Jim Zuckerman’s
PH OTO I N S I G HTS
February 2020
My favorite Photoshop plug-ins Out of focus foregrounds Black and white with color Photo tours Student showcase Ask Jim Subject index
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4. 11. 16. 23. 25. 26. 27. 29. 35. 40.
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My favorite Photoshop plugins Out of focus foregrounds Black and white with color 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: A mountain liontaken during my winter wildlife workshop in Montana. On this page: An arctic fox also from the winter workshop in Montana.
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hen I look back at the photographs I was taking after I’d been shooting seriously for ten years - and selling my work at that time -- I say to myself too often, “What in the heck were you thinking?” In other words, from the perspective I have now having been a photographer for 50 years, many of the pictures I took in the 70’s don’t impress me at all. Learning to be a good photographer takes time. A lot of time. It takes years for your artistic vision to mature. I maintain that photography taught me to really see things, and that before I bought my first camera, I was clueless when it came to understanding light, shadow, design, color, and composition. The road to visual awareness and photographic artistry is definitely long, but it was a lot longer when I bought my first camera in December, 1968. The only resources I had to learn were photo magazines, very few books on photography, and college courses taught by instructors who rarely showed their own work . . . probably because it wasn’t very inspirational. People today who discover they have a passion for photography are surrounded by instructional material. Youtube videos, online courses, scores of eBooks, stunning imagery on Facebook, Instagram, Pinterest, and Flickr, the road to photographic artistry has been shortened considerably. Still, don’t lose patience with yourself in developing your skills. What seems like a relatively simple endeavor, pushing the shutter and getting a decent picture, is actually quite complex because it requires thinking about many things simultaneously and often under the pressure of time. Enjoy the process, though. Every failure is a stepping stone to success the next time. There is nothing like losing a great photo because your camera was set incorrectly or you didn’t notice somthing distracting in the background. That error is imprinted in your mind, and next time you don’t make the same mistake. I am definitely speaking from experience. Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com
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MY FAVORITE PHOTOSHOP Plug-ins D
uring my last photo workshop for snowy owls, a client asked me what my favorite plug-ins are for Photoshop. This article is the answer to that question along with examples of what the various plugins can do. 1. FLOOD. Flood is made by flamingpear.com, and it is my favorite plug-in of all. It makes realistic reflections to simulate water. In the easyto-navigate dialog box, you first establish the water line by moving the ‘horizon’ slider, and then you can control the types of waves and
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water patterns needed for a realistic image. If you don’t want to mess with the various sliders, there is a die icon (singular of dice) that is a randomizer. Click that repeatedly and you will see the wave pattern in the water change. I also have the upgraded version, Flood 2, because it offers more complex wave patterns. Both versions are essential for creative work in Photoshop. The elephant seen below was walking in front of the sun in the Masai Mara National Park in
Kenya, and there was no water in the scene at all. I created the small pond with Flood. 2. TOPAZ SIMPLIFY. If you like to create painterly images from your photographs, you will love Simplify. You can take any type of image -- landscapes, portraits, wildlife, abstracts, macro, sports -- and turn it into what looks like a painting. Printed on paper or canvas, it will be suitable for framing as home decor. The software smooths and blends the colors in the original image, eliminating the fine, photographic detail, and the result is consistently beautiful. Simplify is packaged with other Topaz filters. When I want to think outside the box with my images, I usuallly go to Topaz first because they have such unique and creative filters. The horses running through snow, below, and
the birch forest, above, were both created with Topaz Simply. 3. TOPAZ REMASK 5. This is the best tool we have for selecting a subjec with hair. For composite work with animals, birds, or people, Remask 5 is essential. Photoshop is a brilliant program, but it doesn’t have the ability to separate hair from the background. This is particularly
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true if the contrast between the hairy subject and the background doesn’t have a lot of contrast. If you photograph a blonde model against black velvet, Photoshop has tools that allow you to select and paste the model into a different background and retain most of the detail in the hair. The same is true if you photograph a brunette against a white background. There is enough contrast between subject and background for Photoshop to distinguish between them and to select only the model and the model’s hair. Remask 5 is the plug-in you need to select a subject where contrast with the background isn’t delineated well. For example, the picture of the arctic wolf (taken at my winter wildlife workshop in Montana) is a composite. I replaced the background so the landscape in the distance was sharply defined. I captured the original image with a 400mm focal length, 6
and the mountain range was therefore rendered out of focus. I used Remask 5 because the hair standing up on the wolf ’s neck and shoulder blended with a very light background. The software was able to retain 95% of the detail in the animal’s hair along that edge, making this image quite believable. 4. FILTER FORGE. Filter Forge isn’t a single filter. It is a huge suite of filters that offers remarkable effects bypassed by other software manufacturers. Version 9.0 was just released, and it consists of almost 13,000 different filter effects. This is not an exaggeration. Effects such as chrome, kaleidoscope, watercolor, peeling paint, cracked glass, exotic textures, and so much more are all available with a single purchase. The images on the next page are just two examples. In the dialog box, there is a link to an online
website where you can browse the thousands of filters available to you. You can see a small thumbnail of each filter showing the effect it applies to your images. When you select the filter, it is added to your list favorites that you see every time you load the software. Once you open a particular filter, there are several presets available as well as the option of tweaking the filter effects with various sliders. It is impossible to know what the sliders do based on how they are named, so it’s a matter of experimentation. If you don’t want to spend time with this, simply use the presets to see if you like the results.
