Photo Insights March 2022

Jim Zuckerman’s

PH OTO I N S I G HTS March 2022

When You Really Needed a Zoom Anatomy of Natural Light Portraits Upside Down Reflections Photo toursVStudent showcase Ask Jim Subject index

Converting to black and white Neutral density filters and water Simulating 3D from 2D Upcoming workshops Photo tours Ask Jim Student Showcase Back issues

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Converting to black and white Neutral Density Filters and water Simulating 3D from 2D Jim’s eBooks What’s wrong with this picture?

Short and sweet Ask Jim Photography tours Student Showcase Past issues Subject index

On the cover: A Javanese bride wearing a chest piece and head piece of hand woven live flowers, Blitar, East Java, Indonesia. This page: A white-throated Jacobin hummingbird, Peru.

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eople who claim to be purists in photography say they want to capture things as they are, or at least as the world appears with our eyes. I have no problem with that; if they want to play by those rules, it doesn’t impact me at all.

But do our photographs really capture what we see? I think not. For example, we never see out of focus backgrounds. Our eye-brain combination, in fact, has complete depth of field all the time. Sure, you can focus on a finger 5 inches from your face and sort of see that the background isn’t tack sharp, but as soon as you look at the background, it immediately snaps into focus.

The concept of depth of field is a manmade construct. It’s artificial, created by the lenses we use and governed by the laws of optics. The shot of the hummingbird on page 2 makes this point. When I was watching the bird nectar on the flower, the background trees were fully in focus. Did I want the background to be out of focus? In this case, yes, but a purist might object on the grounds this isn’t reality.

Telephoto lenses compress elements in a scene; wide angle lenses elongate elements. In addition, wide lenses make elements seem smaller and further away than they really are. Both telephotos and wide angles come close to representing reality, but not quite.

And what about black and white? When was the last time you saw anything devoid of color? This only happens when a photographer, for artistic reasons, converts color images to black and white.

And then there’s Photoshop. Some people find it anathema to manipulate images after the fact. At times, though, Photoshop is required to make a subject or scene look like it does in reality. When I replace an out of focus background with a sharp background, this digital manipulation is designed to show what I really saw.

The bottom line is, just make images that please you. You’re the artist and photography is your passion. If others object to your process, that’s their problem. Don’t make it yours.

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

Converting to

Black and White

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uring the film era, when you wanted to make black and white prints, you bought black and white film.

Converting color negatives or color transparencies to black and white was possible, but the results were never as good as starting with the correct film. The biggest problem was -- and to be honest still is -- contrast.

whites and lacking rich blacks. They seem lifeless. To give them visual impact and imbue them with the kind of tones masters in black and white like Ansel Adams, Bruce Barnbaum, and John Sexton were able to create, you have to use tools in Photoshop.

Whenever you convert color to black and white, with film or digital, contrast is lost.

The resulting images are flat, devoid of bright

There are three ways in Photoshop to convert color to black and white. There are stand alone software programs that will also do the

Making the conversion

conversion like Nik Silver Efex Pro, but without spending additional money, you can do a masterful job within Photoshop itself.

1. Hue/saturation. Using the pulldown menu command, Image > adjustments > hue/saturation, move the ‘saturation’ slider all the way to the left. The photo is instantly black and white, although you’ll see how flat, i.e. low in contrast, the picture looks. Using Levels or Curves, you can re-introduce contrast.

Black and white via hue/saturation is quick and easy, but it’s not the procedure I use because it doesn’t provide maximum ability to manipulate tones.

2. Mode: Grayscale Using the pulldown menu command, Image > mode > grayscale, Photoshop discards all

It’s important to note with this method, the photograph is still in RGB mode. In other words, color can be reintroduced into the image in several ways. For example, you can add color by applying the brush tool, by compositing another picture, by cloning from a color image onto the black and white shot, and by using Image > adjustments > color balance.

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color information and turns the digital file into a grayscale image. In fact, if you look at the channels palette, instead of seeing the individual channels of red, green, and blue, you’ll see only the grayscale channel. In addition, the file size is reduced by 2/3. So, a 30 megabyte file suddently becomes 10 megs.

This type of conversion also experiences a loss in contrast. Again, using Levels or Curves you can replace the lost contrast, but the control you have in tweaking specific areas of the image is compromised unless you make precise selections of those areas.

