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P H O T O I N S I G H T SJim Zuckerman’s

May 2016

CityscapesDefine patternsAfrican safariPhoto toursStudent showcase

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4. Cityscape strategies 10. Define patterns 15. African safaris 18. The Plugin Flood 24. What’s wrong with this picture? 26. Short and sweet 27. Ask Jim 26. Photography tours 31. Student showcase 35. Back issues

On the cover: Chicago from the 94th floor of the John Hancock building. This page: Austral parrot in the wild, Patagonia.

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4. Cityscape strategies 10. Define patterns 15. African safaris 18. The Plugin Flood 24. What’s wrong with this picture? 26. Short and sweet 27. Ask Jim 26. Photography tours 31. Student showcase 35. Back issues

Some photographers consider themselves purists. They only want to capture what they see with no digital manipulation and no embellish-

ment. And there are nature photographers who claim they never move a twig or clip tall grass to improve a composition.

I wonder if these people ever consider the fact that cameras and lenses never capture exactly what we see. For example, we never see shallow depth of field with our eyes. Everything is always in focus. Therefore, purists should always use f/22 or f/32. Photographs like the austral parrot on the previous page would not be acceptable at all. Similarly, our eyes never see the kind of exaggerated perspective that wide angle lenses give us, nor do we see the kind of compres-sion characteristic of telephotos. That means that these photographers should limit themselves only to a 50mm lens because this focal length comes closest to how we see things . . . except for the peripheral vision people have.

Black and white photography, such as the work of Ansel Adams and Edward Weston, must be eschewed by purists because we only see in color. And cre-ative blurs? What are those about? We never see this kind of thing with our eyes. Silky ocean waves created by long exposures, abstractions of birds in flight, streaks of light at night -- these just wouldn’t compute in the mind of a purist.

I’ve never understood why some photographers limit their thinking and their creative potential. I’m glad I don’t take pictures according to rigid, self-imposed restrictions. Art is, if nothing else, all about imagination. Without that, we would still be scratching stick figures on cave walls -- in color, of course.

Jim Zuckermanwww.jimzuckerman.com

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Cityscape s t r a t e g i e s

Beautiful and dynamic cities are exciting to photograph all over the world. The techniques I use

to photograph them are simple and easy for anyone to use, and I thought I’d lay them out here so the next time you are visiting a great city and want to photograph it, you can use this information to take wonderful images.

1. Shoot at sunrise, sunset, or twilight. Photographing at night can also work well, like in the picture of Singapore, below, but twilight is usually better. If you shoot dur-ing the middle of the day, it’s best if the sun

is behind you. That was the situation when I photographed New York City before 911 on page 6.

During sunrise and sunset, attractive golden colors illuminate everything (like the picture of Prague and the Vltava River on the next page), contrast is at a minimum, shadows are long, texture is pronounced, and cities look beautiful. I suggest using daylight white bal-ance instead of auto white balance (AWB) so your camera doesn’t ‘correct’ the beautiful golden tones and make them neutral in color. You can certainly correct color in Lightroom or Adobe Camera Raw, but it’s very nice to

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see the beautiful colors in the LCD monitor on the back of the camera at the time you are taking the pictures.

For twilight, I also recommend daylight white balance unless you specifically want pronounced bluish tones, and in that case use tungsten white balance as I did in the shot of Hong Kong, below.

Twilight is my favorite time to photograph

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cityscapes because the cobalt blue color of the sky contrasts dramatically with the artificial lights of the buildings. The cover of this issue that I took in Chicago shows this as does the detail of the Shanghai skyline at upper right on page 5. What’s interesting about twilight photography is that weather is not an issue. If the sky is cloudy, if it is raining, or if the sky is completely clear, you will still get the beautiful cobalt colors in the sky.

Dusk can also produce great colors of cityscapes. Dusk occurs after sunset and be-fore twilight when you can see much more de-tail in the architecture. I took the skyline of Philadelphia on page 7 at dusk.

