Jim Zuckerman’s
PH OTO I N S I G HTS January 2021
Aerial photography Fun with Christmas Lights Cool Snow Photos Photo tours Student showcase Ask Jim Subject index
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4. 9. 13. 23. 25. 26. 27. 29. 35. 40.
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Aerial Photography Fun with Christmas Lights Seeking Out Cool Snow Photos 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: Mountain lion photographed in Jim’s winter wildlife workshop in Montana. This page: Bryce Canyon, Utah at dawn.
H
appy New Year! Let’s hope 2021 is a much better year than 2020.
With the advent of one or more vaccines for Covid, hopefully paranoia will diminish and countries, cities, and businesses will open again. This gets me thinking about traveling, and I am reminded that as many trips as I’ve taken in my life (I’ve been to 101 countries thus far, and many of them multiple times), I still am nervous when I get on a plane and fly to a faraway place. There are lots of fears to contend with -- the fear of flying, the insecurity about arrving in a new place, language barriers, concern over theft and loss of expensive camera equipment, weather concerns, sanitation and health issues, and much more. In spite of these fears, I don’t let them stop me from traveling and enjoying my life. It would be very easy to be paralyzed by fear and just stay home. Some people I know are like that. I’ve always felt it’s OK to be afraid, but not OK to let that fear stop me from living a full life. If you look up the odds of dying from various events -- cancer, heart disease, traffic accidents, bicycle accidents, drowning, a fall, choking on food, etc. (injuryfacts.nsc.org) -- you could let yourself get into the mindset of being so terrified to do anything that you’d never get out of bed. But we can’t live like that, or else we aren’t really living. When it comes to traveling or anything else, don’t let your life be governed by fear. Enjoy each moment you have been given on this earth. Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com 3
AERIAL PHOTOGRAPHY T
aking pictures from aircraft presents technical challenges that are absent from other types of photography. I have photographed from small, fixed wing planes, helicopters, hot air balloons, ultra lights, and commercial aircraft, and I want to share my techniques with you for getting the best pictures possible. Small planes and helicopters The photo of Bora Bora, below, and the shot of the remarkable expanse of sand dunes in Namibia on the next page, were both taken from small, single engine planes. I hired the planes
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for the dramatic aerial perspectives, and the agreement included permission to open either a window (in the case of the island shot) or a door (in the case of the dunes). This afforded me an unobstructed view and, at the same time, meant that glass or plastic wouldn’t degrade the quality of the images. That’s the first thing you have to ask. If the charter company won’t allow you to get clean shots of the landscape, seascape, or cityscape below, find another company. The next consideration is shutter speed. Small planes have a lot of vibration, and they are also
easily buffeted by air turbulence. There is no point in hiring small planes for aerial photography unless your pictures are going to be tack sharp, and only a fast shutter speed will accomplish this. I recommend nothing slower than 1/1250. If there is enough light, I prefer 1/1600 or 1/2000 to be sure. The shutter speed, of course, is dependent on the lens aperture and the ISO. When shooting from the air, depth of field is irrelevant. In other words, the focus throughout the images will be the same whether you are shooting at f/2.8 or f/22. Therefore, I prefer to shoot wide open because that allows the most light into the camera and, in turn, enables the use of a lower ISO and a faster shutter speed. For the picture of the dunes, for example, my settings were 1/1600, f/4, and 400 ISO. Notice the depth of field is complete from the fore-
ground to the distant background even with a large aperture of f/4. This occurred because the land forms were far enough away as to make depth of field irrelevant. This is particularly true with wide angle lenses and, in this shot, the 32mm focal length (on a 24-105mm lens) meant that optical infinity -- the point at which the lens focuses to infinity -- occurs approximately 32 feet from the lens. That’s why everything is sharp as far as the eye can see. The plane was flying about 500 feet above the ground. Hot air balloons A great way to do aerial photography is from a hot air balloon. In many beautiful locations in the world, hot air balloon rides are available. They aren’t inexpensive, but you don’t have to worry about shooting through glass or plastic windows. In addition, there is no vibration at
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all and, in fact, there is no sense of movement because the balloon moves with the wind. It’s as stable a platform from which to shoot as a balcony. I photographed the Chateau Chenonceau, below, in France at sunrise from a balloon. The only disadvantage of a balloon is that the pilot can’t steer it. If you want to alter its direction of movement to photograph from a different perspective, chances are good this can’t be done. Balloon pilots can only change direction by varying their altitude in the hopes of catching a breeze blowing in the desired direction.
