Jim Zuckerman’s
PH OTO I N S I G HTS May 2018
Water drop collisions Birefringence Autofocus challenges Photo tours Ask Jim Student showcase 1
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Water drop collisions Birefringence Ultra distortion 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: Two water drops colliding. This page: Schwedegon Pagoda at sunset, Yangon, Myanmar (Burma).
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ver since I can remember -- like from kindergarten until now -- I’ve hated stupidity. In myself and others. What makes me think of this now is my recent photo tour to New Zealand. The government there is so concerned that a person with ‘professional’ camera gear (and to most authorities any camera that looks expensive means you must be a pro) might sell their pictures and make money that they can levy heavy fees on such a visitor. It is truly punitive and leaves you with a very bad feeling about traveling there. This didn’t happen to me because I specifically took a minimum of equipment and camouflaged it in a non-photographic looking case. I was prepared because I knew of the New Zealand government’s outlook on such matters. Everywhere, in countries all over the world, there are so many prohibitions against taking pictures as well as unreasonable fees for anyone considered professional. This is truly brain dead. People who take pictures of famous temples, national parks, museums, cathedrals, etc. share their images on social media and the Internet, and this in turn makes tens of thosuands of people want to travel to these various destinations. That means more money is spent in these places on restaurants, hotels, car rentals, tour guides, entrance fees, and souvenirs. The economy of the country benefits, individuals benefit, and it’s a win-win situation for everyone. How can the people who make the no-photo policies, or the pay-through-the nose policies for tourists with good cameras, not see this? When professional photographers take pictures, they are usually excellent (certainly in comparison to the iPhone snappers) and the quality of their work draws even more tourists. Plus, their photography is often featured in major magazines (as mine have been hundreds of times), and many travelers plan their vacations around excellent travel articles with beautiful pictures. So, when stupid government officials make up these rules, they are losing out on free advertisting for their economy and the creation of more jobs. I don’t get it.
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im Zuckerman www.jimzuckerman.com photos@jimzuckerman.com 3
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water drop collisions
ne of the great things about photography is that it can reveal things that happen all around us on a daily basis but are impossible for us to see. We can’t freeze ultra fast action in our brain and examine the intricacies of something as simple as a water drop collision, but cameras (and electronics) can do that. Art and science are blended together in wondrous ways. I am planning a new workshop that probably has never been done before. It will consist of photographing very unique things, including water drop collisions, ferrofluids, microscopy, and biferingence (see page 8), and other very unique subjects. The pictures in this article are examples of the unique interaction between water drops,
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milk drops, and other liquids as they collide into each other. With colored backgrounds, food coloring, and colored gels over the flash units, you can introduce combinations of color that enhance the images dramatically. The mechanics The concept is simple, but fine tuning the timing of the events takes a bit of trial and error. A cylindrical tube with a valve at the lower end holds a liquid, typically water or a mixture of water and milk. The bottom right image on the next page shows the device I use (made by Cognisys). At the push of a button, two drops are released in quick succession. When the first drop passes through an
invisible electric beam (red arrow, right), the timing sequence. The drops continue to fall until the first one crashes into a pool of liquid and bounces up to collide with the second drop. The previously placed flashes must fire at the precise moment the two drops collide. Depending on the height from the cylindical tube to the pool of water sitting on the table, this is typically between 260 and 290 milliseconds. In my setup, the valve was 24 inches to the water below. The electric beam was 15 inches. The control box called the Stopshot, shown in the inset at upper right, allows you to adjust the timing in tenths of a millisecond. One flash unit is plugged into the Stopshot with a provided cable while a second flash operates on slave mode. The beam generator (red arrow) is also connected by a wire, and so is the valve assembly at the bottom of the cylinder. 5
The procedure The camera is positioned on a tripod such that it is virtually level with the surface of the pool of water in a glass or plastic bowl. I put the bowl into a larger tray to contain splashes and overspills. The room lights must be dimmed to make the room dark, but it doesn’t have to be black. I push the trigger button on the Stopshot to release the double drops and note the precise place where they hit the water in the bowl. I then place an object, such as a nail with a large head, at that spot. I has to be heavy enough so it doesn’t float. The purpose of this is to focus the lens correctly. I will release a few more drops to make sure they are hitting the nail, and then I focus on the nail. This is macro photography -- the collison area 6
