Jim Zuckerman’s
PH OTO I N S I G HTS August 2021
When You Really Needed a Zoom Anatomy of Natural Light Portraits Upside Down Reflections Photo tours Student showcase Ask Jim Subject index 1
Table of Contents 4. 8. 16. 18. 21. 23. 24. 25. 27. 33. 39.
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When You Really Needed a Zoom Anatomy of Natural Light Portraits Upside Down Reflections 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 costumed model at dawn during carnival, Venice, Italy. This page: 12th century St. George church, Lalibela, Ethiopia.
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he world is slowly opening up to travel and tourism. Many countries are still locked down, however. In the last couple of weeks I had to postpone three international photography tours until next year. While I have taken some pictures in the last year and a half, this has been the longest time in my career in which my camera gear has literally collected dust. That’s a very strange phenomenon for me. I have added several domestic photography tours in my line up of trips for this reason. Besides some countries still closed to visitors, quite a few of my American clients are more comfortable traveling within the U.S. The next two tours I’ll be leading are Michigan Lighthouses and Louisiana Swamps, both great destinations with wonderful photographic potential. Other tours I’ve added are the Badlands of South Dakota, the Hudson River Valley in New York, autumn in Vermont, the Palouse area of Washington State, and swamps and spring flowers in North and South Carolina. I’ve been to all these places but haven’t ever created tours there. This is a good time to take a serious look at all the great places America has to offer photographers. I’ve also added a wonderful photo tour to south Texas to photograph local and migratory birds including stunning species like painted buntings, vermillion flycatchers, and creasted caracaras. We will also do landscape photography of the incredible Texas bluebonnets that carpet the Hill Country west of Austin. Not posted yet but coming shortly is a photo tour to the state of Georgia to photograph visually compelling ruins, from old plantation homes to castles, old cars, and 18th and 19th century grist mills. As much as I love traveling the world and photographing faraway places, there is a wealth of imagery at home that shouldn’t be overlooked by world travelers. Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com 3
When You Really Needed a Zoom F
ixed focal length lenses are known to be the sharpest lenses you can buy. An 85mm f/2.8, for example, is sharper than a 24-105mm lens set to 85mm. Similarly, a 500mm telephoto will be sharper than a 150-600mm or a 100-500mm lens at the same 500mm setting. Having said that, there are important factors to think about when choosing a lens. First, the convenience of a zoom lens can’t be beat. I photographed the male lion at sunset, below, with a Canon fixed 500mm telephoto. My safari vehicle was too close to the lion to include the entire animal in the frame. I didn’t like cutting
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off the hind end and the tail, but there was no choice with this particular lens. I would have preferred to be shooting with a zoom, and in particular the new Canon 100-500mm lens, so I could optically pull back and include most of the tail. No doubt if my driver had repositioned the Land Rover, the lion would have moved somehow and this shot probbly would have been lost. High quality zooms today are superb. They are very sharp. The difference in sharpness between a fixed focal length lens and a zoom with an equivalent focal length is not enough to be considered significant in my opinion. This is
particularly true when you consider the convenience of a zoom. What happens, though, when you are too close to a subject with a fixed focal length and part of the subject is cropped out as in the lion? The only solution for this is to quickly take two pictures and then, in post-processing, combine the two shots. With the lion, you can see on the previous page that I couldn’t move the camera to the right because I’d cut off part of his legs on the left side of the frame. Therefore, after I took this picture, I quickly swung the camera horizontally and took a second shot (shown below) that included a portion of the tail. If the cat moves between exposures, or if you change your shooting position, you may not be able to meld the two images to-
gether. That’s why you have to first identify the problem and then very quickly take the second shot. In melding the two photographs together so the result is seemless, the first step in Photoshop is to choose the pulldown menu command, Image > canvas size. The dialog box that opens is shown above.
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Adobe calls the working area of an image the ‘canvas’, and what you want to do is expand the canvas to accommodate the second image which completes the entirety of the subject. In this case, the canvas was expanded on the right side.
shot. In this case, I selected the haunches of the lion plus the tail. I then copied this to the clipboard with Edit > copy and then pasted that (using Edit > paste) into the portion of the first picture which had been expanded. This created a layer, and the result is shown below.
