Jim Zuckerman’s
PH OTO I N S I G HTS August 2018
Window light portraits Automate resizing images How to place one element behind Photo tours Ask Jim Student showcase 1
4. 10. 15. 20. 22. 23. 24. 26. 32. 36. 222
Window light portraits Sizing photos vertical and horizontal Place one element behind another 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: The ruins of St. Andrews Cathedral, Scotland, with a model composited into the frame. This page: A wild caiman in the Pantanal region of Brazil.
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he demise of stock photography as a great income source for so many photographers occurred for several reasons. The main driving force, though, that changed everything was the ability to immediately see what you shot on the LCD screen on the back of the camera. More than anything else, this was the reason so many photographers had to rethink their career. Why? Because when we all shot film, we really had to know what you were doing with respect to exposure. Even though meters were accurate, in many situations like snow, mixed lighting, and extreme contrast, a photographer had to override the meter and take control. If the film was either over- or underexposed, the pictures were not marketable and, being pre-digital, definitely not fixable. Professional photographers had a skill set that gave them an advantage over millions of amateurs in terms of taking salable pictures. The epicenter of that skill set was being able to consistently take accurate exposures. Today, though, with smart phones and sophisticated dSLRs, we can see exactly what we are shooting in the moment. If the LCD display shows the image to be too light or too dark, we can tweak the results immediately to produce perfect results without understanding exposure, the concept of middle gray, and the problems of contrast. This means literally everyone can take perfectly exposed pictures all the time and in every situation which, in turn, means that the competition for the market has suddenly increased exponentially. Most uses of photos, from websites to magazine covers to calendars, don’t require ultra high resolution imagery to look good. Printing technology is amazing today, allowing smart phones with a 12 megapixel sensor to produce images for a large majority of the photography market. Stock photographers used to compete with thousands of others; now it’s hundreds of millions. Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com 3
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WINDOW LIGHT PORTRAITS
hotographers spend a lot of money on studio lights to take fine portraits. I have also done that. Wonderful images can certainly be created with multiple flash setups in which you calculate light ratios and experiment with various types of light-controlling devices like umbrellas, soft boxes, barn doors, focusing grids, and so on. For portraits, though, my favorite lighting technique is free, available in every home, and it’s the easiest to use. It’s window light: The light streaming into a room from outdoors through a window. All of the portraits in this article were taken with only one light source: window light. Notice that the quality of the light differs in each image. That means window light has different looks de-
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pending on several factors. These are: 1. The angle of the subject’s face and body to the light, and the angle of the camera to the subject. The angle from which light strikes a face defines texture and shadows. Sidelighting brings out the most texture possible. In the portrait of a man in Patagonia, below left, you can see that I used the light to emphasize his weathered face. I asked him to turn his head in such a way that the light grazed the side of his face toward me, and I positioned myself so the camera would capture that. Similarly, for the shot of the long-necked Burmese woman, below right, I asked her to
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face the window and then I photographed her from the side. The texture you see on her skin is only because of the shooting angle. Had I moved in front of her to shoot, the front light would have produced a very different image. 2. The distance of the subject to the window. The closer the subject is to the window, the softer the light will be. The window acts as a large soft box, in essence, and it wraps the subject in soft light. As the distance increases between them, the window approaches a point source of light and becomes more contrasty. 3. How much ambient light there is in the room. You can see in the portrait of the Himba woman I photographed in Namibia, right, the shadows on her face are very dark. The small doorway (which was the size of a large window and the only opening in the mud structure) illuminated one side of her face while the shadows went almost black. Compare this to the portrait of the longnecked woman whose face doesn’t have dark shadows at all. That occured because behind me was a doorway allowing additional light into the room and filling in the shadows on her face. The more ambient light in the room, the less contrast you’ll have. In some cases, window light portraits look great with contrast. I think the portrait of the Himba woman and the man from Patagonia demonstrate this. 4. The possibility that diffusion material might be covering the window, such as sheer white curtains. 6
Depending on the subject and your taste, you may want the light to be completely diffused at other times. The portrait on page five is a good example of this. I took the portrait of the beautiful young lady on page five as she stood in front of a window with a sheer white curtain softening the light, and I positioned myself so her face was being frontally lit. The result is shadowless lighting. Sheer curtains like you see in the Venetian portrait of a costumed model taken during my Venice workshop (next page) provide exceptionally beautiful light. In this case, I included the entire window as well as some of the floor, but I did so only because I felt the architecture and the decor
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added something special to the portrait. Notice how the light on the model’s costume and mask is beautifully diffused. 5. Whether the sun is shining outdoors or if there a cloud cover, thus diffusing the light. Bright sunlight outside definitely affects the contrast on the person being photographed by the window. Even if that sunlight is not shining directly onto the face, contrast increases. If you are looking for soft, flattering light, as in the portrait below, choose a day with a cloud cover or when the sun is low enough in the sky so it isn’t a factor. Other considerations If you are using a relatively modern window as your light source, don’t include any of the frame, the sill, or the scene outside in the shot.
