Photo insights december '17

Jim Zuckerman’s

PH OTO I N S I G HTS December 2017

From Photography to Art Turning Night into Twilight Creating a Color Sketch Composites and Light Photo tours Ask Jim Student showcase

1

4.

9.

15.

20.

23.

25.

26.

27.

29.

35.

38.

22

From Photography to Art Creating a Color Sketch Turning night into twilight Composites and Light 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 great Pyrenees puppy celebrating Christmas. This page: A Montezuma oropendola in Costa Rica.

I

had a new travel experience on one of my recent photo tours. Upon entering an airport and putting my camera backpack through the Xray machine (this was required before check in), there were two people ahead of me as I queued up for the metal detector. My backpack went through the X-ray before I went through the metal detector, and therefore I wasn’t able to grab it before it rolled off the very short table and hit the floor. Why the table on the other side of the X-ray machine was so short is a puzzle to me. The security people inspect thousands of bags every day, and one would think they would have seen dozens, probably hundreds, of bags hit the floor already.

In the fall, one of my cameras was damaged and was virtually unusable for the rest of the trip. It has since been repaired, but I was not very happy about this idiocy on the part of the security people.

When you travel, especially in foreign countries, and you must put your camera equipment through an X-ray machine, make sure the table on the other side is long enough so your gear can’t fall off. If it is not, don’t put it through until you are able to walk through the metal detector at the same time so you can prevent the bag from possibly rolling off and hitting the floor. We all know the security people don’t care if your equipment is damaged, so you have to be extremely diligent.

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

3

From Photography to Art M

ost photographers who use Photoshop have, no doubt, experimented with creative filters that embellish and abstract images in various ways.

Topaz, Nik, Alien Skin, ON1, and Filter Forge are a few examples of software companies that expand our creativity.

There is a technique I’ve used for years that has allowed me to go beyond the software to create images that, in the final analysis, look much

4

more like paintings than photography. It’s simple, fun, and always full of surprises.

The technique 1. Open the original photograph in Photoshop and copy it to the clipboard, Photoshop’s invisible and temporary holding place for a photo or part of a photo. To do this, use the pulldown menu commands Select > all, and then Edit > copy.

2. Apply an effect using either a plug-in filter from Topaz, Nik, Alien Skin, Filter Forge, or some other software you may have. Or use one of Photoshop’s native filters such as Filter > stylize > oil paint or Filter > stylize > find edges. This is where experimentation happens.

3. Paste the original image from the clipboard over the effect using Edit > paste. Now the original photo is a layer and it is floating over the effect version 4. At this point, there are two ways to combine the images quickly and easily for a variety of unique special effects. First, adjust the opacity of the layer within the layers palette (pink arrow upper right). As you move the slider, you will see the effects image show

through the original. If this isn’t interesting to you, the more compelling technique is to use the blend modes. These are accessed in the layers palette as well (green arrow above) by pull-

5

ing down the submenu tab that says ‘normal’.

There are quite a few blend modes to try, and you can scroll down the list manually. However, it’s much faster to use the shortcut: Click on the move tool, and then hold the shift key down. Hit the plus key on the keyboard and this quickly and efficiently scrolls through the modes. If you hold down the shift key and hit the minus key, you will scroll through the blend modes in reverse order.

Some of the blend mode effects will look terrible and you will quickly go on to the next one, and some will be amazing.

All of the effects you see on pages 4 and 5 were done exactly this way. The original photograph of costumed carnival participants in Venice in page 4 (lower left) was the starting point, and in a few steps the photographic image became a work of art.

6

When you find a blend mode that produces a beautiful result, save it with a unique name (using Save > save as). At that point, flatten the layers with Layer > flatten image. Then you can use this new artistic rendition as the original and layer it with another effect. Again, use the blend modes as well as the opacity slider to combine two artistic images together. You can do both, of course; find a blend mode that looks good and then lower the opacity of the floating layer for yet another version of the composite.

When the colors and tones start to look like a painting, try making the image negative using Image > adjustments > invert. If you don’t like the result, use the same command to toggle back to where you started from.

In this way, you can produce dozens of variations of the photograph. These painting-like images will look great printed on canvas. §

OREGON COAST P H O T O T O U R August 29 - September 3, 2019

Oceanscapes

Stunning waterfalls

Star photography

Rocky beaches

7

POST-PROCESSING online course

by Jim Zuckerman

Learn how to process your images so they have visual impact. Learn Photoshop techniques to 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!

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 THIS PAGE to read more about this course.

