Photo Insights Nov. '18 by Jim Zuckerman photography

Jim Zuckermanâ&#x20AC;&#x2122;s

PH OTO I N S I G HTS November 2018

Winter photography Field blur Translucency & backlighting Short and Sweet Photo tours Ask Jim Student showcase 1

4. Winter photography 13. Field blur 19. Translucency & backlighting 25. Whatâ&#x20AC;&#x2122;s wrong with this picture? 27. Short and Sweet 28. Ask Jim 29. Photo tours 31. Student showcase 37. Back issues 41. Subject index for Photo Insights

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On the cover: 11th century Le Mont St. Michel, Normandy, France composited with the Milky Way; this page: Chateau de Chambord in sunset light, Normandy, France.

or as long as I can remember, there are both amateur and professional photographers who maintain that if you aren’t using a camera on manual exposure mode, (1) you aren’t a ‘real’ photographer, and (2) you don’t really know what you’re doing. In other words, you don’t fully understand the principles of photography. After five decades in photography and having written 25 books on photography, I think I know what I’m doing. So this confession may come as a shock to some, but I rarely use manual exposure mode. Only in certain situations, like photographing bats at night, shooting lightning, or using auto ISO, do I use manual mode. For everything else, I use one of the automatic exposure modes: program, aperture priority, or shutter priority. So many photographic situations we encounter are time-sensitive. A child’s expression, the yawn of a lion, fleeting natural light, the position of a bird’s wings -- these situations force you to react and shoot very quickly. Seconds -- or even milliseconds -- mean you either get the shot or lose it forever. Fussing with your camera settings on manual mode means, in most cases, losing it for all time. If you are photographing architecture or landscapes and the lighting isn’t changing, time is not of the essence. You can have a cup of coffee between shots and not miss anything! For any kind of subject that moves, though, it’s essential that you stick to one of the automatic exposure modes. There is no creativity in turning dials. The creativity comes in how you choose your subject matter and how you compose the shot. And even though the camera selects the shutter speed and aperture, you still have to oversee what it’s doing. To make the right decisions concerning depth of field, shutter speed, and ISO, you need to thoroughly understand the fundamentals of photography. Using P, Av, or Tv doesn’t mean you leave your brain at home. Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com 3

Winter Photography

any of my photography tours bring small groups of people to very cold places during the winter months. These trips include Yellowstone, Iceland, Canada (for snowy owls), China, and Montana for winter wildlife. Winter is a magical time for photographers. Snow covered landscapes are stunning, wildlife are in their full coats, and white on white is one of the most beautiful color themes in nature. There are two challenges, though, that must be dealt with when shooting in very cold conditions. I photographed the baby harp seal, below, in minus 45 degree weather (-48 Celsius), and I captured the snowy owl on the next page

in zero degree weather (-17 Celsius). In these conditions, first and foremost, you must have a strategy in place to protect yourself from the cold, and this is especially true of fingers and toes. Your shutter finger in particular must retain its dexterity and yet must be protected from frost bite. The second challenge is exposure. Photographing scenes that are primarily white means that the meter can be fooled into underexposure. You need to understand this and know how and when to correct it. Dealing with extreme cold Keeping your torso warm is easy. You need sev-

eral layers because the air trapped between the stead, I have a felt mask and hood. fabric warms from your body heat and then it keeps your upper torso comfortable. For your feet, you need serious winter boots. On one of my snowy owl workshops, a lady had The layers I wear are: t-shirt, flannel shirt, thin, gone to a women’s shoe store and bought fashlightweight down jacket, winter parka. ionable winter boots that she was told would suffice. In a very short time, her toes were so Also essential is a warm scarf. This keeps a win- cold she couldn’t shoot that morning until she ter wind off your neck. bought proper boots. Most of our heat is lost through the head, so a very warm hat is important. One option is to wear a wool beenie plus the hood of your winter parka. Another option is wear a face mask with a hood attached. This, plus the hood from your parka, works great. The face mask keeps your breath against your face, and this in turn keeps your cheeks and nose warm. My face mask isn’t wool because I find that to be too itchy. In6

If your toes get cold, there is nothing you can do but go inside, take your boots off, and warm them. To avoid this, I recommend getting boots that are rated for -- at the minimum -- minus 40 degrees (at minus 40, Fahrenheit and Celsius are the same). I have boots rated at minus 100 because more than once my minus 40 boots weren’t enough to prevent my frigid toes from hurting. Pain from the cold is no fun.

