Jim Zuckerman’s
PH OTO I N S I G HTS September 2017
Portraits: Subtle sidelighting Black and white solarizations Surrealism with Topaz Glow Fixing a clone tool issue Photo tours Ask Jim Student showcase
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4. 10. 15. 16. 23. 25. 26. 27. 29. 35. 38. 22
Portraits: Subtle sidelighting Black and white solarization Fixing a clone tool issue Topaz glow What’s wrong with this picture? Short and Sweet Ask Jim Photo tours Student showcase Back issues Subject index for Photo Insights
On the cover: A young girl in the 12th century Inn Dein ruins near Inle Lake, Burma. This page: A Komodo dragon with an attitude on Komodo Island, Indonesia.
Some thoughts on photographing
THE GREAT AMERICAN ECLIPSE
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have known about and have been waiting for the August 21st eclipse for about four years. The path of totality comes right through Nashville, Tennesse, where I live. I’m leaving for my Kazakhstan photography tour two hours after the eclipse, so I’ll be photographing it from the top of the parking structure at the airport. Not an ideal location, but the bigger concern is clouds. We’ll see. It’s looking good right now. I photographed an eclipse 40 years ago with film and didn’t do a very good job. In fact, I threw the pictures away. We didn’t have the advantage back then of the immediate feedback of our exposures on an liquid crystal display, but now we do. So, in terms of exposure, it’s a simple matter of taking a picture, looking at the results, and then adjusting the shutter speed and/or lens aperture until you like the results. I would shoot on manual exposure mode. Keep in mind that depth of field is not relevant (unless you are including a foreground) so there is no need for a small lens aperture except to control exposure. Don’t dilly-dally, though. You only have a short time to get the exposure right. If the sky is clear, I suggest two types of shots. When the moon is completely covering the sun, use your longest telephoto to get a tight shot of the glow around the moon. Then, use a wider angle lens (like a 24mm to 35mm) to include much more of the sky. Hopefully, if you are in a location where there are no clouds, you will be able to see stars. I think it would look great to see the moon-covered sun off center with a starry sky. Use a tripod for sure. Pre-focus on the sun or anything far enough away to be at infinity and then switch to manual focus. In the dark, when the sun is covered, your autofocus won’t work well because there may not be enough contrast for the AF system to function. First and foremost, you must protect your eyes. Don’t stare at even a partially covered sun. For the partial eclipse, a many-f/stop ND filter is very useful, but once the sun is covered, take it off. Depending on where you are located, you will have between two and two and a half minutes when the sun is totally covered. I would start with an ISO of, say, 200, but during totality, I’m guessing 1250 would be good choice. This is an educated guess, however. Constantly check the LCD monitor to see what your exposures are doing and tweak accordingly. Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com
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PORTRAIT LIGHTING TECHNIQUE subtle sidelighting
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earning to see in photography is sort of a funny thing. Something can be right in front of your nose and you don’t even notice it until it’s pointed out. This could be anything -- a tree growing out of someone’s head, unattractive powerlines, bad shadows, slouched shoulders, harsh light, out of focus foregrounds, and the list goes on. One of the most important things to notice when you photograph people -- besides their expression and the background -- is how the subject’s face is illuminated. The traditional methods that have stood the test of time are: front light, side light, backlight, and a 3/4, or 45 degree, light (i.e. Rembrandt lighting). The angle of the light is crucial, but so is the intensity of the light. A case in point are the
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pictures in this article. All of them show the lighting coming from the side, but notice how subtle the difference is between the shadowed side of the face and the highlighted side. Subtle sidelighting is one of the most beautiful types of illumination for portraits. It doesn’t matter if you shoot in the studio, as I did in photographing the small red headed boy on the previous page, or if the ambient light is natural when photographing outdoors. In the studio, you have total control over the light output with diffusers, power adjustments, and changing the distance from the flash to the subject. With natural light, there are also methods you can employ to create this type of light. For example, choosing the time of day is a big factor. The Indian boy at right was illuminated by sunset lighting just minutes before the sun went below the horizon. We can see full detail in the side of his face away from the sun. Had
