Jim Zuckerman’s
PH OTO I N S I G HTS April 2018
Topaz Studio What NOT to do in Photography Autofocus challenges Photo tours Ask Jim Student showcase 1
4. Topaz Studio 8. Autofocus challenges 14. What NOT to do in photography 22. What’s wrong with this picture? 24. Short and Sweet 25. Ask Jim 26. Photo tours 28. Student showcase 34. Back issues 38. Subject index for Photo Insights 222
On the cover: Siberian tigers in minus 35 degree weather at a tiger reserve in China. This page: A chunk of glacial ice on the Ice Beach, southern Iceland.
F
or those of you who would like to generate a part-time income from your photography, there is still a way to do it. Stock photography, as most of you know, isn’t dead but it’s moribund. Almost dead. However, there are literally thousands of places where you can sell your work directly to photo buyers. In fact, this is how I started my career, and it’s still valid today. The book titled Photographer’s Market is published annually by F & W Media, Inc. The most up-to-date version is 2018. For each company listed in this book, you can see what kind of pictures they buy, the range of payment they offer, who to contact, phone numbers, email addresses, etc. The types of photo buyers you’ll see listed include consumer and professional magazine publishers, calendar companies, greeting card companies, jigsaw puzzle publishers, music publishers, stock photo agencies, photo galleries, and more. Many of the names of these various companies won’t be familiar to you, but they need pictures and they are willing to pay for them. In the past, before the Internet and digital cameras, I would submit unsolicited sheets of slides along with a self-addressed stamped envelope. Today, all you need is an email address and a computer. You can submit a group of images to anyone in the world without costing anything. Make your cover letter very brief, even terse, to respect the time of the editor. You will definitely get rejections, but it’s a numbers game. The more you submit, the more sales you’ll make. And once you have your foot in the door with a photo buyer, they become a client of yours and you can build a relationship with the company. You don’t have to be a famous photographer to sell pictures. If your images satisfy a need that the photo buyer has, he or she will see you as a great resource and use you again and again. Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com 3
T
TOPAZ STUDIO
here are many Photoshop plug-ins available to us now. I use quite a few: Alien Skin, Nik Collection, Filter Forge, Flood and Flexify by flamingpear.com, Neat Image, etc. For sheer creativity, speed of processing, and ease of usage, Topaz Studio is the one I go to first. It offers a huge range of embellishments for your photographic images, from subtle adjustments relating to soft focus, contrast, clarity, and color to artistic paintinglike effects that will make you feel like a brilliant artist. You can produce large numbers of beautiful works of art in a very short time -- images that you will want to frame and hang on the walls of your home. Once you load the software and open a picture
4
to work on, the first thing required is to make a duplicate layer, Command/Ctrl J. Next, use the pulldown menu command, Filter > Topaz studio > Topaz studio. A brief tutorial appears that you can opt to go through, and when that’s finished (or you click the ‘close’ box to skip it), you will see the main dialog box shown on the top of the next page. The main categories are seen in the left column (red arrow), and it’s here that you begin. Click any of these and you will be presented with a list of presets (shown on the next page, bottom left). When you find a variation you like, you can save it as a fa-
vorite by clicking the small icon in the lower right corner of the preset window (green arrow). The heart icon you see just to the left of the green arrow turns blue, indicating this effect has been saved as a favorite. Once you settle on the effect you like, further tweaking can be done with the sliders on the right side of the dialog box. There are other features you can use to tweak the image, such as masking, opacity, and blend modes, but I do this kind of precise work within Photoshop. There are so many great effects in this plug-in. It’s hard to choose a favorite. You should definitely look through the various presets in the following categories: Conceptual, Portrait, Sunset and Sky, Landscape, and Urban. You’ll have a lot of fun with these. Explore all the others, too, of course, but for me it’s these effects that I find the most intriguing. For a variation in working with Topaz Studio, apply an effect to a photo, click OK with the small icon in the lower right corner of the dialog box, and then save the new image to your desktop. Then, use that modified picture as the 5
