Photo Insights August 2022 by Jim Zuckerman photography

Jim Zuckerman’s

PH OTO I N S I G HTS August 2022

When You Really Needed a Zoom Anatomy Macro flash of Natural Light Portraits Upside Down strategies Reflections Sky replacement Black Plexy Photo toursVStudent showcase Photo tours Ask Jim Ask Jim SubjectShowcase index Student Back issues

Table of Contents 4. 10. 16. 20. 23. 25. 27. 28. 30. 36. 42.

Macro flash Sky replacement strategies Black Plexy 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: An Icelandic horse, southern Iceland. This page: A white-necked jacobin hummingbird, Peru.

hotography contests motivate a lot of people to seriously undertake this art form and work hard improving their skills. They also keep many people engaged in photography with something to focus on, to strive for. I think that’s great. However, I’ve judged many photo contests and, from my point of view, they are very frustrating. Often, several honorable mentions are awarded, and sometimes more than one second place is given. But only one image can win the contest or at least be named as the ‘grand prize winner’. And that’s the frustrating part because many times there are several images that would win, yet judges are forced to choose only one. If there were an art contest and entries were made by (if they happened to live at the same time) Rembrandt, Van Gogh, DaVinci, and Michelangelo, how could the judges say one is better than another? It would be impossible. There would be preferences and opinions, of course, but these artists have stood the test of time. Critics for hundreds of years have agreed the works of art created by these masters are incomparable, and it would be futile to judge them against each other. In a photo contest, out of hundreds or thousands of submissions, if there are 10 stunning and unique landscapes, or portraits, or cityscapes, or whatever, how does a judge decide to rate them in order of superiority? The truth is, at some point, it’s an arbitrary and subjective decision. And that’s the frustration. The difficulty in making a decision is compounded if the finalists represent a diversity of subject matter. For example, how can a herd of galloping horses be judged against a great shot of a spiral staircase? Or how can a compelling portrait of a small child and a big dog be judged against a stunning macro shot of a butterfly? In addition, it’s been my observation that many photographers are constantly trying to please judges. It seems to me that’s not what photography is about. If a picture pleases you, that’s what makes you feel good. If it doesn’t please someone else, even a judge, who cares? Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com

macro flash A

rtificial light used in nature photography looks unnatural because this kind of light is, in fact, not natural at all. The natural light we use to illuminate subjects comes in two forms and two forms only: sunlight and diffused, ambient light. Even if we use moonlight, this is simply the sun’s reflected light off the lunar surface. We use artificial light when photographing nature for three reasons: 1) The subject is dimly lit and we need the additional light to insure a sharp picture. Or we want to increase the depth of field as in the picture of the frog, be-

low; 2) we want to create dramatic lighting as I did in the shot of the seashell on the next page in which the flash was placed directly behind the shell for backlighting; and 3) we use the brief flash duration (the actual length of time the light inside the flash is on during the exposure) to freeze movement. This may be necessary because of the low level of light as well as when the subject is moving too fast for even a super fast shutter to freeze. Hummingbirds are an example. The flash duration used for the green crowned brilliant hummer on the next page was 16,000th of a second, and that completely froze the wings.

Macro photography requires flash if there is any possibility the subject could move, even slightly. A gentle breeze, the tentative step of an insect, the flutter of a wing -- all of these things render images unsharp. Most macro shots require small lens apertures to offset the loss in depth of field due to significant magnification inherent in photographing small subjects, and that means shutter speeds are relatively long. This, in turn, means a flash is necessary to freeze unwanted movement in the subject.

studio equipment is too large and unwiedy for macro work. I also don’t recommend portable flash units like the Canon 600EX or the Nikon SB500. Macro photography means almost by defintion the camera and lens will be very close to small subjects. Portable flash units sitting in the hotshoe of the camera will illuminate the

