Photo Insights March 2019

Jim Zuckerman’s

PH OTO I N S I G HTS March 2019

Shooting abstracts Topaz AI Gigapixel Adding texture Photo tours Ask Jim Student showcase

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Shooting abstracts Topaz AI Gigapixel Adding texture 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: A snow-covered bison in Yellowstone National Park. This page: A hoarfrostcovered tree at dawn in the Grand Teton National Park.

Jim with Princey at 6 weeks

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ometimes producing a great picture has little to do with technique or style. It has to do with simply putting yourself in a great place. So often, people complement my photographs, and I think to myself that if they had been standing next to me, they would have taken the same shot. I think taking the picture was the easy part.

Sure, this assumes their exposure is correct and their sense of composition is pretty good, but you can’t take a picture of a giraffe, a wildflower, a festival, or a great work of architecture sitting in your family room watching TV. You have to go somewhere to have the opportunity to see and photograph something exciting.

I know it takes initiative, energy, time, good health and, of course, money to travel somewhere. However, it doesn’t cost money to get up early for an exquisite sunrise that you normally would sleep through, but it does require that first step out of bed when you’re still tired and cranky. Putting yourself into a wonderful and beautiful experience that also happens to be photogenic is halfway to taking great pictures. It’s actually very simple.

On my photo tours, virtually everyone takes amazing pictures not necessarily because they’ve been shooting for decades (although some have) and not necessarily because they are particularly gifted (although many are), but because they’ve decided to partially define their lives by the fantastic trips they take. Doing this puts them in front of awesome subjects to shoot, and they not only take striking photos but they get to hang on to the incredible memories they will have for the rest of their lives.

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

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Shooting Abstracts

bstract images can be quite compelling and are often very beautiful.

And the good news is they can be found anywhere -- at home, in your backyard, on any vacation you take, even in your workplace. It’s just a matter of training your eyes to notice patterns, lines, textures, and shadows.

The first place I look for artistic abstractions is in nature. A decaying log I found on a beach in Washington State, below, was full of amazing patterns, colors, and textures. Tree bark, fallen trees in various states of decay, and growths on trees such as moss, fungi, and mushrooms offer beautiful abstract patterns.

Rocks are another remarkable place to look for

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fabulous abstractions. A photographer could spend a lifetime shooting nothing but rock patterns because they are so varied and interesting. The image above is a closeup of a rock I found on a dried lake bed in Ethiopia.

I am also intrigued by abstracts in ice, frost, and snow. Filling the frame with nothing but the pattern has created some of my favorite shots in nature. A small section of ice on a frozen river, above, turned out blue because I used daylight white balance in deep shade.

For the shot of frost, upper right, I was inside the dining room on my polar bear photo tour in Canada photographing the crystaline de-

sign on a window. With very cold temperatures outside, humidity indoors can cause amazing frost patterns on glass.

Architecture is another fabulous source of abstract imagery. From peeling paint on dilapidated barns, below, to incredible staircases like the one I photographed on page 6 in a bookstore in Portugal, you’ll find dramatic shots

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if you just take the time to look. Patterns of mirrored windows and ultra modern lobbies of hotels and office buildings also provide fantastic photographic material. The picture below is a wide angle capture of the lobby in the Marriott Marquis Hotel in Atlanta, Georgia.

In my opinion, this is one of the most dynamic interiors in the world.

Another source for abstractions are closeups

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of fabric. I have photographed exotic rugs, piles of multi-colored blankets, and bolts of fabric for sale in stores all over the world to produce beautiful abstracts of color and design. The picture below shows mens’ ties rolled up and side lit by window lighting.

The abstract picture on the next page shows various colors of paint mixed together in a Tupperware container in my kitchen. I was

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stirring the paint with a fork, and it accidentally fell into this colorful concoction. As I mentioned earlier, you can find or create great abstract images even at home.

The Technique If you look closely at each of these pictures, even the abstraction of colorful boats reflecting in water, below, notice that they are all sharp from edge to edge. Not even the corners are soft. Even though these images are abstracts, sharpness still applies. Therefore, you must pay close attention to depth of field.

If you photograph a flat surface where the back of the camera (i.e. the plane of the digital sensor) can be precisely parallel to the subject, then you can use any lens aperture and the resulting photo will be sharp everywhere. It is difficult

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for many people to determine this, however.

I’ve seen this on my photo tours. Therefore, I advise using a small enough lens aperture to insure the depth of field will be sufficient to cover the entire image, at least f/8. That’s what I did when photographing the beautiful handmade paper I saw in Burma, above.

