Jim Zuckerman’s
PH OTO I N S I G HTS September/October 2019
Exposing for silhouettes Lens choice for portraits Liquify Distortions Photo tours Student showcase Ask Jim Subject index
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4. Exposing for silhouettes 12. Lens choice for portraits 18. Ebooks 23. What’s wrong with this picture? 25. Short and Sweet 26. Ask Jim 27. Photo tours 28. Liquify abstractions 31. Student showcase 37. Back issues 42. Subject index for Photo Insights 2
On the cover: A lion cub playing with a bush, Maasai Mara Conservancy, Kenya. On this page: A giraffe mother and newborn calf, Maasai Mara Conservancy, Kenya.
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have been writing and publishing this monthly eMagazine since November, 2012. This month is the first time I’ve combined two months -- September and October. I have four photo tours back to back starting on August 29 (the Oregon Coast, Normandy/Burgundy, Uzbekistan/Kyrgyzstan, and Russia), and I arrive home after the last tour on October 10 (probably incoherent!). So, I simply didn’t have enough time to prepare an October issue. I write each issue over the course of about three days, and it’s impossible to devote concentrated time to make this publication happen while I’m on the road leading tours. After all, there are only 24 hours in the day, and a few of those hours have to be reserved for sleep. Everyone on my tours expresses their amazement at my travel schedule saying, “I don’t know how you do it.” Well, I don’t know how I do it, either, but I do. After all these years, I still have the passion for taking pictures, interacting with foreign cultures, and being creative with Photoshop. That’s what drives me. At some point, though, our bodies wear out and our energy level diminishes, and that’s going to signal my retirement. Having said that, on my lavender photo tour last July, I had a lady who is 88 years old. She did everything the rest of the group did, although sometimes with a helping hand. What an inspiration! I am 71 years old now, and I can only hope to have her energy, mental acuity, and fortitude as I get older. I’ve imagined retiring at 75 or 76, but like everyone with a passion, all it takes is for me to see a great picture on Instagram or Facebook from some far corner of the earth. I then think, ‘I have go there and photograph that.’ So, who knows when I’ll stay home for more than a month or two. The hardest part for me is leaving my dogs and one cat because they don’t understand why I’m gone so often. That ultimately may be the deciding factor for me in choosing a retirement date. Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com 3
EXPOSING FOR SILHOUETTES
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t every sunrise and sunset during my photo tour to Kenya last month, our drivers positioned us to take advantage of a strong silhouetted subject. We looked for a nicely shaped tree, an animal with a great shape, vultures roosting at the top of an acacia tree, etc. At the beginning of the tour, one of the clients asked me how to expose for a silhouette. It’s a simple question, but the answer is not simple at all. This is how I answered her: “Do you want the silhouetted subject to be so underexposed that it’s black, or do you want it to be imbued with an orange glow (like the
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impala, below)? What lens will be you using? A super telephoto lens makes the sun huge in the frame, while a wide angle lens renders it small. That impacts the exposure. Do you want complete detail in both the foreground and the background? Is your exposure mode set to spot, or something else like matrix or evaluative?” I then went on to explain the various approaches depending on what the final outcome would be. Let’s look at each of the scenarios and determine which is the best approach that will produce the exposure you envision. If you are not sure what you want, try several of these techniques so you
I used a 500mm telephoto for the shot of the impala on the previous page resulting in a huge sun with a large influence on exposure. For the tree silhouette above and the tower below, I used a 24mm wide angle. This made the sun very small, thus it has minimal effect on the exposure.
