Photo Insights July 2020

Jim Zuckerman’s

PH OTO I N S I G HTS July 2020

Graphic design Clone tool lesson Long lenses for flowers Photo tours Student showcase Ask Jim Subject index 1

On the cover: Panther chameleon captured during Jim’s frog and reptile workshop. On this page: Caiman photographed in the Pantanal, Brazil.

2

4. Graphic design 13. Clone tool lesson 18. Long lenses for flowers 24. What’s wrong with this picture?

26. Short and Sweet 27. Ask Jim 28. Photo tours 30. Student showcase 36. Back issues 41. Subject index for Photo Insights

S

ometimes when I’ve asked clients if they have photographed a famous place, a well-visited monument, or a spectacular viewpoint, the response I’ll get once in a while is, “So many other photographers have photographed that, and I don’t think I could do anything different.”

I’ve never understood that sentiment. Sure, we would all like our photographs to be unique and creative, but if you’ve always wanted to see the Eiffel Tower or the pyramids in Egypt, and if every single person on the planet has been there before you and billions of pictures have already been taken of these places, so what? That should have no bearing on your enjoyment of the experience of being there and taking photos. Even if your images are identical to many others, again, so what? Travel and nature photography is about seeing beautiful and famous places with your eyes and enjoying the process of capturing your memories by taking best pictures possible. If you see photos at some point in the future that are better than what you took because other photographers had better light, a more dyanmic sky, or they found a better composition, that should have nothing to do with your experience. If you think you can do better the next time, go back and try again.

Would you go to Africa and not take pictuers of lions because they have been photographed by hundreds of millions of people already? Of course not.

The great thing about photography, unlike a sporting even where only one person or one team can win, is that everyone can win. If other shooters take great pictures, that doesn’t mean you can’t do the same. The number of great images taken by others doesn’t diminish the number of great shots you can take. There is always that once in a lifetime shot that makes you envious, but if you shoot enough, you’ll have some of those, too, and other photographers will be jealous of what you captured.

Revel in the experience of being in a great place and enjoy the process of making wonderful photographs. You’ll be a lot happier if you are in competition with no one but yourself.

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

B

Graphic Design

esides lighting, the single factor that underlies all artistic photographs is graphic design. Think of graphic design as the shape of things. Photographers study and strive to improve their compositions, but at its core, composition is merely a collection of shapes and the arrangement of those shapes within the frame.

Sometimes good design is simple and easily identified as in the palm frond about to unfurl, right. I chose to photograph this in Indonesia based solely on its beautiful shape.

Most of the time, though, graphic design in-

4

volves many types of shapes that come together in a fairly complicated way. The image below shows an arrangement of vases, stone steps,

5

stone blocks, vines, and an arch, and these elements make an attractive composition because the shapes and colors work together so nicely.

Recognizing strong graphic design can take a long time. It’s a maturation process. The more you shoot and intelligently analyze your pictures, the closer you move to successful compositions with dynamic graphic shapes.

To improve your skills in identifying good graphic design that ultimately makes beautiful photographs, it helps to have something to look for when you shoot. The world is, basically, a compositional mess. Focusing on certain types of shapes, lines, and designs will point you in the right direction. Much of the time, these translate into great pictures.

S-curves and Spirals Curves of all shapes can make compelling designs in an image. The window frost, above, is an example. The most dynamic curves of all are S-curves and spirals, an example of which can be seen in the Tulip Staircase photo from the Queen’s House in Greenwich, U.K. on the previous page. At left, it’s the model’s beautiful lines and, specifically, the S-curve of her body that makes this a strong image. At the top of the next page, this farmhouse in Tuscany is a favorite shot among photographers because the driveway has a double S-curve.

Repeating shapes A striking type of graphic image occurs when lines or designs repeat themselves. This could 6

involve any type of subject -- rows of flowers like the lavender field, right, fishing boats (see the next page), ancient columns, a line of trees, a row of Victorian houses, steps, bikes stacked together, and so many more possibilities. I unexpectedly came across a line of rickshaws in India that made an interesting graphic design, shown on the next page.