With the watery reflection of the boats, I used

f/16 because the 70-200mm lens inherently has shallow depth of field, and the back of the camera was oblique to the surface of the water. An oblique angle means complete depth of field will be lost, i.e. sharpness through out the whole image. To compensate for this loss, the smaller f/stop was necessary.

When photographing abstractions with a macro lens or extension tubes, depth of field becomes much more critical. Since I maintain that the abstract images should be sharp, small lens apertures like f/22 and f/32 are required. This, in turn, means that a tripod must be used because it’s not possible to handhold a camera and macro lens while using small lens apertures and expect sharp pictures. Only if you use a macro flash system can you do this.

For available light macro photography, always use a tripod. §

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MOROCCO PHOTO TOUR October 18 - 31, 2020 Exotic culture

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Camel train at sunset

Blue City

Great portraits

Topaz AI Gigapixel B

ird photography is an exercise in frustration when not utizling a super long telephoto. Without a setup using food bait, small birds don’t allow a close approach. To fill a significant part of the frame with these small subjects isn’t easy, yet that’s the goal.

ever, is they don’t have a fast frame rate. If you are into capturing birds in flight, a 5 to 7 frames-per-second camera isn’t ideal.

You’ll miss too many nuances of the wing positions that change in fractions of a millisecond.

Digital cameras that offer sensors with huge megapixel counts is one answer. A 50 megapixel image opens in Photoshop to about 150 megabytes, and this can then be cropped quite a bit to, say, 60 megs to end up with a frame-filling portrait of a smal bird that was pretty far away.

Another approach is to use the new software AI Gigapixel by Topaz. It is an excellent way to increase the resolution of an image when it is cropped.

The inherent problem with cameras like this, how-

The picture below makes this point. This is a scarlet-headed blackbird I photographed in the Pantanal region of Brazil. My photo

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tour group and I were driving to our lodge when we spotted this beautiful bird along the side of the road. Unfortunately, it was far away. The picture you see on page 11 was actually cropped from the original. I cropped it from 60 megabytes down to 25 megs, but the bird is still unimpressively small.

So, I cropped it even smaller -- down to 3 megabytes -- so it filled the frame. Then I applied the excellent software from Topaz, AI Gigapixel. You can see the comparison versions above. Enlarging the picture at right is the original in which I cropped a 60 meg photo down to 3 megs. You can see the lack of resolution. In the image at left, the Topaz software vastly improved the picture and, at the same time, it was resized to a 60 megabyte image.

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This software doesn’t just sharpen the original. It resizes it so you can make a larger-than-expected high quality print or showcase it online with excellent resolution.

The two versions of a monk parakeet on page 14, also from the Pantanal, shows another example of the remarkable AI Gigapixel software. In order to capture this extremely fast-moving bird in flight, I had to switch from a 700mm focal length (500mm plus 1.4x teleconverter) to a 500mm focal length simply to increase the depth of field.

As I was prefocusing on a place in front of the nest, the extra few inches of depth of field enabled me to capture a sharp image of the bird (the 1/3200th of a second shutter speed also helped).

However, that made the bird smaller in the frame than I wanted. I cropped the photo down to 12 megabytes, and then I resized it back up to 51

POST-PROCESSING online course

by Jim Zuckerman

Learn how to process your images to give them visual impact. You will be introduced to Photoshop techniques that go beyond what you see and even beyond what you can imagine. This four-week course is invaluable to making your pictures look as good as the photographs you envy! You will receive detailed critiques on the images you submit for every lesson.

The great thing about online courses is that they can fit into any schedule. Life gets in the way at times, and Jim puts no limit on the time you can submit your work for his critiques.

CLICK ON THIS PHOTO to read more about the course.

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megs. I added a touch of sharpening in Photoshop (Filter > sharpen > unsharp mask) and the result was excellent. Instead of a 12 meg image, right, I now had a 51 meg file, below right, of a favorite shot.

Topaz AI Gigapixel is very easy to use just like all of their software. It’s very intuitive and user friendly. The only thing that is not obvious is that it only accepts jpg and tif files. So, if you’ve saved an image as a psd file, this must be re-saved using File > save as in Photoshop.

The opening dialog box is shown at the top of page 16. AI Gigapixel is a stand-alone program and, when it opens, the first step is to drag the photo into the large dashed rectangle (blue arrow) that takes up most of the area in the dialog box. The various options then become immediately visable shown at the bottom of page 16.

