Jim Zuckerman’s

PH OTO I N S I G HTS
January 2023

When You Really Needed a Zoom

Content-aware move tool
AnatomyGraphic
Practicing of Natural Light
Design II Portraits
Upsidesettings
Camera Downfor Reflections
birds in flight
Photo toursVStudent
Photography quiz showcase
Photo tours
Ask Jim
Ask Jim
Subject
Student index
Showcase
Back issues 1
 Table of Contents

4. Content-aware move tool

8. Practicing Graphic Design II
14. Camera settings for birds in flight
19. Photography quiz
21. Jim’s eBooks
24. What’s wrong with this picture?
26. Short and sweet
28. Ask Jim
29. Photography tours On the cover: A bull elephant drinking in
31. Student Showcase front of a photographic blind, South Africa.
37. Past issues This page: King of Wings rock formation,
42. Subject index Bisti Badlands, New Mexico.

2
W
ith super fast frame rates our cameras have now -- and they seem to be get-
ting faster with each new iteration -- the number of pictures we have to edit
after a photo excursion continues to increase exponentially. A client of mine
on my South African photo tour last October told me she’d taken in excess of 24,000 pic-
tures! To me, that would be a daunting task to go through all those images. It’s true with
action photography like birds in flight, our goal is to capture every nuance in the movement
of the subjects, but there comes a point when it’s too much.

To prevent an editing burden of gargantuan proportions, I feel it’s best to tread lightly on
the shutter button. Don’t ‘put the pedal to the metal’, so to speak, and shoot continuously for
four seconds or more. At 20 frames per second, that’s 80 images. The Sony A1 does 30 fps,
so that would be an astonishing 120 frames. Who wants to plow through all those images?
You’ll spend more time deleting frames than you would spend on vacation.

Instead, shoot in short bursts. I typically shoot fast moving subjects at 20 fps in which I’m
depressing the shutter anywhere from about 1/2 second to 2 seconds at the very most. Of
course, some situations are so incredible that you’ll want to shoot continuously as long as
the buffer can handle the data, but in most cases -- like a bird taking off or landing on a
perch -- the best part of the action occurs very, very quickly. One of the great advantages
of mirrorless cameras is there’s no mirror to flap up and down such that it largely obscures
what’s going on in the frame. With the clear and continuous viewfinder image, you can
more easily judge when to stop the shooting sequence. On the Canon R5, touching and re-
leasing the shutter button as fast as I can gives me no less than four frames when the camera
is set to shoot at 20 fps. This kind of camera action is great; we are able to capture pictures
that just a few years ago were impossible. But use this technology judiciously. Save yourself
endless hours and even days of editing.

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

3
 The Content-Aware Move Tool
T
he content-aware technology takes on sev-
eral forms. The healing brush, the patch tool,
and the spot healing brush all use the same
algorithms to blend color and tone. The Content-aware
move tool does the same but in a very unique way.

The picture of a sandhill crane I captured in Bosque del

Apache National Wildlife Refuge, below, is left of cen-
ter. The general compositional ‘rule’ (one that I often
break) is that a moving subject should be moving to-
ward the center of the frame, not away from it. This is a
full frame, uncropped image; obviously it’s difficult and
often impossible to compose action shots with delib-
eration and forethought simply because there usually
isn’t time to do that. The action is just too fast.

4
The easiest way to rectify the composition
in this image -- in other words, to move the
crane to the right of center -- is to use the
Content-aware move tool.
As you can see from the screen capture on
the previous page showing the tools palette in
Photoshop, the Content-aware move tool is
located in the same sub-menu as the Healing
brush tool.
The first thing I did was use the Lasso tool to
draw a selection around the bird. In the be-
low image I highlighted the marching ants to
make them easily visible. It is not necessary
to make a duplicate layer.
Note how much of the background I included
in the selection, and also note the selection
doesn’t have to be precise at all. Using a sty-
lus and a Wacom tablet to proscribe the selec-
tion is a lot easier than using a typical mouse.
There is much more control and it’s much less
awkward when working on selections that
need to be precise.
Next, I selected the Content-aware move tool
and dragged the selected area of the bird and
a little bit of the background to the right, to
the new position where I wanted the crane to
be. A box forms around the selection as you
can see in the screen capture on the next page.
The fact that some of the selected area lays on
top of the original image is not a problem.
I then clicked Return (or enter) on the key-
board, and the content-aware technology did
its magic. The image of the bird left of center
disappears and it’s replaced by itself, but now
it is positioned perfectly on the right and the
background is blended as if there was no Pho-
toshop work at all. The final result is shown
5
below right.
This technique works for all kinds of subjects
including people, trees, animals, architecture,
cars, and more. Sometimes it’s not perfect, of
course, because a lot depends on the complex-
ity and uniformity of the background as well as
the size of the subject relative to the entire im-
age. Sometimes the technique works great as in
6
the photo below left where I re-positioned the
two trees with the sun from the center to the
right. If you look closely, though, some of the
cloud shapes are duplicated. In this instance,
you have to do some additional work, usual-
ly with the clone tool, to make sure repeating
lines or shapes are eliminated or obscured in
some way. Always pay attention to these kinds
of details. §
 Morocco Photo Tour
August 29 - September 10, 2023

