Jim Zuckerman’s

PH OTO I N S I G HTS
June 2021

Correcting keystoning
Urban heights
The two subject focus rule
Photo tours
Student showcase
Ask Jim
Subject index
1
 4. Correcting keystoning
8. Urban heights
13. The two subject focus rule
20. What’s wrong with this picture?
22. Short and Sweet
23. Ask Jim
24. Photo tours On the cover: Spotted glass
26. Student showcase frog, Costa Rica. This page:
32. Back issues Ijen volcanic crater, East
Java, Indonesia
38. Subject index for Photo Insights

2
S
hyness is a detriment for photographers. So often in my career I’ve had
to go outside my comfort zone and ask permission to get something done
in order for me to take a great picture. Many times a great picture is not a
function of choosing the right lens or the best exposure settings. Instead, it’s a func-
tion of getting permission. This could be permission to shoot from the rooftop of
a building, permission to close the hood of a classic car because that made a better
shot, or permission to photograph someone. Whatever it is, a simple request can
make the difference between getting a great image or not.

Too often, the fear of rejection gets in the way and we miss an opportunity. Or,
we ‘just don’t want to intrude.’ Or, we just don’t feel comforable asking a favor of a
stranger. I have actually found that if I do intrude, I often make a friend or, at the very
least, have a very interesting conversation.

President Franklin Roosevelt said the only thing to fear is fear itself. It’s a famous
quote from his first inaugural address in 1932 when America was in the depth of the
Great Depression. I have thought of that often in my life, and in many situations it
has helped me overcome my fears and allowed me to move forward . . . in arranging
great photos, in traveling to exotic countries, in moving my family across the country,
and so on. It’s ok to feel fear, it’s just that you shouldn’t let it stop you from getting
what you want.

With picture taking, overcoming fears and asking permission of people you encoun-
ter in your travels often leads to great images and unforgetable experiences.

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

3
 Correcting Keystoning
K
eystoning is the photographic term
that refers to the ‘angling inward’ of
vertical lines in a picture. We usu-
ally notice this in architecture images, but it cer-
tainly occurs as well when shooting a stand of
trees, a flag pole, a ship’s mast, and even a per-
son. Any subject involving vertical lines can
exhibit keystoning.
This type of distortion is caused when the back
of the camera -- i.e. the plane of the digital sen-
sor -- is angled or made oblique with the plane
of the subject. For example, in the picture be-
low, I angled the camera upward to include the
4
domes of the Church of Christ the Savior in
Moscow. I also wanted to show the unique pat-
tern in the clouds. The plane of the façade of
the church was therefore non-parallel with the
digital sensor in my camera. This caused the
vertical lines to appear as if they are converg-
ing at some point above the top of the frame.
Photographers have become accustomed to
this kind of distortion. In photographing ar-
chitecture, you usually use a wide angle lens
and, if the building is tall and you are relatively
close to it, the camera has to be angled upward
to avoid truncating the top of the structure.
That’s the source of the keystoning.
In the photograph of the same church below, I
corrected the distortion in Photoshop. If you
use a perspective control lens, which is specifi-
cally designed to correct keystoning in-cam-
era, post-processing isn’t necessary to address
this issue. Most photographers don’t carry
such a lens because they are expensive and
heavy, so here are the steps required to make
the vertical lines vertical in Photoshop:
1. Open the image to be corrected and choose
Select > all.
2. Choose the pulldown menu command Edit
> transform > distort.
3. Grab the lower right or lower left corner of
the image and pull it to enlarge the working
area. See the screen capture on the next page.
The green arrow shows the place where you can
drag to expand the area around the photograph.
Once expanded, a black frame will surround
the image.
4. Immediately around the picture area itself is
a box with handles. This was created from per-
forming Step 2. The handles are shown by the
blue arrows, same screen capture. When you
pull the top left handle to the left and the top
right handle to the right, the vertical lines of the
subject which were originally skewed inward
now become straightened.
As you can see from the screen capture, the
handles don’t have to be pulled symmetrically.
In fact, in most cases they will appear asym-
metrical as you work to align the vertical lines
with the left and right sides of the picture frame.
5
The reason I expand the working area as previ-
ously described is so I can see the handles and,
if necessary, grab them again to make small
adjustments in aligning the vertical lines in the
photograph.
5. Things to note during this process:
a. Depending on where you have to drag
the handles, you may end up with a blank area
in a portion of the picture. This is indicated by
the red arrow, below. If this happens, simply use
content-aware to fill in that area. Alternatively,
you could use the clone tool.
b. In distorting the image to correct the
keystoning, the subject may appear to be flat-
tened somewhat. If this occurs, simply grab the
top middle handle and pull it up until the pho-
tograph is stretched back into the correct pro-
6
portions.
c. You will lose some of the picture area
along the right and left sides of the frame as
you straighten the vertical lines. This is un-
avoidable. Therefore, if you know you’ll want
to use this technique, plan ahead. Compose
the picture with area on the sides of the frame
that won’t present a problem if they are elimi-
nated from the composition.
For example, the photo of The Bean in Chi-
cago on the next page shows how I corrected
the keystoning but, as you can see, some of
the buildings at the far right and far left were
cropped out. I didn’t crop the picture per se,
but in stretching it to correct the angled distor-
tion, a portion of the architecture at the sides
of the image was eliminated. I knew I wanted
to make the correction in post-processing, so
I composed the cityscape with
extra room on the sides so the
buildings on the left and right
could be cropped out without
losing the essence of the picture.

