Photo Insights March '21 by Jim Zuckerman photography

Jim Zuckerman’s

PH OTO I N S I G HTS March 2021

Exposure compensation Auto White Balance Canon R5 Photo tours Student showcase Ask Jim Subject index

4. Exposure compensation 7. Auto white balance 12. Canon R5 20. What’s wrong with this picture? 22. Short and Sweet 23. Ask Jim 24. Photo tours 26. Student showcase 32. Back issues 37. Subject index for Photo Insights 2

On the cover: Bluetongued skink photographed in Jim’s frog and reptile workshop, St. Louis. This page: Young panda in winter, China.

he aspect I find most interesting about photography is that it can lead you down many paths. There are so many diverse types of subjects to shoot, and depending on what you find visually and emotionally compelling, you could spend years pursuing beautiful landscapes, the intriguing world of insects, medieval architecture, dancers, black and white street photography, wildlife, birds in flight, bridal attire from around the world, and so on. You might see one picture in a magazine or on a website that turns a light on in your head, and suddenly you are off in a new direction. Deep sky photography, for example, or portraits of large dogs together with small children. I am always seeking out images, too, to broaden my repertoire of subjects so I can explore new paths myself. Drone photograpy, snowflakes, and portraits of large dogs with small children are directions I have not yet explored but intend to -and all because I’ve seen such great images on social media and various websites that make me excited to walk down these paths. Subjects I have enjoyed shooting in the past but want to explore a lot more are exotic caterpillars, ballet dancers, and abandoned architecture. In pursuing these various subjects, you meet new people, possibly travel to distant countries, and learn a lot about history, the natural world, culture, science, art and, of course, photography. No other endeavor gives so much to the practitioner as does picture taking. Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com

Exposure Compensation O

ne of the most important functions on your camera is the exposure compensation feature. When the built-in meter doesn’t provide the perfect exposure, exposure compensation allows you to adjust the image lighter and darker in 1/3 f/stop increments. Many beginning photographers assume incorrectly that you can alter exposure by adjusting the lens aperture and shutter speed. This is true only when the camera is set to manual exposure mode.

When the camera is set to an automatic exposure mode -- Program, Aperture priority, Shutter priority -- changing the lens aperture or shutter speed does not change the exposure. The reason is simple. The lens aperture and

shutter speed are linked together when given a specific ISO. For example, the photograph on the left side of the previous page was exposed at 1/15, f/16, and 250 ISO. If I were on Aperture priority (because I wanted to choose a specific aperture for extensive depth of field) and I wanted to decrease the exposure to make the picture darker, what happens if I closed the lens down one f/stop from f/16 to f/22? Would the picture be darker? No, it wouldn’t. This is because the automatic exposure mode links my choice of lens aperture, f/16, to the shutter speed that produces the correct exposure. In this example, the shutter was 1/15. If I changed the aperture to f/22, believing this would decrease the light reaching the digital sensor, that would be erroneous thinking. The

shutter, in response to the reduction of light by one stop, would automatically change to 1/8th of a second to compensate for the loss in light. In other words, one f/stop reduction in light by the aperture and one f/stop increase in light by the shutter produces the exact same exposure. Look at the numbers: 1/15 and f/16 = 1/8 and f/22 Therefore, adjusting the lens aperture when using Aperture priority doesn’t affect the exposure. It just changes the depth of field. In the shot below of a fer-de-lance snake from Costa Rica, a photographer might want to lighten the image to bring out more detail in the mosses and in the dark markings on the venomous snake. Opening the lens aperture when shooting with Aperture priority exposure mode is not the way to do it.

