Photo Insights July 2022

Jim Zuckerman’s

PH OTO I N S I G HTS July 2022

When You Really Needed a Zoom Anatomyforofcapturing Natural action Light Portraits Strategies Upside DowntheReflections Photographing aurora borealis Shooting through glass showcase Photo toursVStudent Photo tours Ask Jim Ask Jim SubjectShowcase index Student Back issues

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Table of Contents 4.

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Strategies for capturing action Photographing the aurora borealis Shooting through glass 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: A veiled woman in Marrakech, Morocco. This page: A Yagua tribesman in the Peruvian Amazon using a blowgun.

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xposure precision was critical in the past when we all shot film. With black and white and color negatives, there was some flexibility. About one f/stop too light or too underexposed was still within the realm of acceptability. In those days, it was all about making a good print.

With transparency film, not more than 1/2 f/stop over or under was okay. Once the film was processed, the exposure could not be tweaked at all. Photographers would sometimes purposely underexpose slides by 1/3 f/stop because this tended to make color more saturated, but that was about it.

The reason why professional photographers had little competition in the market place with selling their work before the digital revolution is because only very serious amateurs understood exposure. Time and again I’d hear amateur photographers say, referring to how their images didn’t capture what they saw or experienced, “You should have been there.” Now, the millions of people who use digital SLR’s, mirrorless cameras, and smart phones don’t say that because their exposures, color, and even compositions are virtually perfect.

In the digital realm, particularly when it comes to RAW files, it’s amazing how far off the mark we can be in exposure and still get an acceptable image. With sliders in ACR and Lightroom, RAW files can be tweaked to make the photographs perfect even if the picture taker has no knowledge of exposure, the exposure triangle, lighting, or color. The biggest change in the photographic process is the ability to see your pictures immediately; even if the exposure is off, it’s a simple matter to correct them on the fly. In the past, when you returned from a vacation and had the film developed, if the pictures were too light or too dark, there was nothing to be done.

The technical side of photography has been tamed by technology, so to speak. Once you learn the buttons and dials on your camera, there are no technical hurdles to surmount. However, the creative side of photography can be so easily learned. That still takes lots of experience and an artistic eye.

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

Strategies for CAPTURING ACTION A

ction photography isn’t easy. Fast moving subjects present good compositions in fractions of a second, sometimes never to be repeated. The interaction years ago between my great Pyrenees and my newly adopted cocker spaniel puppy, below, shows a fearless pup not concerned at all with a gaping mouth that could shallow him whole! This moment lasted for probably a tenth of a second, and to capture something like this a lot of things had to come together: Hand-eye coordination, the shutter speed de-

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cision, the f/stop choice for depth of field, the autofocus mode, the number of focus points, an awareness of the background, the exposure for a white subject, and the frame rate.

What follows is my thought process for rendering fast moving subjects with sharpness. Creatively blurring action shots is a valid approach if that’s what you want, but in my opinion it’s much more rewarding artistically and technically (and more difficult) to capture the action with tack sharp clarity.

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1. Frame rate. The first decision is how many frames per second you’ll need to have enough of a variety of images from which to choose.

To catch every nuance of movement, I usually opt for the fastest frame rate my camera offers. Having said that, the newest cameras like the Canon R5 and the just announced R7 have 20 and 30 frames per second, respectively.

In my opinion, for most action sequences, this is overkill. For small birds in flight, however, that kind of ultra fast frame rate is perfect due to their extremely fast wing beats.

For the egret fishing in a Louisiana swamp on the previous page, I used the mechanical frame rate of 12 fps on the Canon R5. That was enough in this instance. The bird’s ability to grab a fish at warp speed is pretty impressive, and only a fast frame rate allowed me to capture enough images in the sequence to choose a favorite.

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2. Shutter speed. The speed of the shutter is critical in producing sharp pictures of a fast moving subject. I’m so tired of taking pictures that are almost sharp, so now I tend to err on the side of very fast shutters.

