Photo Insights Issue 8 2022

Jim Zuckerman’s PHOTO INSIGHTS August 2022 When You Really Needed a Zoom 1 MAancarotoflmasyh of Natural Light Portraits SUkyprseipdleacDemoewnnt sRtreatfelegcietsions BPAPAhlsakoshctkokJoitmPJotoilmeutxoryus rsVStudent showcase SStuudbenjetcSthionwdceaxse Back issues

Table of Contents On the cover: An Icelandic horse, southern Iceland. This page: A white-necked jacobin 4. Macro flash hummingbird, Peru. 10. Sky replacement strategies 16. Black Plexy 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

hotography contests motivate a lot of people to seriously undertake this art form Pand work hard improving their skills. They also keep many people engaged in photography with something to focus on, to strive for. I think that’s great. How- ever, I’ve judged many photo contests and, from my point of view, they are very frustrating. Often, several honorable mentions are awarded, and sometimes more than one second place is given. But only one image can win the contest or at least be named as the ‘grand prize winner’. And that’s the frustrating part because many times there are several images that would win, yet judges are forced to choose only one. If there were an art contest and entries were made by (if they happened to live at the same time) Rembrandt, Van Gogh, DaVinci, and Michelangelo, how could the judges say one is better than another? It would be impossible. There would be preferences and opinions, of course, but these artists have stood the test of time. Critics for hundreds of years have agreed the works of art created by these masters are incomparable, and it would be futile to judge them against each other. In a photo contest, out of hundreds or thousands of submissions, if there are 10 stunning and unique landscapes, or portraits, or cityscapes, or whatever, how does a judge decide to rate them in order of superiority? The truth is, at some point, it’s an arbitrary and subjective deci- sion. And that’s the frustration. The difficulty in making a decision is compounded if the fi- nalists represent a diversity of subject matter. For example, how can a herd of galloping horses be judged against a great shot of a spiral staircase? Or how can a compelling portrait of a small child and a big dog be judged against a stunning macro shot of a butterfly? In addition, it’s been my observation that many photographers are constantly trying to please judges. It seems to me that’s not what photography is about. If a picture pleases you, that’s what makes you feel good. If it doesn’t please someone else, even a judge, who cares? Jim Zuckerman [email protected] www.jimzuckerman.com 3

macro flash rtificial light used in nature pho- low; 2) we want to create dramatic lighting as I did in the shot of the seashell on the next page Atography looks unnatural because in which the flash was placed directly behind this kind of light is, in fact, not the shell for backlighting; and 3) we use the natural at all. The natural light we use to il- brief flash duration (the actual length of time luminate subjects comes in two forms and two the light inside the flash is on during the expo- forms only: sunlight and diffused, ambient sure) to freeze movement. This may be neces- light. Even if we use moonlight, this is simply sary because of the low level of light as well as the sun’s reflected light off the lunar surface. when the subject is moving too fast for even We use artificial light when photographing na- a super fast shutter to freeze. Hummingbirds ture for three reasons: 1) The subject is dimly are an example. The flash duration used for the lit and we need the additional light to insure green crowned brilliant hummer on the next a sharp picture. Or we want to increase the page was 16,000th of a second, and that com- depth of field as in the picture of the frog, be- pletely froze the wings. 4

Macro photography requires flash if there is studio equipment is too large and unwiedy for any possibility the subject could move, even macro work. slightly. A gentle breeze, the tentative step of an I also don’t recommend portable flash units insect, the flutter of a wing -- all of these things like the Canon 600EX or the Nikon SB500. render images unsharp. Most macro shots re- Macro photography means almost by defin- quire small lens apertures to offset the loss in tion the camera and lens will be very close to depth of field due to significant magnification small subjects. Portable flash units sitting in inherent in photographing small subjects, and the hotshoe of the camera will illuminate the that means shutter speeds are relatively long. This, in turn, means a flash is necessary to freeze unwanted movement in the subject. Macro flash options There are three types of flash units practi- cal for macro photography: 1) A ring flash, 2) a twin flash setup, and 3) a typical hotshoe mounted portable flash. I don’t include studio flash units with softboxes or umbrellas because most macro photography is done in the field. But even if you shoot small subjects indoors, 5

