Jim Zuckerman’s
PH OTO I N S I G HTS January 2019
Angled perspective Fundamentals of great pictures Mirrors Photo tours Ask Jim Student showcase 1
4. 10. 20. 26. 28. 29. 30. 32. 38. 42.
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Angled perspective Fundamentals that make great pictures Mirrors 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: Snow leopard -- one of the wildlife subjects in Jim’s winter wildlife workshop. This page: Baby Canadian lynx kitten, Montana.
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Jim with Princey at 6 weeks
irline travel has become terribly upleasant in recent years. I fly a lot -- all over the world all the time -- and I now dread every time I have to deal with it. On my recent flight to Yangon, Burma, on Cathay Pacific the leg room space was the smallest I’ve yet encountered. It was a shocking 9 inches from the edge of my seat cushion to the back of the seat in front of me in economy class. This was from Chicago to Hong Kong -- a 15 hour flight. I will never fly this airline again. I can only imagine the suffering of people who are taller than I am. Everything the airlines can possibly do to make our experience of flying really horrible, they do. Many airlines now restrict to 15 pounds (7 kilos) the weight of our carry-ons. For photographers, of course, this is very bad because there is no way we can check our expensive gear. This adds a level of stress to flying that we don’t need, and we have to develop ‘counter measures’ just to get on the plane and protect our camera equipment from loss or damage. In addition, some airlines now won’t let you choose a seat assignment at the time of booking unless you pay extra. If you are unwilling to pay more money, above and beyond the ticket price, you can’t choose a seat until 48 hours before the flight. This probably means you’ll be stuck in a dreaded middle seat. A flight of two or three hours isn’t that bad, but on a long trans-Atlantic or trans-Pacific flight, a middle seat is a miserable place to sit and try to sleep. You get to share an armrest that is about an inch and a half wide. Have you ever tried to redeem miles for a free ticket? If a reward seat is available, the routing they want you to use is often so convoluted that you’ll spend way too much time in the air and at connecting airports. It’s so frustrating that you will probably just end up buying a ticket. So much for loyalty to one airline. And the kicker? It’s when the airline employees say, ‘Enjoy your flight.’ At that moment I need an air sickness bag. Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com 3
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Angled Perspective
remember shopping for a wide angle lens in the 70s, and clerks in the camera store I patronized tried to talk me out of buying a 24mm lens in favor of a 28mm or 35mm. They told me that the wider angle lens distorted too much, and that kind of look wasn’t good. I responded by saying it’s the distortion that makes images from wide angle lenses so compelling, and that’s exactly what I wanted. Decades later, I still believe that. Angled perspective from wide angle lenses add drama, visual interest, and creative artistry. There is no rule that says we have to capture only what we see. If that were the case, we would be con-
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strained to using a 50mm lens at f/22, we’d never shoot black and white, and every picture would have to be HDR so we would never see overexposed highlights or black shadows. Shallow depth of field, motion blurs, and telephoto compression would be out of the question if our goal was to capture what we see with our eyes. All of the pictures you see in this article were taken with a wide angle lens from a standing position looking down on the subject. In addition, I was very close to each foreground -- from 3 to 6 feet away. At the same time, I used a lens aperture that gave me complete depth of field. This was typically f/8 to f/22. Wide angle compositions with backgrounds less than sharp never look good.
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ject and background. If, for example, the subject is in the shade and the elements behind it are lit by direct sunlight, the high contrast will detract from the picture. 4. The wider the angle, the more effective and dramatic this technique will be. The tulips and the monks on pages 4 and 5 were both taken with a 16mm focal length. For the costumed model in Venice, Italy, on the next page I used a 24mm lens and, for the picture on page 8 (where I was standing on a chair to increase the dramatic perspective), taken during my Venice workshop, I used a 14mm wide angle. 5. The closer the lens is to the foreground, the greater the ‘distortion’ and thus the greater the drama of the perspective. In many instances, distortion is a creative tool that goes a long
This close proximity of the camera to the subject when using a wide angle lens makes the foreground disproportionately large compared to the background, and the elevated angle further dramatizes the subject. This kind of look is very powerful. To use this technique, the following aspects have to be present: 1. The background has to be beautiful or interesting or compelling in some way, and it should complement the subject. 2. The background should be as sharp as the subject. 3. The same light should illuminate both sub6
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Focus point
is to take the focal length of the lens -- say 24mm -- and divide it by 3. In this example, the answer is 8mm. Change the millimeters to feet, and that’s the focus distance from the lens. This means you’ll have maximum depth of field given the composition and the focal length of the lens. Using a small lens aperture between f/16 and f/32 virtually guarantees complete depth of field.
