Photo Insights August 2020

Jim Zuckerman’s

PH OTO I N S I G HTS

August 2020

Updated content-aware Butterfly photography Kaleidoscopic images Photo tours Student showcase Ask Jim Subject index

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On the cover: Carnival in Venice, Italy. On this page: Jerusalem Rocks at sunset, Montana.

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Updated content-aware Butterfly photography Kaleidoscopic images What’s wrong with this picture?

Short and Sweet Ask Jim Photo tours Student showcase Back issues Subject index for Photo Insights

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hen we all shot film, we accepted what came out of the camera. Sure, a print made from a negative or slide could be tweaked, embellished, and manipulated to a certain degree, but once the film was developed, we were stuck -- for better or for worse -- with the image. No further tweaking could be done to the film itself.

Our expectations were different during those years. We didn’t expect colors to be as saturated as we wanted them to be. We also didn’t expect to have tremendous dynamic range.

With slide film, if shadows were dark but the highlights were exposed well, we were happy because that was the nature of the beast. If weather didn’t cooperate when we were doing landscape photography and the sky was less-than-ideal, we simply made a deal with ourselves to return to the location on another occasion to try again.

The digital images coming from our cameras now require work after-the-fact. I know ‘never’ is a strong word, but in my opinion, digital captures virtually never look as good as they should or as good as they could. Post-processing is an essential part of picture taking in the digital realm. Even if your approach is akin to photojournalism in which the RAW files (like negatives in the past) are sacrosanct and shouldn’t be adjusted at all, most photographers who think this way will, at least, tweak exposure, contrast, and color saturation to a small degree.

If you are a photographic artist, as opposed to a photographic journalist-type, then the digital file is sort of like a blank canvas. Yes, it has an image, but you, the artist, can and should make that photograph as beautiful, as visually compelling, and as engaging as you can. In art, the only boundaries are in your creative mind. If you limit yourself, then your pictures will be less than they could be. If you are open to the power of post-processing techniques, then your work can reach levels not possible in the old days of film.

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

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Updated Content-Aware dobe added a new capability to their content-aware technology, and it’s exactly what has been missing.

Content-aware is an amazing tool, but if you’ve used it in the past, you know that sometimes it works very well and sometimes it doesn’t. The problem is that in looking for nearby pixels to replace the unwanted element, such as the window, below, the software may borrow pixels from other objects that don’t match the color and texture needed. For example, in the costumed model image, content-aware may copy pixels from the edge of the mirror and the white vertical line and blend those areas with the pink wall in trying to eliminate the window.

With the new capability in Photoshop CC version 21.2.0, you can paint around the unwanted element a green col-

The updated contentaware is much more precise in choosing neighboring pixels to be used to eliminate unwanted elements.

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or, and this tells Photoshop what colors and what textures to use. This is a giant leap forward in being able to accurately get rid of many types of visually offending elements.

Photoshop still has the old way of using contentaware. You can go to Edit > fill, and then in the submenu choose content-aware.

The new feature is accessed here: Edit > Content-aware fill. First you have to have a selection, though. Otherwise, this option will be grayed out.

2. Choose the pulldown menu command, Edit > Content-aware fill.

3. In the dialog box shown on the previous page, click the tab ‘custom’. This is shown by the green arrow in the screen capture.

4. Paint the green color around the area to be eliminated (he brush and the green color are

Here are the steps: 1. Make a selection with one of the selection tools around the area to be replaced. For the window, I used the lasso tool and the rectangular marque tool.

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automatically selected for you). In the image on page 4, you can see I’ve applied the green color around the window, and I’ve kept it away from areas that shouldn’t be copied -- like the edge of the mirror and the thick white line.

In applying this color, again, you’re telling Photoshop what colors and textures to use to replace the window. The size of the brush that applies the color can be adjusted just like other tools in Photoshop: The left bracket key makes it smaller while the right bracket key makes it larger.

