Jim Zuckerman’s
PH OTO I N S I G HTS February 2019
Sunrise & Sunset Portrait options 10 reasons photos are not sharp Photo tours Ask Jim Student showcase 1
4. 10. 21. 28. 30. 31. 32. 34. 40. 44.
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Sunrise and sunset Portrait options 10 reasons photos are not sharp 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 small boy of the Karo tribe in Ethiopia and his baby goat photographed against black velvet. This page: An arctic fox in a winter den.
Jim with Princey at 6 weeks
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know many photographers who avoid photographing in the winter because conditions can be harsh. Cold weather, brutal winds, and deep snow offer challenges for sure. Picture taking in the winter has to be approached with careful planning by protecting yourself and your equipment from the elements. Having said that, photographing in the winter often produces stunning imagery. Some of the best nature pictures I’ve ever taken were produced in the challenging conditions of winter. There is a special magic in capturing landscapes enveloped in a blanket of white. They are pristine, graphically beautiful, and even elegant. And wildlife in winter are in their full, luxurious coats, and they never look as good as at this time of year. My favorite time to photograph outdoors in winter is during or just after a snowfall. Trees are laden with snow, everything looks clean, and there are no footprints. Night photography is also amazing in the winter because street lamps illuminate snow beautifully, and long exposures introduce some very unique colors. Long shadows on snow, the glistening sparkles of snowflakes, and the contrast between a snowy landscape and the night sky are all dazzling things to see and photograph. Don’t miss out on wonderful opportunities to capture beautiful photographs in the winter. Dress warmly, protect your fingers, toes, and ears, use a lot of hand warmers, and then go out and take amazing pictures. Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com 3
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Sunrise and Sunset
am often asked if there is a difference between sunrise and sunset. My answer is there is only one thing that’s different. When you shoot at sunset, you have time to get into position and compose a shot based on where the sun will predictably sink beneath the horizon. You can see how the light falls on the land, how silhouettes look, and you can determine if you need to use HDR to deal with contrasty light. Time is on your side. Sunrise happens very fast. As soon as the sun breaks the horizon in the morning, you have to assess many things in a short amount of time -shadows, texture, contrast, color, and exposure. Every second that passes, the magic of sunrise
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lighting is diminished, so it’s necessary to work very fast. The quality of light in both sunrise and sunset is the same. Photo Opportunities Unique to Low Angled Light We associate sunrise and sunset with beautiful color. Clouds turn pink, and golden light floods the land with stunning results. Color aside, there are several aspects of good picture taking that come into play in the early morning and late afternoon of which you should be aware. No other times of day afford such
unique creative potential. 1. Texture. When the sun is low to the horizon, its light skims the land creating pronounced texture. In the shot of Bryce Canon at sunrise on the previous page, notice how the foreground as well as the background shows rich texture. The juxtaposition between shadows and highlights make discernable texture. 2. Silhouettes. Both partial and full silhouettes are created with strong backlighting. The chapel and trees in Tuscany, below, and the Karo tribesman in Ethiopia on the next page exemplify this. With a single exposure in which you expose correctly for the highlights, the subject is usually rendered black, i.e. a full silhouette. The picture at upper right of a gray heron in Botswana shows this. If you do HDR, depending on how you work the sliders in Adobe Camera Raw or Light-
room, you can reveal detail in the subject, thus creating a partial silhouette. What defines the success of a silhouette is the graphic design of the subject. If the subject has an attractive shape with beautiful lines, it will work. If the subject is busy, truncated, or messy, it won’t work. When I photographed the Karo tribesman, through my interpreter
