Photo Insights September 2024

Jim Zuckerman’s

PHOTO INSIGHTS September 2024

Define pattern When You Really Needed a Zoom When Contrast is Good Pan-blurs Anatomy of Natural Light Portraits Photography quiz Upside Down Reflections Photo tours Photo Ask JimtoursVStudent showcase Student Ask JimShowcase Back issues Subject index

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Table of Contents 4. Define pattern 9. When contrast is good 15. Photography quiz 16. Pan-blurs 19. Jim’s eBooks 22. What's wrong with this picture?

25. Short and sweet 27. Ask Jim 28. Photography tours 30. Student Showcase 36. Past issues 44. Subject index

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On the cover: The dramatic Tianzi Mountains in China. This page: A crested caracara in flight photographed during Jim's Texas Birds Workshop.

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ratitude is one of the keys to being a happy person, so I try to be grateful all the time. One of the things I'm continually grateful for is that I've lived long enough to embrace and enjoy the remarkable creative tools we now have in photography.

When I bought my first camera in 1968, a Canon FT QL, it was lightyears ahead of taking pictures with glass plates and developing the black & white emulsions in a covered wagon like Edward Curtis used to do as he photographed the American West around the turn of the last century. Imagine dealing with the dust!

Yet, my new single lens reflex Canon didn't even have open aperture metering, an innovation that came about in the 70's. In other words, when I'd manually close the lens down, the viewfinder became darker because less light was entering the camera. Most young photographers don't know that was a problem back in the day. My first Canon also didn't have autofocus, automatic film advance and zone metering. Although zoom lenses had recently been introduced, they weren't nearly as sharp as prime lenses.

Fast forward to today and, compared to yesteryear, it's simply astonishing what we have at our creative fingertips: eye-tracking autofocus, HDR, focus stacking, Photoshop, the remarkable plugins

by Topaz AI software, phenomenal printing technology, super fast frame rates, ISO settings that go to dizzying heights (some of the early glass plate coatings had an ISO of 6), remarkably accurate built-in exposure meters, stitched panoramas, and more. I wouldn't have wanted to miss this for anything. Most likely in 50 or 100 years future photographers will think of the 2020's as a bunch of old fashioned people using horribly outdated equipment similar to how we look at film photography today. Imagine having to wait to see your pictures because the film has to be developed!

But we are living through this time, not the past, and it's definitely an exciting time to be a photographer.

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

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DEFINE PATTERN

hotoshop has a lot of capabilities that most people don't know about or use.

One of these interesting techniques worth exploring and experimenting with is Define Pattern. It is found under the Edit pulldown menu tab.

The two images below illustrate what Define Pattern can do. The original on the left is a portrait I took in Morocco. The young girl was in the frame of a doorway, and the interior of her home became completely underexposed because my light reading was on her much

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brighter face.

To create the unique pattern behind her, I selected the rectangular marquee tool and made a narrow horizontal selection of the fabric on the front of her garment. I then copied that to the clipboard, Photoshop's (invisible) place for holding a photo or part of a photo, with Edit > Define pattern. I then deselected the selection using Select > deselect.

I now used the magic wand tool to select the dark background behind the young girl and

then saved the selection with Select > save selection.

The command that creates the pattern behind the subject is Edit > fill. With the dark background still selected, Photoshop creates a pattern based on the portion of the fabric selected and then places that pattern within the selection, i.e. the dark background in this example.

When you choose Edit > fill, a dialog box opens (shown at right). If you click the small down arrow to the right of 'Custom Pattern' (red arrow), you will be shown all of the selections you made that are destined to become patterns. Choose the one you want (it will be the last one in the list). In addition, the 'Contents' field (green arrow) must show Pattern.

When you click OK, Photoshop creates a pattern into the area behind the subject you've selected.

The design of the pattern is entirely based on the type of selection you made. In the case of the Moroccan model, the section was of fabric. A larger selection of a different area of the garment, or if the selection were a vertical rectangle instead of a horizontal one, that would produce a very different pattern design.

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The image of King Tut's famous gold mask I photographed in the Cairo Museum, Egypt, on the previous page has a pattern in the background based on using the rectangular marquee to define the portion of the mask used for this pattern. However, I took artistic license and abstracted the pattern by choosing the command, Filter > distort > polar coordinates.