To do that, use the tic-tac-toe graphic in the dialog box. This represents the photograph. Click in the center left box and you’ll see arrows pointing to the right. This tells you that the expanded canvas will be on the right side of the image.
At this point, move the layer in small increments to match the subject. Use the arrow keys on the keyboard (the move tool must be selected) to make these minute changes. It’s best to enlarge the photograph at least to 66% to make sure the detail in both the layer and the background match. If the background doesn’t match, and it probably won’t, don’t worry about that at this point.
In the width field, type in a larger number than originally was shown. This is a trial and error scenario, and when I do this I prefer to expand the canvas more than I need. It can always be cropped later. The color that fills the expanded canvas is the background color in the tools palette. It doesn’t matter what it is. Next, using the rectangular marquee tool, make a selection in the second picture of the part of the subject that’s missing from the first
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Once everything matches, I flatten the layer. Then, I use the clone tool to work the background until all the colors and tones meld together correctly. In the case of the lion, I didn’t like the narrow proportion of the image which was caused by the image expansion. So, I expanded the picture again, this time by making it taller so the proportion wass more akin to the 2 x 3 ratio that comes out of our cameras. In the end, I had to use a foliage background from
another picture to fill in the image. The above composite is the final result. As I mentioned earlier, if I had been shooting with a zoom lens, like the Canon 100-500mm, I wouldn’t have had to deal with this problem. But for those of you using fixed focal length lenses, there will be times when you will want to solve problems inherent with using a single focal length telephoto. I had the same situation with a cheetah during a light rain, right. I was shooting with a 500mm telephoto again and didn’t want to eliminate the spray of water drops in front of the cheetah’s face by including more of the tail. The cat was too close to my vehicle to capture the entire body plus all the spray. I didn’t like the way the entire rear end was cropped out by the fixed focal length lens, so I took two shots and used this post-processing technique to solve the problem. §
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Anatomy of Natural Light Portraits A
nyone can use a smart phone to take a picture of another person and end up with a nice memory. It happens hundreds of millions of times every day. No thought or artistry goes into a snapshot. All you have to do is get your finger away from the lens and push a button.
Taking a timeless portrait, however, is different. That requires a skill set, an artistic eye, an awareness of light, attention paid to the environment, and often a lot of patience. Let’s examine the ingredients necessary for
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successful and enduring portraits using natural light. What makes good portrait photography challenging is that you have to think about these factors at essentially the same moment. With practice, though, it becomes second nature. 1. The light. My favorite type of light for portraits of people (and animals as well) is soft and diffused light. You can never go wrong with this type of flattering illumination. Overcast skies are not great for landscapes, but they are the ideal type of sky for outdoor portraits because the light is always soft.
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PERU PHOTO TOUR Sept. 24 - Oct 4, 2022
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Diffused light means no harsh shadows or overexposed highlights. In addition, the subject isn’t squinting from direct sunlight. If you find yourself shooting on a bright sunny day, ask the person to move into the shade of a building, a tree, or some other object that creates the kind of diffused, directionless light you want. Low angled sunlight is also good for portraits, but you have to be aware that the angle of the subject to the sun is important. In the shot at right, the golden tones of sunset bifurcated the young woman’s face to create dramatic sidelighting. The cowboy’s face below was also illuminated by golden sidelighting at sunset. If the yellow/red skin coloring is too strong for your taste, reduce the intensity of it in the hue/ saturation dialog box in Photoshop by reducing the saturation of both red and yellow. Window light is another approach to portraiture using natural light. It is a beautiful and
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There are two approaches to backgrounds. First, you can make the background completely out of focus and unobtrusive. All of the pictures in this article thus far have backgrounds that serve only to direct our attention to the subject. In other words, they are out of focus and completely nondistracting. Second, a departure from that is the image shown on the next page. In this type of portrait, the background environment is sharp, complementary to the subject, and in fact becomes a second subject. It isn’t just an out of focus part of the picture that directs our attention to the subject. Instead, it’s an integral part of the composition. All of the other pictures in this article were taken with a medium telephoto -- usually around 200mm. I took this portrait in Mongolia (the model is dressed as a 13th century queen) with a 24mm focal length. flattering type of light for either males or females. I usually don’t include the window itself, and I feel it’s important to make the background dark or at least somewhat muted. Make sure direct sunlight is not streaming in through the window. Instead, diffused light is best. The portrait above I took in Chilean Patagonia is an example of window light. Notice I faced the man toward the window itself. 2. The background. Backgrounds are just as important as subjects in making a picture successful. If a background is too busy, too confusing, or too distracting in any way, the picture is seriously degraded. 12
