Photo insights november '17 by Jim Zuckerman photography

Jim Zuckermanâ&#x20AC;&#x2122;s

PH OTO I N S I G HTS November 2017

Why Auto ISO? Hand held HDR Exposing for snow Wide angle keystoning Photo tours Ask Jim Student showcase 1

4. 10. 15. 20. 23. 25. 26. 27. 29. 35. 38. 22

Auto ISO Hand-held HDR Exposing for snow Wide angle keystoning Whatâ&#x20AC;&#x2122;s wrong with this picture? Short and Sweet Ask Jim Photo tours Student showcase Back issues Subject index for Photo Insights

On the cover: The village of Manarola, Cinque Terre Coast, Italy; This page: Karnak Temple during the sound and light show, Luxor, Egypt.

found a very interesting website that I’m sure you’ll enjoy visiting. We all know that photography equipment is expensive, and once you buy a camera body it’s the lenses that will have a significant impact on your bank account over time. Well, after reviewing this site that lists the eight most expensive lenses made, you won’t ever complain about the cost of your lenses again! You probably didn’t even know these types of lenses existed. I didn’t until a friend of mine sent this to me. Here is the link: https://luxatic.com/top-8-most-expensive-camera-lenses-inthe-world/ This list of lenses is presented from the least expensive to the most expensive. As I was reading the article and came to the lens that was $100,000 (a Zeiss Apo Sonnar T 1700mm f/4), I thought, how can there be photographic lenses that are more costly than this? But there are. And not only are the prices out of this world, but the weight and dimensions of some of the lenses are incredible. For example, the one-of-a-kind Leica 1600mm f/5.6 is four feet long and weighs 132 pounds! If you don’t have a bad back and you try hand holding this lens, you’ll definitely have back pain! For all of you Canon shooters that want to impress your photo buddies, consider getting the 5200mm f/14 mirror lens. It’s a mere $45,000 and weighs 220 pounds with a minimum focusing distance of 393 feet or 120 meters. Check out the website. It’s definitely entertaining. Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com 3

Why Auto ISO? M

any photographers don’t understand when auto ISO is useful, and I wanted to share with you my experiences with it and show you what a valuable tool it is. I’ve only been using it in the last couple of years, and now I feel it is essential to successful picture taking in many situations. First, let me affirm one of the most important concepts in photography. The first decision you have to make regarding exposure in every picture taking situation is shutter speed. Not aperture. And not ISO. To underscore this point, it doesn’t matter how much depth

of field you have, and it doesn’t matter how noise-free your images are, if the pictures aren’t sharp. Therefore, it’s the shutter speed decision that is first and foremost. If you are using a tripod and your subject isn’t moving, such as when shooting a landscape or a cityscape, you can determine that the shutter speed doesn’t matter, thus you are free to use any lens aperture you want (for example, a small one). Similarly, you can use a low ISO for minimal noise. If you are using a tripod and the subject is moving, such as a waterfall or a bird in flight, you then have to decide if you want

the subject sharp or blurred. When I photographed the African white pelican in Kenya, above, I used a 500mm f/4 telephoto mounted on a Wimberly gimbal head and I panned with the bird using a shutter speed of 1/25th of a second. I purposely blurred the movement, and the thousands of flamingos in the background were also abstracted. First I chose the shutter, and the f/stop and ISO choices were made based on that primary choice. My aperture in this case was f/18 and the ISO was 100. I was able to use such a low ISO and a lens aperture that was small because the shutter was long enough to provide all the light required by those settings. But what happens when the shutter must be super fast? What is the best way to deal with that? Enter auto ISO?

