P H O T O I N S I G H T S Jim Zuckerman’s October 2022 Reshaping BackStudentAskPhotoGroundBacklightingfaceslevelshootingtoursJimShowcaseissues
2 On the cover: The Jerico Mill in autumn, northern Vermont. This page: A paradise tanager, Peruvian Amazon. Table of Contents 4. Reshaping faces 8. Backlighting 15. Ground level shooting 19. Jim’s eBooks 22. What’s wrong with this picture? 24. Short and sweet 26. Ask Jim 28. Photography tours 29. Student Showcase 35. Past issues 41. Subject index
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ou may not have had the same results as I’ve had, but I hope so. Since I went mirrorless -- I bought the Canon R5 about 10 months ago -- I have not had any dust specks in my pictures. Not one. I haven’t had to clean the sensor or spend a lot of time cloning out dust from my pictures.
a lot of reasons to go mirrorless, such as reduced weight and volume of the cam era, increased sophistication of autofocus accuracy and speed, and the ability to add fea tures with a firmware update. But I now think the fact that you can take dust-free pictures is another reason. What a relief!
Jim www.jimzuckerman.comphotos@jimzuckerman.comZuckerman
Theresave.are
And it’s not like I’m being super careful avoiding dusty situations. I change lenses out doors, and there have been times when I forgot to turn the electronics off during a lens change. When the camera has electricity running through its circuits, the static electricity generated by the electronics attracts dust. When I examine my images on the computer, though, I don’t see any dust. Not even in large, monochromatic areas of the sky where dust is often a nightmare to get rid of.
This is huge. Dust has been a terribly annoying issue for years. I’ve carried Sensor Swabs, hand blowers, and sophisticated sensor cleaning tools for years in the hope of eliminating, or at least reducing, dust in my pictures. There have been times when, with several of my dSLR’s, I’d change a lens on a windy day and pay a terrible price later with the necessary half hour of cloning out the dust. In worst case scenarios, pictures would be too damaged to
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I’ve done very few assignments in my career, perferring the stock photography model in which I take pictures that please me and, when submitted to an agency, hopefully photo buyers will use them. This gave me tremendous cre ative control because I wasn’t trying to please a particular client. I could do anything I wanted
rom the very beginning of my career, my goal has been to capture beauty in pictures. Most of us photogra phers are alike in that way. We love to photo graph beautiful landscapes, incredible wildlife and birds, very attractive people, and so much Withmore.respect
Reshaping Faces
to beautiful people, I’ve observed something that’s repeated again and again in most fashion models who, by definition, are chosen for their beauty. There are six compo nents that make up a striking face. Virtually all fashion models have the following charac
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teristics: 1) High cheek bones, 2) large eyes set wide apart, 3) a narrow nose, 4) full, nicely shaped lips, 5) a square and sharply defined jawline that, along with the high cheek bones, gives the face a sculpted look, and 6) a long, elegant neck.
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The controls I use most of the time to improve a person’s appearance are indicated by all of the green arrows. The first two I start with are at the bottom -- Face Width and Jawline. More than any other command, these two signifi cantly improve a face. After that, I typically en large the eyes individually using Eye Size some times followed by Eye Distance which widens the spacing of the eyes.
The command in Photoshop that opens the gateway to these controls is Filter > liquify.
Themyself.picture
Then, I go to Nose Width. Most people don’t have a perfectly sculpted narrow nose. That’s why plastic surgeons make so much money -everybody wants one! Using this slider, you
to with my photos. If I took a picture of some one and they wanted me to send it to them, I wouldn’t alter or distort it, obviously. But the artist in me knows no bounds when shooting for
When the dialog box opens (see the screen capture on the next page), it will probably not be expanded like I’ve shown. If it is not, click the Face-Aware Liquify tab (indicated with a red arrow). This will now show you all the face sculpting options.
on the previous page shows a cos tumed participant in the Jember Fashion Car nival in East Java, Indonesia. So many of the participants in the parade were truly beauti ful, but this young woman wasn’t. Her face is round, her nose is wide, and her eyes, although wide apart, are somewhat squinting. I won dered if I could improve her looks in Photo shop, and the version above is what I was able to do. In this case, the change was dramatic. In many other instances, the most subtle reshap ing of a face works wonders.
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One last alteration is usually im portant and it’s often overlooked. Many times eyes appear darker in pictures than they really are. If you look at the original image of the carnival participant on page 4, you can see the whites of her eyes are much darker than you would expect. Using the dodge tool, this is an easy fix. I usually use this tool on 70% opacity when light ening eyes so they don’t become overly bright.