The best choice My preferred method of converting color images to black and white is using the pulldown menu command, Image > adjustments > 6

SPAIN and PORTUGAL Photo Tour A P R I L 9 - 21, 2022

Ceiling of La Familia Sagrada, Barcelona, Spain

Pena Palace, Sintra, Portugal 7

black and white. A dialog box opens (page 6) with sliders representing the basic colors that make up all images. Even though the photo appears black and white, the underlying color information has not been discarded. That gives you two important advantages.

yellow slider to adjust their exposure. When I converted the skyline shot to black and white, I moved the yellow slider to the right to lighten all of the lights. In this way, you can manipulate the contrast of the image to produce a visually compelling black and white image.

First, you can add color to the image at any time with a composite, by using the brush tool and painting a color into a selection, or adding a tint, like a color filter, with Image > adjustments > color balance.

At the top of the dialog box, there is a pulldown menu that offers you various presets.

Some of these presets recall concepts applicable to using black and white film with various filters. A color filter would lighten its own color but darken the complementary colors.

For example, a red filter, when used with black and white film, would darken blue and yellow but lighten red elements in the picture.

This was a classic way to produce very dark or black skies. A yellow filter, on the other hand, would darken red and blue but lighten yellow. The presets in the dialog box manipulate tones in this way. §

Second, you can use the sliders to lighten or darken individual colors in the image without making a selection. For example, if the sky is blue and you want to darken just that area -as I did in the skyline shot of Shanghai, below -- simply move the blue slider to the left. If an element in the picture is yellowish, like window lights in the Shanghai highrises, use the

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Neutral Density Filters and moving water N

eutral density filters are simply pieces of glass or optically superior plastics that are placed in front of a lens to decrease the amount of light entering the camera. Usually photographers want as much light as possible in a given situation. Bright light conditions mean we can use fast shutter speeds to freeze movement and small lens apertures for depth of field while at the same time using a low ISO for minimum noise. Reduced light scenarios are challenging most of the time because something has

to be sacrificed: either the shutter has to be slower than we want, the lens aperture has to be larger than what we want, or the ISO has to be too high.

The shutter speed conundrum When you want to photograph water to suggest movement by showing blur, especially in daylight, the long exposures required to do that will overexpose the pictures even with the ISO lowered to 100 and the lens aperture

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closed all the way down to f/22 or f/32. The shutter speed selection needed to blur water depends on three things: 1) How fast the water is moving, 2) the focal length of the lens, and 3) the distance between the camera and the water.

The speed of the water is obviously relevant to shutter speed choice because fast moving water means the shutter doesn’t have to be ultra slow to show blur. The water goving over Niagra Falls on the previous page, for example, was moving extremely fast. I was able to create a total blur with only a .3 second exposure.

By contrast, the ocean surf swirling around the calved glacial ice in Iceland, below, required a 30 second exposure to show the amount of blurred movement I wanted to create.

Similarly, the twilight shot of Riomaggiore village on the coast of Cinque Terre, Italy on the

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next page required a 13 second exposure to smooth the slowly moving water in the small bay.

The focal length of your lens is important because wide angles seem to push elements in a scene further away. Movement as viewed through the lens appears slower in a wide angle compared to a telephoto lens. Therefore, a longer shutter speed is required to blur moving water so it looks very soft and with minimum detail. This is another reason I needed the 13 second exposure for the photograph of Riomaggiore. I took this with a 14mm.

This distance from the camera to moving water is also relevant. A wide angle lens placed 3 feet away from a rushing river sees the water very differently than when the same camera/lens combination views the river from 100 feet. The

water would appear to be going slower from the farther distance; meaning, you’d need a longer exposure to significantly blur the water.

ND filters Neutral density filters are gray in color, like a polarizing filter. They don’t change the color of your images at all. All they do is reduce the light. For blurring water, they are particularly useful in daylight conditions when you want a longer exposure.

ND filters can be variable or they can be fixed in terms of how much light is lost. For example, the filter shown at right reduces light from 2 to 8 f/stops. This is varied by rotating the metal ring that surrounds the glass. Other ND filters are fixed in the amount of light they reduce. The filter I typically carry with me cuts

the light down by 10 f/stops.