7
 Practicing Graphic Design
Part 2
G
raphic design, i.e., artistic lines,
is the bottom line to making fine
art images. In the December is-
sue I illustrated how architectural lines can
so dramatically make strong photographs.
In this article, I focus on graphic design as it
relates to people and show how the lines of
our bodies and faces contribute to successful
images.
The most recognized and appreciated lines
associated with people are the elegant de-
signs dancers create with their bodies. Danc-
8
ing at its finest is really all about the graceful
lines made by the way the head and neck are
held, how the arms are extended, and the ar-
tistic way the legs are positioned. Even the
hands and fingers are important. The pin-
nacle dance form in which all these factors
come together, of course, is ballet.
Photographing ballet dancers isn’t hard be-
cause they do all the work for you in posing
so beautifully. Your job is to capture them at
the peak moment of perfection because they
can’t hold difficult poses for very long.
The same idea is true for other types of pictures
of people. For example, in the image below of
boatmen on Inle Lake in Burma, what makes
or breaks a shot like this is the graphic shape
of the silhouettes -- the foreground netting as
well as the position of the two boatmen. Just
like lines of a ballerina, the lines of the two
fishermen define the picture. With silhouettes,
if the shapes are busy, confusing, truncated in
some way, or if shapes blend together such that
the result is a visual mess, the image will be a
failure.
In the image below, notice:
1. Both of the forms of the fishermen are clear-
ly defined.
2. None of the ribs of the foreground fish net
interfere in a detrimental way with the forms
of the two men.
3. The diagonal lines formed by the extend-
ed legs of both men are attractive design ele-
ments, and the wooden oars that their legs are
wrapped around extend those lines.
4. The upper body of the fisherman closest to
the camera is clearly defined with an attractive
shape. I specifically asked him, through my in-
terpreter, to take off his t-shirt specifically so
the lines of his body would be delineated in sil-
houette.
Not all photographs of people have to exhibit
strong graphic design, of course. Sometimes
the emotion of the image is enough to make
it successful. Photojournalism aside, like war,
disasters, poverty, and even selfies, posing peo-
ple for artistic purposes requires a keen eye for
detail and especially for design. Here is what
to look for when studying your subjects in the
viewfinder:
9
1. Ask the person you are photographing not
to slouch. This is really important. Whether
standing or sitting, their back should be erect.
There are always exceptions to every rule, but
most of the time this will make a huge differ-
ence. It may feel uncomfortable and even awk-
ward to your subject, but the pictures will be
noticeably better. This goes a long way to mak-
ing the graphic design stronger.

Military personel know by training how to

pose and perform. The soldiers above in Bish-
kek, Kyrgyzstan, are an example. Note their
posture as well as the graphic position of their
bodies. This isn’t ballet, of course, but the un-
derlying concept of graphic shapes is the same.

2. Use shadows to enhance and duplicate

strong design. The costumed model in Venice
during Carnival at right is an example. I used

10
off-camera flash here to create a strong and
very graphic design on the column.
3. Ask the subject to do something that pres-
ents a strong design as well as something of in-
terest such as riding a bicycle, running, twirl-
ing, or in the case of the Masai warrior, above,
throwing a spear. I replaced the sky in this
image for drama, but the primary reason this
works is because of the graphic design of the
young man’s body -- his extended arm, spread
fingers, and the diagonal angle of the spear. It’s
important to note how the tip of the spear is
not touching his shoulder.
is all about choosing the right subjects. When
looking for an attractive face, usually there are
six characteristics to look for: 1) eyes should
be far apart, 2) the nose should be narrow, 3)
the lips should be full and nicely shaped, 4) the
jaw line should be well defined and square or
tear shaped, 5) the cheekbones should be high,
and 6) the neck should be long. These aspects
of a face can be seen in all beautiful women and
handsome men. For snapshots of friends, none

4. Use the graphic design of the person’s face

to make a strong portrait as I did in the Ba-
linese dancer, right. Unless you are taking
family pictures for nice memories or photo-
graphing someone as a favor, artistic imagery
11
of this applies. But for artistic and classic im-
ages of faces, these characteristics will make or
break your pictures.
Sometimes the graphic design involving pic-
tures of people can come from the environ-
ment or from an element tied to what the per-
son is doing. For example, the image above
of the Chinese ribbon dance shows how the
dancer is framed in the graphically pleasing
12
repeated shapes of the colorful ribbons. And
in the shot below, the graphic design of the
model isn’t what makes the picture success-
ful. It’s the bold, graphic lines of the columns
in the ante-bellum home as well as the large
round front wheel of the vintage 1876 bicycle.
The net fishermen, above, offers virtually no
design at all. In this case, though, the design
comes from the beautiful spread of the net. §
BEST of SOUTHERN NATURE
April 1 - 6, 2023