Macro flash options There are three types of flash units practical for macro photography: 1) A ring flash, 2) a twin flash setup, and 3) a typical hotshoe mounted portable flash. I don’t include studio flash units with softboxes or umbrellas because most macro photography is done in the field. But even if you shoot small subjects indoors, 5

top of the subject, but the underside is often left in shadow. In addition, direct and harsh front lighting isn’t very attractive. Only if the portable flash is used off to the side -- i.e., offcamera -- is it effective, but that leaves you with only one hand to manage the camera because you’re holding the flash with the other hand. So that leaves two sensible options: A ring flash, pictured at upper right, and a twin flash macro setup pictured at lower right. Here are the pros and cons of choosing one of these over the other. 1. Many ring flashes are significantly less expensive than a twin flash setup. 2. A ring flash is more compact; the twin flash setup sticks out from either side of the camera. When shooting insects, small frogs, butterflies, etc., the two flash units may interact with leaves and twigs and the light could be partially blocked. 3. The ring flash simulates diffused daylight while the light from the twin flash setup is more direct, i.e., somewhat harsher. 4. You can get a better defined light ratio from the twin flash setup. While a light ratio can be selected in the ring flash, it won’t be as defined. A light ratio means you can make one side of the image lighter than the other side. You can purchase third party ring flash units for less than $100 now. They won’t be as powerful as, say, a Canon ring flash, but with the ability to raise the ISO without incurring too much noise, this is less of an issue than it used to be. My preferred lighting equipment for macro flash is a ring flash. However, please note there are two types of

units. You can buy a ‘ring flash’, and you can also get a ‘ring light’. The latter isn’t a flash at all. With bright LED’s, it provides the same kind of light as the ring flash but it’s much less powerful. It looks good to your eye, but it means you won’t be able to use small lens apertures like f/22 and f/32 because there just isn’t enough light (unless you raise the ISO to 12,800 or more). This is a problem. Therefore, don’t buy an LED ring light. Instead, get the ring flash. Camera settings For either a ring flash or the twin flash setup, the settings I recommend are:

Carnival in Venice

February 12 - 18, 2023

-- Manual exposure mode -- The shutter speed should be the sync speed or slower. I typically use 1/200. -- F/22 or f/32. It’s true that these small lens apertures cause diffraction and a slight loss in image quality. But they provide more depth of field than larger f/stops, and with macro work that’s critical. Macro photography is all about detail; the ideal is to have the subject as sharp as possible. Focus stacking at f/8 is the best case scenario for sharp pictures, but with so many subjects, like frogs and caterpillars, the likelyhood of zero movement during a focus stacking sequence of shots is small. That means small apertures are essential, and that’s why I take almost all of my macro pictures at f/32. -- Use an ISO setting anywhere between 200

and 800. Or, use auto ISO. Judge exposures on the LCD and tweak them as needed. -- Autofocus can be turned on or off, depending on the magnification. With extreme magnification, like the foot of the frog, above, I turn the AF off and focus by moving the camera back and forth. This turns out to be easier for me. §

Previous page: Note the ventral surface of the frog is illuminated with virtually no shadows on the frog’s skin. This lighting comes from a ring flash. Above: I shot this caterpillar with a twin flash setup using a light ratio in which the left side is brighter than the right side. 9

SKY REPLACEMENT STRATEGIES I

f your approach to photography is such that you want to capture exactly what you see with your eyes with no digital manipulation, then skip over this article. You won’t be interested in it. I’m writing this for the people who see photography as an art form and, as such, you feel you can do whatever you want to your pictures in the name of creativity and art. Replacing a boring or mundane sky makes a huge difference in all kinds of images, from landscapes to cityscapes, and from wildlife to macro photography. In the past, a sky re-

placement in Photoshop took painstaking expertise, but now it’s easier than ever. It’s simply a matter of choosing the pulldown menu

command, Edit > sky replacment. If you don’t have any of your own sky photographs loaded into this dialog box, Adobe provides a collection of stock images that anyone can use. Because you don’t want your skies to look like the skies millions of other Photoshop users, I strongly suggest you import your own images into Photoshop and, at the same time, delete the Adobe stock pictures. To do this, click on the photo that loads when you open the sky replacement dialog box. At the bottom of this box you’ll see a + icon. Click on that to load your own skies. And, use the tiny trash can you see to delete Adobe’s skies. As in all aspects of compositing, when you combine two or more pictures there are strategies to use to make the result look believable. Here are my thoughts on this. 1. First and foremost, the lighting has to match.

