Photographers

Andreas Feininger
Andreas Gursky
Anne Noogle
Annie Liebovitz
Arne Svenson
Bernd and Hilda Bechner
Bruce Conner
Bruce Weber
Catherine Wagner
Charles Sheeler
Christian Boltanski
Chuck Close
Cindy Sherman
Dan Graham
David Hilliard
David Hockney
David Levinthal
Diane Arbus
Dieter Appelt
Dorthea Lange
Duane Michaels
Eadweard Muybridge
Edward Ruscha
Edward Weston
Eudora Welty
Francesca Woodman
Fredrick Sommer
Gilbert and George
Gregory Crewdson
Harry Callahan
Henri Cartier-Bresson
Henry Wessel
Hiroshi Sugimoto
Homma Takashi
Irving Penn
Jack Fulton
Jan Dibbets
Jan Groover
Jeff Wall
Jeremy Stutton Hibbert
Jerry Uelsmann
Jo Ann Callis
Jock Reynolds
Jock Sturges
Joel Meyerowitz
John Baldessari
John Divola
Josef Sudek
Karl Blossfelt
Kimiko
Kishin Shinoyama
Lee Friedlander
Linda Connor
Loretta Lux
Man Ray
Marc Riboud
Mark Klett
Martha Cooper
Martin Parr
Mary Ellen Mark
Masao Yamamoto
Michael Ackerman
Michiko Hamamura
Minor White
Misha Gordin
Mitch Epstein
Moholy-Nagy
Moriyama Daido
Nan Goldin
Nick Waplington
Nobuyoshi Araki
Pablo Ortiz
Paul Strand
Peter Hujar
Philip- Lorea diCorcia
Regan Louie
Richard Avedon
Richard Misrach
Richard Prince
Rikko Nakamura
Rineke Dijkstra
Robert Adams
Robert Frank
Sally Mann
Sherry Levine
Shoji Ueda
Shomei Tomatsu
Sigmar Polke
Sophie Calle
Stephen Prina
Stephen Shore
Thomas Demand
Thomas Ruff
Thomas Struth
Tina Modotti
Todd Hido
Tokihiro Sato
Urs Luhti
Uta Barth
Vicki Goldberg
W. Eugene Smith
Weegee
William Klein
Yasuhiro Ogawa

Galleries:

George Eastman House

http://www.geh.org/
Collection organized by photographer
http://www.geh.org/photographers.html

Charl Lucassen website
http://web.inter.nl.net/users/anima/chronoph/index.htm

http://web.inter.nl.net/users/anima/optical/index.htm

California Heritage Foundation
http://www.oac.cdlib.org/dynaweb/ead/calher/

The artists.org

major modern & contemporary visual artists

artists and art, the-artists.org, the major modern & contemporary visual artists, each artist with portrait, brief biography, links to articles, essays and artist interviews; original art, limited edition art prints, photography and poster art, paintings, multimedia and artist's books & cultural tours.

http://the-artists.org/artshop/photography.cfm

Photo Guide Japan
http://photojpn.org/

Aperture Foundation
http://www.aperture.org/store/default.aspx

Galerie VU - Triage Photo Collection
http://www.agencevu.com/fr/galerie/

Museum of Fine Arts, Santa Fe
http://www.museumofnewmexico.org/

Metropolitan Museum of Art - Photo Collection
http://www.metmuseum.org/works_of_art/department.asp?dep=19

New York Times Photo archive
http://www.nytimes.com/nytstore/photos/index.html

Library of Congress - Prints and Photography Reading Room
http://www.loc.gov/rr/print/

California Museum of Photography
http://www.cmp.ucr.edu/

Photomuse
http://www.photomuse.org/

Museum of Contemporary Art (L.A.)
http://www.moca.org/portal/index.php

Fifty Crows - Social Change Photography
http://www.fiftycrows.org/

International Center for Photography
http://www.icp.org/

Recent Exhibitions Archive - ICP
http://www.icp.org/exhibitions/recent/index.html

Publications:

New York Times Photo archive
http://www.nytimes.com/nytstore/photos/index.html

Photo District News
http://pdn-pix.com/photodistrictnews/index.jsp
http://pdn-pix.com/photodistrictnews/gallery/index.jsp