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can decide later which one you like. 1. Black silhouette with little or no detail. A very bright background juxtaposed with a much darker foreground subject must first be observed in order to create a silhouette. You can’t create a silhouette of a person under a blue sky background at 3 o’clock in the afternoon. No amount of exposure manipulation at can produce a silhouette at mid-day. Because meters are programmed to read middle tones, composing a picture with a very bright sky means the meter will automatically reduce the brightness in an attempt to make the image middle-toned. In the process of doing that,
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the subject becomes significantly underexposed, thus a silhouette. In the picture below, I didn’t make any camera adjustments to the exposure. I shot normally, and the exposure meter did the rest. However, there are two important factors to note here. First, the sun is in the center of the frame. Second, I used a telephoto for this picture; therefore, the sun is much larger. The meter was heavily influenced by the very bright sun and this further guaranteed the silhouetted foreground objects to show no detail. In the picture on the next page, the sun is very small because I used a wide angle lens,
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and, additionally, it’s composed well below center. Therefore, it has very little influence on the meter reading. More significant to the exposure is the glow in the sky. Still, it’s not possible to predict exactly how the silhouette will look in this kind of situation. The only way to get what you want is to take a picture, look at the LCD screen and, if necessary, tweak the exposure with the exposure compensation feature in 1/3 f/stop increments. For more detail in the foreground, use the plus numbers: +2/3, +1, etc. To eliminate detail in the subject and to capture a solid black silhouette, use the minus numbers. In a picture where the foreground subject is so large it dominates most of the frame including the all-important center (where the meter takes most of its information in determining an exposure), you don’t get a silhouette at all. The
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meter reads the large subject -- like the elephant below -- and makes a middle toned rendition of it. The sky, then, becomes overexposed. There are two solutions for this problem. First, you can point the camera at the sky only, take a reading, lock the reading in place, recompose with the large subject, and shoot. Or, you can simply take a shot, study the LCD screen, and use the exposure compensation to tweak the exposure to taste. This assumes you have the time to do that. 2. The silhouetted subject takes on a partial orange or yellow-orange glow. This occurs when using a long lens and the sun is very large in the frame. In addition, the subject has to be positioned very close to the sun or in front of it such that the sun isn’t completely
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covered from the camera’s point of view. The precise exposure is impossible to predetermine because there are too many unknowns -- like how large the sun is, how close it is to the center of the frame, how much of it is obscured, and are there any clouds that cross the sun. So, the only way to ascertain whether or not the colors and the exposure are exactly what you want is to look at the picture on the LCD and tweak the exposure from there, as I did for the images on page 9. 3. Holding detail in the foreground as well as the background with a perfect exposure. The picture of the white horses of the Camargue below (taken during my workshop in southern France), isn’t technically a silhouette. However, the same kind of lighting conditions create the traditional silhou-
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ette in which the foreground subjects are black with no detail. There are two ways to obtain this kind of picture. You can use the HDR technique, but this only applies to subjects or scenes with no movement. For the landscape at Bryce Canyon, Utah, on the next page, I took five bracketed images and stacked them in Photoshop to produce an image with a perfect exposure in the sky as well as in the foreground. The second way to capture detail throughout the image in a silhouette type of situation is to shoot when the sun is either touching the horizon or very close to it. The thickened atmosphere, or the partial obscuring of the sun by the horizon, diminishes the sun’s light, thus reducing contrast between the sunlit elements and those portions of the image still in shadow. That’s how I captured
the image of the horses. If there is fog, mist, or thin low clouds further reducing the intensity of the direct light source and thereby reducing the contrast as well, you’ll have no problem holding detail throughout the image. The landscape shot above I took at Bryce Canyon is an example where shooting into the sun doesn’t produce a silhouette at all because of the thin clouds and the fact that the bottom portion of the sun is blocked by the distant mesa. Because there was no wind and nothing was moving, I was able to use a 5-frame HDR bracketed sequence to insure retension of detail throughout the composition. Eye protection During the solar eclipse two years ago in the United States, much discussion occurred
about protecting your eyes as you watched the dramatic celestial event. The sun passed overhead at mid-day when it was the most intense, and protecting your eyes was critically important. This is especially true if you were shooting the eclipse with a telephoto lens because the sun’s brightness was magnified many times. When the sun is touching the horizon line, or or when it’s very low in the sky, eye protection isn’t necessary because the light level is diminished by the thick atmosphere. This is true even when using a super telephoto. However, five minutes after sunrise and up to five minutes before sunset, it’s important to guard your eyes from possible damage. The only exception is when a wide angle lens is used because the sun appears so small. With long lenses, though, don’t look at the sun for more than one or two seconds; else, you may risk eye damage. §
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Lens Choices for Portraits P
eople who travel with me on my photo tours invariably ask me, in any given situation, what lens they should use. During the tour to Kenya last month, that same question arose when we visited a Masai village. I answered hesitatingly because there are many factors involved. Sure, I could easily say bring a mid-range lens like a 24-70mm or a 70-200mm, but the truth is there are many ways to shoot portraits and I have no idea what a client wants to capture; in fact, he or she may like a variety of styles and will want to try several. To cover all the bases, I advised bringing a wide angle, a mid-range lens, and a longer telephoto.
