Photo Insights June 2021

Jim Zuckerman’s

PH OTO I N S I G HTS June 2021

Correcting keystoning Urban heights The two subject focus rule Photo tours Student showcase Ask Jim Subject index 1

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Correcting keystoning Urban heights The two subject focus rule 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: Spotted glass frog, Costa Rica. This page: Ijen volcanic crater, East Java, Indonesia

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hyness is a detriment for photographers. So often in my career I’ve had to go outside my comfort zone and ask permission to get something done in order for me to take a great picture. Many times a great picture is not a function of choosing the right lens or the best exposure settings. Instead, it’s a function of getting permission. This could be permission to shoot from the rooftop of a building, permission to close the hood of a classic car because that made a better shot, or permission to photograph someone. Whatever it is, a simple request can make the difference between getting a great image or not.

Too often, the fear of rejection gets in the way and we miss an opportunity. Or, we ‘just don’t want to intrude.’ Or, we just don’t feel comforable asking a favor of a stranger. I have actually found that if I do intrude, I often make a friend or, at the very least, have a very interesting conversation.

President Franklin Roosevelt said the only thing to fear is fear itself. It’s a famous quote from his first inaugural address in 1932 when America was in the depth of the Great Depression. I have thought of that often in my life, and in many situations it has helped me overcome my fears and allowed me to move forward . . . in arranging great photos, in traveling to exotic countries, in moving my family across the country, and so on. It’s ok to feel fear, it’s just that you shouldn’t let it stop you from getting what you want.

With picture taking, overcoming fears and asking permission of people you encounter in your travels often leads to great images and unforgetable experiences.

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

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Correcting Keystoning K

eystoning is the photographic term that refers to the ‘angling inward’ of vertical lines in a picture. We usually notice this in architecture images, but it certainly occurs as well when shooting a stand of trees, a flag pole, a ship’s mast, and even a person. Any subject involving vertical lines can exhibit keystoning.

This type of distortion is caused when the back of the camera -- i.e. the plane of the digital sensor -- is angled or made oblique with the plane of the subject. For example, in the picture below, I angled the camera upward to include the

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domes of the Church of Christ the Savior in Moscow. I also wanted to show the unique pattern in the clouds. The plane of the façade of the church was therefore non-parallel with the digital sensor in my camera. This caused the vertical lines to appear as if they are converging at some point above the top of the frame.

Photographers have become accustomed to this kind of distortion. In photographing architecture, you usually use a wide angle lens and, if the building is tall and you are relatively close to it, the camera has to be angled upward to avoid truncating the top of the structure.

That’s the source of the keystoning.

In the photograph of the same church below, I corrected the distortion in Photoshop. If you use a perspective control lens, which is specifically designed to correct keystoning in-camera, post-processing isn’t necessary to address this issue. Most photographers don’t carry such a lens because they are expensive and heavy, so here are the steps required to make the vertical lines vertical in Photoshop: 1. Open the image to be corrected and choose Select > all.

2. Choose the pulldown menu command Edit > transform > distort.

3. Grab the lower right or lower left corner of the image and pull it to enlarge the working

area. See the screen capture on the next page.

The green arrow shows the place where you can drag to expand the area around the photograph.

Once expanded, a black frame will surround the image.

4. Immediately around the picture area itself is a box with handles. This was created from performing Step 2. The handles are shown by the blue arrows, same screen capture. When you pull the top left handle to the left and the top right handle to the right, the vertical lines of the subject which were originally skewed inward now become straightened.

As you can see from the screen capture, the handles don’t have to be pulled symmetrically.

In fact, in most cases they will appear asymmetrical as you work to align the vertical lines with the left and right sides of the picture frame.

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The reason I expand the working area as previously described is so I can see the handles and, if necessary, grab them again to make small adjustments in aligning the vertical lines in the photograph.

5. Things to note during this process:

a. Depending on where you have to drag the handles, you may end up with a blank area in a portion of the picture. This is indicated by the red arrow, below. If this happens, simply use content-aware to fill in that area. Alternatively, you could use the clone tool.

b. In distorting the image to correct the keystoning, the subject may appear to be flattened somewhat. If this occurs, simply grab the top middle handle and pull it up until the photograph is stretched back into the correct pro-

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portions.

c. You will lose some of the picture area along the right and left sides of the frame as you straighten the vertical lines. This is unavoidable. Therefore, if you know you’ll want to use this technique, plan ahead. Compose the picture with area on the sides of the frame that won’t present a problem if they are eliminated from the composition.

