Instructors

Jack’s fine art images were featured along with the work of Ansel Adams in an Arizona Highways retrospective shown at the Phoenix Art Museum, the Center for Creative Photography, and the Museum of Northern Arizona.

His illustration of the wilderness lands of Native American tribes was featured in the August 2010 National Geographic magazine, and his coverage along the Texas/Mexico border highlighting the biological diversity of protected areas along the Rio Grande River appeared in the February 2007 issue of National Geographic.

Jack has donated his talents to the International League of Conservation Photographers' RAVEs (Rapid Assessment Visual Expeditions): El Triunfo, Mexico, 2007; Balandra, Baja Sur, Mexico, 2007; Yucatan, Yucatan, Mexico, 2009; Borderlands, US/Mexico, 2009; as well as the 2010 Patagonia, Chile, RAVE and the September 2010 Great Bear RAVE in British Columbia, Canada. In each case, Jack and teams of celebrated photographers from around the world pooled their collective talents to highlight potential environmental degradation.

In April 2010, Jack’s image Stone Canyon was selected as one of the Forty Best Nature Photographs of All Time by the ILCP, and he received the Outstanding Photographer of the Year Award from the North American Nature Photographers Association (NANPA) in March 2011.

Jack and his wife, Margaret, live in Tucson, Arizona.  His daughter, Camille Bralts, lives in Champaign-Urbana. His son, Peter Dykinga, lives in Tucson and manages Jack’s image collection.

Arizona PBS Interview with Jack:

An Interview with pre-digital Jack:

The Nature Conservancy's Director of Photography interviews Jack

National Geographic gallery of Jack's Native Lands project

Video: Profile of Jack Dykinga

Video: Interview with Jack Dykinga

Learning to See: an interview with Jack Dykinga

Visit Jack's website

John has published six books on nature photography, plus five eBooks on Photoshop and Lightroom.  He has photographed on every continent, from the Arctic to the Antarctic, from Provence to Patagonia.  While he once used a variety of film cameras, he much prefers the advantages of digital capture.

Visit John's Website

Testimonials

I just wanted to thank you personally for the best two days of photographic instruction that I've had in my 52 years. – Bill A.

The breadth and width of information that John Shaw provided both as an artist/photographer and his knowledge of digital software was impressive. His ability to communicate the information even more impressive. – Ric K.

John Shaw is a great leader and photographer and I always look forward to traveling with him. – Gordon K.

Marc Muench Q&A:

What motivates your work?

My guiding message in my personal work is the concept of freedom! This is especially true with regards to my wildlife and recreational work. My landscape work is a perpetual quest to find that unique experience where many unique elements come together, location, subject, light, composition my presence and most importantly a touch of unexpected luck.

What skills or qualities are most important to the success of your work?

I attempt to stay in physical shape to get to the locations/positions where I have been diligent in finding and locating the compositions I know are possible. To be prepared for those rather unique situations, I constantly study new technology.

What was your biggest break professionally?

Having a grandfather and father as well known landscape photographers was something I did not want to sacrifice. My job was to find my own way once the doors were open.

How do you break out of a creative block?

There is a very simple solution to a creative block in this line of work. I will usually go hiking or running somewhere in my local mountains or beaches. Even though this does not always solve the conceptual problems I’m dealing with it clears my mind allowing me to refresh my approach or methods.

Who are your most significant influences and why?

My family was a profound influence on me, both my father and mother were creative thinkers with the will to do what they talked about. Other artist such as the Japanese painter Yasu Eguchi and western painter Albert Bierstadt. Other photographers who’s work I was moved by were Chris Nobel, Galen Rowell, Jerry Uelsmann.

Why are you excited to be working with Visionary Wild?

I look forward to working with new people engaged in the pursuit of wilderness photography.

What are your greatest strengths as a teacher and workshop leader?

Many have told me I am able to approach a person at the level their at and decipher their next step, what ever that may be.

What are your favorite things about teaching and/or opening the eyes of passionate photographers to new ways of seeing, new places, etc.?

The magical look on a persons face when they experience a creative epiphany! Years ago when I taught large format printing, I’ll never forget the look on faces when the print emerged from the printer after hours of the head travelling back and forth while we ate lunch. The same can occur while reviewing learned concepts during crits.

As a teacher, what do you consider a successful outcome for your students?

I want them to learn at least one lesson in their personal quest to improve their skills. This can be in either the exploration of the subject, the technique of capturing the picture or the processing of their existing work. The very best lesson to have taught is the ability to see something out of what others consider nothing.

How do you find ways to take your own work in new directions?

I am fortunate that I still have clients who hire me to capture their concepts. This is always a great challenge. For my personal work, it’s all about seeking new locations where I am able to pursue my passion for portraying freedom. Most recently it has included the process of mixing still images with moving.

What do you think is the most important role for photography today?

Of all the important rolls photography plays in our lives, it is a testament to our beliefs and experiences. We all need creative outlets and this is still as true today as it was years ago.

In addition to her magazine work, Griffiths is deeply committed to photographing women’s issues.  She is the Executive Director of Ripple Effect Images, a collective of photojournalists who are documenting the programs that help poor women deal with the effects of climate change. Griffiths is a Fellow with The International League of Conservation Photographers. Known for her warmth and for her ability to create photographs that humanize situations and cultures, Griffiths is one of the National Geographic Speaker's Bureau's most popular lecturers.

Griffith’s work has also appeared in LIFE, Geo, Smithsonian, Stern, Time and many other publications.  With author Barbara Kingsolver, Annie produced Last Stand: America’s Virgin Lands, a book celebrating the last pristine wilderness in North America.  Proceeds from the book raised more than a quarter of a million dollars for grassroots land conservation.  In 2008, Griffiths published A Camera, Two Kids and a Camel, a photo memoir about balance, and the joy of creating a meaningful life.  Her newest book, Simply Beautiful Photographs, was named the #1 photography book of 2010 by Amazon.

