Photo insights march '18

Jim Zuckerman’s

PH OTO I N S I G HTS March 2018

Selective filtering Tripods Paying attention to shadows Photo organization Photo tours Ask Jim Student showcase

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4. Selective filtering 10. Buying a travel tripod 14. Paying attention to shadows 20. Photo organization 22. What’s wrong with this picture?

24. Short and Sweet 25. Ask Jim 26. Photo tours 28. Student showcase 34. Back issues 38. Subject index for Photo Insights 222

On the cover: Carnival in Venice in a 16th century palace, one of the model shoots set up by Jim during the photo workshop.

This page: A portrait during the Venice workshop that has been processed using several filters.

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t’s very easy to fall into the ‘photography doldrums’. You just don’t feel inspired to pick up a camera, and even if you have one in your hands, you’re not enthused about photographing anything. I’ve had this experience, too, and I don’t like it since photography is my number one passion.

The easiest way to get over this is to go online and do some visual research. It’s easy, super fast, and if you love imagery, you’ll be inspired by what you see. Start by searching on Google for ‘great photos’, click the ‘images’ tab, and instantly you will see hundreds of amazing pictures from all over the world. You can also search by any subject you happen to like: wildlife, African wildlife, puppies, castles, landscapes, abstracts, street photography, beautiful children, cathedral ceilings, etc.

You can also search on sites devoted to nothing but incredible photographs, such as Pinterest, Flickr, 500pix, and Instagram. I look at these sites regularly to get great ideas of things to photograph as well as places I might want to explore for future photography tours. Not all of the pictures are awesome, of course, but it’s surprising how many are truly sensational. It’s really like getting a rich education, because there are so many wonderful places in the U.S. and the world that you’ve never heard of to visit, explore, and photograph. It would take 100 lifetimes just to scratch the surface.

If you want to stay close to home, you will also find inspiring ideas of things to shoot like flowers, focus stacking insects, water drops, birds at a feeder, the night sky, and so much more. Get excited again about photography. It’s endlessly rewarding.

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

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Selective Filtering

he power of Photoshop is having the ability to alter one part of a picture while not affecting another part. In the past, when photographers used the darkroom to manipulate images, selectively adding an effect to one portion of a photograph was time intensive and it required a painstaking procedure: it involved making a high contrast mask with litho film, using pin registration, and spending a lot of time bent over trays of chemicals in the dark.

fecting the Venetian model. On the next page, I used the native Photoshop filter extrude (Filter > stylize > extrude) to abstract the background completely, and again the subject was not affected.

Today, it’s so easy to add a filter effect to a selected area of an image without changing the whole picture. In the photo below, I added the filter Monday morning, one of the effects in the Nik Collection, to the background without af-

1. I use the pen tool or the quick selection tool in Photoshop to precisely select the subject (if you don’t know how to use the pen tool, read the February, 2016 issue of Photo Insights: click here). I then con-

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Two techniques I use two different techniques to selectively filter a background. Both involve precisely selecting the subject or background.

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of your choice. It can be a complementary, something that is wild and crazy, or perhaps something very subtle.

2. The second approach is to apply a filter or plug-in to an image and then paste a subject onto that background. For the image at left, I applied the colored pencil filter within the plug-in Topaz Impressions only to the background. Once that was finished, I then pasted the image of my wife onto the scene, sized her to scale, and then flattened the image.

The steps for this in Photoshop are: 1. I selected my wife using the quick selection tool.

2. To eliminate any telltale line of color from the original background, I contracted the selection one pixel with Select > modify > contract.

tract the selection by one or two pixels using this pulldown menu command: Select > modify > contract. This eliminates the color of the original background that might cling to the edge of the subject.

3. To soften the edge of the selection slightly so it blended perfectly with the new background, I used Select > modify > feather. In the dialog box that opened, I chose a ‘one pixel’ feather radius.

Finally, I feather the edge of the selection by one pixel: Select > modify > feather. The purpose of this is to make a perfect and believable bond with the new background.

4. Edit > copy copied the selection to the clipboard, Photoshop’s temporary (and invisible) holding place for a photo or part of a photo.

