Photo Insights March '20

Jim Zuckerman’s

PH OTO I N S I G HTS March 2020

Flexify plug-in Silvered landscapes Hotels with a view Photo tours Student showcase Ask Jim Subject index

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Flexify plug-in Silvered landscapes Hotels with a view 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: Keukenhof Gardens in April, Lisse, Holland. On this page: An orange-backed troupial, the Pantanal region of Brazil.

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anon ‘sort of ’ announced its new professional mirrorless camera on February 13.

They revealed some of the specifications of the camera but not all of them, which is unusual. What we know is this. It is named the EOS R5, it is a full-frame mirroless camera, and it is expected to be 45 megapixels using a newly designed CMOS sensor with new and exciting capabilities.

In additon, it will be able to shoot 12 frames per second with a mechanical shutter and 20 frames per second with an electronic shutter. The latter is referred to as a ‘rolling shutter’ and, essentially, scans a scene in sequential frames. This can result in extreme distortion of super fast moving subjects such as the whirling blades of a helicopter. Without having tried it yet, I don’t know what the 20 fps feature will do with birds in flight.

Another feature of the R5 is IBIS -- Internal Body Image Stabilization. Combined with lenses that have the IS feature, Canon says it will be like having a 7 f/stop stabilization system. If this is true, we will be able to use shutter speeds much slower than in the past and still get sharp pictures of non-moving subjects. This means super fast lenses with large lense apertures will no longer be important. This, in turn, means carrying less expensive and lighter lenses.

The camera will also be able to shoot 8K video. Even if you don’t use your camera to take videos, this is significant because you’ll soon be able to extract single frames from hi res video files. This is, in essence, an ultra high frames per second capability to capture every nuance in a fast moving subject.

What we don’t know at this time is the exact release date (it’s possibly July), the price (probably around $3500 to $4000) how the camera handles noise, and its dynamic range characteristics. It does look like this will be an awesome camera, however, and I am anticipating purchasing it for the reduction in weight as well as its remarkable new features.

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

FLEXIFY 2: WILD and CRAZY T

here are many ways to create abstract images in photography and Photoshop. One of the unique ways of making beautiful and surrealistic imagery is with a plugin called Flexify 2. It is made by the same developer that makes Flood: www.flamingpear.com.

The types of images that can be distorted in Flexify 2 can be pretty much anything. For example, the picture below is a shot of the lobby of the stunning Marriott Marquis Hotel in Atlanta, Georgia, while the abstract on the next page comes from an orchid photographed against a black background. On

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page 6, I used a portrait from Carnival in Venice to create a wild distortion. You can see that the range of subjects applicable to this technique is quite varied.

When the plugin is installed into Photoshop, it is accessed by using the pulldown menu command Filter > flamingpear > Flexify 2 once you open a photo. The dialog box appears on page 7. At first, it seems complex and intimidating. However, there are only three options you need to work with to achieve all of these wild abstracts.

1. INPUT pulldown: The red arrow on page 7 shows a tab that pulls down and reveals a list of options. You need to choose one. This is total experimentation, and its not possible to visualize what you’ll get.

With some trial and error, you will, at some point, get a feel for which ones you like.

shapes that really have little to do with photography. They are simply graphic designs. Many of the options, though, produce the familiar rectangular images we are used to.

It is the combination of the input and output options that create the various types of distortions.

For example, for the Flexify 2 abstraction of the masked harpist, right and above, I used Tiling cube

2. OUTPUT pulldown: The green arrow indicates another list of options, this one being much longer than the input tab. Some of the choices produce strange

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face for the input and Cylindrical for the output. For the abstraction of the orchid on the previous page, Lagrange was the setting for the input and hyperdouble was the setting for the output.

Every time one or both of these pulldown options is changed, the abstraction of the photograph is altered.

3. DIE (singular for dice): The magenta arrow in the dialog box on the next page points to a die, a randomizer. By clicking this, the sliders in the top left portion of the window are changed randomly, and this produces variations on a theme of the particular distortion that the input and output options have dictated.

Nothing else is needed to create the surrealistic abstract images shown in this article.

