Photo Insights April 2022

Jim Zuckerman’s

PH OTO I N S I G HTS April 2022

When You Really Needed a Zoom Anatomy of Natural Light Portraits Upside Down Reflections Photo toursVStudent showcase Ask Jim Subject index

Shooting botanical gardens Pros and cons of iPhone photography How to make silhouettes Upcoming workshops Photo tours Ask Jim Student Showcase Back issues 1

Table of Contents 4.

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Strategies for shooting Botanical Gardens Pros and cons of iPhone photography How to make silhouettes Jim’s eBooks What’s wrong with this picture?

Short and sweet Ask Jim Photography tours Student Showcase Past issues Subject index

On the cover: A male lion in South Africa.

This page: An illuminated costume at the Carnival in Venice, Italy.

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just discovered a week ago something pretty interesting, and I thought I’d pass it on to you. Many of you may already know this, but starting with the iPhone 12 and now with the iPhone 13, you can shoot RAW files. On page 10 of this issue I discuss the pros and cons of taking pictures with an iPhone, and although it has many limitations for the serious photographer, there are quite a few advantages. Now, the ability to shoot in RAW is a remarkable advancement.

To set the phone so it captures RAW files, here is the pathway: Settings > Camera > Formats > AppleProRAW. Click this button to activate the feature. Then, when you click the camera icon to compose a picture, in the upper right corner you’ll see a small icon with the word ‘RAW’ and a slash through it. Click that and the slash disappears; now the camera will take RAW files until you unclick AppleProRAW. If you want to process the RAW files from the iPhone in Adobe Camera Raw within Photoshop, transfer them to your computer. If you use an Apple computer, simply airdrop the file to the computer. Otherwise, you can email the image(s) to yourself and open them on the computer. Then, drag a RAW file to the Photoshop icon and it automatically opens in ACR. When you shoot in RAW mode, the file that gets transferred to the computer is a DNG file, and it takes a few more seconds to process within the iPhone than a jpeg file. Once you make the adjustments, click ‘Open’ and now the image is in Photoshop.

The file size of the DNG is 34.9 megabytes, which is the same as the typical jpeg file that comes from the iPhone 12 or 13. Shooting RAW does not increase the file size.

Jpeg images are notorious for losing detail when your compositions have very bright highlights and dark shadows. Usually once that detail is lost, it can’t be recovered. But with the ability to shoot in RAW mode, you can manipulate contrasty images such that some or all of that subtle detail can be recovered.

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

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Strategies for shooing

Botanical Gardens

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lower photography is a natural extension of Spring, and nowhere is this more rewarding than in botanical gardens. In one location, there are dozens of varieties of colorful and exotic flowers often planted with great artistry. It’s almost as if the gardeners had photographers in mind. It’s easy to take scores of great pictures in a very short time. I’ve photographed world-class gardens all over the world, from Butchart Gardens in British Columbia, Canada, to the Denver Botanical Gardens, and from Garden by the Bay

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in Singapore to Keukenhof Gardens in Holland, and they always are a delight to experience and photograph. You can spend many hours or even days there.

The strategy World class floral designs bring world class crowds! The average number of visitors to Keukenhof Gardens from mid-to-late April, for example, is 25,500 people per day, and there are four peak days where an astonish-

ing 45,000 people enjoy the exquisite gardens.

How, then, can you take good pictures without all those people ruining the shots?

The answer is simple. Get there early. Buy tickets online, and get in line at the entrance to the garden an hour before they open. No one else will be there and you’ll be the first in line. Yes, it’s boring standing there for an hour, but it will be well worth the inconvenience. At the time the gardens open, show your ticket and then rush into the heart of the great color and design.

ISO if necessary, and for the first 10 minutes or so (longer if you’re lucky), don’t do any closeups or macro work. That comes later. For now, shoot wide expanses of flowers -- i.e. landscapes -- devoid of people.