13
 CameraBirds inSettings
Flight for
R
ecently a client wrote and told me,
after seeing my shots of birds from
Bosque del Apache during my
photo tour there last month, that she’s never
been able to take sharp pictures of birds in
flight. She asked me to help her with camera
settings for this very challenging aspect of ac-
tion photography, so this article is my answer
to her.
Shutter speed
First and foremost, the shutter has to be ex-
tremely fast. I use 1/3200th of a second for
most of the bird species I photograph. If the
bird is small, thereby its wings beat especially
14
fast, I will use 1/4000th if I have enough light.
This guarantees sharp wing tips.
If the light gets low and a super fast shutter forces
a very high ISO, then just know, if you slow down
the shutter, you will definitely get blur. I would
prefer to raise the ISO (even to dizzying heights
like 40,000) and then in post-processing do my
best with software like Topaz De Noise and Neat
Image to mitigate the noise.
For large birds like eagles, vultures, hawks, ma-
caws, osprey, etc., I’ll use shutter speeds as low as
1/2000th of a second if reduced ambient light is
present. Their graceful wings don’t move as fast
as those of smaller birds.
Lens aperture

Birds have depth. Since long lenses are used

almost exclusively to photograph birds in
flight, depth of field is, by defintion, shal-
low. I got very tired of seeing only parts of
the bird in focus while other parts were soft.
The reason we photograph all aspects of na-
ture is to show all the stunning detail. Many
birds have magnificient colors and patterns,
a compelling face and beak, and elegant tail
feathers. To show them out of focus, in my
opinion, misses the whole point of taking na-
ture pictures. to manual. This allows me to specifically choose
the shutter speed (so it doesn’t vary according
That’s why I rarely shoot wide open. I usually to the light) and, at the same time, specifically
use f/11 and, if there is enough light, I prefer choose the lens aperture (again, without it vary-
f/16 (but most of the time there isn’t enough ing per the light).
light for such a small lens aperture).
The only downside to this is the ISO may become
ISO and Exposure mode higher than you’d want. My rationale for accept-
ing exceptionally high ISO is I’d rather have noise
I set the ISO to auto, and the exposure mode than a blurred picture. That’s the tradeoff: A

15
fast shutter with high ISO or a blurred bird.
Noise can be dealt with by using Topaz De-
Noise AI (now incorporated into Topaz Photo
AI) and Neat Image software. Both of these
programs do a remarkable job in mitigating
noise. The snowy owl above is an example. I
was using auto ISO late in the day in Canada
during the winter and the light was waning.
I hadn’t noticed the ISO had become 12,800,
but my settings were exactly where I wanted
them -- 1/3200 and f/11. In post-processing,
I used Neat Image software and it eliminated
the noise almost completely.
If I know I’ll be capturing birds in flight against
a monochrome sky, like with the sandhill
cranes, below, I turn all of the focus points on.
There is nothing in the background to fool the
autofocus mechanism. However, if the birds
will be flying in front of trees or other natural
features in a landscape, I use a small, centered
cluster of focus points. In my camera body,
that’s typically 4 or 9 central points. If I can
keep the bird in the center of the frame, then I
can depend on getting a sharp picture.

The ability of modern cameras, and especial-

ly the mirrorless models, to deal with noise
-- and then for software programs to further
aid in producing high quality images -- means
bird photographers can have their cake and
eat it, too. In other words, even in low light,
we can use fast shutter speeds to render every
aspect of a bird in flight tack sharp.

Focus points
16
Eye tracking and frame rate
The new technology that finds an eye in the
frame and locks onto it is remarkably accu-
rate. I use it whenever possible. On my Can-
on R5, I’ve assigned this feature to one of the
back buttons near where my thumb rests so I
can switch back and forth easily between eye
tracking and normal autofocus.
In conjunction with that, I shoot birds in flight
with the fastest frame rate available to me,
which is now 20 fps. This allows me to cap-
ture every nuance in the wing positions as the
birds soar, fly, take off, and land.
This action happens so quickly our brains sim-
ply can’t freeze-frame what actually happens.
We never see the grace and beauty of the wing
formations; only the camera can capture it.
That’s why I spend a lot of time looking through
the viewfinder at nests and frequently used
perches, waiting for a bird to take off or land.
And many water birds seem like acrobats when
they run on the water to get lift-off or when they
make a splash landing. These are the moments
that make truly awesome photographs. §

