DOCSLIB.ORG

Wildlife Photography Over Nature Photography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Wildlife Photography Over Nature Photography International Journal of Humanities and Social Science Invention (IJHSSI) ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org ||Volume 9 Issue 9 Ser. II || September 2020 || PP 49-52 Wildlife Photography over Nature Photography D. Randula Podduwage1, R.M.Patrick Ratnayake2 1, 2 – Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka. ABSTRACT Wildlife photography is one of the most popular genres in photography. Although the history of wildlife photography goes back more than 100 years, until recently there was no internationally accepted definition for it. Since 2015, a number of leading photography organizations around the world have filled this gap, establishing the wildlife photography genre as a more consistent subject area, subject to a common international definition. The main purpose of this article is to identify the exact shape of the wildlife photography genre by considering the specific newly introduced definition with referring to existing sources. ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission: 10-09-2020 Date of Acceptance: 25-09-2020 ----------------------------------------------------------------------------------------------------------------------------- ---------- I. INTRODUCTION Capturing nature and wildlife images is an exclusive subject area of photography. It consists with the collaboration knowledge of few subjects like Photography, Art, Technology, Wildlife and Environment. Presently nature and wildlife photography and filming has been established as a one of the leading genres of photography and as a recognized profession. Also it‟s been a trendy popular hobby among worldwide photographers(theartcareerproject.com 2014). There are many of photography competitions and publications regarding the nature and wildlife photography genre from local to international levels. Among them, “Wildlife Photographer of the Year“ photography competition, which has been annually organized by the „Natural History Museum of London‟ and „BBC wildlife‟ is regarded as the most prestigious nature and wildlife photography competition in the world (Nicholls 2014). In 2014 the contest has received nearly 42000 entries from 96 countries(nhm.ac.uk 2014). It proves the popularity of the competition as well as the popularity of the wildlife photography subject around the world. In Sri Lanka, the annual photography exhibition named as “Young Eye on Nature” is the longest running nature and wildlife photography event of the country. The exhibition has been organized by Young zoologists‟ Association of Sri Lanka through the last 25 years with the participation of both amateur and professional Sri Lankan photographers. However in the presence many annually holding wildlife photography exhibitions and competitions (like “Nethadara” wildlife and nature photography exhibition organizing by the University of Moratuwa) can be observed in the country. These facts are clear evidences to prove the progression of the popularity of wildlife photography in Sri Lanka as well. Consequently today many people are engaged in the nature and wildlife photography field. They are pompously calling themselves as wildlife photographers while eagerly wandering through forests and natural environs to capture nature and wildlife to their cameras. However, it is not fair to call all of them as „wildlife photographers‟ merely due to this reason. We cannot either annotate a photographer as a „wildlife photographer‟ quite because they use telephoto lenses to capture the nature. DEFINING NATURE AND WILDLIFE PHOTOGRAPHY According to the Collins dictionary, a wildlife photographer is, “someone that specializes in taking photographs of wild animals, especially in their natural habitats, and plants” (Collins English Dictionary 2015) But this definition is also not a complete definition to outline the character of a wildlife photographer or to delineate the wildlife photography subject. In 1st of June 2014, a new sound definition for nature and wildlife photography was established to fulfill this huge gap of defining the wildlife photography subject. The new definition was found through a collaborative effort of few international photographic associations (RPS 2014); “Nature photography is restricted to the use of the photographic process to depict all branches of natural history, except anthropology and archaeology, in such a fashion that a well-informed person will be able to identify the subject material and certify its honest presentation. The story telling value of a photograph must be weighed more than the pictorial quality while maintaining high technical quality. Human elements shall not be present, except where those human elements are integral parts of the nature story such as nature subjects, like barn owls or storks, adapted to an environment modified by humans, or where those human DOI: 10.35629/7722-0909024952 www.ijhssi.org 49 | Page Wildlife Photography over Nature Photography elements are in situations depicting natural forces, like hurricanes or tidal waves. Scientific bands, scientific tags or radio collars on wild animals are permissible. Photographs of human created hybrid plants, cultivated plants, feral animals, domestic animals, or mounted specimens are ineligible, as is any form of manipulation that alters the truth of the photographic statement. No techniques that add, relocate, replace, or remove pictorial elements except by cropping are permitted. Techniques that enhance the presentation of the photograph without changing the nature story or the pictorial content, or without altering the content of the original scene, are permitted including