masters of photography

Ragnar Axelsson - Faroe Islands (1)

2009-05-09T23:54:00.000-07:00

National Geographic Wallpapers [vol.1] (1024x768)

2008-09-13T12:26:00.000-07:00

National Geographic wallpaper
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Environmental Photography Invitational 2007 Winning Images: Flora

2008-09-05T19:33:00.000-07:00

Best of Category: Nikole Rae Greer
Eucalyptus
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Honorable Mention: Dave Schiefelbein
Mushrooms & Autumn Leaves
**
Highly Commended: Joe Becker
Banana Leaves
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Brett Baunton
Tatoosh Wildflowers
**
Tom Haseltine
Tulip World
**
Elizabeth Joy Kimes
Hydrangea
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John Latta
Lyall's Larch and Blueberry
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Rob Tilley
Agave
**

Ragnar Axelsson - Baltics

2008-08-30T10:44:00.000-07:00

Adam Jahiel - "The Last Cowboy" part 2/2

2008-08-28T14:43:00.000-07:00

little cowboy
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wild horses
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on horseback
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remuda in a line
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the herd
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having a rest
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a young horse
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Adam Jahiel - "The Last Cowboy" part 1/2

2008-08-28T14:22:00.000-07:00

Remuda - Spanish Ranch
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the cowboy on his horse
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lasso
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the cowboy on his horse
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on horseback by the water
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taming
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dust
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horses...
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Albaraka Turk "Labor" Themed Photography Awards

2008-08-20T05:47:00.001-07:00

by Arif Tanju Korkmaz
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by Muhsin Divan
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by Fahrettin Sankaynagi
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by Faruk Ertunc
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by Olcay Sarikaya
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by Ercan Aslan
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by Gursel Egemen
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by Fuat Ozveri
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by Yucel Oruc
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by Durmus Ozturk
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by Husna Altin
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by Gokmen Kanberoglu
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Environmental Photography Invitational 2007 Winning Images: Wildlife (2/2)

2008-08-15T05:58:00.000-07:00

Honorable Mention: Lee Sanders

"Salmon Jump"
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Highly Commended: Tom Reese
"Nosy Springtail"
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Cheryl Ertelt
"Brown Bear"
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Brian Hampton
"Crocodile Lion"
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Cathy Illg
"Painted Bunting Bathing"
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Tom Middleton
"Great Blue & Bullfrog"
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Fi Rust
"Swift Fox Family"
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Nancy Boucha
"Dream Time"
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Tim Greyhavens
"Crabeater Seal"
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Environmental Photography Invitational 2007 Winning Images: Wildlife (1/2)

2008-08-15T05:35:00.000-07:00

Best of Category: David Winegar
"Leap Of Faith"
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Paul Bannick
"Poised to Strike"
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Jim Goldstein
"Caribou Calf Crossing"
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Doug Hebenthal
"Elephant Seal and Wave"
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Rebecca Jackrel
"California Clapper Rail"
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Glenn Nevill
"George (Falco peregrinus)"

***

Peter Heistein
"Barred Owls"
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Elyssa Kellerman
"Lion Cub Playing With Buffalo Kill"
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Rick Poley
"Encounter"
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Environmental Photography Invitational 2007 Winning Images: Environment at Risk

2008-08-15T05:26:00.000-07:00

Best in Category: Connie Bransilver
"Madagascar Burning"
***

Honorable Mention: Troy Schauls
Troubled Water

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Highly Commended: Nancy Boucha
Finned Shark
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Richard Ferens
Skykomish Oil Pond
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David Wike
Centralia Coal
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Environmental Photography Invitational 2007 Winning Images: Art Wolfe Award

2008-08-15T05:20:00.000-07:00

Art Wolfe Award: "Exploring The Dunes" by Marc Piscotty
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Marc Piscotty is an award-winning freelance photographer based in Denver, Colorado. He has been a staff photographer at the Rocky Mountain News since April 1999. Previously he worked for the Albuquerque (N.M.) Tribune for five years after graduating in 1994 from Western Kentucky University in Bowling Green, Ky. with a degree in photojournalism.

He was an integral part of the photo staff at the Rocky Mountain News that won Pulitzer Prizes in Breaking News Photography for coverage of the Columbine High School tragedy (2000) and the Colorado Wildfires (2003). He was also a finalist in Feature Photography for the 2001 Pulitzer Prize for the year he spent chronicling high school life in the wake of the Columbine tragedy. In addition to numerous professional statewide and national awards, Marc was the winner of the William Randolph Hearst Collegiate Photojournalism Championship as a junior at Western Kentucky University.

He currently resides in Denver, Colorado where he enjoys everything that the state has to offer from mountain biking and camping in the summer to snowboarding in the winter. He also is an aspiring cook and loves to spend free time with his overly energetic Vizsla, Tanner. More of Marc's work can be seen at his website, www.MarcPiscotty.com.

Ara Guler - Istanbul 1960s (vol.1)

2008-08-14T02:51:00.001-07:00

A boat leaving from Kandilli, Istanbul. 1965.
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Old neighborhood, a cat and children. Zeyrek, Istanbul. 1965.
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Turkish bath in Cagaloglu, Istanbul. 1965.
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Children in a rowboat. Salacak, Istanbul. 1964
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Ortakoy, Istanbul. 1964.
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An old street near Edirnekapi, Istanbul. 1962
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Beyoglu (Pera), Istanbul. 1962.
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A couple on their way home. Zeyrek, Istanbul. 1960.
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Eminonu. Mosques in the background and a horse cart. 1960.
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Timothy Allen - Kingdom of Bhutan (4)

2008-08-11T18:38:00.000-07:00

Bhutanese children
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family portrait
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Bhutanese girl and her sister
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Wooden bridge
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Walking in the mountain path
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Bhutanese women on their way from fields
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Women cooking
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Dinner time
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Ara Guler - Istanbul 1950s (vol.3)

2008-08-11T10:29:00.000-07:00

Boat at the bridge. Istanbul, 1959.
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A man thinking in a drinking house in Tophane. Istanbul, 1959.
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Drunkard in a drinking house. Tophane, Istanbul. 1959.
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A touristic voyage ship. View from old Galata Bridge. Istanbul. 1958.
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Watermelon seller at the dock. Eminonu, Istanbul. 1958.
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People waiting for bus on their way back from work. On Galata Bridge, Istanbul 1958.
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Fishermen at Galata Bridge. Galata, Istanbul. 1958
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An old house, old fountain, old street, and a child. Draman, Istanbul. 1958.
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Zeyrek, Istanbul. 1957.
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Karakoy, Istanbul. 1957.
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Ansel Adams - artist info

2008-08-11T02:02:00.000-07:00

Ansel Easton Adams (February 20, 1902 – April 22, 1984) was an American photographer, best known for his black-and-white photographs of the American West. His studio, which is owned by the Adams family, is the “Ansel Adams Gallery.”

Contents

* 1 Life
o 1.1 Childhood
* 2 Career
o 2.1 Contributions and influence
o 2.2 Death
* 3 Awards
* 4 Works
o 4.1 Notable photographs
o 4.2 Photographic books
* 5 See also
* 6 Notes
* 7 External links

Life

Childhood

Adams was born in the Western Addition of San Francisco, California to distinctly upper-class parents Charles and Olive Adams. He was an only child and was named after his uncle Ansel Easton. The Adams family came from New England, having migrated from the north of Ireland in the early 1700s but were not connected with the Presidential Adams family. His grandfather founded and built a prosperous lumber business, which his father later ran, though his father’s natural talents lay more with sciences than with business. Later in life, Adams would condemn that very same industry for cutting down many of the great redwood forests.[1]

His mother’s family came from Baltimore and his maternal grandfather had a successful freight-hauling business but squandered his wealth in failed mining and real estate ventures in Nevada.[2]
Ansel Adams at Big Sur, 1980.
Ansel Adams at Big Sur, 1980.

