Jim Zuckermans

PH OTO I N S I G HTS
August 2017

Problem solving with the clone tool

Post-processing technique
Loading photos into an iPad
Flash diffusion
Photo tours
Ask Jim
Student showcase
1
 4. Problem solving with the clone tool
9. On Camera Flash Diffusion
13. Loading Photos into an iPad
16. Post-processing: Dealing with Contrast
21. Whats wrong with this picture?
23. Short and Sweet
24. Ask Jim On the cover: Palouse Falls and
25. Photo tours the galactic core of the Milky
Way, near LaCrosse, Washing-
27. Student showcase ton. This page: Attire of the
33. Back issues clergy of the Ethiopian Ortho-
36. Subject index for Photo Insights dox Church, Lalibela, Ethiopia.
22
O
n my recent photo tour to the Palouse area of northeast Washington state, as
soon as I checked into the hotel the lady at reception handed me a letter com-
posed by area farmers and addressed to photographers. It was politely written,
and it asked us to respect private property and, in essence and using diplomatic words,
asked us not to be rude, crude, or otherwise obnoxioius in our pursuit of our pictures.

I would have assumed that most photographers were, in fact, respectful and wouldnt do
anything to annoy or anger local residents and farmers. Apparently, not so. The recep-
tionist at the hotel told me that she lives just down the street from a well-known red barn
that many photographers like to shoot, and the owners of the property have become so
overwhelmed by the horde of idiots (since this is my publication, I feel completely free to
say it how it is) who walked all over their property, tried to get into the barn, blocked the
gravel road so locals couldnt pass and wouldnt move until they were finished shooting,
and didnt ask permission if they could photograph the stars above the property late at
night which may disturb the family for several hours.

As a result, this family now doesnt allow anyone to photograph their property. Another
property owner that has a collection of old cars and an old Texaco gas station similarly has
now blocked everyone from photographing on his acreage for the same reason.

This is very disappointing. As usual, a number of inconsideration narcissists ruin it for

the rest of us. Even though it takes time to ask permission, most property owners in the
Palouse and elsewhere are nice and will have no objection to you photographing some-
thing of interest on their land. But please, have respect for the people and their property
as well as other residents in the area. Only shoot with permission, dont block roads, talk
quietly, and offer to send the family your best shots as a way of saying thank you. This isnt
a lot to ask.

Jim Zuckerman
www.jimzuckerman.com
photos@jimzuckerman.com

3
 PROBLEM SOLVING
with the Clone Tool
I
like the photo below a lot . . . except
for one glaring problem. The sky in
the upper left corner is solid white
and devoid of any detail and texture. Some-
times a white sky is perfectly fine, but much of
the time it ends up being distracting. Our eyes
tend to drift toward the light part of a picture
first, and our attention to the light area returns
again and again. This is not what you want. The
ideal is to have our focus on the subject; we
shouldnt be diverted by anything else. Thats
4
how a successful picture is supposed to work.
At first glance, replacing the white sky is a
very tricky problem. Not only are there small
branches and leaves sticking up into the sky,
but the horizon line is out of focus. That means
you cant simply paste a new sky into the white
area because the sharp edge of the new sky
wont mesh with the blurred edge of the distant
grass. The demarcation line between the two
images has to be completely believable. This
is one situation where its not possible to make
an accurate selection of the white sky with the
normal tools used for selections, such as the
magic wand tool, the pen tool, the lasso tool,
etc. Even with significant feathering, pasting in
an image wont work.

In the edited version below, you can see that I

successfully replaced the sky. The new sky has
texture, detail, and it melds with the distant out
of focus horizon line in a realistic way. Note
that the sky is out of focus to match the back-
ground landscape.
Here are the steps I used to do this:
1. Open the cheetah photo as well as a photo of
clouds. I used the image at upper right. Make
sure the lighting matches. In other words, if
the lighting on the main photo is soft and dif-
fused, you need a cloud photograph that would
produce that kind of light.
2. Make the cloud image out of focus with Fil-
ter > blur > Gaussian blur. The amount of blur
you use depends on how out of focus the back-
ground is. For the cheetah picture, I used 30 in
the Gaussian blur dialog box.
3. Click on the clone tool in the tools palette,
and in the tool bar change the opacity to 40%.

