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Jim Zuckerman’s

PH OTO I N S I G HTS February 2018

Photographing puppies Nature of blown highlights L bracket Liquify and Surrealism Photo tours Ask Jim Student showcase

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4. 11. 15. 19. 22. 24. 25. 26. 28. 34. 38. 222

Photographing puppies Nature of blown highlights L Bracket Liquify and surrealism 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: Snowy owl photographed during Jim’s Snowy Owl workshop in Canada. This page: The ‘palace shoot’ during the Carnival in Venice photo workshop.


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ne of the things I appreciate most about photography is its ability to keep distant memories poignantly alive. When I look at pictures I took decades ago, I can remember so clearly being there, what my feelings were at the time, and the challenges, the excitement, and the frustrations of photographing a particular subject. As we age, most of our life becomes a blur of out of focus and lost memories. When we focus intently on capturing a subject or scene with a good camera and we look at those images years later, we can relive the experience with tack sharp clarity. What a gift! In addition, photography can lead you down many paths that you may not have experienced otherwise: wildlife, dance, macro, ancient ruins, foreign cultures, microscopy, puppies, trains, classic cars, abandoned architecture, mountain landscapes, insects, astrophotography, fashion, and so much more. It is a continuing education, actually, because we want to learn about what we’re taking pictures of. When I shoot an historical monument, a new species of hummingbird, a unique culture, a stunning mountain range, a medieval castle, a beautiful city skyline, etc., I want to know and understand what I’m seeing. I will go online and read about it so I have a greater appreciation of the history, geology, biology, or the anthropology of the subject. Anyone who loves taking pictures also loves learning. It’s the best continuing education there is. What a great time it is to be a photographer. Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com 3


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Photographing puppies

f I had to limit my photography to only one subject, it would have to be puppies. It’s hard to be in a bad mood when in the presence of such adorable, endearing, comical, and heart-warming subjects.

are the cutest -- when they have that ultrasweet puppy look. And, the older they get, the more they have a mind of their own (just like children but without the attitude!)

They are challenging for sure, though. They squirm, they climb all over each other, they have an aversion to looking in the camera, and their attention span is about a quarter of a second. Follow these guidelines to get adorable pictures of puppies.

2. Don’t plan on getting great pictures until the puppies are exhausted. Play with them to tire them out, and then before they are actually asleep you can manipulate them as you wish. They will be completely pliable. You can position them, put hats on them -- whatever you want.

1. Photograph puppies when they are between 5 weeks and 8 weeks old. This is when they

3. Have assistants help you manage the puppies. You can’t do it alone because as

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Chow puppies at 8 weeks


Jim’s great Pyrenees, Princey, at 8 weeks.

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soon as you arrange the pups and put the camera to your eye to shoot, they most likely will have moved. If you are photographing one or two puppies, you only need one other person to help. But if you are dealing with three or more, two or three assistants are needed. One person has to stand on either side of the litter just outside of the camera view. 4. Use things that will draw the attention of the puppies so they look toward the camera. A whistle and noise maker work well. You can also drag your nails on the surface of a table or fabric-covered chair or pillow for another kind of noise. Don’t make the noise too often. A sudden and unexpected noise is what you want so the puppies want to investigate the source of it. 5. Use props that add to the ‘cuteness’ factor. They don’t have to be elaborate or expensive. A simple basket, a decorated chest, a colorful

scarf, an attractive planter, a child’s old rocking chair, and stuffed animals always work. 6. Use Photoshop to enhance the photographs. You can digitally put hats, glasses, bowties, and more on the puppies. Dogs of all ages will seldom tolerate these types of things on them for very long, but with simple cutting and pasting in Photoshop you can do anything. In the photo at the top of page 6, I photographed the stuffed

Cocker spaniel puppies at 5 weeks

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OREGON COAST PHOTO TOUR August 29 - September 3, 2019 Oceanscapes

Stunning waterfalls

Star photography

Rocky beaches

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animals separately and assembled the elements in post-processing. For the Bernese mountain dog pups on this page, I replaced both the background and the foreground. 7. Be clever in working with the puppies. For example, in order to bunch the three Yorkies together for the photo at the bottom of page 10, my wife wrapped a blanket around them and held them together on her lap. The blanket hides her hands. Lighting The easiest way to photograph puppies is outside using daylight. You can avoid the challenges of using flash indoors as well as low light situations. You still have to pay attention to the background, of course. Make sure it is either unobtrusive or complimentary. 8