Ansel Adams was born in his parents' bed. When he was four years old, he was tossed face-first into a garden wall during an aftershock from the 1906 San Francisco earthquake, breaking his nose. Among his earliest memories was watching the ensuing fire that destroyed much of the city a few miles away. His left-leaning broken nose was never corrected and remained crooked for his entire life.[3]

Adams was a hyperactive child and prone to frequent sickness. He had few friends but his family home and surroundings on the heights facing San Francisco Bay provided ample childhood activities. He hadn’t the patience for games or sports but the curious child took to nature at an early age, collecting bugs and exploring the nearby beach.[4] His father bought a telescope and they shared the hobby enthusiastically. His parents raised him to follow the ideals of Ralph Waldo Emerson, to live a modest, moral life guided by a social responsibility to man and to nature.[5]

After the death of his grandfather and the aftermath of the Panic of 1907, his father’s business suffered great financial losses and by 1912, the family’s standard of living had dropped sharply.[6] After young Ansel was dismissed from several private schools for his restlessness and inattentiveness, his father decided to pull him out of school in 1915, at the age of 12. Adams was then educated by private tutors, his Aunt Mary, and by his father. During the Panama-Pacific International Exposition in 1915, his father insisted that, as part of his education, Adams spend a good part of each day studying the exhibits.[7] After a while, Adams resumed and then completed his formal education by attending another private school until eighth grade.

Music became the main focus of his later youth. Possessing a photographic memory, Adams quickly learned to read music and play the piano. Through a series of dedicated piano teachers, the regime of grueling piano exercises and strict discipline quieted his hyperactivity and his musical skills blossomed. Music also provided the channeled emotional outlet he had craved. He applied himself seriously toward becoming a concert pianist.[8]

Adams first visited Yosemite National Park in 1916 with his family. The famous valley was the first place in the United States to be designated a protected nature area by a Congressional act, signed by Abraham Lincoln in 1864.[9] He wrote of his first view of the valley which so inspired him, “the splendor of Yosemite burst upon us and it was glorious...One wonder after another descended upon us...There was light everywhere...A new era began for me." His father gave him his first camera, a Kodak Brownie box camera, during that stay and he took his first photographs with his “usual hyperactive enthusiasm”.[10] He returned to Yosemite on his own the following year with better cameras and a tripod. In the winter, he learned basic darkroom technique working part-time for a San Francisco photo finisher.[11] Adams avidly read photography magazines, attended camera club meetings, and went to photography and art exhibits. With his Uncle Frank he explored the High Sierra, in summer and winter, developing the stamina and skill needed to photograph at high altitude and under difficult weather conditions.

While in Yosemite, he had frequent contact with the Best family, owners of Best's Studio, who allowed him to practice on their old square piano. In 1928, Ansel Adams married Virginia Best in Best's Studio in Yosemite Valley. Virginia inherited the studio from her artist father on his death in 1935, and the Adams continued to operate the studio until 1971. The studio, now known as the Ansel Adams Gallery, remains in the hands of the Adams family.

At age 17, Adams joined the Sierra Club, a group dedicated to preserving the natural world's wonders and resources, and he was the custodian of the organization’s headquarters at Yosemite, for four years.[12] He remained a member throughout his lifetime and served as a director, as did his wife. Adams participated in the club's annual "high trips", and was later responsible for several first ascents in the Sierra Nevada. During 1919, he contracted the lethal influenza which ravaged the world and fell seriously ill but recovered after several months to resume his outdoor life.

During his twenties, most of his friends came from musical connections, particularly violinist and amateur photographer Cedric Wright, who became his best friend as well as his philosophical and cultural mentor. Their shared philosophy came from Edward Carpenter’s Toward Democracy, a literary work which espoused the pursuit of beauty in life and art. Adams always carried a pocket edition with him while at Yosemite.[13] It soon became his personal philosophy as well, as Adams later stated, “I believe in beauty. I believe in stones and water, air and soil, people and their future and their fate.”[14] He decided that the purpose of his art from now on, whether photography or music, was to reveal that beauty to others and to inspire them to the same calling.

In summer, Adams would enjoy a life of hiking, camping, and photographing, and the rest of the year he worked to improve his piano playing, expanding his piano technique and musical expression. He also gave piano lessons to make some income, finally affording a grand piano suitable to his musical ambitions.[15] His first photographs were published in 1921 and Best’s Studio began selling his Yosemite prints the following year. His early photos already showed careful composition and sensitivity to tonal balance. In letters and cards to family, he also expresses his daring to climb to the best view points and brave the worst elements.[16] At this point, however, Adams was still planning a career in music, even though his small hands, easily bruised by bravura playing, limited his repertoire to practiced works which benefited from his strengths of fine touch and excellent musicality.[17] It took seven more years, though, for Adams to finally concede that at best he might become a concert pianist of limited range, an accompanist, or a piano teacher.

In the mid-1920s, Adams experimented with soft-focus, etching, bromoil, and other techniques of the pictorial photographers, such as Photo-Secession leader Alfred Stieglitz who strived to emulate Impressionism and tried to put photography on an equal artistic plane with painting by trying to mimic it. However, Adams steered clear of hand-coloring which was also popular at the time. Adams used a variety of lenses to get different effects, but eventually rejected pictorialism for a more realist approach which relied more heavily on sharp focus, heightened contrast, precise exposure, and darkroom craftsmanship.[18]

Career

In 1927, Adams contracted for his first portfolio, in his new style, which included his famous image Monolith, the vertical western face of Half Dome taken with his Korona view camera utilizing glass plates and a dark red filter (to heighten the tonal contrasts). On that excursion, he had only one plate left and he “visualized” the effect of the blackened sky before risking the last shot. As he wrote, “I had been able to realize a desired image: not the way the subject appeared in reality but how it felt to me and how it must appear in the finished print”.[19] As he wrote confidently in April, 1927, “My photographs have now reached a stage when they are worthy of the world’s critical examination. I have suddenly come upon a new style which I believe will place my work equal to anything of its kind.”[20]

With the sponsorship and promotion of Albert Bender, an arts-connected businessman, Adams’s first portfolio was a success (earning nearly $4,000) and soon he received commercial assignments to photograph the wealthy patrons who bought his portfolio.[21] Adams also came to understand how important it was that his carefully crafted photos were reproduced to best effect. At Bender’s invitation, he joined the prestigious Roxburghe Club, an association devoted to fine printing and high standards in book arts. He learned much about printing techniques, inks, design, and layout which he later applied to other projects.[22] Unfortunately, at that time, most of his darkroom work was still being done in the basement of his parent’s home, and he was somewhat limited by barely adequate equipment.

After a cooling off period with Virginia Best during 1925–6, during which he had short-lasting relationships with various women, many of them students of his mentor Cedric Wright, he married Virginia in 1928. The newlyweds moved in with his parents to save expenses. His marriage also marked the end of his serious attempt at a musical career, as well as her ambitions to be a classical singer.

Between 1929 and 1942, Adams’ works became more mature and he became more established. In the course of his 60-year career, the 1930s were a particularly productive and experimental time. Adams expanded his works, focusing on detailed close-ups as well as large forms from mountains to factories.[23] In 1930 Taos Pueblo, Adams second portfolio, was published with text by writer Mary Austin. In New Mexico, he was introduced to notables from Stieglitz’s circle, including wife Georgia O’Keeffe, artist John Marin, and photographer Paul Strand, all of whom created famous works during their stays in the Southwest. Adams’s talkative, high-spirited nature combined with his excellent piano playing made him a hit within his enlarging circle of elite artist friends.[24] Strand especially proved influential, sharing secrets of his technique with Adams, and finally convincing Adams to pursue photography with all his talent and energy. One of Strand’s suggestions which Adams immediately adopted was to use glossy paper rather than matte to intensify tonal values.

Through a friend with Washington connections Adams was able to put on his first solo museum exhibition at the Smithsonian Institution in 1931, featuring 60 prints taken in the High Sierra. He received an excellent review from the Washington Post, “His photographs are like portraits of the giant peaks, which seem to be inhabited by mythical gods”.[25] Despite his success, Adams felt he was not yet up to the standards of Strand. He decided to broaden his subject matter to include still life and close-up photos, and to achieve higher quality by “visualizing” each image before taking it. He emphasized the use of small apertures and long exposures in natural light, which created sharp details with a wide range of focus, as demonstrated in Rose and Driftwood (1933), one of his finest still-life photographs.