Griffiths has received awards from the National Press Photographers Association, the Associated Press, the National Organization of Women, The University of Minnesota and the White House News Photographers Association.  She lives in Great Falls, Virginia with her two children.

Videos featuring Annie Griffiths

Interview: Annie Griffiths by National Geographic Live!

Annie Griffiths: A Camera, Two Kids and a Camel

I first took still pictures for lectures and magazine articles, and then started a film about this unique creature. The film was eventually shown in over 100 countries to an estimated 100 million people. I had found a platform to speak from. Forty-five films later, for National Geographic, Discovery, PBS, BBC, etc., I am still working to portray what we have in the natural world and its importance to our spiritual direction in a time where the calm of nature is less reflected in our beings than at any other time in the history of man.

Along the way, I added art to the biology. My last film for The Living Eden series, Patagonia, was a finalist for an Emmy for cinematography. I have continued to shoot still pictures, now often focusing on the simple beauty and design of nature. I have changed mediums from large format 4x5 to shooting digital. I have never lost touch with the original motivation of using the photography medium to show people the wonder and beauty of nature, and making a plea for sanity in dealing with our natural environment. Pristine natural environments provide optimum opportunity for each of us to experience the calm and wholeness of our being, which is really our natural state. While searching for photographs, I rely on what touches my center, and then with logic and camera I make the effort to pass on to the viewer the original feeling that drew me to the scene. – Jeff Foott

Jeff has been widely published in the U.S. and internationally.  National Geographic magazine, National Geographic Traveler, Audubon, National Wildlife magazine, Nature's Best, Outdoor Photographer, Sierra Club calendars, Audubon calendars are a few of the publications that use his work. He is an Associate of the International League of Conservation Photographers and has donated his time and photographic talent to the ILCP Borderlands and Patagonia Rapid Assessment Visual Expeditions (RAVEs).

Video: Jeff's project to fight the pine bark beetle invasion

Video: Jeff gets an amusing endorsement deal! (circa 1982)

Other highlights include the inaugural “Global Vision Award” from the Pictures of the Year International in 2008. In 2007 and 2006 he received awards for his work in the Amazon from World Press Photo. Daniel’s work has been published by the most prominent international publications including The New Yorker, Time, Newsweek, The New York Times, Le Monde, and El Pais, amongst many others. Daniel Beltrá is a fellow of the International League of Conservation Photographers.
Two months of photographing the Deepwater Horizon Gulf Oil Spill led to a major exhibit titled "SPILL," which premiered in August 2010, toured around the globe in 2011 and will continue touring through 2012

Video: ABC News Person of the Week
Video: The Prince of Wales announces Daniel as the Prince's Rainforests Project winner
Seattle Times profile

Video: Daniel's presentation at the Annenberg Space for Photography (video in 11 parts)

Video: Plum TV, Beltrá interview at his Aspen, Colorado exhibit
Video: Beltrá interview on rainforest deforestation
Video: CBC News, Beltrá interview
Video: Daniel talks about his Focus on the Rainforest exhibit at Kew Gardens, London
Aspen Peak Magazine story on Daniel's Aspen, Colorado exhibit
Aspen Times story on Daniel's exhibit: ICE, in Aspen, Colorado
Daniel's Gulf oil spill coverage with audio commentary, The Guardian newspaper, UK

Visit Daniel's website

Since 1992, Alfredo has lived in Quintana Roo on the peninsula's east coast, where he owns a high-end printing business. Alfredo and his wife, Sara, serve as trustees for Amigos de Sian Ka'an, promoting conservation action on the Yucatan peninsula.

Visionary Wild founder Justin Black and photographer Jack Dykinga collaborated with Alfredo in October 2009, during a Rapid Assessment Visual Expedition (RAVE) in the Yucatan operated by the International League of Conservation Photographers, while Justin was the ILCP's Executive Director. Guidance by Alfredo and his wife, Sara, was critical to our RAVE assignment, accessing beautiful cenotes off the tourist routes, known only to the friendly and gracious Mayan locals. Alfredo is a true gentleman explorer, a gifted photographer, and an absolute pleasure to work with.

"My interest is the people, not the process of technology," Karen says. "Instead of saying, 'Here is the machine our understanding has created,' I say, 'Here is the person affected by our understanding.'"

Born to a Japanese mother, Karenhas explored her own roots in several stories, including an intimate look at the world of Japanese women, economic coverage of Japan in Asia, and examination of the challenges facing Okinawa. Her travels have taken her from the rain forests of Malaysia to the megacities of India to the North Slope of Alaska. She has covered earthquakes in Japan, been arrested in Africa, and exposed to radiation in Russia.

Her book, Impact: From the Frontlines of Global Health, was nominated for the Pulitzer Prize. An exhibition based on the book has been displayed at the Carter Center and the Centers for Disease Control in Atlanta. Karen is prominently featured in the award-winning book National Geographic Women Photographers, and she has been profiled on several television shows.

She also works closely with Nikon and is a member of their prestigious "Legends Behind the Lens" group. A sought-after speaker and educator, teaching for many colleges, including George Washington University in Washington, DC, she gives frequent presentations on global health issues for corporate and nonprofit organizations.

Prior to working for National Geographic, Karen spent five years as a staff photographer with the Virginian Pilot-Ledger Star in Norfolk, Virginia. She has received numerous awards in the annual White House News Photographers and Pictures of the Year competitions.