For birds in flight, my standard shutter speed is 1/3200. Large birds like herons, osprey, eagles, egrets, and hawks are relatively slow fliers, and if the light is diminished and I want to keep the ISO relatively low, I’ll go down to 1/2000.

Hummingbirds, on the other hand, flap their wings so fast that shutter speeds on our cameras aren’t sufficient to freeze the birds. Only flash units, when used on reduced power, generate a ‘flash duration’ brief enough to freeze this kind of movement.

My typical shutter for horses at full gallop, and in the case of the white horses of the Camargue in France, below, where they are splash-

Carnival in Venice

February 12 - 18, 2023

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ing through a marsh, 1/1250 is sufficient to freeze both the water drops and the moving horses.

The shutter speed you choose often depends on whether or not you are following the subject with your camera. This is made obvious in the photo below of two US Airforce Thunderbirds passing each other during an airshow. I was following the jet on the right, and with a shutter of 1/1600 it’s tack sharp.

The jet on the left flew into my frame and it’s slightly blurred because I wasn’t following it. So, in this example, I should have used a shutter speed of 1/2000 or even 1/2500 to have both planes sharp.

On the next page you can see Teddy, my cocker spaniel, as an adult running at full speed down a snow-covered slope. I prob-

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ably could have used 1/1250 -- the same shutter I use for horses -- but as I mentioned earlier, I like to err on the side of a shutter speed that may be unnecessrily fast if, and only if, I have enough light. In this case, I used 1/2000 and I tracked Teddy with the camera as I shot.

3. Depth of field. I only shoot action with the lens aperture wide open if the light level is low and I need as much light-gathering ability from the lens to give me a fast shutter. However, I prefer to build into the shot a certain amount of depth of field for two reasons. First, subjects have depth -- like a bird with outstretched wings-and I want as much of the subject in focus and sharp as possible. And second, if the autofocus mechanism isn’t quite fast enough to lock and focus onto a fast moving subject, a certain amount of depth of field might take up the slack. It’s like an insurance policy.

4. Speed of autofocus. How fast your camera can lock focus on a subject is critically important, obviously. If you are using a camera designed and manufactured several years ago, you are handicapped because newer cameras are so fast in their ability to find the subject and focus on it in milliseconds.

If your camera has the relatively new ability to lock focus on an animal’s eye, use it when photographing wildlife and birds. This feature has increased the chances of staying focused on a moving subject. It’s brilliant technology.

picture, the IS mechanisms will function. This takes a certain amount of time, and even if it’s milliseconds, this could cause you to miss the peak action of a moving subject.

In addition, IS (or VR) uses a significant amount of battery to function. Action photography drains batteries quickly simply because our

One thing you can do to speed up the autofocus is turn off the image stabilization feature in the camera and lens. With fast shutter speeds these are completely unnecessary. My point, though, is that before you can take a 9

cameras are totally electronic, and shooting so many frames over and over again demands a lot of power. Turning off the IS is also an important way to conserve the battery.

5. Auto ISO. An important part of my strategy in photographing subjects in motion is to use auto ISO along with manual exposure mode. In doing so, I can specifically choose my shutter speed (without the concern it will vary according to the light) and lens aperture.

As the light varies, the ISO varies.

The only downside to this is in low light environments the ISO will be high. I never put a cap on this, however, because if it’s relatively dark and the ISO needs to be elevated, limiting it will cause underexposure. With the advanced noise-reducing software now available, a high ISO is much less of an issue than it used to be. §

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A

Photographing the Aurora Borealis

spectacular Northern Lights display is something to behold. It moves, changes color, and changes intensity constantly, and when it fills the sky it takes your breath away. At the same time, it makes you feel small and insignificant in the grand scheme of things.

Photographing the aurora is easy once you understand the settings. You have to first realize that because the lights move, exposures that are too long will cause a loss in definition. In other words, the shape and design of the celestial light pattern may be lost and you end up with

nothing but a large green glow. If this is the first image of the Northern Lights you’ve ever taken, even that will be exciting. But very soon you’ll be looking for something more.

