Jim Zuckerman’s
PH OTO I N S I G HTS August 2017
Problem solving with the clone tool Post-processing technique Loading photos into an iPad Flash diffusion Photo tours Ask Jim Student showcase
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4. 9. 13. 16. 21. 23. 24. 25. 27. 33. 36. 22
Problem solving with the clone tool On Camera Flash Diffusion Loading Photos into an iPad Post-processing: Dealing with Contrast What’s wrong with this picture? Short and Sweet Ask Jim Photo tours Student showcase Back issues Subject index for Photo Insights
On the cover: Palouse Falls and the galactic core of the Milky Way, near LaCrosse, Washington. This page: Attire of the clergy of the Ethiopian Orthodox Church, Lalibela, Ethiopia.
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n my recent photo tour to the Palouse area of northeast Washington state, as soon as I checked into the hotel the lady at reception handed me a letter composed by area farmers and addressed to photographers. It was politely written, and it asked us to respect private property and, in essence and using diplomatic words, asked us not to be rude, crude, or otherwise obnoxioius in our pursuit of our pictures. I would have assumed that most photographers were, in fact, respectful and wouldn’t do anything to annoy or anger local residents and farmers. Apparently, not so. The receptionist at the hotel told me that she lives just down the street from a well-known red barn that many photographers like to shoot, and the owners of the property have become so overwhelmed by the horde of idiots (since this is my publication, I feel completely free to say it how it is) who walked all over their property, tried to get into the barn, blocked the gravel road so locals couldn’t pass and wouldn’t move until they were finished shooting, and didn’t ask permission if they could photograph the stars above the property late at night which may disturb the family for several hours. As a result, this family now doesn’t allow anyone to photograph their property. Another property owner that has a collection of old cars and an old Texaco gas station similarly has now blocked everyone from photographing on his acreage for the same reason. This is very disappointing. As usual, a number of inconsideration narcissists ruin it for the rest of us. Even though it takes time to ask permission, most property owners in the Palouse and elsewhere are nice and will have no objection to you photographing something of interest on their land. But please, have respect for the people and their property as well as other residents in the area. Only shoot with permission, don’t block roads, talk quietly, and offer to send the family your best shots as a way of saying thank you. This isn’t a lot to ask. Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com 3
PROBLEM SOLVING with the Clone Tool
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like the photo below a lot . . . except for one glaring problem. The sky in the upper left corner is solid white and devoid of any detail and texture. Sometimes a white sky is perfectly fine, but much of the time it ends up being distracting. Our eyes tend to drift toward the light part of a picture first, and our attention to the light area returns again and again. This is not what you want. The ideal is to have our focus on the subject; we shouldn’t be diverted by anything else. That’s
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how a successful picture is supposed to work. At first glance, replacing the white sky is a very tricky problem. Not only are there small branches and leaves sticking up into the sky, but the horizon line is out of focus. That means you can’t simply paste a new sky into the white area because the sharp edge of the new sky won’t mesh with the blurred edge of the distant grass. The demarcation line between the two images has to be completely believable. This
is one situation where it’s not possible to make an accurate selection of the white sky with the normal tools used for selections, such as the magic wand tool, the pen tool, the lasso tool, etc. Even with significant feathering, pasting in an image won’t work. In the edited version below, you can see that I successfully replaced the sky. The new sky has texture, detail, and it melds with the distant out of focus horizon line in a realistic way. Note that the sky is out of focus to match the background landscape. Here are the steps I used to do this: 1. Open the cheetah photo as well as a photo of clouds. I used the image at upper right. Make sure the lighting matches. In other words, if the lighting on the main photo is soft and diffused, you need a cloud photograph that would
produce that kind of light. 2. Make the cloud image out of focus with Filter > blur > Gaussian blur. The amount of blur you use depends on how out of focus the background is. For the cheetah picture, I used 30 in the Gaussian blur dialog box. 3. Click on the clone tool in the tools palette, and in the tool bar change the opacity to 40%.