5
4. With both pictures open, clone from the
cloud photo to the cheetah photo. To do this,
click in the cloud picture by holding the option
key down on a Mac or the alt key down on a PC
keyboard and click in the area of the clouds you
want to use. Then, activate the cheetah shot,
adjust the size of the brush, and clone to cover
up the white sky. I used a large brush size with
a fairly soft edge.
It took me a few attempts because I wanted
somewhat of a variation in color and tone, and
this was simply a trial and error proposition.
Note that the plants sticking up into the sky
werent a problem because of the lowered opac-
ity of the clouds and their pastel nature. The
new clouds were simply cloned over those
plants and the result is quite believable.
The picture of the red barn on the next page
that I took in the Palouse area of Washington
state originally had a solid white sky. Because
ETHIOPIA PHOTO TOUR
January, 2019
Primitive cultures Early Christian art Volcanos Beautiful birds
6
the barn and silo have sharp lines, my ap-
proach was a bit different in replacing the sky
compared to the cheetah picture. In this case,
I selected the sky with the magic wand tool. I
was able to use this tool because it works on the
basis of color and contrast, and selecting a solid
color is easy to do.
However, the two spires sticking up from the
structures on the top of the barn are very light,
and in order to select the white sky without in-
cluding those spires I had to lower the toler-
ance of the magic wand tool to 16 instead of
the default tolerance of 32. Then, by simply
clicking in the sky I was able to grab everything
above the barn and silo.
The next step was to clone from the cloud pho-
to into the barn photo (with both images open
on my desktop), this time using a brush opacity
of 35%. In this way, the new clouds were subtle
and didnt detract from the barn and the old
truck, and they look completely natural.
7
 LEARNING TO SEE
online course

by Jim Zuckerman

The ability to see photographically, to really grasp how your camera and lenses capture a subject
or scene (which is different than how we see with our eyes) underlies successful picture taking. It
is the bottom line that youve been looking for to take that quantum leap forward in your photog-
raphy.

The great thing about online courses is that they can fit into any schedule. Life gets in the way at
times, and Jim puts no limit on the time you can submit your work for his critiques. CLICK THIS
PAGE to read more about this course.

8
 On-Camera
Flash Diffusion
T
here is some confusion about diffus-
ing the light produced by portable,
on-camera flash units, and I wanted
to address that topic in this article.
The issue is that small flash units that fit into
the hotshoe on top of our cameras are very
harsh and contrasty. They provide a very con-
venient source of artificial light for dark envi-
ronments, but I submit that this kind of light-
ing is the least attractive type artificial light
photographers use.
Diffusion devices, such as the built-in diffuser
below left and the Gary Fong Lightsphere be-
low right, are designed to soften the light and
make it more pleasing. There are many such
devices on the market. In my opinion, they are
all very similar in their effectiveness (or in their
lack of effectiveness).
The most important point to remember is that
all of these small diffusers are only effective
when used close to the subject. For example,
if you are shooting from 25 feet away, a flash
diffuser will have no effect at all. Why? Be-
cause as the flash-subject distance increases,
the flash -- even with a diffuser -- approaches
a point source of light. Point sources of light,
like an overhead sun or a single flash used at a
distance, produce harsh, contrasty light.
When used within 2 to 10 feet, the diffuser is
useful in softening the light. The shorter the
9
distance between the flash and the subject, the
softer will be the light. Beyond 10 feet the dif-
fusion has minimal effect, and when the pho-
tographer moves a few more feet from the
subject(s), the diffusion device has no effect at
all.