original and bring it into Topaz Studio again. Apply another type of effect, and the combination of the artistic techniques always produces very unique and fascinating images. That’s how I created the portrait at left. The first effect was applied using the ‘Portrait’ category, and the preset I chose was Color Punch Smudge II Texture. I then saved this to the desktop with a unique name followed by the addition of another preset under ‘Portrait’ called Broadway stars. I haven’t found this kind of effect in any other software. §
6
OREGON COAST PHOTO TOUR August 29 - September 3, 2019 Oceanscapes
Stunning waterfalls
Star photography
Rocky beaches
7
Autofocus Challenges
D
igital cameras are truly incredible machines, especially considering the cameras we used to use in the film days. None of the features are more impressive than autofocus. To be able to focus with speed and accuracy on a fast-flying snowy owl, right, as it approaches the camera is phenomenal. This white-on-white image has virtually no contrast, and yet the picture is sharp. Autofocus is not perfect, of course. The leopard photo below is an example. The AF mechanism couldn’t determine what the subject was in this instance -- the cat or the foreground grass. The AF locked onto the grass and con-
8
sequently the leopard isn’t sharp. Some photographers at times take a picture like this on purpose, throwing the would-be subject out of focus while the foreground elements are sharp.
POST-PROCESSING online course by Jim Zuckerman
Learn how to process your images to give them visual impact. Learn Photoshop techniques to go beyond what you see and even beyond what you can imagine. This fourweek course is invaluable to making your pictures look as good as the photographs you envy! The great thing about online courses is that they can fit into any schedule. Life gets in the way at times, and Jim puts no limit on the time you can submit your work for his critiques. CLICK THIS PAGE to read more about this course.
9
In a situation like this, the camera can’t know what you want. In the photo of the Icelandic horse, below, I should have used more depth of field. Given the f/2.8 aperture I used, though, it’s the eyes and the front of the head that should be sharp instead of the mane (enlarge this on your device and you can see that the horse’s eyes are not sharp). This was my error on two levels: I should have been using an aperture of around f/11, and I depended on the autofocus mechanism to deal with the several planes of focus. Auto-this and auto-that doen’t mean you can leave your brain at home when shooting! Even with a shot like the tulip closeup on the next page, the AF doesn’t know which plane of focus you want. So, how do you deal with this situation?
10
The first step is to recognize the problem. If you don’t realize that elements in front of the subject can fool the autofocus mechanism, you can’t correct the focus. Also, you must see that having several planes of focus means the camera may not know which one should be sharp. There are two ways to solve these issues. You can change the focus points to a single, centrally placed point and use that to zero in on the area of the composition that should be sharp. Once you focus on that point, hold the focus lock button down, recompose as you wish, and shoot. Alternatively, you can manual focus the lens. I have had to do that many times, and it always works perfectly. This approach is obviously slower than using autofocus, but when you suspect the camera can’t distinguish the subject
from the environment, this is the most reliable way to go. Low light conditions When shooting in extreme low light, autofocus can and will fail. There has to be enough contrast for it to lock onto a subject. When I photographed the spewing of molten boulders from Mt. Arenal, Costa Rica, right, it was late at night with no moon. The red glow you see here and the streaks of fire coming down the mountain seem bright, but in fact these only appear this way because I used a 30 second exposure. It is the accumulation of light that makes this appear brighter than it appeared to my eyes.
work correctly. Turn the beep on in your camera that indicates when sharp focus has been achieved, because in the dark it will be hard to determine if you are critically focused unless you hear that confirming beep. If your eyes are good enough, and you can find enough contrast -- such as the edge of the mountain against the sky or against the dull red
In these instances, you can focus on something light enough in the scene that provides the kind of contrast needed for the autofocus system to 11
w
UPCOMING PHOTO WORKSHOPS Carnival in Venice workshop Outrageous costumes in a medieval environment! Venice is great to visit and photograph any time, but during carnival it’s magical. There is nothing like it anywhere in the world. Exotic masks, stunning colors, classic images.
