Photo insights April '15

Jim Zuckerman’s

PH OTO I N S I G HTS April 2015

• Exposing to the right • When autofocus fails • Making a beam of light • How to find great subjects • Online photo course • Student showcase • Photo tours

1

4.

12.

16.

24.

26.

28.

30.

33.

37.

22

Exposing to the right When autofocus fails Making a beam of light Whats wrong with this picture?

Short and sweet Finding great subjects Ask Jim Student showcase Back issues

O

nce again I’ve had to rethink my strategy for carrying camera equipment on an airplane.

I have been using a rolling pack to take the pressure off my back, but in the last two months three different airlines (Emmirates, Lufthansa, and Alitalia) have insisted that they weigh this carryon.

I knew I was in trouble. The weight limit on most airlines for carryon luggage is 7 or 8 kilos (15 to 17pounds), and with my 500mm lens my pack was 20 kilograms or 44 pounds! Without the big lens, it still weighed in at 15 kilos. None of the airlines would let this bag on the plane unless I did something -- like lighten the load.

With my 500mm, I couldn’t do anything and had to check the entire rolling pack.

Of course, the airlines wouldn’t assume responsibility for $20,000 worth of gear, so I was on pins and needles until I picked up the bag upon arrival at my destination.

When I traveled without the big lens, I took out lenses and a body and put them in my small backpack, which had been empty (to save my back) along with my laptop and iPad. So, I still carried the same equipment but it was redistributed. I won’t offer an editorial comment about how stupid I think this is, so suffice it to say I was now allowed to bring my much lighter rolling pack, along with my much heavier backpack, on the plane.

My new strategy for future flights on commercial airlines is to lighten my load. I’m going to trade my older Macbook 13” laptop for an ultra light Mac Air, I’m selling my 70-200mm f/2.8 for a 70-200mm f/4, I will now only wear cargo pants on flights with six pockets (two pockets on the side of the legs) to put a couple of lenses in them, and I will fly wearing a photo vest. Airlines don’t consider a vest as a carryon, and they are never weighed. Lots of heavy things can be put into the vest.

When I have the 500mm f/4 lens, I will carry that in it’s own lightweight case as my ‘personal item’. By itself, the lens weighs only 7 pounds.

My favorite part of the whole experience now is when the flight attendant says ‘Enjoy your flight’.

3

'Exposing to the right' T

his phrase, exposing to the right, refers to a method of handling digital exposures to prevent excessive noise. Noise, as we all know, is something to avoid in our pictures if possible. In the old days of shooting film, excessive grain (this is the film equivalent of noise) was sometimes considered a creative approach. It added coarseness, texture, and mood to a picture. The portrait on the next page shows you want this looks like. Some Photoshop plug-ins actually simulate this

4

look.

Noise, on the other hand, is never desirable. It degrades image quality and is a very unattractive element. Noise shows up most prominently in the shadows, and that’s the whole point of exposing to the right. This means that you give the picture additional exposure so it is lighter than you might is correct. In other words, this technique calls for a certain amount of overexposure, usually in the + 2/3 to one full f/stop range.

By studying the two histograms on page 5, you

Portrait of homeless man in Los Angeles taken in 1969 with Tri-X 400 ASA film (ASA is the same as ISO). The grain is most noticeable in the background. Camera: Canon FT QL with a fixed 200mm lens.

Note this histogram comparison was done with a low contrast subject.

can see what this looks like as viewed on the back of your camera. The top picture shows no adjustment, and in this case the photo is correctly exposed according to the meter. The second image shows overexposure by one f/ stop. This example was done with a middle toned subject in low contrast light.

what happens when the subject or scene you’re shooting has bright highlights? The picture of the polar bear on the previous page shows what happens when you expose to the right with this kind of lighting scenario. The highlights blow out completely, meaning they lose texture and detail and become solid white.

When shooting middle toned subjects in soft light, this approach makes sense. However

The last thing you want in any photograph is blown highlights.