filters have been very slow. The 64 bit version addresses that issue. 5. NEAT IMAGE SOFTWARE. This is the best noise-reducing, or noise-eliminating, software I’ve seen. I consider this an essential tool for a photographer. It is true for some images that are impossibly noisy, it doesn’t work well because the digital files are composed mostly of noise as opposed to fine detail. I had this prob-
You can use Filter Forge as a stand-alone program or as a plug-in under the filter pull down tab in Photoshop. The 9.0 verson is 64 bit which makes it faster than previous versions. My one complaint about this program was that some 7
lem when I was shooting for a short time with the Canon 7D Mark II. ISO settings above 800 were just too noisy. I applied Neat Image to a bird in flight shot taken at 3200 ISO, and the result was usuable. However, for most images where noise can be seen but it’s not overwhelming, this software is amazing. For example, I took the picture of the snowy owl, below, during my annual snowy owl workshop in Canada. It was late in the day and we were losing light. I was shooting on manual exposure mode so I could specifically choose my shutter speed and aperture settings (1/3200 and f/11 in this instance), and the ISO was set to auto. As a result, I hadn’t noticed the ISO had crept up to 12,800. If you look at the dark background where noise shows up the most, you won’t see any noise at all. In fact, this image looks like I used 100 ISO. That’s pretty amazing!
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The dialog box of the software seems a bit complicated, but I only use two options for most of my images. I first hit ‘Auto Profile’, then I click ‘Apply’. Sometimes I might use ‘Auto FineTune’ as well. It’s as easy as that. 6. TOPAZ GLOW. I love most genres of photography. In fact, I don’t know any other photographer who embraces the range of imagery that I do. What drew me to photography in the beginning of my career in 1968 was surrealism, and I still love it. The two images on the next page are examples. I did these with the remarkable plug-in, Topaz Glow. If you also like wild, surrealistic, and artistic images, you have to try this filter. The presets Topaz gives you are extensive with many to choose from, and you can then tweak each preset to your own liking. The permutations are endless. §
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White Horses of the Camargue A photo workshop in France April 15 - 20, 2021
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Dealing with
Out of Focus Foregrounds I
f out of focus foregrounds don’t bother you, then this article won’t be relevant to your photography. However, I find them to be terribly distracting. When foreground elements are soft in front of a sharp subject, our eye is constantly diverted away from that subject to the blurred parts of the image, trying to focus on them. That usually ruins the photograph. A clear case in point is the portrait of a wolf, below. The out of focus background is fine.
