Jim Zuckerman’s
PH OTO I N S I G HTS April 2019
Compositing images Drop shadows Twilight photography in the rain Photo tours Student showcase Ask Jim
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4. 12. 20. 25. 28. 29. 30. 32. 38. 42.
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Compositing images Twilight photography in the rain Drop shadows 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 portrait of model Joyce Pitassi on San Giorgio Island during Carnival in Venice. This page: A composite of a male snowy owl with the moon.
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Jim with Princey at 6 weeks
uring my recent photo workshop in Venice and my side trip to Norway, the airlines threw me two new curve balls. Their stated carry-on limit was 10 kilos -- 22 pounds -- but this included both carry-ons. I always believed the weight limit (usually 7 or 8 kilos or about 16 pounds) was per piece. For a photographer who divides equipment between two carry-ons to avoid having to check in gear, this is bad news. We are always going to be over the limit, and most airline employees at check-in will insist you check the heavy pieces with all of the rest of the regular luggage. The second problem was that some of my lenses were in a small, bright orange feminine roller my wife had. It didn’t look heavy at all -- it didn’t even look like it was related to photography -- but the check-in lady wanted to weigh even that. She justified her actions by saying how strict the airline is (Norwegian Air in this case). The issue isn’t damage. We can pack gear in cases that can virtually withstand a nuclear bomb explosion (well, maybe I’m exaggerating a little), but what if you are going on safari that starts in Nairobi, Kenya, and your equipment, it’s discovered, was sent to Dubai or Johannesburg? By the time the mistake is dealt with, you could be halfway through the safari with no camera. Even if you are completely insured, you can’t buy time. It’s the time and the opportunities that are gone forever.
So, my new strategy is to distribute my gear in a photo vest with large pockets before I go to the check-in counter. I even temporarily take the L-bracket off my camera to make it smaller. They never weigh what you are wearing. Not yet. If I’m going to a cold climate, I also wear a winter parka with large pockets for lenses or a mirrorless camara body. Then all my carry-on bags will pass their weight restrictions. If I have a 500mm, I put it in a relatively small case with nothing else. That will pass. I ‘wear’ most of my other gear until I get on the plane, having successfully past my last encounter with ground personel. Then I put it all back into my empty photo backpack which has been on my back. I hate playing these stupid games and violating the rules of the airlines, but years ago we never had such oppressive and restrictive rules. There’s no reason why we do today. The airline companies are doing everything they can think of to make our experience of flying stressful, unhappy, and uncomfortable. Mark my words: Sometime in the near future we’ll see pay toilets on planes! Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com
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Compositing Images
f you are a photojournalist, or someone who only wants to capture what you see without any digital manipulation, don’t read this article. However, if you consider yourself a photo artist where the sky is the limit when it comes to your creativity, read on. Three possible reasons exist to combine photographic images. Perhaps you may embrace only one. Personally, I embrace them all. I started combining images in the summer of 1969 (slides then) six months after I’d purchased my first camera. I have never stopped. 1. To improve an image with a natural-looking composite. In the picture below of a large and
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remarkable aluminum sculpture in Scotland called The Kelpies, I replaced a solid blue sky with storm clouds. This added drama and visual impact. I did the same thing with the picture above
of an incredible festival in Indonesia. In the original background, the sky was white and a few modern and unattractive buildings were in the background. The gray clouds changed the image from what everyone else was photographing to ideal. Another example of improving an image with compositing is the macro shot of the poison dart frog, below, taken during one of my semi-annual frog and reptile workshops in St. Louis. I used a ring flash for the picture and, in the original capture, you can clearly see the reflection in the eye of the circular flash. This looked terrible. So, when I got home, I took a closeup picture of my dog’s eye when we were outdoors. The reflection revealed some trees and a portion of sky behind me. I then selected the outdoor reflection and pasted it in the frog’s eye, creating a much more natural looking catchlight.
You know very well that in so many circumstances, we can’t have what we want when we’re taking pictures. We now have the software tools to remedy a large percentage of these issues. 2. To overcome the limitations of optics and digital sensors. I’ve written about this before, but I feel it’s such an important topic in creating strong images, it bears repeating. Our eyebrain combination is more capable than our cameras in dealing with contrast and depth of field. We can detect detail in highlights and shadows way beyond the scope of a sensor, and we never see shallow depth of field. Everything we perceive with our eyes is sharp. If you want to duplicate these in a photograph in situations where complete depth of field would be impossible, Photoshop can do that. It’s simply a matter of choosing an appropriate background.
