Jim Zuckerman’s
PH OTO I N S I G HTS January 2022
When You Really Needed a Zoom Anatomy of Natural Light Portraits Upside Down Reflections Photo toursVStudent showcase Ask Jim Subject index
7 Steps to successful compositing Getting money for your used gear Blue monochromes Upcoming workshops Photo tours Ask Jim Student Showcase Back issues 1
Table of Contents 4. 13. 16. 19. 22. 24. 25. 26. 28. 34. 40.
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7 Steps to successful compositing Getting money for used gear Blue monochromes 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: The incredible Ice Festival in Harbin, China where buildings are made of blocks of ice. This page: Young golden monkeys playing in central China.
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find it very annoying when software companies buy or merge with other software companies, and programs I’ve used for years either disappear, are no longer backwards compatible, or they are no longer supported and eventually die a lonely death because no one can use them without operating an ancient computer. This happened to Nik Software when Google bought it (although it’s been resurrected by DXO), Kai’s Power Tools vanished years ago, and Painter was purchased and re-purchased until it, too, essentially disappeared. Along the same lines, I found out this past month the 3D capabilities in Photoshop have been discontinued by Adobe. This little tidbit was revealed to me when I tried to open a 3D image and Photoshop crashed and wouldn’t re-open. With Adobe’s help, I finally got Photoshop open again, but the fact they just willy-nilly discontinued part of the program I rely on daily for my work was not, shall we say, ‘User friendly’. After speaking with Adobe’s tech support, I found out they came out with a new program, Adobe Substance 3D, which requires another subscription. I hate being so dependent on large companies or large anything (like governments) because they end up wielding too much power over your life. This same thing happened with stock photo agencies. When they merged so all the smaller agencies were gone and mega-agencies dominated the market, they could dictate what they paid photographers. It went from the original contract (when they needed photographers) of 50-50 to 40-60 and then to 20-80 with royalty free images where the photographers, of course, got the short end of the stick. There were so many photographers in the agencies that if a hundred shooters declined the new contract, the companies didn’t care because they already had tens of millions of images. The old saying goes that power corrupts and absolute power corrupts absolutely. The same could be said of ‘big’ anything. Happy New Year 1/1/22! Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com
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7 Steps to Successful
Compositing
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ombining images opens the door to endless creative possibilities. The sky is the limit. You can fix myriad problems in your photographic images, create fantasy worlds, change atmospheric conditions, put subjects in places where they’ve never been, and even create a bit of humor.
Photoshop. For example, you can’t do sophisticated compositing. To add an egret and it’s reflection in a Louisiana swamp, below, and a Cuban ballerina to a room in the Kremlin in Moscow, next page, you have to work in Photoshop.
I know Photoshop is intimidating to many people and that many photographers stick with Lightroom because it’s easier. However, LR doesn’t have the same funtionality as
What follows are the 7 steps you must become familiar with in order to make successful composite images. Practice does make perfect, but the number one thing you have to be good at is critiquing your own work. Hon-
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estly and critically assess your images. Step 1. The most important part of compositing is choosing elements that work together, that make sense. Even if you like to create fantasy images like the unicorn above, make sure the elements look right based on your knowledge of photography: a. Lighting. The lighting has to match. In other words, you shouldn’t combine an element captured in sunset lighting with a background taken during the middle of the day. The light on all the elements should be the same in terms of time of day, direction of the light, and how the shadows fall on each element. If one element is lit by sidelighting coming from the right, don’t combine it with something else where sidelighting is coming from the left. 6
Similarly, if you photographed a subject using indoor lighting, it won’t look correct to make a composite in which the background was taken in daylight. b. Depth of field. If you subscribe to this publication, I assume you know enough about
Click anywhere on this page for more information
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depth of field to know what it looks like given the optical characteristics of our lenses. There are only three possibilities for depth of field: 1) Everything is sharp; 2) the subject is totally sharp and the background blurred; or 3) the immediate foreground is out of focus, the subject is sharp, and the background is blurred. Here is what you can’t have: The front of the subject is sharp, the rear of the subject is blurred, and the background is sharp. In other words, you can’t make a composite that is sharp-blurred-sharp. An example of this is the polar bear composite below. I replaced the sky, but I included too much of the ground. In the original shot taken with a 500mm focal length, the bear is sharp as is the surrounding snow and rocks. But the red arrow points to a more distant portion of the ground that is soft due to shallow depth of
