Photo Insights December 2018

Jim Zuckerman’s

PH OTO I N S I G HTS December 2018

Balancing off-camera flash Depth of field and distance Chrome Photo tours Ask Jim Student showcase

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Balancing flash with ambient DOF, telephotos, and distance Chrome 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: Great Pyrenees puppies at 5 weeks enjoying the Christmas spirit. My Princey is at the far right. (He is also pictured on the next page at 3 years.) This page: Jabiru storks in the Pantanal region of Brazil.

This is a digital composite creating what I call ‘impossible DOF’.

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his month marks the 50th anniversary of the purchase of my first camera, a Canon FT QL. I wish I still had it. I sold my American mint stamp collection to buy it and paid $175 for the body and a 50mm f/1.4 lens. It was December, 1968, and I was 20 at the time and still in college. I squeezed into my pre-med studies a beginning photography course, and I recall that the instructor spoke so slowly that it drove me crazy because I wanted to absorb as much information as I could in every lecture.

About a month after I had owned the camera, I went hiking in the desert near Palm Springs, California. I was shooting landscapes and trying to do close up photography of wildflowers. At the time, I remember that I couldn’t figure out how to focus closer than 18 inches with the 50mm lens. During this weekend I encountered a man who was also doing nature photography, and he had a 200mm fixed telephoto (zooms were not of great quality in those days). I asked him if I could look through his lens, and he said sure. I spotted a cactus on top of a ridge, and it filled the frame from where I was standing. I thought, “Wow, if I had a lens like this, I wouldn’t want anything else.” Well, tens of thousands of dollars later, I still want more stuff!

My love of special effects began during the summer of ‘69 when I got a summer job in Hawaii working in Pearl Harbor maintaining World War II era dry docks. I found a piece of broken red glass from an old darkroom, and looking through it I was captivated by the psychedelic and surreal world I saw. I tried shooting color infra-red film using the glass as a filter, and that was amazing! Everything turned super-saturated green and yellow. For the next 10 years, 80% of the pictures I took were, shall we say, wild and crazy.

I’ve never regretted for one moment abandoning medicine in favor of photography. It’s been too fulfilling and way too much fun.

Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com 3

Balancing Flash with the Ambient

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any photographers are very insecure about using flash, and one of the main problems for them is balancing the exposure between the subject and the background.

In the picture below, for example, my composition includes the medieval architecture in Venice along with the costumed couple. I was using off-camera flash, and I wanted muted lighting in the background so the well-exposed subjects would be prominent. By controling the exposure, I was able to achieve exactly what I wanted.

So, how do you control the light so both areas of the picture are perfectly exposed?

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Two concepts There are two fundamental concepts you must understand in approaching flash photography, and specifically balancing the exposure between foreground and background: 1. Light fall-off. In physics, the ‘Inverse Square Law’ states that as light travels out from a source (such as a portable flash unit), doubling the distance from the flash to the subject means a four times reduction in the amount of light. One would expect that doubling the distance would mean the light is reduced by half. However, this isn’t true. It is reduced to one quarter, i.e. four times dimmer than at the source.

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What this means in practical terms is the background behind the subject goes dark or even black very quickly. The closer the subject is to the camera, the less distance is required for the background to go dark.

The picture of the ocelot kitten on the previous page is an example. You can see how dark the background has become just a few feet behind the kitten. I took this with on-camera flash.

2. The flash exposure and the ambient light exposure are two different calculations. To balance the light on the foreground, which is illuminated by flash, and the background, which is illumiated by ambient light, you have to take two separate light readings. Only then do you have total control. This is the factor that most photographers overlook.

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Two different looks Compare the photo above of a margay, a small Central and South American jungle cat similar to an ocelot, with the picture on the next page.

The photos were taken within a minute or two of each other, and it’s the same animal in both images. In the shot above, I didn’t balance the exposure at all. It is simply an image where I used on-camera flash. The background is virtually black. The picture on page 7 illustrates what balanced flash looks like. The background is well exposed and so is the margay. Flash photography is not a natural look when taking pictures of animals, but if you have to use flash, balancing the light on the subject with the light on the background is the most natural look you can create.

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The procedure 1. Take a light reading on the background with your camera. Put the exposure mode on shutter priority at 1/125th of a second and the ISO of your choice. Note the lens aperture. Let’s say it is f/8.

2. Take the camera off shutter priority and switch to manual exposure mode. Set the shutter speed manually to 1/125 and the lens aperture to f/8.

