Jim Zuckerman

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Pro Techniques
The “Poison Dart Frog” Challenge; The Ring Flash (And A Little Bit O’ Photoshop) Solution
Jim Zuckerman  |  Oct 01, 2008

I recently had the opportunity to photograph poison dart frogs, and I was excited to do so because these unique creatures have brilliant colors and are endlessly fascinating. While they make for amazing pictures, they also present significant technical challenges. I had to do some thoughtful planning before I attempted to shoot them. I started out by buying several tropical plants...

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Lighting
Enshrouded In Fog; Tips On Capturing That Soft And Subtle Light
Jim Zuckerman  |  Oct 01, 2006

One of my favorite times to shoot landscapes is when a thick fog has descended on the land and engulfed everything in sight. It is a magical thing to experience, and for fine art nature photographers it doesn't get any better. We all love to shoot scenes with brilliant, saturated colors and crystal clear air typical of well-known national parks like Bryce Canyon and Monument...

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Pro Techniques
Time Travel; Using Still Images To Imply Motion
Jim Zuckerman  |  Aug 01, 2006

Photography can do two things that no other artistic medium can do: It can freeze motion so we are able to examine every detail in a fast-moving subject, thus revealing things that our eyes could never catch; and it can blur the same subject to express the fluidity and aesthetics of motion. When you blur a subject with a long enough shutter speed, it blends the background with a...

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Lighting
Lesson Of The Month
Whiteout
Jim Zuckerman  |  Dec 01, 2001

My favorite season for nature photography is winter. The air is crystal clear, trees often stark, graphic forms against a background of dazzling whiteness, and the profound quiet and solitude of a frigid day in the wild can be an overwhelming...

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Newsletter
Composite Project
Jim Zuckerman  |  Apr 26, 2011

I was privileged to be able to photograph a champion Gypsy Vanner horse, Romeo, with a beautiful model in period costume. I chose late afternoon about an hour before sunset to take advantage of the spectacular backlighting on the blond mane, the tail, and the feathering around the feet. For this particular photo session, I wasn’t able to shoot Romeo in an open field, and the corral fence behind him (#1) bothered me at the time but there were no other options. I knew I wanted to separate my subjects from the background at a later point in time during post-processing, but what makes this breed of horse so beautiful—the long, flowing hair—is a nightmare to deal with in composite work.

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