Video: Karen in Hong Kong for National Geographic

Video: Karen in South Africa for National Geographic

Video: Karen climbs Japan's Mount Fuji for National Geographic

Video: TED Talks – Karen Kasmauski

Video: Impact book multimedia

Video: Getty Grant Project on Appalachian coal mining

Video: Waterman for the New York Times

Visit Karen's website

Terry Donnelly Q & A

What motivates your work?

I am motivated by a desire to be present in the world and see it in a new way; a way that is creative to me. It is a quest for discovery. An equal part of that motivation is to capture and express that vision. I would be content if I could express my emotional reaction with words (hate that), a brush (tried that) or music (tried that too and it’s a close second) but I’ve found photography to be a very satisfying medium since the mid 1970’s.

So for me, photography is a way of journaling, recording my travels, my experiences, observations of life in general. On a deeper level I find it quite useful as a measure of my personal growth and of the depth of my understanding.

Plus, I cannot not do it; it is integral part of my life experience.

I am immediately drawn to subject matter revealing the mystery and beauty of the natural world however, I am fascinated to explore the harmonic interactions between culture and environment; sometimes it is harmonic, sometimes it’s “nature bats last”.

What skills or qualities are most important to the success of your work?
Close observation, awareness, attention to detail and the control of all technical aspects which facilitates expression. I feel that to be successful, one must feel passionately about the subject and be driven to express that passion.

What was your biggest break professionally?

My first decade of photography was spent developing my vision and technique for creating and exhibiting black and white fine art prints. When, in the early 80’s I discovered that changing my 4x5 film holders from Tri-X to Ektachrome opened doors to a well-funded publishing world, my passion for photography became a fulltime profession.

While this change of film created a full time professional involvement in image making, it also created a gap between my personal and professional endeavors. While both are expressive bodies of work and they do influence each other, I’ve found a much wider and lucrative audience in the publishing world with “commercial” images and simultaneously, my “personal” work has been un-tethered from the quest to sell. This is a fine win-win. It raises the issue of the role of an audience in our work, but that’s another story.

My images are marketed in conjunction with Mary Liz Austin via Donnelly-Austin Photography and featured in numerous calendars, books, cards and magazines as well as corporate reports and brochures for environmental organizations and wildlife protection agencies. Clients include Sierra Club, Audubon, Hallmark, National Wildlife Federation, Nature Conservancy, National Geographic, National Wildlife Federation, American Art Resources, Brown Trout Publishers, Horizon and Alaska Air Magazines.

How do you break out of a creative block?

One huge advantage of living and traveling with a world class photographer in the person of Mary Liz Austin, is that if I am having a bad eye day or just not resonating with a particular location I can dependably look through her viewfinder and see what a true creative mind will do in that given situation. Wonderful lessons for me. While that experience does hold the potential to devastate to my morale, the real lesson is to relax with the knowledge that slumps are temporary and that the harder you try to dig your way out, the longer they last.

Who are your most significant photographic influences and why?

Invariably students will answer this question by citing St. Ansel, the Westons, Elliott Porter, maybe Cartier-Bresson, Ruth Bernard or even Wright Morris. It is vital to be familiar with the work of these historic photographers; they have created the framework within which we all operate. However, it’s of equal importance to be aware of contemporary photographers working among us today. We are working in a completely changed technological and cultural environment than that of our iconic heroes. To be unaware of how living photographers are using this evolving technology, exploring the creative and perceptive envelope is a huge loss.

My influences are the above mentioned historic icons, and more importantly, examples of the best working photographers today include:

Charles Cramer, http://charlescramer.com/

George Ward, http://www.georgeward.com/

Carr Clifton, http://www.carrclifton.com/

Jeff Foott, http://jfoottphotography.com/

Lori Kinkaid, http://kincaidphoto.com/index.html/

Michael Frye, http://www.michaelfrye.com/

Jason Langer, http://jasonlanger.com/

and yes, ...Jack, http://www.dykinga.com/Welcome.html/

This stuff all ROCKS! Any photographer unmoved by the work of these people should seriously reconsider their medium of expression.

The criteria for photographers making my list are that they are actively seeking creative, dynamic ways of seeing and communicating visually; they are immersed in our medium and they are taking it someplace new.

My list is pretty long and I like to peruse web sites on a regular basis just to see what’s happening. It can be pretty disappointing at times - as well as inspiring.

Of all the places you've photographed, where would you most like to go back again?

This is another long list and, like my list of photographic influences, it grows with time. Places making the list are those in which I’ve photographed and discovered an unusual personal connection or energy. My desire to return grows from a desire to become more intimate with that place, to observe its light, to watch how the seasons progress, to discover its many guises.

As an example, there is a specific location in Yellowstone National Park on an overlook of the Grand Canyon of the Yellowstone River. I’ve been there at least a dozen times in all seasons looking at a view of a collection of trees and rock watching the light bounce and reflect in the orange canyon backlighting the pine trees. It’s an amazing show. One of the most joyous moments of my life was discovering that it absolutely glows best in full sun at 10:15 on a late June morning. A marvelous moment! After photographing I couldn’t walk away from it; I just had to continue watching. The light and intense glow only lasts about 20 minutes and then it’s gone as the sun rises higher.

I am thinking about taking that one off my list. But I’d welcome the chance to watch it again!

Another fascinating aspect of going back to any location is to observe how I react to those places over time. Those locations become milestones and measure of my growth and evolution as an expressive photographer.

Why are you excited to be working with Visionary Wild?

Justin’s approach in designing VW activities emphasizes a thoughtful approach, creativity and personal growth. A rather brave business plan in a photo world obsessed with the latest and greatest software, lens, camera, sensor array, bean-bag mount, etc. And then, my god, I wanted to cheer when I saw a “recommended reading list”!!!

