Photo Insights February 2022

Jim Zuckerman’s

PH OTO I N S I G HTS February 2022

When You Really Needed a Zoom Anatomy of Natural Light Portraits Upside Down Reflections Photo toursVStudent showcase Ask Jim Subject index

Macro photography and DOF The power of layer masks Face sculpting Upcoming workshops Photo tours Ask Jim Student Showcase Back issues

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Table of Contents 4.

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Macro photography and DOF The power of layer masks Face sculpting Jim’s eBooks What’s wrong with this picture?

Short and sweet Ask Jim Photography tours Student Showcase Past issues Subject index

On the cover: A remarkable staircase in Porto, Portugal, on Jim’s Spain/Portugal photo tour. This page: La Sagrada Familia in Barcelona, Spain.

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ealty checks put things in perspective at times. The next time you complain about how expensive lenses are, and how heavy they are to carry, let me give you a sense of scale. I did some research online and found truly outrageous lenses and price tags.

Let’s start with the Sigma 200-500mm f/2.8 telephoto. It costs $26,000 and weighs 34.6 pounds (15.7 kilograms), and it comes with a workout guide for developing your biceps. At such an affordable price, you might consider getting two of them -- one as a backup, just in case.

A lens that’s perfect for sports, wildlife, and photographing aliens on Neptune is Canon’s 5200mm f/14 mirror lens. It weighs in at 220 pounds, and its minimum focusing distance is 400 feet. A few years ago it was offered on eBay for $45,000, but no one bought it. It’s hard to understand passing up such a deal.

For those of you who shoot Hasselblad, you might want to give yourself a present for your next birthday and buy the Zeiss Apo Sonnar T 1700mm f/4 for only $100,000. It’s well worth the price. But you’ll have to buy a crane as well because it weighs 564 pounds (256 kilos), and I doubt the lens fits into the overhead compartment on any commercial aircraft known to mankind.

For you Nikon shooters, the Nikkor 6mm fisheye is a must have. It covers an astonishing 220 degrees and is a no-brainer at $160,000. It only weighs 11.4 pounds. You could be the first on your block to own one.

Leica has certainly stepped up to the plate with its 1600mm f/5.6 telephoto. It’s only $2,000,000. It was made specifically for a Sheikh in Qatar, so it’s a one-off. If you were lusting after this lens, I’m sorry, but as far as I know, it’s not for sale at this time.

To make you feel little and insignificant when you look at the contents of your camera backpack, Zeiss made the 50mm Planar f/0.7. This is one of the largest apertures in the history of photography, and Zeiss sold six of these lenses to Nasa for a cool $23,100,000 each. If you travel with this lens, I would definitely recommend adding it to your homeowner’s insurance policy.

Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com 3

MACRO PHOTOGRAPHY

and Depth of Field T

he photograph below of a knob tailed gecko shows shallow depth of field in which only the eye is sharp and the sand below the eye. I used an aperture of f/2.8. Some photographers like this look where a single feature, or a narrow plane, is sharp and the rest of the image is blurred. I do this once in a while, but when photographing macro subjects I think it’s much more impressive and visually compelling to see all of their intriguing and beautiful detail with tack sharp clarity. Besides, anyone can blur a picso your

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ture. That takes no talent or skill. Capturing extensive depth of field with small subjects is a different story.

Depth of field strategies 1. Small lens aperture. We all know that a small lens aperture means increased depth of field. But there are ramifications of using, say, f/22 or f/32. First, so much light is reduced that one of three things has to happen to compensate for this light loss.

exposures are correct: a) a much slower shutter has to be used to allow more light onto the sensor, b) a higher ISO has to be chosen for the same reason, or c) a flash has to be used.

If you choose a slower shutter speed, that necessitates the use of a tripod and, at the same time, the subject can’t move. Not even a little.

Macro photography often involves significant magnification, such as the eye of a water dragon, right, and that means the slightest movement of a small subject will translate as a blur.

Movement is magnified, and the greater the magnification (such as when you added extension tubes to a macro lens) the more blur you’ll see in the pictures.

water drop just enough to be unsharp in the photographs. In the case of poison dart frogs, like the Peacock frog above, their necks pulsate as they breathe and this, too, will cause blur.

If you don’t slow the shutter speed down but instead raise the ISO, you’ll see increased noise. With modern mirrorless cameras and

If you are shooting outdoors, for example, even the slightest of breezes can disturb a flower, seed pod, blade of grass, insect, or 5

intelligent post-processing, the noise can be significantly reduced or eliminated. But consider this: If the aperture is closed down from f/5.6 to f/32, that’s a 5-stop change. If you compensate for the loss of 5 f/stops of light starting from, say, 400 ISO, the newly adjusted ISO would be 12,800! That’s a lot of noise to deal with in post-processing.

