Photo Insights October '21

Jim Zuckerman’s

PH OTO I N S I G HTS October 2021

When You Really Needed a Zoom Anatomy of Natural Light Portraits Upside Down Reflections Photo toursVStudent showcase Ask Jim Subject index

Autumn foliage photography Fisheye fantasies Ring flash versatility Upcoming workshops Photo tours Ask Jim Student Showcase Back issues 1

Table of Contents 4.

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Autumn foliage photography Fisheye fantasies Ring flash versatility Jim’s eBooks What’s wrong with this picture?

Short and sweet Ask Jim Photography tours Student Showcase Past issues Subject index

On the cover: Mt. Fitzroy and autumn colors, Argentinian Patagonia. This page: A roseate spoonbill flying overhead, Tampa Bay, Florida.

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y wife just upgraded to the iPhone 13 and, I have to admit, I’m impressed with the camera in this device. It’s very sharp. Equally impressive is the wide angle lens, equivalent to an ultrawide 13mm focal length. It handles contrast extremely well, produces excellent exposures in low light environments, and an instruction manual isn’t needed. Simply point and touch a button . . . and remember to keep your finger from blocking the lens.

A reasonable question a photographer could ask is why spend thousands of dollars on expensive gear and go to the inconvenience of carrying a camera backpack when a small, flat camera phone easily slips into a pocket, ready to be used any time, any where.

The answer is, iPhone images open in Photoshop as 34.9 megabyte files. This doesn’t compare in resolution to modern dSLR and mirorless cameras. The files in my Canon R5, for example, open in Photoshop at 128 megs. For most needs -- emailing images, uploading photos to websites, posting on social media -- 35 megabytes is more than enough.

However, for making large prints, for cropping purposes, and for appreciating great detail in your photographs, iPhone images don’t compare. In addition, dSLR and mirrorless cameras can capture action sequences, like birds in fight or horses galloping, with super fast shutter speeds and multiple frames per second so you can capture every nuance of the motion with sharpness. At the same time, the autofocus mechanism locks onto an eye of the subject and maintains focus on it with remarkable accuracy. Photographic artistry is all about having complete control over the shutter speed, aperture, and ISO.

There will probably come a time when camera phones can compete with dSLR and mirrorless cameras, but that time is not now. Nevertheless, for ease of operation, versatility, and just plane fun, I’m going to be upgrading to the iPhone 13, too.

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

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Autumn Foliage Photography

ven if nature photography is not your passion, preferring instead sports, fashion, portraiture, architecture, or street photography, I would think it’s difficult to see beautiful autumn colors and not take pictures of them. Dazzling color is just too alluring.

To capture the best images of fall color, you need to look for several key elements. Being aware of these will make a huge difference in your work.

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Lighting The best lighting conditions for shooting fall colors is soft and diffused natural light. I know this is counterintuitive because many photographers think bright sunlight brings out the intensity and richness of the colors. However, this isn’t true as you can see in the image below. Bright sunlight is too contrasty, and unwanted contrast adversely affects the saturated colors of leaves. Forest colors even look good

during a rainstorm.

The only exception to this is backlighting. When a low angled sun illuminates leaves from behind, they seem to glow from within and the beautiful colors maintain their integrity. The lakeside picture below illustrates this.

Therefore, the three best times to photograph autumn foliage is sunrise, sunset, and when the sky is overcast or cloudy.

Diffused light occurs when the sky has clouds. Those clouds can be solid white with no definition at all or any manner of storm clouds, cumulus clouds, etc. If the sky is dynamic, then you will want to prevent it from blowing out, i.e. becoming overexposed. HDR is the best approach as long as there isn’t any wind.

If there is even a slight breeze, the moving leaves won’t align in postprocessing, so you’ll have to either replace the sky completely or use the tools in Lightroom or Adobe Camera Raw to bring back the detail in your RAW files.

If the sky is solid white, most of the time you won’t like it. In the above image, you can see the white sky

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doesn’t add anything of interest to the picture and it is visually distracting. Our eyes are drawn to the lightest part of a photograph first, and our attention returns again and again to very light areas instead of focusing on the subject. This is why I suggest in most cases white skies should be replaced.