The most productive milliseconds

Those few milliseconds that yield the best bird

in flight pictures are when the birds take off
and land. It is at these times when they have
to furiously contort their wings to make flight
happen or to arrest their forward motion.
17
 WHITE HORSES of the CAMARGUE
Spectacular photo opportunities of horses in action

May 8- 13, 2023

18
 Photography Quiz
1. The background behind a subject is: 6. The primary enemy of macro photography is

a. Not that important and can be ignored a. Depth of field

b. Virtually as important as the subject b. Wind
c. Best to always render with complete DOF c. Tripods
d. Wide angle lenses
d. Best to always render with shallow DOF

2. High res jpeg mode produces the same quality 7. Outdoor portraits look best (you may choose
more than one)
as RAW.
a. When the sun is at your back
a. True b. At noon
b. False c. At sunrise or sunset
d. On a cloudy day

3. When shooting doors and windows, and you

want to emphasize the symmetry of the archi 8. Most landscape photographs should
tecture, the shooting position should be
a. Have complete depth of field
a. Dead center b. Be taken on a bright sunny day
b. Slightly off-center c. Be taken without a tripod
c. At a 45 degree angle d. Be taken with a high ISO

4. The two most important aspects of fine art pho 9. Converting color to black and white with digi
tography are tal technology (or film) always causes

a. Depth of field and shutter speeds a. An increase in noise

b. Fill flash and Aperture priority b. A gain of contrast
c. Aperture priority and Shutter priority metering c. A loss of contrast
d. Graphic design and lighting d. A loss of detail in the highlights

5. When you shoot at twilight and night and your 10. When you create a still life photo, you should
subject is a city skyline, you should use a
tripod and
a. Pay careful attention to every detail
a. ISO 100 b. Make the lighting artistic
b. ISO 400 c. Make sure the background isn’t distracting
c. ISO 800 d. None of the above
d. ISO 1600 e. All of the above
Answers on page 47
19
w

UPCOMING PHOTO WORKSHOPS

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

Frog and Reptile Workshop

This is a macro workshop where you will have
up close and personal encounters with exotic
poison dart frogs and primitive looking rep-
tiles. Jim will explain how to use a ring flash to
simulate difused daylight, and he will talk a lot
about depth of field as it relates to macro work.
This workshop takes place in Kansas city.

February 25 - 26, 2023

Louisiana Swamps
Autumn in the swamps of Louisiana (and
Texas) is spectacular. The mix of orange and
green leaves is beautiful, and at this time of
year we have the best chance of photographing
fog. There are egrets, herons, and osprey to
photograph as well as alligators in this prime-
val and mystical environment.

October 21 - 25, 2023

20
10 19
19
Expand your photographic artistry with
eBooks
Click on any ebook to see inside

18 21
 eBooks continued
Click on any ebook to see inside

21
22 192123
21
21
19
WINTER WILDLIFE WORKSHOP
January 17 - 21, 2023

23
23
 What’s wrong with this picture?

T
his is a panther chameleon photographed during my Frog and Reptile
workshop held in Kansas City. To simulate a natural, out of focus fo-
liage background, I use photographic prints of blurred vegetation set
up behind the subjects. However, sometimes I use a print and then, when I see
the results, realize there isn’t enough color variation and it’s too uniform with
respect to tonality. A background forest, even if blurred quite a bit, would have
a lot more going on than essentially a solid green color.

The picture on the next page is a lot more realistic and yet the chameleon still
stands out nicely. The soft background directs all of our attention where it
should without being distracting in any way, and it perfectly complements the
reptile.

24
I have a folder in my photo library of out of focus foliage images for situations
just like this one. Many subjects look great with blurred vegetation in the back-
ground -- birds, flowers, outdoor portraits, and butterflies are just a few of the
subjects I’ve improved by adding a soft foliage background. Not only does it look
natural, but so often the original environment behind subjects is less than ideal.

If you find this technique to be of value, you’ll want to photograph many differ-
ent types of out of focus foliage backgrounds. Experiment with backgrounds
slightly soft to completely abstracted. Shoot bushes, forests, canopies, wintry
backgrounds with bare trees, snowy backgrounds, and floral backgrounds.

Some of your shots should include a bit of sky -- like mottled blue coming through
a tree. I would also include shots in which the sun is part of the composition in
varying degrees of blur. You never know when you’ll need a particular environ-
ment. §

