By Jane Halperin and Sean Fitzgerald
Columns and U.S. Flag, Washington D.C. USA.
As most of you already know, the United States Copyright Office, which is a part of the Library of Congress, is the official U.S. government body that maintains records of copyright registration in the U. S. and, as a service unit of the Library of Congress, provides copyright policy advice to Congress. Continue reading
By Jane Halperin and Sean Fitzgerald
We have good news and bad news. Let’s start with the good. As part of the Creative Rights Caucus, NANPA is working with fellow visual arts groups to modernize and streamline the copyright registration process and the Copyright Office has been very receptive to doing the same, within the constraints of their current legal mandates, system constraints and budget. Continue reading
By Jane Halperin and Sean Fitzgerald
NANPA is part of, a group of visual arts associations that have been working for years to modernize the copyright system for photographers and develop a small claims process that makes it easier and affordable to enforce copyright infringements. Jane Halperin, Chair of the NANPA Advocacy Committee, and Sean Fitzgerald attend weekly teleconference meetings with the Visual Association members and their legal counsel to discuss and work on plans to push these plans forward. Last month, we all met in Washington DC to meet with various Congresspersons, their staff, and others on Capitol Hill.
Creative Rights Caucus presentation to Congress on copyright for small creators, with slide showing NANPA logo, Washington D.C. USA.
Story and photography by Krista Schlyer
Blackbirds and the wall in South Texas. © Krista Schlyer
The borderlands of the United States and Mexico occupy a sprawling 2,000-mile-long stretch of land, much of it a wild, remote landscape. Within this region exist some of the most spectacular and biodiverse ecosystems in North America: the mountainous sky islands that rise above the Sonoran and Chihuahuan deserts; the sub-tropical Lower Rio Grande Valley, home to creatures found nowhere else in the United States; and wide-open grasslands that provide a last vestige of this globally imperiled ecosystem and homes for kit fox, prairie dogs, gray wolves and bison.
Peninsula Snow Sculpture © Hank Erdmann Peninsula State Park, Door County, Wisconsin (90mm lens for 4×5)
Story and Photos by Hank Erdmann
“What lens should I bring (into the field with me)? Is a question I hear many, many times a year while conducting tours, classes and workshops. While I joke about this, often saying: “well, all of them”. To an experienced photographer the question on the surface seems silly. To be truthful however it is a very valid question, on more than one front. While I usually address the issue up front in classes before we hit the field, I and other experienced photographers should be more aware that this is not as obvious as we think it is. Continue reading
Story and photography by Jerry Ginsberg
Giant saguaro flower in mid-late spring in Saguaro National Park near Tucson, AZ
A national monument can be called into existence by a U.S. president alone. However, only an Act of Congress can create a national park. A good number of our national monuments have been elevated to national park status, including Saguaro National Monument, which Congress made a national park in 1994.
Saguaro National Park is one of only a handful of the 59 national parks that is split into non-contiguous sections. Located in south-central Arizona, the park brackets the sprawling city of Tucson with the Rincon Mountain District in the east and Tucson Mountain District in the west.
Saguaro was established to protect the thousands of giant saguaro cacti that grow there as well as the nugget of pristine desert landscape that still remains.
© Steve Moeller
Story and Photos by Steve Moeller
Five Simple Things You Can Do to Optimize Your Results
Like many creative people, I love workshops, attending them, designing them, and leading them. Over the past 15 years, I‘ve participated in scientific conferences, training workshops, and transformational adventures with Amazonian shamans. My research and personal experiences convinced me that nature photography workshops can be fantastic vehicles for personal growth and lasting positive change! Continue reading
Story and photography by F.M. Kearney
I once heard that sunset and sunrise images are often dismissed by photo editors, because they are considered to be some of the most plentiful and easiest shots to get. I cannot disagree with the abundance of these types of photos. Hardly a day goes by when you don’t see one used in an ad for anything from deodorant to a Hawaiian vacation. As far as the ease at which these shots are obtained—well, that’s another story.
When I was younger—long before I thought of photography as a profession—sunsets were one of my favorite subjects to shoot. I simply aimed my 110 pocket camera out my westward facing bedroom window and shot dozens of snapshots of the colorful evening skies. I say “snapshots,” because they certainly wouldn’t be considered quality photographs by any stretch of the imagination.
Like most amateur photographers, I suppose, I looked at sunsets (and nature in general) as one of the easiest subjects to shoot. Unlike commercial or fashion photography, which requires a considerable knowledge of composition, exposure and lighting, nature photography seemed to require absolutely no work at all. Everything is already laid out right in front of you, leaving nothing left for you to do but point and shoot…or so I naively thought.
Story and Photos by Gordon & Cathy Illg
© Gordon & Cathy Illg
The day before Thanksgiving we took a short drive hoping to see some bighorn sheep. Maybe it was because we were already in holiday mode, maybe it was just nice to lie in bed on a cold morning. Whatever the reason, we ended up sleeping in and eating a leisurely breakfast. By the time we made it to the Waterton Canyon trailhead it was already 11 a.m., and we had a couple of miles to walk—not exactly the behavior we endorse in our wildlife photography lectures. Do as we say, not as we do. Continue reading
Story and photography by Jim Clark
Part III—Photographing Polar Bears in the Canadian Arctic
Polar bear, Churchill Wildlife Management Area, Manitoba. © Jim Clark
In my previous two columns I shared how I prepared for my excursion into the Canadian Arctic to photograph polar bears. So let’s now experience the Arctic tundra and photographing bears.
Our daily mode of transportation into the Arctic tundra was a tundra buggy, which is a buslike contraption converted into an all-terrain vehicle with extremely large tires, each measuring more than five feet in height. It’s the only mode of transportation capable of negotiating the rugged, snow-covered terrain. The ride is bumpy along the designated trails, and the top speed is probably around three to five miles per hour.
The tundra belongs to the bears and other Arctic wildlife. During my four days there with my wife and son, our feet never touched the ground. Even when we returned to the tundra-buggy lodge—an arrangement of buggies, which includes sleeping quarters, a dining area, a lounge and separate quarters for staff—we remained several feet above the tundra.