Photo Insights May 2022

Jim Zuckerman’s

PH OTO I N S I G HTS May 2022

Creating Art out of Motion When You Really Needed a Zoom Borrowing Pixels: Problem Solving in Photoshop Anatomy Natural Light Portraits How to makeofsilhouettes Upside Down Reflections Rule of Odds Photo Phototours toursVStudent showcase Ask Jim Ask Jim Student Showcase Subject Back issuesindex

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Creating Art out of Motion Borrowing Pixels: Problem Solving in Photoshop The Rule of Odds Jim’s eBooks What’s wrong with this picture?

Short and sweet Ask Jim Photography tours On the cover: A crash of white rhinos, Kenya.

Student Showcase This page: A male eclectus parrot photoPast issues graphed in the Bali Bird Park, Bali, IndoneSubject index sia.

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ost countries are relaxing or even eliminating their Covid entry restrictions for international travel now. It’s great to see that. Proof of vaccination plus a booster is usually still required at this time, but quite a few countries have dropped quarantine requirements plus negative Covid tests upon arrival. Some countries, like the UK, even required travelers to get a Covid test within two days of arrival. If you tested positive, you’d have to quarantine at your own expense for at least 10 days. Now, the UK doesn’t have any Covid requirements.

Before this pandemic, I never realized how fragile economies are, and how normal life can be interupted so quickly and with such devasting consequences. The travel industry is a case in point. As a photography tour company, I have worked within this industry for many years. With governmental lockdowns prohibiting tourists and businessmen from traveling to other countries, the tens of millions of people who depend on this monetary flow -- people who work for hotels, restaurants, taxi services, airlines, airports, shops that cater to tourists, tour operators, and more -- suddenly have no income. Every time I bring a photo tour to another country (or to a location domestically), my clients and I are responsible for injecting tens of thousands of dollars into the local economy. The lockdowns put a stop to that. Locals can no longer buy food or pay rent, and the buying power they’ve lost impacts all of the small businesses they themselves patronize.

In addition, tax revenues plummet because people don’t pay taxes on zero income. So, essential services are either reduced or eliminated, or governments have to increase their debt ceiling or print more money to pay for what they can no longer afford. This fuels inflation, and the higher prices further impoverish millions. In Third World countries where workers make just a few dollars per day, with the closing of factories because markets for jeans, shoes, electronics, or whatever else has dried up, starvation becomes a reality for them.

I’m so glad the world is slowly getting back to normal, but the devastation wrought by the lockdowns, by children not going to school or for two years, will haunt us or a very long time.

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

Creating Art out of E

Motion

xpressing motion by blurring moving subjects in still photographs is a technique everyone is familiar with. I want to revisit this creative idea and share with you the camera settings I use and my own approach. As much as I love tack sharp images, there is a place for this kind of artistic interpretation of motion.

There are two ways to photograph moving subjects to create blurs. You can pan with the subjects as I did with the roseate spoonbills, below,

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and the 1950’s Buick convertible captured in Cuba on the next page. Or, you can mount the camera on a tripod and let the subject blur as it moves while the background remains sharp.

That’s what I did in photographing the Canada lynx at the bottom of the next page.

Both techniques entail using slow shutter speeds. The question is, how slow should the shutter be to create an artistic image? The answer takes a little bit of thought. The factors that come into play are:

1. How much abstraction do you want for the subject?

2. What focal length lens are you using?

3. How fast is the subject moving?

4. How much definition in the background do you want?

in New Orleans shown at the top of the next page. Note that even though the traffic and neon signs were completely abstracted, it’s still important to focus on them.

The selection of shutter speed for images that show definition in the subjects like the roseate spoonbills on the previous page and the old Buick, above, is essentially trial and error. You

Subject abstraction If the shutter speed is too slow, the moving subject will lose all definition. You’ll end up with a complete blur of color and probably not enough form to identify the subject. If your goal is to simply create a color abstraction, shoot with a shutter speed of one second or more and move the camera significantly. That’s what I did with a night scene of Bourbon Street 5

it was simply trial and error. I did a few test shots, examined the LCD screen, and adjusted the settings as necessary to produce the type of abstraction I wanted.

With panning shots in which the shutter is depressed as you’re following the movement, long shutter speeds mean the elements in the background blur much more than the subject. That’s exactly what you want; the subject is more defined than the abstract backdrop. probably won’t know what you like until you see it. For the birds on page 4, I used a shutter speed of 1/8th of a second. The Chevy was driving about 35 miles an hour and I chose a shutter of .3 seconds. The cyclists below were captured at 1/6th of a second.