My exposure for the image below was 10 seconds. I would recommend making this your longest exposure. As you can see, the curves of light patterns are nicely defined. That’s what you want. The lens aperture I used was f/2.8, and my ISO was only 800. You have to use the largest lens aperture available -- the larger, the better. F/4 is the smallest aperture I’d use; otherwise, you’ll be forced to raise the ISO or length-

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en the exposure. Post-production software to mitigate noise, like Topaz DeNoise and Neat Image are both superb, but noise does show up prominently in the shadows. And night skies are full of shadows.

For the image below I used a 15 second exposure, and you can see some movement in the patch of green color in the upper right quadrant. A 25 or 30 second exposure would produce just a glow in the sky without any form.

Note how the colors vary. I didn’t alter the colors in post-processing at all. This is how a digital sensor reacts to the lights. I typically use a white balance between 3000 and 4000 degrees Kelvin. This has to be set manually.

The biggest challenge with shooting the sky -and this includes the Milky Way as well -- is, believe it or not, focusing. As good as autofo-

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cus is today, the camera can’t delineate a subject in a night sky even if the aurora borealis is bright. There are two things you can do.

First, you’ll be using a wide angle lens. I suggest 16mm or wider. Lenses with a super wide focal length go to infinity at approximately their focal length . . . in feet. So, for example, a 14mm lens focuses to infinity at about 14 feet.

That means you can focus on a distant window light, street lamp, car headlight, or even a flashlight that’s at least -- let’s say for insurance -- 25 feet away or more. Sometimes if you are shooting in a remote area specifically to get away from the lights of a city, there aren’t any manmade lights to be seen. In that case, use a flash. Have a friend hold the light for you or simply rest it on the ground or on anything else. Walk away and when you are about 25 to 30 feet away, focus on it. You can focus manually or use the AF function. However, once fo-

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PERUVIAN NATURE TOUR Sept. 24 - Oct 4, 2022

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cused, switch to manual focus mode and don’t touch or jar the lens in any way. Now, when you shoot the sky, you’ll be in focus.

If you want to include the aurora behind an illuminated building or city skyline, like you see with the church photo on page 13, it can’t be done with a single shot. The lighting on the architecture is much brighter than on the aurora, and the exposure discrepancy is too much for a digital sensor. You have two choices: 1. You can take an HDR sequence in which the longest shutter speed permits a good exposure on the sky. In this case, I’d recommend exposure increments of 2 f/stops and take 7 frames in the sequence.

2. Take two separate shots in which you first

expose correctly for the architecture, and then second you take the correct exposure for the Northern Lights. Then, in Photoshop, composite them together. This is what I did to create the photo of the church.

Including landscapes at night with a sky illuminated by the aurora can be quite dramatic.

With the ligh gathering of a long exposure and a large aperture, landscapes can look virtually like a daylight exposure. This gives form, perspective, and interest to the image. You can also paint foregrounds with a flashlight, and this, also, makes for dramatic images.

I captured all the images in this article in Iceland during winter trips there. You never see the aurora in the summer because the sky is never dark enough. §

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Shooting Thru Glass P

hotographers hesitate to shoot through glass because they feel it degrades image quality. This is true, but sometimes if you want a certain picture there is no choice. The question is, what can you do to take the sharpest picture possible?

First, the glass has to be as clean as possible, obviously. In addition, glass comes in various thicknesses. The thicker the glass, the greater the loss of quality. Most window glass is only 1/8th inch thick, and this causes the

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least amount of degradation of quality. I photographed the cat below through a window in a home in Morocco, and you can see clearly every hair and whisker on the cat’s face. The key is to make the lens axis as perpendicular as possible to the plane of the glass. This produces the sharpest picture possible. As soon as the lens is angled obliquely, image quality declines.

With airplane windows, you are not shooting through glass at all but optically inferior plastic.