An important question always arises: Where should the point of focus be if both the foreground and background need to be sharp, and the camera position is close to the subject? The shortcut way to determine this is easy; the end results are almost exactly in keeping with the mathematically correct method of using the hyperfocal distance. The way I have been determining the correct focus distance for years
The closer the foreground subject is to the camera, the more critical the depth of field issue is. In the boudoir picture below, the model isn’t extremely close. The bottom of her dress was about 6 feet to the lens. The flowers I captured in Keukenhof Gardens in Holland on page 4 were two to three feet from the camera. In a composition like this, f/22 or f/32 is essential for a successful image. §
way toward making your portfolio of imagery stand out. In the picture on page 6 taken in Bodie Ghost Town in California, the shooting position was about 5 feet from the old wooden table. And in the landscape image from White Pocket, Utah (also on page 6), the camera was about three feet from the piece of deadwood.
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NORMANDY & BURGUNDY September 6 - 14, 2019 Spectacular chateaus
Quaint French villages
Paris
Coastal life
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Fundamentals that make Great Pictures
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ne of the fascinating challenges in photography is that you have to think about many different things at the same time. A multitude of camera settings, subject matter, backgrounds, lighting, composition, and lens choice have to be decided upon quickly -- and sometimes in mere seconds -- in order to capture something really good. These skills can take years, or even decades, to perfect. It seems easy at first -- what’s the big deal about taking a pretty picture? But as you know, it’s much more challenging than simply pressing the shutter button,
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and there are many layers of complexity to understand and to navigate. I’ve compiled a list of characteristics that contribute to great photographs. Every picture you take won’t incorporate all of these, but at least one or two will be part of each excellent image. 1. Great subject. Great subjects make great pictures. Conversely, boring or mediocre subjects make less-than-exciting
images. I have spent my entire career seeking out great subjects: beautiful or compelling faces, stunning architecture, breathtaking landscapes, artistic designs in nature, amazing animals and birds, etc. A great picture always, without exception, starts with a great subject.
low in the sky, you can capture front, side, and backlighting. Each one can be beautiful. When there is a cloud cover and diffused light is on the land, this, too, is excellent. Wildlife, birds, macro images, and landscapes (notably autumn color) all look great with soft and diffused light.
2. Complementary background. Backgrounds are just as important as subjects in making a picture work. The background should be non-distracting, and it should help direct attention to the subject as in the case of the critically endangered Balinese starling, below. The foliage is muted, out of focus, and complementary to the birds.
The shot on page 13 of mountains in China shows how exceptional early morning sunlight looks as it penetrates fog and clouds clinging to the peaks. This is an example of a combination of diffused light and sunrise light.
3. Beautiful lighting. For all outdoor photography, the two best types of light are sunrise/sunset and overcast. When the sun is
4. Attention focused on the subject. The last thing you want in a picture are elements that take attention away from the subject. Bright backgrounds, bad shadows, graphic lines behind the subject that are not part of it, or unwanted elements protruding into the frame are
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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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all detrimental to an image. Make sure you run your eye around the viewfinder each time you take a picture, looking for distracting elements that pull our focus away from the subject. This should take only a second. 5. Sufficent depth of field. Many subjects, like landscapes and architecture, require as much depth of field as possible. Other types of subjects, like outdoor portraits, birds, and wildlife, benefit from shallow depth of field. Pay attention to how much, or how little, depth of field you have in every picture you take.
