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• Shutter speed, f/stop, & ISO• Enlarging eyes digitally• Wide angle portraits• Seeing as the lens does• Online photo course• Student showcase• Photo tours

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

November 2014

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4. Shutter speed, f/stop, ISO14. Enlarging eyes17. Wide angle portraits21. Online photo course24. Whats wrong with this picture?26. Short and sweet28. Previsualize as the lens sees30. Ask Jim33. Student showcase37. Back issues

On the cover: Eagle hunter catching hisgolden eagle, Mongolia.This page: Northern elephant seals in combat, Channel Islands National Park, California

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When I lead a photo tour and my group and I go out for the day, someone invariably asks me if they need to bring a tripod. What they are really saying, of course, is that they don’t want to be burdened with it and if

they can do just fine without it, can’t they leave it in the hotel.

I feel like I’m caught between a rock and a hard place. I hate to make them feel bur-dened by carrying the tripod, and if they don’t use it they may feel I’ve unnecessarily caused them hardship for the day. At the same time, when they ask me this question I have to guess what their emotional and artistic investment in their photographs might be. For example, if a person is happy with simply capturing a moment in their life and whether or not they have extensive depth of field isn’t important, then they don’t need to carry a tripod. But if maximum picture quality is essential and the person wouldn’t be happy if their pictures aren’t tack sharp, that’s a different scenario. Then a tripod is crucially important.

So, I have to intuit what the people who participate in my photo tours really want when they ask me this question. We all agree that carrying a lot of gear is a burden, but at the same time if great photographs are very important to you, then carry-ing a tripod is a price that has to be paid. And you never know when you’ll want to capture a subject or scene that requires a tripod. Therefore, in my opinion, you should always be prepared to have one at your disposal. That’s usually my answer to whoever asks me, but I still second guess myself all the time.

photos@jimzuckerman.comwww.jimzuckerman.com

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When we are photographing pretty much any subject, most of our mental energy is spent

in working out the technical details. Do we need a fast shutter, and if so, how fast? If the shutter speed is fast, what happens to the depth of field? And what about the digital noise that comes from an ISO that is too high? These questions constantly challenge us with every photographic situation we encounter, and the decisions we make determine the success or fail-

ure of our pictures. Much of the time we have to think very quickly, so it’s good to know how to handle a variety of circum-stances quickly and without fretting over the many combinations of shutter speeds, lens apertures, and ISO settings.

I would like to share with you the sys-tem I use that enables me to determine what the best settings are for each situa-tion. On my photo tours, I am asked all the time what the camera settings should

Shutter speed, Depth of field, & ISO

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be for almost every situation we encounter, and with the following approach you’ll see how I can answer quickly and with confidence that my thinking will produce excellent pictures.

Detemine what you want

The first step is to previsualize what you want. For example, do you want the wings of a flying bird to be tack sharp or is a little blur acceptable or even desirable. Or, are you going for an ar-tistic blur in which a slow shutter is what you’re looking for. Is depth of field paramount? Do you want everything from front to back sharp? Finally, the big question: Do you have enough light so you can have your cake and eat it, too, In other words, can you have a fast shutter speed and complete depth of field?

In the photo below of a harris hawk in flight, I really wanted the wings to be sharp. However, I used a shutter speed of 1/640th of a second and

200 ISO in diffused light. The shutter was ob-viously too slow because the wing tips aren’t sharp. The mistake I made was using an ISO that was too low in this kind of relatively mut-ed lighting situation so my shutter couldn’t be as fast as I needed it to be. I should have used 800 ISO.

The tripod factor

If you are using a tripod and the subject isn’t moving, such as when photographing a land-scape, architecture, or a flower (assuming no wind), then the shutter speed isn’t relevant. Only the depth of field needs to be considered. In my opinion, virtually all landscape images as well as architecture requires complete depth of field, so you’d want to shoot with a lens ap-erture of f/16 or smaller (I prefer f/32). This is particularly true when you’ve composed a pic-ture such that foreground elements are close to the camera position with other important ele-

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ments in the distance, such as in the landscape photograph on page 7.