Photographers usually don’t want to blur their pictures. We want tack sharp images that show the detail in our subjects with clarity. That means the shutter speed has to be fast enough to freeze any type of movement, whether that movement comes from hand holding the camera with a telephoto lens or from the subject itself. When shooting a fast moving subject in low light, like the collared kingfisher I captured in diffused light in the Pantanal region of Brazil on the next page, I chose 1/3200th of a second. That super fast speed guaranteed that even the tips of the wings would be sharp. -- I didn’t use aperture priority because I didn’t want the shutter speed to vary and possibly become slower than 1/3200. -- I didn’t use shutter priorty because I also wanted a certain amount of depth of field. Birds have depth, and we can accept shallow depth of 5

field with wildlife photography simply because we are used to it. Telephoto lenses have shallow depth of field and there is nothing we can do about that. Often a blurred background is desirable because that directs all of our attention to the subject. In the shot of the kingfisher, the other side of the river is blurred, and that works. But I definitely wanted the entire bird as well as the detail in the explosion of the water as the bird dove for a fish to be sharp. Therefore, I wanted a certain amount of depth of field. In this situation, I opted for f/11. There is only one way I could have the settings I wanted -- a super fast shutter speed plus sufficient depth of field. The solution: Use auto ISO and set the camera to manual exposure mode. In order to obtain a proper exposure based on 6

the camera’s metering system, you have to use either shutter priority, aperture priority, or program mode. These are the automatic exposure modes. If you use manual mode, then the meter no longer controls the exposure . . . except if you use auto ISO. To access auto ISO, on a Canon, scroll down through the ISO settings to the lowest number, which is usually 100, and go one lower. That should indicate ‘A’, and that’s auto ISO. On a Nikon, find ‘Auto ISO sensitivity control’ in the menu and this allows you to turn this feature on. For Sony and Fuji cameras, check the manual. In auto ISO mode, the ISO varies according to the light to produce an accurate exposure. When choosing this mode, you are willing to

OREGON COAST P H O T O T O U R August, 2019

Oceanscapes

Stunning waterfalls

accept a high ISO based on the low light environment and the fast shutter you require. The concern that photographers have with auto ISO is that it might go too high and produce too much noise in muted light circumstances. Yes, that’s true. But what is the alternative? To use a shutter speed slower than is required and get a blurred picture? That’s not an option. Or to open the lens up and have less depth of field? That is an option, of course, if you are willing to sacrifice depth of field for less noise. Another option is to set an upper limit for the ISO. This means that the camera won’t go above this limit, but that defeats the purpose. If you need the higher ISO setting to be able to use a faster shutter speed, and the ISO is limited, then the pictures will be underexposed on manual mode. My rationale for using higher and higher ISO

Star photography

Sunsets

settings when shooting fast moving subjects in muted light is that the unwanted noise can be mitigated by using Neat Image software. This is my noise-reducing software of choice, and it does an incredible job in most cases without softening the image. This is a game-changer because it allows us to use auto ISO at will, without an upper limit, and this in turn gives us the ability to have our cake and eat it, too -- meaning we can have the fast shutter speed we really want along with the specific amount of depth of field that is best for the subject we’re photographing. Pros and cons of using auto ISO Cons: 1. Allows the ISO to go very high which produces excessive noise 2. You may have a camera that is known to have a lot of noise, and Neat Image software may not be able to eliminate it. 7

LEARNING TO SEE online course by Jim Zuckerman

The ability to ‘see photographically’, to really grasp how your camera and lenses capture a subject or scene (which is different than how we see with our eyes) underlies successful picture taking. It is the bottom line that you’ve been looking for to take that quantum leap forward in your photography. 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 THIS PAGE to read more about this course.

3. At high ISO settings, there is less dynamic range. In post-processing, you may not be able to bring out as much detail in the shadows as you could with low ISO settings. 4. With some cameras, exposure compensation can’t be used with auto ISO. Check your manual to determine your camera’s capability. Some Nikons offer exposure compensation when using auto ISO, and some Canon cameras do as well. Pros: 1. Gives you one less thing to think about when photographing a complex situation like the ceiling of the Siena Cathedral in Siena, Italy, above and at right. 2. Allows you to use the fast shutter speed you want even in low light. 3. Allows you to choose the lens aperture you want for a specified amount of depth of field. § 9

