Jim Zuckerman’s
PH OTO I N S I G HTS October 2020
Topaz AI technology Chromatic Aberration Colorizng black Perfect exposure Photo tours Student showcase Ask Jim Subject index 1
On the cover: Ural owl, Hokkaido Island, Japan. On this page: Birdwing butterfly in the Butterfly Park, Bali, Indonesia.
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4. Topaz AI technology 6. Chromatic aberration 9. Colorizing black or white 13. Perfect exposure in a digital world 21. What’s wrong with this picture? 22 Short and Sweet 24. Ask Jim 25. Photo tours 27. Student showcase 33. Back issues 38 Subject index for Photo Insights
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epth of field is one of the most fundamental concepts in photography, and initially it seems easy to understand. It refers to: What is in- and out of focus in front of and behind the subject. What’s hard about that?
The truth is, depth of field is like a moving target. It is constantly changing depending on: the lens you’re using, the distance from the camera to the subject, the distance from the subject to the background, and the lens aperture you (or the camera) have chosen. For example, a few steps closer to or farther from the subject and/or changing the focal length with a zoom lens completely alters the depth of field. If you don’t understand how depth of field works, how it changes, and how you can use it to artistic advantage, it’s important you spend time learning it. Take test shots of any kind of stationary subject in your living room or in your backyard. Vary the focal length, change the subject-camera distance, use different lens apertures, etc., and take notes. Notice how the depth of field changes depending on what you do. For example, compare the DOF when using a wide angle lens at f/22 and a telephoto lens at f/22. The goal is to be able to previsualize what the final images will look like when shooting in the field, on vacation, or even when doing family pictures. If you can’t make an educated guess as to how a background will appear or how much of a subject is sharp based on the lens aperture/camera-subject distance/focal length combination, keep practicing. This kind of thing takes time -- a lot of time -- to be able to previsualize the results before you snap the shutter. Learning to do this will definitely help you improve your photography because you’ll be in control of your picture taking as opposed to the camera being in control. Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com
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TOPAZ AI TECHNOLOGY I
have been watching the evolution of digital technology as it pertains to minimizing or eliminating noise in photographs with great interest. In my first serious digital camera, the Canon 1Ds Mark II purchased in 2005, 1600 ISO was bordering on unusable, and 3200 was out of the question. The noise simply ruined the images. And this was an $8000 camera! At the same time, the development of sharpening software has made giant strides. The combination of the two -- noise reduction and
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sharpening technology -- has radically changed what photographers can do to images that originally had inferior resolution. For example, I took the picture of the red and green macaw in flight, below, with a 500mm telephoto along with a 1.4x teleconverter, giving me 700mm of focal length.This This wasa agiant giant sink sink me 700 of focal length. was hole in the Pantanal region of Brazil, and from the observation platform on the rim of the gaping depression the bird was hopelessly far away. This is an uncropped image, and if I simply cropped the shot so the bird filled most of the
frame, the 60.2 megabyte original would end up as a 2 megabyte file. Obviously, the resulting image would be pretty much useless except for emailing and posting on social media where quality isn’t valued very much. To create the version below in which the macaw looks tack sharp, I first cropped the image down to 2 megabytes and processed it through Topaz Gigapixel AI. This is software that increases the number of megabytes in an image while maintaining detail and resolution. I chose an enlargement (using the ‘4x’ tab in the dialog box) that increased the size of the image from 2 megabytes to an astonishing 162 megs. I wanted to test the ability of this plugin, and the result was remarkable. I then applied Topaz Sharpen AI followed by
Topaz DeNoise AI. The result is the photograph below. I was extremely impressed, to say the least. I saved this image from a fate of never being shown to something I’m proud to show. I love the way the tail feathers are spread, and I have been frustrated because the bird was just too far away for a decent capture. Can this stand up to a huge enlargement should I want to make a print? No, not really. But given how small in the frame the macaw was originally, and how good it looks having been processed in three Topaz plugins, I’m very happy with the results. I never expected the final result to look this good. I think the order the plugins are applied matters. I first used Gigapixel, then the Sharpen filter, and finally DeNoise. §
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CHROMATIC ABERRATION
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ometimes the laws of physics are downright annoying. Like, you can’t be in two places at the same time, and what goes up must come down. Or, you can’t have complete depth of field of a nearby subject with a 600mm lens at f/5.6. It’s also frustrating the way colored light bends when it goes through a lens. The various colors