2. Use the HDR technique. To capture as much detail as possible, take at least three

frames for an HDR composite. If you don’t do this, you will have to settle for lots of very dark or black shadows as well as blown highlights throughout the picture. Street lamps will al-ways be blown out, but detail in the windows of buildings should ideally show texture and detail. Only HDR will do this for you.

3. Shoot with a low ISO -- 100 or 200. Noise rears its ugly head primarily in the shadows, and there are a lot of dark areas when photo-graphing cityscapes at dusk, twilight, or night. Therefore, lower the ISO and use a tripod.

4. Seek out elevated vantage points. The most dynamic shots of cities are often from the tops of buildings, from nearby hills, or from hotel or office rooms located on upper floors of highrises. For example, I took the picture of

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Chicago on the cover from the 94th floor of the John Hancock Building where there is an obser-vation deck. The dynamic photograph of Singa-pore on page 4 is the view from the top of the Marina Bay Sands Hotel, and I captured the pic-ture of Hong Kong on the previous page from the Peak -- the highest point of Hong Kong Is-land.

There are many rooftop restaurants and bars in large cities, and these often have great views. Search for these online by Googling ‘rooftop restaurants’. The scene at right of Las Vegas can be photographed from the Mix Lounge con-nected to the Mandalay Bay Hotel.

If you are forced to shoot through a glass win-dow, you will get a sharp picture if the glass is clean and the lens axis is roughly perpendicu-lar to the plane of the window. If you point the camera downward, though, the oblique angle

of shooting will degrade the picture quality slightly. I recommend using an aperture of f/8 in this situation to maximize sharpness.

If you are photographing from a room in which there are lights turned on -- like a hotel room, restaurant, or observation deck -- turn the lights off if you can. If you don’t have control over that, place the camera up against the glass window and then wrap a scarf, hankerchief, napkin, or anything else

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UPCOMING PHOTO WORKSHOPS

Babies workshopJan. 29 - Feb. 4, 2016

Lots of baby animals such as coyotes, wolves, bear cubs, skunks (adorable!), foxes, and more, plus adults in this great workshop held in Hinckley, Minnesota

June 30 to July 3, 2016

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.

June 25 - 26, 2016

Home Photoshop workshopLearn amazing techniques that will give you unparalleled control over your images such as replacing the sky, making com-posites, using layers, being creative with plugins, and more.

Oct. 29 - 30, 2016

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around the lens to block possible reflections of lights in the glass that might bounce back into the camera lens.

Open air rooftop restaurants and cafes don’t have any issues with shooting through glass. I took the photo above in Salzburg, Austria from a rooftop cafe. My photo tour group and I were very lucky to get this incredible lighting. It had been raining, and three minutes before sunset a window opened in the dark clouds and the sun hit the castle above the town. From street level, the buildings of the town would have blocked this great view. From the elevated perspective, though, I had a commanding panorama.

5. Shoot from across a park, a river, or bridge.Open spaces in cities allow you to get the big picture. This is especially true of downtown areas where highrises block your view of the

skyline. When you are planning to photograph a city, look at a map and search for parks and rivers close to the downtown area. A great ex-ample of the perfect park is the Alamo Square Playground on Steiner Street in San Francisco. It is a bit elevated and providesa classic view of this beautiful city, below. In the picture of Phil-adelphia on page 7, a bridge over the Schuylkill River afforded the same type of unobstructed view of the impressive skyline. §

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Define patterns

There is a unique feature in Photoshop that allows you to make a selection of a portion of a photograph and then

you can turn the area you’ve selected into a pat-tern. With that pattern, you do can do some very interesting things.

For example, I photographed the famous gold mask from King Tut’s tomb in the Egyptian Museum in Cairo and then replaced the dis-tracking background with black. I then made a selection using the rectangular marque tool (I show the selection in green, below, because the marching ants would be hard to see in a small image). This technique only works if the selec-tion is rectangular or square.

The next step is to use the pulldown menu command Edit > define pattern. This places the selection that becomes the pattern in the clip-board.