Glass ND filters are purchased by their filter size. If the lens you intend to use for blurring water has a 77mm filter size, then that’s the size filter you need to buy. Square plastic ND filters fit into a holder that screws onto your lens. The holder itself has to fit your lens per its filter 11

size.

You can browse the various types of ND filters available online. Some are fairly expensive while others are reasonable. I typically buy either Tiffen or Hoya filters in glass. Plastic filters can get scratched easily when using them in the field.

Experimentation is the key Even with years of experience in photography, it’s not easy to previsualize exactly how a long exposure is going to render a scene with moving water. Thanks to the immediate feedback on the LCD screen on our cameras, we can judge images as we take them. I captured the image below of Aldeyjarfoss waterfall in northern Iceland, and the 20 second exposure I used was determined after I first tried 5 and 10 seconds. Trial and error will, eventually, produce

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the results you like. Keep in mind that the longer the exposure, the more detail will be lost in the definition of the water.

I photographed Aldeyjarfoss in the late afternoon, and my other settings were f/14 and 125 ISO. To reduce the light enough so I could use a 20 second exposure, I placed a 10 f/stop ND filter over the lens. These filters are very dark, and focusing through them can be difficult or impossible -- depending on which ND filter you’re using. For example, a 15 f/stop ND filter is so dark you can hardly see through it, and the autofocus system won’t work.

Since a tripod is necessary for these long exposures, you have to focus on the scene before the filter is attached to the lens. Just make sure you don’t bump or jar the focusing ring as you are screwing in the filter. §

PERU NATURE TOUR Sept. 24 - Oct 4, 2022

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Simulating 3D from 2D

n the editorial page of the January issue of Photo Insights, I was bemoaning the fact that Adobe was no longer going to support 3D capabilities in Photoshop.

The aspect of 3D I most enjoyed working with was texture mapping, a technique where you apply a two dimensional photograph onto a three dimensional object such as a sphere or cube. I would then incorporate this object into a 2D photograph.

Below is an example of what I’m talking about.

I texture mapped the colorful hotel corridor onto a sphere then placed that sphere in the corridor itself.

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With the new non-support of 3D in Photoshop, I thought I was not going to be able to do this unless I bought or subscribed to a 3D program. I did some experimenting, though, and came up with a solution.

On the next page, you can see a simulated 3D sphere in the same hotel corridor. The image inside the sphere is from a slightly different angle, but it has the same characteristics of a 3D floating sphere as in the composite below where I used the 3D tools in Photoshop. Here is how I did this: 1. Open the corridor photo, chose Select > all,

and then Edit > transform > scale. A box has now formed around the image. Grab one of the handles at either the far left or the far right and move it into the center of the photo until the rectangle becomes a square. Hit OK.

> copy. The shortcut is Command/Ctrl C.

2. Choose the elliptical marque tool and, holding the option key or the alt key down, start from the center of the picture and drag a circle outward to the edges of the image area.

7. Click Edit > paste. The sphere is now on the background image as layer 1. Use Edit > transform > scale to resize it if needed, and then use the move tool to move it into place.

3. Go to Filter > distort > spherize. In the dialog box choose 100% and hit OK. Repeat this step if you want additional spherical distortion.

8. With the layer active, use the burn tool to darken the left and right edges as well as the bottom. This gives the ‘3D’ sphere dimension. Finally, use the burn tool to create a shadow on the floor or the ground. Everything casts a shadow. Alternatively, use the Photoshop plugin Flood to create a watery reflection as I illustrate on the next page.

The sphere here is a mirrored fractal. §

4. Feather the edge of the selection slightly with Select > modify > feather. In the dialog box, choose 1 pixel.

5. Copy the selection to the clipboard using Edit

6. Now choose File > revert, and the image goes back to the original shot (in this case, the hotel corridor).

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PANTANAL PHOTO TOUR Nov. 8 - 15, 2022

Jaguars in the wild Exotic birds in flight Caiman Giant river otters

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UPCOMING PHOTO WORKSHOPS 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 Kansas City, Kansas.

June 11 - 12, 2022

Abandoned in Georgia Dilapidated mansions, cars, trains, ghost towns, farmhouses, and more. Looks great in both black and white and color.