25
 SHORT AND SWEET
1. When using long lenses, movement is greatly mag-
nified. I took this Egyptian goose with a 700mm fo-
cal length. Birds move extremely fast. Even the flick
of the head is enough to cause blur. Therefore, use a
faster shutter than you think you need to guarantee
sharpness. I used 1/800th of a second here.
3. Always be on the lookout for strong silhouettes.
Here I was in a Masai village in Kenya and, when I
looked toward the sun, I saw this wonderful image of
two people simply sitting and talking. I used a Canon
500mm f/4, handheld, for this shot, which means I
was shooting from a fair distance away.
26
2. I took this picture through not-so-clean glass on
an upper floor of the Hyatt Airport Hotel in Boston.
I used a medium telephoto focal length, and the shal-
low depth of field made the imperfect glass irrelevant.
I purposely used a large lens aperture -- f/5.6 -- to
minimize DOF and eliminate any evidence of the dirt.
4. Snow storms produce great photo opportunities. If
you live in a cold climate, when a blizzard dumps many
inches -- or even feet -- of snow in your area, don’t hide
indoors. Take advantage of the dramatic and beautiful
photo opportunities. I photographed this cabin near
Crater Lake in Oregon. §
Patagonia Photo Tour
April 20 - May 1, 2023

27
 ASK JIM
Every month, Jim will answer a question from his online students, from people who participate
in his tours and workshops, or from subscribers to this magazine. If you have a question
you’d like Jim to answer, please drop him a note at photos@jimzuckerman.com.

Q: Jim . . . I know some photographers who always use UV filters on their lenses. I never
have. What is your opinion of using them?
Alene Driggers, Marietta, Georgia

A: UV filters do essentially nothing to your photographs. They are supposed to eliminate

ultraviolet radiation from scenes, and this helps (only slightly) to eliminate a possible bluish
cast. Color can be adjusted and tweaked so easily now in Photoshop that I think UV filters
don’t make sense . . . with one caveat. They do protect the front glass element of your lens
should you have a mishap. For example, a friend of mine picked up his camera bag and for-
got it wasn’t zipped shut. His 70-200mm fell onto the concrete sidewalk front end down with
no lens shade. His protective UV filter was shattered, but his lens was amazingly unscathed.

I took the picture below on one of my photo tours. A client’s camera was mounted on a tri-
pod and he inadvertently knocked it over. The lens fell face down on rocks. The filter shat-
tered while the lens functioned for the rest of the trip. The filter took the brunt of the impact.

28
 Partial List of Photography Tours
2022 - 2024
WINTER WILDLIFE CARNIVAL in VENICE BEST of SOUTHERN NATURE
Jan 2023 Feb 2023 Apr 2023

TEXAS BIRDS/BLUEBONNETS PATAGONIA WHITE HORSES, FRANCE

Apr 2023 Apr/May 2023 May 2023

CHICAGO by NIGHT ENGLAND and WALES HUDSON RIVER VALLEY

Jun 2023 Sep 2023 Oct 2023

POLAR BEARS/Canada HOLLAND & BELGIUM INDONESIA

Nov 2023 Apr/May 2024 Jul/Aug 2024

For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com. 29
 Polar Bears from Ground Level
November 9 - 16, 2023
j Based in Churchill, Canada

30
 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.

David Sendzul, Sarasota, Florida 3 Photoshop online training courses, New Mexico Photo Tour

27 31
27 31
 Student Showcase, continued

32
31 29
32 29
Student Showcase, continued

31
31
37
33 35 29
29
29
33
31
33
 Student Showcase, continued

3331
34 33
31
33
ENGLAND & WALES PHOTO TOUR
Medieval ruins Quaint villages Awesome architecture
September 12 - 22, 2023

35
 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

36
 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

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Feb. ‘14 Mar. ‘14 Apr. ‘14 May ‘14 Jun.‘14

37
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38
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39
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Dec. ‘22 Jan. ‘23

