Jim Zuckerman’s
PH OTO I N S I G HTS June 2018
Night safaris The shade side Neutral Density filters Sensor cleaning Photo tours Ask Jim Student showcase
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4. 10. 15. 17. 22. 24. 25. 26. 28. 34. 38. 222
Night safaris The Shady Side Neutral Density filters Sensory cleaning 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: A leopard with a kill, Sabi Sabi private reserve, South Africa. This page: The spectacular dunes at Sossusvlei, Namib-Naukluft National Park, Namibia.
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or my entire photographic career, which started in 1970, I’ve carried a heavy backpack. I’d hate myself in the morning if I needed a piece of gear and didn’t have it with me. When I shot medium format cameras --the Mamiya RZ 67 system -- my pack weighed about 45 pounds. I carried this through all the airports, on every hike, on every shoot, and on every photography tour I led. I actually joked that I used to be 6’ 4” before I became a photographer, but I got squished down to 5’ 9” because of all the equipment I carried! Never once did I give a thought to the long term consequences of carrying so much weight on my back. When I was in my 20’s, 30’s, and 40’s -- and even 50’s -- nothing hurt so it wasn’t even in my consciousness to consider shoulder, lower back, hip, or neck pain. I was lucky for a long time. There are some thngs that are inevitable, like death and taxes, but let me assure you, photographers with lower back pain and joint issues are just as inevitable. I’m speaking from experience. You shorten the time line between being young-ish and painless to older and wracked with pain if you contine carrying heavy loads on your back. Therefore, work out ways to carry your gear so your hips can take some of the weight. Carry less weight when possible and only bring essential gear. Wear a photo vest, too. This distributes the weight. Don’t bring a monster tripod. It’s not necessary. Find one that is sturdy, carbon fiber, and light. It doesn’t have to support the Chrysler Building. For those endless corridors in airports, get a rolling pack. I prefer the ones with a wheel (or double wheel) at each corner so even a heavy pack glides along the smooth floors efforlessly. In the plane, ask for help from a flight attendant to lift the equipment into the overhead. Don’t be embarrassed to do so. Who cares? Even if you don’t have pain now, you will later without taking precautions. No question about it. It seems no one, or virtually no one, escapes these problems. Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com 3
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NIGHT SAFARIS
oing on a night safari is very special. You get an intimate glimpse into the lives of animals who are often active by night, and this allows you to capture remarkable images with unique lighting. Not all national parks and game reserves allow night drives. This is usually due to the fact that poachers are active at night, and anti-poaching game wardens and para-miltary units assume that if they see people moving around a wildlife park at night, they are poachers. With a shootto-kill policy in many of these parks throughout Africa, you won’t want to be driving around with a spotlight, advertising your location. In private reserves, on the other hand, night
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drives are often allowed. If going on a night safari is high on your bucket list, check out the various private lodges and wildlife reserves in Africa to see which one might appeal to you. In addition, some lodges have illuminated waterholes on their property. Shooting from a blind, you can see a parade of animals that come to drink. I photographed the critically endangered black rhinos on the next page at such a lodge in Namibia. Lighting It is possible to use on-camera flash during a night drive, but this kind of light is flat, harsh, and unattractive. The fact that the flash sits
