Photo Insights Issue 7 2022

Jim Zuckerman’s PHOTO INSIGHTS July 2022 When You Really Needed a Zoom 1 SAtrnataetgoiems yforofcaNpatutruirnaglaLcitgiohnt Portraits PUhoptsoigdreapDhionwgnthRe aeuflreocratiobnorsealis APSAPhhsokoshotkoJotitmiJontoigmutotrhusrrosuVgSh tguladsesnt showcase SStuudbenjetcSthionwdceaxse Back issues

Table of Contents On the cover: A veiled woman in Marrakech, Morocco. This page: A Yagua tribesman in 4. Strategies for capturing action the Peruvian Amazon using a blowgun. 11. Photographing the aurora borealis 16. Shooting through glass 20. Jim’s eBooks 23. What’s wrong with this picture? 25. Short and sweet 27. Ask Jim 28. Photography tours 30. Student Showcase 36. Past issues 42. Subject index 2

xposure precision was critical in the past when we all shot film. With black and Ewhite and color negatives, there was some flexibility. About one f/stop too light or too underexposed was still within the realm of acceptability. In those days, it was all about making a good print. With transparency film, not more than 1/2 f/stop over or under was okay. Once the film was processed, the exposure could not be tweaked at all. Photographers would sometimes purposely underexpose slides by 1/3 f/stop because this tended to make color more saturated, but that was about it. The reason why professional photographers had little competition in the market place with sell- ing their work before the digital revolution is because only very serious amateurs understood exposure. Time and again I’d hear amateur photographers say, referring to how their images didn’t capture what they saw or experienced, “You should have been there.” Now, the millions of people who use digital SLR’s, mirrorless cameras, and smart phones don’t say that because their exposures, color, and even compositions are virtually perfect. In the digital realm, particularly when it comes to RAW files, it’s amazing how far off the mark we can be in exposure and still get an acceptable image. With sliders in ACR and Lightroom, RAW files can be tweaked to make the photographs perfect even if the picture taker has no knowledge of exposure, the exposure triangle, lighting, or color. The biggest change in the photographic process is the ability to see your pictures immediately; even if the exposure is off, it’s a simple mat- ter to correct them on the fly. In the past, when you returned from a vacation and had the film developed, if the pictures were too light or too dark, there was nothing to be done. The technical side of photography has been tamed by technology, so to speak. Once you learn the buttons and dials on your camera, there are no technical hurdles to surmount. However, the creative side of photography can be so easily learned. That still takes lots of experience and an artistic eye. Jim Zuckerman [email protected] www.jimzuckerman.com 3

Strategies for CAPTURING ACTION ction photography isn’t easy. Fast cision, the f/stop choice for depth of field, the autofocus mode, the number of focus points, Amoving subjects present good an awareness of the background, the exposure compositions in fractions of a sec- for a white subject, and the frame rate. ond, sometimes never to be repeated. The in- What follows is my thought process for render- teraction years ago between my great Pyrenees ing fast moving subjects with sharpness. Cre- and my newly adopted cocker spaniel puppy, atively blurring action shots is a valid approach below, shows a fearless pup not concerned at if that’s what you want, but in my opinion it’s all with a gaping mouth that could shallow much more rewarding artistically and techni- him whole! This moment lasted for probably cally (and more difficult) to capture the action a tenth of a second, and to capture something with tack sharp clarity. like this a lot of things had to come together: Hand-eye coordination, the shutter speed de- 4

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1. Frame rate. The first decision is how many 2. Shutter speed. The speed of the shutter is frames per second you’ll need to have enough critical in producing sharp pictures of a fast of a variety of images from which to choose. moving subject. I’m so tired of taking pictures To catch every nuance of movement, I usu- that are almost sharp, so now I tend to err on ally opt for the fastest frame rate my camera the side of very fast shutters. offers. Having said that, the newest cameras For birds in flight, my standard shutter speed is like the Canon R5 and the just announced R7 1/3200. Large birds like herons, osprey, eagles, have 20 and 30 frames per second, respectively. egrets, and hawks are relatively slow fliers, and In my opinion, for most action sequences, this if the light is diminished and I want to keep is overkill. For small birds in flight, however, the ISO relatively low, I’ll go down to 1/2000. that kind of ultra fast frame rate is perfect due Hummingbirds, on the other hand, flap their to their extremely fast wing beats. wings so fast that shutter speeds on our cam- For the egret fishing in a Louisiana swamp eras aren’t sufficient to freeze the birds. Only on the previous page, I used the mechanical flash units, when used on reduced power, gen- frame rate of 12 fps on the Canon R5. That was erate a ‘flash duration’ brief enough to freeze enough in this instance. The bird’s ability to this kind of movement. grab a fish at warp speed is pretty impressive, My typical shutter for horses at full gallop, and and only a fast frame rate allowed me to cap- in the case of the white horses of the Camar- ture enough images in the sequence to choose gue in France, below, where they are splash- a favorite. 6

