Photo Insights October 2018

Jim Zuckerman’s

PH OTO I N S I G HTS October 2018

Back button focus Day for Night Long lens portraits Short and Sweet Photo tours Ask Jim Student showcase

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Back button focus Day for Night Long lens portraits What’s wrong with this picture?

Short and Sweet Ask Jim Photo tours Student showcase Back issues Subject index for Photo Insights

On the cover: Mating Malay lacewing butterflies, Bali, Indonesia. This page: A jabaru stork nest in the Pantanal region of Brazil. This was photographed with a 24mm lens from a 3 story spiral staircase constructed for bird photography.

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mage stabilization (vibration reduction for Nikon users) is a wonderful tool A few years ago I was shooting in the dimly lit St. Peter’s Basilica in the Vatican where tripods are prohibited, and I was shocked that I was able to get a sharp picture with a shutter speed of 1/10th of a second using the relatively heavy Canon 70-200mm f/2.8 telephoto. This only happened because while handholding the camera and lens, I used the IS feature. I did try shooting at 1/8th of a second under the same circumstances, and the pictures weren’t tack sharp.

Many photographers leave image stabilization turned on all the time. I think this is a mistake. It depletes the battery (which is especially problematic with mirrorless cameras), and it takes an extra moment for the stabilization to kick in before the picture is taken. This brief delay can mean the loss of the image you really wanted.

If your shutter speed is fast, you simply don’t need the IS or VR feature. In addition, if you are using a tripod, you also don’t need it (and with most lenses and camera systems, unsharp pictures result from using stabilization while the camera is mounted on a tripod). Image stabilization was designed to be used when the shutter speed is very slow (1/10 to 1/45, for example) and you are handholding the camera.

While on safari, if you are using a bean bag to steady the camera and take the weight off your arms and shoulders, the IS and VR also must be turned off. Even though a bean bag isn’t as rigid as a tripod, the gyro system inside the lens that is at the heart of stabilization sees the bean bag exactly as it does a tripod. Therefore, while using the bag, turn off the stabilization assuming your shutter speeds are 1/60th or faster.

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

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Back Button FOCUS

any photographers have switched to back button focus especially when shooting fast moving subjects. I use it for everything simply because it has several important advantages.

What exactly is back button focus? This is a menu setting in your camera that switches the focusing from the shutter button (where you must push halfway down to activate the autofocus mechanism) to a button on the back of your camera convenient to where your right thumb is naturally positioned when you grip the camera. The photo at right shows the most common button used for this purpose.

Consider the advantages of BBF:

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1. When the shutter button controls the focus, and you take a photo and then start to take another one, the focus can and will change between the two shots if (a) the subject moves, (b)

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the composition changes and the subject is no longer in the center of the frame, (c) some element moves between the camera and the subject. You may not want the camera to change focus, and with the focus still tied to the shutter button, it will change simply by taking the next picture. BBF avoids this.

2. To hold focus while recomposing a shot, it’s not necessary to hold the shutter button halfway when using BBF. In addition, you don’t have to hold a focus lock button which takes a second or two to locate (and in the meantime, you could be losing a shot). All you have to do is push the back button once to focus, and it won’t change no matter how the composition is changed. The only exception to this is if you are using auto focus tracking, i.e. AI servo.

3. Pushing halfway down on the shutter button 6

to activate autofocus means it’s easy to inadvertently take a picture when you didn’t intend to shoot. This can scare a bird or animal if they are especially skittish, it uses up the battery and the capacity of a flash card, and it momentarily takes your attention away from the subject. When using back button focus, none of these things happen.

Each camera has its own proprietary menu system, and if you want to change your autofocus control to the back button, study the camera manual. We all know that these manuals aren’t as clear as they should be, and if you can’t figure it out, search youtube.com for a video tutorial that, hopefully, will be more easily understood.