43
 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
Abstracts, Shooting Mar ‘19
Aerial photography Jun. ‘13
Aerial photography Jan. ‘21
African safari May ‘16
Airplane windows Mar. ‘16
Alien landscapes Jan. ‘13
Anatomy of 8 photographs Jan. ‘16
Angled perspectives Jan. ‘19
Aperture vs. shutter speed May ‘14
Aperture priority Sept. ‘14
Aurora Borealis Apr. ‘17
Auto white balance Dec. ‘13
Autofocus, when it fails Apr. ‘15
Autofocus failure Aug. ‘15
Autofocus failure Jan. ‘17
Autofocus challenges Apr. ‘18
Auto ISO Nov ‘17
Auto White Balance Mar’ ‘21
Autumn Foliage Sep. ‘18
Autumn Color Sep. ‘20
Autumn foliage photography Oct. ‘21
Back button focus Oct. ‘18
Backgrounds, wild Nov. ‘12
Backgrounds, busy Apr. ‘13
Backlighting Apr. ‘16
Backlighting Oct. ‘22
Birds in flight Aug. ‘13
Birds in flight Jan. ‘14
Birefringence May ‘18
Birds in flight Mar. ‘16
Birds in flight, camera settings Jan. ‘23
Bird Photography Jun ‘19
Blacklight photography Feb. ‘21
Black velvet Mar. ‘14
Black and white conversions Mar. ‘17
Black and white solarization Sep. ‘17
Black and white with color Jan. ‘20
Blown highlights Feb. ‘18
Blue monochromes Jan. ‘22
Black Plexy Aug. ‘22
Blur, field Nov. ‘18
Blur technique Oct. ‘17
Bokeh Jun. ‘15
Botanical gardens, shooting Apr. ‘22
Butterfly photography Jul. ‘14
Camera buying guidelines Dec. 21
Camera setting priorities Jun. ‘17
Canon R5 Mar. ‘21
Capturing lightning Jun. ‘13
Capturing what you don’t see May ‘21
Catchlights Jul. ‘16
Changing perspective May ‘21
Cheap flash stand Apr. ‘13
Children photography Jun. ‘14
Choosing a telephoto lens Dec. ‘20
Chromatic aberration May ‘13
Chrome Dec. ‘18
Cityscapes Aug. ‘14
Cityscapes May ‘16
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Clone tool, fixing an issue Sep. ‘17
Clone tool technique Jul. ‘20
Composites and Light Dec. ‘17
Compositing images Apr. ‘19
Compositing, 7 steps Jan. 22
Composition, different approach Jan. ‘15
Content-aware, New Aug. ‘20
Content aware move tool Jan. ‘23
Contrast vs. exposure Jul. ‘15
Converting to black and white Mar. ‘22
Correcting keystoning Jun. ‘21
Creating a star field Jan. ‘14
Creating Art out of Motion May ‘22
Creating a Sketch Dec. ‘17
Creative blurs Jan. ‘14
Dark backgrounds Nov. ‘19
Dawn photography Jan. ‘17
Dawn photography Feb. ‘17
Dead center Jan. ‘13
Dealing with smog Oct. ‘16
Decay photography Sep. ‘15
Define Pattern Sep. ‘18
Depth of field Aug. ‘16
Depth of field confusion Jan. ‘20
Depth of field and distance Dec. ‘18
Depth of field and obliqueness May ‘21
Depth of field, shallow Apr. ‘20
Depth of field vs. sharpness Nov. ‘20
Double takes Apr. ‘20
Drop shadows Apr. ‘19
Dust, Minimizing Aug. ‘19
eBook, how to make Jan. ‘13
Eliminating people from photos Jun. ‘22
Embedded in Ice Oct. 17
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
Exposure compensation Mar. ‘21
Extension tubes Dec. ‘13
Face sculpting Apr. ‘21
Face sculpting Feb. ‘22
Festival photography Sep. ‘20
Fill flash Sep. ‘13
Filter forge Feb. ‘13
Fireworks Jul. ‘13
Fireworks, Compositing Jun ‘20
Fisheye lenses May ‘13
Fisheye lenses Feb. ‘15
Fisheye fantasies Oct. 21
Flash backlighting May ‘15
Flash, balancing exposure Oct. ‘15
Flash, balancing off-camera Dec. ‘18
Flat art Sep. ‘16
Flexify 2 Mar. ‘20
Flood fixes problems Nov. ‘19
Floral Portraits, Indoors Aug. ‘21
Flowers May ‘15
 Subject index for past Photo Insight issues
Flower photography Apr ‘21
Flowers in harsh light Jul. ‘16
Focus on the eyes Dec. ‘20
Focus points Mar. ‘15
Focus points Sep. ‘20
Focus stacking Mar. ‘17
Focus stacking Aug. ‘19
Focusing in the dark Oct. ‘16
Foreign Dancers, Photographing Nov’ 17
Foreign models Jun. ‘13
Fractals, generating Sep. ‘13
Fractals Jul. ‘19
Framing May ‘17
Freezing ultra action May ‘17
From Terrible to Beautiful Aug. ‘19
Fun with paint Oct. ‘16
Fundamental ingredients Apr. ‘13
Fundamentals That Make Great Photos Jan. ‘19