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I photographed a snowy owl during my recent annual workshop in Canada in front of this sky with a 100-400mm Canon zoom. The sky was considerably out of focus due to the shallow depth of field inherent in long lenses. Out of focus backgrounds are often great. They focus all the attention on the subject and provide distraction-free backgrounds. In this case, though, I wanted to show the beautiful sky and give a sense of environment. So, after photographing the bird, I refocused on the sky and took a shot. The two images were combined to produce what I could see. Because of the limitations of optics, it was impossible to capture this with a single image. I used a 100-400mm zoom to capture the anhinga in the Pantanal region of Brazil, right, then used a 24-105mm lens to capture 6
a sharp background. Similarly, for the picture of the caracal, next page, in Namibia, I also used the 100-400mm. As expected, the clouds were out of focus. After taking a second picture of the sky in sharp focus, I used Topaz Remask 5 to composite the
This composite shows the use of two different focal lengths working together.
clouds and the cat together, creating an image not possible with telephoto lens, even when set to the smallest aperture like, f/32. 3. To create artistic images. When you learn to composite images, you can create any kind of reality. You can make images suitable for hanging in art galleries; moreover, you can express your feelings and view of the world in limitless ways. I have thousands of such images. To give you a sense of what I’m talking about, I’ve included a few composites here that are very different from each other so you can see the breadth of possibilities. The image at right shows a display window in a shop in Venice, Italy. A mannequin was wrapped in aluminum foil, so I replaced the mannequin’s face with a model’s face then added a wild background. The abstraction I
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used here is a fractal I created in a fractal-generating program. For the portrait of my wife, right, I simply composited her image with a forest of bare trees, using a 16mm wide angle lens pointing straight up at the sky. By adjusting the opacity of the layer, I could tweak the image until it looked good to me. The composite below is a shot from a commercial aircraft of sun rays penetrating clouds at 35,000 feet. The ethereal form is incense smoke. I simply took two images of it, flipped one of them horizontally, thereby making a mirror reflection. Unexpectedly, this created an angle-like figure, and I thought the sunrays were perfect the spiritual image. On the next page, the gray-toned image is a
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composite of a mannequin head, columns from Roman ruins, and a ‘star field’ I created by sprinkling glitter on black velvet then photographing it with a star filter. Note the use of opacity and how the stars are seen through the mannequin. Everytime you paste one picture into another, you can use the opacity slider within the layers palette to do this.
The composite below illustrates, again, how effective great backgrounds are. This is a 1932 ‘Blue Train’ Bentley. I photographed it in a car show amid other cars, lots of people, vendors, etc. As beautiful as the car is, the background ruined the shot but, when compositing the car with trees, the image is now worthy of hanging in a gallery. Matching the light One of the most important considerations in making realistic composites is the lighting. The light on the foreground subject must match the light on the background if you want the final result to be believable. You can see this clearly in the 1932 Bentley, below, in which the lighting on both parts of the image is the same. The diffused light illuminated the misty forest as well as the car, and the col-
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or of the light matches perfectly. The same is true for the composite of the Paris peacock butterfly, above, originally photographed in the diffused light of an overcast day. Therefore, the new background I chose had to appear exactly the same. The selection Besides the lighting, what makes or breaks a composite is how well you select the subject. In the case of the butterfly, you can see the antennae have been carefully cut out along with the insect’s body and wings. This level of precision is necessary to make the combination of the two (or more) images believable. It’s very important to eliminate the colors from the original background so they are not seen in the final composite. 10
The most accurate and precise tool in Photoshop for making selections is the pen tool (this can’t be done in Lightroom). This tool is also the slowest -- meaning, it takes time to make a precise selection. The results are worth it, though. It is very easy to use if you follow the steps I’ve outlined in the February 2016 issue of Photo Insights. You can access that issue by clicking on its cover, available in the Past Issues section on this issue, page 39. I also use the quick selection tool in Photoshop when the edges of the subject are clean and the contrast between subject and background is well defined. The photo from Morocco on the next page is a composite and, in this case, I selected the model with the quick selection tool. Notice that the lighting on the model and the background is the same. §
MOROCCO PHOTO TOUR October 18 - 31, 2020 Exotic culture
Camel train at sunset
Blue City
Great portraits
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Twilight Photography in the rain M
ost photographers put away their cameras when it rains. That’s understandable. After all, photography is supposed to be fun, and who wants to get wet? And doesn’t rain damage expensive camera equipment? If it’s pouring raining, I don’t go out, either. But in a light drizzle, photography in urban areas can be especially beautiful after the sun goes down. Twilight and night photography are always great because of the combinations of color, the dramatic contrast, and the effects of long exposures.
