Jim Zuckerman’s
PH OTO I N S I G HTS April 2021
Face sculpting Flower photography Photo tours Student showcase Ask Jim Subject index 1
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Face sculpting Flower photography 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: Rockhopper penguin, Falkland Islands. This page: 1951 Mercury hotrod.
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post on Facebook and Instagram daily, and I am often surprised by the reaction to my images. Some photographs I think are really good but the reception with my followers is mediocre. Other times I’ll post a shot that I think is only OK and yet the reaction to it is exceptionally enthusiastic. I will get lots and lots of ‘likes’ that puzzle me. This reinforces what I learned a lot time ago. You have to take pictures for yourself and not for other people. If you are making a living with photography and must make sales to clients, that puts you in a different category, of course. But most photographers today take pictures for enjoyment and for artistic expression. Sharing your art is part of the enjoyment, but over the years I’ve shown my work to many friends, family members, clients and, just like social media, the reaction is always mixed. I remember a sale I made to a prestigious magazine in Southern California in which the editor wanted to use a travel shot of mine that I thought was pretty bad. I practically begged him to use another one, but he preferred the one I thought was substandard for a magazine cover. There is no accounting for taste and personal preferences. Even if you submit your work to be critiqued by an instructor, a professional photographer, or camera club judges, that doesn’t mean you have to agree with them or have to consider their feedback more valuable than your own opinion. You might agree and learn something from them, but reserve the right to disagree and to go with your own assessment. The bottom line is this. Take pictures to please yourself. If others are pleased, great. If not, that’s OK, too.
J
im Zuckerman photos@jimzuckerman.com www.jimzuckerman.com
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Face Sculpting S
oftware engineers at Adobe keep coming up with brilliant ideas to expand Photoshop’s capabilities. A recent development gives us the ability to sculpt faces -- and by that I mean we can actually change the features of a face. The mouth, nose, jaw line, eyes, length of the chin and shape of the face can all be tweaked for better or for worse. You can make a face more beautiful and you can do the opposite. It’s quite intriguing and it definitely has applications in perfecting portraiture and travel pictures.
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For example, study the portrait below. The original version is on the left. In the modified rendition on the right, I enlarged the eyes slightly, narrowed the face and jaw line, and decreased the width of the model’s mouth. The before and after portrait on the next page was similarly sculpted. I narrowed the nose, enlarged and widened the eyes, narrowed the young woman’s face, shortened the forehead slightly, and decreased the space between the
chin the mouth. These are not gross changes, but in fact they are very subtle and you have to look at the image carefully to notice the changes. However, when you look at the overall face it’s obvious there is definitely a change. It is interesting to note that the most subtle changes in the features of a person’s face can significantly alter their appearance. The controls for face sculpting in Photoshop are found using the pulldown menu command, Filter > Liquify. On the next page I show a screen capture of a portion of the dialog box that opens when Liquify is selected, and there you can see the sliders used to alter the features of faces. Note that in the eye section, you can modify
each eye independently of the other. In altering a person’s appearance, assuming you want to make them more attractive, it’s helpful to understand the factors that contribute to a beautiful face. Standards of beauty vary from one person’s taste to another’s and from culture to culture, but over the years I’ve studied the facial features of hundreds of female fashion models from all over the world. These young women were selected by countless numbers of photographers, photo editors, fashion consultants, as well as by the art directors of thousands of companies for whom the models are working, and generally they have six features in common: 1. Large eyes set wide apart 2. Narrow nose
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3. 4. 5. 6.