As the minutes pass, more and more people will appear your shots. With a wide angle lens, they will be small in the frame and easily cloned out

For several minutes, you can take landscape shots like you see on this page and on the previous page. Shoot very quickly, take lots of images and, for maximum efficiency, don’t use a tripod. It takes time to set up, to align the camera, and to take the shots. Raise the 5

in post-processing. With telephoto lenses, you can frame compositions to exclude other visitors. If someone stubbornly stays in one position for several minutes and intereferes with a composition you want, don’t waste time by waiting for them to move. Take the shot and clone them out later. If you spend time waiting for a clear shot, more and more people will be flooding the gardens. It’s easy to clone out one or two people; eliminating a dozen is much more challenging.

When so many people have been admitted to the gardens that wide angle landscape shots are no longer feasible, switch gears. Now focus on groups of flowers composing tight shots. You can use a wide angle lens if you shoot down on the flowers, thus eliminating a distant walkway on the far side of the flowers that may very well be full of people. Use tele6

photo lenses the same way. Shoot downward and fill the frame with nothing but color as I did in the image above. This was taken with a 90mm focal length.

When the gardens becomes crowded, this is the time for macro photography. Shooting straight down on flowers, like the image below, can be done no matter how many people are there.

Switch to a macro lens or use extension tubes on

China Photo Tour January 26 to February 8, 2023

Siberian tigers

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a telephoto lens to fill the frame with strong color and, again, it won’t matter how big the crowd is.

Lighting All botanical gardens are outdoors. In a few cases, they may be under glass in a giant conservatory.. Either way, they are illuminated by natural light.

In most cases, flowers are best photographed in diffused light. Nothing makes pictures of flowers look better than an overcast sky. Even if the cloud cover is dark and brooding, colors in flowers stand out beautifully. Diffused light is by far my favorite way to shoot flowers.

If the sky is hopelessly blue and you’re going to have direct sunlight the entire day, definitely

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shoot in the early morning and late afternoon.

Avoid overhead sunlight. The contrast is harsh and shadows go black with a loss of detail, and the pictures won’t do the flowers justice. You might want to bring a small diffusion panel to diffuse direct sunlight on individual flowers.

Wind Wind is the enemy of macro photographers,

and it’s also the enemy of landscape photograpers where foregrounds like wild grasses, wildflowers, and leaves are dominant. Botanical gardens are no exception. If you want extensive depth of field, that means small lens apertures in the f/22 to f/32 range. That, in turn, requires relatively longer shutter speeds. A tripod is necessary, and even a slight breeze will cause movement in the subjects; meaning, the images won ‘t be sharp.

this, you need 3 things: A long lens (at least 200mm, but 400mm is better); a large lens aperture (in this case f/5.0); and the lens has to be very close to the flower that is to be sharp.

For this tulip shot, my 400mm telephoto was about 3 inches from the flower. In my opinion, most out of focus foregrounds are distracting except in this kind of picture. Here, the flowers in the foreground became a haze of color, completely undefined. §

If you are going for shallow depth of field, as in the image above, then wind is less of a problem.

You’ll be using large lens apertures that permit more light to enter the camera, thus enabling the use of fast shutter speeds.

Extreme bokeh When wind is a factor, go for extremely shallow depth of field as in the tulip at right. To do 9

Pros and Cons of

iPhone photography

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ometimes when I look at pictures taken on my iPhone, I wonder why I still buy expensive gear that’s heavy and a huge burden to travel with. How convenient it would be to carry nothing but an iPhone as I lead photography tours all over the world!

The reason I don’t do that is because as good as iPhone photography is, there are limitations and drawbacks. Let me compare and contrast

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these factors for you.

The pros Obviously, the first advantage of an iPhone (or any smartphone) is its compact size and virtual weightlessness. It fits into a pocket and is always ready at a moment’s notice to capture a slice of life like my cat, Ming, stretching in his bed, below. Grabbing my Canon R5 and choosing the settings would have taken at least a minute or

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two, and I would have lost the moment.

Next, the cost is not only affordable, but pretty much everyone already has one. No other investment is necessary. You don’t have to buy more lenses, extra batteries, a tripod, filters, or flash cards.

The image quality has evolved so much it truly boggles the mind. The icicles on the previous page is a good example. Colors are beautiful, the images are unbelievably sharp, and each picture seems to be processed like an HDR composite in that there is trememdous detail in both the shadows and the highlights.

In addition, the camera does wonders in low light environments. Photographic situations that would normally require a tripod and a long exposure are handled beautifully with the iPhone while handholding it.