Because the forest behind the wolf is so undefined, that forces our attention on the subject. However, look at the tree. It is blurred just enough to be visually annoying. I used a Canon 300mm f/2.8 lens for the shot, and the lens aperture was set to f/4.5. This relatively large f/stop was perfect to blur the background, but the shallow depth of field made the tree too soft for this to be considered (at least by me) a successful picture. Now study the image on the next page. The
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tree is sharp as it should be, the background is still complimentarily soft, and the wolf is still tack sharp. This is ideal. How did I do this? Once I realized the depth of field problem, I focused on the tree and took a second shot. I disregarded the rest of the picture, including the wolf, because I needed that one element sharp. Later, when I got home from this wildlife workshop, I made a precise selection of the sharp tree trunk using the pen tool and then pasted that over the out of focus trunk in the wolf picture. That gave me the perfect combination of a sharp foreground element with an undefined blurred background. In this type of composition, it is easy to assume the tree will be sharp even with a large lens aperture because it is up against the wolf. How-
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ever, since I was using a telephoto, the depth of field was particularly shallow. The diameter of the tree trunk was about eight inches, but with a 300mm lens that depth was enough to blur the tree when I focused on the wolf. Using a smaller aperture wasn’t an option because 1) I wanted the background to be significantly out of of focus, and the smaller f/stop would bring more definition to the forest behind the wolf, and 2) closing the lens down more would mean the shutter speed would be slower. With fast moving animals like canines, a fast shutter is essential for sharp pictures. I used the same technique when I photographed a mother and baby chimpanze shown on the next page. I took this at the Jane Goodall center in Kenya. I was separated from the chimps by electrified wire, and when I lay on the ground, a large female came and sat down in front of me with her baby. We were separated by about
three feet. I put a 70-200mm telephoto on my camera along with an extension tube to enable me to focus at this distance. The depth of field was extremely shallow, so as I focused on the eyes of the baby, the mother’s comforting and protective hand was out of focus. I took this in 2007 when I was shooting with Canon’s first serious digital camera, the 1Ds Mark II. A high ISO at this time meant unwanted noise, and if the ISO rose above 1000, the pictures were essentially unusable. Therefore, I set my ISO to 320. In this lowlight situation, that meant my settings were 1/125 and f/2.8. With such a large aperture, there was no way I could hold focus on the eyes as well as the mother’s hand. As you can see from the image below left, the original out of focus hand
is distracting and very unappealing. It ruins an otherwise good picture. To solve the problem, I quickly took two shots before the mother moved her hand. With the second exposure I photographed the hand, and then in Photoshop, when I returned home, I made a careful selection of the sharp version of the hand and pasted that over the blurred hand in the original capture. The picture shown below right is what I saw. Since we never see out of focus elements with our eyes (notwithstanding the need for glasses or contact lenses), this kind of Photoshop manipulation brings a subject or scene from nonreality to reality. At the same time, it eliminates a vexing problem in photography. §
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NAMIBIA PHOTO TOUR May 22 - June 1, 2021
Huge sand dunes Wildlife Walvis Bay cruise Dead trees Milky Way
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POST-PROCESSING online course by Jim Zuckerman
Learn how to process your images to give them visual impact. You will be introduced to Photoshop techniques that go beyond what you see and even beyond what you can imagine. This four-week course is invaluable to making your pictures look as good as the photographs you envy! You will receive detailed critiques on the images you submit for every lesson. 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 ON THIS PHOTO to read more about the course.
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Black and White w i t h Color O
by combining color with black and white. The contrast of the color against monochromatic tones is dramatic, and the eye can’t help but focus entirely on the subject.
Another way to place emphasis on a subject is
A case in point is the composite below where I placed a Venetian model on a balcony of a church in St. Petersburg, Russia. Because the model was on a layer, it was easy to convert the facade of the church to black and white. I did this using Image > adjustments > hue/saturation in Photoshop. I simply moved the satu-
ne of the first things I learned in art was that emphasis had to be placed on the subject. This can be done several ways. For example, a spot light or beam of light directed to the subject makes it stand out. An out of focus background does the same thing. Making the subject very light when the entire background is dark is also effective. I learned this from the famous painting by Rembrandt, the Nightwatch.
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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. 15 - 21, 2021
Snowy owls workshop Stunning pictures of snowy owls in flight. Up close and personal encounters with owls in the wild. Based near Toronto, Canada.
February 8 - 12, 2021
Photoshop Workshop The setting is in my home, and in this two day workshop you’ll learn enough to be truly dangerous in Photoshop! How to replace a sky, how to fix all kinds of photographic problems in your pictures, how to handle blown highlights, how to be incredibly creative . . . and more.