You can see in the picture at right that I replaced the sky, and this vastly improves the landscape. Nothing is distracting now, and the attractive cloud pattern adds artistry to the image.

You can replace the sky easily now with the Photoshop pulldown menu command, Edit > Sky Replacement. For most pictures (but not all), this is very effective.

Snow and frost

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Toward the end of the peak autumn foliage season when the weather starts to turn cold, temperatures may dip below 32 degrees Fahrenheit and frost can form on leaves. If you happen to be lucky, you could experience a snowfall. Both scenarios offer wonderful photographic opportunities. In the picture below, the undergrowth of the forest is covered by hoarfrost, and the contrast of the bluish white vegetation with the

stunning colors of the trees is amazing. Similarly, I took the photo of the leaf, above, covered in snow before the yellow turned to brown. This is something to watch for.

Hillsides There are many types of compositions to be made during autumn, from macro shots to panoramas, from backlit maple leaves to reflections in water. One of my favorite types of shots is the type of pattern that forms when trees are stacked above each other as in the picture at right and also in the shot on page 4. These are hillsides covered in color. Flat terrain can be photographed very effectively in the fall for sweeping landscapes, reflections, and other types of shots.

For beautiful patterns of dazzling color and texture, though, seek out steep hills covered by trees. Use a telephoto lens to fill the frame with 7

the pattern of the trees, and choose a relatively small lens aperture such as f/11 or f/16 to insure the entire picture area is tack sharp.

Use manmade elements There are many interesting and visually compelling manmade subjects to include in photographs with autumn foliage. They provide a focal point and sometimes great color, design, and interest.

The subjects I’m referring to are usually found in rural areas and they include covered bridges (right), historic homes (above), tractors, old barns, rusting old cars, miscellaneous farm equipment, churches (next page), and grist mills. In my own experience when photographing in the U.S., a majority of great subjects like these are found in New England -- Vermont, New Hampshire, Maine, Connecticut, Massachusettes, and upstate New York.

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Fog and low clouds When shooting autumn colors, I always get up at dawn. This is the best time to find fog, mist, and low clouds, and this kind of atmosphere makes great photos. I took the picture above from Owl’s Head in Vermont. A short trail leads to a rock outcropping with this dramatic view of the forest below, and often low clouds and mist make the scene even more beautiful than it is normally. At left you can see in the shot of the white church in Stowe, Vermont, the distant hill is shrouded in mist.

Nothing makes landscape and nature images more dramatic and more compelling than fog and mist. If you get up early in the morning, there is no guarantee you’ll find optimal weather conditions like this, but if you sleep late, it’s guaranteed you probably won’t find them! Fog and mist can occur at any time of the day, but it’s more common in the very early morning. § 9

PERU NATURE TOUR Sept. 24 - Oct 4, 2022

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Fisheye Fantasies F

isheye photography requires you to think differently. Fisheye lenses bend vertical and horizontal lines, and while some of you may feel this kind of look isn’t appealing or perhaps it’s ‘gimicky’, it does offer a unique and artistic way of interpreting reality.

An important thing to be aware of is the distortion associated with fisheyes. Subjects become more pronounced the closer you get to them. When I photographed the cow, for example, the subject-to-camera distance was about four feet. That’s why the cow fills most of the frame and is so distorted.

Sometimes a fisheye effect can be comedic as in the closeup of a highland cow from Scotland, below. Here the curved horizon seems to work simply because of the humorous subject. In other instances, this kind of distortion embellishes lines that are already curved as in the spiral staircase on the next page.

Another interesting aspect of fisheye lenses is that you can control the characteristics of the distortion depending on how you angle the camera. In other words, how you compose the shot impacts how lines are curved. For example, on the next page study the two versions of Horseshoe Bend near Page, Arizona. I took

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both pictures with Canon’s 15mm fisheye. The image on the left was composed such that the horizon was placed in the upper third of the frame, resulting in a grossly distorted horizontal line. In the comparison version, I composed the landscape with the horizon in the center of the frame. As a result, this does not distort the line at all.

When you photograph a round subject, such as

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the spiral staircase in Ljubljana, Slovenia, the distortion appears minimal because you can’t make a circular subject ‘more’ circular. The curved distortion typical of fisheye lenses appears irrelevant because the stair case is already curved.