5

The problem with blown highlights is that most of the time, that detail is lost forever. The highlight slider in Adobe Camera Raw and Lightroom is a useful tool in many situations for restoring detail in highlights if the exposure is somewhat overexposed. However, if your exposure is more than one f/stop over, you might as well kiss those highlights goodbye and in the process you’ve ruined the picture.

Consider the picture of the Roman ruins at Volubilis in Morocco, below. Most elements here are roughly middle toned, and due to the direction of the light the sides of the ancient carved stones facing the camera are in shadow. But the sky has highlights. In fact, there are some areas where the clouds are less dense. These areas are very light, and they are quite vulnerable to losing the texture and detail they have with even a

6

slight amount of overexposure.

If I exposed this picture with the majority of information to the right side of the histogram, the shadow areas would be great -- no noise in them at all with a low ISO -- but the light areas in the sky would be blown out. That would make the picture a failure.

Sure, you can use Photoshop to clone adjacent cloud detail into the blown out areas, but for the moment let’s assume you don’t want to be burdened and challenged to repair these kinds of problems.

Look at the picture of the panda I captured in China last year on the next page. There is detail throughout the image, but there is a light streak in the white fur on the animal’s back. If

7

w

UPCOMING PHOTO WORKSHOPS Baby WildlifeWorkshop Hinckley, Minnesota June 26 - 28, 2015

Baby wolves, skunks, coyotes, bobcats, lynx, foxes, bears, plus adult animals in natural looking environments.

Frog & Reptile Workshop Close-up encounters with poison dart frogs and exotic reptiles in St. Louis, MO.

April 11 - 12, 2015

Home Photoshop workshop Learn amazing techniques to help you be more creative in photography.

May 16-17, 2015

8

this picture were overexposed, that white area would blow out.

So, what to do? Do you risk overexposing highlights and ruining the picture, or do you risk too much noise in the shadows?

what’s happening to the highlights. Therefore, I suggest that you underexpose by 1/3 to 2/3 f/ stops in order to protect the vulnerable highlights from losing detail and texture.

As I said earlier, for middle toned subjects in diffused light, exposing to the right to ensure a minimum of noise is fine. The picture below, a street shot in Yangon, Myanmar, is an example. The overexposure would prevent the noise from forming in the shadows, and there aren’t any bright highlights to worry about. If the man’s shirt becomes too light, the highlight slider in ACR or Lightroom will take care of that issue.

In the real world, things happen fast: birds fly, children’s expressions change quickly, the sun’s glint on hair is fleeting, a lion shows its teeth in a flash, and a million other scenarios happen in fractions of a second. That means that you can’t quickly change your exposure strategy without risk of losing a once-in-a-lifetime picture. If you are shooting landscapes or architecture, usually you have all the time in the world (unless the sun is momentarily perfect before it’s lost behind a cloud), but in most cases time is of the essence -- and this may be milliseconds.

But for so many other situations in digital photography, you have to be very conscious of

Therefore, in my own shooting, I habitually underexpose by 1/3 or 2/3 f/stops. There are three

9

reasons I do this: 1. This amount of decreased exposure doesn’t increase noise enough to worry about, and by reducing exposure I am protecting the vulnerable highlights from blowing out. The late morning sun on the white storks, below, is the type of subject matter where the detail in the sunlit feathers could easily blow out. In this case, if I exposed to the right I would definitely blow out the light on the back of the birds. If my camera was set up to expose to the right and I took the time to adjust it so the exposure was reduced, I would probably have missed this unique opportunity to capture the mating.

2. By protecting the highlights, this frees me from having to look at the histogram all the time. If I underexpose by 2/3 f/stop and highlights are still blown, then there is really noth-

10

ing to do except HDR. Since the HDR technique doesn’t work with moving subjects, like the storks, then my only protection from losing the highlight detail is to underexpose. By not constantly looking at the histogram, I can concentrate on composition, capturing the right moment, the background, etc.

3. When we shot slide film, every photo instructor taught you should expose for the highlights and let the shadows go dark. This philosophy is still true most of the time. The dynamic range of film (and digital) is limitged, and we can’t capture the entire spectrum of tonal detail. In scenes or subjects that are contrasty, you have to make a choice: (1) Take the picture such that the highlights are correctly exposed and let the shadows go dark, or (2) Expose for the shadows correctly and let the highlights blow out. Blown highlights are virtually always distracting and

unattractive, so the better of the two options is to accept dark or black shadows.