At this point click on the photo that will re-ceive the pattern -- in this case the mask with the black background -- and select the area into which the pattern will be placed.

Now choose Edit > fill. In the dialog box, pull the submenu down (red arrow, page 12) to show ‘pattern’. Then go to ‘Custom pattern’ (green ar-row, also page 12) and click that submenu to find the pattern you just defined (it will be the last pattern in the list of patterns). Select it,

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click OK, and you will see the pattern fill the se-lected area of the photograph. The lower right

picture on the previous page shows the results of the pattern I defined. If I had selected a dif-

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ferent section of the mask for the pattern -- say a horizontal section or a very narrow vertical section -- the pattern would be very different.

Once the pattern is pasted into the selected area of the photograph, you can accept it as is or embellish it. For the unique background behind the mask on page 11, I applied Filter >

distort > polar coordinates to it. King Tut’s mask is now framed by an abstraction of color and design that matches the mask itself.

In the Moroccan scene below, I used a different approach. Instead of defining a pattern from this painterly image (I abstracted this porch entrance using Topaz Simplify 4), I opened another photo and defined a pattern from the fabric a model was wearing. In other words, I used the rectangular marque tool to select a small portion of the dress and then chose Edit > define pattern. The pattern you create can be taken from another photo.

For the next step I clicked on the Moroccan photo and used the quick selection tool to select the panels in the door. I feathered the edge of the selection with one pixel (Select > modify > feather), and I followed this by choosing Edit >

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fill to place the pattern within the door panels. For the composite below, I created the silhou-ette of the mountain lion by selecting the cat and the rock on which it was walking and then filled that selection with Edit > fill, but this time choosing ‘foreground color’ in the dialog box. Black was win the foreground color box at the bottom of the tools pallete.

When a solid color fills a selection, it doesn’t have any noise. Since all digital images have at least some noise (just like all film had a certain amount of grain), it’s necessary to add some noise to match the other parts of the image. Therefore, I used Filter > noise > add noise, and in the dialog box I typed in 2.5. For this image, that was perfect. The number that is used for

noise will depend on how much noise exists in the photograph. I find that usually a num-ber between 2 and 3 works. Note that you can type in a decimal amount.

I then opened a forest scene I’d taken in Italy at dawn using daylight white balance, hence the deep blue color, and selected a narrow vertical section of the trees with the rectangu-lar marque tool. With Edit > define pattern I created the pattern and it was sent to the clip-board.

I activated the mountain lion picture and se-lected the original background. I then used Edit > fill to place the pattern there. For an artistic embellishment, I next used Filter > dis-tort > spherize to further abstract the forest. §

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This eBook explains many of the techniques that Jim uses all the time. These include replacing the sky, compositing images, add-ing textures to photos, introducing natural looking streaks of light, realistic HDR, combining black and white with color, Jim’s favoritre plugins, using the blend modes, and more. Use this as an idea book as well as a reference. If you’ve limited yourself to Lightroom’s abili-ties, consider expanding your horizons and learn Photoshop. It’s about time.

Click the cover to see inside the ebook

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AFRICAN SAFARI

I wrote about going on a safari in Africa a few years ago in Photo Insights, but there has been some changes in the

equipment that’s available as well as the tech-nology, and I wanted to revisit this subject in light of these changes.

Many of you have been to Africa and want to go back, and many others have placed a sa-fari at the top or near the top of your bucket list. It is indeed a fabulous experience, and the photo opportunities are incredibly exciting. As time goes on, Africa gets more expensive due to government taxes, supply and demand, and

all kinds of hidden fees. For example, a visa for Kenya for Americans now costs $200 -- the highest I’ve ever heard of. The longer you wait to go to Africa, the more expensive it becomes.