Ultralights
a lawnmower engine powering it. For someone who doesn’t like heights, like me, it’s a terrifying experience to sit behind the pilot without even the false security of an armrest as you’re flying hundreds of feet above the ground! Nevertheless, the photography is great.
Most of you have never been in an ultralight before and have no intentions of trying it. An ultralight aircraft is essentially a large kite with
I photographed the zebras on the next page from an ultralight at about 100 feet in altitude. The vibration and the movement re-
If it’s too windy, hot air balloons won’t fly. It’s not safe. That can be a disappointing turn of events if you are in a shooting location for a short time.
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quire a fast shutter, but not super fast. I took this picture at 1/400, and it’s tack sharp. Again, depth of field is irrelevant as long as you don’t include any part of the ultralight in the foreground. It’s important to make sure you start with a fully charged battery and plenty of room on the flash card. Most pilots won’t let you change batteries or cards in the air because, if either of those items slip out of your hands and hit the propellar behind you, it could cause damage and force an unscheduled landing. This unfortunate event could take place over water, over architecture, or in a game reserve in Africa where you may be forced to land in the proximity of lions. Therefore, make sure this doesn’t happen. Commerical aircraft I photographed the sun’s reflection on a river in Missouri, below, from 35,000 feet in a commercial
flight out of Nashville, Tennessee. The extreme contrast of the late afternoon sun on
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the water turned this into a very graphic image. By exposing for the sun’s glare on the river, the surrounding areas went black. The photo below also shows a shot out of the window of a commercial flight. Clouds can be especially beautiful when viewed from high altitudes. If you want to photograph out the window on a commercial flight, choose a window seat away from the wing. The optical quality of airplane windows is not good. It consists of a double plastic structure, and older planes show wear on the outer layer of plastic. This degrades your pictures. Obviously, we can’t open the windows. Using a telephoto lens goes a long way to throwing scratches and other imperfections out of focus. The best thing you can do, though, is to make the lens axis as perpendicular to the plane of
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the window as possible. That significantly helps in maintaining the best quality possible. As soon as the camera is angled -- in other words, the lens axis becomes oblique to the plane of the window -- the sharpness is decreased a lot. For compositional purposes, this may be necessary, but minimize the angle as much as possible. Commercial flights are smooth compared to flying in small planes, but there is still vibration. Therefore, keep the shutter speed relatively fast. I recommend not less than 1/400th of a second. Shoot wide open with the largest aperture on the lens. This accomplishes two things: First, it allows you to use a faster shutter with a lower ISO, and second, the lack of depth of field will help in blurring out imperfections in the window. Due to the low quality of the windows, in post-processing I add sharpening software, such as Topaz Sharpen AI. §
Fun with Christmas Lights B
-- furniture, walls, electrical plugs, lamps, reflections off a TV screen, etc. It will be easier with less complications if you shoot outside at night. Obviously this has to be done in the dark.
The technique is simple. You can do the photography indoors if you have a large enough room, but the problem is that the long exposure may reveal some of the details in the room
Set your camera up on a tripod. Use a flashlight to prefocus on an object, such as a person, about 10 feet away from the camera. Make sure you switch from autofocus to manual focus when you do this. Use a lens in the 24-105mm range. It could be 24-70mm, 24-120, etc. Make a mental note where the field of coverage is with the lens you’re using. It helps to place some kind of marker at the left and right sides of the frame so
efore you put your Christmas lights away, you can have fun creating unusual abstractions with them. If you don’t have any Christmas lights, and you want to try this technique, you can buy a short strand of lights online for just a few dollars. All of the abstracts I made for this article were done with a 7-foot strand of small bulbs, battery powered, for under $10.