High cheekbones Square jaw Full lips Long neck
In addition to these features, models usually have perfect teeth and they are very slender with long legs. Obviously, not all faces fit these criteria, but knowing what makes a face more attractive by most people’s standards can guide you in using the sliders in the dialog box. For the portrait of the young Turkish girl I photographed in Cappadocia, below, I narrowed her face and nose, thickened her upper lip slightly, enlarged and changed the shape of her eyes, and increased the distance between her eyes. How far you carry this technique depends on you as the photographer. If you are trying to please the subject, you may not want to change a person’s appearance so drastically they no longer resemble themselves. On the other hand, as an artist, you might want to create the most beautiful face possible irrespective of where you started from. But knowing you have these options gives you tremendous creative control. §
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Flower Photography I
t’s Spring again, and a photographer can’t help but be drawn to taking pictures of flowers. The colors, shapes, and intricate details are visually compelling. Even if nature photography is not your calling, it must be hard to resist capturing this kind of beauty. Wide angle lenses Flower photography is not just about macro. Closeups of flowers are great, of course, but shooting fields of flowers also involves wide angle and telephoto lenses as well. For example, I took the photo of the wild lupine field, below, in
Switzerland with a 17mm wide angle lens. For the portrait above of a white ladyslipper on the forest floor in Michigan I used a 200mm telephoto to isolate the flower and render the
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background completely out of focus. My point is, when you are in the field intent on shooting flowers, you’ll want to bring a range of lenses to be prepared for many different kinds of scenarios. Another wide angle shot is shown below. I photographed these Texas bluebonnets and Indian paintbrush near Austin with a 16mm lens in sunrise light. Notice the complete depth of field. This is landscape photography, and in my opinion, virtually without exception, landscapes should be sharp from the immediate foreground to the distant background. The reason we photograph nature is not to blur it. It is to reveal the wonderful detail with tack sharp clarity. Therefore, small lens apertures like f/22 and f/32 are required unless you do focus stacking. Wide angle lenses inherently have extensive depth of field, but when you place the lens close to foreground elements
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you will need the small aperture to insure everything is sharp. By focusing 3 to 6 feet from the camera you’ll maximize depth of field. For maximum drama when using wide angle lenses, position the camera very close to the foreground. This is especially effective when the flowers are growing close together and you can’t see a lot of dirt. On the next page, the dazzling display of flowers in Keukenhof Gardens near Lisse, Holland, filled the frame in a unique way -- they seem to be radiating out from the bottom center of the frame. This composition was highly distorted by the 14mm lens I used, but the width of the lens was very effective in capturing a strong design. In this case, ‘distortion’ is not a pejorative word. I positioned the camera about two feet from the flowers in the immediate foreground. Because I was so close to the flowers, I used f/32 to insure everything was as sharp as possible.
Telephoto lenses I photographed the white fence and the field of flowers at right with a 200mm focal length lens. Notice how the elements are compressed. This is a completely different look when compared to wide angle photography. Similarly, I took the picture of California poppies on page 11 with a 400mm telephoto. Notice how the rolling hills seem to compress https://www.jimzuckerman.com/peru-phototour1 with little space between them. This is an optical illusion, of course, due to the long lens. Also notice that everything is sharp. Had either the foreground or background been even slightly soft, I would have considered it a failure. I took this picture at f/32.
lenses. Many telephotos have close-focusing capabilities that allow you to fill the frame with an individual flower or a group of flowers. This means the working distance between the lens and the subjects is short, typically 2 to 5 feet. When you use a telephoto like this, depth of field is significantly reduced and you can expect backgrounds that will be blurred. In this situation, the strategy is to isolate the flower so
Telephoto lenses can also function as closeup 9
PERU PHOTO TOUR Sept. 24 - Oct 4, 2021
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all of the attention is focused on it. The out of focus background serves to compliment the subject as well as to draw attention to it. The orchid at right is an example of this, and so are the tulips, below. Macro capability If your telephoto lens doesn’t focus closely, or even if it does and you want it to act like a telephoto macro lens, you can use one or more extension tubes between the lens and the camera body. I use the Kenko brand that consists of three tubes. These are essentially spacers without glass, so quality isn’t degraded at all. By stacking all three extension tubes between the lens and body, you will be able to focus extremely close. Using one or two tubes allows you to focus closely but not as close as using all three.