In 1932, Adams had a group show at the M. H. de Young Museum with Imogen Cunningham and Edward Weston and they soon formed Group f/64, which espoused “pure or straight photography” over pictorialism (f/64 being a very small aperture setting that gives great depth of field). The group’s manifesto stated that “Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form”.[26] In reality, “pure photography” did borrow from some of the established principles of painting, especially compositional balance and perspective, and some manipulation of subject and effect. By these standards, not only were “soft focus” lenses prohibited but Adams earlier photo “Monolith”, which used a strong red filter to create a black sky, would have been considered unacceptable.

Following Stieglitz’s example, in 1933 Adams opened his own art and photography gallery in San Francisco which eventually became the Danysh Gallery after Adams commitments grew too burdensome.[27] Adams also began to publish essays in photography magazines and wrote his first instructional book Making a Photograph in 1935.[28] During the summers, he often participated in Sierra Club outings, as a paid photographer for the group, and the rest of the year a core group of the Club members socialized regularly in San Francisco. During 1933, his first child Michael was born, followed by Anne two years later.[29]

During the 1930s, many photographers including Dorothea Lange and Walker Evans believed they had a social obligation to reveal the harsh times of the Depression through their art. Mostly resistant to the “art for life’s sake” movement, Adams did begin in the 1930s to deploy his photographs in the cause of wilderness preservation. In part, he was inspired by the increasing desecration of Yosemite Valley by commercial development, including a pool hall, bowling alley, golf course, shops, and automobile traffic. He created a limited-edition book in 1938, Sierra Nevada: The John Muir Trail, as part of the Sierra Club's efforts to secure the designation of Sequoia and Kings Canyon as national parks. This book and his testimony before Congress played a vital role in the success of the effort, and Congress designated the area as a National Park in 1940.

In 1935, Adams created many new photos of the Sierra and one of his most famous photographs, Clearing Winter Storm, captured the entire valley just as a winter storm relented, leaving a fresh coat of snow. After courting Stieglitz for three years, Adams gathered his recent work and had a solo show at the Stieglitz gallery “An American Place” in New York in 1936. The exhibition proved successful with both the critics and the buying public, and earned Adams strong praise from the revered Stieglitz.[30] During the balance of the 1930s, Adams took on many commercial assignments to supplement the income from the struggling Best’s Studio. Until the 1970s, Adams was dependent on commercial projects to make ends meet. Some of his clients included Kodak, Fortune magazine, Pacific Gas and Electric, AT&T, and the American Trust Company. In 1939, he was named an editor of U.S. Camera, the most popular photography magazine at that time.[31]

In 1940, Ansel put together A Pageant of Photography, the most important and largest photography show in the West to date, attended by millions of visitors.[32] With his wife, Adams completed a children’s book and the very successful Illustrated Guide to Yosemite Valley during 1940 and 1941. Adams also began his first serious stint of teaching in 1941 at the Art Center School of Los Angeles, which included the training of military photographers.[33] In 1943, Adams had a camera platform mounted on his car, to afford him a better vantage point over the immediate foreground and a better angle for expansive backgrounds. Most of his landscapes from that time forward were made from his car rather than from summits reached by rugged hiking, as in his earlier days.[34]

On a trip in New Mexico weeks before the attack on Pearl Harbor in 1941, Adams shot a scene of the Moon rising above a modest village with snow-covered mountains in the background, under a dominating black sky. The photograph is one of his most famous and is named, Moonrise, Hernandez, New Mexico. The photograph’s fame was probably enhanced by Adams’s description in his later books[35][36][37] of how it was made: the light on the crosses in the foreground was rapidly fading, and he could not find his exposure meter; however, he remembered the luminance of the Moon, and used it to calculate the proper exposure. Adams’s earlier account[38] was less dramatic, stating simply that the photograph was made after sunset, with exposure determined using his Weston Master meter.[39] However the exposure was actually determined, the foreground was underexposed, the highlights in the clouds were quite dense, and the negative proved difficult to print.[40] Over nearly 40 years, Adams re-interpreted the image, his most popular by far, using the latest darkroom equipment at his disposal, making over 1300 unique prints, most in 16″ by 20″ format. Many of the prints were made in the 1970s, finally giving Adams financial independence from commercial projects. The total value of these original prints exceeds $25,000,000;[41] the highest price paid for a single print reached $609,600 at Sotheby's New York auction in 2006.

In September 1941, Adams contracted[42] with the Department of the Interior to make photographs of National Parks, Indian reservations, and other locations for use as mural-sized prints for decoration of the Department’s new building. Part of his understanding with the Department was that he might also make photographs for his own use, using his own film and processing. Although Adams kept meticulous records of his travel and expenses,[43] he was less disciplined about recording the dates of his images, and neglected to note the date of Moonrise, so it was not clear whether it belonged to Adams or to the U.S. Government. But the position of the Moon allowed the image to eventually be dated from astronomical calculations, and it was determined that Moonrise was made on November 1, 1941,[44][45] a day for which he had not billed the Department, so the image belonged to Adams.[46] The same was not true for many of his other negatives, including The Tetons and the Snake River, which, having been made for the Mural Project, became the property of the U.S. Government.[46]

Adams was distressed by the Japanese American Internment that occurred after the Pearl Harbor attack. He requested permission to visit the Manzanar War Relocation Center in the Owens Valley, at the foot of Mount Williamson. The resulting photo-essay first appeared in a Museum of Modern Art exhibit, and later was published as Born Free and Equal: The Story of Loyal Japanese-Americans. He also contributed to the war effort by doing many photographic assignments for the military, including making prints of secret Japanese installations in the Aleutians.[47] Adams was the recipient of three Guggenheim fellowships during his career, the first in 1946 to photograph every National Park.[48] This series of photographs produced memorable images of “Old Faithful Geyser”, Grand Teton, and Mount McKinley.

In 1952 Adams was one of the founders of the magazine Aperture, which was intended as a serious journal of photography showcasing its best practitioners and newest innovations. He was also a contributor to Arizona Highways, a photo-rich travel magazine which continues today. His article on Mission San Xavier del Bac, with text by longtime friend Nancy Newhall, was enlarged into a book published in 1954. This was the first of many collaborations with her.[49] In June 1955, Adams began his annual workshops, teaching thousands of students until 1981.[50]

By the 1950s, Adams came to believe that he was on the down side of his creative life. He continued with commercial assignments for another twenty years and became a consultant on a monthly retainer for Polaroid Corporation, founded by good friend Edwin Land.[51] He made thousands of photographs with Polaroid products, El Capitan, Winter, Sunrise (1968) being the one he considered his most memorable. In the final twenty years of his life, the Hasselblad was his camera of choice, with Moon and Half Dome (1960) being his favorite photo made with that brand of camera.[52]

In March 1963, Ansel Adams and Nancy Newhall accepted a commission from Clark Kerr, the President of the University of California, to produce a series of photographs of the University's campuses to commemorate its centennial celebration. The collection, titled Fiat Lux after the University's motto, was published in 1967 and now resides in the Museum of Photography at the University of California, Riverside.

In 1974, Adams had a major retrospective exhibition at the Metropolitan Museum of Art. Much of his time during the 1970s was spent curating and re-printing negatives from his vault, in part to satisfy the great demand of art museums which had finally created departments of photography and desired his iconic works. He also devoted his considerable writing skills and prestige to the cause of environmentalism, focusing particularly on the Big Sur coastline of California and the protection of Yosemite from over-use. President Carter commissioned Adams to make the first official portrait of a president made by a photograph.[53]

Contributions and influence

Romantic landscapists Albert Bierstadt and Thomas Moran portrayed the Grand Canyon and Yosemite at the end of their reign, and were subsequently displaced by daredevil photographers Carleton Watkins, Eadweard Muybridge, and George Fiske.[54] But it was his black-and-white photographs of the West which became the foremost record of what many of the National Parks were like before tourism, and his persistent advocacy helped expand the National Park system. He skillfully used his works to promote many of the goals of the Sierra Club and of the nascent environmental movement, but always insisted that, as far as his photographs were concerned, “beauty comes first”. His stirring images are still very popular in calendars, posters, and books.