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PERU PHOTO TOUR Sept. 24 - Oct 4, 2021
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you know what’s being recorded on the sensor. You can use anything -- shoes, a scarf, a box, and so on. For the exposure, you will have to make some test shots. The amount of light you have to work with will depend on the brightness of the bulbs. My settings for all the shots in this article were 15 seconds, f/11, 125 ISO, and I used daylight white balance. Note the long shutter. This gives you enough time to swing, rotate, or spin the lights. Once you have established the camera settings for the correct exposure, switch to manual exposure mode (M). Set the shutter speed and aperture manually according to your exposure tests. If you are alone, set the 10-second self-timer be11
cause this gives you enough time to get into position within the frame. If you are working with a friend, you can get into position and they can push the shutter button to open the shutter in the dark. Make sure you are not near street lamps or any other relatively bright lightsource, and it’s best to wear dark clothes. Once the shutter opens, move the lights as you wish. Twirl them, spin them or tape them to a bicycle tire and rotate the tire as you walk around within the focus zone. It’s entirely experimental, and you never know what you’ll get until you look at the LCD screen on the back of the camera. When you have a collection of these light streaks, you can combine them and use them as composites later. For example, the image at right is a composite of one image where I flipped it horizontally and vertically to create 12
an interesting graphic design. Given that the background is black, it’s a simple matter to make a rough selection with the lasso tool. Then you can copy and paste the components together. You can buy strands of lights that are multicolored as well as monochromatic. You can also manipulate the colors of the lights in Photoshop as I did in the abstract above. In this case, I applied a cyan-to-purple gradient. §
Seeking Out Cool Snow Photos
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inter presents unique and beautiful opportunities for photography. It’s my favorite time to shoot because snow, ice, frost, and hoarfrost make such compelling images. Just consider macro photography. Fascinating patterns and designs in ice and frost can be found in river beds, on windows, and on other cold surfaces. On wintry days with severe temperatures outside, humidity in a house, office, or car creates patterns of frost on glass. I photographed the frost at right on the windshield of my car. I captured the artful pattern of ice, below, on a shallow stream in Patagonia. In pictures like these, it’s essential you have complete depth of
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NAMIBIA PHOTO TOUR May 22 - June 1, 2021 Monster dunes Wildlife Walvis Bay cruise Dead trees Milky Way
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ONLINE PHOTOSHOP TRAINING 4 Live Sessions Every Saturday Starting Jan. 24, 2021 by Jim Zuckerman
Jim starts at the beginning, assuming you know nothing about Photoshop. With a screen sharing meeting using GoToMeeting software, Jim describes his workflow, how to set up your desktop for maximum efficiency, how he processes RAW files for visual impact, and then he goes over the most useful tools and commands in Photoshop. He then explains how to use layers, layer masks, and how to make precise selections for compositing images. This opens the door to instruction on replacing the sky, creating silhouettes, and fixing numerous problems in your pictures. Photoshop’s new features like Sky Replacement are also covered. Jim also delves into blend modes, manipulating individual colors in your images, his favorite plugins, how to turn photos into paintings, and much more. Each session is two hours plus a 30 minute period for questions and answers. There is also time for critiques where you submit images to Jim and he gives you his professional feedback so the entire class can benefit. Each session will be recorded, and you will receive the video file so you can go over the material at your leisure any time in the future. Click HERE for more information.
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field from edge to edge. With closeup photography, the two ways to insure depth of field is to use a small lens aperture -- I typically use f/22 or f/32 -- and by making the back of the camera (i.e. the plane of the digital sensor) as parallel as possible with the subject.
pletely different subject matter. On my way to Crater Lake in Oregon, for example, I found a a pretty red cabin buried in snow. On the next page, while doing a winter shoot in the American Southwest, I encountered a snow-covered abandoned car that had run off the road.
Waterfalls are another great subject to seek out in winter. The one you see below is from the Upper Peninsula of Michigan. Go online and search for ‘frozen waterfalls’ and you’ll see scores of amazing locations. From Iceland to Montana and Colorado, and from China to Slovenia and Canada, you can find spectacular frozen falls that take your breath away.
One of the more unique winter finds in my photo collection is a vending machine, still operating, when I was walking to the geothermal
In wintry areas when driving from one location to another you can find intriguing and beautiful subjects to shoot. Most people vacation in the summer, but a winter vacation offers com-
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UPCOMING PHOTO WORKSHOPS Photoshop Online Training In the comfort of your home, learn how to be super creative in Photoshop. Learn how to make precise selections, replace the sky, create believable composites, make painterly images, and so much more. Your photography will never be the same!
