Jim Zuckerman’s
PH OTO I N S I G HTS September 2018
Predictive focus Autumn foliage Define pattern Short and Sweet Photo tours Ask Jim Student showcase
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4. 10. 15. 21. 23. 24. 25. 27. 33. 37. 222
Predictive focus Autumn foliage Define pattern What’s wrong with this picture? Short and Sweet Ask Jim Photo tours Student showcase Back issues Subject index for Photo Insights
On the cover: A blue and gold macaw in f light, Brazil. This page: A wild jaguar in the Pantanal region of Brazil.
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phones have a wonderful camera built-in, and they are extremely convenient if you don’t happen to have your digital SLR with you. I use my iPhone camera all the time. However, there are serious shortcomings with iPhone picture taking that you should be aware of. First, contrast is a major problem. If you photograph someone in the shade with a sunny background, it will look terrible. The person will be too dark and the background washed out. Second, if there is a very light area in the frame such as a reflection of the sun on water, a bright fire, fireworks, a bright window, etc., it will be completely blown out. Third, iPhones don’t allow you to manipulate depth of field. You can’t choose to have shallow DOF, for example. Fourth, subjects in motion are hard to capture. You can’t control shutter speed, and the slight lag time in the shutter button is a problem. Most likely, if the moving subject is in the frame, it won’t be sharp. And fifth, you don’t have the choice of a range of lenses. Wide angle exaggeration and telephoto photography is just not part of the equation. Billions of photographs are taken daily with iPhones. The best they can do is when the light is soft and diffused and the subjects are motionless or at least not moving very fast. Jim Zuckerman www.jimzuckerman.com photos@jimzuckerman.com
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PREDICTIVE FOCUS
hotographing fast moving subjects, especially when they are moving toward the camera, is one of the most difficult types of pictures to take. It is supremely frustrating because, more than likely, the pictures won’t be sharp. In milliseconds, you have to make an educated guess as to which focusing method works best, and then you have to select the focus points, compose the image artistically, and expose accurately. Wow. It’s amazing that any of us get this right! There are two strategies you can use in approaching this challenging situation. First, you can rely on your camera to follow focus as the subject gets closer and closer to the camera. Second, you can prefocus on a point in front of the moving subject and start shooting before it reaches that
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spot. Both of these strategies can work, but it depends on these factors: (1) the size of the subject in the frame, (2) the background, (3) the speed of the movement, (4) the distance of the subject to the camera and (5) the predictive autofocus system in your camera. I took the photo below of my cocker spaniel, Teddy, running at full speed toward me using predictive autofocus. The shot of the macaw on the next page is a product of prefocusing on a point in front of the bird. Both techniques work, but it’s best to look at the factors involved to know which one to use. Predictive autofocus Not all cameras have predictive autofocus, but
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most of the modern high-end dSLRs do. Using sophisticated algorithms, the autofocus mechanism detects the velocity of the subject closing in on the camera and, based on that speed, determines precisely where the subject will be when the shutter fires. If the lag time between pushing the shutter button and the picture being recorded is, say, 1/5 of a second, and the rate the subject is moving is 5 feet per second, the predictive focus would focus one foot in front of the subject to produce a tack sharp image. The only way to know if the focus system in your camera is fast enough to follow focus on a subject moving toward the camera is to experiment. Don’t use a car or truck. They are too large and it’s not a fair test. Instead, try focusing on something smaller such as a running dog, a motorcyle, a galloping horse, or even a child on 6
a swing set. The faster the subject is moving, the better you’ll be able to assess the accuracy of the predictive autofocus. Distance versus focal length If I were photographing the horses above with a 24mm lens, focus wouldn’t be an issue. They would appear very far away at first, and without changing focus they would remain sharp until they were just 24 feet away. At that point, I’d better move or I would be flattened like a road kill! Using a telephoto changes everything. I actually shot the horses with a 500mm f/4, and that meant depth of field was extremely critical. Every second or two the focus had to change because in that time, the herd had moved to-
ward the camera enough to require the lens to refocus. And the closer the horses came to the shooting position, refocusing became necessary in shorter and shorter increments. The bottom line is this: Can the predictive autofocus refocus fast enough to make sure the horses are sharp throughout the entire run? I took this picture in 2007 with my first professional digital camera, the Canon 1Ds Mark II. My judgement was that this camera, although ground-breaking at the time in terms of technology, just couldn’t perform in such a way as to hold focus on the horses as they plowed their way through the water. I felt the autofocus wasn’t fast enough, and I didn’t want to take a chance and depend on it in this situation. At the same time, I didn’t want to prefocus on a point in front of the horses and shoot as the herd crossed that plane of focus because that would give me only one or two good shots. So, I used a different approach.