To grab everything in the picture EXCEPT the subject, I choose Select > inverse. Now the background is selected. At this point, any artistic embellishment you want should only affect the background, either by applying a filter or plug-in

5. Edit > paste then pasted the image of my wife into the background.

This created Layer 1 as seen in the layers palette.

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

Stunning waterfalls

Star photography

Rocky beaches

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6. Finally, I used Edit > transform > scale to resize the subject to the correct proportion. A box formed around the layer, and I grabbed one of the corner handles [while holding down the shift key to maintain the proper proportions]. I then dragged it until the size was what I wanted.

I used the same technique with the snowy owl in flight, above. Instead of using a Topaz filter, though, I applied motion blur to the background with: Filter > blur > motion blur. Next, I selected the owl in the original using Topaz Remask 5 and pasted it over the background with Edit > copy and Edit > paste.

For the composite at right of the chopped 1949 Mercury, I chose the uniquely futuristic architecture of the Walt Disney Theater in Los Angeles as the background. To convert it to black and white, I used the native Photoshop command, Image > adjustments > black and 8

white. I then selected the car (photographed in an indoor showroom at a car show) with the pen tool so the selection was ultra-precise. I copied it to the clipboard and pasted it into the background. After sizing it to taste and flattening the layers with Layer > flatten image, I then applied the plug-in Food to create a small reflection under the tires. I always flatten layers when I’m finished with an image to save hard drive space. §

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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Buying a travel tripod I

am asked so many times on my photography tours to recommend a tripod -- because so often people travel with less-than-ideal tripods -- I thought an article on tripods would be helpful.

The factors that must be considered in buying a tripod are: 1. Weight 2. Folded length 3. Maximum height 4. Locking mechanism for the leg extensions

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5. Type of ball head 6. Price 1. Some of the people who travel with me carry ridiculously heavy tripods. This isn’t necessary.

For lenses in the 400mm to 500mm range, you can get away with using a tripod weighing between 2 and 3 pounds. You don’t want to be so burdened by your tripod that you rarely use it.

In addition, you don’t want your luggage to be so heavy from the tripod that this prevents you from bringing other essential things for your trip.

Carbon fiber is a very light material, and even though it’s a bit more expensive, it’s worth the extra expense because it significantly reduces the weight of the tripod. Make sure when you buy your next tripod, it’s carbon fiber.

2. The folded length is important because if you pack the tripod in your luggage, which most photographers do, the length determines the size of the luggage. If you like to pack super light, you can get a tripod that will fit diagonally, with the head removed, in a carry-on piece of luggage. Most people don’t travel this light, though, but keep in mind you don’t want a tripod that forces you to carry a monster piece of luggage. This can be a huge nuisance to deal with at every airport, costing you excess baggage fees. If your itinerary calls for a charter flight in a small plane (like when you are on safari) where weight is crucial, you do not want an overweight and oversized bag.

3. The maximum height of the tripod should allow you to stand straight and look through the viewfinder without raising the center column. A raised center column makes the tripod less rigid.

If you are very tall, this presents a problem with respect to the tripod fitting into a mediumsized piece of luggage. You have two options in this case. First, get a tripod with at least four leg sections because it will collapse down into a reasonable length. Second, don’t pack your tripod. Carry it as one of the allowed carry-ons inside the plane.

5. You must use a ball head to attach the camera to the tripod. Don’t get a head with two or three handles that govern how the camera is angled. They take up more space, are slow to use, and they add weight.

The ball head that you do buy should definitely not have the type of plates shown above and below. These are horrible. They don’t tighten securely and you will hate them! Manfrotto and Bogen use these kinds of plates, and I have no idea why because they are useless. Instead, get the Arca Swiss type of plate or the one used by

4. Some people prefer a latch or lever to release the legs of a tripod, and some prefer the rubber knurled grips that, when loosened, releases the leg sections. This is personal preference. I’ve had both and like both systems.

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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 & 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

reallyrighstuff.com. The ball head I use from this company is shown on page 10. All their equipment is top-notch.

6. A good tripod is one you can use for many years, and it doesn’t make you hate photography. Terrible tripods and tripod heads are such a burden to use that they take the fun out of shooting.