above or next to the lens means shadows on the animals are filled in, contours and texture are reduced, and the pictures are far less pleasing than when a hand held spotlight is used. I took the picture of the leopard at right with on-camera flash, and you can see how flat the light is on the cat. In addition, the pupils reflect the flash and there is an unfortunate shadow on the tree trunk behind the leopard because I took a vertical composition which placed the flash unit beside the lens, causing a shadow. For the black rhinos, I also used flash because at the time I was shooting film. The ambient light on the waterhole wasn’t enough to allow me to get a well exposed picture, even though I pushed the film three stops from 400 ISO to 3200! I would have preferred to use the kind of lighting you see on the lion on the previous page. 5
In most night drive scenarios, you will have a driver of the vehicle as well as a spotter. The spotter sits on a seat mounted on the front of the 4-wheel drive Land Rover, and he holds a bright, incandescent spotlight to look for game in the dark. You sit several feet away from the spotlight toward the rear of the vehicle, thus the angle of the light looks more like it is offcamera. Once an animal is found, the spotter holds the light so you can make the photo. Note that a good spotter never shines the light on mamallian herbivores. The temporary blindness caused by the bright light makes them momentarily vulnerable to predators, and game lodges try to be sensitive to having the least amount of human impact on the natural environment as possible. Illuminating predators, on the other hand, doesn’t seem to 6
OREGON COAST PHOTO TOUR August 29 - September 3, 2019 Oceanscapes
Stunning waterfalls
Star photography
Rocky beaches
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affect them unless they are stalking prey. White balance The incandescent spotlight requires the white balance setting in your camera to be on tungsten or incandescent. Some cameras refer to this as indoors. If you shoot RAW, the yellow/ orange hue from using daylight WB can easily be converted when working post-processing. However, it’s nice to see the correct colors on the LCD monitor on the back of the camera, so I recommend switching to tungsten white balance when shooting at night under these circumstances. Remember, change the white balance back to daylight the next morning! ISO issues In very dark photographic situations, you have 8
to do everything possible to keep the ISO as low as possible to minimize digital noise. That means, first and foremost, shoot wide open -i.e. the largest lens aperture available to you on that lens. You don’t have the luxury of depth of field. With a telephoto lens, you’ll probably be shooting in the f/4 to f/6.3 range. For the shutter speed, remember the general rule regarding telephoto lenses: To get sharp pictures, the shutter should be the reciprocal of the focal length. This means if you have a 400mm telephoto, the shutter speed should be at least 1/400th of a second. If you have a 500mm lens with a 1.4x teleconverter, which equals 700mm, then the shutter should be at least 1/700th of a second. Can you get away with a slightly slower speed? Possibly, but for important pictures I wouldn’t
can use and still rescue the images from unsightly noise by using Neat Image software, Topaz DeNoise, or Nik’s Dfine 2.0 (my preference is Neat). For some cameras, though, like the Canon 7D and 7D Mark II, ISO settings above 1000 ISO ruin the photographs. The noise is so bad it can’t be repaired. Excessive noise is not just about unwanted granular texture, though. The quality of the image is actually degraded. If you enlarge the image to 100% then study the image detail beyond the noise, upon close examination you’ll see the diminished detail. That’s why, with superior noise reducing software like Neat Image, these low quality images seem blurred or unnaturally smoothed out. It’s not the failure of the software because there is simply nothing for the software to draw upon to reconstitute a sharp picture. try it. If you do, expect images that are slightly less sharp. You might get lucky with tack sharp images when shooting a 400mm lens at 1/320th of a second, but you are taking a chance. Use the image stabilization feature when hand holding the camera and lens, but if you are using a bean bag, a monopod, or if you’re resting the lens on a windowsill, turn the IS or VR off. For most camera systems, the resulting pictures won’t be sharp unless the stabilization is off.
