Photo Insights July 2021 by Jim Zuckerman photography

Jim Zuckerman’s

PH OTO I N S I G HTS July 2021

Texture Mapping in 3D Managing Soft Focus Advantages of a Ring Flash Photo tours Student showcase Ask Jim Subject index 1

4. 11. 13. 23. 25. 26. 27. 29. 35. 41.

Texture mapping in 3D Managing soft focus Advantages of a Ring Flash What’s wrong with this picture? Short and Sweet Ask Jim Photo tours Student showcase Back issues Subject index for Photo Insightshts

On the cover: A portrait of a model combined with two different fractals and mirrored. This page: Fireworks reflecting thanks to the Photoshop plugin Flood.

f you’ve purchased a high megapixel mirrorless camera or you’re planning on doing so, keep this in mind. The main computer you use for processing images and for working in Photoshop needs to be upgraded commensurate with the new camera. For example, I recently bought the Canon R5 mirrorless camera which is 45 megapixels. When I open the images in Photoshop, after I’ve processed them in ACR, they are 128 megabytes. My previous camera, the Canon 1Dx Mark II, was 21.5 megapixels and the images opened up to 57 megabytes. So, when I composite an image in Photoshop and have just two layers plus the original background, that means the file size is three times 128 or 384 megs. It takes a lot of computing power to manipulate, edit, and save such a large file. If you have endless patience and don’t mind twiddling your thumbs while your slow computer is making the necessary calculations to execute one of your commands, then you won’t be frustrated at all. But larger files means increased frustration for most people as they are waiting and waiting for things to happen with large files. Add more RAM to your computer if it has the capacity to accept it. Once you receive the RAM, if you don’t know how to install it, seaerch on YouTube and you’ll see how it’s done. That’s exactly what I did a couple weeks ago when I increased my RAM from 16 to 32 gigs. If you are in the market for a new computer, consider getting the fastest processor speed available. This will make a large difference in every operation you ask your computer to do. Also, close programs you’re not using. This should help the speed of operations in Photoshop quite a bit. Jim Zuckerman photos@jimzuckerman.com www.jimzuckerman.com

Texture Mapping in 3D T

exture mapping is the process whereby you wrap a photograph onto a three dimensional object. In Photoshop, there are several 3D shapes that come with the program. For example, a cube, sphere, wine bottle, donut, pyramid, and so on. Decide on the shape you want to use and then choose the two dimensional photograph from your photo library to be texture mapped onto it. In the composites on this page and the next, you can see I used a cube and sphere, respectively. These are my favorite shapes to work with. Once I created the 3D texture mapped image,

I then combined that with a 2D background. You can also import other types of 3D objects into Photoshop, such as human figures, vehicles, buildings, animals, and more, but for now let’s focus on the stock 3D objects that are built into Photoshop. To start, use File > open and choose the image to be applied to the 3D object. For the photo below, I chose the international terminal in Chicago’s O’Hare Airport as the abstract background.. Next, go to the pulldown menu command:

3D > New Mesh from Layer > Mesh Preset > cube wrap. Instead of ‘cube wrap’, at this point you could choose one of the other 3D shapes. The difference between ‘cube’ and ‘cube wrap’ is that the former option places the photograph on only one facet of the three dimensional cube shape, while the latter wraps the 2D image on all facets of the 3D cube. The dialog box you now see (top right) is the 3D space. In the tool bar at the top of your desktop you’ll see a small panel of five tools, shown at right, allowing you to manipulate the texture mapped cube. You

Control panel

can rotate it, turn it around, see the back of it, move it from side to side and move it toward and away from the camera, i.e. our point of view. Try each of the tools and it becomes obvious what each one does. [ There is a redundant set of tools in the lower left part of the screen that do the same thing as the control panel I’ve shown on page 5.] If you change the apparent distance from the 3D object and your viewpoint, you are not making the object larger or smaller. You are just changing how you view it. When working in 3D space, a new dialog opens, shown at right. Several options become available, but the one I want to point out now is the infinite light indicated by the red arrow. When you click this, a graphic appears over the 3D object shown on page 8. By grabbing the 7

rected the infinite light as you wish, the easiest way to incorporate it with a 2D background is to choose, Layer > flatten image. This converts the 3D space into 2D space, and now you can create a composite as you normally do. When I combine a texture mapped object with a background, I often use the same photograph for both. Pages 4, 5, 6, and 7 show this. I like that kind of surrealistic juxtaposition. For the composite on the next page, I used a completely different image in the sphere.

