Jim Zuckerman’s
PH OTO I N S I G HTS April 2020
Double Takes Shallow DOF Histogram problems Photo tours Student showcase Ask Jim Subject index
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On the cover: Meerkats in the Namib Desert, Namibia. On this page: Hang glider descending in front of St. Johann Church, the Dolomites, Italy.
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4. 8. 16. 23. 25. 26. 27. 29. 35. 40.
Double takes Ultra shallow DOF Problems with relying on histograms What’s wrong with this picture? Short and Sweet Ask Jim Photo tours Student showcase Back issues Subject index for Photo Insights
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f you can take good exposures, and you have a reasonably good aptitude for chosing beautiful and compelling subjects to photograph, and you have a good handle on depth of field, there is no reason why you can’t consistently take great pictures. It comes down to putting yourself in the right place at the right time. Many times, when other photographers compliment my pictures, I tell them they could have taken the same picture had they been standing next to me. My point is that in so many scenarios, using the right camera settings and simply pushing the shutter is all that’s needed to take a great shot. I realize I’m oversimplifying the picture-taking process, but the fact that I was in the beautiful location and/or I was the one who sought out the great subject means I got the shot and they didn’t. I’m convinced that a majority of the great pictures taken on a daily basis are simply the result of a person being there. Sure, some pictures are put together piece by piece as in a studio still life or in the field with preconception and artistry, but a preponderance of images -like the one on the previous page -- are simply being in the right place at the right moment. I got lucky with the hang glider pilot landing in front of the church in the Dolomites, but had that not happened, the scene would still be beautiful. I did the research, took the time, and paid the money to be at that amazing location to catch the beautiful afternoon light. Had you been there with me, you would have taken a similar shot. Your composition might have been a little different, but essentially we would have taken the same thing.
If you don’t extend yourself to seek out great pictures, more than likely these photo opportunities are not going to happen by accident. From now on, whenever you see sensational pictures you admire online, on social media, or in books or magazines, imagine standing there next to the photographer and snapping the shutter on your camera at that moment. You’d have the same image. Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com 3
DOUBLE TAKES M
irror images are intriguing. They hold our attention, show us an impossible type of reality that’s quite compelling, and they are always surprising.
box that opens, shown below, click in either the middle left box or the middle right box in the tictac-toe graphic (red arrow). This tells Photoshop which side of the picture gets expanded. The results will be very different. Experiment with both
A simple mirrored image is visually compelling as is, but I go a step further. I like to add one or two non-mirrored elements as focal points and also to make peope do a ‘double take’. In other words, people recognize what’s going on with the background but initially they are taken aback that everything isn’t repeated twice. Here are the steps to creating a simple mirrored image. This can only be done in Photoshop, not Lightroom. 1. Open a photograph, either in the vertical or horizontal format, and copy it to the clipboard with Select > all, then Edit > copy. 2. Choose Select > deselect. 3. Go to Image > canvas size. In the dialog
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options to see which one you like the best. You may, in fact, like both. 4. In the width field (green arrow), type in a number twice the value of the original number. In this example, twice 12.16 equals 24.32. Don’t
change the height field. Hit Ok. Your original image now expands to the left or right -- depending on which one you chose -- and the color of the new blank area matches the background color box at the bottom of the tools palette. This color doesn’t matter because it will be covered up.
5. Choose Edit > paste. The image that was in the clipboard is pasted over the expanded original as a floating layer. 6. Choose Edit > transform > flip horizontal. The layer is now flipped, ready to form the perfect mirrored image.
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7. Using the move tool in the tools palette, move the floating layer into place. To nudge the layer so it meshes perfectly with the original, use the arrow keys.
When mirrored, vertical originals, on the other hand, produce a rectangle nearly proportionate to the 2 x 3 ratio rectangle that comes from our digital cameras.
8. Enlarge the composite to 100% so you can examine closely how the two images -the layer and the original -- mesh together.
Adding another element
9. Finally, flatten the layer with Layer > flatten image. Horizontal versus Vertical Originals It’s important to note horizontal originals, when mirrored, produce images that are very wide. They are akin to a stitched panorama photo as you can see at the bottom of page 4 and the top of page 5. 6
When compositing an element into a background, three things have to make sense. First, the lighting has to match. For example, you can’t combine a subject photographed in sunrise light with a cityscape photographed at night. For the image of the rainy night in Venice, above, I used two images -- the foreground model and the couple in the center -- taken with flash. In this case, the environment and the subjects were both photographed with artificial light.