Boot ratings are based on the assumption that you’ll be active. Circulating blood helps warm the body, including the extremities. Standing in one spot waiting for a photo opportunity is not being active. Therefore, if you expect to be shooting in severe cold, get boots rated for minus 100 degrees Fahrenheit or more. Newer boots that are available now are rated at minus 149 degrees. Hands require a different kind of strategy. Cameras are designed such that the controls are easily accessible to the right hand. The left hand does little except help support the weight. Therefore, on my left hand I wear a glove liner, and then over that a warm pair of gloves, and over that I wear a warm mitten. This usually suffices as long as I don’t take the gloves off.

On my right hand, to maintain dexterity and to be able to feel the controls of the camera, I wear only a glove liner. In the right pocket of my winter parka I put 5 or 6 hand warmers. These chemical heat packets make the interior of the pocket hot, not just warm. When my fingers get cold (about every minute or two), I put my hand in the pocket and grab the mass of hot warmers. Instantly I’m warm again and I can continue shooting. I’ve tried all kinds of gloves and techniques to keep my right hand warm and still be able to shoot, and none of them work as well as what I just explained. The glove liners that have small pockets to insert one or two hand warmers don’t work because it’s the finger tips that get cold, not the back of the hand. I bought an expensive pair of gloves with a zipper along the index finger 7

that allowd me to stick my index finger out of the glove (with the glove liner protecting that finger), but this didn’t work. My finger was so cold it was painful. Once heat is lost from your fingers, it’s impossible to get it back without a massive input of heat. The heat packets last 6 to 8 hours. Every winter morning when I go out to shoot, I start out with a hot parka pocket. Exposing for snow The problem with snow is that it’s white. All light meters are programed to read and understand middle tones. This is often referred to as middle gray. The color isn’t the issue -- it’s the tone. Middle blue and middle orange are the same as far as meters are concerned.

When a handheld meter or an in-camera meter is pointed at a middle toned subject, like the fox below, it provides an accurate reading. When the meter is aimed at solid white, like the snow surrounding the fox, it assumes the white area is, in fact, middle gray. The light reading that results is underexposed because dark snow is, in fact, gray. This is how meters are programmed. Many instructors teach that to compensate for this underexposure, you should set the exposure compensation to +1-1/3 or +1-2/3 f/stops. While this would lighten the pictures you take, this approach is a mistake. Consider the following scenarios: 1. All metering modes take most of their information from the center of the frame. If the center is middle toned, like the fox, will

LAVENDER FIELDS! July 2 to 9, 2019 Spectacular fields of purple

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compensation be necessary? No, it won’t. 2. What if you have patchy areas of snow, dark tones, and middle tones in one composition as in the picture from Antarctica, above? It’s not possible to know how the meter will intrepret this complex scene. Will it be too light or too dark -- or just right? Therefore, the standard policy of overexposure may, in fact, blow the highlights with a complete loss of detail and texture in the snow. That would ruin the shot. 3. What if there is very little snow in the picture, as in the snow leopard shot on the next page? Is overexposure here appropriate? Will this amount of snow adversely affect the meter reading? No, it isn’t, and no, it won’t. 4. What if half of the picture is snow and half is middle toned as in the shot at right? Would the 10

overexposure rule work in this situation? No, it wouldn’t. A blanket rule for shooting on snow doesn’t work. So, what’s the answer? Given that we are all shooting digital now (with a few exceptions where people still cling nostalgically to film), the immediate feedback on the LCD monitor on the back of the camera is the answer. With no exposure compensation selected, take a picture, look at the exposure and the detail in the snow, and then adjust the exposure if necessary using the exposure compensation feature built into all digital cameras. This assumes you are shooting on P, Av, or Tv. Then, take another picture of the same composition, and if necessary, tweak it again. This is

a sure-fire way of deriving the perfect exposure. Many of you will also examine the histogram to see if there is spiking on the right side to see if any of the highlights are blown. The approach I use is to take a picture of a snow scene with no exposure compensation. If there is a lot of snow and the picture is dark, I leave it that way. In post-processing, I lighten it with the exposure slider in Adobe Camera Raw. My rationale for doing this is the underexposure protects the snowy highlights from blowing out, and in post I can lighten them just enough to retain detail. In RAW files, there is tremendous detail. Lightening images that are 1 to 1-2/3 underexposed will still produce superior results. I never look at the histogram because the underexposure protects the vulnerable highlights. §

Snow leopard photographed in Jim’s winter Wildlife Workshop.