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4. With both pictures open, clone from the cloud photo to the cheetah photo. To do this, click in the cloud picture by holding the option key down on a Mac or the alt key down on a PC keyboard and click in the area of the clouds you want to use. Then, activate the cheetah shot, adjust the size of the brush, and clone to cover up the white sky. I used a large brush size with a fairly soft edge. It took me a few attempts because I wanted somewhat of a variation in color and tone, and this was simply a trial and error proposition. Note that the plants sticking up into the sky weren’t a problem because of the lowered opacity of the clouds and their pastel nature. The new clouds were simply cloned over those plants and the result is quite believable. The picture of the red barn on the next page that I took in the Palouse area of Washington state originally had a solid white sky. Because
the barn and silo have sharp lines, my approach was a bit different in replacing the sky compared to the cheetah picture. In this case, I selected the sky with the magic wand tool. I was able to use this tool because it works on the basis of color and contrast, and selecting a solid color is easy to do. However, the two spires sticking up from the structures on the top of the barn are very light, and in order to select the white sky without including those spires I had to lower the tolerance of the magic wand tool to 16 instead of the default tolerance of 32. Then, by simply clicking in the sky I was able to grab everything above the barn and silo. The next step was to clone from the cloud photo into the barn photo (with both images open on my desktop), this time using a brush opacity of 35%. In this way, the new clouds were subtle and didn’t detract from the barn and the old truck, and they look completely natural. §
ETHIOPIA PHOTO TOUR January, 2019
Primitive cultures Early Christian art Volcanos Beautiful birds
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LEARNING TO SEE online course by Jim Zuckerman
The ability to ‘see photographically’, to really grasp how your camera and lenses capture a subject or scene (which is different than how we see with our eyes) underlies successful picture taking. It is the bottom line that you’ve been looking for to take that quantum leap forward in your photography. The great thing about online courses is that they can fit into any schedule. Life gets in the way at times, and Jim puts no limit on the time you can submit your work for his critiques. CLICK THIS PAGE to read more about this course.
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On-Camera Flash Diffusion T
here is some confusion about diffusing the light produced by portable, on-camera flash units, and I wanted to address that topic in this article. The issue is that small flash units that fit into the hotshoe on top of our cameras are very harsh and contrasty. They provide a very convenient source of artificial light for dark environments, but I submit that this kind of lighting is the least attractive type artificial light photographers use. Diffusion devices, such as the built-in diffuser below left and the Gary Fong Lightsphere below right, are designed to soften the light and make it more pleasing. There are many such
devices on the market. In my opinion, they are all very similar in their effectiveness (or in their lack of effectiveness). The most important point to remember is that all of these small diffusers are only effective when used close to the subject. For example, if you are shooting from 25 feet away, a flash diffuser will have no effect at all. Why? Because as the flash-subject distance increases, the flash -- even with a diffuser -- approaches a point source of light. Point sources of light, like an overhead sun or a single flash used at a distance, produce harsh, contrasty light. When used within 2 to 10 feet, the diffuser is useful in softening the light. The shorter the
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distance between the flash and the subject, the softer will be the light. Beyond 10 feet the diffusion has minimal effect, and when the photographer moves a few more feet from the subject(s), the diffusion device has no effect at all. As the diffuser gets larger, the effective distance increases where the light is softened. To exaggerate, if the diffusion device is a 4 x 6 foot softbox, the subject-flash distance can increase to 20 feet and beyond and you will still see the effect of light that has been diffused. This is obviously impractical for an on-camera flash. Some manufactures make small softbox diffusers to fit over the flash, like the one at upper right, and these work well . . . but again, only for a relatively short subject-flash distance. Very quickly this, also, acts like a point source of light and the lighting on the subject remains harsh. Bounce Flash
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An alternative to on-camera flash diffusion is bounce flash. This entails angling the flash head and bouncing the light off a ceiling or a wall and onto the subject. Because of the large square footage of these surfaces, the light is much softer than either direct on-camera flash or when a flash diffuser is used.
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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.
Feb. 1 - 8, 2018
Frog & Reptile Workshop Close-up encounters with poison dart frogs and exotic reptiles such as chameleons, geckos, snakes, and more in St. Louis, Missouri. This is a macro workshop in which everyone consistently gets amazing pictures.
March 24 - 25, 2018
Photoshop workshop The setting is in my home, and in this two day workshop you’ll learn enough to be truly dangerous in Photoshop! How to replace a sky, how to fix all kinds of photographic problems in your pictures, how to handle blown highlights, how to be incredibly creative . . . and more.