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The ease with which you use an iPhone is amazing. With one push of a button, the exposure is perfect. No histograms, no exposure compensation, no mistakes. The selfie my wife took, above, with a white sky, white snow, and our large white dog centrally placed in the composition shows what the iPhone meter is capable of.

On the next page, you can see that shooting in a snowy forest and directly into the sun, again, isn’t a problem for the iPhone.

With recent iPhone models, you can change focal lengths from medium telephoto to normal to wide angle with the push of a button. There is even an automatic macro mode that allows you to shoot extremely close to small objects.

Switching from still photography to video is as simple, and so is selecting pano mode where you can take visually compelling panorama images.

The iPhone automatically stitches the frames

together. It’s a great time to be a photographer!

The cons The biggest disadvantage of an iPhone is the megapixel count. An iPhone photograph opens up in Photoshop as a 34.9 megabyte file.

This is very good, but it’s not enough quality to satisfy discerning photographers. You can definitely make a good quality 16x20 inch print with this size file, and images with iPhones can even be sold as magazine covers.

By comparison, though, a file from the Canon R5 opens up to 128 megabytes. This means you can make huge prints and expect superior quality. You can also crop images significantly (for example, when capturing a small bird that’s just a little too far away) and still end up with a high resolution file. This is hugely important.

Hi res images give you a lot of options. Having said that, if your only goal in photography is to post images on social media, attach emails with pictures, and text pictures to friends, then you will never need a camera that provides high resolution.

The second problem with iPhones for serious photographers is capturing action. You don’t have control over shutter speeds, so for fast moving subjects like birds in flight or galloping horses, it’s not possible to take tack sharp images. Also, there is a slight delay between the time you push the shutter button and when the image is recorded. With action photography, milliseconds count. In addition, if your finger isn’t squarely on the shutter button, the shutter

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PERUVIAN NATURE TOUR Sept. 24 - Oct 4, 2022

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won’t fire the camera. You can be looking at a moving subject and not paying attention to where your finger is positioned on the iPhone and miss the moment.

You can shoot multiple frames in a burst on the iPhone, and the number of frames per second is 10. That’s quite good, but not as good as 20 frames per second or more that mirrorless cameras now offer. For birds that fly very fast with an incredible number of wing-beats per second, 10 fps isn’t enough. You’d never get a sharp picture of a lilac-breasted roller in flight (below) with an iPhone 13. For this image, I used a Canon 500mm f/4 along with the 1Dx Mark II at 14 frames per second, and the shutter speed was 1/3200th of a second.

Another important issue is the lack of serious telephoto capability. When photographing distant subjects, the iPhone can’t fill the frame

with them. There is a telephoto feature that is equivalent to 77mm, but for wildlife, birds, sports, and so many other subjects, this isn’t nearly enough.

There is a digital zoom function in the iPhone, but this is analagous to cropping an image in Photoshop. A cropped image may improve the composition, but the number of pixels is reduced and the image loses sharpness. That’s exactly what a digital zoom does. An optical zoom, on the other hand, is analagous to switching from a medium telephoto to a much longer lens. The number of pixels remains the same, the quality isn’t compromised, plus the image appears closer, i.e., it fills more of the frame. That’s what you can do with a dSLR or a mirrorless camera; with the iPhone, you’re limited by the medium telephoto lens and the poor quality digital zoom. §

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How To Make Silhouettes

nderstanding Photoshop means you can do pretty much anything with your pictures. In this article, I want to explain how to make a silhouette out of any subject and then incorporate that into a complimentary background.

The first thing to look for in choosing a subject as a silhouette is a strong and attractive graphic shape. Silhouettes are defined by their graphic design. If they are busy, confusing, and without attractive lines, they won’t look good no matter what the background looks like. The impala at right is an example. The animal’s feet are obscured by the grass, but the shape that’s defined by the turn of the head and the beautiful antlers makes this an ideal subject to use.

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The first step in Photoshop is to select the subject. For the antelope, I used the quick selection tool because the marching ants that define the selection cling to the edge of the animal.