Similarly, when you point a fisheye lens straight upward, distortion doesn’t seem to appear. The forest picture on the next page was taken in

New Hampshire. Notice the vertical lines of the trees converge in the center of the frame without being curved, and this is virtually identical to what a typical wide angle lens does. Again, I used a 15mm fisheye for this shot.

Two types of fisheyes There are two types of fisheye lenses: full frame and circular. I prefer the former. All of the

images in this article were taken with the full frame 15mm except the picture above. Here I used the 8mm focal length on the Canon 8 15mm fisheye lens. The circular fisheye covers 180 degrees in all directions and consequently produces a circular image in the center of the frame. The full frame fisheye covers 180 degrees only along its diagonal, thus producing a frame-filling image. §

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PANTANAL PHOTO TOUR Nov. 8 - 15, 2022

Jaguars in the wild Exotic birds in flight Caiman Giant river otters

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Ring Flash Versatility I

n the frog and reptile macro workshop I conduct twice a year in Kansas City, I recommend participants use a ring flash (not a ring LED) to illuminate the small animals we photograph. The light from a ring flash envelopes the tiny dart frogs and the reptiles, and that means both the dorsal and ventral sides have good detail devoid of contrast and shadows. Ring flashes attach to a normal lens or short telephoto and simulate diffused light from an overcast sky.

A ring flash can also be used as a directional

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light source. The two shots on the previous page, the Jackson’s chameleon and the green tree python, as well as the young alligator, below, were taken with a ring flash. I removed the flash head from the lens and held it off-camera.

Since ring flashes don’t have modeling lights, it’s not possible to see exactly how the shadows will fall on the subjects. Therefore, it’s necessary to take a few test shots and study the LCD monitor.

With the chameleon, I held the ring flash behind and above the reptile. I experimented until I liked the result. For the python, I took 6 or 7 shots before I got what I wanted. I held the ring flash below and in front of the snake, coordinating each flash exposure with the flickering of the forked tongue.

Ring flashes are designed for the flash head to be close to the subject. It is connected to the

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power module by a coiled cable, and that limits the distance from the flash to the subject. It is approximately arm’s length, which is fine because you wouldn’t need more length.

Extending the flash head means you can create sidelighting (as I did with the alligator), backlighting, three quarter lighting, as well as overhead lighting. This approach can also be used with other macro subjects like flowers, seashells, insects (like the caterpillar, above), leaves, mushrooms, and more. §

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

February 18-25, 2022

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

January 22 - 23, 2022

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

February 2 - 5, 2022

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Expand your photographic artistry with

eBooks

Click on any ebook to see inside

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eBooks continued Click on any ebook to see inside

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

Based in Kalispell, Montana

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Arctic fox

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What’s wrong with this picture?

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asically, there is nothing inherently wrong with this image. This is a social flycatcher I captured in a light rain in Costa Rica. The background is attractively out of focus and non-distracting, the bird is sharp, and the exposure is fine. The dark eye surrounded by dark feathers is discernible, and there is a small, subtle catchlight in the eye from the flash I used. One could argue that the bird should have been composed according to the Rule of Thirds, but I often position subjects in the center of the frame and like the results.

The only thing that bothers me is the manmade element. I photographed the flycatcher on the grounds of a lodge I was using, and it was perched on a metal railing. Perhaps this is just my own bias, but I don’t like when I’m photographing nature, wildlife, or birds and there is a manmade element included in the frame. There are exceptions to this -- such as including a weathered split rail fence in a landscape which often looks really good -- but usually I try to eliminate the hand of man.

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I recognized this problem as soon as I took the shot, so I photographed a few slender trees on the grounds of the lodge to use in replacing the metal railing. I took shots of several trees with various types of bark to give me a choice in postprocessing.

To suggest the flycatcher was perched on a natural branch, I opened both pictures -- the bird and one of the tree shots -- in Photoshop. I rotated the tree image using the pulldown menu command, Image > Image rotation > 90 Clockwise. It was now horizontal.

I then selected the metal railing using the pen tool. This is the most precise way to make a selection in Photoshop. I was careful to exclude the feet of the bird from the selection. Using Select > modify > feather, I softened the edge of the selection with a one pixel feather radius.