3. The subject. Not all people are photogenic. Some faces are beautiful, intriguing, and compelling. Some show character, wisdom, or a life of struggle. Choose your subjects with these factors in mind. The more interesting, dramatic or beautiful the face is, the better the portrait. 4. The pose. Body language and facial expression is everything in portraiture. Here are some tips:
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PANTANAL PHOTO TOUR October 30 to Nov. 7, 2021 Jaguars in the wild Exotic birds in flight Caiman Giant river otters
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• With very few exceptions, slouched shoulders look bad. If your subject is seated, ask them to sit up straight even if it feels unnatural to them. If they are standing, ask them to straighten their posture. If you are photographing a very old person, then one would normally expect poor posture. But for most people, a straight back goes a long way to improving a portrait. • Take shots where the subject looks into your lens as well as when they look away like in the portrait below of a Balinese dancer in Indonesia. Both can be produce excellent images. • Experiment with the orientation of the subject’s body. In other words, try shooting when their body is facing away from the camera but their face is turned toward the lens. Then, have them face the camera squarely or even have them look over their shoulder to the lens. Different types of poses produce different results.
You can decide which ones you like later when you examine them on your home computer. • Some people become stiff and uncomfortable when a camera is pointed at them. Spend a few minutes talking to the person so they feel more relaxed with you. If you are photographing children, tease them about something or do something silly to elicit laughter. This instantly relaxes people, especially kids. You can also show them a few test shots on the back of your camera. Get them involved in producing good pictures. • You can use shallow depth of field as long as at least one eye is in focus. If only one eye is sharp, it must be the eye closest to the camera. If you are photographing a subject in diffused light, i.e. shade, the background shouldn’t be sunny. It should be diffused as well. §
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Upside Down Reflections
e all like photographing reflections. When you fill the frame with a reflection as I did in the two landscape shots on this page from South Carolina (below) and Vermont (right), rotate the image 180 degrees in post-processing to present it upside down. This works only if you’ve filled the frame with the reflection. The inverted reflection looks like a painting that appears to be oriented correctly. In Photoshop, to rotate a photograph 180 degrees, use the pulldown menu command Image > Image rotation > 180 (this is different than rotating a layer where the command is Edit > transform > flip vertical).
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You will end up with an artistic image that looks suitable for framing. Keep in mind that reflections should be entirely sharp, i.e. you need complete depth of field. §
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UPCOMING PHOTO WORKSHOPS 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 18-25, 2022
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.
January 22 - 23, 2022
Winter Wildlife Workshop Stunning pictures of North American animals including wolves, red foxes, arctic foxes, mountain lions, Canada lynx, plus snow leopards. The animals will be in their winter coats and very beautiful. This is based in Kalispell, Montana.
February 2 - 5, 2022
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eBooks
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W i n t e r W i l d l i f e Workshop February 2 - 5, 2022
Based in Kalispell, Montana
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What’s wrong with this picture?
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ever underestimate the power of a great sky to turn a mundane photograph into a visually compelling one. The problem with this picture is the dull sky. It is as boring as it could possibly be. I took this picture during the Parade of Ships off the coast of Norfolk, Virginia, and unfortunately the organizers of the event never think about photographers and what we need to make strong images. The parade took place between 9am and noon. They couldn’t have chosen a worse time. The problem in replacing the sky is the fine detail in the rigging of the ships. You can’t use any of the selection tools to cut around that kind of element. The only way to address the problem is to use one of the blend modes in Photoshop. The composite on the next page isn’t as dramatic as a sunrise or sunset would be, but it’s a lot better than the original. 21
To make this composite, I pasted the cloud image over the background shot of the tall ships. I then experimented with all the blend modes (they are found in the layers palette) until I liked what I saw. Usually the blend mode multiply is the choice that works best. However, it makes the combination of images too dark, so I opened the Levels dialog box (Image > adjustments > levels) and worked the mid-toned slider and the highlight slider until the exposure was correct. Finally, in ACR, I added clarity and a bit of vibrance to increase the visual impact of the image. §
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SHORT AND SWEET 2.