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There are exeptions to every rule, but this is a good guideline to follow. Any of these elements will be distracting and unattractive. They will take attention away from the portrait subject. In most cases, a dark, muted, or black background behind the subject is ideal. That forces all of the attention on exactly where you want it -- the person being photographed. In the portrait below, I used a piece of black velvet as the background. In the three shots on pages four and five, there were shadows behind the subjects. If you want to show the ambience of the room, but don’t want a dark background, choose carefully the elements behind the subject. If something is too light, or too graphic, it will most likely be distracting, and you’ll wish you had noticed it at the time of shooting. §
LAVENDER FIELDS! July 2 to 9, 2019 Spectacular fields of purple
Quaint French villages
Unique landscapes
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Automating Image Resizing
Vertical vs. Horizontal T
o change the size of an image for emailing purposes, for uploading to a website, and for posting on Facebook or Instagram, the Photoshop pull down menu command that most photographers use is Image > image size. In the dialog box that opens, you must fill in the new height and width dimensions as well as the resolution and then click OK. This is fine if you are resizing one photo at a time. However, if you want to automate this so you can quickly resize dozens of images in quick succession with the touch of a button, use the Actions palette. Let me outline the procedure for you, and I’ll explain why you shouldn’t use Image > image size as part of the sequence. There is a better approach. If your actions palette isn’t open in Photoshop, go to Window > actions. If you’ve not used this palette before, it comes with various actions that Adobe gives you, but you won’t want or need them. To delete these preset actions and start with a clean slate, click on the tiny icon in the upper right cor-
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ner of the actions palette (yellow arrow, next page). Halfway down the submenu you’ll see ‘Clear all actions’. Choose that. Actions are merely shortcuts. Many of the actions you choose will be the same as the ones I use, and some will be different. In addition, your palette won’t look identical to mine because you’ll choose different colors -- or no color at all. Here is the procedure for creating an action. In each step, first click on the icon indicated by the yellow arrow on page 11. This
opens the submenu where you’ll see the commands. 1. Choose button mode 2. Choose new action (in the dialog box that opens, type in the name of the action, such as ‘Flatten layers’). Hit the record button. 3. Choose Insert menu item (now select the specific command in the pulldown menu, such as Edit > transform > distort) 4. Choose stop recording 5. Choose button mode This is how you set up a shortcut button in the actions palette. If one of your buttons is ‘image size’, the dialog box opens and then you enter the values needed. If you want the same sizing every time -- for example, you always upload pictures to your website using the same values for height and width -- the procedure is a little different for making the button. Procedure number 2: 1. Choose button mode (remember: first click on the small icon indicated by the yellow arrow). 2. Choose new action (in the dialog box that opens, type in the name of the action, such as ‘Image size’). Hit the record button. Photoshop now records each action and builds that into the push of one button.
3. Go to the pull down menu in Photoshop and choose Image > image size. In the dialog box, type in the values for the width, height, and resolution that you want to use every time. Click OK. 4. If that’s all you want to do (meaning no contrast, saturation or sharpness changes), choose the command File > save as. Select the various options, such as saving the picture as a jpeg on your desktop, and hit OK (I suggest always saving pictures to your desktop so you can find them easily). 5. Choose File > close. 6. Finally, choose stop recording in the actions palette submenu. At this point, when you open a horizontal photo and hit the button Image size (or whatever you name it), the picture will automatically be reduced in size per the values you entered, and it will be saved as a jpeg file on your desktop. What happens, though, if you want to resize a 11
POST-PROCESSING online course by Jim Zuckerman
In this photo, Jim added the elephant on the left as well as the reflection. There was no water in the original shot. Wonders can be accomplished in post-processing.
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! 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 this course.