Once you have a pattern behind a subject, you can embellish it a number of ways. For example, behind the mirrored image of a Venetian carnival participant, below left, you can see the original pattern. I made a vertical rectangular selection from the center of the costume just below the hands, and define pattern created a striking pattern.

Then, I used Filter > distort > spherize. This

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was applied only to the background, which was still selected. This created the background shown in the lower right image.

I followed this by applying, again to the same background, Filter > distort > wave shown on the next page. In the wave dialog box, there are a number of parameters, and by experimenting with them you can come up with some amazing designs, all based on the original define pattern effect.

The beauty of this technique is the background is made up of the identical colors as the subject, and therefore it's always complementary. The types of backgrounds you can create are truly endless because they are based on the original selection, which can be so varied, and then in post there are many more variables. §

Winter Wildlife Workshop

February 6 - 11, 2025y 13 - 22024

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When Contrast is Good

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any articles have been written about contrast as it pertains to photographic images. The articles I've written myself universally describes contrast as a negative and as something to avoid. In fact, HDR was a huge innovation in photography because it was specifically designed to mitigate contrast in pictures. In other words, it reduces overexposure in the highlights and increases the brightness level in the shadows so we can see and appreciate more detail in our images. This is what burning and dodging was all about in the darkroom going back to the 1800s.

Photography has always been about revealing as much detail as possible, and that usually means overcoming contrast. For example, the incredible interior of the Sienna Cathedral in Tuscany at right, the image is vastly improved because we can see well exposed detail in the bright stained glass windows as well as in the deep shadows. I was able to reveal good detail throughout the entire image because I shot this with a 7-frame HDR composite.

In art, there are very few, if any, absolutes. As much as contrast degrades many types of images, sometimes that same contrast -- the huge discrepancy beween highlights and shadows in an image -- can be used creatively and to your advantage in capturing beautiful pictures.

The first type of image that comes to mind are silhouettes. As you can see on the following page, each example shows the subject to be very

dark or black with virtually no detail at all. The background, though, is several f/stops lighter.

This is the definition of a silhouette, and this is a perfect example of where contrast is needed to make a strong visual statement. Shooting into or toward the sun is the easiest way to create silhouetted images. The bright backlighting forces the in-camera meter to adjust, and the subject becomes underexposed.

The type of contrast you get when shooting toward the sun varies depending on the fo9

cal length of your lens (the longer the lens, the larger the sun will be in the frame and, therefore, the more it will affect the meter), whether or not the foreground subject(s) block the sun, how high the sun is in the sky, and whether or not there are thin clouds or atmospheric haze partially obscuring the sun.

Be prepared to override the meter if you don't like what you're getting from any one of the automatic exposure modes. When dealing with extreme contrast, you may want the subject to be completely black with no detail, or you may want a compromise exposure between the very bright background and the subject. In the shot of the elk in Yellowstone, right, you can see the area around the sun is blown out with no texture or detail. At the same time, there is detail in the foreground snow and subtle tonality in the elk itself plus the rocks forming the geyser.

By adjusting the exposure compensation in the camera, you control how much detail there is throughout the image.

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The photograph at the top of the next page shows how shooting into the sun at this geyser in New Zealand made such a dramatic picture. I exposed so the sun was confined to a smaller area as compared to the shot of the elk, and because the water was translucent, the backlighting created amazing forms in the geyser.

Another scenario where contrast works to your advantage is when diffused daylight

streams into an interior through a door or window. With no other lights in the room, the contrast between the highlights and shadows is dramatic as you can see in the dilapidated staircase I captured in Cuba, below. Notice how the two windows are completely blown out. In this instance, that works. We don't need to see detail outside. This is another example of the lack of absolutes in art. I learned as a very young photographer in the early 70's that highlights always require detail. This picture is obviously an exception.

The image on page 13 is a portrait I took in Morocco. It is the extreme contrast that makes the shot so powerful. I would never think of doing HDR in this case because it's the lack of detail in the shadows that forces all our attention on the subject. §

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Ethiopia Photo Tour Jan. 21 - Feb. 3, 2025

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Natural window light in Morocco

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Pantanal Photo Tour, Brazil

Jaguars in the wild, birds, caiman, otters and more Nov. 9 - 17, 2025

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Photography Quiz 1. What is 'dodging' in photography a. Making the exposure darker during printing or editing b. Balancing the light meter c. Making the exposure lighter during printing or editing d. Changing the aspect ratio of the image e. None of the above 2.