If the subject was photographed in diffused light, then the sky should reflect that. It should consist of mostly clouds, either white or gray, because this is the kind of sky that produces soft, directionless light. If the original sky was blue, then replace it with a sky that has visual impact that was taken in similar lighting conditions. The two shots on the previous page illustrate what I’m referring to. A solid blue sky was replaced with bold sun rays against blue.

2. Start a collection of dozens of sky pictures. This will give you a lot of options in replacing skies. In my own photo library, I’ve subdivided the various kinds of skies. These include storm clouds, white clouds on blue backgrounds, rainbows, sunrise/sunsets, and aerial clouds (taken from planes). When you photograph clouds, do so with both horizontal and vertical compositions and with wide angles as well as telephoto lenses. 3. When the original sky background is comprised of unwanted elements, specifically distracting and visually unappealing elements such as the busy, out of focus tree behind the zebras, upper right, the sky replacement feature in Photoshop will not be able to distinguish between the subject and what you would like to replace. Therefore, take a color sample of the sky with

the eyedropper tool. Then brush away the offending material in the sky with the brush tool so the entire sky is a uniform color. Then you can use the sky replacement command and the new sky will supplant the old. 4. It’s important the new sky and the original picture be approximately the same resolution. If you take an image from the Canon R5, for example, which opens in Photoshop as a 128 megabyte file, and you replace the sky with

to blend in any way with the bottom portion of the image.

an iPhone image (the iPhone 13 opens photographs in Photoshop as 34.9 megs), there will be a discrepancy in quality. That won’t look good upon close examination. The replacement sky should ideally be close to 128 megabytes in resolution. 5. A subject like a landscape or cityscape with a clear delineation between the sky and the land is easy to deal with. The sky doesn’t have

When you work with an image like the one on page 15, where the original sky was solid white, not all skies will work equally well. The way the tones and colors in the sky blend with the leaves, for example, depend on many factors. You have to use trial and error to see which sky looks best, and you may have to tweak the composite using the ‘shift edge’ and ‘fade edge’ sliders in the Edit > Sky replacement dialog box. 6. Finally, in the layers palette, you can activate the cloud layer and then tweak it by lightening or darkening it, altering the color, and manipulating the contrast if necessary. You can also reposition it. Simply click on the new sky in the photo and drag it to the position you want. You can also click the box ‘flip horizontal’ §

PERUVIAN NATURE TOUR Sept. 24 - Oct 4, 2022

The salt lick in Manu National Park.

Black Plexy B

lack Plexiglas is highly reflective, and it adds a dynamic element to many kinds of images. You have to provide enough light on the subject so the reflection is discernable, and it’s also important to make sure the surface of the Plexiglas is clean and free of scratches. This kind of material shows scratches readily, so handle it very carefully. Plexiglas comes in 4 x 8 feet sheets, but most plastics suppliers will cut it down for you. I find that a quarter of the sheet -- 2 x 4 feet -is a good size for a great many subjects. The thickness I use is 1/8 inch which keeps the

cost and the weight down. Protective adhesive paper protects both sides of the Plexiglas, and I remove just one piece of paper. Because black Plexy is opaque, you can’t see through the material. Removing only one of the protective adhesive papers means you can use that side for photography while the other side remains protected. If and when the exposed side of the Plexy gets scuffed or scratched, you can then remove the paper from the other side. In this way, you can extend the life of the material for photographic purposes. The portrait of my young model, below, was