In digital photography, shadows can be salvaged in many instances by using HDR, the shadows slider in Adobe Camera Raw and Lightroom, and other Photoshop techniques. And noise can be dealt with using noise reducing software.

Highlights are a different story. Once they are blown and they appear solid white, there is nothing you can do to recover that lost detail.

Look at the photo at right of young Miao girls in China. The sheen on their head pieces is bright because the metal is reflective, but exposing this picture to the right would cause those highlights to blow out. That would ruin the image.

The same is true of the dawn shot of Mt. Fuji in Japan. A loss of detail in the snow would render the image useless. ยง

11

When autofocus fails A

utofocus is a great tool. It allows us to capture action with tack sharp clarity unlike we were able to do in the past when we had to manually focus the lens. I used a manually focused film camera -- the Mamiya RZ 67 -- for 25 years, and I can’t tell you how many great pictures I missed because I couldn’t focus fast enough.

There are instances, though, when the AF mechanism fails. It is important to know what causes this problem and how to deal with it. It is very frustrating when you are excited about a great photo opportunity and are ready to shoot and the AF just can’t lock onto the subject. Too many pictures are lost this way.

1. The AF focuses on the foreground instead of the subject. The picture of the leopard, below, illustrates this problem. The AF focused on the grasses in front of the cat instead of the leopard, which of course is the subject. It didn’t matter how many focus points I used or

12

where in the frame I placed those points. The focus is off because the grasses were prominent enough to catch the AF beam.

The solution? In this scenario, the only thing you can do is switch the camera off autofocus and use the focusing ring on the lens to focus on the subject the old fashioned way . . . manually.

2. The light level is extremely low. AF works on the basis of color variation as well as the contrast between light and dark. If a subject that has minimal colors and very low contrast such that the camera can’t see differences in tones-like the night scene of the Sahara Desert in Morocco, below -- autofocus will fail.

a high intensity flashlight to illuminate the scene or subject with enough light for the camera to focus. Alternatively, you can have a friend walk into the shot and point the flashlight back at the camera. You can then focus manually on the point source of light.

3. White on white scenes in diffused light have no contrast. The picture of my great Pyrenees, Rexie, running in snow was impossible for the

There are two solutions for this. First, you can manually focus the lens. Second, you can use

13

AF mechanism to work. In this kind of situation, the AI servo won’t work, either, simply because it can’t lock focus on the subject.

The only solution here is to focus manually.

Recognizing that manual focus was necessary before Rexie started running allowed me to capture this picture. Otherwise, the AF would go in and out, trying to lock onto something and failing miserably.

4. The subject is off-center. Most of us set our autofocus points in the center of the frame.

Therefore, if the subject is off-center -- to the right, to the left, or above or below that central focusing area -- the camera will not lock onto the subject. I never move the AF points off-center simply because to do this takes too much time. With photographic situations that change quickly, such as the camel train, be-

14

low, it’s easy to miss the perfect shot. The positioning of the legs of the driver and the animals changes every fraction of a second. If I change the placement of the AF points to focus on the camels and then, immediately after I take the shot, I zoom in on the driver and lead camel, I will have to re-adjust the AF points to the center again. All of that takes critical seconds that often means losing the best picture. Moving the AF points to another part of the frame isn’t a good solution.

The way I handle this is to point the camera to the subject, lock the focus in place (by using autofocus lock feature or changing the focus to a back button), and shoot. This is the main reason why I prefer back button focus. Because it is independent of the shutter button, I can focus on any part of the frame and, keeping the button depressed, the focus stays in place. §

Become a better photographer with

eBooks

Click on any ebook to see inside

15

B

Making Light Beams

eing at the right place at the right time can be everything in photography. But sometimes you want the sun in a particular place or at a particular angle, and it’s cloudy. Sometimes you want diffused light from an overcast sky, and the sky is clear and the sunlight is harsh. This is a constant issue for photographers.