To shoot successfully on a night safari, you need a camera that produces a decent image at 6400 ISO. If the light on a subject is still too dim, then there are two alternatives: Use a second spotlight to add illumination on the scene, or move the vehicle closer to the subject. The Inverse Square Law states that as the distance between the light source and the subject halves, the intensity of the light increases by four times. §
Noise For most of the pictures included in this article (except the black rhinos on page 5 and the giraffe, above, which were shot with film) I used ISO settings between 4000 and 6400. In extreme conditions -- meaning extremely dark -like the crash of white rhinos, right, I shot with an astonishing 25,600 ISO! In most cameras, 6400 ISO is the maximum you 9
THE SHADY SIDE I
talk a lot about changing backgrounds in Photoshop. Backgrounds are just as important as subjects in making a picture work. Too often, you photograph a great subject in front of a less-than-exciting background, and the photograph just isn’t as successful as it should be. Similarly, the lighting may not be ideal. We can’t be everywhere at sunrise and sunset, and for lots of reasons we may be forced to take pictures when the lighting is harsh, contrasty, and unflattering to the subject or the landscape. The first question is: Can the background be changed so the results look real, and the second
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question is: What kind of background makes sense? When you composite images, the lighting has
to make sense. For example, you can’t put a sunset sky into a landscape taken in diffused light. By the same token, inserting a sky with storm clouds doesn’t work if the subject was photographed in mid-day sunlight. There is one caveat to the last example, however, and it has saved many of my pictures from the trash can. It is this: If you photograph a scene or subject such that the sun is behind the elements in the composition, like the landscape at the top of the previous page, this means most of the important parts of the shot are shaded because they are facing the camera. The sun is behind them, and the camera only sees the shady side. This means that if you replace the sunny sky with clouds, it works. A cloud cover produces diffused light, and that’s what you’ve captured
on the land -- except for the sunny sky, of course. So when the sun and/or the blue sky is replaced by clouds, the scene looks quite dynamic as well as appearing to be correct. If there are shadows from the direct sun in the original image, they have to be cloned out or cropped out. Compare the two versions of the Namibian landscape on page 10. In the original, the face of most of the dunes are in shadow because the sun was behind them, and the trees as seen from the camera position are shaded as well. Only the dunes at the far right are richer in color because they were hit from the direct sun, and the floor of the dried lake bed was also struck by the mid-morning sun. In both of those areas, I selected them using the quick selection tool in Photoshop and then applied desaturation with
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POST-PROCESSING online course by Jim Zuckerman
In this photo, I added the foreground dune to cover up the multitude of foot prints in the original sand that had blown in from the desert. Kolmanskop, Namibia
Learn how to process your images to give them visual impact. You will be introduced to Photoshop techniques that go beyond what you see and even beyond what you can imagine. This four-week course is invaluable to making your pictures look as good as the photographs you envy! The great thing about online courses is that they can fit into any schedule. Life gets in the way at times, and Jim puts no limit on the time you can submit your work for his critiques. CLICK THIS PHOTO to read more about this course.
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the pulldown menu command, Image > adjustments > hue/saturation. Then, I replaced the sky. Here are the steps: I opened the cloud picture and chose Select > all, then Edit > copy. This put the storm clouds photo into Photoshop’s invisible clipboard. I followed this by selecting the original blue sky with the magic wand tool, expanding the selection by two pixels with Select > modify > expand, then feathering the selection with Select > modify > feather (one pixel), and finally using the command Edit > paste special > paste into. My photo tour group wanted to take pictures of the Milky Way at Deadvlei -- the site of the dead trees in Namibia -- but the park rules prohibited us from being there at night or early in the morning. I explained to them that this wasn’t a problem because, using the same principles I just explained, we could take pictures in morning when the sun was behind the dunes and the trees and then simply replace the sky with the stars. So, we took photos of the Milky Way from our lodge and replaced the morning sky with the night sky. In the composite on page 11, I also desaturated the landscape and added a touch of blue as well
to simulate the look of night time photography. To add a bluish cast, I used the Photoshop command Image > adjustments > color balance. The photo below left shows a sleeping leopard in a tree, and I love the shot except for the terrible background. This was early morning, and the low angled sunlight on the land was beautiful. However, from the vantage point my photo tour group had, the backlight and the mass of branches were terrible. Since the cat was shaded from the camera’s point of view, it was a simple matter to replace the distracting background with out of focus foliage. I used the same steps as described for the Deadvlei landscape. Collect background elements I suggest to clients who take my photo tours that they should have two folders in their photo library devoted to two different kinds of backgrounds: skies and out of focus foliage. Shoot all kinds of skies, from puffy white clouds against a blue sky to storm clouds, rainbows, sunsets and sunrises, lightning, etc. Similarly, photograph various types of out of focus foliage -- backlit, front lit, and side lit, and capture various degrees of blur. You never know what is going to look good behind subjects which need new backgrounds. §
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UPCOMING PHOTO WORKSHOPS Carnival in Venice workshop Outrageous costumes in a medieval environment! Venice is great to visit and photograph any time, but during carnival it’s magical. There is nothing like it anywhere in the world. Exotic masks, stunning colors, classic images.