How did I come up with these speeds? Again,

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Focal length of the lens Movement is magnified in telephoto lenses, whereas it is minimized in a wide angle. Imagine watching the cyclists through a 14mm lens.

They would seem to be moving slowly across the frame. The same group seen through a 400mm lens, assuming the riders were fairly close to you, would appear to be flying by.

China Photo Tour January 26 to February 8, 2023

An entire city constructed of ice, Harbin, China

Rainbow Mountains, Zhangye Danxia Landform Geological Park China 7

This is why the focal length of the lens you’re using is relevent. To express the same degree of movement with a wide angle lens requires a longer exposure. For example, a 1/2 second exposure may be required with a 24mm lens to show the same degree of motion blur as compared to an 1/8th of a second when shooting with a 200mm focal length. Again, trial and error is the key. You won’t be able to envision the type of abstraction you’ll capture until you do a few test shots and then ascertain which shutter works best for you.

The subject’s speed The speed of the various subjects you’ll want to photograph will be quite diverse. A bird in flight versus a jogger, for example, or basketball action versus galloping horses will challenge your decision making regarding shutter

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speed. Even within a particular subject matter, like birds, there are significant differences in their velocity and their body movement. A hummingbird typically flaps its wings about 90 times per second, while doves, jays, and robins flap at about 2.5 times per second. Eagles and hawks are much slower, and birds like vultures mostly soar.

For fast moving subjects like galloping horses, birds in flight, and athletes, I use shutter speeds between 1/4 and 1/30th of a second depending on how much abstraction I want and what lens I’m using. The picture below I took during my White Horses of the Camargue photo tour in France was abstracted at 1/15th of a second.

Assuming it’s possible to have the horses and rider gallop past the camera for a second or third time (or more), the first pass provides test shots. Your shutter speed choice has to be an

educated guess. If there is too much blur for your taste, make the shutter speed a bit faster.

In this case, you could elect to go from 1/15th to 1/30th, for example.

colonial-era building in Havana, Cuba, set at 1/20th of a second.

The horse and rider, above, was taken in an indoor rodeo event. My shutter was .4 seconds as I panned with the action.

Using long exposures means you either have to avoid bright light conditions like midday under a clear sky or use neutral density filters.

You also have to lower the ISO and close the lens down to reduce the amount of light reaching the sensor to compensate for the long exposures. §

Definition in the background Most of the pictures in this article show blurred subjects against backgrounds that are abstracted more than the subjects. If you want a sharp background with the subject blurred, you need to make the shot from a tripod. The firm support insures the background will be sharp even with slow shutter speeds. That’s what I did with the picture of the lynx on page 5. This is a 1/30th of a second exposure. Similarly, I photographed the car driving past a rundown

Blurs and lighting

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Borrowing Pixels

Problem Solving with Photoshop E

very time photographers take pictures, we have to constantly solve problems. The background is distracting, the lighting isn’t quite right, there’s too much contrast, the depth of field is too shallow, the wrong lens was used . . . and on and on. Many problems can be rectified at the time of shooting; many can’t. B.P. -- before Photoshop -- we just had to live with our mistakes or with the less-than-ideal results.

Now, however, many problems can be solved.

I have a new Photoshop online course start-

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ing in June that addresses the many problems we face every time a camera is in our hands (click HERE for more information).

A case in point is the photo below. I shot this during my White Horses of the Camargue photo tour in France, and with action photography, you have to take a lot of shots to get one that’s good. Things happen fast, and it’s impossible to think, plan, and pay attention to every detail.

There just isn’t time. So, as the herd of horses were driven down a path toward my group of

photographers, we weren’t able to eliminate the French cowboys who were working hard to create the best photo opportunities for us.

You can see in the original capture on the previous page one of those cowboys, and it hurts the image. The problem, of course, is it’s not easy to clone him out because the backlit mane of the lead horse is right in front of his blue

shirt. In the cropped detail at the upper left, you can see this clearly. I actually tried to clone out the cowboy, but hair is translucent and the blue color bleeds through the blond hair. The clone tool, in this case, didn’t do the job.

In the corrected version below, and in the cropped detail at upper right, you can see I’ve

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fixed the problem so there is no evidence of the original issue. Here are the steps I took to make this happen.

1. If the clone tool wasn’t going to work, the only solution was to select another area of the image and paste that in the appropriate place.