ter, or it could be a child’s burst of laughter, a great sports play, two water drops colliding, or a bird diving into a river for fish. The key in these kinds of shots is to use a fast enough shutter speed to freeze the detail with tack sharp clarity. Motion blurs are fine once in a while, but
6. Peak action. The peak of an action in any given situation makes great images. This could be a mountain lion splashing in wa13
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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. 23 - March 1, 2019
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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it’s sharp images of action that appeal the most to any audience. Use the fastest frame rate your camera offers to capture peak action. 7. Good composition. Well composed photographs separate good images from great ones. Use all the ingredients of composition to create classic shots: leading lines, graphic design, Scurves, repeating patterns, and negative space. Learn to identify and use these design elements and your photography will take a quantum leap forward. 8. Strong emotion. Emotional subjects make powerful images. These types of situations and subjects aren’t everywhere, but once you focus your attention on finding them, you’ll be surprised by what you can capture. This Chin tribal woman from Burma, right, had her face tatooed when she was only 10 years old. She described the pain to me and how she tried to
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run away, but her parents tied her to a tree for the two day procedure. That happened more than 60 years ago, but I tried to capture the memory of the suffering on her face. 9. Graphic design. Strong graphic shapes can make or break an image. This is especially true for fine art photography: landscapes, architecture, dancers, wildlife, etc. Artistic curves and beautiful lines are always pleasing to the eye, and they elevate an image from good to great. 10. Unique perspectives. Photographing a subject or scene from an uncommon point of view creates compelling images. This might be looking upward, shooting downward (as I explain in the previous article), photographing through a tunnel, a window, a cave, shooting from ground level or even below ground level. The Tulip Staircase, right, in the Queen’s House in Greenwich, England, is an example of photographing upward at a strong subject. On page 19, the aerial perspective of a Bud-
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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
Wildlife Photography is in production and is coming soon
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se dhist temple in Bagan, Burma, illustrates another unique perspective that no one is privy to unless they are in a plane, a hot air balloon, or using a drone. For the regal horned lizard at right, I was able to shoot from below. I placed the captive reptile on a rock and used a medium telephoto lens below the rock. This produced an uncommon perspective, and, as a result, I created a surprising and compelling image. Surprising in the sense that viewers don’t expect this kind of shot of a small, low profile subject; compelling because few people see the belly of animals so close to the ground. Putting it all together As I mentioned at the beginning of this article, photography’s challenge is integrating
many ideas into a single picture. Use this list as a guide to take better pictures. Practice each item on the list one by one, focusing on just that one idea -- such as graphic design. Then, add other parts of the equation like great subjects plus beautiful lighting. Over time, these concepts will become part of you, and you’ll begin to create the kind of images that will make you proud. §
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M i r r o r s O
ne of my favorite Photoshop techniques is mirroring an image. It creates a surreal, artistic rendition of what might otherwise be a typical straight photograph. If you start with an image that has already been manipulated and/or stylized, such as the composite of a model with an orchid on the next page, the results can be quite intriguing. A variation on this theme is to introduce a singular element with a mirrored background. For example, look closely at the mirrored winter landscape in Yosemite National Park on page 23. I pasted into the
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scene a mountain lion. The entire image is mirrored except that one element. This gives people pause when they are looking at the picture. Here is the step by step technique to create a horizontal mirrored image. 1. Open an image, either horizontal or vertical, and copy it to the clipboard with Select > all, then Edit > copy. Using keyboard shortcuts, it is Command/Ctrl A; then Command/Ctrl C. 2. Deselect with Select > deselect. The key
board shortcut is Command/Ctrl D. 3. Go to the pulldown menu command, Image > canvas size. In the dialog box that opens, there is a tic-tac-toe box. Click in either the left middle box or, as pictured at right, the right middle box. Then type in a new value in the width field equal to double the number shown. In this example, you can see 18.50 inches. So the new value would be double that, or 37 inches. Click OK. The result can be seen at the top of the next page (the color in the blank area comes from the color in the background color box). 4. Choose Edit > paste. This action pastes the same image into the middle of the image. It is now layer 1. 5. Choose Edit > transform > flip horizon-
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tal. This flips only the floating layer horizontally. 6. Choose the move tool and move the flipped image into place. Enlarge the photo and make sure the two images are perfectly placed. If not, use the arrow keys to nudge the layer into place until
it perfectly mirrors its mate. Once this is done, flatten the image with Layer > flatten image. Mirroring a horizontal image produces, essentially, what looks like a panorama formatted photograph. It’s much longer than it is high. If you want to resize it to the 2 x 3 proportion that
matches what comes out of the camera, this can be done in Image > image size. That’s what I did with the final composite below. You don’t have to mirror the entire original, of course. You can also select (using the rectangular marque tool) only part of the original.