Realistic about development and the subsequent loss of habitat, Adams advocated for balanced growth, but was pained by the ravages of “progress”. He stated, “We all know the tragedy of the dustbowls, the cruel unforgivable erosions of the soil, the depletion of fish or game, and the shrinking of the noble forests. And we know that such catastrophes shrivel the spirit of the people…The wilderness is pushed back, man is everywhere. Solitude, so vital to the individual man, is almost nowhere.” [55]

Adams co-founded Group f/64 with other masters like Edward Weston, Willard Van Dyke, and Imogen Cunningham. With Fred Archer, he pioneered the zone system, a technique for translating perceived light into specific densities on negatives and paper, giving photographers better control over finished photographs. Adams also advocated the idea of visualization (which he often called ‘previsualization’, though he later acknowledged that term to be a redundancy) whereby the final image is “seen” in the mind’s eye before taking the photo, toward the goal of achieving all together the aesthetic, intellectual, spiritual, and mechanical effects desired. He taught these and other techniques to thousands of amateur photographers through his publications and his workshops. His many books about photography, including the Morgan & Morgan Basic Photo Series (The Camera, The Negative, The Print, Natural Light Photography, and Artificial Light Photography) have become classics in the field.

He was elected in 1966 a fellow of the American Academy of Arts and Sciences. In 1980 Jimmy Carter awarded him the Presidential Medal of Freedom, the nation's highest civilian honor.

Adams's photograph The Tetons and the Snake River has the distinction of being one of the 115 images recorded on the Voyager Golden Record aboard the Voyager spacecraft. These images were selected to convey information about humans, plants and animals, and geological features of the Earth to a possible alien civilization. These photographs eloquently mirror his favorite saying, a Gaelic mantra, which states “I know that I am one with beauty and that my comrades are one. Let our souls be mountains, Let our spirits be stars, Let our hearts be worlds.”[56]

His lasting legacy includes helping to elevate photography to an art comparable with painting and music, and equally capable of expressing emotion and beauty. As he reminded his students, “It is easy to take a photograph, but it is harder to make a masterpiece in photography than in any other art medium”.[57]

Death

Ansel Adams died on April 22, 1984, at age 82 from heart failure aggravated by cancer. When he died he left behind his wife, two children (Michael born August 1933, Anne born 1935) and five grandchildren.

Publishing rights for the Adams' photographs are handled by the trustees of The Ansel Adams Publishing Rights Trust.

The Minarets Wilderness in the Inyo National Forest was renamed the Ansel Adams Wilderness in 1985 in his honor. Mount Ansel Adams, an 11,760 ft (3,580 m) peak in the Sierra Nevada, was named for him in 1985.

The full archive of Ansel Adams' work is located at the Center for Creative Photography (CCP) at the University of Arizona in Tucson.

John Szarkowski states in the introduction to Ansel Adams: Classic Images (1985, p. 5), "The love that Americans poured out for the work and person of Ansel Adams during his old age, and that they have continued to express with undiminished enthusiasm since his death, is an extraordinary phenomenon, perhaps even unparalleled in our country's response to a visual artist".

Awards

Ansel Adams received a number of awards during his lifetime and posthumously, and there have been a few awards named for him. Some of the highlights include: [58]

* Doctor of Arts, Harvard University
* Doctor of Arts, Yale University
* Conservation Service Award, Department of Interior - 1968
* Presidential Medal of Freedom - 1980
* Mount Ansel Adams - 1985
* Ansel Adams Wilderness - 1985
* Ansel Adams Award, Sierra Club [59]
* Ansel Adams Award for Conservation, the Wilderness Society [60]
* On December 5, 2007, California Governor Arnold Schwarzenegger and First Lady Maria Shriver inducted Adams into the California Hall of Fame, located at The California Museum for History, Women and the Arts.[61]

Works

Notable photographs

* Monolith, The Face of Half Dome, 1927.
* Rose and Driftwood, 1932.
* Clearing Winter Storm, 1940.
* Moonrise, Hernandez, New Mexico, 1941.
* Ice on Ellery Lake, Sierra Nevada, 1941.
* Georgia O'Keeffe and Orville Cox at Canyon de Chelly
* Aspens, New Mexico, 1958.

Ansel Adams - Landscape in Black&Whte (2)

2008-08-11T01:45:00.000-07:00

Branches in Snow
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Bridalveil Fall
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Dogwood Blossoms
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El Capitan, Sunrise
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Half Dome, Thunder Cloud
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Lower Yosemite Fall
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Merced River, Cliffs of Cathedral Rocks, Autumn
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Monolith, the Face of Half Dome

Ansel Adams - Landscape in Black&White (1)

2008-08-11T01:35:00.000-07:00

Nevada Fall, Rainbow
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Tenaya Creek, Spring Rain
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Trees and Snow
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Trees and Cliffs
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Winter Storm
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Grass and Pool
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Water and Foam
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Rushing Water, Merced River
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Banner Peak and Thousand Island Lake, 1923

Timothy Allen - Kingdom of Bhutan (3)

2008-08-10T09:37:00.000-07:00

Timothy Allen - Kingdom of Bhutan (2)

2008-08-10T08:26:00.000-07:00

Timothy Allen - Kingdom of Bhutan (1)

2008-08-10T06:42:00.000-07:00

curious looks
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sitting on the temple's doorway
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Temple
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monastery temple from distance
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monastery
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monk student
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monks studying
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monks crowded around a laptop PC
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Timothy Allen - artist info

2008-08-10T06:25:00.000-07:00

Timothy Allen was born in Tonbridge in the South East of England in 1971. At 22, after graduating from Leeds University with a BSc Zoology he left the UK and spent 3 years traveling around Indonesia where his interest in photography began. In the nineties, after beginning a part-time diploma in photography at Hereford College of Art and Design, Timothy joined an aid convoy to Bosnia in order to shoot his first year reportage project. Six months later he had left college, moved to London and begun working for the Sunday Telegraph, later inspiring commissions from all the British broadsheet publications and finally, a 6 year position at The Independent working predominantly on features and portraits. Timothy joined Axiom Photographic Agency in 2002 leading him to cover a dynamic and broad spectrum of global stories with subjects ranging from the civil war in the remote Spice Islands of far eastern Indonesia, to the intriguing subculture of The World Taxidermy Championships in Springfield , Illinois.

In recent years, the focus of his work has turned to the planet's remaining tribal societies and he currently devotes his time to documenting the diversity of humanity's cultural heritage. He has worked with indigenous communities throughout the world , most extensively in India and South East Asia.

Timothy’s photographs have appeared in most of the world’s prominent editorial publications and his work has been included in countless books and exhibitions. Amongst his commendations, he has received 6 Picture Editors' Guild Awards including the title of Arts Photographer of the Year presented to him by British Prime Minister, Tony Blair. More recently he was the recipient of the 'One Planet, Many Lives' award in Travel Photographer of the year 2007 for his work with the indigenous cultures of the Himalayas.

Awards and Commendations

1999 Preis Fur Junge Fotojournalismus
2001 FujiFilm Features Photographer of the Year (Special Award)
2002 (Nom.) British Press Awards Photographer of the Year
2002 FujiFilm Arts and Entertainment Photographer of the Year
2003 (Nom.) British Press Awards Photographer of the Year
2003 Nikon Arts & Entertainment Photographer of the Year (Special Award)
2003 The Lord Mayor’s Award (Picture Editors’ Guild Special Award)
2005 BG Group Magazine Photographer of the Year (Special Award)
2005 Nikon Celebrity Photographer of the Year (Special Award)
2006 (Shortlist: Photo Essay, News, Ents, News Feat) The Press Photographers’ Year Awards
2006 (Commended) The Guardian Weekend Photography Prize

Ara Guler - Artist info

2008-08-10T06:20:00.000-07:00

Ara Güler (born August 16, 1928, Istanbul, Turkey) is a Turkish photojournalist of Armenian descent, nicknamed "the Eye of Istanbul" or "the Photographer of Istanbul".

