Jim Zuckerman’s
PH OTO I N S I G HTS May 2019
A macro trick Wide angle conundrum Smart phone photography Photo tours Student showcase Ask Jim
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4. 8. 13. 21. 22. 25. 26. 28. 34. 38.
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A macro trick Wide angle conundrum Smart phone photography What’s wrong with this picture? Short and Sweet Ask Jim Photo tours Student showcase Back issues Subject index for Photo Insights
On the cover: A mated pair of wild red and green macaws, Brazil. This page: The Ice Beach, southern Iceland.
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any years ago I had an elderly lady as a student on several of my photography workshops and tours, and she constantly bombarded me with questions before she’d take a single picture. She was very inhibited and wanted confirmation that she was doing everything right. She would begin her questions with opening lines like, ‘What if I tried this…’ or ‘What would happen if I did that …’ It turned out that she was so afraid of making a mistake, her fear was paralyzing her from even trying. I had known her for many years, so I felt comfortable in finally saying ‘Barbara, just shut up and shoot!’ What I was really saying was just take the shot, and if it didn’t turn out, it was no big deal. The world would not come to an end. If she didn’t like the results, figure out what the problem was and try again. Even professional photographers have issues like this. No pro in the history of photography takes perfect pictures every time. If we get a great picture in one out of ten we’re really happy. With subjects like wildlife, the percentage of great images is much less than this. Part of the learning process is making mistakes. We all know this, but sometimes people are really inhibited. The idea of failing to take a great picture – even as a beginning student – is a frightening proposition. The solution from making mistakes is to simply analyze what went wrong, hit the delete key and try again. I have been shooting for 50 years and I still trash an enormous amount of pictures. One would think after all these years that wouldn’t happen. Not true. I do a lot of experimenting. I take chances with my pictures. Sometimes they come out great and lots of times they don’t. That’s just the nature of the beast. Not getting a great picture when you are trying very hard has nothing to do with your self-worth or your ability as an artist. It just means that you didn’t get a great picture. Even great artists like Rembrandt would re-use a canvas if he didn’t like a painting he had made. My friend Barbara, after my ‘shut up and shoot’ comment, abbreviated that on a customized license plate: S U A S. This reminded her to take risks in photography and in life. Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com 3
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A Macro Trick
s much as I like extensive depth of field where both the foreground and the background are tack sharp, there is definitely a place for shallow depth of field. When a background is significantly out of focus, two important things happen: 1) distracting elements are eliminated or at least they have a minimal negative effect on the picture, and 2) all our attention is directed toward the subject as it should be. Often, depth of field isn’t shallow enough. This is particularly true when photographing small subjects like flowers, small animals, and insects. The ideal is to have extensive depth of field on the subject to show all of the intriguing detail; meaning, using a very small lens aperture
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like f/22 or f/32. If background elements are too close to the subject, they will be too defined and very distracting; in other words, not blurred enough. The best solution for this is to place a mounted photograph of out of focus foliage behind the subject. I use a matte print 13 x 19 inches mounted on foam core so it’s light and easy to work with. Even with a small lens aperture, the out of focus image stays attractively blurred. The ladyslipper flower, below, is a perfect example where this technique worked well. I was shooting on a forest floor in Michigan, and the background trees, leaves, and sky would have ruined the photograph because they were too
defined and distracting. By placing the out of focus print background behind the flower, the problem was solved. To support the mounted print in a vertical position, I used a couple of twigs stuck into the dirt. I took this image at f/32, and the lighting was entirely natural. The closeup of a bee on a cone flower was done the same way except I used a ring flash here to freeze the movements of the insect. When using a flash, you can adjust the exposure on the print background by changing its distance to the flash. Moving the print closer to the subject, and therefore closer to the flash, adds more light, making it will appear brighter. Moving the print farther away -- even a few inches -- decreases exposure on it. Since I prefer to photograph macro subjects in diffused light -- i.e. shade -- all of my out of focus print images were created by taking pic-