If you try reshaping faces with friends or family, do so with great subtlety. Make it appear that you are simply a very good photog rapher because you made them look so good. If they suspect Photoshop adjustments, I can only imagine the mean and nasty words they will hurl at you. So, be careful! §
Finally, if necessary, you can work on the mouth. You can affect the upper and lower lips separately, and you can widen or make the mouth narrower.
In the final version on page 5, you can see I lightened the eyes (as well as enlarged them within Liquify), and now they are much more attractive.
adjust the nose to taste.
6can
Other options allow you to change the height of the chin and fore head, and sometimes I’ll experi ment with these controls.
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Morocco Photo Tour - September
10, 2023
August 29
With the sun included in the composition, ex posure can be a challenge. The brilliant light adversely affects the meter reading into under exposing the image. Meters are programmed to accurately interpret middle gray, i.e., middle toned, scenes or subjects. The meter reacts to a
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he most dynamic and visually ar resting type of light a photogra pher can capture is backlighting. It comes in many forms, though, and often a practiced eye is needed to recognize it, to expose for it, and to use it for maximum im Backlightingpact.
occurs when the background is lighter than the subject. In nature, this is commonly captured when the sun is in cluded in the background. If the subject is
opaque, it becomes a silhouette. If it is translu cent, like the leaves of the trees on page 9 or the backlit leaf on the same page, transillumination is the result. Colors are intense and they seem to glow from within.
Backlighting
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In the shot of the cheetah on page 8, notice the sun is partially obscured by the horizon. The diminished sunlight affects the meter with less intensity and, therefore, the meter reading would be more accurate than when the sun’s entire disc was visible.
In addition, the sun was composed in the low er left portion of the image. Since meters take most of their information from the center of the frame, an off-center placement of the sun means it has less influence on the reading; therefore, I took this picture without concern of a poor metering reading.
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direct sun by ‘assuming’ the scene is so bright it needs less light to become middle gray, hence the underexposure.
In the landscape shot above, the sun is partially blocked by a tree trunk, but it was composed dead center in the frame. In this instance, the meter would have dictated underexposure. Knowing this, you have to check the LCD im age and, using exposure compensation, add the
I photographed the model on the next page at sunset in the Santa Monica Mountains near Los Angeles. I used her form to block the sun,
adjustment to make the photograph perfect. A +1 f/stop change was used in this Withsituation.the
10necessary
In the shot of the glacial ice, above, notice the sun is vertically off-center, partially obscured and very small in the frame. I used a 14mm wide angle lens for this picture. That’s why the sun is so small. Consequently, it has little im pact on Sometimesexposure.backlighting
can be so subtle it’s easy to miss. I photographed a juvenile alliga tor in a Louisiana swamp in the early morning, and the sun’s light could be seen through the
skin hanging down from the lower jaw. In ad dition, you can see a bit of rim light on the top of the head. Usually, backlighting is most dy namic in the early morning and late afternoon when the sun is low to the horizon.
backlit green leaf on the previous page, there is no hotspot from the sun because it was illuminating the plant material from be hind and at an angle. No compensation would be needed here.
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backlighting with artificial light, too. Off-camera flash, just like the sun, can make striking silhouettes -- like the frog on a leaf at right taken during one of my frog and reptile workshops, and the translucent glass frog, below, positioned on a piece of white pa per supported by an 8 x 10 inch sheet of glass.
this created a glow in the sky around her. I shot this with film years ago, and I didn’t have the immediate feedback of the LCD screen. I read the light with a hand held spot meter (the Sekonic L-508) by finding a middle toned area of the image. That turned out to be the medium-dark blue sky at the top of the frame. Today, it would be simple to take a test shot, look at the LCD and tweak the exposure ac Youcordingly.cancreate
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The moon jelly above was taken at the Tennes see Aquarium in Chattanooga. This ephem
For the picture at right, I placed the shell on a piece of cardboard with a hole cut in it. The light from the flash came through the hole and backlit the shell. §
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eral creature was in a floor-to-ceiling aquari um about 7 feet in diameter. My wife, holding a portable flash, stood on the opposite side from where I was standing. As the moon jelly moved slowly, I moved with it to keep the flash directly behind it.
To trigger an off-camera flash wirelessly, you need an electronic triggering device (like the Godox Pro) attached to the camera’s hotshoe as well as a receiver on the flash itself. You can also use a camera mount flash to trigger the off-camera strobes, but if you don’t want the subject to be front lit, turn the power down of the on-camera flash or aim it at the ceiling.