For example, the photo of The Bean in Chicago on the next page shows how I corrected the keystoning but, as you can see, some of the buildings at the far right and far left were cropped out. I didn’t crop the picture per se, but in stretching it to correct the angled distortion, a portion of the architecture at the sides of the image was eliminated. I knew I wanted to make the correction in post-processing, so

I composed the cityscape with extra room on the sides so the buildings on the left and right could be cropped out without losing the essence of the picture.

Keystoning with telephoto lenses does occur, but it is much less severe compared to using a wide angle lens. In many cases it is barely noticeable. d. Distorting the image to correct keystoning usually entails an asymmetrical use of the distort tool. As you can see in the screen capture on the previous page, I had to pull the right side handle more than the left side.

This is very typical of what you will encounter. §

The Bean in downtown Chicago photographed at dawn to avoid the usual crowds of people.v

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URBAN HEIGHTS

Seeking Elevated Perspectives in Cities

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sually a photographer’s initial preconceived images of a city’s architecture or street scenes involves shooting from ground level. Obviously, many great shots can be taken from the ground.

Don’t forget to consider, though, there are many other possible locations that afford you spectacular views of a city. Consider shooting from elevated vantages. The views and the images you’ll get are fantastic.

Research is the key to finding great photo loctions. When it comes to finding elevated vantage points to take great pictures, here is what I

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look for when I’m doing visual research online of a city I’ll be visiting: 1. Rooftop restaurants 2. Rooftop bars 3. Observation decks in skyscrapers that are accessible to the public 4. Hilltop parks 5. Scenic mountain roads above a city

6. Access to medieval towers, balconies, and rooftops of cathedrals. These are usually located in or near the center of the city.

and I captured the view of Rome, below, after climbing a few hundred steps in St. Peter’s Basilica in The Vatican.

7. Hotel rooms on upper floors with great views

On page 11, the remarkable view of Hong Kong is seen from The Peak, a mountain that rises above the city. It can be reached by a funicular or by road. When I was first there in 1972, there was a parking lot at the top. Now there is a large mall, and from the roof of one of the buildings in the complex you get this view.

8. Pedestrian bridges 9. Funicular or cable car that transports you to an elevated viewpoint 10. A large ferriswheel from which you can gain an elevated vantage The pictures I’ve included in this article exemplify what I’m suggesting you pursue. For example, I took the picture on the previous page from the public observation deck of the Montparnasse Tower, the tallest building in Paris.

The photograph above is the stunning scene visible from the observation deck on the 94th floor of the John Hancock building in Chicago,

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PERU PHOTO TOUR Sept. 24 - Oct 4, 2021

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Sometimes great vistas like this can get crowded, and I advise doing research before you go. Find out if you need to stake out the best location to get the ideal picture. Because social media is so pervasive and, in places with high population density like China, you may have to arrive an hour or two before the best lighting occurs to lay claim, so to speak, to the best picture-taking spot.

Below, the dramatic view of the Blue Mosque in Istanbul, Turkey, was taken from my hotel room.

I was able to open the window because it’s an older hotel. One of the criteria I use in choosing a hotel on the photography tours I lead is whether or not there is a photogenic view from anywhere in the property. This makes it easy to get amazing pictures at various times of the day, from sunrise and sunset to twilight.

pleasure of photographing is from the observation deck on the 100th floor of the Shanghai World Financial Center (commonly referred to as the ‘Bottle Opener’ building), next page.

The picture looks like I had a drone hovering above the city but I was shooting through glass.

The close proximity of the foreground building gives this image a tremendous sense of depth, One of the most astounding views I’ve had the something not commonly seen when shooting a distant cityscape.

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When photographing a city from an elevated vantage such as the top of a hill, a park, an open roof, or a pedestrian bridge, you have unobstructed views and you don’t have to shoot through glass. However, if you are taking pictures through the window of a modern hotel with sealed windows or the observation deck in a highrise, you will normally be photographing through glass. This isn’t a problem per se; you can take high quality images assuming the glass is clean. The problem, though, are reflections of interior lights, especially at night.

ever, if you are photographing from a restaurant, bar, or observation deck, you don’t have control over the lights. You have to place the camera lens up against the glass. This eliminates all reflections . . . with one caveat.