small knob at the tip of the shaft and moving it around, the angle of the light changes. So, you can front light, side light, three quarter light, top light, and even backlight the 3D object. Once you have positioned the object and di-

As you move the light, the shadow also moves because it is a true 3D space. 8

To make the composite, select the 3D object using the magic wand tool (select the white background and then use Select > inverse to select the object). Copy the image to the clipboard with Edit > copy; then use Edit > paste to place the object into the background. With Edit > transform > scale, adjust the size of the object. Then click on the move tool to move it in place. §

PERU PHOTO TOUR Sept. 24 - Oct 4, 2021

Managing Soft Focus

ometimes we want shallow depth of field, but due to the lens we’re using or the camera-subject distance, the background behind a subject is more define, more in focus than we want.

value to the image. I darkened the onlookers, and that helped a lot. But the people dressed in street clothing and the unattractive body language divert the eye from the subjects and degrade the picture.

For example, I took the photo below at the Jember Fashion Carnaval (that’s how they spell carnival in Indonesia) in Jember, East Java, Indonesia, and the crowd behind the costumed participants didn’t add anything of artistic

On the next page, I blurred the audience and eliminated all of the detail from that portion of the image. Now there is nothing to look at there, and our attention rests solely where it’s supposed to be -- on the great costumes.

There are two different ways of blurring images or portions of images in Photoshop. Filter > blur > Gaussian blur is a native filter that has been part of the software from the very first version. Most Photoshop users add blur using this tool. I’ve always felt that Gaussian blur simulates shallow depth of field well, but it doesn’t quite look like optical shallow depth of field produced by photographic lenses. Instead, I use Filter > Blur Gallery > Field Blur. When this filter is chosen, a small icon (shown at right, red arrow), appears on the image. You can grab the center white circle and drag it to any part of the image, and this becomes the center of the blur. Place the cursor on the leading edge of the white, curved line and drag it down and to the left. This allows you to ad12

just the amount of the blur. If you’ve selected an area of the image to blur, as I did in the carnival shot, the blur will be confined just to that area. However, note that when the curved line is rotated around the circular icon, the entire picture will look blurred until you hit return or enter. Then the blur is applied to the selected area. This is the most realistic type of optical blur. §

Advantages of a Ring Flash

ing flashes are made for macro photography. They are not designed to be powerful enough to provide lighting on subjects many feet from the camera. Instead, they are intended to be used close to small subjects. When I use a 50mm macro lens, for example, the camera is typically 4 or 5 inches from the subject. This means the flash output doesn’t have to be as bright compared to using a typical on-camera portable flash. When doing macro photography, there are two options for lighting: natural light, either diffused or direct sunlight; continuous LED light; and flash. If you opt for ambient light outdoors, the pic-

PANTANAL PHOTO TOUR October 30 to Nov. 7, 2021 Jaguars in the wild Exotic birds in flight Caiman Giant river otters

tures will look natural. You don’t have to carry extra gear, and there are less technical considerations. The LED continuous light brightens a subject considerably. Many macro subjects tend to be in darkened circumstances such as deep shade on the forest floor. The additional light helps you see the subject well, it helps you manually focus with accuracy, and it means you can use a smaller lens aperture for depth of field. If you opt for flash photography, there are again three options. You can use a typical portable flash, you can choose a twin flash macro setup, or you can use a ring flash. The problem with the normal on-camera flash is that it sits on the top of the camera, several inches above a small subject. The light skims

UPCOMING PHOTO WORKSHOPS Carnival in Venice workshop Photograph outrageous costumes in a medieval environment! Incredible colors, design, and creativity in one of the most beautiful cities in the world. Learn how to use off-camera flash, photograph models in sumptuous interiors, produce great images at night, and all the while enjoying Italian cuisine. This is a workshop not to be missed.

February 18-25, 2022

Frog & Reptile Workshop This is a macro workshop to photograph beautiful, colorful, and intriguing frogs and exotic reptiles. Learn how to use flash with closeup work, how to use extension tubes, and how to take perfect exposures. Held indoors in a hotel conference room in St. Louis.

January 22 - 23, 2022

Winter Wildlife Workshop Stunning pictures of North American animals including wolves, red foxes, arctic foxes, mountain lions, Canada lynx, and more. The animals will be in their winter coats and very beautiful. This is based in Kalispell, Montana.