Bernese mountain dog pups at 6 weeks bred by Bobbie Hefner, Grass Valley, California If you photograph the pups in the shade, the

background should be shaded as well. The last thing you want is a bright, sunny backdrop behind a shaded subject. The contrast will be too much, the exposure won’t look good, and the bright backdrop will be distracting. Photographing indoors is easier in the sense that the puppies are less distracted by all the outdoor smells, but you now have to deal with a low light environment. This means either raising the ISO or using flash. I prefer flash to maintain maximum picture quality from a low ISO, but definitely not on-camera flash. Direct frontal flash from a portable unit is harsh and not attractive at all. Diffused flash is a good choice. The small diffusion devices that fit over the head of a portable flash don’t work well unless the flash is within five feet of the subjects. As the subjectflash distance increases, the flash approaches a


POST-PROCESSING online course by Jim Zuckerman

Learn how to process your images to give them visual impact. Learn Photoshop techniques to go beyond what you see and even beyond what you can imagine. This fourweek 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.

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point source of light and looks harsh even with those small diffusion devices. The alternatives are: (a) Use a white umbrella in which the light from the flash is bounced. That’s what I did for the photo below. You can see this produces diffused light with minimal contrast. (b) Use a softbox. This does the same thing as the umbrella. (c). Improvise without spending any money. Tape four pieces of white computer paper together into a rectangle: two pieces of paper on the top and two on the bottom. Suspend this makeshift diffusion panel from any kind of horizontal pole or rod -- or have someone hold it -- and place an offcamera portable flash behind it. The light will be diffused just as effectively as if you’d used a commercially available softbox. Make the distance from the flash to the paper about 12 to 15 inches. Backgrounds are essential in making any picture successful. The simplest background is solid black. Use a piece of black velvet. This

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fabric absorbs light better than any other material. Black is a dramatic color, and it’s a way of eliminating the clutter of a messy room. If you want to use Photoshop to replace a background, as I did with the pups in a basket, then use a solid color such as black or white.You want maximum contrast between the background and the dogs This allows you to use Topaz Remask 5 to easily make the selection. §


The Nature of

Blown Highlights W

hen highlights are said to be ‘blown’, it means that an area of a photograph has become solid white with no texture or detail. In most cases, this is the last thing you want. When photographers constantly check their exposure histogram, they are looking at the far right side of the graph to see if there is a spike. Spiking on the right, as shown at right, means that one or more areas in the photo are solid white, i.e. blown. When are blown highlights acceptable? I can think of three instances when solid white areas in a photograph are acceptable. They are: (1) When photographing the sun and/or its reflection in water or in any shiny surface, (2) when including the white background behind a model in a studio and the texture and detail in the background paper isn’t relevant, and (3) when point sources of light are included in the composition, such as street lamps, distant illuminated windows, and car headlights when doing night photography. In the photograph

of the Golden Gate Bridge in San Francisco on the page 13, you can see that the streaks of headlights of the cars as well as the lampposts that line the bridge are blown out. This is perfectly fine in this situation. The histogram for this picture, though, would show the spike on the right side of the graph and a photographer could erroneously draw the conclusion that the

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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. 26 - March 4, 2019

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 12 10


exposure was wrong when, in fact, the exposure was perfect. Just because the histogram shows a right-hand spike doesn’t mean your exposure is incorrect. It depends on what you are photographing. Poor exposure versus contrast If all of the midtones and shadows in a picture are correctly exposed yet some of the highlights are blown, does this indicate that the exposure was wrong? Or does it mean the digital sensor couldn’t handle the extremes of contrast? The answer is the latter. The photo of the wild lilies I shot in Switzerland on page 11 shows that the flowers are correctly exposed yet the background is blown out because direct sunlight was illuminating that area of the image while the flowers were in shade. It would be

easy to conclude that the exposure was not correct here, but the truth is, the contrast was beyond what the sensor could handle. In the days of film, contrast was a problem, too. Look at the snowy egret on the next page and you can see that the back of the bird is blown out. I shot this with Fujichrome 100, and with film we didn’t have the advantage of immediately seeing the exposure on an LCD screen. Had I been able to see the solid white areas of the feathers, there was really nothing I could have done at the time other than underexpose the entire picture. That would have darkened all the other white feathers and instead of white they would have looked muddy gray. Underexposure To protect the highlights from losing texture and detail, I habitually underexpose my photos