BEST of SOUTHERN NATURE April 1 - 6, 2023 14
As one ages and becomes less flexible, it’s hard to angle your neck to look through the view finder when lying on the ground. The solution for that is to use the articulating LCD screen on the back of your camera. You can now actually kneel down and angle the viewfinder so you can compose the picture you want. This saves your neck and back. It also helps you avoid lying in wet or muddy ground as well as avoiding close encounters with insects and other nasty little ground dwelling creatures that bite or sting ex posed skin.
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round-level perspectives make photographs compelling. When photographing animals, insects, flowers, and other low-to-the-ground out door subjects, you have essentially two choic es. You can stand at an adult height and pho tograph downward, or you can get low. How low you need to go depends on the subject, but shooting while you are lying on your stomach produces images that are a lot more dynamic, engaging, and intimate compared to shooting the same subject while standing. I understand, as one gets older, this becomes more and more difficult. I now have a debate with myself when I know a lower shooting
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GROUND LEVEL SHOOTING
angle would be the ideal. Joint and back pain is the price you pay for getting down low.
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you have an older camera that doesn’t have an articulating LCD screen, you can use a 90 degree angle finder shown below. I’m using it while shooting a waterfall, lower right, from an
Sometimes ground level shooting can be dan gerous like with the Komodo dragon, above. I used a long lens to keep my distance, but the low angle makes this photo work so well. §
angle as low as I could go without getting the camera wet. Had I not been using the finder, I would have had to lie on the wooden boards and contort my neck into a painful position.
WHITE HORSES of the CAMARGUE 17 May 8- 13, 2023 Spectacular photo opportunities of horses in action
UPCOMING
Snowy Owl Workshopin Venice Workshop
Photograph beautiful North American mam mals plus a snow leopard in natural environ ments. Mountain lions, red foxes, arctic foxes, bobcats, lynx, wolves and more are in their full winter coats. This is a very special work Januaryshop. 17 - 21, 2023
Winter Wildlife Workshop
Photograph outrageous costumes in a medi eval environment! Incredible colors, design, and creativity in one of the most beautiful cities in the world. Learn how to use off-cam era 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 12 - 18, 2023 18
Upclose and personal encounters with these stunning birds in flight. Learn how to expose for white on white wintry conditions. January 5
PHOTO WORKSHOPS
9, 2023 Carnival
1910 w
eBooks Click on any ebook to see inside 19
your
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Expand photographic artistry with
2321 1919
Click on any ebook to see inside
eBooks continued
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23 NEW MEXICO NATURE November 26 - December 2, 2022 Birds in flight Great landscapes Turquoise trail 21
What’s wrong with this picture?
The rose on the next page is, in my opinion, the best picture of a rose I’ve taken. It was, of all places, in a flower arrangement in the lobby of a hotel I was check
I
find roses to be difficult subjects to photograph. I’m rarely happy with the results. This particular blossom, for example, is very pretty to look at, but it doesn’t make a great image. It has complete depth of field, the exposure is good, the color is great, and there is nothing ostensibly wrong with the subject or the picture. But I’d never frame it and hang it in my house.
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In analyzing the reason why it’s not a great shot, the only thing I can come up with is the graphic design, i.e., the shape its petals, isn’t as artistic as I’d like. I would say the design is pretty good, but by no means worthy of framing and enjoying on a daily basis.
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Beautiful graphic shapes are the basis for all really successful and artistic im ages. And shape comes down to nothing more than attractive lines: S-curves, C-curves, sprials, diagonals, etc. §
So, what sets this picture apart from the one on the previous page is the graphic shapes of the petals. Both images have darkened edges and corners, both were illuminated by soft light, and both fill the frame nicely with the subject. But it’s the graphics of this shot that makes it, in my opinion, worthy of being framed.
ing into in Costa Rica. I happened to have a ring flash with me, and this proved to be the ideal type of light. It simulates diffused daylight. This particular flower has exquisite contours and a lovely juxtaposition of color that makes it an excep tional flower.
4. You can take a large number of pictures of exotic birds in the aviaries of zoos and bird parks and some times even butterfly houses. I photographed this nico bar pigeon from Borneo in the Bali Bird Park in Bali, Indonesia. I replaced the background, but often the original background in an aviary is perfectly natural. §
2. Collect props for photography when perusing ga rage sales, thrift stores, malls, and online websites. I bought this patriotic umbrella for the express purpose of using it as a prop with no idea how I was going to incorporate it into a picture. I then came up with this idea of photographing it with my son on a rainy day.