As the horses started running, I would shoot in short bursts of two to four frames. I then hit the back button focus and refocused on the herd and fired another short burst. In this way, I was able to take multiple photos that were sharp. Keep in mind, though, that the horses were galloping through water, and this slowed them down. I wasn’t dealing with a fast flying bird. Today, I would trust my camera to follow focus on the horses. The technology has advanced significantly. Focus points versus background If the background is busy -- for example, a tree as opposed to a blue sky -- it’s easy for the AF mechanism to lock onto the tree. Therefore, I recommend using a focus point cluster of 9 to15 points. This is predicated on keeping the subject in the center like I did with the blackcollared hawk, below, from the Pantanal region of southwestern Brazil.
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Admittedly, fast flying birds can be hard just to keep in the frame -- not to mention keeping them centered -- and this is especially true when using long lenses. The angle of view is so narrow that the bird can be in and out of the frame before you know it. If you do manage to keep the subject in the frame, a center cluster of focus points is the best approach. Only if you know the subject will be photographed against the sky, like a bird in flight, can you switch to using all the focus points to cover as much of the frame as possible. That way, if the bird goes off-center, it will still stay in focus. Velocity and prefocusing When all of the factors are working against you -- meaning the subject is moving extremely fast, you’re using a long lens, a significant part
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of the frame is filled with the subject, and the background is busy, then the only way to insure you get at least one or two sharp images is to prefocus in front of the subject. I did this for the cover shot of the blue and gold macaw, and I did that again for the scarlet macaw on page 5. For the snowy owl image, below, this wasn’t necessary because these birds fly slowly. To prefocus on a point ahead of the direction of movement, you must quickly ascertain -- in the case of birds -- the flight path. In the case of animals, it would be the path of their forward movement. Place the camera on manual focus, prefocus on a spot where you predict the subject will be, and select the fastest frame rate on the camera. Just before the subject reaches that point, start shooting. You won’t have time to repeat that strategy because more than likely the subject will be gone. So, make it count. §
LAVENDER FIELDS! July 2 to 9, 2019 Spectacular fields of purple
Quaint French villages
Unique landscapes
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Autumn Foliage A
utumn is coming soon to the Northern Hemisphere, and this is a good time to start thinking about photographing the stunning display of color. The best places to go My personal favorite destination for fall colors in the U.S. is New England. Vermont, New Hampshire, Maine, Connecticut, Massachusets, and Upstate New York are fantastic. Also great is Michigan, especially the Upper Peninsula, as well as Wisconsin, Minnesota, Pennsylvania, and Ohio.