Finally, using the clone tool, I cloned from the tree picture into the selection and completely replaced the metal railing with tree bark from a native Costa Rican tree.§ 22

SHORT AND SWEET 2.

1. The convergence of vertical lines in a photograph is

most obvious when using a wide angle lens, and when the camera is angled upward. We have come to accept this type of view, but this isn’t what we see. To make vertical lines vertical, you must use a perspective control lens or Edit > transform > distort in Photoshop.

An interesting juxtaposition of components is to combine a subject taken with off-camera flash with a twilight or night scene. The subject can be photographed either in the day or night, but the artificial lighting on the subject works well with the artificial light on the background scene.

3. Side view of animals and birds translates into more

4. To capture sharp pictures of birds in flight, even tak-

depth of field. When I photographed this muscovy duck, I waited for it to present this side angle to insure the unique head as well as the rear feathers were sharp. Even with a large lens aperture, all parts of the bird could be made sharp with this view.

ing into account the tips of the fast moving wings, I use a shutter speed of 1/3200. For very small birds whose wings flap extremely fast, I find that 1/4000 works well.

Some photographers like wing tips blurred because, they say, it implies motion. I prefer the sharpness. §

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ASK JIM

Every month, Jim will answer a question from his online students, from people who participate in his tours and workshops, or from subscribers to this magazine. If you have a question you’d like Jim to answer, please drop him a note at photos@jimzuckerman.com.

Q:

Jim . . . I photographed this nuthatch in Bryce Canyon National Park using a 400mm focal length, and because the depth of field is so shallow, the bark of the tree at the far right is out of focus. I like the blurred background, but do you think the out of focus tree hurts the image? If so, is there a solution?

Corey Thompson, Savannahm, Georgia

A: In my opinion, the out of focus tree bark is a problem. It’s distracting and visually annoying. What

you could have done at the time is, once you recognize the issue, take a second shot in which the bark is in focus and sharp. Then, use Photoshop to combine the two pictures. At this point, the only thing you can do is find another tree (preferably of the same species so the new bark is biologically correct with the rest of the original tree), photograph it, and then use this new photo to replace the blurred foreground. §

© Jared Newman

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Partial list of Photography Tours 2022 - 2023

WINTER WILDLIFE Feb 2022

CARNIVAL in VENICE Feb 2022

ETHIOPIA Mar 2022

SPAIN/PORTUGAL Apr 2022

HOLLAND/BELGIUM Apr/May 2022

NAMIBIA May 2022

MOROCCO May/Jun 2022

ICELAND Jul 2022

PERU Sep/Oct 2022

VERMONT AUTUMN Oct 2022

NORWAY/DENMARK Sep 2022

PATAGONIA PHOTO TOUR April/May 2023

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

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Ethiopia Photo Tour jMarch 10 - 22, 2022 jPrimitive tribes

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Dramatic landscapes Wildlife Rock-hewn churches

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.

Alex Decoster, Brussels, Belgium Turkey photo tour, Botswana photo tour, Costa Rica photo tour,

Venice photo workshop, Pantanal photo tour, American Southwest photo tour, Patagonia photo tour, and Ethiopia photo tour.

© Alex Decoster 2021

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Student Showcase, continued

© Alex Decoster 2021

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Student Showcase, continued

© Alex Decoster 2021

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Student Showcase, continued

© Alex Decoster 2021 30 34

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Carnival in Venice F e b r u a r y 18 - 25, 2 0 2 2

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FROG & REPTILE WORKSHOP Based in Kansas City, Missouri

Sat. and Sun., January 22 - 23, 2022

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

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

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

Aug. ‘20 Jul. ‘15 Jun. ‘21 Jan. ‘14 Dec. ‘17 Jan. ‘14

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

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

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

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

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Subject index for past Photo Insight issues Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Fractals Jul. ‘19 Framing May ‘17 Freezing ultra action May ‘17 From Terrible to Beautiful Aug. ‘19 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Fundamentals That Make Great Photos Jan. ‘19 Fun With Christmas Lights Jan. ‘21 Graphic Design Garish imagery Great subjects Great ceilings & HDR Panos Green screen Grunge technique