An image with a size of 5616 pixels x 3744 pixels is produced by a camera with a resolution of: a. 21 megapixels b. 63 megapixels c. 24 megapixels d. 45 megapixels

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A digital camera image opens in Photoshop with a document size of approximately: a. 2x the megapixel size b. 3x the megapixel size c. 4 x the megapixel size d. 5x the megapixel size

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A 'snoot' in photography is: a. A filter b. A tripod head c. A lighting modifier d. An underexposure technique

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If you move a light source away from an object from one meter to two meters, what proportion of the illumination on the object do you have now? a. 1/2 b. 1/4 c. 1/3 d. 1/6

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The prefix 'giga', as in gigapixel, refers to the mathematical quanty of: a. A million b. A billion c. A trillion d. A quadrillion

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If shooting in Aperture priorty and the picture looks too dark, what do you do? a. Use exposure compensation to tweak the exposure b. Raise the ISO c. Change the shutter speed

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Which f/stop has more depth of field? a. f/45 b. ft/90

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A speck of dust on the front glass element of a 500mm lens will show up in every picture. a. True b. False

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In the Kelvin temperature scale, which is used to define the color of white light in photography, zero degrees is impossible to achieve because it's only theoretical. a. True b. False Answers on page 47

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PAN-BLURS

harpness is the name of the game in photography, but once in a while it's fun to break the mold and do something different. Even beginning students of photography have experimented with slow shutter speeds, but pan-blurs are different.

This variation of the technique results in some very cool images.

The question which immediately comes to mind is, what shutter speed should you use?

It's not an easy answer because there are several variables: the speed of the subject, the focal length of the lens (telephotos show more movement than wide angle lenses do d), the subject-camera distance, and how fast you pan with the subject.

A pan-blur means you pan with, or follow, the moving subject with your camera. The end result is both subject and background are blurred, but the background is blurred more.

This is an interesting artistic way to direct attention to the subject.

Therefore, it's really impossible to suggest a particular shutter speed for a particular look.

Having said that, most of my pan-blurs are either 1/6th or 1/8th of a second. If you use a shutter longer than that, the subject usually becomes so abstracted that the essence of it is

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lost. It becomes too obscure. If the shutter is too fast, instead of a 'creative' blur the image looks like a mistake because it's almost sharp.

Usually when long shutter speeds are used to blur waterfalls, traffic lights, etc., you need a tripod.

For this technique, you can handhold the camera.

Backgrounds become much more blurred when long lenses are used. For the shot of the white pelican, below, flying past hundreds of pink flamingos, I used a 500mm focal length. That made the background completely undefined. For the shot of the cyclists on the previous page, I used a 16-35mm wide angle. The background is blurred, but we can still recognize the black fence.

A variation of this technique is to pan the camera past stationary subjects. For example, the abstraction of a forest, above right, was produced by panning the camera vertically using a shutter speed of

1/6th second. If I had panned horizontally, the definition of the trees would have been lost. I'd have just green and brown horizontal streaks. The vertical movement kept the shapes in the forest. During autumn when deciduous forests are ablaze with color, this technique is especially effective. Also try this in flower gardens where there is a large density of colorful flowers. Pan the camera horizontally, vertically and even in a radial motion. §

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UPCOMING PHOTO WORKSHOPS Snowy Owl Workshop Close up encounters with these beautiful birds of the North. Capture bird in flight shots in a snowy environment. Jim guides you in camera settings and technique to take the best pictures possible.

January 9 - 13, 2025

AI Course Online Learn how to make amazing images -- real or fantasy -- with the online AI software. Let your imagination run wild! You can create the most stunning, dramatic, and outrageous images -- as well as works of art, still lifes, wildlife, landscapes, floral abstracts, and more.

Nov. 23, 30 & Dec. 7, 2024

Carnival in Venice Photograph amazing costumes in a Medieval environment. We shoot inside a 16th century palace, in an iconic gondola, in a stunning bedroom with traditional Venetian decor, and at other great locations. The photography as well as the experience is phenomenal.