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In the West, Zion National Park is amazing in November, and Colorado is especially beautiful as well. The Eastern Sierras in California look great at this time of year as well. Western color is mostly yellow, while New England and the mid-West have a lot of red that makes the images incredibly striking. Subjects to look for The colorful trees are certainly enough to makewonderful images, but you should also seek out barns engulfed by color, churches, farm houses, fence lines, abandoned houses, abandoned cars,
lakes, grist mills, and farm machinery. All of these things add a focal point to the picture. This is why I like shooting autumn in New England. There is so much material there, such as the church at right in Stowe, Vermont. Elements like this plus the great color make New England a photographer’s paradise. The ideal weather The best weather condition you can have for autumn color is overcast. Second best is sunrise and sunset when the sun is still very close to the horizon and contrast hasn’t become extreme yet. When there is a cloud cover and the lighting is soft and diffused, the brilliant yellows, oranges, and reds show up with stunning intensity. I know this seems counterintuitive. It makes
much more sense that when there is direct, midday sunlight, the colors look brighter and more saturated. To our eyes, this intensity holds true, but to the camera (i.e. the digital sensor), colors have a great depth, brilliance, and intensity with diffused light. The contrast gain caused by the inability of digital sensors to mimic our brain makes the resulting landscape shots of autumn color look too garish. Shadows go black with
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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 the course.
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no detail, and the sheen on the leaves from the no wind. Even the slightest of breezes will move bright sun often become washed out -- in other the leaves, and multiple bracketed exposures words, grossly overexposed. stacked together won’t work. Even if you check the ‘remove ghosts’ box in the software, it won’t You can also shoot in the rain when the leaves work. There is no way Photoshop, Photomatix, are wet and glistening. It’s really beautiful. For a Aurora, or Nik can align the leaves in each variation on that theme, study the picture below frame to make the final composite look correct. right. I took this shot through the windshield of That’s one more reason why diffused light is idemy car during a rainstorm. I turned the wind- al. HDR is not needed with low contrast. § shield wipers off, and the water running down the glass acted like a diffusion filter. I simply pulled my car up to a pretty branch pattern and sat in the driver’s seat as I photographed this hand holding the camera. My shutter speed was slow -- 1/15th of a second -- but with this kind of abstraction, I felt that was fine. HDR and autumn leaves I don’t recommend using HDR when photographing fall foliage unless there is absolutely 13
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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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Define Pattern
here is a unique technique in Photoshop that is fun to experiment with. You can create a pattern behind a subject that is derived from elements in the subject itself. The photo of King Tut’s famous gold mask, right, is an example. The background pattern came from the intricate design of the mask itself. In the photo below, I made a selection of the fabric hanging from the Venetian mask and turned it into a pattern for the background. Here are the steps to accomplish this: 1. Choose the rectangular marque tool and make a square or rectangular selection of part of the subject photo. The selection can be horizonal or vertical, and it can be narrow or wide. It must be rectangular, however -- not circular nor any other shape. 2. Choose Edit > define pattern. 3. Choose Select > deselect. 4. Make a selection of the background. Depending on the image you are working on, you may want to use the magic wand tool, the quick selection tool, the lasso tool, or possibly the pen tool. 5. Expand the selection with Select > modify > 15
expand. In the dialog box that opens, choose 2 pixels. 6. Feather the edge -- meaning soften it ever so slightly -- with Select > modify > feather. In the dialog box that opens, choose 1 pixel. 7. Choose Select > save selection. 8. Chose Edit > fill. In the dialog box, click on the submenu ‘contents’ (red arrow, right). Among the choices, select ‘pattern’. 9. Now click on the other submenu ‘Custom pattern’ (green arrow). You may only have one choice, or there may be several selections al-
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ready in the list. Choose the last item -- i.e. the selection you just made. This will become the pattern, and when you click OK, you’ll see
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a repetition of your selection in the background as in the image on page 16. At this point, save the image. You can then go farther to produce some wild background abstracts. For example, in the image below, I recalled the selection with Select > load selection and then applied the native Photoshop filter ‘Polar coordinates’ (Filter > distort > polar coordinates). For the image at upper right, I recalled the selection of the background and then applied Filter > stylize > extrude. This is another native Photoshop filter. And for the image at right, I recalled the selection and applied Flexify 2, a third party plug-in made by flamingpear.com (the same people who make Flood). Because the background not the Balinese dancer, were only applied to the the power of Photoshop:
was selected and these wild effects selection. This is To affect one part of a picture without affecting other parts. The define pattern technique won’t work with a lot of subjects, but like all of the artistic embellishments possible in Photoshop, part of the skill in creating compelling composites is to choose the right components. If you try this technique and don’t like the results, don’t give up. Simply choose another subject and experiment with various patterns behind it. It’s really all about trial and error. § 19
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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othing is wrong with this picture in terms of composition, lighting, depth of field, and exposure. The subject matter is good, and I like the wide angle distortion of the foreground.