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I asked him to hold his stick diagonally, to look to the left, to separate his thumb from his hand, and to turn his right foot out. All of these things made his shape pleasingly graphic. 3. Direction of light. Depending on how you point the camera and how the subject is angled to the sun, you can capture front lighting, sidelighting, backlighting, and transillumination at sunrise and sunset. No other natural light gives you these choices. The picture of the Eastern Sierras on the next page shows side light on the bushes in the foreground as well as on the peaks in the distance, while the large rock monolith at the left is front lit. In the winter landscape at right I took in Tennessee, backlighting silhouetted the tree and each ice-covered branch shows transillumination -light coming through a transparent or translucent subject. 6
4. Using the sun as a dynamic element. When the sun is close to the horizon, including it in the composition adds drama and a powerful focal point. When using a wide angle lens, the sun is rendered small in the frame, often with light streaks as you can see in the shot above. A small lens aperture such as f/16 or f/22 helps define these streaks. A long lens, on the other hand, creates an un-
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naturally large sun for unparalled drama as you can see in the leopard silhouette, below. I used a 500mm f/4 Canon lens for this picture. We all know the sun doesn’t appear this large in the sky, but for sheer visual impact, it’s one of the most powerful options when taking pictures at sunrise and sunset. To expose correctly when shooting into the sun, the easiest technique to use is simply to take a shot, look at the LCD monitor on the back of the camera, and tweak the exposure by using the exposure compensation feature built into the camera. Assessing the histogram will be useless in this situation because, when including the sun, there will always be spiking on the right. With virtually all other types of nature photography, a spike on the right indicates blown highlights. However, with the sun, a spike is unavoidable and does not indicate a poor exposure.
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5. Maximum color. If you are willing to extend your shooting session, 20 or 30 minutes before sunrise and after sunset you’ll often be rewarded with outstanding color in the sky. The Tuscan sunrise on page 5 shows a good example. This kind of sky produces a silhouette unless you use the HDR technique which will reveal detail in the foreground elements and the landscape. I typically use a 5-frame HDR composite for this, although if the contrast is extreme, a 7-frame sequence is necessary to pick up all of the shadow detail while not showing any overexposure in the sky. 6. Long Shadows. When the sun is low, shadows are elongated dramatically. Including those shadows in a composition can add an artistic element to the overall design of an image. The shadows have to be graphically pleasing, however If they are busy or confus-
ing, they will detract from your composition and degrade the picture. In the portrait of a Karo tribal boy in Ethiopia, right, notice how his shadow is simple and diagonal in the frame. It balances the composition. I took this about five minutes before sunset. And in the Namibian landscape below, notice how the shadows of the tree branches fan out toward the camera. Both of these examples show how the graphic lines of shadows contribute to the success of a photograph. Sunrise and sunset happen very quickly when you are shooting at or near the Equator. Beautiful colors in the sky can last ten minutes or so, and the sun seems to move quickly. Be prepared for this so you don’t miss photo opportunities. Closer to the poles, sunrise and sunset lasts for hours. You have all the time in the world to find great shots. Keep this in mind when you plan your next photo trip. §
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NORMANDY & BURGUNDY September 6 - 14, 2019 Spectacular chateaus
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Quaint French villages
Paris
Coastal life
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Portrait Options n my recent photo tour to Ethiopia, four ourdoor portrait techniques turned out to be my favorites. They are:
1. Out of focus foliage background. This kind of background never fails to be complimentary to the subject, and at the same time it directs all of our attention to the subject(s) as in the portrait below of girls from the Surma tribe. You can determine how much of the foliage background is defined by the lens choice, the f/stop, the distance of the subjects to the background, and the camera-subject distance. In the photograph below, you can see some defi-