Carnival in Venice February 12 - 18, 2023 7

ing through a marsh, 1/1250 is sufficient to ably could have used 1/1250 -- the same shutter I freeze both the water drops and the moving use for horses -- but as I mentioned earlier, I like horses. to err on the side of a shutter speed that may be The shutter speed you choose often depends unnecessrily fast if, and only if, I have enough on whether or not you are following the sub- light. In this case, I used 1/2000 and I tracked ject with your camera. This is made obvi- Teddy with the camera as I shot. ous in the photo below of two US Airforce 3. Depth of field. I only shoot action with the Thunderbirds passing each other during an lens aperture wide open if the light level is low airshow. I was following the jet on the right, and I need as much light-gathering ability from and with a shutter of 1/1600 it’s tack sharp. the lens to give me a fast shutter. However, I The jet on the left flew into my frame and prefer to build into the shot a certain amount of it’s slightly blurred because I wasn’t following depth of field for two reasons. First, subjects have it. So, in this example, I should have used depth -- like a bird with outstretched wings-- a shutter speed of 1/2000 or even 1/2500 to and I want as much of the subject in focus and have both planes sharp. sharp as possible. And second, if the autofocus On the next page you can see Teddy, my mechanism isn’t quite fast enough to lock and fo- cocker spaniel, as an adult running at full cus onto a fast moving subject, a certain amount speed down a snow-covered slope. I prob- of depth of field might take up the slack. It’s like an insurance policy. 8

4. Speed of autofocus. How fast your cam- picture, the IS mechanisms will function. This era can lock focus on a subject is critically im- takes a certain amount of time, and even if it’s portant, obviously. If you are using a camera milliseconds, this could cause you to miss the designed and manufactured several years ago, peak action of a moving subject. you are handicapped because newer cameras In addition, IS (or VR) uses a significant amount are so fast in their ability to find the subject of battery to function. Action photography and focus on it in milliseconds. drains batteries quickly simply because our If your camera has the relatively new ability to lock focus on an animal’s eye, use it when 9 photographing wildlife and birds. This fea- ture has increased the chances of staying fo- cused on a moving subject. It’s brilliant tech- nology. One thing you can do to speed up the auto- focus is turn off the image stabilization fea- ture in the camera and lens. With fast shutter speeds these are completely unnecessary. My point, though, is that before you can take a

cameras are totally electronic, and shooting so many frames over and over again demands a lot of power. Turning off the IS is also an important way to conserve the battery. 5. Auto ISO. An important part of my strat- egy in photographing subjects in motion is to use auto ISO along with manual exposure mode. In doing so, I can specifically choose my shutter speed (without the concern it will vary according to the light) and lens aperture. As the light varies, the ISO varies. The only downside to this is in low light envi- ronments the ISO will be high. I never put a cap on this, however, because if it’s relatively dark and the ISO needs to be elevated, lim- iting it will cause underexposure. With the advanced noise-reducing software now avail- able, a high ISO is much less of an issue than it used to be. § 10

Photographing the Aurora Borealis spectacular Northern Lights display nothing but a large green glow. If this is the first image of the Northern Lights you’ve ever taken, Ais something to behold. It moves, even that will be exciting. But very soon you’ll changes color, and changes inten- be looking for something more. sity constantly, and when it fills the sky it takes My exposure for the image below was 10 sec- your breath away. At the same time, it makes onds. I would recommend making this your you feel small and insignificant in the grand longest exposure. As you can see, the curves scheme of things. of light patterns are nicely defined. That’s what Photographing the aurora is easy once you un- you want. The lens aperture I used was f/2.8, derstand the settings. You have to first realize and my ISO was only 800. You have to use the that because the lights move, exposures that are largest lens aperture available -- the larger, the too long will cause a loss in definition. In oth- better. F/4 is the smallest aperture I’d use; other- er words, the shape and design of the celestial wise, you’ll be forced to raise the ISO or length- light pattern may be lost and you end up with 11