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field. If realism is the goal, this kind of focus juxtaposition isn’t possible based on the lenses we use. If that area of the ground were soft due to focus falloff, the sky also wouldn’t be sharp. It’s important to pay attention to this kind of detail. This is a very easy mistake to make. c. Perspective. Pay attention to the perspective from which you shoot various elements when making composites. For example, if you are shooting down on a subject, such as a child, an animal, a car, etc., it’s not going to look right if you composite that with a background photographed at eye level. The photograph of a 1959 Cadillac on the next page is an example. I photographed the classic car from a height looking down on it, and the background from Croatia was also photographed with that same downward angle. Therefore, this is a believable composite be-
cause the perspective makes sense. Step 2. Making a selection of a subject or an element is just as important as choosing subjects that work together. A poor selection will make your composite look amateurish. It won’t be believable. There are 5 manual selection tools in Photoshop: Rectangular/elliptical marquee tool; lasso tool; quick selection tool; magic wand tool; and the pen tool. In addition, Select > subject is an artifiical intelligence command in Photoshop that is good much of the time. Too often, though, it is not precise. That’s why I don’t use it. When a new background is pasted behind the subject, the edges between the two aren’t natural looking in many cases. For the ultimate in accurancy, the pen tool is the best. It is laborious and time consuming,
but it allows you to work at great magnification to precisely define the borders of the subject. When I’m working on a composite that I want to be absolutely perfect, like the combination of images in the Cadillac shot, I use the pen tool to select, in this case, the car. I also use the quick selection tool a lot. It’s not perfect, and I usually have to make minor corrections with the lasso tool. The result can be just as perfect as the pen tool, and this is often faster. The secret to making perfect selections is this: Once the subject selection is made -- not the background, but the subject -- use the pulldown command Select > modify > contract. This moves the ‘marching ants’ away from the background as you can see in the screen capture on the next page. This means when a background is composited with the subject,
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the demarcation line where the two elements join won’t show a telltail line that’s a remnant of the original background. Before you paste the background behind the subject, and after you’ve contracted the selection, there is one more operation you have to do to make a composite believable. The selection has to be feathered by one pixel: Select > modify > feather. This softens the edges of the subject ever so slightly, so when the new background abuts the subject, the transition from one color to another is natural looking. Step 3. When the selection is complete, choose the pulldown menu command, Edit > copy. This places the selected image into the ‘clipboard’, Photoshop’s temporary holding place for a picture or part of a picture. Step 4. Choose either Edit > paste, or Edit >
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paste special > paste into. The former is used to place the clipboard image anywhere in the frame. That’s what I used to place the acacia tree in front of the Namibian sand dune, below. From there, you can move the element any-
PERU NATURE TOUR Sept. 24 - Oct 4, 2022
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where in the frame you want. I also used Edit > paste when I placed the ballerina into the background on page 5. The command Edit > paste special > paste into is used when you want to place the clipboard image into a particular selection. I used this for the image below. I selected the area in the window and then pasted the model into it. Make sure when you select an area into which the clipboard element will be pasted that you first feather the edge of the background selection (Select > modify > feather) by one pixel only. If you don’t do this, the juncture of the background and the subject will seem unnaturally sharp, and it won’t look real. Step 5. Using the pulldown menu command, Edit > transform > scale (or the shortcut Com-
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mand/Ctrl T), a box forms around the pasted in subject or element. Grab one of the corners of the box and resize it according to your artistic judgement. If you are using the ‘legacy’ setting in Photoshop, hold down the shift key as you drag a corner. This maintains the proportions. Step 6. Move the pasted in element to the correct position by activating the move tool in the tools palette. If you’ve placed the element inside a selection, you can only move it within the boundaries of the selection itself. Step. 7. At this point you may have to touch up areas where the elements meet. Cloning, adjusting the exposure, tweaking areas of color, etc. may be needed to make the composite perfect. §
Getting Money for Your Used Gear P
hotographers frequently upgrade their equipment, consolidate lenses to carry a lighter load, and change interest in photography (say from macro to birds in flight). That may require more gear. Another scenario is, you used to do studio work but now you don’t have the space for it and there’s too much money tied up in the equipment not to use it for something else.