National Press Photographers Association
http://www.nppa.org/

SF Camerawork - SF Photography Gallery
http://www.sfcamerawork.org

Photo.NET
http://www.photo.net/

PEI Magazine - Photo Electronic Imaging
http://www.pei.com

25 under 25: Up and Coming American Photographers
http://cds.aas.duke.edu/books/25under25_2003/index.html

Digital Photography Review
http://www.dpreview.com/

Societies:

The Lomographic Society - http://www.lomography.com/
http://www.lomography.com/about/
Welcome dear photo-adventurer. you are just about to discover the most interactiv, vivid, blurred and crazy face of photography worldwide. we heartily and most warmly invite you to dive into our unique online photo-features, to taste our cameras and -most of all- to become a lomographer. help us to simply build the biggest snapshot portrait of our planet and to revolutionize the picture communication from the hip. prost.

Nikon Web Magazine - Online Society
http://www.nikon.co.jp/main/eng/society/index.htm

Shutterbug Magazine
http://www.shutterbug.net

Sun Spot Photography - Photo Site
http://www.sunspotphoto.com/

Photo Net
http://www.photo.net
http://www.photo.net/learn/

Pinhole Community
http://www.pinhole.com/

National Association of Photoshop Users
http://www.photoshopuser.com/

Stock Photo Agencies:

Getty Images
http://creative.gettyimages.com/source/home/home.aspx
http://creative.gettyimages.com/source/ListingService/SearchAS.aspx

Stock Photography at Foto Search
http://www.fotosearch.com

Technical:

PhotoLinks is a free directory and portal service dedicated to providing easy access to as many photographic resources as possible.
http://www.photolinks.com/

JPEG FAQ
http://www.faqs.org/faqs/jpeg-faq/

Camera Raw

Understanding Digital Raw Capture
http://www.adobe.com/digitalimag/pdfs/understanding_digitalrawcapture.pdf

Raw Capture, Linear Gamma, and Exposure
Why precise exposure is now even more critical when shooting digital raw.
http://www.adobe.com/digitalimag/pdfs/linear_gamma.pdf

Camera RAW Description
http://www.adobe.com/aboutadobe/pressroom/pressreleases/pdfs/200302/20030204RAW.pdf

Supported Cameras Page
http://www.adobe.com/products/photoshop/cameraraw.html

Camera Reviews
http://www.dpreview.com/

Utilities:

Depth of Field Calculator
http://www.reflectiveimages.com/depthoffield.htm

Oatmeal Box Pinhole Photography by Stew Woodruff
- How to Make and Take Pictures With Pinhole Cameras Made from Oatmeal Boxes
http://www.bonus.com/contour/pinhole_camaras/http@@/users.rcn.com/stewoody/index.htm

Supplies:

Digital Art Supplies
http://www.digitalartsupplies.com

Freestyle Photographic Supplies
http://www.freestylephoto.biz/e_main.php

-------------------------

Companion Website for Photography-By Barbara London, John Upton, Jim Stone, Ken Kobre, and Betsey Brill
http://wps.prenhall.com/hss_london_photo_8

Companion Website for Photography-By Barbara London, John Upton, Jim Stone, Ken Kobre, and Betsey Brill
http://wps.prenhall.com/hss_london_photo_8

Agfa Photo Courses
http://www.agfanet.com/en/cafe/photocourse/cont_index.php3

ZoneZero from analog to digital photography
http://www.zonezero.com/

A short course in digital photography, Dennis Curtin
http://209.196.177.41/

The Museum of Contemporary Photography (MoCP) is the only museum in the Midwest with an exclusive commitment to the medium of photography. By presenting projects and exhibitions that embrace a wide range of contemporary aesthetics and technologies, the Museum strives to communicate the value and significance of photographic images as expressions of human thought, imagination, and creativity.
http://www.mocp.org/

http://www.mocp.org/exhibitions/2007/04/barbara_probst.php
---


Weekend Explorer
Coin. Smile. Click!

By JOHN STRAUSBAUGH
Published: March 14, 2008


ON a recent sunny but frigid morning, I strolled up Broadway through Times Square with Näkki Goranin, a visitor from Vermont making a pilgrimage through the swirling crowds and the sensory overload of all the signage. We stopped on the west side of Broadway between 51st and 52nd Streets. It looked nondescript to me, with the usual fast food, souvenir shop, gym and drugstore.