In all of these scenarios, it’s important to have complete depth of field. Use the smallest lens aperture possible to make sure you’ve captured shap detail from the foreground to the background.

Diagonals A dynamic graphic element is the diagonal line. Diagonals come in all forms. Sometimes 7

you can create diagonal lines simply by angling the camera. That’s what I did for the shot of the feathers on the next page. I laid these out in a vertical pattern and then rotated the camera to create a stronger graphic effect.

In the photo above, the repeating design is definitely dynamic, but notice that each of the fishing boats offer a strong diagonal line in the way their bows are angled relative to the camera.

For the stunning interior of the 15th-century mausoleum of the Central Asian conqueror, Tamerlane, on the next page, I created the diamond-shaped diagonal ceiling design by standing in one corner of the building and using a 14mm wide angle lens. In reality, the ceiling shape is square, but the angle from which I photographed it created the diagonals and made this graphic design quite compelling because of 8

the strong and prominent diagonal lines. Notice how symmetrical this image is, too.

Symmetry A powerful type of composition is one that appears to be virtually mirrored. I’m referring to symmetrical designs that are perfectly centered and perfectly balanced. This can be eas-

ily seen in many architectural structures, from village huts to steel and glass skyscrapers. You can also set up a shot that has great symmetry as I did with the Balinese dancers on page 11. The dragon staircase was constructed with symmetry in mind, and I just placed the models in the center to echo that type of design.

Perfect symmetry is also obvious in the mausoleum photo at right.

The key to making these types of pictures successful is positioning yourself dead-center on the subject. This does two things. First, it underscores the symmetry and makes the picture look perfectly balanced. Second, it prevents the horizontal lines of the subject from looking skewed relative to the top and bottom of the frame. When the back of the camera (i.e. the plane of the digital sensor) is parallel with the plane of the subject, that prevents the vertical lines of the subject from appeaering skewed,

9

AUSTRIA & the DOLOMITES Sept. 25 to Oct. 4, 2021

10

or non-parallel, to the left and right sides of the frame. Even if the camera is slightly off-center or if it’s angled badly, the symmetry is degraded.

I’ve noticed on my photography tours that many people have difficulty finding the exact place where dead-center is. If there are symmetrical designs on a floor, such as in a cathedral, it’s not hard to identify where to stand in the center of the room. In other instances, like the tiled floor of a mosque in Bishkek, Kyrgyzstan, right, you have to look critically at the various elements in the scene to determine when you are positioned dead-center on the subject.

ground columns and the left and right sides of the frame are identical. Noting these details takes a few extra seconds, but it makes the results perfect.

Negative space One of the ways to direct attention to a subject in a photograph is to compose it surrounded by a uniform -- or fairly uniform -- background that is not part of the subject. This is the idea

In the photo at right, for example, notice how the two minarets are composed such that the distance between them and the middle arch on both sides is precisely the same. This could only occur if I were standing dead-center. In addition, the spacing between the two fore11

of negative space, and this type of composition is often very graphic and visually dynamic. The costumed model, right, taken in Venice, Italy, during carnival is an example. The background is basically monochromatic with no form at all, and this focuses our attention on the model.

Our eye really has nowhere else to go.

The silhouette of a Masai tribesman from Kenya, below, also exhibits the idea of negative space. Even though the clouds have form and drama, the way I composed this (using a wide angle lens to include a large portion of the sky) means the large expanse of sky only serves to direct our attention to the subject.

In negative space compositions, the subject is usually placed off-center as you can see in both of these pictures. In the Venetian portrait, I placed the model along the left vertical third in keeping with the Rule of Thirds. With the

12

Masai spear-thrower, I composed the image with the subject in the lower right corner. My rationale was to make the sky as large a part of the frame as possible to give the impression of the vastness of the African plains.