Nov. 11 - 12, 2017 11 10
You can see clearly in the two photos of a wooden mask on page 9 the difference between undiffused on-camera flash (the photo on the left) and bounce flash (the photo on the right). In this case, the bounce was off the ceiling and it changed the angle of the light. You can see in the varnish on the mask that the bounced light is coming from overhead because of the way the light is hitting it. Also, note that the photo on the right is warmer, more yellowish. This is because the ceiling in this room of my home is painted with an off-white and slightly yellowish color. All bounced light takes on the hue of the wall or ceiling used to reflect the light back to the subject. The portrait I made in Indonesia of a Javanese bride was done with bounced flash. Aside from a slightly telltale highlight on the model’s forehead from the light bouncing off the ceiling, the overall light is attractively diffused. I didn’t have studio lights with me, so this was the most efficient way of producing a professional quality portrait. Undiffused on-camera flash is not only harsh and contrasty, it also looks like an amateurish snapshot. Bouncing a flash means that light is lost. The amount of loss depends on the color and surface of the wall or ceiling. For 12
example, a white wall will reflect a lot more light onto the subject than a dark gray or medium toned blue wall or ceiling. Similarly, a wall covered by paintings, tapestries, and other types of artwork, or a ceiling covered in paintings, absort light in diffrent ways. You have to check the LCD monitor on the back of the camera to determine the correct exposure. If the bounced flash pictures turn out too light or too dark, adjust the flash exposure compensation on the flash itself. Even experienced professional photographers have to do this as well. It’s impossible to know exactly how much light will reach the subject, so test shots and the subsequent corrections are the only way to get the exposure correct. If the color is off because the subject is affected by the colors in the room, you can correct this in post-processing. §
Loading Photos into an
iPad
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am often asked by clients how to load photos into an iPad, so I thought I would explain the procedure in an article. The steps below allow you to tweak the images in terms of size, color, exposure, etc. before the photos are imported into the iPad so you work looks its best.
that contain more of your photos. As you add more albums, you will see rows of thumbnails as in the screen capture below. This is on your computer, not on the iPad yet.
For a Mac 1. Open a hi res photo in Photoshop. Reduce its size to approximately 7 megabytes. This is the size I’ve determined looks very good on the iPad and yet takes up little storage space on the hard drive of the iPad. Use Image > image size in Photoshop to do this. Make the resolution 240 or 300 dpi, and the dimensions should be around 6.5 x 4.5 inches. Save the images as jpeg files on your desktop so it’s easy to find them. 2. Open Photos, the Apple program that used to be called iPhoto. Click the tab ‘Albums’.
3. Choose File > new album. In the dialog box, name the album and click OK. You should now see the blank album. Double click on it. It’s empty, so drag your 7 megabyte photos that belong to that album into the empty space. They will show up as thumbnails. 4. Repeat this process to create more albums
You can drag the various thumbnail images into alphabetical order if you wish, or they can be arranged in other ways, such as chronologically by date. 5. To import these into the iPad, plug the iPad into your computer and open iTunes. You will see an icon pop up at the upper left corner of the dialog box (red arrow).
6. Click that icon, and now a new dialog box opens shown at the top left of page 15. Click ‘photos’ (green arrow), and now you will see the final dialog box shown in the lower right of page 15. All of the albums will be listed in the order you designated. Check the box next to each album, and when that’s done, click Apply 13
Screen capture of folders of photos on Jim’s ipad.