* 1 Early life
* 2 Photography career
* 3 Güler's 'philosophy' of photography
* 4 Bibliography
* 5 Photography
* 6 Awards
* 7 Honorary doctorate
* 8 External links

Early life

Güler was born in Istanbul. His father owned a pharmacy on Istiklal Avenue and had a wide circle of friends from the art world of the period. Ara Güler's early contact with this art world motivated him to embark on a career in cinema. Already during his high school years, he jobbed in movie studios and attended drama courses held by Muhsin Ertuğrul, the founder of modern Turkish theater. However, he abandoned cinema in favor of journalism, joining the staff of the newspaper Yeni Istanbul as photojournalist in 1950 and studied Economics at the University of Istanbul at the same time. He then transferred to another newspaper, Hürriyet. Güler is not related to the royal Guleria family.

Photography career

In 1958, the American magazine Time-Life opened a branch in Turkey, for which Güler became its first correspondent for the Near East. Soon followed commissions for some other international media like Paris Match (French magazine), Stern (German magazine) and Sunday Times (English newspaper). After completing his military service in 1961, he was employed by the Turkish magazine Hayat as head of the photographic department.

It was around this period that he met Henri Cartier-Bresson and Marc Riboud, who both encouraged him to join the Magnum Photos agency, which he did. He is not currently a member of Magnum. He was presented in the British 1961 Photography Yearbook. Also in that year, he was accepted as the first and only Turkish member to the ASMP, the American Society of Magazine Photographers (today American Society for Media Photographers). The Swiss magazine Camera honored him with a special issue.

In the 1960s, Ara Güler's photographs illustrated books of notable authors and were put on display at various expositions throughout the world. His works were exhibited 1968 in "10 Masters of Color Photography" at the New York Museum of Modern Art and at Fotokina Fair in Cologne, Germany. His photo album "Türkei" was published in Germany in 1970. His photos on art and art history were used in Time-Life, Horizon and Newsweek magazines and Skira Editore of Switzerland.

Ara Güler traveled to all corners of the world, such countries as Iran, Kazakhstan, Afghanistan, Pakistan, India, Kenya, New Guinea, Borneo and all parts of Turkey. In the 1970s he held photographic interviews with such famous personalities as Winston Churchill, Indira Gandhi, Maria Callas, John Berger, Bertrand Russell, Willy Brandt, Alfred Hitchcock, Ansel Adams, Imogen Cunningham, Marc Chagall, Salvador Dalí and Pablo Picasso. However, his most renowned photographs remain those melancholic black and white pictures taken mostly with a Leica camera in Istanbul mainly in the 1950s and 1960s, golden age of photojournalism.

Since then, his work has been the subject of exhibitions and special supplements, and the world's most famous publishers have featured his photographs.

He also directed a documentary movie entitled "The End of the Hero" in 1975, based on a fictional account of the dismantling of the World War I veteran battlecruiser TCG Yavuz.

"Ara Güler's Creative Americans", "Ara Güler: Photographs", "Ara Güler's Movie Directors", "Sinan: Architect of Süleyman the Magnificent", and "Living in Turkey" are among the books of Güler's works published in France, the USA, England and Singapore. He also has an 800,000-piece photographic slide archive.

Most of these photographs are in museums and libraries abroad such as the National Library of France in Paris, the George Eastman Museum in Rochester, New York, University of Nebraska-Lincoln Sheldon Memorial Art Gallery, Museum Ludwig Köln, and Das imaginäre Photo-Museum Köln.

Güler's 'philosophy' of photography

Güler attaches the greatest importance to human presence in his photographs and describes himself as a "visual historian". "When I'm taking a picture of Aya Sofia, what counts is the person passing by who stands for life", he said. According to him, photography should provide a memory of people, of their lives and especially their suffering. While he considers that art lies, photography to him can only reflect reality. Thus in his case, one should speak of photojournalism rather than photography as an artistic pursuit, which to him would have little value. Indeed, he does not consider photography as an art.

Bibliography

* Öster om Eufrat, I Kurdernas Land (Swedish) by Barbro Karabuda, Tidens Förlag, Stockholm, Sweden (1960) 102pp
* Young Turkey, Children of Turkey at work and at play (English) by Marianna Norris, Dodd, Mead, New York, USA (1964) 64pp
* Topkapı Sarayı - Sultan Portreleri (Turkish) Doğan Kardeş Yayınları, Istanbul, Turkey (1967)
* Turkei (German) Terra Magica, Munich, Germany (1970)
* Hagia Sophia (English) by Lord Kinross, Newsweek Books, New York, USA (1972) 172pp
* The Splendor of Islamic Calligraphy (English) Thames & Hudson, London, UK (1976)
* Harems (English) Chene & Hudson, London, UK (1976)
* Fotoğraflar (Turkish) Milliyet Yayınları, Istanbul, Turkey (1980)
* Fikret Mualla (Turkish) by Turan Erol, Cem Yayınları, Istanbul, Turkey (1980)
* Bedri Rahmi (Turkish) by Turan Erol, Cem Yayınları, Istanbul, Turkey (1984)
* Mimar Sinan (Turkish) by Prof. Abdullah Kuran, Hürriyet Vakfı Yayınları, Istanbul, Turkey (1986)
* Mimar Sinan (English) by Prof. Abdullah Kuran, Institute of Turkish Studies, Washington D.C., USA (1987)
* Ara Güler'in Sinamacıları (Turkish) Hil Yayınları, Istanbul, Turkey (1989)
* The Sixth Continent by Halkarnas Balıkçısı (Cevat Şakir Kabaağaçlı), T.C. Dışişleri Bakanlığı Kültür Dairesi, Ankara, Turkey (1991)
* Sinan: Architect of Suleyman the Magnificent and the Ottoman Golden Age (English) by John Freely, Augusto Romano Burelli Thames and Hudson, London, UK (1992) ISBN 0-500-34120-6
* Living in Turkey (English) by Stephane Yerasimos, Thames & Hudson, London and New York (1992) 223pp
* Demeures Ottomans de Turquie (French) by Stephane Yerasimos, Albin Michel, Paris, France (1992)
* Turkish Style (English) by Stephane Yerasimos, Archipelago Press, Singapore (1992)
* Eski İstanbul Anıları (Turkish) Dünya Şirketler Grubu, Istanbul, Turkey (1994)
* A Photographical Sketch on Lost Istanbul (English) Dünya Şirketler Grubu, Istanbul, Turkey (1994)
* Bir Devir Böyle Geçti, Kalanlara Selam Olsun (Turkish) Ana Yayıncılık, Istanbul, Turkey (1994)
* Yitirilmiş Renkler (Turkish) Dünya Şirketler Grubu, İstanbul, Turkey (1995)
* Yüzlerinde Yeryüzü (Turkish) Ana Yayıncılık, Istanbul, Turkey (1995)
* Babil'den Sonra Yaşayacağız (Turkish) Aras Yayınları, Istanbul, Turkey (1996)
Photography