We would all like beams of light on demand -- wouldn’t that be nice?-- but we rarely encounter them. Once in a while luck is on our side, but no one counts on it. There are two techniques I use in Photoshop to add beams to pictures, and this is the next best thing to being able to control natural light. Everyone agrees

16

that to capture beams of light as they naturally appear is the ideal, but being in the right place at the right time doesn’t happen often.

A single shaft of light The beam I added to St. Patrick’s Cathedral in Dublin, below, and the shaft of light in Upper Antelope Canyon in Arizona on the next page, were both done easily and in about one or two minutes. Here are the steps: 1. Open the photo in Photoshop and choose the pen tool.

2. Proscribe the shape and placement of the

18

17

beam or shaft of light by laying down anchor points, or dots. In the photo of the cathedral, this took only four points to define the long rectangle. The points are placed with the click of a mouse or the tap of a Wacom pen. When the last anchor point is placed over the first point, this creats a path. It is not a selection yet.

3. Click on the paths palette tab (red arrow, right). If the paths palette is not open (it should be connected to the layers and channels palette), go to Window > paths.

4. In the paths palette, there is a small icon in the upper right corner. Click on that and you’ll then see a pulldown submenu. Choose make selection (green arrow).

according to your taste. The larger the feather radius, the softer the edges of the beam will be.

Click OK.

5. In the dialog box, you’ll be asked to choose a feather radius. Type in 30. This number usually works well for me, but you can tweak this

6. Now choose Edit > fill. In the dialog box (on the next page) you can choose foreground color or background color -- it doesn’t matter.

18

In the color box you choose, however, make the color that will define the beam. It can be white, white with a hint of yellow, white with a hint of blue, etc. The color should match the ambient light in your photograph.

In the opacity box, type in 30. Start there and then tweak to taste. This puts a translucent beam into your picture. Click OK. Beams radiating from the sky Compare the two pictures of the Charles Bridge in Prague on the previous page and below. The streaks of light I added were done using a different technique. There are a few more steps than the first example, but it’s not difficult other than making artistic choices as to how the rays of light appear and how they blend with the background clouds. I will

outline the steps and then you can make subject adjustments for different types of effects.

1. Open a photo in Photoshop. The picture should have a sky that looks like it could produce light beams. If a particular landscape or cityscape doesn’t have the appropriate sky, then

19

replace the original sky with the type of clouds needed. This is why I have a large folder filled with various types of cloud formations, from puffy white clouds on a blue sky to threatening storm clouds.

2. Make a duplicate layer, Command/Ctrl J. 3. Click the foreground color box and select white.

4. Choose the brush tool at 100% opacity and lay down a bunch of dots in the part of the sky from where the light beams will emanate. See the photo at right. The exact number of dots doesn’t matter.

5. Lower the opacity of the brush tool to 40% and brush the white color over the dots.

6. Go to Image > adjustments > levels and

20

move shadows slider (the one on the left) all the way to the right. This will make the entire image, except the white dots, virtually black. Take the brush tool and, using the color black, paint away any remaining detail. All you should have left are the white dots.

7. Go to Filter > blur > radial blur. In the dialog box (next page) choose zoom, best, and 100% for the amount. Drag the graphic in the

‘blur center’ such that the center of the zoom is high so the rays of light are directed downward.

Click OK. 8. Repeat Filter > blur > radial blur approximately 20 times. The shortcut for this repetition is Command/Ctrl F. This repeats the last filter applied. You may need more or less than 20 times, but this multiple action spreads the white dots into ‘rays’ of light.

9. Choose the blend mode screen. The blend modes are found in the layers palette. Click on the tab that says ‘normal’ and you’ll see the blend modes. The rays of light should now be seen on top of the clouds. The black background behind the rays completely disappears.

10. If necessary, click on the move tool and move the rays of light in place so they appear to be originating from the correct place in the sky.

11. Soften the rays if you wish with Filter > blur > Gaussian blur. If I use this step, I will typically soften the rays 20 pixels in the Gaussian blur dialog box.

