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Jim Zuckerman’s

PH OTO I N S I G HTS November 2019

Portrait Professional Using people for scale From mundane to ideal Parallelism Photo tours Student showcase Ask Jim Subject index


4. 8. 12. 16. 21. 23. 24. 25. 27. 33. 38. 2

Portrait Professional For Scale From mundane to ideal Parallelism What’s wrong with this picture? Short and Sweet Ask Jim Photo tours Student showcase Back issues Subject index for Photo Insights


’ve come to the conclusion that selfie-stick users aren’t really human. They are some kind of alien species that have metastasized and infected most great photo locations, and they are dangerously close to spreading over the entire planet.

Like an insidious virus, these extraterrestrial beings are inhabiting and controlling the bodies of humans. Photographers are especially vulnerable. Ever see the movie ‘Invasion of the Body Snatchers’? Instead of giant alien seed pods that hatch and become human-like and soulless, the selfie-sticks themselves emit some kind of unidentified ultra high frequency outside the known electro-magnetic spectrum that is designed to turn avid dSLR photographers into narcissistic smart phone shooters who have to photograph themselves in front of every single thing. It doesn’t matter what the background is -- they want to be seen in front of it. “Here I am in front of a waterfall. Here I am in front of my spaghetti dinner tonight. Here I am in the middle of a beautiful field of flowers preventing serious photographers from taking artistic pictures about whom I could care less.” These aliens assume stupid poses, photographing themselves with and without two fingers pointing skyward, and they assemble every conceivable combination of friends and family members for multiple pictures that take forever. Then they use social media to share their snapshots, thus inspiring more selfie-stick people to mindlessly congregate en masse all the time everywhere. Real photographers are seriously in danger of extinction as a result. It turns out that the ancient Chinese curse, “May you live in interesting times,” was really a cryptic harbinger of the selfie-stick invasion. Too bad no one was listening.

Jim Zuckerman On the cover: A room in the Kremlin Palace, Moscow. On the preceding page: A model who was photographed during a fashion show was composited with the facade of a 15th century mausoleum, Samarkand, Uzbekistan.




espite the remarkable tools we now have in post-processing to create amazing images, there are still a few photography purists who only want to capture what they see. That’s perfectly fine, and if this is you, don’t read this article. However, if you want your images to approach maximum beauty and maximum perfection, then you’ll want to know about Portrait Professional. In a few simple steps, you can convert less-thanperfect portraits into works of art. Specifically, this software solves the problem of imperfect skin, and it can dramatically improve and embellish facial features. It is now easier than ever


to use, and you’ll be amazed by the results you can achieve. Some people feel that Portrait Professional creates such perfection that the subjects don’t look real. It can certainly do this, but you have the ability to embellish as much as you want based on numerous sliders. You have the option of reality or fantasty -- or anywhere in between. For example, in the portrait below of a young dancer in Uzbekistan, the original shot on the left shows that her skin has the unattractive imperfections of adolescence. Makeup made it

look better, but it’s still not what I wanted. In the comparison image, the girl’s skin is now like porcelain. It’s flawless. Some photogaphers may feel this is ‘too’ perfect, and that can be easily addressed by adjusting a slider. Notice also that the whites of her eyes have been lightened and subtle shadows beneath each eye have been eliminated.

fessional presents you with a box in the upper right corner of the dialog box that reads ‘Open image.’ Click this and then navigate to the tiff or jpeg photo you want to process. You’ll then be directed to a dialog box that asks the gender, below: male, female, boy, or girl. Choose one.

The web address for the company that developed this product is: They offer a free trial download, and it is made for both Mac and Windows platforms. Getting started Portrait Professional is a stand alone program. It only works on tiff or jpeg images, so if you save your pictures as Photoshop (psd) files as I do, it’s necessary to convert each portrait you want to work on. This is done in the ‘File > Save as’ pulldown menu command. In the drop down list of choices, select either tiff or jpeg. I prefer tiff to maintain maximum quality and detail.

The next dialog box you see is the one at the bottom of this page. This is where the creative controls are. The blue lines on the face at left define the facial features. These lines can be dragged if necessary to make them fit the face with more accuracy. These lines tell Portrait Professional where the features are so when smoothing skin, for example, the eyes and lips aren’t affected.