February 23 - March 1, 2025

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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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21 21 19 21 223 3 1921

Abandoned in Georgia April 21 - 27, 2025

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What's Wrong with this Picture?

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eeauty is in the eye of the beholder, and while some people may like this picture, I don't. I actually like everything about it except for the fact it's not sharp. If you enlarge this page on your device, you'll see exactly what I'm talking about. The legs, face and beak are sharp, but the feathers are not because they were moving very fast to give this roseate spoonbill enough lift to take off.

I took this picture in 2007 as I was perfecting my birds-in-flight technique.

At the time, I thought 1/800th of a second would be fast enough to freeze the wings of large birds who typically have slower moving parts compared to small birds. I was wrong. That shutter speed just wasn't enough to get the tack sharp wing tips I wanted.

My other settings were f/14 and 250 ISO. This was a mistake. I could have easily opened the lens to f/6.3, which is two f/stops, to make the shutter 1/3200.

That would have made all the difference.

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This picture taken in the golden light of sunset is better, but if you look at the bird's right wing (our left) the extremeties of the wing are not sharp. It's close, but not perfectly sharp. My shutter speed here was 1/1250. I was experimenting with various shutter speeds to see which one gave me the sharpest images, and the conclusion I came to was 1/3200. Later, I learned this works for most small birds as well, but not all. When I shoot very small and very fast birds, I err on the side of speed and shoot at 1/4000.

Some of the people who travel with me on my tours say they like when the wings tips of birds in flight are blurred because that implies motion. I can't object because that's what they like. For me, though, I prefer the sharpness. Birds have such beautiful detail in their feathers that I want to capture as much of it as possible, and only a super fast shutter speed will do that. Even if I have to raise the ISO to uncomforable levels in order to be able to use a fast shutter in low light, I'll do it, knowing I can mitigate the noise in post-processing with the Photoshop plugin, Topaz DeNoise AI. 23

On Safari: Kenya March 9 - 18, 2026

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SHORT AND SWEET 1. There are four things that usually don't look good 2. Every building, every city skyline, looks best phoas a prominent foreground element: dirt, gravel, cement, and asphalt. If you have no choice, I feel the best approach is to darken it so it's less of an eyesore.

You can do that easily with the burn tool in Photoshop.

Use a lesser opacity so you can tweak the image slowly.

tographed in the blue hour. The advantages of shooting in the early evening is that more lights are turned on. The advantage of shooting at the blue hour in the early morning is there are virtually no people about and streets are mostly empty.

3. Most outdoor portraits of both animals and peo-

4. When there are two subjects, they both have to be

ple usually look best when photographed in diffused light. You never have to worry about bad shadows, too much contrast, or unwanted hotspots on either the subject or the background. And the bonus is a much easier exposure.

sharp. If one them is sharp and the other one is almost sharp, the picture is a failure in my opinion. If the two subjects are not on the same plane, as in the example below, it's essential to use a small enough lens aperture to hold focus on both subjects. §

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Vietnam Photo Tour October 13 - 23, 2025

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ASK JIM

Every month, Jim answers 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 . . . Do you think the color black is an appropriate background for an outdoor portrait? I know it really doesn't look natural, but I like the drama of it. What do you think?

Pam Washington, Albany, New York

A: I think it's appropriate if you like it. I happen to like black as a background behind many subjects,

including outdoor portraits. The image below is an example. I took this shot in Vietnam and then used Photoshop to eliminate the original unattractive background and replace it with black. Not all of your images have to look 'natural'. Photography is art, and as such, you can do anything you want to your images. §

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Partial List of Photography Tours 2024 - 2026

COLORADO in AUTUMN Sept/Oct 2024

SNOWY OWLS in CANADA Jan 2025

GREAT GRAY OWLS, CANADA FAROE ISLANDS Feb 2025 Apr/May 2025

WINTER WILDLIFE Feb 2025

BHUTAN Mar/Apr 2025

AUSTRIA Sept 2025

VIETNAM Oct 2025

MOROCCO Oct/Nov 2025

PANTANAL Nov 2025

SCOTLAND'S PAST May 2026

THE GREAT SPAIN ECLIPSE Aug 2026

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

Great Gray Owls, Canada February 16 - 21, 2025

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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 takes great photographs on Jim’s trips.