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1. Large interior rooms seem to invite compelling and beautiful subjects to be photographed in them. In this 1890’s auditorium, I’ve placed a ballerina. It’s perfect, though, for a lot of subjects like a bride, a small child with a dog, a nude, and more. Seek out large, interest ing interiors near you and create some cool shots.
SHORT AND SWEET
3. Be on the lookout this month for cute Halloween subjects. Pumpkin people, creative pumpkin carv ings, and autumn displays with a lot of color are fun to shoot. I captured this group of happy, vocal pump kins in Vermont. Diffused light is best for these kinds of setups.
Snowy Owl Workshop
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January 5 - 9, 2023 Saskatchewan, Canada
I have several years of Lightroom mess to clean up and need a solid, efficient plan moving forward. Any help ful advice is greatly appreciated! Doug Goss, Clarksville, Tennessee
I acknowledge that a flaw in my system is I don’t keyword. I realized years ago I didn’t want to spend endless hours after every trip I took doing that. So, if I want to find ‘birds in flight’, I have to look in several places like Costa Rica, Africa, Antarctica, etc. But I’m not a stock agency, and my visual memory is pretty good. So, my system works for me.
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.
I started my system before Lightroom became available to us, so I never used it. I organize my images by subject. I created a hierarchy of folders. For example, I start with a folder called Photo Library. Then I made major subfolders based on what I shoot: Nature, Travel, Women, Americana, etc. Inside Travel, for example, I created more subfolders: Asia, Africa, Europe, Latin America, Antarctica, Oceana, etc. Inside the Europe folder, I have: France, UK, Germany, Poland, Italy, etc. Inside France, I have Paris, Lavender fields, White Horses, etc. -- again, based on what I shoot.
Q: Jim . . .My question is about workflow, specifically your file organization structure. How do you name your image files and what kind of directory structure do you create to store them in? I see examples of every thing from filing using folders dated by year with monthly sub-folders to filing by the types of photography shot. I would think it would be time consuming to go through each year to find a specific shot should you not remember the exact date. I can also see the downside of using specific type folders (should a shot of your wife taken in Mexico be filed under Family, Travel, Mexico, etc...). Of course either system can use keyword ing but that can be time consuming as well.
A: A lot of people ask me this question. First, never ever organize your images by date. They will be very hard to find, and in the year 2022 it won’t matter if you took a particular landscape in 2012 or 2013. You won’t care. If you need the specific date of a picture, that information is in the metadata.
If I want to find my leopard folder, here is the pathway I use: Travel > Africa > wildlife > leopards. If I want to locate the folder of Balinese dancers, here is the pathway: Travel > Asia > Indonesia > Bali > dancers.
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Partial list of Photography Tours 2022 - 2024 For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com. ICELAND in WINTER Dec/Jan 2023 SNOWY OWLS Jan 2023 Apr/MayPATAGONIA2023TEXAS BIRDS/BLUEBONNETS Apr 2023 ABANDONED in GEORGIA Mar WHITE2023HORSES, FRANCE May 2023 CHICAGO by NIGHT Jun 2023 ENGLAND and WALES Sep CARNIVAL2023 in VENICE Feb 2023 27 HOLLAND & BELGIUM Apr/May 2024 HUDSON RIVER VALLEY Oct 2023 Jul/AugINDONESIA2024
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Carnival in Venice
j Stunning costumes in a medieval environment!
February 12 - 18, 2023
Each month, Jim features one student who took beautiful and inspiring images on one or more of his pho tography tours or workshops. It’s really fascinating how photographers see and compose such different im ages even though we may go to the same places. Everyone gets great photographs on Jim’s trips.