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Moving in very close to a flower with either a typical macro lens (such as a 50mm macro) or a telephoto macro lens with or without extension tubes means the depth of field will be very shallow. The greater the magnification, the more shallow the DOF becomes. The picture at right of the winecup flower I found in Texas shows both the foreground and background out of focus with all the attention directed at the flower. I shot this with a 50mm macro lens with no extension tubes, and I used an f/11 aperture so I had enough depth of field on the flower to show its detail. Without exception, I don’t like out of focus foregrounds -- typical of macro and telephoto lenses -- unless the elements in the foreground are so undefined that they become a haze of color. The tulip below is an example. The pink haze creates an ethereal environment that adds mood to the image. To create this kind of look,
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PANTANAL PHOTO TOUR October 30 to Nov. 7, 2021 Jaguars in the wild Exotic birds in flight Caiman Giant river otters
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I took the photo with a 100-400mm lens at 400mm, used a large aperture -- f/5.6 in this case -- and the camera was just 3 feet from the flower. In addition, the flowers that caused the pink haze were 2 to 4 inches from the front of the telephoto. That insured they would be so out of focus that they’d be completely undefined. To make sure the lens didn’t focus on any other tulip other than the subject, I turned the AF off and focused the lens manually. Black backgrounds Placing a black background behind one or more flowers is beautiful and dramatic. I prefer using velvet as the fabric because it absorbs light like no other fabric does. The black color makes the flower really stand out and, at the same time, it offers a stark and bold backdrop to the colorful subject. You can see in the shot of the columbine, below, how effective this
treatment is. The black background can be used outdoors, of course, and it can also be used indoors. For most flower photography, I prefer soft and diffused light. Outdoors, an overcast sky is my ideal. For indoor photography, I prefer nondirectional window lighting such as the light coming from a north-facing window. This is the easiest type of light to use, it’s free, and you can see exactly how the light falls on the flower. The Wind Wind is the enemy of flower photographers. Even the slightest breeze will cause unsharp images with closeups. There are basically two things you can do to overcome the wind: 1) Use a fast shutter speed, or 2) wait for the wind to subside. You can also use flash if you don’t mind the look of artificial light. §
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UPCOMING PHOTO WORKSHOPS Carnival in Venice workshop In the comfort of your home, enjoy this 4-part online training course to finally understand Photoshop’s tools and menu commands to release the artist within you. Learn to take your photographs to a new level. Learn to vastly improve images in post-processing, to replace skies, and to create unique and compelling images.
February 18-25, 2022
Frogs & Reptiles Workshop This is a macro workshop to photograph beautiful, colorful, and intriguing frogs and exotic reptiles. Learn how to use flash with closeup work, how to use extension tubes, and how to take perfect exposures. Held indoors in a hotel conference room in St. Louis.
June 12 - 13, 2021
Winter Wildlife Workshop Stunning pictures of North American animals including wolves, red foxes, arctic foxes, mountain lion, Canada lynx, and more. The animals will be in their winter coats and very beautiful. This is based in Kalispell, Montana.
February 2 - 5, 2022
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Expand your photographic artistry with
eBooks
Click on any ebook to see inside
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eBooks continued Click on any ebook to see inside
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W i n t e r W i l d l i f e Workshop February 2 - 5, 2022
Based in Kalispell, Montana
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What’s wrong with this picture?
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think it’s obvious what the problem is with this picture. The white sky is uninteresting and boring. I photographed the wild orangutan in Kalimantan, the Indonesia state in Borneo. The sky was overcast and in the picture it completely blew out, i.e., became solid white. With this kind of extreme contrast, it’s easy for the new feature Edit > sky replacement in replace the sky even with the ultra fine hair seen along the edges of the orang’s body. The problem, though, is the out of focus branches hanging down on the right side of the frame. The reason that’s a problem is because if I replace the white background with a sharp picture of the sky, the focus throughout the picture wouldn’t make sense. By that I mean no camera lens in the world could take a picture where the primate is sharp, and then several feet into the picture the branches are out of focus, and then the sky is sharp. That’s not possible.
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Therefore, before I replaced the sky, I had to clone out the soft branches completely. To do that, I used the brush tool and painted white wherever there were less-than-sharp leaves. Then, I opened Filter > sky replacement and scrolled through my sky pictures. Notice I added a background that included the tops of trees in a distant forest. I did that purposely to help frame the orangutan and to give a sense of environment to the shot. Instead of the animal being suspended in the air -- which it really was -- the tree tops added some context. If I wanted to add more branches to the right side of the frame, they would have to be sharp. Then, I would turn them into a silhouette and place them to balance the picture and to complete the framing of the animal. §
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SHORT AND SWEET 1.