8

Creating a Colored Sketch

T

here is an intriguing technique that can turn any of your photos into what looks like a pencil sketch with phenomenal detail. It is a few easy steps, and if you want to save the procedure as an action in the actions palette, this technique can be reduced to simply pushing a button.

2. Make a duplicate layer of the photo using the shortcut Command or Control J.

Below is the step by step procedure to make a black and white sketch. Following this I’ll explain how to add color to the image, and then I will describe how to incorporate the actions palette.

4. Make a duplicate layer of Layer 1 using Command or Control J again.

1. Open a photo in Photoshop.

3. Desaturate this new layer with the pulldown menu command, Image > adjustments > desaturate. Layer 1 should now look black and white.

5. Now choose Image > adjustments > invert.

The black and white layer should now look like a negative image.

9

6. In the layers palette, pull down the submenu tab that shows the word ‘normal’. These are the blend modes. Choose color dodge. The photo will now look solid white.

7. Finally, choose Filter > other > minimum.

In the dialog box that opens, type in a number that is between 1 and 3 -- whatever looks good to you. Your entire photo will now look like a black and white sketch.

Introducing color

ple, when the brush tool is selected and you hit the number 2, you’ll get 20% opacity. If you hit To add color to the sketch, use the brush tool the 1 and 5 keys in quick succession, you’ll get on a lowered opacity. I usually use anywhere 15% opacity. Choosing 7 gives you 70%. from 15% to 30% for a subtle look. When the brush tool is selected, the opacity slider is vis- In applying color to the sketch, do so slowly and ible in the tool bar, and it is here that you can uniformly. When using a lowered opacity, the adjust the density of color. Alternatively, you color will be applied with a uniform density until can hit the number keys on the keyboard to you lift your Wacom pen from the tablet or redetermine the opacity percentage. For exam- lease the click on the mouse. When the color is

10

w

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. 1 - 8, 2018

Frog & Reptile Workshop Close-up encounters with poison dart frogs and exotic reptiles such as chameleons, geckos, snakes, and more in St. Louis, Missouri. This is a macro workshop in which everyone consistently gets amazing pictures.

March 24 - 25, 2018

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 30 - July 1, 2018 10

11

12

applied again, it will double the percentage already laid down. For example, let’s say you’ve applied color at 15% opacity and then you lift the mouse from its pad to study your work.

When you then apply color again over the same area, you’ll get 30% opacity. In other words, the color is cumulative.

Once you’ve completed the coloring, you can always add contrast and/or color saturation using Image > adjustments > levels and Image > adjustments > hue/saturation, respectively. You can also take the image into Adobe Camera Raw with Filter > camera raw filter and further tweak it.

not open on your desktop, choose Window > actions.

Adobe loads Photoshop with a number of actions already installed. Most likely, you won’t use any of these. I suggest you delete them all.

To do this, use the small icon in the upper right corner of the actions palette (red arrow in the screen capture, below). Click on this and you will see a submenu. First choose button mode,

Actions palette In order to make this sketch technique a one button operation, use the actions palette. This is simply a short cut option. If this palette is This is Jim’s action palette. Yours will look different because the shortcuts you choose and the color choices will be different.

13

and then choose clear all actions. While still in the button mode menu, here is the procedure for making an action: 1. Open a photo on your desktop in Photoshop.

1. In the actions palette, using that same tiny icon that leads to the submenu (red arrow in the screen capture on page 13), choose New action.

2. In the dialog box that opens, type in the name of the action. This name appears on the button itself. In the screen capture on the previous page, you can see at the bottom of the left column I named the button ‘sketch’. At this time you can also choose a color for the button (green arrow in the screen capture, upper right).

14

In the upper right corner of this same dialog box, when you hit ‘record’, Photoshop remembers all of the steps you use from this point forward.

2. Go through the procedure of making a sketch as described on pages 9 and 10. When you’ve finished, go to the tiny icon in the upper right corner of the actions palette and in the submenu select Stop recording. Then, choose Button mode again. You will be able to see the colored button with ‘Sketch’ on it. When you open another photo and hit that button, Photoshop will go through all of the actions in a fraction of a second and make a sketch. §

TURNING NIGHT into TWILIGHT N

ight photography of architecture, cityscapes, and other types of manmade structures looks dramatic.

The black sky is a stark backdrop to artfully illuminated buildings. In my opinion, though, a cobalt blue sky looks better. The blue color is beautiful, the attenuation of light from the horizon to the zenith is dramatic, and the contrasting color with the architecture is visually compelling.