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! 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.

FIELD BLUR M

ost photographers use Filter > blur > Gaussian blur to blur a background in Photoshop for the purpose reducing the effect of visually distracting elements behind the subject. I’ve used this command, too, but I never felt it replicated the look of lens bokeh. When you throw a background out of focus with a lens, the shallow depth of field has a particular look. Gaussian blur comes close to simulating lens blur, but it’s not the same. In Photoshop CC, there is another approach. The original picture of a blue-

streaked lory in Indonesia, below left, shows a busy background. In this case, it’s not terrible, but if I wanted all of the attention on the bird without the busy elements behind it, a blur filter would be needed. At the time of shooting, I couldn’t have blurred all the leaves because too many of them were on the same plane as the lory. A larger aperture or longer telephoto wouldn’t have done the job. The blur command in Photoshop that best simulates lens blur is this: Filter > blur > gallery > field blur.

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. 23 - March 1, 2019

Snowy Owl Workshop Close-up encounters with beautiful snowy owls. Photograph them in flight with a wintry background. Staging area is north of Toronto, Canada.

Feb. 12 - 15, 2019

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.

November 17-18, 2018 14 10

This background requires a unique approach because you wouldn’t want to blur out the cobblestone. The chair the dog is sitting on needs a base.

Before you choose that command, the first step is to make a selection of the area you want to blur. In the case of the blue-streaked lory on page 13, I first selected the bird plus the branch on which it is perched using the quick selection tool, then I used Select > inverse. This grabbed the entire background -- i.e., everything in the picture except the bird and the branch.

strategy was required compared to the blue-streaked lory shot because the blur has to be attenuated. In other words, the cobblestone at the bottom of the picture shouldn’t be blurred; otherwise, the chair will look like it’s floating without a solid base. Notice how the

Once the selection is made, choose the field blur command. A small circle appears on the picture as seen at right. Grab the forward edge of the white semi-circle (red arrow) and move it clockwise. This increases blur. By moving the foreward edge of the semi-circle in a counterclockwise direction, the blurred selected area becomes more clear. When you are satisfied, hit the return or enter key on your keyboard. In the photo above of the smartly attired dog I photographed in Havana, Cuba, the background is obviously distracting. To make it more out of focus, a different 15

blur is graduated from the bottom of the frame to the top. The step by step technique I used to do this is as follows: 1. Open the dog photo and make a duplicate layer with the keyboard shortcut Command/ Ctrl J. 2. Choose Filter > blur gallery > field blur. Blur the image to your satisfaction by moving the circle icon as described on the previous page. Hit the enter or return key. 3. Make a layer mask. You can do this with the pulldown menu command, Layer > layer mask > reveal all. Or, click on the shortcut icon at the bottom of the layers palette as shown by the green arrow below. This will do the same.

4. Choose the gradient tool. Make sure the foreground/background color boxes are black/ white, respectively. When the gradient tool is selected, you will see 5 small icons appear in the tool bar. Choose the far left icon shown by

the blue arrow, above. This is the ‘linear gradient’ tool. 4. Drag the cursor from the bottom of the picture to the top. The blur effect will now be attenuated. You can adjust exactly how the blur 16

is distributed by changing how you drag the cursor. For example, starting the cursor at the bottom of the frame will be different than if you started the cursor from a point halfway up from the bottom. 5. If some of the blur covers the subject -- in this case, the dog -- choose the brush tool and brush it away. Adjust the brush to a smaller size when working near the edge of the subject. The same technique was used to blur the background behind the big horned sheep, below. The patchy light and other animals in the distance were distracting, and now the problem has largely been solved. I would still clone out some of the highlights, but this picture is vastly improved simply by adding natural looking bokeh as if the depth of field of the lens was this shallow. §