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by 1/3 or 2/3 f/stops. Many professional photographers disagree with me for doing this, but my rationale is simple: I want to protect the vulnerable highlights from blowing out. The objection to this technique is that it increases digital noise, but I underexpose by such a small amount that any increase in noise is negligible. Besides, I would rather have a bit more noise (especially with the ability to reduce unwanted noise using Neat Image software) than blown highlights. Preventing blown highlights with HDR One of the great benefits of the HDR technique is preventing blown highlights (this can only be used if nothing is moving in the shot). Architecture, landscapes, and cityscapes often have so much contrast that light areas of the images are likely to blow out. Using 5 or 7 bracketed exposures that are then assembled in Photoshop, Photomatix, Nik or Aurora deal with the contrast issue perfectly. This is evident in the photo of Siena Cathedral in Tuscany, below. The stained glass window has all its detail as do

it takes to make the sequence of shots. Can blown highlights be fixed? The answer is yes, most of the time. Look at the before and after photos of the wild lily on page 11. The original picture shows blown highlights, and in the final version I replaced much of the background by cloning out of focus foliage from another picture.

the shadows throughout the image, even in the darkest recesses of the ceiling. With a picture like the snowy egret, above right, however, HDR usually won’t work unless the subject is perfectly frozen for the second or two 14

With the snowy egret photo, the strategy would be to find well exposed feathers from other parts of the bird -- or from another photo of the same bird -- and clone them over the blown out areas. This takes finesse with the clone tool, but if there is enough area from which to borrow feathers, it’s doable. Sometimes it helps to lower the opacity of the clone tool so the new feathers realistically blend with the surrounding area. §


The ‘L’ bracket

A

piece of equipment I consider essential is an L bracket. This aluminum bracket attaches to your camera with a screw, and it is designed to make changing the composition from horizontal to vertical quick and easy. Plus, it protects your camera from impact damage in some circumstances as you can see in the photo below. In this instance, when the camera hit the ground, the bracket was damaged but the camera was not. Many times, when your camera is mounted on a tripod to take a horizontal picture, you then

decide to shoot vertically. If you are using a ballhead, you’ll loosen the head and angle the camera 90 degrees and then tighten the head. Because of the weight of the camera and lens, especially a telephoto lens, the head often slips a bit so the vertical composition isn’t perfectly oriented. A re-adjustment is necessary, and this can be frustrating and time-consuming. If the lighting or the subject changes quickly, you can miss the shot. The solution to this problem is to use an L bracket. You can see in the photo below that there are two flat plates that make up the bot-

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tom and left side of the bracket, and these fit into the ball head. They are perpendicular to each other, so when you are shooting horizontally and then switch to a vertical composition, all you have to do is loosen the bracket, reposition the camera, and tighten. The camera will be perfectly aligned such that if the horizon was straight when shooting horizontally, it will be straight when the camera is repositioned vertically. This is one way you can deal with the problem of angled horizon lines. Switching from horizontal to vertical is simple, fast, and efficient.

one made specifically to fit this body.

The company that makes L brackets to fit all of the popular camera models, including Canon, Nikon, Fuji, Sony, Leica, Hasselblad, and Olympus, is reallyrightstuff.com. Let them know which model you have, and you can order the

The L bracket is made of aluminum. It makes the camera slightly heavier and somewhat bulkier, but it’s well worth it because the bracket allows you to shoot faster and with greater control over the orientation of your compositions. §

When the bracket is screwed onto the camera body (usually with an allen wrench that is included in the purchase), there is an opening in it that accommodates cables and electrical connections you may want to use when the bracket is a attached. For example, a cable release, a USB connection, and a PC socket that allows you to plug an external flash into the camera are all accessible even when using the L bracket. You can also change the battery without removing the bracket.

SNOWY OWL WORKSHOP February 12 - 15, 2019

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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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Liquify and Surrealism

T

he native Photoshop filter, Liquify, (found using the pulldown menu commpand Filter > liquify) can be used for many types of distortions. One of the most intriguing is using the forward warp tool. This tool is found at the top of the tools palette in the dialog box (shown at right). The shortcut for changing the size of the tool is using the bracket keys. The left bracket key makes the brush smaller and the right bracket key makes it larger. Simply by dragging the cursor through an image you can create wild effects like I did with the unusual hallway in a hotel in Tallinn, Estonia, below, and the portrait on the next page. If you do something you don’t like, simply use

Command/Ctrl Z to undo it and start again. There is no right or wrong with what you do. It’s just art -- either you like it or you don’t. §

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

Siberian tigers in snow

Blue-faced monkeys

Siberian tigers in sub-zero cold, China.

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What’s wrong with this picture?