Fun With Christmas Lights Jan. ‘21
Fun with Food
Graphic Design Jul. ‘20
Garish imagery Dec. ‘15
Getting money for used gear Jan. 22
Great subjects Apr. ‘15
Great ceilings & HDR Panos Jul. ‘19
Green screen Mar. ‘13
Ground level shooting Oct. ‘22
Grunge technique Feb. ‘13
HDR, one photo Apr. ‘13
HDR at twilight May ‘13
HDR, realistic Jun. ‘15
HDR, hand held Dec. ‘16
HDR, hand held Nov ‘17
HDR, hand held Jul. ‘18
HDR panoramas Jun. ‘16
HDR, choosing the number of frames Jun. ‘22
High wind Apr. ‘17
Highlights Apr. ‘14
Highlights, overexposed Feb. ‘15
Histograms, Why I Don’t Use Jun ‘19
Histogram problems Apr. ‘20
Hotels with a view Mar. ‘20
Humidity Oct. ‘13
Hummingbird photography Apr. ‘13
Hyperfocal distance Jul. ‘13
Image resizing Aug. ‘18
Implying motion Sept.‘14
Impossible DOF Feb. ‘16
Impossible DOF Jan. ‘17
Indestructible camera bag Dec. ‘14
Infrared photography Jul. ‘14
Insane ISO settings Dec. ‘22
Interiors Oct. ‘15
iPad: Loading photos Aug.‘17
iPhone photography, pros and cons Apr. ‘22
Jungle photography Dec. ‘14
Kaleidoscopic images Jan. ‘15
Kaleidoscopis images Aug. ‘20
Keystoning, correcting Aug. ‘15
L Bracket Feb. ‘18
L Bracket Feb. ‘21
Landscape photography Dec. ‘12
Landscape photography Apr. ‘14
Landscape photography Nov. ‘16
Layer Masks, The Power of Feb. ‘22
Light fall-off Feb. ‘14
Light painting Dec. ‘21
Lighting a face Oct. ‘13
Lightning photography May ‘20
Liquify Feb. ‘18
Liquify Distortions Sept/Oct. ‘19
Long lens portraits Oct. ‘18
Long Lenses for Flowers Jul. ‘20
Low light photography May ‘15
Luminar 4 Jan. ‘20
Macro flash Nov. ‘12
Macro flash Sep. ‘14
Macro flash Aug. ‘15
Macro flash Aug. ‘22
Macro photography and DOF Feb. ‘22
Macro trick May ‘19
Managing soft focus Jul. ‘21
Mannequin heads Apr. ‘16
Metering modes Nov. ‘16
Meters, How They Work Jul. ‘18
Meters, when they fail Dec. ‘16
Metering situations, Impossible Jul. ‘19
Middle gray Nov. ‘15
Minimizing dust on the sensor Nov. ‘21
Mirrors Jan. ‘19
Model shoot Jan. ‘17
Moon glow Oct. ‘16
Mosaics Jun. ‘17
Mundane to Ideal Nov. ‘19
Museum photography Mar. ‘13
Natural Light Portraits Aug. ‘21
Negative space Jan. ‘16
Neon edges on black Aug. ‘14
Neutral Density filters Jun. ‘18
Neutral Density filters and water Mar. ‘22
Night photography Feb. ‘14
Night Safaris Jun. ‘18
Night to Twilight Dec. ‘17
Noise reduction Feb. ‘17
Oil and water May ‘20
Optical infinity Jun. ‘16
Organization of photos Mar. ‘18
Out of focus foregrounds Jan. ‘20
Paint abstracts May ‘13
Paint abstracts Aug. ‘21
Painting with light Sep. ‘15
Panning motion Dec. ‘16
Pano-Mirrors with a twist Jan. ‘18
Parades Sep. ‘13
Parallelism Nov. ‘19
Parallelism and DOF Feb. ‘21
Perspective, Super Exaggeration of Dec. 21
Photo terms Nov. ‘22
Photography to Art Dec. ‘17
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 Subject index for past Photo Insight issues
Photography solutions Jan. ‘18
Photoshop, content Aware Nov. ‘12
Photoshop, sketch technique Apr. ‘13
Photoshop, replace background Apr. ‘13
Photoshop, actions palette Dec. ‘13
Photoshop, layer masks Feb. ‘13
Photoshop, the clone tool May ‘13
Photoshop, soft foliage Oct. ‘13
Photoshop, mixer brush tool Sept. ‘14
Photoshop, b & w with color Jun. ‘14
Photoshop, drop shadows Jul. ‘14
Photoshop, creating texture Feb. ‘14
Photoshop, face mirrors Feb. ‘14
Photoshop, liquify Mar. ‘14
Photoshop, face mirrors Aug. ‘14
Photoshop, digital spotlight Sep. ‘14
Photoshop, enlarge eyes Nov. ‘14
Photoshop, darken the periphery Dec. ‘14
Photoshop, mirror images Dec. ‘14
Photoshop, beam of light Apr. ‘15
Photoshop, polar coordinates Mar. ‘15
Photoshop, chrome May ‘15
Photoshop, actions palette Nov. ‘15
Photoshop, cut and paste Nov. ‘15
Photoshop, geometrics Oct. ‘15
Photoshop, plugins Oct. ‘15
Photoshop, multiple selections Apr. ‘16
Photoshop, sharpening Apr. ‘16
Photoshop, Flood plugin Apr. ‘16
Photoshop, Desaturation Aug. ‘16
Photoshop, making a composite Aug. ‘16