If you shoot through a window where you are standing back from the glass several feet to even a few inches, the lights from inside the room will reflect in the glass and, therefore, appear to be superimposed over the outdoor scene. Turn the lights off if you are shooting from a private area, such as a hotel room; how-

In these cases, the solution is to carry a scarf with you. Wrap the scarf around the lens such that any space between the rim of the lens and the glass will be covered. In this way, reflections of lights in the room behind you won’t show up in your pictures. §

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If you are shooting downward and the windows are vertical, there will be a small space between the lens and the glass. That means some reflections can show. In addition, if the windows are angled due to the design of the building, the same problem will occur.

The Two Subject Focus Rule E

motional expressions like a lion baring its fangs always make a great image. However, there is one very big thing that’s wrong with the picture below. There are two subjects yet only one of them is sharp.

This is a problem. Your eye goes back and forth between the cats, trying to see detail in both and, probably, you feel somewhat frustrated that only one of the subjects is sharp.

Detail you’d like to see in the lion on the right is forever lost.

I made up a rule that I call ‘The Two Subjects Focus Rule.’ This states if there are two subjects in the frame, they both should be sharp.

In art and photography, the eye of the beholder ultimately determines what is visually pleasing, and some instructors and photographers may disagree with me on the position I’m taking here. I can tell you, though, that the lion

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PANTANAL PHOTO TOUR October 30 to Nov. 7, 2021 Jaguars in the wild Exotic birds in flight Caiman Giant river otters

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picture, according to my sense of aesthetics, is a failure.

This rule of mine applies to all kinds of subjects, not just wildlife. In the picture at right, there are two subjects and both species of flowers are sharp. That works.

With static subjects like flowers or wine glasses or kids sitting on a sofa, you have time to arrange the elements to make sure two (or more) subjects are sharp. Sometimes, though, situations present themselves that are not ideal. The picture below is an example.

I photographed these rock hyraxes in Namibia.

I used a Canon 100-400mm telephoto, and that meant the depth of field was fairly shallow. The animal in the center of the frame isn’t sharp because it was standing a few inches closer to the

lens than the hyrax on the right. I could focus on one of the animals but not on both. My lens aperture was f/5.6 because of the relatively low light, so I couldn’t get both of the hyraxes in focus. Even if I could have used f/32, the use of the telephoto plus the relatively close lens-subject distance meant I probably would not have

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been able to shoot with complete depth of field.

Is there a way to fix this problem? Yes, there is.

The solution can be seen below where both of the hyraxes are sharp. This approach requires you to take two pictures in quick succession, first one animal and then the other in which you re-focus between shots. In other words, both individual images show at least one of the animals sharp. Then, in Photoshop, you combine the two pictures so both animals are sharply defined.

The black-tailed deer fawns I captured on Vancouver Island in British Columbia are both sharp, as they should be, but I shot this with film years before Photoshop made the scene.

In order to insure both animals were sharp, I had to wait until they (hopefully) posed equidistant to the camera. §

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UPCOMING PHOTO WORKSHOPS 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 18-25, 2022

Frog & Reptile Workshop This is a macro workshop to photograph beautiful, colorful, and intriguing frogs and exotic reptiles. Learn how to use flash with closeup work, how to use extension tubes, and how to take perfect exposures. Held indoors in a hotel conference room in St. Louis.

June 12 - 13, 2021

Winter Wildlife Workshop Stunning pictures of North American animals including wolves, red foxes, arctic foxes, mountain lions, Canada lynx, and more. The animals will be in their winter coats and very beautiful. This is based in Kalispell, Montana.

February 2 - 5, 2022

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Expand your photographic artistry with

eBooks

Click on any ebook to see inside

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eBooks continued Click on any ebook to see inside

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W i n t e r W i l d l i f e Workshop February 2 - 5, 2022

Based in Kalispell, Montana

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What’s wrong with this picture?

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here are two major flaws that are not hard to identify in this shot of a black-naped oriole I photographed in an aviary at the Bird Park on the island of Bali: 1) the aluminum feeding station bowl at the bottom left and 2) the steel rebar on which the oriole is perched. The rust colored rebar almost simulates a tree branch; nevertheless, it is undesirable because it doesn’t look natural.

A minor flaw is the red bird band on the leg. All the captive birds I’ve ever seen have been banded, and this is one of the first things I do -- clone the band out.

To eliminate the aluminum bowl, I used the leaves from the top of the frame and the upper right. This worked out very well as you can see in the picture on the next page. I also covered up all the rebar except the metal portion on

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which the bird is perched.