As the diffuser gets larger, the effective distance

increases where the light is softened. To ex-
aggerate, if the diffusion device is a 4 x 6 foot
softbox, the subject-flash distance can increase
to 20 feet and beyond and you will still see the
effect of light that has been diffused. This is
obviously impractical for an on-camera flash.
Some manufactures make small softbox diffus-
ers to fit over the flash, like the one at upper
right, and these work well . . . but again, only An alternative to on-camera flash diffusion
for a relatively short subject-flash distance. is bounce flash. This entails angling the flash
Very quickly this, also, acts like a point source head and bouncing the light off a ceiling or a
of light and the lighting on the subject remains wall and onto the subject. Because of the large
harsh. square footage of these surfaces, the light is
much softer than either direct on-camera flash
Bounce Flash or when a flash diffuser is used.

10
w

UPCOMING PHOTO WORKSHOPS

Carnival in Venice workshop
Outrageous costumes in a medieval en-
vironment! Venice is great to visit and
photograph any time, but during carnival
its magical. There is nothing like it any-
where in the world. Exotic masks, stunning
colors, classic images.

Feb. 1 - 8, 2018

Frog & Reptile Workshop

Close-up encounters with poison dart
frogs and exotic reptiles such as chame-
leons, geckos, snakes, and more in St.
Louis, Missouri. This is a macro work-
shop in which everyone consistently gets
amazing pictures.

March 24 - 25, 2018

Photoshop workshop
The setting is in my home, and in this two
day workshop youll learn enough to be
truly dangerous in Photoshop! How to
replace a sky, how to fix all kinds of photo-
graphic problems in your pictures, how to
handle blown highlights, how to be incred-
ibly creative . . . and more.

Nov. 11 - 12, 2017

11
10
You can see clearly in the two
photos of a wooden mask on
page 9 the difference between
undiffused on-camera flash (the
photo on the left) and bounce
flash (the photo on the right). In
this case, the bounce was off the
ceiling and it changed the angle
of the light. You can see in the
varnish on the mask that the
bounced light is coming from
overhead because of the way the
light is hitting it.

Also, note that the photo on the

right is warmer, more yellowish.
This is because the ceiling in this
room of my home is painted with
an off-white and slightly yellow-
ish color. All bounced light takes
on the hue of the wall or ceiling
used to reflect the light back to
the subject.

The portrait I made in Indone-

sia of a Javanese bride was done
with bounced flash. Aside from
a slightly telltale highlight on the
models forehead from the light
bouncing off the ceiling, the
overall light is attractively dif-
fused. I didnt have studio lights
with me, so this was the most ef-
ficient way of producing a pro-
fessional quality portrait. Undif-
fused on-camera flash is not only
harsh and contrasty, it also looks
like an amateurish snapshot.
Bouncing a flash means that
light is lost. The amount of loss
depends on the color and sur-
face of the wall or ceiling. For
12
example, a white wall will reflect a lot more light onto the sub-
ject than a dark gray or medium toned blue wall or ceiling.
Similarly, a wall covered by paintings, tapestries, and other
types of artwork, or a ceiling covered in paintings, absort light
in diffrent ways. You have to check the LCD monitor on the
back of the camera to determine the correct exposure.
If the bounced flash pictures turn out too light or too dark,
adjust the flash exposure compensation on the flash itself.
Even experienced professional photographers have to do this
as well. Its impossible to know exactly how much light will
reach the subject, so test shots and the subsequent corrections
are the only way to get the exposure correct.
If the color is off because the subject is affected by the colors in
the room, you can correct this in post-processing.
 Loading Photos into an
iPad
I
am often asked by clients how to load that contain more of your photos. As you add
photos into an iPad, so I thought I more albums, you will see rows of thumbnails
would explain the procedure in an ar- as in the screen capture below. This is on your
ticle. The steps below allow you to tweak the computer, not on the iPad yet.
images in terms of size, color, exposure, etc. be-
fore the photos are imported into the iPad so
you work looks its best.

For a Mac

1. Open a hi res photo in Photoshop. Reduce

its size to approximately 7 megabytes. This is
the size Ive determined looks very good on the
iPad and yet takes up little storage space on the
hard drive of the iPad.
You can drag the various thumbnail images
Use Image > image size in Photoshop to do this. into alphabetical order if you wish, or they can
Make the resolution 240 or 300 dpi, and the di- be arranged in other ways, such as chronologi-
mensions should be around 6.5 x 4.5 inches. cally by date.