April 11-12, 2020
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ration slider all the way to the left. Look how the subject stands out against the monochrome background. Without doing any compositing, you can dramatize an image by using a simple selection. In the portrait at right, I selected the lips of the model using the lasso tool and then used Select > inverse. This selected everything except the lips. This time, because there are so many subtle tones in the eyes, the black gloves, and the model’s dark hair, I used Image > adjustments > black and white to convert the large portion of the image to monochrome. Keep in mind when you convert any portion of an image to black and white, contrast is always lost. You have to regain the contrast using a tool in Photoshop. Sometime I’ll use Levels (Image
> adjustments > levels), and sometimes I’ll bring the image back into Adobe Camera Raw (or Lightroom) and tweak the contrast there. Another technique I’ve used to combine color with black and white doesn’t involve digital manipulation at all. For the studio shot at left, the model wore a black and white patterned dress, a black hat, and red gloves. I shot this from a ladder looking down on the floor. The checkerboard pattern was a large piece of vinyl I had purchased. I took the photo on the next page of rugged mountains in Bolivia at 13,000 feet just outside the capital, La Paz. I used the quick selection tool in Photoshop to select the land forms and then used Select > inverse to grab only the sky. Using the hue/saturation dialog box, I then turned the sky into a monochrome. To 18
add some of the contrast back, I used the contrast slider as well as the clarity slider in Adobe Camera Raw. Using the same dialog box, I desaturated the mountains to create a muted image. For the purple iris below, I made a black and white gradient simulating a studio spot light. The flower stands out dramatically against the background, and the white spot further directs our attention to the subject. I made the foreground/background color boxes at the bottom of the tools palette white/ black, respectively, and then I chose the gradient tool. By dragging the cursor from the center of the flower to the upper right corner, I defined the size of the white spot. Dragging the cursor a shorter distance makes the spot smaller in size. §
When the gradient tool is selected, five icons appear in the left portion of the tool bar. Choose the icon second from the left. This gives you a circular gradient. That’s what I used to create this spotlight. 19
Expand your photographic artistry with
eBooks
Click on any ebook to see inside
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eBooks continued Click on any ebook to see inside
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CARNIVAL in VENICE February 15- 21, 2021
Unbelievable costumes in a medieval environment!
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What’s wrong with this picture?
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photographed this red fox on an icy river, and I like everything about it . . . except for one thing. I don’t like the fact that the log in the background has been cut. To me, when the hand of man intrudes on a nature picture, in most cases it degrades the image. There are exceptions, of course: An old, wooden split rail fence in a meadow; a small human figure in silhouette under the Milky Way; and rusted railroad tracks running through Texas bluebonnets are examples where the hand of man works. In this shot, even though the end cut in the log is old and partially decayed, I still don’t like it. It may not bother you, but I had to fix it. 23
The corrected version above is much better in my opinion. The scene looks entirely natural without any taint from people. To do this, I used the clone tool with a mediuim sized brush and extended the log to the edge of the frame. The other change I made was to open the shadows. I brought the image back into Adobe Camera Raw (the pulldown menu command in Photoshop is Filter > camera raw filter) and then moved the shadows slider to the right. This brought back detail in the legs. I feel the shadows slider is one of the most important tools in Photoshop. It’s also one of the most necessary tools. When we all shot film, if the shadows went dark -- or black -- there was nothing we could do. In the digital realm, we can reveal detail in what appears to be hopelessly dark shadows. § 24
SHORT AND SWEET 1.
2. Repetition of a shape or pattern almost always re-
3. Low-lying fog is seen more commonly in the ear-
4. Try photographing flowers in black and white. They
You can have a lot of fun creating abstracts at amusement parks using long exposures. The colors, the movement, and the shapes of the various rides all come together to make amazing images. The shutter speeds I use range from 1/2 second to 4 seconds depending on how abstract I want the images to be.
ly morning than at any other time of the day. Fog is magical. It adds a lot to any landscape photograph. Rivers and ponds are often covered with fog at dawn, and whether or not the sun shows itself, pictures taken at this time are especially beautiful.
quires complete depth of field. The whole point of a picture like this is to show the repeating shapes, and if the elements in the distance aren’t sharp, the graphic design of the photograph is compromised. My aperture for this shot was f/16.
can be quite dramatic as long as you make sure there is enough contrast. As much as I love color, black and white renditions of flowers with bold and beautiful graphic shapes can be outstanding. Use window light for drama, and I suggest a black background. §
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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 . . .Do you think the background in this picture is distracting? The trees are a mess. You always
talk about graphic design, and to me, that’s the problem. The background doesn’t have any kind of appealing design. What could I have done? Sandy Thomas, Waco, Texas
A: I agree with your assessment. Even though the stand of trees gives a nice sense of environment, they
just aren’t attractive for the reason you pinpointed: graphic design. I do like the tinge of bluish color because that connotes cold, and the snow-covered tractor is a good subject. If this were mine, I would replace the background with a winter landscape, or a barn in winter, that complemented the subject. There was nothing you could have done at the time of shooting.