HAND-HELD HDR

f you are shooting bracketed exposures from a tripod for an HDR composite, and therefore using a low ISO, you will simply choose 100 or 200 ISO and take the pictures. However, there are many places where tripods are not allowed -- such as in cathedrals, museums, temples, and famous tombs -- and therefore a new strategy has to be employed to get photographs like the one below at Abu Simbel in Egypt and the ceiling of the Siena Cathedral in Tuscany on page 12. Note that the dynamic range -- the detail in the highlights as well as the shadows -- in both of these pictures is perfect despite the extreme contrast. In the Egyptian temple, light entering the doorway at the left, as well as the

spotlights on the back wall, were several f/stops brighter than the shadows. In the cathedral interior, the difference in exposure between the stained glass windows and the extremely dark interior of the cavernous cathedral was at least five f/stops. So, how do you handle this especially when tripods are not allowed and the light level is so low? How can you do HDR without a tripod? If there is a stable platform that can be used to rest the camera, such as a railing, a ledge, the floor, or some other solid surface, attach the ballhead from your tripod to the camera and use the solid surface. The ballhead allows the

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 itâ&#x20AC;&#x2122;s magical. There is nothing like it anywhere in the world. Exotic masks, stunning colors, classic images.

Feb. 1 - 8, 2018

Frog & Reptile Workshop Close-up encounters with poison dart frogs and exotic reptiles such as chameleons, geckos, snakes, and more in St. Louis, Missouri. This is a macro workshop in which everyone consistently gets amazing pictures.

March 24 - 25, 2018

Photoshop workshop The setting is in my home, and in this two day workshop youâ&#x20AC;&#x2122;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.

June 30 - July 1, 2018 10

camera to be angled to capture the composition you want. If you know tripods are not allowed, don’t even bring one with you. Just bring the ballhead. No one will object to this. I have used this technique very effectively with exposures as long as eight full seconds with a telephoto lens, and the results are tack sharp. The underground cistern in Istanbul at right is an example. The security guards watched me take this picture using my ballhead resting on a railing, and they didn’t say a thing . . . because I wasn’t using a tripod. If there are no solid surfaces to rest the ballhead on, then you will have to hand-hold the camera with no support at all. 1. Hand-holding an HDR sequence of bracketed exposures must be done with a wide angle lens. Telephoto lenses show too much movement, and this will make it impossible for the software to align the frames accurately. The wider the angle of the lens, the better. A 24mm focal length is doable, but ideally you’d want to use a 16mm wide angle or wider on a full frame sensor camera. I shot the photo of Siena Cathedral in Siena, Italy on the previous page with a 14mm lens. 2. Spread your legs apart for stability and hold your breath as you shoot. If you can lean against something, such as a wall, a column, or some other non-moveable object, do so. 3. Put the camera’s drive to high speed continuous. The faster the frame rate, the better. This helps minimize movement between frames and aids in the alignment of the images. 4. Set the self-timer to two seconds. This also helps to minimize the camera’s movement as you shoot. 5. If the lens has image stabilization, turn it on.

For the picture of the Siena Cathedral, I shot three frames with a Canon 5D Mark III and a 14mm wide angle in which there were 3-f/ stop increments between frames. Had I been able to use a tripod, I would have used at least seven frames with one f/stop increment between them for the HDR sequence simply because there was so much contrast. Since I was hand holding the camera, I assumed the software I use to make the HDR composite wouldn’t be able to align all of the images. I’m sure this is true for all the software available to us -- Photomatix, Photoshop, Nik HDR Pro 2, and Aurora. That’s why I took only three frames. The three frames consist of one overexposure (to capture detail in the shadows), one underexposure (to capture detail in the highlights), 13

and one normal exposure. Because the overexposed frame of the HDR series was three f/ stops lighter than the meter reading, and because the aperture stays the same but the shutter varies, the shutter speed can become very slow in a dark interior. Therefore, the ISO has to be high enough to prevent the shutter from becoming too slow. If the shutter falls below, say, 1/60th, the HDR composite may not have the sharpness you want because one of the frames will be soft due to the slow shutter from that one frame. Therefore, take a light reading of the scene. In a dark interior, start with an ISO of 3200. Note the shutter speed and then, if you are using plus or minus three f/stop increments, determine what the slowest shutter will be. For example, with 3200 ISO and the lens aperture wide open, if the meter indicates that the