Long lenses

For many years, the choice a wildlife photog-rapher had for a long telephoto was frustrat-ing. Either you spent a fortune to buy a sharp, fast telephoto in the 500mm to 600mm range, or you had to settle for a much slower lens that wasn’t as sharp and forced you to use slower shutter speeds and/or a higher ISO. The sharp,

New Strategies for an

expensive lenses are very heavy and very large. That means they are a challenge to travel with, especially on airlines, and they are awkward and even painful to use. Your arms, shoulders, and neck pay a price because of the weight, and the older one gets, the more of a price you have to pay. Supporting the lens as it extends out away from your body as you are waiting for a bird to take flight becomes a contest be-tween the bird, who has pretty much infinite patience, and your arm and shoulder muscles that protest louder and louder with each pass-ing second.

The solution to these issues is to use one of the new telephotos such as the Canon 100-400mm or the Nikon 80-400mm. Both are one f/stop slower than the expensive f/4 lens-es, but with the ability to raise the ISO settings to 800, 1600, and even higher without the kind

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of noise we had just a few years ago means that the difference between an f/4 lens and a lens with a maximum aperture of f/5.6 is not nearly as signifcant as it once was. When we shot film, 400 ISO was considered high because of the pronounced grain. Now 800 ISO is no big deal.

These new lenses are much lighter, much small-er, and much less expensive. They cost $2100 to $2300 instead of $10,000 to $12,000. In ad-dition -- and this is a very big deal -- they are zooms. That means you are not constrained to a single focal length. With a 500 or 600mm lens, if an animal walks close to the vehicle you may have to switch lenses or camera bodies and in the process lose a shot because great photo mo-ments are so fleeting. With a zoom, you have much more flexibility. You can quickly change the composition and follow focus on an animal or bird as it approaches the vehicle.

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Teleconverters

Whatever lens arrangement you settle on, you definitely should have at least a 1.4x telecon-verter. This multiplies the focal length of your lenses for filling the frame with small birds and distant animals. You will notice no loss of sharpness. A 1.7x (for Nikon) and a 2x con-verter can also be used. There is some quality lost with a 2x, but it is minimal.

Camera body

To be honest, a 400mm focal length lens is too short for Africa if that’s all you have. You can take a lot of pictures with this focal length, but much of the time you’ll want a longer lens to fill the frame with the subject. You can use a teleconverter to extend the power of the lens, of course, and that’s what you’ll need to do if you

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Become a better photographer witheBooks

Click on any ebook to see inside

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want frame-filling shots of birds, lion’s faces, etc.

For most of my trips to Africa, I used a full frame sensor camera. I’ve changed my ap-proach, now, and bring the 7D Mark II in the Canon line with it’s 1.6x crop factor. Nikon cropped sensors have a 1.5x factor. I resisted this for many years, but several things changed. First, I got older. This means I can’t carry the weight I used to carry all over the world (typi-cally 40 to 45 pounds). Second, the quality of the cameras and sensors have improved a lot and a cropped sensor camera can reproduce beautifully as a print or in a publication. Third -- and this is incredibly significant -- due to the multiplication factor, the power of a 100-400mm or 80-400mm lens is expanded. With the 1.6x crop factor for Canon , a 100-400mm becomes a 160-640mm super telephoto, while the Nikon 80-400mm with the 1.5x crop factor

becomes a 120-600mm super telephoto.

And look at the savings in weight. A canon 600mm lens weighs 8.64 pounds (3.92 kg), while the 100-400mm lens weighs only 3.5 pounds (1.59 kg). That’s a huge difference.

Cropped sensor cameras also give you a faster frame rate for less money. This is very signifi-cant when photographing action and particu-larly birds in flight. The full frame Canon 5D Mark III shoots at six frames per second while the 7D Mark II shoots 10 fps. That’s another reason I have switched to the cropped sensor.

Bean bags

Tripods are not practical when shooting from a vehicle. I only bring a tripod to Africa now for night shots of stars. For wildlife, you don’t need one. Bean bags have been the standard

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method for provide support for long lenses, but if you shoot with the smaller and lighter lenses like the ones I’ve mentioned, you don’t need a bean bag. You’ll be much more mobile, fast-er, and freer by hand holding the much lighter camera and lens.