Save the images as jpeg files on your desktop so
its easy to find them.
2. Open Photos, the Apple program that used
to be called iPhoto. Click the tab Albums.
5. To import these into the iPad, plug the iPad
into your computer and open iTunes. You will
see an icon pop up at the upper left corner of
the dialog box (red arrow).

3. Choose File > new album. In the dialog box,

name the album and click OK. You should
now see the blank album. Double click on it.
Its empty, so drag your 7 megabyte photos that
belong to that album into the empty space.
They will show up as thumbnails.
4. Repeat this process to create more albums
6. Click that icon, and now a new dialog box
opens shown at the top left of page 15. Click
photos (green arrow), and now you will see
the final dialog box shown in the lower right of
page 15. All of the albums will be listed in the
order you designated. Check the box next to
each album, and when thats done, click Apply
13
 Screen capture of folders of photos on Jims ipad.

14
 3. Click your iPad under Devices in the left
sidebar in the dialog box.
4. Click on the Photos tab and check the box
Sync Photos.

5. Select Choose Folder and navigate to the fold-

er with the photos you want to transfer to your
iPad, select it, and click Select Folder to con-
tinue the import procedure.

6. Click the Apply button located in the bottom

right corner. Make sure you check the All fold-
ers option.

For both Macs and PCs, when you take a pho-

tograph with your iPad, the images will end up
in the camera roll folder. The description above
for importing pictures into the iPad is for your
hi res images taken with your good camera(s).

or Sync at the bottom right corner of the dialog

box. That is the final step in the procedure, and
you will now see all your albums with their re-
spective photos in them when you hit the Pho-
tos icon on your iPad.

On a PC

1. Prepare your photos as described on page 13

and put them in a folder. You can create more
than one folder within the master folder, and
these will become the folders on the iPad for
your various categories of images.

2. Open iTunes on your computer and connect

the ipad to your computer.
1515
 Post-processing:
Dealing with Harsh Contrast
M
id-day photography with a bright
sun is rarely attractive. The con-
trast between highlights and
shadows is so extreme that digital sensors cant
capture well exposed detail through the images.
Highlights appear overexposed or totally blown
out, while shadows are very dark or black with
no detail. In art, there are always exceptions,
and often breaking the rules produces great im-
ages. Usually, though, with too much contrast
pictures dont look good. An example is the
old car, below left, that I photographed in the
Palouse area of Washington when the sun was
high in the sky. The sunny areas, especially on
the ground, are much too light. The portion at
middle-left is virtually blown out with a loss of
16
texture and detail.
On the next page, you can see how I improved
the original capture by darkening the highlights
(which in turn revealed more detail) and light-
ening the shadows.
If you search online for solutions to the prob-
lem of contrast, various photo instructors offer
many techniques. Some are very time consum-
ing and complicated. My approach is simple,
easy, and fast. And it works, as you can see in
the example on page 17.
In the ACR (Adobe Camera Raw) or Lightroom
dialog box, there are two sliders that can make
or break a contrasty picture. For this car photo,
I moved the highlight slider to the far left and
the shadows slider to the far right (as shown at
right). Then, to further reduce the exposure in
the highlights (to focus more attention on the
car), I used the burn tool in Photoshop on 40%
opacity. Apply this tool on a duplicate layer so
if you darken too much, its a simple matter to
either trash the layer and start again or lower
the opacity of the layer in the layers palette.

Its important to note that with both highlights

and shadows, if the detail is completely lost in
the original (i.e. the highlights are solid white
and/or the shadows are solid black), these ar-
eas can not be recovered using sliders in ACR
or Lightroom. The only way to fix this prob-
lem is to clone into the white or black areas de-
tail from another part of the picture, or if there
is nothing to clone from, you can clone from Screen capture of a portion of the ACR dialog box
another photo.

17
 Expand your photographic artistry with
eBooks
Click on any ebook to see inside

18
18
 eBooks continued
Click on any ebook to see inside

Fantasy Nudes is in production and is coming soon

19 19
 PHOTO TOUR to BURMA
Nov. 26 - Dec. 5, 2018

Awesome ruins Great portraiture Fascinating culture Super friendly people

20 23
 Whats wrong with this picture?