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vertical picture? The resizing problem If you have made the short cut button in the actions palette to automatically size a horizontal picture with dimensions, say, 6 x 4 inches (width x height) at 72 dpi, a vertical picture -using the same action button -- wil be 6 inches wide and about 9 inches high. The 6 inch dimension doesn’t change, but the height must change in order to maintain the integrity of the vertical proportions. One solution for this is to make two separate buttons in the action palette, one for vertical and one for horizontal. Another solution is to substitute Image > image size with another command: File > automate > fit image. This command replaces step number 3 on page 11 under Procedure number 2.
In the fit image dialog box, above, type in the same dimension, in pixels, for the width and the height. This constrains the resizing of the image such that the longest dimension -- i.e. the width of a horizontal picture and the height of a vertical picture -- won’t be more than the number of pixels you’ve entered into the boxes. Using the numbers I’ve entered in the dialog box here, that means -- assuming a 2 x 3 proportion -- a horizontal picture would be resized to 1200 pixels wide and 800 pixels high, while a vertical picture would be sized 1200 pixels high and 800 pixels wide. Doing this allows you to resize multitudes of images quickly, efficiently, and with uniform sizes with just the push of a button. It may seem laborious at first to go through the procedure, but after you do it a couple of times, you’ll see it’s not that bad at all. §
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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. 23 - March 1, 2019
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.
Oct. 20 - 21, 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.
November 16 - 17, 2018 14 10
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How to Place one element behind another
omposites are often more believable when an introduced element is placed behind something in the foreground. Notwithstanding the fact that dinosaurs no longer roam the earth, in the picture below I placed the triceratops behind the African tree branches, thus making this look much more realistic. Had the reptile been placed in front of the tree, which would have taken a lot less time and been quite a bit easier, the composite wouldn’t have been as convincing. The concept of compositing one element behind another is simple enough. The only challenge is the complexity of the subject matter.
To make a selection around all the tree branches in the African landscape took time and expertise with the pen tool. To place the Moroccan woman in the window frame, above, took two
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minutes. In both cases, though, the technique is the same. It’s easy explain how to do this. In the picture below, to place the exaggerated moon behind Le Mont St. Michel in Normandy, France, I simply selected the sky with the magic wand tool, feathered the edge one pixel by using the pull down menu command, Select > modify > feather, and then -- with the moon already in the clipboard -- I used Edit > paste special > paste into. The moon was now a layer. The selection of the sky into which the moon was pasted constrains it within that portion of the picture. The moon can only appear behind the architecture when it’s moved into place using the move tool. The moon can be positioned anywhere within the selection, and with Edit
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> transform > scale) you can size the moon larger or smaller. Hold the shift key down as you drag the size of the moon to maintain the correct proportions. Keep in mind that resizing down is better than resizing larger. You can increase the size of an object once it’s been pasted into another picture, but not by more than 20%. It won’t maintain its sharpness if you enlarge it too much. To place the dinosaur behind the tree on page 15, I had to select each tree branch with the pen tool (see the Feb. ‘16 issue of Photo Insights for an article on using the pen tool) working at 300% magnification. Then I added all those selections together, chose Select > inverse -which grabbed the background and not the tree -- and pasted the triceratops into that area.§
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
Fantasy Nudes is in production and is coming soon 18
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BRAZIL‘S WILD PANTANAL November 2 - 10, 2018
Jaguars in the wild King fishers and hawks diving for fish Caiman Giant river otters Wild macaws
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What’s wrong with this picture?
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here are a number of things I like about this picture. The mood, the fog, the lights on the school bus, and the way the road falls off into nothingness are all good.
The one thing that bothers me, though, is the form of the boy climbing into the bus is somewhat obscured by the rear of the bus. We can see it, but it’s not as clearly defined as it is in the photo on the next page. In the addition, the long stride the boy in front is taking in the photo on the next page gives the graphic form of his body a more pleasing design. In the picture on page 21, though, there is another problem. I cropped the picture too tightly on the right side. The stop sign and the side view mirror just above it are right up against the edge of the frame. Almost without exception, that’s not a good thing to do. In the photo above, not only is there ‘breathing room’ to the right of the mirrors and the stop sign, but the tree
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that’s muted by the dense fog adds a nice element. I was shooting fast as the boys walked to the open door of the bus, and I was focusing all my attention on them without noticing what was happening in the entire scene. Even though I know the rules, it’s very easy, even for me, to forget to pay attention to the whole composition when things are happening very fast. It takes only a split second to run your eyes around the frame, looking for problems that can easily be solved by, say, zooming back a little or shifting the camera to the right or left just enough to make the picture correct. It takes mental discipline to force yourself to do that. With just this one tip, you can save many pictures from the trash can. Glance at the two sides and the top and bottom of the frame to see if you’ve cut off anything and if any important element is touching the periphery of the picture. Sometimes, such as when you ‘re photographing wildlife, you may not even have the time to do that. But most of the time you do. § 21
SHORT AND SWEET 2.