taken with a small softbox with a moderately priced flash head from Paul C. Buff. It created very diffused butterfly lighting (which refers to the subtle butterfly-like shadow beneath the nose). The softbox was placed in front of and above the girl, and I was careful to avoid any unwanted reflections from the lightsource in the Plexy. That’s one thing you have to be aware of: Plexiglas is just like a mirror in that it reflects everything. Even though it’s black, the surface of it is as reflective as a sheet of glass or a mirror. It shows everything. For the tarantula below, I used a ringflash mounted on the camera because the light that emanates from this kind of flash unit envelopes the arachnid with light. Notice the ventral side -- the portion we can see -- has good detail. An overhead softbox or a portable flash would have left the underside of the spider in shadow that would have blended with the Plexy.

I photographed the rose with illumination from a softbox. In this situation, because the flower was lying on the Plexiglas, I made sure the weight of the rose didn’t push down too much on the petals and the green leaves. This is a concern with delicate flowers because their shape can be distorted. I actually used a small, rectangular pencil eraser on which the flower rested. That elevated the flower just enough so the petals and the leaves weren’t distorted by the weight of the flower. §

VERMONT PHOTO TOUR Autumn landscapes Quaint villages Classic barns Old gristmills

October 6 - 13, 2022

UPCOMING PHOTO WORKSHOPS Snowy Owl Workshop Upclose and personal encounters with these stunning birds in flight. Learn how to expose for white on white wintry conditions.

January 5 - 9, 2023

Winter Wildlife Workshop Photograph beautiful North American mammals plus a snow leopard in natural environments. Mountain lions, red foxes, arctic foxes, bobcats, lynx, wolves and more are in their full winter coats. This is a very special workshop.

January 17 - 21, 2023

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

February 12 - 18, 2023

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Expand your photographic artistry with

eBooks

Click on any ebook to see inside

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eBooks continued Click on any ebook to see inside

21 191923

South Africa Wildlife Safari October 25 - November 4, 2022

Photograph at water level from blinds day and night plus more

What’s wrong with this picture?

his modern sculpture looks especially dramatic with a mirrored highrise in the background. I photographed this in Chicago. Often when photographers are excited about photographing something, their enthusiasm eclipses their attention to detail and mistakes can be made. In this case, my mistake was cropping the image too close to the sculpture on the right side. I didn’t clip the metalwork itself, but the edge of it is touching the edge of the picture. Almost without exception, this is a mistake. The picture on the next page shows that I changed position slightly to give the artwork a little more ‘breathing room’. This also underscores the symmetry of the sculpture as well as the architecture.

This concept applies to pretty much any subject: People, wildlife, still lifes, trees, flowers, etc. In addition, it applies to parts of subjects. In other words, you shouldn’t photograph a dog, for example, with its tail touching the edge of the frame. For snapshots that are destined for social media, it doesn’t matter. No one will care. But for superior photography when you or other knowledgeable photographers judge your work, this is something important to keep in mind. The original sky in this image was solid blue, and to give the shot a little more interest, dimension, and design, I added the sky with clouds. §

SHORT AND SWEET 1. The new sky replacement feature in Photoshop will

3. If you like photographing abstracts, look for mir-

4. Animal action requires fast shutter speeds to freeze

even blend a new sky accurately when the foreground subject is a tree with many leaves. Previously, this was either impossible or very, very difficult to do. The original sky behind these birch trees in Vermont was solid white.

rored skyscrapers. The reflections in the glass make incredible abstractions. Adjacent buildings, clouds, artwork, and trees are distorted in very artistic ways. I captured this architectural abstract in Chicago where there are literally thousands of creative possibilities.