Photoshop new tool May ‘20
Photoshop, place one element behind Aug. ‘18
Photoshop, the pen tool Feb. ‘16
Photoshop, canvas size Jan. ‘16
Photoshop, using the earth Jun. ‘16
Photoshop, define patterns May ‘16
Photoshop, paste into Nov. ‘16
Photoshop, b & w with color Feb. ‘17
Photoshop, open a closed door Apr. ‘17
Photoshop, palettes May ‘17
Photoshop, My favorite plugins Jan. ‘20
Portrait options Jan. ‘19
Portrait techniques Nov. ‘15
Portraits Mar. ‘13
Portraits, mixed lighting Aug. ‘14
Portrait Professional Nov. ‘19
Portraits, Lens choice Sept/Oct. ‘19
Portraits, side lighting Sep. ‘17
Portraits, window light Mar. ‘15
Portraits, outdoors May ‘17
Post-processing checklist Dec. ‘13
Post-processing: Contrast Aug. ’17
Practicing graphic design, Part I Dec. ‘22
Practicing graphic design, Park II Jan. ‘23
Predictive Focus Sep. ‘18
Problem/solution Apr. ‘17
Problem Solving in Photoshop May ‘22
Problem with cruises Jan. ‘18
Protecting extremeities from the cold Dec. ‘22
Protecting highlights Dec. ‘12
Puppies Jan. ‘15
Puppy photography Feb. ’18
46
Reflections Feb. ‘13
Reshaping faces Oct. ‘22
Restoring old photos Jun ‘20
Ring flash, advantages Jul. ‘21
Ring flash versatility Oct. ‘21
Rule of Odds May ‘22
Safari May ‘13
Safari strategies Jul. ‘15
Seeing as the lens does Nov. ‘14
Seeking Cool Snow Photos Jan. ‘21
Selective filtering Mar. ‘18
Selective focus Jun. ‘15
Self-critiques Jul. ‘13
Self-critiques Oct. ‘13
Self-critiques Nov. ‘20
Sensor cleaning Jun. ‘18
Sepia and dark contrast Jun. ‘15
Shade May ‘14
Shady side Jun. ‘18
Shadows, Paying Attention to Mar. ‘18
Sharpness problems Mar. ‘14
Shooting in Inclement Weather Nov. ‘22
Shooting through wire mesh Sept. ‘14
Shooting into the light Jun ‘20
Silhouettes Jun. ‘13
Silhouettes, How to make Apr. ‘22
Silhouettes, Exposing for Sept/Oct. ‘19
Silvered landscapes Mar. ‘20
Sketch, How to Make Jun ‘19
Skies make or break a picture Aug. ‘21
Sky replacement Nov. ‘20
Sky replacement strategies Aug. ‘22
Snow exposure Nov ‘17
Snow exposure Nov. ‘19
Soft light Jan. ‘13
Smart phone photography May ‘19
Stained glass Mar. ‘17
Star photography Jul. ‘16
Star photography and noise Jan. ‘18
Stock photography Sep. ‘14
Sunrise & sunset Jan. ‘19
Tamron 150-600mm Apr. ‘14
Ten reasons photos are not sharp Jan. ‘19
Texture, Adding Mar ‘19
Texture Mapping in 3D Jul. ‘21
Topaz AI Gigapixel Mar ‘19
Topaz glow Jan. ‘15
Topaz glow Sep. ‘17
Topaz Impression Sep. ‘15
Topaz Remask 5 Oct. ‘17
Topaz Simplify 4 Dec. ‘12
Topaz simplify 4 Jun. ‘14
Topaz Studio Apr. ‘18
Translucency & backlighting Nov. ‘18
Travel photography Feb. ‘13
Travel portraits Mar. ‘14
Travel tips Apr. ‘14
Travel photographer’s guide Jun. ‘17
 Subject index for past Photo Insight issues
Twilight photography in the rain Apr. ‘19
Tripods Mar. ‘18
Two subject sharp rule May ‘14
Two subject focus rule Jan. ‘20
Two subject focus rule Jun. ‘21

Urban heights Jun. ‘21

Ultra distortion May ‘18
Unusual Panos Nov. ‘22w
Upside Down Reflections Aug. ‘21

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

Quiz answers
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
Wildlife photos with wide angles
Nov ‘17
Mar. ‘15 1. b
Window light
Window light portraits
Dec. ‘15
Aug. ‘18 2. b
Window frames
Winter photography
Feb. ‘16
Dec. ‘12 3. a
Winter bones
Winter photography
May ‘13
Dec. ‘15 4. d
Winter photography
Wire Mesh, Shooting Through
Nov. ‘18
Jul. ‘18
5. a
Workflow May ‘13 6. b
7. c,d
8. a
9. b
10. e

Your score
90% - 100%: You could have been a pro

80%: Your glasses probably need a

new prescription

70%: Don’t quit your day job

60%: You should really be using an iPhone

47
PHOTO INSIGHTS®
published by Jim Zuckerman
All rights reserved

© Jim Zuckerman 2023

email: photos@jimzuckerman.com

Edited by: Donald Moore

This page: A collection of old cars Moriarty, New Mexico

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