And, there are two pieces of plastic separated by an air pocket. This is the worst case scenario, and if you have photographed through the win-

dows of a commerical jet, you know how bad the pictures usually turn out. This is because people angle the camera downward, and this oblique angle destroys the quality of the images.

The shot below of Chicago taken from the 94th floor observation deck on the John Hancock Building was problematic because the windows were angled; they weren’t vertical. It was impossible to make the lens axis perpendicular to the plane of the windows, so the camera had to be angled. I took the picture anyway, but it’s not as sharp as it could have been.

Aquarium photography is particularly challenging because of this issue. Aquariums have thick glass or Plexiglas, so it’s essential to shoot straight through. Any oblique angle really degrades quality. As a last resort, you can use Topaz Sharpen AI to bring back lost quality due to the optically poor glass. §

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PANTANAL PHOTO TOUR Wild jaguars Exotic birds in flight Caiman Giant river otters Nov. 8 - 15, 2022

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UPCOMING PHOTO WORKSHOPS Snowy Owl Workshop Upclose and personal encounters with these stunning birds in flight . Learn how to expose for white on white wintry conditions.

January 5-9, 2023

Winter Wildlife Workshop Photograph beautiful North American mammals plus a snow leopard in natural environments. Mountain lions, red foxes, arctic foxes, bobcats, lynx, wolves and more are in their full winter coats. This is a very special workshop.

January 17 - 21, 2023

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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21 191923

South Africa Wildlife Safari October 25 - November 4, 2022

Photograph at water level from blinds day and night plus more

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What’s wrong with this picture?

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ometimes small details escape our attention. It happens to me, too.

In this case, I didn’t see the problem until I looked at the LCD screen and noticed the error. If you look at the lantern at the right side of the image, it’s right in front of the palm trunk. This isn’t a huge faux pas, but it’s not ideal. The tree trunk partially obscures and interferes with the graphic shape of the lantern.

This was easily corrected once I noticed it. I stepped to my left about 3 inches and composed the lantern between the trees as you can see on the next page.

This is much better. This picture has different kinds of elements with a variety of designs, textures, and color. It was easy to overlook this one aspect of the image, but upon close examination I noticed it.

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As a mental discipline, I try and remember to run my eyes around the viewfinder every time I take a picture. Only for a fraction of a second. In that brief amount of time, I can check the background, the edges of the frame, and the subject itself looking for obvious flaws: distracting elements, confusing backgrounds, anything interfering with the graphic design of the composition, highlights that might blow out, etc.

When things are happening fast, as in action shots, it’s possible to do this but usually you won’t have the time. You have to focus on getting the subject sharp. But with static subjects like this medieval tower in Marrakesh, Morocco, I had all the time in the world to notice the issue with the lantern. As you gain experience in photography, your visual accuity becomes keener and you start to see things you never saw before. I always claim that photography really taught me to see. §

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SHORT AND SWEET 1.

2.

3.

4. Midday lighting can be acceptable if the sun is front

Referencing my comments on the previous page, here is one instance where I didn’t run my eyes around the frame and missed the fact that I cut off the tips of two shoes. This is a traditional water seller in Morocco, and my guide, Ali, was having a discussion with him. I’m not happy with myself for this error.

Some photographers like to show parts of birds, like the wings, somewhat blurred because, they contend, it ‘implies motion’. I disagree. Motion is implied simply because the bird is airborne. Sharply defined wings (and body) of birds in my opinion makes the images much more compelling.

Rarely do I include groups of tourists in my pictures. In fact, I do everything possible to exclude them. This is an exception. My exposure was 3.2 seconds to purposely blur the street car, but at the same time the long exposure blurred the people on the left into an acceptable abstraction.

lighting or sidelighting the subject, as it is here with this Tennessee barn. What you don’t want is a midday sun behind the barn. Is this as good as sunrise or sunset?