When you launch the program, Portrait Pro-

Each creative control is like a pulldown com-


mand, and, when clicked, they reveal many sliders that are used to adjust skin, eyes, mouth, nose, and more. You can see that the person doesn’t have to be looking at the camera for the software to detect and define the facial features. In the screen capture above, the controls for manipulating the skin are shown. You can see sliders for Imperfections, Fine shadows, Remove Pores, Skin Smoothing, etc. Working with these commands is a matter of trial and error. Try one slider to see how it adjusts your image, add to this effect another slider, and so on, until you like what you see. It’s not really possible to know exactly what each slider will do until you try it. The sensitivity pulldown menu is where you 6

adjust how ‘heavy handed’ the sliders are. Keep in mind that it is initially tempting to completely smooth the skin of your subjects. I actually like this look a lot myself. However, for older people this isn’t appropriate. A women in her 60’s or 70’s would look ridiculous with porcelain-smooth skin. Using the skin smoothing controls with sensitivity to your subject enables you to improve the appearance without going overboard. There are a number of presets you’ll see in the dialog box that can save you the trouble of manually adjusting the sliders. In the upper right hand section, you’ll see buttons labeled Young Woman Natural, Young Woman Glamorous, Woman 35-45 Natural, etc. Experiment with these to see if they give you the type of look you want. §




or decades, I’ve heard students and participants in my photography tours say they want to include people (or animals) in their pictures for scale. The thinking goes that with landscapes, people make mountains and stands of trees look appropriately large. When shooting architecture, people included in the composition give a sense of scale to the buildings. In the picture below I took in China, most photographers would agree the people in the foreground provide a sense of how huge the snow sculptures were.

imagine snow sculptures so immense, and the presence of the people in the picture instantly shows the artistic and technical achievement of the Chinese artisans in Harbin, China.

I have never included people in my pictures for scale except once -- the photo below. I made an exception in this case because no one could

For the picture on the next page, I used Photoshop to clone out the people and introduce a running horse in the scene. This is obviously


There is one problem with this picture that bothers me, however. The arrangement of the people, their body language, and their attire are not artistic in any sense of the word. The background is dramatic and beautiful, but the group of people are not. They are just doing what tourists do -- which is nothing of interest.

a more compelling and artistic image. Had I previously photographed a dog sled team, a cross-country skiier, or even a racing snowmobile, I could have used winter elements such as these if and only if they were graphically attractive. My point in doing this is to convey the idea that random people or animals shouldn’t be included in a scene unless they look good. The reason I feel the horse works is because its legs are in an attractive position and the tail is nicely extended with an artistic curve. A good subject plus a dramatic background is a combination that is hard to find by happenstance or serendipity. Usually, photographers have to set these things up based on a preconceived mental image, or the imagined image must be created in Photoshop. Two instances where I was lucky to capture both a strong subject and the kind of background where


showing scale is relevant is in the picture of the costumed models in Venice, Italy on the previous page and the cyclist at sunrise in Khiva, Uzbekistan, above. Both of these subjects are small in the composition and they give a sense of how large the architecture is behind them. Note the difference between the Venetian models and the bike compared to the group of tourists in front of the Chinese snow sculpture. All three of these examples show scale, but only two of them offer the viewer strong subjects -the costumed models and the attractive graphic design of the bicycle. This is my point. If showing scale is what you want to do using a person or animal, the foreground subject has to be strong enough to stand on its own. If you don’t have such an element to use, and most of the time you won’t, working 10

with composite techniques in Photoshop can solve the problem. This is what I did with the ruins of St. Andrews Cathedral in Scotland on the next page. Had I photographed a group of tourists milling about the ruins to show scale, it just wouldn’t have been the same. The picture would have been unworthy of being called a successful travel image. The shot of the model posing nicely in white is artistic and visually compelling. The juxtaposition of very large elements with much smaller ones for the purpose of showing scale can result in powerful images, but only if both make great subjects. This relates to one of the fundamental tenants in my teaching of photography: Great subjects make great pictures. Two great subjects together make the resulting image that much more dynamic and visually pleasing. §


From Mundane to Ideal O

ne of the highlights of my Oregon Coast photo tour last August was Bandon Beach. The rock formations are striking because of their graphic shapes, and the only thing we needed to make the photography outstanding was great lighting and a beautiful sunset sky. Unfortunately, that didn’t happen as you can see from the picture below. In the early afternoon, we did have thick fog and that was great, but late in the day the cloud cover prevented the kind of light and color we wanted. So, I created the type of image I imagined using Photoshop. The picture on the next page shows that result. The steps I used for this transformation are as follows:


1. Open the original seascape image and, using the quick selection tool, select all the rock formations. 2. Choose Select > modify > contract, and in the dialog box choose 2 pixels. Hit OK. 3. Choose Select > modify > feather. In the dialog box, select one pixel. Steps 2 and 3 are done to eliminate any telltale light line around the rocks from the original sky when the composite is made. 4. Choose Save > selection. If you don’t name the selection, Photoshop calls it ‘Alpha 1’. Hit

OK. The selection is now saved as an alpha channel, and it can be seen in the channels palette. Now choose Select > deselect. 5. Open the sunset picture, choose Select > all, then Edit > copy. The sunset image is now in Photoshop’s clipboard -- the invisible holding place for a photo or part of a photo.

the lower part of the image.

6. Choose Edit > paste. The sunset image is plastered on top of the beach background.

10. Select the brush tool and brush away the clouds from within the selection. I then added a bit of warmth in the rocks to match the sky using Image > adjustments > color balance.

7. Make a layer mask. The pulldown menu command is Layer > layer mask > reveal all. 8. Make sure the foreground/background color boxes are black/white. Choose the gradient tool. In the tool bar, there five small icons appear (upper right). Choose the far left icon. Drag the cursor from the bottom of the photo to the top. The sunset clouds disappear from

9. Choose the pulldown menu command Select > load selection. This recalls Alpha 1.

11. Experiment with opacity in the layers palette to see if any type of combination of sunset clouds with the original sky might look good. In the picture below, I used the brush tool on 30% opacity and slowly erased some of the sunset from the upper portion of the sky to show a little of the original clouds. §


MOROCCO PHOTO TOUR October 18 - 31, 2020 Exotic culture


Camel train at sunset

Blue City

Great portraits

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.



otice in the photograph below how all of the pillars are vertical. None of them are leaning inward or outward, typical of wide angle lenses. I took this picture with a 14mm lens. In the image at right, the pillars appear to be leaning outward. I took this shot with the same 14mm lens. What’s the difference? For the photograph below, the back of the camera -- i.e. the plane of the digital sensor -- was exactly perpendicular to the floor and ceiling. Said another way, the sensor was parallel with the columns. In the shot at right, I angled the camera downward for a different type of composition, but in the process


the plane of the sensor was oblique to the columns. That’s why they are slanted. If you don’t have a perspective control lens, you can make vertical elements look vertical in your pictures by shooting such that the back of the camera is parallel with the vertical elements and perpendicular to the ground. §


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

Snowy owls workshop Stunning pictures of snowy owls in flight. Up close and personal encounters with owls in the wild. Based near Toronto, Canada.

January 20-23, 2020

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 6 - 7, 2020



Expand your photographic artistry with


Click on any ebook to see inside

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eBooks continued Click on any ebook to see inside

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CARNIVAL in VENICE October 14 - 20, 2020

Unbelievable costumes in a medieval environment



What’s wrong with this picture?


photographed these women in Uzbekistan and, obviously, it was the color that attracted my attention. I also thought it was an interesting way to capture the ethnic look of this central Asian country. What I like about this image, aside from the color, is how the background and foreground gray stone matches and how the stonework offers an attractive environment with nothing in the background that detracts from the subjects. I also like very much the diffused light. The problem with this image is, on the far left, I had to crop a woman so we only see a part of her body. I could have moved back, or zoomed back, to include her as well, but I didn’t want the subjects to appear too small in the frame. Less annoying, but still not ideal, is the dark sack on the far right. I would have preferred that it wasn’t there. § 21

In this version, I carefully cloned out both offending elements. I worked at 100% and used the rock material from the background to cover the areas that needed to be eliminated. Finally, I realized that the woman on the right was too close to the edge. That spacing didn’t balance the space on the left. Therefore, I expanded the canvas with Image > canvas size. I then did additional cloning to fill in the new empty area. When cloning very small areas, you have to be careful to avoid repeating patterns that can occur due to cloning the same area several times. In this case, to add area at the right, I cloned from the far left. This prevented the problem of a repeating pattern because there was plenty of stonework to clone from. This kind of attention to detail makes your Photoshop work look completely believable. §


SHORT AND SWEET 1. The white balance you use when shooting twilight

2. There are many software plug-ins for Photoshop

can be daylight, tungsten, or AWB depending on the color scheme you like and the colors in the image. I usually use daylight, but the sodium vapor lights on the boat looked way too yellow. Therefore, in this instance (based on trial and error), I used tungsten WB.

that turn photos into painterly images. One of my favorites is Topaz Impression. It is extremely easy to use -- it’s completely intuitive -- and it includes quite a few presets. That means you can preview the results before you commit to the effect.