HDR, focus stacking and dodging / burning. Techniques that remove elements added by the camera, such as dust spots, digital noise, and film scratches, are allowed. Stitched images are not permitted. All allowed adjustments must appear natural. Color images can be converted to grayscale monochrome. Infrared images, either direct- captures or derivations, are not allowed. Images used in Nature Photography competitions may be divided in two classes: Nature and Wildlife. Images entered in Nature sections meeting the Nature Photography Definition above can have landscapes, geologic formations, weather phenomena, and extant organisms as the primary subject matter. This includes images taken with the subjects in controlled conditions, such as zoos, game farms, botanical gardens, aquariums and any enclosure where the subjects are totally dependent on man for food. Images entered in Wildlife sections meeting the Nature Photography Definition above are further defined as one or more extant zoological or botanical organisms free and unrestrained in a natural or adopted habitat. Landscapes, geologic formations, photographs of zoo or game farm animals or of any extant zoological or botanical species taken under controlled conditions are not eligible in Wildlife sections. Wildlife is not limited to animals, birds and insects. Marine subjects and botanical subjects (including fungi and algae) taken in the wild are suitable wildlife subjects, as are carcasses of extant species. Wildlife images may be entered in Nature sections of Exhibitions.” (RPS 2014) DIFFERENTIATING WILDLIFE PHOTOGRAPHY OVER NATURE PHOTOGRAPHY. The new definition came in to effect from 1st of January 2015 and now it is being majorly use globally as the definition for nature and wildlife photography category. However, at present people seems to use the term “Nature photography” as a synonym for wildlife photography genre. It is not untrue in general conditions as Wildlife photography and Nature photography are considered as very compatible genres. Both have many similarities and only few differences. Hence the definition covered both wildlife and nature photography genres underneath a common category, it used the common term as “Nature Photography” to call for both nature and wildlife photography genres. Earlier there were many commonly used definitions for “nature photography” (Ex: FIAP definition of Nature photography before 2014). But these definitions did not consider wildlife photography as a specific or a related section. However this defect was corrected through this new nature photography definition by discussing nature and wildlife photography as two different sub categories. “Images used in Nature Photography competitions may be divided in two classes: Nature and Wildlife”. In this case the definition respectively outlines and clarifies about “nature photography” as a whole. The first requirement of any nature or wildlife photograph is that it must be a result of any photographic process. It means that images have to capture on a light sensitive surface like a film or a sensor. It defines nature photography has to depict all branches of natural history, except anthropology (the study of humanity and modern humans) and archaeology (the study of past human life and culture). Natural history is a vast field consisting with many subjects like botany, zoology, geology, and ecology. In dictionary it defines as the study of animals and plants in wild state or the study of all natural phenomena (Collins English Dictionary 2015). As an advocate for natural history, Dr. T.L.Fleischner has explained that natural history spans disciplines, it flows through science and painting and poetry and photography and literature and walks in the woods. So he believes that natural history as
Load more

Recommended publications
  • Still Photography
    Still Photography Soumik Mitra, Published by - Jharkhand Rai University Subject: STILL PHOTOGRAPHY Credits: 4 SYLLABUS Introduction to Photography Beginning of Photography; People who shaped up Photography. Camera; Lenses & Accessories - I What a Camera; Types of Camera; TLR; APS & Digital Cameras; Single-Lens Reflex Cameras. Camera; Lenses & Accessories - II Photographic Lenses; Using Different Lenses; Filters. Exposure & Light Understanding Exposure; Exposure in Practical Use. Photogram Introduction; Making Photogram. Darkroom Practice Introduction to Basic Printing; Photographic Papers; Chemicals for Printing. Suggested Readings: 1. Still Photography: the Problematic Model, Lew Thomas, Peter D'Agostino, NFS Press. 2. Images of Information: Still Photography in the Social Sciences, Jon Wagner, 3. Photographic Tools for Teachers: Still Photography, Roy A. Frye. Introduction to Photography STILL PHOTOGRAPHY Course Descriptions The department of Photography at the IFT offers a provocative and experimental curriculum in the setting of a large, diversified university. As one of the pioneers programs of graduate and undergraduate study in photography in the India , we aim at providing the best to our students to help them relate practical studies in art & craft in professional context. The Photography program combines the teaching of craft, history, and contemporary ideas with the critical examination of conventional forms of art making. The curriculum at IFT is designed to give students the technical training and aesthetic awareness to develop a strong individual expression as an artist. The faculty represents a broad range of interests and aesthetics, with course offerings often reflecting their individual passions and concerns. In this fundamental course, students will identify basic photographic tools and their intended purposes, including the proper use of various camera systems, light meters and film selection.