Roof hatch vs. window shooting

The ideal vantage point to photograph wildlife is as close to the ground as possible. This low angle gives greater stature to animals. Even el-ephants, which are obviously huge, look even larger and more powerful when photographed from a low point of view.

Standing on the floor of a vehicle and shooting out of a roof hatch is more comfortable than shooting out of a side window. However, the three or four feet difference between the two

positions is significant. The better pictures will be taken from the window . . . with one caveat.

With very long focal lengths like 600mm or more, the difference will be virtually negligable. As the focal length increases, the angle of the lens axis to the ground becomes more parallel, and also the subjects are further away. That, in turn, means that the height of the shooting po-sition becomes less relevant. As the subject ap-proaches the vehicle, though, and the lens must be angled somewhat downward, this is the time to shoot out the window so the lens axis be-comes more parallel with the ground.

If the animal is elevated, like the leopard in a tree, below, then shooting out of the roof hatch makes the most sense. It’s comfortable and the animal has stature because of the upward angle of the lens.

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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 you’ve been looking for to take that quantum leap forward in your photography.

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.

Dust

One of the serious challenges in Africa, partic-ularly in the dry season when most photogra-phers go on safari, is dust. It’s thick, pervasive, and ultra fine. You should protect your equip-ment while driving in the safari vehicle, and that means first and foremost always use a lens hood. This helps keep dust off the front glsss element of the lens.

Next, bring a pillowcase to cover the camera and lens when going through a lot of dust. Some-times you’ll be driving on a dirt road with an-other vehicle in front of you, and the dust that’s kicked up is pretty bad. A pillowcase will come in very handy.

Clean your lenses, camera bodies, and sensor every night. I use a hand blower for the sensor (never compressed air) and a microfiber cloth for the lenses and cameras. §

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Uncropped image of an angry elephant taken with the equivalent of a 50mm focal length.

INDONESIA WILDLIFE & CULTURAL TOUR July 8 - 22, 2016

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orangutans komodo dragons birds Bali ancient temples

What’s wrong with this picture?

I took this picture in a South Carolina swamp standing in a canoe. This was obviously a very unstable platform, and since a tripod was out of the question, the only thing I could do to insure a sharp picture was

choose a fast shutter speed so the unavoidable camera movement didn’t cause the picture to be blurred. My settings were 1/80, f/4.5, 320 ISO, and I used a 16mm focal length.

The problem with this picture is the background isn’t tack sharp due to lim-ited depth of field. Landscape photographs, virtually without exception, re-quire complete depth of field from the immediate foreground to the distant background. Because of the muted light from an overcast sky (which was ideal actually), I couldn’t use a fast enough shutter plus the kind of small aperture I’d need to make the entire scene sharp unless I raised the ISO to 5000. That would have been a 4 f/stop increase in speed allowing an aperture of f/18.

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The inhibiting factor was that I took the picture in 2006 with my first serious digital camera, the Canon 1Ds Mark II, and digital noise above 800 ISO was really bad. We didn’t have good noise reducing software at the time, and had I raised the ISO to 5000 or anything close to it the picture would be useless.

My solution at the time was to change the composition. Instead of positioning the camera and lens so close to the foreground -- a look I like very much -- I moved back and took the photo you see above. The aperture was almost the same -- f/5.6 -- but the depth of field increased a lot because the foreground reflection was not so close to the shooting position.

Remember that you can increase depth of field by moving back from the sub-ject. In macro work, this could mean the difference of a few inches. In land-scape photography, moving back a few feet can make all the difference in ob-taining the kind of depth of field you should have. §

SHORT AND SWEET

1. You can prevent keystoning -- i.e. the angling in-ward of vertical lines -- by moving back from the sub-ject and taking the picture with a telephoto lens. In this shot, had I used a wide angle lens close to the barn, any upward angle would have introduced keystoning.

