Alan Murphy
Alan Murphy has been captivated by birds since his childhood in England. Even in his youth, Alan found himself inextricably drawn to nature; growing up he found solace from the trials of life under a canopy of trees while in the company of birds. His passion for birding thrived. As he consulted various publications, Alan was fascinated with bird photos and at a loss as to how anyone could get so close to capture such intimate views.
Alan Murphy在英格兰从小就对鸟着迷，到青年时期，即发现自己与自然有不解之缘，在他成长过程中，他在树林鸟儿的陪伴下经历各种磨炼，感到十分的快乐，他越来越热爱鸟，Alan阅读各种出版物，对鸟照片着迷，不了解人们怎么能够走得这么近来捕捉这么亲切的镜头。
As a young adult, he traveled to roughly twenty countries and always made time to visit the natural areas his various destinations had to offer. Upon immigrating to the United States, Alan found himself overwhelmed and somewhat intimidated by the diversity of bird species, many with such subtle variations they were nearly impossible to distinguish from each other.
Alan年青的时候，就已经旅行了二十多个国家，他每到一个国家时总是花时间去看当地的自然区域。移民到美国以后，Alan被鸟种的多样性吓得有点不知所措，许多鸟种差别不大，几乎不可能加以区分。

He used a camera with a borrowed 300mm lens to take bird photos, later poring over the prints with a field guide to help identify the birds he had seen. While this proved an effective method for learning about North American birds, he couldn’t help comparing his rudimentary images to the published photos he continued to admire.
他用一台相机和借的一只300毫米的镜头拍鸟，之后打印出来，用一本野外指南来帮助分辨他所看到的鸟。这虽证明是学习北美鸟的一个有效的方法，但他仍要把他的未成熟的照片同他继续欣赏的那些出版的照片相比。
He adopted the too familiar photographer’s mantra for greater focal length and purchased an inexpensive 500mm lens, continuing to pursue photography voraciously. The more time he spent in the field, the more enamored he became with birds.
他采用所有摄影师熟悉的门道，使用长焦头，买了一只不贵的500mm长镜头，贪婪地不停的拍。他在野外的时间越长，越迷恋鸟。
One photographer’s name that seemed to be everywhere was Brian Small, and due to fate, plus some planning on Alan’s part, they eventually met. In the photographer Alan admired he also found a great friend. They began to take photo trips together and Alan’s photography transformed. He learned from Brian how to find certain birds and get closer than he had ever dreamed possible.
Brain Small是一名众所周知的摄影师。由于幸运，再加上Alan作出安排，这两位摄影师会面了。Alan不仅佩服Brain Small，而且和他成为了好朋友。他们开始一起外出拍摄，Alan的摄影改变了。他从Brain那里学到了如何发现某种鸟和如何更迫距离地接近它们—这种距离是他从来没有想过是可能的。
For over fifteen years now Alan has been photographing birds, while at the same time operating his own successful Houston business started twenty years ago. Over time he carefully added to his collection of camera gear and now uses a solid Nikon digital SLR system, where much of his work relies upon his 600mm f/4 lens.
到现在为止，Alan拍鸟已经超过15年了，与此同时，他还成功地经营他自己在休士顿的生意，这个生意是二十年前开始的。多年来他一直小心地扩充他的照相器材，现在他使用一套纯尼康数码单反系统，他多数工作都依靠600mm f/4这只镜头。
He takes whatever time he can to photograph and is energized by the time he spends with birds. Drawing from the different forms of art in his background, he approaches photography with an artistic vision, pre-visualizing the images he wants to take home. He feels blessed to have been born with gifts allowing him to feel such passion for birds and capture images of them, and derives great joy in being able to share the world of birds with others through his images.
他尽量花时间拍摄，只要拍鸟，他就有活力，由于他熟悉各种艺术形式的背景，他采用艺术手法进行拍摄，事先想象他所要的图象。他感觉很幸运他天生就对鸟有兴趣，并且有才能拍摄它们。他能够同其他人一起分享他所拍到的鸟世界感到非常快乐。
Alan is married to Kim who has a son named Nolan. Alan has two daughters, Siobhan and Ciara, who are his greatest passion and inspiration in life. He lives in Houston and devotes almost all available free time to bird photography. He is a valued part of NatureScapes.Net as the moderator for the Birds Image Critique Gallery.
Alan同Kim结婚，她有一个儿子Nolan. Alan有两个女儿Siobhan和Ciara， 这两个孩子是他生活的至爱和灵感。他住在休士顿，他所有的可能的业余时间几乎都是用来拍鸟。他是NatureScapes.Net网鸟片评论库主持人，是该网的重要部分。
Alan’s numerous photo credits include National Geographic, Birding, Birders World, WildBird, Bird Watcher’s Digest, North American Birds, Texas Birds, Texas Parks & Wildlife, Texas Highways, British Birds, Outdoor Alabama and more. His photos are also published in various field guides, books, CD-ROM's, calendars, and postcards. Alan is both a Nikon and Wimberley Professional Services Member. Wimberley is a design company and manufacturer of professional photography accessories.
Alan的许多照片刊登在国家地理、Birding, 鸟世界, 野鸟, 观鸟文摘, 北美的鸟, 德克萨斯州的鸟, 德克萨斯州公园和野生动物, 德克萨斯州高速公路, 英国的鸟, 阿拉巴马州野外等杂志上。他的照片也刊登在许多野生指南、书、光盘、日历和明信片上。Alan是尼康公司和Wimberley的专业服务人员。Wimberley是一个设计公司和专业摄影器材厂商。

me too.