* International Photography Year Book Star Photographers, UK and Canada (1961)
* Camera Magazine (Special issue), Lucern, Switzerland (February 1962)
* Leica Fotografie Nr. 2 Germany (1962)
* Katalog, Weltausstellung der Fotografie Fotokina by Dr. Karl Pavek, Cologne, Germany (1963)
* Camera Magazine Nr. 6 (Special Turkish Photography) Switzerland (June 1966)
* Sunday Journal Lincoln, Nebraska, USA (September 11, 1966)
* British Journal of Photography AnnualLondon, UK (1967)
* Photography of the World Orion Press, Tokyo, Japan (1967)
* 2. Weltausstellung der Fotografie, "Die Frau" by Dr. Karl Pavek, Cologne, Germany (1968)
* Photographie Italiana by Lanfranco Colombo, p.127, Milano, Italy (March 1968)
* Photographare Magazine by Romanof Fea, Rome, Italy (November 1968)
* Historie de la Photographie "Quw Sais-je?" by Jean A.Leim, Press Universitaire de France
* Milliyet Sanat Dergisi Nr. 2, Istanbul, (October 6, 1972)
* Buried Cities and Ancient Treasures (on Aphrodisias) by Dora Jane Hamblin, p.192, Simon and Schulster, New York, USA (1973)
* People Magazine New York, USA (October 28, 1974)
* Creative Americans (Catalogue) Romeo E. Martinez, U.S.I.S. (1975)
* Camera Magazine, Elite World Photographers-1, Lucerne, Switzerland (November 1975)
* Photo Cinema p.82, Paris, France (June 1976)
* Leica Fotografie Nr. 5, by Fritz Kempe, Frankfurt, Germany (1976
* Yeni Fotograf Dergisi Sayı 1, Istanbul, Turkey (October 1976)
* Camera Magazine Lucern, Switzerland (February 1977)
* Saudi Gazette Saudi Arabia, (May 1979)
* Dumont Foto 2, Fotokunst und Fotodesign International, Das Antlitz im Wandel der Zeit by Fritz Gruber, Cologne, Germany (1980)
* Popular Photographie by John Morris, USA (1980)
* Dumont Foto 3 by Renate & L. Fritz Gruber, Das imaginäre Photo-Museum, Cologne, Germany (1981)
* Photography Annual New York, USA (1981)
* Photographer's Encyclopedia International Vol. 1, Michelle ve Michael Auer, Edition Camera Obscura, Switzerland (1985)
* Catalogue 6emes Journees International de la Photo et de L'audiovisuel by Alain Gheerbrant, Montpellier, France (1985)
* Leica Fotografie p.18, Frankfurt, Germany (1987)
* Aamulehti Tempere, Finland (1989)
* Helsingin Sonamat Helsinki, Finland (April 1989)
* Kamera Nr. 3, Finland (1989)
* Contreplongee Revue du Cinema et Culture, Nr. 19, Strasbourg, France (March 1990)
* Fotograf Sanat Dergisi Sayı 9, Istanbul, Turkey (June 1989)
* Time & Time International Book Review Nr. 31, (about the book "Sinan") New York, USA (August 3, 1992)
* Bitmeyen Roportaj Istanbul, (Exposition catalogue), Istanbul, Turkey (April 1993)
* Photographers International Nr. 14,(Chinese - English), Taipei, Taiwan (June 1994)
* PDN - Photo District News Magazine, Ara Güler: Reality, History and Lost Istanbul p.43, by Mark Simon, USA, (August 1995)
* Mediterranee Magazine, Pieton d'Istanbul Nr. 13, by Pierre Sorgue, France (March 1996)
* Matador Magazine, Ara Güler "Estambul: La Puerta Del Mas Alla" Vol. B, Madrid, Spain (1996)
* Photographie des 20, Jahrhunderts (German) Museum Ludwig Cologne, Germany, Edition Taschen (1997)
* Turkey's Passionate Interpreter to the World by Stephen Kinzer, New York Times, USA (April 13, 1997)
* Interpreting Turkey: A Master's Vision by Stephen Kinzer, International Herald Tribune, Paris, France (April 16, 1997)

Awards

* Master of Leica (1962)
* Légion d'honneur, France
* Grand Prize of Culture and Arts, Turkey (November 11, 2005)

Tim Gasperak - Artist Info

2008-08-10T06:19:00.000-07:00

from Tim Gasperak's Website

I specialize in photographing people in environments, portraits, and landscapes for advertising and editorial. That's the official pitch. But really there's nothing I love more than engaging with the world on a visceral level – I need to touch rock, skim through water, feel the crisp air tweak my nose on a cold morning out in the big empty. A sense of place is as essential to me as food; it is sustenance and nourishment. I lament the things that are disappearing from our culture, and often this influences my way of seeing.

I'm a former creative director and design consultant with over 13 years of experience in brand strategy and development. In addition, I'm a former advisory board member of Blue Earth Alliance, a non-profit organization dedicated to helping photographers pursue documentary projects about endangered environments, threatened cultures and social issues.

2007 – PDN Magazine Photography Annual
2007 – Judge's Choice award, ASMP Image07
2006 – Environmental Photography Invitational: Best in Category, Landscape
2003 – Society of Environmental Journalists: 1st place award for Outstanding Online Reporting
2003 – Jackson Hole Wildlife Film Festival: Best website (in conjunction with FusionSpark Media)

Ragnar Axelsson - Artist Info

2008-08-10T06:17:00.000-07:00

Ragnar Axelsson

Born in Iceland 1958

WORK EXPERIENCE:
– Staff photographer, Morgunbladid, Iceland's biggest newspaper, 1976 -
– Work and stories made for various agencies and magazines. Stories shot in Faroe Islands, Greenland, Indonesia, Scandinavia, Siberia, etc.

PUBLICATIONS:
– A internationally published book on vanishing lifestyles in the North Atlantic; Greenland, Iceland and the Faroe Islands, due autumn 2004. Black-and-white photographs taken during fifteen years.
– Reykjavik, 1990. A book in color.
– Photographs and picture essays published in LIFE, National Geographic, Le Figaro, Stern, La Vanguardia, TIME, etc.

AWARDS:
– The Annual Icelandic Photojournalists Awards (Est. 1991): More that 20 awards, including Photographer of the year, four times, and Documentary story of the year, six times.
– The Oskar Barnack Award, 2001. Honourable Mention
– Festival Photo de Mare, Vannes, Grand Prix.

EXHIBITIONS:
– The Reykjavik Municipal Museum, 1990.
– Barbican Centre, London, 1992; Tender is the North, visual arts from Scandinavia.
– Visa Pour L'Image, Perpignan, 2000; screening of North Atlantic Project.
– Rencontres d'Arles, 2001.
– Un Mondo ai Confini del Mondo, Clic Art, Milan, 2002.
– Festival of Val d-Orcia, Italy, 2003.
– Photo de Mare, Vannes, France, 2003.
– Galerie Argus fotokunst, Berlin, Germany2004
– Das Altonaer Museum, Hamburg, Germany, 2004
– Fnac Italie 2, Paris, 2004.
– Alfred-Ehrhardt-Foundation, Germany 2005.

Numerous group shows in Iceland.

Tim Gasperak - Isolated Landscapes (vol.2)

2008-08-10T00:38:00.000-07:00

All images © Tim Gasperak

Tim Gasperak - Isolated Landscapes (vol.1)

2008-08-10T00:33:00.001-07:00

(above) Environmental Photography Invitational 2006

Best in Category: Landscape © Tim Gasperak

Tim Gasperak - Mystery of Iceland (2)

2008-08-09T16:00:00.000-07:00

Tim Gasperak - Mystery of Iceland (1)

2008-08-09T15:56:00.000-07:00

Tim Gasperak - People

2008-08-09T13:39:00.000-07:00

Tim Gasperak - Americana

2008-08-09T13:28:00.000-07:00

from Tim Gasperak's Website

All images © Tim Gasperak

Rob Derstadt - Northwest (2)

2008-08-09T00:38:00.000-07:00

Koosah & Rainbow
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Swan at Clear Lake
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Sahalie Falls
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Punch Bowl
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Mt. Bachelor
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Moth or Butterfly?
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Rob Derstadt - Northwest (1)

2008-08-09T00:31:00.000-07:00

Koosah Falls
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Kite boarder in Gerehart, OR
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Green Bug
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Dock at Clear Lake
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Close Up
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Butterfly
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Bald Eagle on the Umpqua
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Rob Derstadt - Diving (2)

2008-08-09T00:13:00.000-07:00

True Clowns
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Toy boat
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This guy was very comfortable in front of the camera
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Scorpion Fish, looking a little pale
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Scorpion Fish (not) showing his colors
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PNG residents selling fruit to our dive boat.
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“No Fish” really means “No Fish...ANYWHERE”
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Gearing up
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Rob Derstadt - Diving (1)