correspond to unique wave lengths, and when this energy passes through a lens or a prism, each color bends at a slightly different angle. That means it is impossible (at least, thus far) to force all of the colors to focus on a single point. That is the reason why our pictures have chromatic aberration in some instances. Chromatic aberration is unwanted (and very ugly) color fringing. Two examples are shown at left and below. Chromatic aberration is usually magenta and/or green, but it can also be red, blue, and yellow. The screen captures on this page were taken from the river photo shown on the next page. When
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viewed in its entirety, you don’t notice the chromatic aberrtion at all. But when the image is enlarged to 200%, it’s obvious. Color fringing like this occurs usually with wide angle lenses, and it’s seen mostly in the corners of the frame. It would be most prominent if you made a large print and looked at it from three feet away. Fortunately, there is an easy way to eliminate chromatic aberration from RAW files. In the newest version of Adobe Camera Raw, along the right side of the dialog box, there are subheadings that include color mixer, optics, geometery, effects, etc. Click on the ‘optics’ tab and this opens up to the dialog box shown at right. If you click the box (red arrow) labeled ‘Remove chromatic aberration’, all of the color fringing disappears. This works on RAW files only. If you didn’t notice the chromatic aberration when you were first processing a file, and then you open it in Photoshop and save it as a tif or psd file, you can return to Adobe Camera Raw using the pulldown menu command: Filter > camera raw filter. At this point, though, the ‘Remove chromatic aberration’ box will no longer be available. Instead, you will have to work with the sliders as shown at right to remove the individual colors that make up the color fringing. This takes a little more finesse and patience, but it does work. If there is a stubborn area of an image where the unwanted color just isn’t affected by the sliders, try making a rough selection with the lasso tool, feathering the edge at least 12 pixels, and then choosing Image > adjusments 8
> hue/saturation. Using the submenu within the dialog box (the tab is labeled master), you can select individual colors (such as green and magenta) and, moving the saturation slider all the way to the left, you will desaturate the colors that need to be eliminated. By turning those colors to gray, they will seem to disappear. This will give you clean edges, especially at the periphery and in the corners, free of unattractive color fringing. Use this method only if the sliders don’t do the job for you. §
Colorizing Black or White
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ometimes you want to change black or white in a photograph, and using familiar tools like hue/saturation and color balance don’t make the black area look realistic. You have to use another approach.
3. Make a new group by (1) Choose Layer > new > group, or (2) clicking the ‘New group’ icon at the bottom of the layers palette. It is the third icon from the right (green arrow page 12).
If you compare the picture on this page I took during carnival in Venice, Italy, to the modified version on page 11, you can see the black fabric of the costumed model on the left has been transformed to appear emerald green. There is no hint of a digital modification. The shadows, the sheen, and the folds in the fabric all look like this model loved wearing green. Here is the step by step procedure for making this happen. 1. Make a selection of the black fabric. In this particular case, I used the quick selection tool. 2. Feather the edge of the selection by one pixel: Select > modify > feather. 9
FROG and REPTILE WORKSHOP Oct. 10 - 11, 2020
in St. Louis, Missouri
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4. Make a layer mask by (1) choosing Layer > layer mask > reveal all, or (2) by clicking the icon at the bottom of the layers palette (red arrow, right). 5. Make a new adjustment layer (magenta arrow, right), and in the submenu choose Levels. 6. Make another adjustment layer, and this time in the submenu options choose Solid color. 7. In the layers palette, pull down the blend mode submenu that begins with the word ‘normal’ and choose the Color blend mode. 8. Click on the adjustment layers and tweak the color and exposure that comprise the selected areas -- the areas that were black. §
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PERFECT EXPOSURE in a digital world
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ven with very challenging exposure situations like the winter scene below where I was shooting into the sun, getting the right exposure isn’t difficult. When we all shot film, and we couldn’t see our results until the film was developed back home, exposure was much more of a challenge. In the scene shown here with
the elk in the geothermal geyser basin of Yellowston National Park, most photographers would have bracketed their exposures because they wouldn’t trust the in-camera meter to reliably provide an accurate reading with extreme backlighting, extreme contrast, and snow. That was in the past. Now, all you need is what
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NAMIBIA PHOTO TOUR May 22 - June 1, 2021
Monster dunes Wildlife Walvis Bay cruise Dead trees Milky Way
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Jim Zuckerman presents
Photoshop Training Next Level
In 4 LIVE online screen-sharing sessions, learn techniques few instructors teach: 3D, displacement maps, ‘blend if’, creating beams of light, digital body painting, puppet warp, refine edge, and more.