W
ell-defined lines in a photograph that are not part of the subject
are usually distracting. They are so bold and attention-getting
that our eyes tend to move away from the subject to the very pro-
nounced graphic elements. Ideally, our attention and our focus should re-
main on the subject and not be diverted elsewhere. If these kind of graphic
lines cannot be avoided at the time of shooting, they should be cloned out in
post-processing.

Thats the problem with this image. The post at the far right shouldnt be
there. Lots of times in Venice during carnival, other photographers crowd a
model and you have to be patient to position yourself at the ideal angle. In
this case, I like the angle. I was shooting fast, though, because the models were
constantly changing their pose. I didnt notice the offending post. However,
things like this are easy to eliminate.
21
 To get rid of the offending element, I used the content-aware feature in
Photoshop. I used the lasso tool to encircle the post and the wires, and
then I chose Edit > fill. In the submenu within the dialog box, I select-
ed content-aware. I checked to make sure the opacity was 100% and the
mode was normal, and hit OK. Now there is nothing at all that distracts
our eye from the subjects.

I have to come believe that backgrounds are just as important as subjects

in making a picture work. If the background is distracting or busy in any
way such that our attention is diverted from the subject, the picture is de-
graded. If you have the time, run your eye around the viewfinder to study
the background before taking a shot. It takes just a moment. This can save
a lot of shots. This is one reason a knowledge of Photoshop is so valuable
-- because if you didnt get it right when taking the original, you can alter
or replace the background to make the picture perfect.

22
 SHORT AND SWEET
1. When elements are very close (like 4 or 5 feet) to
the camera position, simply using a wide angle lens is
not enough for complete depth of field. You have to
close all the way down to f/22 or f/32, depending on
the smallest aperture your lens has.
3. To capture the intense aquamarine colors of trop-
ical water, you must shoot in the middle of the day
when the sun is high. This is contrary to the rule that
landscapes and seascapes are best captured with a low
angled sun. Sure, sunrise and sunset are great for na-
ture, but in the tropics, shoot in mid-day for rich color.
2. When you photograph people at mid-day with a
bright sun, as with this Bushmen mother and child in
Namibia, ask the subjects to turn away from the sun.
This puts their faces and the front of their bodies in
diffused light which is much better for portraits.
4. Seek out elevated heights for great perspectives. Roof-
top restaurants and bars, hilltops, hiking trails, observa-
tion decks in highrises, etc. provide wonderful perspec-
tives. Patterns that you dont see from the ground reveal
themselves from lofty viewpoints. This is Kotor, Montene-
gro from a walking trail above the city.
23
 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
youd like Jim to answer, please drop him a note at photos@jimzuckerman.com.

Q: Jim . . Ive often wondered if you keep all of your images except the obviously unusable ones. What
does it take for you to discard an image?
Rosemary Sheel, Camarillo, California

A: I throw away RAW files if they are out of focus, grossly over- or underexposed, or if they are of subjects
that are boring. Also, with fast moving subjects like birds and wildlife, I discard images if a subjects head is
turned the wrong way, if the depth of field is bad, and if the background is terrible and the picture isnt worth
the time to fix. I do save quite a number of pictures that are not perfect because I use them for teaching pur-
poses. For example, in this eMagazine, the feature What is wrong with this picture requires images that are
not perfect so I can discuss how to improve them as well as photographic pitfalls to avoid.

One thing I find is that I will often discover pictures I like when I revisit the RAW files weeks or even years
after they were taken. The picture of the young monk from Burma, below, is an example. I didnt select this
image initially to go into my permanent collection, but with a second look, I decided I like it. So, I dont
throw away pictures easily. They have to be pretty bad for me to trash them. Hard drive storage is cheap now,
so this enables us to store a lot of pictures.