Joe McNally

Joe McNally is described by American Photo magazine as "perhaps the most versatile photo journalist working today".
Joe McNally被美国摄影杂志誉为“可能是当今最多才多艺的新闻摄影记者”。

Joe McNally has been photographing for the National Geographic Society since 1987. Some of his most recent National Geographic magazine assignments are "The Future of Flying," "Power of Light," and "What It Takes to Build the Unbeatable Body: Pushing the Limit."
Joe McNally自1987年以来就一直为国家地理协会拍照，最近为《国家地理》杂志拍的一系列照片是：“飞行的未来”，“光的力量”，和“什么可以使建立无与伦比的身体：推进极限”。

In addition to his work for National Geographic, McNally shoots for other magazines, advertising agencies, and graphic design firms. His clients include Sports Illustrated, ESPN magazine, Life, Time, Fortune, New York magazine, Geo, the New York Stock Exchange, Target stores, Sony, GE, Nikon, Lehman Brothers, and PNC Bank. He has also worked on numerous Day in the Life photographic book projects.

McNally除了为国家地理协会工作以外，还为其它杂志、广告社、图片设计公司拍摄，他的客户包括运动插图杂志、ESPN杂志、生活、时代、财富、纽约杂志、Geo、纽约股票市场、目标商店、索尼、GE、尼康、Lehman兄弟和PNC银行。他还多次为《生活中的一天》摄影著作项目工作。

McNally has received the Alfred Eisenstadt Award for magazine photography and has been honored by Pictures of the Year International, World Press Photo, and the Art Directors Club. He has also been recognized by the magazines Photo District News, American Photo, Applied Arts magazine, Communication Arts, and Graphis.
McNally曾经获得Alred Eisenstadt杂志摄影奖、国际年度图片奖、世界新闻图片奖和艺术指导俱乐部荣誉奖。他还获得摄影区域新闻杂志、美国摄影杂志、应用艺术杂志、传媒艺术杂志和图像杂志赞扬。

McNally has taught at many institutions, including the Eddie Adams Workshop, National Geographic Society, Smithsonian Institution, Rochester Institute of Technology, Maine Photographic Workshops, U.S. Department of Defense, and Disney Institute.

McNally曾经在许多研究机构，包括Eddie Adams工作站、国家地理协会、Smithsonian学院、Rochester技术学院、缅因州摄影工作站、美国国防部和迪斯尼学院。
One of McNally's most notable large-scale projects, "Faces of Ground Zero," has become known as one of the most significant artistic responses to the September 11, 2001, tragedy at New York's World Trade Center. McNally was described by American Photo magazine as perhaps the most versatile photojournalist working today and was listed as one of the hundred most important people in photography.

McNally最著名的大型项目之一“零点地面面貌”，经公认为对2001年9月11日在纽约世贸中心发生的惨剧最深刻的艺术回应。McNally曾经被美国摄影杂志誉为可能是当今最多才多艺的新闻摄影记者并被列为100名最重要的摄影师之一。

In January 1999 Kodak and Photo District News honored McNally by inducting him into their Legends Online archive. In 2001 Nikon bestowed a similar honor when McNally was placed on NikonNet.com's list of Legends Behind the Lens.

1999年1月，柯达和摄影区域新闻杂志把McNally列为传奇人物放在传奇人物网络存档中。2001年，尼康也给予同样的荣誉，把McNally放在NikonNet.com的镜头后传奇人物录上。

McNally was born in Montclair, New Jersey. He received his bachelor's and graduate degrees from Syracuse University's S.I. Newhouse School of Public Communications.

McNally出生于新泽西的Montclair，他获得Syracuse大学S.I. Newhouse公共传播学院的学士学位和硕士学位。
McNally now resides in Dobbs Ferry, New York.
McNally现在居住在纽约的Dobbs Ferry.

More information on Joe McNally can be found at http://www.joemcnally.com

这些人 "too simple, sometimes naive"

James Shadle

I was born in Tampa, FL in 1958, and grew up in rural Hillsborough County, playing in the woods and fields where homes and businesses now stand. Till this day, I live only a couple of miles from where I was raised.
我生于1958年佛罗里达的坦帕，在Hillsborough县乡下长大，小时候常在林子和田野里玩，这些林子和田野现在已建了住宅和商店。直到今天，我仍然住在离我长大的地方不过几里之处。

So to say I am a native is an understatement. My mother’s side of the family has been in Florida for generations.
所以说我是一个土生土长的乡下人，绝不为过。我母亲一边的亲戚则在佛罗里达住了好几代。

I have always loved being out in the wild - it must be genetic - you see, my father was a hunter, fisherman and alligator poacher. As children we could wake up to one footers in the bath tub, a three footer in our pool, and an eight footer's hide being cured out in the shed.
我总是喜欢呆在野地里，这一定是遗传基因，你看我父亲是猎手，渔民，鳄鱼捕手，孩时，我们醒来时可能会见到盆里有几只一尺长的鳄鱼，在池子里有一只三尺长的鳄鱼在游，而且篷子里一只八尺长的鳄鱼被剥了皮。

I also love to stalk wildlife, unlike my father; however, I hunt with only a camera and shoot only digital media.
我也喜欢在野生世界里散步，但不象我父亲，我只是用相机打猎，我只使用数码相机拍照。
I have been married 28 years to my lovely wife Donna who shares my love for nature. She accompanies me on some of my expeditions, but I can't seem to get her to go wading with me in the Everglades. We have two boys, Aaron 24 and Blake 21; through marriage we now have daughters as well.
我与我可爱的妻子堂娜结婚28年了，我们都热爱自然。她有时也陪伴我一起探险，但是，我似乎不可能同她一起在大沼泽跋涉。我们有两个儿子，亚伦24岁，布莱克21岁，现在他们都结婚了，我们有了两个儿媳妇。
Blake is my constant companion in the field, but unlike me he has been able to convince his wife (Micah) to explore the Everglades with him (the Squirt went wading in the Fakahatchee Swamp!).
布莱克是我野外坚定的同伴，但他不象我，他可以说服他的妻子弥迦同他一起在大沼泽探索。（他们有时去Fakahatchee湿地跋涉）