What are your greatest strengths as a teacher and workshop leader?

My teaching assets relate to my experience and passion for photography coupled with a strong desire to save others from some of the circuitous paths I’ve taken and the mistakes I’ve made. I guess empathy is part of the equation.

What are your favorite things about teaching?

I love the challenge of determining the level of competence and the specific interests of the participants and then tailoring my presentation in a manner that will best fulfill their needs. That is one of the most enjoyable parts of teaching photography. I see my teaching role as an improvisational endeavor. I have a full kit of instructional tools but they are seldom employed or presented the same way twice.

Another reward for an me as an instructor is watching a person conceive and hold a new concept, discovering there are infinite ways to interpret a specific place and that the their vision comes from within. Helping people with technical problems is rewarding, but for me the real joy relates to opening pathways to visual expression. That for me is watching the lightbulb turning on, the bat hitting the ball, the wind filling a trimmed sail.

What do you think is the most important role for (your) photography today?

Rising above today’s visual clutter, there are many vital ways in which photography influences our world: affecting social change, advocating for, and informing environmental issues, etc. However I feel photography’s under utilized potential exists in its role as a personal endeavor; I believe it to be a great tool for self-examination and awareness. While very few photographers have the necessary talent or the access to venues affecting change on a massive scale, any photographer with a conscious approach can use the medium to enhance personal growth and enrichment. It is that “conscious approach” I seek to cultivate in my photographic relationships.

Terry Donnelly interview:

Podcast #37 Photographic Vision http://www.7photographyquestions.com/2009/01/podcast-34-seeing-photographically----an-interview-with-terr-1.html

Books

Terry has had six books published featuring his photography, the first two using solely his own images and the final four created in conjunction with his partner Mary Liz Austin:

• Heaven on Earth, Abbeville Press Publishers ©1999

• Seattle, Beautiful America, ©1999

• Washington, the Spirit of the Land, Voyageur Press © 1999

• Oregon, Preserving the Spirit and Beauty of Our Land, Voyageur Press © 2003

• California Wild, Preserving the Spirit and Beauty of Our Land, Voyageur Press © 2004

• Wild Seattle, A Celebration of the Natural Areas in and around the City, Sierra Club Books © 2004

Selected Honors and Awards

1999 First Place Pictorial Photograph, Excellence in Journalism Competition by The Society of Professional Journalists

2000 Benjamin Franklin Award, Travel Essay Book for Washington, the Spirit of the Land by PMA The Independent Book Sellers Association

2003 Highly Honored – Plant Life by Nature’s Best International Photography Awards

2008 First Place Photography Magazine Feature, Excellence in Journalism Competition by The Society of Professional Journalists

Selected Exhibitions

May 1983 Prouty Community Center; Princeton, IL Solo show Historic Rural Architecture of Bureau County

May 1986 Kroch’s & Brentano’s Bookstore & Gallery; Chicago Solo Show of Recent Black & White Work

July 1987 Anne Thomas Gallery; Princeton, IL Solo Show of Recent Black & White Work

April 1997 Blue Heron Gallery; Vashon, WA Sharing Common Ground a Solo show of color landscape photographs

1997-2000 Juried participant in the Northwest Exhibition of Environmental Photography

July 1998 Maryhill Museum of Art; Goldendale, WA Northwest Vistas featuring the work of eleven Northwest photographers

September 1999 Blue Heron Gallery; Commissioned Artist for the Vashon Allied Arts annual auction

June 2001 Blue Heron Gallery; Vashon, WA Vashon Visions: Habitats, History and Home landscape photographs of two contemporary photographers with historic images

March 2004 Blue Heron Gallery; Vashon, WA Curated The Art of Travel - a multimedia exhibit of art influenced by travel

May 2008 Barn Works Gallery; Vashon WA Spring Studio Tour

December 2008 and 2010; Blue Heron Gallery; Vashon, WA
Invitational Miniature Show

February 2010 Silverwood Gallery, Vashon Islan, WA Invitational Flower Show

April 2011 Blue Heron Art Center, Vashon Island, WA Invitational Partners in Art – Couples Sharing Creativity

Representation

American Art Resources, Huston, TX

Art Advice, New York, NY

Arterra, Bellevue, WA

Boston Art Image, Boston, MA

Testimonials:

“…WOWing presentation! I was very impressed with your flexibility in adapting the class to meet the specific needs of this group.”
J.G. Yellowstone, Summer 2011

“Excellent teaching in a stunning location”.
L.H. Yellowstone, Summer 2011

“I found Terry and Mary to be incredibly generous of themselves and their time, and tireless in the field helping every class participant. Kudos to both!”
B.Z. Yellowstone, Summer 2011

“…instructors were superb – very patient, helpful, knowledgeable and fun.”
T.L. Yellowstone, Winter 2011

“You can’t come away from this course without being able to improve your picture taking and editing skills.”
C.L. Yellowstone, Summer 2010

“…instructors were artists not just technical photographers.”
Yellowstone, Summer 2010

“This course is excellent for any level photographer ….the inspiration from the instructors was excellent.” Yellowstone, Fall 2008

“Your knowledge, experience and ability as an instructor are admirable. …a positive and informative experience!”
R. F. Vashon Allied Arts, January, 2010

She has published several books in collaboration with Terry and has been the recipient of many distinguished honors and awards. Her images can be found in private collections and have been showed widely in innumerable exhibits.
She and Terry are highly regarded as an effective photo workshop team, though their busy schedules limit their availability. In addition to their workshops with Visionary Wild, they teach an annual workshop at Lamar Buffalo Ranch in Yellowstone National Park.

Mary Liz Austin Q&A

What motivates your work?

