Top 40 Nature Photographs in the history of photography.

Top 40 Nature Photographs - a set on Flickr

http://ow.ly/1DFbD

[See above URL for embedded links]

Slide show version http://ow.ly/1DFeV

The exercise of selecting the Top Forty Nature Photographs of all time in celebration of the 40th anniversary of Earth Day is both an honor and a tremendous challenge. It may not be possible to for anyone to create a definitive selection of the forty "best" or "most important" nature photographs, if only due to the vast variety of criteria that must be considered. We decided to try anyway.

The International League of Conservation Photographers, a fellowship of the top professional conservation photographers working today, was recruited to nominate nature photographs that the member photographers considered to be "the best," in whatever way they chose to define it. They were encouraged, however, to consider factors such as aesthetics, uniqueness, historical and scientific significance, or contribution to conservation efforts. The photographers were not permitted to self-nominate.

The Top Forty nominations, which represent a diverse spectrum of styles and genres and span over 100 years of the history of photography, are presented here. We hope you enjoy them, and that you will express your thoughts about the images that have meaning for you in each image's "comments" section.

Some of these photographs have been generously donated by the photographers or their representatives for the inaugural Christie's Green Auction in support of Conservation International, Oceana, Natural Resources Defense Council, and the Central Park Conservancy.

Four photographs by Ely photographer Jim Brandenburg are among the Top 40 Nature Photographs in the history of photography.

http://www.duluthnewstribune.com/event/article/id/167052/

[excerpt]

The collection was assembled by the International League of Conservation Photographers and includes some of Brandenburg's best-loved photos. The league made its selections to celebrate Earth Day, April 22.

"It's the strangest feeling I've ever had in my life," Brandenburg said from his home in Ely. "Somehow, it's a combination of embarrassment, humility — and pride, because it's your peers."

The Brandenburg photos include a white wolf leaping between ice floes in the Canadian Arctic, a gray wolf peering among trees in northern Minnesota, an oryx on a sand dune in Namibia and bison in Minnesota's Blue Mounds State Park.

The collection includes the work of photographic giants such as Ansel Adams, Ed Weston and several National Geographic photographers. Brandenburg, who grew up near Luverne, Minn., spent more than three decades as a photographer for National Geographic magazine, traveling the world on assignment.

Early arctic photographs from the National Maritime Museum.

Freeze Frame: early #arctic #photographs from the National Maritime Museum Flickr http://ow.ly/1CPMx Slideshow http://ow.ly/1CPLY

GEORGE LESSARD
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Photography and writing with light

Drawing With Light [Flash Player]
http://cybermuse.gallery.ca/cybermuse/youth/dwl/default_e.jsp

Light is fundamental to photography. It illuminates the subject being photographed, and records its image on the film. The word "photography" comes from the Greek and means to draw or to write (graphos) with light (photos). From the 5th century BC to the present, we have been fascinated by images formed by light. Photography was invented when these images were first "fixed" or made permanent in the 19th century. It has changed forever the way we see the world. Drawing With Light looks at light in photography, from early scholars' observations on the behaviour of light, to the digital revolution of the 21st century. Photographs from the collections of the National Gallery of Canada and the Canadian Museum of Contemporary Photography illustrate technical developments in photography, and its ability to communicate information and ideas about the world around us.

The Virtual Museum of Canada (VMC) has created an informative and imaginative website about photography and writing with light.  After entering the exhibit, visitors will find boxes with the small colored triangles in the corner near the top of the page, which are the different topics that are covered to "illustrate the principles of light and the technical evolution of photography."  Visitors will find that there are the topics of "Early Observations", "Camera Obscura" "The Inventors", "The Pinhole Camera", "The Modern Camera", "The Art of Photography", and "Going Digital".  There is also a link to "Gallery", which is divided up by the aforementioned topics.  Visitors should not miss the exhibition that was curated by teenagers called "Illumination".  It features responses by Canadian teens to images from the permanent collection of the Canadian Museum of Contemporary Art.  Many of the responses are in poetry form, and belie the youth of the writers. [KMG]

NYTimes mass photo project to capture "A Moment in Time"

NYTimes mass photo project to capture "A Moment in Time" | Digital Cameras & Camcorders | ZDNet.com http://ow.ly/1ByWC

http://lens.blogs.nytimes.com/2010/04/08/about-3/

Amateur and professional photographers alike are being invited by the New York Times to submit digital photographs of a single moment in time — specifically, 11am EDT, May 2 — to its Lens photography blog. I've always been a fan of the "Day in the Life" series of photo books created by photographer Rick Smolan and writer David Elliot Cohen, but this project, while not entirely original, is even cooler in a lot of ways.