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During or after a light rain, though, the pictures are even more striking. My favorite picture of the Eiffel Tower, for example, is below. I took this in a misty drizzle, and the reflections in the pavement plus the way the lights are smeared due to the inclement weather make this especially beautiful. Similarly, the cobblestoned street in Bergen, Norway, on the next page is a much more appealing image than if the street and sidewalks had been dry. Admittedly, rainy weather -- especially when it’s a cold rain
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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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-- doesn’t make people want to leave a warm, dry interior and run outside to take pictures. But if that’s where the great pictures are, serious photographers disregard creature comforts in exchange for the best images possible. Rain gear The most important thing when shooting in the rain is keeping dry. If you get wet and cold, the experience will be miserable and you’ll probably give up. You may also get sick. So, make sure you wear a raincoat that covers most of your body. Additionally, a rain hat is necessary to keep your head and face dry. It’s difficult to see clearly in a viewfinder if water is running down your face. Waterproof boots enable you to walk through puddles and position yourself in certain loca-
tions that you’d otherwise avoids and, if cold, waterproof gloves become essential. Protecting your equipment Most cameras today are sealed quite well and can handle light precipitation. Still, it’s unnerving to see an expensive piece of electronic equipment getting wet. I’ve tried rain-proof covers like the one Think Tank makes (click HERE to see it), and they definitely keep the camera dry. Personally, I find these protective covers bulky and cumbersome. What I now use is a piece of Saran Wrap, one for the body and one for the lens. This type of ultra thin plastic is easy to carry in a camera backpack because it essentially has no weight or volume, and it clings to the camera in such a way as to keep the equipment dry and allows easy access to all the controls. It’s not perfect, but it does the job. kinds of smudges in post-processing. I also
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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
Frog and Reptile workshop Close-up encounters with poison dart frogs (which are not poisonous in captivity) and exotic reptiles. This is a macro workshop held in St. Louis, Missouri. Everyone is guaranteed amazing pictures!
June 8 - 9, 2019
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.
May 4 - 5, 2019
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use this cloth to wipe any water from the camera body and the barrel of the lens. Condensation If you are shooting in the summer, humidity can be very high. That means if you step outside from an airconditioned home, car, or hotel room, moisture will condense on the glass elements of the lens (both inside and outside), on the mirror in the camera, on the viewfinder, and even on the digital sensor. Once this happens, you can’t wipe away the moisture and take clear pictures. It’s just a matter of patiently waiting until the moisture evaporates. Therefore, acclimate your equipment to the ambient temperature for at least 20 minutes before shooting. This also happens in cold weather when the gear has been warmed indoors. §
You should also use a lens hood for each lens when shooting in the rain. This helps keep the front glass element dry. Wide angle lens hoods are not as protective from the rain as lens hoods for telephotos, though. I usually don’t use a hood for my lenses when I’m in the field because the extra items in my backpack take up too much space, and changing lenses is slower when you have to put away the hoods every time. For rain (or snow), however, the lens hoods are essential. It’s also really important to carry a microfiber cloth. Waterdrops will inevitably get on the lens, and these should be removed. It’s often very difficult to clone out those 17
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Drop Shadows E
verything casts a shadow. Even insects. With something as small as an insect, the shadow is very subtle and easily overlooked, but it’s there. When you composite images, therefore, the result will only be believable if the element being placed into a new background has a shadow. The costumed Venetian model below, for example, has a long, full gown that would naturally cast a shadow on the stairs. Even though the light from the various windows was diffused, there would still be a shadow. In pasting
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the model into the staircase photo, I created the shadow to make this creation as believable as possible. On the next page I show before and after versions of a composite of an Amazon milk frog taken at my semi-annual frog and reptile workshop. The top photo doesn’t have a shadow and, as you can see, it doesn’t look real. The frog appears to be ‘pasted’ on top of the floral background. The lower photo has a very subtle but discernable shadow around it. This one addition
makes a huge difference. Now the frog appears to be actually climbing up the plant. Drop shadow command There is more than one way to make a shadow in Photoshop. One of the easiest is using the drop shadow command found at the buttom of the layers pallete.