    [Show full text]
  • Elements of Screenology: Toward an Archaeology of the Screen 2006
    Repositorium für die Medienwissenschaft Erkki Huhtamo Elements of screenology: Toward an Archaeology of the Screen 2006 https://doi.org/10.25969/mediarep/1958 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Huhtamo, Erkki: Elements of screenology: Toward an Archaeology of the Screen. In: Navigationen - Zeitschrift für Medien- und Kulturwissenschaften, Jg. 6 (2006), Nr. 2, S. 31–64. DOI: https://doi.org/10.25969/mediarep/1958. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an.
    [Show full text]
  • Wildlife Photography Tips by Chris Baker 2 Topics
    LET’S GET WILD! WILDLIFE PHOTOGRAPHY TIPS BY CHRIS BAKER 2 TOPICS • Equipment • Settings • Wildlife Habitats and Behavior • Shooting Tips • Post-processing • Final Tips 3 CAMERA BODY COMPARISON Portability/ Image Autofocus Quiet Customize Burst Weight/Size Quality Speed Shutter Controls Capability Point and Shoot Best Worst Worst Best Worst Worst Superzoom DSLR Worst Best Best Worst Best Best Slightly Better Mirrorless Best Better Best Best Best than DSLR 4 FULL FRAME VS CROP SENSOR • Crop sensor cameras have a natural magnification for a given focal length lens…great for wildlife! • Full frame cameras have better high ISO capability due to larger pixel sizes • Good for low light situations • Good when higher shutter speeds are required • Not as critical with good light 5 WILDLIFE LENSES • Typical wildlife photography setups use telephoto lenses with focal lengths >200mm • Quality telephoto zooms that won’t bust your budget and are hand-holdable • Nikon 200-500mm f/5.6 • Tamron 150mm-600mm f/5-6.3 • Sigma 150mm-600mm f/5-6.3 • Canon 100-400mm f/4.5-5.6L • Professional grade telephoto lenses are very expensive and require tripods or monopods • Prime (i.e. single focal length) lenses tend to focus faster and produce sharper images than zooms • Teleconverters (TCs) are an inexpensive alternative to increase focal length of a given lens 6.4 lbs 7.4 lbs 8.4 lbs 6.8 lbs 10.1 lbs • Decreases aperture • Decreases image quality • Decreases autofocus speed • Example: 200-500mm f/5.6 + 1.4x TC = 280-700mm f/8 6 WHAT’S IN MY BAG? • Cameras • Nikon D500 (APS-C DSLR) • Nikon Z6 II (Full Frame Mirrorless) • Lenses • Nikkor 500mm f/5.6 PF • Nikkor 70-200mm f/2.8G II • Te l e c o n v e r t e r s • Nikon TC-14E III • Nikon TC-20E III 7 EXPOSURE TRIANGLE REVIEW 8 CAMERA SETTINGS • Shutter priority (i.e.
    [Show full text]
  • Nature and Photography in Texas
    101_naturephotography.qxp:Layout 1 9/22/09 10:33 AM Page 1 Resources Principles of Ethical ® Life’s better outside. BOOKS: Field Practices Addison­Wesley Publishing Company. 1991. By the editors of Eastman Kodak Company. The Joy of Photography. ENVIRONMENTAL: KNOWLEDGE OF SUBJECT TDO Bauer, Erwin and Peggy Bauer. 1985. Photographing wild Texas. OU O AND PLACE R University of Texas Press, Austin. 112 pp. Learn patterns of animal behavior. Know when not to Hill, Martha and Art Wolfe. 1993. The art of photographing interfere with animals’ life cycles. nature. Crown Publishers, NY. 184 pp. Nature Kiefer, John. 2006. Mastering Nature Photography: Respect the routine needs of animals. Remember that Shooting and Selling in the Digital Age (paperback). others will attempt to photograph them, too. Allworth Press, 288 pp. Use appropriate lenses to photograph wild animals. Lepp, George. 1997. Beyond the Basic II: More Innovative Photography If an animal shows stress, move back and use a Techniques for Outdoor/Nature Photography (paperback). longer lens. Lepp and Associates, 162 pp. IN TEXAS Miotke, Jim. The BetterPhoto Guide to Digital Nature Acquaint yourself with the fragility of the ecosystem. Photography (paperback). Amphoto Books, 224 pp. Stay on trails that are intended to lessen impact. Morris, Arthur. 2003. Art of Bird Photography: The Complete Guide to Professional Field Techniques (paperback). Amphoto SOCIAL: KNOWLEDGE OF RULES AND LAWS Books, 160 pp. When appropriate, inform managers or other National Geographic Photography Field Guide Series. 2002. authorities of your presence and purpose. Help Landscapes and People and Portraits. National Geographic minimize cumulative impacts, and maintain safety.