To turn the rebar perch into a branch took a little finesse. When I photographed the oriole, I realized the metal had to be replaced with a natural branch. Therefore, I photographed several branches that made good candidates.

In Photoshop, I then made a precise selection of the rebar using the pen tool.

Not included in the selection was the bird’s foot. I then opened one of the pictures of a branch, selected it, and copied that to the clipboard (Edit > copy). I pasted that (Edit > paste special > paste into) into the shot of the oriole within the seletion of rebar and rotated it (Edit > transform > rotate) to the correct angle that matched the angle of the rebar.

I then used the move tool to move the branch over the rebar, and resized it (Edit > transform > scale) to fit perfectly.

Finally, I used the burn tool to darken the new perch so all of the attention remained on the beautiful oriole. § 22

SHORT AND SWEET 1. When I shoot into the sun, I often use an element

in the picture to block or partially block the sun. This diminishes the intensity of the bright light so the sun doesn’t eclipse the subject. This is a leg rower fisherman on Inle Lake in Burma taken with a 14mm wide angle lens.

2. When photographing festivals, try using Program mode. In this mode, the camera chooses the shutter speed and the lens aperture. This leaves you time to concentrate on focus and composition. Program mode is biased to providing a faster shutter speed because it assumes you are handholding the camera.

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4. Black Plexiglas is great to use for subtle reflections.

A wide angle lens can be used for portraiture in several different ways. In this case, I moved in very close to a Samburu tribal woman in Kenya. Her beads were amazing, so I made them the point of the picture rather than her face by cropping it this way. Note the complete depth of field from the f/16 lens aperture.

Here I placed a Mexican red knee tarantula on a small piece of Plexiglas and photographed it with flash. The black background complemented the black reflective surface, and that directed all of the attention where it belongs -- on the subject. §

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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 brown pelican in the Galapagos Islands several years ago with a film camera. I think it’s not bad, but I can’t quite put my finger on the reason why it’s not a truly successful picture. What do you think?

Melissa Adams, Macon, Georgia

A: There are two major problems with this picture. First, the white head feathers are blown out -- mean-

ing they’ve lost texture and detail and have become solid white. This is never good. Since there are no other birds in the picture from which you might be able to ‘borrow’ well exposed white feathers, this problem is not fixable unless you could possibly use a pelican from another shot, in the same light, and replace the blown out white area with that detail.

Second, the midday lighting is too harsh and unattractive. That’s why the white head feathers are solid white, and the rest of the image is simply too contrasty. The Galapagos Islands straddle the Equator, and that means sunlight after 8:30 or 9am and before 4:30pm is simply too harsh to use for optimal nature photography. §

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Partial list of Photography Tours 2021 - 2022 INDONESIA July/August 2021

LOUISIANA SWAMP TOUR Nov. 2021

ETHIOPIA Mar. 2022

PATAGONIA PHOTO TOUR May 2022

NORWAY/DENMARK Sept. 2021

MICHIGAN LIGHTHOUSES Oct. 2021

WINTER WILDLIFE Feb. 2022

CARNIVAL in VENICE Feb. 2022

SPAIN/PORTUGAL Apr. 2022

HOLLAND/BELGIUM Apr. 2022

NAMIBIA May/June 2022

MOROCCO Jun. 2022

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

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Ethiopia Photo Tour jMarch 10 - 22, 2022

jPrimitive tribes

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Dramatic landscapes Wildlife Rock-hewn churches

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.

Gabrielle and Michel Therin-Weise, Alcochete, Portugal Nepal Photo Tour, Indonesia Photo

Tour, Online Photoshop Training, White Horses of the Camarguew

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Student Showcase, continued

© Gabrielle and Michel Therin-Weise 2021

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Student Showcase, continued

© Gabrielle and Michel Therin-Weise 2021 37 33 35

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Student Showcase, continued

© Gabrielle and Michel Therin-Weise 2021

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Michigan Lighthouse Photo Tour October 7 - 12, 2021

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INDONESIA PHOTO TOUR July 29 - August 10, 2021

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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 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 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 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 Composites and Light Dec. ‘17 Compositing images Apr. ‘19 Composition, different approach Jan. ‘15

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Content-aware, New Contrast vs. exposure Correcting keystoning Creating a star field Creating a Sketch Creative blurs

Dark backgrounds Dawn photography Dawn photography Dead center Dealing with smog Decay photography Define Pattern Depth of field Depth of field confusion Depth of field and distance Depth of field and obliqueness Depth of field, shallow Depth of field vs. sharpness Double takes Drop shadows Dust, Minimizing