Search for something like, ‘Back button focus Canon 5D Mark IV.’ §

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Day for Night

he term Day for Night comes the motion picture industry. When a movie called for a night scene, especially in the past when everything was shot with low-ISO film stock, it was easier to shoot in the daytime and underexpose the film to imply a night environment. The film makers would also add a bluish cast to the shot as well as desaturate the colors.

All photographers agree that it’s great if we can capture exactly what we what in-camera with no post-processing. Sometimes nature, the weather, the timing of celestial events, and luck all work in our favor. Most of the time, though, reality isn’t so kind, and that’s where

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Photoshop comes in. Armed with imagination, previsualization, and a certain amount of Photoshop expertise, you can create the ideal image -- whatever that ideal means to you. Once you

LAVENDER FIELDS! July 2 to 9, 2019 Spectacular fields of purple

Quaint French villages

Unique landscapes

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have created the nightscape, you can replace the sky with the Milky Way, the Aurora Borealis, any phase of the moon, or even fireworks. The new sky should complement the night landscape.

on page 8, or something else like a crescent or gibbous moon. Both of these landscapes showing the church and the glacial ice were daylight exposures.

Day becoming night

The best way to darken the landscape so it looks like night is to bring it back into camera raw with this command in Photoshop: Filter > camera raw filter. You will only have this command available to you if you subscribe to Photoshop CC. If you have previous versions, such as PS 5 or PS 6, you won’t be able to do this.

In choosing a landscape taken in the day destined to be converted to a night scene, select an image without a lot of contrast. Night landscapes are devoid of the kind of contrast seen on a sunny day. The moon does cast shadows, especially a full or almost-full moon, but the contrast in a scene like this won’t approach a Once in ACR, use the exposure slider to darken the image. If the shadows become a bit too dark midday sun. for your taste, use the shadows slider and move You should also choose a scene that has enough it to the right. If there are highlights that need sky in it so it allows an interesting replacement to be toned down in keeping with the evening such as the northern lights, shown on this page look of the image, use the highlights slider and and the following page or the Milky Way, shown move it to the left. I also add a bit of clarity 10

which technically sharpens the mid-tones but in actuality it makes the image seem to have more punch, i.e. more visual impact.

The blues There are two ways I add blue tones to a darkened daytime landscape. First, I bring the image into Adobe Camera Raw with the pulldown menu command in Photoshop, Filter > camera raw filter, and then I move the temperature slider to the left toward the blue end of the white balance spectrum. That is quick and easy.

Second, in Photoshop, I choose Image > adjustments > color balance. In this dialog box, there are three sliders representing the three sets of complementary colors: blue/yellow,

red/cyan, and green/magenta. I move the blue/ yellow slider toward the blue, and then the red/ cyan slider toward the cyan. By adjusting these two sliders, you can achieve whatever blue tone looks natural to you for a night scene.

Replacing the sky I’ve explained how to replace a sky in past articles in this publication, but it’s the number one question I get on my photo tours so I thought I would go through the process again.

If the demarcation line between the landscape and the sky is clean and well defined, such as the rugged mountains on the previous page or the ice formation, below, selecting the sky is relatively easy. You can use the quick selection tool (which hides beneath the magic wand tool). If

Glacial ice in the surf on the Ice Beach, south Iceland, 30 second exposure.

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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!

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

CLICK ON THIS PHOTO to read more about the course.

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the sky is fairly uniform, select the sky. If not, select the landscape and then use Select > inverse to grab the sky.

Like many selection tools, the quick selection tool works on the basis of color and contrast.

It defines a selected area by clinging to the edge of the area you are working on. To select a sky, for example, run the tool along the outer edge of the sky area just above the landscape.

In some instances, this tool may not be as accurate as required because the color and/or the tone of the sky and the landscape may be very close. Photoshop may not be sure what to include and what to exclude. You will have to enlarge the image and tweak the selection to make it completely acurate. This can be done with the quick selection tool (holding the Shift key down adds area to the selection, while holding the Option key, or the Alt key (on a

PC), subtracts area from a selection.