en the exposure. Post-production software to cus is today, the camera can’t delineate a sub- mitigate noise, like Topaz DeNoise and Neat ject in a night sky even if the aurora borealis is Image are both superb, but noise does show up bright. There are two things you can do. prominently in the shadows. And night skies First, you’ll be using a wide angle lens. I sug- are full of shadows. gest 16mm or wider. Lenses with a super wide For the image below I used a 15 second expo- focal length go to infinity at approximately sure, and you can see some movement in the their focal length . . . in feet. So, for example, a patch of green color in the upper right quad- 14mm lens focuses to infinity at about 14 feet. rant. A 25 or 30 second exposure would pro- That means you can focus on a distant win- duce just a glow in the sky without any form. dow light, street lamp, car headlight, or even Note how the colors vary. I didn’t alter the col- a flashlight that’s at least -- let’s say for insur- ors in post-processing at all. This is how a dig- ance -- 25 feet away or more. Sometimes if you ital sensor reacts to the lights. I typically use a are shooting in a remote area specifically to get white balance between 3000 and 4000 degrees away from the lights of a city, there aren’t any Kelvin. This has to be set manually. manmade lights to be seen. In that case, use The biggest challenge with shooting the sky -- a flash. Have a friend hold the light for you and this includes the Milky Way as well -- is, or simply rest it on the ground or on anything believe it or not, focusing. As good as autofo- else. Walk away and when you are about 25 to 30 feet away, focus on it. You can focus manu- ally or use the AF function. However, once fo- 12

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PERUVIAN NATURE TOUR Sept. 24 - Oct 4, 2022 14

cused, switch to manual focus mode and don’t expose correctly for the architecture, and then touch or jar the lens in any way. Now, when second you take the correct exposure for the you shoot the sky, you’ll be in focus. Northern Lights. Then, in Photoshop, com- If you want to include the aurora behind an il- posite them together. This is what I did to cre- luminated building or city skyline, like you see ate the photo of the church. with the church photo on page 13, it can’t be Including landscapes at night with a sky illu- done with a single shot. The lighting on the ar- minated by the aurora can be quite dramatic. chitecture is much brighter than on the aurora, With the ligh gathering of a long exposure and and the exposure discrepancy is too much for a a large aperture, landscapes can look virtually digital sensor. You have two choices: like a daylight exposure. This gives form, per- 1. You can take an HDR sequence in which the spective, and interest to the image. You can longest shutter speed permits a good exposure also paint foregrounds with a flashlight, and on the sky. In this case, I’d recommend expo- this, also, makes for dramatic images. sure increments of 2 f/stops and take 7 frames I captured all the images in this article in Ice- in the sequence. land during winter trips there. You never see 2. Take two separate shots in which you first the aurora in the summer because the sky is never dark enough. § 15

Shooting Thru Glass hotographers hesitate to shoot least amount of degradation of quality. I pho- tographed the cat below through a window in a Pthrough glass because they feel home in Morocco, and you can see clearly every it degrades image quality. This hair and whisker on the cat’s face. The key is to is true, but sometimes if you want a certain make the lens axis as perpendicular as possible to picture there is no choice. The question is, the plane of the glass. This produces the sharpest what can you do to take the sharpest picture picture possible. As soon as the lens is angled possible? obliquely, image quality declines. First, the glass has to be as clean as possible, obviously. In addition, glass comes in vari- With airplane windows, you are not shooting ous thicknesses. The thicker the glass, the through glass at all but optically inferior plastic. greater the loss of quality. Most window glass And, there are two pieces of plastic separated by is only 1/8th inch thick, and this causes the an air pocket. This is the worst case scenario, and if you have photographed through the win- 16

dows of a commerical jet, you know how bad the pictures usually turn out. This is because people angle the camera downward, and this oblique angle destroys the quality of the images. The shot below of Chicago taken from the 94th floor observation deck on the John Hancock Building was problematic because the windows were angled; they weren’t vertical. It was im- possible to make the lens axis perpendicular to the plane of the windows, so the camera had to be angled. I took the picture anyway, but it’s not as sharp as it could have been. Aquarium photography is particularly chal- lenging because of this issue. Aquariums have thick glass or Plexiglas, so it’s essential to shoot straight through. Any oblique angle really de- grades quality. As a last resort, you can use To- paz Sharpen AI to bring back lost quality due to the optically poor glass. § 17

PANTANAL PHOTO TOUR Wild jaguars Exotic birds in flight Caiman Giant river otters Nov. 8 - 15, 2022 18

w UPCOMING PHOTO WORKSHOPS Snowy Owl Workshop Upclose and personal encounters with these stunning birds in flight . Learn how to expose for white on white wintry conditions. January 5-9, 2023 Winter Wildlife Workshop Photograph beautiful North American mam- mals plus a snow leopard in natural environ- ments. Mountain lions, red foxes, arctic foxes, bobcats, lynx, wolves and more are in their full winter coats. This is a very special work- shop. January 17 - 21, 2023 Carnival in Venice Workshop Photograph outrageous costumes in a medi- eval environment! Incredible colors, design, and creativity in one of the most beautiful cities in the world. Learn how to use off-cam- era 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 12 - 18, 2023 10 19 19