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Once you like what you see, simply click the OK button.

Shown at the bottom of the next page are other types of abstracts in the form of non-rectilinear shapes you can make in Flexify 2. These could be cut and pasted into various backgrounds, used as logos, or they could stand alone as works of art. There are many more possibili-

ties than I’m showing here. Once you experiment with the two pulldown menus, you’ll start to see how many combinations there are. It seems infinite. §

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Silvered B

lack and white photography is a beautiful medium and, when it’s done well, the images are outstanding. I never developed a passion for it, though, except when it is incorporated with color. Let me explain.

The landscapes I’ve included in this article consist of two elements. First, they all began as an RGB full color image. I then converted them to black and white and combined the original color with the b&w version. Here is the process: 1. Open a color image and copy it to the clipboard using the Photoshop pulldown menu

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commands, Select > all, then Edit > copy.

The keyboard shortcuts are Command/Ctrl A, then Command/Ctrl C. 2. Choose the pulldown command, Image > adjustments > black and white. The image is instantly converted to monochrome and, using the sliders in the dialog box (shown on page 11), tweak the contrast and tonal values until you like what you see. I usually use the red, yellow, and blue sliders. Hit OK. 3. Now choose Edit > paste. This places the color version that had been placed in the clipboard over the black and white version.

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White Horses of the Camargue A photo workshop in France April 15 - 20, 2021

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4. In the layers palette, choose the opacity slider. Move it to the left between 20 and 25% or to your taste.

5. Flatten the image with Layer > flatten image. Once you decide on the ratio of the color image to the black and white version, the layers are no longer needed. This helps save hard drive space.

At this point, you can further tweak the composite to make it really pop. I go back into camera raw (Filter > camera raw filter) and add some clarity plus vibrance. This enriches the subtle colors and adds back some of the contrast. This is necessary because when color images are converted to black and white, contrast is always lost. The clarity slider is a great way to make the highlights stand out without overexposing them. ยง

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Hotels with a View W

hen I organize a photography tour, I not only try to find a hotel for my group that has a great location -obviously, but I also look for a spectacular view whenever possible. Sometimes hotels have rooftop terraces or lofty restaurants that offer impressive views of a city or distant landscape from the elevated perspective. Older hotels may also have upper-floor balconies that also offer remarkable views from which you can shoot. When you travel with friends or family, research online for hotels that offer beautiful views enabling you to take dramatic pictures from unique perspectives. You’ll be amazed by the images you can take.

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For example, I took the photo below of Singapore at twilight from the balcony of my room on the 47th floor of the Swissotel. It’s great when you don’t have to shoot through glass. In the morning, I rolled out of bed and photographed the sunrise. Talk about convenient!

When shooting at this kind of distance, remember that depth of field isn’t relevant. You’ll get the exact same picture if you shoot the cityscape with f/2.8 or f/22. Assuming you are using a tripod at twilight where the shutter speed doesn’t matter, the choice of f/stop should be one or two f/stops down from wide open. This will be the sharpest aperture. So, for an f/4 lens, you

would want to use either f/5.6 or f/8 or one of the fractional f/stops between.

I took the two pictures of San Juan, Puerto Rico on this page from a Hilton without a tripod. I was there to photograph a Christmas parade, and I never would have gotten these establishing shots from a hotel situated in a less desirable location or from a lower floor.

Usually, a hotel with many floors is needed to gain a spectacular view of a city skyline. Sometimes, though, simply being close to a famous architectural structure is enough for a classic image. I photographed a sunrise shot of the Blue Mosque in Istanbul, page 16, from my seventh floor room because the hotel was built on a small hill. This particular hotel also had a rooftop terrace where my photography tour group had breakfast every morning. The view

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NAMIBIA PHOTO TOUR May 22 - June 1, 2021

Monster dunes Wildlife Walvis Bay cruise Dead trees Milky Way

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POST-PROCESSING online course

by Jim Zuckerman

Learn how to process your images to give them visual impact. You will be introduced to Photoshop techniques that go beyond what you see and even beyond what you can imagine. This four-week course is invaluable to making your pictures look as good as the photographs you envy! You will receive detailed critiques on the images you submit for every lesson.