As a father and husband, I highly recommend exploring Wild Florida as a family.
作为一个父亲和丈夫，我尤其推荐一家人到佛罗里达的野生世界探索。

[zixian 编辑于 2008-01-19 03:42]

Andy Biggs

Andy Biggs is an avid adventurer, teacher, and outdoor photographer whose photography celebrates the African landscape and its rich wildlife, people, and culture. With a deep respect and understanding for African wildlife, Andy unfolds the world of the Serengeti onto our doorstep with breathtaking accuracy and striking emotional depth. His photographic safaris allow the traveler to not only enhance their understanding of photography, lighting, and wildlife, but to develop a life-long admiration for Africa 's beauty and culture.
Andy Biggs是一位狂热的冒险家、教师和户外摄影师。他的照片以非洲的风景和丰富的野生动物、人文和文化著称。Andy用惊人的精确和打动人心的情感把我们带进Serengeti世界，他拍的旅行照不仅让旅行者进一步了解摄影、光线和野生动物，而且使人们对非洲的美和文明终生赞赏。
Andy's photographic interests also encompass the landscapes of the American Southwest. Andy uses camera formats ranging from 35mm to 4x5" large format, to the latest in digital camera technologies. His key to shooting a great photo? Andy makes it a priority to shoot when the light is most dramatic, notably the hour after sunrise and the hour before sunset.
Andy的摄影兴趣也包括美国西南的风景，Andy使用相机的种类包括从35毫米到4X5大画幅，以至最新的数码相机技术。拍一张好的照片的关键是什么？Andy总是在光线最生动的时间拍摄，特别是日初之后和日落之前的那个时刻拍摄。

Michael Frye

I'm a fine-art landscape and nature photographer based near Yosemite National Park . My best photographic education came while working at the Ansel Adams Gallery in the late 1980s, where I was exposed to great images every day, and where I met wonderful, creative photographers such as Ernst Haas, Jerry Uelsmann, and John Sexton.

My time at the Ansel Adams Gallery nourished an appreciation for the craft of printing, but my passion for color led to frustration with the traditional darkroom. So I greeted the advent of digital printing with great enthusiasm. In the late '90s, I learned how to use Adobe Photoshop (with generous help from some experts) and eventually learned it well enough to teach many Photoshop and digital-printing workshops for the Ansel Adams Gallery, HP, and others.

I've authored two books—The Photographer's Guide to Yosemite and Yosemite Meditations—and was also featured in the book Landscape: The World's Top Photographers. Magazine credits include National Wildlife, Outdoor Photographer, American Photo, Sunset, and Texas Highways.

I live with my wife Claudia, son Kevin, two dogs, cat, and chinchilla in Mariposa, California. You can see my work at http://www.michaelfrye.com.

10. Now go out and have some fun!

Rules are meant to be broken, and while there’s no magic formula for creating stunning images, if you keep these basic suggestions in mind, you’ll be able to develop your photographic skills and have a great time doing it.

Besides, the wildlife might enjoy watching you as much as you enjoy watching them. They might even employ some of your camouflage techniques to study you in secret.

9. Understand the direction of light.

Light has directional characteristics a wildlife photographer can utilize. From an exposure standpoint, frontal lighting illuminates an animal’s face evenly and completely.

If an animal is facing you, side lighting lights one side of the animal’s face while the other side is in dark shadow—a potential exposure problem even with fill-flash. Unfortunately, frontal light can be flat, while side lighting creates depth, so there are always trade-offs.

Back lighting falls on your subject from behind it. You’re shooting into the sun, so exposure can be tricky, and you need to watch for lens flare, but the resulting image, usually silhouetted or with rim light, is often striking. For exposure, meter the sky away from the sun, lock in your exposure reading, recompose on the subject and shoot.

8. Develop the right ethical approach; you’ll become a better wildlife photographer.

Too often, we become so excited with the wildlife photo opportunity in front of us, we forget about the welfare of the subject. Never put a wild animal of any kind in a position where its existence is threatened, especially when photographing baby animals or birds at their nests.

Never freeze or refrigerate an insect, reptile or small animal to make it more “manageable.” You could permanently harm the subject, and all you get is a picture of a frozen animal.

7. Work to capture animal behavior.

As you learn more about wildlife and become more familiar with your equipment, expand your photographic abilities to include animal behavior.

A dynamic image is almost always more interesting than a static image. Try capturing birds taking off or landing. Birds in National Wildlife Refuges are acclimated to cars on the auto tour routes. Look for birds that perch along the roads; they often return to the same roost.

A mother with her young is another great behavior subject. Practice with subjects like these at local zoos and wild animal parks. You can also check with local wildlife rescue facilities to see if they offer photo sessions.

6. Understand the color quality of light.

The light at sunrise or sunset warms up a subject’s color and tends to light it evenly. An added benefit is that these hours are also active times for wildlife.

Unfortunately, the appearances of wildlife aren’t always in early-morning or late-afternoon light. When this happens, you hope for soft, overcast light. An overcast sky acts like a giant diffuser, evening out harsh glare. Metering exposure in this light is easier, too. There are no overly bright or overly dark areas to cause problems as long as you keep the sky out of the picture.

This light may come off as bluish, though. If so, a warming filter or a little fill-flash helps correct the color. A flash with -1 to -2 dialed in produces a well-exposed subject and a daylight-looking background. You can also adjust the white balance on your digital camera for overcast conditions.