Feb. 23 - March 1, 2019
Frog & Reptile Workshop Close-up encounters with poison dart frogs and exotic reptiles such as chameleons, geckos, snakes, and more in St. Louis, Missouri. This is a macro workshop in which everyone consistently gets amazing pictures.
Oct. 20 - 21, 2018
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.
November 16 - 17, 2018 14 10
Neutral Density filters I have stopped using filters altogether because virtually all of the effects they offer can be done in Photoshop. The one exception to this are neutral density filters. I carry two 10-f/stop ND filters to fit two filter sizes I need -- a 77mm diameter filter for my 100-400mm telephoto zoom, and an 82mm ND filter for my 16-35mm wide angle.
The purpose of a long shutter speed is to blur elements in the scene that are moving. The beauty of this technique is that when the camera is on a tripod, all of the stationary parts of the picture are sharp while the elements that are moving become blurred. This juxtaposition of motion blur in contrast with sharply defined subjects is dramatic.
Neutral density filters are exceptionally dark. They are designed to let very little light into the camera, thus forcing the shutter speed to be long. A 10-f/stop ND filter reduces the light by 10 full f/stops. A variable ND filter allows you to vary the amount of light reduction -- say from six f/stops to 10.
The iceberg I captured on the Ice Beach in Iceland, below, is an example. I used a 10-stop ND filter in conjunction with a low ISO -- 100 in this case -- and an f/stop of 7.1. This forced the shutter speed to be 30 seconds, and in that time the surf swirled around the glacial ice and left an artistic blur that engulfed the blue ice.
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Obviously in that exposure time, the ice didn’t move. I used a 100-400mm telephoto lens for this shot, and I zoomed all the way to 400mm for a tight composition. The photo above is the beautiful skyline of Shanghai. My photo tours to China begin in this amazing city so clients can photograph this stunning scene. I’ve photographed it many times, but it turns out that my favorite version is this 14mm shot also taken at 30 seconds. The f/stop in this case was f/13 and the ISO was 100. With wide angle lenses, the amount of blurred abstraction you get requires longer exposure times. In this shot, you can still see some texture in the water. The next time I shoot the skyline, I’ll use 60 seconds or perhaps two full minutes. To do this, you need a locking cable release since the maximum exposure time on 16
our digital cameras is 30 seconds. The ND filters are so dark that it’s impossible to focus on a subject or scene when they are screwed into the lens. Therefore, you must focus on the scene before they are added. Use the automatic metering system in the camera to determine exposure, but it may be necessary to use the exposure compensation feature to adjust the exposure with the filter in use . ND filters are gray so they don’t introduce any color bias. There is no need to make any kind of color corrections when using one of these filters. If you like the technique of blurring clouds as they move in the sky, you may need a 15-f/ stop ND filter because the sky is quite bright. §
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Sensor Cleaning
ost photographers are very hesitant to clean the digital sensor in their camera for fear of damaging it. When I clean mine, I feel like I’m doing brain surgery -- one mistake and the patient dies or at least it will cost a lot of money. Nevertheless, it needs to be done, and it’s very inconvenient and expensive to send the camera to the manufacturer for this service. Therefore, you need to learn to do it yourself. The first line of defense for cleaning the sensor is a hand blower, and I carry this with me all the time. It is pictured at lower right. It costs less then $10 online and weighs nothing. The procedure is simple: Take off the lens, set the camera up for manual sensor cleaning, hold the camera opening downward so the dust falls out of it, and squeeze the hand blower several times all across the sensor. Be mindfull not to
touch the red tip on the sensor. If stubborn dust spots or other grime persists, then you need to go to Plan B. My Plan B consists of what you see above and to the left. This is the VisibleDust Quasar Plus 7x Sensor Loupe. With the battery operated LED lights to clearly illuminate the sensor (take
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of the lens off, of course) and the 7x magnification, you can see all of the offending particles that drive you crazy when you open the images in Photoshop. One, two, or three dust spots are no big deal, but photography becomes no longer fun when it takes a really long time to eliminate dozens. Once you can see the dust on the sensor, there are two liquid solutions you need to have, also from VisibleDust (visibledust.com): Sensor Clean and Smear Away (pictured lower right). Sensor Clean removes water spots and moderate dust, while Smear Away cleans oil spots (such as from too much oil on the metal blades comprising the lens aperture that might have happened during manufacture). 90% of the dust spots can be removed with Sensor Clean, but stubborn dust and other particles and oil must be removed by Smear Away. If needed, first I apply the Smear Away, and then I finish the procedure with the Sensor Clean solution.