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3. Click your iPad under ‘Devices’ in the left sidebar in the dialog box. 4. Click on the ‘Photos’ tab and check the box Sync Photos. 5. Select Choose Folder and navigate to the folder with the photos you want to transfer to your iPad, select it, and click ‘Select Folder’ to continue the import procedure. 6. Click the ‘Apply’ button located in the bottom right corner. Make sure you check the ‘All folders’ option. For both Mac’s and PC’s, when you take a photograph with your iPad, the images will end up in the camera roll folder. The description above for importing pictures into the iPad is for your hi res images taken with your good camera(s). §
or Sync at the bottom right corner of the dialog box. That is the final step in the procedure, and you will now see all your albums with their respective photos in them when you hit the ‘Photos’ icon on your iPad. On a PC 1. Prepare your photos as described on page 13 and put them in a folder. You can create more than one folder within the master folder, and these will become the folders on the iPad for your various categories of images. 2. Open iTunes on your computer and connect the ipad to your computer. 1515
Post-processing:
Dealing with Harsh Contrast
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id-day photography with a bright sun is rarely attractive. The contrast between highlights and shadows is so extreme that digital sensors can’t capture well exposed detail through the images. Highlights appear overexposed or totally blown out, while shadows are very dark or black with no detail. In art, there are always exceptions, and often breaking the rules produces great images. Usually, though, with too much contrast pictures don’t look good. An example is the old car, below left, that I photographed in the Palouse area of Washington when the sun was high in the sky. The sunny areas, especially on the ground, are much too light. The portion at middle-left is virtually blown out with a loss of
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texture and detail. On the next page, you can see how I improved the original capture by darkening the highlights (which in turn revealed more detail) and lightening the shadows. If you search online for solutions to the problem of contrast, various photo instructors offer many techniques. Some are very time consuming and complicated. My approach is simple, easy, and fast. And it works, as you can see in the example on page 17. In the ACR (Adobe Camera Raw) or Lightroom dialog box, there are two sliders that can make
or break a contrasty picture. For this car photo, I moved the highlight slider to the far left and the shadows slider to the far right (as shown at right). Then, to further reduce the exposure in the highlights (to focus more attention on the car), I used the burn tool in Photoshop on 40% opacity. Apply this tool on a duplicate layer so if you darken too much, it’s a simple matter to either trash the layer and start again or lower the opacity of the layer in the layers palette. It’s important to note that with both highlights and shadows, if the detail is completely lost in the original (i.e. the highlights are solid white and/or the shadows are solid black), these areas can not be recovered using sliders in ACR or Lightroom. The only way to fix this problem is to clone into the white or black areas detail from another part of the picture, or if there is nothing to clone from, you can clone from another photo. §
Screen capture of a portion of the ACR dialog box
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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
Fantasy Nudes is in production and is coming soon 19 19
PHOTO TOUR to BURMA Nov. 26 - Dec. 5, 2018
Awesome ruins Great portraiture Fascinating culture Super friendly people
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What’s wrong with this picture?
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ell-defined lines in a photograph that are not part of the subject are usually distracting. They are so bold and attention-getting that our eyes tend to move away from the subject to the very pronounced graphic elements. Ideally, our attention and our focus should remain on the subject and not be diverted elsewhere. If these kind of graphic lines cannot be avoided at the time of shooting, they should be cloned out in post-processing. That’s the problem with this image. The post at the far right shouldn’t be there. Lot’s of times in Venice during carnival, other photographers crowd a model and you have to be patient to position yourself at the ideal angle. In this case, I like the angle. I was shooting fast, though, because the models were constantly changing their pose. I didn’t notice the offending post. However, things like this are easy to eliminate. 21
To get rid of the offending element, I used the content-aware feature in Photoshop. I used the lasso tool to encircle the post and the wires, and then I chose Edit > fill. In the submenu within the dialog box, I selected ‘content-aware’. I checked to make sure the opacity was 100% and the mode was ‘normal’, and hit OK. Now there is nothing at all that distracts our eye from the subjects. I have to come believe that backgrounds are just as important as subjects in making a picture work. If the background is distracting or busy in any way such that our attention is diverted from the subject, the picture is degraded. If you have the time, run your eye around the viewfinder to study the background before taking a shot. It takes just a moment. This can save a lot of shots. This is one reason a knowledge of Photoshop is so valuable -- because if you didn’t get it right when taking the original, you can alter or replace the background to make the picture perfect. § 22
SHORT AND SWEET 1. When elements are very close (like 4 or 5 feet) to
the camera position, simply using a wide angle lens is not enough for complete depth of field. You have to close all the way down to f/22 or f/32, depending on the smallest aperture your lens has.
3. To capture the intense aquamarine colors of trop-
ical water, you must shoot in the middle of the day when the sun is high. This is contrary to the rule that landscapes and seascapes are best captured with a low angled sun. Sure, sunrise and sunset are great for nature, but in the tropics, shoot in mid-day for rich color.
2.
When you photograph people at mid-day with a bright sun, as with this Bushmen mother and child in Namibia, ask the subjects to turn away from the sun. This puts their faces and the front of their bodies in diffused light which is much better for portraits.