tures of trees, bushes, or flowers in soft light. You have to turn off the autofocus mechanism on the lens and then manually rotate the focus ring to make vegetation out of focus. Sometimes you’ll want the background to be so blurred there is no definition at all as in the image below. Also, create images that have slightly defined forms, and for some backgrounds include the sky. This adds realism. See the picture of the chameleon on page 7. This shows you what I’m referring to. It’s important to make the background prints with a matte surface. Glossy, lustre, or satin prints all have a semi-sheen to them, and I would avoid these kinds of prints because it’s too easy to get unwanted reflections. The print doesn’t have to be professionally mounted on the foam core. You can simply
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tape the corners of the paper print to the foam core. That’s good enough. I don’t recommend using canvas prints because the texture in the canvas itself might show up, and this would ruin the illusion you’re trying to create. Some photographers use painted backgrounds for this technique. They will blend earth-toned colors of paint on a canvas or even on art paper to suggest an out of focus background taken with a camera. This never looks natural and correct. There are subtleties in a photographic image that are hard to reproduce with paint. I recommend sticking to photographic backgrounds if you want images like the ones I’ve included in this article. All of the pictures seen here were taken with f/32. §
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The Wide Angle o
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love wide angle photography, but I’ve always been bothered by one thing -- especially when it comes to landscapes. A wide lens seemingly pushes elements in the frame further away. For a mountain range like the one below I captured in the Argentina side of Patagonia, a 24mm lens was useful to include the large expanse. However, the inherent nature of the optics made Mt. Fitz Roy and the surrounding peaks seem diminuative. This is not what I saw with my eyes. What I saw were awesome peaks that were so stunning, and so impressive -- and
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quite close -- it’s difficult to describe how powerful they appeared. The image below doesn’t really convey that. The mountains here appear to be relatively small and distant. If the goal is to capture what you see, this is disappointing. The image on the next page shows a much more realistic interpretation of what I saw. However, I had to use Photoshop to composite two images. For the mountain range, I took a 7-frame panorama and stitched the images together. I
then combined the mountain pano with the river canyon using a layer mask and the gradient tool to blend the two portions perfectly.
ally exists.
It’s true that the composite doesn’t show the entire range, but there is no way around that. By definition, the more of the range that shows, the smaller it has to be. In addition, I lost some of the foothills. I feel this is a small price to pay, though, for showing the impact of these incredible mountains. This is a much more correct representation of what I saw.
I had the same dilemma with the scene on the next page. This is, again, Mt. Fitz Roy, this time seen after a 3-mile hike to a much closer vantage point. My photo tour group and I left the hotel two hours before dawn to begin our trek in the dark, and when it finally got light enough to see the mountain, it was truly awe inspiring. They are huge, in your face, and imposing. It takes your breath away.
For photographers who are ‘purists’ and who feel Photoshop manipulation inappropriate, especially for nature photography, I wonder which of these scenarios they would prefer: wide angle distortion that doesn’t capture what we see or Photoshop manipulation that turns out to be a more accurate portrayal of what re-
It’s an interesting question, isn’t it?
I wanted to include the waterfall, which meant using a wide angle lens, and yet that made the mountains seem too far away and too distant. If I switched to a medium telephoto in the 100mm range, I could fill the frame with the dramatic peaks, but I couldn’t include the wa-
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terfall in the bottom of the frame. This was definitely a conundrum. The solution was to do exactly as I just described, although this time I didn’t take a panorama shot. I photographed the peaks with a 100mm focal length, and I shot the waterfall with 24mm (I used a 24-105mm lens for both of the components). Then I put the two images together, and the composite represents what I saw.
2. I opened the wide angle waterfall picture and then pasted the mountain image over it using Edit > paste, or Command/Ctrl V. 3. Next, a layer mask had to be made of the pasted in image. I did this using this pulldown menu command, Layer > layer mask > reveal all. The shortcut is clicking the small icon to the right of the fx icon at the bottom of the layers pallete (red arrow, below).