Bill Gent, New York, New York Indonesia photo tour, Venice photo workshop, Kenya photo tour, two Photoshop workshops, Frog and Reptile workshop, and India photo tour
Student Showcase
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Student Showcase,
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Student Showcase,
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ENGLAND & WALES PHOTO TOUR September 12 - 22, 2023 33 Medieval ruins Quaint villages Awesome architecture
-- How to use off-camera flash for macro subjects
Based in Kansas City, Missouri
-- How to obtain perfect exposures with closeup flash
This is a macro photography workshop where you will learn:
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Saturday and Sunday, Feb. 25 & 26, 2023
-- How to replace backgrounds with perfection
-- How to use a ring flash in a macro environment
FROG & REPTILE WORKSHOP
-- How to focus critically when DOF is extremely shallow
Nov. ‘12 Dec. ‘12 Jan. ‘13 Click on the past issues of P H O T O I N S I G H T S you would like to read. Feb. ‘13 Mar. ‘13 Apr. ‘13 May. ‘13 Jun. ‘13 Jul. 13 Aug. ‘13 Sept.Feb.‘13‘14 Mar. ‘14 Apr. ‘14 May ‘14 Jun.‘14 Oct. ‘13 Nov. ‘13 Dec. ‘13 Jan. ‘14 35
36 Click on the past issues of P H O T O I N S I G H T S you would like to read. Sept. ‘14 Oct. ‘14 Nov. ‘14 Dec. ‘14 May ‘15 Jun ‘15 Jul.‘15 Aug.‘15 Sept.‘15 Oct.‘15 Nov. ‘15 Dec. ‘15 Jan. ‘16 Feb. ‘16 Jan. ‘15 Feb. ‘15 Mar. ‘15 Apr. ‘15
Mar. ‘16 Aug. ‘16 Jan. ‘17 Feb. ‘17 Mar. ‘17 Apr. ‘17 May ‘17 Jun ‘17 Jul. ‘17 Aug. ‘17 Sept. ‘17 Sept. ‘16 Oct. ‘16 Nov. ‘16 Dec. ‘16 Apr. ‘16 May ‘16 Jun ‘16 Jul. ‘16 Click on the past issues of P H O T O I N S I G H T S you would like to read. Oct. ‘17 37
38 Click on the past issues of P H O T O I N S I G H T S you would like to read. Nov. ‘17 Dec. ‘17 Jan. ‘18 Feb. ‘18 Mar. ‘18 Apr. ‘18 May ‘18 Jun ‘18 Jul ‘18 Aug ‘18 Sept. ‘18 Oct. ‘18 Nov. ‘18 Dec. ‘18 Jan. ‘19 Feb. ‘19 Mar. ‘19 Apr. ‘19 May ‘19 Jun ‘19
Click on the past issues of P H O T O I N S I G H T S you would like to read. Jul. ‘19 Jan. ‘20 Jun. ‘20 July ‘20 Aug. ‘20 Sept. ‘20 Oct. ‘20 Nov. ‘20 Dec. ‘20 Jan.. ‘21 Feb.. ‘21 Mar.. ‘21 Feb. ‘20 Mar. ‘20 Apr. ‘20 May ‘20 Aug. ‘19 Nov. ‘19 Dec. ‘19Sept/Oct. ‘19 39
40 Apr.. ‘21 May ‘21 Jun.‘21 Jul.‘21 Aug.‘21 Sept. ‘21 Feb. ‘22 Mar. ‘22 Jul. ‘22 Aug. ‘22 Sept. ‘22 Oct. ‘22 Apr. ‘22 May ‘22 Jun. ‘22 Oct. ‘21 Nov. ‘21 Dec. ‘21 Jan. ‘22
perspectives
Backgrounds, Apr. ‘13
lenses
Fireworks Jul. ‘13
Autumn Oct. ‘21
1/3
Embedded in Ice Oct. 17
Compositing
backlighting
balancing exposure
fixes problems
Creating a star field Jan. ‘14
Foliage
Drop shadows Apr. ‘19
technique
tool, fixing an issue
Birds Aug. ‘13
in flight
Jan. ‘14
Flood Nov. ‘19
Creating a Sketch Dec. ‘17
Subject index for past Photo Insight issues
Dust, Minimizing Aug. ‘19
of 8 photographs
Aperture Sept. ‘14
Autofocus Jan. ‘17
Blacklight Feb. ‘21
Black Mar. ‘14
Exposure, Jan. ‘14 Nov. ‘14 Apr. ‘15
Flat art
Auto Dec. ‘13
Face sculpting
90 degree finder
Depth of field vs. sharpness Nov. ‘20
Angled Jan. ‘19
photography
white balance
Autofocus Aug. ‘15
22
in flight
41
Festival photography
Portraits, Indoors
Content-aware, New Aug. ‘20
different approach
Jan. ‘13
Airplane Mar. ‘16
Autofocus Apr. ‘18
safari
Clone Jul. ‘20
Borealis
eBook, how to make
Exposure compensation
Creating Art out of Motion May ‘22
Exposure, Jul. ‘13
vs. shutter speed
and white conversions
Clone Sep. ‘17
Dawn photography Feb. ‘17
Double takes Apr. ‘20
Face Apr. ‘21
Fisheye Oct. 21
fantasies
Correcting keystoning Jun. ‘21
Flash, Oct. ‘15
Composites Dec. ‘17
Jul. ‘15
Sep. ‘16
Birds in flight
Flowers
Autumn Sep. ‘20
2
African May ‘16
Auto Mar’ ‘21
Exposure, to the right
Extension tubes
photography
Depth of field confusion Jan. ‘20
sculpting
Fill flash
compensation
busy
Compositing, Jan.