You can see an enlarged section of both the 14

before and after version of the image. In the upper right portion of the window, you’ll see ‘resize by scale’. That should be selected. Beneath that (red arrow) you’ll see 2x, 4x, 6x, etc.

This is the multiplication factor of how much you want to resize the image. If you want to

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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. 14 - 20, 2020

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

June 8 - 9, 2019

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

May 4 - 5, 2019

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make a very large print, or if you want to take a severely cropped image and resize it to 60 megabytes or more, choose the 4x or 6x option.

For the Abyssinian roller on the next page, I began with a 12 megabyte cropped image and selected 4x. This gave me a 326 meg file which I then had to reduce to fit on the next page. But as you can see, even though I cropped it from 60 megs to 12, upon enlargement it looks great.

The green arrow below points to the pixel dimensions your picture will become when you select the multiplication factor in the upper right. No other choices need be made.

Depending on the speed of your computer, the resizing operation takes about 30 seconds to a minute. In the lower right corner, click the start button to initiate the operation.

In the output box at right, there is a suffix field that says -edit. I leave that in place and save the new, resized image to my desktop. That way it’s easy to find it.

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Remember, this is not a sharpening program.

The before and after versions of a portion of the image, below, makes it look like that. Rather, it’s a way of changing the resolution. You can’t make a good print with a 3 megabyte file, for example, but if you can res-up that file to, say, 60 megs, and still maintain the original sharpness, then you can make a print with surprising quality especially considering how much you had to crop the photo to create the best composition. This is a game-changer when it comes to wildlife and bird photography. It’s like doubling and tripling your focal length without paying for the lens. §

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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

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Adding Texture T

here are many ways to introduce artistry to photographs -- as if the original images weren’t artistic enough -and adding a texture to an image is one of them.

I remember working with textures when making black and white prints as far back as 1968 when I first learned how to make a print in the darkroom. This technique has been around a long time, but with digital technology, the Internet, and Photoshop, it is very easy to do now.

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There are three ways to obtain textures that can be combined with photographs. First, you can take them yourself. This obviously costs no money and, at the same time, you can take hi-res textured images for the best quality. Textures are everywhere: a scuffed floor tile, sandpaper, weathered stucco, weathered wood, side lit cracked mud, burlap, canvas, the surface of many types of rocks, cement, etc.

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Second, you can download sets of textures from various online sources for a reasonable price. Because you pay for them, they are typically high resolution. The last thing you want to do is combine a low-res texture with a high-res photograph. One of the best websites I’ve seen for this is flypapertextures.com.

I obtained the texture at right from this site.

Third, you can find free texture sets online.

These are often low-res files, but sometimes you can find these freebie textures with decent resolution. Here is a good website to download various kinds of free textures: https://superdevresources.com/free-photoshoptextures/ Making the composite Once you have a library of textures from which

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to choose, there are two ways to combine them with your photos.

1. Select a texture with Select > all and then copy it to the clipboard (Photoshop’s invisible holding place for a picture or part of a picture) with Edit > copy. Activate the photograph and use Edit > paste. The texture is now floating above the subject photo. At this point, use the opacity slider in the layers palette to adjust

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how much texture shows versus how strong the photo appears (yellow arrow, right). This is solely dependent on your taste.

2. After you paste the texture over the photo as just described, blend the two images with the blend modes. Scroll through the list of blend modes to determine which one(s) looks good to you. Sometimes none of them work, and other times you’ll find one or two versions that work beautifully.

Access the blend modes with the pull down submenu that has the word ‘normal’ in the layers palette (red arrow, right).

The shortcut for scrolling through the various blend modes quickly is to click on the move tool in the tools palette. Then hold down the shift key and hit the plus or minus keys to go forward or backward through the blend

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modes. In this way, you can quickly determine if any of the combinations look good to you.

If you like photographs that approach a painterly look, try this technique. It’s amazing. §

CUBA PHOTO TOUR October 22 - 31, 2019

Classic cars Great portraits Crumbling colonial architecture Fabulous color

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What’s wrong with this picture?

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photographed this hoarfrost covered tree at sunrise in the Grand Teton National Park. The backlighting was stunning, and the shape of the tree also appealed to me. The problem, of course, is the white contrail in the sky in the upper left portion of the image.

In art and photography, there are guidelines we recognize that are helpful in composing pictures. These guidelines or rules are suggestions, and they can often be broken. For example, placing a subject in the center of the frame like I’ve done here is often considered less desirable than placing it off-center.

In this case, though, I think the center placement works well.