1. White skies, in most cases, can and should be re-
placed by storm clouds. This looks perfectly correct because these kinds of clouds soften sunlight, producing diffused light just like a studio soft box. Start a ‘cloud folder’ where you store cloud pictures for this purpose.
You can create endless numbers of beautiful abstracts by using very slow shutter speeds and handholding the camera as you move it past colorful subjects. Start with speeds in the 1/4 to 1/2 second range. Fill the frame with the subject matter, and avoid large expanses of a single color -- like the sky.
3. When shooting night photography which includes
4. Photographers often photograph people in front of
traffic, it’s usually more effective to position the camera so the cars are moving away from the shooting position. That means you’ll capture the red tail lights instead of the blindingly bright headlights of the cars coming toward you.
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bright colors like autumn leaves and flowers. While we all love color, the brilliant hues behind the subject grab most or of our attention. For portraits, this isn’t ideal. For example, in the picture below of my wife, it’s hard to notice her and Teddy because of the red leaves. §
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 am confused by vibrance versus saturation in Adobe Camera Raw. I know Lightroom has the same sliders, and I don’t really know the difference. Can you explain this, please? Paula Andrews, Denver, Colorado
A: The vibrance slider increases the saturation of less saturated colors. The saturation slider increases the
saturation of all the colors equally. If you use the saturation slider on a portrait, for example, because skin tones have a lot of red in them, a person’s face becomes unattractively too red. This is a case where you’d only want to use the vibrance slider. I find that the saturation slider tends to make pictures too red as well as too yellow. I actually prefer to manipulate saturation in Photoshop as opposed to Lightroom or ACR. I feel I have more control over specific colors. Having said that, I do add a certain amount of vibrance to most of my RAW images. §
Lavender fields in Provence, France. Saturation was added in Photoshop.
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Partial list of Photography Tours 2018 - 2020 THE PANTANAL, BRAZIL Nov. 2018
BURMA Nov. 2018
CHINA Dec. 2018 - 2019
YELLOWSTONE IN WINTER Jan. 2019
SNOWY OWLS Feb. 2019
ICELAND Mar. 2019
PATAGONIA April 2019
KENYA Aug. 2019
OREGON COAST Aug. 2019
UZBEKISTAN & KYRGYZSTAN Sept. 2019
NORMANDY/BURGUNDY Sept. 2019
WINTER WILDLIFE Jan. 2020
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For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
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Iceland Photo Tour March 20 - 29, 2019
Awesome landscapes Ice caves The Aurora Borealis Horses
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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.
Dr. Isabel Clarke, Phoenix, Arizona Venice workshop, Burma photo tour, South Africa/Namibia, Indonesia photo tour, and Tuscany photo tour
© 2018 Dr.Isabel Clarke
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Student Showcase, continued
Š 2018 Dr. Isabel Clarke
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Student Showcase, continued
Š 2018 Dr. Isabel Clarke
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Student Showcase, continued
Š 2018 Dr. Isabel Clarke
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KENYA PHOTO TOUR August 1 - 11, 2019
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun., November 16 - 17, 2018
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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• 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 Jul. ‘15 3D sphere Mar. ‘16 90 degree finder Mar. ‘13 Abstracts in soap Feb. ‘15 Aerial photography Jun. ‘13 African safari May ‘16 Airplane windows Mar. ‘16 Alien landscapes Jan. ‘13 Anatomy of 8 photographs Jan. ‘16 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 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 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 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Composites and Light Dec. ‘17 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 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 Embedded in Ice Energy saving bulbs Exposing for the sun Exposure, the sun Exposure technique Exposure, snow
Jan. ‘13 Oct. 17 Sep. ‘14 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14
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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 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, 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 Jungle photography
Dec. ‘14
Kaleidoscopic images Keystoning, correcting
Jan. ‘15 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
Subject index for past Photo Insight issues
continued
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 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 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 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 Tamron 150-600mm Apr. ‘14 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 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Ultra distortion
May ‘18
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Subject index for past Photo Insight issues 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 Wire Mesh, Shooting Through Jul. ‘18 Workflow May ‘13
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PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2018 email: photos@jimzuckerman.com snail mail address: P.O. Box 7, Arrington, TN 37014 38 39
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