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I photographed him an hour earlier, the light would have been too contrasy and those shadows would be black or close to it. I photographed the woman on the previous page in a breezeway using the ambient light in this tunnel-like passageway in Agra, India. She was closer to one side of the tunnel than the other which meant that the left side of her face (our left) was slightly brighter than the right side by about 1/3 f/stop. That small difference increased the dimension and depth of her face and made the end result a lot more interesting than had she been lit with flat frontal light. The Samburu girl from Kenya at right has similar subtle sidelight. The right side of her face (our right) was angled to receive light from the brightest part of the sky, and again that created depth and made the portrait more compelling. This kind of subtlety in portraiture is easily overlooked, but it’s something to be aware of. The portrait on page 7 as well as the one of the
ETHIOPIA PHOTO TOUR January, 2019
Primitive cultures Early Christian art Volcanos Beautiful birds
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LEARNING TO SEE online course by Jim Zuckerman
The ability to ‘see photographically’, to really grasp how your camera and lenses capture a subject or scene (which is different than how we see with our eyes) underlies successful picture taking. It is the bottom line that you’ve been looking for to take that quantum leap forward in your photography. The great thing about online courses is that they can fit into any schedule. Life gets in the way at times, and Jim puts no limit on the time you can submit your work for his critiques. CLICK THIS PAGE to read more about this course.
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young Korean girl at right were both done in a studio (the Korean girl was actually photographed in my garage set up like a studio), and I controlled the artificial light sources to produce subtle sidelight. For the beautiful model in the studio, I used a softbox which was placed close to her for maximum diffusion. I was able to turn the power down to make the lighting ratio -- the difference between light and shadow on her face and body --minimal. The lighting on the Korean girl’s face came from a cheap photoflood (a $10 reflector purchased at Home Depot) that held a 100 watt light bulb). I simply clamped the reflector to the back of a chair and I adjusted the light intensity by moving the light source closer to and farther from the girl until I liked the light ratio on her face. The Balinese dancer, below, posed for me outdoors in front of a piece of black velvet I’d brought with me for the purpose of taking
a dramatic portrait like this. By angling the model in such a way that one side of her face received light from the brightest part of the sky, I was able to capture the very subtle sidelighting that most photographers don’t equate with overcast lighting conditions. Over the years, photography taught me to really see subtleties in light. When I first started shooting seriously, I would have been completely oblivious to how faces are lit, to the depth and dimension on a face, and to the exposure ratio between the highlights and the shadows. Armed with this information now, portraits I now take are a lot more artistic and intriguing than they would be otherwise. You now have this awareness, too. As you photograph people, pay close attention to how the light is falling on their face. If it’s not quite right, ask your subject to move if shooting outdoors, or simply adjust the artificial lights if shooting indoors until you are happy with the results. § 9
Black and White
SOLARIZATION T
he technique of solarization (also called the Sabatier effect) comes from the darkroom. It was discovered by accident in the 19th century when a negative was inadvertently exposed to a secondary light source during development. The result was startling, and photographers have been experimenting with solarization ever since. When film or paper is solarized, there is a partial reversal of tonalities. Some of the areas that should be positive become, instead, negative. In addition, there is a further character-
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istic effect in which the boundaries between highlights and shadows exhibit thin white lines called Mackie lines. When a print is made from a negative showing Mackie lines, the white lines become black. Solarization can be duplicated to a remarkable degree with one of the Nik Color Efex Pro 4 filters. It is called Solarization, and it produces images very similar to what we used to make in the darkroom. In the digital realm, though, we have much more control and we can see in real time the changes we make to the original
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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. 1 - 8, 2018
Frog & Reptile Workshop Close-up encounters with poison dart frogs and exotic reptiles such as chameleons, geckos, snakes, and more in St. Louis, Missouri. This is a macro workshop in which everyone consistently gets amazing pictures.
March 24 - 25, 2018
Photoshop workshop The setting is in my home, and in this two day workshop 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.