Expand your photographic artistry with eBooks Click on any ebook to see inside 2180

eBooks continued Click on any ebook to see inside 21 1919231

South Africa Wildlife Safari October 25 - November 4, 2022 Photograph at water level from blinds day and night plus more 22 23

What’s wrong with this picture? ometimes small details escape our attention. It happens to me, too. SIn this case, I didn’t see the problem until I looked at the LCD screen and noticed the error. If you look at the lantern at the right side of the image, it’s right in front of the palm trunk. This isn’t a huge faux pas, but it’s not ideal. The tree trunk partially obscures and interferes with the graphic shape of the lantern. This was easily corrected once I noticed it. I stepped to my left about 3 inches and composed the lantern between the trees as you can see on the next page. This is much better. This picture has different kinds of elements with a variety of designs, textures, and color. It was easy to overlook this one aspect of the im- age, but upon close examination I noticed it. 23

As a mental discipline, I try and remember to run my eyes around the viewfinder every time I take a picture. Only for a fraction of a second. In that brief amount of time, I can check the background, the edges of the frame, and the subject itself looking for obvious flaws: distracting elements, confusing backgrounds, anything interfering with the graphic design of the composition, highlights that might blow out, etc. When things are happening fast, as in action shots, it’s possible to do this but usually you won’t have the time. You have to focus on getting the subject sharp. But with static subjects like this medieval tower in Marrakesh, Morocco, I had all the time in the world to notice the issue with the lantern. As you gain experience in photography, your visual accuity becomes keener and you start to see things you never saw before. I always claim that photography really taught me to see. § 24

SHORT AND SWEET 1. Referencing my comments on the previous page, 2. Rarely do I include groups of tourists in my pic- here is one instance where I didn’t run my eyes around tures. In fact, I do everything possible to exclude the frame and missed the fact that I cut off the tips of them. This is an exception. My exposure was 3.2 sec- two shoes. This is a traditional water seller in Moroc- onds to purposely blur the street car, but at the same co, and my guide, Ali, was having a discussion with time the long exposure blurred the people on the left him. I’m not happy with myself for this error. into an acceptable abstraction. 3. Some photographers like to show parts of birds, 4. Midday lighting can be acceptable if the sun is front like the wings, somewhat blurred because, they con- lighting or sidelighting the subject, as it is here with this tend, it ‘implies motion’. I disagree. Motion is implied Tennessee barn. What you don’t want is a midday sun simply because the bird is airborne. Sharply defined behind the barn. Is this as good as sunrise or sunset? wings (and body) of birds in my opinion makes the No, but it’s okay. Notice how the texture is rich and images much more compelling. there aren’t too many dark shadows. § 25

ETHIOPIA PHOTO TOUR M a r c h 4 - 1 6, 2 0 2 3 26

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 [email protected]. Q: Jim . . . I took this picture of a California poppy, and the light background always bothered me. But the real problem, I feel, is the upper right corner. It draws the eye away from the flower. How would you fix this in Photoshop? Jan Ackerman, Tallahassee, Florida A: There are two options for you. First, you could carefully select the subject flower with the pen tool (the most precise selection tool), and then paste it onto a background of your choise. For example, dark out of focus green foliage. Second, you could clone from another picture that was mostly or completely out of focus green foliage onto this picture. I would select the flower, again with the pen tool, then choose Select > inverse, which selects everything except the flower, and then clone the blurred green foliage background into this shot. The selection will prevent the new background from encroaching on the flower. § © Jan Ackerman 27

Partial list of Photography Tours 2022 - 2024 INDONESIA BADLANDS NORWAY/DENMARK Jul - Aug 2022 Sep 2022 Sep 2022 PERU VERMONT AUTUMN ICELAND in WINTER Sep/Oct 2022 Oct 2022 Dec/Jan 2023 CHINA CARNIVAL in VENICE ETHIOPIA Jan/Feb 2022 Feb 2023 Mar 2023 ABANDONED in GEORGIA PATAGONIA HOLLAND & BELGIUM Mar 2023 Apr/May 2023 Apr/May 2024 28 For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.