The last option is to use flash. This provides enough light to enable you to use a low ISO for maximum picture quality as well as a small lens aperture. There are many types of flash to use. I prefer a ring flash (not a ring LED light which doesn’t have enough light output) because it’s small, mobile, and it simulates diffused daylight. Shadows are kept to a minimum especially when the flash is used very close to the small subjects. The closer the flash is positioned to the subject -- like 4 6

to 6 inches -- the softer the light will be. Even a ring flash will approach a point source of light if it’s placed several feet away.

Lens diffraction For my semi-annual Frog and Reptile workshop, which is essentially a macro photography experience, I recommend the participants shoot with the smallest lens aperture available. This is usually f/32. This provides maximum depth of field, notwithstanding focus stacking. Even f/16 doesn’t provide enough depth of field when moving in very close to a small subject as you can see in the image above. The green arrows shows soft chameleon scales. They should be sharp.

The problem, though is that small apertures cause diffraction. Lens diffraction is an opti-

SPAIN and PORTUGAL Photo Tour A P R I L 9 - 21, 2022

Ceiling of La Familia Sagrada, Barcelona, Spain

Pena Palace, Sintra, Portugal 7

cal interference occurring when light passes through a tiny opening. In other words, a photograph grows progressively less sharp at small aperture values.

So, is f/32 less sharp than f/8? Yes, it is. F/16 is also less sharp than f/8. However, shallow depth of field means much of the picture is unsharp as you can see on page 4. What is the solution, then, for maximizing sharpness?

Focus stacking , which is a composite of multiple exposures, usually at f/8, in which the sharpest slice of each frame is composited together to make a competely sharp image, can only be used if the subject isn’t moving.

There can be no wind and, if the subject is an animal, it has to be absolutely still over the course of at least 15 seconds. Frogs, reptiles, insects, and other types of small animals are

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most likely not going to remain perfectly motionless for long periods of time.

Therefore, the only option is to use a small aperture. I used f/32 for the photo of the frog on page 5 as well as for the cinnamon frog below.

In both images there is focus fall-off, as you would expect, but the subjects are completely sharp. Are they as sharp as a focus stacked image at f/8? No, but given the limitations of optics and the fact that the animals usually aren’t motionless for long periods of time, this is the best that can be done.

In post-processing, if I want to add additional sharpness, I’ll use Topaz Sharpen AI or, if I want to do it quickly, in Photoshop I’ll choose Filter > sharpen > unsharp mask.

Parallelism

When doing macro work, especially extreme magnification of 1x or larger, another factor in determining depth of field is the angle of the camera back (i.e. the plane of the digital sensor -- we used to call this the ‘film plane’) to the subject plane.

Look at the illustrated sketch below. The camera was rotated counterclockwise a few degrees to make the digital sensor as parallel as possible with the side of the chameleon. The reptile’s side isn’t perfectly flat, of course, but the general plane of the animal’s lateral surface is angled. To maximize depth of field, the camera should be angled the same way.

In the photo of the chameleon on the next page, notice how the eye and the center of the side is sharp while the crest and the hind foot are blurred. This occurred because the back of

the camera was not parallel with the chameleon’s lateral surface.

This is a simple aid in increasing depth of field, but in my experience most photographers forget to take advantage of it. Even if they are aware of this concept, angling the camera properly to make it as parallel as possible to the plane of the subject isn’t easy. Many times in my photo workshop I’ll have to point out that the camera isn’t as parallel as a participant thinks.

Don’t try to judge parallel angles by looking through the viewfinder. Instead, hold the camera as you think it should be positioned and then look at it from one or two feet away.

It will be much easier to determine the ideal angle from this vantage point.

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Study the pictures of the emerald tree boa on the next page. I took the photograph at the top of the page from the nose looking back toward the eye. The plane of the digital sensor was significantly oblique to the plane of the snake’s face and, even though I took this at f/16, the depth of field is quite shallow. Having Important elements in the foreground out of focus ruins the picture, in my opinion.

The photograph at the bottom shows what happens when the plane of the digital sensor is parallel with the side of the snake. I used the same f/stop, and now the entire surface is sharp.

There are times, of course, when you want an oblique angle on a subject for compositional purposes. That’s fine, but be aware of the consequences -- depth of field will be compro10

mised in the extreme. The greater the magnification and the more oblique the camera angle, the shallower the depth of field will be.