Keystoning with telephoto lens-

es does occur, but it is much
less severe compared to using a
wide angle lens. In many cases
it is barely noticeable.

d. Distorting the image to cor-

rect keystoning usually entails The Bean in downtown Chicago photographed at
an asymmetrical use of the dis- dawn to avoid the usual crowds of people.v
tort tool. As you can see in the
screen capture on the previous
page, I had to pull the right side
handle more than the left side.
This is very typical of what you
will encounter. §
7
 URBAN HEIGHTS
Seeking Elevated Perspectives in Cities

U
sually a photographer’s initial pre- look for when I’m doing visual research online
conceived images of a city’s archi- of a city I’ll be visiting:
tecture or street scenes involves
shooting from ground level. Obviously, many 1. Rooftop restaurants
great shots can be taken from the ground.
Don’t forget to consider, though, there are 2. Rooftop bars
many other possible locations that afford you
spectacular views of a city. Consider shooting 3. Observation decks in skyscrapers that are
from elevated vantages. The views and the im- accessible to the public
ages you’ll get are fantastic.
4. Hilltop parks
Research is the key to finding great photo loc-
tions. When it comes to finding elevated van- 5. Scenic mountain roads above a city
tage points to take great pictures, here is what I

8
6. Access to medieval towers, balconies, and and I captured the view of Rome, below, after
rooftops of cathedrals. These are usually locat- climbing a few hundred steps in St. Peter’s Ba-
ed in or near the center of the city. silica in The Vatican.

7. Hotel rooms on upper floors with great views
8. Pedestrian bridges
9. Funicular or cable car that transports you to
an elevated viewpoint
10. A large ferriswheel from which you can
gain an elevated vantage
On page 11, the remarkable view of Hong
Kong is seen from The Peak, a mountain that
rises above the city. It can be reached by a fu-
nicular or by road. When I was first there in
1972, there was a parking lot at the top. Now
there is a large mall, and from the roof of one of
the buildings in the complex you get this view.

The pictures I’ve included in this article exem-

plify what I’m suggesting you pursue. For ex-
ample, I took the picture on the previous page
from the public observation deck of the Mont-
parnasse Tower, the tallest building in Paris.
The photograph above is the stunning scene
visible from the observation deck on the 94th
floor of the John Hancock building in Chicago,
9
 PERU PHOTO TOUR
Sept. 24 - Oct 4, 2021

10
Sometimes great vistas like this can get crowded,
and I advise doing research before you go. Find
out if you need to stake out the best location to
get the ideal picture. Because social media is so
pervasive and, in places with high population
density like China, you may have to arrive an
hour or two before the best lighting occurs to
lay claim, so to speak, to the best picture-taking
spot.