Carnival in Venice February 12 - 18, 2023 j Stunning costumes in a medieval environment 29

Student Showcase Each month, Jim features one student who took beautiful and inspiring images on one or more of his pho- tography tours or workshops. It’s really fascinating how photographers see and compose such different im- ages even though we may go to the same places. Everyone gets great photographs on Jim’s trips. Steve Dell, Tucson, Arizona Spain/Portugal photo tour. © Steve Dell 30 27 30 27

Student Showcase, continued © Steve Dell 31 292391

Student Showcase, continued © Steve Dell 32 37 31 31 33 35 2233299139

Student Showcase, continued © Steve Dell 333331 34 3313

ICELAND IN WINTER Ice caves Waterfalls Aurora borealis Ice beach December 27 to January 4, 2022 - 2023 34

FROG & REPTILE WORKSHOP Based in Kansas City, Missouri Saturday and Sunday, Feb. 25 & 26, 2023 This is a macro photography workshop where you will learn: -- How to use a ring flash in a macro environment -- How to focus critically when DOF is extremely shallow -- How to use off-camera flash for macro subjects -- How to replace backgrounds with perfection -- How to obtain perfect exposures with closeup flash 35

Click on the past issues of PHOTO INSIGHTS you would like to read. Nov. ‘12 Dec. ‘12 Jan. ‘13 Feb. ‘13 Mar. ‘13 Apr. ‘13 May. ‘13 Jun. ‘13 Jul. 13 Aug. ‘13 Sept. ‘13 Oct. ‘13 Nov. ‘13 Dec. ‘13 Jan. ‘14 Feb. ‘14 Mar. ‘14 Apr. ‘14 May ‘14 Jun.‘14 36

Click on the past issues of PHOTO INSIGHTS you would like to read. Jul.‘14 Aug. ‘14 Sept. ‘14 Oct. ‘14 Nov. ‘14 Dec. ‘14 Jan. ‘15 Feb. ‘15 Mar. ‘15 Apr. ‘15 Aug.‘15 Sept.‘15 Jim Zuckerman’s PHOTO INSIGHTS January 2015 • Topaz Glow • A different approach to composition • Photographing puppies • Kaleidoscopic images • Online photo course • Student showcase • Photo tours May ‘15 1 Jul.‘15 Jun ‘15 Jim Zuckerman’s PHOTO INSIGHTS June 2015 • Realistic HDR • Selective focus • Simulating bokeh • Sepia & Dark Contrast • Online photo courses • Student showcase • Photo tours 1 Oct.‘15 Nov. ‘15 Dec. ‘15 Jan. ‘16 Feb. ‘16 37

Click on the past issues of PHOTO INSIGHTS you would like to read. Mar. ‘16 Apr. ‘16 May ‘16 Jun ‘16 Jul. ‘16 Aug. ‘16 Sept. ‘16 Oct. ‘16 Nov. ‘16 Dec. ‘16 Jan. ‘17 Feb. ‘17 Mar. ‘17 Apr. ‘17 May ‘17 Jun ‘17 Jul. ‘17 Aug. ‘17 Sept. ‘17 Oct. ‘17 38

Click on the past issues of PHOTO INSIGHTS you would like to read. Nov. ‘17 Dec. ‘17 Jan. ‘18 Feb. ‘18 Mar. ‘18 Apr. ‘18 May ‘18 Jun ‘18 Jul ‘18 Aug ‘18 Sept. ‘18 Oct. ‘18 Nov. ‘18 Dec. ‘18 Jan. ‘19 Feb. ‘19 Mar. ‘19 Apr. ‘19 May ‘19 Jun ‘19 39

Click on the past issues of PHOTO INSIGHTS you would like to read. Jul. ‘19 Aug. ‘19 Sept/Oct. ‘19 Nov. ‘19 Dec. ‘19 Jan. ‘20 Feb. ‘20 Mar. ‘20 Apr. ‘20 May ‘20 Jun. ‘20 July ‘20 Aug. ‘20 Sept. ‘20 Oct. ‘20 Nov. ‘20 Dec. ‘20 Jan.. ‘21 Feb.. ‘21 Mar.. ‘21 40

Apr.. ‘21 May ‘21 Jun.‘21 Jul.‘21 Aug.‘21 Sept. ‘21 Oct. ‘21 Nov. ‘21 Dec. ‘21 Jan. ‘22 Feb. ‘22 Mar. ‘22 Apr. ‘22 May ‘22 Jun. ‘22 Jul. ‘22 41