If elements in the scene are far away from the shooting position, like the Singapore skyline, below, everything will be sharp at any lens aperture. Therefore, the f/stop is not relevant (other than opting for f/5.6 or f/8 which are considered the sharpest apertures on the lens). So, if the light is low you can open the lens to get a faster speed. But, as I said, if you are us-ing a tripod, the shutter speed is not a factor at all.

Remember to turn off the image stabilization feature on the lens if you are using a tripod.

Hand holding

When you hand hold the camera, everything changes. Now, the shutter speed choice is the first order of business. It is paramount. Depth of field is a secondary consideration. No mat-ter how important you feel DOF might be, if the shutter speed isn’t fast enough to produce a sharp picture, all the DOF in the world won’t help if the photo is less than sharp.

You should be able to have extensive DOF when using a fast shutter speed if and only if:

1. You have enough light for f/32 and/or2. The subject isn’t moving very fast and/or3. You are willing to raise the ISO and/or4. You use an extreme wide angle lens and/or5. The subject is not filling the frame and/or6. The subject is close to the background

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April 11 - 12, 2015

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Conversely, if the light is not bright, the subject is moving fast, you want a low ISO, your lens is a telephoto, the subject is filling the frame, and the subject is far from the background, there is no way you can have both depth of field and a fast shutter.

Being able to use a fast shutter plus a small lens aperture while hand holding the camera can only happen when shooting in bright sunlight. Usually we avoid harsh lighting conditions for artistic purposes. The picture of a leaping tiger in captivity in Thailand, below, is an example. I hated the harsh light, but there was no choice. However, the midday sunlight allowed a shut-ter speed of 1/1000th of a second and f/9 at 640 ISO. The background rocks are not tack sharp but close. Note that if the background were, say, 100 feet away those rocks would have been quite blurred at the f/9 aperture. If I had therefore closed down to f/16 or f/22, the ISO would have

had to be raised to at least 2500.

When shooting at sunrise, sunset, or in over-cast considitions -- the three best times for outdoor photography -- you have to make painful decisions. But, as I said, the first choice is shutter speed when hand holding the cam-era. If the shutter isn’t fast enough to freeze the subject, you must either (1) raise the ISO or (2) open the lens aperture, or both. This is assuming you want a sharp subject.

How fast is fast? It depends on the movement of the subject and how much of the frame is being filled by it. For example, when I pho-tographed the pied kingfisher hovering above the Chobe River during my photo tour to Bo-tswana (following page), I knew the shutter had to be very fast because the bird’s wings were beating furiously to maintain it’s altitude. At the same time, I was using a 700mm fo-

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cal length (500mm plus a 1.4x teleconverter), and that meant the depth of field would be ex-tremely shallow. I wanted both wings sharp, so I chose f/14. Even with the bright sunlight, I needed an ISO of 800 but that wasn’t quite high enough because the left wing (our right) isn’t tack sharp. In this instance, I should have used at least 1/2500th or even 1/3200th of a second. Therefore, I needed to raise the ISO to 1250 or 1600.

No one likes to raise the ISO that high if it’s pos-sible to avoid it, but in this case -- given that I wanted every part of the bird to be tack sharp, it was a compromise I would have made. Later, in post-processing, I could have mitigated the noise with Nik Software’s Dfine 2.0.

In the case of a fishing net being thrown in Bur-ma on the next page, the light was muted due

to a thin cloud cover. Fortunately, depth of field wasn’t relevant here because I was using a wide angle lens (24mm) which inherently has extesnive DOF. In addition, the camera-to-subject distance was such that everything would be sharp even wide open. Therefore, I set the camera to aperture priority and chose f/4, the largest aperture on my 24-105mm lens. This forced my shutter speed to be as fast as possible given the light and the ISO, which was 640. I ended up with a shutter of 1/500th, and I felt this was fast enough to freeze the ex-panding net. Had I wanted a faster speed, I’d have raised the ISO. Doubling the ISO enables you to use a shutter speed one full f/stop faster.