2008-08-08T23:59:00.000-07:00

Petrified logs in Clear Lake, OR
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Divers in Clear Lake
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Diver in Clear Lake, OR
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Dive buddy, another tree
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Curious natives on a dive above a WW-II B-52
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Angel
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Almost looks tropical, but really 38 degrees (Fahrenheit)

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Ferry at Edmonds Underwater Park near Seattle, WA
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Thomas Michael Alleman - Sunshine & Noir: New York (2)

2008-08-08T10:24:00.000-07:00

Harlem, October 2004
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Midtown Manhattan, December 2004

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Lower Manhattan, October 2004
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Lower Manhattan, September 2003
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Midtown Manhattan, April 2004
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Midtown Manhattan, October 2004
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Harlem, October 2004
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East Village, April 2004

Thomas Michael Alleman - Sunshine & Noir: New York(1)

2008-08-08T10:07:00.000-07:00

Greenwich Village, October 2004
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Midtown Manhattan, December 2004
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Midtown Manhattan, October 2004
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Lower East Side, April 2004

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Soho, March 2002
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Liberty Island, November 2002
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Wall Street, September 2003
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Midtown Manhattan, December 2004

Aaron Hobson - Cinemascapes (2)

2008-08-08T00:41:00.001-07:00

In the End
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**********Valley Lake
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Busy
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"A Decisive Moment"
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photos are picked from Aaron Hobson Cinemascopes series: "Dark", "Even Darker" and "Winter"

Aaron Hobson - Cinemascapes (1)

2008-08-07T17:25:00.001-07:00

photos are picked from Aaron Hobson Cinemascopes series: "Dark", "Even Darker" and "Winter"Escape
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Getting Dressed
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Steel Town
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Pest Control
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My Back Window
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Long Cold Night
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Dinner
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Cars
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all images © Aaron Hobson

Chad Lancaster - Spirit of America

2008-08-07T16:29:00.000-07:00

"Waters of Life" - Havasupai Indian Reservation, Arizona
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"The Wave" - Vermilion Cliffs National Monument, Arizona
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"The Bone Yard: - Vermilion Cliffs National Monument, Arizona
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"Silent City" - Bryce Canyon National Park, Utah
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"Mooney Falls" - Havasupai Indian Reservation, Arizona
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"Layers of Time" -Vermilion Cliffs National Monument, Arizona
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"Fire House Ruins" - Fire House Ruins, Cedar Mesa, Utah
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"Divine Light" - Pfeiffer Arch, Big Sur, California
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"A Winter's Tale" - Delicate Arch, Arches National Park, Utah
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"Thors Hammer" - Bryce Canyon National Park, Utah

Environmental Photography Invitational 2006 Winning Images: vol. 3 of 3

2008-08-07T14:54:00.000-07:00

Runner Up: Wildlife © Vida Ward
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Runner Up: Landscape © Vasgen Degirmentas
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Runner Up: Landscape © Tyler Anderson
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Runner Up: Wildlife © Stephen Cooper
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Runner Up: Flora © Robert Sena
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Runner Up: Man in the Environment © Rob Derstadt
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Runner Up: Man in the Environment © Richard Landry
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Runner Up: Wildlife © Michele Westmorland
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Runner Up: Flora © Karie Holtermann
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Runner Up: Student © Julie Chung

Environmental Photography Invitational 2006 Winning Images: vol.2 of 3

2008-08-07T14:18:00.001-07:00

Runner Up: Flora © Jennifer Rennison
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Runner Up: Environment at Risk © Jane Paradise
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Runner Up: Man in the Environment © Elizabeth Carmel
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Runner Up: Student © Conor Myhrvold
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Runner Up: Landscape © Chad Lancaster
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Runner Up: Environment at Risk © Al Bruton
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The Cascade Agenda Award: Flora © Dave Schiefelbein
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The Art Wolfe Award: Landscape © Marc Adamus
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Honorable Mention: Student © Julie Chung
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Honorable Mention: Environment at Risk © Lung Liu

Environmental Photography Invitational 2006 Winning Images: vol. 1 of 3

2008-08-07T13:54:00.000-07:00

Honorable Mention: Man in the Environment © Paul Adams
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Honorable Mention: Flora © Andrea Imler
***************

Honorable Mention: Wildlife © Thomas Kogut
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Honorable Mention: Landscape © James Steinberg
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Best in Category: Student © Cameron Myhrvold
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Best in Category: Environment at Risk © Annie Marie Musselman
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Best in Category: Man in the Environment © Marc Koegel
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Best in Category: Flora © Daniel Kencke
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Best in Category: Environment at Risk © Suzanne Armstrong
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Best in Category: Landscape © Tim Gasperak

Ara Guler - Istanbul 1950s (vol.2)

2008-08-06T11:18:00.000-07:00

Galata Bridge, Istnabul. 1957.
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Tahtakale, Istanbul. 1957.
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Karakoy, Istanbul. 1957.
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Sirkeci, Istanbul. 1956.
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A coffee house in Kartal, Istanbul. 1956.
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Halic, Istanbul. 1956.
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Birds and barges in Halic, Istanbul. 1956.
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Rowboatmen in Halic. Out Behind is Galata Bridge. Istanbul, 1956.
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Timothy Allen - Collage Wallpapers

2008-08-06T03:34:00.001-07:00

2240x2240
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1600x1600
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1920x1920
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size:1920x1920
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Rene Burri - Various and Collages

2008-08-06T03:05:00.001-07:00

collage
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collage
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collage
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Ernesto Che Guevara
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City of Baumholder
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collage
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Florida '66

Ara Guler - Istanbul 1950s

2008-08-04T13:21:00.000-07:00

A barge maintance hall in Salacak, Istanbul. 1955.
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Galata Bridge, Istanbul. 1955
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Galata, Istanbul. 1955.
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A fisher family and their house in Kumkapi, Istanbul. 1955.
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An inner court of a house in Tophane, Istanbul. 1954.
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Headscarves ("yazma") drying on a string. Kumkapi, Istanbul. 1954.
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People carrying coal from a ship. Unkapani Bridge, Istanbul. 1954
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Street porters waiting to be hired. Istanbul, 1954.

Ara Guler - Turkiye 1950s

2008-08-04T10:27:00.000-07:00

"Allah" script. Eski Camii (the Old Mosque), Edirne. 1956.

Eski Camii (the Old Mosque) in Edirne, Turkey. 1954
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Villagers playing cards in a coffee house. Didim, Aydin. 1954
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Children in the streets of a mountain village. Uludag, Bursa. 1954
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A street near Mardinkapi, Diyarbakir. 1954.
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Suleymaniye Mosque, istanbul. 1952.
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Istanbul, 1950s. Fishers' houses and harbours atKumkapi.

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Fishing nets in Kumkapi, Istanbul. 1950
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Eyup, Istanbul. 1950.

photos by Ara Guler.

Timothy allen - Various (vol.7)

2008-08-04T06:15:00.000-07:00

September 11

Live8 London

Vulture

Turner Prize

Tony Blair Motto

Starsailor on Stage

Timothy Allen - Various (vol.6)

2008-08-04T03:18:00.000-07:00

Squirrel Skinner
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Strangle a Kangaroo
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Surrealist Wedding
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Pigeons World Champ
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Weather Project
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Press Passes
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San Juan Festival
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Royal Ascot

Timothy Allen - Various (vol.5)

2008-08-04T02:55:00.000-07:00

Muxia Pilgrim

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Queen Mother Funeral
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Police Guard Niketown
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Welsh Sunrise
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The Big Chill
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I Love Jesus
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Hove Ladies Bowling Team
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Hip-Hop
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Summer Solstice

Timothy Allen - Faces

2008-08-03T12:23:00.000-07:00

Velvet Revolver
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Eye Glasses

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Watching Tennis
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Mime
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Tear
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Wimbledon
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FrostFrench

Timothy Allen - Various (vol.4)

2008-08-03T10:16:00.000-07:00

War Graves
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Siri Sori Kids
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Police Baton
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Gilbert and George
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Homeless Life
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Homeless Girl
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Easter Parade
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Darjeeling

Timothy Allen - Various (vol.3)

