Jim Zuckerman’s
PH OTO I N S I G HTS May 2020
New Photoshop feature Oil and water Photographing lightning Photo tours Student showcase Ask Jim Subject index
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On the cover: Sunrise in the Tianzi Mountains, China. On this page: Amber Fort, Amer, Rajasthan, India.
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4. 8. 13. 23. 25. 26. 27. 29. 35. 40.
New Photoshop tool Oil and water Photographing lightning What’s wrong with this picture? Short and Sweet Ask Jim Photo tours Student showcase Back issues Subject index for Photo Insights
J
ust like writer’s block when an author temporarily loses his or her creative juices and can’t think of how a story unfolds, or even what word follows another, photographers can be creatively blocked as well. Whatever comes to our mind in terms of taking pictures doesn’t seem interesting enough to warrant getting out of a comfortable chair and picking up a camera. I think the best way out of this predicament is to make a list of photographic themes that might interest you. The more the better. You may not end up pursuing a majority of them, but a few of the themes may propel you into action. For example, here are a few themes that excite me: classic cars, ancient ruins, birds, water drops, staircases, tall ships, trains, cathedral ceilings, puppies, wildlife, graphic design, exotic brides, incredible landscapes, reptiles, lighthouses, butterflies, and digital effects. It doesn’t happen often, but sometimes I’ll feel like I’m in the photographic doldrums and I need a kick in the pants to get me shooting again. Going over a list like this is very helpful in stimulating my preconceptual abilities so I can see in my mind’s eye some of the beautiful images I could create. So many of the people who travel with me on my photography tours have shared how happy they are when taking pictures. I assume this is true for all of you who read this publication. Don’t let the self-quarantine and the Covid-19 pandemic bring you down emotionally. Do something that makes you happy . . . like taking pictures. It doesn’t matter what the subjects are. It doesn’t matter if you do flower photography in your kitchen, long exposures of traffic lights near your home, or if you make the eyes of your dog bulge out of their sockets with Filter > liquify in Photoshop. Being creative is uplifting, fulfilling -- and it’s fun. After surviving this very difficult time, you owe yourself some fun. Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com
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New Photoshop Tool A
n update to Photoshop was just released -- the 21.1.2 version. There is a new background-replacing function I thought you would be interested in learning about. This applies only to images where the background is clean and easily distinguishable from the subject. This doesn’t involve any of the selection tools. The photo at right of a bald eagle and the portrait at the top of the next page are examples. Notice the software was able to perfectly separate the black dress from the black background in the shot of the model. The first step is to open two images: the
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subject and the new background. Copy the image of the subject to the clipboard with Select > all, then Edit > copy.
up as Layer 1 in the layers palette. The two photographs should be the same size or close to it. They should have the same dpi. Now open the properties palette. It probably won’t be open at the moment, so go to the pulldown menu tab Window > properties. The dialog box that opens is shown on the next page. At the bottom of it are two buttons (they won’t be revealed when the properties palette opens; you have to scroll down a little to see them). Click Remove background, and within a few seconds Photoshop removes the background behind the subject revealing the new background beneath.
Next, activate the background picture and chose Edit > paste. The subject photo is now pasted on top of the background and it shows
The edges of the subject are rendered very well and the composite looks believable in many, but not all, cases. If there are feathers, veils, or hair in the subject, this technique will not create an accurate selection.