Aug. ‘21 May ‘15
Shooting
Depth of field and distance Dec. ‘18
Fireworks, Jun ‘20
balancing off-camera
when it fails
Aurora Apr. ‘17
Feb. ‘22 Sep. ‘20 Sep. ‘13 Feb. ‘13
Photography
Define Pattern Sep. ‘18
priority
White Balance
Alien Jan. ‘13
Contrast vs. exposure Jul. ‘15
Depth of field and obliqueness May ‘21
Backgrounds, Nov. ‘12
Creative blurs
button focus
Depth of field Aug. ‘16
velvet
wild
Black and white solarization
lenses
challenges
Flexify Mar. ‘20
Dawn photography Jan. ‘17
photography
Dark backgrounds Nov. ‘19
Back Oct. ‘18
Eliminating people from photos Jun. ‘22
Compositing Apr. ‘19
windows
Abstracts, Mar ‘19
in soap
Aerial Jun. ‘13
‘17 Black and white with color Jan. ‘20 Blown highlights Feb. ‘18 Blue monochromes Jan. ‘22 Black Plexy Aug. ‘22 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Botanical gardens, shooting Apr. ‘22 Butterfly photography Jul. ‘14 Camera buying guidelines Dec. 21 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
landscapes
Aperture May ‘14
images
Filter forge
Bird Jun ‘19
Color
and Light
Fisheye May ‘13
focus law
Exposing for the Sep. ‘16
Autumn Sep. ‘18
Black Mar. ‘17 Sep.
3D Mar. ‘16 Mar. ‘13
ISO
Abstracts Feb. ‘15
failure
Decay photography Sep. ‘15
Flash, Dec. ‘18
Auto Nov ‘17
Dead center Jan. ‘13
Backlighting Apr. ‘16
Birefringence May ‘18 Mar. ‘16
sphere
Backlighting Oct. ‘22
Converting to black and white Mar. ‘22
Exposure Sep. ‘13
Dealing with smog Oct. ‘16
Autofocus, Apr. ‘15
Energy saving bulbs Sep. ‘14
Anatomy Jan. ‘16
sun
snow
Fisheye Feb. ‘15
Flash May ‘15
tool technique
Aerial Jan. ‘21
Birds Jan. ‘14
Exposure triangle
Depth of field, shallow Apr. ‘20
Floral
Composition, Jan. ‘15
failure
7 steps
foliage photography
the sun
Exposure Sep. ‘16 Mar. ‘21 Dec. ‘13
Green screen
photography
Negative space
HDR panoramas
Bracket Feb.
Framing
Parades
Panning motion
Macro trick
Night to Twilight
May ‘13 Aug. ‘21 Sep. ‘15 Dec. ‘16 Jan. ‘18 Sep. ‘13 Nov. ‘19 Feb. ‘21 Dec. Dec. ‘17
photography
Meters, Dec. ‘16 Jul. ‘19
Landscape Apr. ‘14
Landscape Dec. ‘12
photography
HDR, choosing the number of frames
Moon glow
Mundane to Ideal
Parallelism
Minimizing Nov. ‘21 Jan. ‘19 Jan. ‘17 Oct. ‘16 Jun. ‘17 Nov. ‘19 Mar. ‘13 Aug. ‘21 Jan. ‘16 Aug. ‘14 Jun. ‘18 Mar. ‘22 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17
Night Safaris
Bracket Feb.