The goal is to create an entirely Web-built image of one moment in time across the world, and anyone with a camera (or even camera phone) is invited to submit images via a Web form that will be active from 11am EDT on Sunday, May 2 to 11am EDT on Friday, May 7.  The assumption, of course, is that everyone will have a digital camera (or will have to scan in a film image) since submissions are only being accepted electronically. There are already over close to 8,000 photographers confirming they'll participate, on the project's Facebook page.

Photographing Iceland’s Fiery Volcano

April 18, 2010, 6:34 pm

Photographing Iceland's Fiery Volcano

By JAMES ESTRIN
http://lens.blogs.nytimes.com/2010/04/18/photographing-icelands-fiery-volcano/
[excerpt]

Iceland's Eyjafjallajokull volcano had been dormant for nearly two centuries before Ragnar Th. Sigurdsson, 51, flew to the scene on March 21 to photograph its first stirrings. Mr. Sigurdson returned to the scene and made these dramatic photographs last night and this morning.

Mr. Sigurdsson has spent 30 years photographing the temperamental landscape of Iceland, as Kerri MacDonald reported Thursday in Lens. But until this morning he had never seen anything like the volcano that is tying up air traffic in much of Europe.

Tom Brokaw Explains Canada To Americans

Bill Gentile on Backpack Journalism via IJNetVideo

Bill Gentile is an independent journalist and documentary filmmaker teaching at American University in Washington, DC. His career spans three decades, five continents and nearly every facet of journalism and mass communication, most especially visual communication, or visual storytelling. Gentile discusses the technology and the art of visual storytelling. As a backpack journalist, you should always keep in mind the dramatic arcs of the story.

http://www.billgentile.com/workshops.... Backpack Journalism Workshops, With Emmy Award Winning Producer and Backpack Journalist Bill Gentile. Gentile teaches you how to master the genre increasingly in demand by broadcast and web outlets worldwide.

Gentile brings more than 30 years of field experience to teach the full range of skills essential to making powerful, character-driven stories for television and the Internet.
Story Conception • Shooting • Scriptwriting • Narrating • Editing • Marketing

In this unique and supportive environment you will learn:
• To use portable video equipment to effectively capture images and sound.
• To recognize and cultivate dramatic story arcs.
• To conduct proper, in-depth interviews.
• To write powerful treatments and scripts.
• To narrate your story.
• To edit with Final Cut Pro for maximum effect.
• To distribute your story to local, national or 
global audiences.

For more information, view student videos and registration form:
http://billgentile.com/workshops.html
Bill Gentile Productions 202.492.6405

Part one



Part two



A conversation from the Backpack Journalism Workshop with Bill Gentile

Breaking News: Some Bullshit Happening Somewhere

The YES MEN's Andy Bichlbaum dishes on his Copenhagen gag on Canada

Activist prankster group The YES MEN's, Andy Bichlbaum, speaks at Ryerson U in Toronto about the fake Canadian press releases at the U.N. Copenhagen Climate Summit (COP15, Dec. 2009), and shows a re-dubbed video of Stephen Harper, released during the Davos World Economic Forum (Jan. 2010).

Filmed and produced by eco-advocacy group EcoSanity.org.

Chelyabinsk photographer, Andrei Yudin, knows how to enliven their own dreams [Google Mechanical translation of http://cheltv.ru/rnews.html?id=103029 ]

06.08.2009 18:07  Chelyabinsk photographer knows how to enliven their own dreams

[Google Mechanical translation of http://cheltv.ru/rnews.html?id=103029 ]

Olga Novaeva, Vladislav Tear

Photo  Video

His profession - to revive their own dreams. Chelyabinsk photographer idea of picturesque landscapes and portraits of successful come late at night and morning he picks up a camera.