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An easy way to create a monochromatic background specifically for use with this technique is to use flash at night. The background becomes black and that makes it easy for Photoshop to distinguish between the subject and the background. That’s how I made this Venetian composite work. If the software doesn’t replace small areas adjacent to the subject -- such as the open spaces within each hoop in the headpiece of the model, above -you can simply add those to the background. Hold the option key on a Mac or the Alt key on a PC and, using the quick selection tool, eliminate those areas from the subject (when it comes to making selections, remember: ‘shift’ adds to the selection while ‘alt’ or ‘option’ subtracts). Backgrounds don’t have to be perfectly monochromatic, but they should be close to it. The Vene6
tian model at right was standing in front of a blue stucco wall, while the ground was neutral colored stone. Photoshop had no trouble at all instantly eliminating the blue and replacing it with the wild facade from Burano Island near Venice. If you will be photographing a subject for compositing with a new background, preplan the composite by shooting against a solid color with any texture. Even a white or blue sky works very well as you can see in the composite, below. ยง
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Oil and Water
iven the quarantine due to the coronavirus, people have a lot of time at home now. One of my eBooks -Home Photo Projects -- is perfect for photographers to be creative without going anywhere. Most of what I describe in the eBook was done in my kitchen. One of the techniques I really enjoy is photographing oil and water . . . in color. It’s fun, easy, and costs less than $5 or, possibly, nothing at all. The setup is shown on page 11. It is simply a shallow glass bowl suspended above a piece of paper on which I’ve painted several bright col-
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ors using water color paints. Alternatively to the paint, you can also use pieces of colored fabric, colorful plastic toys, colorful vegetables like cherry tomatoes, carrots, swiss chard, etc. Whatever you use won’t come into focus; these items are only there to provide color. You can see from my setup that any kind of makeshift arrangement can work. I just used two boxes of uneven heights, and then with books I leveled the glass bowl. It’s not a slick, professional setup, but it worked just fine. The important part is that the glass bowl be 2 or 3 feet away from the color background. That’s why, even with a small lens aperture, the col-
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AUSTRIA & the DOLOMITES Sept. 25 to Oct. 4, 2021
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orful items are completely blurred. I filled the bowl with water to about a one inch depth. I then poured a little vegetable oil into the water and, because the two liquids are immiscible, the oil floats on the surface of the water and forms circular clusters. The technique Because I wish to move the camera over the surface of the oil and water to find various compositions, I don’t use a tripod. It’s too inhibiting. Therefore, I have to use a flash because that provides enough illumination for a small lens aperture. This is macro photography and, by definition, depth of field is very shallow. The surface of the liquids presents a single flat plane where essentially depth of field
isn’t relevant, but the challenge is keeping the back of the camera (i.e. the plane of the digital sensor) parallel with the surface of the liquid. This is a bit t tricky. If the camera is oblique to the surface, even a little, depth of field suffers and portions of the image won’t be sharp.
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Therefore, I set up a portable flash unit so the light is directed at the colorful background. The flash unit can be triggered remotely by various types of wireless devices. For the exposure, I set the flash to eTTL (or iTTL for Nikon users), the camera is set to manual exposure mode, the shutter speed is the sync speed (1/200 or 1/250). I use f/32 for the lens aperture to guarantee the images are sharp from edge to edge. Using these settings, your exposures should be either right-on or very close to being correct. If they need to be tweaked, use the flash exposure compensation feature built into the flash to make adjustments in 1/3 f/stop increments. All of the pictures in this article were taken with a 50mm macro lens. You could also use a 100mm macro, a 180mm maco, or any me-
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dium telephoto lens along with an extension tube. The most important thing to pay attention to, once you find a composition you like, is to make the back of the camera as parallel as possible to the plane of the water and oil. Once you’ve found compositions you like, take a utensil and stir the mixture of liquids a little. This will create new designs for you to shoot. For a variation on a theme, point the flash from beneath the liquids straight up toward the camera. This produces dramatic and contrasty backlight devoid of color but quite interesting. The space-like abstract on the previous page shows you what you’ll get. You’ll have to tweak the exposure and adjust the position of the flash until you like what you see. §
Photographing Lightning S
ummer is upon us, and that means lightning storms are coming. I love photographing these intense electrical discharges that seem other-worldly. It is easier than you might think. Night thunderstorms
30 seconds and the aperture to f/8, choose 400 ISO, and attach a medium telephoto to the camera. I typically use a focal length in the range of 150mm. This can vary depending on how far away the lightning is. Once, in Nevada, the bolts of lightning were right above my head and I actually used a 24mm wide angle to capture the action. But that was unusual.
The way to photograph storms differs from day to night. Taking pictures of lightning at night Since you can’t focus on the sky in the dark, requires no special equipment, and the only and the lightning bolts happen too fast to foreal challenge is focus. cus on them, you have to employ one of two focusing techniques. First, you can focus on The technique is quite simple. Mount your a distant light, such as an illuminated window, camera on a tripod, set the shutter speed to yard light, car head light, street lamp, etc. It has
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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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PREMIIUM PORTFOLIO REVIEWS by Jim Zuckerman
Starting June 1, Jim will be offering professional reviews of your portfolio. Choose 20 images, and Jim will select the 10 he wants to review with you on a on-to-one basis. You will share computer screens with Jim, and based on his 50+ years in photography, he will give you constructive comments that will go a long way to helping you significantly improve your shooting. In addtion, he will demonstrate to you how to use Photoshop to enhance and embellish each image. See how he uses his artistic and technical skills to transform your original photographs into visuals that exceed your expections. He is known for being able to fix photographic problems, and you’ll see this demonstrated right on your own computer screen. Jim will cover topics like lens choice, camera settings, depth of field, exposure, composition, graphic design, and the all-important subject of whether a background is complementary or distracting. All levels of photographic expertise, from beginners to advanced, are welcome. For the month of May, Jim is offering this one hour portfolio review with a $50 discount. Contact him at photos@jimzuckerman.com if you would like to take advantage of the reduce price. Click on the montage above for more information.