© Sandy Thomas
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Partial list of Photography Tours 2020 - 2021
INDIA & HOLI FESTIVAL Mar. 2020
SPAIN/PORTUGAL Mar. 2020
HOLLAND/BELGIUM Apr. 2020
NORWAY/DENMARK Sept. 2020
PERU NATURE Sept. 2020
YELLOWSTONE & TETONS Jan. 2021
ETHIOPIA Mar. 2021
BIRDS & BATS Apr. 2021
WHITE HORSES Apr/May 2021
NAMIBIA May 2021
ICELAND July 2021
POLAR BEARS Nov. 2020
For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
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Frog & Reptile Workshop June 12 - 13, 2020
At least 40 species of tiny, exotic poison dart frogs, reptiles, and more. This is a macro workshop.
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Student Showcase Each month, Jim features one student who took beautiful and inspiring images on one or more of his photography tours or workshops. It’s really fascinating how photographers see and compose such different images even though we may go to the same places. Everyone gets great photographs on Jim’s trips.
Margaret Page, Midland, Georgia Kenya photo tour, Photoshop workshop, Spain/Portugal photo tour, Namibia photo tour, Oregon Coast photo tour, South Africa photo tour, Egypt photo tour
© 2020 Margaret Page
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Student Showcase, continued
Š 2020 Margaret Page
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Student Showcase, continued
Š 2020 Margaret Page
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Student Showcase, continued
Š 2020 Margaret Page
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POLAR BEARS from Ground Level! November 5 - 12, 2020
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun., April 11-12, 2020
Photoshop is a photographer’s best friend, and the creative possibilities are absolutely endless. In a personal and ‘homey’ environment (I have a very cool classroom setup in my home), I start at the beginning -- assuming you know nothing -- but I quickly get into layers, cutting and pasting, plug-ins, using ‘grunge’ textures, replacing backgrounds, using layer masks, blend modes, adding a moon, and a lot more. I promise to fill your head with so many great techniques that you won’t believe what you’ll be able to do. I go over each technique several times to make sure you understand and can remember it. Photoshop instructors approach teaching this program from different points of view. My approach is to be as expansive in my thinking as possible in creating unique, artistic, and compelling images. In addition to showing you how to use the various tools, pulldown menus, layers, and so on, I spend a lot of time giving you
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creative ideas that will inspire you to produce amazing images with the pictures you’ve already taken. I live in the Nashville, Tennessee area, and if you fly into the airport (airport code BNA) I will pick you up. If you drive, I’ll give you my address and you can find my home on Mapquest or with a GPS. For the $450 fee, I include one dinner in my home (prepared by my wife who is an amazing cook and hostess) and two lunches, plus shuttling you back and forth from my home to your nearby hotel. Contact me if you would like to participate in the workshop and I will tell you how to sign up (photos@jimzuckerman.com). All you need is a laptop and a lot of your pictures. If you don’t have a laptop, I have two Mac Book Pro laptops I can loan out for the duration of the workshop. §
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• Topaz Glow • A different approach to composition • Photographing puppies • Kaleidoscopic images • Online photo course • Student showcase • Photo tours
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Subject index for past Photo Insight issues 1/3 focus law Jul. ‘15 3D sphere Mar. ‘16 90 degree finder Mar. ‘13 Abstracts in soap Feb. ‘15 Abstracts, Shooting Mar ‘19 Aerial photography Jun. ‘13 African safari May ‘16 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 Angled perspectives Jan. ‘19 Aperture vs. shutter speed May ‘14 Aperture priority Sept. ‘14 Aurora Borealis Apr. ‘17 Auto white balance Dec. ‘13 Autofocus, when it fails Apr. ‘15 Autofocus failure Aug. ‘15 Autofocus failure Jan. ‘17 Autofocus challenges Apr. ‘18 Auto ISO Nov ‘17 Autumn Foliage Sep. ‘18 Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Bird Photography Jun ‘19 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Black and white with color Jan. ‘20 Blown highlights Feb. ‘18 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 Camera setting priorities Jun. ‘17 Capturing lightning Jun. ‘13 Catchlights Jul. ‘16 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Chromatic aberration May ‘13 Chrome Dec. ‘18 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Composites and Light Dec. ‘17 Compositing images Apr. ‘19 Composition, different approach Jan. ‘15 Contrast vs. exposure Jul. ‘15 Creating a star field Jan. ‘14 Creating a Sketch Dec. ‘17 Creative blurs Jan. ‘14 Dark backgrounds Dawn photography Dawn photography Day for Night Dead center
