Conservation Photographer By Daniel Beltra

Joel Sartore, photographer, is the main focus in this article. Over the years Sartore has created a collection of photos that he has taken of different species of animals. These animal photos have created a movement that’s goal is to inspire people and get their attention in order to help protect the lives of animals, especially those that are threatened. This organization, Photoark, is pushing the photography of zoo animals in order to get public attention. Animal play a huge role in the balance of our planet. What Joel Sartore is trying to do is save our biodiversity by protecting animals in order to preserve the environment. Throughout the article the author explains the goals of Sartore and explains the Photoark project that is growing wildly to save animals. The awareness of these animals may just be the thing to save them and our planets

In his book, Last Child in the Woods (2008), Richard Louv illustrates his distaste for the widening divide between man and nature by his use of exemplification, narration and hypophora. Louv’s purpose for writing this book is to inform the audience that mankind should change its ways and move towards a lifestyle that is more appreciative of its surroundings. Louv uses a frustrated tone to invoke the feeling of guilt within the reader because they are responsible for making humanity unappreciative of nature.

Environmental documentarian, Bridget Besaw, combines both photography and film to advocate wilderness preservation and food sustainability. She creates “visual stories that serve as a rousting, yet romantic reminder of our collective instinct to care for the planet” (Besaw, 2015). Besaw’s photography captures a range of environmental issues from “threats to Maine’s wilderness, loss of working farmland in New England, restoration of crucial salmon habitat in the North Pacific, wilderness preservation in South America, and sustainable fisheries initiatives throughout the world” (Besaw, 2015). Besaw uses photography so others get “a closer understanding of and relationship to their own bodies and the planet that provides them with life. So for

Alex Kotlowitz met Lafeyette and Pharoah Rivers in 1985 while working as a journalist. He was interviewing them for a photo essay in Chicago magazine on children living in poverty. The violence that occurred every day where the brothers lived in Governor Henry Horner Homes, or Horner, disturbed Kotlowitz. Lafeyette and Pharoah are 12 and 9 years old at the start of the book but have experienced more than many kids their age. The boys did not seem sure of what life held for them. Lafeyette told Kotlowitz, “If I grow up, I’d like to be a bus driver,” Lafeyette was not sure that he would grow up at just 10 years old (x). Kotlowitz wanted to show what it is like for children growing up in urban poverty after seeing the brothers’

As Adams pursued his work in both art and conservation the various lines of his life were beginning to converge revealing both the unity and the disjunction of his ideas. 137 His impact was felt on both spheres of influence. Using modern techniques of mass communications, Adams brought a vision of idealized wilderness to a broad audience and linked the environmental movement with nationalism and a romantic view of nature. The sustained popularity of his photographs illuminates a continuing public fascination with the wilderness landscape as both a place of beauty and a symbol of national identity and ideals. (Pacific 42) Most leaders within the conservation movement continued to share his ideal assuming that economic growth and wilderness

In order to compose this assignment, I visited the University of South Florida Contemporary Art Museum (CAM). The USF Contemporary Art Museum is a compact museum on campus located near the Dance buildings and the Theatres. The museum opened its establishment in 1989 and has offered a wide range of art from around the world including the United States, Africa, Europe, and Latin America (usfcam.usf.edu). In order to keep students engaged in the art, the museum changes its exhibits a couple times a year. Currently, the exhibition on display is entitled Extracted and incorporates “the extraction and circulation of natural resources around the globe” (Megan Voeller). Despite the museum being not large in size, I was able to attain a sense of nature through photographs, sculptures, video messages, and banners produced from artists including Otobang Nkanga, Marina Zurkow, Claire Pentecost, Mary Mattingly and Daniel Shiffman. The social angle most strongly related to the exhibit on display at this time is nature and culture. Extracted was motivated by relationships between humans and the environment referring to “complex technical processes behind oil drilling and mining or industrial agriculture” (Megan Voeller). Most of the artists focus their work on nature including the environment, ecosystems, and life itself.