But Ms. Goranin, a photographer whose book “American Photobooth” (W. W. Norton) has just been published, declared it “a landmark in photo history.” Because, she said, in 1926, roughly where the gym is now, a Jewish inventor from Siberia named Anatol Josepho (shortened from Josephewitz) opened a photo-booth concession, the first Photomaton in the world.

An instant hit, the photo booth spread from this spot in Times Square to arcades, amusement parks, state fairs, bus depots and five-and-dimes around the country. Across eight decades it has recorded countless youthful frolics, loving kisses and inebriated indiscretions. Its popularity has survived the Depression, the vanishing of the old arcades and five-and-dimes and the proliferation of disposable, digital and cellphone cameras. Nick Montano, executive editor of the industry monthly Vending Times, estimates that there are still something like 10,000 booths around the country.

But the old-fashioned booths with their “dip ’n’ dunk” chemical developing process and breathless wait for the damp strip of black-and-white images to slide out are disappearing into scrapheaps or into the homes of collectors (Tim Burton and Quentin Tarantino among them), giving way to booths with digital, computerized equipment.

On the busy Broadway sidewalk, Ms. Goranin explained how it all began. Mr. Josepho was just one of many inventors striving to perfect a fully automated photo booth in the early 20th century, she said. He was born in 1894 and grew up in Omsk, Siberia, dreaming of the Wild West and learning to use a Brownie camera, which Eastman Kodak introduced in 1900. As a young man he roamed the globe, from Paris and Budapest to Shanghai, finally reaching the Wild West, or Hollywood anyway, in the mid-1920s, then hitchhiked cross-country with his photo-booth schematics. In New York City, he assembled the engineers and mechanics to build the first few Photomatons he unveiled at 1659 Broadway in the fall of 1926.

http://www.nytimes.com/2008/03/14/arts/14expl.html

http://video.on.nytimes.com/?fr_story=87f081d9667d781e27907858c6f881748be24ebe



Bernd + Hilla Becher
http://www.guggenheim.org/artscurriculum/lessons/movpics_becher.php
Sophie Calle
http://www.guggenheim.org/artscurriculum/lessons/movpics_calle.php
Gregory Crewdson
http://www.guggenheim.org/artscurriculum/lessons/movpics_crewdson.php
Janine Antoni
http://www.guggenheim.org/artscurriculum/lessons/movpics_antoni.php
Peter Fischli + David Weiss
http://www.guggenheim.org/artscurriculum/lessons/movpics_fischli.php
Richard Prince
Spiritual America
http://www.guggenheim.org/artscurriculum/lessons/prince_intro.php

-----------------------------------

Raw Camera Links:

The RawFlaw
By Michael Reichmann and Juergen Specht
May, 2005

Some Background

For most of the past 10 years (effectively, the entire geological age of digital SLR cameras) photographers have been almost oblivious to a lurking danger. This threat – and it is no exaggeration to call it that – can best be understood by analogy.

Imagine that you were a photographer working with film, some time during the 20th century. Many of us don't have to make too great an effort to imagine this, because we were.

You shot your transparency or negative film, had them processed (or processed them yourself), made your prints, and then filed the negatives safely away in acid free storage boxes, so that the next time you or your clients needed a print the negatives were be safely available.

And, sure enough, whenever needed – even ten or twenty years later, we'd go back to our negatives, put them in the enlarger, and make a new print.
And often, because over the intervening time our darkroom skills had advanced, or maybe because we had a new enlarger or we were using an improved paper or chemistry, our new prints turned out to be superior to what we had been able to produce before.

Now, imagine the following scenario. We retrieve our files, find the negative or slide that we want to reprint, and then discover that it has become opaque. The image is gone or otherwise inaccessible. We still have the piece of film that originally went though the camera, but the image itself cannot be accessed!

Good Lord – what could have happened? Well, imagine if the answer was that the company that made your original roll of film had manufactured it so that the film only fit into one type of enlarger, and that those enlargers aren't being made anymore. Or that the chemical properties of the dyes used to make that roll of color film were such that they would only interact to form an image with matching dyes in a printing paper from that same company; but – sorry, that company was sold a few years ago and the new owners decided to stop making that type of paper.

Totally unacceptable of course. But really, this is a pretty far-fetched scenario – isn't it?