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That’s what I did with the image below of one of my nieces. My brother wanted something ‘unusual’. Well, he came to the right place! I selected half of Jesse’s face, copied that to the clipboard, and then went through the same
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procedure as already described. In this way, I mirrored half of her face to create a composite that looks almost like her, but not really. None of us have perfectly symmetrical faces. I then replaced her eyes with the eyes of a gecko. §
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 photograph is an example of why you need to study the viewfinder carefully every time you take a picture. Notice everything. It’s very easy to focus all of your attention on the subject and not notice problems that need to be addressed in other parts of the image. For example, in this portrait of a woman smoking a cheroot, the problem is the out of focus highlights seen just above her hand. The background foliage is correctly out of focus, but there was a little bit sky peaking through the branches of the distant trees. This led to the light spheres behind the smoke, and they are distracting. Because the smoke is so ethereal and translucent, Photoshop can not be used successfully to solve this problem. As soon as I noticed the problem, I changed the position from which I was shooting to hide the out of focus highlights.
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In this version, the entire background is muted, out of focus, and complementary. The light smoke stands out with excellent contrast against the dark and completely undefined background. I also waited until the woman exhaled to capture the stream of smoke coming from her mouth. When photographing subjects in which there is a lot of movement, such as birds in flight, galloping horses, kids playing at sports or, in this case, smoke swirling, use the fastest frame rate the camera offers. In this way, you can choose from among many shots which is the best one. It’s impossible to freeze a composition in your mind’s eye to determine which is the right moment to shoot. Multiple frames per second is the only way to ensure at least one of the frames will be a winning shot. § 27
SHORT AND SWEET 2.
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Freshly fallen snow offers wonderful opportunities for abstract images. When sunlight grazes the snow, such as at sunrise or sunset, texture is pronounced and graphic patterns of shadows can be beautiful. Check the LCD monitor to make sure the snow exposures are correct. If not, use the exposure compensation.
The best time to visit the national parks in the American Southwest is, in my opinion, the winter. They are beautiful with snow, there are far fewer people, and the prices for lodging is less than in the summer during peak season. This is Bryce Canyon from the Navajo Loop Trail.
3.
4.
Using a single light for an indoor portrait makes photographing people simple. It’s cheap, effective, and easy. I place the light either directly in front of the subject, at a 3/4 angle, or sometimes, for male portraits, to the side. For this shot, I used a $10 reflector I bought at a hardware store and a single light bulb.
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I spend a lot of time and energy replacing white skies because they are usually distracting to an otherwise beautiful landscape shot. Sometimes, though, a white sky is perfect. In this instance in the dead of winter, the Gateway Arch in St. Louis is perfect against a white sky, especially with the dark branches. §
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 took this picture in the Canadian Arctic, and I recognize that the lighting is dramatic and I like the high placement of the horizon. But I know this image isn’t great, and I don’t know why. Can you help me, please, identify the problem? Stanley Ellenberger, Bangor, Maine
A:
The problem here is that there aren’t any artistically interesting land forms. I can appreciate you wanted to capture the isolation and the seemingly endless expanse of this region -- which you did -- but there isn’t an interesting graphic design here. Even the patterns of snow on the ice aren’t working. One of the key ingredients to strong photographs is graphic design. That’s what is lacking here. You needed to walk around more to look for a strong pattern in the foreground. That would have made this much better. §
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Partial list of Photography Tours 2018 - 2020 ICELAND Mar. 2019
PATAGONIA April 2019
KENYA Aug. 2019
OREGON COAST Aug. 2019
NORMANDY/BURGUNDY Sept. 2019
UZBEKISTAN & KYRGYZSTAN Sept. 2019
RUSSIA Oct. 2019
CUBA Oct. 2019
SRI LANKA Nov. 2019
WINTER WILDLIFE Jan. 2020
INDONESIA Summer 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.
Susan Christofides, Seattle, Washington Cuba photo tour, Balkans photo tour, London/Paris photo tour, and Susan will be on the upcoming Scotland and Russia photo tours.
© 2019 Susan Christofides
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Student Showcase, continued
Š 2019 Susan Christofides
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Student Showcase, continued
Š 2019 Susan Christofides
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Student Showcase, continued
Š 2019 Susan Christofides
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KENYA PHOTO TOUR August 1 - 11, 2019
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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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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 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
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Subject index for past Photo Insight issues Tamron 150-600mm Apr. ‘14 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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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 Pa-o tribal girl, Inn Dein ruins, Burma
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