A white coat and limelight: the main character of this frame is not cosmetologist Paul, and ... his hands. Portrait Photographer doctor decided to make a unique perspective.

He could be a doctor or accountant, if the 7 class father gave his son an old foil "Change". Well-worn camera Andrew brought with him on the river, and in school lessons. Now about that time photographer recalls with a smile. "Once photographed, as a classmate at recess eats a carrot, and his neighbor on the desk with envy watching - tells the photographer. - It turned out well, but this classmate at me and then hurt.

Once upon a time by trial and error, he took his first awkward shots. Now Andrew's own Photoschool. How to set the frame and select the appropriate perspective, it teaches children and adults. Creative credo of the artist - the simplicity and naturalness in the frame. Andrei Yudin sure: the main thing - at the right time to be in the right place to catch a beautiful moment. Sometimes have to wait a moment for hours and even weeks. "For example, a colt and a half hour, I ran around Berg Lake Smolino, but still caught, and we've got, I think, a good shot," - says Andrew.

In the West, famous artists long do glamor shots. Shindig masters prefer nature and the silent models - animals. Andrei whole series of such works. Now he takes the brightest and most juicy photos for the next solo exhibition.

CALL FOR SUBMISSIONS - Senvest Collection

Senvest Collection
1000 Sherbrooke Street West, Suite 2400
Montréal, QC
H3A 3G4

Questions: collection@senvest.com

Submission deadline:
Postmarked May 1st, 2010


We are lovers of Canadian art and we seek to share our passion with the world. Through the acquisition of new works and their showing in its corporate offices world-wide, the Senvest Collection of New Canadian Art encourages the appreciation of Canadian art internationally. The Senvest Collection is open to submissions from individuals and galleries across Canada.

This young collection is also embarking on a special mission: in order to build a strong, ongoing relationship with the contemporary Canadian visual arts community, Senvest curators will follow an evolving body of work with a view to acquiring more than one piece per artist. In this way, the Collection will offer a rare perspective of artists' careers as they develop over time.

Senvest takes great satisfaction in showcasing its Canadian art around the globe. Works in the collection are on permanent display on the Senvest Collection website as well as in corporate offices in the following cities: Montreal, Toronto, Calgary, Boston, New York, San Francisco, San Diego, Tel Aviv , Madrid and Buenos Aires.

The Senvest Collection committee meets at least twice each year to view new works. Additional meetings are scheduled as necessary. Candidates are invited to apply at any time and as often as they wish with new material each time. The selection process unfolds in two steps:
1) Preliminary selection sets apart works which we ask be temporarily reserved;
2) Final selection determines which works will be purchased for the collection.

The Senvest Collection considers art in all media. Senvest asks that each artist submit at least three works for consideration, but no more than 10. Submissions must comprise the following all on one CD, please do not send printed documents:
- JPEG images of works submitted saved as "ArtistName_Title.jpg" (please do not number the images);
- a detailed list of the works including title, size, medium, year and price;
- a brief artist's statement including career highlights, year and city of birth (not more than 150 words) and artist's curriculum vitae.

Galleries submitting on behalf of more than one artist should include individual artist folders on the same CD.
All submissions are confidential.

Submissions must be sent by mail to:
Senvest Collection
1000 Sherbrooke Street West, Suite 2400
Montréal, QC
H3A 3G4

Questions: collection@senvest.com

The future of photography

Check out the future of photography: In the current issue of Nieman Reports
http://www.nieman.harvard.edu/reports.aspx?id=100060
#journalism

Written journalism isn't the only form being radically transformed by technology. Sure, the Internet may have eliminated the monopoly that the Gotham Morning News enjoyed, and any web page could be one link away from the attention of millions. But photojournalism is also having both its distribution model and its production model changed. The old client news organizations aren't paying any more (at least not as much). The price of quality cameras has dropped so much that a skill-less amateur can, almost by accident, create a great shot. And a good photo gets spread around the Internet so quickly that maintaining ownership — and the money that comes with it — can be almost impossible.