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Fantasy Nudes is in production and is coming soon 18

TRANSLUCENCY AND

BACKLIGHTING

acklighting is perhaps the most dynamic way to illuminate a subject. With opaque subjects, backlighting produces a glow around the periphery as well as rim lighting. This is very beautiful. With translucent and transparent subjects, though, the brilliance of the light coming through makes them exceptionally vivid, luminous, and even dazzling. 19 19

What to shoot Any object that allows light to pass through it qualifies for this technique, whether itâ&#x20AC;&#x2122;s transparent or translucent. Ice, leaves, sea shells, sheer fabrics, water, transparent animals like certain frogs, fish, and insects, cut glass, cresting waves, smoke from incense, frost, and patterned plastics are some of the things you should seek out for this technique. Lighting The lighting you use can vary depending on the situation. For the silhouette of the frog on a translucent leaf, right, and the sea shell, below, I used off-camera flash. For the piece of ice I picked up in Iceland and held in front of the bright sky, I simply used ambient light (and then digitally added the black background). For the transparent frog on page 19, I used a piece of white Plexiglas with a flash

CUBA PHOTO TOUR October 22 - 31, 2019

Classic cars Great portraits Crumbling colonial architecture Fabulous color

behind it. The Plexy diffused the light evenly and provided a clean, white background. The vegetable oil and water mixture, right, was in a glass tray and I used an off-camera flash behind it with no diffusion at all. The ice crystals on my car windshield, below, were illuminated by an overcast sky. Flash When using off-camera flash, you need a transmitter and a receiver. The former sits in the hotshoe of the camera, and the receiver is connected to the flash unit. This allows you to use the flash wirelessly off-camera. There are two types of signals that transmitters emit: infra-red and radio. The infra-red signals are line-of-sight, meaning the receiver must ‘see’ the transmitter. In other words,

there can’t be anything obstructing the path of the signal. With radio transmitters, this isn’t a consideration. So, when I photographed the shells on pages 20 and 24, the flash and its receiver were invisible from the camera’s point of view. I placed the flash directly behind the shell pointing at the camera. When I tripped the shutter, the invisible electronic signal went right through the shell and fired the flash. The radio signal is the best type of system to have.

Exposure Depending on the density of the subject, your exposures will vary widely. It’s really impossible to calculate exposure for translucent backlighting the same way front-or sidelighting is determined. For example, the shell below was quite dense, but with a very bright light -- the flash head was placed up against the shell itself -- the light was able to penetrate and, with correct camera settings, the shell glows with color and the exposure is perfect. Not only is it not possible to use an exposure formula for shots like this, you may not know what you’re looking for until you see it. That’s why experimentation is the key. How do you determine challenging exposures in situtions like this? Trial and error. There is no way to know based on ‘experience’, so the

only way to come up with the correct exposure is to take a test shot, examine the LCD screen on the back of your camera, and determine how much correction is needed. If you are using flash, you can change the exposure by using one or more of the following methods: 1. Use the flash exposure compensation feature on the flash itself. It is adjustable in 1/3 f/stop increments. 2. Change the subject-to-flash distance. Moving the flash even a couple of inches will make a discernible difference in exposure. 3. Change the power output of the flash when using manual mode. 4. Change the lens aperture. 5. Change the ISO. §

What’s wrong with this picture?

here are two things wrong with this picture. First, the foreground wing isn’t as sharp as it should be, and second, the white area at the top of the frame, just left of center, is distracting.

My settings for this picture were 1/100, f/14, and 5000 ISO. I was shooting with a 100-400mm lens, and I needed more depth of field. You can see by the settings that the light was quite muted. To take this picture at, say, f/22 -- which offers 1-1/3 f/stops more DOF -- the ISO would have to be raised to 12,800. In retrospect, I should have done that. Neat Image software would have mitigated most of the noise, and in the meantime those feathers would be sharp. If I were shooting a Canon 7D or 7D Mark II, I wouldn’t be saying this because they produce so much noise, especially at the higher ISO settings, that no noise-reducing software can solve that problem. But with the 1Dx Mark II, the noise would have been eliminated in post-processing. 25