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to be far enough away such that the lens goes to infinity to focus on it. Switch to manual focus and don’t touch the focusing ring again. Second, you can set the camera up at dusk and focus on distant landforms, trees, or clouds when you can see them. Switch to manual focus and again make sure you don’t touch the focusing ring so the lens stays perfectly focused on the sky. Continuously take 30-second exposures during the storm, i.e., press the shutter for the 30-second exposure then repeat this again and again. You will get many black frames in which lightning didn’t strike, but some frames will capture what you want. Often, you’ll get multiple lightning bursts in a frame during the exposure. Direct the lens to the part of the sky where most bolts are occuring, and note this can change during the course of the storm as it moves across the sky.
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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.
July 11-12, 2020
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Including foreground elements, like the Saguaro Cactus, right, enhances lightning images. Wide open spaces are ideal for this type of composition. Desert areas like in the American Southwest and around lakes in forested areas allow you to see long distances, and combined with something of interest in the foreground, this enables you to capture dynamic images. Daytime Thunderstorms Trying to capture lightning strikes during the day is an exercise in frustration. Almost every time, it seems like you caught the image but you didn’t. The latent image of the lightning in our eyes deceives us into thinking the strikes are long enough to allow our reaction time to grab the shot. The best way to capture lightning in daylight hours is with a lightning trigger. The unit sits in the hot shoe of the camera, and when it detects a strike it fires the camera immediately to
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Expand your photographic artistry with
eBooks
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eBooks continued Click on any ebook to see inside
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catch it. The unit I use is made by Stepping Stone Products (lightningtrigger.com), and it is shown at right. The shutter speed can’t be open for a long time or else the resulting images will be overexposed. The shutter speed has to be long enough to catch the lightning, but not too long due to the overexposure problem. I choose a shutter speed of 1/4 second. The f/stop depends on the amount of available light, but I err on the side of extensive depth of field. I usually shoot at f/16 or f/22, and for landscape work I limit the ISO to not more than 400. Since I’m using a tripod, there is no need for anything higher. I recommend carrying an umbrella with you because if it starts to rain, you’ll want to pro-
tect your camera gear as well as yourself. The only instance in which you won’t be able to shoot lightning is if it’s happening directly above you and it’s raining at the same time. Water drops on the lens would ruin the images. Carry a microfiber cloth with you so you can clean the lens periodically when needed. §
This is a lightning strike in San Miguel de Allende, Mexico, photographed with a 30-second exposure from the balcony of a bed and breakfast establishment.
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W i l d l i f e Babies Workshop August 20 - 24, 2020
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What’s wrong with this picture?
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his is a superb starling I captured in Kenya. It’s a beautiful bird, and I was lucky to be able to take this frame-filling shot with a 500mm f/4 Canon telephoto and a 2x teleconverter giving me 1000mm of focal length. I like this image a lot except for one thing. In the lower right corner, the out of focus branch is, once you notice it, quite distracting. I find that my eye tends to wander down to that corner too often, and that’s not how a successful image is supposed to work. The branch in the lower left corner isn’t ideal also, but it’s not terribly distracting at least to my eye. Ideally, though, it should be removed. 23
In this version, I replaced the out of focus right corner with a piece of a branch from another tree. This was simply a copy and paste move. For the lower left issue, I used the clone tool and a large brush to blend the sky over the offending branch. Now the portrait of the starling has no distracting elements and nothing to divert our attention from where it should be -- on the bird.
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When photographing birds with very dark or black feathers, it’s best to have low angled front lighting if possible because the illumination fills in the dark details of the bird and allows us to appreciate all that detail. Alternatively, overcast lighting works, too, as long as the background isn’t too bright. The last thing you want to do is photograph a dark bird in front of a sunny background. §
SHORT AND SWEET 1.