Subject index for past Photo Insight issues 1/3 focus law Jul. ‘15 Composites and Light Dec. ‘17 3D sphere Mar. ‘16 Compositing images Apr. ‘19 90 degree finder Mar. ‘13 Compositing, 7 steps Jan. 22 Abstracts in soap Feb. ‘15 Composition, different approach Jan. ‘15 Abstracts, Shooting Mar ‘19 Content-aware, New Aug. ‘20 Aerial photography Jun. ‘13 Contrast vs. exposure Jul. ‘15 Aerial photography Jan. ‘21 Converting to black and white Mar. ‘22 African safari May ‘16 Correcting keystoning Jun. ‘21 Airplane windows Mar. ‘16 Creating a star field Jan. ‘14 Alien landscapes Jan. ‘13 Creating Art out of Motion May ‘22 Anatomy of 8 photographs Jan. ‘16 Creating a Sketch Dec. ‘17 Angled perspectives Jan. ‘19 Creative blurs Jan. ‘14 Aperture vs. shutter speed May ‘14 Nov. ‘19 Aperture priority Sept. ‘14 Dark backgrounds Jan. ‘17 Aurora Borealis Apr. ‘17 Dawn photography Feb. ‘17 Auto white balance Dec. ‘13 Dawn photography Jan. ‘13 Autofocus, when it fails Apr. ‘15 Dead center Oct. ‘16 Autofocus failure Aug. ‘15 Dealing with smog Sep. ‘15 Autofocus failure Jan. ‘17 Decay photography Sep. ‘18 Autofocus challenges Apr. ‘18 Define Pattern Aug. ‘16 Auto ISO Nov ‘17 Depth of field Jan. ‘20 Auto White Balance Mar’ ‘21 Depth of field confusion Dec. ‘18 Autumn Foliage Sep. ‘18 Depth of field and distance May ‘21 Autumn Color Sep. ‘20 Depth of field and obliqueness Apr. ‘20 Autumn foliage photography Oct. ‘21 Depth of field, shallow Nov. ‘20 Depth of field vs. sharpness Apr. ‘20 Back button focus Oct. ‘18 Double takes Apr. ‘19 Backgrounds, wild Nov. ‘12 Drop shadows Aug. ‘19 Backgrounds, busy Apr. ‘13 Dust, Minimizing Backlighting Apr. ‘16 Birds in flight Aug. ‘13 eBook, how to make Jan. ‘13 Birds in flight Jan. ‘14 Eliminating people from photos Jun. ‘22 Birefringence May ‘18 Embedded in Ice Oct. 17 Birds in flight Mar. ‘16 Energy saving bulbs Sep. ‘14 Bird Photography Jun ‘19 Exposing for the sun Sep. ‘16 Blacklight photography Feb. ‘21 Exposure, the sun Jul. ‘13 Black velvet Mar. ‘14 Exposure technique Sep. ‘13 Black and white conversions Mar. ‘17 Exposure, snow Jan. ‘14 Black and white solarization Sep. ‘17 Exposure triangle Nov. ‘14 Black and white with color Jan. ‘20 Exposure, to the right Apr. ‘15 Blown highlights Feb. ‘18 Exposure compensation Sep. ‘16 Blue monochromes Jan. ‘22 Exposure compensation Mar. ‘21 Blur, field Nov. ‘18 Extension tubes Dec. ‘13 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Botanical gardens, shooting Apr. ‘22 Face sculpting Apr. ‘21 Face sculpting Feb. ‘22 Butterfly photography Jul. ‘14 Festival photography Sep. ‘20 Camera buying guidelines Dec. 21 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Camera setting priorities Jun. ‘17 Fireworks Jul. ‘13 Canon R5 Mar. ‘21 Capturing lightning Jun. ‘13 Fireworks, Compositing Jun ‘20 Fisheye lenses May ‘13 Capturing what you don’t see May ‘21 Fisheye lenses Feb. ‘15 Catchlights Jul. ‘16 Changing perspective May ‘21 Fisheye fantasies Oct. 21 Flash backlighting May ‘15 Cheap flash stand Apr. ‘13 Flash, balancing exposure Oct. ‘15 Children photography Jun. ‘14 Choosing a telephoto lens Dec. ‘20 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Chromatic aberration May ‘13 Flexify 2 Mar. ‘20 Chrome Dec. ‘18 Cityscapes Aug. ‘14 Flood fixes problems Nov. ‘19 Floral Portraits, Indoors Aug. ‘21 Cityscapes May ‘16 Flowers May ‘15 Clone tool, fixing an issue Sep. ‘17 Clone tool technique Jul. ‘20 Flower photography Apr ‘21 Flowers in harsh light Jul. ‘16 42