The great thing about online courses is that they can fit into any schedule. Life gets in the way at times, and Jim puts no limit on the time you can submit your work for his critiques.

CLICK ON THIS PHOTO to read more about the course.

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couldn’t have been better. Because there was such a sweeping view from the terrace, we could also see and photograph another classic icon from Istanbul, the 6th century Hagia Sophia mosque shown at right. When you have access to unrestricted views like this, you can shoot at the best times of day -- sunrise, sunset, and twilight -- for outstanding images.

From the street, with the cluster of buildings typical of any large city, this kind of classic view just isn’t available.

With the use of Google Maps, your online research can locate any great perspective and angle from any location. You can see images taken by other photographers who have been there before you, and you can move to a different position on the map to study the scene again. That’s how I found the fantastic view of the Duomo and Campanile in Florence,

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Italy, on page 18. Starting with the location of the iconic cathedral, I moved outward on the map until I found a hotel nearby with the right height. I then went to the website of the hotel and saw the view I wanted from their rooftop bar. The image on the website was amateurish, but it was the right angle and the right distance for the perfect picture I knew I could take. §

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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. 5 - 12, 2021

Snowy owls workshop Stunning pictures of snowy owls in flight.

Up close and personal encounters with owls in the wild. Based near Toronto, Canada.

February 8 - 12, 2021

Photoshop Workshop The setting is in my home, and in this two day workshop you’ll learn enough to be truly dangerous in Photoshop! How to replace a sky, how to fix all kinds of photographic problems in your pictures, how to handle blown highlights, how to be incredibly creative . . . and more.

April 11-12, 2020

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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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CARNIVAL in VENICE February 5- 12, 2021

Unbelievable costumes in a medieval environment!

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What’s wrong with this picture?

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admit that the out of focus branches at the top of this frame drive me a little crazy. I shot this picture of a castle along the Rhine River in Germany from a precarious vantage point, and usually I don’t include overhanging branches in my compositions of landscapes or architecture. I find them to be somewhat distracting in most (but not all) cases. If they are included, however, they have to be sharp. Otherwise they completely ruin the image. Even if they are almost sharp, it still doesn’t look good.

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The picture on the previous page with the out of focus branches at the top of the frame shows what happens when you use a lens aperture of f/2.8 with a foreground subject close to the camera position (about 8 feet away) and where the background has to be sharp. The image above where those same branches are sharp shows what happens when the aperture is closed down to f/16.

Because small lens apertures should be used when including both a foreground and background, a tripod should also be used. This is particularly the case when complete depth of field is required. The small f/stops force the shutter to be slow to compensate for light loss. So, either you use a tripod and shoot with a low ISO, or shoot without a tripod and raise the ISO. The former option is more desirable to keep the noise at a minimum. ยง 23

SHORT AND SWEET 1. For detailed work in Photoshop -- such as making

2. Start making a file of sky pictures to replace un-

3.

4. When using a flash or a ring flash, it is often desir-

precise selections with the pen tool -- a Wacom tablet is essential. It takes a few hours to get used to, but once you do, it becomes part of your hand. You don’t need the expensive version nor the large model. I use the inexepnsive 4 x 6 inch size with no bells or whistles.

Using more glass, such as a teleconverter or a longer lens, will give you better quality in filling the frame with a distant subject than cropping the image.

In this example, the northern hawk owl was cropped only because I didn’t have a longer lens with me (I used a 400mm).

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attractive and boring skies. Shoot storm clouds, puffy white clouds on a blue sky, rainbows, lightning, clouds at sunrise and sunset, backlit clouds, etc. Since you have to match a new sky with the landscape or cityscape regarding lighting, you will need a variety.

able to clone out the reflection of the flash in the eyes of your subjects. Enlarge the image to at least 100% so the cloning is done precisely. A catchlight in the eyes is great as long as it looks natural. If it looks artificial, it degrades a nature image. §

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 . . .This is a minor point, but I really don’t know what you’ll say. I took this shot of bridesmaids

at the Air Force Academy Chapel in Colorado Springs, Colorado. At the bottom left of the picture, there is a recessed light that I find a bit annoying. Should I clone it out?