Even though I’m talking about two-dimensional planes of focus -- the digital sensor and an imaginary focus plane on the subject -- the camera can be rotated in 3-D space. You have to check the parallelism from left to right as well as from top to bottom. In other words, swing the camera from left to right and from top to bottom of the subject. At some point, you’ll see the back of the camera at the parallel angle. This in addition to a small lens aperture, will give you the maximum depth of field possible in a single exposure. Macro photography is very precise because it’s all about depth of field. §

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PERU NATURE TOUR Sept. 24 - Oct 4, 2022

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The power of LAYER MASKS S

ometimes just knowing where a tool is and what it does isnt enough.

Knowing the creative potential of a tool or a menu command in Photoshop comes from seeing examples of its application. That’s why I’m showing you this particular technique.

Layer masks are nothing more than a mask that happens to be on a floating layer above a background image. And a mask is simply a black and white image that blocks part of an image from being seen and allows other portions of that image to be revealed.

I took the photo below of the Borneo eared

frog in my semi-annual Frog and Reptile workshop now held in Kansas City, Missouri.

We use large photo prints of out of focus foliage behind the macro subjects, but in this case the frog had jumped to a perch that didn’t have a natural looking background. I used a ring flash, and the light fall-off made the background muted. It wasn’t terrible, but I wanted a more attractive green background indicative of the frog’s natural environment in the jungle.

Because the frog and the branch became more and more out of focus, it would have been a challenge to simply make a selection of the background and replace it with a typical copy

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part of a photo.

I then opened the frog picture and used the pulldown menu command, Edit > paste.

This pasted the out of focus foliage image over the frog. As you can see in the screen capture on the next page, the soft green picture is now Layer 1.

and paste procedure.

Therefore, I selected a picture of an out of focus tree, shown above, taken from my ‘foliage backgrounds’ folder. I used the Photoshop command Select > all, and then Edit > copy.

The image was now in the ‘clipboard,’ Photoshop’s temporary holding place for a photo or

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I then created a layer mask. There are two ways to do this. You can use the pulldown menu command, Layer > layer mask > reveal all, or you can click the short cut at the bottom of the layers palette indicated by the red arrow in the same screen capture.

At this point, I wanted to brush away the out of focus foliage over the frog. I selected the brush tool and made sure the foreground/ background color boxes at the bottom of

the tools palette are black/white, respectively. I then started brushing away the green color over the frog. This revealed the image on the previous page.

The key here was to blend the green foliage with the frog in such a way to suggest I was shooting through leaves in the jungle. I wanted to imply the leaves in the immediate foreground were so out of focus they created a blur, and at the same time the leaves in the distant background were similarly completely blurred. That’s what you see in the image below.

To do this, I softened the brush and lowered the opacity of the

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PANTANAL PHOTO TOUR Nov. 8 - 15, 2022

Jaguars in the wild Exotic birds in flight Caiman Giant river otters

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brush tool to 65%. I then continued to erase the green foliage until I liked the result.

If you follow these steps and you discover you’ve erased too much of the foliage, simply reverse the colors in the tool palette to white/black and apply the brush tool. The erased green foliage will be painted back into the picture.

So, when the foreground/background color boxes are black/white, the color and the detail in Layer 1 gets erased. When the boxes show white/black, the color and detail get brushed back in.

Same technique, different situation I used the same technique for the composite be-

low. The grasses came from a different image and, using a soft brush and lowered opacity for the brush tool, I brushed away the upper portion of the landscape leaving just the grass.

Then, from a third photo, I layered the picture of the coyote into the foreground grass and, using the brush tool again, I brushed away everything except the animal and the grass surrounding it.

I replaced the original bland sky with a dramatic sky from my ‘sky folder’ using the Sky Replacement feature under the pulldown tab Edit in Photoshop. I don’t use any of the stock sky images that come loaded with the latest versions of Photoshop. Those can be deleted, and then you can upload your own sky images. §

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Face Sculpting

ith the smallest change in the shape of facial features or with the shape of the face itself, striking improvements can be made. Plastic surgery is based on this idea and, in Photoshop, we can do the same.

An original portrait of a young woman in the Akha tribe of northern Thailand is shown below left. Note her round face and narrow eyes. In the comparison picture, below right, I narrowed her face and enlarged her eyes just a little bit. I also smoothed her skin. The difference is compelling.

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To do this, I used Filter > liquify. At the far right of the opened dialog box there are submenus titled Eyes, Nose, Mouth, and Face shape. Each of these have a down arrow that makes available several sliders to control specific portions of a face. For example, to narrow this woman’s face I used ‘Face Width’, and to enlarge her eyes slightly I used Eye Size.