February 2 - 5, 2022

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across the top of the subject which illuminates the dorsal side (if it’s animal or insect) but leaves the ventral side in deep shadow or possibly black. The twin flash macro setup is, in my opinion, the second best choice. It’s good because the two small flash units can be rotated around a circular support to provide illumination from various angles, you can set up a light ratio, and the flash units provide even illumination on the small subject. A ring flash is more compact than the twin flash setup, and it also provides the softest possible light for macro work providing you are physically close to the subject. That’s why I use the ring flash with a 50mm macro lens. It forces me to work very closely with the insects, reptiles, frogs, or other small subjects. The close proximity of the flash means the light is shadowless and dif-

fused. Look at the light on the velvet ant on page 13. I took this with a ring flash and yet it looks like soft daylight from an overcast sky. Using a flash close to the subject means there is enough light to shoot with the smallest lens aperture, typically f/32, for excellent depth of field. An LED light doesn’t have

near the kind of power output you need for complete depth of field (unless you raise the ISO extremely high). The primary disadvantage of the twin flash macro setup is that the flash units stick out to either side of the camera and as you move in close to a subject, such as a frog or insect in a jumble of leaves or flower petals, the flashes might be blocked by some part of the vegetation. If you want directional lighting, such as side or three quarter light, its a simple matter to detach the ring flash from the macro lens and hold it to the side of the subject. Actually, you can move it around until you like the angle of light. In the picture of the green tree python, below,

I held the ring flash below and in front of the snake. And for the juvenile alligator, above, photographed during one of my frog and reptile worksops now held in Kansas City, I held the ring flash to my left and in front of the gator. So, even though ring flashes produce ultra soft light, they can also be used for dramatic side light as well. §

W i n t e r W i l d l i f e Workshop February 2 - 5, 2022

Based in Kalispell, Montana

What’s wrong with this picture?

retty much everything is wrong with this picture. The biggest issue, of course, is the extreme contrast. I took this shot in midday with strong, direct sunlight while the hotrod car was parked in the shade. I actually took this shot to show what not to do in photography. The other problem is the background. It’s uninspiring and messy. It detracts from the subject, as does the very light sky. To save this picture and make it a lot better -- not great but better -- is to first deal with the ugly contrast (overexposed highlights and underexposured shadows) and then replace the background. So, I opened this shot in Adobe Camera Raw and moved the highlight slider all the way to the left and the shadows slider all the way to the right. 23

That made a huge difference, as you can see. I then selected a background lit from direct sunlight and pasted that to replace the original disappointing background. To avoid big problems like this, if you are shooting outdoors in midday sunlight and the contrast is bad, select subjects that are front lit with as few shadows as possible. If a cloud cover comes, or even if a single cloud covers the sun, that’s the time to shoot like crazy. Alternatively, as your subject to move to the shade of a tree, the side of a building, etc. Sometimes there just nothing to do except do your best in Photoshop to mitigate the problem. § 24

SHORT AND SWEET 1.

4. To help increase depth of field in macro work, try to

If you are going to shoot fireworks this July 4th, start with the settings 1.6 seconds, f/16, and 100 ISO. Use a tripod and put your camera on manual exposure mode. Prefocus on building lights or street lamps at an approximate distance of the fireworks. Note that the longer the exposure time, the longer are the streaks.

Try desaturating the colors in your pictures. It’s a very artistic way to interpret a scene. In this shot taken at White Pocket in Arizona, I opened the hue/ saturation dialog box in Photoshop (Image > adjustments > hue/saturation) and moved the saturation slider to the left until there was just a little color left.

When photographing animals, always focus on the eyes. I prefer more depth of field, but if the light is low and you don’t want to raise the ISO, the shallow DOF is ok as long as the eyes are sharp. Most importantly, keep your shutter speed fast enough to freeze any sudden movements.

make the back of the camera (i.e. the plane of the digital sensor) as parallel as possible to the plane of the subject. This is especially important in low light scenarios where depth of field is sacrificed because you need a larger lens aperture. §

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.

Jim . . . I understand the concept about not using VR (VR off)when on a locked tripod or beanbag, but I do quite a lot of wildlife work utilizing a Wimberly gimbal head that is kept loose or fairly loose to track my subjects, i.e. hummingbirds, birds in flight, or other types of subjects. Do I want to keep VR on in this type of situation since the platform is capable of moving? Is there a shutter speed to stop using VR -for example, if the speed is above 1/500? When using a slower shutter speed on a slack gimbal head would advise to turn the VR off? Casey Campbell, Concord California