Fred Hauser, Mongomery, Ohio Venice Photo Worksop.

© Fred Hauser 30

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Student Showcase, continued

© Fred Hauser

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Student Showcase, continued

© Fred Hauser 32

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Student Showcase, continued

© Fred Hauser 3331 34

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PHOTO TOUR to CHINA January 3 - 14, 2026

Harbin Snow & Ice Festival

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Rainbow Moutains

Online Course in AI Starts November 23, 2024 Let your imagination go wild!

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Subject index for past Photo Insight issues

1/3 focus law Jul. ‘15 3D sphere Mar. ‘16 90 degree finder Mar. ‘13 Abstracts in soap Feb. ‘15 Abstracts, Shooting Mar ‘19 Aerial photography Jun. ‘13 Aerial photography Jan. ‘21 African safari May ‘16 AI plus Photograpjhy Oct. ‘23 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 Anatomy of an Action Shot Feb. ‘24 Angled perspectives Jan. ‘19 Aperture vs. shutter speed May ‘14 Aperture priority Sept. ‘14 Aperture priority and other modes Jul. ‘24 Aurora Borealis Apr. ‘17 Auto white balance Dec. ‘13 Autofocus, when it fails Apr. ‘15 Autofocus failure Aug. ‘15 Autofocus failure Jan. ‘17 Autofocus challenges Apr. ‘18 Auto ISO Nov ‘17 Auto White Balance Mar’ ‘21 Autumn Foliage Sep. ‘18 Autumn Color Sep. ‘20 Autumn foliage photography Oct. ‘21 AWB versus Daylight WB May ‘24 t Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Backlighting Oct. ‘22 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Birds in flight, camera settings Jan. ‘23 Bird Photography Jun ‘19 Black backgrounds Aug. ‘23 Blacklight photography Feb. ‘21 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white infrared Apr. ‘24 Black and white solarization Sep. ‘17 Black and white with color Jan. ‘20 Black and white plus color Mar. ‘23 Blown highlights Feb. ‘18 Blue monochromes Jan. ‘22 Black Plexy Aug. ‘22 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Botanical gardens, shooting Apr. ‘22 Butterfly photography Jul. ‘14 Buying nature Jul. ‘24 Camera buying guidelines Dec. 21 Camera settings for landscapes Feb. ‘23 Camera setting priorities Jun. ‘17 Canon R5 Mar. ‘21 Capturing lightning Jun. ‘13 Capturing lightning Jun. ‘24 Capturing what you don’t see May ‘21 Catchlights Jul. ‘16 Changing perspective May ‘21

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Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Choosing a telephoto lens Dec. ‘20 Chromatic aberration May ‘13 Chrome Dec. ‘18 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Clone tool technique Jul. ‘20 Color theory Nov. ‘23 Composites and Light Dec. ‘17 Composites, Secrets to perfect Jun. ‘24 Compositing images Apr. ‘19 Compositing, 7 steps Jan. 22 Composition, different approach Jan. ‘15 Content-aware, New Aug. ‘20 Content aware move tool Jan. ‘23 Contrast vs. exposure Jul. ‘15 Contrast, When it is good Sep. '24 Converting to black and white Mar. ‘22 Correcting keystoning Jun. ‘21 Creating a star field Jan. ‘14 Creating Art out of Motion May ‘22 Creating a Sketch Dec. ‘17 Creative blurs Jan. ‘14 Custom functions Jul. ‘23t

Dark backgrounds Nov. ‘19 Dawn photography Jan. ‘17 Dawn photography Feb. ‘17 Dead center Jan. ‘13 Dead center Oct. ‘23 Dealing with smog Oct. ‘16 Decay photography Sep. ‘15 Define Pattern Sep. ‘18 Define Pattern Sep. '24 Depth of field Aug. ‘16 Depth of field confusion Jan. ‘20 Depth of field and distance Dec. ‘18 Depth of field and obliqueness May ‘21 Depth of field, shallow Apr. ‘20 Depth of field vs. sharpness Nov. ‘20 Double takes Apr. ‘20 Drone photography Mar. ‘23 Drop shadows Apr. ‘19 Dust, Minimizing Aug. ‘19 eBook, how to make Elevated vantage points Eliminating people from photos Embedded in Ice Energy saving bulbs Equidistance and telephoto lenses Exploring the power visuals of AI Exposing for the sun Exposure, the sun Exposure technique Exposure, snow Exposure triangle Exposure, to the right Exposure compensation Exposure compensation Extension tubes Extension tubes