HDR, realistic
Foreign Dancers, Photographing
Long Lenses for Flowers
Focus Mar. ‘17 Aug. ‘19 Oct. ‘16 Nov’ Jun. ‘13 Sep. ‘13 Jul. ‘19 May ‘17 May ‘17 Aug. ‘19 Oct. ‘16 Apr. ‘13 Jan. ‘19 Jan. ‘21 Jul. ‘20 Dec. ‘15 Jan. Apr. ‘15 Jul. ‘19 Mar. ‘13 Oct. ‘22 Feb. ‘13 Apr. ‘13 May ‘13 Jun. ‘15 Dec. ‘16 Nov ‘17 Jul. ‘18 Jun. ‘16 Jun. ‘22 Apr. ‘17 Apr. ‘14
Grunge technique
Perspective, Super Exaggeration of
dust on the sensor
Out of focus foregrounds
Focusing in the dark
Fundamental ingredients
when they fail
L ‘18
Lighting Oct. ‘13 May ‘20 Feb. ‘18 Sept/Oct. ‘19 Oct. ‘18 Jul. ‘20 May ‘15 ‘20
Fun with Food Graphic Design
Middle Nov. ‘15
Lightning photography
Macro flash
Garish imagery
fall-off
Long lens portraits
Liquify Distortions
Macro flash
Flower photography
May ‘20 Jun. ‘16 Mar. ‘18 Jan. ‘20
Focus on the eyes
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 iPhone photography, pros and cons Apr. ‘22 Jungle photography Dec. ‘14 Kaleidoscopic images Jan. ‘15 Kaleidoscopis images Aug. ‘20 Keystoning, correcting Aug. ‘15
Getting money for used gear
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Model shoot
Neutral Density filters and water
painting
Mannequin heads
Macro flash
Optical infinity
Light Feb. ‘14
High wind
Focus points
L ‘21
HDR, one photo
Light Dec. ‘21
Nov. ‘12 Sep. ‘14 Aug. ‘15 Aug. ‘22 Feb. ‘22 May ‘19 Jul. ‘21 Apr. ‘16 Nov. ‘16
Meters, Jul. ‘18
Flowers in harsh light
HDR at twilight
21 Photography to Art
22 Great subjects
gray
Neutral Density filters
Great ceilings & HDR Panos
17 Foreign models
Focus points
Fun With Christmas Lights
a face
Luminar 4 Jan.
Ground level shooting
Layer Feb. ‘22
Fun with paint
Highlights
Mosaics
Low light photography
Organization of photos
stacking
Managing soft focus
Metering situations, Impossible
Oil and water
Landscape Nov. ‘16
Noise reduction
Neon edges on black
Macro photography and DOF
Liquify
HDR, hand held
Fractals, generating
Natural Light Portraits
How They Work
Paint abstracts
Painting with light
Paint abstracts
Masks, The Power of
Freezing ultra action
Macro flash
Mirrors
Subject index for past Photo Insight issues Apr ‘21 Jul. ‘16 Dec. ‘20 Mar. ‘15 Sep. ‘20
Parallelism and DOF
Night photography
Museum photography
HDR, hand held
Fractals
Focus stacking
HDR, hand held
Pano-Mirrors with a twist
Fundamentals That Make Great Photos
Metering modes
From Terrible to Beautiful
Shooting through wire mesh
Self-critiques Nov.
Snow exposure
Topaz Simplify 4
Photoshop, multiple selections Apr. ‘16
Portrait techniques Nov. ‘15
Star photography
Photoshop, the pen tool Feb. ‘16
Ring flash versatility
Shadows, Paying Attention to Mar.
Photoshop, drop shadows Jul. ‘14
Photoshop, paste into Nov. ‘16
Travel tips
Tamron Apr. ‘14 Jan. ‘19 Mar ‘19 Jul. ‘21 Mar ‘19 Jan. ‘15 Sep. ‘17 Sep. ‘15 Oct. ‘17 Dec. ‘12 Jun. ‘14 Apr. ‘18 Nov. ‘18 Feb. ‘13 Mar. ‘14 Apr. ‘14 Jun. ‘17
150-600mm
Photoshop, b & w with color Jun. ‘14
Puppy photography Feb. ’18
Sepia and dark contrast
technique
Puppies Jan. ‘15
Stained glass
Photoshop, define patterns May ‘16
Post-processing checklist Dec. ‘13
Rule of Odds
Texture, Adding
Photoshop, creating texture Feb. ‘14
Problem with cruises Jan. ‘18
Reshaping faces
tool
Travel photographer’s guide
solutions
Photoshop, Desaturation Aug. ‘16
Smart phone photography
Shade
Self-critiques
Photoshop, open a closed door Apr. ‘17
Photoshop, liquify Mar. ‘14
Topaz AI Gigapixel
Portraits Mar. ‘13
Photoshop, digital spotlight Sep. ‘14
Portraits, mixed lighting Aug. ‘14
Shooting into the light
Silhouettes, Exposing for
Portrait options Jan. ‘19
tool
Reflections
Selective focus Jun.