5. In the lower part of the dialog box (page 4), there is a tab labeled “Output to.” Choose the option New layer (orange arrow). This puts the change to the photograph, i.e. the replacement of the unwanted element, on a new layer as shown by the magenta arrow in the screen capture of the layers palette on page 5. Hav-

ing this layer means you can trash the contentaware effect, blend it with the background, and turn it off and on by clicking the small ‘eye’ icon next to it.

This new pathway to content-aware is much more accurate than in previous versions of Photoshop. In the shot of the clouds, you can see the original included tops of trees. Using this new tool, they were eliminated perfectly. §

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Butterfly Photography B

utterflies make wonderful photographic subjects, but as we all know, they are frustrating to capture. They often don’t nectar on a flower for more than a few seconds (if you’re lucky), their wings are in motion most of the time, they usually don’t allow a close approach and, because they are macro subjects, depth of field is shallow and it’s hard to render the entire insect sharply.

There are several key elements to consider for butterfly photography:

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1. Where to find butterflies 2. How to photograph them

3. How to post-process butterfly pictures Finding butterflies The easiest way to find butterflies is to attract them to a garden. If you live in a place where you can make a garden, include plants that butterflies use for nectar and/or host plants where they lay their eggs. Butterflies (and moths) and their caterpillars are very specific in choosing food plants.

For example, monarch butterflies only use various species of milkweed. The gulf fritillary (shown at right) feeds on passion vine. The black swallowtail uses dill, parsley, fennel, and carrot.

location. Find out which species of butterflies are native to your area and then find out what these insects feed on. You can get this information online from multiple sources.

Click HERE for one excellent resource. On this website, click on any of the plants listed and you’ll be taken to a page that identifies butterfly species that feed on these plants.

Some plants attract a variety of species, such as Lantana flowers.

Which plants you choose will depend on your 9

AUSTRIA & the DOLOMITES Sept. 25 to Oct. 4, 2021

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Another excellent resource for information about native food plant species is the Xerces Society (www.xerces.org) named after the Xerces blue butterfly that became extinct. It was last seen in the 1940’s in the San Francisco area.

Butterfly houses are a great source to find a tremendous variety of species. Butterfly houses usually have exotic, tropical species from Central and South America, Asia, and even Africa. Butterfly World near Miami, for example, is amazing. In Vienna,the Imperial Butterfly House is located in the 13th century Hofburg Royal Palace. The Bali Butterfly Park in Bali, Indonesia, is also sensational. One of the best butterfly houses to visit in the United Kingdom is the Stratford Butterfly Farm, Stratford upon Avon, in Warwickshire. Each of these facilities offers tremendous photographic potential. I captured the mating Malay lacewing

butterflies on the top of page 9 and the yellow and black birdwing butterfly, below, in the Bali Butterfly Park.

In the wild, butterflies are found pretty much everywhere. You just have to be on the lookout for them. I’ve photographed these insects on my property in Tennesse and in Nepal, Patagonia, China, Mexico, Papua New Guinea, France, Costa Rica, and Brazil. The malachite butterfly on page 8 was nectaring on a flower in Sao Paulo, Brazil. I captured the eastern tiger swallowtail on the same page in my front yard.

You can also purchase live eggs, cocoons and chrysalids, and caterpillars online. Depending on the local laws, these can be shipped overnight. You can then raise the insects until they emerge from the pupa stage into adulthood.

Photographing them under controlled condi-

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tions when they are in perfect shape -- meaning their wings aren’t tattered and their colors are bright -- produces flawless images. Once you’ve finished taking pictures, if the butterflies or moths are native to your area, you can release them into the wild.

The Ceanothus silk moth, below, Native to North America, is a species I purchased from a supplier online. I photographed it in my family room on a broad leaf potted plant my wife was growing. I used a ring flash for evenly diffused lighting.