Learn to think outside the box. Click HERE for more information. 15
I consider to be the most important function on the camera: Exposure compensation.
be right on, but if it’s not, make another correction until it is.
To determine a perfect exposure even in challenging situations like the aurora borealis over a snowy landscape at night, below, simply take a test shot, look at the results on the LCD screen, and then if necessary tweak the image with the exposure compensation function. If you don’t know where that is on your camera and/or you’ve never used it, find it and become familiar with it. On all cameras, you can adjust the exposure in 1/3 f/stop increments, lighter or darker.
Determining the exposure this way means all of the other methods you might have used in the past -- such as spot metering, overexposing for snow, and bracketing -- are no longer necessary. You’ll be able to produce images exposed perfectly using exposure compensation.
The test shot you take can be done on Program mode, aperture priority, or shutter priority. In a tough lighting scenario, don’t expect the test to be perfect. It may be, but if not, use the dial or the camera’s menu to correct the exposure as seen on the LCD monitor. The next shot should
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With landscapes, cityscapes, architecture, etc., you have the luxury of time to tweak exposures. With action shots, you don’t. So, before the action takes place, take a test shot or two, dial in the exposure compensation if it’s needed, and then your action shots will be correctly exposed. If you need to lighten the exposure, just make sure you don’t go too far and lose detail in the highlights. §
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UPCOMING PHOTO WORKSHOPS Next Level Photoshop Online In the comfort of your home, learn how to be super creative in Photoshop with techniques few instructors understand or teach. This is a ‘thinking outside the box’ online training course covering things like 3D, displacement maps, puppet warp, refine edge, blend if, creating light rays, and more. You won’t want to miss this!
Oct. 10, 2020
Winter wildlife workshop Stunning pictures of North American animals including wolves, red foxes, arctic foxes, mountain lion, Canada lynx, and more. The animals will be in their winter coats and very beautiful. This is based in Kalispell, Montana.
January 13 - 20, 2021
Online Travel Seminar Travel photography encompasses pretty much all aspects of photography, and this comprehensive online/screen sharing seminar addresses all of it. From shooting the night sky to working with foreign model and breaking compositional ‘rules when appropriate, you will come away from this course with a tremendous amount of knowledge and insight into photography.
October 11, 2020 10
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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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W i n t e r W i l d l i f e Workshop 2021 January 13 - 20, 2020
Based in Kalispell, Montana
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What’s wrong with this picture?
