Photo Insights May 2021

Jim Zuckerman’s

PH OTO I N S I G HTS May 2021

Changing perspective Capturing what you don’t see Depth of field and obliqueness Photo tours Student showcase Ask Jim Subject index 1

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Changing perspective Capturing what you don’t see Depth of field and Obliqueness 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 Spring, Holland. This page: Grizzly bear, Alaska.

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purchased the new mirrorless Canon R5 last month, so now an important decision I had to make was which telephoto to get. I sold my Canon 500mm f/4 telephoto because of the weight and volume of the huge lens. With increasing age I felt it was putting too much stress on my shoulders and lower back. I’m trying to avoid another surgery.

So, my debate was between the new 100-500mm f/4.5 - 7.1, the new 600mm f/11, and the new 800mm f/11. If I used a 1.4x teleconverter with the latter two lenses, I’d be shooting with a maximum aperture of f/16. With the R5’s ability to produce excellent pictures at ISO settings of 12,800 and higher, this seemed like a feasible way to go. Super long lenses are enticing for sure, especially for bird photography, but if I used a 1.4x converter on the 100-500mm lens, the maximum aperture would be f/10, plus I would have the flexibility of a zoom range of focal lengths.

After much debate, I decided on the 100-500mm telephoto. It’s 1/2 pound lighter than my old 100-400mm f/4 lens, and when used with the 1.4x converter the range becomes 140700mm -- a great range for wildlife and birds. Additionally, when an animal or bird comes too close to the camera for proper focus with a super long lens, there is very little time, if any, to switch lenses. So, I feel my decision is a good one. When I need more focal length in a future situation, I can always get the 800mm lens because it’s affordable. It’s under $1000 and rated very well.

The choice of lenses you buy is totally dependent on the types of subjects you shoot. For general travel photography, for example, I’d never bring a super telephoto. The same is true for landscape work. If I were going out with the focus on macro photography, I’d carry a 50mm macro and a medium telephoto with extension tubes and leave everything else home. When weight becomes an issue, what you carry and what you buy entails compromises that weren’t part of the equation when you were younger.

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

Changing Perspective D

uring my last Photoshop Online Training course, a student asked me a question that I had never been asked before, “Can you use Photoshop to change the perspective of the camera angle?”

Specifically, in the photo below I took during carnival in Venice, he wanted to know if there is a technique in Photoshop whereby it can be made to look like the photographer was kneeling on the stone street and shooting from a lowered perspective.

In so many situations, a low angle is the better approach for photographing all kinds of subjects, from wildlife to fashion models. The low angle gives the subject great stature and a stronger presence. Compare the picture on this page with the image on the next page and you can see the latter looks like I moved in close with a wide angle lens and took the shot kneeling on the ground. I would call both images successful, but the ‘wide angle’ version is, to me, more dramatic and more compelling.

After thinking about the question for a few moments, the solution came to me. Here are the steps in Photoshop.

1. Use Select > all to put the marching ants around the entire photograph.

2. Go to the pulldown menu command Edit > transform > perspective.

3. A box forms around the picture. Pull the lower right handle of the box horizontally to the right, or pull the lower left handle of the box to the left. This symmetrically widens the image at the base which simulates the convergance of vertical lines typical of a wide angle lens used from a low perspective. However, the image will appear compressed from top to bottom.

4. Choose Select > all again, and then select Edit > transform > scale. This also puts a box around the image. Grab the top middle handle and pull it up to elongate the image. This results in a perfect transformation in perspective. §

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Capturing What You Don’t See H

ow many times have you heard someone say when you look at their pictures, “You should have been there. I just couldn’t capture what I saw.” I’ve heard it many times, even from photographers who really know what they’re doing.

The truth is, cameras and lenses don’t capture what we see. They come close . . . sort of . . . and we accept that our photographs represent reality. But do they? Is reality what we see or what we photograph? They aren’t the same in many, many instances. Consider the following photographic scenarios.

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1. With our eyes, we never, ever see out of focus backgrounds. I took the picture below of a lilac breasted roller in South Africa with a Canon 500mm f/4 telephoto wide open, and the background landscape became completely out of focus. I didn’t see that as I was shooting.

The reality was that everything in the composition was sharp, from the immediate foreground to the distant background.

No matter how attractive an out of focus foreground or background might be, it does not represent what you saw at the time of shooting.

Shallow depth of field is a manmade construct

and it does not represent what we see with our eyes.