In other words, I had to identify a small portion of another mane and use it to cover up the area where the cowboy was.

Most importantly, the mane(s) I was looking for had to have the out of focus vegetation behind the flying hair. That was the key.

2. The two manes I chose are indicated by the green arrows, below.

3. Next, I had to cover up the cowboy with

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vegetation. Precision wasn’t important at this point. I cloned out the blue shirt and the man’s head including the mane in front. You’ll see why this was important shortly.

4. Using the lasso tool, I made a selection of a section of mane (left arrow, bottom photo) that included vegetation and the edge of the mane (screen capture immediately below). I

made sure all of the flyaway hair was included.

5. I chose the pulldown menu command, Edit > copy, to place this selection in the ‘clipboard,’ Photoshop’s temporary holding place.

6. Edit > paste was next, and this placed the selection into the picture of the horses. This was now Layer 1.

7. Notice that the area of the mane I selected and placed in the clipboard was on the right side (our right) of the horse’s head, but the area where the cowboy was located, and the area that needs to be repaired, was on the left side (our left) of the other horse’s head. This means I had to flip the layer, and I did this with Edit > transform > flip horizontal.

the layer revealed the cloned vegetation from step 3 beneath. This isn’t a precise operation because the green vegatation attached to the blond hair blended with the cloned greenery.

12. I then flattened the image.

13. At this point, I felt I still needed additional flyaway hair on the mane, so I repeated this process using the mane indicated by the second green arrow on the right (previous page).

That selection is shown below.

8. With the move tool, I moved the layer into place.

8. Using the keyboard shortcut Command/ Ctrl T, a box formed around the layer which gave me the ability to either resize or rotate it. I positioned the cursor outside the box and rotated the small portion of mane until it was oriented correctly.

9. With the move tool, I moved the layer in place.

10. I then made a layer mask with the command, Layer > layer mask > reveal all.

11. With the foreground and background color boxes at the bottom of the tools palette black and white, respectively, I selected the brush tool and brushed away vegetation from around the flyaway hairs of the mane.

This is why I had to clone out the cowboy in step 3. Brushing away the vegetation from

When this selection copied to the clipboard, pasted into the photograph, flipped horizontally, and moved into place, the reconstructed mane looked good.

With the clone tool, I did a little touch up, flattened the file using Layer > flatten image, and then the repair was finished.

In this picture, there was enough material to ‘borrow pixels’ and use them to cover up another area. If this were not the case, I would have looked for a backlit blond mane in other frames taken at the same time and used those selected areas. This is one reason to always use a fast frame rate when shooting action. You’ll have a lot of material should you need to creatively address problematic issues in your pictures. § 13

PERUVIAN NATURE TOUR Sept. 24 - Oct 4, 2022

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C

The Rule of Odds

omposition is challenging for many people, and over the years I’ve tried to come up with various techniques to make it easier for photographers to recognize and create artistic compositions. The world is, after all, a compositional mess. With so many elements to organize in a cohesive and artistic photograph, I understand how composition can be a daunting problem.

You’ve all heard of the Rule of Thirds, I’m sure.

This is very useful in many types of shots, and

although this rule -- I think of it as a guideline rather than a rule -- can be broken for any number of creative purposes, it is very effective and it helps photographers put disparate elements together in a pleasing way.

The Rule of Odds addresses another issue. This puts forth the idea that small groups of elements look better in odd number assortments, 1, 3, 5, 7, and 9, as opposed to even numbered groupings. The orchids below are an example, as are the pictures on the next two pages.

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This is not to say you shouldn’t photograph two elements together or any other even numbered configuration of subjects as I did with the roseate spoonbills on page 4. That can certainly work as well. But it’s the odd numbered arrangement that presents a more dynamic and visually pleasing image.

Sometimes three elements can be pre-planned.

I did this with the novice Buddhist monks in Burma at right. In other instances, you can look for the odd numbered subjects in nature, in groupings of people, when photographing still-life setups, with galloping horses, or whatever you are shooting. The arrangement of bat stars on the California coast was a lucky find in this regard, as was spotting the three meerkats in Namibia on the previous page. Focusing your attention on the Rule of Odds will increase your luck, so to speak, in finding these compositions. §

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PANTANAL PHOTO TOUR Wild jaguars Exotic birds in flight Caiman Giant river otters Nov. 8 - 15, 2022

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UPCOMING PHOTO WORKSHOPS Frog & Reptile 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 Kansas City, Kansas.