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photographed this young cheetah from ground level, and I had zoomed in too much. I was watching the top of the frame, trying to keep the cat inside the viewfinder, but at the moment I took the picture I had raised the camera too high and clipped the feet. It is perfectly fine to crop the bottom portion of an animal such that you end up with a 3/4 shot, but it is never good to crop the tips of things -- ears, tails, or feet. When I realized I did this, I zoomed back slightly to include the feet. How21
ever, the cheetah’s expression changed and I didn’t like it as much as the one you see here. Had I not quickly reacted and taken that second image repair this shot. that included the feet, I couldn’t have used Photoshop to repaid I used the rectangular marquee tool to select the entire bottom 20% of the picture that included the feet. I then activated the original image (on the previous page) and expanded the canvas with Image > canvas size. I pasted into the image the selection, moved it into place and sized it correctly, and then used the clone tool on varying opacity settings to blended blend the new layer into the background. § 22
SHORT AND SWEET 1. Whenever possible, look for elevated vantage points
to photograph a city. It makes dramatic pictures and, if you are telling a story or sharing a travelog, it creates an establishing shot. Rooftop restaurants and hotel rooms located well can provide such a vantage. This is Cuzco, Peru, and I took this picture from a hill.
2. Photoshop can be used to solve many problems photographers face when they travel. The archways on the the Roman coliseum now covon thefirst firsttwo twofloors floorsofRoman coliseum areare now covsecurity fencing. Photoshop’s ered with bars and security fencing, Using and using Photoshop’s tools, able toall remove of the amazing amazing tools, I was ableI was to remove of the all unsightly unslightly metal work.metal work.
3. To freeze the wings of birds in flight, use a shutter
4. Landscape images require, virtually without excep-
speed of 1/3200. This means the ISO has to be raised, but with the noise-reducing software we have availble today, that’s not a problem. The shutter speed test is this: are the wing tips sharp or not? With small birds, a shutter faster than 1/3200 might be needed.
tion, complete depth of field. Use a lens aperture of f/22 or f/32. It is true that these small apertures are not as sharp as f/8, but f/8 doesn’t create the kind of depth you need. Plus, you can always sharpen the images with Topaz Sharpen AI. §
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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 . . .I took this picture at Seal Rock in Oregon. The sky was blah but the surf was crashing off the the barnacle laden rocks nicely. I took a sky from another photo trip and composited it with a land/water segment that was composited with two other crashing waves. For me, this is a major step foreward in postprocessing. taught in your online Photoshop training.My Myquestion questionis,is,where wherecan canI I processing. Thank Thank you you for for what what you taught me me in your online Photoshop training. learn which blend modes will most likely be successful? Carl Zanoni, Middlefield, Connecticut
A:
Your image is stunning. To my knowledge, there isn’t such a book or course. The reason is it all depends on the tones in the images. On my Next Level Photoshop course, I get into blending modes more deeply. But even so, you can try one method and it doesn’t quite work. Then you try another, and it’s perfect. I just depends, as I said, on the distribution of light and dark tones in an image. I’ve been working in Photoshop for 30 years, and there are many composite situations that are still trial and error.
Copyright 20202 2020 Carl Zanoni
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Partial list of Photography Tours 2020 - 2021
WINTER WILDLIFE Jan. 2021
NAMIBIA May/June 2021
ETHIOPIA Mar. 2021
MOROCCO Jun. 2021
HOLLAND/BELGIUM April 2021
LAVENDER FIELDS (France) June/July 2021
ICELAND July 2021
INDONESIA July/August 2021
NORWAY/DENMARK Sept. 2021
PERU NATURE Sept/Oct. 2021
POLAR BEARS Nov.. 2021
WHITE HORSES Apr. 2022
For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
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Frog & Reptile Workshop October 10 - 11, 2020
At least 40 species of tiny, exotic poison dart frogs, reptiles, and more. This is a macro workshop.
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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.