So, the bad news is that good tripods are expensive. The good news is they last for many years, and if you take care of them they will last forever.

Recommendations There are so many tripods on the market that it is quite confusing. If you are thinking of buying a new one, let me recommend two models for you. This will definitely simplify the decisionmaking process. For people who want to carry the minimum amount of weight, I recommend the Induro CLT004. It is reasonably priced at $249, weighs only 2.1 pounds, and while it isn’t very tall -- the maximum working height is 53.5 inches -- I feel that bending down a bit is worth having the compact, lightweight design. My wife uses this tripod, and she is very petite and can’t carry a lot of weight. I’ve used it on occasion and it feels like a feather, but it’s sturdy and a pleasure to use.

For the ball head, I recommend the BH 30 with the compact lever-release clamp from Really Right Stuff. This is also light and it never jams,.

Here is the link for the tripod. Copy and paste it into your browser. h t t p s : / / w w w. b h p h o t o v i d e o . c o m / c / product/1158122-REG/induro_clt014_ clt004_0_stealth_carbon.html

Here is the link to the ball head: h t t p s : / / w w w. b h p h o t o v i d e o . c o m / c / product/1301031-REG/really_right_stuff_ bh_30_lr_bh_30_ballhead_with_compact. html I don’t recommend using super long lenses, 500mm or more, with this tripod and ball head.

You can do it, but a larger tripod is better suited for the super telephotos.

The tripod I use is the Induro CLT204. It weighs 3.5 pounds, and the folded length is 21.3 inches. I wish it were a little taller, but the compromise I make is that I have a tripod that fits diagonally into a regulation carry-on. If I have to bend down a couple of inches, that’s no big deal compared to the convenience of a relatively small tripod. It’s very sturdy, and I am very comfortable using a super telephoto lens with it.

Here is the link to this tripod: h t t p s : / / w w w. b h p h o t o v i d e o . c o m / c / product/1158126-REG/induro_clt204_2_ stealth_carbon.html The ball head I use is the BH 55 with the full size lever-release clamp. It is fairly heavy, and I know I could get away with the BH 40 head, but I like the heavy-duty, rock solid feel of the BH 55. I have used this for at least 10 years, and I’ve never had a problem with it.

Here is the link to the ball head: h t t p s : / / w w w. b h p h o t o v i d e o . c o m / c / product/1301051-REG/really_right_stuff_ bh_55_lr_bh_55_ballhead_with_full_size. html § 13

Paying-Attention-to T

Shadows

he two basic ingredients that make great photographs are graphic design and lighting. When you focus on taking pictures of shadows, both of these elements come into play.

Angle of light When the sun is low in the sky everything casts long, dramatic shadows. The closer the sun is to the horizon, the longer the shadows become.

In addition, of course, the golden colors at this

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time of day are beautiful. Make sure you shoot on daylight white balance; if you use auto white balance at sunrise or sunset, the colors you see on the LCD monitor will be ‘corrected’ to white light. In other words, they will look dull and uninspiring without the golden tones. You can correct this later in Lightroom or ACR, but why do that for every image? Shoot with daylight WB and what you see is what you get.

If the sun is at your back, often your own shadow becomes a problem unless you want to include

it in the picture. For sidelighting and backlighting, though, a low angled sun provides numerous opportunities for great shots of shadows as exemplified by the photo on the previous page I took during my Tuscany and Cinque Terre photo tour in Italy.

Mid-day can also be a good time to capture shadows, but you have to see things from a different point of view. For example, I photographed the shadow on the beach, right, in the Dominican Republic in the early afternoon. The leaning palm tree created the attractive graphic design, its shadow projecting onto the sand.

In the photo below, an overhead sun was the only way to capture the shadow of the lizard on the palm frond. I had to lie on the ground and shoot upward to get this shot.

Artificial light

Any point source of light creates defined shadows. This is certainly true of artificial light as well. Don’t overlook the fascinating patterns of shadows when shooting outdoors at night or when photographing an interior. The closer the object that’s casting a shadow is to the wall or floor onto which the shadow is projected, the sharper that shadow will be. Once you start looking, you’ll start to see a lot of amazing patterns and designs created by intriguing shadows.