In the essay, “Save the Whales, Screw the Shrimp”, Joy Williams argues that people have reduced the valuable experiences provided by nature through simplification and domestication. Williams writes, “The tiny masters are willing to arrange Nature for you. They will compose it into a picture that you can look at at your leisure...Nature becomes scenery, a prop.” William’s claim that human intervention minimizes nature to a superficial background is inaccurate because intervention allows increased utilization, involvement, and accessibility.

They contributed many photo essays to Arizona Highways, though Adams was less than thrilled with their color reproductions. Still, they are important for they championed a “uniqueness of the ‘American’ earth at a time when other artists and intellectuals were drawn to ideas of internationalism” (Dunaway, 2005, p. 131). The Sierra Club’s new storytelling technique the coffee table book and National Geographic’s photo-driven essays also grew in popularity. Other conservation organizations quickly grasped the value of photos as a way to appeal to Americans on a more personal and intimate level the importance of humanity’s relationship with land and nature (Corbett, 2006; Neuzil, 2008; Sierra Club,

In The Woodlands, as a baby and family photographer, there's a joy that comes from capturing these special moments in a young family's lives. I'm thrilled when little ones are brought into the studio for family portraits. This is especially true when the families are open to choosing items from the studio's collection of clothing.

In “Last Child in the Woods,” Richard Louv displays to the audience how detached people have gotten from the natural world. Through the use of anecdotes, hyperbole, and imagery, Louv shows how people have seemed to forgotten the beauty of nature, and turned their heads towards the screens of technology. Louv uses anecdotes to show examples of people’s relationship with technology and nature. He begins with telling how the revelation of new technology by researchers led to a writer to declare “it’s time for nature to carry its weight,” and how nature has been used as ways to advertise technology.

The thread running through this book is that photographers have been and continue to be visual advocates for the environment. In spite of all the wrongs we have afflicted to Earth, this book discusses how photographers and all sorts of people are actively coming together for a better tomorrow. Environmentalism in the 21st century involves hard work and determination by photographers, environmentalists, some in government, and others getting the information to the public and decision-makers what is happening people, places and spaces on a changing planet. Much of this has materialized through alternative modes of communication and they have done well to circumvent and challenge the status quo, and will continue to do so.

Robles Gil also is one of the first photographers to work with big business for conservation in Mexico, “not only because of their economical power but for their important need of a corporate commitment to biodiversity and wilderness” (Robles Gil, 2011). Robles Gil’s greatest achievement is the preservation of the Sierra del Carmen mountain range in north Mexico and his efforts succeeded in the region designated as wilderness and led to protection from further development. He has worked with iLCP’s initiative called Rapid Assessment Visual Expeditions (RAVES) that photographs stories about biodiversity, transboundary conservation, and other conservation actions. Robles Gil collaborated with The International Environment Photographers Association (IEPA) based in Japan in 2011 and launched a photo exhibition of work from over 86 environmental photographers around the world. The exhibition stressed the importance of the natural environment and state of a vanishing nature that promoted the “beautiful, natural landscape is deeply connected to the spiritual wealth of human beings” (IEPA, n.d.). Recently, his environmental activism consists of uncovering environmental threats concerning pollution, global warming, deforestation, land fragmentation, and damage to

The images above allow us to see the effects that the environment have on the

The film “Here and Now” discusses Native American’s historical relationship with the land, and the cultural tie the people hold to the plants and animals. It goes on to define a “new era” of partnership and caring for the land with the original stewards, and emphasize the importance of healing the Earth (Here and Now). Tying into that, Historical Ecology, the study of the interaction between humans and their environment, focuses on landscape transformations (Sunseri 03/01). This study of the past has explicit implications on our understanding of the future and allows us to better comprehend what must be done to protect and conserve our natural

A photograph of Earth reveals a great deal, but it does not convey the complexity of our environment. Our environment (a term that comes from the French environner, “to surround”) is more than water, land, and air; it is the sum total of our surroundings. It includes all of the biotic factors, or living things, with which we interact. It also includes the abiotic factors, or nonliving things, with which we interact. Our environment includes the continents, oceans, clouds, and ice caps you can see in the photo of Earth from space, as well as the animals, plants, forests, and farms that comprise the landscapes around us. In a more inclusive sense, it also encompasses our built