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Having said that, one guideline that is virtually always true is this: Graphic lines behind a subject that are not part of the subject are almost always distracting. That’s why the contrail needed to be cloned out. It is light, it’s graphic, and it’s not part of the subject. It pulls our attention to the upper left corner instead of directing us to the tree itself, and that’s not how a successful picture works.

Cloning out something in a blue sky is not easy because of the myriad blue tones. I first used the content-aware feature, and then I smoothed out imperfections with the clone tool used at 40% opacity. Finally, I blended the tones with the burn and dodge tool used alternately at 25% opacity. This took several minutes to make the image above look like no Photoshop work had been done at all.

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New eBook!

The definitive guide to photographing wildlife and birds Equipment

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Birds in flight

winter photography

exposure

much more

SHORT AND SWEET 1. With a fresh snowfall, look for designs in the snow.

2. Plan on getting to a sunrise location before the

3.

4. When faced with extreme contrast and where HDR

You can often see beautiful contours and shapes as in the picture below showing snow-covered rocks at the edge of the Snake River in the Grand Teton National Park made a unique composition. Notice the light.

Low angled morning sunlight made this work.

Without a handheld incident light meter that reads light falling on a scene, the only way to expose for a wintry scene like this bison in Yellowstone National Park is to take a picture and then study the results on the LCD screen. If it is too light or too dark, use the exposure compensation feature.

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sun actually rises above the horizon. You are often rewarded with beautiful colors in the sky. In this case, Mt. Moran near Jackson Hole is set against a mauve sky 15 minutes before sunrise. Note that the sun was going to come up behind me.

is not possible (such as with moving subjects like this amur leopard), you have to protect the highlights from blowing out. To do this, I suggest underexposing by 1/3 or 2/3 f/stop. You can always lighten shadows in post, but if the highlights are gone, they are gone for good. ยง

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 . . .When a subject has been photographed by literally thousands or tens of thousands of photographers, such as hot air balloons, does it have any monetary value? This also applies to so many major icons in the world like the Eiffel Tower, Big Ben, etc.

Andrew McKinley, Raleigh, North Carolina

A:

The short answer is no. There are a lot of reasons for this, but you touched on the main reason. Digital photography has made it very easy to take excellent pictures, and millions of people are snapping away pretty much all the time with every conceivable subject. Great subjects, like hot air balloon events and famous places around the world, are photographed to death. The likelyhood of a picture of yours being used by anyone (and paying for it) is very small. If you agressively market your work, you have a chance at selling some images, but that becomes a full time job and today, unfortunately, the income potential is very low. Not only is the competiton severe, but prices for pictures have plummeted. §

To hear a 43-minute online interview with Jim about his wildlife photography, visit this link: https://www.photographingthewest.net 30

Partial list of Photography Tours 2018 - 2020 NORMANDY/BURGUNDY Sept. 2019

UZBEKISTAN & KYRGYZSTAN Sept. 2019

RUSSIA Oct. 2019

CUBA Oct. 2019

SRI LANKA Nov. 2019

SPAIN/PORTUGAL Mar. 2020

HOLLAND/BELGIUM Apr. 2020

AUSTRIA/DOLOMITES May 2020

INDONESIA Summer 2020

MOROCCO Oct. 2020

POLAR BEARS Nov. 2020

PERU Sept. 2020

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

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Sri Lanka Photo Tour November 8 - 18, 2019

Great culture • Incredible temples • Wildlife • Village life • Landscapes

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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.

Norman Wiles, Dorset, England Burma photo tour.

© 2019 Norman Wiles

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Student Showcase, continued

Š 2019 Norman Wiles

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Student Showcase, continued

Š 2019 Norman Wiles

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Student Showcase, continued

Š 2019 Norman Wiles

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AUSTRIA-DOLOMITES PHOTO TOUR May 4 - 13, 2020

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PHOTOSHOP WORKSHOP in my home

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

Photoshop is a photographer’s best friend, and the creative possibilities are absolutely endless. In a personal and ‘homey’ environment (I have a very cool classroom setup in my home), I start at the beginning -- assuming you know nothing -- but I quickly get into layers, cutting and pasting, plug-ins, using ‘grunge’ textures, replacing backgrounds, using layer masks, blend modes, adding a moon, and a lot more. I promise to fill your head with so many great techniques that you won’t believe what you’ll be able to do. I go over each technique several times to make sure you understand and can remember it.