top of the subject, but the underside is often left in shadow. In addition, direct and harsh front lighting isn’t very attractive. Only if the portable flash is used off to the side -- i.e., off- camera -- is it effective, but that leaves you with only one hand to manage the camera because you’re holding the flash with the other hand. So that leaves two sensible options: A ring flash, pictured at upper right, and a twin flash macro setup pictured at lower right. Here are the pros and cons of choosing one of these over the other. 1. Many ring flashes are significantly less ex- pensive than a twin flash setup. 2. A ring flash is more compact; the twin flash setup sticks out from either side of the camera. When shooting insects, small frogs, butter- flies, etc., the two flash units may interact with leaves and twigs and the light could be partially blocked. 3. The ring flash simulates diffused daylight while the light from the twin flash setup is more direct, i.e., somewhat harsher. 4. You can get a better defined light ratio from units. You can buy a ‘ring flash’, and you can the twin flash setup. While a light ratio can be also get a ‘ring light’. The latter isn’t a flash at all. selected in the ring flash, it won’t be as defined. With bright LED’s, it provides the same kind of A light ratio means you can make one side of light as the ring flash but it’s much less power- the image lighter than the other side. ful. It looks good to your eye, but it means you You can purchase third party ring flash units won’t be able to use small lens apertures like for less than $100 now. They won’t be as pow- f/22 and f/32 because there just isn’t enough erful as, say, a Canon ring flash, but with the light (unless you raise the ISO to 12,800 or ability to raise the ISO without incurring too more). This is a problem. Therefore, don’t buy much noise, this is less of an issue than it used an LED ring light. Instead, get the ring flash. to be. My preferred lighting equipment for Camera settings macro flash is a ring flash. For either a ring flash or the twin flash setup, However, please note there are two types of the settings I recommend are: 6

Carnival in Venice February 12 - 18, 2023 7

-- Manual exposure mode and 800. Or, use auto ISO. Judge exposures on -- The shutter speed should be the sync speed the LCD and tweak them as needed. or slower. I typically use 1/200. -- Autofocus can be turned on or off, depending -- F/22 or f/32. It’s true that these small lens on the magnification. With extreme magnifica- apertures cause diffraction and a slight loss in tion, like the foot of the frog, above, I turn the image quality. But they provide more depth AF off and focus by moving the camera back and of field than larger f/stops, and with macro forth. This turns out to be easier for me. § work that’s critical. Macro photography is all about detail; the ideal is to have the subject as sharp as possible. Focus stacking at f/8 is the best case scenario for sharp pictures, but with so many subjects, like frogs and cat- erpillars, the likelyhood of zero movement during a focus stacking sequence of shots is small. That means small apertures are essen- tial, and that’s why I take almost all of my macro pictures at f/32. -- Use an ISO setting anywhere between 200 8

Previous page: Note the ventral surface of the frog is illuminated with virtually no shadows on the frog’s skin. This lighting comes from a ring flash. Above: I shot this caterpillar with a twin flash setup using a light ratio in which the left side is brighter than the right side. 9

SKY REPLACEMENT STRATEGIES f your approach to photography is placement in Photoshop took painstaking ex- pertise, but now it’s easier than ever. It’s sim- Isuch that you want to capture exact- ply a matter of choosing the pulldown menu ly what you see with your eyes with no digital manipulation, then skip over this article. You won’t be interested in it. I’m writ- ing this for the people who see photography as an art form and, as such, you feel you can do whatever you want to your pictures in the name of creativity and art. Replacing a boring or mundane sky makes a huge difference in all kinds of images, from landscapes to cityscapes, and from wildlife to macro photography. In the past, a sky re- 10

command, Edit > sky replacment. If you don’t If the subject was photographed in diffused have any of your own sky photographs loaded light, then the sky should reflect that. It should into this dialog box, Adobe provides a collec- consist of mostly clouds, either white or gray, tion of stock images that anyone can use. Be- because this is the kind of sky that produces cause you don’t want your skies to look like soft, directionless light. If the original sky was the skies millions of other Photoshop users, I blue, then replace it with a sky that has visual strongly suggest you import your own images impact that was taken in similar lighting con- into Photoshop and, at the same time, delete ditions. The two shots on the previous page il- the Adobe stock pictures. To do this, click on lustrate what I’m referring to. A solid blue sky the photo that loads when you open the sky was replaced with bold sun rays against blue. replacement dialog box. At the bottom of this box you’ll see a + icon. Click on that to load your own skies. And, use the tiny trash can you see to delete Adobe’s skies. As in all aspects of compositing, when you combine two or more pictures there are strate- gies to use to make the result look believable. Here are my thoughts on this. 1. First and foremost, the lighting has to match. 11