I

took this shot in a small village in France -- Les Baux -- and I knew at the time it wasn’t right. Because of the angle from which I was forced to shoot, the vertical and horizontal lines of the windows are not parallel with the frame of the picture. To correct this when shooting, I would have had to stand directly in front of the window with the back of the camera (i.e. the plane of the digital sensor) parallel with the plane of the architecture. That was impossible, though, because a building was standing exactly where I needed to position myself. So, I took the shot from the side with a 70-200mm telephoto. I could see the skewed perspective in the viewfinder, but I knew I could correct the problem in post-processing when I got home.

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To correct the perspective of the windows in Photoshop, I first chose Select > all. This put the ‘marching ants’ around the entire image, and then I selected Edit > transform > distort. A box formed around the photo with handles at all four corners as well as at the mid-points on all four sides. I dragged each of the corners until the left and right sides of the windows as well as the top and bottom lines were squared up so the perspective was more correct. Hitting enter or return made the change permanent. I use this same technique to straighten horizon lines, skyscrappers, bridge structures, and other subjects where pronounced optical distortion needs to be corrected. §

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SHORT AND SWEET 1.

When photographing butterflies, depth of field is always an issue. To help insure as much DOF as possible, wait until the butterfly opens its wings fully, and stand over it, if possible, to make the back of the camera as parallel to the wings as you can.

3.

Next time you’re in Las Vegas, photograph the stunning light fixture in the Balagio Hotel. It is Chihuly glass, and it makes an intriguing pattern of color and design. Use tungsten white balance and the widest angle lens in your camera bag.

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2.

Usually, white skies are undesirable in a photo, but in winter they can work well. There is no need to darken them or make them blue. White on white is a graphically strong color scheme, as you can see in this shot of the Gateway Arch in St. Louis.

4. In extremely cold wintry temperatures, protect the

fingers of your right hand (the shooting hand) by having 5 or 6 chemical heat packets in your parka pocket. Wear only a glove liner for dexterity, and when your fingers get cold, like every minute or two, hold the warmers until you can shoot again. §


ASK JIM

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

Q: Jim . . . I took this shot during a dance performance in La Paz, Bolivia. There is an overexposed high-

light on the head piece, and I wanted to know, first, if there was any way of avoiding this, and second, how to fix this unsightly white area. Norm Holton,

A: There was nothing you could have done at the time of shooting to fix this problem. It doesn’t look like

direct sunlight, so there was something reflecting in the metal head piece. Maybe it was the overcast sky. To fix this, you would have to select another portion of the metal band and paste it over the blown out area. This is a tricky problem, but it’s doable. You would also have to use the clone tool on a lowered opacity to fill in the white area. You can’t merely darken that white area because then it will look muddy gray. This will require some skill in Photoshop, but it is, in fact, fixable. §

(c) Norm Holton 25


Photography Tours 2018 - 2019 SOUTH AFRICA & NAMIBIA Apr. 2018

TUSCANY Jun. 2018

INDONESIA WILDLIFE Aug. 2018

NORWAY & DENMARK Sep. 2018

THE PANTANAL, BRAZIL Nov. 2018

CHINA Dec. 2018 - 2019

ETHIOPIA Jan. 2019

SNOWY OWLS Jan. 2019

ICELAND Mar. 2019

SCOTLAND May 2019

OREGON COAST Aug. 2019

UZBEKISTAN & KYRGYZSTAN Sept. 2019

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

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Scotland Photo Tour May 17 - May 27, 2019

awesome landscapes ancient ruins remarkable castles

The Old Man of Storr, Isle of Skye, Scotland

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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.

Ken Weber, San Jose, California Photo tours/workshops taken: Botswana, Costa Rica, Vermont au-

tumn, Photoshop workshop.

© 2018 Ken Weber

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Student Showcase, continued

Š 2018 Ken Weber

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Student Showcase, continued

Š 2018 Ken Weber

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Student Showcase, continued

Š 2018 Ken Weber

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WILD INDONESIA PHOTO TOUR August 27 - 31, 2018

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Mother and baby orangutan, Kalimantan, Indonesian Borneo


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

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. §

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Dec. ‘14 Jim Zuckerman’s

PH OTO I N S I G HTS January 2015

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

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

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Subject index for past Photo Insight issues 1/3 focus law Jul. ‘15 3D sphere Mar. ‘16 90 degree finder Mar. ‘13 Abstracts in soap Feb. ‘15 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 Blown highlights Feb. ‘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 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

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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

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 Low light photography 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 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 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 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 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 Star photography and noise Jan. ‘18 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

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

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Photo insights february '18  

An eMagazine devoted to inspirational photography and Photoshop techniques written and published by Jim Zuckerman.

Photo insights february '18  

An eMagazine devoted to inspirational photography and Photoshop techniques written and published by Jim Zuckerman.