nition in the trees behind the girls as well as differences in highlights and shadows. This option is good to give a sense of environment, even though the background is largely out of focus. Contrast this with the portrait of the girl on the next page in which the foliage background is completely undefined. To create a background that is totally out of focus with no definition at all, use a large lens aperture such as f/4 or f/5.6, position yourself close to the subjects, use a long lens at least 200mm (but longer is better), and make sure the subjects are far from the
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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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background. I would say the minimum distance for an undefined background would be about 20 feet (7 meters). Conversely, to capture some degree of definition in the foliage background, use a smaller lens aperture such as f/11 or f/16, use a shorter focal length in the 100mm to 200mm range, move back several feet from the subjects and/or ask the subjects to stand closer to the background. 2. Solid color background. When I know portraiture will be an important part of a photo tour, I bring with me a piece of black velvet. Black is a bold and dynamic color to use behind a subject, and it eliminates any kind of distractions. All of a viewer’s attention has no where else to go but on the subject. Sometimes I hang the fabric on something, and 14
other times I enlist the help of two people to hold it taut behind the subject. If I kneel down, I also use the sky as a solid color background. This eliminates a busy background such as a tribal village with all the huts and other things that easily detract from the subject. 3. Wide angle portrait. One of my favorite types of portraiture is done with a wide angle lens placed relatively close to the subject. Yes, a wide angle lens distorts, but in this case the result is not a bad thing. I think it’s quite dramatic. In addition, it creates an environmental look in which there are two subjects -- the person and the background. I typically shoot from 3 to 5 feet away, and I always use a small lens aperture, the largest being
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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. 14 - 20, 2020
Frog and Reptile workshop Close-up encounters with poison dart frogs (which are not poisonous in captivity) and exotic reptiles. This is a macro workshop held in St. Louis, Missouri. Everyone is guaranteed amazing pictures!
June 8 - 9, 2019
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.
May 4 - 5, 2019
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f/16. If there is enough light, or if I’m willing to raise the ISO, then I’ll use f/22 or even f/32. This insures the background is as sharp as the subject. In my opinion, this is essential. The photo below and the one on the next page are examples of this approach. Note how these pictures give a wonderful sense of context. We get a sense of where these people live. This kind of shot is more challenging that simply using a telephoto lens and isolating the subject. With this kind of portrait, you have to deal with two separate subjects -- the foreground and the background. Both have to be worthy of being photographed. 4. Replacing the background. With this technique, you don’t have to use a wide angle lens in order to achieve complete depth of field. In fact, you can combine a telephoto portrait with a wide angle shot of the background.
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A case in point is the portrait of a young Hamar girl in Ethiopia on page 20. I photographed her with a 100-400mm lens, and then I walked around her village with a 16-35mm lens photographing huts, fencing, and animals to use as backgrounds. I then selected the girl in Photoshop and pasted her in front of a village scene. In this way, I can create complete depth of field without the need for a small lens aperture and without the necessity of finding the perfect background at the time I’m shooting the subject. This gives maximum flexibility in creating a unique portrait. The steps for this technique are: 1. Make a selection of the subject. Depending on the detail in the picture, I use either the pen tool or the quick selection tool.
2. If the subject has hair or fur, I use Topaz Remask 5 to make the selection. 3. Once the selection is made, I use Select > modify > contract, and in the dialog box I choose 2 pixels. This contracts the selection so any bit of color from the original background is eliminated. 4. Then I feather the edge with Select > modify > feather. In this dialog box, I choose 1 pixel. This is just enough softening so when the next background is added, the transition between the two layers is natural and believable. 5. I now copy the selection to the clipboard, Photoshop’s invisible holding place for a photo or part of a photo. The pulldown menu command is Edit > copy, but I use the shortcut Command (or Control) C.