You can also use the lasso tool when the image is enlarged to at least 100% so you can make precise alterations to insure the ‘marching ants’ define the edge of the sky or landscape perfectly.

Again, use the Shift or Option (Alt) keys to add or substract portions of the selection.

The image below is a screen capture to show you how the selection can be imprecise. I used the

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UPCOMING PHOTO WORKSHOPS Carnival in Venice workshop Outrageous costumes in a medieval environment! Venice is great to visit and photograph any time, but during carnival it’s magical. There is nothing like it anywhere in the world. Exotic masks, stunning colors, classic images.

Feb. 23 - March 1, 2019

Frog & Reptile Workshop Close-up encounters with poison dart frogs and exotic reptiles such as chameleons, geckos, snakes, and more in St. Louis, Missouri. This is a macro workshop in which everyone consistently gets amazing pictures.

Oct. 20 - 21, 2018

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

November 17-18, 2018 14 10

quick selection tool to select the sky, but the gray clouds had a similar tone to the snow on the mountain. The red arrows indicate where the marching ants missed the precise contour of the rock formations, and the green arrow shows where the selection extended past the peak and included some of the rock. In this case, I’d use the lasso tool to make the corrections. For the areas shown by the red arrows, I would add to the selection by holding the Shift key down. To exclude the peak from the selection indicated by the green arrow, I would substract from the selection by holding down the Option (Alt) key. In this way, you end up with a perfect selection which is the basis for successful composites.

Once the sky selection has been tweaked, follow these steps: 1. Choose Select > modify > expand, and in the dialog box type in 2 pixels.

2. Choose Select > modify > feather, and in the dialog box type in 1 pixel.

3. Find the new sky you want to paste into the top portion of the picture, open it, and choose Edit > copy, then Edit > paste special > paste into.

Using the move tool, you can move the new sky image as you wish.

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Not all landscape images offer sharp edges like mountains and glaciers that make defining a selection easy. Some, like the ones on the previous page and below, have trees, flowers, or shrubs against the sky. The only way to create

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a good mask in these situations is to use Topaz Remask 5 (see the Oct. ‘17 issue of Photo Insights where I explain how to use this software). This is the best we have for dealing with this kind of edge detail. §

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

Fantasy Nudes is in production and is coming soon 18

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Long Lens Portraits

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here are many ways to make portraits. The technique you use, and the choice of lenses, depends on the look you want. A favorite approach of mine is to use a long lens. When I say long, I am referring to lenses in the 300mm focal length and longer. For example, I used a 400mm lens to photograph this long-necked woman from Burma.

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There are four characteristics/advantages of using a long lens for portraiture.

1. The background goes completely out of focus (unless the subject is standing up against it), and this creates a beautiful bokeh (out of focus background) that forces all of the attention on the subject.

2. Distracting elments behind the subject virtually disappear because they are so out of focus.

3. The elements in the scene are compressed, and this means that the nose, which is often a person’s least attractive feature, is flattened and made to look less large. This is usually a good thing.

4. A long lens forces you to shoot from a greater distance. This helps the subject relax and not feel so intruded upon. It is easier to get more natural expressions when shooting with a long telephoto. All the shots in this article were taken with a 400mm.§

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BRAZIL‘S WILD PANTANAL November 2 - 10, 2018

Jaguars in the wild King fishers and hawks diving for fish Caiman Giant river otters Wild macaws

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What’s wrong with this picture?

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like this picture a lot in all regards except one. It is a lesser long nosed bat taken during my Bats and Birds workshop in Arizona. Two flash units were set up, one on either side of the flower, and nectar was squirted into the flower to attract the nectar-feeding bats.

In placing the flash units, it was impossible to deal with the hot spots they created on the green stems because first and foremost, the way the bats were lit was more important. In addition, the flower stems consisted of contours all around their structure. The angle of the light to those contours couldn’t be adjusted satisfactorily simply because there were too many angles to deal with.