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Using an Africa village as an example, the kind of portraits I look for are: 1. Environmental. I usually use a wide angle lens for this -- from 14mm to 24mm. However, if the subjects are relatively far away -- say more than 30 feet -- I may use a medium telephoto lens. I used a 105mm focal length for the picture below of Masai tribesman in their environment. For the Samburu men at the bottom of the next page, I used a 16mm focal length. Environmental portraits are challenging because, in essence, there are two subjects: the person in the foreground and landscape behind
them. Both have to be analyzed as to their photogenic qualities, and then the combination of the two elements has to be considered. One of my favorite portrait techniques is to use a wide angle lens close to the subject, as I did below, because the distortion that results makes the subject close to the camera disproportionately large compared to the background. This is a dynamic way to photograph people. 2. Head and torso. I’ve included three examples of this type of portrait in this article. The picture at right and the two shots on the next page all show a simple and unobtrusive background such that all of the attention is directed on the subject. This is the easiest type of portrait to do, and a telephoto lens is best. The longer the focal length, the more out of focus the background becomes unless the subject is pos-
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MOROCCO PHOTO TOUR October 18 - 31, 2020 Exotic culture
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Camel train at sunset
Blue City
Great portraits
POST-PROCESSING online course by Jim Zuckerman
Learn how to process your images to give them visual impact. You will be introduced to Photoshop techniques that go beyond what you see and even beyond what you can imagine. This four-week course is invaluable to making your pictures look as good as the photographs you envy! You will receive detailed critiques on the images you submit for every lesson. The great thing about online courses is that they can fit into any schedule. Life gets in the way at times, and Jim puts no limit on the time you can submit your work for his critiques. CLICK ON THIS PHOTO to read more about the course.
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ing up against the background as in the image of the young man with the lion headdress on the top of page 13.
woman, also from Ethiopia, below right. I photographed her with a 170mm focal length on a 70-200mm lens.
Long telephoto lenses -- say 300mm and longer -- are advantageous because there is a distance of several feet between you and the subject. This tends to make subjects relax for more honest and natural expressions. In addition, the compression that results from telephoto lenses flattens the features of a face which usually is considered ideal.
3. Candid portraits. Candid pictures, where the subject(s) is not aware of being photographed, are best done with long lenses. You have to wait for the person to interact naturally with someone else or they just aren’t aware of your presence. Even a brief moment is enough to capture a candid look. Once the subject sees you pointing the camera, it’s no longer candid.
When I was learning photography many years ago, the best portrait lenses were considered to be 105mm and 135mm. This is still true, but I also like very much using a 400mm lens as I did in capturing the Karo boy from Ethiopia, below left. Notice how soft the background is compared to the elements behind the Mursi
The picture at the bottom of page 20 is totally candid. I used (believe it or not) a 500mm f/4 Canon lens, and I was standing about 50 feet from the Masai couple. This is a huge lens for portraiture -- and it’s the only time I’ve done this -- but the advantage is the distance from the subjects and the extreme compression. The
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UPCOMING PHOTO WORKSHOPS Carnival in Venice Workshop Outrageous costumes in a medieval environment! Venice is great to visit and photograph any time, but during Carnival it’s magical. There is nothing like it anywhere in the world. Exotic masks, stunning colors, classic images.
Feb. 14 - 20, 2020
Snowy owls workshop Stunning pictures of snowy owls in flight. Up close and personal encounters with owls in the wild. Based near Toronto, Canada.
January 20-23, 2020
Photoshop Workshop The setting is in my home, and in this two day workshop you’ll learn enough to be truly dangerous in Photoshop! How to replace a sky, how to fix all kinds of photographic problems in your pictures, how to handle blown highlights, how to be incredibly creative . . . and more.