A: Several years ago I was in Africa photographing from a Land Rover. My 500mm was nestled on to a

beanbag, and I was shooting lion cubs in a tree. None of the pictures were sharp when I looked at them on the LCD monitor. As soon as I turned the image stabilization off, everything was sharp again. That experience made me very distrustful about using image stabilization (VR) from a tripod or beanbag. Some lenses now will produce sharp images even with the stabilization turned on. The question is: Which ones? I think there’s no reason to use stabilization when your shutter speed is fast. What’s really the point? It’s only to be used when shutter speeds are slow AND you are hand holding the camera. In addition, stabilization is powered by the battery, and why diminish battery life especially with a mirrorless camera? My advice is to turn it off except in rare situations when you are hand holding the camera and using slow shutter speeds. §

Partial list of Photography Tours 2021 - 2022 NORWAY/DENMARK Sep 2021

MICHIGAN LIGHTHOUSES Oct 2021

LOUISIANA SWAMP TOUR Nov 2021

WINTER WILDLIFE Feb 2022

CARNIVAL in VENICE Feb 2022

ETHIOPIA Mar 2022

SPAIN/PORTUGAL Apr 2022

HOLLAND/BELGIUM Apr 2022

PATAGONIA PHOTO TOUR May 2022

NAMIBIA May/Jun 2022

MOROCCO Jun 2022

ICELAND Jul 2022

For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.

Ethiopia Photo Tour jMarch 10 - 22, 2022

jPrimitive tribes

Dramatic landscapes Wildlife Rock-hewn churches

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.

Isabel Clark, Scottsdale, Arizona Indonesia Photo Tour, Namibia Photo Tour, Frog and Reptile Work-

shop, Tuscany Photo Tour, Burma Photo Tour, and Venice Photo Workshop

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Student Showcase, continued

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Student Showcase, continued

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Michigan Lighthouse Photo Tour October 7 - 12, 2021

FROG & REPTILE WORKSHOP Based in Kansas City, Missouri

Sat. and Sun., January 22 - 23, 2022

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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 Aerial photography Jan. ‘21 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 Auto White Balance Mar’ ‘21 Autumn Foliage Sep. ‘18 Autumn Color Sep. ‘20 Back button focus Oct. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Bird Photography Jun ‘19 Blacklight photography Feb. ‘21 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Black and white with color Jan. ‘20 Blown highlights Feb. ‘18 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Butterfly photography Jul. ‘14 Camera setting priorities Jun. ‘17 Canon R5 Mar. ‘21 Capturing lightning Jun. ‘13 Capturing what you don’t see May ‘21 Catchlights Jul. ‘16 Changing perspective May ‘21 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Choosing a telephoto lens Dec. ‘20 Chromatic aberration May ‘13 Chrome Dec. ‘18 Cityscapes Aug. ‘14 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Clone tool technique Jul. ‘20 Composites and Light Dec. ‘17 Compositing images Apr. ‘19 Composition, different approach Jan. ‘15

Content-aware, New Contrast vs. exposure Correcting keystoning Creating a star field Creating a Sketch Creative blurs Dark backgrounds Dawn photography Dawn photography Dead center Dealing with smog Decay photography Define Pattern Depth of field Depth of field confusion Depth of field and distance Depth of field and obliqueness Depth of field, shallow Depth of field vs. sharpness Double takes Drop shadows Dust, Minimizing

Aug. ‘20 Jul. ‘15 Jun. ‘21 Jan. ‘14 Dec. ‘17 Jan. ‘14

eBook, how to make Embedded in Ice Energy saving bulbs Exposing for the sun Exposure, the sun Exposure technique Exposure, snow Exposure triangle Exposure, to the right Exposure compensation Exposure compensation Extension tubes

Jan. ‘13 Oct. 17 Sep. ‘14 Sep. ‘16 Jul. ‘13 Sep. ‘13 Jan. ‘14 Nov. ‘14 Apr. ‘15 Sep. ‘16 Mar. ‘21 Dec. ‘13

Nov. ‘19 Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16 Jan. ‘20 Dec. ‘18 May ‘21 Apr. ‘20 Nov. ‘20 Apr. ‘20 Apr. ‘19 Aug. ‘19

Face sculpting Apr. ‘21 Festival photography Sep. ‘20 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fireworks, Compositing Jun ‘20 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 Flexify 2 Mar. ‘20 Flood fixes problems Nov. ‘19 Flowers May ‘15 Flower photography Apr ‘21 Flowers in harsh light Jul. ‘16 Focus on the eyes Dec. ‘20 Focus points Mar. ‘15 Focus points Sep. ‘20 Focus stacking Mar. ‘17 Focus stacking Aug. ‘19 Focusing in the dark Oct. ‘16 Foreign models Jun. ‘13 Fractals, generating Sep. ‘13 Fractals Jul. ‘19 Framing May ‘17