How to photograph butterflies The first consideration is how to get close enough to butterflies to fill a significant part of the frame with the subject and not scare it away. There are two options: 1) Use a telephoto

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macro lens, or 2) use extension tubes placed between a fixed telephoto lens (or a telephoto zoom) and the camera body.

A telephoto macro lens is convenient and they

are great to use. The background goes out of focus quickly, and soft backgrounds are often ideal because they direct all the attention to the subject as in the photograph of the Sara longwing butterfly, below.

The disadvantage of the telephoto macro is it’s expensive, it’s heavy, and it takes up a lot of room in your photo backpack or camera case. On the previous page, you can see a size comparison of a 50mm macro lens and the 180mm Canon telephoto macro.

The alternative is to use one or more exension tubes shown at right. They can be used separately or in combination, and they transform any telephoto lens into a telephoto macro. A 70-200mm medium telephoto, for example, becomes a telephoto zoom macro when used with extension tubes.

How close can you focus? It depends on the focal length and how many tubes you are using. With enough extension, you can fill the frame with even the tiniest of butterflies.

A set of extension tubes (I use Kenko brand) are inexpensive (under $200), they are light (there is no glass at all -- they are essential-

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NAMIBIA PHOTO TOUR May 22 - June 1, 2021

Monster dunes Wildlife Walvis Bay cruise Dead trees Milky Way

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PRIVATE PHOTOSHOP LESSONS

by Jim Zuckerman

Learn exactly what you want to learn in Photoshop with one-on-one training via screen sharing with Jim. He will taylor make his instruction to fit your level of expertise, whether you’re a beginner, intermediate, or advanced. If you prefer, he will be happy to use your own images to demonstrate various techniques in improving them, using them as composites, or anything else you want to learn.

Contact him at this direct email for details: photos@jimzuckerma.com.

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ly hollow spacers), and they take up very little room in a photo backpack. They are also very light, especially when compared to carrying a telephoto macro lens.

Post-processing butterfly photos I find that many photographs of butterflies require intensification of color and contrast, but the biggest challenge, often, are backgrounds.

Backgrounds can be very busy and distracting.

If you use flash or if midday sunlight is too contrasty and the background becomes black, a soft green out of focus background makes the picture more attractive and more natural looking.

I, therefore, keep a folder full of out of focus foliage images for this purpose.

Also, sometimes a wing tip is broken or other blemishes make a specimen less than perfect.

Post-processing skills can address these issues.

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The picture of the morpho butterfly, above, illustrates what I’m talking about. The left wingtip is broken off, and the background is black. Butterflies are diurnal -- meaning they fly by day -- and black backgrounds don’t look normal. In the version below, I replaced the blackness with soft, out of focus green foliage.

Then, I selected the full wingtip on the right and used it to replace the imperfection on the left. §

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UPCOMING PHOTO WORKSHOPS Carnival in Venice Workshop Outrageous costumes in a medieval environment! Venice is great to visit and photograph any time, but during Carnival it’s magical. There is nothing like it anywhere in the world. Exotic masks, stunning colors, classic images. You’ll have a gondola shoot, two palace interiors, a boudoir photo session, and much more.

Feb. 5 - 12, 2021

Snowy owls workshop Stunning pictures of snowy owls in flight.

Up close and personal encounters with owls in the wild. Learn the best settings for capturing birds in flight, and how to deal with the cold when shooting in winter. Based near Toronto, Canada.

January 18 - 22, 2021

Photoshop Workshop The setting is in my home, and in this two day workshop you’ll learn enough to be truly dangerous in Photoshop! How to replace a sky, how to fix all kinds of photographic problems in your pictures, how to handle blown highlights, how to be incredibly creative . . . and more.

November 7-8, 2020

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Kaleidoscopic Images

ave you ever thought about taking pictures through a kaleidoscope?

It’s pretty much impossible because the viewfinder is so small. But the intriguing designs and colors are breathtaking, and I’ve always wanted to be able to capture the abstractions.