6. I open the background photo and then choose Edit > paste. This pastes the subject onto the background. With the move tool, the image can be moved into place, and with the transform command (Edit > transform > scale) you can size it appropriately if needed. 7. At this point, I usually flatten the image with Layer > flatten image. Finally, I will tweak the composite with respect to color, contrast, clarity, and vibrance. To do this, I bring the image back into Adobe Camera Raw with the command Filter > camera raw filter. It’s important to note when putting together a composite like this, the light should match between the foreground subject and the background. In other words, don’t combine a portrait taken in diffused light with a background taken in midday sunlight. However, in some 17
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Wildlife Photography eBook will be available next month
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se situations, you can combine a subject lit with sidelighting or backlighting with a background taken in diffused light. The composite, right, illustrates that this can work. And, in fact, this kind of lighting occurs all the time where the sun may be obscured by a tree, a cloud, or some other opaque object that allows the subject to be illuminated but the background is in shadow. There are other approaches to portraiture than the four I’ve outlined in this article, but these are the techniques I used in Ethiopia that appealled to me. Sometimes I used two or three of these techniques for a subject I liked simply for a variation on a theme. It’s hard to predict which approach I’ll like when I get home, so I tried to be as creative as possible to give me a lot of choices during post-processing. Often, I end up liking them all. §
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10 reasons photos are not sharp P
hotographers are always concerned that pictures turn out as sharp as possible. Photography has a seemingly endless number of challenges, but sharpness is number one. No matter how incredible your photo opportunity is, if the images are not sharp, nothing else matters. Too often, images are almost sharp, and this is particularly vexing because if only you had paid attention to one tiny detail or two, they would be perfect. What follows is a list of ten reasons why your
images may not be as sharp as you want. 1. Image stabilization was left on when you used a tripod. The IS (Canon) or VR (Nikon) feature is designed to be used when handholding the camera. When your gear is mounted on a tripod, though, it should be turned off. There are some lenses that are said to be unaffected by this issue, and they produce sharp pictures whether the stabilization feature is left on or turned off. In my experience, though, I have never had sharp pictures when the IS
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function is turned on and I’m using a tripod. This is also true when I’m shooting on safari and my support is a beanbag. I lost some great shots of lions because I assumed the beanbag would be similar to handholding the camera. I was wrong. My images were unsharp until I turned the IS off. 2. The center column of the tripod is raised too high. The stability of a tripod comes from the fact that three legs are used to provide a firm support. When you raise the center column 12 or 14 inches above the base, it doesn’t have the same rigidity, and if there is any wind or if you jar the camera when pushing the shutter button, the resulting pictures will be blurred. This is true for any type of subject -- landscapes, architecture, macro, wildlife, portraits, etc. 3. Your shutter speed was too slow and you
handheld the camera. This is one of the prime culprits that result in unsharp pictures. If the shutter speed is slower than 1/60th of a second, chances are that your images will not be tack sharp. This guideline is useful for lenses in the 50mm range and wider. For telephoto lenses, the general rule is that the shutter speed should be the reciprocal of the focal length of the lens. In other words, if your telephoto is a 300mm, then the shutter speed should be 1/300th of a second or faster to get a sharp picture. If the lens is a 500mm plus a 1.4x teleconverter equaling 700mm of focal length, the shutter speed should be at least 1/700th of a second to insure sharp pictures. With a cropped sensor camera, if your lens is 400mm but with the crop factor it’s 600mm, then the shutter speed should be 1/600th of a second or faster to insure sharp images.