No. Actually it isn't, because this is exactly the situation that we now face with our digital camera's RAW files. Let's see if we can understand what's going on and why%

Wikimedia Commons
http://commons.wikimedia.org/wiki/Commons:Welcome

What is the Wikimedia Commons?

Wikimedia Commons is a media repository that is created and maintained not by paid-for artists, but by volunteers. Its name "Wikimedia Commons" is derived from that of the umbrella project "Wikimedia" managing all Wikimedia projects and from the plural noun "commons" as its contents are shared by different language versions and different kinds of Wikimedia projects. Thus it provides a central repository for freely licensed photographs, diagrams, animations, music, spoken text, video clips, and media of all sorts that are useful for any Wikimedia project.

Wikimedia Commons uses the same wiki-technology as Wikipedia and thus everyone can edit it easily and without advanced technical skills directly in the web browser. Unlike media files uploaded on other projects, files uploaded to Wikimedia Commons can be embedded on pages of all Wikimedia projects without the need to separately upload them there.

Launched on 7 September 2004, Wikimedia Commons hit the 1,000,000 uploaded media file milestone on 30 November 2006 and currently contains 2,054,555 files and 69,949 collections. More background information about the Wikimedia Commons project itself can be found in the General disclaimer, at the Wikipedia page about Wikimedia Commons and its page in Meta-wiki.

Unlike traditional media repositories Wikimedia Commons is free. Everyone is allowed to copy, use and modify any files here freely as long as the source and the authors are credited and as long as users release their copies/improvements under the same freedom to others. The Wikimedia Commons database itself and the texts in it are licensed under the GNU Free Documentation License. The license conditions of each individual media file can be found on their description pages.

Commons:Meet our photographers

http://commons.wikimedia.org/wiki/Commons:Meet_our_photographers

Photography Stories from the NPR archives.

David Seymour's 'Reflections from the Heart' by Susan Stamberg http://www.npr.org/templates/story/story.php?storyId=5295557

The Photography of Henri Cartier-Bresson
Master of the Viewfinder Had Perfect Historical Timing
by Susan Stamberg
"http://www.npr.org/templates/story/story.php?storyId=1318621

Bourke-White's 'Photography of Design'
Early Work Found the Hidden Beauty in Industry
by Susan Stamberg
"http://www.npr.org/templates/story/story.php?storyId=1175402

'Magnum Stories':
A Photographic Master Class
"http://www.npr.org/templates/story/story.php?storyId=4251978

THE MAGNUM TRADITION
"http://www.npr.org/templates/story/story.php?storyId=1001173

The Art of Terror September 11
Through the Lens of Magnum Photos
"http://www.npr.org/programs/wesat/features/2001/groundzero/011208.groundzero.html

Panoramic Photographs - Library of Congress -

Interesting collection of panoramics from the Prints and Photographs collection in the Library of Congress.
http://memory.loc.gov/cgi-bin/query/f?pan:0:./temp/~pp_MpQZ:

Prints and Photographs - entire Online Cataglogue -
http://memory.loc.gov/pp/pphome.html

-------------------------------

ASSORTED:
http://www.artphoto.ro/
http://www.photoeye.com
http://www.galleryprint.com
http://www.eyestorm.com
http://www.photoarts.com/gallery/
http://www.grafphoto.com
http://pixiport.com
http://photographica.com
http://www.webgallerynyc.com
http://www.internetmedia.com/ashowkase/
http://www.imrg.com
http://www.benetton.com/colors/
http://www.photography-now.com/index.php

Photo Sharing

http://www.apple.com/ilife/iphoto/
http://www.dpchallenge.com
http://www.flickr.com/
http://www.slide.com
http://www.kodakgallery.com/
http://www.snapfish.com/
http://www.shutterbook.com/home/
http://www.deviantart.com/
http://www.zoto.com/

Scrapbooking Resources

Archiver's: The Photo Memory Store
http://www.archiversonline.com/

Scrap Attack—Coddingtown Mall
http://www.scrapattack.com/

Scrapbook Garden Inc—Southwest Blvd, Rohnert Park

The scrapbooking megasite
http://www.scrapjazz.com

Flash/Lighting:

Beyond the Pop-Up Flash
By David Langs

If you haven't shot an image containing a half-moon shadow that looks somewhat like this with your digital SLR, you eventually will. That pop-up flash on your camera has a very sparse range and narrow beam, thusly it provides limited illumination for an area about 10 feet (3 meters) away. Additionally, the light source is too closely positioned to the lens, so not only do you have to deal with the arcing shadow from the lens across the bottom of an image, but occurrences of red-eye will be increased. You will, and perhaps already do, need more light to be shone on your subjects, and you may want to control not just the power but modify the direction and diffusion as well. Selecting a shoe-mount flash that is dedicated to your camera system and best fits your professional or creative needs should be an easy choice once the options and individual characteristics of each model become apparent.

http://www.bhphotovideo.com/find/newsLetter/Pop-Up-Flash2.jsp

Slave Units

Radio & Infrared Slaves
Optical Slaves
http://www.bhphotovideo.com/bnh/controller/home?O=breadCrumb&A=FetchChildren&Q=&ci=1174

Pocket-Wizard Plus II Transceiver/Relay Radio Slave - Combined Transmitter and Receiver

http://www.bhphotovideo.com/bnh/controller/home?O=8480&A=details&Q=&sku=441353&is=REG&addedTroughType=categoryNavigation

The PocketWizard Plus II Transceiver/Relay is a triggering system that offers Auto-Sensing Transceiver Technology. This technology analyzes the status of the Plus II's miniphone jacks, camera hot shoe or the TEST button to determine which mode (Transmit or Receive) to set itself. By default, the Plus II is always in Receiver mode unless it senses a trigger pulse from a camera's hot shoe. It then quickly switches to Transmitter mode. The Auto-Sensing feature can also be disabled, if necessary.

This unit can also be used as a relay. Photographers can remotely trigger their cameras, and the camera-mounted transceiver automatically relays the triggering signal to a remote flash. With the Plus II's fast switching speed, there's no loss of camera shutter speed performance or triggering delays.

Key Features
•	Compatible with all PocketWizard radios past and present; also part of the PocketWizard Wireless Freedom system.
•	The powerful microprocessor will automatically trigger a camera and remote flash within 10 microseconds (1/100th of a millisecond) with its built-in Auto-Relay mode.
•	The Plus II sports the fastest triggering speed in its class, at an amazing 12 fps; it can out pace the fastest D-SLR's available.
•	Four selectable channels provide secure triggering. Choosing which zone to trigger (on camera flash, remote flash or both) is as easy as sliding a switch.
•	The Pocket Wizard II will work with sync speeds of up to 1/250 second on focal plane shutter cameras, and 1/500 second on leaf shutter cameras.

Operating Range
1600' (488 m)

Channels
4x 16-bit digitally coded channels

Maximum Flash Synchronization Speed
1/250 (focal plane)
1/500 (Leaf Shutter)

Power Source 2x AA 1.5v batteries

Pocket-Wizard MultiMax 32 Channel Transceiver Radio Slave - Combination Transmitter and Receiver

The MultiMAX features "Wireless Transceiver Technology", which eliminates the need for separate transmitter/receiver triggering configuration. Each MultiMAX provides the capability to send and receive digital signaling by a flip of a switch, similar to personal communicators.

Through its use of advanced transceiver technology, the MultiMAX offers true triggering confirmation feedback up to 1600 feet away without the need for signal repeaters or daisy-chained radios. In the "Selective Quad Triggering Mode", the MultiMAX automatically confirms (on the selected transmitter) every zone simultaneously, with immediate visual and audible feedback. Using the optional Flash Confirmation Cable, the transmitter receives a visual and audible signal, confirming that a triggered flash actually fires. Finally, there's a real confirmation system which reassures the photographer that everything is working.

The MultiMAX comes loaded with "Trigger Time Control" software. This software package offers several tools for the working professional all in one small package. With this software, it's easy and very convenient to create rear-curtain sync effects with any camera, add depth of field using multipop mode and record events as they unfold using the intervalometer mode.

Other standard features of the PocketWizard MultiMAX are up to 1600 foot triggering range, 32 digital 16/24 bit coded channels, 1/1000 flash sync speed (in fast mode), contact closure adjustment, trigger counter and much more.

Key Features

Lag Time Equalizer
SpeedCycler
Intervalometer
Multiple Pops
Rear Curtain Sync

http://www.bhphotovideo.com/bnh/controller/home?O=NavBar&A=search&Q=&ci=8480