shutter speed is 1/125, a three f/stop increase in light will make the new shutter speed 1/15 (1/125 > 1/60 > 1/30 > 1/15). This is too slow to guarantee a sharp picture, even with image stabilization turned on. You might get a sharp frame and you might not -- it’s too risky to try. By raising the ISO to 6400, that increases the shutter speed from 1/15 to 1/30 (assuming the same three f/stop overexposure). With image stabilization, that is a feasible scenario to get a sharp picture. If the ISO were raised to 12,800, the shutter would then be 1/60, and this would produce a sharp picture for sure with a wide angle lens. Stacking images -- and thats’ what HDR does --minimizes or eliminates noise altogether because noise is random. When the same composition is stacked, the noises disappears due to that randomness. Therefore, when shooting HDR, don’t worry about the noise. §

EXPOSING FOR SNOW

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inter is upon us now, and there are many regions that have already seen snow. I am often asked how to expose correctly for snowy landscapes, so I wanted to explain that here. When we all shot film, and we couldn’t see our images until they came back from the lab, the common practice in exposing for scenes with snow was to overexpose by one and a third or possibly one and a half f/stops. The theory was that the bright snow would cause underexposure (because the meter, which is programmed to make all subjects middle toned -- or middle gray -- would make the snow scene dark). Therefore, you had to set the exposure compensation to overexpose the snow so it turned out to be white instead of gray. That may be fine in theory, and it may work once in a while, but what if the center of the

composition isn’t white? Meters take most of their information from the center, and if the colors and tones in the middle of the shot are not white -- like in the landscape from Bryce Canyon, below -- the exposure will be wrong if you purposely overexpose it. What about if a landscape has a small percentage of snow in it. Should the ‘overexpose by 1 1/2 f/stops’ rule still apply? The two pictures on the next page are examples. Overexposing from what the meter indicates is not the answer now and it wasn’t the answer with film in the past. The best approach in today’s digital world is a simple one. Set the camera on aperture priority (this is my exposure mode of choice for landscape photography), choose the lens aperture and a low ISO (assuming you are using a tripod, which for landscape work you should

be using), and take a picture with no exposure compensation. Study the result on the LCD monitor on the back of the camera, and then tweak the exposure according to what you see and what your taste is. This technique is fast, easy, and it takes the guesswork out of challenging exposure situations. Alternatively, you can determine the correct exposure using the spot metering mode in the camera. This is what I used to do with film when I used a hand held meter with one degree spot mode capability. I would meter on a middle gray part of the scene, take a reading, and then on manual exposure mode I would set the shutter speed and f/stop and take the shot. Assuming you can correctly identify middle gray, this technique works perfectly in any snow situation. It’s slower, and it requires that you can identify middle tones in the scene or subject, but it’s accurate. §

This landscape photo above from Yosemite National Park has only half of the frame filled with snow. Overexposing from what the meter dictates is not the way to correctly expose for this type of snow situation.

Expand your photographic artistry with

eBooks

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eBooks continued Click on any ebook to see inside

Fantasy Nudes is in production and is coming soon 19 19

Wide Angle Keystoning W

hen you tilt a camera upwards with a wide angle lens attached to it, as we often do when shooting architecture and landscapes, keystoning results. Keystoning refers to the leaning inward of vertical lines as you can see in the photo below right. This is the altar of the Siena Cathedral in Siena, Italy, and I photographed it with a 14mm Sigma f/1.8 lens. To include some of the beautiful blue ceiling, I angled the camera so the back of it (i.e. the plane of the digital sensor) was not parallel with the plane of the columns. As a result, the columns lean inward.t

then keystoning happens again. Keystoning occurs with telephoto lenses, too, but it’s not as pronounced. We’ve come to expect vertical lines to angle inward in so many of our shots, but when you see architectural lines in photographs actually look vertical, and thus parallel with the left and ride sides of the frame, it’s a powerful visual. The only lines that are not corrected are the horizontal lines. They are not parallel with the top and bottom of the frame. To correct both vertical and horizontal lines, you need a tilt-shift lens. §