June 17 - 22, 2022

Carnival in Venice workshop Photograph outrageous costumes in a medieval environment! Incredible colors, design, and creativity in one of the most beautiful cities in the world. Learn how to use off-camera flash, photograph models in sumptuous interiors, produce great images at night, and all the while enjoying Italian cuisine. This is a workshop not to be missed!

February 12 - 18, 2023

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Expand your photographic artistry with

eBooks

Click on any ebook to see inside

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eBooks continued Click on any ebook to see inside

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South Africa Wildlife Safari October 25 - November 4, 2022

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What’s wrong with this picture?

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ackgrounds are just as important as subjects in making a photograph successful. If the background is distracting, busy, or annoyingly too light, the picture suffers.

Costumed carnival participants in Venice often pose in front of the Doge’s Palace in San Marco Square, and that’s fine . . . depending on the background stonework, windows, doors, and columns. In this case, the window at the upper right corner is distracting. It takes our attention away from the subjects.

The only thing to do was to replace it with stonework that matched the building.

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The first thing I did was make a precise selection of the window opening with the pen tool. I saved the selection with Select > save selection, and this made it very easy to complete the next step. I chose the rectangular marque tool and made a selection of the stone blocks at the midde right. I copied this selection to the clipboard with Edit > copy, and then I pasted that into the selection of the window.

Making the selection of the window constrained the new material inside the window frame without any bleeding, smudging, or smearing at the edges. Alternatively, I could have cloned the stonework into the selection of the window. Either way, that selection enabled me to make the edges perfect which makes the composite work believable. § 23

SHORT AND SWEET 1.

2.

3. When shooting in the desert and there is a lot of

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Using a frame as a compositional element is one of the best ways to create a successful photograph. I captured this woman sitting at the entry of her home in Morocco using the arch as a frame. There are many types of frames; just make sure the frame itself is as sharp as the subject. Complete DOF is essential.

dust in the air, the light from the sun is greatly diminished immediately after sunrise and just before sunset. Contrast is low and colors are intense. It’s the best lighting conditions for landscape photography.

To make the sun huge, I used a 500mm telephoto.

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Using a wide angle lens for portraiture is unique and visually compelling. I photographed this Karo tribesman in Ethiopia with a 16mm lens. Wide angles have a lot of depth of field, but when shooting this close to subjects, close down to at least f/11 -- though f/16 is better -- to hold focus on the background.

To me, flowers invite artistic embellishments to make them look like paintings worthy of being framed.

Spring is just around the corner, so start thinking about using various plugins and Photoshop techniques to create works of art. For this picture, I used one of the filters in the Topaz Adjust group of effects. §

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 photographed this 21,000 foot mountain above La Paz, Bolivia. It’s the highest mountain I’ve

seen and quite impressive, but the photograph of it doesn’t ‘wow’ me. Is there anything I could do with this in post-processing to make it better?

Sandra Ambrewster, Tucson, Arizona

A:

No, there isn’t anything you can do in Photoshop or ACR to make this more impressive. This was taken sometime during midday, and the best you could have done at the time was to shoot the landscape at sunrise or sunset. A sky replacement might help a little, but the real problem with this picture -- and it’s no fault of yours -- is the bottom third of the picture is devoid of form, texture, color and interest. It’s an impressive mountain but not an impressive landscape as far as photography goes. §

© Sandra Ambrewster

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Partial list of Photography Tours 2022 - 2023

SPAIN/PORTUGAL Apr 2022

ABANDONED in GEORGIA Jun 2022

HOLLAND/BELGIUM Apr 2022

ICELAND Jul 2022

LOUISIANA SWAMPS May 2022

NEW ENGLAND LIGHTHOUSES Aug 2022

NORWAY/DENMARK Sep 2022

PERU Sep/Oct 2022

VERMONT AUTUMN Oct 2022

CARNIVAL in VENICE Feb 2023

ETHIOPIA Mar 2023

PATAGONIA PHOTO TOUR April/May 2023

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

Mystical Swamps of Louisiana j May 18 - 22, 2022 jPrimeval landscapes

Birds in flight Alligators Ante-bellum homes

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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.

Veronica Busch, Great Falls, Idaho Winter Wildlife Workshop (twice), White Horses of the Camargue, Polar Bear Photo Tour, and Online Photoshop Training.