3. Set the flash to the automatic exposure mode of ETTL or (for Nikon) iTTL. 4. Take the picture. You may find that the subject is too light, and if this is the case, use the flash exposure compensation feature. Dial in

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an adjustment in 1/3 f/stop increments, such as minus 2/3 (i.e. minus .7 on some flash units) or minus 1 1/3 (i.e. minus 1.3).

If you want more depth of field -- for example, f/16 instead of f/8 -- you will need to make an adjustment in the ISO. If you had originally selected 200 ISO, to compensate for a two-f/ stop reduction in light (f/8 > f/11 > f/16), you would need to raise the ISO to 800, which is two stops (200 > 400 > 800).

If you want more shallow depth of field -- for example, f/4 instead of f/8 -- use a lower ISO. The image below shows the use of off-camera flash. The principles are the same. The light on the cyclist is balanced with the sky, and at the same time you can see the light falloff from the flash on the ground. §

NORMANDY & BURGUNDY September 6 - 14, 2019 Spectacular chateaus

Quaint French villages

Paris

Coastal life

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DOF, Telephotos, and Distance O

n my photography tours, I’ve noticed there is much confusion when it comes to depth of field, especially when telephoto lenses are used and when photographers are trying to determine the best lens aperture for various distances. In this article I want to examine the factors involved so, hopefully, I can make this more clear to you.

First, let me go over the four factors that determine depth of field: 1. Camera-to-subject distance. The greater the distance, the more DOF. The closer the distance, the less DOF.

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2. Focal length of the lens. Telephoto lenses have less depth of field than wide angle lenses.

3. Lens aperture. Small f/stops (large numbers) have more depth of field than large f/ stops (small numbers) 4. Distance from the subject to the background. The closer the background is to the subject, the more DOF you’ll see. Conversely, the farther the background is to the subject, DOF decreases.

All of these factors work in conjunction

with each other every time you take a picture.

For example, a 500mm telephoto has shallow depth of field, even with a small lens aperture, but if the subject is far away -- like the mountain range at sunrise in Patagonia on the previous page --you’ll see complete depth of field.

The small peak in the lower right corner of the picture is perhaps one mile from the high, distant peak, but both area sharp. Why? Because of the camera-to-subject distance. I was standing about three miles from the mountains when I took this shot.

Conclusion: Even though I was shooting at f/11, the mountains would have been sharp at any lens aperture, from f/2.8 to f/32. In this instance, the distance from the shooting position to the mountains eclipsed the lens aperture in determining depth of field.

In the picture of the red-crested cardinal from the Pantanal, below, I also used a 500mm telephoto. This time, I added a 1.4x teleconverter giving me 700mm of focal length. Notice that the bird is sharp but just a few inches behind it the tree trunk goes out of focus and the foliage background, which was about 40 feet away, is completely undefined. I used a lens aperture of f/13, and the distance from the bird to the camera was about 12 feet (I used an extension tube that allowed me to focus that closely).

Conclusion: Again, the camera-subject distance was more important in determining depth of field than the lens aperture. F/13 provides a reasonable amount of DOF, but the combination of the long lens and the distance enabled me to only capture a narrow slice of the composition in focus. If I were able to use f/32, the

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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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edge of the tree would be sharper than you see it here, but it still wouldn’t be as sharp as the bird. Why? Because I used a long lens together with a close camera-to-subject shooting distance.

For the picture of the female lion and her three cubs, I used a 100-400mm lens on a cropped sensor camera -- the Canon 7D Mark II. The effective focal length was 640mm. The lens aperture was f/11, and the distance to the lions was about 100 feet (30.5 meters). All four cats are sharp, even though they are on slightly different planes, because of the distance from which I was shooting. Using f/11 helped the depth of field here. In fact, the lens aperture was quite relevant here simply because I was fairly close. The brush in

the background is a little soft, and had I closed the lens all the way to f/32, it would have been sharp. Had the lions been sitting close to the background foliage, it would have been sharp at any lens aperture because the camera-subject distance of both the lions and the foliage would have been essentially the same.

Conclusion: Lens apertures are relevant when using telephoto lenses until the subject is far enough away from the shooting position. Then f/ stops become irrelevant. How far is ‘far enough’?

This depends on the focal length of the lens and how far the subject is from the background elements. I can’t quantify these numbers. Knowing this comes from experience, but having said that, even with decades of experience it’s easy to make an error in assuming you’ll have enough 13

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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. 23 - March 1, 2019

Frog and Reptile workshop Close-up encounters with poison dart frogs (which are not poisonous in captivity) and exotic reptiles. This is a macro workshop held in St. Louis, Missouri. Everyone is guaranteed amazing pictures!