Exposure modes

One exposure mode does not fit all situations. Many photographers use aperture priority vir-

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tually all the time, and this is a big mistake. It’s a mistake for two reasons. First, this means that they are not accessing each situation and adapting the exposure mode accordingly, and second using aperture priority often results in shutter speeds that are too slow because you concentrate on depth of field and forget to monitor what the speed of the shutter is. When you hear the slowness of the shutter, it may be too late to capture a sharp picture.

Here is how I decide on which exposure mode to use:

I choose Aperture priority:

a. When complete depth of field is important and I’m using a tripod. I choose a small aper-ture and I don’t worry about the shutter speed.

b. When I want ultra shallow depth of field.

c. When I want the fastest shutter speed given the ambient light and the ISO. I set the aperture to the largest opening and that forces the shut-ter to be as fast as possible.

4. When I’m using flash fill and I want the auto-matic exposure mode to balance the light from the flash on the foreground subject with the ambient light on the background elements.

5. When I’m using a telephoto lens and I want more depth of field than Program mode will provide. For example, if I’m shooting a two subjects where one is closer to the camera than the other -- such as the little boy and my dog Princey when he was a puppy (following page) -- I needed a specific lens aperture to make sure both were sharp.

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I choose Shutter priority:

1. When I want a slow shutter speed to blur moving water or blur a fast moving subject such as the horse at right. I selected 1/20th of a second for this picture.

I choose Program mode:

1. When I am handholding the camera and want almost the fastest shutter speed possible. Program mode is designed to as-sume you are handholding the camera and therefore provides a fast shutter. It gives you 1/3 f/stop less than the fastest speed in low light circumstances. As the light gets brighter, such as the sun coming from be-hind a cloud, the ratio of f/stop to shutter speed changes such that the speed is in-creased less and less as the depth of field becomes more extensive.

2. When I don’t want to think about depth of field and shutter speed because I have to shoot fast. When I photographed the three mountain goat kids on the next page, for example, I used Program mode. They constantly moved, and I didn’t have the luxury of taking the time to think about cam-era settings. I set the ISO, chose Program mode, and got the shot because all of my energy was fo-cused on the composition.

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3. When depth of field isn’t very important.

I choose manual exposure mode:

1. When I am shooting a subject that can’t be interpreted by a normal light meter reading, such as lightning or stars.

2. When I am doing HDR. I set the f/stop manually because it shouldn’t be changed dur-ing the multiple exposures, and then I set the shutter speeds manually as well. I then take all of the frames that comprise the final shot.

3. When doing macro photography with flash. In this case, the camera is set to manual ex-posure mode and the flash to ETTL (iTTL or TTL for Nikon). I then set the lens to the desired f/stop (usually f/32 for closeup work since depth of field is essential to reveal the

detail and beauty of the subject being photo-graphed) and the resulting exposures are usu-ally perfect.

4. When using studio strobes.

5. When using off-camera flash such as with the portrait in Venice during carnival, below. §

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Enlarging Eyes DigitallyFor my Mongolia photo tour, I hired this mod-el dressed in 13th century attire made for a queen. We photographed her in a wonderful location, and everyone loved the shoot. We had perfect lighting and the young lady was very patient with everyone.

Look carefully at the two versions of the por-trait below. The original capture is on the left. For the version on the right, I enlarged the eyes slightly. It’s very subtle, but look closely and you can see it. I could have made her eyes much larger, but I wanted it to look entirely unmanipulated and natural. If you want to go

overboard, perhaps with a sensor of humor in mind, you can do so. See the picture on the next page.

To do this, go to Filter > liquify in Photoshop. On the left side of the dialog box, there is a column of tools. Choose the sixth tool down from top, the Bloat tool (red arrow).

Place the cursor over one eye. Make the cursor a circle by going to Pho-toshop > preferences and choosing ‘precise’ under the cursor options.