The problem, in my opinion, is the ground. The grasses beneath the front end are not really interesting, but it’s the gravel that comprises the entire left center portion of the picture that bothers me. This isn’t terrible, but it prevents this image from being exceptional in any way. In addition, I find the sky to be uninteresting. My goal, as much as I’m able to do it, is to create exceptional pictures. If I don’t find a particular situation or subject as exciting as I’d like, then I make embellishments using Photoshop to see whether I can push the image into the realm of exceptional. 21
The photo above is a composite of three separate images. I replaced the sky to make it more dramatic, and for the field of flowers -- Texas bluebonnets and Indian paintbrush that I shot near Austin, Texas -- I cloned from the flowers picture into the car photo. With both images open on the desktop at the same time, I used the clone tool to completely replace the ground. Notice that the field of flowers was shot with the same kind of wide angle lens as the car. You can see that because the foreground flowers are disproportionately large relative to the background. That indicates a wide angle lens. It was necessary to find a field of flowers photographed this way so the perspective in the two images matched. If you combine a wide angle shot with a picture taken with a telephoto, more than likely it won’t look right. Most people won’t be able to put their finger on the reason why it looks incorrect, but nevertheless they will know you used Photoshop to alter the original. § 22
SHORT AND SWEET 1.
2.
3.
4. If a subject is very close to the background, like these
Sometimes images right out of the camera seem too flat. What’s really going on is that the highlights are suppressed. The solution for this is to open Levels in Photoshop (Image > adjustments > levels) and then move the right hand slider to the left so it meets the edge of the histogram. That opens the highlights.
Long lenses, 300mm or longer, produce excellent portraits for two reasons. First, the background blurs out nicely, thus all of the attention rests on the subject. Second, you have to shoot from a greater distance. That makes the subject more comfortable and more relaxed.
When photographing birds in flight, use a shutter speed faster than you think is necessary assuming you want the wings to be sharp. I like to use 1/3200th of a second for most birds unless they are extremely slow fliers like pelicans, storks, and egrets. Then I’ll go down to 1/2000th.
two bee eaters in Kenya, you can’t manipulate depth of field enough (for example, opening the lens aperture) to make the background out of focus. The only way to deal with a distracting background in this case is to blur it or replace it in Photoshop. §
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ASK JIM
Every month, Jim will answer a question from his online students, from people who participate in his tours and workshops, or from subscribers to this magazine. If you have a question you’d like Jim to answer, please drop him a note at photos@jimzuckerman.com.
Q:
Jim . . . I took this picture out of an airplane window as I was flying into Australia. I think it is an OK picture, but it’s not striking in any way and I can’t identify the problem. I enter contests in my local camera club, and I know this could never win. What are your thoughts? Alicia Daniels, Schenectady, New York
A:
The problem with this picture is it doesn’t have a strong graphic design. In other words, the shapes in it aren’t compelling or engaging in any way. The diagonal line of the coast is good, and the rich blue color of the water looks nice. But most successful images have some kind of beautiful or elegant shape. This is true in all aspects of photography, from fashion to nature and from food photography to sports. §
© Alicia Daniels
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Partial list of Photography Tours 2018 - 2020 THE PANTANAL, BRAZIL Nov. 2018
BURMA Nov. 2018
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
CUBA Oct. 2019
SRI LANKA Nov. 2019
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.