At the heart of things I am a storyteller. I create a relationship with my photographic subjects and try to tell a story about that relationship. As a photographer the trick is to reveal the subtleties and depth of the three-dimensional world in the two-dimensional medium of the captured image. I strive to be an honest witness in this process.

What skills/qualities are most important?

Stillness and an open mind are both extremely important in my work. Although I plan to photograph at a particular location I usually don’t know what my exact subject will be. I must have the right frame of mind in order to allow the conversation between me and my subject to reveal itself.

What was your biggest break professionally?

I was introduced to the world of photography by my husband, Terry Donnelly. I consider this to be an amazing break professionally because early on I met other photographers (Willard Clay, Carr Clifton, Jack Dykinga, Larry Ulrich, Jeff Foott, George Ward, etc.) and observed how they worked. Because of this I was able to learn quickly, find my own photographic “voice”, and hone my craft. I am grateful to these mentors and am proud to now be considered one of their colleagues.

How do you break out of a creative block?

Walking, sleeping, gardening all help to soothe the creative beast. If I am somewhere and feel there is something “speaking” to me but I just don’t see it, I will walk away for awhile, make sure I have eaten, watch the light change on the subject or admire the subject for what it is and not try to photograph

Who are your most significant influences, and why?

Terry has been an immense influence because he continues to play, explore and challenge himself in all aspects digital photography. From the fieldwork to the digital capture to the digital processing, he takes on new challenges with an enthusiasm that I find contagious.

George Ward is another photographer I admire. He stays in one location for days or even weeks, really immersing himself in the place, waiting patiently for the conditions to become magical. His approach to photography has a spiritual quality.

Bruce Jackson has a lovely eye for the subtleties of nature. Because he photographs for prints he is quite particular about his shot selections. His approach is more conservative than mine (I shoot a lot for stock) and I find that thinking about being in his shoes helps me focus my attention differently.

I did not initially fall in love with photography. I grew to love photography during my affair with my Wista 4x5 field camera; it was what we created together. The Wista was the perfect instrument for me to learn photography as it was heavy and cumbersome; it was antiquated, stubborn and limiting. But it was also reliable, powerful, simple and straightforward in design. It was through this camera that I became aware of the expanse of nature. The gift of this camera was that it slowed me down and made me think about each image. Each shot was a commitment. It enabled me to establish an intimate relationship with my subject. I only recently made the switch to digital. Even though digital offers lightness and flexibility I am grateful for the connection I had with my Wista because it taught me the slow deliberate meditative dance photography can be.

Where would you go back to?

I always want to return to the place I most recently visited. As I leave a location I get the feeling that I am driving away from a good friend who I know I may not see for a while. I feel a strange sense of nostalgia as I reminisce about the light of a place and the subjects that I interacted with. And, as with a visit with a good friend, I want to continue the conversation and capture the moments that I didn’t quite get.

Why are you excited to be working with Visionary Wild?

I am excited about the attention to photography itself. Although the programs are international in scope, the emphasis is still about seeing what is in front of you, wherever you are.

What are your greatest strengths as a teacher and workshop leader?

I think that I am able to put my ego aside and help students capture what they see through the lens. So I love to be in the field with the students working on composition as well as demonstrating to them in the classroom the editing and digital workflow.

What are your favorite things about teaching?

Setting the hook! I think that people benefit greatly by having ways to express themselves creatively in their lives. I try to teach people to go from unconscious photography to conscious photography; to think about studying some scene or object carefully and create a photograph from their inner voice. When a student realizes that they have the power to express themselves through photography, not just shoot pictures, I can see the hook get set.

How did you get your start in photography?

Initially I had no intention of being a photographer. I was working on my Master’s thesis in Nutrition and was able to travel with Terry on his photo shoots. I loved the travel and became enchanted with light. I became quite skilled with the light meter and after five years of watching Terry my opportunity arose. One day we were scouting in the Smoky Mountains and I thought a particular field in Cade’s Cove was beautiful and photogenic. Terry stepped away from his camera and then smiled and walked away. Although I was a puddle of insecurity I took the image. The camera was a large format Wista and I discovered that I loved it and purchased my own that same year. That image sold to a client and my hook was set.

How do you find ways to take your own work in new directions?

This is a challenge for me because we photograph for our publishers/clients and their needs, so we tend to photograph for them. One escape for me is to do garden photography. Vashon Island has exceptional private gardens and the owners have been gracious in opening up their gardens for me to photograph.

The changing technological landscape of photography moves my work in new directions as well. I have fought this because I do not consider myself to be a technogeek but I have found that digital photography gives me an expanded palette for expression.

The opportunities I have had to teach have also pushed my work in new directions. It helps me to re-experience the newness of photography and see with the “beginner’s mind”.

What do you think is the most important role for photography today?

To foster creativity. When we all find ways to slow down and pay attention and be creative we help create a better world.

Books

My images are featured in numerous calendars, books, cards and magazines as well as corporate reports and brochures for environmental organizations and wildlife protection agencies. Clients include Sierra Club, Audubon, Hallmark, National Wildlife Federation, Nature Conservancy, National Geographic, National Wildlife Federation, American Art Resources, Brown Trout Publishers, Horizon and Alaska Air Magazines.

Books using exclusive collections of images in collaboration with photographer Terry Donnelly include:

Wild Seattle: a Celebration of the Natural Areas in and around the City. © 2004 published by Sierra Club Press

California Wild: Preserving the Spirit and Beauty of Our Land. © 2004 published by Voyageur Press

Oregon: Preserving the Spirit and Beauty of Our Land. © 2003 published by Voyageur Press

Washington: the Spirit of the Land. © 1999 published by Voyageur Press. Benjamin Franklin Award winner.