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Then, when you hit the caps lock key, the cur-sor shows as a circle. With the bracket keys, enlarge the circle until it encompasses the eye plus some of the surrounding area. Experi-ment with this and soon your’ll determine the size of the circle you prefer.

Now, click the mouse once. Or, if you use a Wacom tablet as I do, tap the pen on the tablet one time. You will see the eye enlarge slightly If you want the eye to enlarge more, click or tap another time. However many times you enlarge one eye should be the same number of times you enlarge the other eye. Therefore, keep track of the number of clicks or taps.

Alternatively, if you click and hold, the eye will continulously enlarge. This happens quickly and you will lose the precise control you’ll have if you use single clicks, but if you like to create

unusual (and bizarre) effects, this is the way to do it.

If you want to undo the enlargement -- say you’ve gone too far -- the tool directly above the bloat tool is the pucker tool (don’t you love these names?). This does the opposite. It will reduce the size of the enlargement in small increments as you click the mouse or tap the Wacom pen.

If you want to revert to the beginning because you’ve made a mess of things, simple hit the tab Restore all.

Eyes are the most compelling part of a portrait. By embellishing them you make the person much more striking. If it is done with subtlety, most of the time the person won’t even realize there has been a change. They’ll say, “Wow, you made me look so good!” §

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Wide Angle Portraits

I travel with a lot of photographers who sign up for my photo tours, and I notice something that is very com-

mon among them. Many are hesitant to move in close with a wide angle lens when photo-graphing people. Some feel it distorts too much, while others may not think of using a wide angle lens like this. Sometimes photog-raphers don’t want to be too intrusive to a sub-ject, especially a stranger in another culture.

Putting a camera in someone’s face is definite-ly intrusive. For maximum drama and visual impact, the camera has to be placed approxi-

mately two to four feet from the person’s face.

I would like to offer several reasons why you should consider using this approach for tak-ing portraits of people. First, it is a very unique perspective. Is there distortion? Does the sub-ject appear disproportionately large compared to the background, and does the person’s body seem elongated or stretched in some way? Yes, absolutely. But is this necessarily bad? I would argue that no, it’s not bad in many cases. In fact, I feel that it is an artistic interpretation of a per-son and his or her surroundings.

Wide angle portraits include an environment, as

SNOWY OWLS WORKSHOP Up close and personal -- Use a 300mm or less for flight shots

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in the shot I took in Burma (page 18) in which I photographed a weaver in the factory where she has worked for 42 years. A typical medium telephoto lens gave me a nice shot of her face, right, but the 14mm wide angle included a lot of the interesting place in which she has spent so much of her life. It tells a story.

Another issue is depth of field. Since wide angle lenses have so much more depth of field than telephoto lenses, you can convey much more information in the photograph even in low light circumstances. If both lenses are used at f/5.6, the background behind a subject captured with a telephoto will be out of focus, while the background in the wide angle shot is often as intriguing as the subject.

Wide angle lenses allow you to use a slower shutter speed than telephotos in low light situ-

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ations, and every bit of extra light means the dif-ference between sharp and almost sharp. A mov-ing subject appears to be moving slower when using a wide angle lens, and therefore you can get away with using shutter speeds in the 1/45 to 1/60 range and still get sharp pictures. With a telephoto, the images may be a bit soft sim-ply because long lenses magnify movement a lot more and that, in turn, requires a faster shutter to guarantee tack sharp pictures.

One thing to keep in mind is that the closer the camera gets to the subject, the less depth of field you have. Even with an ultra wide angle lens like a 14mm, if the camera is positioned, say, 24 inches away from a subject, depth of field is shal-lower than you might imagine. In other words, the background that you assumed would be sharp simply because you used an extreme wide angle focal length isn’t as sharp as you thought it

would be. Therefore, be cognizant of this as you compose a picture like I did in the exam-ple below. I shot this on Burano Island near Venice, Italy during carnival, and the camera was about 20 to 24 inches from the model. I wanted the colorful houses to be as sharp as she was, so I knew I had to close the lens down. I chose f/11, and in combination with the tremendous depth of field of the 14mm lens, the picture is sharp from front to back.