The impala has enough contrast with the background for the tool to be quite accurate in defining the selection. If they grab too much, i.e. ,some of the background, I fix that with the lasso tool. Remember that shift adds and option or alt subtracts. In other words, if you want to subtract an area from the main selection, such as some of the grass, hold down the option key on a Mac or alt key on a PC and with the lasso tool encircle the offending area. It immediately disappears from the selection.

I didn’t even try to select the feet. It’s not possible to see their shape in the original picture.

When I placed the silhouette into a new background, I had to blend the two components in such a way that the bottom of the legs and the feet blended together. If you look at the com-

posite on the previous page, you can see that’s exactly what I did.

Once the selection is completed, I then feather the edge by one pixel with this pulldown menu commpand: Select > modify > feather. That softens the edge just enough so when a new background is combined with the subject, the edge between the two images shows a gentle and natural transition even upon close examination at 100% magnification.

I then choose Edit > fill, and in the dialog box opt for ‘foreground color’. With black in the foreground color box at the bottom of the tools palette, this command fills the selection with black.

Finally, you have to add noise to the silhouetted subject. All digital images have varying degrees of noise. When you fill a selection with a color, there is no noise in it. It’s a solid color.

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PANTANAL PHOTO TOUR Wild jaguars Exotic birds in flight Caiman Giant river otters Nov. 8 - 15, 2022

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To make the composite believable, especially when enlarged on a computer or printed large, noise has to be added. To do this, go to Filter > noise > add noise in Photoshop. In the dialog box, there is a slider and a box where you can enter a value. I find that 1.5 to 2 is normally the range that looks correct, but the amount of noise you add has to look similar to the noise in the image. A higher ISO image requires more noise in the silhouette.

Lighting There are different kinds of silhouettes. The ‘mating rhinos’ above are solid black, while the model at right could be called a partial silhouette. On the next page, the dinosaur composite shows another kind of silhouetted form. Had I made the dinosaur solid black. it would not have looked correct. Why do you think that is?

The answer has to do with the way the light in19

teracts with the scene, the mist, and the rocks.

It also has to do with the way digital sensors (and film in the past) handle contrast and the way our eye-brain combination reacts to light.

In the photo below, the late afternoon light on the Oregon Coast is backlighting the rocks.

They aren’t black because there is enough ambient light to reveal detail in the mist and in the rock faces. Compare this with the lighting and exposures in the photographs on pages 16 and 17. Here the sun is very low on the horizon, and by exposing for the sky it makes sense that the silhouettes are black. This is how we see them in this kind of situation.

Just like a camera lens, the lenses in our eyes close down in response to the light in the sky, thus an animal in the foreground in this scenario would be so dark that detail would be lost both to our eyes and to the camera.

When you create a composite in which the

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subject is a silhouette, be aware of the type of lighting there is in the picture. For the dinosaur silhouette, I used the gradient tool to create an attenuation of color within the selection of the animal to match the surroundings. Using the eyedropper tool, I took two color samples of the rocks: first at the level of the head, and then at the level of the feet.

These two colors were seen in the foreground and background color boxes at the bottom of the tools palette. Using the gradient tool by dragging the cursor through the dinosaur selection, I was able to blend those two colors within the dinosaur’s body. This created a realistic lighting scenario that makes the composite quite believable.

And as I mentioned previously, I had to add noise to the dinosaur because the original seascape shot had the typical noise from a digital camera. In this case, I added 1.5% in the ‘add noise’ dialog box. §

w

UPCOMING PHOTO WORKSHOPS Frog & Reptile 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 Kansas City, Kansas.

June 11 - 12, 2022

Abandoned in Georgia Dilapidated mansions, cars, trains, ghost towns, farmhouses, and more. Looks great in both black and white and color.

June 17 - 22, 2022

Carnival in Venice workshop Photograph outrageous costumes in a medieval environment! Incredible colors, design, and creativity in one of the most beautiful cities in the world. Learn how to use off-camera flash, photograph models in sumptuous interiors, produce great images at night, and all the while enjoying Italian cuisine. This is a workshop not to be missed!

February 12 - 18, 2023

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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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191923

South Africa Wildlife Safari October 25 - November 4, 2022

Photograph at water level from blinds day and nigh plus more

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What’s wrong with this picture?