Below, the dramatic view of the Blue Mosque in

Istanbul, Turkey, was taken from my hotel room.
I was able to open the window because it’s an pleasure of photographing is from the obser-
vation deck on the 100th floor of the Shanghai
older hotel. One of the criteria I use in choos-
ing a hotel on the photography tours I lead isWorld Financial Center (commonly referred
whether or not there is a photogenic view fromto as the ‘Bottle Opener’ building), next page.
The picture looks like I had a drone hovering
anywhere in the property. This makes it easy to
above the city but I was shooting through glass.
get amazing pictures at various times of the day,
from sunrise and sunset to twilight. The close proximity of the foreground building
gives this image a tremendous sense of depth,
One of the most astounding views I’ve had the something not commonly seen when shooting
a distant cityscape.

11
When photographing a city from an elevated
vantage such as the top of a hill, a park, an
open roof, or a pedestrian bridge, you have un-
obstructed views and you don’t have to shoot
through glass. However, if you are taking pic-
tures through the window of a modern hotel
with sealed windows or the observation deck
in a highrise, you will normally be photograph-
ing through glass. This isn’t a problem per se;
you can take high quality images assuming the
glass is clean. The problem, though, are reflec-
tions of interior lights, especially at night.
If you shoot through a window where you are
standing back from the glass several feet to
even a few inches, the lights from inside the
room will reflect in the glass and, therefore,
appear to be superimposed over the outdoor
scene. Turn the lights off if you are shooting
from a private area, such as a hotel room; how-
12
ever, if you are photographing from a restau-
rant, bar, or observation deck, you don’t have
control over the lights. You have to place the
camera lens up against the glass. This elimi-
nates all reflections . . . with one caveat.
If you are shooting downward and the win-
dows are vertical, there will be a small space
between the lens and the glass. That means
some reflections can show. In addition, if the
windows are angled due to the design of the
building, the same problem will occur.
In these cases, the solution is to carry a scarf
with you. Wrap the scarf around the lens such
that any space between the rim of the lens and
the glass will be covered. In this way, reflec-
tions of lights in the room behind you won’t
show up in your pictures. §
 The Two Subject
Focus Rule
E
motional expressions like a lion
baring its fangs always make a
great image. However, there is
one very big thing that’s wrong with the pic-
ture below. There are two subjects yet only one
of them is sharp.
This is a problem. Your eye goes back and
forth between the cats, trying to see detail in
both and, probably, you feel somewhat frus-
trated that only one of the subjects is sharp.
Detail you’d like to see in the lion on the right
is forever lost.
I made up a rule that I call ‘The Two Subjects
Focus Rule.’ This states if there are two sub-
jects in the frame, they both should be sharp.
In art and photography, the eye of the beholder
ultimately determines what is visually pleas-
ing, and some instructors and photographers
may disagree with me on the position I’m tak-
ing here. I can tell you, though, that the lion
13
 PANTANAL PHOTO TOUR
October 30 to Nov. 7, 2021
Jaguars in the wild Exotic birds in flight Caiman Giant river otters

14
picture, according to my sense of aesthetics, is
a failure.

This rule of mine applies to all kinds of sub-

jects, not just wildlife. In the picture at right,
there are two subjects and both species of flow-
ers are sharp. That works.

With static subjects like flowers or wine glasses

or kids sitting on a sofa, you have time to ar-
range the elements to make sure two (or more)
subjects are sharp. Sometimes, though, situa-
tions present themselves that are not ideal. The
picture below is an example.
I photographed these rock hyraxes in Namibia.
I used a Canon 100-400mm telephoto, and that
meant the depth of field was fairly shallow. The
animal in the center of the frame isn’t sharp be-
cause it was standing a few inches closer to the
lens than the hyrax on the right. I could focus
on one of the animals but not on both. My lens
aperture was f/5.6 because of the relatively low
light, so I couldn’t get both of the hyraxes in
focus. Even if I could have used f/32, the use of
the telephoto plus the relatively close lens-sub-
ject distance meant I probably would not have

15
been able to shoot with complete depth of field.

Is there a way to fix this problem? Yes, there is.

The solution can be seen below where both of
the hyraxes are sharp. This approach requires
you to take two pictures in quick succession,
first one animal and then the other in which
you re-focus between shots. In other words,
both individual images show at least one of
the animals sharp. Then, in Photoshop, you
combine the two pictures so both animals are
sharply defined.