© 2022 Veronica Busch

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Student Showcase, continued

© 2022 Veronica Busch

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Student Showcase, continued

© 2022 Veronica Busch

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Student Showcase, continued

© 2022 Veronica Busch

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CHINA PHOTO TOUR January 26 - February 8, 2023

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FROG & REPTILE WORKSHOP Based in Kansas City, Missouri

Saturday and Sunday, June 11 - 12, 2022

This is a macro photography workshop where you will learn: -- How to use a ring flash in a macro environment -- How to focus critically when DOF is extremely shallow -- How to use off-camera flash for macro subjects -- How to replace backgrounds with perfection -- How to obtain perfect exposures with closeup flash 33

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PH OTO I N S I G HTS January 2015

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

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Subject index for past Photo Insight issues 1/3 focus law Jul. ‘15 3D sphere Mar. ‘16 90 degree finder Mar. ‘13 Abstracts in soap Feb. ‘15 Abstracts, Shooting Mar ‘19 Aerial photography Jun. ‘13 Aerial photography Jan. ‘21 African safari May ‘16 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 Angled perspectives Jan. ‘19 Aperture vs. shutter speed May ‘14 Aperture priority Sept. ‘14 Aurora Borealis Apr. ‘17 Auto white balance Dec. ‘13 Autofocus, when it fails Apr. ‘15 Autofocus failure Aug. ‘15 Autofocus failure Jan. ‘17 Autofocus challenges Apr. ‘18 Auto ISO Nov ‘17 Auto White Balance Mar’ ‘21 Autumn Foliage Sep. ‘18 Autumn Color Sep. ‘20 Autumn foliage photography Oct. ‘21 Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Bird Photography Jun ‘19 Blacklight photography Feb. ‘21 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Black and white with color Jan. ‘20 Blown highlights Feb. ‘18 Blue monochromes Jan. ‘22 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 Camera buying guidelines Dec. 21 Camera setting priorities Jun. ‘17 Canon R5 Mar. ‘21 Capturing lightning Jun. ‘13 Capturing what you don’t see May ‘21 Catchlights Jul. ‘16 Changing perspective May ‘21 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Choosing a telephoto lens Dec. ‘20 Chromatic aberration May ‘13 Chrome Dec. ‘18 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Clone tool technique Jul. ‘20

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Composites and Light Compositing images Compositing, 7 steps Composition, different approach Content-aware, New Contrast vs. exposure Converting to black and white Correcting keystoning Creating a star field Creating a Sketch Creative blurs

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

Dec. ‘17 Apr. ‘19 Jan. 22 Jan. ‘15 Aug. ‘20 Jul. ‘15 Mar. ‘22 Jun. ‘21 Jan. ‘14 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 Face sculpting Feb. ‘22 Festival photography Sep. ‘20 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fireworks, Compositing Jun ‘20 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Fisheye fantasies Oct. 21 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Flexify 2 Mar. ‘20 Flood fixes problems Nov. ‘19 Floral Portraits, Indoors Aug. ‘21 Flowers May ‘15 Flower photography Apr ‘21 Flowers in harsh light Jul. ‘16

Subject index for past Photo Insight issues Focus on the eyes Dec. ‘20 Focus points Mar. ‘15 Focus points Sep. ‘20 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign Dancers, Photographing Nov’ 17 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Fractals Jul. ‘19 Framing May ‘17 Freezing ultra action May ‘17 From Terrible to Beautiful Aug. ‘19 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Fundamentals That Make Great Photos Jan. ‘19 Fun With Christmas Lights Jan. ‘21 Fun with Food Graphic Design Garish imagery Getting money for used gear Great subjects Great ceilings & HDR Panos Green screen Grunge technique

Jul. ‘20 Dec. ‘15 Jan. 22 Apr. ‘15 Jul. ‘19 Mar. ‘13 Feb. ‘13

HDR, one photo Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR, hand held Nov ‘17 HDR, hand held Jul. ‘18 HDR panoramas Jun. ‘16 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 Layer Masks, The Power of Feb. ‘22 Light fall-off Feb. ‘14 Light painting Dec. ‘21 Lighting a face Oct. ‘13 Lightning photography May ‘20 Liquify Feb. ‘18 Liquify Distortions Sept/Oct. ‘19 Long lens portraits Oct. ‘18 Long Lenses for Flowers Jul. ‘20 Low light photography May ‘15 Luminar 4 Jan. ‘20 Macro flash Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Macro photography and DOF Feb. ‘22 Macro trick May ‘19 Managing soft focus Jul. ‘21 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meters, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Minimizing dust on the sensor Nov. ‘21 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 Museum photography Mar. ‘13 Natural Light Portraits Negative space Neon edges on black Neutral Density filters Neutral Density filters and water Night photography Night Safaris Night to Twilight Noise reduction