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

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

Dec. ‘14

Kaleidoscopic images Kaleidoscopis images Keystoning, correcting

Jan. ‘15 Aug. ‘20 Aug. ‘15

L Bracket Feb. ‘18 L Bracket Feb. ‘21 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 Lightning photography May ‘20 Liquify Feb. ‘18 Liquify Distortions Sept/Oct. ‘19 Long lens portraits Oct. ‘18

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Long Lenses for Flowers Low light photography Luminar 4

Jul. ‘20 May ‘15 Jan. ‘20

Macro flash

Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Macro trick May ‘19 Managing soft focus Jul. ‘21 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meters, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 Museum photography Mar. ‘13 Natural Light Portraits Negative space Neon edges on black Neutral Density filters Night photography Night Safaris Night to Twilight Noise reduction

Aug. ‘21 Jan. ‘16 Aug. ‘14 Jun. ‘18 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17

Oil and water Optical infinity Organization of photos Out of focus foregrounds

May ‘20 Jun. ‘16 Mar. ‘18 Jan. ‘20

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

Apr. ‘13 Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13 Photoshop, soft foliage Oct. ‘13 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Photoshop, drop shadows Jul. ‘14 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Photoshop, liquify Mar. ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14

Subject index for past Photo Insight issues Photoshop, enlarge eyes Nov. ‘14 Photoshop, darken the periphery Dec. ‘14 Photoshop, mirror images Dec. ‘14 Photoshop, beam of light Apr. ‘15 Photoshop, polar coordinates Mar. ‘15 Photoshop, chrome May ‘15 Photoshop, actions palette Nov. ‘15 Photoshop, cut and paste Nov. ‘15 Photoshop, geometrics Oct. ‘15 Photoshop, plugins Oct. ‘15 Photoshop, multiple selections Apr. ‘16 Photoshop, sharpening Apr. ‘16 Photoshop, Flood plugin Apr. ‘16 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Photoshop new tool May ‘20 Photoshop, place one element behind Aug. ‘18 Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Photoshop, My favorite plugins Jan. ‘20 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portrait Professional Nov. ‘19 Portraits, Lens choice Sept/Oct. ‘19 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Restoring old photos Jun ‘20 Ring flash, advantages Jul. ‘21 Ring flash versatility Oct. ‘21 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Seeking Cool Snow Photos Jan. ‘21 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Self-critiques Nov. ‘20 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15

Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Shooting into the light Jun ‘20 Silhouettes Jun. ‘13 Silhouettes, Exposing for Sept/Oct. ‘19 Silvered landscapes Mar. ‘20 Sketch, How to Make Jun ‘19 Skies make or break a picture Aug. ‘21 Sky replacement Nov. ‘20 Snow exposure Nov ‘17 Snow exposure Nov. ‘19 Soft light Jan. ‘13 Smart phone photography May ‘19 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Sunrise & sunset Jan. ‘19 Tamron 150-600mm Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 Texture Mapping in 3D Jul. ‘21 Topaz AI Gigapixel Mar ‘19 Topaz glow Jan. ‘15 Topaz glow Sep. ‘17 Topaz Impression Sep. ‘15 Topaz Remask 5 Oct. ‘17 Topaz Simplify 4 Dec. ‘12 Topaz simplify 4 Jun. ‘14 Topaz Studio Apr. ‘18 Translucency & backlighting Nov. ‘18 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Twilight photography in the rain Apr. ‘19 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Two subject focus rule Jan. ‘20 Two subject focus rule Jun. ‘21 Urban heights Ultra distortion Upside Down Reflections

Jun. ‘21 May ‘18 Aug. ‘21

Warm fingers in winter Water drop collisions What NOT to do in photography When You Needed a Zoom White on White White vignette White balance White balance, custom Wide angle conundrum Wide angle lenses

Nov. ‘15 May ‘18 Apr. ‘18 Aug. ‘21 Dec. ‘20 Aug. ‘15 Feb. ‘15 Mar. ‘16 May ‘19 Mar. ‘13

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Subject index for past Photo Insight issues 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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PHOTO INSIGHTS® published by Jim Zuckerman, All rights reserved © Jim Zuckerman 2021 email: photos@jimzuckerman.com Carnival in Venice, Italy

Edited by Donald Moore 43