Subject index for past Photo Insight issues Focus on the eyes Dec. ‘20 Landscape photography Nov. ‘16 Focus points Mar. ‘15 Layer Masks, The Power of Feb. ‘22 Focus points Sep. ‘20 Light fall-off Feb. ‘14 Focus stacking Mar. ‘17 Light painting Dec. ‘21 Focus stacking Aug. ‘19 Lighting a face Oct. ‘13 Focusing in the dark Oct. ‘16 Lightning photography May ‘20 Foreign Dancers, Photographing Nov’ 17 Liquify Feb. ‘18 Foreign models Jun. ‘13 Liquify Distortions Sept/Oct. ‘19 Fractals, generating Sep. ‘13 Long lens portraits Oct. ‘18 Fractals Jul. ‘19 Long Lenses for Flowers Jul. ‘20 Framing May ‘17 Low light photography May ‘15 Freezing ultra action May ‘17 Luminar 4 Jan. ‘20 From Terrible to Beautiful Aug. ‘19 Fun with paint Oct. ‘16 Macro flash Nov. ‘12 Fundamental ingredients Apr. ‘13 Macro flash Sep. ‘14 Fundamentals That Make Great Photos Jan. ‘19 Macro flash Aug. ‘15 Fun With Christmas Lights Jan. ‘21 Macro photography and DOF Feb. ‘22 Fun with Food Macro trick May ‘19 Managing soft focus Jul. ‘21 Graphic Design Jul. ‘20 Mannequin heads Apr. ‘16 Garish imagery Dec. ‘15 Metering modes Nov. ‘16 Getting money for used gear Jan. 22 Meters, How They Work Jul. ‘18 Great subjects Apr. ‘15 Meters, when they fail Dec. ‘16 Great ceilings & HDR Panos Jul. ‘19 Metering situations, Impossible Jul. ‘19 Green screen Mar. ‘13 Middle gray Nov. ‘15 Grunge technique Feb. ‘13 Minimizing dust on the sensor Nov. ‘21 Mirrors Jan. ‘19 HDR, one photo Apr. ‘13 Model shoot Jan. ‘17 HDR at twilight May ‘13 Moon glow Oct. ‘16 HDR, realistic Jun. ‘15 Mosaics Jun. ‘17 HDR, hand held Dec. ‘16 Mundane to Ideal Nov. ‘19 HDR, hand held Nov ‘17 Museum photography Mar. ‘13 HDR, hand held Jul. ‘18 HDR panoramas Jun. ‘16 Natural Light Portraits Aug. ‘21 HDR, choosing the number of frames Jun. ‘22 Negative space Jan. ‘16 High wind Apr. ‘17 Neon edges on black Aug. ‘14 Highlights Apr. ‘14 Neutral Density filters Jun. ‘18 Highlights, overexposed Feb. ‘15 Neutral Density filters and water Mar. ‘22 Histograms, Why I Don’t Use Jun ‘19 Night photography Feb. ‘14 Histogram problems Apr. ‘20 Night Safaris Jun. ‘18 Hotels with a view Mar. ‘20 Night to Twilight Dec. ‘17 Humidity Oct. ‘13 Noise reduction Feb. ‘17 Hummingbird photography Apr. ‘13 Hyperfocal distance Jul. ‘13 Oil and water May ‘20 Optical infinity Jun. ‘16 Image resizing Aug. ‘18 Organization of photos Mar. ‘18 Implying motion Sept.‘14 Out of focus foregrounds Jan. ‘20 Impossible DOF Feb. ‘16 Impossible DOF Jan. ‘17 Paint abstracts May ‘13 Indestructible camera bag Dec. ‘14 Paint abstracts Aug. ‘21 Infrared photography Jul. ‘14 Painting with light Sep. ‘15 Interiors Oct. ‘15 Panning motion Dec. ‘16 iPad: Loading photos Aug.‘17 Pano-Mirrors with a twist Jan. ‘18 iPhone photography, pros and cons Apr. ‘22 Parades Sep. ‘13 Parallelism Nov. ‘19 Jungle photography Dec. ‘14 Parallelism and DOF Feb. ‘21 Perspective, Super Exaggeration of Dec. 21 Kaleidoscopic images Jan. ‘15 Photography to Art Dec. ‘17 Kaleidoscopis images Aug. ‘20 Photography solutions Jan. ‘18 Keystoning, correcting Aug. ‘15 Photoshop, content Aware Nov. ‘12 Photoshop, sketch technique Apr. ‘13 L Bracket Feb. ‘18 L Bracket Feb. ‘21 Landscape photography Dec. ‘12 Landscape photography Apr. ‘14 43