Nov. 11 - 12, 2017 10
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photograph. Solarization in the darkroom was trial and error . . . and lots of errors. The second exposure to the negative or paper print had to be exactly timed during development, and the amount of light was critical. You never knew what you had until the chemical development was finished, and more likely than not you had to try again. With the Nik filter, it’s a piece of cake. The technique Open a photo in Photoshop. Even though this is a black and white technique, there is no need to convert the image at this time to black and white. 1. Choose Filter > Nik Collection > Color Efex Pro 4. If you don’t have the collection of Nik filters, it is a free download from Google. Note, though, that Google is no longer supporting the Nik filters, which means that in subsequent years as new operating systems are developed, the Nik software may
Interior of a spectacular hotel used during my Morocco photo tour.
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Mannequin head photographed through a store window and solarized.
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not work. At this time, though, there should be no problem. 2. In the left hand column of filter choices, choose Solarization. 3. A small dialog box in the upper right corner appears. Click ‘method’ and see the pulldown choices (red arrow in the screen capture on page 12). Go to the black and white options, and choose one you like. Not all of the presets produce a solarized look, and not all photographs work well with this technique. However, I discovered that if a picture doesn’t look completely solarized with the first attempt, solarize it again and most likely it will look great. The easiest way to do this is to use the ‘add filter’ function (green arrow at right), and then go through the solarization process a second time. You can tweak the image and experiment with
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different looks by using the ‘elapsed time’ slider. The positive and negative areas of the image change dramatically. §
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Turning Off An Annoyance with the Clone Tool
hen you first install Photoshop, one of the default settings for the clone tool is shown at right. When you clone something, such as the top portion of the red tree, there is a moving image inside the tool to show you the area of the photo from where you are cloning the pixels. As you move the clone tool, that image constantly changes. I find that to be extremely distracting and annoying. If you do as well, there is a simple fix where you can turn this feature off.
When the clone tool is selected in the tools palette, a small icon appears in the upper left portion of the tool bar (yellow circle, below).
When you click this icon, that opens a small dialog box seen at left. When you uncheck the box next to ‘show overlay’ (magenta arrow), the clone tool will be free of this annoying, moving visual inside the clone tool icon. In the screen capture of the top of the red tree above, notice that the clone tool icon is a circle. If your icon looks different and you like the precision of this circle so you can see the exact area where the clone tool is working, go into Photoshop preferences, choose ‘cursors’, and under Painting Cursors and Other Cursors, select ‘precise’ and ‘precise’ . § 1515
Artistic Embellishment Topaz Glow
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ne of the coolest filters I use is Glow from Topaz. I loved it when it first came out, and now Topaz has come out with Glow 2. This expands the ways you can abstract an image, and in just a few seconds you can produce artistic pictures that look just like drawings or paintings.
Glow and Glow 2 are very easy to use. You will recognize most of the controls in the dialog box as they are similar to other plugins you already own, although the sliders don’t really give you an idea of what they do. Slider names like Electrify, Edge color, and Glow strength seem cryptic enough, so it’s just a matter of experimenting with all of them to see what appeals to you.
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To access the presets, which is what I do with every image because it’s so simple, click on the sideways chevron (red arrow in the screen capture on the next page). You will now see a long
list of very cool presets. With a pulldown tab just above the preset images (green arrow at right), you can categorize the types of presets shown to you such as Fantasy, Fur and Feathers, Neon, and Afterglow, or you can simply scroll down the entire list and see all the presets. There are lots of variations of the original photograph you’ll see, and you can choose one that you like by clicking on it. If you hover the cursor over one of the presets, you will be presented with an icon with horizontal arrows in it (magenta arrow at right). If you click this, a large dialog box opens and you can customize the preset image by experimenting with the various sliders. Choosing a picture that works Not all photographs are suitable for this technique. Don’t select an image that has a tremendous amout of intricate detail. If it’s the detail in
Presets that show you numerous creative options in Topaz Glow and Glow 2.