Jan. ‘13 Aug. ‘23 Jun. ‘22 Oct. 17 Sep. ‘14 Apri. ‘23 Mar. ‘23 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14 Nov. ‘14 Apr. ‘15 Sep. ‘16 Mar. ‘21 Dec. ‘13 Jul. ‘23

Face sculpting Face sculpting

Apr. ‘21 Feb. ‘22

Subject index for past Photo Insight issues

Festival photography Sep. ‘20 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fireworks, Compositing Jun ‘20 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Fisheye fantasies Oct. 21 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Flexify 2 Mar. ‘20 Flood fixes problems Nov. ‘19 Floral Portraits, Indoors Aug. ‘21 Flowers May ‘15 Flower photography Apr ‘21 Flowers in harsh light Jul. ‘16 Focus on the eyes Dec. ‘20 Focus points Mar. ‘15 Focus points Sep. ‘20 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign Dancers, Photographing Nov’ 17 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Fractals Jul. ‘19 Framing May ‘17 Framing Jan. ‘24 Freezing ultra action May ‘17 From Terrible to Beautiful Aug. ‘19 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Fundamentals That Make Great Photos Jan. ‘19 Fun With Christmas Lights Jan. ‘21 Fun with Food Graphic Design Garish imagery Generative fill Getting money for used gear Getting the blues out Great subjects Great ceilings & HDR Panos Green screen Ground level shooting Grunge technique

Jul. ‘20 Dec. ‘15 Jun. ‘23 Jan.’ 22 Dec. ‘23 Apr. ‘15 Jul. ‘19 Mar. ‘13 Oct. ‘22 Feb. ‘13

Harsh light, the problem of Apr. ‘24 Heavy Lens Debate, The Feb. ‘23 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 HDR, choosing the number of frames Jun. ‘22 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Histograms, Why I Don’t Use Jun ‘19 Histogram problems Apr. ‘20 Home nature projects Jun. ‘23 Hotels with a view Mar. ‘20 Humidity Oct. ‘13

Hummingbird photography Hyperfocal distance

Apr. ‘13 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 Insane ISO settings Dec. ‘22 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17 iPhone photography, pros and cons Apr. ‘22 Jungle photography

Dec. ‘14

Kaleidoscopic images Jan. ‘15 Kaleidoscopis images Aug. ‘20 Keystoning Nov. ‘23t Keystoning, correcting Aug. ‘15 L Bracket Feb. ‘18 L Bracket Feb. ‘21 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Layer Masks, The Power of Feb. ‘22 Leading Lines Aug. '24 Lessons Learned from Extreme Cold Feb. ‘24 Light fall-off Feb. ‘14 Light painting Dec. ‘21 Lighting a face Oct. ‘13 Lightning photography May ‘20 Liquify Feb. ‘18 Liquify Distortions Sept/Oct. ‘19 Lenses, Essential Aug. ‘23 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 flash Aug. ‘22 Macro photography and DOF Feb. ‘22 Macro trick May ‘19 Managing soft focus Jul. ‘21 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meters, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Milky Way, Shooting thet Minimizing dust on the sensor Nov. ‘21 Mirrors Jan. ‘19 Mirror images May ‘23 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 Museum photography Mar. ‘13 Natural Light Portraits Negative space Neon edges on black

Aug. ‘21 Jan. ‘16 Aug. ‘14

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Subject index for past Photo Insight issues

Optical infinity Neutral Density filters New depth of field preview New shooting style Neutral Density filters and water Night photography Night Safaris Night to Twilight Noise reduction

Jun. ‘16 Jun. ‘18 Mar. ‘24 Mar. ‘24 Mar. ‘22 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17

Off-camera flash Oil and water Organization of photos Out of focus foregrounds

Jan. ‘24 May ‘20 Mar. ‘18 Jan. ‘20

Paint abstracts May ‘13 Paint abstracts Aug. ‘21 Painting with light Sep. ‘15 Pan-blurs Sep. '24 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Parallelism Nov. ‘19 Parallelism and DOF Feb. ‘21 Perspective, Super Exaggeration of Dec. ‘21 Photo shsaring Apr. ‘23 Photo terms Nov. ‘22 Photographing Christmas Dec. ‘23 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