The same holds true for using Shutter priority. That’s what I used in the picture below and at right. If you want to adjust the exposure by changing the shutter, the lens aperture will automatically change to produce the same exposure. The only way to make a picture lighter or darker in-camera when using Av, Tv, or Program mode is to use the exposure compensation feature. Or, if you are shooting on manual mode, you can adjust the exposure by changing the shutter speed and/or lens aperture. On manual mode, the exposure compensation feature is disabled. With mirrorless cameras, one of their great advantages is you can see the exposure changes in the image through the viewfinder. This takes all the guesswork out of exposure. §

Auto White Balance

ost photographers use the auto white balance setting for virutally all their picture taking. AWB does sound like it solves all the color issues you’ll encounter, and one would think the color balance of daylight, indoor, florescent, night, and flash would turn out correct with this setting.

fails. The photo below is a case in point.

Not true.

This beautiful theater is La Fenice in Venice, Italy. The lighting appeared to be from tungsten light bulbs, so I tried the auto white balance setting first. The results were extremely reddish. I then tried the tungsten (incandescent, i.e., indoors) setting, and again, to my surprise, the colors in the picture were much too red.

Many lighting situations do, in fact, look good with AWB. However, there are times when it

In this case, the only choice was to change the Kelvin temperature setting manually. Typical

household light bulbs are 3200K. Had the lights in the theater been traditional 60 watt or 100 watt light bulbs, the tungsten white balance setting on the camera would have produced a correct color balance. But these bulbs were something else -- possibly the new energy saving lights. In the camera menu, I moved the white balance setting to 2000K, and that is what gave me the color you see in the image. The biggest problem with using AWB all the time is shooting at sunrise and sunset. Auto white balance is designed to ‘correct’ the golden tones at thoses times of the day to be white. We shoot early and late in the day to take advantage of the golden colors that make landscape, cityscapes, and other outdoor subjects beautiful. If those colors are eliminated, the results are disappointing. Compare the sunset photo below taken with

AWB to the same composition shot with daylight white balance on the next page. The difference is dramatic. You can correct these colors in post-processing with Adobe Camera Raw or Lightroom. But who wants to look at the LCD monitor on the back of the camera and see pictures with disappointing colors? And who wants to color correct dozens of images after-the-fact. Please note: you can only correct poor colors at sunrise and sunset if shooting in RAW mode. Jpeg files can’t be corrected to bring back the golden tones of sunrise and sunset. Shooting outdoors in AWB mode produces pictures that look dull and lifeless when shooting early and late in the day as I show in the image below. Midday shooting is fine with AWB. In fact, both daylight white balance and

auto white balance produce the same color palette when used in the middle of the day. When shooting after the sun goes down -- dusk, twilight and night -- the colors you see aren’t going to be accurate when using AWB. You may like them or you may not, so this is the time to experiment with different white balance settings. The photo at right of Kotor, Montenegro, at twilight shows deep blue on the mountain and the water and yellow/orange in the lights that illuminate the protective medieval wall light white balance. For twilight and night phoaround the town. tography, usually I try all three white balance settings (tungsten, daylight, and AWB) to see In a situation like this, you may not know what which color scheme I like. you want until you can examine the results on the back of the camera. When I tried AWB for On page 11, you can see the dramatic differthis scene, I felt the colors were too desaturated. ence in Hong Kong between daylight white balI also tried tungsten WB and daylight WB and ance (the brownish version) and tungsten white settled on the latter. balance (the bluish version) when shooting at night. § For all of my outdoor photography, I use day-

PERU PHOTO TOUR Sept. 24 - Oct 4, 2021

The Canon R5 Mirrorless

don’t do reviews of equipment because many other people exhaustively examine all the features of new gear, and they do it very well. My interest is more in the creative aspects of photography. However, I tried out the Canon’s new R5 mirrorless camera recently and I was more than impressed. Specifically, I wanted to share with you the quality of a cropped bird shot to demonstrate the superior resolution. I went to a nearby bird refuge where there are thousands of ducks and ,every time a bald eagle flew overhead, the ducks took flight and filled the sky because the eagles prey on ducks. The picture below shows an immature eagle pho-