Photoshop instructors approach teaching this program from different points of view. My approach is to be as expansive in my thinking as possible in creating unique, artistic, and compelling images. In addition to showing you how to use the various tools, pulldown menus, layers, and so on, I spend a lot of time giving you

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creative ideas that will inspire you to produce amazing images with the pictures you’ve already taken.

I live in the Nashville, Tennessee area, and if you fly into the airport (airport code BNA) I will pick you up. If you drive, I’ll give you my address and you can find my home on Mapquest or with a GPS. For the $450 fee, I include one dinner in my home (prepared by my wife who is an amazing cook and hostess) and two lunches, plus shuttling you back and forth from my home to your nearby hotel.

Contact me if you would like to participate in the workshop and I will tell you how to sign up (photos@jimzuckerman.com). All you need is a laptop and a lot of your pictures. If you don’t have a laptop, I have two Mac Book Pro laptops I can loan out for the duration of the workshop. §

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Dec. ‘14 Jim Zuckerman’s

PH OTO I N S I G HTS January 2015

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

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Jim Zuckerman’s

PH OTO I N S I G HTS June 2015

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

Oct.‘15

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Nov. ‘15

Dec. ‘15

Jan. ‘16

Feb. ‘16

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Subject index for past Photo Insight issues 1/3 focus law Jul. ‘15 3D sphere Mar. ‘16 90 degree finder Mar. ‘13 Abstracts in soap Feb. ‘15 Abstracts, Shooting Mar ‘19 Aerial photography Jun. ‘13 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 Autumn Foliage Sep. ‘18 Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Blown highlights Feb. ‘18 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 Camera setting priorities Jun. ‘17 Capturing lightning Jun. ‘13 Catchlights Jul. ‘16 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Chromatic aberration May ‘13 Chrome Dec. ‘18 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Composites and Light Dec. ‘17 Composition, different approach Jan. ‘15 Contrast vs. exposure Jul. ‘15 Creating a star field Jan. ‘14 Creating a Sketch Dec. ‘17 Creative blurs Jan. ‘14 Dawn photography Dawn photography Day for Night Dead center Dealing with smog Decay photography Define Pattern

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

Depth of field Depth of field and distance

Aug. ‘16 Dec. ‘18

eBook, how to make Jan. ‘13 Embedded in Ice Oct. 17 Energy saving bulbs Sep. ‘14 Exposing for the sun Sep. ‘16 Exposure, the sun Jul. ‘13 Exposure technique Sep. ‘13 Exposure, snow Jan. ‘14 Exposure triangle Nov. ‘14 Exposure, to the right Apr. ‘15 Exposure compensation Sep. ‘16 Extension tubes Dec. ‘13 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus stacking Mar. ‘17 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Framing May ‘17 Freezing ultra action May ‘17 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Fundamentals That Make Great Photos Jan. ‘19 Garish imagery Great subjects Green screen Grunge technique

Dec. ‘15 Apr. ‘15 Mar. ‘13 Feb. ‘13

HDR, one photo Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR, hand held Nov ‘17 HDR, hand held Jul. ‘18 HDR panoramas Jun. ‘16 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 Image resizing Aug. ‘18 Implying motion Sept.‘14 Impossible DOF Feb. ‘16 Impossible DOF Jan. ‘17 Indestructible camera bag Dec. ‘14 Infrared photography Jul. ‘14 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17

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Subject index for past Photo Insight issues

continued

Jungle photography

Dec. ‘14

Kaleidoscopic images Jan. ‘15 Keystoning, correcting 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 Long lens portraits Oct. ‘18 Low light photography May ‘15 Macro flash

Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meter, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Middle gray Nov. ‘15 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Museum photography Mar. ‘13 Negative space Neon edges on black Neutral Density filters Night photography Night Safaris Night to Twilight Noise reduction

Jan. ‘16 Aug. ‘14 Jun. ‘18 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17

Optical infinity Organization of photos

Jun. ‘16 Mar. ‘18

Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Photography to Art Dec. ‘17 Photography solutions Jan. ‘18 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique

Apr. ‘13 Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13 Photoshop, soft foliage Oct. ‘13 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Photoshop, drop shadows Jul. ‘14 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Photoshop, liquify Mar. ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14 Photoshop, enlarge eyes Nov. ‘14

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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, place one element behind Aug. ‘18 Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Silhouettes Jun. ‘13 Snow exposure Nov ‘17 Soft light Jan. ‘13 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Sunrise & sunset Jan. ‘19

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

May ‘18

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

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Sunrise, Grand Teton National Park, Wyoming

PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2019 email: photos@jimzuckerman.com snail mail address: P.O. Box 7, Arrington, TN 37014

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