Many years ago before the digital revolution, I made a kaleidoscope for photography. I had a glass shop cut three pieces of mirror 6 x 12 inches each. I then used duct tape and taped them together with the mirrored surface inside the triangle. By placing a wide angle lens inside, the result was a kaleidoscopic interpretation of anything the camera could see. The wider the lens, the more facets you’d get in the image.

The picture at right shows a layout of colored construction paper photographed through my makeshift kaleidoscope. In the 1980’s, I thought this was really cool.

Fast forward to today There are now software programs that will turn any photograph you have in your collection into myriad kaleidoscopic designs. The software I recommend is Filter Forge (filterforge.com).

I’ve written about this program in past issues, but not in the context of kaleidoscope patterns.

Filter Forge gives you access to over 13,000 filters (really). Several of them are designed for different kinds of kaleidoscopic patterns. When you buy the program (it’s a one-time fee, not

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a subscription), you can search for various types of filters. For example, when you enter the keyword ‘kaleidoscope’ in the search box, you can choose one or all of the following: GF Super Kaleidoscope Art Deco 2 - kaleidoscope Kaleidoscope Window Supreme Kaleidoscope Grungy Kaleidoscope Ornate Kaleidoscope Art Nouveau The Black and White Kaleidoscope Machine Kaleidoscope Kaleidoscopic Funky Kaleidoscope Kaleidoscopic Effects ... and there’s more

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 l d l i f e Babies Workshop August 20 - 24, 2020

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One by one, you can download these plugin filters into your list of favorites within the program, and then they are available to you to manipulate any photo in your photo library. Each filter offers different kinds of kaleidoscopic interpretations of the original. Any kind of picture can be used -- nature, architecture, faces, abstracts, food, flowers, butterflies, etc. -- and the resulting patterns are always surprising and quite captivating.

Filter Forge works on either jpeg or tif files. If you store your images as psd files, as I do, the photographs you want to work on have to be converted to either of these two file formats first. I convert my psd files to tif.

Each plugin filter has several presets, and within each preset are sliders that give you amazing variations in what you can produce. The 22

names of the sliders don’t give you any clue as to what you’ll get. It would be impossible to describe, in two or three words, what kind of effect they create. You just have to experiment and see what happens. That’s part of the fun.

Truthfully, each photo can be turned into an infinite number of remarkable -- and different -- kaleidoscopic designs.

In the two shots above, you can see the original tree I shot on a foggy morning in the Western Sierras in California and just one of the kaleidoscopic designs I created from it. On the next page, I show the original landscape shot from the Eastern Sierras. The bottom two images are just two possiblities of the (literally) millions of designs you can create. The biggest problem you’ll have is limiting your output to just a few great images. §

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What’s wrong with this picture?

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t doesn’t take much imagination to figure out what the problem is with this image. The 1936 Auburn is spectacular, and the 24mm wide angle lens exaggerated the perspective of the car nicely. The grass environment works well, and I even like the sky.

However, the other people in the shot are distracting and unattractive, and the building in the background doesn’t add to the ambience of the shot. This is typical of what you see and can photograph at a Concourse d’Elegance.

These are car shows that exhibit the best and most expensive cars in the world, and they take place in many locations throughout the U.S. What this picture needed was a new background. Because the Auburn was on grass, adding a new environment was relatively easy. I just had to find a

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photo from my files that had grass that could blend with the grass under the car. I ended up choosing a shot from my subdivision in Tennessee taken on a foggy morning.

I used the pen tool to precisely select the vehicle -- including a small selection within the rear window -- and then used Edit > paste special > paste into to place the landscape behind the car. I then used the clone tool on various opacities to blend the grass from the car shot with the grass of the landscape.

Photoshop enables you to see subjects and scenes in a new light. I operate on the ‘what if ’ principle. For example, what if the background were perfect. What if . . . anything? With Photoshop, most creative ideas are possible. § 25

SHORT AND SWEET 1. Make sure you are building your cloud library for use when landscapes, cityscapes, and seascapes don’t have that dramatic sky you wanted. A dynamic sky makes all the difference between a medicre shot and a winning image. Shoot all kinds of skies and cloud formations. You never know what you’ll need.