2. When we use wide angle lenses, the perspective is elongated. We don’t see this with our eyes. The picture below of the Natural History Museum in London exemplifies this. The foreground is disproportionately large compared to the background, and while this is, indeed, a very long room, the 14mm lens I used made it seem even longer.

3. Our eye-brain combination is much more sophisticated than digital sensors in holding detail in both the highlights and the shadows.

I had a conversation with a German physicist a few years ago on a flight from Europe, and his field of study was the eye. After he gave me some numbers, I calculated the human eye has a dynamic range of 31 f/stops! Contrast isn’t a problem for us, but for a camera the abilty to

discern detail throughout a contrasty scene is a challenge.

Midday sunlight, for example, doesn’t present a problem for people. We see detail clearly in the deep shadows as well as in the bright sunlight.

Digital cameras (and film cameras in the past) add contrast to a scene. So much contrast, in

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fact, that shadows can go black with no detail at all (as in the shot of the lion on page 7) and highlights can completely blow out -- i.e. they become solid white. The picture at right shows how the sky is blown out. The meter in the camera did a good job trying to balance the exposure between the shadows and the highlights, but you can see, due to contrast, the shadows are darker than they looked to my eyes and the sky is much brighter with a loss of detail compared to what I saw.

4. Because of the gain in contrast, when using flash it’s very easy to make the background go black. Black backgrounds are very dramatic, so in this case you are using the contrast gain in your favor instead of trying to find a workaround for it.

The photograph of the cecropia moth, below, is an example. I could see detail in the background with my eyes very clearly. Due to the

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flash-subject distance, the light fall-off from the flash -- and the contrast gain issue -- caused the background to become so underexposed it looks black. I didn’t see this with my eyes.

5. Another man-made construct that we never see and is, in fact, impossible to reproduce in our brain is motion blur. With long shutter speeds, we can blur moving water, traffic, birds in flight, a dancer’s twirling movements, and many other subjects. I photographed the

double decker bus in London, above, with a 1/2 second exposure.

In the picture at lower right, I used a 15 second exposure to smooth the water in Lake Wanaka in New Zealand. Again, this is a picture of something I didn’t see at all.

6. With long exposure times, a digital sensor can accumulate light to make a very dark scene visible. This is how astro photography is done.

Pictures of the Milky Way as well as deep sky objects can only be studied and appreciated with exposures that can, in some instances, last hours. For the Milky Way shot I took in New Zealand on page 11, the exposure time was 15 seconds (I don’t exceed 20 seconds because the rotation of the Earth causes star trails to form).

The brilliance of the Milky Way resulted from the long exposure as well as using the Adobe Camera Raw sliders in post-processing to artistic advantage. The lights and colors on the

Church of the Good Shepherd came from cars in the parking lot in front of the church that illuminated the scene during the 15 second exposure.

I point out the fact that we often don’t capture what we see so you will mentally see subjects and scenes as the camera does, not as your eyes do. I’m convinced that understanding this is the biggest hurdle to surmount in learning to take outstanding images. §

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PERU PHOTO TOUR Sept. 24 - Oct 4, 2021

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DEPTH OF FIELD and

Obliqueness A

s I’ve discussed before, depth of field is a moving target. By that I mean the amount of DOF you get depends on a combination of factors that are constantly changing. These factors are: 1.

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3.

4.

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Lens aperture Distance from the camera to the subject Distance from the subject to the background Focal length of the lens

There is actually a fifth factor, although it is related to the ‘Distance from the camera to the subject,’ and that is the obliqueness of the digital sensor plane to the subject. We used to call this the film plane.

Look at the diagram on the previous page. The green line represents the plane of the digital sensor. The black line at the bottom represents the subject -- such as the butterfly in the photo. When the camera is angled to compose and shoot, the distances from various parts of the sensor to the subject plane aren’t equal.

The top of the sensor is farther than the bottom portion of the sensor as shown by the red lines. Since focus is a function of camera-tosubject distance, the fact that the camera, and therefore the plane of the sensor, is oblique to the subject directly impacts depth of field.

With the photo of the butterfly on page 12, I had to use f/16 in order to have enough depth of field to make sure both the head and the trailing edge of the hind wings were sharp.

If you look closely, though, it turns out f/16 wasn’t enough because I used a 100-400mm telephoto lens to take the picture.

This is very noticeable with macro subjects.