Those issues are some of the ones that the current issue of Nieman Reports wrestles with. Where is photojournalism headed? Is it into a headlong embrace of new technologies? Toward a business model that can sustain professional work? Or toward a model in which an army of cameraphones are good enough? As Nieman Reports editor Melissa Ludtke puts it in her intro to the issue:

Photojournalism's destination and audience, once pre-ordained by the news organizations that paid the cost of doing business, are now in flux. Digital possibilities are limitless, but what is now required of photojournalists are an entrepreneurial mindset and a facility with digital tools. On the Web, photographs now act as gateways to information and context, to stories told by participants and conversations held by viewers.

Fresh Approaches and New Business Strategies for the Multimedia Age

Photojournalism is changing, propelled by newsroom budget cuts, multimedia possibilities, and the ubiquity of digital images. In Visual Journalism, photojournalists write about emerging digital business strategies and their efforts to expand the reach of their photographs online and on gallery walls. They also share ideas about how to fund projects of personal passion and societal value. Their words tell vital stories about how they do their work; slideshows of their photographs—exclusive to our Web site—and multimedia presentations convey their visual stories. Read and watch as the future of photojournalism unfolds. – Melissa Ludtke, Editor

Visual Journalism

Introduction
By Melissa Ludtke, Editor

Envisioning Digital

Failing to Harness the Web's Visual Promise (1 comment)
Today, too many news organizations still don't take advantage of digital media's capacity to give readers contextual information and to engage them in finding out more about the story the pictures tell.
By Fred Ritchin

Meditating on the Conventions and Meaning of Photography (1 comment)
By Jan Gardner

Journey to a New Beginning (2 comments)
As the doors of established media slam shut, a photojournalist knocks on new ones to find the promise of more authenticity in his storytelling and greater control over his work.
By Ed Kashi

Multimedia Adds New Dimensions to the Art of Storytelling
By Ed Kashi

A Different Approach to Storytelling (3 comments)
'… photographs require context to tell a more complete narrative. The best thing for photojournalists to do is to slow down, become a little more engaged, and spend a little more time on their projects in a much more intimate way.'
Conversation with Brian Storm

Looking Beneath the Surface of Stories in Iraq, Iowa and Rwanda

Photojournalism in the New Media Economy
Success will depend on 'seeing oneself as a publisher of content and a participant in a distributed story, the form of which helps reshape the content of the story.'
By David Campbell

A Story Rooted in a Community Gives Voice to Its People
By David Campbell

From Film to Digital: What's Lost? What's Gained? (1 comment)
'Today, it seems that speed trumps all else, becoming the way success is measured. It might be better if other factors—such as content, reliability and value—were to trump speed when it comes to evaluating visual journalism.'
By David Burnett

44 Days and the Portrayal of History in Tehran
Words and Photographs by David Burnett

Steps Learned Along the Way: Redefining Photojournalism's Power
'Even in the best of times, even when highly recognized within the field itself, our images are only tools, not an end in themselves.'
By Wendy Watriss

Agent Orange: Pressing the Government to Take Responsibility
Words and Photographs by Wendy Watriss

New Pathways

In Pursuing a Personal Project, Global Dimensions Emerge
'As photojournalists casting about for creative and meaningful direction in the face of … an industry shifting beneath our feet, we may be best served by following the threads of our own experience and then going deeper.'
By Kael Alford

Finding Common Themes in Louisiana and Iraq
Words and Photographs by Kael Alford

Newspaper Employee to Nonprofit Director: A Photojournalist's Journey (1 comment)
The idea behind Wéyo 'was to capitalize on our collective years of journalism experience and turn our narrative storytelling abilities toward work with nonprofits.'
By Christopher Tyree

'Lost Boys' Return to Sudan as Doctors
Words by Christopher Tyree
Photographs by Stephen Katz and Christopher Tyree