Be judicious in the changes you make. It’s easy to exaggerate the changes and distort a face completely. But if you want to retain the original character of a face, make subtle changes in small increments. §

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UPCOMING PHOTO WORKSHOPS Frog & Reptile Workshop This is a macro workshop to photograph beautiful, colorful, and intriguing frogs and exotic reptiles. Learn how to use flash with closeup work, how to use extension tubes, and how to take perfect exposures. Held indoors in a hotel conference room in Kansas City, Kansas.

June 11 - 12, 2022

Abandoned in Georgia Dilapidated mansions, cars, trains, ghost towns, farmhouses, and more. Looks great in both black and white and color.

June 17 - 22, 2022

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

2121 1919

African Wildlife Photo Tour October 25 - November 4, 2022

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What’s wrong with this picture?

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his is really not a bad picture at all. It’s the tail of a chameleon, and the spiral graphic design is pleasing. The dark background seen in the upper and lower left corners means there is nothing in the background that’s distracting.

The one thing that bothers me about this picture, however, is very flat lighting. I used a ring flash which is my ideal type of light source for many small amphibians, reptiles, insects, and even flowers. The curled tail is essentially a single plane. The rich texture can be underscored by sidelighting the tail from any angle.

The comparison picture on the next page was also done with a ring flash, but in this case I removed the flash from the 50mm macro lens and held it to the side. The power pack of the ring flash was still sitting in the hotshoe. The accordion style cable that connects the flash and the power unit is short, but it’s long 23

enough to extend the ring flash to the side of small subjects that are just inches from the camera. Photographing large subjects, such as a person, means the camera-subject distance is a few feet, and that, in turn, means the cable and your arm aren’t long enough to position the light to create significant sidelighting. Besides, ring flashes are designed to be used very close to the subject.

You can see how pronounced the texture is in the tail of the chameleon with the sidelighting. To make sure the entire frame is sharp, I used a lens aperture of f/32 and, as I discussed on page 8, I made sure the back of the camera was parallel with the plane of the tail.

Some ring flash units have the ability to set a light ratio, which theoretically creates varying degrees of side light. In my experience, this doesn’t work well. For dramatic light like I show here, you have to take the ring flash off the lens and hold it with a severe angle to the plane of the subject. § 24

SHORT AND SWEET 2.

1. Photographing deep overcast scenes produce blu-

ish images. If you use cloudy white balance, you can eliminate the blue. When shooting outdoors, I only use daylight WB. If I want to mitigate the blue cast, I use the ‘temperature’ slider in ACR or Lightroom. This means there is one less thing to do when shooting.

This is a typical out of focus foliage image I use as a natural background for all kinds of images, from macro subjects to birds, wildlife, and people. To create this kind of picture, turn off autofocus and use a telephoto lens with a large lens aperture. Vary the degree of abstraction manually with the focusing ring.

3.

4. Unfortunately Adobe is discontinuing 3-D capabil-

Including the moon in a nightscape, whether it’s obscured by clouds or not, requires two separate exposures and then the two shots have to be combined in Photoshop. There is too much contrast between the very bright moon and night landscapes or cityscapes to expose correctly in one frame.

ity in Photoshop. Now, if you want to work in a 3-D environment, you have to subscribe to Adobe Substance 3-D Modeler. This program has much more sophistication than Photoshop’s 3-D, but it will cost more money to get involved in this type of imagery. §

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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 photographed this female moose in Banff National Park in Canada several years ago with

film, and it turned out too greenish. I’m not sure if it was the film that was the problem or perhaps a bad scan. Is there any way to address this color issue and make the picture look more correct?

Tomasz Wojcik, San Diego, California

A: The easiest and fastest way to make the color more normal is to use the pulldown menu command Im-

age > adjustments > color balance in Photoshop. There are three sliders in the dialog box. Move the green/ magenta slider to the left, toward magenta, and that will solve the problem. Don’t move it too far, but just enough so the green color bias disappears. Green and magenta are complementary colors, and they counteract each other. §

© Tomasz Wojcik

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Partial list of Photography Tours 2022 - 2023

SPAIN/PORTUGAL Apr 2022

ABANDONED in GEORGIA Jun 2022

HOLLAND/BELGIUM Apr 2022

ICELAND Jul 2022

LOUISIANA SWAMPS May 2022

NEW ENGLAND LIGHTHOUSES Aug 2022

NORWAY/DENMARK Sep 2022

PERU Sep/Oct 2022

VERMONT AUTUMN Oct 2022

CARNIVAL in VENICE Feb 2023

ETHIOPIA Mar 2023

PATAGONIA PHOTO TOUR April/May 2023

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

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Mystical Swamps of Louisiana j May 18 - 22, 2022 jPrimeval landscapes

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Birds in flight Alligators Ante-bellum homes

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.