Edit > paste. You’ve now created a layer. Make sure the layers palette is showing and active. The screen capture on page 22, upper right, shows the pulldown menu after clicking the fx icon (blue arrow). Notice the last item, drop shadow, and you will only see this option when the layers palette is activated. This is the gateway to creating realistic composites.
The first step is to paste an object into a background photo. You must first make a selection of that object, copy the selection to the clipboard with Edit > copy, and then click on the background photo and hit
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When you select drop shadow, a new dialog box opens, shown below, and you will immediately see a drop shadow around the pasted-in subject. It may not be the one you want, so you can adjust it in various ways. The drop shadows you see in this article, and the ones that look best to me, were done by choosing multiply in the blend mode submenu (red arrow) below. After this has been chosen, you need to rotate the angle (yellow arrow), depending on which way you want to suggest the subject was illuminated. The drop shadow is placed 180 degrees from the direction of the pointer. If the pointer is moved to point straight up, for example, the shadow will show beneath the subject at the 6 o’clock position if we use a clock as reference. Note, even though you change the angle of the shadow, it remains connected to the subject. I’ll explain in a moment how to move it independently of the subject. Other useful controls are opacity (green arrow) and
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the group of three commands: distance, spread, and size (magenta arrow). These change the opacity, softness, and size of the shadow. It’s just a matter of experimenting with each one to see how it affects the image. You may not know what you’ll like until you see it. When a drop shadow is first created behind the subject, it is centered on that subject. In other words, the shadow extends equally from all around the edge of the subject. To make the light look directional and thus show the shadow off to one side, you can disengage the shadow from the subject and then move it. Once the drop shadow is created, go to Layer > layer style > create layer. A dialog box will open that says “Some aspects of the Effects cannot be reproduced with layers!” Just click OK to proceed.
In the layers palette, you will now see three layers: 1) the background layer, 2) the subject layer with the drop shadow, and 3) the new layer you just made. When you choose the move tool, you can now move the drop shadow independently of the subject. This means you can position it on the left or right sides or at the bottom or top of the subject, suggesting the light was coming from an angle. In the composite below, I added the palm tree and a model’s legs with flippers. The shadow of the boat on the sand is real, but the shadow of the tree trunk and the flippers are drop shadows. Notice how I moved the shadows to the left, and how I adjusted the opacity and the distance from the subjects to look as real as possible. §
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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?
I
took this shot of a Surma tribesman in Ethiopia. If you enlarge the picture on your computer, tablet, or smart phone, you can see that the tip of the nose as well as the surface of the eye and most of the surrounding skin around the eye isn’t tack sharp. This is unacceptable and, in my opinion, it ruins the picture. It’s not a problem if the sides of the face become soft -- in other words, depth of field fall off -- but in this kind of portrait the eyes, nose, and the entire front surface of the face must be sharp. My settings for this shot were 1/125, f/8, and 500 ISO. I used a 100-400mm lens at the 400mm setting. The problem was I didn’t have enough depth of field. To solve that issue, there were three things I could have done: 1) use a smaller lens aperture, 2) move back from the subject, and/or 3) use a shorter focal length. Each one of these would have increased the depth of field. Moving back from the subject would then necessitate cropping if you wanted a tight composition like this, but this would be preferrable to the eyes and nose being out of focus. 25
My settings for this portrait were 1/200, f/16, and ISO 1000. I used the same 100-400mm lens at 400mm, and as you can see everything is tack sharp. There is a significant difference between f/8 and f/16 -- the latter providing a lot more depth of field. I had more light for this shot, and that helped me use the f/16 aperture without raising the ISO very high. My point, though, is this picture is sharp in all the important places -- the eyes, the nose, the design on the forehead, the front part of the cheeks, and the top of this woman’s lips. It’s very easy to be so excited about the subject or scene in front of you that you forget to pay attention to the camera’s controls. It takes just a second or two to glance at the shutter speed, f/stop, and ISO to determine if this is what you want. With all the automation modern cameras offer, we as photographers can be seduced into thinking we don’t have to think! I admit this happens to me, too. That’s why the picture on the previous page isn’t perfect. 26
New eBook! The definitive guide to photographing wildlife and birds Equipment
Birds in flight
Winter photography
Exposure
Much more
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SHORT AND SWEET 1. The only way to hold detail in the morning sky as
2. I have three collections, or sub-themes, that run
well as in the front of the costumed models, who are at least 3 f/stops darker, is to balance the exposure between the two elements. Then, in Lightroom or ACR, lighten the dark portions of the image with the shadows slider and darken the sky with the highlights slider.
through my nature pictures: blue in nature, albino animals, and white on white. This baby snub-nosed monkey was a great addition to my ‘blue’ collection. Doing this can help you pursue compelling subjects and build great collections of images.