tographed with a Canon 600mm f/4 telephoto. My settings were 1/3200, f/5.6, and 2000 ISO. Because of the 45 megapixel sensor size, the original file size of the tiff image was 128 megs. The cropped rendition of this shot is shown on the next page. Using the crop tool in Photoshop, I cropped the picture down to 9.35 megabytes. I have not sharpened it with any software, and the image appears extremely sharp with virtually no noise and sufficient detail in the shadows and highlights of the bird despite being photographed against a very light sky. In addition, the ability of the camera to lock onto the eye of the eagle and hold that point in

focus even as the bird flies past the camera is remarkable. With all other Canon cameras I’ve owned, the autofocus tracking has been reasonably good but nothing like the R5. I’ve missed so many action shots, and especially birds in flight, with my current Canon 1Dx Mark II and with older models simply because the autofocus wasn’t able to 1) lock onto the bird and 2) follow focus with the moving subject. Catching every nuance of the wing positions is possible with the two super fast frame rates: 12 and 20 fps. With mirrorless cameras, you don’t have the mirror flapping up and down many times per second, and this gives you unparalleled, clear viewing of a fast moving subject. Because you can see the action clearly, it’s easy to pan with the movement and keep the subject in the frame. I will only use the 20 fps setting for certain situ-

ations. Otherwise, having so many frames to examine and edit is too time consuming. Another astonishing improvement is stabilization. We now have in-camera 8 f/stops of image stabilization (with 5 Canon lenses). This means you can shoot in dark environments, like a cathedral or restaurant, and hand hold the camera with ridiculously slow shutter speeds and still expect sharp pictures. With the IBIS system -- In Body Image Stabilization -- where the stabilization in the body works with the IS in the lens, you can expect to get sharp results handholding one and two second exposures. This is revolutionary. There are many other great features in the R5, and you can find articles and YouTube videos that explain them all. I wanted to bring a few of them to your attention because I’m so impressed with this camera. §

PANTANAL PHOTO TOUR October 30 to Nov. 7, 2021 jaguars in the wild Exotic birds in flight Caiman Giant river otters

ONLINE PHOTOSHOP TRAINING 4 Live Sessions on Saturdays Starting March 20, 2021 by Jim Zuckerman

Jim starts at the beginning, assuming you know nothing about Photoshop. With a screen sharing meeting using GoToMeeting software, Jim describes his workflow, how to set up your desktop for maximum efficiency, how he processes RAW files for visual impact, and then he goes over the most useful tools and commands in Photoshop. He then explains how to use layers, layer masks, and how to make precise selections for compositing images. This opens the door to instruction on replacing the sky, creating silhouettes, and fixing numerous problems in your pictures. Photoshop’s new features like Sky Replacement are also covered. Jim also delves into blend modes, manipulating individual colors in your images, his favorite plugins, how to turn photos into paintings, and much more. Each session is two hours plus a 30 minute period for questions and answers. There is also time for critiques where you submit images to Jim and he gives you his professional feedback so the entire class can benefit. Each session will be recorded, and you will receive the video file so you can go over the material at your leisure any time in the future. Click HERE for more information.

UPCOMING PHOTO TRAINING Photoshop Online Training In the comfort of your home, enjoy this 4-part online training course to finally understand Photoshop’s tools and menu commands to release the artist within you. Learn to take your photographs to a new level. Learn to vastly improve images in post-processing, to replace skies, and to create unique and compelling images.

March 20, 2021

Frogs & Reptiles Workshop This is a macro workshop to photograph beautiful, colorful, and intriguing frogs and exotic reptiles. Learn how to use flash with closeup work, how to use extension tubes, and how to take perfect exposures. Held indoors in a hotel conference room in St. Louis.

June 12 - 13, 2021

Winter Wildlife Workshop Stunning pictures of North American animals including wolves, red foxes, arctic foxes, mountain lion, Canada lynx, and more. The animals will be in their winter coats and very beautiful. This is based in Kalispell, Montana.

