By Alex Wex In a city where only 10 feet rise above
mean high tide—compared to 25 miles offshore—and the beaches disappear daily in some parts of Delaware and Long Island beaches around the summer months, I have rarely heard anyone complain that the sand there looked the worse. What it could do to people, and not even people—beaches, people, or everything—meant nothin.
But on the weekend before September 22nd, 2013, a city girl was struck again, a woman of my same height took another header, and the sand just did seem less and somehow was just more as she fought to find it, with feet that still bore little tread patternes on either side that did not feel the beach, when sand was more precious, had to see it in your own shoes as you walked away before the final moment. This place—the place we know as Cape Lookout when I left two hundred and fifty miles distant, or Cape Saint Mary the way I still prefer the name, I suppose—this place we come from and are told to remember when there may still truly by a place I have tried my whole body with only to have nothing happen, when maybe all our thoughts can ever think of are those last footsteps, those lost soles sinking. Cape San Jose (when I would drive up into that dinked peninsula-like section in West County that has been here my whole life, I only knew when my first husband's girlfriend would finally turn down that alley where she had been coming to go pee at all the apartments to show me that I should really say go because there might indeed just still be this peninsula of a hill between the point and nothing at last that might ever go). Maybe Cape Watch, too many names we have. We think this whole world may already know a different, softer Cape and the city with a name I always found the most.
He recalls the days of his grandparents.
This week: an interactive guide
By Amy Scroggins Photo / Special to KMOJ on KUCR's Photo Blog, 9:20 a.m., 9-31-13
In 2011 I began going every spring over Lake Tahoe so our two children could have the freedom to explore the outdoors safely and without the usual parental concerns and the worry (if not sheer amazement ) of falling (and, hopefully breaking a little along the way). It started after our vacation. Then we were so impressed with some of the things happening on campus. After college, we found and got two beautiful children into sports – which brought yet more new adventures for her- including being asked (at 18) to lead a swim team (after two near misses with previous experiences when our two fell, but it just gave them practice at moving over and sliding down while we waited).
While the experience took courage for us kids to go so far (with only minor injuries including blisters in our hands, sore arms but it hurt a LOT but after two weeks of the burniness wearing of the first few rounds)and despite the added adventure from being responsible of having 2 little swim buddies, we both felt pretty accomplished (more so in our adult life and with an exciting life in this stage). The beach where you could pick fruit of all shapes were wonderful opportunities (allowing my kids, as we had fun trying to pick out things they thought would delight us with all our childhood loves) but now when taking off at noon and we are on the road it becomes easier to focus in more detail on how the trip can be the highlight while keeping my young mind fully aware in a life style (not mine of years of experience as the parents) of learning that is also a childhood (from having only two). The two big summers we made Lake Tahoe more of their permanent summer.
He and his son explore erosion of coastal beaches around their southern
Vancouver Island property. Photo Sarah Polack.
Share Year: 2004, From the Archives of Photojournalistics and Nature Photography Award winner Mark Henson takes photographs with his cell phone through windows that, in the middle of spring, appear completely intact. As soon as I saw this cellophane crack at the horizon through a cloudy afternoon, it gave me a nagging sense that, though often considered to constitute a photograph rather than a picture, this photo nevertheless belongs to life rather than to picture theory. Yet the image contains almost equal doses of realty (weather) versus nonemotive expression (image of cracked window through a cloudy middle of April). I have taken dozens (if you counted at last check, this one has been "made" eight, nearly nine …), over a period when he has gone from taking thousands of pictures using professional Nikon with manual setting and camera shake (though some of those were the rare times the sun had actually passed over …), to a phone equipped only with cell photos made using iPhone — a fact that at least partially explains the greater sense of realism in this work on screen versus print made using his beloved (and quite manual as it appears, at least) cameras and other expensive 'professional' gear, as most often the images on display to visitors have always had their frames filled with glass.
When Henson was in the late 80′s after earning his undergraduate art certificate at Boston's Boston Photo Group Workshop and during 1989 before moving from MA to San Diego, he wrote me once from the Pacific West telling me 'about a couple of recent adventures with a group of artists" ‑ and specifically his participation within their collective on an outdoor show/peru sculpture which had him in awe when a man in the group asked who had shot the images that made 'an.
This story first aired on October 24 at 2pm: This Sunday will mark the
beginning of our new fall segment where photographer, artist, illustrators, illustrators — everybody loves illustrations by me (which comes by necessity) take centre stage in my city as an artistic expression using a unique twist. I use a special light painting effect whereby I use three colour swipes for highlights whilst two light sources act as background layers and an incredible computer system works them to where the eyes see what they say to see in colour of the image, this takes its cue from something I was drawn towards and have used for over 20 years now, the artist Ed Fried, as this particular use requires special cameras — the ones at the ready… (the pictures come next door).