There is a lot of creative flexibility when it comes to working with color at night. Here, I left the Calder Flamingo sculpture in Chicago its original orange color but used the temperature slider in Filter > camera RAW filter to change the background to blue. Originally, the background was brownish-yellow.

the action. Even relatively slow moving animals like these northern elephant seals should be photographed with a shutter speed at least 1/500th of a second. The last thing you want are pictures which look ‘almost’ sharp. I took this shot with a shutter of 1/500. §

Snowy Owl Workshop January 5 - 9, 2023

Saskatchewan, Canada

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.

Jim . . .I photographed these orchids in Newfoundland, and I don’t like the shot. The background is very busy and distracting. My lens aperture was f/14, so should I have used a larger aperture to blur the background or a smaller one to make it more in focus? Any suggestion you can offer would be helpful. Thanks. Karen Waters, Toronto, Ontario, Canada

A: The problem here is the orchids were too close to the background reeds. That’s why they are too de-

fined. If you used a larger aperture, such as f/2.8, the background would be more out of focus as you suggest. The downside, though, is that the flowers themselves would probably lose sharpness, too. A small aperture would make the background sharper, but not totally sharp, and I think it would still be distracting. Of the two choices, I think the larger aperture would be better. Wildflower photography has many challenges, and distracting backgrounds is one of them. The solution is to carry with you a mounted print of out of focus foliage at least 16 x 20 inches. Place that behind the subject flowers, and now you’ll have a complementary background wherever you go and wherever the flowers might be growing. It works beautifully. §

Partial list of Photography Tours 2022 - 2024 PERU Sep/Oct 2022

VERMONT AUTUMN Oct 2022

ICELAND in WINTER Dec/Jan 2023

CHINA Jan/Feb 2022

CARNIVAL in VENICE Feb 2023

ETHIOPIA Mar 2023

ABANDONED in GEORGIA Mar 2023

TEXAS BIRDS/BLUEBONNETS Apr 2023

PATAGONIA Apr/May 2023

WHITE HORSES, FRANCE May 2023

CHICAGO by NIGHT Jun 2023

HOLLAND & BELGIUM Apr/May 2024

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

Carnival in Venice February 12 - 18, 2023 j

Stunning costumes in a medieval environment

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.

Ron Williams, Santa Barbara, California Chicago by Night photo tour

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ICELAND IN WINTER

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

FROG & REPTILE WORKSHOP Based in Kansas City, Missouri

Saturday and Sunday, Feb. 25 & 26, 2023

This is a macro photography workshop where you will learn: -- How to use a ring flash in a macro environment -- How to focus critically when DOF is extremely shallow -- How to use off-camera flash for macro subjects -- How to replace backgrounds with perfection -- How to obtain perfect exposures with closeup flash 35

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Subject index for past Photo Insight issues 1/3 focus law Jul. ‘15 3D sphere Mar. ‘16 90 degree finder Mar. ‘13 Abstracts in soap Feb. ‘15 Abstracts, Shooting Mar ‘19 Aerial photography Jun. ‘13 Aerial photography Jan. ‘21 African safari May ‘16 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 Angled perspectives Jan. ‘19 Aperture vs. shutter speed May ‘14 Aperture priority Sept. ‘14 Aurora Borealis Apr. ‘17 Auto white balance Dec. ‘13 Autofocus, when it fails Apr. ‘15 Autofocus failure Aug. ‘15 Autofocus failure Jan. ‘17 Autofocus challenges Apr. ‘18 Auto ISO Nov ‘17 Auto White Balance Mar’ ‘21 Autumn Foliage Sep. ‘18 Autumn Color Sep. ‘20 Autumn foliage photography Oct. ‘21 Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Bird Photography Jun ‘19 Blacklight photography Feb. ‘21 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Black and white with color Jan. ‘20 Blown highlights Feb. ‘18 Blue monochromes Jan. ‘22 Black Plexy Aug. ‘22 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Botanical gardens, shooting Apr. ‘22 Butterfly photography Jul. ‘14 Camera buying guidelines Dec. 21 Camera setting priorities Jun. ‘17 Canon R5 Mar. ‘21 Capturing lightning Jun. ‘13 Capturing what you don’t see May ‘21 Catchlights Jul. ‘16 Changing perspective May ‘21 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Choosing a telephoto lens Dec. ‘20 Chromatic aberration May ‘13 Chrome Dec. ‘18 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Clone tool technique Jul. ‘20