On the next page, I spotted the shadow this chair was casting as my photo tour group and I entered a restau15

rant in Kathmandu, Nepal. After dinner, we spent about 25 minutes photographing it from every angle. Notice that both the chair and the tile floor with the shadow are sharp. This was essential. There was no place for shallow depth of field here because some of the rich detail in the picture would be compromised.

I photographed the ballerina in Havana, Cuba, with two spot lights. I placed each of the incandescent lights on either side of her. This is a classic way to generate dramatic shadows, and to further underscore the power of the light, I asked the dancer to turn her head toward the light on her right. This left one side of her face in shadow. Any pose of a ballerina is graceful and beautiful, but to make a photograph commensurate with the stunning perfection of the subject, the use of light and shadow are crucial.

You can do the same thing with flash, but this is

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Expand your photographic artistry with

eBooks

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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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air balloon, ultra-light, small plane, or from the top of a hill, shadows can look awesome.

Shadows that you never would have noticed become very powerful in making photographs amazing.

I took the picture of the rolling hills in the

Palouse region of Washington state, above, from the top of Steptoe Butte. It is 3612 feet in elevation, and it’s just like being in a low-flying airplane. Notice the remarkable interplay of light and shadow. more challenging because you can’t study how the shadows fall in the instantaneous burst of light. When we all shot film, photographers used Polaroid test prints to assess the shadows (and the exposure). Now, we have the immediate feedback from the LCD monitor. If you are trying to create a visually compelling shadow and you don’t like what you’re getting, simply change the angle of the flash realtive to the subject until you’re satisfied with the result.

The aerial shot of the Namib Desert in Namibia, below, was, in fact, taken from a low-flying plane at five o’clock in the afternoon. The bold shadows give this picture it’s drama. When shooting from small planes, depth of field is irrelevant, so I shoot wide open because this allows me to use a fast shutter speed. This overcomes the vibration of the plane. I typically use 1/1600th of a second. §

For the picture above of costumed models in Venice at dawn, I placed the flash on my camera backpack which was on the ground. The low, 45 degree angle created a dramatic shadow of the male model above and to the side.

Aerial perspectives From the air, whether it be from a drone, hot

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Photo Organization M

any photographers start out their organization system by the date the images were taken. They soon realize this doesn’t work because it’s impossible to locate specific images unless you have a photographic memory.

The best way to organize your work is by subject matter. If you want to spend endless hours keywording photos, then Lightroom offers an excellent method for finding pictures. But if this isn’t appealing, then use a hierarchy of folders, one inside another, and organize them starting with your major categories: Nature, Travel,

Americana, or whatever, based on what you shoot. Then, inside those folders, place the sub-categories. Within Nature, for example, you could have Landscapes, Flowers, Wildlife, Insects, etc. Inside the Wildlife folder, you can make more folders such as Birds, Deer, Foxes, Raccoons, and so on. Then, when you open the folder with Foxes, all of your fox pictures can be found there.

So, in my system, here is how I find Balinese dancers: Travel > Asia > Indonesia > Bali > Dancers. To locate my pictures of lilac-breasted rollers: Travel > Africa > Birds > Rollers. §

SNOWY OWL WORKSHOP February 12 - 15, 2019

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CHINA

Dec. 29, 2018 - Jan. 8, 2019

The incredible Harbin Ice Festival Siberian tigers Blue-faced monkeys

Siberian tigers in sub-zero cold, China.

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What’s wrong with this picture?

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took this shot of a traditional New England church in a small town in Massachusetts. The lighting is good, the autumn colors aren’t peaked but they still add beauty to the scene, and the church itself is attractive. Placing it in the center of the frame works, in my opinion, because of the symmetry of the architecture and the balance of the trees on either side of the composition.

The main problem with this picture is the cars and the building at the far left. This doesn’t totally ruin the shot, but it would be much better if they didn’t exist. There was nothing I could do at the time of shooting to eliminate these things, assuming I wanted the same composition of the church, so the only solution was to use the clone tool in Photoshop.

Cloning only works if there is an area in the image from which you can ‘borrow’ pixels and copy them over that portion of the photograph that needs to be eliminated.