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Expand your photographic artistry with
eBooks
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eBooks continued Click on any ebook to see inside
Fantasy Nudes is in production and is coming soon 19 19
the shot that makes the photograph sucessful, it most likely won’t work with glow because, as you can see, virtually all the detail in these images is obliterated in the abstraction that the software creates. Instead, choose pictures with strong graphic shapes and bold lines. Choose subjects that are immediately recognizable because of their familiar shapes, such as the tiger below and the lion on the following page as well as the truck and horses on page 16. All four of these subjects could be abstracted even more than you see here and we would still be able to recognize them. The bench at right, also, is easily recognizable no matter how embellished I make it. If you are going for a complete abstraction where all you’re left with is color and form, that’s fine, but after a while that gets old. It
seems to me that being able to identify the subject, and see it in such a unique and artistic rendition, is the benefit of this technique. The amazing thing about this plugin and so many others is that if an artist were to create images like this, it would take him or her days to do it. We can create these remarkable and artistic images in, literally, seconds. §
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PHOTO TOUR to BURMA Nov. 26 - Dec. 5, 2018
Awesome ruins Great portraiture Fascinating culture Super friendly people
Leg rower at sunset, Inle Lake
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What’s wrong with this picture?
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he thing that’s wrong with this picture isn’t prominent, and it doesn’t make or break the image. However, it’s annoying to me and it needs to be removed.
Just below the sconce there is a black wall switch, and for some reason it keeps drawing my eye and moving my focus from the costumed model on the bed to the switch. It needs to be removed, and in the version on the next page you can see that the picture is improved with its removal. This is one of the bedrooms in the hotel I use for my Venice workshop. I bring a model into the room and everyone in my group gets fantatic shots. The beautifully adorned walls consist of fabric with a thin padding beneath it, characteristic of classic Venetian decor. Because of the pattern of the fabric, 23
the cloning technique to eliminate the wall switch had to carefully thought out. It’s not a straight forward procedure. Look beneath the sconce and you’ll see two shapes roughly in the design of a tear drop. The switch was located at the bottom portion of the tear drop shape on the right. To clone it out and still maintain the integrity of the pattern, I held down the option key on a Mac (or the alt key on a PC) and clicked on the bottom of the left hand tear drop design. That establishes the precise point from where the clone tool will copy pixels. Let’s call this the establishing point. Then, I began cloning starting from the bottom part of the right hand tear drop design, trying to match the starting point of the cloning with the establishing point. The result is perfect, with no indication the wall pattern has been altered at all. §
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SHORT AND SWEET 1.
2.
Colors often need to be saturated to bring them back from the original digital capture to what we see. You can saturate individual colors in the hue/saturation dialog box. Pull down the submenu called ‘Master’. Choose a color and move the saturation slider.
Slow shutter speeds can be used in a variety of situations when there are moving objects. This is a paddlewheel on a 19th century replica of a steamship on the Cumberland River in Nashville, Tennessee. I used a shutter of 1/15th of a second.
3. A white vignette around certain types of pictures,
4. Blue tones look great with black and white images.
such as this portrait of a model in a 19th century dress, adds an ethereal, dreamy effect. You can do this in-camera by making a 1 1/2 to 2 inch hole in a piece of white computer paper and shooting through it. Use a large lens aperture for shallow depth of field.
Make sure the mode is RGB, not grayscale (Image > mode > RGB color), and then choose Image > adjustments > color balance. In this dialog box, adjust the blue and the cyan sliders to choose the monochrome tone you like. §
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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 know you replace backgrounds a lot to make your pictures better. I took this picture in a bird
park, and I was able to eliminate the wire mesh in front of me by using a telephoto lens and a large aperture for shallow depth of field. Is it possible to replace the background here and make it look natural? Alicia Dunn, Birmingham, Michigan
A:
It would be fairly easy to replace the entire background with, say, out of focus foliage from another picture. The problem you’ll have, though, is the blown out highlight on the tail feathers. While the bird was in deep shade, a beam of sunlight hit those feathers and the contrast was too much for the digital sensor to handle. Unfortunately, there are no other feathers on the bird you can use to clone from to cover up those blown highlights. The only possibility would be if you had another shot at roughly the same angle in which the tail feathers are completely in shade. Then you could cut and paste the shaded feathers over the sunlit feathers, and with some Photoshop finesse you could make it work. You should also lighten the shadow portions of the bird and increase the color saturation especially on the breast and neck. §
© Alicia Dunn
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Photography Tours 2017 - 2019 TUSCANY/CINQUE TERRA Oct. 2017
SNOWY OWLS Jan. 2018
CARNIVAL IN VENICE Feb. 2018
NEW ZEALAND Apr. 2018
WHITE HORSES, FRANCE May 2018
LAVENDER FIELDS, FRANCE July. 2018
INDONESIA WILDLIFE Aug. 2018
GRIZZLIES in CANADA Sep. 2018
THE PANTANAL, BRAZIL Nov. 2018
ETHIOPIA Jan. 2019
OREGON COAST Aug. 2019
UZBEKISTAN & KYRGYZSTAN Sept. 2019
For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
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South Africa & Namibia photo safari April 25 - May 9, 2018
Awesome wildlife exotic birds monster dunes ancient trees
Deadvlei, Namib-Naukluft National Park, Namibia
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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.