3. When photographing birds at a feeder, place a nat-ural looking perch, like a small branch, just above the food. This allows the birds to land on it before they feed, and you can take natural looking photographs. The last thing you want is to include the feeder in the pictures.

2. White skies are normally distracting because they pull the eye away from the subject. I spend a lot of time eliminating them. When shooting in whiteout conditions such as snow or fog, a white sky is not only appropriate but it makes sense artistically.

4. Use a wide angle lens very close to the foreground -- any foreground -- and it appears disproportionately large. That is as dramatic way to shoot landscapes and many other subjects, such as Cape Lookout Light in North Carolina. When you do this, you must use f/22 or f/32 for complete depth of field. §

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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 photographed this seahorse in an aquarium, and the depth of field is too shallow. These creatures are very small and even though they move slowly, they are always in motion. Flash was prohibited because of the possible negative impact on the animals. I shot this at f/3.2 and 200 ISO. How could I have gotten more depth of field.? Bob Matthews, Portland, Oregon

A: If you couldn’t use flash, then the only thing you could have done was raise the ISO. That would al-low you to use a smaller lens aperture. How much should you raise it? That depends on how much depth of field you want and how good the current software is in eliminating digital noise. If you raised the ISO to, say, 3200, that is a 4 f/stop change (200 > 400 > 800 > 1600 > 3200). That would allow you to close the lens down 4 f/stops which is f/13.

The newer cameras coming out are amazing in the reduction of noise as well as the incredible high ISO set-tings available. The new Pentax K-1 full frame DSLR, for example, has 36 megapixels and offers super high sensitivity of 204,800 ISO! It will start shipping May 15. With ISO settings this high, tripods may become obsolete for many types of photography.

© Bob Matthews

Photography Tours 2016 - 2017

For a complete list of all the photo tours/workshops Jim conducts, go to his website: www.jimzuckerman.com.

PATAGONIAApr. 2017

NEPALMar. 2017

ICELANDMar. 2017

KAZAKHSTANAug. 2017

EGYPTOct. 2017

NEWFOUNDLANDJun. 2017

THE PANTANAL, BRAZILNov. 2016

SNOWY OWLS, CANADAFeb. 2017

CARNIVAL IN VENICEFeb. 2017

AMERICAN SOUTHWESTOct. 2016

CHINASept. 2016

INDONESIAJuly 2016

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CHINA PHOTO SAFARI Sept. 16 - 28, 2016

Unreal landscapes culture Shanghai people

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AMERICAN SOUTHWEST photo tour

October 7 - 16, 2016

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Student ShowcaseEach 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 place. Everyone gets great photographs on my trips.

Dennis Mosesman, Nashville, Tenneessee Carnival in Venice workshop, Cuba photo tour, Ameri-can Southwest photo tour.

© 2016 Dennis Mosesman

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Student Showcase, continued

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© 2016 Dennis Mosesman

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Student Showcase, continued

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© 2016 Dennis Mosesman

PHOTOSHOP WORKSHOP Sat. & Sun., Oct. 29 - 30, 2016

Photoshop is a photographer’s best friend, and the creative possi-bilities are absolutely endless. In a personal and ‘homey’ environ-ment (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, modi-fying 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 won’t believe what you’ll 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, 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 you’ve 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, I’ll 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 don’t have a laptop, I have two Mac Book Pro laptops I can loan out for the duration of the workshop. §

i n m y h o m e

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

P H O T O I N S I G H T SJim Zuckerman’s

January 2015

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

P H O T O I N S I G H T SJim Zuckerman’s

February 2015

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• Realistic HDR• Selective focus• Simulating bokeh• Sepia & Dark Contrast• Online photo courses• Student showcase• Photo tours

P H O T O I N S I G H T SJim Zuckerman’s

June 2015

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PHOTO INSIGHTS®published by Jim Zuckerman, all rights reserved

© Jim Zuckerman 2016 email: photos@jimzuckerman.com

mail address: P.O. Box 7, Arrington, TN 37014