Ari Shapiro, Brooklyn, New York

A: I would say yes, you should. It draws the eye into that corner, and our attention should not be diverted

from the young women. The light certainly doesn’t ruin an otherwise attractive picture, but still -- I’d remove it.

© Ari Shapiro 25

Partial list of Photography Tours 2020 - 2021 HOLLAND/BELGIUM Apr. 2020

WILDLIFE BABIES (Montana) July 2020

NORWAY/DENMARK Sept. 2020

PERU NATURE Sept. 2020

POLAR BEARS Nov. 2020

YELLOWSTONE & TETONS Jan. 2021

ETHIOPIA Mar. 2021

WHITE HORSES Apr. 2021

NAMIBIA May 2021

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LAVENDER FIELDS (France) June/July 2021

BIRDS & BATS Apr/May 2021

ICELAND July 2021

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

Frog & Reptile Workshop June 13 - 14, 2020

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

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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.

Ian Brewster, Lutwyche, Queensland, Australia Uzbekistan and Kyrgyzstan Photo Tour.

© 2020 Ian Brewster

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Student Showcase, continued

© 2020 Ian Brewster

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Student Showcase, continued

© 2020 Ian Brewster

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Student Showcase, continued

© 2020 Ian Brewster

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POLAR BEARS from Ground Level!

November 5 - 12, 2020

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PHOTOSHOP WORKSHOP in my home

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

Photoshop is a photographer’s best friend, and the creative possibilities are absolutely endless. In a personal and ‘homey’ environment (I have a very cool classroom setup in my home), I start at the beginning -- assuming you know nothing -- but I quickly get into layers, cutting and pasting, plug-ins, using ‘grunge’ textures, replacing backgrounds, using layer masks, blend modes, adding a moon, and a lot more. I promise to fill your head with so many great techniques that you won’t believe what you’ll be able to do. I go over each technique several times to make sure you understand and can remember it.

Photoshop instructors approach teaching this program from different points of view. My approach is to be as expansive in my thinking as possible in creating unique, artistic, and compelling images. In addition to showing you how to use the various tools, pulldown menus, layers, and so on, I spend a lot of time giving you

creative ideas that will inspire you to produce amazing images with the pictures you’ve already taken.

I live in the Nashville, Tennessee area, and if you fly into the airport (airport code BNA) I will pick you up. If you drive, I’ll give you my address and you can find my home on Mapquest or with a GPS. For the $450 fee, I include one dinner in my home (prepared by my wife who is an amazing cook and hostess) and two lunches, plus shuttling you back and forth from my home to your nearby hotel.

Contact me if you would like to participate in the workshop and I will tell you how to sign up (photos@jimzuckerman.com). All you need is a laptop and a lot of your pictures. If you don’t have a laptop, I have two Mac Book Pro laptops I can loan out for the duration of the workshop. §

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• Topaz Glow • A different approach to composition • Photographing puppies • Kaleidoscopic images • Online photo course • Student showcase • Photo tours

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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 African safari May ‘16 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 Angled perspectives Jan. ‘19 Aperture vs. shutter speed May ‘14 Aperture priority Sept. ‘14 Aurora Borealis Apr. ‘17 Auto white balance Dec. ‘13 Autofocus, when it fails Apr. ‘15 Autofocus failure Aug. ‘15 Autofocus failure Jan. ‘17 Autofocus challenges Apr. ‘18 Auto ISO Nov ‘17 Autumn Foliage Sep. ‘18 Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Bird Photography Jun ‘19 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Black and white with color Jan. ‘20 Blown highlights Feb. ‘18 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 Camera setting priorities Jun. ‘17 Capturing lightning Jun. ‘13 Catchlights Jul. ‘16 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Chromatic aberration May ‘13 Chrome Dec. ‘18 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Composites and Light Dec. ‘17 Compositing images Apr. ‘19 Composition, different approach Jan. ‘15 Contrast vs. exposure Jul. ‘15 Creating a star field Jan. ‘14 Creating a Sketch Dec. ‘17 Creative blurs Jan. ‘14 Dark backgrounds Dawn photography Dawn photography Day for Night Dead center