3. In all situations with movement, don’t underesti-


mate the shutter speed needed to get sharp pictures. Birds in flight, horses running, dancers spinning, or in this case the changing of the guard in Bishkek, Kyrgyzstan -- all of these require at least 1/1000th of a second. For this picture, I used 1/1600th.

Aerial shots like this image of Chenonceau Chateaux from a hot air balloon in France requires no depth of field. Everything is far enough away so you can shoot wide open and still have all of the elements in sharp focus. That makes a fast shutter speed possible with a low ISO. §



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

Q: Jim . . .There is a construction crane on the left side of this image of Seattle. Should I clone this out,

and if so, what’s the best way to do it? Jon Sanders, Milwaukee, Wisconsi


If this were my picture, I’d eliminate the crane for sure. You can clone the part of the crane that is sticking into the sky by enlarging this to 100% and making the clone tool very small. For the part where it is against the buildings, cloning is not the best approach. Instead, select part of the buildings that are clean, copy those portions to the clipboard, and paste them over the crane. Use the move tool to move these layers into place. That is the easiest way to do it. §


Partial list of Photography Tours 2019 - 2021

SNOWY OWLS Jan. 2020




PERU NATURE Sept. 2020

MOROCCO Oct. 2020




ETHIOPIA Mar. 2021

BATS & BIRDS Apr. 2021


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


Snowy Owl Workshop January 20 - 23, 2020

Guaranteed great shots of these magnificent birds -- 2 spots left --


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.

Joe Howard, Cornelius, North Carolina China photo tour, Palouse workshop, and Grand Tetons and

Yellowstone in winter.

© 2019 Joe Howard

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Student Showcase, continued

© 2019 Joe Howard

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Student Showcase, continued

© 2019 Joe Howard


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Student Showcase, continued

© 2019 Joe Howard

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POLAR BEARS! November 7 - 14, 2020



Sat. & Sun., June 6 - 7, 2020

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


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 ( 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 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 Bird Photography Jun ‘19 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 Compositing images Apr. ‘19 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


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

Decay photography Define Pattern Depth of field Depth of field and distance Drop shadows Dust, Minimizing

Sep. ‘15 Sep. ‘18 Aug. ‘16 Dec. ‘18 Apr. ‘19 Aug. ‘19

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 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 for Scale 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 Garish imagery Great subjects Great ceilings & HDR Panos Green screen Grunge technique

Dec. ‘15 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 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13

Subject index for past Photo Insight issues 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 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 Liquify Distortions Sept/Oct. ‘19 Long lens portraits Oct. ‘18 Low light photography May ‘15 Macro flash Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Macro trick May ‘19 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meter, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 Museum photography Mar. ‘13 Negative space 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 Parallelism 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, 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 Portrait Professional Nov. ‘19 Portraits, Lens choice Sept/Oct. ‘19 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Selective filtering Mar. ‘18 Selective focus Jun. ‘15


Subject index for past Photo Insight issues 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 Silhouettes, Exposing for Sept/Oct. ‘19 Sketch, How to Make Jun ‘19 Snow exposure Nov ‘17 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 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 Ultra distortion

May ‘18

Warm fingers in winter Water drop collisions What NOT to do in photography White vignette White balance White balance, custom Wide angle conundrum Wide angle lenses Wide angle portraits Wide angle lenses Wide angle keystoning Wildlife photos with wide angles Window light Window light portraits Window frames Winter photography

Nov. ‘15 May ‘18 Apr. ‘18 Aug. ‘15 Feb. ‘15 Mar. ‘16 May ‘19 Mar. ‘13 Nov. ‘14 Jun. ‘17 Nov ‘17 Mar. ‘15 Dec. ‘15 Aug. ‘18 Feb. ‘16 Dec. ‘12


Winter bones May ‘13 Winter photography Dec. ‘15 Winter photography Nov. ‘18 Wire Mesh, Shooting Through Jul. ‘18 Workflow May ‘13

PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2019 email: snail mail address: P.O. Box 7, Arrington, TN 37014 Model composited with a room in the Kremlin Palace, Moscow

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Profile for Killer Stock, Inc.

Photos Insights November 2019  

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

Photos Insights November 2019  

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