The problem is that we can’t be everywhere at once. We can set up for a great twilight shot and capture one or two compositions with the cobalt sky, but so many other shots escape us because twilight is normally very short -- 15 minutes or so. It’s quite possible, though, to turn a night sky into one that looks exactly like it was shot at

twilight. This gives you the ability to shoot late into the night, knowing you’ll be able to create the ideal images in post-processing.

The pictures on this page show you what I’m talking about. The original, above, is an im-

15

age of the huge sign in front of the Los Angeles International Airport. I replaced the black with a cobalt blue sky complete with the natural looking gradient of color typical of twilight. In addition, notice the halo around the street light near the middle of the frame. The natural looking glow is intact in the ‘twilight’ image.

The technique 1. Open a photo with a real twilight sky such as the picture I took of a temple in Bagan, Burma, below. The settings I used for this shot were 10 seconds, f/8, and 250 ISO. Click on the eye dropper tool in the tools palette and take a sample of the dark blue color in the upper part of the sky. In this example, I sampled inside the white circle in the upper right corner of the image. This specific color can now be seen in the foreground color box at the bottom of the tools palette (red arrow, right).

16

Then, holding down the option key (the alt key on a PC), sample the lighter blue color near the horizon. When you hold down the option or alt key, the sampled color appears in the background color box at the bottom of the tools palette.

2. Activate the photo with the black sky and select the sky area.

The tool you use for the selection process will depend on the photo and the technique you use to make that selection.

3. Once the selection is complete, feather the edge by one pixel using this pulldown menu command: Select > modify > feather.

4. Click on the gradient tool (green circle in the tools palette on the previous page). Drag the cursor from the top of the sky to the bottom of it. The original black sky will be replaced with a natural looking twilight sky.

5. When you fill an area with a color or a gradient, that color is devoid of noise or any kind of granularity. Therefore, in order to make the new ‘twilight’ sky look like it really belongs there, particularly upon close examination (such as when you magnify the image to 100%), you must use this pull down menu command: Filter > noise > add noise. In the dialog box that opens, choose 2, 2.5, or 3. One of those numbers should make the new noise look correct unless your photograph is especially noisy.

In that event, experiment with a higher number.

Dealing with halos of light

The photo of the LAX sign on page 15 has a lamppost with a glow around the light. In order to retain the subtle tones of the glow in the new twilight sky, I used the lasso tool to encircle the post and the lamp. This created a rough selection. I then copied this to the clipboard.

I then added the twilight sky as described in #4. This obliterated the lamppost. Then, when I was happy with the blue gradient sky, I choose Edit > paste from the pulldown menu commands. This pasted the lamppost and the glare back into the sky. I used the move tool to position it correctly, but to get rid of the original black sky I choose the lighten blend mode (you can access the list of blend modes in the layers palette by clicking the tab ‘normal’.) Choosing the lighten blend mode immediately removed the unwanted black background and blended the light fixture and its glow with the new colored background. §

17

Expand your photographic artistry with

eBooks

Click on any ebook to see inside

18 18

eBooks continued Click on any ebook to see inside

Fantasy Nudes is in production and is coming soon 19 19

Composites and Light hen you composite images, the lighting has to match, assuming you want the combination of images to appear believable and real.

W

vehicle. The background choice in this case was the Swiss Alps as seen from Mannlichen, Switzerland. I meticulously selected the car with the pen tool in Photoshop.

For example, at a car show I photographed the 1908 Mercedes, below, during the middle of the day when the sun was shining brightly.

Therefore, when I replaced the background, I had to find one that was not only taken in similar lighting, but the direction of the light --the angle from which the sun was shining -- had to be the same as well. The car was originally on grass, so I didn’t have to deal with all the shadows that would naturally be beneath the

I photographed the 1959 Cadillac on the next page at the Petersen Automotive Museum in Los Angeles. Obviously the lighting was artificial -incandescent, neon, and florescent. Therefore, I had to use a background that was illuminated by artificial lighting as well. For this composite, I used a photo of a neon sign and the facade of a small building set up at a local county fair, suggesting the classic car was parked outside in the parking lot. §

20 20

21 21

CHINA

Dec. 29, 2018 - Jan. 8, 2019 The incredible Harbin Ice Festival

Siberian tigers in snow

Blue-faced monkeys

Structure built of solid ice and illuminated from within at the Harbin Ice Festival, China.

22

23

What’s wrong with this picture?

T

here are a few things wrong with this picture. First, I feel the catchlight in the eyes is bizarre and unattractive. I know many photographers like ‘eyeshine’ because they are taught that it gives life to the eyes and to the expression. If the reflections in the eyes are natural, I agree.