1. For extreme closeups with telephoto lenses, be cog-
nizant of your depth of field. It’s very easy to let the camera decide what it should be and then you’re disappointed with the results because the subject isn’t completely sharp. For this portrait of a chimp in Kenya, I used f/11 so all the facial features were sharp.
The Udane Bridge in Mandalay, Burma is great to shoot at sunset. What defines the success of silhouetted images are the graphic shapes of the subjects. Simple, clean lines with non-distracting backgrounds make the best shots. Now, hundreds of tourists walk across the bridge and they make very poor subjects.
3. A very light, monochromatic sky behind a subject
4. When shooting from a boat as I did in this picture at
such as a bird can work. It’s simple, non-distracting, and forces all the attention on the subject. There is nothing wrong with that. For drama, though, replacing this kind of sky with storm clouds adds tremendous visual impact.
Elephant Island off the coast of Antarctica, use a shutter speed faster than you would think is necessary. The movement of the boat and hand holding the camera in this kind of situation requires a speed of at least 1/500 to insure sharp pictures. §
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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 . . . I took this picture of a church in New England during autumn last year, and unfortunately the sun was very bright. I worked the highlights and shadows sliders in ACR to reduce the contrast, but the shadows on the building seem really distracting to me. Is this picture salvageable? Janice Burk Birmingham, Alabama
A:
I would say no, it’s not. There is nothing you can do about the shadows. The picture isn’t bad, but it’s also not great largely because of those shadows (and the overhanging branch). You did a good job at mitigating the contrast, but the pattern of the shadows on the church is pretty distracting. Autumn colors are always better photographed on overcast days or when the sun is so low on the horizon and contrast is minimal. §
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Partial list of Photography Tours 2022 - 2023 ETHIOPIA Mar 2022
WINTER WILDLIFE Feb 2022
CARNIVAL in VENICE Feb 2022
SPAIN/PORTUGAL Apr 2022
HOLLAND/BELGIUM Apr 2022
NAMIBIA May 2022
MOROCCO Jun 2022
ICELAND Jul 2022
NORWAY/DENMARK Sep 2022
PERU Sep 2022
VERMONT AUTUMN Oct 2022
PATAGONIA PHOTO TOUR May 2022
For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
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Ethiopia Photo Tour jMarch 10 - 22, 2022
jPrimitive tribes
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Dramatic landscapes Wildlife Rock-hewn churches
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.
Susan Christofides, Seattle, Washington Scotland Photo Tour, Venice Photo Workshop, Russia Photo Tour, Cuba Photo Tour, London/Paris Photo Tour, and The Balkans Photo Tour.
© Susan Christofides 2021
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Student Showcase, continued
© Susan Christofides 2021
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Student Showcase, continued
© Susan Christofides 2021
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Student Showcase, continued
© Susan Christofides 2021 30 34
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FROG & REPTILE WORKSHOP Based in Kansas City, Missouri
Sat. and Sun., January 22 - 23, 2022
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Subject index for past Photo Insight issues 1/3 focus law Jul. ‘15 3D sphere Mar. ‘16 90 degree finder Mar. ‘13 Abstracts in soap Feb. ‘15 Abstracts, Shooting Mar ‘19 Aerial photography Jun. ‘13 Aerial photography Jan. ‘21 African safari May ‘16 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 Angled perspectives Jan. ‘19 Aperture vs. shutter speed May ‘14 Aperture priority Sept. ‘14 Aurora Borealis Apr. ‘17 Auto white balance Dec. ‘13 Autofocus, when it fails Apr. ‘15 Autofocus failure Aug. ‘15 Autofocus failure Jan. ‘17 Autofocus challenges Apr. ‘18 Auto ISO Nov ‘17 Auto White Balance Mar’ ‘21 Autumn Foliage Sep. ‘18 Autumn Color Sep. ‘20 Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Bird Photography Jun ‘19 Blacklight photography Feb. ‘21 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Black and white with color Jan. ‘20 Blown highlights Feb. ‘18 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 Camera setting priorities Jun. ‘17 Canon R5 Mar. ‘21 Capturing lightning Jun. ‘13 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 Dec. ‘17 Compositing images Apr. ‘19 Composition, different approach Jan. ‘15