Photoshop, b & w with color Feb. ‘17
Predictive Focus Sep. ‘18
Subject index for past Photo Insight issues Feb. ‘13 Oct. ‘22 ‘20 Jul. ‘21 Oct. ‘21 May ‘22 May ‘13 Jul. ‘15 Nov. ‘14 Jan. ‘21 Mar. ‘18 ‘15
Photoshop, cut and paste Nov. ‘15
Photoshop, face mirrors Aug. ‘14
Photoshop new tool May ‘20
Portrait Professional Nov. ‘19
Sky replacement
Sketch, How to Make
Photoshop, darken the periphery Dec. ‘14
Photoshop, actions palette Nov. ‘15
Seeking Cool Snow Photos
Photoshop, soft foliage Oct. ‘13
Photoshop, polar coordinates Mar. ‘15
Skies make or break a picture
Photoshop, My favorite plugins Jan. ‘20
Sunrise & sunset
Topaz Studio
Topaz glow
Photoshop, layer Feb. ‘13
Travel portraits
Photoshop, making a composite Aug. ‘16
Restoring old photos Jun
Ring flash, advantages
43
Translucency & backlighting
actions palette
Photoshop, the clone May ‘13
Photoshop, palettes May ‘17
Sensor cleaning
Topaz glow
Self-critiques
masks
Silvered landscapes
Topaz simplify 4
Photoshop, enlarge eyes Nov. ‘14
Photoshop, chrome May ‘15
Post-processing: Contrast Aug. ’17
Safari
Photoshop, face mirrors Feb. ‘14
Silhouettes
Sky replacement strategies
Photoshop, Flood plugin Apr. ‘16
Photoshop, beam of light Apr. ‘15
Problem Solving in Photoshop May ‘22
Portraits, outdoors May ‘17
Photoshop, Dec. ‘13
Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16
Snow exposure
Seeing as the lens does
Jul. ‘13 Oct. ‘13 ‘20 Jun. ‘18 Jun. ‘15 May ‘14 Jun. ‘18 ‘18 Mar. ‘14 Sept. ‘14 Jun ‘20 Jun. ‘13 Apr. ‘22 Sept/Oct. ‘19 Mar. ‘20 Jun ‘19 Aug. ‘21 Nov. ‘20 Aug. ‘22 Nov ‘17 Nov. ‘19 Jan. ‘13 May ‘19 Mar. ‘17 Jul. ‘16 Jan. ‘18 Sep. ‘14 Jan. ‘19
Problem/solution Apr. ‘17
content Aware
Stock photography
Texture Mapping in 3D
Photography Jan. ‘18
replace background
Travel photography
Photoshop, sharpening Apr. ‘16
Portraits, side lighting Sep. ‘17
Photoshop, plugins Oct. ‘15
Photoshop, Apr. ‘13
Shady side
Star photography and noise
Photoshop, mixer brush Sept. ‘14
Selective filtering
Photoshop, place one element behind Aug. ‘18
Soft light
Photoshop, geometrics Oct. ‘15
Protecting highlights Dec. ‘12
Ten reasons photos are not sharp
Safari strategies
Silhouettes, How to make
Topaz Impression
Topaz Remask 5
Photoshop, Nov. ‘12
Portraits, Lens choice Sept/Oct. ‘19
Photoshop, mirror images Dec. ‘14
Portraits, window light Mar. ‘15
Sharpness problems
Photoshop, sketch Apr. ‘13
White balance, custom Mar. ‘16
Winter photography Dec. ‘15
Wire Mesh, Shooting Through Jul. ‘18
Wildlife photos with wide angles Mar. ‘15
44
Window light Dec. ‘15
Wide angle keystoning Nov ‘17
Ultra distortion May ‘18
Wide angle lenses Jun. ‘17
Warm fingers in winter Nov. ‘15
Winter photography Nov. ‘18
Window light portraits Aug. ‘18
Window frames Feb. ‘16
Workflow May ‘13
Wide angle lenses: Outside the Box Jun. ‘22w
White balance Feb. ‘15
Wide angle conundrum May ‘19
White vignette Aug. ‘15
Water drop collisions May ‘18
White on White Dec. ‘20
When You Needed a Zoom Aug. ‘21
Subject index for past Photo Insight issues
Upside Down Reflections Aug. ‘21
Two subject focus rule Jan. ‘20
Twilight photography in the rain Apr. ‘19
What NOT to do in photography Apr. ‘18
Urban heights Jun. ‘21
Wide angle lenses Mar. ‘13
Wide angle portraits Nov. ‘14
Tripods Mar. ‘18
Two subject sharp rule May ‘14
Two subject focus rule Jun. ‘21
Winter bones May ‘13
Winter photography Dec. ‘12
orchids in the
Exotic Garden
by the Bay, Singapore
PHOTO Editedemail:©AllpublishedINSIGHTS®byJimZuckermanrightsreservedJimZuckerman2022photos@jimzuckerman.comby:DonaldMoore