Subject index for past Photo Insight issues Freezing ultra action From Terrible to Beautiful Fun with paint Fundamental ingredients Fundamentals That Make Great Photos Fun With Christmas Lights

May ‘17 Aug. ‘19 Oct. ‘16 Apr. ‘13 Jan. ‘19 Jan. ‘21

Graphic Design Garish imagery Great subjects Great ceilings & HDR Panos Green screen Grunge technique

Jul. ‘20 Dec. ‘15 Apr. ‘15 Jul. ‘19 Mar. ‘13 Feb. ‘13

HDR, one photo Apr. ‘13 HDR at twilight May ‘13 HDR, realistic Jun. ‘15 HDR, hand held Dec. ‘16 HDR, hand held Nov ‘17 HDR, hand held Jul. ‘18 HDR panoramas Jun. ‘16 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Histograms, Why I Don’t Use Jun ‘19 Histogram problems Apr. ‘20 Hotels with a view Mar. ‘20 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 Image resizing Aug. ‘18 Implying motion Sept.‘14 Impossible DOF Feb. ‘16 Impossible DOF Jan. ‘17 Indestructible camera bag Dec. ‘14 Infrared photography Jul. ‘14 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17 Jungle photography

Dec. ‘14

Kaleidoscopic images Kaleidoscopis images Keystoning, correcting

Jan. ‘15 Aug. ‘20 Aug. ‘15

L Bracket Feb. ‘18 L Bracket Feb. ‘21 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 Landscape photography Nov. ‘16 Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 Lightning photography May ‘20 Liquify Feb. ‘18 Liquify Distortions Sept/Oct. ‘19 Long lens portraits Oct. ‘18 Long Lenses for Flowers Jul. ‘20 Low light photography May ‘15 Luminar 4 Jan. ‘20 Macro flash Macro flash Macro flash

Nov. ‘12 Sep. ‘14 Aug. ‘15

Macro trick May ‘19 Managing soft focus Jul. ‘21 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meters, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Metering situations, Impossible Jul. ‘19 Middle gray Nov. ‘15 Mirrors Jan. ‘19 Model shoot Jan. ‘17 Moon glow Oct. ‘16 Mosaics Jun. ‘17 Mundane to Ideal Nov. ‘19 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

Oil and water Optical infinity Organization of photos Out of focus foregrounds

May ‘20 Jun. ‘16 Mar. ‘18 Jan. ‘20

Paint abstracts May ‘13 Painting with light Sep. ‘15 Panning motion Dec. ‘16 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Parallelism Nov. ‘19 Parallelism and DOF Feb. ‘21 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

Subject index for past Photo Insight issues 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 new tool May ‘20 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 Photoshop, My favorite plugins Jan. ‘20 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Portrait Professional Nov. ‘19 Portraits, Lens choice Sept/Oct. ‘19 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Restoring old photos Jun ‘20 Ring flash, advantages Jul. ‘21 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Seeking Cool Snow Photos Jan. ‘21 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Self-critiques Nov. ‘20 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 Shooting into the light Jun ‘20 Silhouettes Jun. ‘13 Silhouettes, Exposing for Sept/Oct. ‘19 Silvered landscapes Mar. ‘20 Sketch, How to Make Jun ‘19 Sky replacement Nov. ‘20 Snow exposure Nov ‘17 Snow exposure Nov. ‘19 Soft light Jan. ‘13

Smart phone photography Stained glass Star photography Star photography and noise Stock photography Sunrise & sunset

May ‘19 Mar. ‘17 Jul. ‘16 Jan. ‘18 Sep. ‘14 Jan. ‘19

Tamron 150-600mm Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 Texture Mapping in 3D Jul. ‘21 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 Two subject focus rule Jan. ‘20 Two subject focus rule Jun. ‘21 Urban heights Ultra distortion

Jun. ‘21 May ‘18

Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 White on White Dec. ‘20 White vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 Wide angle conundrum May ‘19 Wide angle lenses Mar. ‘13 Wide angle portraits Nov. ‘14 Wide angle lenses Jun. ‘17 Wide angle keystoning Nov ‘17 Wildlife photos with wide angles Mar. ‘15 Window light Dec. ‘15 Window light portraits Aug. ‘18 Window frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Winter photography Nov. ‘18 Wire Mesh, Shooting Through Jul. ‘18 Workflow May ‘13

Edited by Donald Moore

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