Nov. ‘19 Jan. ‘17 Feb. ‘17 Oct. ‘18 Jan. ‘13

Dealing with smog Decay photography Define Pattern Depth of field Depth of field confusion Depth of field and distance Drop shadows Dust, Minimizing

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

eBook, how to make Jan. ‘13 Embedded in Ice Oct. 17 Energy saving bulbs Sep. ‘14 Exposing for the sun Sep. ‘16 Exposure, the sun Jul. ‘13 Exposure technique Sep. ‘13 Exposure, snow Jan. ‘14 Exposure triangle Nov. ‘14 Exposure, to the right Apr. ‘15 Exposure compensation Sep. ‘16 Extension tubes Dec. ‘13 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Flexify 2 Mar. ‘20 Flood fixes problems Nov. ‘19 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 for Scale Fractals, generating Sep. ‘13 Fractals Jul. ‘19 Framing May ‘17 Freezing ultra action May ‘17 From Terrible to Beautiful Aug. ‘19 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Fundamentals That Make Great Photos Jan. ‘19 Garish imagery Great subjects Great ceilings & HDR Panos Green screen Grunge technique

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

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Subject index for past Photo Insight issues Histograms, Why I Don’t Use Jun ‘19 Hotels with a view Mar. ‘20 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 Image resizing Aug. ‘18 Implying motion Sept.‘14 Impossible DOF Feb. ‘16 Impossible DOF Jan. ‘17 Indestructible camera bag Dec. ‘14 Infrared photography Jul. ‘14 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17 Jungle photography

Dec. ‘14

Kaleidoscopic images Jan. ‘15 Keystoning, correcting Aug. ‘15 L Bracket Feb. ‘18 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 Liquify Feb. ‘18 Liquify Distortions Sept/Oct. ‘19 Long lens portraits Oct. ‘18 Low light photography May ‘15 Luminar 4 Jan. ‘20 Macro flash

Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Macro trick May ‘19 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meter, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 Museum photography Mar. ‘13 Negative space Neon edges on black Neutral Density filters Night photography Night Safaris Night to Twilight Noise reduction

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

Optical infinity Organization of photos Out of focus foregrounds Paint abstracts Painting with light Panning motion

Jun. ‘16 Mar. ‘18 Jan. ‘20 May ‘13 Sep. ‘15 Dec. ‘16

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Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Parallelism Nov. ‘19 Photography to Art Dec. ‘17 Photography solutions Jan. ‘18 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique

Apr. ‘13 Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13 Photoshop, soft foliage Oct. ‘13 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Photoshop, drop shadows Jul. ‘14 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Photoshop, liquify Mar. ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14 Photoshop, enlarge eyes Nov. ‘14 Photoshop, darken the periphery Dec. ‘14 Photoshop, mirror images Dec. ‘14 Photoshop, beam of light Apr. ‘15 Photoshop, polar coordinates Mar. ‘15 Photoshop, chrome May ‘15 Photoshop, actions palette Nov. ‘15 Photoshop, cut and paste Nov. ‘15 Photoshop, geometrics Oct. ‘15 Photoshop, plugins Oct. ‘15 Photoshop, multiple selections Apr. ‘16 Photoshop, sharpening Apr. ‘16 Photoshop, Flood plugin Apr. ‘16 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Photoshop, 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

Subject index for past Photo Insight issues 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 Silhouettes, Exposing for Sept/Oct. ‘19 Silvered landscapes Mar. ‘20 Sketch, How to Make Jun ‘19 Snow exposure Nov ‘17 Snow exposure Nov. ‘19 Soft light Jan. ‘13 Smart phone photography May ‘19 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Sunrise & sunset Jan. ‘19

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

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 Ultra distortion

May ‘18

Warm fingers in winter Water drop collisions What NOT to do in photography

Nov. ‘15 May ‘18 Apr. ‘18

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PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2020 email: photos@jimzuckerman.com

Snow leopard, winter workshop, Montana

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