is fairly small -- so a 100mm macro lens works well. You can also use a medium telephoto lens with an extension tube. This arrangement, which is what I used (100-400mm lens combined with one extension tube), converts any medium telephoto into a telephoto macro lens. All of my water drop pictures are taken at f/32. Because the dynamics of the collision happen in such a brief amount of time, and since the shutter speed is made irrelevant due to the use of flash, I reduce the power output of both flash units to 1/128th power. That equals a flash duration (the actual time the light in the flash is on during the exposure) of approximately 1/128,000th of a second! That, in essence, is the exposure time. If I need more light, I use 1/64th power which translates into an exposure time of 1/64,000th of a second. Alterna-
OREGON COAST PHOTO TOUR August 29 - September 3, 2019 Oceanscapes
Stunning waterfalls
Star photography
Rocky beaches
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tively, more light can be added to the scene by placing the flash units closer to the water drop collision site. The ISO depends on how much light you have. Because I cut the power down so much on the flash units, I typically shoot at 1250 ISO. The steps required to take a picture, then, are: 1. Open the shutter of the camera. I typically use 1.3 seconds. 2. Push the button on the Stopshot to release the water drops. 3. Adjust the number of milliseconds on the Stopshot to capture the collision. Keep in mind that the actual collision happens over several milliseconds. This means once you zero in on 8
the correct timing, you may capture the beginning, some point in the middle, or the tail end of the collision. By adjusting the Stopshot, you can set the flash to fire at different moments during the actual event. Backgrounds and color In the photo of the set up shown on page 5, you can see that the two flash units are aimed at the water where the drops will fall. This is only one variation to consider. I place colored plastic gels over the flash heads with tape (packages of colored gels are available on eBay for less than $10 -- search for colored plastic photo gels). In the above photo, you can see that I used a green gel on the right side and a magenta gel on the left side, but I elevated the left flash about 18 inches so the pool of water became imbued with magenta. The gels don’t have to be of op-
Note that as the drops of liquid fall, they continuously change shape and reflect the environment differently at any given moment. By raising the camera a little on the tripod and angling it downward, you can eliminate the background altogether. This includes the rim of the bowl that contains the pool of water. This way, you only get the reflections of color in the water. If the camera is positioned at water level, it takes some trial and error to eliminate the rim of the bowl (or cup) into which the two drops are falling.
tical quality. If if they are old and scratched, those imperfections won’t affect the quality of the final images.
For the picture below, I used a piece of white Plexiglas as the background with one flash placed behind it. I covered the flash with a blue gel. The orange highlights emanate from a flash behind and to one side of the collision covered by an orange gel. Be creative with the placement of the flashes. Very different lighting effects occur simply by moving one or both of them to a new angle. §
You can also create a colored background. Instead of directly pointing the flash units at the water, angle them to illuminate the background colors. To create a colorful background, apply watercolor paint on white paper. No artistry is required for this; it’s merely smearing colors together on paper. Alternatively, create an abstraction in Photoshop and print it on 8 1/2 x 11 paper. Tape this to a piece of cardboard and the colors will be seen in the drop collisions. The photo above showing two drops about to collide has a saturated color background because the paint I used on the paper was undiluted. 9
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Birefringence
o what in the heck is birefringence? The scientific definition is: “The optical property of a material having a refractive index that depends on the polarization and propagation direction of light.� What this means to photographers is very simple . . . and very cool. Some materials, like the plastic French curves, below, show dazzling colors when photographed using two polarizing materials -- one over the lens (i.e. a polarizing filter), and one beneath or in back of the subject. You can see in the photo at right that I placed a sheet of polarizing material on a small light box (the kind for viewing slides or negatives), and on top of that are two plastic French
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curves. I took the picture with a 50mm macro lens with a polarizing filter screwed into it. A sheet of polarizing material can be purchased
POST-PROCESSING online course by Jim Zuckerman
Learn how to process your images to give them visual impact. Learn Photoshop techniques to go beyond what you see and even beyond what you can imagine. This fourweek 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 THIS PAGE to read more about this course.