October 19 - 20, 2019
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Expand your photographic artistry with
eBooks
Click on any ebook to see inside
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eBooks continued Click on any ebook to see inside
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background is the sky starting to turn orange as sunset approached. As soon as this woman saw me, she dropped her hand and that destroyed the graphic design. For the candid shot of the goat herder at right, I used a 400mm focal length (a 70-200mm plus a 1.4x teleconverter). 4. Super Closeups. For extreme closeup portraits, a close-focusing telephoto lens is best. This will give you a comfortable working distance between the camera and the subject. If your telephoto lens won’t focus closely, then you will need an extension tube placed between the lens and the camera body. The most important consideration in doing these kinds of portraits is depth of field. Because of the protrusion of the forehead and nose, it’s very easy to focus quickly and for-
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get that faces have depth. Some people have sunken eyes, some have protruding noses and lips, while others have foreheads that are not on the same plane as other facial features. In addition, jewelry and other forms of adornment require complete depth of field. You don’t want any part of the face or the facial decoration to be out of focus. Small lens apertures are very important. Depending on the lens you’re using and the lensto-subject distance, I would recommend an aperture of at least f/11. I prefer f/16, however, to make sure the eyes, the tip of the nose, the eyebrows, and the mouth are all sharp. If you need additional depth of field, then back up a couple of feet and re-focus. You may have to crop the picture later to get the tight composition you want, but at least everything will be sharp. Don’t compromise on sharpness. § 21
CUBA PHOTO TOUR October 22 - 31, 2019
Classic cars Great portraits Crumbling colonial architecture Fabulous color
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What’s wrong with this picture?
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he lighting in this picture isn’t ideal. I took it in the late morning when the sun was fairly high, but that’s not the biggest problem. I shot this with a 500mm plus a 1.4x teleconverter, giving me 700mm of focal length. Even though I used a relatively small lens aperture -- f/14 -- the middle cheetah isn’t sharp due to the shallow depth of field resulting from such a long lens. The three cats were on different planes. The middle animal was approximately 20 inches further away from the camera than its friends. There are three subjects here, and they all need to be in focus. Back when we all shot film, this was acceptable simply because we had no choice. Now we do have a choice, and to me this isn’t acceptable at all. On the following page you can see all three cats are sharp. The solution to this problem isn’t difficult, but it does require two critical things: 1) First 23
you have to recognize at the time of shooting there is a problem to be addressed, and 2) you have to take the requisite shots to make the result ideal. When I say ‘take the requisite shots’, that means the only way to overcome the limitations of optics in this situation was to take two pictures. The cheetahs on the far left and far right were about on the same plane, and they were both sharp in the original capture. After taking the first picture, I quickly refocused on the middle cheetah and took another picture before it had time to move. Then, after I got home, I opened both images on my desktop at the same time. The shot with the middle cheetah sharp was my beginning point. I used the clone tool, clicked on the middle cat’s right eye (our right) and then activated the other picture where the left and right side cheetahs were sharp. I then cloned from one image to another, starting on the right eye, covering the out of focus cat with the sharp version. In this way, all three cheetahs are sharp as they should be. § 24
SHORT AND SWEET 1. The old adage that you shouldn’t put the main sub-
2. When the sun is virtually touching the horizon,
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4. Dancers are often best photographed up close with
ject in the middle of the frame is sometimes true, but much of the time it is not true. This is especially the case with symmetrical subjects. Placing these kinds of subjects in the middle of a composition underscores that symmetry and looks great.
With pictures involving texture like this mass of boats in Morocco, complete depth of field is essential. The last thing you want are elements in the foreground or backgound that are not sharp. When using a telephoto lens, a small aperture may not give you enough DOF. The solution, then, is focus stacking.
contrast is reduced and soft sidelighting is among the most beautiful types of light in nature. With this kind of reduced contrast, it is easy to hold detail in both the shadows and the highlights. This makes arriving at a perfect exposure very easy.
a wide angle lens. I used a 24mm focal length for these Masai dancers. The key is getting closer than you feel comfortable getting. I was about 3 or 4 feet from the foreground tribesman. The diminishing perspective is one of the things that makes this image work. §
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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 . . .Is too much noise in a picture always bad?