Then, turn the swab over and swipe again using the other, unused, side. Then discard the swab. Don’t use it again. Examine the sensor with the illuminated 7x loupe, and if you still see dust, streaks, or other specks, repeat the cleaning process. There are various types of swabs available, including one specifically for corners. §
To apply these solutions, you need a package of Sensor Swabs, upper right. You can buy them in packets of 12, 50, or more from Visible Dust. The procedure With the sensor exposed, place 3 or 4 drops of solution on the edge of the swab. Wait a moment for them to disperse. Gently insert the swab into the camera so it just fits snugly at one end of the sensor. Make only one swipe from one side to the other, conscious to include the corners. Use a gentle pressure as you make the swipe. Keep in mind that you are not touching the sensor itself. You’re cleaning the thin glass covering it. 18
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eBooks
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eBooks continued Click on any ebook to see inside
Fantasy Nudes is in production and is coming soon 20
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PHOTO TOUR to C H I N A Dec. 29, 2018 - Jan. 8, 2019
The incredible Harbin Snow & Ice Festival Siberian tigers Blue-faced monkeys Terra-cotta soldiers
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What’s wrong with this picture?
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here are three things wrong with the photograph of this well-know historic site in Clinton, New Jersey. It is the Red Mill, and it opened in 1810. It deserves to be rendered perfectly.
First, the horrible orange sign is obnoxious. They were advertising some kind of program, and I hoped they had good attendance. From a photographer’s point of view, though, it’s visually offending. The large ‘nightmares’ sign at the far right is also detracting. Second, the electrical lines that cross the roof above the orange sign need to be removed, as does the pole supporting them. Additionally, the small signs at the far left don’t add anything interesting or artistic to the picture, so they need to be eliminated as well. And finally, while the background isn’t bad, it’s not inspirational. I was in New
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Jersey just as autumn colors were beginning to show and the trees behind the mill were still mostly green with a tinge of yellow. I thought it would be a lot more dynamic to show a beautiful hillside with the colors we all love in the fall. Removing the orange sign was the biggest challenge. I had to select the part of the wooden fence that I could see by enlarging the image to 100% and using the pen tool. I copied the selection and pasted it over the orange sign. For the ‘nightmares’ sign, I simply cloned the background over that part of the picture, thus totally eliminating that small shed on which the sign was hanging. I used the spot healing brush to clone out the wires and the pole, and I used the same tool for the small signs at the far left. The final result is exactly what I wanted. §
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SHORT AND SWEET 1. I took this image in my frog and reptile workshop.
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3. Birds close to the ground require a low angle.
4. Not all pretty subjects make great pictures.
This is one of the props I use on which frogs and reptiles are placed. It had a unique pattern, so I experimented: I placed my ring flash behind the plant (while the base of the unit was still in the hotshoe of the camera) and fired. The backlighting looked great.
Lie on your belly or use an articulating LCD screen so the camera is placed on the ground. This provides an intimate and compelling portrait. Also, when depth of field is a serious consideration due to close proximity, wait until the bird’s head and tail are equidistant.
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Birds that fly away from the camera rarely make strong pictures. This tawny eagle in South Africa was perfectly poised on a branch, but it decided to fly in the wrong direction from the camera’s point of view. This isn’t a terrible picture, but it’s not an award winner, either.