All of the other images in this article were taken with diffused light, both the environments and the subjects. Second, the perspective has to work. For example, you can’t combine a picture of a person or animal in which you used a wide angle lens looking down on the subject with a background taken with a telephoto lens. It just wouldn’t be believable. Third, the resolution of the various components should be equivalent. It would look foolish to combine a low resolution subject -- say one megabyte -- with a high res background. In addition, the way you select the subject is of maximum importance. What separates composites that look real and those that don’t is the
perfection of the selection. That’s why I usually use the pen tool in Photoshop because this is the most precise way to select subjects with the ultimate in precision. Assuming the lighting, the perspective, and the resolution are good, a precise selection will make the subject look like it was really in the scene. [See the February, 2016 issue of Photo Insights for an article on using the pen tool in Photoshop.] To put a subject behind an element in the background, as I did with the sika deer and the winter landscape on page 5, first select the element -- in this case, the tree trunk. Then use Select > inverse. This selects everything except the tree. Now paste the deer into the selected area with Edit > paste special > paste into. § 7
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Shallow DOF
write a lot about about complete depth of field and how I prefer when everything in a picture is sharp. Photography is art, and in art there are always exceptions, personal taste, and more than one way to approach any given situation. Using extreme shallow depth of field has its place with some subjects and in some situations. With this treatment, the out of focus elements -- usually both the foreground and the background -- are so blurred that definition is largely lost in everything except the subject. This is one way to direct attention exactly where you want it . . . on the subject.
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Shallow depth of field is not simply a function of a large lens aperture. It is a combination of four things that have to work together at the same time. 1. Lens aperture. For extremely shallow depth of field, the lens should be opened to the maximum aperture. If the sun is out, and it’s very bright on your subject, this could be a problem with having too much light. Therefore, the ISO has to be set to the lowest possible setting. This protects the image from overexposure. 2. Telephoto lens. The longer the lens, the
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AUSTRIA & the DOLOMITES Sept. 25 to Oct. 4, 2021
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less depth of field you’ll have. For cropped sensor cameras, the depth of field is related to the actual focal length of the lens. For example, if you are shooting Canon and the crop factor is 1.6, a 400mm focal length lens actually becomes 640mm (400 x 1.6 = 640). The depth of field you will get is a function of the 640mm focal length. 3. Distance from the camera to the foreground. The closer the camera and lens are to foreground elements, the more they will be blurred when focused on the subject. The flowers on page 8 and the two images on this page exemplify that. In the case of the green vegetation in the portrait of a Huli tribesman in Papua New Guinea, right, and the tulip, below, the lens was just a few inches from the foreground elements while the subjects were 4 or 5 feet from the lens.
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4. Distance from the subject(s) to the background. The greater the distance between the subject and the background, the less depth of field you’ll see. If the background is very close to the subject, as in the egret shot at right, you can’t make it out of focus no matter what lens or aperture is chosen. For maximum shallow depth of field, the combination of factors you must use are: A. The largest lens aperture B. A long telephoto lens C. Make the camera position as close as possible to foreground elements, and D. Choose a subject that is relatively far from the background.
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The look I find most artistic and most attractive is when foreground elements are so out of focus they look like a haze of color. The tulip pictures on pages 8 and 11 are examples. The weevil, below, shows shallow depth of field. In my opinion, this doesn’t have the same artistry as the flower images. We focus our attention on the face of the insect, but I would
submit to you it’s the entire weevil we need to see sharp because the amazing detail and texture is worthy of appreciation. If a small section of an image is sharp and it’s surrounded by out of focus elements, the in-focus portion must be able to hold our attention. In other words, it has to be, at the very least, interesting, and ideally is should be compelling. With the turtle below, the turned head and the eye are sharp (along with the gravel on the same plane), and this is where our attention is riveted. That works. We have something of interest to focus on while the rest of the frame is out of focus. This is even more true for the unusually colored chameleon, right. The face is so unique, and the fact that the rest of the image is blurred helps direct our attention exactly where it should be -- on the face and especially the bizarre eyes. §
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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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POST-PROCESSING online course by Jim Zuckerman
Learn how to process your images to give them visual impact. You will be introduced to Photoshop techniques that go beyond what you see and even beyond what you can imagine. This four-week course is invaluable to making your pictures look as good as the photographs you envy! You will receive detailed critiques on the images you submit for every lesson. The great thing about online courses is that they can fit into any schedule. Life gets in the way at times, and Jim puts no limit on the time you can submit your work for his critiques. CLICK ON THIS PHOTO to read more about the course.