June 11 - 12, 2022

Abandoned in Georgia Dilapidated mansions, cars, trains, ghost towns, farmhouses, and more. Looks great in both black and white and color.

June 17 - 22, 2022

Carnival in Venice workshop Photograph outrageous costumes in a medieval environment! Incredible colors, design, and creativity in one of the most beautiful cities in the world. Learn how to use off-camera flash, photograph models in sumptuous interiors, produce great images at night, and all the while enjoying Italian cuisine. This is a workshop not to be missed!

February 12 - 18, 2023

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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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South Africa Wildlife Safari October 25 - November 4, 2022

Photograph at water level from blinds day and night plus more

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What’s wrong with this picture?

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his is a resplendent quetzal I photographed in Costa Rica. It is too small in the frame to make a strong visual statement because it was just outside of telephoto range. What I really wanted, of course, was the image on the next page.

To create this sharp, tightly framed photo, I significantly cropped the original.

I used the Canon 1Dx Mark II for the shot because, at full frame, the files from this camera open in Photoshop as a 57 megabyte file. I cropped it down to 8 megs because I wanted to essentially fill the frame with the bird.

The next step was to ‘res-up’ the image so it has many more pixels and, at the same time, appears tack sharp.

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Fortunately, we have software now that can accomplish this. Topaz Gigapixel AI interpolates a cropped image and enlarges it to very large file sizes. In this case, I went from 8 megabytes to 125 megabytes within the software. I used the ‘4x’ tab. I could have gone larger, but there was no need.

If you want to make giant prints, however, this is excellent software to use in preparation for the printer.

As you can see, the image reproduces sharply and with complete detail. To size the file for on this page, I reduced it down to 11 megs which makes this even more impressive.

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SHORT AND SWEET 2.

1.

When photographing birds, especially 2 or more, make sure you use as much DOf as possible. Birds have depth, and both their faces and feathers need to be sharp to really appreciate their beauty. Use at least f/11, but f/16 is better. If you have to raise the ISO, it’s worth it because sharpness is critiical.

Using creative Photoshop plugins like Topaz Impression and Topaz Glow, you convert mundane subjects into works of art. I photographed a simple table and chairs in a village in France, and with the application of Topaz Impression, it became a work of art. The colors can be altered in hue/saturation.

3. Out of focus foliage backgrounds are complimen-

4. Try photographing flowers through a piece of tex-

tary to any outdoor portrait. The easiest way to do this such that the trees or bushes are completely abstracted is to use a telephoto lens and make the distance between subject(s) and background at least 20 or 30 feet.

tured glass. The results look very much like a painting.

Placing the glass closer to the flowers gives you more definition; as the glass-flower distance increases, the pictures become more abstract. Use duct or electrical tape along the edges of the glass for protection. §

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ASK JIM

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

Q: Jim . . . If you look closely, the head of this pelican isn’t sharp? What should the focus point arrange-

ment be in a situation like this to hold focus on the bird?

Samuel Gold, Knoxville, Tennessee

A:

If you’re photographing birds against a white or blue sky, I turn all my focus points on. The rationale being there is nothing on which the camera can lock focus except the bird. Here, the trees in the background change things. For most birds in flight, I prefer a center cluster of focus points consisting of 9 or 15 points.§

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Partial list of Photography Tours 2022 - 2023 LOUISIANA SWAMPS May 2022

INDONESIA Jul 2022

PERU Sep/Oct 2022

CHINA Jan 2022

ABANDONED in GEORGIA Jun 2022

ICELAND Jul 2022

NEW ENGLAND LIGHTHOUSES NORWAY/DENMARK Aug 2022 Sep 2022

VERMONT AUTUMN Oct 2022

CARNIVAL in VENICE Feb 2023

ICELAND in WINTER Dec/Jan 2023

PATAGONIA PHOTO TOUR April/May 2023

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

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Mystical Swamps of Louisiana j May 18 - 22, 2022 jPrimeval landscapes

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Birds in flight Alligators Ante-bellum homes

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.

Wayne and Judy Guenther, Springfield, Virginia China photo tour, Cuba photo tour, Namibia photo tour, and South Africa photo tour.