Jan. 24, 2021
Winter wildlife workshop Stunning pictures of North American animals including wolves, red foxes, arctic foxes, mountain lion, Canada lynx, and more. The animals will be in their winter coats and very beautiful. This is based in Kalispell, Montana.
January 12 - 17, 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.
May 8-9, 2021
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hot pools where snow monkeys bathe in Japan. After I took a picture of it, a lady walked up, put coins into a slot, and got hot coffee! Other subjects to look out for in winter are ice covered lighthouses, farm equipment (like the irrigation system on the next page I came upon in Utah), rustic shacks, quaint churches, Victorian homes, railroads in snow, old barns, and of course snowy landscapes and cityscapes. If you shoot from your car, serious winter gear isn’t as essential as when you are spending time away from warmth and shelter. The biggest challenge is keeping your shooting hand warm, particularly your fingers. I have tried all kinds of gloves and mittens and various brands of hand warmers placed in a glove, and none of them work because photographers need the dexterity of fingers to operate a camera. The only technique I’ve found that works
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in the coldest of temperatures is this: Place 5 or 6 chemical heat packet hand warmers in the right pocket of your parka. These typically last 6 to 8 hours. All of the warmers together make the interior of the pocket hot, not just warm.
When your hand gets cold, which happens in severe cold every minute or two, put your hand into the hot pocket in your parka and grab the heat packets. This very quickly infuses your hand with enough heat to deal with the cold for another couple of minutes.
On your right hand, wear only a glove liner. This protects your skin to a point and gives you the dexterity needed to operate the camera.
In this way, you can shoot comfortably in very cold temperatures. I’ve tested this method to minus 36 degrees Fahrenheit, and it works. §
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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
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W i n t e r W i l d l i f e Workshop January 12 - 17, 2021 Based in Kalispell, Montana
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What’s wrong with this picture?
L to detail.
ook at this picture closely. Do you see a problem with it? It is a composite -- I replaced the sky. The problem with this picture is a common issue when compositing images if you don’t pay attention
I photographed this arctic wolf during my winter wildlife workshop in Montana. Notice the wolf is sharp, the snow-covered mountain in the background is soft due to a lack of complete depth of field, but the clouds are sharp. This can’t happen. At first glance, the image seems fine, but the flaw is obvious once it’s pointed out. In the composte on the next page, I used a different sky. However, before I replaced the sky, I used the clone tool to eliminate the out of focus mountain. 23
Only then did the depth of field make sense. Now, both the wolf and the sky are sharp. Understanding photography, you would know immediately the wolf was taken with a telephoto lens. In fact, I used a 400mm focal length. You could deduce, then, it would be unlikely for the sky to be as sharp as the canine. This is what I saw, but due to the limitations of optics, the sky wouldn’t be this sharp even at f/32. And, this small aperture would have lowered the shutter speed and raised the ISO. So, with careful scrutiny, it’s obvious this is a composite and it’s unusual in that we are so used to seeing shallow depth of field with telephoto lenses. Nevertheless, since this is what we see with our eyes, it makes intellectual sense. The picture on the previous page does not. § 24
SHORT AND SWEET 1.
The new sky replacement feature in Photoshop is amazing. It can even deal with tiny twigs and branches in a tree. I used this feature (Edit > sky replacement) to replace a mundane sky with a pastel sunset sky, and the difference is fantastic. And -- every twig was retained in the composite.
2. Photographing a subject from behind is often just as strong of an image as shooting it from the front. When possible, examine a subject from every angle. Don’t forget to study it from the back. This is St. Gellert’s monument in Budapest, Hungary, as seen from the rear.
3. Beautiful junk can make great pictures.
4. Shadows can be used very effectively in photogra-
I photographed this old car in the woods in Old Car City in White, Georgia -- about one hour north of Atlanta. If you’ve never been there, it’s a great place to shoot. There are acres and acres of abandoned cars like this one. A wide angle lens is what you’ll need.