Aug. ‘20 Jul. ‘15 Jun. ‘21 Jan. ‘14 Dec. ‘17 Jan. ‘14

eBook, how to make Embedded in Ice Energy saving bulbs Exposing for the sun Exposure, the sun Exposure technique Exposure, snow Exposure triangle Exposure, to the right Exposure compensation Exposure compensation Extension tubes

Jan. ‘13 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 Festival photography Sep. ‘20 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fireworks, Compositing Jun ‘20 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Flexify 2 Mar. ‘20 Flood fixes problems Nov. ‘19 Flowers May ‘15 Flower photography Apr ‘21 Flowers in harsh light Jul. ‘16 Focus on the eyes Dec. ‘20 Focus points Mar. ‘15 Focus points Sep. ‘20 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Fractals Jul. ‘19 Framing May ‘17

Subject index for past Photo Insight issues Freezing ultra action From Terrible to Beautiful Fun with paint Fundamental ingredients

Fundamentals That Make Great Photos Fun With Christmas Lights

May ‘17 Aug. ‘19 Oct. ‘16 Apr. ‘13 Jan. ‘19 Jan. ‘21

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 Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR, hand held Nov ‘17 HDR, hand held Jul. ‘18 HDR panoramas Jun. ‘16 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Histograms, Why I Don’t Use Jun ‘19 Histogram problems Apr. ‘20 Hotels with a view Mar. ‘20 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 Image resizing Aug. ‘18 Implying motion Sept.‘14 Impossible DOF Feb. ‘16 Impossible DOF Jan. ‘17 Indestructible camera bag Dec. ‘14 Infrared photography Jul. ‘14 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17 Jungle photography

Dec. ‘14

Kaleidoscopic images Kaleidoscopis images Keystoning, correcting

Jan. ‘15 Aug. ‘20 Aug. ‘15

L Bracket Feb. ‘18 L Bracket Feb. ‘21 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 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 Macro flash Macro flash

Nov. ‘12 Sep. ‘14 Aug. ‘15

Macro trick May ‘19 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meters, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Mirrors Jan. ‘19 Model shoot Jan. ‘17 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 Noise reduction

Jan. ‘16 Aug. ‘14 Jun. ‘18 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17

Oil and water Optical infinity Organization of photos Out of focus foregrounds

May ‘20 Jun. ‘16 Mar. ‘18 Jan. ‘20

Paint abstracts May ‘13 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 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

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Subject index for past Photo Insight issues Photoshop, plugins Oct. ‘15 Photoshop, multiple selections Apr. ‘16 Photoshop, sharpening Apr. ‘16 Photoshop, Flood plugin Apr. ‘16 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Photoshop new tool May ‘20 Photoshop, place one element behind Aug. ‘18 Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Photoshop, My favorite plugins Jan. ‘20 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portrait Professional Nov. ‘19 Portraits, Lens choice Sept/Oct. ‘19 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Restoring old photos Jun ‘20 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Seeking Cool Snow Photos Jan. ‘21 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Self-critiques Nov. ‘20 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Shooting into the light Jun ‘20 Silhouettes Jun. ‘13 Silhouettes, Exposing for Sept/Oct. ‘19 Silvered landscapes Mar. ‘20 Sketch, How to Make Jun ‘19 Sky replacement Nov. ‘20 Snow exposure Nov ‘17 Snow exposure Nov. ‘19 Soft light Jan. ‘13

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Smart phone photography Stained glass Star photography Star photography and noise Stock photography Sunrise & sunset

May ‘19 Mar. ‘17 Jul. ‘16 Jan. ‘18 Sep. ‘14 Jan. ‘19

Tamron 150-600mm Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 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

Jun. ‘21 May ‘18

Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 White on White Dec. ‘20 White vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 Wide angle conundrum May ‘19 Wide angle lenses Mar. ‘13 Wide angle portraits Nov. ‘14 Wide angle lenses Jun. ‘17 Wide angle keystoning Nov ‘17 Wildlife photos with wide angles Mar. ‘15 Window light Dec. ‘15 Window light portraits Aug. ‘18 Window frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Winter photography Nov. ‘18 Wire Mesh, Shooting Through Jul. ‘18 Workflow May ‘13

PHOTO INSIGHTS® published by Jim Zuckerman, All rights reserved © Jim Zuckerman 2021 email: photos@jimzuckerman.com

Nursing baby elephant, Kenya

Edited by Donald Moore

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