Gallery Exhibitions

The National Parks in Washington, Washington State Convention Center, October 2010 through January 2011. A fine art exhibition of prints celebrating the beauty and diversity of National Park Service units in Washington State by seven resident professional photographers renowned for capturing exceptional views of the natural world.

The Barn Show Invitational, June 2011 Blue Heron Art Center, Vashon Island, WA

Partners in Art, April 2011, Blue Heron Art Center, Vashon Island, WA

Inner Vashon and Outer View, July, 2009, Blue Heron Art Center, Vashon, Island, WA

Random Acts of Kindness, January – March 2009, Silverwood Gallery, Burton, WA

Honors and Awards

Nature’s Best Photography Collection – 10-Year Best of the Best Collector’s Edition of 100 best images over 10 years © 2006

Nature’s Best International Photography Awards 2003, Highly Honored in the Landscapes Category. Image exhibited at the Smithsonian National Museum of Natural History.

Mother Earth, Through the Eyes of Women Photographers and Writers, Second Edition, Sierra Club Books © 2002

Teaching & Testimonials

In addition to teaching with Visionary Wild, Mary and Terry teach a yearly landscape photography class in Yellowstone National Park through the Yellowstone Association at the Lamar Buffalo Ranch.

Quotes from students:

I found Terry and Mary to be incredibly generous of themselves and their time and tireless in the field helping every class participant. Kudos to both!

B.Z. Yellowstone June, 2011

Mary and Terry were engaging, humorous and hands on.

B. E. Yellowstone June, 2011

An unrelenting passion for photography and outdoor adventures made it clear that Jerry was not destined for a desk job – the successful photography career he has built fosters a lifestyle that the average person might call unconventional. An avid climber for twenty years, he feels equally at home in a rocky bivouac or a soft bed. In college, his pre-med classes gave way to studies in fine art and weekends spent scaling Yosemite's granite walls. Photography was at first a byproduct of many adventures but quickly became his artistic medium of choice as he captured each experience with a concise aesthetic and quality of light revealing his inspiration.

Jerry's adventures have led him around the globe. He has climbed all the major walls in Yosemite Valley, at crags across the West, close to a hundred summits in the Sierra, and peaks in Bolivia, Argentina, and China. His full embrace of the many disciplines of climbing have led to many adventures and tales best told late at night around a raging campfire.
Jerry holds degrees in fine art and photography from Pacific Union College (Napa Valley), which led to work for acclaimed photographer Galen Rowell at Mountain Light in Berkeley. There, we managed Galen's gallery space and workshops, an amazing experience (akin to a photographer's bootcamp). In 2000, he left Mountain Light to pursue his own adventures and photography career.

Visit Jerry's website

Visit Jerry's blog

Jerry Dodrill portrait: © Grant Ordelheide.

Other notable awards include: the Photography Gold Medal presented by the New York Art Directors Club, the Award of Excellence by Communication Arts magazine, numerous editorial salutations and the Distinguished Alumni Award from Central Washington University. Nikon USA selected Pat to be one of the initial photographers featured in its "Legends Behind the Lens" Internet portfolio series. Pat has served as a Board member for the Olympic Park Institute.

Several book concepts featuring Pat's photography are currently under development. Places of Inspiration: a fine art portfolio will be complemented by exhibitions of his fine art prints. Impressionistic images will be featured in another portfolio. Another book, produced in collaboration with Russian photographer Afanassi Makovnev, will honor the natural history, wildlife and subsistence cultures of the Beringian Heritage International Park (a park co-proposed by the U.S. and Russia) along the Bering Strait and the Chukchi Sea straddling the Arctic Circle.

Pat is a master fine art printer, fluent in digital imaging and workflow. Exhibits of his images have drawn accolades from the professional community. He was the first photographer to exhibit at the National Parks Conservation Association's new gallery and information center in Seattle and enjoyed a successful three-month exhibit at the Mountain Light Gallery in California. His fine art prints reside in public and private collections internationally.

Pat's studio and home base are located on Washington's beautiful Olympic Peninsula.

Pat O'Hara is an extraordinarily gifted teacher and a wonderful human being whose exceptional and inspiring body of work speaks for itself. He is among the first two or three photographers I initially invited to teach at Mountain Light, and the workshop we led together there was one of the best I've ever experienced. After being busy with other priorities for the last several years, Pat is available to teach again, and I am thrilled that he has agreed to lead a workshop on the Olympic Peninsula with me in July 2012. This is an opportunity not to be missed. –Justin Black

He has dedicated himself to his art which, he says “isn’t only framing the image in the camera, but getting myself to the wildest places where I do my best work.” Carr’s wilderness skills have allowed him entrance into the solitude of some of the world’s most remote and least populated regions.

A native Californian living in the northern Sierra Nevada near Taylorsville, California, Carr began photographing in 1977 after seeking advice and inspiration from his mentor and neighbor, master landscape photographer Philip Hyde. After graduating from Colorado Mountain College in Glenwood Springs, Colorado, with a degree in commercial photography, Carr began his freelance career in photography documenting landscapes from Arctic Alaska to the Amazon Basin in Brazil, from the Queen Charlotte Islands of British Columbia to the hardwood forests of New England.

Best known for his five exhibit format books showcasing his work, Carr’s portfolio comprises thousands of editorial, corporate, and advertising credits and the award-winning documentary, Three Women, Three Hundred Miles. A member of the International League of Conservation Photographers (ILCP), Carr has worked extensively with international, national, and local conservation organizations whose vision, diligence, and unswerving commitment have protected some of the last wild, living places. His highly acclaimed book, Wild by Law, was the result of his collaboration with Earth Justice – a visual documentation of the impact environmental law has made on our nation’s institutions and conservation policies.