This is in front of my house, and I loved the pink flowering peach tree against the white crab apple tree. But all this scene has going for it is color. This isn’t enough. It’s busy, it doesn’t have a compelling graphic design or composition, and it’s visually confusing. §
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 shot of a wild dog on your photo tour to Namibia and South Africa. Was it wrong
to crop the animal as I did? What is the rule for cropping the legs -- i.e. the bottom portion of a subject? Also, what about the grasses at lower right? Should they be left in or cloned out? Boo Hardy, Lexington, Kentucky
A: All good questions, Boo. In my opinion, the cropping is correct. You did so decidedly. It’s never a good
idea to crop the tips of things, such as feet, tails, ears, etc. But here you force the viewer to focus on the wild dog’s unique head and torso, and I think it looks great. Regarding the grasses, good photographers can differ on this. If this were mine, I’d leave them in because they add to the natural environment. But for an ultra clean and ultra graphic look, they should be taken out. The graphic design of the dog is so dynamic that it can stand on its own. But as I said, according to my own sense of aesthetics, I would leave them in. Beautiful shot. §
© Boo Hardy 2018
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Partial list of Photography Tours 2018 - 2020 THE PANTANAL, BRAZIL Nov. 2018
BURMA Nov. 2018
YELLOWSTONE IN WINTER Jan. 2019
SNOWY OWLS Feb. 2019
PATAGONIA April 2019
SCOTLAND May 2019
OREGON COAST Aug. 2019
UZBEKISTAN & KYRGYZSTAN Sept. 2019
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CHINA Dec. 2018 - 2019
ICELAND Mar. 2019
KENYA Aug. 2019
WINTER WILDLIFE Jan. 2020
For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
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Scotland Photo Tour May 17 - May 28, 2019
awesome landscapes ancient ruins great castles adorable cows
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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.
Dr. Ed Cohen, Marco Island, Florida Palouse workshop, Namibia photo tour, Cuba photo tour, Pho-
toshop workshop
© 2018 Ed Cohen
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Student Showcase, continued
© 2018 Ed Cohen
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Student Showcase, continued
© 2018 Ed Cohen
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Student Showcase, continued
© 2018 Ed Cohen
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KENYA PHOTO TOUR August 1 - 11, 2019
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Rothschild giraffe, Masai Mara Conservancy, Kenya
PHOTOSHOP WORKSHOP in my home
Sat. & Sun., November 16 - 17, 2018
Photoshop is a photographer’s best friend, and the creative possibilities are absolutely endless. In a personal and ‘homey’ environment (I have a very cool classroom setup in my home), I start at the beginning -- assuming you know nothing -- but I quickly get into layers, cutting and pasting, plug-ins, using ‘grunge’ textures, replacing backgrounds, using layer masks, blend modes, adding a moon, and a lot more. I promise to fill your head with so many great techniques that you won’t believe what you’ll be able to do. I go over each technique several times to make sure you understand and can remember it. Photoshop instructors approach teaching this program from different points of view. My approach is to be as expansive in my thinking as possible in creating unique, artistic, and compelling images. In addition to showing you how to use the various tools, pulldown menus, layers, and so on, I spend a lot of time giving you
creative ideas that will inspire you to produce amazing images with the pictures you’ve already taken. I live in the Nashville, Tennessee area, and if you fly into the airport (airport code BNA) I will pick you up. If you drive, I’ll give you my address and you can find my home on Mapquest or with a GPS. For the $450 fee, I include one dinner in my home (prepared by my wife who is an amazing cook and hostess) and two lunches, plus shuttling you back and forth from my home to your nearby hotel. Contact me if you would like to participate in the workshop and I will tell you how to sign up (photos@jimzuckerman.com). All you need is a laptop and a lot of your pictures. If you don’t have a laptop, I have two Mac Book Pro laptops I can loan out for the duration of the workshop. §