The white area had to be cloned out because it’s distracting. Our eyes tend to be drawn to light areas in an image first, and our attention returns there again and again. That’s not how a successful image is supposed to work. Our attention should be focused on the subject, not on some element in the background. Cloning an unwanted element that happens to be touching the edge of the subject is a little tricky. The best, most efficient, and easiest method that maintains the integrity of the edge (in this case the red feathers on the back of the macaw’s head) is to use the pen tool to create a precise selection. The selected area is shown in the inset, above. I feather the edge of the selection by one pixel (using the pulldown menu command, Select > modify > feather). Then, using the clone tool, I ‘borrow’ from another part of the background to replace that white element. The beauty of using this technique is that the selection constrains the clone tool from bleeding unwanted color into the red feathers. §

SHORT AND SWEET 1.

4. Sometimes you can find interesting things to photo-

If you have to photograph in bright sunlight, do so with the sun at your back. This creates front lighting on the subject. Contrasty shadows will be at a minimum, and the chance of blowing highlights and losing detail in shadow areas is reduced. This is a road runner captured during my recent Arizona workshop.

In mixed lighting situations, like this cathedral in Russia in which daylight, fluorescent lights, and tungsten were combined, use auto white balance. It’s the best chance to get accurate color. In post-processing, you can always tweak the color further assuming you are shooting RAW files.

Constantly be vigilant about depth of field. This wolf has a long, pointy face. If you shoot wide open with a telephoto and focus on the eyes, the nose will be out of focus. That’s not good. In fact, soft foregrounds are unattractive and distracting. I used f/11 here to make sure both the nose and the eyes were sharp.

graph in an online toy store. For this abstract, I bought a bottle of Slime for $3.85 and poured it into a petri dish. In a few minutes, it spread out flat. A 50mm macro lens with an extension tube allowed me to fill the frame with the unique color and texture. §

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.

Jim . . .I photographed this plant in Alaska, and when I look closely at the picture, the flower in the lower right as well as the one at the top, right of center, aren’t sharp. They are almost sharp. In a picture like this, is it essential to have complete depth of field? Or does the softeness ruin the picture? Margaret Connor, Modesto, California.

All of the flowers should be sharp throughout the frame. The green vegetation under the flowers and seen at the upper left of the frame can be soft, but the white flowers themselves should definitely be tack sharp. A macro photograph like this must be taken from a tripod. This allows the shutter to be slow, thus you can close the lens down as much as you want for depth of field from edge to edge. I would have used f/16 here. §

©Margaret Connor

Partial list of Photography Tours 2018 - 2020 YELLOWSTONE IN WINTER Jan. 2019

SNOWY OWLS Feb. 2019

PATAGONIA April 2019

KENYA Aug. 2019

NORMANDY/BURGUNDY Sept. 2019

UZBEKISTAN & KYRGYZSTAN Sept. 2019

CUBA Oct. 2019

SRI LANKA Nov. 2019

ICELAND Mar. 2019

OREGON COAST Aug. 2019

RUSSIA Oct. 2019

WINTER WILDLIFE Jan. 2020

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

Iceland Photo Tour March 20 - 29, 2019

Awesome landscapes Ice caves The Aurora Borealis Horses

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. David Colan, Frisco, Texas White horses of the Camargue photo tour, Venice workshop, Tuscany photo tour, Burma photo tour. Frogs and Reptiles workshop

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Student Showcase, continued

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Student Showcase, continued

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KENYA PHOTO TOUR August 1 - 11, 2019

PHOTOSHOP WORKSHOP in my home

Sat. & Sun., November 17 - 18, 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, 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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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 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 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Composites and Light Dec. ‘17 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 Depth of field

Jan. ‘17 Feb. ‘17 Oct. ‘18 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18 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, 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 Jungle photography

Dec. ‘14

Kaleidoscopic images Keystoning, correcting

Jan. ‘15 Aug. ‘15

Subject index for past Photo Insight issues

continued

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 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meter, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Middle gray Nov. ‘15 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 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 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Tamron 150-600mm Topaz glow Topaz glow Topaz Impression

Apr. ‘14 Jan. ‘15 Sep. ‘17 Sep. ‘15

Subject index for past Photo Insight issues 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 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 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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