2. Start a collection of dozens of sky pictures. the eyedropper tool. Then brush away the of- This will give you a lot of options in replacing fending material in the sky with the brush tool skies. In my own photo library, I’ve subdivided so the entire sky is a uniform color. Then you the various kinds of skies. These include storm can use the sky replacement command and clouds, white clouds on blue backgrounds, the new sky will supplant the old. rainbows, sunrise/sunsets, and aerial clouds 4. It’s important the new sky and the original (taken from planes). When you photograph picture be approximately the same resolution. clouds, do so with both horizontal and vertical If you take an image from the Canon R5, for compositions and with wide angles as well as example, which opens in Photoshop as a 128 telephoto lenses. megabyte file, and you replace the sky with 3. When the original sky background is com- prised of unwanted elements, specifically dis- tracting and visually unappealing elements such as the busy, out of focus tree behind the zebras, upper right, the sky replacement fea- ture in Photoshop will not be able to distin- guish between the subject and what you would like to replace. Therefore, take a color sample of the sky with 12

an iPhone image (the iPhone 13 opens photo- to blend in any way with the bottom portion of graphs in Photoshop as 34.9 megs), there will the image. be a discrepancy in quality. That won’t look When you work with an image like the one on good upon close examination. The replace- page 15, where the original sky was solid white, ment sky should ideally be close to 128 mega- not all skies will work equally well. The way bytes in resolution. the tones and colors in the sky blend with the 5. A subject like a landscape or cityscape with leaves, for example, depend on many factors. a clear delineation between the sky and the You have to use trial and error to see which land is easy to deal with. The sky doesn’t have sky looks best, and you may have to tweak the composite using the ‘shift edge’ and ‘fade edge’ sliders in the Edit > Sky replacement dialog box. 6. Finally, in the layers palette, you can activate the cloud layer and then tweak it by lightening or darkening it, altering the color, and manipu- lating the contrast if necessary. You can also reposition it. Simply click on the new sky in the photo and drag it to the position you want. You can also click the box ‘flip horizontal’ § 13

PERUVIAN NATURE TOUR Sept. 24 - Oct 4, 2022 The salt lick in Manu National Park. 14

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Black Plexy lack Plexiglas is highly reflective, cost and the weight down. Protective adhesive paper protects both sides of Band it adds a dynamic element to the Plexiglas, and I remove just one piece of pa- many kinds of images. You have per. Because black Plexy is opaque, you can’t see to provide enough light on the subject so the through the material. Removing only one of the reflection is discernable, and it’s also impor- protective adhesive papers means you can use tant to make sure the surface of the Plexiglas that side for photography while the other side re- is clean and free of scratches. This kind of mains protected. If and when the exposed side material shows scratches readily, so handle it of the Plexy gets scuffed or scratched, you can very carefully. then remove the paper from the other side. In Plexiglas comes in 4 x 8 feet sheets, but most this way, you can extend the life of the material plastics suppliers will cut it down for you. I for photographic purposes. find that a quarter of the sheet -- 2 x 4 feet -- The portrait of my young model, below, was is a good size for a great many subjects. The thickness I use is 1/8 inch which keeps the 16

taken with a small softbox with a moderately I photographed the rose with illumination priced flash head from Paul C. Buff. It created from a softbox. In this situation, because the very diffused butterfly lighting (which refers flower was lying on the Plexiglas, I made sure to the subtle butterfly-like shadow beneath the weight of the rose didn’t push down too the nose). The softbox was placed in front of much on the petals and the green leaves. This and above the girl, and I was careful to avoid is a concern with delicate flowers because their any unwanted reflections from the lightsource shape can be distorted. I actually used a small, in the Plexy. That’s one thing you have to be rectangular pencil eraser on which the flower aware of: Plexiglas is just like a mirror in that rested. That elevated the flower just enough so it reflects everything. Even though it’s black, the petals and the leaves weren’t distorted by the surface of it is as reflective as a sheet of the weight of the flower. § glass or a mirror. It shows everything. For the tarantula below, I used a ringflash mounted on the camera because the light that emanates from this kind of flash unit envelopes the arachnid with light. Notice the ventral side -- the portion we can see -- has good detail. An overhead softbox or a portable flash would have left the underside of the spider in shadow that would have blended with the Plexy. 17