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at any scientific outlet such as Edmund Scientific. You can even find them on eBay. The size you need depends on how large the subject is. The photo below shows a decorated plastic serving tray my wife had purchased. It’s fairly large, so a large pice of polarizing material was perfect. With a polarzing filter screwed into the lens and the large piece of polarizing materal beneath the tray, I simply shot straight down on the pattern, making sure the back of the camera was parallel with the plane of the tray for maximum depth of field. I used daylight white balance because the color temperature of the lightbox is made for daylight. By rotating the filter on the camera, the distribution of color changes and so does the background. The lightbox, which looks bright white, goes from white to medium gray to black.
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Not all plastic materials are birefringent. Hard plastic, the kind used for plasticware (knives, spoons, forks, plates, etc.), is the best. Note that the plastic has to be clear, not frosted or white. Even the plastic casing of a Scotch tape dispenser works. The abstract above is a crumpled plastic piece of packing material I found in the box when I bought an Apple product! Experiment with various clear, hard plastics and you
will discover other things that are birefringent. Another unique application of this effect is photographing crystals of various chemical compounds. Quite a few chemicals are birefringent. When they are dissolved in water, and then small amounts of the solution are placed on a piece of glass, the water evaporates and crystals are formed. Some of the crystaline structures are large enough to photograph with a macro lens and extension tubes, while other crystals are tiny and need to be appreciated and photographed in a microscope. Some common birefringent chemicals you can buy online are: ascorbic acid (vitamin C), malic acid, hippuric acid, adipic acid, resorcinol, salicylic acid, and epson salts. All of these require that you dissolve the chemicals in a small amount of water. Once dissolved, use an eye13
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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
dropper to put a few drops on a glass microscope slide. In an hour or two, the water evaporates and you are left with the crystals. Since microscopes are magnifying the crystals significantly (I usually use 60x or 100x), that means depth of field is more shallow than you’ve ever experienced. Therefore, it’s a good idea to place a small, ultra thin glass cover slip over the drops of liquid to flatten them. The crystals will then form on a thinner layer, and even though at 100x they seem like there is a lot of depth, it will be easier to photograph when you do this. The photo at right shows the glass slide with the cover slip shot with two polarizing filters. Some of the colorful birefringence can be seen with the naked eye. In the past, I photographed chemical crystals using a typical microscope with a single eye-
Resorcinol cyrstals, 60x
piece, and then once a good composition was selected, I replaced the eye piece with the camera adapter and then made the final adjustments in framing as I looked through the camera. The microscope I now have has a trinocular head, meaning it has two eyepieces (for complete depth perception) and a third port for the camera. The camera-microscope adapter is available for most camera bodies. Pictured above is
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Hippuric acid, 60x
the microscope I recently purchased with my Canon 1Dx Mark II attached to it. This is a Chinese manufactured product that I got from amscope.com. It was $288 complete. To create the birefringent colors, one polarizing filter is placed on the light source beneath the stage where the glass slide sits with the crystals on it. The other polarizer is placed between the crystals and the lens, i.e. the objective. The filter that sits on top of the light source can be a glass polarizing filter of excellent quality, but it can also be a cheap, plastic piece of polarizing material. A set of these can be purchased online, such as you can see HERE. However, the filter between the crystals and the lens must be of good optical quality. 16
As one of the polarizing filters is rotated, you will be able to see the wild colors in the specimen. All microscope stages have knobs that move the glass slide up and down and left to right. Use these to search for a section of the crystals that is particularly photogenic. In addition, experiment with various magnifications because you may like more than one. Because any amount of vibration will seriously degrade the image quality, I lower the ISO and use a long shutter speed in the 10-second range. I also use the 10-second self-timer. If any vibration occurs in the first second or two of the exposure, it is a small percentage of the time the shutter is open and therefore it won’t be a factor. The aperture can’t be adjusted, but the ISO and the brightness of the light source determine the amount of light that reaches the digital sensor. §
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Ultra Distortion
e all know that wide angle lenses distort. Specifically, they make the foreground disproportionately larger than the background, and this distorts reality. Our eyes don’t see this. Many photographers, including myself, like to exaggerate that distortion as much as possible for dramatic effect. To do that, the key is to get as close as possible to the subject with a lens as wide as possible. For example, the picture at right shot in Namibia was taken with the Canon 11-24mm lens at the widest focal length, and the image below of snow monkeys in Japan was captured with
a 14mm prime lens. When I photographed the monkeys, the lens was about 5 inches from that left hand. The picture of the dead trees shows tremendous distortion because that large branch in the foreground was only 12 inches from the lens.