Fill-flash also adds sparkle, or catch-light, to the eye of your subject. Without light reflection in the eye, an animal looks lifeless.

5. Pay attention to the environment, even in portraits.

Most people want frame fillers of wild animals. But images that show the animal’s environment are often more stunning and give the animal a sense of place. You can use shorter lenses and immerse yourself in wildlife photography without the need for those expensive super-telephoto lenses when you start out.

A portrait of an injured, captive bald eagle doesn’t tell you much about the eagle. An image of a wild bald eagle at home in its Alaskan temperate rain forest tells the viewer much more about the animal and gives it a sense of place.

4. Know your equipment.

After sitting in your blind for hours, a peregrine falcon flies by and you have only seconds to frame and shoot. It’s a great photo opportunity, but do you have the right lens to capture the image? Does your memory card have space?

Be prepared. Wildlife action lasts only seconds. That’s not the time to check your manual for camera settings or to dig through your camera bag for the right lens or a memory card. Read your equipment manuals, become familiar with all your equipment and know where it is in your camera bag before you get into that blind. Pack your camera bag the same way every time and know where each piece of equipment is located.

3. Become knowledgeable about your subject and learn patience.

There are all kinds of ways to gather information about wildlife. Internet searches, biologists and rangers at wildlife refuges, other wildlife photographers, libraries and bookstores are all potential sources.

Keep in mind that wild animals seldom do what you want, when you want. So you need to develop patience to capture those special moments. For example, following butterflies and moths with your camera can be frustrating. You’ll get many partial butterfly images as they take wing just as you press the trigger. Patience! Approach your subject slowly and stay at or below eye level. Use a telephoto macro lens for greater working distance when photographing small animals, and fill-flash for greater depth of field.

2. Check your backgrounds.

Animals slither, perch, sit or stand right where it’s most inconvenient—with that stick in front of them or where a washed out sky or bright leaves will destroy an otherwise great image. Check your background when you set up, and make sure it’s clean, simple and allows the viewer to focus on the animal.

Sometimes you need to move to get the animal against a more attractive background. If your background is lousy, no matter what your subject, the image will be lousy. Don’t rely on Photoshop; move and make it right to begin with.

10 Tips For The Wildlife In Your Life

Expert techniques make for exciting, dynamic photographs
Text And Photography By Dave Welling

Wildlife photography is a doorway into a world of exotic animals and outdoor adventure, but it takes some effort to get there. When you learn the technical skills of photography—not only the capabilities of your equipment but also the photographic elements of composition and lighting—you’ll be on the way to capturing the best wildlife shots that you can. And while you may not be embarking on a life of jet-setting photography just yet, here are some guidelines and pointers that will help you on your way.

1. Study composition techniques.

When photographing wildlife, the subject’s space, eye level and image orientation are very important. Most photographers take pictures while standing because it’s a natural position. However, most wildlife subjects are smaller or shorter than humans, so you look down on your subject. This angle makes it difficult for the viewer to relate to the animal. Get down at eye level with your subject to create strong images that put the viewer in direct eye contact with the animal.

Watch the space around an animal, as well. If the animal is positioned closely to the side of the frame and is staring off the edge, then the picture may have an unbalanced feel. Allow “looking space”—enough room for the creature to breathe in an image.

Animals will come in all shapes and sizes, so let their structure dictate horizontal or vertical composition. When birds, for instance, have long feathers for a tail, a horizontal shot may cut the tail off, giving the image an unnatural “clipped” perception. A vertical shot that includes the entire animal would be more appropriate.

Joe McNally is described by American Photo magazine as "perhaps the most versatile photo journalist working today".

Joe McNally has been photographing for the National Geographic Society since 1987. Some of his most recent National Geographic magazine assignments are "The Future of Flying," "Power of Light," and "What It Takes to Build the Unbeatable Body: Pushing the Limit."

In addition to his work for National Geographic, McNally shoots for other magazines, advertising agencies, and graphic design firms. His clients include Sports Illustrated, ESPN magazine, Life, Time, Fortune, New York magazine, Geo, the New York Stock Exchange, Target stores, Sony, GE, Nikon, Lehman Brothers, and PNC Bank. He has also worked on numerous Day in the Life photographic book projects.

McNally has received the Alfred Eisenstadt Award for magazine photography and has been honored by Pictures of the Year International, World Press Photo, and the Art Directors Club. He has also been recognized by the magazines Photo District News, American Photo, Applied Arts magazine, Communication Arts, and Graphis.

McNally has taught at many institutions, including the Eddie Adams Workshop, National Geographic Society, Smithsonian Institution, Rochester Institute of Technology, Maine Photographic Workshops, U.S. Department of Defense, and Disney Institute.

One of McNally's most notable large-scale projects, "Faces of Ground Zero," has become known as one of the most significant artistic responses to the September 11, 2001, tragedy at New York's World Trade Center. McNally was described by American Photo magazine as perhaps the most versatile photojournalist working today and was listed as one of the hundred most important people in photography.

In January 1999 Kodak and Photo District News honored McNally by inducting him into their Legends Online archive. In 2001 Nikon bestowed a similar honor when McNally was placed on NikonNet.com's list of Legends Behind the Lens.

McNally was born in Montclair, New Jersey. He received his bachelor's and graduate degrees from Syracuse University's S.I. Newhouse School of Public Communications.

McNally now resides in Dobbs Ferry, New York.

More information on Joe McNally can be found at http://www.joemcnally.com

This picture is I got from his lecture yesterday.

[zixian 编辑于 2007-10-22 00:37]

其实这是普遍现象,没说只是尊重而矣.

昨天同我的几位美国好朋友就这事讨论了一下,他们都认为Art Wolfe是对的,争论了半天,看来是文化差异,民族立场,国家利益的问题.