© 2022 Wayne and Judy Guenther

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Student Showcase, continued

© 2022 Wayne and Judy Guenther

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Student Showcase, continued

© 2022 Wayne and Judy Guenther

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Student Showcase, continued

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© 2022 Wayne and Judy Guenther 31

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ICELAND IN WINTER

Ice caves Waterfalls Aurora borealis Ice beach December 27 to January 4, 2022 - 2023

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FROG & REPTILE WORKSHOP Based in Kansas City, Missouri

Saturday and Sunday, June 11 - 12, 2022

This is a macro photography workshop where you will learn: -- How to use a ring flash in a macro environment -- How to focus critically when DOF is extremely shallow -- How to use off-camera flash for macro subjects -- How to replace backgrounds with perfection -- How to obtain perfect exposures with closeup flash

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

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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 Autumn foliage photography Oct. ‘21 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 Blue monochromes Jan. ‘22 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Botanical gardens, shooting Apr. ‘22 Butterfly photography Jul. ‘14 Camera buying guidelines Dec. 21 Camera setting priorities Jun. ‘17 Canon R5 Mar. ‘21 Capturing lightning Jun. ‘13 Capturing what you don’t see May ‘21 Catchlights Jul. ‘16 Changing perspective May ‘21 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 Compositing images Compositing, 7 steps Composition, different approach Content-aware, New Contrast vs. exposure Converting to black and white Correcting keystoning Creating a star field Creating Art out of Motion Creating a Sketch Creative blurs

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 and obliqueness Depth of field, shallow Depth of field vs. sharpness Double takes Drop shadows Dust, Minimizing

Dec. ‘17 Apr. ‘19 Jan. 22 Jan. ‘15 Aug. ‘20 Jul. ‘15 Mar. ‘22 Jun. ‘21 Jan. ‘14 May ‘22 Dec. ‘17 Jan. ‘14

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 May ‘21 Apr. ‘20 Nov. ‘20 Apr. ‘20 Apr. ‘19 Aug. ‘19

Face sculpting Apr. ‘21 Face sculpting Feb. ‘22 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 Fisheye fantasies Oct. 21 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 Floral Portraits, Indoors Aug. ‘21 Flowers May ‘15 Flower photography Apr ‘21 Flowers in harsh light Jul. ‘16

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Subject index for past Photo Insight issues 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 Dancers, Photographing Nov’ 17 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 Fun with Food Graphic Design Garish imagery Getting money for used gear Great subjects Great ceilings & HDR Panos Green screen Grunge technique

Jul. ‘20 Dec. ‘15 Jan. 22 Apr. ‘15 Jul. ‘19 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 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 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 iPhone photography, pros and cons Apr. ‘22 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

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Landscape photography Nov. ‘16 Layer Masks, The Power of Feb. ‘22 Light fall-off Feb. ‘14 Light painting Dec. ‘21 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 Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Macro photography and DOF Feb. ‘22 Macro trick May ‘19 Managing soft focus Jul. ‘21 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meters, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Minimizing dust on the sensor Nov. ‘21 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 Museum photography Mar. ‘13 Natural Light Portraits Negative space Neon edges on black Neutral Density filters Neutral Density filters and water Night photography Night Safaris Night to Twilight Noise reduction

Aug. ‘21 Jan. ‘16 Aug. ‘14 Jun. ‘18 Mar. ‘22 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17

Oil and water Optical infinity Organization of photos Out of focus foregrounds

May ‘20 Jun. ‘16 Mar. ‘18 Jan. ‘20

Paint abstracts May ‘13 Paint abstracts Aug. ‘21 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 Perspective, Super Exaggeration of Dec. 21 Photography to Art Dec. ‘17 Photography solutions Jan. ‘18 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique Apr. ‘13

Subject index for past Photo Insight issues 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 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 Solving in Photoshop May ‘22 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Restoring old photos Jun ‘20 Ring flash, advantages Jul. ‘21 Ring flash versatility Oct. ‘21 Rule of Odds May ‘22

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, How to make Apr. ‘22 Silhouettes, Exposing for Sept/Oct. ‘19 Silvered landscapes Mar. ‘20 Sketch, How to Make Jun ‘19 Skies make or break a picture Aug. ‘21 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 Jan. ‘18 Stock photography Sep. ‘14 Sunrise & sunset Jan. ‘19 Tamron 150-600mm Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 Texture Mapping in 3D Jul. ‘21 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 Two subject focus rule Jun. ‘21 Urban heights Ultra distortion Upside Down Reflections

Jun. ‘21 May ‘18 Aug. ‘21

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Subject index for past Photo Insight issues Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 When You Needed a Zoom Aug. ‘21 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

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PHOTO INSIGHTS® published by Jim Zuckerman All rights reserved © Jim Zuckerman 2022 email: photos@jimzuckerman.com Edited by: Donald Moore

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