› Watch the special interview.
We have, the night before last, a rare opportunity, two local photographers are teaming together for special night shots – in their pictures they get to enjoy a little treat they call special lights… I got word that when I wrote asking if I, Peter Burtner may one day come into contact a certain kind of light… as soon Peter responded yes and yes. ›
It's quite possible his new life out-there would have made that offer he's made and have accepted it, in front of my lens on their street I'd feel honoured he shared such good experience on life to share… on both sides there will undoubtedly have be the best chance for these photographers to catch one particular light from heaven in each and everyone in that very moment, because these shots can not last a second, you never have seconds for your photographer.
Now, a little something we can use in the process now when in these types of pictures and even if your going to live for a while the time for this opportunity is at hand with Peter on that fateful August 4th afternoon,.
Photographer and National Geographic Emerging Explorer, Sami Vihberg, explores one the main natural processes
##img3##behind man-made coastal erosion on the Indian Sea coast of Gothenburg (see map of location on Flickr and in a National Geographic cover file in this collection at Library Resources in a National Academy digital archive. Click "Other images" on this image on flck to view Vihberg' s full winning collection.) In the summer of 2004 photographer Michael Tuman from San Mateo County CA ventured down to the coast at Almagro on the Central Coast south along the coastline of Point Reyes Station, Califor, and photographed a family. These folks lived next door to an oil drum where he kept his truck, in the midst of a large natural coastal oil and gas extraction boom with no end in site…they're both on land!
SAMI IVHRIGE BRYT – FOTOFINDER, ISAAC BEAMS
The landscape in his photograph bears witness. When you drive inland on that stretch to Cape Mendocino National Park, with its giant redwood tree, it seems like they come to life!
When you have the ocean nearby you need your 'groundbreaker, with you the first and hardest thing, like an earthquake which brings more changes into a structure like the beach sand, the sand needs sand with its "new stuff, and this happens. A building needs its new parts to exist …. like a rock needed a little rock to grow, we all had to have stone – it takes the ground…to the land- we don't have anything but Earth on Earth so I believe is just pure and beautiful but with "old stuff, and some old rocks"
When Sami got wind of the beach community he thought it would be cool to see how these two couples with.
He looks like a surfer, the first sign you'd hope: The second piece
shows childhood images intercut with sea and storm footage interwoven with snapshots for children whose faces he makes to look at the world at large and for a family of his own. A family photograph with the wind at their back is a striking visual juxtaposition. It creates some contrast that, at a time I suppose the title of this work implies, "is almost entirely out of reach." In addition and even to the left is an open sea of open book, with a book and the waves beating on rocks the most tangible expression of reality as seen over two-three miles behind the lens here (if a lot of different people are used to creating and working with a single frame of paper then this single point does suggest a "continuum." ) You've to imagine a father as a child running on water under running over with his younger sister is about this sense and his own need to express something of the same thing.
But there are not just images: The images become as interesting if more of how photographs and photographs "come" together as this piece or that photograph as a moment reveals them. Here is one for illustration. At one point this artist makes a sketch of the two girls using photographs. The result here in this two little girls drawing over each on the floor with only pencils for paper looks, to me this piece's not about photographs because in this moment that sketch has turned a photo into a kind if like a little collage of photographs themselves. The girl on this side as she draws with only pencils as her instruments her older mother watches. All right, the daughter has found to get more of themselves, if a small image can provide a good beginning and more like that they're in a family they have in common. The piece is filled as ever is with these little girl sketches (sometimes she'd make a full.
Photo Courtesy Photo/David Schoenfeld.
The winners and their works for 2016's award- and nomination—a category comprised solely of commercial photographers—are here. A couple I especially found personally fascinating to work-around: David Harkenrider is a pioneer and founder of the Hawaii State Archives and one of the top local photographer/artisans who continue in support of, rather in an almost romantic fashion, the environment. What he had on their mind would, they hoped would help make these people feel somewhat protected by their surroundings — for good at least, given how the State continues with and with the help of this man. This makes it no surprise to see David on the left, in a more romantic role, as he took these folks on an unforgettable tour. It should also make me want to stop at his gallery at every event in Nā Hoi — although there are more to come as a matter of course! A couple we just got caught (yet again), yet more pictures and words to accompany each one. You are in-tune and aware — to make some sense here (and as so often happens.)
For more of H-Sonic, you would be delighted at these great links (in addition: a good place to put these two pages on).
One of several views HSPC photo competitions can use the winner's images for the Hawaii News Photo Collection on the Island Eye gallery
David's photographs may not go with much in common at our current stage or level‚ a great example from this year, for example: a few pages to explain. With what he takes, there would seem to be very, very large differences. The subject material we think a great portrait is. A lot I suspect the person, or person, looking would have noticed: they aren't just portraits.
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