February 2 - 5, 2022

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eBooks

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W i n t e r W i l d l i f e Workshop February 2 - 5, 2022

Based in Kalispell, Montana

What’s wrong with this picture?

ost of the images I take during my frog and reptile workshop unmanipulated. In this instance, though, I composited the Amazon milk frog with the plant. I like very much the position of the frog’s legs, and the colors work well together. But there is one problem. Everything casts a shadow, even the smallest of subjects like insects. Small frogs also cast shadows, and even though the shadows of small creatures are subtle, they exist. Therefore, when using Photoshop to composite a subject with a background, a shadow is usually necessary to make the combination of the images look real. The picture on the next page shows the frog and its shadow, and now the subject doesn’t look like a cut out or like it doesn’t below there. The easiest way to make a shadow like this is paste the frog onto the back-

groud with Edit > paste. This creates a layer. At the bottom of the layers palette, the fx icon will be active, and when you click on that a submenu shows itself. The last time in the list of choices is Drop shadow. When this is selected, a dialog box opens that allows you to create a shadow all around the subject. You can vary the distance, the size, and the spread of the shadow as well as the opacity of it with clearly marked sliders. Alternatively, since the frog is on a layer, you can activate the background layer -- the plant -- and simply use the burn tool on about 25% opacity. The frog won’t be affected by the burn tool’s effect, so there is no need to be careful about darkening the edge of the frog. Applying a drop shadow may take two or three attempts for it to look correct. Even after doing this many, many times, it takes me a few tries before I’m satisfied. §

SHORT AND SWEET 1. Graphic background elements that are not part of

the subject are usually distracting. The balcony of the Doge’s palace in Venice, for example, see behind these costumed models during carnival pulls the eye away from the subjects because the lines and design of the railing and columns are so bold.

2. When shooting at night, combining both cool colors (bluish) and warm colors (yellowish) in a single composition is quite striking. Looking up at the Petronas Towers in Kuala Lumpur, Malaysia you can see the power of this color combination. Yellow and blue are complementary colors.

3. Photographing with overcast conditions produces

4. When all the elements in a scene are far away, depth

blue tones in an image when using daylight white balance. Blue connotes cold, so with winter landscapes this color is appropriate. If you want to eliminate the blue, one way to accomplish this is to use the hue/ saturation dialog box in Photoshop.

of field is no longer relevant. In this shot of the Dolomites in Italy, I could have used any lens aperture and the depth of field would have been the same even though the distance from the village in the foreground to the mountains is many miles. §

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.

Jim . . . I took this shot in Las Vegas, and I wanted your opinion about the powerlines at the far right side of the composition. Do you think they should be removed? Normally I like to remove powerlines because they are unattractive. But here I’m not sure. Andrew Burton, San Antonio, Texas

A: There is so much going on in this picture that I could go either way on the powerlines. I hate power-

lines and I’m the first to get rid of them. In this case, though, they are barely noticed, and when you do focus on them, it’s really no big deal. If I had to decide which way to go, though, I’d remove them. But if you don’t, the picture is still a good shot of Vegas.

Partial list of Photography Tours 2020 - 2021

NAMIBIA May/June 2021

MOROCCO Jun. 2021

NORWAY/DENMARK Sept. 2021

PERU NATURE Sept/Oct. 2021

WINTER WILDLIFE Jan. 2022

CARNIVAL in VENICE Feb. 2022

HOLLAND/BELGIUM Apr. 2022

SPAIN/PORTUGAL Apr. 2022

INDONESIA July/August 2021

POLAR BEARS Nov.. 2021

ETHIOPIA Mar. 2022

PATAGONIA PHOTO TOUR May 2022

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

Ethiopia Photo Tour jMarch 10 - 22, 2022

jPrimitive tribes

Dramatic landscapes Wildlife Rock-hewn churches

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.