12. To spread the rays over a larger portion of the sky and/or make them fan out more, make sure the light beam layer is activated and choose Edit > transform > distort. A box forms around the beams and you can then grab any of the corners and pull it in the desired direction.

As with all Photoshop techniques, the picture you choose to work on is just as important as the technique itself. This means that the clouds you choose as well as the landscape, cityscape, archeological ruins, etc. must be conducive to light rays being applied. The goal is to make the effect look real, not Photoshopped. §

21

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.

22

BOTSWANA/SOUTH AFRICA p h o t o t o u r June 6 - 20, 2015

23

What’s wrong with this picture?

I

don’t mean for this to be a trick question, but the problem with this picture is very subtle. Still, it annoys me and needs to be fixed. I took this picture recently in Morocco at the leather tanning vats in Fez. I shot it from a balcony overlooking the ancient site. At the far right side of the picture, I didn’t notice that I’d included a cable attached to the wall as well as something blue in the lower right corner. These things should not have been included, and because they are out of focus they are doubly distracting. Out of focus foregrounds are almost always bad, and while we focus mostly on the vats and the worker, the elements at the far right shouldn’t be there.

You would think that the easiest solution to fix this problem is to clone the right edge. This would, indeed, solve the issue, but this isn’t as easy as you might think. There are some striations in the stonework that need to be cloned very, very carefully with a small brush size. The better and faster way to fix this problem is to use the transform command.

24

In the photo above, you can see that the unwanted elements are gone. The procedure is this: 1. Chose Select > all.

2. Choose Edit > transform > scale (the shortcut is Command/Ctrl T). This puts a box around the picture with handles. I grabbed the middle-right handle and pulled the picture -- stretching it -- to the right just enough to hide the offending elements. The stretch is slightly noticeable, but in this case that didn’t adversely affect the picture in any way.

Stretching a picture to eliminate an unwanted element near the edge of the frame is a useful technique. However, if there are faces in the picture or something with a known and specific shape, like the sun, stretching doesn’t work well because the distortion becomes obvious. § 25

SHORT AND SWEET 1. This picture has a lot of depth.

It also has two subjects -- the foreground wall and the background city of Essaouira, Morocco. That means that both subjects must be sharp. In order to do that, I used f/22 and focused on the wall.

3.

Black is a dramatic background for flowers. It makes the images look more like ‘portraits’ of a flowers instead of mere macro shots of a nature subject.

The best kind of lighting is diffused daylight, and I prefer window light. A key to good flower photography is shooting blossoms with no imperfections.

26

2. Notice how the vertical lines in this image are par-

allel with the left and right edges of the frame. There is no keystoning at all. I was able to do this by using a medium telephoto (70-200mm) and moving back so the back of the camera was flat to the facade.

4. Tidepools offer great subjects for closeup work. The best lighting is either overcast conditions where the light is soft, or sunrise and sunset when the sun is very close to the horizon. These bat stars on a California coast are side lit from a sun that was five minutes away from disappearing below the horizon. §

Photography Tours 2015 - 2016 BOTSWANA/SOUTH AFRICA June, 2015

VIETNAM, CAMBODIA, LAOS BURMA (MYANMAR) Sept, 2015 Sept, 2015

ETHIOPIA November, 2015

CARNIVAL IN VENICE Feb, 2016

SNOWY OWLS Feb. 2016

GALAPAGOS ISLANDS Mar, 2016

WHITE HORSES, FRANCE April, 2016

CROATIA, SLOVENIA, MONT. May, 2016

GREECE May, 2016

ARMENIA & GEORGIA June. 2016

CHINA Sept. 2016

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

27

FINDING GREAT PHOTO SUBJECTS

G

reat subjects make great pictures.

That’s why I have spent so much of my life pursuing great subjects at home and all over the world. Sometimes, though, I know that photographers run out of ideas of what to photograph. Going from home to work every day with little free time on the weekends can be frustrating as you look at your camera gear sitting in the closet waiting to be used.

I would like to offer some ideas that can help.

This list will hopefully start you thinking about various possibilities that have eluded you up to now no matter where you live in the world.