So, the problem with this image are the blown highlights along the top edge of the stem of the upper flower. Enlarge this on your computer, tablet, or 23

smart phone and you can see that a few areas -- and one in particular -- has become solid white. This is what ‘blown highlights’ mean -- areas have become white with no detail or texture. Usually, this is not desirable at all.

Once highlights are blown, they can’t be brought back by manipulating sliders in Photoshop, Lightroom, or Adobe Camera Raw. The only thing that can be done is to use the clone tool on various opacities and replace the solid white areas with green stem material. In the photo above, you can see that there are still highlights on the plant material, but the blown areas have been repaired.

The key to doing something this subtle is to vary the opacity of the clone tool. If at first you don’t succeed -- i.e. the cloned area is too dark, too light, doesn’t have enough texture, or it doesn’t blend well with the surrounding areas -- use Command/Ctrl Z (undo) and change the opacity to try again. It will definitely take you a few tries like it does me.

The only time this technique won’t work is if there isn’t enough material in the picture from which you can clone to cover up the blown highlights. § 24

SHORT AND SWEET 2.

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If you have space in a backyard, making an artificial pond will bring a lot of birds. This is especially true in dry climates. You can set up a blind at one end of the pond and, once the birds discover it, you can get water-level shots of the action. This is a white-winged dove I captured in Arizona.

It is a mistake, in most cases, to have the nose out of focus. In this shot of a tortoise, I focused on the eyes and used f/10, thinking that would be enough depth of field. Not so. Because I used a long focal length, 560mm, I really needed f/16 to have both the eyes and the nose sharp.

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4. Photograph patterns of colorful leaves at this time

To freeze fast moving water such as waterfalls, like this fun scene in Bali, you need a shutter speed of at least 1/1250. This allows you to see each drop of water with tack sharp clarity. When shooting at midday, wait for a cloud to block the sun because otherwise there will be too many blown highlights on the water.

of year. Make sure the back of the camera is as parallel as possible to the plane of the leaves because this helps obtain complete depth of field. Images of texture and beautiful patterns require total sharpness from corner to corner. No exceptions. ยง

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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 want to add a bit of backlight to the silhouette of the giraffes and tree. Can you please tell me how to do that? I tried a graduated filter, but I couldn’t get it right.

Stan Greenberg, North Augusta, South Carolina.

A: Backlighting wouldn’t be appropriate here for two reasons. First, the sun is somewhat obscured by the

clouds, and therefore it isn’t strong enough to create a backlighting effect on an opaque subject. Second, the only kind of backlighting you’d see on these subjects would be edge lighting, but from the shooting angle here you wouldn’t see that effect. Just to test out my thoughts, though, I did create a digital rim light on the giraffes and it just didn’t look right at all. It’s a beautiful picture, though, and in my opinion it doesn’t need a thing. §

© Stanley Greenberg

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Partial list of Photography Tours 2018 - 2020 THE PANTANAL, BRAZIL Nov. 2018

BURMA Nov. 2018

YELLOWSTONE IN WINTER Jan. 2019

SNOWY OWLS Feb. 2019

ICELAND Mar. 2019

PATAGONIA April 2019

KENYA Aug. 2019

OREGON COAST Aug. 2019

UZBEKISTAN & KYRGYZSTAN Sept. 2019

NORMANDY/BURGUNDY Sept. 2019

CUBA Oct. 2019

SRI LANKA Nov. 2019

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

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Iceland Photo Tour March 20 - 29, 2019

Awesome landscapes Ice caves The Aurora Borealis Horses

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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.

Judi Feinman, Freeport, New York Ethiopia photo tour, Venice workshop, Nepal photo tour, Namibia

photo tour, Indonesia photo tour (twice), India photo tour (twice), Kenya photo tour, Papua New Guinea photo tour, and Vietnam/Cambodia/Laos photo tour.