No, but it’s okay. Notice how the texture is rich and there aren’t too many dark shadows. §

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ETHIOPIA PHOTO TOUR M a r c h 4 - 1 6, 2 0 2 3

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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 of a California poppy, and the light background always bothered me. But the real problem, I feel, is the upper right corner. It draws the eye away from the flower. How would you fix this in Photoshop?

Jan Ackerman, Tallahassee, Florida

A:

There are two options for you. First, you could carefully select the subject flower with the pen tool (the most precise selection tool), and then paste it onto a background of your choise. For example, dark out of focus green foliage. Second, you could clone from another picture that was mostly or completely out of focus green foliage onto this picture. I would select the flower, again with the pen tool, then choose Select > inverse, which selects everything except the flower, and then clone the blurred green foliage background into this shot. The selection will prevent the new background from encroaching on the flower. §

© Jan Ackerman

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Partial list of Photography Tours 2022 - 2024

INDONESIA Jul - Aug 2022

BADLANDS Sep 2022

NORWAY/DENMARK Sep 2022

PERU Sep/Oct 2022

VERMONT AUTUMN Oct 2022

ICELAND in WINTER Dec/Jan 2023

CHINA Jan/Feb 2022

CARNIVAL in VENICE Feb 2023

ETHIOPIA Mar 2023

ABANDONED in GEORGIA Mar 2023

PATAGONIA Apr/May 2023

HOLLAND & BELGIUM Apr/May 2024

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

Carnival in Venice February 12 - 18, 2023 j

Stunning costumes in a medieval environment

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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.

Steve Dell, Tucson, Arizona Spain/Portugal photo tour.

© Steve Dell

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Student Showcase, continued

© Steve Dell

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Student Showcase, continued

© Steve Dell

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Student Showcase, continued

© Steve Dell

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ICELAND IN WINTER

Ice caves Waterfalls Aurora borealis Ice beach December 27 to January 4, 2022 - 2023

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FROG & REPTILE WORKSHOP Based in Kansas City, Missouri

Saturday and Sunday, Feb. 25 & 26, 2023

This is a macro photography workshop where you will learn: -- How to use a ring flash in a macro environment -- How to focus critically when DOF is extremely shallow -- How to use off-camera flash for macro subjects -- How to replace backgrounds with perfection -- How to obtain perfect exposures with closeup flash 35

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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 Botanical gardens, shooting Apr. ‘22 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 Converting to black and white Correcting keystoning Creating a star field Creating Art out of Motion 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

Dec. ‘17 Apr. ‘19 Jan. 22 Jan. ‘15 Aug. ‘20 Jul. ‘15 Mar. ‘22 Jun. ‘21 Jan. ‘14 May ‘22 Dec. ‘17 Jan. ‘14

eBook, how to make Eliminating people from photos 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

Jan. ‘13 Jun. ‘22 Oct. 17 Sep. ‘14 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14 Nov. ‘14 Apr. ‘15 Sep. ‘16 Mar. ‘21 Dec. ‘13

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

Face sculpting Apr. ‘21 Face sculpting Feb. ‘22 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

Subject index for past Photo Insight issues Focus on the eyes Dec. ‘20 Focus points Mar. ‘15 Focus points Sep. ‘20 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign 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 HDR, choosing the number of frames Jun. ‘22 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 iPhone photography, pros and cons Apr. ‘22 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 Layer Masks, The Power of Feb. ‘22 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 photography and DOF Feb. ‘22 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 Neutral Density filters and water Night photography Night Safaris Night to Twilight Noise reduction

Aug. ‘21 Jan. ‘16 Aug. ‘14 Jun. ‘18 Mar. ‘22 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

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Subject index for past Photo Insight issues 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 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 Solving in Photoshop May ‘22 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 Rule of Odds May ‘22

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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, How to make Apr. ‘22 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 lenses: Outside the Box Jun. ‘22w 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 Barbary macaque, mid-Atlas Mountains, Morocco

Edited by: Donald Moore 46