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Nov. ‘19 Jan. ‘17 Feb. ‘17 Oct. ‘18 Jan. ‘13
Dealing with smog Decay photography Define Pattern Depth of field Depth of field confusion Depth of field and distance Drop shadows Dust, Minimizing
Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Jan. ‘20 Dec. ‘18 Apr. ‘19 Aug. ‘19
eBook, how to make Jan. ‘13 Embedded in Ice Oct. 17 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 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Flood fixes problems Nov. ‘19 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 for Scale 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 Garish imagery Great subjects Great ceilings & HDR Panos Green screen Grunge technique
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
Subject index for past Photo Insight issues Histograms, Why I Don’t Use Jun ‘19 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 Image resizing Aug. ‘18 Implying motion Sept.‘14 Impossible DOF Feb. ‘16 Impossible DOF Jan. ‘17 Indestructible camera bag Dec. ‘14 Infrared photography Jul. ‘14 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17 Jungle photography
Dec. ‘14
Kaleidoscopic images Jan. ‘15 Keystoning, correcting Aug. ‘15 L Bracket Feb. ‘18 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 Liquify Feb. ‘18 Liquify Distortions Sept/Oct. ‘19 Long lens portraits Oct. ‘18 Low light photography May ‘15 Luminar 4 Jan. ‘20 Macro flash Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Macro trick May ‘19 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meter, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 Museum photography Mar. ‘13 Negative space Neon edges on black Neutral Density filters Night photography Night Safaris Night to Twilight Noise reduction
Jan. ‘16 Aug. ‘14 Jun. ‘18 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17
Optical infinity Jun. ‘16 Organization of photos Mar. ‘18 Out of focus foregrounds Jan. ‘20 Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Parallelism Nov. ‘19
Photography to Art Dec. ‘17 Photography solutions Jan. ‘18 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique Apr. ‘13 Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13 Photoshop, soft foliage Oct. ‘13 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Photoshop, drop shadows Jul. ‘14 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Photoshop, liquify Mar. ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14 Photoshop, enlarge eyes Nov. ‘14 Photoshop, darken the periphery Dec. ‘14 Photoshop, mirror images Dec. ‘14 Photoshop, beam of light Apr. ‘15 Photoshop, polar coordinates Mar. ‘15 Photoshop, chrome May ‘15 Photoshop, actions palette Nov. ‘15 Photoshop, cut and paste Nov. ‘15 Photoshop, geometrics Oct. ‘15 Photoshop, plugins Oct. ‘15 Photoshop, multiple selections Apr. ‘16 Photoshop, sharpening Apr. ‘16 Photoshop, Flood plugin Apr. ‘16 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Photoshop, 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
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Subject index for past Photo Insight issues Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Silhouettes Jun. ‘13 Silhouettes, Exposing for Sept/Oct. ‘19 Sketch, How to Make Jun ‘19 Snow exposure Nov ‘17 Snow exposure Nov. ‘19 Soft light Jan. ‘13 Smart phone photography May ‘19 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Sunrise & sunset Jan. ‘19 Tamron 150-600mm Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 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 Ultra distortion
May ‘18
Warm fingers in winter Water drop collisions What NOT to do in photography White vignette White balance White balance, custom Wide angle conundrum Wide angle lenses Wide angle portraits Wide angle lenses
Nov. ‘15 May ‘18 Apr. ‘18 Aug. ‘15 Feb. ‘15 Mar. ‘16 May ‘19 Mar. ‘13 Nov. ‘14 Jun. ‘17
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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
PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2020 email: photos@jimzuckerman.com snail mail address: P.O. Box 7, Arrington, TN 37014
Snow leopard, winter workshop, Montana
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