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When the foreground is so close to the lens, and the background is essentially at infinity as far as optics are concerned, the question that always arises is: Where do you focus for maximum depth of field? The answer is simple. Take the focal length of the lens you’re using for a specific composition and divide that number by three. Change the units from millimeters to feet, and that’s thedistance from the lens where you focus. For a 14mm focal length, for example, you would focus approximately 5 feet away. For a 24mm lens, you’d focus to eight feet. When using the smallest lens aperture and using this focusing formula, you’ll get the maximum depth of field.
a crop factor of 1.5, this is equivalent to an 18mm lens. Therefore, you would focus to 6 feet from the lens -- i.e. 18 divided by 3. For those of you who think in terms of the hyperfocal distance as the determinant for the optimum focus point, my formula will give you nearly the same number by using a much calculation. §
For cropped sensor cameras, you base the calculation on a full-frame focal length. So, if you are using a 12mm focal length on a Nikon with 18
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Expand your photographic artistry with
eBooks
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Fantasy Nudes is in production and is coming soon 20
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PHOTO TOUR to C H I N A Dec. 29, 2018 - Jan. 8, 2019
The incredible Harbin Ice Festival Siberian tigers Blue-faced monkeys Terra-cotta soldiers
Siberian tigers, China
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What’s wrong with this picture?
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here are two things that bother me about this picture. The most ‘offensive’ issue is the demarcation line between the two tones in the background. The very dark upper portion, which is distant forest in shade, meets the river (that light band is actually an out of focus river) in a pronounced horizontal line, and that takes attention away from the lupine flower. A completely dark background would have been fine. Similarly, a background consisting of out of focus foliage would have been fine, too. Having both, however, means that the eye is drawn to that large dark shadow at the top of the picture as well as the demarcation line, and this takes attention away from the flower. The second thing that hurts this picture is the inclusion of the dead flower petals at the bottom of the stem. Unless dead flowers are the subject of a photo (and this
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can sometimes work), dead parts of a flower should be eliminated from the shot. They are not attractive and detract from the beauty of the subject. In the picture above, I shot the flower from a different angle to eliminate the river and the dark shadow, but there were still too many grasses that I thought were better eliminated. So, I replaced the background entirely with out of focus foliage by cloning from one picture (an image of out of focus foliage) to the flower shot. Now nothing draws the eye away from the lupine. To eliminate the dead flower petals, instead of cropping the image (which I don’t like to do because it changes the proportions) I stretched the flower. To do this in Photoshop, I chose Select > all followed by Edit > transform > scale. This put a box around the photo, and then I grabbed the lower middle handle and pulled the picture down until the dead petals disappeared. Not all subjects can be stretched and look like nothing was done to them, but this lupine is an example of where this technique works well. §
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SHORT AND SWEET 2.
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It’s not a good idea to crop the tips of things in a photo. This could include wing tips, feet, ears, and tails. Here I accidentally cropped the tips of the frog’s fingers, and although I like the picture a lot, that error ruins it for me. It’s always a good idea to run your eye around the edge of the frame to look for mistakes.