Exhibitions including Clifton’s prints have been displayed at the Roger Tory Peterson Institute, the Nikon House, the California Academy of Science, the San Diego Natural History Museum, and Mountain Light Gallery.  Recent awards include the Detroit Creative Director’s Silver Caddy Award for outstanding landscape photography in advertising, International Color Awards, and the Theodore Roosevelt Association Founders Medal for outstanding expeditionary achievement. Carr’s fine art prints have been purchased for display by environmental, corporate, and private collections worldwide.

Photography is not so much the art of photographing, but rather the art of seeing. Finding inspiration and creativity in the solitude of remote locations, I use camera and film as the final step in this seeing process, embedding lines, shapes, colors and textures into the rectangle. If my seeing has been successful, the subject becomes secondary to this process. My intention is to create an artistic, poetic image, and like music without lyrics, it doesn’t tell a story so much as it creates a feeling within us.  My challenge is to compose a photograph that is both artistically unique and has a profound effect on the viewer. – Carr Clifton

Outdoor Photographer profile of Carr Clifton

Visit Carr's Website

His most recent project, "Live from the Poles," connected researchers with the public during the International Polar Year (2007-2009) using daily online photo essays (polardiscovery.whoi.edu) and lectures "from the ice" to museum audiences nationwide via satellite phone. This project, funded by the National Science Foundation and the Richard King Mellon Foundation, took him from the Greenland Ice Sheet to the Bering Sea and penguin colonies on Antarctica’s Ross Island. Chris’s work-in-progress science documentary projects include Siberia’s “carbon bomb,” Antarctica’s Ross Sea ecosystem, and the impacts of climate change on Greenland.

Chris's images have appeared in museums, books, calendars, and international magazines, including Geo (Germany), Nature’s Best, Outdoor Photographer, and Wired. A solo exhibition of his photographs, titled “Exploring the Arctic Seafloor,” opened at the Field Museum in Chicago in February 2007 and is touring science and natural history museums. The University of Chicago Press published his book Science on Ice in Fall 2011. He has been recognized with awards from the Veolia Environnement Wildlife Photographer of the Year, Nature’s Best Photography Windland Smith Rice International Awards, and International Conservation Photography Awards competitions.

His work is represented by Aurora Photos, Visuals Unlimited, and Mountain Light Pictures.

Assignments: coverage of 24 major scientific expeditions, 14 of them to the polar regions. Recent assignments include the Ross Sea of Antarctica, Northeastern Siberia, and the Republic of Congo.

Awards: Highly Commended, 2010 Wildlife Photographer of the Year awards; Honorable Mention, Natural Environment at Risk category, 2010 International Conservation Photography Awards; Indigenous Cultures category winner, 2008 Nature’s Best Windland Smith Rice International Photography Awards.

ILCP Photographer of the Month, February 2011 Photographer of the Month Interview with Chris Linder

Polar Careers: Every Picture Tells a Story, by Marcy Davis, Field Notes: The Polar Field Services Newsletter, 2011.

Recent Articles: "Let’s Spy on Penguins," Ranger Rick, December/January 2010/2011; "Subzero," Wired magazine, January 2008

Science on Ice – Chris Linder's new book on polar exploration

Photographer's Guide to Cape Cod and the Islands, by Chris Linder

Video: Antarctica Timelapse Photography

Multimedia: Tour of Chris's Arctic Seafloor Exhibit

Dispatch from Antarctica in the Huffington Post

Visit Chris's website

These were the days of Apartheid when South Africa was still in relative economic isolation, and a sustainable career as a sports photographer was major challenge. "If Madiba and F.W. De Klerk had gotten together one year earlier I would probably today still be a sport photographer!" says Lou. He moved to other photographic interests in the early 90's, achieving international recognition for his portrait work along the way, but it was in his love of wildlife that he found his ultimate calling.

Lou’s years of experience as a sports photographer and portraitist are revealed in his constant search for exquisitely lit wildlife subjects in high-action against clean backgrounds. "I'll be honest: only when the action is not happening will I start looking for the graphic image."

In 2010, Lou was honored by Nature’s Best magazine for his outstanding photography, and he has been recognized repeatedly for his skill at capturing animal behavior. His photographs have been published and exhibited internationally, including in the USA at the Smithsonian Institution’s Museum of Natural History in Washington, DC. Lou was also the chief photographic moderator for The African Photographic Awards 2010.

"I’ve been going into the African bush to experience the animals in the wild from a very young age, and I learned early on to pay close attention and learn from wildlife behaviour. This understanding helped me to predict with reasonable accuracy "what’s going to happen next," which I discovered was a wonderful asset when photography became part of my life 40 or so odd years ago.

I have an insatiable appetite for detail, and out of that grew my love for nature’s intimate stories. As I write this, I’m at Etosha National Park in Namibia, and over the last few days I’ve had the privilege to photograph lions unsuccessfully hunting Giraffe, Kudu, Cape Turtle Dove and even little Red Billed Queleas! I can truthfully say, though, that the highlight of the week was the way the Helmeted Guinea Fowl out foxed the Tawny Eagles this morning just to have the favour returned by a Male African Shelduck this afternoon. Africa's magic is often revealed by the unexpected and not necessarily by the so-called “Big Five,” or can we rather say the “Big Seven” and include the Hippo and Nile Crocodile.

Whether on my own or with a safari group, I am adamant about choosing destinations and scenarios in nature that make for successful photography. It’s easy to get addicted to the clean blue water and sky backgrounds of the Chobe River in northern Botswana, but I also have a deeply ingrained respect and affection for Africa's animals that must struggle to survive in its desert and arid areas like Etosha.