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phy. The key is they have to be pleasingly graphic; in other words, they have to have strong and attractive shapes. I photographed this chair and its shadow at the entry of a restaurant in Nepal. I stood on another chair for the the elevated perspective. §
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 do not understand the meaning of 1:1 in a macro lens. The explanation I have read is that the macro lens 1:1 will not increase (volume) of the subject. But this depends on how close the lens is to the subject. Is 1:1 at the minimum distance the lens is built to focus? Mario Carvajalino, Madrid, Spain
A: 1:1 magnification means this: On a 24x36mm image size (this is the size of a 35mm slide and approxi-
mately the same for a full frame digital camera), if a subject is, say, 18mm in length in reality, it will be 18mm in length on the film or in the digital image. In other words, in this example, it would be 1/2 the length of the picture area because 18mm is half of 36mm. A 2:1 lens gets you very close to a macro subject. A 1:1 lens gets you close, but not as close as a 2:1 lens. A 1:2 lens gets you less close than the 1:1 lens. In other words, the 2:1 ratio lens has the greater magnification, and the 1:2 lens has the least magnification in this example. With a 2:1 macro lens ratio, if a subject is actually 36m, in length, you will see only half of it in the viewfinder.
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Partial list of Photography Tours 2020 - 2021
WINTER WILDLIFE Jan. 2021
HOLLAND/BELGIUM April/MAY 2021
NAMIBIA May/June 2021
MOROCCO Jun. 2021
LAVENDER FIELDS (France) June/July 2021
ICELAND July 2021
NORWAY/DENMARK Sept. 2021
PERU NATURE Sept/Oct. 2021
ETHIOPIA Mar. 2022
WHITE HORSES Apr. 2022
INDONESIA July/August 2021
POLAR BEARS Nov.. 2021
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For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
Lavender photo tour -- France jJune 29 - July 5, 2021
I replaced the sky using Photoshop’s new Sky Replacement tool. 28
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.
Denny Mosesman, Nashville, Tennessee Venice workshop, Cuba Photo Tour, Tuscany Photo Tour, American Southwest Photo Tour, Photoshop workshop
© 2021 Denny Mosesman
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Student Showcase, continued
Š 2021 Denny Mosesman
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Student Showcase, continued
Š 2021 Denny Mosesman
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Student Showcase, continued
Š 2021 Denny Mosesman
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POLAR BEARS from Ground Level! November 6 - 12, 2021 Based in Churchill, Canada
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun. May 8-9, 2021
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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PH OTO I N S I G HTS January 2015
• 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 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 Autumn Foliage Sep. ‘18 Autumn Color Sep. ‘20 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 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 Dec. ‘17 Compositing images Apr. ‘19 Composition, different approach Jan. ‘15 Content-aware, New Aug. ‘20 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 Dead center Dealing with smog Decay photography Define Pattern Depth of field Depth of field confusion Depth of field and distance Depth of field, shallow Depth of field vs. sharpness Double takes Drop shadows Dust, Minimizing
Nov. ‘19 Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Jan. ‘20 Dec. ‘18 Apr. ‘20 Nov. ‘20 Apr. ‘20 Apr. ‘19 Aug. ‘19
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 Extension tubes
Jan. ‘13 Oct. 17 Sep. ‘14 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14 Nov. ‘14 Apr. ‘15 Sep. ‘16 Dec. ‘13
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 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 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus on the eyes Dec. ‘20 Focus points Mar. ‘15 Focus points Sep. ‘20 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign 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 Graphic Design Garish imagery
Jul. ‘20 Dec. ‘15
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Subject index for past Photo Insight issues Great subjects Apr. ‘15 Great ceilings & HDR Panos Jul. ‘19 Green screen Mar. ‘13 Grunge technique 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 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 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 trick May ‘19 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 Mirrors Jan. ‘19 Model shoot Jan. ‘17
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Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 Museum photography Mar. ‘13 Negative space Jan. ‘16 Neon edges on black Aug. ‘14 Neutral Density filters Jun. ‘18 Night photography Feb. ‘14 Night Safaris Jun. ‘18 Night to Twilight Dec. ‘17 Noise reduction Feb. ‘17 Oil and water Optical infinity Organization of photos
May ‘20 Jun. ‘16 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 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
Subject index for past Photo Insight issues 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 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 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 Ten reasons photos are not sharp Texture, Adding
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 Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 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
Apr. ‘14 Jan. ‘19 Mar ‘19
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PHOTO INSIGHTS® published by Jim Zuckerman, All rights reserved
Great blue heron, middle Tennessee
© Jim Zuckerman 2021 email: photos@jimzuckerman.com
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