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When you are shooting in a low-light situation, such as when I captured the egret in breeding plummage, below, the strategy you should use is to raise the ISO until the shutter speed becomes fast enough to give you tack sharp images. This is assuming you are already using the largest lens aperture. 4. Don’t handhold your camera when photographing at twilight or night. This will always result in unsharp pictures. If you raise the ISO so high to get a fast shutter speed, the pictures will be full of noise. Digital noise is quite pronounced in pictures taken in low light, so make sure you use a tripod, a low ISO, and then the long shutter speeds won’t matter. 5. Autofocus can fail in low light environments. In order for the autofocus mechanism to function correctly, it needs contrast – the difference in light areas of the composition
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versus dark areas, or the difference between colors. When shooting at night or in a dim interior such as a restaurant or cathedral, for example, I recommend turning the autofocus off and focus the old fashioned way … manually. This will guarantee that your pictures will be sharp assuming your eyes are good enough to evaluate critical focus. 6. When there are several planes of focus, the
autofocus mechanism can be fooled. This results in unsharp pictures. A leopard in tall grass, for example, presents a challenging proposition for the autofocus feature. It can’t know what the subject is, and most likely it will focus on one of the blades of grass and leave the animal out of focus. Therefore, the only solution is to focus manually. That takes all the guesswork out of the equation. 7. Doing macro photography without a tripod is like shooting yourself in the foot. Neither of these are good ideas. When you move in close and fill the frame with small subjects, you lose depth of field. What most photographers do is close the lens down to a small aperture to compensate for that loss. When you gain increased depth of field, though, light is lost and therefore a long shutter speed is needed to compensate. If you try handholding the camera for macro work, you will very quickly see that it is an ex-
ercise in frustration because the pictures will almost never be sharp. Therefore, a tripod is the only way to get sharp macro pictures. 8. Doing macro photography in the wind guarantees blurred pictures. Even the slightest of breezes makes macro work virtually impossible. If you are shooting rock patterns or bark, for example, you won’t have any prob-
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lems (unless the wind is strong enough to buffet the camera). However, if you are trying to photograph flowers, leaves, grasses, butterflies, spider webs, seed pods, and other subjects that are at the wind’s mercy, then you must wait until the wind has died down completely. Alternatively, with some subjects you can use a flash as I did in the shot of the Virginian tiger moth caterpillar, below. 9. If you don’t use good macro technique, your images will be less than sharp. Use the mirror lockup feature to minimize vibration in the camera. Even a subtle vibration can cause images to be unsharp when using significant magnification. Every time you take a picture, the mirror in back of the lens flips up to allow the light coming through the lens to strike the digital sensor. After the exposure is complete, the mirror flips back down again. This action causes vibration, and when you lock it up out of the way, it doesn’t move again until the photograph has been taken (mirrorless cameras obviously don’t have this problem).
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Next, use either the self-timer or a wireless trigger to take the picture. I use the 2-second option and it works fine. This prevents the camera from being jarred when your finger depresses the shutter button. Finally, make sure your tripod is tight. Nothing should be loose; all the sections should be firmly tightened, and the ball head must be fastened tightly onto the tripod itself. 10. Many lenses don’t focus correctly at infinity. When you manually turn a lens (particularly a telephoto lens) all the way to the infinity mark, it is reasonable to expect this means the lens will be focused on subjects at great distances such as the moon, a distant mountain range, clouds, etc. This is often not true. Sometimes you have to pull the focus ring back slightly to get a sharp picture. The autofocus mechanism should accommodate this discrepancy, but if you are focusing manually it’s important to be aware of this issue. Focus by your eye instead for guaranteed accuracy. §
CUBA PHOTO TOUR October 22 - 31, 2019
Classic cars Great portraits Crumbling colonial architecture Fabulous color
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What’s wrong with this picture?
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his portrait of a Mursi tribal woman in Ethiopia prominently showing her lip plate is good except for one flaw. The light, out of focus element just above her distended lip is very distracting. Our eyes are always drawn to the lightest part of a picture, and our attention returns to the light elements again and again. The ideal is for our focus to remain riveted on the subject and not diverted elsewhere.
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If you compare the corrected version on the next page with the photo above, you can see that the muted background minus that offending highlight is much better. The challenge, though, was how to do this. There isn’t enough muted area to borrow from to clone over the hot spot. Thus, I had to create
an image that could be used for a new background. The only way I could cover up the distracting hotspot was to take a picture of muted out of focus foliage and use that as the clone source. So, first I selected the background behind the woman using the pen tool for a precise selection. I feathered the edge one pixel, and then I opened the picture of the out of focus foliage. I then cloned from one picture to the other, first covering the hotspot. To blend the new background material with the original tones and colors behind the woman, I varied the opacity of the clone tool. It took a little finesse to make the blended tones perfectly smooth, but the whole process took only four or five minutes. ยง 29
SHORT AND SWEET 1.