Sally McGuire, Decatur, Illinois Photoshop workshop, Palouse workshop
© 2017 Sally McGuire
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Student Showcase, continued
© 2017 Sally McGuire
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Student Showcase, continued
© 2017 Sally McGuire
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Student Showcase, continued
© 2017 Sally McGuire
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WILD INDONESIA PHOTO TOUR August 27 - 31, 2018
Wild orangutan, Kalimantan, Indonesian Borneo
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun., November 11 - 12, 2017
Photoshop is a photographer’s best friend, and the creative possibilities are absolutely endless -- like replacing the background behind this 1947 Delahaye 135M. In a personal and ‘homey’ environment (I have a very cool classroom setup in my home), I start at the beginning -- assuming you know nothing -- but I quickly get into layers, cutting and pasting, plug-ins, using ‘grunge’ textures, modifying lighting, replacing backgrounds, using layer masks, blend modes, adding a moon, and a lot more. I promise to fill your head with so many great techniques that you won’t believe what you’ll be able to do. I go over each technique several times to make sure you understand it and can remember it. Photoshop instructors approach teaching this program from different points of view. My approach is to be as expansive in my thinking as possible in creating unique, artistic, and compelling images. In addition to showing you how to use the various tools,
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pull down menus, layers, and so on, I spend a lot of time giving you creative ideas that will inspire you to produce amazing images with the pictures you’ve already taken. I live in the Nashville, Tennessee area, and if you fly into the airport (BNA) I will pick you up. If you drive, I’ll give you my address and you can find my home on Mapquest or with a GPS. For the $450 fee, I include one dinner in my home (prepared by my wife who is an amazing cook and hostess) and two lunches, plus shuttling you back and forth from my home to your nearby hotel. Contact me if you would like to participate in the workshop and I will tell you how to sign up (photos@jimzuckerman.com). All you need is a laptop and a lot of your pictures. If you don’t have a laptop, I have two Mac Book Pro laptops I can loan out for the duration of the workshop. §
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• Topaz Glow • A different approach to composition • Photographing puppies • Kaleidoscopic images • Online photo course • Student showcase • Photo tours
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Subject index for past Photo Insight issues 1/3 focus law 3D sphere 90 degree finder Abstracts in soap Aerial photography African safari Airplane windows Alien landscapes Anatomy of 8 photographs Aperture vs. shutter speed Aperture priority Aurora Borealis Auto white balance Autofocus, when it fails Autofocus failure Autofocus failure
Jul. ‘15 Mar. ‘16 Mar. ‘13 Feb. ‘15 Jun. ‘13 May ‘16 Mar. ‘16 Jan. ‘13 Jan. ‘16 May ‘14 Sept. ‘14 Apr. ‘17 Dec. ‘13 Apr. ‘15 Aug. ‘15 Jan. ‘17
Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birds in flight Mar. ‘16 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 Camera setting priorities Jun. ‘17 Capturing lightning Jun. ‘13 Catchlights Jul. ‘16 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Chromatic aberration May ‘13 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Composition, different approach Jan. ‘15 Contrast vs. exposure Jul. ‘15 Creating a star field Jan. ‘14 Creative blurs Jan. ‘14 Dawn photography Dawn photography Dead center Dealing with smog Decay photography Depth of field
Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Aug. ‘16
eBook, how to make Jan. ‘13 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