If you are nostalgic and don’t need the money, then hang on to your old gear and enjoy reminiscing. I’ve always sold cameras, lenses, lighting equipment, etc. when I had no use for them anymore. (Having said that, I do wish I had my first camera, a Canon FT QL, purchased in 1968 from money I made by selling
an album of American mint postage stamps.) If you want to sell used gear, there are a number of excellent options. You’ll make the most money if you sell it directly, but if you opt to sell your gear to a camera company, you will net less money but it’s pretty much hassle free. Craigslist. This is a free service, and it reaches tens or hundreds of thousands of people in your area. It’s all done online, and you communicate directly with anyone interested. You keep all of the sales price that you negotiate. eBay. eBay is a huge presence online, and it reaches millions of people. They charge a fee for posting an item for sale, and they also charge
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a percentage of the sale price. Their fees have increased quite a bit since I’ve used them. At this time, they charge 12.55% of the sales price. Birds As Art. Arthur Morris is a well-known bird photographer, and he has established a marketplace for used gear on his website. Art’s listings is seen by thousands of photographers. I’ve sold a number of items using his service including a Canon 500mm f/4 telephoto and a Canon 1Dx Mark II body. He charges 5% of the sales price. You can contact him through his website, birdsasart.com. KEH. This photographic company sells used gear, and they also buy it. They will give you less than the market value because they have to turn around and sell it for a profit. They are very reputable. I have purchased equipment from them, and I’ve also sold items to them. 14
When you buy gear from them, they rate each item so you know the condition it’s in. This is a no-hassle, easy way of selling your gear. You never have to interact with the public, and all you do is send the equipment to them for their valuation and that’s it. They will either send you a check or give you store credit. Your choice. B&H. I’ve been buying from B&H since 1970 when they used to have about 8 pages of advertising in the back of photo magazines. I’d never sold them anything until a few days ago. I wanted to buy the new 1.4x teleconverter for my 100-500mm telephoto, and I thought I’d sell them some items I hadn’t used for years. Just like with KEH, the process is easy. You send them the equipment using a label they provide, and they tell you what they’ll pay. §
PANTANAL PHOTO TOUR Nov. 8 - 15, 2022
Jaguars in the wild Exotic birds in flight Caiman Giant river otters
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BLUE MONOCHROMES Y
ears ago I spent endless hours in the darkoom. One of the things I enjoyed was toning black and white prints using various toners like sepia and selenium. Today in Photoshop, we work with 16.7 million colors, and without being subjected to toxic vapors from various chemicals, we can tone photographs in any shade imaginable. All of our digital cameras shoot color (unless a camera is converted to infrared), so to tone an image it first has to be converted to black and white. The best way to do that so you can manipulate the highlights and shadows with maximum control is to use the pulldown menu command: Image > adjustments > black
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and white. In the dialog box, you can lighten or darken areas of the image as defined by its original color. Ansel Adams would have given anything to have this kind of control. Once that is done, the image is still in RGB mode. (If you convert to black and white using Image > mode > grayscale, all color is discarded.) This means you can now choose Image > adjustments > color balance and introduce any color you want. The only monochromatic color tones that looks good to me -- and this is very subjective -- is blue and sepia, but I prefer blue or a combination of blue and cyan.
Try experimenting with this technique and see what you come up with. I find the types of photographs that work well are those with enough contrast to really pop. Remember when you convert images from color to black and white, you lose contrast. You have to regain the lost contrast to make the black and white images -- and the toned versions as well -- look good. Contrast can be recovered in the dialog box that opens with the command, Image > adjustments > black and white. You can also add contrast using Image > adjustments > levels (or curves). Once you like the black and white image, introduce color with the color balance dialog box. This can then be tweaked using Image > adjustments > hue/saturation. Also experiment with desaturating the color as I did in the photo at right. §
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w
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.
January 22 - 23, 2022
Winter Wildlife Workshop Stunning pictures of North American animals including wolves, red foxes, arctic foxes, mountain lions, Canada lynx, plus snow leopards. The animals will be in their winter coats and very beautiful. This is based in Kalispell, Montana.
February 1 - 5, 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
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1919
W i n t e r W i l d l i f e Workshop February 1 - 5, 2022
Based in Kalispell, Montana
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What’s wrong with this picture?