The Impact of Images: First, They Must Be Seen (1 comment)
Through photographs transformed into comic images and other creative collaborations, the work of a photojournalist is connecting with new audiences in creative ways.
Words and Photographs by Marcus Bleasdale

Photojournalists Reach Viewers in Different Ways (1 comment)
Using emerging funding strategies and finding fresh venues to display their work, photographers bring foreign news reporting to new audiences.
By Iason Athanasiadis

Pakistan: A Freelancer as Photographer
Words and Photographs by Iason Athanasiadis

Pushing Past Technology to Reach Enduring Issues (1 comment)
'I want my students to be engaged not just about making a product … they'll submit to the College Photographer of the Year contest—but in thinking critically about the process and aesthetic choices.'
By Donna De Cesare

'Destiny's Children': A Legacy of War and Gangs
By Donna De Cesare

Taking Time to Rethink, Adjust and Move Forward (6 comments)
'Today, how we divide our time and do our work and get paid for it has virtually no connection to how things worked for those who started out a decade or two before us.'
By Justin Mott

A Personal Project: Third-Generation Victims of Agent Orange
Words and Photographs by Justin Mott

Carving New Pathways With Photojournalism Students (1 comment)
'I ask myself what I should be teaching my students. How can I prepare them so they can find good jobs? Figuring this out is my daily challenge.'
By Josh Meltzer

The Untold Story of Mexican Migration (1 comment)
Words and Photographs by Josh Meltzer

Preparing the Next Generation of Photojournalists
Exposure, a photojournalism, documentary studies, and human rights program, 'prepares students for immersive experiences and guides them in their efforts to document through photography what they observe.'
By Sherman Teichman

Taking Stock of the 'Area Boys' in Lagos, Nigeria (1 comment)
Photographs by Samuel James

Nieman Notes

Reaching Out With Appreciation to Brave Colleagues in Afghanistan
Through the Lyons award and a teleconference with journalists in Kabul, the Niemans pay tribute to the work of Afghan reporters and hear about the difficulties they face.
By James Reynolds

Slain Sri Lankan Journalist Honored for His Commitment to a Free Press

A Nieman Fellow Joins Jimmy Breslin's Other Friends in Celebrating His Common Touch (1 comment)
'It was a cross between "This Is Your Life" and an Irish wake, the important difference being, of course, that the corpse was still warm and still pretty ornery.'
By Kevin Cullen

Shifting Strategies

Partnership of Photojournalist and Writer
'With our close collaboration, I felt for the first time as a photographer that I was working with a writer who really wanted to hear what I thought about the story.'
By Melissa Lyttle

Finding an Extraordinary Moment During an Ordinary Ride
Words and Photographs by Melissa Lyttle

Our Emotional Journey—Traveled Together
'Journalism, at its best, is collaboration. No single reporter can ask every question. No photographer can capture every scene.'
By Lane DeGregory

The Camera—It's Only the Starting Point to Change
'So how does a global news organization such as The Associated Press get this technology working for us? In short, how do we train our photojournalists to use it?'
By Santiago Lyon

Crossing the Line: From Still to Video—to Both at the Same Time
Words and Photographs by Julie Jacobson

Gift of Training + Shift in Newsroom Thinking = Multimedia Storytelling
Words and Photographs by Evan Vucci

Being a Photojournalist Doesn't Equal Job Security
After taking a buyout, a longtime newspaper photographer thinks about her future direction in an industry where multimedia now rules and technological know-how is essential.
By Nuri Vallbona

Recognizing the Special Value of Still Photos in a Video World
By Nuri Vallbona

Visual Literacy

The Still Photograph: Embedding Images in Our Mind
With his large-scale images, Edward Burtynsky seeks to 'bring viewers to that point where they begin to grapple with their own consciousness about being in that space.'
Words and Photographs by Edward Burtynsky

A New Focus: Adjusting to Viewers' Increasing Sophistication About Images
In an age when visual literacy is common, photojournalists may need to bring fresh sensibilities to their work.
By Jörg M. Colberg