Here is the procedure I used for doing this: 1. I opened the telephoto shot of the mountains and copied it to the clipboard with Select > all, then Edit > copy (the shortcut is Command/Ctrl A, then Command/Ctrl C on the keyboard). 10
4. I then chose the gradient tool in the tools palette. 5. With the foreground and background color
boxes (seen at the bottom of the tools palette) black and white, respectively, I dragged the cursor from the bottom of the mountain picture to the top. This made the bottom portion of the floating layer (i.e. the mountain photo) transparent, thus showing the underlying waterfall. 6. I then moved the mountains in place with the move tool. 7. If the mountain shot and the wide angle landscape image don’t blend exactly as you want them to, it’s a simple matter of using the cursor again. If you drag the cursor a very short distance -- say an inch on your monitor -- the bottom of the mountain image will be a defined edge. If you drag the cursor a longer distance -- for example, four inches on the monitor -- the attenuation of the bottom of the
mountain picture will be much more gradual. Experimenting with this will show you many options, and in just a few tries you’ll settle on one that looks natural and correct. Photographers who aren’t big fans of using Photoshop to enhance imagery will often derogatorily say to another shooter, “Oh, you Photoshopped that.” The implication is you cheated, you violated the sanctity of nature, or you only got a good picture because of postprocessing. What about using Photoshop to overcome the limitations of optics or digital sensors to create pictures that virtually duplicate what we see? Is that cheating? Or is using a wide angle lens to exaggerate perspective cheating? These are interesting questions to ponder. § 11
MOROCCO PHOTO TOUR October 18 - 31, 2020 Exotic culture
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Camel train at sunset
Blue City
Great portraits
Smart Phone Photography
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ike any serious photographer, amateur or pro, I never considered iPhones or other smart phones serious photographic tools. They are fine for selfies and taking pictures where the end use is Facebook or Instagram, but that’s about it. For publication and for making art prints of any significant size, digital files from smart phones haven’t been acceptible in my thinking. My experience in Patagonia started to change my mind. The picture below of the Perito Moreno Glacier near El Calafate, Argentina shows a panorama taken with my iPhone. I wanted to compare this with the 7 or 8 frame pano I do with my Canon. When I opened up
the iPhone pano in Photoshop, I was surprised to see it was 77 megabytes. It’s still a jpeg, and the resolution is just 72 dpi, but at 100% it looked quite good. It’s not as sharp at 100% as the Canon pano, but given the weight, size, and ease of use of a smart phone, I was impressed. I wouldn’t make a 24 x 36 inch print with an iPhone panorama and expect super high quality, but a 16 x 24 inch print is quite feasible. The picture on the next page taken near El Chalten, also in Argentina, shows great depth of field, great color, and good sharpness. This is an iPhone image. A typical iPhone X photograph opens in Photoshop at 36 megabytes.
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POST-PROCESSING online course by Jim Zuckerman
Learn how to process your images to give them visual impact. You will be introduced to Photoshop techniques that go beyond what you see and even beyond what you can imagine. This four-week course is invaluable to making your pictures look as good as the photographs you envy! You will receive detailed critiques on the images you submit for every lesson. The great thing about online courses is that they can fit into any schedule. Life gets in the way at times, and Jim puts no limit on the time you can submit your work for his critiques. CLICK ON THIS PHOTO to read more about the course.
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Where smart phone pictures are disappointing is in the dynamic range, and specifically, in the loss of detail in the highlights. In the waterfall picture and in the photo of my cat with some of his toys, below, you can see this clearly. The white markings on Ming are completely blown out -- no texture or detail. That is typical of jpeg images, and it can’t be fixed with post-processing. An imminent breakthrough There are a number of articles online now that predict in a very short time -- possibly by the end of this year -- we will see 100 megapixel smart phone cameras. Click HERE to read a teaser article about this amazing possibility. If this does, in fact, come to pass, it will radically change the photographic industry. Smart
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phones already have zoom and wide angle capabilities and, if they can incorporate a fast frame rate for wildlife, sports, and bird photography, I can’t image how companies like Canon and Nikon are going to survive. If smart phones get a handle on the dynamic range problem, then I’m not sure there would be a reason to use dSLR models any more along with the complement of lenses we all carry around when we’re photographing in the field. Imagine shedding 20 or 30 pounds of camera gear and getting professional quality images with a smart phone that fits into your pocket! No more back aches, no more hassles with airplanes, no more spending a gazillion dollars on photo equipment, and no more concern about cropping images and the reduction in quality because the files would be so huge to begin with. Wow. §
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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. 14 - 20, 2020
Frog and Reptile workshop Close-up encounters with poison dart frogs (which are not poisonous in captivity) and exotic reptiles. This is a macro workshop held in St. Louis, Missouri. Everyone is guaranteed amazing pictures!
June 8 - 9, 2019
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.
October 19 - 20, 2019
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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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CUBA PHOTO TOUR October 22 - 31, 2019
Classic cars Great portraits Crumbling colonial architecture Fabulous color
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What’s wrong with this picture?