Subject index for past Photo Insight issues Photoshop, replace background Apr. ‘13 Safari May ‘13 Safari strategies Jul. ‘15 Photoshop, actions palette Dec. ‘13 Seeing as the lens does Nov. ‘14 Photoshop, layer masks Feb. ‘13 Photoshop, the clone tool May ‘13 Seeking Cool Snow Photos Jan. ‘21 Selective filtering Mar. ‘18 Photoshop, soft foliage Oct. ‘13 Selective focus Jun. ‘15 Photoshop, mixer brush tool Sept. ‘14 Photoshop, b & w with color Jun. ‘14 Self-critiques Jul. ‘13 Self-critiques Oct. ‘13 Photoshop, drop shadows Jul. ‘14 Self-critiques Nov. ‘20 Photoshop, creating texture Feb. ‘14 Photoshop, face mirrors Feb. ‘14 Sensor cleaning Jun. ‘18 Sepia and dark contrast Jun. ‘15 Photoshop, liquify Mar. ‘14 Shade May ‘14 Photoshop, face mirrors Aug. ‘14 Photoshop, digital spotlight Sep. ‘14 Shady side Jun. ‘18 Shadows, Paying Attention to Mar. ‘18 Photoshop, enlarge eyes Nov. ‘14 Sharpness problems Mar. ‘14 Photoshop, darken the periphery Dec. ‘14 Photoshop, mirror images Dec. ‘14 Shooting through wire mesh Sept. ‘14 Shooting into the light Jun ‘20 Photoshop, beam of light Apr. ‘15 Silhouettes Jun. ‘13 Photoshop, polar coordinates Mar. ‘15 Photoshop, chrome May ‘15 Silhouettes, How to make Apr. ‘22 Silhouettes, Exposing for Sept/Oct. ‘19 Photoshop, actions palette Nov. ‘15 Silvered landscapes Mar. ‘20 Photoshop, cut and paste Nov. ‘15 Photoshop, geometrics Oct. ‘15 Sketch, How to Make Jun ‘19 Skies make or break a picture Aug. ‘21 Photoshop, plugins Oct. ‘15 Sky replacement Nov. ‘20 Photoshop, multiple selections Apr. ‘16 Photoshop, sharpening Apr. ‘16 Snow exposure Nov ‘17 Snow exposure Nov. ‘19 Photoshop, Flood plugin Apr. ‘16 Soft light Jan. ‘13 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Smart phone photography May ‘19 Stained glass Mar. ‘17 Photoshop new tool May ‘20 Star photography Jul. ‘16 Photoshop, place one element behind Aug. ‘18 Photoshop, the pen tool Feb. ‘16 Star photography and noise Jan. ‘18 Stock photography Sep. ‘14 Photoshop, canvas size Jan. ‘16 Sunrise & sunset Jan. ‘19 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Photoshop, paste into Nov. ‘16 Tamron 150-600mm Apr. ‘14 Ten reasons photos are not sharp Jan. ‘19 Photoshop, b & w with color Feb. ‘17 Texture, Adding Mar ‘19 Photoshop, open a closed door Apr. ‘17 Photoshop, palettes May ‘17 Texture Mapping in 3D Jul. ‘21 Topaz AI Gigapixel Mar ‘19 Photoshop, My favorite plugins Jan. ‘20 Topaz glow Jan. ‘15 Portrait options Jan. ‘19 Portrait techniques Nov. ‘15 Topaz glow Sep. ‘17 Topaz Impression Sep. ‘15 Portraits Mar. ‘13 Topaz Remask 5 Oct. ‘17 Portraits, mixed lighting Aug. ‘14 Portrait Professional Nov. ‘19 Topaz Simplify 4 Dec. ‘12 Topaz simplify 4 Jun. ‘14 Portraits, Lens choice Sept/Oct. ‘19 Topaz Studio Apr. ‘18 Portraits, side lighting Sep. ‘17 Portraits, window light Mar. ‘15 Translucency & backlighting Nov. ‘18 Travel photography Feb. ‘13 Portraits, outdoors May ‘17 Travel portraits Mar. ‘14 Post-processing checklist Dec. ‘13 Post-processing: Contrast Aug. ’17 Travel tips Apr. ‘14 Travel photographer’s guide Jun. ‘17 Predictive Focus Sep. ‘18 Twilight photography in the rain Apr. ‘19 Problem/solution Apr. ‘17 Problem Solving in Photoshop May ‘22 Tripods Mar. ‘18 Two subject sharp rule May ‘14 Problem with cruises Jan. ‘18 Two subject focus rule Jan. ‘20 Protecting highlights Dec. ‘12 Puppies Jan. ‘15 Two subject focus rule Jun. ‘21 Puppy photography Feb. ’18 Urban heights Jun. ‘21 Ultra distortion May ‘18 Reflections Feb. ‘13 Upside Down Reflections Aug. ‘21 Restoring old photos Jun ‘20 Ring flash, advantages Jul. ‘21 Ring flash versatility Oct. ‘21 Rule of Odds May ‘22 44

Subject index for past Photo Insight issues Warm fingers in winter Nov. ‘15 Water drop collisions May ‘18 What NOT to do in photography Apr. ‘18 When You Needed a Zoom Aug. ‘21 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 lenses: Outside the Box Jun. ‘22w 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 45

Barbary macaque, mid-Atlas Mountains, Morocco PHOTO INSIGHTS® published by Jim Zuckerman All rights reserved © Jim Zuckerman 2022 email: [email protected] Edited by: Donald Moore 46