When you shoot outdoors, it seems like the world is compositionally messy. Using the graphic design concepts I’ve outlined here helps make sense of the mess. §

The CLONE TOOL

U s i n g O p a c i t y

E

very time a tool is chosen in Photoshop’s tool palette, the options in the tool bar change. When you choose the clone tool, one of the options is opacity. Opacity is one of the most effective techniques to solve many problems in photographs.

established the anchor point, or the place from which the clone tool will copy pixels. This point was at the top of the water in the lake. I then cloned up into the sky area just above the horizon line. At a reduced opacity (50% in this case), the clone tool blended the water into the lowest part of the sky.

Take for example the image below of two stallions sparring in a marsh in southern France.

The distant shoreline and the scrub vegetation don’t really ruin the picture, but I don’t particularly like it. The dark swath is distracting and diverts attention from the horses. The problem in removing it, though, is that the sky has to gradually blend with the water as if the background were foggy. Any kind of sharp demarcation line wouldn’t look good.

Still on the lowered opacity, I then re-established the anchor point in the sky, this time just above the water level. Cloning the white sky down into the water blended the two areas further.

The first thing I did was to select the clone tool and, at 100% opacity, I cloned the sky over the shoreline and vegetation to completely obliterate it. Then, I changed the opacity to 50%. I held the option key down (alt key on a PC) and

My technique, then, is to use 50% opacity and clone from the water into the sky followed by the same procedure but from the sky down into the water. This blends the two parts of the image together seemlessly.

Another use of the clone tool at a lowered opacity is shown on the next page. These are models of marine dinosaurs, and I photographed them from above in my office using diffused window

13

NAMIBIA PHOTO TOUR May 22 - June 1, 2021

Monster dunes Wildlife Walvis Bay cruise Dead trees Milky Way

14

PREMIIUM PORTFOLIO REVIEWS

by Jim Zuckerman

Jim is now offering professional reviews of your portfolio. Choose 20 images, and Jim will select the 10 he wants to review with you on a on-to-one basis.

You will share computer screens with Jim, and based on his 50+ years in photography, he will give you constructive comments that will go a long way to helping you significantly improve your shooting. In addtion, he will demonstrate to you how to use Photoshop to enhance and embellish each image. See how he uses his artistic and technical skills to transform your original photographs into visuals that exceed your expections. He is known for being able to fix photographic problems, and you’ll see this demonstrated right on your own computer screen.

Jim will cover topics like lens choice, camera settings, depth of field, exposure, composition, graphic design, and the all-important subject of whether a background is complementary or distracting. All levels of photographic expertise, from beginners to advanced, are welcome.

Contact him at photos@jimzuckerman.com if you would like to take advantage of this professional review. Click on the montage above for more information.

15

light. That meant the environment had to be photographed in diffused light as well, and I chose a shot from a cliff in New Zealand.

how much of their upper body appeared to be above the water.

It’s one thing to paste a subject into a background, and it’s quite another to make that subject look like it was really there. To do that, I wanted the flippers of the dinosaurs as well as the posterior portion of their bodies to appear submerged. That’s where the clone tool comes in.

When using the clone tool on an opacity less than 100%, the effect is cumulative. In other words, when I cloned over the dinosaur body parts once at 50% opacity, that produced what you see here. If I cloned again, also at 50%, the water would then completely obliterate the flippers and the rear half of the body because it would be 100% opaque.

Using 50% opacity again, I cloned seawater over the body parts of the dinosaurs. This took about 5 or 6 seconds -- it’s really easy. I had to decide exactly where the water line was placed at the base of their necks. That defined

If you are not sure what opacity setting will look right, start at a lower number, such as 20%. Apply 20% opacity two or three times to access how much looks right in any given situation. §

16

w

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. You’ll have a gondolar shoot, two palace interiors, a boudoir photo session, and much more.