June 8 - 9, 2019

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

May 4 - 5, 2019

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DOF when, in fact, you don’t. Check the LCD screen to assess this.

There are many situations when you are shooting with a telephoto lens and it’s simply impossible to get the depth of field you want. A case in point is the wolf image you see here. I took this during a wildlife workshop, and I was using a 300mm f/2.8 lens. I shot this with an aperture of f/4.5, and I was standing only 15 feet from the wolf. This meant that when the focus was locked in on the canine, the tree was out of focus. You can see this in the enlarged image at right. Out of focus foregrounds are almost always distracting, and they can ruin an image.

You have to be aware of the problem at the time of shooting so you can address the issue.

The solution was to take two pictures: A sharp image of the wolf, and then a second picture of the tree in focus. Later, when you get home,

you can select the sharp tree shot using either the pen tool or the quick selection tool, and then paste it over the image with the blurred tree. If they don’t fit together with precision, you will have to use the clone tool to make the edge of the tree perfect. You can also use a layer mask so you can eliminate the blurred tree without affecting the sharp one. The picture below shows the final ressult. §

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hen I made the transition from film and a darkroom to the digital realm in 2005, I was excited to suddenly have access to all kinds of amazing special effects. The one I was most looking forward to trying was chrome. Unfortunately, the native chrome filter in Photoshop is worthless.

If you want to try it, you can access it here: Filter > filter gallery > sketch. In that dialog box in Photoshop CC, you will find chrome. I’ve tried it with dozens of pictures, though, and only in one instance did I like the results.

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The reason I was excited to purchase the program Filter Forge was because within the more than 12,400 filters that comprise the program (and the number keeps increasing), there are several chrome filters that work well. All of the images in this article were done with my favorite chrome filter, ‘Silver Surfer 1 b’.

When you open the home page of the standalone program, Filter Forge, there is a link in the upper right corner that reads: Filter library: Download more filters.

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

Fantasy Nudes is in production and is coming soon 18

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se This is where you gain access to all the filters.

They are organized by category, such as Creative, Distortions, Patterns, Techno, etc. Once you choose one of the many filters (you’ll see a thumbnail showing what the filter effect looks like), click it. You will then be presented with the option to ‘Open this filter in Filter Forge’.

Once you choose that, the chosen filter will be added to your list of favorites.

see that most of the filters are very slow in rendering the final results. They will work much faster if you convert your images to hi res jpgs before importing them into the program.

When opened, you’ll see that each filter has several presets. In the example on the next page, which is the preset menu for Silver Surfer 1 b,

You can also search the filter library by a category defined by you, such as ‘chrome’. There are over 100 filters that fall into this category, so if you are interested in this look, you won’t be disappointed.

Once you have a selection of filters you’d like to try, begin working on a photograph by using this pulldown command: File > open image. Filter Forge only recognizes tiff and jpg files. For maximum quality, of course, use high resolution tiff images. However, you will

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there are 20 preset choices. Double click on each preset to see what it does to your image. In addition, you can click the ‘settings’ tab (red arrow). Here you are presented with many different sliders. Each slider has a unique and mysterious name that will not in any way give you an indication as to how it changes, embellishes, or enhances the image within this preset. You will simply have to experiment to see what they do.

Once the filter is applied and the image is rendered, click the button at the bottom right in the dialog box that says Save image as.

Choose a name and a file format, and click OK. At this point, you can tweak the chromed image by using many other creative tools in Photoshop. §

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CUBA PHOTO TOUR October 22 - 31, 2019

Classic cars Great portraits Crumbling colonial architecture Fabulous color

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What’s wrong with this picture?

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his is a small cottage on the east coast of Newfoundland, Canada in a place called The Cribbies. I like everything about it except for one thing. At the top left portion of the frame, the ends of small branches are encroaching into the sky just enough to be visually annoying.

This definitely needs to be addressed. I could have cropped them out at the time of shooting, but I didn’t want to lose too much sky above the cottage.

It is never a good idea to have elements creeping into the picture from the top, sides, or bottom of the frame. Almost without exception, this is always distracting. Once you notice the offending elements, your eye keeps returning to that part of the image instead of staying focused on the cottage and the gently winding road.

Knowing I could easily eliminate them in post-processing, this didn’t present a problem for me.

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You can see that removing the tips of the small branches makes a big difference.

The picture is now clean without distractions.

There are several ways to remove the unwanted foliage in Photoshop. You can use the content-aware command (Edit > fill > content-aware), the clone tool, the patch tool, the healing brush, and the spot healing brush.