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hotographing Siberian tigers in China during the winter when they are in their full winter coats is thrilling. It’s easy to be so enthralled with the big cats that you forget about the technical details of shooting. That’s what happened here. The tiger on the right was about 12 to 18 inches closer to the camera than the cat on the left, and the 500mm Canon lens I was using didn’t offer enough depth of field, even at f/8, that would encompass both animals. I focused on the tiger at the left and, therefore, the tiger on the right isn’t tack sharp. Enlarge this picture on your computer, iPad, or smart phone and you can see it clearly. In my opinion, the image is seriously degraded because of this flaw.

When there are two subjects in the composition, they should both be sharp,

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virtually without exception. Due to the limitations of the laws of physics, this isn’t always possible.

I recognized the problem immediately, so after the first shot I quickly re-focused on the tiger on the right and took another picture. You can see in the time between shots, the cat turned its head slightly away from me.

In Photoshop, I replaced the out of focus tiger with the sharp one. To blend the two heads, I created a layer mask and varied the opacity as I blended the two images. This was tricky around the whiskers, but with patience and attention to detail, I made it work. §

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SHORT AND SWEET 2.

1. Night photography in urban locations can be greatly

enhanced when you include traffic abstractions. Long exposures capture streaks of light, and that embellishes any city scene. I typically use 8 to 10 second exposures.

Take a few test shots to determine the f/stop and ISO. Light meter readings can be inaccurate at night.

You can get a star effect when shooting at the sun by using a wide angle lens and a small lens aperture.

For this shot of tulips in Holland, I used a 14mm wide angle lens and an aperture of f/22. I didn’’t use a filter.

The smaller the lens aperture, the more defined the star burst is.

3. Flood is one of my favorite plugins for Photoshop.

4.

Create realistic watery reflections even in the desert where there is no water at all. This model was posing in Death Valley, California, and she was surrounded by sand dunes. Using Flood, I created a reflection and made her look like she was standing on an island.

Photographing black and white subjects is tricky when it comes to exposure. The black areas can cause the resulting images to be too light, thereby possibly blowing the highlights. Watch the histogram to make sure it is not spiking on the right side. That’s the ultimate barameter to insuring detail hasn’t been lost. §

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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 . . . Do you have a recommendation for a Bluetooth cable release that pairs well with the Canon

R6 and is easy to operate?

Brittany Parker, Orlando, Florida

A:

I don’t use cable releases anymore for landscapes, architecture, etc. Instead, I use the self-timer built into the camera. This will simplify your life and save some money. I use the 2-second delay, and that replaces the need for a cable release because it does the exact same thing. It gives the camera time to stabilize after the shutter button is depressed and before the shutter opens and closes to take the picture. §

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Partial list of Photography Tours 2022 - 2023 LOUISIANA SWAMPS May 2022

INDONESIA Jul 2022

PERU Sep/Oct 2022

CARNIVAL in VENICE Feb 2023

ABANDONED in GEORGIA Jun 2022

ICELAND Jul 2022

NEW ENGLAND LIGHTHOUSES NORWAY/DENMARK Aug 2022 Sep 2022

VERMONT AUTUMN Oct 2022

ETHIOPIA Mar 2023

CHINA Jan 2023

PATAGONIA PHOTO TOUR April/May 2023

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

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Mystical Swamps of Louisiana j May 18 - 22, 2022 jPrimeval landscapes

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Birds in flight Alligators Ante-bellum homes

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.

Renee Doyle, Queensland, Australia Venice photo workshop (3 times), Holland & Belgium photo

tour, New Zealand photo tour, and Ireland photo tour.

© 2022 Renee Doyle

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Student Showcase, continued

© 2022 Renee Doyle

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Student Showcase, continued

© 2022 Renee Doyle

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Student Showcase, continued

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© 2022 Renee Doyle

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ICELAND IN WINTER

Ice caves Waterfalls Aurora borealis Ice beach December 27 to January 4, 2022 - 2023

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FROG & REPTILE WORKSHOP Based in Kansas City, Missouri

Saturday and Sunday, June 11 - 12, 2022

This is a macro photography workshop where you will learn: -- How to use a ring flash in a macro environment -- How to focus critically when DOF is extremely shallow -- How to use off-camera flash for macro subjects -- How to replace backgrounds with perfection -- How to obtain perfect exposures with closeup flash