Feb. 23 - March 1, 2019
Frog & Reptile Workshop Close-up encounters with poison dart frogs and exotic reptiles such as chameleons, geckos, snakes, and more in St. Louis, Missouri. This is a macro workshop in which everyone consistently gets amazing pictures.
Oct. 20 - 21, 2018
Photoshop workshop The setting is in my home, and in this two day workshop you’ll learn enough to be truly dangerous in Photoshop! How to replace a sky, how to fix all kinds of photographic problems in your pictures, how to handle blown highlights, how to be incredibly creative . . . and more.
June 30 - July 1, 2018 12 10
glow -- you can focus manually. That’s what I did for this shot. Solid colors You can’t focus on a solid color like the blue sky, a snowfield, or the solid white mist from a waterfall, right. The AF mechanism will go in and out, looking for an area of contrast to lock onto to correctly focus. Find an area such as a horizon line, a tree, the edge of a rock, a cloud -- anything that contrasts with the solid color. Aim the camera at that spot, use the autofocus system, hold the autofocus lock button down to prevent the focus from changing, recompose, and shoot. That solves the problem. When I photographed the waterfall in Patagonia at right, I used the edge of the rock on the right side of the frame for my focus point. §
13
What Not To Do In
Photography
T
here is a lot to think about everytime you take a picture. For a beginning photographer, it’s an intimidating list: Exposure, depth of field, composition, expression, ISO, shutter speed, distracting backgrounds, critical focus, white balance, and so on. Usually you have to process all of these things in a very short amount of time, like a second or two.
things you have to think about as you shoot. iPhone photography is so easy. You just push a button and the results are surprisingly good. For serious photographers, though, good picture taking is extremely rewarding, but it’s also quite complex. The points I talk about in this article make that point.
This article is designed to help you improve your photography, and that’s the good news. The bad news is that it will add to the list of
When you have two subjects in a picture, like the lion and lioness below, both must be sharp. Here you see the lioness is sharp but the young
14
1. The Two Subjects in Focus Rule.
male is not. This is not good. Art is in the eye of the beholder, true. But in this case, anyone who thinks a successful picture can show the subject out of focus is, in my humble opinion, dead wrong. So, how do you address this issue in such a picture? There are three possible solutions. First, use the smallest lens aperture available to you, such as f/22 or f/32, to increase depth of field. That will force the shutter speed to be longer and/or the ISO has to be raised to compensate for the light loss of a small aperture. Second, zoom back and use a smaller aperture. You can crop later to a tight composition if that’s what you want, but using a wider angle focal length increases depth of field. Third, take two pictures if you have enough time. Focus first on one cat, shoot, and then re-focus on the second lion and take another picture. Then, in Photoshop, put the two sharp versions together. 2. The Too-Bright Background Rule Do not photograph a subject in the shade when the background is sunny
or very bright. The eye always goes to the brightest part of a picture first, and it returns to that part of the frame again and again. That’s not what you want. The ideal is to have the subject be the focus of attention. In the shot of the caracal, a small African cat at left, you can see that the bright background is visually annoying. Yes, it’s busy, but the real problem is that it’s too light. 3. The Harsh Light Portait Rule Do not photograph people in harsh sunlight during the middle of the day. As you can see in the shot of a Papua New Guinea tribesman, above, this kind of lighting is the kiss of death. It’s horrible. Do anything you can to avoid this contrasty light with the resulting unnattractive shadows and highlights. For example, ask your sub15
ject to move into the shade of a tree, a building, or anything else that might be available. If there is no shade at all, have the subject turn so his or her face is in shade and the sun is at their back. If you expose for the shaded face, the background will blow out as you can see in the portrait of an Ethiopian girl, right. Although this contradicts what I said in #2 -- The Bright Background Rule -- in a situation like this where there was no shade available, I had no choice. Either I create a solid white background (which is indicative of a studio portrait in which white background paper is used) behind the subject, or I end up with ugly shadows and highlights like in the portrait of the tribesman on the previous page. In shooting this portrait, I had the girl turn away from the sun and that created even, diffused light on her face. In addition, her eyes weren’t squinting. I positined myself so the sun was right behind her head.