2. Vacation photos don’t have to be mundane snap-
Combining textures with photographs produces various effects that can be quite intriguing. Here, I added a texture to a picture of a Civil War reinactment to suggest this is a very old print. Using the blend modes, you can scroll through the options to achieve many kinds of effects. More about this next issue.
shots. They can, instead, be compelling and visual. I took this picture of my wife when we were staying in a resort in Puerto Rico with a 16mm wide angle from ground level. I used an unexpected perspective to create a unique memory of the trip.
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One might be tempted to say the background behind this Canadian lynx is too busy, even distracting. But it shows the kind of environment these cats carry on their diurnal and nocturnal activities. Artistically, yes, the background is messy. But in the context of nature, it’s appropriate. So, for me, this works.
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When you travel, take a phone picture of your checked luggage. In case it doesn’t arrive at your destination, you can show the airline exactly what it looks like. This should expedite locating it and having it sent to the right location. You should also carry a phone picture of your passport. §
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 . . .How do you prevent ‘keystoning’, or the angling inward of vertical lines. This painting was in a church in Gondar, Ethiopia on our recent photo tour there with you. It was high on a wall near the ceiling, and it seems distorted to me. Sue O’Connell, Bristol, England
A:
Keystoning occurs when the back of the camera -- i.e. the plane of the digital sensor -- is oblique to the subject. In this case, we couldn’t get back far enough to make the digital sensor more parallel with the wall. Alternatively, a tilt-shift lens would solve this problem. Without that, there was nothing to do except shoot this from a tall ladder, which we didn’t have access to. The only solution here is to use Edit > transform > distort in Photoshop to correct the distortion. You need to allow extra room on either side of the image in the composition when using this corrective technique. §
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Partial list of Photography Tours 2018 - 2020 KENYA Aug. 2019
NORMANDY/BURGUNDY Sept. 2019
UZBEKISTAN & KYRGYZSTAN Sept. 2019
RUSSIA Oct. 2019
CUBA Oct. 2019
SRI LANKA Nov. 2019
SPAIN/PORTUGAL Mar. 2020
HOLLAND/BELGIUM Apr. 2020
AUSTRIA/DOLOMITES May 2020
INDONESIA Summer 2020
PERU Sept. 2020
POLAR BEARS Nov. 2020
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For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
Sri Lanka Photo Tour November 8 - 18, 2019
Great culture • incredible temples • wildlife • village life • landscapes
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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.
Bill Mugg, Falls Church, Virginia Pantanal photo tour.
© 2019 Bill Mugg
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Student Showcase, continued
Š 2019 Bill Mugg
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Student Showcase, continued
Š 2019 Bill Mugg
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Student Showcase, continued
Š 2019 Bill Mugg
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AUSTRIA-DOLOMITES PHOTO TOUR May 4 - 13, 2020
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun., May 4 - 5, 2019
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
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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Feb. ‘19
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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 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 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 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 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 Dawn photography Dawn photography Day for Night Dead center Dealing with smog Decay photography Define Pattern Depth of field Depth of field and distance
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Jan. ‘17 Feb. ‘17 Oct. ‘18 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Dec. ‘18
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 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 Fundamentals That Make Great Photos Jan. ‘19 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, hand held Nov ‘17 HDR, hand held Jul. ‘18 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 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
Subject index for past Photo Insight issues
continued
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 Long lens portraits Oct. ‘18 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 Meter, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Middle gray Nov. ‘15 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 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 Organization of photos
Jun. ‘16 Mar. ‘18
Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 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 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 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 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 Snow exposure Nov ‘17 Soft light Jan. ‘13 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Sunrise & sunset Jan. ‘19w
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Subject index for past Photo Insight issues Tamron 150-600mm Apr. ‘14 Ten reasons photos are not sharp Jan. ‘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 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Ultra distortion
May ‘18
Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 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 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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Dallol Depression, Ethiopia
PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2019 email: photos@jimzuckerman.com snail mail address: P.O. Box 7, Arrington, TN 37014
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