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took this picture of a timber wolf during one of my winter wildlife workshops. I was shooting quickly because canine subjects move so fast. In doing so, I inadvertently cut off the wolf ’s front paws. That makes this image a failure. It is never good to crop the tips of things, such as feet, hands, ears, tails, wing tips, the edges of leaves, etc. Once I realized the mistake, I corrected it as you can see on the next page. By zooming back to include the wolf ’s entire body, the picture is vastly improved. 21
The most direct route to improving your picture taking is to be able to honestly critique your photos. If an image doesn’t live up to your expectations, look at it critically and be brutally honest in your assessment. If you take a picture you like very much, study it and figure out why you feel this way. This is how your work can take a quantum leap forward. 22
New eBook! The definitive guide to photographing wildlife and birds Equipment
Birds in flight
Winter photography
Exposure
Much more
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SHORT AND SWEET 1. To freeze turbulent water so each drop is tack sharp,
2.
3.
4. Catchlights in the eyes of people and animals in dif-
use a shutter speed of 1/1600th or faster. Using a telephoto lens requires a faster speed because movement is magnified, and a wide angle lens means the shutter can be as slow as 1/1000th of a second. I used a telephoto lens for this picture, and my shutter was 1/3200.
Backgrounds are just as important as subjects in making a picture work. This picture of a beautiful moth I captured in India is an example. The background here -- dirt, small rocks, and twigs -- is terrible. That prevents this shot from being successful. It needs to be replaced to save this shot.
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Amusement parks are great places to shoot at night. The various rides are illuminated in brilliant neon colors, and long exposures allow you to create wonderful abstractions. Filling the frame with a ride is one approach; here I used a tripod to include a stationary subject along with the abstract lights.
fused light are ideal. They give life and luminance to eyes. However, a dot of light from a flash doesn’t look as good. It seems artificial and even weird. How many people or animals do you know have a dot of light emanating from their eyes. §
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 . . .Whenever I take a picture of a landscape or cityscape at night, and I include the moon, the exposure never works out. The moon is always grossly overexposed. How do you take a picture with a well exposed moon as well as a properly exposed land-based image? George Foo, San Marino, California
A:
When shooting at night or twilight, it is impossible to get a good exposure for the lunar surface (which requires a sunny midday exposure) while exposing correctly for a landscape or cityscape. The contrast is too extreme for a digital sensor to handle. The only way to do it is to take two pictures -- one of the moon and one of the landscape or cityscape -- and then composite them together as I did in the picture of Notre Dame cathedral, below. A typical exposure for the moon is 1/250 at f/8 with 200 ISO. §
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Partial list of Photography Tours 2019 - 2021 NORMANDY/BURGUNDY Sept. 2019
UZBEKISTAN & KYRGYZSTAN Sept. 2019
RUSSIA Oct. 2019
CUBA Oct. 2019
SPAIN/PORTUGAL Mar. 2020
HOLLAND/BELGIUM Apr. 2020
AUSTRIA/DOLOMITES May 2020
INDONESIA Summer 2020
PERU NATURE Sept. 2020
MOROCCO Oct. 2020
POLAR BEARS Nov. 2020
ETHIOPIA Mar. 2021
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For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
Sri Lanka Photo Tour November 8 - 18, 2019
Great culture • Incredible temples • Wildlife • Village life • Landscapes
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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.
Sharon Davidson, Brampton, Ontario, Canada Ethiopia photo tour, Venice photo workshop.