When distant birds are photographed in the sky and they appear very small in the frame, they should be cloned out because they look like dust specks. Only the ones that are obviously birds in flight with some definition in their shape should be retained. Otherwise they will be mistaken for dust or dirt.
2. When shooting with a long lens, be aware of how little depth of field you have. For example, I used a 500mm lens for this shot of a giant river otter in the Pantanal region of Brazil, and even though I used f/11, the nose is sharp but the eyes are slightly soft. I should have used f/16 or even f/22 and raised the ISO.
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Whenever possible, find elevated vantage points from which to shoot cities, landscapes, and oceanscapes. They provide commanding views that often offer best photographic compositions. This is Tallinn, Estonia. Observation decks, rooftop resaturants, mountain tops, etc., should always be checked out.
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Photographing flowers behind shower door glass produces painting-like images worthy of framing. The same glass can be used very effectively for portraits. You can often buy remnants of this kind of textured glass in glass and mirror stores for just a few dollars. You’ll be surprised the great images you can make. §
ASK JIM
Every month, Jim will answer a question from his online students, from people who participate in his tours and workshops, or from subscribers to this magazine. If you have a question you’d like Jim to answer, please drop him a note at photos@jimzuckerman.com.
Q:
Jim . . . I took this picture on the campus of Louisiana State University in the middle of the day. The sun was very harsh so in Adobe Camera Raw I moved the highlights slider all the way to the left and the shadows slider all the way to the right to help deal with the contrast. Is there anything else I could have done to make the lighting more attractive. I don’t think the lighting is terrible, but it’s not beautiful, either. Miranda Ortiz, New Orleans, Louisiana
A: No, there is nothing more you could have done. You did everything exactly as I would have. I’m sure
this looks a lot better than what came out of the camera. In Photoshop, you can’t change the direction of light, and you can’t take patchy, midday light and turn it into beautiful sunset light or even diffused light. So, you did the best that could be done. §
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Partial list of Photography Tours 2021 - 2022
INDONESIA July/August 2021
MICHIGAN LIGHTHOUSES Oct. 2021
ETHIOPIA Mar. 2022
NAMIBIA May/June 2022
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NORWAY/DENMARK Sept. 2021
PERU NATURE Sept/Oct. 2021
WINTER WILDLIFE Jan. 2022
CARNIVAL in VENICE Feb. 2022
HOLLAND/BELGIUM Apr. 2022
SPAIN/PORTUGAL Apr. 2022
MOROCCO Jun. 2022
PATAGONIA PHOTO TOUR May 2022
For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
Ethiopia Photo Tour jMarch 10 - 22, 2022
jPrimitive tribes
Dramatic landscapes Wildlife Rock-hewn churches
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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.
Alan Raphael, West Los Angeles, California Ethiopia photo tour, Carnival in Venice, Namibia
photo tour, Vietnam/Cambodia/Laos photo tour, Palouse workshop, Burma photo tour, American Southwest photo tour, and the Frog and Reptile workshop.