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ven though this image of a namaqua chameleon I photographed in Namibia shows a natural background indicative of this reptile’s environment, there are three things about this image I don’t like. First, the background is, indeed, very busy. It competes for attention with the subject, and that’s not how a successful image is supposed to work. Second, the downward angle of the camera isn’t ideal, especially for small animals. Sometimes there’s no choice, but I still don’t like it. Much better in my opinion, would have been an eye-level perspetive. And third, the vegetation in the lower right corner is out of focus, and I find that to be visually annoying. Blurred foregrounds are usually distracting. At times there is simply no way of avoiding them, but being aware of this issue is the first step in avoiding them by changing the shooting position, using a smaller lens aperture, moving back from the subject, or using a wider angle lens.
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This is the same species, although it’s a different individual. Here you can see how effective the unobtrusive, clean background is. This is still a natural environment, but now the background is complimentary instead of distracting. My angle of view in this shot is much lower, almost eye-to-eye, and that makes for a much more compelling, intimate portrait. I really should have gotten even lower, but still, this angle makes a more engaging image than the comparison on the previous page. And finally, there are no elements in the immediate foreground that are out of focus except a few grains of sand in the lower left corner. That’s so minor it doesn’t bother me although, in an ideal world, I’d clone some of the sharp sand over the slightly blurred portion of the foreground. Both images have enough depth of field so the animals are sharp from their heads to the rear portions of their bodies. That was important. § 23
SHORT AND SWEET 1. It is winter now, and in many parts of the U.S. and
2.
3.
4. Shooting snow means the meter can be fooled by all
the world it’s cold. If you don’t like shooting in frigid temperatures, there are many things you can photograph indoors. This is a mixture of vegetable oil and water shot in a flat bottom, glass container. The color comes from paint smeared on paper lit with a flash.
When photographing animals, dramatic expressions can occur very quickly and then they’re gone, lost forever. Watch animals through the viewfinder, not directly with your eyes. If you do the latter, and a great moment occurs, by the time you look through the camera and compose, it may be too late.
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When you use a long lens and shoot the sun, it’s unusually large in the frame. The longer the lens, the larger the sun becomes. This is a dramatic way to show the sun in an image. This shot was taken with a 500mm focal length. Had I used a cropped sensor camera or a 1.4x converter, it would be even larger.
the whiteness. Images will be underexposed. However, there is no general rule about this because in a shot like this, much of the center of the frame -- where metering takes place -- is middle toned. Other photographers say to overexpose snow photos. Here that wouldn’t work. §
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 Indian ruin in Arizona in midday light. The contrast was extreme, and
the shadows at the roof of the dwelling show virtually no detail. I should have done HDR, but I didn’t. Is there any way of recovering detail in those black shadows? Judith Collins, Bakersfield, California
A: If you shot this in jpeg mode, no, there is no way to recover the lost detail. If you took the picture in
RAW mode, then you can possibly bring the image back into camera RAW in Photoshop (Filter > camera raw filter) and use the shadows slider to open up that detail. The problem, though, is that the dark areas may be too noisy. You’ll just have to try it and see what happens. If you do generate too much noise in the shadows, select just those areas and apply Topaz DeNoise. That may help a lot. §
© Judith Collins
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Partial list of Photography Tours 2022 - 2023
WINTER WILDLIFE Feb 2022
LOUISIANA SWAMPS May 2022
SPAIN/PORTUGAL Apr 2022
ICELAND Jul 2022
HOLLAND/BELGIUM Apr 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
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For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
Mystical Swamps of Louisiana j May 18 - 22, 2022 jPrimeval landscapes
Birds in flight Alligators Ante-bellum homes
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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.
George Foo, San Marino, California India photo tour, New Zealand photo tour, Patagonia photo
tour, and Oregon Coast photo tour.
© 2022 George Foo
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Student Showcase, continued
© 2022 George Foo
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Student Showcase, continued
© 2022 George Foo
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31 29 29 29 33 31
Student Showcase, continued
© 2022 George Foo
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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., January 22 - 23, 2022
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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
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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 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
Dec. ‘17 Apr. ‘19 Jan. 22 Jan. ‘15 Aug. ‘20 Jul. ‘15 Jun. ‘21 Jan. ‘14 Dec. ‘17 Jan. ‘14 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 Jan. ‘13 Oct. 17 Sep. ‘14 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14 Nov. ‘14 Apr. ‘15 Sep. ‘16 Mar. ‘21 Dec. ‘13
Face sculpting Apr. ‘21 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
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 Light fall-off Feb. ‘14
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 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
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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
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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
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
White Sands National Park, New Mexico 43