In large cities, a good way to get panoramic shots is to find large parks where you get uninterupted, ground-based vantage points. The park on Steiner Street in San Francisco that you see here is an example. Otherwise, the tall buildings and closely-built houses block these kinds of views of the city.
3.
4.
When shooting mixed lighting, auto white balance usually is the best choice. In this photo of an ante-bellum home in Spring Hills, Tennessee, window light was entering the room from the left (you can see the bluish tones) and it mixed with the incandescent lamps of the interior.
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When photographing people, instead of having them just look into the camera, try asking them to engage in conversation. Ask them to make a joke, tell a secret, or communicate in an intimate way so the pictures look more dynamic and more interesting. This also makes the subjects less self-conscious. §
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 . . . In a macro photo like this, is it possible to make the flower entirely sharp -- in other words,
have complete depth of field on the rose -- but render the background out of focus? I wasn’t able to figure out a way to do that. Aaron Cohen, Bronx, New York
A: If the flower is close to the background leaves, the answer is no, there isn’t a way to do that with one shot.
As you close the lens down to a smaller aperture, the flower comes into complete focus but the leaves become more defined, too. The only way to do what you wish for you is to take two pictures: one of the flower, in which you use f/22 or f/32, and a shot of foliage in which you purposely blur it by switching to manual focus mode and turning the focusing ring until you like the amount of blur. Then, in Photoshop, you can replace the original background behind the flower with the out of focus foliage image. I’ve done this many times, and it works beautifully. §
© Aaron Cohen
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Photography Tours 2018 - 2020 THE PANTANAL, BRAZIL Nov. 2018
BURMA Nov. 2018
YELLOWSTONE IN WINTER Jan. 2019
SNOWY OWLS Feb. 2019
PATAGONIA April 2019
SCOTLAND May 2019
OREGON COAST Aug. 2019
UZBEKISTAN & KYRGYZSTAN Sept. 2019
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CHINA Dec. 2018 - 2019
ICELAND Mar. 2019
KENYA Aug. 2019
WINTER WILDLIFE Jan. 2020
For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
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Scotland Photo Tour May 17 - May 28, 2019
awesome landscapes ancient ruins great castles adorable cows
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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.
Don Anderson, Lexington, Massachusetts Venice photo workshop, Palouse workshop, upcoming
Tuscany photo tour
© 2018 Don Anderson
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Student Showcase, continued
Š 2018 Don Anderson
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Student Showcase, continued
Š 2018 Don Anderson
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Student Showcase, continued
Š 2018 Don Anderson
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KENYA PHOTO TOUR August 1 - 11, 2019
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Rothschild giraffe, Masai Mara Conservancy, Kenya
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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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 panoramas Jun. ‘16 High wind Apr. ‘17 Highlights Apr. ‘14 Highlights, overexposed Feb. ‘15 Humidity Oct. ‘13 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 Implying motion Sept.‘14 Impossible DOF Feb. ‘16 Impossible DOF Jan. ‘17 Indestructible camera bag Dec. ‘14 Infrared photography Jul. ‘14 Interiors Oct. ‘15 iPad: Loading photos Aug.‘17 Jungle photography
Dec. ‘14
Kaleidoscopic images Keystoning, correcting
Jan. ‘15 Aug. ‘15
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 Low light photography May ‘15
Subject index for past Photo Insight issues
continued
Macro flash Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 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 Night photography Night to Twilight Noise reduction
Jan. ‘16 Aug. ‘14 Feb. ‘14 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, 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 Sepia and dark contrast Jun. ‘15 Shade May ‘14 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
Warm fingers in winter Water drop collisions What NOT to do in photography White vignette White balance
Nov. ‘15 May ‘18 Apr. ‘18 Aug. ‘15 Feb. ‘15
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Subject index for past Photo Insight issues 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 frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 Workflow May ‘13
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PHOTO INSIGHTS® published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2018 email: photos@jimzuckerman.com snail mail address: P.O. Box 7, Arrington, TN 37014
Church of the Good Shepherd at sunrise, Lake Tekapo, New Zealand
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