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In this particular shot, I used the foliage of the green forest in the distant background on the left as well as the orange leaves, also on the left, to cover up the cars and the unwanted building.

If you don’t have areas in the picture that can serve as the clone source, then an alternative is to clone from one picture to another in which (using this example) you’d clone trees and leaves from the donor photo onto the photo of the church. If you can previsualize that cloning needs to be done at the time of shooting, you can take pictures of elements in the scene that can be used to replace unwanted areas using this photo-to-photo cloning technique. In this case, I didn’t need to do that.

When cloning in a relative small area, it’s important to prevent patterns and designs from forming as the source pixels get copied multiple times to fill that area. This is why if there isn’t a lot of material from which to clone in the photograph, you must find another image taken at the same time (and in the same light) to use as the clone source. § 23

SHORT AND SWEET 1. Landscape images require complete depth of field

2. Architecture photography also requires complete

3.

4.

virtually without exception. You need to use the smallest lens aperture available, like f/22 or f/32, and because this reduces light entering the camera, the shutter speed will be slow. Thus, you need to use a tripod so the ISO can be low.

I often carry a 2-yard piece of black velvet when I travel because it can be very useful. Here I photographed these two flowers on a piece of velvet on the back seat of my Land Rover. I used the diffused light of the interior of the car to eliminate harsh contrast from direct sunlight.

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depth of field. When a foreground element is close to the camera position, DOF becomes more critical and you need to use the smallest lens aperture available or you must focus stack. Either way, you’ll need to use a tripod.

The stand-alone program, Portrait Professional, turns any portrait of a girl or woman into a glamorous image. It makes the skin look like porcelain (if you want to take it that far), and eliminates pores, wrinkles, pimples, and other imperfections in the skin. It also takes years off a face. §

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 . . . You posted this picture on the blog on your website in October of last year, and you said the

lens aperture you used was f/5.6. Given that this jabaru stork is so large, I was curious as to why the bird is sharp from wing tip to wing tip with such a large f/stop. Is it because the wings are on a single plane?

Stan Greenberg, North Augusta, South Carolina

A: The wings are sharp partly because of their positioning, but not entirely. Depth of field is a function of

four things: (1) lens aperture, (2) focal length of the lens, (3) camera-subject distance, and (4) the distance between the subject and the background. Because I was relatively far away, depth of field increased. To exaggerate and make my point, if you shoot an f/4 telephoto at distant mountains, the closest ridge could be a mile as the crow flies from a more distant ridge behind it, yet both will be sharp at any lens aperture. Why? Because they are so far away. The same principle applies to this shot. The distance worked to my favor, and I couldn’t close the lens down smaller because the light was so low. §

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Photography Tours 2018 - 2019 TUSCANY/CINQUE TERREJun. 2018

INDONESIA WILDLIFE Aug. 2018

NORWAY & DENMARK Sep. 2018

THE PANTANAL, BRAZIL Nov. 2018

BURMA NOV. 2018

CHINA Dec. 2018 - 2019

SNOWY OWLS Feb. 2019

ICELAND Mar. 2019

KENYA Aug. 2019

OREGON COAST Aug. 2019

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SCOTLAND May 2019

UZBEKISTAN & KYRGYZSTAN Sept. 2019

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 Jacobite train on the Glenfinnan Viaduct, 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.

Jerry Woods, Augusta, Georgia Venice photo workshop

© 2018 Jerry Woods

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Student Showcase, continued

© 2018 Jerry Woods

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Student Showcase, continued

© 2018 Jerry Woods

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Student Showcase, continued

© 2018 Jerry Woods

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WILD INDONESIA PHOTO TOUR August 17 - 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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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 Macro flash Macro flash

Nov. ‘12 Sep. ‘14

Subject index for past Photo Insight issues

continued

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 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 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 filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Sepia and dark contrast Jun. ‘15 Shade May ‘14 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 Apr. ‘14 Topaz Simplify 4 Dec. ‘12 Topaz simplify 4 Jun. ‘14 Topaz glow Jan. ‘15 Topaz glow Sep. ‘17 Topaz Impression Sep. ‘15 Topaz Remask 5 Oct. ‘17 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 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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