In this case, though, the on-camera flash is reflecting in the center of the pupils. This makes the subject look like he or she came from the planet Zorgon in the 49th sector of the Andromeda Galaxy! The only beings that have light emanating from their eyes must be aliens, because no inhabitants of Earth can claim that particular characteristic. If the catchlight is in the iris or in the white of the eye, this is much better than being in the pupil.

Second, behind the subject on the right side (our right) where the top edge of the frame meets the hat, there is a small light triangle. This is too graphic and 23

it needs to be cloned out. Graphic lines in a photograph, whether they are light or dark, that are not part of the subject are almost always distracting.

Third, the light cement wall behind the model on the left side of the image (our left) should be toned down. It’s too light and therefore it distracts our attention from the subject to a certain degree.

Finally, the reflections from the flash in the gold mask are overexposed. They are almost blown out, particularly on the forehead and the chin.

In the version above, I darkened the background wall so it isn’t obtrusive or attention-grabbing in any way. I also used the clone tool to clone over the overexposed areas on the mask. There is still a catchlight in the eye, but it is in the iris and not directly in the pupil because I asked the costumed model to turn at a 3/4 angle to avoid the catchlight. That made a big difference.

Now, all of our attention is directed to the masked face instead of our eye being influenced by unimportant elements. § 24

SHORT AND SWEET 1.

Diagonal lines are powerful compositional elements. In a church like the Air Force Academy Chapel, below, the tendency is to stand in the middle and take a symmetrical photo. I did that, too, because it’s great. But angling the camera like this is also great.

3.

I’ve determined that the shutter speed which can freeze the wings of most birds in flight is 1/3200th of a second. This excludes hummingbirds. With larger birds, like hawks, herons, and eagles, a slower speed can be used. The test, though, is if the tips of the wings are sharp. That part of the wing moves the fastest.

2. By using the plug-in Flood, you can hide unwant-

ed elements. This classic car was on an unattractive asphalt parking lot, and when I added the digital reflection I was able to eliminate the pavement. This technique can be used with many types of images.

4. When pointing a wide angle lens downward, ver-

tical lines angle inward pointing to the bottom of the frame. I took this from a standing position in a boat directing the lens toward the water. If you want to correct this kind of keystoning in Photoshop, use Select > all, then Edit > transform > distort. §

25

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 it worth my time to join a stock photo agency today? A friend of mine is in a microstock agency, which is easy to get into, but he makes less than sixty dollars per a month and sometimes not even that. Are there any agencies that are worth joining?

Douglas Munn, Tallahassee, Florida

A: I believe that the majority of photographers who are in stock agencies now are there for three reasons:

1) Ego. They can tell their friends they’re in an agency; 2) They want to make a little extra money to buy equipment and go on photo trips; 3) They feel that all of their photos are either going to sit on a hard drive and do nothing or they can generate a little money, so why not the latter? Most photographers now in agencies are amateurs who have full time jobs, businesses, or professions, and they don’t rely on the income from a stock agency to pay their bills. Hence, the income -- or non-income -- they make doesn’t really matter. If you have loads of free time and can spend days and days preparing images for a stock agency, and it will make you feel good to be accepted by one, then by all means go for it. But if you are looking for a significant source of income, don’t waste your time now or in the future. You can only make money today with an agency if you have an exceptionally unique collection of images, such as the one below, but even then the money per image is much, much lower now than in previous years, the competition is greater, and the percentage the agencies pay you is significantly less than before. In conclusion, in my opinion it’s a waste of time. §

26

Photography Tours 2017 - 2019 CARNIVAL IN VENICE Feb. 2018

WHITE HORSES, FRANCE May 2018

SOUTH AFRICA & NAMIBIA Apr. 2018

TUSCANY Jun. 2018

INDONESIA WILDLIFE Aug. 2018

NORWAY & DENMARK Sep. 2018

THE PANTANAL, BRAZIL Nov. 2018

SCOTLAND May 2019

CHINA Dec. 2018 - 2019

OREGON COAST Aug. 2019

ETHIOPIA Jan. 2019

UZBEKISTAN & KYRGYZSTAN Sept. 2019

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

27

w

Scotland Photo Tour May 17 - May 27, 2019

awesome landscapes ancient ruins remarkable castles

The Old Man of Storr, Isle of Skye, Scotland

28

29

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.