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Student Showcase, continued
© Alan Raphael 2021
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Student Showcase, continued
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© Alan Raphael 2021 37
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Student Showcase, continued
© Alan Raphael 2021
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Michigan Lighthouse Photo Tour October 7 - 12, 2021
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INDONESIA PHOTO TOUR July 29 - August 10, 2021
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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 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 Auto White Balance Mar’ ‘21 Autumn Foliage Sep. ‘18 Autumn Color Sep. ‘20 Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Bird Photography Jun ‘19 Blacklight photography Feb. ‘21 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 Canon R5 Mar. ‘21 Capturing lightning Jun. ‘13 Catchlights Jul. ‘16 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 Composites and Light Dec. ‘17 Compositing images Apr. ‘19 Composition, different approach Jan. ‘15 Content-aware, New Aug. ‘20 Contrast vs. exposure Jul. ‘15 Creating a star field Jan. ‘14
Creating a Sketch Creative blurs Jan. ‘14 Dark backgrounds Dawn photography Dawn photography Dead center Dealing with smog Decay photography Define Pattern Depth of field Depth of field confusion Depth of field and distance Depth of field, shallow Depth of field vs. sharpness Double takes Drop shadows Dust, Minimizing
Dec. ‘17
eBook, how to make Embedded in Ice Energy saving bulbs Exposing for the sun Exposure, the sun Exposure technique Exposure, snow Exposure triangle Exposure, to the right Exposure compensation Exposure compensation Extension tubes
Jan. ‘13 Oct. 17 Sep. ‘14 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14 Nov. ‘14 Apr. ‘15 Sep. ‘16 Mar. ‘21 Dec. ‘13
Nov. ‘19 Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Jan. ‘20 Dec. ‘18 Apr. ‘20 Nov. ‘20 Apr. ‘20 Apr. ‘19 Aug. ‘19
Face sculpting Apr. ‘21 Festival photography Sep. ‘20 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fireworks, Compositing Jun ‘20 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Flexify 2 Mar. ‘20 Flood fixes problems Nov. ‘19 Flowers May ‘15 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 models Jun. ‘13 Fractals, generating Sep. ‘13 Fractals Jul. ‘19 Framing May ‘17 Freezing ultra action May ‘17 From Terrible to Beautiful Aug. ‘19 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13
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Subject index for past Photo Insight issues Fundamentals That Make Great Photos Jan. ‘19 Fun With Christmas Lights Jan. ‘21 Graphic Design Jul. ‘20 Garish imagery Dec. ‘15 Great subjects Apr. ‘15 Great ceilings & HDR Panos Jul. ‘19 Green screen Mar. ‘13 Grunge technique Feb. ‘13 HDR, one photo Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR, hand held Nov ‘17 HDR, hand held Jul. ‘18 HDR panoramas Jun. ‘16 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Histograms, Why I Don’t Use Jun ‘19 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 Kaleidoscopis images Keystoning, correcting
Jan. ‘15 Aug. ‘20 Aug. ‘15
L Bracket Feb. ‘18 L Bracket Feb. ‘21 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 Lightning photography May ‘20 Liquify Feb. ‘18 Liquify Distortions Sept/Oct. ‘19 Long lens portraits Oct. ‘18 Long Lenses for Flowers Jul. ‘20 Low light photography May ‘15 Luminar 4 Jan. ‘20 Macro flash Macro flash Macro flash Macro trick Mannequin heads Metering modes Meters, How They Work
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Nov. ‘12 Sep. ‘14 Aug. ‘15 May ‘19 Apr. ‘16 Nov. ‘16 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 Jan. ‘16 Neon edges on black Aug. ‘14 Neutral Density filters Jun. ‘18 Night photography Feb. ‘14 Night Safaris Jun. ‘18 Night to Twilight Dec. ‘17 Noise reduction Feb. ‘17 Oil and water Optical infinity Organization of photos
May ‘20 Jun. ‘16 Mar. ‘18
Out of focus foregrounds
Jan. ‘20
Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Parallelism Nov. ‘19 Parallelism and DOF Feb. ‘21 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
Subject index for past Photo Insight issues Photoshop, making a composite Aug. ‘16 Photoshop new tool May ‘20 Photoshop, place one element behind Aug. ‘18 Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Photoshop, My favorite plugins Jan. ‘20 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portrait Professional Nov. ‘19 Portraits, Lens choice Sept/Oct. ‘19 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Restoring old photos Jun ‘20 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 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 Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Shooting into the light Jun ‘20 Silhouettes Jun. ‘13 Silhouettes, Exposing for Sept/Oct. ‘19 Silvered landscapes Mar. ‘20 Sketch, How to Make Jun ‘19 Sky replacement Nov. ‘20 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 Stock photography Sunrise & sunset
Jan. ‘18 Sep. ‘14 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 Ultra distortion
May ‘18
Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 White on White Dec. ‘20 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
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Carnival in Venice models with smoke
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