The black-tailed deer fawns I captured on Van-

couver Island in British Columbia are both
sharp, as they should be, but I shot this with
film years before Photoshop made the scene.
In order to insure both animals were sharp, I
had to wait until they (hopefully) posed equi-
distant to the camera. §

16
w

UPCOMING PHOTO WORKSHOPS

Carnival in Venice workshop

Photograph outrageous costumes in a medieval
environment! Incredible colors, design, and
creativity in one of the most beautiful cities in the
world. Learn how to use off-camera flash, pho-
tograph models in sumptuous interiors, produce
great images at night, and all the while enjoy-
ing Italian cuisine. This is a workshop not to be
missed.

February 18-25, 2022

Frog & Reptile Workshop

This is a macro workshop to photograph
beautiful, colorful, and intriguing frogs and
exotic reptiles. Learn how to use flash with
closeup work, how to use extension tubes,
and how to take perfect exposures. Held
indoors in a hotel conference room in St.
Louis.

June 12 - 13, 2021

Winter Wildlife Workshop

Stunning pictures of North American
animals including wolves, red foxes, arctic
foxes, mountain lions, Canada lynx, and
more. The animals will be in their winter
coats and very beautiful. This is based in
Kalispell, Montana.

February 2 - 5, 2022

10 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

1919
 W i n t e r W i l d l i f e Workshop
February 2 - 5, 2022
Based in Kalispell, Montana

20
23
 What’s wrong with this picture?

T here are two major flaws that are not hard to identify in this shot of
a black-naped oriole I photographed in an aviary at the Bird Park
on the island of Bali: 1) the aluminum feeding station bowl at the bottom
left and 2) the steel rebar on which the oriole is perched. The rust colored
rebar almost simulates a tree branch; nevertheless, it is undesirable because
it doesn’t look natural.

A minor flaw is the red bird band on the leg. All the captive birds I’ve ever
seen have been banded, and this is one of the first things I do -- clone the
band out.

To eliminate the aluminum bowl, I used the leaves from the top of the frame
and the upper right. This worked out very well as you can see in the picture
on the next page. I also covered up all the rebar except the metal portion on

21
 which the bird is perched.

To turn the rebar perch into a branch took a little finesse. When I photographed
the oriole, I realized the metal had to be replaced with a natural branch. There-
fore, I photographed several branches that made good candidates.

In Photoshop, I then made a precise selection of the rebar using the pen tool.
Not included in the selection was the bird’s foot. I then opened one of the pic-
tures of a branch, selected it, and copied that to the clipboard (Edit > copy). I
pasted that (Edit > paste special > paste into) into the shot of the oriole within
the seletion of rebar and rotated it (Edit > transform > rotate) to the correct
angle that matched the angle of the rebar.

I then used the move tool to move the branch over the rebar, and resized it
(Edit > transform > scale) to fit perfectly.

Finally, I used the burn tool to darken the new perch so all of the attention
remained on the beautiful oriole. §

22
 SHORT AND SWEET
1. When I shoot into the sun, I often use an element
in the picture to block or partially block the sun. This
diminishes the intensity of the bright light so the sun
doesn’t eclipse the subject. This is a leg rower fisher-
man on Inle Lake in Burma taken with a 14mm wide
angle lens.
3. A wide angle lens can be used for portraiture in
several different ways. In this case, I moved in very
close to a Samburu tribal woman in Kenya. Her beads
were amazing, so I made them the point of the picture
rather than her face by cropping it this way. Note the
complete depth of field from the f/16 lens aperture.
2. When photographing festivals, try using Program
mode. In this mode, the camera chooses the shut-
ter speed and the lens aperture. This leaves you time
to concentrate on focus and composition. Program
mode is biased to providing a faster shutter speed be-
cause it assumes you are handholding the camera.
4. Black Plexiglas is great to use for subtle reflections.
Here I placed a Mexican red knee tarantula on a small
piece of Plexiglas and photographed it with flash. The
black background complemented the black reflective
surface, and that directed all of the attention where it
belongs -- on the subject. §
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
you’d like Jim to answer, please drop him a note at photos@jimzuckerman.com.