Ernest Woodruff, Livonia, Michigan
A:
When we all shot film in the past, many photographers used certain types of films to increase the amount of grain. There also were grain textures we used when making prints, especially in black and white. The ‘grainy look’ was considered artistic. However, this artistry does not translate to noise in the digital realm. I would say too much noise is always bad and no one likes it. §
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Partial list of Photography Tours 2019 - 2021 CUBA Oct. 2019
CARNIVAL IN VENICE Feb. 2020
SRI LANKA Nov. 2019
SNOWY OWLS Jan. 2020
SPAIN/PORTUGAL Mar. 2020
HOLLAND/BELGIUM Apr. 2020
PERU NATURE Sept. 2020
MOROCCO Oct. 2020
INDIA & HOLI FESTIVAL Mar. 2020
LAVENDER in FRANCE July 2020
POLAR BEARS Nov. 2020
ETHIOPIA Mar. 2021
For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
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Liquify Abstractions
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f you like to create abstract images, Photoshop’s liquify command is amazing. You access it with the pulldown menu command: Filter > liquify. A dialog box opens (shown at the top of the next page) in which a new tool palette is seen at the far left. The top tool -- the foreward warp tool -- is what I used to create the image below and the picture at the bottom of the next page. You start the procedure by adjusting the size of the tool. You can do this in the liquify dialog box or by using the keyboard shortcut -- the left bracket key
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makes the brush smaller; the right bracket key makes it larger. Then it’s a simple matter of pushing the color with the tool. A smaller tool makes fine adjustments and it retains detail and form
more than a larger tool. For the picture of an abandoned house, below, I used a large tool size.
If you make a mess of things and want to start over, there is a button in the lower right corner of the dialog box labeled ‘Restore all’. Click this and the image reverts back to the original. §
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Sri Lanka Photo Tour November 8 - 18, 2019
Great culture • Incredible temples • Wildlife • Village life • Landscapes
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Student Showcase Each month, Jim features one student who took beautiful and inspiring images on one or more of his photography tours or workshops. It’s really fascinating how photographers see and compose such different images even though we may go to the same places. Everyone gets great photographs on Jim’s trips.
Claude le Tien, San Diego, California Photo workshop Carnival in Venice.
© 2019 Claude le Tien
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Student Showcase, continued
Š 2019 Claude le Tien
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Student Showcase, continued
Š 2019 Claude le Tien
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Student Showcase, continued
Š 2019 Claude le Tien
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POLAR BEARS! November 7 - 14, 2020
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun., October 19 - 20, 2019
Photoshop is a photographer’s best friend, and the creative possibilities are absolutely endless. In a personal and ‘homey’ environment (I have a very cool classroom setup in my home), I start at the beginning -- assuming you know nothing -- but I quickly get into layers, cutting and pasting, plug-ins, using ‘grunge’ textures, replacing backgrounds, using layer masks, blend modes, adding a moon, and a lot more. I promise to fill your head with so many great techniques that you won’t believe what you’ll be able to do. I go over each technique several times to make sure you understand and can remember it. Photoshop instructors approach teaching this program from different points of view. My approach is to be as expansive in my thinking as possible in creating unique, artistic, and compelling images. In addition to showing you how to use the various tools, pulldown menus, layers, and so on, I spend a lot of time giving you
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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 Abstracts, Shooting Mar ‘19 Aerial photography Jun. ‘13 African safari May ‘16 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 Angled perspectives Jan. ‘19 Aperture vs. shutter speed May ‘14 Aperture priority Sept. ‘14 Aurora Borealis Apr. ‘17 Auto white balance Dec. ‘13 Autofocus, when it fails Apr. ‘15 Autofocus failure Aug. ‘15 Autofocus failure Jan. ‘17 Autofocus challenges Apr. ‘18 Auto ISO Nov ‘17 Autumn Foliage Sep. ‘18 Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Bird Photography Jun ‘19 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Blown highlights Feb. ‘18 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 Camera setting priorities Jun. ‘17 Capturing lightning Jun. ‘13 Catchlights Jul. ‘16 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Chromatic aberration May ‘13 Chrome Dec. ‘18 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Composites and Light Dec. ‘17 Compositing images Apr. ‘19 Composition, different approach Jan. ‘15 Contrast vs. exposure Jul. ‘15 Creating a star field Jan. ‘14 Creating a Sketch Dec. ‘17 Creative blurs Jan. ‘14 Dawn photography Dawn photography Day for Night Dead center Dealing with smog