In my opinion, out of focus backgrounds compliment a subject if they are significantly out of focus. However, if a background is just a little bit soft but there is complete definition, it will look like a mistake and the background will end up being distracting. This is especial-ly true when the background is interesting, as in the shot on Burano Island, and where it contributes to the image a great deal. §

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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.

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N A M I B I A P H O T O T O U R Largest dunes in the world • primitive tribes • wildlife

w June 22 - July 3, 2015

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What’s wrong with this picture?

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Pretty much everything is wrong with this picture. The only thing right about it is the subject, which is great (great subjects make great pictures as long as other factors like composition, lighting, and exposure are all good), and the

low shooting perspective.

The out of focus foreground isn’t to my liking, but if everything else was good about this shot I could live with that. The biggest problem here is the background. Yes, it’s busy, but that’s not the issue that is so visually disturbing about this picture. The fact that the iguana was in the shade and the background was sun lit is the problem. Our eyes are always drawn to the lightest part of the picture first, and they return again and again. In other words, highlights and other areas of the image that are very bright have a very strong pull. Our eyes are diverted from the subject and that’s not how a successful picture is supposed to be.

In addition, this kind of extreme contrast presents a dilemma. Should I expose for the

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reptile and blow out the background, as I did in this situation, or would it have been better to expose correctly for the foliage and let the iguana become, essentially, a silhouette?

What I normally do is expose correctly for the shaded subject with the intention of replac-ing the background with something complementary as you can see in the above picture. This is a different iguana but the idea is the same. Backgrounds can make or break an image, and in this case the out of focus foliage I used is completely non-distracting be-cause it’s darker than the subject, undefined, and non-graphic. In other words, there are no strong lines or patterns that draw our eye away from the subject. In the picture on the previous page, even if the background were nicely exposed, all of those tall grasses on the right plus the mass of foliage in the background are just too graphic and too defined to work. They will always compete for attention with the reptile, and that would make that shot unacceptable.§

SHORT AND SWEET

1. A fun technique is vertical blurs. Fill the frame with something interesting -- trees and flowers work great -- and move the camera up or down with a slow shutter speed. I used 1/10th of a second here. Do this in muted light for the best results.

3. You would be surprised what great colors can oc-cur with a long exposure when it’s almost dark. When there seems to be so little light that good picture tak-ing is impossible, all you need is a tripod to make a strong picture. For this shot of Niagra Falls on the American side, I used .3 seconds.

2. To underscore the symmetry and the perfection of dramatic ceilings like this one in the Paris opera, stand dead-center in the room directly below the cen-ter of the design. Usually the floor markings show you where that spot is.

4. Have fun with Halloween costumes even though Halloween is past. I photographed a friend’s daughter in a witch outfit and then used Photoshop to separate the black costume (using the quick selection tool that hides beneath the magic wand tool) and combined that selected image with a foggy forest from Italy. §

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Photography Tours 2015 - 2016

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

JAPAN February, 2015

SNOWY OWLS, CANADAFebruary, 2015

CHINA January, 2015

NAMIBIAJune, 2015

HOLLAND/BELGIUMApril, 2015

MOROCCOMarch, 2015

MADAGASCARAugust, 2015

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BOTSWANA/SOUTH AFRICAJune, 2015

CUBAOctober, 2015

ETHIOPIANovember, 2015

VIETNAM, CAMBODIA, LAOSSept, 2015

BURMA (MYANMAR)Sept, 2015

PREVISUALIZE AS A LENS SEES

Perhaps the most important con-cept in photography is the fact that

lenses do not capture what we see. There are crucial differences between what lenses perceive and what our eye/brain combination perceives. Understanding these differences will allow you to better previsualize your compositions.