    [Show full text]
  • The Positive and Negative Effects of Photography on Wildlife
    Gardner-Webb University Digital Commons @ Gardner-Webb University Undergraduate Honors Theses Honors Program 2020 The Positive and Negative Effects of Photography on Wildlife Joy Smith Follow this and additional works at: https://digitalcommons.gardner-webb.edu/undergrad-honors Part of the Photography Commons The Positive and Negative Effects of Photography on Wildlife An Honors Thesis Presented to The University Honors Program Gardner-Webb University 10 April 2020 by Joy Smith Accepted by the Honors Faculty _______________________________ ________________________________________ Dr. Robert Carey, Thesis Advisor Dr. Tom Jones, Associate Dean, Univ. Honors _______________________________ _______________________________________ Prof. Frank Newton, Honors Committee Dr. Christopher Nelson, Honors Committee _______________________________ _______________________________________ Dr. Bob Bass, Honors Committee Dr. Shea Stuart, Honors Committee I. Overview of Wildlife Photography The purpose of this thesis is to research the positive and negative effects photography has on animals. This includes how photographers have helped to raise awareness about endangered species, as well as how people have hurt animals by getting them too used to cameras and encroaching on their space to take photos. Photographers themselves have been a tremendous help towards the fight to protect animals. Many of them have made it their life's mission to capture photos of elusive animals who are on the verge of extinction. These people know how to properly interact with an animal; they leave them alone and stay as hidden as possible while photographing them so as to not cause the animals any distress. However, tourists, amateur photographers, and a small number of professional photographers can be extremely harmful to animals. When photographing animals, their habitats can become disturbed, they can become very frightened and put in harm's way, and can even hurt or kill photographers who make them feel threatened.
    [Show full text]
  • Photographic Equipment Guidelines the Farm Lodge Lake Clark National Park, Alaska
    Photographic Equipment Guidelines The Farm Lodge Lake Clark National Park, Alaska by Jim Barr Professional Nature, Adventure Travel, and Outdoor Sports Photographer President, American Society of Media Photographers, Alaska Chapter Photography Guide, The Farm Lodge, Lake Clark National Park Introduction. Here are some general and specific equipment suggestions for photo tour participants. These start and build from “ground zero”, so just blend this information with the equipment that you already have. Equipment is important, but...the old cliché “cameras don’t take pictures, people do” really is true. So don’t put too much emphasis on the equipment. We’ll help you get the most out of what you have. On the other hand, a bear’s face would need to be within two or three feet of the lens for a frame- filling National Geographic quality close-up with a small point-and-shoot or cell phone camera. Not healthy for the photographer (or the bear), and not too likely to happen. The right tools do help. Keep size, weight, and portability in mind. You’ll be traveling to Port Alsworth on a small plane, and deeper into the bush each day on an even smaller one. Space is limited. We’ll also be doing some walking. Bears will require a mile or so of light hiking each way. On landscape days we may hike further and sometimes over rougher terrain, but you can leave heavy wildlife gear at the lodge or in the airplane. We do have options that limit the walking necessary, but there will always be some.