Indiana Zuckerman, Franklin, Tennessee Jim’s wife’s photos have never been featured in this eMagazine, so he thought it was about time. She has been on almost all the tours and workshops over the years.

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Student Showcase, continued

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Student Showcase, continued

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Student Showcase, continued

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POLAR BEARS from Ground Level! November 6 - 12, 2021 Based in Churchill, Canada

INDONESIA PHOTO TOUR July 29 - August 10, 2021

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PH OTO I N S I G HTS January 2015

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

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PH OTO I N S I G HTS June 2015

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

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Subject index for past Photo Insight issues 1/3 focus law Jul. ‘15 3D sphere Mar. ‘16 90 degree finder Mar. ‘13 Abstracts in soap Feb. ‘15 Abstracts, Shooting Mar ‘19 Aerial photography Jun. ‘13 Aerial photography Jan. ‘21 African safari May ‘16 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 Angled perspectives Jan. ‘19 Aperture vs. shutter speed May ‘14 Aperture priority Sept. ‘14 Aurora Borealis Apr. ‘17 Auto white balance Dec. ‘13 Autofocus, when it fails Apr. ‘15 Autofocus failure Aug. ‘15 Autofocus failure Jan. ‘17 Autofocus challenges Apr. ‘18 Auto ISO Nov ‘17 Auto White Balance Mar’ ‘21 Autumn Foliage Sep. ‘18 Autumn Color Sep. ‘20 Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Bird Photography Jun ‘19 Blacklight photography Feb. ‘21 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Black and white with color Jan. ‘20 Blown highlights Feb. ‘18 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 Camera setting priorities Jun. ‘17 Canon R5 Mar. ‘21 Capturing lightning Jun. ‘13 Catchlights Jul. ‘16 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Choosing a telephoto lens Dec. ‘20 Chromatic aberration May ‘13 Chrome Dec. ‘18 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Clone tool technique Jul. ‘20 Composites and Light Dec. ‘17 Compositing images Apr. ‘19 Composition, different approach Jan. ‘15 Content-aware, New Aug. ‘20 Contrast vs. exposure Jul. ‘15 Creating a star field Jan. ‘14

Creating a Sketch Creative blurs Jan. ‘14 Dark backgrounds Dawn photography Dawn photography Dead center Dealing with smog Decay photography Define Pattern Depth of field Depth of field confusion Depth of field and distance Depth of field, shallow Depth of field vs. sharpness Double takes Drop shadows Dust, Minimizing

Dec. ‘17

eBook, how to make Embedded in Ice Energy saving bulbs Exposing for the sun Exposure, the sun Exposure technique Exposure, snow Exposure triangle Exposure, to the right Exposure compensation Exposure compensation Extension tubes

Jan. ‘13 Oct. 17 Sep. ‘14 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14 Nov. ‘14 Apr. ‘15 Sep. ‘16 Mar. ‘21 Dec. ‘13

Nov. ‘19 Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Jan. ‘20 Dec. ‘18 Apr. ‘20 Nov. ‘20 Apr. ‘20 Apr. ‘19 Aug. ‘19

Festival photography Sep. ‘20 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fireworks, Compositing Jun ‘20 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Flexify 2 Mar. ‘20 Flood fixes problems Nov. ‘19 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus on the eyes Dec. ‘20 Focus points Mar. ‘15 Focus points Sep. ‘20 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Fractals Jul. ‘19 Framing May ‘17 Freezing ultra action May ‘17 From Terrible to Beautiful Aug. ‘19 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Fundamentals That Make Great Photos Jan. ‘19 Fun With Christmas Lights Jan. ‘21

Subject index for past Photo Insight issues Graphic Design Jul. ‘20 Garish imagery Dec. ‘15 Great subjects Apr. ‘15 Great ceilings & HDR Panos Jul. ‘19 Green screen Mar. ‘13 Grunge technique Feb. ‘13 HDR, one photo Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR, hand held Nov ‘17 HDR, hand held Jul. ‘18 HDR panoramas Jun. ‘16 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Histograms, Why I Don’t Use Jun ‘19 Histogram problems Apr. ‘20 Hotels with a view Mar. ‘20 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13

Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 Museum photography Mar. ‘13 Negative space Jan. ‘16 Neon edges on black Aug. ‘14 Neutral Density filters Jun. ‘18 Night photography Feb. ‘14 Night Safaris Jun. ‘18 Night to Twilight Dec. ‘17 Noise reduction Feb. ‘17

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

Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Parallelism Nov. ‘19 Parallelism and DOF Feb. ‘21 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

Jungle photography

Dec. ‘14

Kaleidoscopic images Kaleidoscopis images Keystoning, correcting

Jan. ‘15 Aug. ‘20 Aug. ‘15

L Bracket Feb. ‘18 L Bracket Feb. ‘21 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 Lightning photography May ‘20 Liquify Feb. ‘18 Liquify Distortions Sept/Oct. ‘19 Long lens portraits Oct. ‘18 Long Lenses for Flowers Jul. ‘20 Low light photography May ‘15 Luminar 4 Jan. ‘20 Macro flash Macro flash Macro flash Macro trick Mannequin heads Metering modes Meters, How They Work

Nov. ‘12 Sep. ‘14 Aug. ‘15 May ‘19 Apr. ‘16 Nov. ‘16 Jul. ‘18

Oil and water Optical infinity Organization of photos

May ‘20 Jun. ‘16 Mar. ‘18

Out of focus foregrounds

Jan. ‘20

Subject index for past Photo Insight issues Photoshop, making a composite Aug. ‘16 Photoshop new tool May ‘20 Photoshop, place one element behind Aug. ‘18 Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Photoshop, My favorite plugins Jan. ‘20 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portrait Professional Nov. ‘19 Portraits, Lens choice Sept/Oct. ‘19 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Restoring old photos Jun ‘20 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Seeking Cool Snow Photos Jan. ‘21 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Self-critiques Nov. ‘20 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Shooting into the light Jun ‘20 Silhouettes Jun. ‘13 Silhouettes, Exposing for Sept/Oct. ‘19 Silvered landscapes Mar. ‘20 Sketch, How to Make Jun ‘19 Sky replacement Nov. ‘20 Snow exposure Nov ‘17 Snow exposure Nov. ‘19 Soft light Jan. ‘13 Smart phone photography May ‘19 Stained glass Mar. ‘17 Star photography Jul. ‘16

Star photography and noise Stock photography Sunrise & sunset

Jan. ‘18 Sep. ‘14 Jan. ‘19

Tamron 150-600mm Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 Topaz AI Gigapixel Mar ‘19 Topaz glow Jan. ‘15 Topaz glow Sep. ‘17 Topaz Impression Sep. ‘15 Topaz Remask 5 Oct. ‘17 Topaz Simplify 4 Dec. ‘12 Topaz simplify 4 Jun. ‘14 Topaz Studio Apr. ‘18 Translucency & backlighting Nov. ‘18 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Twilight photography in the rain Apr. ‘19 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Two subject focus rule Jan. ‘20 Ultra distortion

May ‘18

Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 White on White Dec. ‘20 White vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 Wide angle conundrum May ‘19 Wide angle lenses Mar. ‘13 Wide angle portraits Nov. ‘14 Wide angle lenses Jun. ‘17 Wide angle keystoning Nov ‘17 Wildlife photos with wide angles Mar. ‘15 Window light Dec. ‘15 Window light portraits Aug. ‘18 Window frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Winter photography Nov. ‘18 Wire Mesh, Shooting Through Jul. ‘18 Workflow May ‘13

Red eye tree frog, Costa Rica

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Photo Insights March '21

Articles inside

What’s wrong with this picture?

Ask Jim

Auto white balance

Short and Sweet

Exposure compensation