24
 Photography Tours
2017 - 2019
CHINA WILDLIFE TUSCANY/CINQUE TERRA
Oct. 2017 SNOWY OWLS
Sept. 2017
Jan. 2018

CARNIVAL IN VENICE NEW ZEALAND WHITE HORSES, FRANCE

Feb. 2018 Apr. 2018 May 2018

CROATIA, SLOVENIA, etc. LAVENDER, FRANCE INDONESIA WILDLIFE

May 2018 July. 2018 Aug. 2018

GRIZZLIES in CANADA THE PANTANAL, BRAZIL ETHIOPIA

Sep. 2018 Nov. 2018 Jan. 2019

For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
25
 South Africa & Namibia photo safari
April 25 - May 9, 2018
Awesome wildlife exotic birds monster dunes

A bloat of hippopotamuses, Sabi Sabi, South Africa

26 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. Its 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 Jims trips.

Steve Scholl, Berkeley, California Newfoundland Photo Tour.

2017 Steve Scholl 27

27
 Student Showcase, continued

28
28 2017 Steve Scholl
 Student Showcase, continued

2017 Steve Scholl 37

33
29
 Student Showcase, continued

2017 Steve Scholl

30
34
CHINA WILDLIFE PHOTO TOUR
September 4 - 17, 2017

Mongolian horse round up, China

31
 PHOTOSHOP WORKSHOP
in my home
Sat. & Sun., November 11 - 12, 2017
Photoshop is a photographers best friend, and the creative pos-
sibilities are absolutely endless -- like replacing the background
behind this 1947 Delahaye 135M. In a personal and homey envi-
ronment (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,
modifying lighting, 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 wont believe what
youll be able to do. I go over each technique several times to make
sure you understand it and can remember it.
Photoshop instructors approach teaching this program from dif-
ferent 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,
32
pull down menus, layers, and so on, I spend a lot of time giving you
creative ideas that will inspire you to produce amazing images with
the pictures youve already taken.
I live in the Nashville, Tennessee area, and if you fly into the airport
(BNA) I will pick you up. If you drive, Ill 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 dont have
a laptop, I have two Mac Book Pro laptops I can loan out for the
duration of the workshop.
 Click on the past issues of
PH OTO I N S I G HTS
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

33
 Click on the past issues of
PH OTO I N S I G HTS
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

Jim Zuckermans Jim Zuckermans

PH OTO I N S I G HTS PH OTO I N S I G HTS

January 2015 February 2015

Topaz Glow
A different approach to composition
Photographing puppies
Kaleidoscopic images
Online photo course
Student showcase
Photo tours

White balance
When can highlights be blown
Abstractions in soap
Fisheye lenses
Online photo course
Student showcase
1 Photo tours 1