The 100 Most Important People in Photography, 2005
Sometimes it's what you know, and sometimes it's who you know. Here are the people you definitely should know.

It was 11 years ago that American Photo first contemplated the audacious idea of naming the top 100 movers and shakers in photography. Richard Avedon topped our list that year because of an ambitious retrospective exhibition and book deal he was undertaking at the time. Four years later, in 1988, our number-one position was more controversial: Diana, the princess of Wales, whose death in 1997 created a furor over the aggressive tactics of the paparazzi. Now it is time again to assess the state of the medium and name the people who are shaping the art and business of photography in 2005. As you'll see on the following pages, our number-one choice this year is neither a photographer nor an icon. But if the name isn't widely known among the general public, it has certainly become so among professionals who have witnessed first-hand how this person's (actually a pair of people) vision has changed photography profoundly.
Stepping back to see where photography is heading—and who is taking it there—is really the point of the issue. And our list makes a few trends very clear ... but we'll get to that in a moment.
First, it's important that everyone understand how we arrived at our list and the criteria we used to make our decisions. As in the past, we started by asking a confidential group of 25 councilors in various areas of the photo industry to give us their ideas. The editors of AP then painstakingly constructed the list—"pain" being the operative word, since the process engendered fierce debate.
The result is, of course, a subjective analysis of the industry and the art, but one based on a wide and varied base of opinion. The people on our list represent not a historic view of photography's greatest achievements but an up-to-the-minute view of photography now.
To make our job manageable, we have again limited our choices to people who either live primarily in this country or whose work in this country has made a significant contribution to photography.
As to what our list reveals: There is no doubt that photography is thriving as both art and industry. As pictures fill our world, demand for imagery has undergone a big-bang expansion, and the means of distribution have been revolutionized. The big photo agencies that have consolidated the markets for stock, syndication, and editorial imagery have become power centers that are able to leverage their influence over media outlets and artists' reps. The influence of art-book publishers has grown as more and more photo titles are produced each year; paparazzi and red-carpet photography feed pop culture's ever-more-voracious appetite for celebrity stimulation; and the art market has survived the economic downturn of the early ‘00s handily, though many of the big-selling artists right now are far from new names.
Just as important, the entire medium—from fine art to commercial work and photojournalism—is being redefined by digital technology and the entrepreneurs who are envisioning the future. Sometimes it's what you know, and sometimes it's who you know. Herewith, we introduce you to the people you definitely should know.
1 Mark Getty and Jonathan Klein, Getty Images
2 Annie Leibovitz, photographer
3 VII Photo Agency: John Stanmeyer, Lauren Greenfield, Alexandra Boulat, James Nachtwey, Gary Knight, Antonin Kratochvil, Ron Haviv, Christopher Morris, and Joachim Ladefoged
4 Kevin Mazur, wireimage.com
5 Michelle McNally, The New York Times
6 Hans P. Kraus Jr., dealer
7 Patrick Demarchelier, photographer
8 Michele Stephenson and MaryAnne Golon, Time
9 Graydon Carter, Susan White, and David Friend, Vanity Fair
10 Kathy Ryan, The New York Times Magazine
11 Dirck Halstead, digitaljournalist.org
12 Terry Richardson, photographer
13 Mert Alas and Marcus Piggott, photographers
14 Chris Johns, National Geographic
15 Peter MacGill, Pace/MacGill Gallery
16 Seamus Conlan*, Marcel Saba, and JP Pappis, independent photo agents
17 Bonnie Fuller, American Media
18 Howard Greenberg, >Howard Greenberg Gallery
19 Elodie Mailliet and Bill Hannigan*19, Corbis Outline
20 Holly Hughes and Jeffrey Roberts*, Photo District News
21 Craig McDean, photographer
22 Denise Bethel, Sotheby's
23 Joshua Holdeman and Philippe Garner, Christie's
24 Inez van Lamsweerde and Vinoodh Matadin, photographers
25 Philip-Lorca diCorcia, photographer
26 Malcolm Daniel, Metropolitan Museum of Art
27 David LaChapelle, photographer
28 Michael Thompson, photographer
29 Sandra S. Phillips, San Francisco Museum of Modern Art
30 Anne Wilkes Tucker, Museum of Fine Arts, Houston
31 Benedikt Taschen, Taschen Books
32 Cindy Sherman, photographer
33 Gregory Crewdson, photographer
34 Peter Galassi, Museum of Modern Art
35 Willis Hartshorn, International Center of Photography
36 Barbara Kruger, artist
37 Robert Polidori, photographer
38 Mark Seliger, photographer
39 Ingrid Sischy, writer
40 Timothy Greenfield-Sanders, photographer
41 Michael Wilson, collector
42 Gerhard Steidl, Steidl Books
43 Randy Bauer and Frank Griffin, Gary Morgan, and Frank Regis Rohmer, paparazzi overlords
44 Art Streiber, photographer
45 Ellen von Unwerth, photographer
46 Pascal Dangin, Box Studios
47 Hugh Milstein and Jon Moeller, Digital Fusion
48 Andres Serrano, photographer
49 Taryn Simon, photographer
50 Fred Ritchin, PixelPress