2008-08-03T09:15:00.000-07:00

Llanidloes Fancy Dress
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Police
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Otters
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Hare Coursing
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Jumping Model
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Fox Hunting
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Crufts
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Crowd Surfing

Timothy Allen - Fashion

2008-08-03T08:10:00.000-07:00

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Hooded Model
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Gaultier Model
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Backstage
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Catwalk
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Ashish Model

Timothy Allen - Various (vol.2)

2008-08-03T00:51:00.000-07:00

Broken Boy
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Calm Sea
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City of London
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Chealsea Flower Show
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Cannabis
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Camping
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Buy Nothing Day
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Desert

Timothy Allen - Portraits (vol.2)

2008-08-03T00:40:00.000-07:00

Siouxsie Sioux
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Simon Cowell
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Riz Ahmed
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Paul Merton
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Michael Stipe
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Mercury Rev
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Jarvis Cocker
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Gavin Turk

Timothy Allen - Asia

2008-08-03T00:17:00.000-07:00

Shangai

Bhutan Monks
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Bhutan
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Beijing, China.
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Mantra. Bhutan.
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Laya, Bhutan. (Laya is a town in Gasa District in northwestern Bhutan. It is inhabited by the indegenous Layap people.)
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Bhutan.
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Burmese Boy Soldier
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Burma
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Operation, Burma.
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Karen Army, Burma.

Timothy Allen - Portraits (vol.1)

2008-08-03T00:16:00.000-07:00

Velvet Revolver
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Jah Wobble
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Imogen Heap
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Iain Duncan Smith
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Damien Hirst
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Chirac and Bush
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Black Eyed Peas
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Betty Boo

Award Winners - Vol.3

2008-08-03T00:00:00.000-07:00

2003. An Iraqi prisoner of war tries to calm down his child. Photo Credits: Jean-Marc Bouju, France, The Associated Press.
2002. Soldiers and villagers in Iran are digging graves for the victims of the earthquake. A kid holds his father’s pants before he is buried. Photo Credits: Eric Grigorian, Armenia/USA, Polaris Images.
2001. An Afghani refugee kid’s body is being prepared for the funeral in Pakistan . Photo Credits:Erik Refner, for Berlingske Tidende, Denmark.
1996. Kuito, Angola. Landmine victims in Kuito, a town where many people were killed and traumatized during the civil war. . Photo Credit:Francesco Zizola, Italy, Agenzia Contrasto.
1994. Rwanda. Hutu man mutilated by the Hutu ‘Interahamwe’ militia, who suspected him of sympathizing with the Tutsi rebels. Photo Credits: James Nachtwey, USA, Magnum Photos for Time.1992, November. Bardera, Somalia. Mother lifts up the body of her child, a famine victim, to bring it to the grave.. Credit: James Nachtwey, USA, Magnum Photos, USA for Libération, France.
1989. Beijing, China, 4 June 1989. A demonstrator confronts a line of People’s Liberation Army tanks during Tiananmen Square demonstrations for democratic reform. Photo Credits: Charlie Cole, USA, Newsweek. Hunger in Somalia (James Nachtwey, USA)

Timothy Allen - Various (vol.1)

2008-08-02T14:57:00.000-07:00

iPod
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Magic Hat Cafe
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BMX
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Booze Cruise

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Ashish Model
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Ambon Civil War
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Agent Provocateur
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Beijing

Award Winners - Vol.2

2008-08-02T14:17:00.000-07:00

1987. A mother in South Korea apologizes and asks for forgiveness for her son who was arrested after attending a protest. He was protesting the alleged manipulations in the general elections. Photo Credits: Anthony Suau, USA, Black
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1982. Palestinian refugees murdered in Beirut , Lebanon . Photo Credits: Robin Moyer, USA
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February 23, 1981. Colonel Molina ve military police seizes the Parliament building in Spain . The photographer did not expect the scene, and hid the films in his shoe. Photo Credits: Manuel Pérez Barriopedro, Spain, Agencia EFE.
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April 1980. A kid in Uganda about to die of hunger with a missionary.Karamoja district, Uganda. Mike Wells, United Kingdom.
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1975. Boston, USA, 22 July 1975. A woman and a girl are hurled down as the fire escape of their apartment building collapses. Photo Credits: Stanley Forman, USA, The Boston Herald.
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1973. A few seconds before Chile ’s elected president Salvador Allende is dead during the coup. Photo: NYT
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1972. Trangbang, South Vietnam, 8 June 1972. Phan Thi Kim Phuc (center) flees from the scene where South Vietnamese planes have mistakenly dropped napalm. Photo Credit: (Nick) Ut Cong Huynh, Vietnam, The Associated Press.

Award Winners - Vol.1

2008-08-02T12:45:00.000-07:00

February 1, 1968. South Vietnam police chief Nguyen Ngoc Loan shots a young man, whom he suspects to be a Viet Kong soldier. Photo Credits: Eddie Adams, USA, The Associated Press.
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1966. Tan Binh, South Vietnam, 24 February 1966. American troops drag the body of a Viet Cong soldier to be buried. Photo Credit: Kyoichi Sawada, Japan, United Press International.
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1965. Loc Thuong, Binh Dinh, South Vietnam, September 1965. Mother and children wade across river to escape US bombing. Photo Credits:Kyoichi Sawada, Japan, United Press International.
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1963. Thich Quang Duc, the Buddhist priest in Southern Vietnam , burns himself to death protesting the government’s torture policy against priests. Thich Quang Dug never made a sound or moved while he was burning. Photo Credits:Malcolm W. Browne,The Associated Press.
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1962. A soldier shot by a sniper hangs onto a priest in his last moments. Puerto Cabello naval base, Venezuela, June 1962. A soldier who has been mortally wounded by a sniper clings onto navy chaplain Luis Padillo. Photo Credits:Héctor Rondón Lovera, Venezuela,Diario La República.
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January 12, 1960. (above) A second before the Japanese Socialist Party leader Asanuma was murdered by an opponent student.
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1957. (above) The first day of Dorothy Counts at the Harry Harding High School in the United States . Counts was one of the first black students admitted in the school, and she was no longer able to stand the harassments after 4 days.

Suha Derbent - Big Cats (vol.4)

2008-08-02T12:11:00.000-07:00

by Suha Derbent

Suha Derbent - Big Cats (vol.3)

2008-08-02T10:47:00.000-07:00

by Suha Derbent

Suha Derbent - Big Cats (vol.2)

2008-08-02T10:42:00.000-07:00

by Suha Derbent

Suha Derbent - Big Cats (vol.1)

2008-08-02T09:54:00.000-07:00

by Suha Derbent

Seckin Yalcin - Hot Lands

2008-08-02T08:09:00.000-07:00

Agricultural workers in Cukurova, Adana. Turkey

Seckin Yalcin - After the Flood

2008-07-31T00:57:00.001-07:00

Migrant agricultural workers running from the flood. Adana, Turkey.
by Seckin Yalcin
http://www.seckinyalcin.com

Seckin Yalcin - When the Sun Thouches the Water

2008-07-31T00:43:00.000-07:00

by Seckin Yalcin.
http://www.seckinyalcin.com

Seckin Yalcin - Hot Iron

2008-07-31T00:32:00.001-07:00

Foundry at the industrial estate in Adana, Turkey.
by Seckin Yalcin, 2007.
http://www.seckinyalcin.com/

Seckin Yalcin - An Ordinary Day in Balat

2008-07-30T14:31:00.000-07:00

Balat is the traditional Jewish quarter in the district of Fatih of Istanbul. It is in the European bank of Istanbul and is situated south of the Golden Horn (the other İstanbul quarter deeply associated with Jewish settlement being Kuzguncuk on the Asian shore). (source: wikipedia)

by Seckin Yalcin, Istanbul, 2005
http://www.seckinyalcin.com/

Seckin Yalcin - Europe Diary

2008-07-30T13:58:00.000-07:00

by Seckin Yalcin. taken in Germany, Austria, Czech Republic, France, Italy, Hungary, Greece.
http://www.seckinyalcin.com/