4. Seek out elevated heights for great perspectives.
Rooftop restaurants and bars, hilltops, hiking trails, observation decks in highrises, etc. provide wonderful perspectives. Patterns that you don’t see from the ground reveal themselves from lofty viewpoints. This is Kotor, Montenegro from a walking trail above the city. §
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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’ve often wondered if you keep all of your images except the obviously unusable ones. What
does it take for you to discard an image? Rosemary Sheel, Camarillo, California
A:
I throw away RAW files if they are out of focus, grossly over- or underexposed, or if they are of subjects that are boring. Also, with fast moving subjects like birds and wildlife, I discard images if a subject’s head is turned the wrong way, if the depth of field is bad, and if the background is terrible and the picture isn’t worth the time to fix. I do save quite a number of pictures that are not perfect because I use them for teaching purposes. For example, in this eMagazine, the feature “What is wrong with this picture” requires images that are not perfect so I can discuss how to improve them as well as photographic pitfalls to avoid. One thing I find is that I will often discover pictures I like when I revisit the RAW files weeks or even years after they were taken. The picture of the young monk from Burma, below, is an example. I didn’t select this image initially to go into my permanent collection, but with a second look, I decided I like it. So, I don’t throw away pictures easily. They have to be pretty bad for me to trash them. Hard drive storage is cheap now, so this enables us to store a lot of pictures. §
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CHINA WILDLIFE Sept. 2017
Photography Tours 2017 - 2019 TUSCANY/CINQUE TERRA Oct. 2017
SNOWY OWLS Jan. 2018
CARNIVAL IN VENICE Feb. 2018
NEW ZEALAND Apr. 2018
WHITE HORSES, FRANCE May 2018
CROATIA, SLOVENIA, etc. May 2018
LAVENDER, FRANCE July. 2018
INDONESIA WILDLIFE Aug. 2018
GRIZZLIES in CANADA Sep. 2018
THE PANTANAL, BRAZIL Nov. 2018
ETHIOPIA Jan. 2019
For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
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South Africa & Namibia photo safari April 25 - May 9, 2018
Awesome wildlife exotic birds monster dunes
A bloat of hippopotamuses, Sabi Sabi, South Africa
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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.
Steve Scholl, Berkeley, California Newfoundland Photo Tour.
© 2017 Steve Scholl
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Student Showcase, continued
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Š 2017 Steve Scholl
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Student Showcase, continued
Š 2017 Steve Scholl
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Student Showcase, continued
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Š 2017 Steve Scholl
CHINA WILDLIFE PHOTO TOUR September 4 - 17, 2017
Mongolian horse round up, China
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun., November 11 - 12, 2017
Photoshop is a photographer’s best friend, and the creative possibilities are absolutely endless -- like replacing the background behind this 1947 Delahaye 135M. 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, modifying lighting, replacing backgrounds, using layer masks, blend modes, adding a moon, and a lot more. I promise to fill your head with so many great techniques that you won’t believe what you’ll be able to do. I go over each technique several times to make sure you understand it and can remember it. Photoshop instructors approach teaching this program from different points of view. My approach is to be as expansive in my thinking as possible in creating unique, artistic, and compelling images. In addition to showing you how to use the various tools,
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pull down menus, layers, and so on, I spend a lot of time giving you creative ideas that will inspire you to produce amazing images with the pictures you’ve already taken. I live in the Nashville, Tennessee area, and if you fly into the airport (BNA) I will pick you up. If you drive, I’ll give you my address and you can find my home on Mapquest or with a GPS. For the $450 fee, I include one dinner in my home (prepared by my wife who is an amazing cook and hostess) and two lunches, plus shuttling you back and forth from my home to your nearby hotel. Contact me if you would like to participate in the workshop and I will tell you how to sign up (photos@jimzuckerman.com). All you need is a laptop and a lot of your pictures. If you don’t have a laptop, I have two Mac Book Pro laptops I can loan out for the duration of the workshop. §
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January 2015
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• Topaz Glow • A different approach to composition • Photographing puppies • Kaleidoscopic images • Online photo course • Student showcase • Photo tours
1
May ‘15