16
15
Expand your photographic artistry with
eBooks
Click on any ebook to see inside
18
17
eBooks continued Click on any ebook to see inside
Fantasy Nudes is in production and is coming soon 18
19
Many photographers use fill flash for portraits taken in mid-day sunlight. Their rationale is that the extra boost of artificial light lightens shadows. I’ve never liked that look because the on-camera flash is too flat, too unnattractive, and the contrast and bad lighting is still present. 4. The Out-of-Focus Foreground Rule In most cases, out of focus foregrounds look terrible. They are distracting and visually annoying. Look at the picture of the great blue heron on page 16 and you can see that the softness of the foreground wing ruins the picture. I took this with a 500mm Canon telephoto with an aperture of f/5 and an ISO setting of 200. This was a mistake. Because the depth of field of super telephotos is so shallow, particularly at close range (this is uncropped), I should have raised the ISO and used a smaller f/stop. Had I used 4000 ISO, that would have enabled me to
use f/22. No one likes to use high ISO settings due to the increased noise, but this picture is a throw-away as far as I’m concerned. Noise can be significantly reduced today by using software such as Neat Image in post-processing. The only time out of focus foregrounds work is when the elements close to the camera are so blurred that they create a haze of color with no definition at all. The picture of the tulip, below, exemplifies this. There are certainly times when we can’t avoid an out of focus foreground, but it’s good to be aware of this problem. 5. The Distracting Hotspot Rule When an element in a photograph is distracting, it takes attention away from the subject. That’s what distracting means in the context of good photography. A common mistake
19 19
I see when I critique the work of my students is some element in the background that’s very light and very distracting. Usually, the offending element is not part of the subject at all. The portrait of a tribal woman in India, right, is an example. I mistakenly included a corner of a window at the far side of the room. That hotspot draws attention away from my subject. I was shooting fast and concentrating on the woman’s face rather than the background, but as soon as I realized the mistake I moved a few inches to the left and blocked the window light with the subject’s shoulder. Had I not corrected the problem at the time of shooting, I would have cloned out that hotspot. 6. The Fake Smile Rule Don’t ask your friends, family members, or people you encounter when you travel for a forced or a fake smile. It never looks real. Get the ‘say cheese’ mentality out of your brain. There is nothing wrong with a pensive, contemplative, or even an angry or sad expression on the faces of the people you photograph. Those are honest feelings. Some of the best portraits I’ve taken show people and their feelings in an honest way, even though those emotions may be dark in some way. Many people, especially children, automatically assume the fake smile pose as soon as you point a camera at them. They do it because they think that’s what you want. Make it very clear 20
to them that it’s not. If you can make them laugh and capture real merriment in there face, great. However, if you have one or more persons standing in front of your camera with stupid, forced smiles, the shot will be worthless. §
20
PHOTO TOUR to C H I N A Dec. 29, 2018 - Jan. 8, 2019
The incredible Harbin Ice Festival Siberian tigers Blue-faced monkeys
This is Harbin, China, and what you are seeing here is a city within the larger city made entirely out of blocks of ice illuminated by florescent tubes embedded within the ice. Jim took this from the third story of an ice building after climbing up three flights of ice steps holding on to an ice railing. Notice the ice slide in the foreground and people waiting in line to go down it.
21 23
What’s wrong with this picture?