Aug. ‘21 Jan. ‘16 Aug. ‘14 Jun. ‘18 Mar. ‘22 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17

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

May ‘20 Jun. ‘16 Mar. ‘18 Jan. ‘20

Paint abstracts May ‘13 Paint abstracts Aug. ‘21 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Parallelism Nov. ‘19 Parallelism and DOF Feb. ‘21 Perspective, Super Exaggeration of Dec. 21 Photography to Art Dec. ‘17 Photography solutions Jan. ‘18 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique Apr. ‘13

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Subject index for past Photo Insight issues Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13 Photoshop, soft foliage Oct. ‘13 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Photoshop, drop shadows Jul. ‘14 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Photoshop, liquify Mar. ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14 Photoshop, enlarge eyes Nov. ‘14 Photoshop, darken the periphery Dec. ‘14 Photoshop, mirror images Dec. ‘14 Photoshop, beam of light Apr. ‘15 Photoshop, polar coordinates Mar. ‘15 Photoshop, chrome May ‘15 Photoshop, actions palette Nov. ‘15 Photoshop, cut and paste Nov. ‘15 Photoshop, geometrics Oct. ‘15 Photoshop, plugins Oct. ‘15 Photoshop, multiple selections Apr. ‘16 Photoshop, sharpening Apr. ‘16 Photoshop, Flood plugin Apr. ‘16 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Photoshop new tool May ‘20 Photoshop, place one element behind Aug. ‘18 Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Photoshop, My favorite plugins Jan. ‘20 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portrait Professional Nov. ‘19 Portraits, Lens choice Sept/Oct. ‘19 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Restoring old photos Jun ‘20 Ring flash, advantages Jul. ‘21 Ring flash versatility Oct. ‘21

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Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Seeking Cool Snow Photos Jan. ‘21 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Self-critiques Nov. ‘20 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Shooting into the light Jun ‘20 Silhouettes Jun. ‘13 Silhouettes, Exposing for Sept/Oct. ‘19 Silvered landscapes Mar. ‘20 Sketch, How to Make Jun ‘19 Skies make or break a picture Aug. ‘21 Sky replacement Nov. ‘20 Snow exposure Nov ‘17 Snow exposure Nov. ‘19 Soft light Jan. ‘13 Smart phone photography May ‘19 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Sunrise & sunset Jan. ‘19 Tamron 150-600mm Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 Texture Mapping in 3D Jul. ‘21 Topaz AI Gigapixel Mar ‘19 Topaz glow Jan. ‘15 Topaz glow Sep. ‘17 Topaz Impression Sep. ‘15 Topaz Remask 5 Oct. ‘17 Topaz Simplify 4 Dec. ‘12 Topaz simplify 4 Jun. ‘14 Topaz Studio Apr. ‘18 Translucency & backlighting Nov. ‘18 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Twilight photography in the rain Apr. ‘19 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Two subject focus rule Jan. ‘20 Two subject focus rule Jun. ‘21 Urban heights Ultra distortion Upside Down Reflections

Jun. ‘21 May ‘18 Aug. ‘21

Subject index for past Photo Insight issues Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 When You Needed a Zoom Aug. ‘21 White on White Dec. ‘20 White vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 Wide angle conundrum May ‘19 Wide angle lenses Mar. ‘13 Wide angle portraits Nov. ‘14 Wide angle lenses Jun. ‘17 Wide angle keystoning Nov ‘17 Wildlife photos with wide angles Mar. ‘15 Window light Dec. ‘15 Window light portraits Aug. ‘18 Window frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Winter photography Nov. ‘18 Wire Mesh, Shooting Through Jul. ‘18 Workflow May ‘13

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PHOTO INSIGHTS® published by Jim Zuckerman All rights reserved © Jim Zuckerman 2022 email: photos@jimzuckerman.com Edited by: Donald Moore

Street scene in Chefchaouen, Morocco

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