© 2018 Judi Feinman

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Student Showcase, continued

© 2018 Judi Feinman

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Student Showcase, continued

© 2018 Judi Feinman

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Student Showcase, continued

© 2018 Judi Feinman

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KENYA PHOTO TOUR August 1 - 11, 2019

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PHOTOSHOP WORKSHOP in my home

Sat. & Sun., November 17 - 18, 2018

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

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Jan. ‘15

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Apr. ‘15

Dec. ‘14 Jim Zuckerman’s

PH OTO I N S I G HTS January 2015

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

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May ‘15

Jul.‘15

Jun ‘15

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Sept.‘15

Jim Zuckerman’s

PH OTO I N S I G HTS June 2015

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

Oct.‘15

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Nov. ‘15

Dec. ‘15

Jan. ‘16

Feb. ‘16

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Oct. ‘16

Jan. ‘17

Feb. ‘17

Jun ‘17

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Nov. ‘17

Dec. ‘17

Jan. ‘18

Feb. ‘18

Apr. ‘18

May ‘18

Jun ‘18

Jul ‘18

Sept. ‘18

Oct. ‘18

Mar. ‘18

Aug ‘18

Subject index for past Photo Insight issues 1/3 focus law Jul. ‘15 3D sphere Mar. ‘16 90 degree finder Mar. ‘13 Abstracts in soap Feb. ‘15 Aerial photography Jun. ‘13 African safari May ‘16 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 Aperture vs. shutter speed May ‘14 Aperture priority Sept. ‘14 Aurora Borealis Apr. ‘17 Auto white balance Dec. ‘13 Autofocus, when it fails Apr. ‘15 Autofocus failure Aug. ‘15 Autofocus failure Jan. ‘17 Autofocus challenges Apr. ‘18 Auto ISO Nov ‘17 Autumn Foliage Sep. ‘18 Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Blown highlights Feb. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 Camera setting priorities Jun. ‘17 Capturing lightning Jun. ‘13 Catchlights Jul. ‘16 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Chromatic aberration May ‘13 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Composites and Light Dec. ‘17 Composition, different approach Jan. ‘15 Contrast vs. exposure Jul. ‘15 Creating a star field Jan. ‘14 Creating a Sketch Dec. ‘17 Creative blurs Jan. ‘14 Dawn photography Dawn photography Day for Night Dead center Dealing with smog Decay photography Define Pattern Depth of field

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

eBook, how to make Embedded in Ice Energy saving bulbs Exposing for the sun

Jan. ‘13 Oct. 17 Sep. ‘14 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 Flat art Sep. ‘16 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus stacking Mar. ‘17 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Framing May ‘17 Freezing ultra action May ‘17 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Garish imagery Great subjects Green screen Grunge technique

Dec. ‘15 Apr. ‘15 Mar. ‘13 Feb. ‘13

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

Dec. ‘14

Kaleidoscopic images Keystoning, correcting

Jan. ‘15 Aug. ‘15

L Bracket Feb. ‘18 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16

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Subject index for past Photo Insight issues

continued

Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 Liquify Feb. ‘18 Long lens portraits Oct. ‘18 Low light photography May ‘15 Macro flash

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

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

Optical infinity Organization of photos

Jun. ‘16 Mar. ‘18

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

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

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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 techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Silhouettes Jun. ‘13 Snow exposure Nov ‘17 Soft light Jan. ‘13 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Tamron 150-600mm Topaz glow Topaz glow Topaz Impression Topaz Remask 5 Topaz Simplify 4 Topaz simplify 4 Topaz Studio Travel photography Travel portraits

Apr. ‘14 Jan. ‘15 Sep. ‘17 Sep. ‘15 Oct. ‘17 Dec. ‘12 Jun. ‘14 Apr. ‘18 Feb. ‘13 Mar. ‘14

Subject index for past Photo Insight issues Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Ultra distortion

May ‘18

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

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PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2018 email: photos@jimzuckerman.com snail mail address: P.O. Box 7, Arrington, TN 37014 The ancient ruins of Machu Picchu, Peru

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