I
photographed this rudis chameleon in Tanzania. I had asked some of the young men who worked at the lodge I was using to find some chameleons, and within five minutes of searching in the bushes they came back with this beautiful specimen. I was so surprised and happy that when they put the repitle on a plant for me to photograph it, I didn’t pay enough attention to the background. In addition, I didn’t use a long enough lens to throw the background so out of focus that it created a complimentary and natural soft, green background. I was shooting film at the time, the Mamiya RZ 67, and long lenses like their 350mm and 500mm telephotos were difficult to use close to a subject because depth of field was extremely shallow. Therefore, I used a 250mm lens (equivalent to about a 135mm telephoto in the full frame digital format) so I could get the
22
entire chameleon sharp. The downside of that, however, was the background was too defined. Several of the plant structures behind the chameleon are too graphic, too bold, and therefore too distracting. I also don’t like the brown plant material at the bottom left portion of the frame. The only way to make this picture ideal was to replace the background entirely. Since the original image is a 6x7cm transparency, I scanned it on a hi res scanner (an Imacon). I then scanned a photograph of out of focus foliage for the new background. Using the pen tool in Photoshop, I spent a half hour creating a selection of the animal plus the perch. The only way to make this perfect was to use the pen tool since it’s the most precise way to select a subject. This tool lays down a series of anchor points, and when the ‘circuit’ is completed, a path is created. This is then converted to a selection, and the new background can then be pasted into the selection with Edit > paste special > paste into. § 23
SHORT AND SWEET 2.
1. Desaturation can be a dynamic and powerful tech-
nique. Leave just enough color to retain the character of the original, but using the saturation slider in the dialog box from the pull down menu command Image > adjustments > hue/saturation introduces a very interesting rendition of the image.
You don’t always have to fill the frame with your subject. Sometimes a small and diminutive positioning in the frame is the most effective way to compose the picture. This picture was done in Death Valley, California with a nude on the famous dunes at sunrise. The 24mm lens made the model seem far away.
3. This is a shot of a highrise fire in downtown Los
4.
Angeles many years ago. I took this image with film, and due to the low light environment I had to push the film in development 3 f/stops. It was very grainy, so I tried Neat Image software on it and miraculously the grain disappeared. Neat Image can be used on film!
24
The closer you position the camera to the foreground when using a wide angle lens, the more dramatic the picture will be. At the same time, the perspective is greatly exaggerated. This is distortion, but distortion isn’t a pejorative term in this case. It’s really an artistic embellishment of what you see with your eyes. §
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 . . . This is Chicago from the observation deck of the John Hancock Building. I want to submit
it to a microstock agency, and I want to know if you think I should clone out the construction cranes. Also, how long does it take for a picture like this to become obsolete and unsalable due to the changing skyline as new highrises are built? Dorothy Hill, Barrington, Illinois
A:
Cranes are part of the landscape in any large city, so it is perfectly acceptable to leave them in. If I were selling this as a fine art print, then I would definitely clone them out -- but that’s my own personal way of doing things. Regarding the ‘shelf life’, so to speak, of a city skyline picture in stock photography, whenever there is a major highrise built, at its completion photo buyers always want the most recent view of the city. There are several buildings in this picture that are close to completion, and when they are finished I would reshoot this from the same viewpoint. §
25
Photography Tours 2018 - 2019 TUSCANY/CINQUE TERREJun. 2018
INDONESIA WILDLIFE Aug. 2018
NORWAY & DENMARK Sep. 2018
THE PANTANAL, BRAZIL Nov. 2018
BURMA NOV. 2018
CHINA Dec. 2018 - 2019
SNOWY OWLS Feb. 2019
ICELAND Mar. 2019
SCOTLAND May 2019
KENYA Aug. 2019
OREGON COAST Aug. 2019
26
UZBEKISTAN & KYRGYZSTAN Sept. 2019
For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
w
w
Scotland Photo Tour May 17 - May 27, 2019
awesome landscapes ancient ruins great castles adorable cows
29 27
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.