VERMONT PHOTO TOUR Autumn landscapes Quaint villages Classic barns Old gristmills October 6 - 13, 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? his modern sculpture looks especially dramatic with a mirrored high- Trise in the background. I photographed this in Chicago. Often when photographers are excited about photographing something, their en- thusiasm eclipses their attention to detail and mistakes can be made. In this case, my mistake was cropping the image too close to the sculpture on the right side. I didn’t clip the metalwork itself, but the edge of it is touching the edge of the picture. Almost without exception, this is a mistake. The picture on the next page shows that I changed position slightly to give the artwork a little more ‘breathing room’. This also underscores the symmetry of the sculpture as well as the architecture. 23

This concept applies to pretty much any subject: People, wildlife, still lifes, trees, flowers, etc. In addition, it applies to parts of subjects. In other words, you shouldn’t photograph a dog, for example, with its tail touching the edge of the frame. For snapshots that are destined for social media, it doesn’t matter. No one will care. But for superior photography when you or other knowledge- able photographers judge your work, this is something important to keep in mind. The original sky in this image was solid blue, and to give the shot a little more interest, dimension, and design, I added the sky with clouds. § 24

SHORT AND SWEET 1. The new sky replacement feature in Photoshop will 2. There is a lot of creative flexibility when it comes even blend a new sky accurately when the foreground to working with color at night. Here, I left the Calder subject is a tree with many leaves. Previously, this was Flamingo sculpture in Chicago its original orange col- either impossible or very, very difficult to do. The orig- or but used the temperature slider in Filter > camera inal sky behind these birch trees in Vermont was solid RAW filter to change the background to blue. Origi- white. nally, the background was brownish-yellow. 3. If you like photographing abstracts, look for mir- 4. Animal action requires fast shutter speeds to freeze rored skyscrapers. The reflections in the glass make the action. Even relatively slow moving animals like incredible abstractions. Adjacent buildings, clouds, these northern elephant seals should be photographed artwork, and trees are distorted in very artistic ways. I with a shutter speed at least 1/500th of a second. The captured this architectural abstract in Chicago where last thing you want are pictures which look ‘almost’ there are literally thousands of creative possibilities. sharp. I took this shot with a shutter of 1/500. § 25

Snowy Owl Workshop January 5 - 9, 2023 Saskatchewan, Canada 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 photographed these orchids in Newfoundland, and I don’t like the shot. The background is very busy and distracting. My lens aperture was f/14, so should I have used a larger aperture to blur the background or a smaller one to make it more in focus? Any suggestion you can offer would be helpful. Thanks. Karen Waters, Toronto, Ontario, Canada A: The problem here is the orchids were too close to the background reeds. That’s why they are too de- fined. If you used a larger aperture, such as f/2.8, the background would be more out of focus as you suggest. The downside, though, is that the flowers themselves would probably lose sharpness, too. A small aperture would make the background sharper, but not totally sharp, and I think it would still be distracting. Of the two choices, I think the larger aperture would be better. Wildflower photography has many challenges, and distracting backgrounds is one of them. The solution is to carry with you a mounted print of out of focus foliage at least 16 x 20 inches. Place that behind the subject flowers, and now you’ll have a complementary background wherever you go and wherever the flowers might be growing. It works beautifully. § © Karen Waters 27

Partial list of Photography Tours 2022 - 2024 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 TEXAS BIRDS/BLUEBONNETS PATAGONIA Mar 2023 Apr 2023 Apr/May 2023 WHITE HORSES, FRANCE CHICAGO by NIGHT HOLLAND & BELGIUM May 2023 Jun 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. Ron Williams, Santa Barbara, California Chicago by Night photo tour © Ron Williams 30 27 30 27