© 2019 Sharon Davidson
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Student Showcase, continued
Š 2019 Sharon Davidson
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Student Showcase, continued
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Š 2019 Sharon Davidson
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Student Showcase, continued
Š 2019 Sharon Davidson
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RUSSIA PHOTO TOUR October 1 - 9, 2019
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun., October 19 - 20, 2019
Photoshop is a photographer’s best friend, and the creative possibilities are absolutely endless. In a personal and ‘homey’ environment (I have a very cool classroom setup in my home), I start at the beginning -- assuming you know nothing -- but I quickly get into layers, cutting and pasting, plug-ins, using ‘grunge’ textures, replacing backgrounds, using layer masks, blend modes, adding a moon, and a lot more. I promise to fill your head with so many great techniques that you won’t believe what you’ll be able to do. I go over each technique several times to make sure you understand and can remember it. Photoshop instructors approach teaching this program from different points of view. My approach is to be as expansive in my thinking as possible in creating unique, artistic, and compelling images. In addition to showing you how to use the various tools, pulldown menus, layers, and so on, I spend a lot of time giving you
creative ideas that will inspire you to produce amazing images with the pictures you’ve already taken. I live in the Nashville, Tennessee area, and if you fly into the airport (airport code BNA) I will pick you up. If you drive, I’ll give you my address and you can find my home on Mapquest or with a GPS. For the $450 fee, I include one dinner in my home (prepared by my wife who is an amazing cook and hostess) and two lunches, plus shuttling you back and forth from my home to your nearby hotel. Contact me if you would like to participate in the workshop and I will tell you how to sign up (photos@jimzuckerman.com). All you need is a laptop and a lot of your pictures. If you don’t have a laptop, I have two Mac Book Pro laptops I can loan out for the duration of the workshop. §
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• Topaz Glow • A different approach to composition • Photographing puppies • Kaleidoscopic images • Online photo course • Student showcase • Photo tours
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Subject index for past Photo Insight issues 1/3 focus law Jul. ‘15 3D sphere Mar. ‘16 90 degree finder Mar. ‘13 Abstracts in soap Feb. ‘15 Abstracts, Shooting Mar ‘19 Aerial photography Jun. ‘13 African safari May ‘16 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 Angled perspectives Jan. ‘19 Aperture vs. shutter speed May ‘14 Aperture priority Sept. ‘14 Aurora Borealis Apr. ‘17 Auto white balance Dec. ‘13 Autofocus, when it fails Apr. ‘15 Autofocus failure Aug. ‘15 Autofocus failure Jan. ‘17 Autofocus challenges Apr. ‘18 Auto ISO Nov ‘17 Autumn Foliage Sep. ‘18 Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 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 Dawn photography Dawn photography Day for Night Dead center Dealing with smog Decay photography Define Pattern
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Jan. ‘17 Feb. ‘17 Oct. ‘18 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18
Depth of field Depth of field and distance Drop shadows
Aug. ‘16 Dec. ‘18 Apr. ‘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 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus stacking Mar. ‘17 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Framing May ‘17 Freezing ultra action May ‘17 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Fundamentals That Make Great Photos Jan. ‘19 Garish imagery Great subjects Green screen Grunge technique
Dec. ‘15 Apr. ‘15 Mar. ‘13 Feb. ‘13
HDR, one photo Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR, hand held Nov ‘17 HDR, hand held Jul. ‘18 HDR panoramas Jun. ‘16 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 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
Subject index for past Photo Insight issues Jungle photography
Dec. ‘14
Kaleidoscopic images Jan. ‘15 Keystoning, correcting Aug. ‘15 L Bracket Feb. ‘18 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 Liquify Feb. ‘18 Long lens portraits Oct. ‘18 Low light photography May ‘15 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 Middle gray Nov. ‘15 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Museum photography Mar. ‘13 Negative space Neon edges on black Neutral Density filters Night photography Night Safaris Night to Twilight Noise reduction
Jan. ‘16 Aug. ‘14 Jun. ‘18 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17
Optical infinity Organization of photos
Jun. ‘16 Mar. ‘18
Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Photography to Art Dec. ‘17 Photography solutions Jan. ‘18 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique Apr. ‘13 Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13 Photoshop, soft foliage Oct. ‘13 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Photoshop, drop shadows Jul. ‘14 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Photoshop, liquify Mar. ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14 Photoshop, enlarge eyes Nov. ‘14
Photoshop, darken the periphery Dec. ‘14 Photoshop, mirror images Dec. ‘14 Photoshop, beam of light Apr. ‘15 Photoshop, polar coordinates Mar. ‘15 Photoshop, chrome May ‘15 Photoshop, actions palette Nov. ‘15 Photoshop, cut and paste Nov. ‘15 Photoshop, geometrics Oct. ‘15 Photoshop, plugins Oct. ‘15 Photoshop, multiple selections Apr. ‘16 Photoshop, sharpening Apr. ‘16 Photoshop, Flood plugin Apr. ‘16 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Photoshop, 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 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 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 Snow exposure Nov ‘17 Soft light Jan. ‘13 Smart phone photography May ‘19 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18
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Subject index for past Photo Insight issues Stock photography Sunrise & sunset
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 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
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Caracal, Namibia
PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2019 email: photos@jimzuckerman.com snail mail address: P.O. Box 7, Arrington, TN 37014
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