Sharon Davidson, Brampton, Ontario, Canada Venice photo workshop, upcoming Ethiopia photo
tour
© 2018 Sharon Davidson
28
28
Student Showcase, continued
Š 2018 Sharon Davidson
29 29
Student Showcase, continued
Š 2018 Sharon Davidson
37 30
33
Student Showcase, continued
Š 2018 Sharon Davidson
34
31
WILD INDONESIA PHOTO TOUR August 17 - 31, 2018
32
Female Komodo dragon, Komodo Island, Indonesia
PHOTOSHOP WORKSHOP in my home
Sat. & Sun., June 30 - July 1, 2018
Photoshop is a photographer’s best friend, and the creative possibilities are absolutely endless. In a personal and ‘homey’ environment (I have a very cool classroom setup in my home), I start at the beginning -- assuming you know nothing -- but I quickly get into layers, cutting and pasting, plug-ins, using ‘grunge’ textures, replacing backgrounds, using layer masks, blend modes, adding a moon, and a lot more. I promise to fill your head with so many great techniques that you won’t believe what you’ll be able to do. I go over each technique several times to make sure you understand it 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
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 (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. §
33
Click on the past issues of
PH OTO I N S I G HTS you would like to read.
Nov. ‘12
Dec. ‘12
Apr. ‘13
May. ‘13
Sept. ‘13
Feb. ‘14
34
Oct. ‘13
Mar. ‘14
Jan. ‘13
Feb. ‘13
Mar. ‘13
Jun. ‘13
Jul. 13
Aug. ‘13
Nov. ‘13
Dec. ‘13
Jan. ‘14
May ‘14
Jun.‘14
Apr. ‘14
Click on the past issues of
PH OTO I N S I G HTS you would like to read.
Jul.‘14
Aug. ‘14
Sept. ‘14
Oct. ‘14
Nov. ‘14
Jan. ‘15
Feb. ‘15
Mar. ‘15
Apr. ‘15
Dec. ‘14 Jim Zuckerman’s
PH OTO I N S I G HTS January 2015
• Topaz Glow • A different approach to composition • Photographing puppies • Kaleidoscopic images • Online photo course • Student showcase • Photo tours
1
May ‘15
Jul.‘15
Jun ‘15
Aug.‘15
Sept.‘15
Jim Zuckerman’s
PH OTO I N S I G HTS June 2015
• Realistic HDR • Selective focus • Simulating bokeh • Sepia & Dark Contrast • Online photo courses • Student showcase • Photo tours 1
Oct.‘15
Nov. ‘15
Dec. ‘15
Jan. ‘16
Feb. ‘16
35
Click on the past issues of
PH OTO I N S I G HTS you would like to read.
36
Mar. ‘16
Apr. ‘16
May ‘16
Aug. ‘16
Sept. ‘16
Oct. ‘16
Jan. ‘17
Feb. ‘17
Jun ‘17
Jul. ‘17
Mar. ‘17
Aug. ‘17
Jun ‘16
Jul. ‘16
Nov. ‘16
Dec. ‘16
Apr. ‘17
May ‘17
Sept. ‘17
Oct. ‘17
Click on the past issues of
PH OTO I N S I G HTS you would like to read.