Q: Jim . . . I took this picture of a brown pelican in the Galapagos Islands several years ago with a film
camera. I think it’s not bad, but I can’t quite put my finger on the reason why it’s not a truly successful pic-
ture. What do you think?
Melissa Adams, Macon, Georgia

A: There are two major problems with this picture. First, the white head feathers are blown out -- mean-
ing they’ve lost texture and detail and have become solid white. This is never good. Since there are no other
birds in the picture from which you might be able to ‘borrow’ well exposed white feathers, this problem
is not fixable unless you could possibly use a pelican from another shot, in the same light, and replace the
blown out white area with that detail.

Second, the midday lighting is too harsh and unattractive. That’s why the white head feathers are solid white,
and the rest of the image is simply too contrasty. The Galapagos Islands straddle the Equator, and that means
sunlight after 8:30 or 9am and before 4:30pm is simply too harsh to use for optimal nature photography. §

24
 Partial list of Photography Tours
2021 - 2022
INDONESIA NORWAY/DENMARK MICHIGAN LIGHTHOUSES
July/August 2021 Sept. 2021 Oct. 2021

LOUISIANA SWAMP TOUR WINTER WILDLIFE CARNIVAL in VENICE

Nov. 2021 Feb. 2022 Feb. 2022

ETHIOPIA SPAIN/PORTUGAL HOLLAND/BELGIUM

Mar. 2022 Apr. 2022 Apr. 2022

PATAGONIA PHOTO TOUR NAMIBIA MOROCCO

May 2022 May/June 2022 Jun. 2022

For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.
25
 Ethiopia Photo Tour
jMarch 10 - 22, 2022

jPrimitive tribes Dramatic landscapes Wildlife Rock-hewn churches

26
 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.

Gabrielle and Michel Therin-Weise, Alcochete, Portugal Nepal Photo Tour, Indonesia Photo
Tour, Online Photoshop Training, White Horses of the Camarguew

27
© Gabrielle and Michel Therin-Weise 2021
27 27
 Student Showcase, continued

© Gabrielle and Michel Therin-Weise 2021

28
28
Student Showcase, continued

© Gabrielle and Michel Therin-Weise 2021 31

37
33 35 29
33
 Student Showcase, continued

© Gabrielle and Michel Therin-Weise 2021

30
34 33
Michigan Lighthouse Photo Tour
October 7 - 12, 2021

31
 INDONESIA PHOTO TOUR
July 29 - August 10, 2021

32
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PH OTO I N S I G HTS
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May ‘15 Jun ‘15 Jul.‘15 Aug.‘15 Sept.‘15

Jim Zuckerman’s

PH OTO I N S I G HTS
June 2015

• Realistic HDR
• Selective focus
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• Online photo courses
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1