Feb. 5 - 12, 2021

Snowy owls workshop Stunning pictures of snowy owls in flight.

Up close and personal encounters with owls in the wild. Learn the best settings for capturing birds in flight, and how to deal with the cold when shooting in winter. Based near Toronto, Canada.

January 18 - 22, 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.

July 11-12, 2020

10

17

W

Long Lenses for Flowers

hen taking pictures of flowers, most photographers understandably think of using a macro lens.

After all, that makes sense. Most flowers are small.

Next time you shoot flowers, though, try another approach. Use a telephoto lens with a minimum focal length of 300mm. The pictures in this article were all taken with a 100400mm Canon zoom set to between 300mm and 400mm.

The unique look created by a long lens does two

18

things. For example, the tulips in the image below appear much closer than they actually are to the purple flowers in the background.

The longer the lens, the more compression.

Second, the amount of bokeh -- i.e. blur -- increases significantly especially in conjunction with a large lens aperture and close proximity to the foreground flowers. The increase in bokeh (which is the same as an increase in shallow depth of field) isolates the foreground subjects and makes them stand out dramatically. To fill the frame with a single flower or a small group of flowers, you can add extension

Expand your photographic artistry with

eBooks

Click on any ebook to see inside

18

19

eBooks continued Click on any ebook to see inside

20

19

W i l d l i f e Babies Workshop August 20 - 24, 2020

21

23

tubes. These allow you to focus closer than the minimum focusing distance of the lens and, at the same time, produce greater magnification. That increases the bokeh even more. The closeup of the brilliantly colored tulip, below, shows how you can isolate one flower or even a part of a flower this way.

Sometimes a photographer uses this technique but it turns out nothing in the image is tack sharp. If you want to create a complete blur of color where nothing is sharp, that’s fine. However, I feel the better approach is to render at least a small part of the image with tack sharp clarity to give a viewer something to focus on instead of a nondescript blur of color. To do this, make sure the shutter speed is fast enough to produce a sharp picture even while handholding a long lens. If there is absolutely no wind, you can use a tripod and then the shutter doesn’t matter. However, if there is even the

22

slightest amount of wind and/or you’re hand holding a telephoto lens, the shutter speed should be relatively fast.

Use this guideline to determine the shutter speed with a telephoto lens: The shutter should be the reciprocal of the focal length, or faster. In other words, if your focal length is 400mm, the shutter speed must be 1/400th of a second or faster. I like to err on the side of caution, so with a 400mm lens I like to use a shutter speed of 1/640 or 1/800. If a breeze is blowing and the blossoms seem to be dancing all over of the place, I would use 1/1000th of a second at least.

Remember, you will be typically shooting wide open to increase the bokeh, which means the light gathering ability of the lens is maximized.

This, in turn, allows a fast shutter speed so any movement will be frozen. §

23

What’s wrong with this picture?

I

photographed this 5-year old little girl at the Jember Fashion Carnaval in Jember, Indonesia, and I like everything about this picture except for the white out of focus element in the upper right corner.

Backgrounds are just as important as subjects in making an image work. No matter how great a subject is, if one or more things in the background draw your eye away from where it should be -- directed to the subject -- then it’s distracting. While dark elements can be very distracting, usually it’s the light elements that are the most bothersome.

In looking at this portrait, notice that your eye is constantly drawn to the upper right corner. That white spot pulls your attention to it almost automatically. That’s not how a successful picture is supposed to work.

24

In this particular shot, it was very easy to use the clone tool and eliminate the distracting element. In many photographs, though, repairing the background requires a certain amount of finesse in Photoshop. That’s one reason I feel it’s so important to master the program. There are numerous images in your files that could be vastly improved simply by replacing or correcting the background.

For all of us, too many photographic situations occur in which we can’t control the background. How many times have you said to yourself or to your photo buddies that a particular picture would have been so good if only the background were different -- non-distracting, more complimentary, less blown out, less busy, etc.? I have those same issues. That’s why I spend a lot of time in Photoshop making pictures perfect. § 25

SHORT AND SWEET 1.