* 16 Conlan was ousted from World Picture Network, the photo agency he founded with wife Tara Farrell, in late 2006. Carlo Montali has since taken over editorial operations at WPN.
* 19 Both have departed Corbis. Mailliet left to become director of photography for Exclusive by Getty Images, an Outline rival. Hannigan first left to join Contour, owned by WireImage parent MediaVast, which was bought by Getty Images. In June 2007 Hannigan launched August Images with industry veteran Thea Vaughan.
* 20 Roberts is now group publisher, photography at Hachette Filipacchi Media, US, which published American PHOTO and Popular Photography & Imaging.
51 James White, photographer
52 Daniel Power, powerHouse Books
53 David Fahey, Fahey/Klein Gallery
54 Martin Schoeller, photographer
55 Thomas Walther, collector
56 Sam Shahid, creative director
57 Vicki Goldberg, writer
58 Jeffrey Fraenkel, Fraenkel Gallery
59 Joel-Peter Witkin, photographer
60 Eugene Richards, photographer
61 Ruven Afanador, photographer
62 Eric Himmel, Harry N. Abrams
63 Tom Mangelsen, photographer
64 Stephen Crowley, Tyler Hicks, and Vincent Laforet, New York Times
65 Stephen Cohen, Stephen Cohen Gallery
66 Mary Ellen Mark, photographer
67 Bonni Benrubi, Bonni Benrubi Gallery
68 Gilles Peress, photographer
69 Larry Fink, photographer
70 Mario Sorrenti, photographer
71 Harry Benson, photographer
72 Larry Sultan, photographer
73 Manfred Heiting, collector
74 Michael Sand, Bulfinch Press
75 Kimberly Ayl, Icon International
76 Norman Jean Roy, photographer
77 David Burnett, photographer
78 Nina Berman, photographer
79 Anne Kennedy and Jim Moffat, Art + Commerce
80 John Loengard, writer
81 David Hume Kennerly, photographer
82 Michael Mattis, collector
83 Brigitte Lacombe, photographer
84 Bruce Weber, photographer
85 Geoffrey Katz, Creative Photographers Inc.
86 Stephen Shore, photographer
87 Dennis Freedman, W
88 Henry Buhl, collector
89 Steven Meisel, photographer
90 Charles Ommanney, photographer
91 Deborah Willis, professor
92 Tim Wride, No Strings Foundation
93 Tom Rankin, Center for Documentary Studies
94 Doug Lloyd, Lloyd & Company
95 Stephen Frailey, School of Visual Arts
96 Paul Jasmin, photographer
97 Joel Sternfeld, photographer
98 Yossi Milo, Yossi Milo Gallery
99 William Hunt, Ricco/Maresca Gallery
100 Mike Gallagher, Gallagher Gallery & Archive

西方人士常常自以为是，类似的人物还有你前面提到的Galen Rowell。

这位Wolfe上了黑名单了，中国色友也不会欢迎他了。

今天见到了Art Wolfe,也就是我这里介绍的第一位摄影师,他刚从※※,印度回来,展示他的摄影作品,当他谈到,※※※※※ don't like China时,我离开了.

My friend told me he likes Robert Mapplethorpe and Andre Kertesz. I just make a note here.

Robert Mapplethorpe was born in 1946, the third of six children. He remembered a very secure childhood on Long Island, which he summed up by saying, “I come from suburban America. It was a very safe environment, and it was a good place to come from in that it was a good place to leave.” He received a B.F.A. from Pratt Institute in Brooklyn, where he produced artwork in a variety of media. He had not taken any of his own photographs yet, but he was making art that incorporated many photographic images appropriated from other sources, including pages torn from magazines and books. This early interest reflected the importance of the photographic image in the culture and art of our time, including the work of such notable artists as Andy Warhol, whom Mapplethorpe greatly admired.

Mapplethorpe took his first photographs soon thereafter, using a Polaroid camera. He did not consider himself a photographer, but wished to use his own photographic images in his paintings, rather than pictures from magazines. “I never liked photography,” he is quoted as saying, “Not for the sake of photography. I like the object. I like the photographs when you hold them in your hand.” His first Polaroids were self-portraits and the first of a series of portraits of his close friend, the singer-artist-poet Patti Smith. These early photographic works were generally shown in groups or elaborately presented in shaped and painted frames that were as significant to the finished piece as the photograph itself. The shift to photography as Mapplethorpe’s sole means of expression happened gradually during the mid-seventies. He acquired a large format press camera and began taking photographs of a wide circle of friends and acquaintances. These included artists, composers, socialites, pornographic film stars and members of the S & M underground. Some of these photographs were shocking for their content but exquisite in their technical mastery. Mapplethorpe told ARTnews in late 1988, “I don’t like that particular word ‘shocking.’ I’m looking for the unexpected. I’m looking for things I’ve never seen before…I was in a position to take those pictures. I felt an obligation to do them.”

During the early 1980s, Mapplethorpe’s photographs began a shift toward a phase of refinement of subject and an emphasis on classical formal beauty. During this period he concentrated on statuesque male and female nudes, delicate flower still lifes, and formal portraits of artists and celebrities. He continued to challenge the definition of photography by introducing new techniques and formats to his oeuvre: color Polaroids, photogravure, platinum prints on paper and linen, Cibachomes and dye transfer color prints, as well as his earlier black-and-white gelatin silver prints.

Mapplethorpe produced a consistent body of work that strove for balance and perfection and established him in the top rank of twentieth-century artists. In 1987 he established the Robert Mapplethorpe Foundation to promote photography, support museums that exhibit photographic art, and to fund medical research and finance projects in the fight against AIDS and HIV-related infection.

Galen Avery Rowell

Born in 1940 in Oakland and raised in Berkeley, California, to a college professor and a concert cellist, Galen was introduced to wilderness before he could walk. He began climbing mountains at the age of ten on Sierra Club outings, and at sixteen made his first roped climbs in Yosemite Valley. Over the next fifteen years he logged more than a hundred first ascents of new routes there and in the High Sierra backcountry.
Taking photographs began as a way to share his high and wild world with friends and family. In 1972 he became a full-time photographer after selling his small automotive business. Less than a year later he did his first major magazine assignment–a cover story for National Geographic.
Galen pioneered a special brand of participatory wilderness photography in which the photographer transcends being an observer with a camera to become an active participant in the image being photographed. His emotional connection to his subject matter came across clearly in his early mountain climbing photographs that first drew public recognition, but his landscape imagery, often made on the same adventures, has proven even more evocative because of the visual power he created from what he described as “a continuing pursuit in which the art becomes the adventure, and vice-versa.” In 1984 he received the Ansel Adams Award for his contributions to the art of wilderness photography. In 1992 Galen received a National Science Foundation Artists and Writers Grant to photograph Antarctica.