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Jan. ‘17 Feb. ‘17 Oct. ‘18 Jan. ‘13 Oct. ‘16
Decay photography Define Pattern Depth of field Depth of field and distance Drop shadows Dust, Minimizing
Sep. ‘15 Sep. ‘18 Aug. ‘16 Dec. ‘18 Apr. ‘19 Aug. ‘19
eBook, how to make Jan. ‘13 Embedded in Ice Oct. 17 Energy saving bulbs Sep. ‘14 Exposing for the sun Sep. ‘16 Exposure, the sun Jul. ‘13 Exposure technique Sep. ‘13 Exposure, snow Jan. ‘14 Exposure triangle Nov. ‘14 Exposure, to the right Apr. ‘15 Exposure compensation Sep. ‘16 Extension tubes Dec. ‘13 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 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 Garish imagery Great subjects Great ceilings & HDR Panos Green screen Grunge technique
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 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13
Subject index for past Photo Insight issues 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 Jan. ‘15 Keystoning, correcting Aug. ‘15 L Bracket Feb. ‘18 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 Liquify Feb. ‘18 Liquify Distortions Sept/Oct. ‘19 Long lens portraits Oct. ‘18 Low light photography May ‘15 Macro flash Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Macro trick May ‘19 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meter, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Museum photography Mar. ‘13 Negative space Neon edges on black Neutral Density filters Night photography Night Safaris Night to Twilight Noise reduction
Jan. ‘16 Aug. ‘14 Jun. ‘18 Feb. ‘14 Jun. ‘18 Dec. ‘17 Feb. ‘17
Optical infinity Organization of photos
Jun. ‘16 Mar. ‘18
Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Photography to Art Dec. ‘17 Photography solutions Jan. ‘18 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique Apr. ‘13 Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13
Photoshop, the clone tool May ‘13 Photoshop, soft foliage Oct. ‘13 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Photoshop, drop shadows Jul. ‘14 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Photoshop, liquify Mar. ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14 Photoshop, enlarge eyes Nov. ‘14 Photoshop, darken the periphery Dec. ‘14 Photoshop, mirror images Dec. ‘14 Photoshop, beam of light Apr. ‘15 Photoshop, polar coordinates Mar. ‘15 Photoshop, chrome May ‘15 Photoshop, actions palette Nov. ‘15 Photoshop, cut and paste Nov. ‘15 Photoshop, geometrics Oct. ‘15 Photoshop, plugins Oct. ‘15 Photoshop, multiple selections Apr. ‘16 Photoshop, sharpening Apr. ‘16 Photoshop, Flood plugin Apr. ‘16 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Photoshop, place one element behind Aug. ‘18 Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portraits, 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 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
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Subject index for past Photo Insight issues 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 Silhouettes, Exposing for Sept/Oct. ‘19 Sketch, How to Make Jun ‘19 Snow exposure Nov ‘17 Soft light Jan. ‘13 Smart phone photography May ‘19 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 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 Topaz AI Gigapixel Mar ‘19 Topaz glow Jan. ‘15 Topaz glow Sep. ‘17 Topaz Impression Sep. ‘15 Topaz Remask 5 Oct. ‘17 Topaz Simplify 4 Dec. ‘12 Topaz simplify 4 Jun. ‘14 Topaz Studio Apr. ‘18 Translucency & backlighting Nov. ‘18 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Twilight photography in the rain Apr. ‘19 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Ultra distortion
May ‘18
Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 White vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 Wide angle conundrum May ‘19 Wide angle lenses Mar. ‘13 Wide angle portraits Nov. ‘14 Wide angle lenses Jun. ‘17 Wide angle keystoning Nov ‘17 Wildlife photos with wide angles Mar. ‘15 Window light Dec. ‘15 Window light portraits Aug. ‘18 Window frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Winter photography Nov. ‘18 Wire Mesh, Shooting Through Jul. ‘18 Workflow May ‘13
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PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2019 email: photos@jimzuckerman.com snail mail address: P.O. Box 7, Arrington, TN 37014
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