My wife Veronica and I have been pursuing nature photography seriously for many years, and we started leading photo safaris in 2004 on a limited scale, but it was only after launching our first photographic boat on the Chobe River in 2009 that we became real “Safari Rats.” Since then, we’ve led close to fifty specialized wildlife photographic safaris to African destinations, and even two to Alaska!

–Lou Coetzer

The Sierra Club, National Parks Conservation Association, Land Trust Alliance, Earth Justice, The Wilderness Society, Conservation International, the Chesapeake Bay Foundation, and the Wild Foundation are among conservation NGOs that have used his photographs in their campaigns, publications, and annual reports.

Justin has also served as an editor and contributor to numerous award-winning photo book projects, including Galen Rowell: A Retrospective; Freshwater: The Essence of Life; The Wealth of Nature: Ecosystem Services, Biodiversity, and Human Well-Being; Our National Parks: America's Natural Heritage; as well as Flying South: A Pilot's Inner Journey by Barbara Rowell. He is represented by the G2 Gallery in Venice, California, and Mountain Light Photography in Bishop, California.

An early career as a travel photographer and image licensing specialist led him to Mountain Light, the company founded by world-renowned National Geographic photographer, author, and mountaineer Galen Rowell and his wife, Barbara, in the San Francisco Bay Area. Beginning in 1999, Justin managed marketing of the Rowell image collection, assisted Galen on assignments and in his workshop program, and taught seminars on nature photography. In April 2002, Galen and Barbara invited Justin to relocate with them as Mountain Light's General Manager at the present location in California's scenic Owens Valley. Justin agreed and eagerly embraced the sublime Eastern Sierra Nevada landscape as his new home.

Four months later, Galen and Barbara perished in the crash of a chartered plane, leaving behind a tremendous creative and visionary vacuum. Justin went to work, building on the impressive Rowell legacy to reinvigorate Mountain Light by establishing a seasonal series of guest photographer exhibitions, expanding the image collection, and relaunching the highly acclaimed photo workshop program through collaboration with Galen's leading professional peers, including Frans Lanting, Pat O'Hara, Jack Dykinga, John Shaw, and David Muench. In May 2008, Justin's successful efforts were recognized by both Sunset and American Photo magazines, as each magazine featured editorial recommendations of his workshop program at Mountain Light. As of February 2013, the Mountain Light website continues to display positive client testimonials contributed exclusively under Justin's watch.

After ten years at Mountain Light, Justin was recruited for the position of Executive Director of ILCP, a non-profit association of the best photographers worldwide working in the field of nature conservation. At ILCP, Justin oversaw an explosion of productivity in expeditions, publishing, multimedia production, and the achievement of successful conservation outcomes. He contributed photographic coverage to ILCP conservation photography initiatives called RAVEs – Rapid Assessment Visual Expeditions – including Flathead (Canada, 2009), Yucatán (Mexico, 2009), and Chesapeake (USA, 2010), as well as a solo project documenting the Dragon Run watershed on Virginia's Middle Peninsula for The Nature Conservancy. One of Justin's photographs of the Flathead River appeared as a section opener in the Vancouver Sun newspaper – the first time the Flathead watershed conservation issue had any prominent coverage in that regionally critical media outlet.  The photograph was later selected by the U.S. Senate for display in the Capitol Building.

Justin left his position at ILCP in late 2010 to establish Visionary Wild, building on his successful leadership of the Mountain Light workshop program and applying expertise gained at ILCP to provide superlative workshops and expeditions for passionate photographers seeking to advance to the next level of creativity, quality, purpose, and meaning in their work. His own work continues to evolve in new directions, driven by the ongoing search for extraordinary qualities in our world's dynamic landscapes.

Justin lives in Washington, DC, with his brilliant wife, Lena (Visionary Wild's Director of Operations), and their son Philippe.

Justin Black's limited editions portfolio

Justin's Outdoor Photographer Profile

Bringing focus and meaning to your photography

The Top 40 Nature Photos Project

Justin’s Camera Bag

After using an array of 35mm, medium format, and 4x5 film cameras for most of his career, Justin has switched fully to Nikon digital SLRs and Nikkor lenses. His current gear includes:

Camera Bodies (Nikon)
D800E
D7100

Lenses (all Nikkor)
18-35mm f/3.5-4.5 G AF-S ED
24-70mm f/2.8 G AF-S ED
70-200mm f/4.0 G AF-S ED VR
24mm f/3.5 PC-E tilt-shift
35mm f/2.8 PC shift
45mm f/2.8 PC-E tilt-shift
85mm f/2.8 PC-E tilt-shift
85mm f/1.8 AF-D
105mm f/1.8 AI-S
200mm f/4 AF-D Micro-Nikkor
500mm f/4 AF-S VR
TC-14EII teleconverter
TC-20EII teleconverter

Flash
Nikon SB-900 x2
Assorted Nikon TTL flash cables
Lumiquest soft boxes
Rogue Flashbender
Rosco gels

Filters
Singh-Ray LB Circular Polarizer
Singh-Ray Vari-ND
Singh-Ray Galen Rowell graduated neutral density (1 to 4 stops, hard and soft)
Hoya 7-stop ND

Tripods
Gitzo 1348CF with Really Right Stuff BH-55 ballhead
Really Right Stuff TVC-24L with RRS BH-40LR ballhead
Gitzo 1028 with RRS BH-25 ballhead

Photo Packs
MindShift Rotation 180 Pro
Think Tank Photo (TTP) Streetwalker Harddrive
TTP Streetwalker Pro
TTP Airport Addicted V2.0
TTP Airport Acceleration
TTP Airport Antidote V2.0
TTP Urban Disguise 50 V2.0
TTP Speed Racer V2.0