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The Problem with Relying on Histograms
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any photographers, both profesional and amateur, rely on the camera’s histogram to judge their exposures. The histogram shows the distribution of light areas and dark areas throughout the image. The actual shape of the graph is meaningless in terms of exposure. It doesn’t tell us anything about how the picture looks. The reason so many photographers depend on the histogram is to see if it is spiking on the right as pictured in the next column. This
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means some part of the picture is blown out. It is so overexposed it has become solid white
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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. 5 - 12, 2021
Snowy owls workshop Stunning pictures of snowy owls in flight. Up close and personal encounters with owls in the wild. Based near Toronto, Canada.
February 8 - 12, 2021
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.
April 11-12, 2020
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with no texture or detail. In most, but not all, circumstances, blown out areas of an image are not good. The exceptions to this are many, though. For example, the sun is always blown out with no detail. Even when it appears small in the frame taken with a wide angle lens, as in the landscape at right, the histogram will show a spiking on the right. This picture is obviously not overexposed, but according to the histogram, it is. This problem extends to the sun’s reflection in glass, chrome, water, and metal, too. In each of these scenerios, the histogram will show overexposure. Night photography is another problematic situation where histograms fail. Street lamps, brightly illuminated home and office windows, reflections in wet pavement and water, and the headlights of cars will all appear to be overexposed according to your histogram. Even to our
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eyes, these artificial light sources have virtually no detail at all. It makes sense that a digital sensor wouldn’t detect detail as well. Photographing snow scenes is similarly challenging for a histogram. White skies and fields of snow often have no texture or detail at all. They are solid white, and while the histogam indicates overexposure, these pictures should, in fact, be rendered exactly as you see them with solid white skies included. My conclusion is that a right hand spike on the graphi of the histogram might be a useful exposure indicator, but in many instances it isn’t. That’s why I never look at it. I simply judge my exposures by looking at the LCD monitor. Also, I underexpose my pictures by 1/3 or 2/3 f/stop to protect the highlights from overexposure. This system has worked for me since I went digital in 2005. §
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CARNIVAL in VENICE February 5- 12, 2021
Unbelievable costumes in a medieval environment!
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What’s wrong with this picture?
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was on my stomach at ground level when I shot this picture of a box turtle in middle Tennessee. I had to shoot quickly because, even though the reptile moved slowly, when trying to focus at a macro level, the smallest change in the lens-subject distance means a soft picture. In my haste to get a shot, I didn’t notice the dark, diagonal twig in the left side of the frame. That hurts the image considerably. I first tried content aware, but that didn’t work at all. I then tried the clone tool, but it was virtually impossible to make the pattern in the shell on the left side seem like it was natural. If I cloned from the right side onto the left side, the lines would be wrong. Plus, working in tight spaces means the pattern in the subject gets repeated. This is the worst possible scenario. 23
The best option was to select the section of shell in the upper right corner with the lasso tool, copy this selection to the clipboard, and then paste it into the photo. I then used Edit > transform > flip horizontal and, using the move tool, moved it into place in the upper left area. I then used the clone tool to blend the new element with its environment and to change some of the pattern so it didn’t look mirrored. It was important to me to have the grasses in front of the turtle sharp. The only way to do that was to use a small lens aperture. Therefore, I shot this at f/32. I needed additional lighting to compensate for the diminished exposure, so I used a ring flash. A Canon 50mm macro lens captured the picture. § 24
SHORT AND SWEET 1.
2. Have your camera ready when walking through
When you use a wide angle lens and the vertical lines lean inward, this can be corrected in Photoshop with the command: Edit > transform > distort. However, you need to leave room in the composition for the photograph to be stretched left and right as the distortion is corrected.
large airports in the U.S. and abroad. Sometimes you can be rewarded with amazing architecture and great lighting. This passageway is in Detroit Metropolitan Airport, and I used a 15mm fisheye to exaggerate the lines.
3. When shooting with a macro lens or a telephoto
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and your subject is close to the camera position, depth of field is very shallow. Pay attention to the planes of focus. In other words, the head of this bush viper and the coil of its body closest to the lens were on different planes. Therefore, a small aperture was imperative.
With a medium telephoto lens, the shutter speed most effective to artistically blur moving subjects is 1/30th. This assumes the camera is panning with the subject. A shutter speed slower than this blurs everything pretty much beyond recognition. A faster shutter, say 1/40 or 1/50, will look like an out of focus mistake. 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 . . .Does a polarizing filter work at night? This is the lion at the MGM Grand in Las Vegas, and I’m
wondering if a polarizer would have minimized or eliminated the bright reflection on the metalic surface. Laurie Adams, North Hollywood, California
A: Yes, a polarizing filter works at night when you rotate the ring built into the filter. I don’t think it would
have been effective with the lion, though. This is an educated guess, but it looks like the angle and intensity of the light would have precluded the filter from working.