Student Showcase, continued © Ron Williams 31 23923191

Student Showcase, continued © Ron Williams 32 37 31 31 33 35 2233299139

Student Showcase, continued © Ron Williams 333331 34 3331

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 Aug. ‘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 Black Plexy Aug. ‘22 Extension tubes Dec. ‘13 Blur, field Nov. ‘18 Blur technique Oct. ‘17 Bokeh Jun. ‘15 Face sculpting Apr. ‘21 Face sculpting Feb. ‘22 Botanical gardens, shooting Apr. ‘22 Festival photography Sep. ‘20 Butterfly photography Jul. ‘14 Fill flash Sep. ‘13 Filter forge Feb. ‘13 Camera buying guidelines Dec. 21 Fireworks Jul. ‘13 Camera setting priorities Jun. ‘17 Canon R5 Mar. ‘21 Fireworks, Compositing Jun ‘20 Fisheye lenses May ‘13 Capturing lightning Jun. ‘13 Fisheye lenses Feb. ‘15 Capturing what you don’t see May ‘21 Catchlights Jul. ‘16 Fisheye fantasies Oct. 21 Flash backlighting May ‘15 Changing perspective May ‘21 Flash, balancing exposure Oct. ‘15 Cheap flash stand Apr. ‘13 Children photography Jun. ‘14 Flash, balancing off-camera Dec. ‘18 Flat art Sep. ‘16 Choosing a telephoto lens Dec. ‘20 Flexify 2 Mar. ‘20 Chromatic aberration May ‘13 Chrome Dec. ‘18 Flood fixes problems Nov. ‘19 Floral Portraits, Indoors Aug. ‘21 Cityscapes Aug. ‘14 Flowers May ‘15 Cityscapes May ‘16 Clone tool, fixing an issue Sep. ‘17 Flower photography Apr ‘21 Flowers in harsh light Jul. ‘16 Clone tool technique Jul. ‘20 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 flash Aug. ‘22 Fun with Food Macro photography and DOF Feb. ‘22 Macro trick May ‘19 Graphic Design Jul. ‘20 Managing soft focus Jul. ‘21 Garish imagery Dec. ‘15 Mannequin heads Apr. ‘16 Getting money for used gear Jan. 22 Metering modes Nov. ‘16 Great subjects Apr. ‘15 Meters, How They Work Jul. ‘18 Great ceilings & HDR Panos Jul. ‘19 Meters, when they fail Dec. ‘16 Green screen Mar. ‘13 Metering situations, Impossible Jul. ‘19 Grunge technique Feb. ‘13 Middle gray Nov. ‘15 Minimizing dust on the sensor Nov. ‘21 HDR, one photo Apr. ‘13 Mirrors Jan. ‘19 HDR at twilight May ‘13 Model shoot Jan. ‘17 HDR, realistic Jun. ‘15 Moon glow Oct. ‘16 HDR, hand held Dec. ‘16 Mosaics Jun. ‘17 HDR, hand held Nov ‘17 Mundane to Ideal Nov. ‘19 HDR, hand held Jul. ‘18 Museum photography Mar. ‘13 HDR panoramas Jun. ‘16 HDR, choosing the number of frames Jun. ‘22 Natural Light Portraits Aug. ‘21 High wind Apr. ‘17 Negative space Jan. ‘16 Highlights Apr. ‘14 Neon edges on black Aug. ‘14 Highlights, overexposed Feb. ‘15 Neutral Density filters Jun. ‘18 Histograms, Why I Don’t Use Jun ‘19 Neutral Density filters and water Mar. ‘22 Histogram problems Apr. ‘20 Night photography Feb. ‘14 Hotels with a view Mar. ‘20 Night Safaris Jun. ‘18 Humidity Oct. ‘13 Night to Twilight Dec. ‘17 Hummingbird photography Apr. ‘13 Noise reduction Feb. ‘17 Hyperfocal distance Jul. ‘13 Oil and water May ‘20 Image resizing Aug. ‘18 Optical infinity Jun. ‘16 Implying motion Sept.