    [Show full text]
  • The Quick Focus Way to Sharp Pictures
    The Quick Focus Way to Sharp Pictures Highly Accurate Quick Focus System -pinpoint sharpness every time- Clear QF Indicators -error-proof, fuss-free- Bright Viewfinder -with clear laser matte focusing screen- QF Functions With Any FD Lens -wide-angle, zoom, macro, telephoto- Aperture-priority AE + Manual Mode -the choice is yours- Simple To Use -light and compact, too- It should have been the perfect picture. The exposure was exact and you framed it beautifully. But when the film came back from the developer's you found that your prize shot was blurred and indistinct. It happens even to pros, but now Canon has come up with a way to ensure you never suffer the disappointment of poorly focused pictures again. It's called the Ouick Focus (OF) system and it's the star attraction of the new AL-1. Easy-to-see arrows point which way to turn the lens' focusing ring and a green spot lights when your subject is in sharpest focus. No more eye strain or guesswork trying to judge the optimum focus. And because the Quick Focus is a TTL (through-the-Iens) system using three CCO line sensors, it works with any of Canon's over 50 FO interchangeable lenses. Other features help make the AL-1 one of the easiest to use SLRs ever. Its bright viewfinder incorporates an overall laser-matte focusing screen with convenient focus frame, while microcomputer "brains" take care of ranging detection, exposure and control decisions. And it's an aperture-priority AE camera, which means that you select the aperture and the camera sets the correct shutter speed.
    [Show full text]
  • Conservation Photography Wilderness Values Wilderness Education Tanzania, Italy, Russia, Guianas INTERNATIONAL Journal of Wilderness
    Conservation Photography Wilderness Values Wilderness Education Tanzania, Italy, Russia, Guianas INTERNATIONAL Journal of Wilderness APRIL 2005 VOLUME 11, NUMBER 1 FEATURES INTERNATIONAL PERSPECTIVES (continued) EDITORIAL PERSPECTIVES 31 The Ruaha National Park, Tanzania 3 Can We Let Wilderness Just Be Wilderness? BY SUE STOLBERGER BY CHAD P. DAWSON 35 Wilderness Is More Than “Nature” SOUL OF THE WILDERNESS BY FRANCO ZUNINO 4 A Wilderness Challenge BY MICHAEL FROME 38 Plant Community Monitoring in Vodlozhersky National Park, Karelia, Russia STEWARDSHIP BY RALPH DUNMORE 8 Conservation Photography Art, Ethics, and Action BY CRISTINA MITTERMEIER WILDERNESS DIGEST 43 Announcements and Wilderness Calendar SCIENCE AND RESEARCH 14 A GIS–based Inductive Study of Wilderness Values Book Reviews BY GREGORY BROWN and LILIAN ALESSA 46 The Enduring Wilderness: Protecting Our Natural Heritage through the Wilderness Act PERSPECTIVES FROM THE ALDO LEOPOLD by Doug Scott WILDERNESS RESEARCH INSTITUTE REVIEW BY JOHN SHULTIS, IJW BOOK EDITOR 19 The Fire Effects Planning Framework BY ANNE BLACK 46 Wildland Recreation Policy: An Introduction, 2nd ed. by J. Douglas Wellman and Dennis B. Propst REVIEW BY CHAD DAWSON EDUCATION AND COMMUNICATION 21 Wilderness Education 46 Wildlife Tourism: Impacts, Management The Ultimate Commitment to Quality and Planning Wilderness Stewardship edited by Karen Higginbottom BY GREG HANSEN and TOM CARLSON REVIEW BY SARAH ELMELIGI INTERNATIONAL PERSPECTIVES 26 Conservation Planning in the Tropics FRONT COVER A photographer’s dream day at Mount McKinley, Lessons Learned from the Denali National Park, Alaska. Photo by Cathy Hart. Guianan Ecoregion Complex INSET Cristina Mittermeier looking a dung beetle in the eye, BY G. JAN SCHIPPER Tembe Elephant Reserve, KwaZulu Natal, South Africa.
    [Show full text]
  • Image-Making and Wildlife Conservation
    Watch the Birdie: Image-making and Wildlife Conservation Claudia Springer, PhD Framingham State University Published in: Explorations in Media Ecology volume 10, numbers 1 & 2 (2011): 7-23. Abstract Photography and the modern wildlife conservation movement became entwined soon after their shared emergence in the middle of the 19th century. This article analyzes how photography, film, video, and digital imaging have shaped the movement and continue to exert influence. Images often dictate our knowledge of animal species in the wild, but they can be deceptive, and they have hindered as well as helped conservation efforts. The profusion of wildlife conservation imagery and continued politicized debates over appropriate strategies make it important to investigate the conflicted alliance between mechanical reproduction and the conservation movement. Keywords Photography, film, digital imagery, conservationism, wildlife, endangered species. Author biography Claudia Springer is assistant professor of English and film studies in the English Department at Framingham State University in Framingham, Massachusetts. Her teaching and research interests are film studies, cultural studies, and contemporary world literature. This article was selected as the best faculty paper at the 2010 Media Ecology Association Convention at the University of Maine. Dr. Springer is the author of Electronic Eros: Bodies and Desire in the Postindustrial Age (1996) and James Dean 1 Transfigured: The Many Faces of Rebel Iconography (2007), both published by the University of Texas Press. It was cause for rejoicing when a photograph of a South China tiger appeared in fall 2007. Seldom does a species thought to be extinct make an appearance, and a South China tiger had not been seen in the wild since 1964.