Not all of the ideas I mention will be available to everyone reading this, but many of them are,

28

in fact, subjects that you will be able to photograph. From each of these subjects, I have produced wonderful pictures over many years.

• Classic car shows • American Indian pow wows • Macro photography of exotic orchids • Abstracts of mixed wet paint • Still life arrangements • Butterflies • Tall ships when they gather along the Atlantic coast • Vintage aircraft • Steam locomotives • Ballet school students • Sliced fruit, like kiwis, backlit • Historical villages (below)

• Museum collections • Historical battle reenactments (below) • Creative food designs (right) • Closeups of unique rocks and minerals • Macro shots of feathers (you can buy exotic feathers online) • Backlit seashells • Caterpillars • Puppies • Kittens • Reptiles at a pet store (make arrangements with the owner) • Birds at a feeder • City skylines • Blue Angels or U.S. Airforce Thunderbirds • Babies in silly outfits • Aquarium fish • Abstracts in night photography • Old barns • Water drops/dew drops §

29

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 . . . When shooting water fountains, is there a general guideline to use for freezing the water drops? What shutter speed is best?

Don Gonzalez, Corpus Christi, Texas

A:

Generally speaking, I would say that 1/1250th of a second will freeze the water in any fountain or waterfall, but a factor that has to be considered is the type of lens you use. The water appears to be moving slower in a wide angle lens, for example, than a telephoto. The tighter the composition on the water, the faster the shutter speed needs to be. The picture below looks like it was taken with a focal length in the range of 30mm, which is slightly wide, and the 1/1250th speed would work perfectly. However, if you switched to a 300mm and filled the frame with the water, then I’d use 1/1600 as a minimum.

© 2015 Don Gonzalez

30

Vietnam, Cambodia, Laos photo tour

September 13 - 28, 2015 Culture • Ancient ruins • Great people photography • Temples

31

NAMIBIA PHOTO TOUR

June 22 to July 3, 2015 Wildlife Bushmen Dunes Epupa Falls

32

Student Showcase

Each month, Jim features one student who took beautiful and inspiring images on one or more of his photography tours or workshops. It’s really fascinating how photographers see and compose such different images even though we may go to the same place. Everyone gets great images on my trips.

Carl Schneider, Hammond, Louisiana China, Burma, India, Botswana, Japan, Pantanal, and more.

Š 2015 Carl Schneider

33 33

Student Showcase, continued

Š 2015 Carl Schneider

34

34

Student Showcase, continued

Š 2015 Carl Schneider

37 35

PHOTOSHOP WORKSHOP in my home

Sat. & Sun., May 16 - 17, 2015

Photoshop is a photographer’s best friend, and the creative possibilities are absolutely endless. In a personal and ‘homey’ environment (I have a very cool classroom setup in my home), I start at the beginning -- assuming you know nothing -- but I quickly get into layers, cutting and pasting, plug-ins, using ‘grunge’ textures, modifying lighting, replacing backgrounds, using layer masks, blend modes, adding a moon, and a lot more. I promise to fill your head with so many great techniques that you 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 different 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

36

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. §

Click on the past issues of

PH OTO I N S I G HTS you would like to read.

Nov. ‘12

Dec. ‘12

Apr. ‘13

May. ‘13

Sept. ‘13

Feb. ‘14

Oct. ‘13

Mar. ‘14

Jan. ‘13

Feb. ‘13

Mar. ‘13

Jun. ‘13

Jul. 13

Aug. ‘13

Nov. ‘13

Dec. ‘13

Jan. ‘14

May ‘14

Jun.‘14

Apr. ‘14

37

Click on the past issues of

PH OTO I N S I G HTS you would like to read.

Jul.‘14

Dec. ‘14

38

Aug. ‘14

Sept. ‘14

Oct. ‘14

Nov. ‘14

Jan. ‘15

Feb. ‘15

Mar. ‘15

Apr. ‘15

PHOTO INSIGHTS®

published by Jim Zuckerman, all rights reserved © Jim Zuckerman 2015 email: photos@jimzuckerman.com snail mail address: P.O. Box 7, Arrington, TN 37014

39