© Laurie Adams
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WILDLIFE BABIES Aug. 2020
Partial list of Photography Tours 2020 - 2021 NORWAY/DENMARK Sept. 2020
PERU NATURE Sept. 2020
POLAR BEARS Nov. 2020
YELLOWSTONE & TETONS Jan. 2021
ETHIOPIA Mar. 2021
CARNIVAL IN VENICE Feb. 2021
WHITE HORSES Apr. 2021
BIRDS & BATS Apr/May 2021
NAMIBIA May/June 2021
LAVENDER FIELDS (France) June/July 2021
ICELAND July 2021
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 June 13 - 14, 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.
Denny Mosesman, Nashville, Tennessee American Southwest, Cuba photo tour, Carnival in Venice workshop, Tuscany photo tour.
© 2020 Denny Mosesman
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Student Showcase, continued
Š 2020 Denny Mosesman
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Student Showcase, continued
Š 2020 Denny Mosesman
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Student Showcase, continued
Š 2020 Denny Mosesman
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POLAR BEARS from Ground Level! November 5 - 12, 2020
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun., April 11-12, 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 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 Chrome Dec. ‘18 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Composites and Light Dec. ‘17 Compositing images Apr. ‘19 Composition, different approach Jan. ‘15 Contrast vs. exposure Jul. ‘15 Creating a star field Jan. ‘14 Creating a Sketch Dec. ‘17 Creative blurs Jan. ‘14 Dark backgrounds Dawn photography Dawn photography Day for Night Dead center
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Nov. ‘19 Jan. ‘17 Feb. ‘17 Oct. ‘18 Jan. ‘13
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
Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Jan. ‘20 Dec. ‘18 Apr. ‘20 Apr. ‘20 Apr. ‘19 Aug. ‘19
eBook, how to make Jan. ‘13 Embedded in Ice Oct. 17 Energy saving bulbs Sep. ‘14 Exposing for the sun Sep. ‘16 Exposure, the sun Jul. ‘13 Exposure technique Sep. ‘13 Exposure, snow Jan. ‘14 Exposure triangle Nov. ‘14 Exposure, to the right Apr. ‘15 Exposure compensation Sep. ‘16 Extension tubes Dec. ‘13 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Flexify 2 Mar. ‘20 Flood fixes problems Nov. ‘19 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 for Scale Fractals, generating Sep. ‘13 Fractals Jul. ‘19 Framing May ‘17 Freezing ultra action May ‘17 From Terrible to Beautiful Aug. ‘19 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Fundamentals That Make Great Photos Jan. ‘19 Garish imagery Great subjects Great ceilings & HDR Panos Green screen Grunge technique
Dec. ‘15 Apr. ‘15 Jul. ‘19 Mar. ‘13 Feb. ‘13
HDR, one photo HDR at twilight HDR, realistic HDR, hand held HDR, hand held HDR, hand held HDR panoramas High wind
Apr. ‘13 May ‘13 Jun. ‘15 Dec. ‘16 Nov ‘17 Jul. ‘18 Jun. ‘16 Apr. ‘17
Subject index for past Photo Insight issues 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 Keystoning, correcting Aug. ‘15 L Bracket Feb. ‘18 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 Liquify Feb. ‘18 Liquify Distortions Sept/Oct. ‘19 Long lens portraits Oct. ‘18 Low light photography May ‘15 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
Optical infinity Organization of photos
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, place one element behind Aug. ‘18 Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Photoshop, My favorite plugins Jan. ‘20 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portrait Professional Nov. ‘19 Portraits, Lens choice Sept/Oct. ‘19 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13
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Subject index for past Photo Insight issues 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 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 Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 Topaz AI Gigapixel Mar ‘19 Topaz glow Jan. ‘15 Topaz glow Sep. ‘17 Topaz Impression Sep. ‘15 Topaz Remask 5 Oct. ‘17 Topaz Simplify 4 Dec. ‘12 Topaz simplify 4 Jun. ‘14 Topaz Studio Apr. ‘18 Translucency & backlighting Nov. ‘18 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Twilight photography in the rain Apr. ‘19 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Two subject focus rule Jan. ‘20
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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 © Jim Zuckerman 2020 email: photos@jimzuckerman.com
Red-breasted toucan, the Pantanal, Brazil
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