Nov. ‘17
Dec. ‘17
Jan. ‘18
Feb. ‘18
Mar. ‘18
Apr. ‘18
37
Subject index for past Photo Insight issues 1/3 focus law Jul. ‘15 3D sphere Mar. ‘16 90 degree finder Mar. ‘13 Abstracts in soap Feb. ‘15 Aerial photography Jun. ‘13 African safari May ‘16 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 Aperture vs. shutter speed May ‘14 Aperture priority Sept. ‘14 Aurora Borealis Apr. ‘17 Auto white balance Dec. ‘13 Autofocus, when it fails Apr. ‘15 Autofocus failure Aug. ‘15 Autofocus failure Jan. ‘17 Autofocus challenges Apr. ‘18 Auto ISO Nov ‘17 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birds in flight Mar. ‘16 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Blown highlights Feb. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 Camera setting priorities Jun. ‘17 Capturing lightning Jun. ‘13 Catchlights Jul. ‘16 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Chromatic aberration May ‘13 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Composites and Light Dec. ‘17 Composition, different approach Jan. ‘15 Contrast vs. exposure Jul. ‘15 Creating a star field Jan. ‘14 Creating a Sketch Dec. ‘17 Creative blurs Jan. ‘14 Dawn photography Dawn photography Dead center Dealing with smog Decay photography Depth of field
Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Aug. ‘16
eBook, how to make Embedded in Ice Energy saving bulbs Exposing for the sun Exposure, the sun Exposure technique Exposure, snow
Jan. ‘13 Oct. 17 Sep. ‘14 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14
38
Exposure triangle Nov. ‘14 Exposure, to the right Apr. ‘15 Exposure compensation Sep. ‘16 Extension tubes Dec. ‘13 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flat art Sep. ‘16 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus stacking Mar. ‘17 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Framing May ‘17 Freezing ultra action May ‘17 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Garish imagery Great subjects Green screen Grunge technique
Dec. ‘15 Apr. ‘15 Mar. ‘13 Feb. ‘13
HDR, one photo Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR, hand held Nov ‘17 HDR panoramas Jun. ‘16 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 Implying motion Sept.‘14 Impossible DOF Feb. ‘16 Impossible DOF Jan. ‘17 Indestructible camera bag Dec. ‘14 Infrared photography Jul. ‘14 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17 Jungle photography
Dec. ‘14
Kaleidoscopic images Keystoning, correcting
Jan. ‘15 Aug. ‘15
L Bracket Feb. ‘18 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 Liquify Feb. ‘18 Low light photography May ‘15
Subject index for past Photo Insight issues
continued
Macro flash Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meters, when they fail Dec. ‘16 Middle gray Nov. ‘15 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Museum photography Mar. ‘13 Negative space Neon edges on black Night photography Night to Twilight Noise reduction
Jan. ‘16 Aug. ‘14 Feb. ‘14 Dec. ‘17 Feb. ‘17
Optical infinity Organization of photos
Jun. ‘16 Mar. ‘18
Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Photography to Art Dec. ‘17 Photography solutions Jan. ‘18 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique Apr. ‘13 Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13 Photoshop, soft foliage Oct. ‘13 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Photoshop, drop shadows Jul. ‘14 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Photoshop, liquify Mar. ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14 Photoshop, enlarge eyes Nov. ‘14 Photoshop, darken the periphery Dec. ‘14 Photoshop, mirror images Dec. ‘14 Photoshop, beam of light Apr. ‘15 Photoshop, polar coordinates Mar. ‘15 Photoshop, chrome May ‘15 Photoshop, actions palette Nov. ‘15 Photoshop, cut and paste Nov. ‘15 Photoshop, geometrics Oct. ‘15 Photoshop, plugins Oct. ‘15 Photoshop, multiple selections Apr. ‘16 Photoshop, sharpening Apr. ‘16 Photoshop, Flood plugin Apr. ‘16 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16
Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 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 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Silhouettes Jun. ‘13 Snow exposure Nov ‘17 Soft light Jan. ‘13 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Tamron 150-600mm Apr. ‘14 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 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Warm fingers in winter What NOT to do in photography White vignette White balance White balance, custom Wide angle lenses Wide angle portraits
Nov. ‘15 Apr. ‘18 Aug. ‘15 Feb. ‘15 Mar. ‘16 Mar. ‘13 Nov. ‘14
39
Subject index for past Photo Insight issues Wide angle lenses Jun. ‘17 Wide angle keystoning Nov ‘17 Wildlife photos with wide angles Mar. ‘15 Window light Dec. ‘15 Window frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Workflow May ‘13
40
PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2018 email: photos@jimzuckerman.com snail mail address: P.O. Box 7, Arrington, TN 37014
John Day Fossil Beds National Monument, Oregon
41
38 39 41