Oct.‘15 Nov. ‘15 Dec. ‘15 Jan. ‘16 Feb. ‘16

34
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35
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37
 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
Back button focus Oct. ‘18
Backgrounds, wild Nov. ‘12
Backgrounds, busy Apr. ‘13
Backlighting Apr. ‘16
Birds in flight Aug. ‘13
Birds in flight Jan. ‘14
Birefringence May ‘18
Birds in flight Mar. ‘16
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
Blur, field Nov. ‘18
Blur technique Oct. ‘17
Bokeh Jun. ‘15
Butterfly photography Jul. ‘14
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
Clone tool, fixing an issue Sep. ‘17
Clone tool technique Jul. ‘20
Composites and Light Dec. ‘17
Compositing images Apr. ‘19
Composition, different approach Jan. ‘15
38
Content-aware, New Aug. ‘20
Contrast vs. exposure Jul. ‘15
Correcting keystoning Jun. ‘21
Creating a star field Jan. ‘14
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
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
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
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
Flowers May ‘15
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 models Jun. ‘13
Fractals, generating Sep. ‘13
Fractals Jul. ‘19
Framing May ‘17
 Subject index for past Photo Insight issues
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
Graphic Design Jul. ‘20
Garish imagery Dec. ‘15
Great subjects Apr. ‘15
Great ceilings & HDR Panos Jul. ‘19
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, hand held Nov ‘17
HDR, hand held Jul. ‘18
HDR panoramas Jun. ‘16
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
Interiors Oct. ‘15
iPad: Loading photos Aug.‘17
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
Light fall-off Feb. ‘14
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 trick May ‘19
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
Mirrors Jan. ‘19
Model shoot Jan. ‘17
Moon glow Oct. ‘16
Mosaics Jun. ‘17
Mundane to Ideal Nov. ‘19
Museum photography Mar. ‘13
Negative space Jan. ‘16
Neon edges on black Aug. ‘14
Neutral Density filters Jun. ‘18
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
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
Photography to Art Dec. ‘17
Photography solutions Jan. ‘18
Photoshop, content Aware Nov. ‘12
Photoshop, sketch technique Apr. ‘13
Photoshop, replace background Apr. ‘13
Photoshop, actions palette Dec. ‘13
Photoshop, layer masks Feb. ‘13
Photoshop, the clone tool May ‘13
Photoshop, soft foliage Oct. ‘13
Photoshop, mixer brush tool Sept. ‘14
Photoshop, b & w with color Jun. ‘14
Photoshop, drop shadows Jul. ‘14
Photoshop, creating texture Feb. ‘14
Photoshop, face mirrors Feb. ‘14
Photoshop, liquify Mar. ‘14
Photoshop, face mirrors Aug. ‘14
Photoshop, digital spotlight Sep. ‘14
Photoshop, enlarge eyes Nov. ‘14
Photoshop, darken the periphery Dec. ‘14
Photoshop, mirror images Dec. ‘14
Photoshop, beam of light Apr. ‘15
Photoshop, polar coordinates Mar. ‘15
Photoshop, chrome May ‘15
Photoshop, actions palette Nov. ‘15
Photoshop, cut and paste Nov. ‘15
Photoshop, geometrics Oct. ‘15
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 Subject index for past Photo Insight issues
Photoshop, plugins Oct. ‘15
Photoshop, multiple selections Apr. ‘16
Photoshop, sharpening Apr. ‘16
Photoshop, Flood plugin Apr. ‘16
Photoshop, Desaturation Aug. ‘16 Stock photography Sep. ‘14
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
Predictive Focus Sep. ‘18
Problem/solution Apr. ‘17
Problem with cruises Jan. ‘18
Protecting highlights Dec. ‘12
Puppies Jan. ‘15
Puppy photography Feb. ’18
Reflections Feb. ‘13
Restoring old photos Jun ‘20
Safari May ‘13
Safari strategies Jul. ‘15 Wide angle conundrum May ‘19
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 through wire mesh Sept. ‘14
Shooting into the light Jun ‘20
Silhouettes Jun. ‘13
Silhouettes, Exposing for Sept/Oct. ‘19
Silvered landscapes Mar. ‘20
Sketch, How to Make Jun ‘19
Sky replacement Nov. ‘20
Snow exposure Nov ‘17
Snow exposure Nov. ‘19
Soft light Jan. ‘13
40
Smart phone photography May ‘19
Stained glass Mar. ‘17
Star photography Jul. ‘16
Star photography and noise Jan. ‘18
Sunrise & sunset Jan. ‘19
Tamron 150-600mm Apr. ‘14
Ten reasons photos are not sharp Jan. ‘19
Texture, Adding Mar ‘19
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
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
Warm fingers in winter Nov. ‘15
Water drop collisions May ‘18
What NOT to do in photography Apr. ‘18
White on White Dec. ‘20
White vignette Aug. ‘15
White balance Feb. ‘15
White balance, custom Mar. ‘16
Wide angle lenses Mar. ‘13
Wide angle portraits Nov. ‘14
Wide angle lenses Jun. ‘17
Wide angle keystoning Nov ‘17
Wildlife photos with wide angles Mar. ‘15
Window light Dec. ‘15
Window light portraits Aug. ‘18
Window frames Feb. ‘16
Winter photography Dec. ‘12
Winter bones May ‘13
Winter photography Dec. ‘15
Winter photography Nov. ‘18
Wire Mesh, Shooting Through Jul. ‘18
Workflow May ‘13
 PHOTO INSIGHTS®
published by Jim Zuckerman,
All rights reserved

© Jim Zuckerman 2021

email: photos@jimzuckerman.com
Nursing baby elephant, Kenya Edited by Donald Moore

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