• White balance • When can highlights be blown • Abstractions in soap • Fisheye lenses • Online photo course • Student showcase • Photo tours 1
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Subject index for past Photo Insight issues 1/3 focus law 3D sphere 90 degree finder Abstracts in soap Aerial photography African safari Airplane windows Alien landscapes Anatomy of 8 photographs Aperture vs. shutter speed Aperture priority Aurora Borealis Auto white balance Autofocus, when it fails Autofocus failure Autofocus failure
Jul. ‘15 Mar. ‘16 Mar. ‘13 Feb. ‘15 Jun. ‘13 May ‘16 Mar. ‘16 Jan. ‘13 Jan. ‘16 May ‘14 Sept. ‘14 Apr. ‘17 Dec. ‘13 Apr. ‘15 Aug. ‘15 Jan. ‘17
Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birds in flight Mar. ‘16 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 Camera setting priorities Jun. ‘17 Capturing lightning Jun. ‘13 Catchlights Jul. ‘16 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Chromatic aberration May ‘13 Cityscapes Aug. ‘14 Cityscapes May ‘16 Composition, different approach Jan. ‘15 Contrast vs. exposure Jul. ‘15 Creating a star field Jan. ‘14 Creative blurs Jan. ‘14 Dawn photography Dawn photography Dead center Dealing with smog Decay photography Depth of field
Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Aug. ‘16
eBook, how to make Jan. ‘13 Energy saving bulbs Sep. ‘14 Exposing for the sun Sep. ‘16 Exposure, the sun Jul. ‘13 Exposure technique Sep. ‘13 Exposure, snow Jan. ‘14 Exposure triangle Nov. ‘14 Exposure, to the right Apr. ‘15 Exposure compensation Sep. ‘16 Extension tubes Dec. ‘13 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15
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Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flat art Sep. ‘16 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus stacking Mar. ‘17 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Framing May ‘17 Freezing ultra action May ‘17 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Garish imagery Great subjects Green screen Grunge technique
Dec. ‘15 Apr. ‘15 Mar. ‘13 Feb. ‘13
HDR, one photo Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR panoramas Jun. ‘16 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 Implying motion Sept.‘14 Impossible DOF Feb. ‘16 Impossible DOF Jan. ‘17 Indestructible camera bag Dec. ‘14 Infrared photography Jul. ‘14 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17 Jungle photography
Dec. ‘14
Kaleidoscopic images Keystoning, correcting
Jan. ‘15 Aug. ‘15
Landscape photography Landscape photography Landscape photography Light fall-off Lighting a face
Dec. ‘12 Apr. ‘14 Nov. ‘16 Feb. ‘14 Oct. ‘13
Low light photography May ‘15 Macro flash Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meters, when they fail Dec. ‘16 Middle gray Nov. ‘15 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Museum photography Mar. ‘13
Subject index for past Photo Insight issues
continued
Negative space Neon edges on black Night photography Noise reduction
Jan. ‘16 Aug. ‘14 Feb. ‘14 Feb. ‘17
Optical infinity
Jun. ‘16
Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Parades Sep. ‘13 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique Apr. ‘13 Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13 Photoshop, soft foliage Oct. ‘13 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Photoshop, drop shadows Jul. ‘14 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Photoshop, liquify Mar. ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14 Photoshop, enlarge eyes Nov. ‘14 Photoshop, darken the periphery Dec. ‘14 Photoshop, mirror images Dec. ‘14 Photoshop, beam of light Apr. ‘15 Photoshop, polar coordinates Mar. ‘15 Photoshop, chrome May ‘15 Photoshop, actions palette Nov. ‘15 Photoshop, cut and paste Nov. ‘15 Photoshop, geometrics Oct. ‘15 Photoshop, plugins Oct. ‘15 Photoshop, multiple selections Apr. ‘16 Photoshop, sharpening Apr. ‘16 Photoshop, Flood plugin Apr. ‘16 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Problem/solution Apr. ‘17 Protecting highlights Dec. ‘12 Puppies Jan. ‘15
Seeing as the lens does Nov. ‘14 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Silhouettes Jun. ‘13 Soft light Jan. ‘13 Stained glass Mar. ‘17 Star photography Jul. ‘16 Stock photography Sep. ‘14 Tamron 150-600mm Topaz Simplify 4 Topaz simplify 4 Topaz glow Topaz Impression Travel photography Travel portraits Travel tips Travel photographer’s guide Two subject sharp rule
Apr. ‘14 Dec. ‘12 Jun. ‘14 Jan. ‘15 Sep. ‘15 Feb. ‘13 Mar. ‘14 Apr. ‘14 Jun. ‘17 May ‘14
Warm fingers in winter Nov. ‘15 White vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 Wide angle lenses Mar. ‘13 Wide angle portraits Nov. ‘14 Wide angle lenses Jun. ‘17 Wildlife photos with wide angles Mar. ‘15 Window light Dec. ‘15 Window frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Workflow May ‘13
Reflections Feb. ‘13 Safari May ‘13 Safari strategies Jul. ‘15
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PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2017 email: photos@jimzuckerman.com mail address: P.O. Box 7, Arrington, TN 37014
A barn in the Palouse area of northeastern Washington state. 38
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