Gabrielle & Michel Therin-Weise, Bailleul, Belgium Indonesia Photo Tour, Nepal Photo Tour

© 2017 Gabrielle & Michel Therin-Weise

29 29

Student Showcase, continued

Š 2017 Gabrielle & Michel Therin-Weise

30

30

Student Showcase, continued

Š 2017 Gabrielle & Michel Therin-Weise

37

33

31

Student Showcase, continued

Š 2017 Gabrielle & Michel Therin-Weise

32 34

WILD INDONESIA PHOTO TOUR August 27 - 31, 2018

Wild female Komodo dragon, Komodo Island, Indonesia

33

PHOTOSHOP WORKSHOP in my home

Sat. & Sun., June 30 - July 1, 2018

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 it 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

34

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 (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. §

Click on the past issues of

PH OTO I N S I G HTS you would like to read.

Nov. ‘12

Dec. ‘12

Apr. ‘13

May. ‘13

Sept. ‘13

Feb. ‘14

Oct. ‘13

Mar. ‘14

Jan. ‘13

Feb. ‘13

Mar. ‘13

Jun. ‘13

Jul. 13

Aug. ‘13

Nov. ‘13

Dec. ‘13

Jan. ‘14

May ‘14

Jun.‘14

Apr. ‘14

35

Click on the past issues of

PH OTO I N S I G HTS you would like to read.

Jul.‘14

Aug. ‘14

Sept. ‘14

Oct. ‘14

Nov. ‘14

Jan. ‘15

Feb. ‘15

Mar. ‘15

Apr. ‘15

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

1

May ‘15

Jul.‘15

Jun ‘15

Aug.‘15

Sept.‘15

Jim Zuckerman’s

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

Oct.‘15

36

Nov. ‘15

Dec. ‘15

Jan. ‘16

Feb. ‘16

Click on the past issues of

PH OTO I N S I G HTS you would like to read.

Mar. ‘16

Apr. ‘16

May ‘16

Aug. ‘16

Sept. ‘16

Oct. ‘16

Jan. ‘17

Feb. ‘17

Jun ‘17

Jul. ‘17

Mar. ‘17

Aug. ‘17

Jun ‘16

Jul. ‘16

Nov. ‘16

Dec. ‘16

Apr. ‘17

May ‘17

Sept. ‘17

Oct. ‘17

37

Click on the past issues of

PH OTO I N S I G HTS you would like to read.

Nov. ‘17

Dec. ‘17

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 Aerial photography Jun. ‘13 African safari May ‘16 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 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 Auto ISO Nov ‘17 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birds in flight Mar. ‘16 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 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 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Composites and Light Dec. ‘17 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 Dawn photography Dawn photography Dead center Dealing with smog Decay photography Depth of field

Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Aug. ‘16

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

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

38

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 Flat art Sep. ‘16 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus stacking Mar. ‘17 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Framing May ‘17 Freezing ultra action May ‘17 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Garish imagery Great subjects Green screen Grunge technique

Dec. ‘15 Apr. ‘15 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 panoramas Jun. ‘16 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 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 Keystoning, correcting

Jan. ‘15 Aug. ‘15

Landscape photography Landscape photography Landscape photography Light fall-off Lighting a face Low light photography

Dec. ‘12 Apr. ‘14 Nov. ‘16 Feb. ‘14 Oct. ‘13 May ‘15

Subject index for past Photo Insight issues

continued

Macro flash

Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meters, when they fail Dec. ‘16 Middle gray Nov. ‘15 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Museum photography Mar. ‘13 Negative space Neon edges on black Night photography Night to Twilight Noise reduction

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

Optical infinity

Jun. ‘16

Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Parades Sep. ‘13 Photography to Art Dec. ‘17 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, 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 techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Problem/solution Apr. ‘17 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Reflections Feb. ‘13 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Silhouettes Jun. ‘13 Snow exposure Nov ‘17 Soft light Jan. ‘13 Stained glass Mar. ‘17 Star photography Jul. ‘16 Stock photography Sep. ‘14 Tamron 150-600mm Topaz Simplify 4 Topaz simplify 4 Topaz glow Topaz glow Topaz Impression Topaz Remask 5 Travel photography Travel portraits Travel tips Travel photographer’s guide Two subject sharp rule

Apr. ‘14 Dec. ‘12 Jun. ‘14 Jan. ‘15 Sep. ‘17 Sep. ‘15 Oct. ‘17 Feb. ‘13 Mar. ‘14 Apr. ‘14 Jun. ‘17 May ‘14

Warm fingers in winter Nov. ‘15 White vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 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 frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Workflow May ‘13

39

PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2017 email: photos@jimzuckerman.com mail address: P.O. Box 7, Arrington, TN 37014

40

38 39 41