@jimzuckerman.com snail mail address: P.O. Box 7, Arrington, TN 37014

Green bee eater, Sri Lanka

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