Tom and Marj Green, Los Altos Hills, California Balkans photo tour
© 2018 Marj Green
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Student Showcase, continued
Š 2018 Marj Green
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Student Showcase, continued
© 2018 Tom Green
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Student Showcase, continued
© 2018 Tom Green
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KENYA PHOTO TOUR August 1 - 11, 2019
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PHOTOSHOP WORKSHOP in my home
Sat. & Sun., November 17 - 18, 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
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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 Autumn Foliage Sep. ‘18 Backgrounds, wild Nov. ‘12 Backgrounds, busy Apr. ‘13 Backlighting Apr. ‘16 Birds in flight Aug. ‘13 Birds in flight Jan. ‘14 Birefringence May ‘18 Birds in flight Mar. ‘16 Black velvet Mar. ‘14 Black and white conversions Mar. ‘17 Black and white solarization Sep. ‘17 Blown highlights Feb. ‘18 Blur 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 Define Pattern Depth of field
Jan. ‘17 Feb. ‘17 Jan. ‘13 Oct. ‘16 Sep. ‘15 Sep. ‘18 Aug. ‘16
eBook, how to make Embedded in Ice Energy saving bulbs Exposing for the sun Exposure, the sun
Jan. ‘13 Oct. 17 Sep. ‘14 Sep. ‘16 Jul. ‘13
Exposure technique Sep. ‘13 Exposure, snow Jan. ‘14 Exposure triangle Nov. ‘14 Exposure, to the right Apr. ‘15 Exposure compensation Sep. ‘16 Extension tubes Dec. ‘13 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Fireworks Jul. ‘13 Fisheye lenses May ‘13 Fisheye lenses Feb. ‘15 Flash backlighting May ‘15 Flash, balancing exposure Oct. ‘15 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
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Subject index for past Photo Insight issues
continued
Light fall-off Feb. ‘14 Lighting a face Oct. ‘13 Liquify Feb. ‘18 Low light photography May ‘15 Macro flash Nov. ‘12 Macro flash Sep. ‘14 Macro flash Aug. ‘15 Mannequin heads Apr. ‘16 Metering modes Nov. ‘16 Meter, How They Work Jul. ‘18 Meters, when they fail Dec. ‘16 Middle gray Nov. ‘15 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
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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 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Puppy photography Feb. ’18 Reflections Feb. ‘13 Safari May ‘13 Safari strategies Jul. ‘15 Seeing as the lens does Nov. ‘14 Selective filtering Mar. ‘18 Selective focus Jun. ‘15 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Shade May ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Sharpness problems Mar. ‘14 Shooting through wire mesh Sept. ‘14 Silhouettes Jun. ‘13 Snow exposure Nov ‘17 Soft light Jan. ‘13 Stained glass Mar. ‘17 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Tamron 150-600mm Topaz glow Topaz glow Topaz Impression Topaz Remask 5 Topaz Simplify 4 Topaz simplify 4 Topaz Studio Travel photography Travel portraits Travel tips Travel photographer’s guide
Apr. ‘14 Jan. ‘15 Sep. ‘17 Sep. ‘15 Oct. ‘17 Dec. ‘12 Jun. ‘14 Apr. ‘18 Feb. ‘13 Mar. ‘14 Apr. ‘14 Jun. ‘17
Subject index for past Photo Insight issues Tripods Mar. ‘18 Two subject sharp rule May ‘14 Ultra distortion
May ‘18
Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 White vignette Aug. ‘15 White balance Feb. ‘15 White balance, custom Mar. ‘16 Wide angle lenses Mar. ‘13 Wide angle portraits Nov. ‘14 Wide angle lenses Jun. ‘17 Wide angle keystoning Nov ‘17 Wildlife photos with wide angles Mar. ‘15 Window light Dec. ‘15 Window light portraits Aug. ‘18 Window frames Feb. ‘16 Winter photography Dec. ‘12 Winter bones May ‘13 Winter photography Dec. ‘15 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 A golden mantled ground squirrel, Bryce Canyon, Utah
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