To grasp what I’m referring to, study the pic-ture of the polar bears below and the landscape shot on the following page. In the portrait of the mother polar bear and her almost-adult cubs, the background is out of focus. I didn’t see this. In fact, our eyes never see anything out of focus. As soon as we look at something, it’s completely

sharp. I used a 500mm telephoto to capture this picture, knowing that one of the charac-teristics of a long lens is the shallow depth of field. Backgrounds that are significantly out of focus force our attention on the subject. I previsualized this picture -- I wanted to fill the frame with the animals, hence the use of the super telephoto, and I wanted the background to be blurred. I saw this in my mind.

At the other end of the specrum are wide angle lenses. They exaggerate perspective such that they elongate elements in a scene. In addition, the foreground seems disproportionately large compared to the background. In the picture on the next page, for example, the foreground rocks loom large. My eyes did not see this

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when I stood there composing the shot. Simi-larly, in the picture at the Louvre in Paris, right, the elongation of the glass pyramid is a distortion typical of wide angle lenses (14mm in this case).

The point I want to make is that you have to pre-visualize your pictures not as you see with your eyes, but as the lens sees. Imagine in your mind’s eye the compression and shallow depth of field of telephoto lenses and the exaggeration of per-spective of wide angle lenses. See a scene or a subject distorted by your lenses even before you look through the viewfinder.

When I survey a scene, I go back and forth in my mind as I visualize possible compositions: tele-photo, wide angle, telephoto, wide angle. Nor-mal lenses, in the 50mm range, don’t give the vi-sually dynamic types of images I like so I rarely use that focal length. Even though a 50mm lens

comes closest to what our eyes see, I still pre-fer the drama and the artistry of telephotos and wide angle lenses.

Keep in mind that with wide angle lenses, you get maximum drama (and maximum distor-tion) the closer you get to a subject. With long lenses, you’ll get more compression and backgrounds that are more out of focus as the focal length of the lens increases. §

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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 shot this photo the other day and I was wondering if you has photographed this bird, what would you focus on? I always go for the eyes, but the beak is out of focus. I was using f/8 with a shutter speed of 1/180th, and the focal length was 190mm on my 70-200mm lens. I know if I had used f/2.8, the depth of field would be way too shallow. I thought f/8 would solve that problem. Help!Patricia Wessant, Addison, Texas

A: You were correct to focus on the eyes, and you are also correct regarding your concern about the beak. It must be in focus. You were obviously close to this kestrel because it’s a fairly small bird. Therefore, depth of field is a major issue. The closer you get to a small subject, the shallower the depth of field becomes. Therefore, you needed a small aperture. In this case, I would say nothing larger than f/16. What that means, then, is that you have to raise the ISO until you are able to use f/16. Without adding additional light, such as from a flash, that would be the only solution. Assuming the bird was not moving, you could lower the shutter speed to, say, 1/125, and that would give you some additonal manuvering ability to use a smaller aperture. But ultimately the ISO needed to be raised so you could use f/16.

© 2014 Patricia Wessant

Vietnam, Cambodia, Laos

September 13 - 28, 2015

p h o t o t o u r

Culture • Ancient ruins • Great people photography • Temples

Ta Phram Temple, Angkor Wat, Cambodia

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Get professional critiques of your work with Jim’s online courses

Betterphoto.com

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Get professional critiques of your work with Jim’s online courses

betterphoto.com Learn composition, exposure, Photoshop, beginning fundamentals, techniques

in low light photography, flash, and more at your convenience and on your schedule.

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Student ShowcaseEach month, Jim features one student who took beautiful and inspiring images on one 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.

John Lyon, Auckland, New Zealand, Mongolia photo tour

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© 2014 Truman Holtzclaw

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Student Showcase, continued

© 2014 John Lyon

35 © 2014 John Lyon

Student Showcase, continued

PHOTOSHOP WORKSHOP Sat. & Sun., December 6 - 7, 2014

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, modifying lighting, 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. 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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PHOTO INSIGHTS®published by Jim Zuckerman, all rights reserved

© Jim Zuckerman 2014 email: photos@jimzuckerman.com

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