Knowing how to eliminate unwanted elements is a freeing experience in photography. In the past, before Photoshop, everything had to be perfect. If there was a piece of litter on the ground that you overlooked, that was just too bad.

If power lines cut through an otherwise perfect shot, you were out of luck. If a portrait subject had a blemish, you just had to live with it. Now, however, we can make things perfect. What a great time it is to be a photographer! ยง

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SHORT AND SWEET 1.

2.

3.

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It’s hard to know what white balance setting to use when shooting indoors because so many bulbs now are the energy-saving type that don’t comport to normal Kelvin temperature specs. This is the Chahuly glass ceiling fixture in the Balagio Hotel in Las Vegas. I used tungsten white balance for this shot.

You can never go wrong with muted foliage as a background for portraits when shooting outside. This is especially true when the trees or bushes are out of focus. Make sure you don’t photograph a shaded subject with a sunny background, though. Then the vegetation will be distracting.

Pre-conceived images require planning. If you like to do composites, take pictures of components that may be used when putting together creative images. I took this picture of a lizard at my frog and reptile workshop to be used for creating a dragon. The scales were perfect.

When you travel, choose hotels with photogenic views. Some hotels have great rooftop dining, for example, that offers views of a city or surrounding landscape. I took this shot of Boston from the Hilton Logan Airport on the sixth floor. The panorama of the skyline looks great from there. §

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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 . . .I am going to Hudson Bay to photograph polar bears. In aperture mode, I typically would photograph a subject such as a polar bear in snow conditions using a +1.0 exposure compensation. If I want to keep my aperture constant, and my shutter speed is too slow to freeze the bears’ movement, can I just increase my ISO? What will this do to my exposure? Will it make it too bright?

Casey Campbell, Concord, California

A: No. When shooting with one of the automatic exposure modes (P, Av, Tv), increasing the ISO will not

increase the exposure. It will only allow you to use a faster shutter speed. For polar bears, assuming you are using a long telephoto, shutter speed is the first consideration. Depth of field is pretty much irrelevent since the bears are relatively far away. I would shoot wide open in exchange for a faster shutter and lower ISO. §

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Partial list of Photography Tours 2018 - 2020 YELLOWSTONE IN WINTER Jan. 2019

KENYA Aug. 2019

ICELAND Mar. 2019

OREGON COAST Aug. 2019

UZBEKISTAN & KYRGYZSTAN Sept. 2019

RUSSIA Oct. 2019

SRI LANKA Nov. 2019

WINTER WILDLIFE Jan. 2020

PATAGONIA April 2019

NORMANDY/BURGUNDY Sept. 2019

CUBA Oct. 2019

INDONESIA Summer 2020

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

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Iceland Photo Tour March 20 - 29, 2019

Awesome landscapes Ice caves The Aurora Borealis Horses

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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.

Sam Shaw, Turlock, California Venice photo workshop, Indonesia photo tour

© 2018 Sam Shaw

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Student Showcase, continued

© 2018 Sam Shaw

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Student Showcase, continued

© 2018 Sam Shaw

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Student Showcase, continued

© 2018 Sam Shaw

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KENYA PHOTO TOUR August 1 - 11, 2019

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PHOTOSHOP WORKSHOP in my home

Sat. & Sun., May 4 - 5, 2019

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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Dec. ‘14 Jim Zuckerman’s

PH OTO I N S I G HTS January 2015

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

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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

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Feb. ‘16

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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 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 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 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 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 Day for Night Dead center Dealing with smog Decay photography Define Pattern Depth of field Depth of field and distance

Jan. ‘17 Feb. ‘17 Oct. ‘18 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Dec. ‘18

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 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, hand held Jul. ‘18 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 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 Keystoning, correcting

Jan. ‘15 Aug. ‘15

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Subject index for past Photo Insight issues

continued

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 Long lens portraits Oct. ‘18 Low light photography May ‘15 Macro flash

Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meter, How They Work Jul. ‘18 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 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 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

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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 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 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 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 Snow exposure Nov ‘17 Soft light Jan. ‘13 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Tamron 150-600mm Topaz glow Topaz glow Topaz Impression

Apr. ‘14 Jan. ‘15 Sep. ‘17 Sep. ‘15

Subject index for past Photo Insight issues 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 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Ultra distortion

May ‘18

Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 White vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 Wide angle 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

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PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2018 email: photos@jimzuckerman.com snail mail address: P.O. Box 7, Arrington, TN 37014 Pygmy owl, Patagonia

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