Compare this picture with the one on the next page. I took both images from the same position, but this time I shot straight ahead without tilting the camera at all. In other words, the plane of the sensor was parallel with the columns. As a result, the columns are aligned with the left and right sides of the frame. It’s true that I had to sacrifice some of the ceiling, but that was unavoidable. I was able to include more of the floor design, though. In this case, the design of the floor was beautiful. In many situations when you’re shooting outdoors and you try this technique, the foreground isn’t very attractive. For example, in trying to straighten the exteriors of buildings you may have to include large expanses of concrete or asphalt. That won’t add to the artistry of the image, and it may be necessary to replace the foreground with something more appealing. The tendency we have as photographers is to angle the camera upward to include more sky and eliminate unwanted foregrounds, but 20

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SNOWY OWL WORKSHOP, Canada Jan. 21 - 24, 2018

Great shots of snowy owls in flight

What’s wrong with this picture?

ust because something happens to be in the scene doesn’t mean you have to keep it. Before Photoshop, we had no choice. Now, we can make our pictures perfect with a capital ‘P’. And why not? Photography is art, after all, and there is no rule that says we can’t do what we want to our own pictures. In the above image, to the right of the cross on the top of this beautiful chapel in Tuscany is a thin pole sticking up, and it’s distracting and visually annoying. It should be cloned out. It doesn’t add anything to the photograph, and it competes for attention with the cross. To do that, I used first the spot healing brush for most of the shaft because the surrounding sky blends nicely in place of the pole. For the portion of the pole where it meets the roof of the chapel, I used the clone tool because I didn’t want the roof to ‘blend’ into the sky. 23

You can see that this small change improves the picture a lot. Beware of strong graphic lines and shapes in a picture. You can’t be wishy-washy about them. Either they add a strong compositional and artistic element to a picture or they are distracting. It’s rarely the case that they don’t affect the image. That pole was distracting, but the graphic shapes of the trees This is an HDR composite of three frames taken in 3-f/stop increments. The sunrise sky was beautiful, but if I only exposed for the colorful background the chapel would have been a silhouette. Therefore, the HDR technique was essential to show the kind of detail you see here. The only other issue with this image that should have been addressed was that I cropped the right edge of the tree along the right border. It’s usually not good to clip the tips of elements in a shot. When I took this and studied it on the LCD monitor, I realized the error and corrected it with the next HDR series. §

SHORT AND SWEET 1. Wide angle lenses often have a lot of chromatic ab-

erration in which thin, unwanted color edges appear. In Adobe Camera Raw and Lightroom there is a box to check under the icon ‘Lens corrections’ to eliminate this. It should be done with every wide angle photo.

Diagonal lines are powerful compositional elements. I saw this staircase in a Nubian village in Egypt and asked a women if she would walk up and down the stairs until everyone in my photo tour got the shot. Notice I composed her on one of the ‘power points’ according to the Rule of Thirds.

2. You can never go wrong with a black background

behind any kind of subject. It eliminates distracting backgrounds and directs all of our attention on the subject. In addition, black is an elegant color and it always dramatizes a picture.

4. Backlit scenes like this classic landscape in Tuscany

often require both contrast and clarity adjustments in ACR or Lightroom to make them really pop. This is sunrise, and the sun rose directly behind this farmhouse. Shooting into the low angled sun caused a loss in contrast, so I had to compensate digitally. §

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 like this picture of waves along the Pacific Coast of California, but I wonder if it would have

looked better with a long exposure (using a neutral density filter). How do you decide when to blur water and when to shoot it with a long exposure to abstract it? Stephen Wright, Crescent City, California