‘14 Organization of photos Mar. ‘18 Impossible DOF Feb. ‘16 Out of focus foregrounds Jan. ‘20 Impossible DOF Jan. ‘17 Indestructible camera bag Dec. ‘14 Paint abstracts May ‘13 Infrared photography Jul. ‘14 Paint abstracts Aug. ‘21 Interiors Oct. ‘15 Painting with light Sep. ‘15 iPad: Loading photos Aug.‘17 Panning motion Dec. ‘16 iPhone photography, pros and cons Apr. ‘22 Pano-Mirrors with a twist Jan. ‘18 Parades Sep. ‘13 Jungle photography Dec. ‘14 Parallelism Nov. ‘19 Parallelism and DOF Feb. ‘21 Kaleidoscopic images Jan. ‘15 Perspective, Super Exaggeration of Dec. 21 Kaleidoscopis images Aug. ‘20 Photography to Art Dec. ‘17 Keystoning, correcting Aug. ‘15 Photography solutions Jan. ‘18 Photoshop, content Aware Nov. ‘12 L Bracket Feb. ‘18 Photoshop, sketch technique Apr. ‘13 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 Sky replacement strategies Aug. ‘22 Snow exposure Nov ‘17 Photoshop, Flood plugin Apr. ‘16 Snow exposure Nov. ‘19 Photoshop, Desaturation Aug. ‘16 Photoshop, making a composite Aug. ‘16 Soft light Jan. ‘13 Smart phone photography May ‘19 Photoshop new tool May ‘20 Stained glass Mar. ‘17 Photoshop, place one element behind Aug. ‘18 Photoshop, the pen tool Feb. ‘16 Star photography Jul. ‘16 Star photography and noise Jan. ‘18 Photoshop, canvas size Jan. ‘16 Stock photography Sep. ‘14 Photoshop, using the earth Jun. ‘16 Photoshop, define patterns May ‘16 Sunrise & sunset Jan. ‘19 Photoshop, paste into Nov. ‘16 Tamron 150-600mm Apr. ‘14 Photoshop, b & w with color Feb. ‘17 Photoshop, open a closed door Apr. ‘17 Ten reasons photos are not sharp Jan. ‘19 Texture, Adding Mar ‘19 Photoshop, palettes May ‘17 Texture Mapping in 3D Jul. ‘21 Photoshop, My favorite plugins Jan. ‘20 Portrait options Jan. ‘19 Topaz AI Gigapixel Mar ‘19 Topaz glow Jan. ‘15 Portrait techniques Nov. ‘15 Topaz glow Sep. ‘17 Portraits Mar. ‘13 Portraits, mixed lighting Aug. ‘14 Topaz Impression Sep. ‘15 Topaz Remask 5 Oct. ‘17 Portrait Professional Nov. ‘19 Topaz Simplify 4 Dec. ‘12 Portraits, Lens choice Sept/Oct. ‘19 Portraits, side lighting Sep. ‘17 Topaz simplify 4 Jun. ‘14 Topaz Studio Apr. ‘18 Portraits, window light Mar. ‘15 Translucency & backlighting Nov. ‘18 Portraits, outdoors May ‘17 Post-processing checklist Dec. ‘13 Travel photography Feb. ‘13 Travel portraits Mar. ‘14 Post-processing: Contrast Aug. ’17 Travel tips Apr. ‘14 Predictive Focus Sep. ‘18 Problem/solution Apr. ‘17 Travel photographer’s guide Jun. ‘17 Twilight photography in the rain Apr. ‘19 Problem Solving in Photoshop May ‘22 Tripods Mar. ‘18 Problem with cruises Jan. ‘18 Protecting highlights Dec. ‘12 Two subject sharp rule May ‘14 Two subject focus rule Jan. ‘20 Puppies Jan. ‘15 Two subject focus rule Jun. ‘21 Puppy photography Feb. ’18 Reflections Feb. ‘13 Urban heights Jun. ‘21 Restoring old photos Jun ‘20 Ultra distortion May ‘18 Ring flash, advantages Jul. ‘21 Upside Down Reflections Aug. ‘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

Stallions, white horses of the Camargue, France PHOTO INSIGHTS® published by Jim Zuckerman All rights reserved © Jim Zuckerman 2022 email: [email protected] Edited by: Donald Moore 46