2. When shooting twilight and night city scenes, I recommend using daylight white balance. This setting will give you the rich cobalt blue plus the golden tones of the artificial lighting. Every city in the world, large and small, photographs best at twilight. This is Bergen, Norway.

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4. With contrasty light, HDR is usually needed to re-

White on white scenes make the histogram useless. You will get a spike on the right even if the subject is perfectly exposed, and this is confusing to many people. Don’t rely on the histogram in situations like this. Instead, rely on your eyes. If the subject looks correctly exposed, it probably is.

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tain detail in highlights and shadows. This isn’t always a function of midday sun. Even when contrast seems minimal, like in this temple shot in Burma, contrast can be problematic. This shot is a 7-frame HDR composite because of deep shadows in the center of the frame. §

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 added the moon to this shot of Teluride, Colorado, and even though the edges of the moon

blend well with the sky, it doesn’t look right. It looks pasted in. Do you have a solution for this?

Robert Middleton, Ft. Collins, Colorado

A: This is a good question, Robert. I struggled with this myself until I realized what the problem is. With

this much of the lunar surface illuminated, there is a subtle glow around the periphery of the moon. That glow can’t be created in Photoshop. You have to take two shots: First, shoot the nightscape and let the moon blowout, as it will. Then you’ll have the glow. Then, shoot the moon again with the correct exposure (1/250, f/8, 200 ISO) to capture detail in the lunar surface and paste that shot over the blown out moon. Then, with one of the blend modes in the layers palette, blend the two images together. I’ll be demonstrating this in my upcoming Online Photoshop Training starting August 2.

© Robert Middleton 2020

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Partial list of Photography Tours 2020 - 2021 BABIES WORKSHOP Aug. 2020

MOROCCO Oct. 2020

ETHIOPIA Mar. 2021

BIRDS & BATS Apr/May 2021

LAVENDER FIELDS (France) June/July 2021

ICELAND July 2021

INDONESIA July/August 2021

NORWAY/DENMARK Sept. 2021

PERU NATURE Sept/Oct. 2021

WHITE HORSES Apr. 2022

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CARNIVAL IN VENICE Feb. 2021

NAMIBIA May/June 2021

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

Frog & Reptile Workshop October 10 - 11, 2020

At least 40 species of tiny, exotic poison dart frogs, reptiles, and more. This is a macro workshop.

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Student Showcase Each month, Jim features one student who took beautiful and inspiring images on one or more of his photography tours or workshops. It’s really fascinating how photographers see and compose such different images even though we may go to the same places. Everyone gets great photographs on Jim’s trips.

Dr. Ed Cohen, Marco Island, Florida Namibia photo tour, Palouse photo tour, New England photo

tour, Photoshop workshop, Wildlife workshop, Cuba photo tour..

© 2020 Edwin Cohen

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Student Showcase, continued

© 2020 Edwin Cohen

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Student Showcase, continued

© 2020 Edwin Cohen

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Student Showcase, continued

© 2020 Edwin Cohen

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POLAR BEARS from Ground Level!

November, 2021

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PHOTOSHOP WORKSHOP in my home

Sat. & Sun., Nov. 7-8, 2020

Photoshop is a photographer’s best friend, and the creative possibilities are absolutely endless. In a personal and ‘homey’ environment (I have a very cool classroom setup in my home), I start at the beginning -- assuming you know nothing -- but I quickly get into layers, cutting and pasting, plug-ins, using ‘grunge’ textures, replacing backgrounds, using layer masks, blend modes, adding a moon, and a lot more. I promise to fill your head with so many great techniques that you won’t believe what you’ll be able to do. I go over each technique several times to make sure you understand and can remember it.