2. We photograph small subjects like this northern

3.

4.

When you are photographing a line of elements, like these drinking elephants, it’s ideal to have complete depth of field. I would recommend a lens aperture of at least f/16. If necessary, raise the ISO to make sure the f/stop is small and the shutter speed is fast enough for a sharp picture.

When you photograph symmetrical subjects, stand dead-center because that underscores the symmetry and makes the image look balanced. If you are even a foot or two off-center, horizontal and vertical lines will look skewed in the final image. This is the interior of Peterhof Palace in St. Petersburg, Russia.

26

map turtle so we can see and appreciate the intricate and intriguing detail. Therefore, virtually all of my macro images are taken at f/32. Since such a small aperture lets in very little light, I compensate by using a flash -- a ring flash in this instance.

When photographing gardens, the ideal lighting condition is overcast. Contrast is at a minimum, and you’ll capture wonderful detail in the shadows that otherwise would be very dark or black if you shot with an overhead sun. Use a tripod so you can take advantage of small lens apertures for maximum depth of field. §

ASK JIM

Every month, Jim will answer a question from his online students, from people who participate in his tours and workshops, or from subscribers to this magazine. If you have a question you’d like Jim to answer, please drop him a note at photos@jimzuckerman.com.

Q:

Jim . . .How do you photograph glassware? No matter where I put my flash, there is too much contrast and the exposures don’t look good. How many flashes should I use, and is it necessary to diffuse them?

Lynn Chang, Houston, Texas

A: I would suggest at least two flash units, one on either side of the glassware. I would use a large diffuser,

and the larger the better. As the size of the diffuser increases, the light becomes softer. In addition, place the diffused flash close to the glass. The closer it is, the more diffused the light will be. That translates to more detail in the highlights and the shadows and less contrast.

© Lynn Chang 2020

27

Partial list of Photography Tours 2020 - 2021 BABIES WORKSHOP Aug.. 2020

MOROCCO Oct. 2020

POLAR BEARS Nov. 2020

CARNIVAL IN VENICE Feb. 2021

ETHIOPIA Mar. 2021

BIRDS & BATS Apr/May 2021

NAMIBIA May/June 2021

NORWAY/DENMARK Sept. 2021

28

LAVENDER FIELDS (France) June/July 2021

ICELAND July 2021

PERU NATURE Sept/Oct. 2021

WHITE HORSES Apr. 2022

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

Frog & Reptile Workshop October 10 - 11, 2020

At least 40 species of tiny, exotic poison dart frogs, reptiles, and more. This is a macro workshop.

29

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.

Rick du Boisson, Gainesville, Florida Lavender photo tour, Japan photo tour, Snowy owl workshop,

Namibia photo t our, Carnival in Venice workshop, Turkey photo tour, and Birds and Bats workshop.

© 2020 Rick du Boisson

30

30

Student Showcase, continued

© 2020 Rick du Boisson

31 31

Student Showcase, continued

© 2020 Rick du Boisson

32

37

31 33 35

33

Student Showcase, continued

© 2020 Rick du Boisson

34

33 33

POLAR BEARS from Ground Level!

November 5 - 12, 2020

34

PHOTOSHOP WORKSHOP in my home

Sat. & Sun., July 11-12, 2020

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. §

35

Click on the past issues of

PH OTO I N S I G HTS you would like to read.

Nov. ‘12

Jan. ‘13

Feb. ‘13

Mar. ‘13

Apr. ‘13

May. ‘13

Jun. ‘13

Jul. 13

Aug. ‘13

Sept. ‘13

Oct. ‘13

Nov. ‘13

Dec. ‘13

Jan. ‘14

May ‘14

Jun.‘14

Feb. ‘14

36

Dec. ‘12

Mar. ‘14

Apr. ‘14

Click on the past issues of

PH OTO I N S I G HTS you would like to read.