According to The Washington Post, “Galen Rowell may be the foremost practitioner of that hybrid art, photojournalism.” With the mobility allowed by 35mm equipment, he turned his own active participation into a hidden fourth dimension that made his work come alive.
No scene was taken for granted; the principles of action photography were applied to his landscapes and vice versa. His favorite landscapes feature unexpected convergence of light and form, seemingly unrepeatable moments captured by combining imagination and action with a clear understanding of outdoor optical phenomena.

He called these images “dynamic landscapes,” and his quest for them is documented in his bestselling 1986 book, Mountain Light: In Search of the Dynamic Landscape, recently released in tenth-anniversary hardcover and softcover editions. His favorite images of people were those that show them in delicate harmony with a carefully selected part of their environment.

In his lifetime, Galen produced seventeen other large-format books of photos and text, all pictured and described in our bookstore. Images from his recent works Bay Area Wild, North America the Beautiful, and Galen Rowell’s Inner Game of Outdoor Photography can be seen in the online gallery.
In the last twenty years of his life, Galen made over thirty-five journeys to the mountains of Nepal, India, Pakistan, China, ※※※※※, Africa, Alaska, Canada, Siberia, New Zealand, Norway, and Patagonia. Besides participating on major expeditions to Mount Everest, K2 and Gasherbrum II (not to the summit), he made the first one-day ascents of Mount McKinley in Alaska and Mount Kilimanjaro in Africa as well as first ascents of Himalayan peaks such as Cholatse and the Great Trango Tower. He also made the highest complete ascent and descent of a mountain on skis on Mustagh Ata (24,757 feet), as well as a 285-mile winter traverse of the Karakoram Himalaya.
When not doing assignments for Life, National Geographic, Outdoor Photographer, or other publications, Rowell was likely to be found either writing at his Bishop home, climbing in the High Sierra, working at Mountain Light Gallery or hiking and photographing with his wife Barbara.

Jay Patel

Seeds of Jay Patel’s appreciation for beautiful places were planted early in his childhood on numerous trips to some of the most breathtaking locations on the Indian subcontinent. His passion for such magnificent places now manifests itself in a continuous search to capture nature’s majestic specularity with his camera. Jay’s career in photography began in the summer of 2001 when he purchased his first digital SLR. In subsequent years, he spent much time reading photographic magazines and Internet articles and studying the styles of great landscape photographers. He has had no formal education or training in photography.

Although Jay produces most of his work in rich vibrant colors, he also enjoys the creativity and latitude offered by B/W photography in digital format. His photographs try to capture both the physical and emotional nature of light. “Light in nature takes on astonishingly diverse shapes, forms and colors that allow us to interact with the world around us. The calm deep blue of twilight, the dynamic fiery red glow of lava, the piercing beams of sun breaking through the clouds, and the soft romantic moonlight reflected in a glacial lake all affect our mood, our feelings and our very outlook on life”. It is this physical and emotional nature of light that he passionately struggles to capture through his photographs. He is well aware, however, that his photographs can convey only so much of the wonder as it is beyond his abilities to replicate the awe and magnificence of the natural world. He is not sure his efforts will endure the test of time, but he certainly hopes they will provide inspiration for others who may also try to capture the nature of light.

Adam Burton

Growing up in the south coast of England, with the New Forest on his doorstep, Adam Burton's photographic interest began with a passion for his unique natural surroundings. This love of the natural world enabled Adam to develop a photographic style which was dedicated to capturing the essence of wild and rural landscapes.  
His photographs are instantly recognisable with their rich, vibrant yet natural colours and captivating compositions, each conveying the delicate beauty of the environment in which they are taken. While temperate landscapes and moody seascapes are undoubtedly his favourite subjects, he also enjoys the more intimate close up subjects, which provide a challenging change to his familiar style.

Adam’s enthusiasm for photography was kindled during a period of time spent travelling throughout the southern hemisphere in 1997. “There were so many beautiful places that I was desperate to show people back home”.

Despite capturing many images on this trip, it has only been in the last 4 years that Adam has started taking photography seriously. During this time, he has read many articles in books and magazines, putting into practice the knowledge he has gained along the way. He has no formal training or qualifications.
His favourite time to photograph is at dawn when the light is magical and the landscape quiet. “This is the time when I feel most alive. To be in a remote, beautiful location with nothing but the wildlife as companions is so invigorating for me – a world apart from the hustle and bustle of daily life. To witness the beauty of these moments, and to have the opportunity to capture a little of it on film continually inspires me”.

The Hampshire and Dorset areas have provided him with many photographic opportunities to capture dramatic coastlines, carpets of bluebells, misty mornings, stunning sunsets and much more.  In addition to his English portfolio Adam has built up extensive collections of images from Scotland, Norway, North America and New Zealand.

In 2007 Adam was awarded Amateur Travel (Landscape) Photographer of the Year by Wanderlust travel magazine.  His prize will be a photographic commission to Antarctica in late 2007.

Current Equipment

Canon 5D  
  Canon 17-40L
  Canon 24-70L
  Canon 100-400L
  Lee Filter system (.3 / .6 / .9 ND graduated filters, Lee 105mm polariser)  
  Manfrotto Magfibre 055MF4       
  LowePro Nature Trekker AWII Backpack

Patrick Di Fruscia

I spent most of my childhood years away from the city, having been raised mostly in the Canadian countryside. From the time of my birth, my experiences in nature was to become a large influence in affecting my ultimate passion for the beauties of the natural world.