Composites and Light Compositing images Compositing, 7 steps Composition, different approach Content-aware, New Contrast vs. exposure Converting to black and white Correcting keystoning Creating a star field Creating Art out of Motion Creating a Sketch Creative blurs Dark backgrounds Dawn photography Dawn photography Dead center Dealing with smog Decay photography Define Pattern Depth of field Depth of field confusion Depth of field and distance Depth of field and obliqueness Depth of field, shallow Depth of field vs. sharpness Double takes Drop shadows Dust, Minimizing

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

eBook, how to make Eliminating people from photos 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 Jun. ‘22 Oct. 17 Sep. ‘14 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14 Nov. ‘14 Apr. ‘15 Sep. ‘16 Mar. ‘21 Dec. ‘13

Nov. ‘19 Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Jan. ‘20 Dec. ‘18 May ‘21 Apr. ‘20 Nov. ‘20 Apr. ‘20 Apr. ‘19 Aug. ‘19

Face sculpting Apr. ‘21 Face sculpting Feb. ‘22 Festival photography Sep. ‘20 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fireworks, Compositing Jun ‘20 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Fisheye fantasies Oct. 21 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Flexify 2 Mar. ‘20 Flood fixes problems Nov. ‘19 Floral Portraits, Indoors Aug. ‘21 Flowers May ‘15 Flower photography Apr ‘21 Flowers in harsh light Jul. ‘16

Subject index for past Photo Insight issues Focus on the eyes Dec. ‘20 Focus points Mar. ‘15 Focus points Sep. ‘20 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign Dancers, Photographing Nov’ 17 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Fractals Jul. ‘19 Framing May ‘17 Freezing ultra action May ‘17 From Terrible to Beautiful Aug. ‘19 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Fundamentals That Make Great Photos Jan. ‘19 Fun With Christmas Lights Jan. ‘21 Fun with Food Graphic Design Garish imagery Getting money for used gear Great subjects Great ceilings & HDR Panos Green screen Grunge technique

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

HDR, one photo Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR, hand held Nov ‘17 HDR, hand held Jul. ‘18 HDR panoramas Jun. ‘16 HDR, choosing the number of frames Jun. ‘22 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Histograms, Why I Don’t Use Jun ‘19 Histogram problems Apr. ‘20 Hotels with a view Mar. ‘20 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 Image resizing Aug. ‘18 Implying motion Sept.‘14 Impossible DOF Feb. ‘16 Impossible DOF Jan. ‘17 Indestructible camera bag Dec. ‘14 Infrared photography Jul. ‘14 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17 iPhone photography, pros and cons Apr. ‘22 Jungle photography

Dec. ‘14

Kaleidoscopic images Kaleidoscopis images Keystoning, correcting

Jan. ‘15 Aug. ‘20 Aug. ‘15

L Bracket Feb. ‘18 L Bracket Feb. ‘21 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14

Landscape photography Nov. ‘16 Layer Masks, The Power of Feb. ‘22 Light fall-off Feb. ‘14 Light painting Dec. ‘21 Lighting a face Oct. ‘13 Lightning photography May ‘20 Liquify Feb. ‘18 Liquify Distortions Sept/Oct. ‘19 Long lens portraits Oct. ‘18 Long Lenses for Flowers Jul. ‘20 Low light photography May ‘15 Luminar 4 Jan. ‘20 Macro flash Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Macro flash Aug. ‘22 Macro photography and DOF Feb. ‘22 Macro trick May ‘19 Managing soft focus Jul. ‘21 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meters, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Minimizing dust on the sensor Nov. ‘21 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 Museum photography Mar. ‘13 Natural Light Portraits Negative space Neon edges on black Neutral Density filters Neutral Density filters and water Night photography Night Safaris Night to Twilight Noise reduction