Dr. Bill Lindsley, Nashville, Tennessee Kenya photo tour, Online Photoshop Training
Lindsley © 2020 Dr. Dr. Bill Lindsey
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Student Showcase, continued
© 2020 Dr. Dr. Bill Bill Lindsey Lindsley
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Student Showcase, continued
© 2020 Dr. Dr. Bill Bill Lindsey Lindsley
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Student Showcase, continued
© 2020 Dr. Dr. Bill Bill Lindsey Lindsley
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POLAR BEARS from Ground Level! November 6 - 12, 2021
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun., Nov. 7-8, 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
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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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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 Autumn Color Sep. ‘20 Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Bird Photography Jun ‘19 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Black and white with color Jan. ‘20 Blown highlights Feb. ‘18 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 Camera setting priorities Jun. ‘17 Capturing lightning Jun. ‘13 Catchlights Jul. ‘16 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Chromatic aberration May ‘13 Chromatic aberration Oct. ‘20 Chrome Dec. ‘18 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Clone tool technique Jul. ‘20 Colorizing black or white Oct. ‘20 Composites and Light Dec. ‘17 Compositing images Apr. ‘19 Composition, different approach Jan. ‘15 Content-aware, New Aug. ‘20 Contrast vs. exposure Jul. ‘15 Creating a star field Jan. ‘14 Creating a Sketch Dec. ‘17 Creative blurs Jan. ‘14
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Dark backgrounds Dawn photography Dawn photography Dead center Dealing with smog Decay photography Define Pattern Depth of field Depth of field confusion Depth of field and distance Depth of field, shallow Double takes Drop shadows Dust, Minimizing
Nov. ‘19 Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Jan. ‘20 Dec. ‘18 Apr. ‘20 Apr. ‘20 Apr. ‘19 Aug. ‘19
eBook, how to make Embedded in Ice Energy saving bulbs Exposing for the sun Exposure, Perfect in a digital world Exposure, the sun Exposure technique Exposure, snow Exposure triangle Exposure, to the right Exposure compensation Extension tubes
Jan. ‘13 Oct. 17 Sep. ‘14 Sep. ‘16 Oct. ‘20W Jul. ‘13 Sep. ‘13 Jan. ‘14 Nov. ‘14 Apr. ‘15 Sep. ‘16 Dec. ‘13
Festival photography Sep. ‘20 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fireworks, Compositing Jun ‘20 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Flexify 2 Mar. ‘20 Flood fixes problems Nov. ‘19 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus points Sep. ‘20 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Fractals Jul. ‘19 Framing May ‘17 Freezing ultra action May ‘17 From Terrible to Beautiful Aug. ‘19 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Fundamentals That Make Great Photos Jan. ‘19 Graphic Design Garish imagery Great subjects Great ceilings & HDR Panos Green screen Grunge technique
Jul. ‘20 Dec. ‘15 Apr. ‘15 Jul. ‘19 Mar. ‘13 Feb. ‘13
Subject index for past Photo Insight issues 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 Jungle photography
Dec. ‘14
Kaleidoscopic images Jan. ‘15 Kaleidoscopis images Aug. ‘20 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 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 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
Oil and water Optical infinity Organization of photos
May ‘20 Jun. ‘16 Mar. ‘18
Out of focus foregrounds
Jan. ‘20
Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Parallelism Nov. ‘19 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 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
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Subject index for past Photo Insight issues Photoshop, palettes May ‘17 Photoshop, My favorite plugins Jan. ‘20 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portrait Professional Nov. ‘19 Portraits, Lens choice Sept/Oct. ‘19 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Restoring old photos Jun ‘20 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 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 Shooting into the light Jun ‘20 Silhouettes Jun. ‘13 Silhouettes, Exposing for Sept/Oct. ‘19 Silvered landscapes Mar. ‘20 Sketch, How to Make Jun ‘19 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 Ten reasons photos are not sharp Texture, Adding Topaz AI Gigapixel Topaz AI technology Topaz glow Topaz glow Topaz Impression
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Apr. ‘14 Jan. ‘19 Mar ‘19 Mar ‘19 Oct. ‘20 Jan. ‘15 Sep. ‘17 Sep. ‘15
Topaz Remask 5 Oct. ‘17 Topaz Simplify 4 Dec. ‘12 Topaz simplify 4 Jun. ‘14 Topaz Studio Apr. ‘18 Translucency & backlighting Nov. ‘18 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Twilight photography in the rain Apr. ‘19 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Two subject focus rule Jan. ‘20 Ultra distortion
May ‘18
Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 White 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
PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved
St. Fin Barre’s Cathedral, Cork, Ireland
© Jim Zuckerman 2020 email: photos@jimzuckerman.com
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