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Fireworks Jul. ‘13 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 Flat art Sep. ‘16 Flowers May ‘15 Flowers in harsh light Jul. ‘16 Focus points Mar. ‘15 Focus stacking Mar. ‘17 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Framing May ‘17 Freezing ultra action May ‘17 Fun with paint Oct. ‘16 Fundamental ingredients Apr. ‘13 Garish imagery Great subjects Green screen Grunge technique
Dec. ‘15 Apr. ‘15 Mar. ‘13 Feb. ‘13
HDR, one photo Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR panoramas Jun. ‘16 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 Implying motion Sept.‘14 Impossible DOF Feb. ‘16 Impossible DOF Jan. ‘17 Indestructible camera bag Dec. ‘14 Infrared photography Jul. ‘14 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17 Jungle photography
Dec. ‘14
Kaleidoscopic images Keystoning, correcting
Jan. ‘15 Aug. ‘15
Landscape photography Landscape photography Landscape photography Light fall-off Lighting a face Low light photography Macro flash Macro flash Macro flash Mannequin heads Metering modes Meters, when they fail Middle gray Model shoot
Dec. ‘12 Apr. ‘14 Nov. ‘16 Feb. ‘14 Oct. ‘13 May ‘15 Nov. ‘12 Sep. ‘14 Aug. ‘15 Apr. ‘16 Nov. ‘16 Dec. ‘16 Nov. ‘15 Jan. ‘17
Subject index for past Photo Insight issues
continued
Moon glow Oct. ‘16 Mosaics Jun. ‘17 Museum photography Mar. ‘13 Negative space Neon edges on black Night photography Noise reduction
Jan. ‘16 Aug. ‘14 Feb. ‘14 Feb. ‘17
Optical infinity
Jun. ‘16
Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Parades Sep. ‘13 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique Apr. ‘13 Photoshop, replace background Apr. ‘13 Photoshop, actions palette Dec. ‘13 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13 Photoshop, soft foliage Oct. ‘13 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Photoshop, drop shadows Jul. ‘14 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Photoshop, liquify Mar. ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14 Photoshop, enlarge eyes Nov. ‘14 Photoshop, darken the periphery Dec. ‘14 Photoshop, mirror images Dec. ‘14 Photoshop, beam of light Apr. ‘15 Photoshop, polar coordinates Mar. ‘15 Photoshop, chrome May ‘15 Photoshop, actions palette Nov. ‘15 Photoshop, cut and paste Nov. ‘15 Photoshop, geometrics Oct. ‘15 Photoshop, plugins Oct. ‘15 Photoshop, multiple selections Apr. ‘16 Photoshop, sharpening Apr. ‘16 Photoshop, Flood plugin Apr. ‘16 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Photoshop, the pen tool Feb. ‘16 Photoshop, canvas size Jan. ‘16 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Photoshop, paste into Nov. ‘16 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Problem/solution Apr. ‘17 Protecting highlights Dec. ‘12 Puppies Jan. ‘15
Reflections Feb. ‘13 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Silhouettes Jun. ‘13 Soft light Jan. ‘13 Stained glass Mar. ‘17 Star photography Jul. ‘16 Stock photography Sep. ‘14 Tamron 150-600mm Topaz Simplify 4 Topaz simplify 4 Topaz glow Topaz glow Topaz Impression Travel photography Travel portraits Travel tips Travel photographer’s guide Two subject sharp rule
Apr. ‘14 Dec. ‘12 Jun. ‘14 Jan. ‘15 Sep. ‘17 Sep. ‘15 Feb. ‘13 Mar. ‘14 Apr. ‘14 Jun. ‘17 May ‘14
Warm fingers in winter Nov. ‘15 White vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 Wide angle lenses Mar. ‘13 Wide angle portraits Nov. ‘14 Wide angle lenses Jun. ‘17 Wildlife photos with wide angles Mar. ‘15 Window light Dec. ‘15 Window frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Workflow May ‘13
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PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2017 email: photos@jimzuckerman.com mail address: P.O. Box 7, Arrington, TN 37014
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Singapore
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