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Subject index for past Photo Insight issues 1/3 focus law Jul. ‘15 3D sphere Mar. ‘16 90 degree finder Mar. ‘13 Abstracts in soap Feb. ‘15 Aerial photography Jun. ‘13 African safari May ‘16 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 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 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Blown highlights Feb. ‘18 Blur 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 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Composites and Light Dec. ‘17 Composition, different approach Jan. ‘15 Contrast vs. exposure Jul. ‘15 Creating a star field Jan. ‘14 Creating a Sketch Dec. ‘17 Creative blurs Jan. ‘14 Dawn photography Dawn photography Dead center Dealing with smog Decay photography Depth of field
Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Aug. ‘16
eBook, how to make Embedded in Ice Energy saving bulbs Exposing for the sun Exposure, the sun Exposure technique Exposure, snow
Jan. ‘13 Oct. 17 Sep. ‘14 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14
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Exposure triangle Nov. ‘14 Exposure, to the right Apr. ‘15 Exposure compensation Sep. ‘16 Extension tubes Dec. ‘13 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flat art Sep. ‘16 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus stacking Mar. ‘17 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Framing May ‘17 Freezing ultra action May ‘17 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Garish imagery Great subjects Green screen Grunge technique
Dec. ‘15 Apr. ‘15 Mar. ‘13 Feb. ‘13
HDR, one photo Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR, hand held Nov ‘17 HDR panoramas Jun. ‘16 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 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 Keystoning, correcting
Jan. ‘15 Aug. ‘15
L Bracket Feb. ‘18 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 Liquify Feb. ‘18 Low light photography May ‘15
Subject index for past Photo Insight issues
continued
Macro flash Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meters, when they fail Dec. ‘16 Middle gray Nov. ‘15 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Museum photography Mar. ‘13 Negative space Neon edges on black Neutral Density filters Night photography Night Safaris Night to Twilight Noise reduction
Jan. ‘16 Aug. ‘14 Jun. ‘18 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17
Optical infinity Organization of photos
Jun. ‘16 Mar. ‘18
Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Photography to Art Dec. ‘17 Photography solutions Jan. ‘18 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique Apr. ‘13 Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13 Photoshop, soft foliage Oct. ‘13 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Photoshop, drop shadows Jul. ‘14 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Photoshop, liquify Mar. ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14 Photoshop, enlarge eyes Nov. ‘14 Photoshop, darken the periphery Dec. ‘14 Photoshop, mirror images Dec. ‘14 Photoshop, beam of light Apr. ‘15 Photoshop, polar coordinates Mar. ‘15 Photoshop, chrome May ‘15 Photoshop, actions palette Nov. ‘15 Photoshop, cut and paste Nov. ‘15 Photoshop, geometrics Oct. ‘15 Photoshop, plugins Oct. ‘15 Photoshop, multiple selections Apr. ‘16 Photoshop, sharpening Apr. ‘16 Photoshop, Flood plugin Apr. ‘16 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16
Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Problem/solution Apr. ‘17 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Silhouettes Jun. ‘13 Snow exposure Nov ‘17 Soft light Jan. ‘13 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Tamron 150-600mm Apr. ‘14 Topaz glow Jan. ‘15 Topaz glow Sep. ‘17 Topaz Impression Sep. ‘15 Topaz Remask 5 Oct. ‘17 Topaz Simplify 4 Dec. ‘12 Topaz simplify 4 Jun. ‘14 Topaz Studio Apr. ‘18 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Ultra distortion
May ‘18
Warm fingers in winter Water drop collisions What NOT to do in photography White vignette White balance
Nov. ‘15 May ‘18 Apr. ‘18 Aug. ‘15 Feb. ‘15
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Subject index for past Photo Insight issues White balance, custom Mar. ‘16 Wide angle lenses Mar. ‘13 Wide angle portraits Nov. ‘14 Wide angle lenses Jun. ‘17 Wide angle keystoning Nov ‘17 Wildlife photos with wide angles Mar. ‘15 Window light Dec. ‘15 Window frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Workflow May ‘13
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PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2018 email: photos@jimzuckerman.com snail mail address: P.O. Box 7, Arrington, TN 37014
Leopard, Masai Mara National Park, Kenya with replaced background
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