46

Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Photoshop, My favorite plugins Jan. ‘20 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portrait Professional Nov. ‘19 Portraits, Lens choice Sept/Oct. ‘19 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Practicing graphic design, Part I Dec. ‘22 Practicing graphic design, Park II Jan. ‘23 Practicing graphic design, Part III Feb. ‘23 Pre-capturing technology May ‘23 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem Solving in Photoshop May ‘22 Problem with cruises Jan. ‘18 Protecting extremeities from the cold Dec. ‘22 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Reshaping faces Oct. ‘22 Restoring old photos Jun ‘20 Ring flash, advantages Jul. ‘21 Ring flash versatility Oct. ‘21 Rule of Odds May ‘22 S-curves Aug. '24 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Seeking Cool Snow Photos Jan. ‘21 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Self-critiques Nov. ‘20 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Sepia, Traditional look of Shade May ‘14 Shady side Jun. ‘18 Shadows define the shot Dec. ‘23 Shadows, Paying Attention to Mar. ‘18 Sharp, 6 reasons why photos are not Apr. ‘24 Sharpness problems Mar. ‘14 Shooting in Inclement Weather Nov. ‘22

Subject index for past Photo Insight issues

Shooting thru glass May ‘24 Shooting through textured glass May ‘23 Shooting through wire mesh Sept. ‘14 Shooting into the light Jun ‘20 Side lighting Jan. ‘24 Silhouettes Jun. ‘13 Silhouettes, How to make Apr. ‘22 Silhouettes, Exposing for Sept/Oct. ‘19 Silvered landscapes Mar. ‘20 Sketch, How to Make Jun ‘19 Skies make or break a picture Aug. ‘21 Sky replacement Nov. ‘20 Sky replacement strategies Aug. ‘22 Snow exposure Nov ‘17 Snow exposure Nov. ‘19 Soap abstracts Aug. ‘23 Soft light Jan. ‘13 Smart phone photography May ‘19 Stained glass Mar. ‘17 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Sunrise & sunset Jan. ‘19 Symmetry Aug. '24 Tamron 150-600mm Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 Texture Mapping in 3D Jul. ‘21 Too much lens Jul. ‘24 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 Total solar eclipse, How to shoot Mar. ‘24 Translucency & backlighting Nov. ‘18 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Tripods, not allowed Jun. ‘24 Tweaking exposure on the fly Apr. ‘23 Twilight photography in the rain Apr. ‘19 Twilight, Creating Oct. ‘23 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Two subject focus rule Jan. ‘20 Two subject focus rule Jun. ‘21 Urban heights Ultra distortion Unusual Panos Upside Down Reflections

Jun. ‘21 May ‘18 Nov. ‘22w Aug. ‘21

Quiz answers 1. c 2. a 3. b 4. c 5. b 6. b 7. a 8. b 9. b 10. a

Your score 90% - 100%: You could have been a pro 80% - 89%: Your glasses probably need a new prescription 70% - 79%: Just don’t quit your day job < 70%: You should really be using an iPhone 47

Subject index for past Photo Insight issues Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 When You Needed a Zoom Aug. ‘21 White on White Dec. ‘20 White on White Nov. ‘23 White vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 White balance, What Jun. ‘23 Wide angle conundrum May ‘19 Wide angle distortion, correcting May ‘24 Wide angle lenses Mar. ‘13 Wide angle portraits Nov. ‘14 Wide angle lenses Jun. ‘17 Wide angle lenses: Outside the Box Jun. ‘22w Wide angle keystoning Nov ‘17 Wildlife photos with wide angles Mar. ‘15 Window light Dec. ‘15 Window light portraits Aug. ‘18 Window light portraits Feb. ‘24 Window frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Winter photography Nov. ‘18 Wire Mesh, Shooting Through Jul. ‘18 Workflow May ‘13

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PHOTO INSIGHTS published monthly by Jim Zuckerman All rights reserved © Jim Zuckerman 2024 email: photos@jimzuckerman.com An AI rendition of a blending of two of Jim's photographs.

Edited by Donald Moore 4749ww