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

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

May ‘20 Jun. ‘16 Mar. ‘18 Jan. ‘20

Paint abstracts May ‘13 Paint abstracts Aug. ‘21 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Parallelism Nov. ‘19 Parallelism and DOF Feb. ‘21 Perspective, Super Exaggeration of Dec. 21 Photography to Art Dec. ‘17 Photography solutions Jan. ‘18 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique Apr. ‘13

Subject index for past Photo Insight issues Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13 Photoshop, soft foliage Oct. ‘13 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Photoshop, drop shadows Jul. ‘14 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Photoshop, liquify Mar. ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14 Photoshop, enlarge eyes Nov. ‘14 Photoshop, darken the periphery Dec. ‘14 Photoshop, mirror images Dec. ‘14 Photoshop, beam of light Apr. ‘15 Photoshop, polar coordinates Mar. ‘15 Photoshop, chrome May ‘15 Photoshop, actions palette Nov. ‘15 Photoshop, cut and paste Nov. ‘15 Photoshop, geometrics Oct. ‘15 Photoshop, plugins Oct. ‘15 Photoshop, multiple selections Apr. ‘16 Photoshop, sharpening Apr. ‘16 Photoshop, Flood plugin Apr. ‘16 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Photoshop new tool May ‘20 Photoshop, place one element behind Aug. ‘18 Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Photoshop, My favorite plugins Jan. ‘20 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portrait Professional Nov. ‘19 Portraits, Lens choice Sept/Oct. ‘19 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem Solving in Photoshop May ‘22 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18

Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Seeking Cool Snow Photos Jan. ‘21 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Self-critiques Nov. ‘20 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Shooting into the light Jun ‘20 Silhouettes Jun. ‘13 Silhouettes, How to make Apr. ‘22 Silhouettes, Exposing for Sept/Oct. ‘19 Silvered landscapes Mar. ‘20 Sketch, How to Make Jun ‘19 Skies make or break a picture Aug. ‘21 Sky replacement Nov. ‘20 Sky replacement strategies Aug. ‘22 Snow exposure Nov ‘17 Snow exposure Nov. ‘19 Soft light Jan. ‘13 Smart phone photography May ‘19 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Sunrise & sunset Jan. ‘19

Reflections Feb. ‘13 Restoring old photos Jun ‘20 Ring flash, advantages Jul. ‘21 Ring flash versatility Oct. ‘21 Rule of Odds May ‘22

Urban heights Ultra distortion Upside Down Reflections

Tamron 150-600mm Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 Texture Mapping in 3D Jul. ‘21 Topaz AI Gigapixel Mar ‘19 Topaz glow Jan. ‘15 Topaz glow Sep. ‘17 Topaz Impression Sep. ‘15 Topaz Remask 5 Oct. ‘17 Topaz Simplify 4 Dec. ‘12 Topaz simplify 4 Jun. ‘14 Topaz Studio Apr. ‘18 Translucency & backlighting Nov. ‘18 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Twilight photography in the rain Apr. ‘19 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Two subject focus rule Jan. ‘20 Two subject focus rule Jun. ‘21 Jun. ‘21 May ‘18 Aug. ‘21

Subject index for past Photo Insight issues Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 When You Needed a Zoom Aug. ‘21 White on White Dec. ‘20 White vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 Wide angle conundrum May ‘19 Wide angle lenses Mar. ‘13 Wide angle portraits Nov. ‘14 Wide angle lenses Jun. ‘17 Wide angle lenses: Outside the Box Jun. ‘22w 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

Edited by: Donald Moore 46

Photo Insights August 2022

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