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

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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 Autumn foliage photography Oct. ‘21 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 Blue monochromes Jan. ‘22 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Botanical gardens, shooting Apr. ‘22 Butterfly photography Jul. ‘14 Camera buying guidelines Dec. 21 Camera setting priorities Jun. ‘17 Canon R5 Mar. ‘21 Capturing lightning Jun. ‘13 Capturing what you don’t see May ‘21 Catchlights Jul. ‘16 Changing perspective May ‘21 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 Compositing images Compositing, 7 steps Composition, different approach Content-aware, New Contrast vs. exposure Converting to black and white Correcting keystoning Creating a star field Creating a Sketch Creative blurs

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 and obliqueness Depth of field, shallow Depth of field vs. sharpness Double takes Drop shadows Dust, Minimizing

Dec. ‘17 Apr. ‘19 Jan. 22 Jan. ‘15 Aug. ‘20 Jul. ‘15 Mar. ‘22 Jun. ‘21 Jan. ‘14 Dec. ‘17 Jan. ‘14

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 May ‘21 Apr. ‘20 Nov. ‘20 Apr. ‘20 Apr. ‘19 Aug. ‘19

Face sculpting Apr. ‘21 Face sculpting Feb. ‘22 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

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Subject index for past Photo Insight issues 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 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 Getting money for used gear Great subjects Great ceilings & HDR Panos Green screen Grunge technique

Jul. ‘20 Dec. ‘15 Jan. 22 Apr. ‘15 Jul. ‘19 Mar. ‘13 Feb. ‘13

HDR, one photo Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR, hand held Nov ‘17 HDR, hand held Jul. ‘18 HDR panoramas Jun. ‘16 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 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 iPhone photography, pros and cons Apr. ‘22 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

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Landscape photography Nov. ‘16 Layer Masks, The Power of Feb. ‘22 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 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 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 Minimizing dust on the sensor Nov. ‘21 Mirrors Jan. ‘19 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 Neutral Density filters Neutral Density filters and water Night photography Night Safaris Night to Twilight Noise reduction

Aug. ‘21 Jan. ‘16 Aug. ‘14 Jun. ‘18 Mar. ‘22 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17

Oil and water Optical infinity Organization of photos Out of focus foregrounds

May ‘20 Jun. ‘16 Mar. ‘18 Jan. ‘20

Paint abstracts May ‘13 Paint abstracts Aug. ‘21 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 Perspective, Super Exaggeration of Dec. 21 Photography to Art Dec. ‘17 Photography solutions Jan. ‘18 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique Apr. ‘13

Subject index for past Photo Insight issues Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13 Photoshop, soft foliage Oct. ‘13 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Photoshop, drop shadows Jul. ‘14 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Photoshop, liquify Mar. ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14 Photoshop, enlarge eyes Nov. ‘14 Photoshop, darken the periphery Dec. ‘14 Photoshop, mirror images Dec. ‘14 Photoshop, beam of light Apr. ‘15 Photoshop, polar coordinates Mar. ‘15 Photoshop, chrome May ‘15 Photoshop, actions palette Nov. ‘15 Photoshop, cut and paste Nov. ‘15 Photoshop, geometrics Oct. ‘15 Photoshop, plugins Oct. ‘15 Photoshop, multiple selections Apr. ‘16 Photoshop, sharpening Apr. ‘16 Photoshop, Flood plugin Apr. ‘16 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Photoshop new tool May ‘20 Photoshop, place one element behind Aug. ‘18 Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 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

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, 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 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

Reflections Feb. ‘13 Restoring old photos Jun ‘20 Ring flash, advantages Jul. ‘21 Ring flash versatility Oct. ‘21

Urban heights Ultra distortion Upside Down Reflections

Tamron 150-600mm Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 Texture Mapping in 3D Jul. ‘21 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 Two subject focus rule Jun. ‘21 Jun. ‘21 May ‘18 Aug. ‘21

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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 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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PHOTO INSIGHTS® published by Jim Zuckerman All rights reserved © Jim Zuckerman 2022 email: photos@jimzuckerman.com Edited by: Donald Moore

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