My love for the arts has grown throughout the years, and I attribute my devotion to interpreting nature in an artistic manner to my parents’ participation in the arts. My father, Joseph, was a professional photographer during a period in his life and my mother, Michele, was gifted with artistic talents such as drawing, painting, and decorating. Her fine eye for details was an big influence on my perception of nature.

I was already drawing at an early age; as a teenager, I focused my creative side towards music and the piano.

In August of 2000, my employer tasked me with learning to take images of the company’s products in order to save money from hiring professional photographers. At the time, I thought inwardly that this was a rather absurd request, but decided that photography could be a possible extension of my own artistic eye.

As I started reading everything I could get my hands on about photography, I realized that this was an art form that would enable me to express my inner feelings about the world around me. The job task soon became an insatiable desire to record the beauty of nature. The camera soon became the perfect medium to express my feelings.

I then started searching for a style and it was not long before I was producing images of everything around me, and attending several short classes on photography. The crux of my search was found while visiting the magnificent Gaspe’ Peninsula. On a warm Fall morning I approached the summit of Mont Ernest LaForce and discovered the breathtaking views spread out before me. At that point I knew this was it! Nature was calling my name loud and clear. This was a magical memory that I will remember forever. The art of photography had now turned to a true passion.

I have set my goals to always improve my craft. My quest to become a better photographer will never cease. I personally think that the learning curve is endless, and I have only myself to criticize when I feel I am not living up to my artistic endeavors. I am constantly searching for those rare magical moments when the Perfect Light embraces nature in all its glory.

Rest assured – this is only the beginning of a long and dedicated quest to capture the immortality of nature.

Current Equipment

- Canon 5D
- Canon 24-70L F2.8
- Canon 17-40L
- Canon 100-400L IS

- Lee Filters
- 105mm Heliopan Polarizer
- Manfrotto JoyStick Head #222
- Lowepro Photo Trekker AW II
- Epson P-2000 Photo Viewer
- CanonScan FS4000US
- Epson Photo 2200
- Mac G5

Ian Cameron (Freelance photographer)

I have always had an overwhelming passion for photography, particularly when representing the beauty of my adopted home, Scotland.

The essence of good landscape photography seems to boil down to three things: composition, timing and light. It is my belief that this final ingredient, light, its colour, quality and strength is the biggest single infuence on the success of the final image.  

Scotland more than any other country I have tackled, challenges the photographer's patience and skill.  It has always seemed to me like trying to land a feisty salmon on a thin fishing line. In photographic terms if the timing, elements, lighting and subject material are not persuaded into coherency, then, as with fishing, the hook is slipped, the line breaks and the moment of triumph passes.

Transient light perfectly describes that moment.  Ian searches both the wide and intimate landscape for those magical seconds when all the elements align.  These extraordinary moments pass all too rapidly and subside back to the mundane.  

Ian invites you to look inside his galleries and witness for yourself his images of transient light.

My Philosophy.

Despite the onset of the digital age, I steadfastly hold true to my beliefs that nature's beauty is unsurpassed and needs no helping hand from computers.  I never add or take anything out of a picture that cannot be removed by the simple expedient of physical removal at the scene.  It is usually possible to rid oneself of an unwanted feature by a simple change of viewpoint.  

As ever there are always a few caveats.  No film records light, shade or colour in the same way as the human eye perceives it. You and I can perceive detail within a ten stop range.  Fuji Velvia can barely record details over five stops, a serious shortcoming that has to be taken into account.  Consequently I will use neutral density graduated filters to bring film more into line with what you and I would see.  Occasionally I choose to enhance existing colours with very weak filters but I try to use them as honestly as I can.  I do not intentionally falsify colours.  It is vitally important to me that anyone viewing these images, knows, that if they had been in that place at that time and date, they too could have beheld the vision that I was witness too.

Colour saturation and hue on a transparency is fixed, but photoshop allows almost infinite change for better or worse.  I try to maintain the level of saturation recorded on the original transparency, never-the-less the light I seek and record frequently steps outside the boundaries of what others consider believable.

My Photographic Equipment.  

I currently use conventional 35mm and medium format equipment to record landscapes, however it is more convenient to use 35mm equipment for Travel and nature Photography.  

My 35mm equipment comprises:

Contax ST, with Carl Zeiss 28-85mm zoom, Carl Zeiss 80-200mm zoom, Carl Zeiss 100mm macroplanar and Carl Zeiss 300mm Tele Tessar lens with associated Carl Zeiss Mutar lll 1.4x converter.  

My medium format equipment comprises:

Pentax 6x7ll, Pentax 55-100mm zoom, Pentax 45mm and Pentax 200mm lenses.  

Which ever camera is used it will be bolted securely to a carbon fibre Gitzo 1325 tripod complete with the superb Arca Swiss QR ballhead.  This is an amazingly strong and rigid setup which makes changing lenses in the field a pleasure.  To monitor fluctuating light levels I make regular use of a Pentax Digital Spotmeter.

My favoured film is Fuji Velvia 50, I find it records colours vividly, it's rendition of a scene matches my memory of the colours that existed at the time the exposure was made.  It seems to have a 3 dimensional clarity unmatched by other films (including it's faster sibling Velvia 100).

I scan all my original transparencies using a Nikon Coolscan 9000 ED.  Please note that all the images should be viewed using a calibrated monitor.  This needs regular re-calibration to ensure that your monitor's colour balance doesn't drift.

[zixian 编辑于 2007-10-04 04:51]