3. Sometimes the best shots of cities are taken from
4. With landscape photography, side lighting is one of
vantages you never thought of or didn’t have access to. I took this picture of Los Angeles in the 90’s from the top of a building west of downtown. I made friends with the manager, and he let me go to the roof for a few minutes to shoot. Don’t be shy about asking.
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the best case scenarios. It brings out pronounced texture, creates dramatic shadows, and makes the colors seem like they are more saturated than in reality. I took this shot in the Escalante area near Page, Arizona, after a rain. Notice the rich texture. §
ASK JIM
Every month, Jim will answer a question from his online students, from people who participate in his tours and workshops, or from subscribers to this magazine. If you have a question you’d like Jim to answer, please drop him a note at photos@jimzuckerman.com.
Q: Jim . . .I’ve never used the content aware feature in Photoshop. Is it possible to eliminate the partial
horse on the left [below left] using this technology? It obviously ruins this shot. It seems like there isn’t enough background area to use. Megan Holmes, Little Rock, Arkansas
A: Content aware will not work in this instance. Your assessment is correct, though. There isn’t enough
of the background from which the content aware software can borrow to replace the dark brown horse. I tried, though, knowing it was a long shot. But I was right. The content aware technology pulled some of the information from the light horse, and of course that isn’t what you’d want. I did, however, take your picture and repair it [below right] to show you it’s quite possible. I did this using only the clone tool. I did it in three parts. 1) I cloned from the out of focus rock cliff to cover up the top portion of the dark horse just above the horizon line, 2) I then cloned from the snowy grass area in the lower right to replace the bottom portion of the dark horse just below the left horizon, and 3) I used the juncture between the snow-covered grass and the rock face in the lower right to build a new horizon left of the horse.§
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Partial list of Photography Tours 2019 - 2021 NORMANDY/BURGUNDY Sept. 2019
UZBEKISTAN & KYRGYZSTAN Sept. 2019
RUSSIA Oct. 2019
CUBA Oct. 2019
SPAIN/PORTUGAL Mar. 2020
HOLLAND/BELGIUM Apr. 2020
AUSTRIA/DOLOMITES May 2020
INDONESIA Summer 2020
PERU NATURE Sept. 2020
MOROCCO Oct. 2020
POLAR BEARS Nov. 2020
ETHIOPIA Mar. 2021
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For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
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.
Kerry Boytell, Sydney, Australia White horses of the Camargue photo tour, Ethiopia photo tour, Venice photo workshop.
© 2019 Kerry Boytell
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Student Showcase, continued
© 2019 Kerry Boytell
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Student Showcase, continued
© 2019 Kerry Boytell
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Student Showcase, continued
© 2019 Kerry Boytell
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AUSTRIA-DOLOMITES PHOTO TOUR May 4 - 13, 2020
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun., May 4 - 5, 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
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 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 Decay photography Define Pattern
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Jan. ‘17 Feb. ‘17 Oct. ‘18 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18
Depth of field Depth of field and distance Drop shadows
Aug. ‘16 Dec. ‘18 Apr. ‘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 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 Fundamentals That Make Great Photos Jan. ‘19 Garish imagery Great subjects Green screen Grunge technique
Dec. ‘15 Apr. ‘15 Mar. ‘13 Feb. ‘13
HDR, one photo Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR, hand held Nov ‘17 HDR, hand held Jul. ‘18 HDR panoramas Jun. ‘16 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 Image resizing Aug. ‘18 Implying motion Sept.‘14 Impossible DOF Feb. ‘16 Impossible DOF Jan. ‘17 Indestructible camera bag Dec. ‘14 Infrared photography Jul. ‘14 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17
Subject index for past Photo Insight issues 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 Long lens portraits Oct. ‘18 Low light photography May ‘15 Macro flash Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meter, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Middle gray Nov. ‘15 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, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Silhouettes Jun. ‘13 Snow exposure Nov ‘17 Soft light Jan. ‘13 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Sunrise & sunset Jan. ‘19
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Subject index for past Photo Insight issues 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 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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The boudoir shoot, Venice, Italy
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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