May 15 Jun 15 Jul.15 Aug.15 Sept.15

Jim Zuckermans

PH OTO I N S I G HTS
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

34
 Click on the past issues of
PH OTO I N S I G HTS
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

35
 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
Backgrounds, wild Nov. 12
Backgrounds, busy Apr. 13
Backlighting Apr. 16
Birds in flight Aug. 13
Birds in flight Jan. 14
Birds in flight Mar. 16
Black velvet Mar. 14
Black and white conversions Mar. 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
Composition, different approach Jan. 15
Contrast vs. exposure Jul. 15
Creating a star field Jan. 14
Creative blurs Jan. 14
Dawn photography Jan. 17
Dawn photography Feb. 17
Dead center Jan. 13
Dealing with smog Oct. 16
Decay photography Sep. 15
Depth of field Aug. 16
eBook, how to make Jan. 13
Energy saving bulbs Sep. 14
Exposing for the sun Sep. 16
Exposure, the sun 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
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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 Dec. 15
Great subjects Apr. 15
Green screen Mar. 13
Grunge technique Feb. 13
HDR, one photo Apr. 13
HDR at twilight May 13
HDR, realistic Jun. 15
HDR, hand held Dec. 16
HDR panoramas Jun. 16
High wind Apr. 17
Highlights Apr. 14
Highlights, overexposed Feb. 15
Humidity Oct. 13
Hummingbird photography Apr. 13
Hyperfocal distance Jul. 13
Implying motion Sept.14
Impossible DOF Feb. 16
Impossible DOF Jan. 17
Indestructible camera bag Dec. 14
Infrared photography Jul. 14
Interiors Oct. 15
iPad: Loading photos Aug.17
Jungle photography Dec. 14
Kaleidoscopic images Jan. 15
Keystoning, correcting Aug. 15
Landscape photography Dec. 12
Landscape photography Apr. 14
Landscape photography Nov. 16
Light fall-off Feb. 14
Lighting a face Oct. 13
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
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
 Subject index for past Photo Insight issues
Negative space Jan. 16
Neon edges on black Aug. 14
Night photography Feb. 14
Noise reduction Feb. 17
Optical infinity Jun. 16
Paint abstracts May 13
Painting with light Sep. 15 Shooting through wire mesh Sept. 14
Panning motion Dec. 16
Parades Sep. 13
Photoshop, content Aware Nov. 12
Photoshop, sketch technique Apr. 13
Photoshop, replace background Apr. 13
Photoshop, actions palette Dec. 13
Photoshop, layer masks Feb. 13
Photoshop, the clone tool May 13
Photoshop, soft foliage Oct. 13
Photoshop, mixer brush tool Sept. 14
Photoshop, b & w with color Jun. 14
Photoshop, drop shadows Jul. 14
Photoshop, creating texture Feb. 14
Photoshop, face mirrors Feb. 14
Photoshop, liquify Mar. 14
Photoshop, face mirrors Aug. 14
Photoshop, digital spotlight Sep. 14
Photoshop, enlarge eyes Nov. 14
Photoshop, darken the periphery Dec. 14
Photoshop, mirror images Dec. 14
Photoshop, beam of light Apr. 15
Photoshop, polar coordinates Mar. 15
Photoshop, chrome May 15
Photoshop, actions palette Nov. 15
Photoshop, cut and paste Nov. 15
Photoshop, geometrics Oct. 15
Photoshop, plugins Oct. 15
Photoshop, multiple selections Apr. 16
Photoshop, sharpening Apr. 16
Photoshop, Flood plugin Apr. 16
Photoshop, Desaturation Aug. 16 Workflow May 13
Photoshop, making a composite Aug. 16
Photoshop, the pen tool Feb. 16
Photoshop, canvas size Jan. 16
Photoshop, using the earth Jun. 16
Photoshop, define patterns May 16
Photoshop, paste into Nov. 16
Photoshop, b & w with color Feb. 17
Photoshop, open a closed door Apr. 17
Photoshop, palettes May 17
Portrait techniques Nov. 15
Portraits Mar. 13
Portraits, mixed lighting Aug. 14
Portraits, window light Mar. 15
Portraits, outdoors May 17
Post-processing checklist Dec. 13
Post-processing: Contrast Aug. 17
Problem/solution Apr. 17
Protecting highlights Dec. 12
Puppies Jan. 15
continued
Seeing as the lens does Nov. 14
Selective focus Jun. 15
Self-critiques Jul. 13
Self-critiques Oct. 13
Sepia and dark contrast Jun. 15
Shade May 14
Sharpness problems Mar. 14
Silhouettes Jun. 13
Soft light Jan. 13
Stained glass Mar. 17
Star photography Jul. 16
Stock photography Sep. 14
Tamron 150-600mm Apr. 14
Topaz Simplify 4 Dec. 12
Topaz simplify 4 Jun. 14
Topaz glow Jan. 15
Topaz Impression Sep. 15
Travel photography Feb. 13
Travel portraits Mar. 14
Travel tips Apr. 14
Travel photographers guide Jun. 17
Two subject sharp rule May 14
Warm fingers in winter Nov. 15
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
Wildlife photos with wide angles Mar. 15
Window light Dec. 15
Window frames Feb. 16
Winter photography Dec. 12
Winter bones May 13
Winter photography Dec. 15

Reflections Feb. 13

Safari May 13
Safari strategies Jul. 15

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 PHOTO INSIGHTS
published by Jim Zuckerman,
all rights reserved
Jim Zuckerman 2017
email: photos@jimzuckerman.com
mail address: A barn in the Palouse area of north-
P.O. Box 7, Arrington, TN 37014 eastern Washington state.

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