Content-aware, New Contrast vs. exposure 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
Aug. ‘20 Jul. ‘15 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 Festival photography Sep. ‘20 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fireworks, Compositing Jun ‘20 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Flexify 2 Mar. ‘20 Flood fixes problems Nov. ‘19 Flowers May ‘15 Flower photography Apr ‘21 Flowers in harsh light Jul. ‘16 Focus on the eyes Dec. ‘20 Focus points Mar. ‘15 Focus points Sep. ‘20 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Fractals Jul. ‘19 Framing May ‘17
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Subject index for past Photo Insight issues Freezing ultra action From Terrible to Beautiful Fun with paint Fundamental ingredients Fundamentals That Make Great Photos Fun With Christmas Lights
May ‘17 Aug. ‘19 Oct. ‘16 Apr. ‘13 Jan. ‘19 Jan. ‘21
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
HDR, one photo Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR, hand held Nov ‘17 HDR, hand held Jul. ‘18 HDR panoramas Jun. ‘16 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Histograms, Why I Don’t Use Jun ‘19 Histogram problems Apr. ‘20 Hotels with a view Mar. ‘20 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 Image resizing Aug. ‘18 Implying motion Sept.‘14 Impossible DOF Feb. ‘16 Impossible DOF Jan. ‘17 Indestructible camera bag Dec. ‘14 Infrared photography Jul. ‘14 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17 Jungle photography
Dec. ‘14
Kaleidoscopic images Kaleidoscopis images Keystoning, correcting
Jan. ‘15 Aug. ‘20 Aug. ‘15
L Bracket Feb. ‘18 L Bracket Feb. ‘21 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 Lightning photography May ‘20 Liquify Feb. ‘18 Liquify Distortions Sept/Oct. ‘19 Long lens portraits Oct. ‘18 Long Lenses for Flowers Jul. ‘20 Low light photography May ‘15 Luminar 4 Jan. ‘20 Macro flash Macro flash Macro flash
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Nov. ‘12 Sep. ‘14 Aug. ‘15
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 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 Night photography Night Safaris Night to Twilight Noise reduction
Aug. ‘21 Jan. ‘16 Aug. ‘14 Jun. ‘18 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 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Parallelism Nov. ‘19 Parallelism and DOF Feb. ‘21 Photography to Art Dec. ‘17 Photography solutions Jan. ‘18 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique Apr. ‘13 Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13 Photoshop, soft foliage Oct. ‘13 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Photoshop, drop shadows Jul. ‘14 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Photoshop, liquify Mar. ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14 Photoshop, enlarge eyes Nov. ‘14 Photoshop, darken the periphery Dec. ‘14 Photoshop, mirror images Dec. ‘14 Photoshop, beam of light Apr. ‘15 Photoshop, polar coordinates Mar. ‘15 Photoshop, chrome May ‘15 Photoshop, actions palette Nov. ‘15 Photoshop, cut and paste Nov. ‘15 Photoshop, geometrics Oct. ‘15
Subject index for past Photo Insight issues 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 Reflections Feb. ‘13 Restoring old photos Jun ‘20 Ring flash, advantages Jul. ‘21 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Seeking Cool Snow Photos Jan. ‘21 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Self-critiques Nov. ‘20 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Shooting into the light Jun ‘20 Silhouettes Jun. ‘13 Silhouettes, Exposing for Sept/Oct. ‘19 Silvered landscapes Mar. ‘20 Sketch, How to Make Jun ‘19 Sky replacement Nov. ‘20 Snow exposure Nov ‘17 Snow exposure Nov. ‘19 Soft light Jan. ‘13
Smart phone photography Stained glass Star photography Star photography and noise Stock photography Sunrise & sunset
May ‘19 Mar. ‘17 Jul. ‘16 Jan. ‘18 Sep. ‘14 Jan. ‘19
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 Urban heights Ultra distortion Upside Down Reflections
Jun. ‘21 May ‘18 Aug. ‘21
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 2021 email: photos@jimzuckerman.com Costumed models during carnival, Venice, Italy
Edited by Donald Moore
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