The cameleon, above, also shows focus fall-off.

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

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The camera and macro lens were again oblique to the reptile.

On page 13, the ancient atrium of a home in Herculaneum, Italy (one of the towns destroyed in 79 A.D. with the eruption of Mt. Vesuvius that also razed Pompeii) shows the camera was oblique to the plane of the tiled floor. Everything here is sharp even though my lens aperture was f/4.5. Why? Because the focal length of the lens that captured this image was 24mm.

When the camera is oblique to the subject and you believe there will be a compromise in depth of field, here are the solutions for recovering lost depth of field.

1. Angle the camera so the back of it is as parallel as possible to the subject. This may require leaning over the subject, like an insect, so you are shooting down on it as opposed to photographing from a severely oblique angle.

2. Close the aperture down if possible.

3. Use a wider angle lens, if possible, because this increases depth of field.

4. Move further away from the subject. Even a few inches will make a difference if you are doing macro photography.

When photographing landscapes and the cam-

era is directed downward so it’s oblique to the ground, oliqueness is still relevant. This is especially true if the foreground is positioned very close to the camera as in the shot above of a formal garden in Etretat, France. Even though I used a 24mm wide angle lens, I had to use f/16 to insure the leaves in the immediate foreground were as sharp as the distant ocean cliffs. Since I was handholding the camera this necessitated raising the ISO to 1250.

Had I moved back, say 10 feet, and refocused on the garden, I could have used a larger lens aperture and therefore a lower ISO. But that would have changed the composition, and this is the shot I wanted.

Pay attention to the oblique angle of your camera and you’ll be able to control DOF more. § 15

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

February 18-25, 2022

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

June 12 - 13, 2021

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

February 2 - 5, 2022

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Expand your photographic artistry with

eBooks

Click on any ebook to see inside

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eBooks continued Click on any ebook to see inside

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

Based in Kalispell, Montana

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What’s wrong with this picture?

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here are four things that should not occupy a dominant portion of a photograph. They are dirt, gravel, asphalt, and concrete. In art, there are always exceptions, and I know there are some road shots, for example, that are excellent and where a lot of the image is taken up by the pavement on the road. Nevertheless, for the most part I believe this guideline is correct. These four things just aren’t attractive to look at.

In the shot of this columbine flower from Zion National Park, I feel the background is less than ideal. It’s not terrible; it does direct our attention to the flower and there is nothing that could be called distracting in it except, perhaps, the diagonal lines in the lower left section of the image. Still, I just don’t like it. I find the texture and color unattractive.

Because the flower is vertical in design, I thought a vertical crop would be

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appropriate. That also eliminated much of the offending (to me) background.

I then used the Photoshop pulldown menu command Image > adjustments > levels and darkened the background to black. I moved the shadows slider and the midtones slider to the right in the dialog box, and that transformed a mediocre picture into one that I feel is beautiful. I also cloned out that one stem behind the yellow columbine flower. §

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SHORT AND SWEET 1. Shooting from a low perspective makes more pow-

erful wildlife shots. To do that, using a long lens from a distance means the lens will be more parallel to the ground. This makes the shot look like you were photographing from a low angle even if you were elevated in a safari vehicle.

2. Light is not ideal when photographing during the middle of the day. Nevertheless, if you keep the sun at your back such that the subject(s) is front lit, the results can be quite good. This is Nymphenburg Palace in Munich, Germany. Had the sun been behind the structure, this wouldn’t have worked.

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4. If you haven’t started building a collection of cloud

Low angled sunlight is the key to taking great pictures of landscapes. Make sure you set the white balance on your camera to daylight, however. Auto white balance will ‘correct’ the golden colors we love so much about sunrise and sunset and make the color of the light white. This is not what you want.

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pictures, start doing so. Great skies can make or break outdoor pictures -- from landscapes to cityscapes and more -- and it’s good to have all kinds of shots of clouds from which you can choose the perfect backdrop. I am constantly adding to my cloud library. §

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 bought a Sekonic L-478D-U light meter. I would love to use the meter for Zone System measuring. How do I use the meter for correct measuring?

Kurt Schwartz, Zurich, Switzerland

A:

The light meter has two functions: Incident and reflected. The incident mode uses the white hemispherical dome. You place the meter in the same light as the subject and point the white dome at the lens.

Push the button on the meter and you get a reading. The incident mode reads light falling onto the scene.

This method of metering is extremely accurate, although it can’t be used for backlighting.

