Jim Zuckerman

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Jim Zuckerman Posted: Feb 18, 2015 0 comments
I think it would be helpful to you if I explained how I handled different kinds of low light photographic situations. Apply my approach to your own images and make note of the technical solutions for each subject and scene. As photographers we are constantly challenged with shooting in circumstances where the light is not sufficient to get what we really want—sharp pictures, effective depth of field, minimal noise and a good exposure. We often have to make compromises but our goal is to get the best images we can under often trying conditions. In this chapter I’ll be sharing my thinking process in dealing with tough subjects in a variety of circumstances.
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Jim Zuckerman Posted: Feb 18, 2015 0 comments
I’ve photographed seashells in various ways—against black velvet, on a beach with a sandy background and in tide pools. The most dramatic way to photograph them is with strong backlighting. When you place a bright light directly behind the shell, it suddenly seems like it is glowing from within. The colors are intense, the form of the shell is beautifully defined, and all of the detail in the structure is revealed. The results are even more dramatic when you use a black background, as I did in (#1).
Jim Zuckerman Posted: Jan 22, 2015 0 comments
The beauty and artistry of the natural designs found in rocks and minerals rivals the most expensive abstract paintings you might find in an art gallery. Some of them are truly breathtaking. Of course, not all rocks are created equal. Some are boring and not worth a second glance, but others are works of art and, if you were to print the images very large and frame them elegantly for your home, people would think you paid thousands of dollars for such a visually compelling piece of art.
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Jim Zuckerman Posted: Jan 22, 2015 0 comments
Photography has radically changed in the last decade with respect to the equipment we use to capture images. It has also changed radically in our ability to manipulate our photographs in ways that were impossible just a few years ago. What has not changed are the fundamental photographic principles that make a great picture. These include the principles of composition, good exposure technique, non-distracting backgrounds, finding compelling subject matter, using lenses creatively and of course being aware of light.

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Jim Zuckerman Posted: Dec 24, 2014 0 comments

Capturing the details in nature requires getting close to small subjects and sometimes you will want to use flash. Shooting close-ups with flash is very different than using flash as you normally do.

Jim Zuckerman Posted: Dec 24, 2014 0 comments

There are many kinds of white light. At first this statement seems like it doesn’t make sense, but if you look closely at a typical light bulb in your living room (the old kind, not the new florescent type of bulbs) and compare it with, say, a daylight florescent fixture, the light bulb is much more yellow than the florescent light. Similarly, if you compare sunrise and sunset lighting to the light from an overcast sky at noon, the lighting from low angled sunlight is very yellow—it looks golden, in fact—and the cloudy sky produces a white light that is more bluish.

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Jim Zuckerman Posted: Nov 24, 2014 0 comments
Capturing the details in nature requires getting close to small subjects and sometimes you will want to use flash. Shooting close-ups with flash is very different than using flash as you normally do.

The biggest problem we face when using the built-in flash or even a small hotshoe mounted accessory flash for macro work is that a flash sits no more than 6 or 7” above the lens. This means it will illuminate the top of a subject, leaving the middle and bottom portions in shadow. There’s no way the light can be dispersed over the insect, small flower, feather or whatever you might be shooting because it doesn’t have enough distance to do that.

Jim Zuckerman Posted: Nov 24, 2014 0 comments

There are many kinds of white light. At first this statement seems like it doesn’t make sense, but if you look closely at a typical light bulb in your living room (the old kind, not the new florescent type of bulbs) and compare it with, say, a daylight florescent fixture, the light bulb is much more yellow than the florescent light. Similarly, if you compare sunrise and sunset lighting to the light from an overcast sky at noon, the lighting from low angled sunlight is very yellow—it looks golden, in fact—and the cloudy sky produces a white light that is more bluish.

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Jim Zuckerman Posted: Oct 27, 2014 0 comments

Every photographer has a personal vision and a particular taste in composition, light, color and so on. For example, many photographers chose nature’s details simply to abstract the color and form they find. Others like to use extremely shallow depth of field—also called selective focus—so only a sliver of the subject is sharp while the rest of it is soft. People who are intrigued by the beauty, intricacy and complexity of nature usually shoot with the opposite approach. They want to reveal as much detail in the subjects as possible so those who view their work can appreciate the designs and the patterns in the images with tack sharp clarity.

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Jim Zuckerman Posted: Oct 27, 2014 0 comments

The problem with making the right exposures in low light environments is that exposure meters, in-camera and hand held, are not particularly suited for the task. Light meters were designed to read subjects in normal daylight situations or in bright interiors. The meter will deliver a good exposure under these “normal” conditions, but low light photography is anything but normal. There is either a lack of light, many dark areas, very high contrast or all of these combined.

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