Jul.‘14

Aug. ‘14

Sept. ‘14

Oct. ‘14

Nov. ‘14

Jan. ‘15

Feb. ‘15

Mar. ‘15

Apr. ‘15

Dec. ‘14 Jim Zuckerman’s

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

1

May ‘15

Jul.‘15

Jun ‘15

Aug.‘15

Sept.‘15

Jim Zuckerman’s

PH OTO I N S I G HTS June 2015

• Realistic HDR • Selective focus • Simulating bokeh • Sepia & Dark Contrast • Online photo courses • Student showcase • Photo tours 1

Oct.‘15

Nov. ‘15

Dec. ‘15

Jan. ‘16

Feb. ‘16

37

Click on the past issues of

PH OTO I N S I G HTS you would like to read.

38

Mar. ‘16

Apr. ‘16

May ‘16

Aug. ‘16

Sept. ‘16

Oct. ‘16

Jan. ‘17

Feb. ‘17

Jun ‘17

Jul. ‘17

Mar. ‘17

Aug. ‘17

Jun ‘16

Jul. ‘16

Nov. ‘16

Dec. ‘16

Apr. ‘17

May ‘17

Sept. ‘17

Oct. ‘17

Click on the past issues of

PH OTO I N S I G HTS you would like to read.

Nov. ‘17

Dec. ‘17

Jan. ‘18

Feb. ‘18

Mar. ‘18

Apr. ‘18

May ‘18

Jun ‘18

Jul ‘18

Aug ‘18

Sept. ‘18

Oct. ‘18

Nov. ‘18

Dec. ‘18

Jan. ‘19

Feb. ‘19

Mar. ‘19

May ‘19

Jun ‘19

Apr. ‘19

39

Click on the past issues of

PH OTO I N S I G HTS you would like to read.

40

Jul. ‘19

Aug. ‘19

Sept/Oct. ‘19

Nov. ‘19

Dec. ‘19

Jan. ‘20

Feb. ‘20

Mar. ‘20

Apr. ‘20

May ‘20

Jun. ‘20

July ‘20

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 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 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 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 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

Nov. ‘19 Jan. ‘17 Feb. ‘17

Day for Night 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 Double takes Drop shadows Dust, Minimizing

Oct. ‘18 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Jan. ‘20 Dec. ‘18 Apr. ‘20 Apr. ‘20 Apr. ‘19 Aug. ‘19

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 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 points Mar. ‘15 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 for Scale 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 Graphic Design Garish imagery Great subjects Great ceilings & HDR Panos Green screen Grunge technique

Jul. ‘20 Dec. ‘15 Apr. ‘15 Jul. ‘19 Mar. ‘13 Feb. ‘13

HDR, one photo HDR at twilight HDR, realistic HDR, hand held

Apr. ‘13 May ‘13 Jun. ‘15 Dec. ‘16

41

Subject index for past Photo Insight issues 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 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 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 Meter, 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 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 Museum photography Mar. ‘13 Negative space Neon edges on black Neutral Density filters Night photography Night Safaris Night to Twilight

42

Jan. ‘16 Aug. ‘14 Jun. ‘18 Feb. ‘14 Jun. ‘18 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 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

Subject index for past Photo Insight issues 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 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 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 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 Topaz glow Topaz glow Topaz Impression Topaz Remask 5 Topaz Simplify 4 Topaz simplify 4 Topaz Studio Translucency & backlighting Travel photography

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 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 Mar ‘19 Jan. ‘15 Sep. ‘17 Sep. ‘15 Oct. ‘17 Dec. ‘12 Jun. ‘14 Apr. ‘18 Nov. ‘18 Feb. ‘13

43

PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved

Neopreptos matathusa caterpillar (a moth), Costa Rica.

© Jim Zuckerman 2020 email: photos@jimzuckerman.com

38 39 41 44