Reflected mode operates like your camera’s meter. It reads light being reflected from the subject. A white subject (like snow) and a black subject (like hardened lava) will reflect light differently. Using the reflected mode means you need to identify ‘middle gray’ in the scene and take a spot reading on that. If you choose the middle gray area correctly, the exposure will be perfect as in the shot below. Spot mode metering uses the reflected metering function.

To use the Zone System, you must identify in the composition what you want middle gray to be. Take a spot meter reading of that point, and that becomes Zone V. All of the other zones will fall into place from there. §

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

LOUISIANA SWAMP TOUR Nov. 2021

ETHIOPIA Mar. 2022

PATAGONIA PHOTO TOUR May 2022

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NORWAY/DENMARK Sept. 2021

MICHIGAN LIGHTHOUSES Oct. 2021

WINTER WILDLIFE Jan. 2022

CARNIVAL in VENICE Feb. 2022

HOLLAND/BELGIUM Apr. 2022

SPAIN/PORTUGAL Apr. 2022

NAMIBIA May/June 2022

MOROCCO Jun. 2022

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

Ethiopia Photo Tour jMarch 10 - 22, 2022

jPrimitive tribes

Dramatic landscapes Wildlife Rock-hewn churches

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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.

Randy and Lynn Christopher, Hayward, California Venice Photo Workshop, Wildlife Babies Workshop, Kenya Photo Tour, and Snowy Owls Workshop.

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© Randy and Lynn Christopher 2021

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Student Showcase, continued

© Randy and Lynn Christopher 2021

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Student Showcase, continued

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© Randy and Lynn Christopher 2021 37 33 35

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Student Showcase, continued

© Randy and Lynn Christopher 2021

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3329

Michigan Lighthouse Photo Tour October 7 - 12, 2021

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INDONESIA PHOTO TOUR July 29 - August 10, 2021

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

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

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

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

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

Jan. ‘13 Oct. 17 Sep. ‘14 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14 Nov. ‘14 Apr. ‘15 Sep. ‘16 Mar. ‘21 Dec. ‘13

Nov. ‘19 Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Jan. ‘20 Dec. ‘18 May ‘21 Apr. ‘20 Nov. ‘20 Apr. ‘20 Apr. ‘19 Aug. ‘19

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

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

Fundamentals That Make Great Photos Fun With Christmas Lights

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

Graphic Design Garish imagery Great subjects Great ceilings & HDR Panos Green screen Grunge technique

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

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

Dec. ‘14

Kaleidoscopic images Kaleidoscopis images Keystoning, correcting

Jan. ‘15 Aug. ‘20 Aug. ‘15

L Bracket Feb. ‘18 L Bracket Feb. ‘21 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 Lightning photography May ‘20 Liquify Feb. ‘18 Liquify Distortions Sept/Oct. ‘19 Long lens portraits Oct. ‘18 Long Lenses for Flowers Jul. ‘20 Low light photography May ‘15 Luminar 4 Jan. ‘20 Macro flash Macro flash Macro flash

Macro trick May ‘19 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meters, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 Museum photography Mar. ‘13 Negative space Jan. ‘16 Neon edges on black Aug. ‘14 Neutral Density filters Jun. ‘18 Night photography Feb. ‘14 Night Safaris Jun. ‘18 Night to Twilight Dec. ‘17 Noise reduction Feb. ‘17 Oil and water Optical infinity Organization of photos Out of focus foregrounds

May ‘20 Jun. ‘16 Mar. ‘18 Jan. ‘20

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

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

Nov. ‘12 Sep. ‘14 Aug. ‘15

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

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

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

Tamron 150-600mm Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 Topaz AI Gigapixel Mar ‘19 Topaz glow Jan. ‘15 Topaz glow Sep. ‘17 Topaz Impression Sep. ‘15 Topaz Remask 5 Oct. ‘17 Topaz Simplify 4 Dec. ‘12 Topaz simplify 4 Jun. ‘14 Topaz Studio Apr. ‘18 Translucency & backlighting Nov. ‘18 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Twilight photography in the rain Apr. ‘19 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Two subject focus rule Jan. ‘20 Ultra distortion

May ‘18

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

PHOTO INSIGHTS® published by Jim Zuckerman, All rights reserved

Mannequin head combined with an abstraction of paint.

© Jim Zuckerman 2021 email: photos@jimzuckerman.com Edited by Donald Moore

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