The Fluidity of the Frame and Caption (3 comments)
When keywords become invisible captions and cameras increasingly do what darkrooms once did, how photojournalists approach their job changes.
By Venkat Srinivasan

Rethinking

What Crisis? (2 comments)
'It's not about finding new ways to do old things, but time to radically rethink our business models by redefining our products, our partners, and our clients.'
By Stephen Mayes

Too Many Similar Images, Too Much Left Unexplored (1 comment)
Excerpts From an Address by Stephen Mayes

Music Lessons Inform Photojournalism's Future
'The record business died as the digital music business was born. Photojournalism finds itself at a similar juncture now.'
By Ian Ginsberg

Demotix: Inventing a New Marketplace
Photographers—amateur and professional—send their images to this Web site and split the fee if they are sold for publication.
By Turi Munthe

Remembering

Documentary Photography (1 comment)
The impact that photographs can have is illuminated in a look back at iconic images.
Excerpts from a presentation by Glenn Ruga

Documentary Photographers Have Their Say in Words and Pictures
By Glenn Ruga

Words & Reflections

What Changed Journalism—Forever—Were Engineers
'Like the other engineer that has succeeded in killing journalism's economic model—Craigslist's Craig Newmark—Google's founders have nothing against journalists, newspapers or our search for truth, justice and the American way.'
By Joel Kaplan

A Journalist Joins the Nigerian Government—If Only for A While
'I wanted my freedom back—the freedom to be able to tell truth to power.'
By Sunday Dare

When Journalists Were Targets

Digital Stories Are Being Chosen and Consumed à la Dim Sum
In the absence of a front page—or even a home page, will readers confront a crisis of context? Or will convenience and a self-confidence in judgment triumph?
By Michele Weldon

It's Not the Assignment: It's the Lessons That Come From It (1 comment)
By Michele Weldon

Connecting What Happened Then With What Happens Now (1 comment)
'To focus on Don Hollenbeck's death is to miss the lessons of his life.'
By Stuart Watson

Are Newspapers Dying? The View of an Aspiring Journalist (2 comments)
'In The Republican's newsroom I experienced something of a disconnect between the old vanguard of journalists who filled the paper's top posts and younger staffers who were frustrated by the few opportunities they had for using multimedia.'
By Sam Butterfield

Moving Across the Border: Teaching Journalism in Hong Kong
'As a student from Shenzhen, an industrial city just across the border, said: "Once I've discovered all the resources out there, I don't want them taken away from me."?'
By Michael J. Jordan

Curator's Corner

Global Health Reporting: Expertise Matters
For three years global health fellows have been a part of each Nieman class, and the great value rendered by their study and subsequent reporting is measurable.
By Bob Giles

WarmCards for "white balance"

Although WarmCards were originally created with Professional TV/video cameras in mind, they also work great with digital SLRs. In fact, thousands of digital photographers have already discovered WarmCards. Their feedback, comments, and suggestions have led to the development of an all-new product we call: WarmCards SLR 2.0

This smaller, lighter, less expensive version of WarmCards was designed to better meet the needs of both professional and amateur digital photographers.

The concept of electronic white balance might be new to many still photographers who are still getting comfortable with digital, but it's 30-year old stuff for TV/video shooters, and believe us, there are no shortcuts to getting quality images. You must white balance manually if you want to get consistent results and avoid wasted time processing images by hand on your computer.

http://www.vortexmedia.com/WC_PHOTO.html

Eric A. Hegg Photographs: documentation of the Klondike and Alaska gold rushes

Eric A. Hegg Photographs
http://content.lib.washington.edu/heggweb/index.html

Photographs documenting the Klondike and Alaska gold rushes from 1897 - 1901. Images include depictions of frontier life in Dawson City, the Yukon Territory, and Skagway and Nome, Alaska.