Joanne Damian, Strongsville, Ohio Birds and Bats Photo Tour, Mystical Swamps of Louisiana, Pata-

gonia Photo Tour, Costa Rica Photo Tour, and White Horses of the Camargue.

© 2022 Joanne Damian

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Student Showcase, continued

© 2022 Joanne Damian

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Student Showcase, continued

© 2022 Joanne Damian

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Student Showcase, continued

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CHINA PHOTO TOUR January 26 - February 8, 2023

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FROG & REPTILE WORKSHOP Based in Kansas City, Missouri

Sat. and Sun., June 11 - 12, 2022

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 34

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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 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 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 Correcting keystoning Creating a star field Creating a Sketch Creative blurs

Dark backgrounds Dawn photography Dawn photography Dead center Dealing with smog Decay photography Define Pattern Depth of field Depth of field confusion Depth of field and distance Depth of field and obliqueness Depth of field, shallow Depth of field vs. sharpness Double takes Drop shadows Dust, Minimizing

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

eBook, how to make Embedded in Ice Energy saving bulbs Exposing for the sun Exposure, the sun Exposure technique Exposure, snow Exposure triangle Exposure, to the right Exposure compensation Exposure compensation Extension tubes

Jan. ‘13 Oct. 17 Sep. ‘14 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14 Nov. ‘14 Apr. ‘15 Sep. ‘16 Mar. ‘21 Dec. ‘13

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

Face sculpting Apr. ‘21 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 Focus on the eyes Dec. ‘20 Focus points Mar. ‘15 Focus points Sep. ‘20

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Subject index for past Photo Insight issues 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 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Histograms, Why I Don’t Use Jun ‘19 Histogram problems Apr. ‘20 Hotels with a view Mar. ‘20 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 Image resizing Aug. ‘18 Implying motion Sept.‘14 Impossible DOF Feb. ‘16 Impossible DOF Jan. ‘17 Indestructible camera bag Dec. ‘14 Infrared photography Jul. ‘14 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17 Jungle photography

Dec. ‘14

Kaleidoscopic images Kaleidoscopis images Keystoning, correcting

Jan. ‘15 Aug. ‘20 Aug. ‘15

L Bracket Feb. ‘18 L Bracket Feb. ‘21 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Layer Masks, The Power of Feb. ‘22 Light fall-off Feb. ‘14

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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 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 Night photography Night Safaris Night to Twilight Noise reduction

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

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

May ‘20 Jun. ‘16 Mar. ‘18 Jan. ‘20

Paint abstracts May ‘13 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 Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13

Subject index for past Photo Insight issues 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 with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Restoring old photos Jun ‘20 Ring flash, advantages Jul. ‘21 Ring flash versatility Oct. ‘21

Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Seeking Cool Snow Photos Jan. ‘21 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Self-critiques Nov. ‘20 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Shooting into the light Jun ‘20 Silhouettes Jun. ‘13 Silhouettes, Exposing for Sept/Oct. ‘19 Silvered landscapes Mar. ‘20 Sketch, How to Make Jun ‘19 Skies make or break a picture Aug. ‘21 Sky replacement Nov. ‘20 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 Texture Mapping in 3D Jul. ‘21 Topaz AI Gigapixel Mar ‘19 Topaz glow Jan. ‘15 Topaz glow Sep. ‘17 Topaz Impression Sep. ‘15 Topaz Remask 5 Oct. ‘17 Topaz Simplify 4 Dec. ‘12 Topaz simplify 4 Jun. ‘14 Topaz Studio Apr. ‘18 Translucency & backlighting Nov. ‘18 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Twilight photography in the rain Apr. ‘19 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Two subject focus rule Jan. ‘20 Two subject focus rule Jun. ‘21 Urban heights Ultra distortion Upside Down Reflections

Jun. ‘21 May ‘18 Aug. ‘21

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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 keystoning Nov ‘17 Wildlife photos with wide angles Mar. ‘15 Window light Dec. ‘15 Window light portraits Aug. ‘18 Window frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Winter photography Nov. ‘18 Wire Mesh, Shooting Through Jul. ‘18 Workflow May ‘13

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PHOTO INSIGHTS® published by Jim Zuckerman All rights reserved © Jim Zuckerman 2022 email: photos@jimzuckerman.com Edited by: Donald Moore

Poison dart frog at Jim’s Frog and Reptile workshop 45