    [Show full text]
  • A Wildlife Photographer's Guide
    The Photography of Natural Art Images Brad Hill www.naturalart.ca Exposing Nature’s Art [email protected] The Photography of Naturalhis guide Art was Images produced to assist you in preparing for your BC • A section on the wildlife photography ethics we willBrad all Hill follow on coastal photo tour with Natural Art Images. It is intended as a your photo tour. helpful supplement to the information you have (or will) receive • A “Choosing Your Camera Gear” section that includes a description Tin your Trip Bible and, as such, may overlap on some of the same topics. of the special conditions and constraints you’ll face on virtually all Any conditions or constraints that are specific or unique to your trip – coastal BC photo tours with Natural Art Images (and how they may and that could impact on your gear choice – will be covered in your Trip impact on your gear choice). Bible. • A “Tips & Tricks” section that should help you significantly while on This guide covers four main areas: the photo tour. • A description of the “nature” and style of wildlife photography you’ll Enjoy! encounter on your photo tour (which I think of as the “expectations management” section!). www.naturalart.ca Exposing Nature’s Art [email protected] The Photography of Natural Art Images Brad Hill The Photography “Style” On Our Photo Tours don’t know the specifics of the shooting conditions ahead of time and thus may put more onus on the photographer to make snap technical and All our BC coastal photo tours are genuine “photography in remote creative decisions in a field setting.
    [Show full text]
  • A Photography of Belonging
    Dominican Scholar Collected Faculty and Staff Scholarship Faculty and Staff Scholarship 2014 Gelang: A Photography of Belonging Chase Clow Department of Humanities and Cultural Studies, Dominican University of California, [email protected] Survey: Let us know how this paper benefits you. Recommended Citation Clow, Chase, "Gelang: A Photography of Belonging" (2014). Collected Faculty and Staff Scholarship. 125. https://scholar.dominican.edu/all-faculty/125 This Dissertation is brought to you for free and open access by the Faculty and Staff Scholarship at Dominican Scholar. It has been accepted for inclusion in Collected Faculty and Staff Scholarship by an authorized administrator of Dominican Scholar. For more information, please contact [email protected]. GELANG: A PHOTOGRAPHY OF BELONGING by Chase M. Clow A Dissertation Submitted to the Faculty of California Institute of Integral Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Transformative Studies California Institute of Integral Studies San Francisco, CA 2014 UMI Number: 3680156 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3680156 Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O.
    [Show full text]
  • 72+ FREE Stock Photo Graphics Sites to Enhance Your Online Content
    72+ FREE Stock Photo Graphics Sites to Enhance Your Online Content Heidi Richards Mooney Resource of the Day 72+ FREE Stock Photo Graphics Sites - Redhead Marketing Inc. Social Marketing. No Pain. All Gain. Providing Simple, Results-driven Social Media Marketing, Training and Consulting Its that time again! Time to update the list of FREE Stock Photos. The previous list had 61 photo sites (some of whom are no longer around). This one has a list of 72 FREE STOCK PHOTO SITES that are active as of this publishing date. If you have trouble looking for photos to share, photos online -quality photos that are easily accessed (and mostly free), this list of 72 FREE photo/texture/clipart and webpage header graphics sites is a great resource. If you write a blog, write articles or are putting together a book/ebook that needs images to “dress it up,” these 72 FREE/Creative Commons stock photo sites are worth checking out. All of the sites listed offer images for use for free (be sure and check the terms of use for each site). Many of them also offer photos for a fee (they are often referred to as Royalty Free which means that you don’t need to pay the photographer a royalty each time you use the image. Each of these sites are worth exploring. Be sure to read the “terms of use” before using any of the photos or graphics for commercial use. Resource of the Day 72+ FREE Stock Photo Graphics Sites - Redhead Marketing Inc. 72+ FREE Stock Photo Graphics Sites to Enhance Your Online Content Resource of the Day 72+ FREE Stock Photo Graphics Sites - Redhead Marketing Inc.
    [Show full text]