Eric A. Hegg who was born in Sweden , arrived in the Puget Sound region in 1888. Settling in Whatcom County , he opened photographic studios both in New Whatcom and Fairhaven . Both businesses were probably managed in part by his brother Peter L. Hegg

In the fall of 1897, after hearing of the gold strikes in the Yukon Territories , he joined the thousands of gold seekers heading north. Accompanied by a group of men from Bellingham Bay , he traveled by steamboat up the Inside Passage through British Columbia to his destination in Alaska. Finding his passage further north closed due to the freezeup on the Yukon River, he settled temporarily in Dyea, Alaska which was the jumping off point for the Chilkoot Trail to Dawson . Here he opened a small photography studio. Later, during the winter of 1897-1898, he established a second, more substantial, studio in Skagway. The photographer Per Edward (Ed) Larss who had arrived in Skagway in March of 1898, was employed by Hegg to assist in documenting the huge migration to the Yukon known as "the Stampede". For a short time, he and Larss made frequent trips to the Chilkoot Pass following the footsteps of the thousands of Klondikers who wound their way up the Dyea River to the Golden Staircase and over over into British Columbia. They also documented scenes along the White Pass Trail. Along the trails they recorded the sail driven sleds, temporary tent towns, piles of snow covered food caches and the many hardships endured by the Klondikers as they neared their goal.

The first thing that will strike visitors when they go to the University of Washington Libraries collection of Eric A. Hegg's photography is the photograph "Miss Gracie Robinson, Yukon, 1898" that appears on the homepage. She's wearing an intriguing smile, a garment of furs, cinched tight at the waist, a rifle over her shoulder, and an elaborate headpiece that looks birdlike and completes the outfit.  The photo was taken in a studio by Hegg, and there are no notes to say whether she was playing dress up or was really going to be joining in the gold rush.  Eric Hegg documented the Klondike and Alaska gold rushes, and the digital collection of his photographs held by the University of Washington Libraries numbers 730 images, out of over 2100 in the entire physical Hegg collection.  The collection can be browsed in its entirety, or by subject.  

Helpfully, there are even "Sample Searches" given on the right hand side of the page.  Some of the suggestions given include "Mining", "Transportation Methods", "Women of the Klondike", and "Disasters". [KMG]

About the Database

Selection, research and descriptive metadata for the Eric A. Hegg Photographs were completed by Kristin Kinsey in 1999. Not all the photographs from the collection were included in this database: The database consists of 730 digital images chosen from a group of over 2100 photographic prints. The photographs were scanned in grayscale using a Microtek Scanmaker 9600L and saved in .jpg format. Some manipulation of the images was done to present the clearest possible digital image. The scanned images were then linked with descriptive data using the UW CONTENT program. The original collection resides in the UW Libraries Special Collections Division as the Eric A. Hegg Collection. PH Coll 274.

Via / From The Scout Report, Copyright Internet Scout 1994-2010.
http://scout.wisc.edu/

Click! Photography Changes Everything

Click! Photography Changes Everything
http://click.si.edu/Default.aspx

click! photography changes everything is a collection of essays and stories by invited contributors and visitors like you discussing how photography shapes our culture and our lives.

Explore how photography changes Who We Are, What We Do, What We See, Where We Go, What We Want and What We Remember.

The Smithsonian's exhibition about photography entitled "Click!" is a very down-to-earth approach to thinking about photography.  The goal of the exhibit is have well-known people, as well as Smithsonian visitors, tell their stories of how photography affects their lives.  There are six themes in the exhibition: "Who We Are", "What We Do", "What We See", "Where We Go", "What We Want", and "What We Remember".  Each theme has a short video introduction on the right side of the theme's homepage, and the "Where We Go" theme's video is about the Giant Pandas at the National Zoo in Washington, D.C., which have so many fans that take their pictures, that those photographers are called the Pandarazzi.  The "Where We Go" theme also has two great essays with photos about land use, "Photography Changes Our Experience and Understanding of Cities" and "Photography Changes Land Use and Planning".  The "What We See" theme has over a dozen essays, one of which is called "Photography Changes Medical Diagnosis and Treatment" by an ophthalmic photographer. [KMG]

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The Scout Report
April 2, 2010
Volume 16, Number 13
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A publication of Internet Scout.
Sponsored by University of Wisconsin - Madison Libraries.
=======Via / From The Scout Report, Copyright Internet Scout 1994-2010.
http://scout.wisc.edu/