Photoshop instructors approach teaching this program from different points of view. My approach is to be as expansive in my thinking as possible in creating unique, artistic, and compelling images. In addition to showing you how to use the various tools, pulldown menus, layers, and so on, I spend a lot of time giving you

creative ideas that will inspire you to produce amazing images with the pictures you’ve already taken.

I live in the Nashville, Tennessee area, and if you fly into the airport (airport code BNA) I will pick you up. If you drive, I’ll give you my address and you can find my home on Mapquest or with a GPS. For the $450 fee, I include one dinner in my home (prepared by my wife who is an amazing cook and hostess) and two lunches, plus shuttling you back and forth from my home to your nearby hotel.

Contact me if you would like to participate in the workshop and I will tell you how to sign up (photos@jimzuckerman.com). All you need is a laptop and a lot of your pictures. If you don’t have a laptop, I have two Mac Book Pro laptops I can loan out for the duration of the workshop. §

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

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• Realistic HDR • Selective focus • Simulating bokeh • Sepia & Dark Contrast • Online photo courses • Student showcase • Photo tours 1

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Subject index for past Photo Insight issues 1/3 focus law Jul. ‘15 3D sphere Mar. ‘16 90 degree finder Mar. ‘13 Abstracts in soap Feb. ‘15 Abstracts, Shooting Mar ‘19 Aerial photography Jun. ‘13 African safari May ‘16 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 Angled perspectives Jan. ‘19 Aperture vs. shutter speed May ‘14 Aperture priority Sept. ‘14 Aurora Borealis Apr. ‘17 Auto white balance Dec. ‘13 Autofocus, when it fails Apr. ‘15 Autofocus failure Aug. ‘15 Autofocus failure Jan. ‘17 Autofocus challenges Apr. ‘18 Auto ISO Nov ‘17 Autumn Foliage Sep. ‘18 Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Bird Photography Jun ‘19 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Black and white with color Jan. ‘20 Blown highlights Feb. ‘18 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 Camera setting priorities Jun. ‘17 Capturing lightning Jun. ‘13 Catchlights Jul. ‘16 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Chromatic aberration May ‘13 Chrome Dec. ‘18 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 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 Dec. ‘17 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 Double takes Drop shadows Dust, Minimizing

Nov. ‘19 Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Jan. ‘20 Dec. ‘18 Apr. ‘20 Apr. ‘20 Apr. ‘19 Aug. ‘19

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 Extension tubes

Jan. ‘13 Oct. 17 Sep. ‘14 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14 Nov. ‘14 Apr. ‘15 Sep. ‘16 Dec. ‘13

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 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 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 Graphic Design Garish imagery Great subjects Great ceilings & HDR Panos Green screen Grunge technique

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

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Subject index for past Photo Insight issues 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 Jan. ‘15 Kaleidoscopis images Aug. ‘20 Keystoning, correcting Aug. ‘15 L Bracket Feb. ‘18 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 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 trick May ‘19 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meter, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 Museum photography Mar. ‘13

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Negative space Neon edges on black Neutral Density filters Night photography Night Safaris Night to Twilight Noise reduction

Jan. ‘16 Aug. ‘14 Jun. ‘18 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17

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 Photography to Art Dec. ‘17 Photography solutions Jan. ‘18 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique

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

Subject index for past Photo Insight issues 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 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 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 Snow exposure Nov ‘17 Snow exposure Nov. ‘19 Soft light Jan. ‘13 Smart phone photography May ‘19 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Sunrise & sunset Jan. ‘19 Tamron 150-600mm Ten reasons photos are not sharp Texture, Adding Topaz AI Gigapixel Topaz glow Topaz glow Topaz Impression

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 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

Apr. ‘14 Jan. ‘19 Mar ‘19 Mar ‘19 Jan. ‘15 Sep. ‘17 Sep. ‘15

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PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved

Makishi dancers, Zimbabwe

© Jim Zuckerman 2020 email: photos@jimzuckerman.com

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