A: This is entirely a personal and subjective decision. Many times, both techniques look good -- a sharp

rendition as well as a blurred one. In my opinion, though, you have to either shoot with a very fast shutter speed, as you did here, so all of the water detail is tack sharp, or the image has to be taken with a slow shutter so the image is decidedly blurred -- not sort of blurred. According to the metadata of your image, your shutter speed was 1/2000. That was correct. Shutter speeds that create a picture that is almost sharp, such as 1/60 or 1/125, don’t work nearly as well. §

Photography Tours 2017 - 2019 SNOWY OWLS Jan. 2018

CARNIVAL IN VENICE Feb. 2018

WHITE HORSES, FRANCE May 2018

SOUTH AFRICA & NAMIBIA Apr. 2018

TUSCANY Jun. 2018

INDONESIA WILDLIFE Aug. 2018

NORWAY & DENMARK Sep. 2018

ETHIOPIA Jan. 2019

THE PANTANAL, BRAZIL Nov. 2018

OREGON COAST Aug. 2019

CHINA Dec. 2018 - 2019

UZBEKISTAN & KYRGYZSTAN Sept. 2019

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

South Africa & Namibia photo safari April 25 - May 9, 2018

awesome wildlife exotic birds monster dunes ancient dead trees

Sparing elephants, Sabi Sabi, South Africa

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.

Dr. Clair Hixson, Kingsport, Tennessee Patagonia

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Student Showcase, continued

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WILD INDONESIA PHOTO TOUR August 27 - 31, 2018

Wild orangutans, Kalimantan, Indonesian Borneo

PHOTOSHOP WORKSHOP in my home

Sat. & Sun., June 30 - July 1, 2018

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, modifying lighting, 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 it 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, pull down 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 (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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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 Aerial photography Jun. ‘13 African safari May ‘16 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 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 Auto ISO Nov ‘17 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birds in flight Mar. ‘16 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 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 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Composition, different approach Jan. ‘15 Contrast vs. exposure Jul. ‘15 Creating a star field Jan. ‘14 Creative blurs Jan. ‘14 Dawn photography Dawn photography Dead center Dealing with smog Decay photography Depth of field

Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Aug. ‘16

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 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 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 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 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 Keystoning, correcting

Jan. ‘15 Aug. ‘15

Landscape photography Landscape photography Landscape photography Light fall-off Lighting a face Low light photography Macro flash Macro flash Macro flash Mannequin heads Metering modes Meters, when they fail Middle gray Model shoot

Dec. ‘12 Apr. ‘14 Nov. ‘16 Feb. ‘14 Oct. ‘13 May ‘15 Nov. ‘12 Sep. ‘14 Aug. ‘15 Apr. ‘16 Nov. ‘16 Dec. ‘16 Nov. ‘15 Jan. ‘17

Subject index for past Photo Insight issues

continued

Moon glow Oct. ‘16 Mosaics Jun. ‘17 Museum photography Mar. ‘13 Negative space Neon edges on black Night photography Noise reduction

Jan. ‘16 Aug. ‘14 Feb. ‘14 Feb. ‘17

Optical infinity

Jun. ‘16

Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Parades Sep. ‘13 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, 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 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 Problem/solution Apr. ‘17 Protecting highlights Dec. ‘12 Puppies Jan. ‘15

Reflections Feb. ‘13 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Silhouettes Jun. ‘13 Snow exposure Nov ‘17 Soft light Jan. ‘13 Stained glass Mar. ‘17 Star photography Jul. ‘16 Stock photography Sep. ‘14 Tamron 150-600mm Topaz Simplify 4 Topaz simplify 4 Topaz glow Topaz glow Topaz Impression Topaz Remask 5 Travel photography Travel portraits Travel tips Travel photographer’s guide Two subject sharp rule

Apr. ‘14 Dec. ‘12 Jun. ‘14 Jan. ‘15 Sep. ‘17 Sep. ‘15 Oct. ‘17 Feb. ‘13 Mar. ‘14 Apr. ‘14 Jun. ‘17 May ‘14

Warm fingers in winter Nov. ‘15 White vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 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 frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Workflow May ‘13

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