2. With virtually all landscape photographs, complete
3. Don’t hesitate to use wide angle lenses to ‘distort’
4. Most of the architectural interiors I photograph are
To freeze birds in flight so even the wing tips are sharp, use a shutter speed of 1/3200. With slower flying birds like eagles, herons, osprey, and egrets, you might be able to get away with 1/2500. Slower than this will most likely show a certain amount of blur. I photographed this bald eagle in middle Tennessee.
reality. Some of the most dramatic images are taken this way. There are photographers who think the word distortion is pejorative and that we should capture only what we see. If you limit yourself that way, you won’t be able to capture pictures like this one.
depth of field is essential. With long telephoto images, even f/32 may not give you as much depth of field as you need. Therefore, focus stacking is required. I took the image below with a 400mm focal length, and this is a 15 image focus stack.
done with available light. It’s the most beautiful way to photograph large interior spaces. The play of light is beautiful -- much more attractive than if I had used flash. Even multiple flash units set up by professional lighting people wouldn’t be as good as this. §
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ASK JIM
Every month, Jim will answer a question from his online students, from people who participate in his tours and workshops, or from subscribers to this magazine. If you have a question you’d like Jim to answer, please drop him a note at photos@jimzuckerman.com.
Q:
Jim . . .How do you decide which exposure metering mode to use for different types of photos? The reason I ask this question is that I do not understand the basic differences in how the camera is metering between matrix, centre weighted, and spot metering, and I’m not clear when I would benefit from using one mode compared to another. My camera even has spot metering high key and spot metering low key. Roddy Maddocks, Oxford, Oxfordshire, UK
A: Matrix (Nikon) and Evaluative (Canon) metering methods are the most accurate. That’s all you need.
I went digital in 2005 (Canon), and my various cameras have never been taken off Evaluative metering since then. The metering technique I use is: I look at the LCD screen. If the picture is too light or too dark, I tweak it with the exposure compensation feature. That’s it. Metering is very simple when you use this technique. Even complex and contrasty subjects and scenes can be metered this way.
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Partial list of Photography Tours 2020 - 2021 BABIES WORKSHOP Aug.. 2020
NORWAY/DENMARK Sept. 2020
POLAR BEARS Nov. 2020
YELLOWSTONE & TETONS Jan. 2021
ETHIOPIA Mar. 2021
BIRDS & BATS Apr/May 2021
LAVENDER FIELDS (France) June/July 2021
ICELAND July 2021
PERU NATURE Sept. 2020
CARNIVAL IN VENICE Feb. 2021
NAMIBIA May/June 2021
WHITE HORSES Apr. 2022
For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
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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.
Bill Gent, New York, New York Kenya, Frog and Reptile workshop, Venice workshop, India photo tour
© 2020 Bill Gent
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Student Showcase, continued
Š 2020 Bill Gent
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Student Showcase, continued
Š 2020 Bill Gent
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Student Showcase, continued
Š 2020 Bill Gent
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POLAR BEARS from Ground Level! November 5 - 12, 2020
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun., July 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
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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
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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 Depth of field, shallow Double takes Drop shadows Dust, Minimizing
Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Jan. ‘20 Dec. ‘18 Apr. ‘20 Apr. ‘20 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 HDR at twilight HDR, realistic HDR, hand held HDR, hand held HDR, hand held HDR panoramas High wind
Apr. ‘13 May ‘13 Jun. ‘15 Dec. ‘16 Nov ‘17 Jul. ‘18 Jun. ‘16 Apr. ‘17
Subject index for past Photo Insight issues 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 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 Lightning photography May ‘20 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
Oil and water Optical infinity Organization of photos
May ‘20 Jun. ‘16 Mar. ‘18
Out of focus foregrounds
Jan. ‘20
Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Parallelism Nov. ‘19 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 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
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Subject index for past Photo Insight issues 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 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 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
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Ultra distortion
May ‘18
Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 White vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 Wide angle conundrum May ‘19 Wide angle lenses Mar. ‘13 Wide angle portraits Nov. ‘14 Wide angle lenses Jun. ‘17 Wide angle keystoning Nov ‘17 Wildlife photos with wide angles Mar. ‘15 Window light Dec. ‘15 Window light portraits Aug. ‘18 Window frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Winter photography Nov. ‘18 Wire Mesh, Shooting Through Jul. ‘18 Workflow May ‘13
PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2020 email: photos@jimzuckerman.com
Musician, Gwalior, India
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