Annual Butte Ice Carving Contest set for Saturday
By Admin in Photography
GALLATIN, Tenn. (WZTV) — A Midstate photographer captured stunning photos of a piebald deer this week.
After weeks of searching for the animal, Harvey Photography snagged the images in Gallatin on Wednesday.
Piebald deer are some of the rarest of the white tail species, affecting less than 2% of their population. Piebaldism is genetic mutation that can manifest in various amounts of white. They are not to be confused with albino deer, which are totally void of pigment. Instead, piebald deer may have small patches of white, or may be almost pure white with small patches of normal brown hair.
Read the post from Harvey Photography below.
“I got a tip a few weeks ago about a Piebald deer here in Gallatin, TN. I have driven to and passed this spot with my camera several times over the past few weeks. Watching, learning, seeing which way they go at what time and where the sun is located.” -Harvey Photography
Today I went and took a few photos of my albino deer and on the way home I decided to try my luck and drive by and hope that my day kept getting better. I made a turn on an old country road and there in a field it was…. I parked in someone’s yard, sorry about that whoever you are, and took off on foot. I adjusted my camera….and fired off these shots….
I still can’t believe I found it!????
By Admin in Photography
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TOPPENISH — Though the shelves at Hope Chest Crafts were almost empty, Jeannette York still found some good deals during a recent visit. She also enjoyed seeing the owners, Denice and Merlin Peterson.
“My mom’s been coming here for about 30 years. … It’s a really friendly place. My mom’s a big fabric buyer,” York said of Juanita York. Even after her mother was in an accident and had to use a walker, she kept going to Hope Chest Crafts when she could.
The Petersons asked about her mother, and Jeannette went to get her. Mother and daughter talked with the Petersons before hugs and well-wishes for their future as they retire and close the store on Dec. 15 after 52 years as a family-owned business.
“I’m going to miss it,” but “they’ve got to go have their fun, too,” Jeannette said.
A store-closing sale has drawn increasing numbers of customers to the craft store at 508 W. Second Ave. But many recent visitors, like Jeannette, also came to see the Petersons and tell them how much they’ve appreciated them over the years.
“We love you guys,” Amy Blodgett told them after she and Rena McGeshick found their own deals and hugged the Petersons.
“We’re here all the time. It’s just a sad moment,” Amy said. “It was our candy store.”
Hope Chest Crafts owners Denice Peterson, center, and Merlin Peterson, right, ring up customer Betty Carl during their store closing sale Tuesday, Dec. 5, 2023, in Toppenish, Wash.
Evan Abell / Yakima Herald-Republic
Hope Chest Crafts has been the “go-to place” of Indigenous people on the Yakama Reservation and in the region for fabrics and ribbon for wing dresses, ribbon shirts and other traditional attire, regalia and accessories. Generations of Indigenous artists have gone there for glass and plastic beads and other beading materials and tools, yarn and craft cord for wa’paas baskets and other items such as fringe, feathers and buckskin.
“We’ve listened over the years for what they need,” Denice said. Along with learning from their customers and stocking their store with what they sought along with all kinds of arts and crafts supplies and party decorations, greeting cards, books and more, the Petersons tried to keep prices low and quality high.
The front of Hope Chest Crafts is pictured Tuesday, Dec. 5, 2023, in Toppenish, Wash.
Evan Abell / Yakima Herald-Republic
They’re ready to leave the demands of running a small business, which has changed in recent years with supply chain frustrations and decreasing quality, Denice said. But they’ll miss the rich social life their cozy store has provided.
Sometimes people would come in seeking prayer — the Petersons’ faith is an important part of their lives — or offering prayer. One man who visited the same day as the Yorks stood with the Petersons and prayed for them and their future. All became emotional.
“We’re going to miss everybody, too. We’ve known generations,” Denice said.
Though they’re retiring, the Petersons aren’t moving. They will stay in their massive historic home, known as the Bolin mansion because it was built by Maud and Charles Bolin in 1911. The craft store has been attached to it since 1976.
Denice’s mother, Jeanne Winterfeld, is 94 and lives next to the mansion. Jeanne and Bob Winterfeld bought the craft store’s predecessor, Hope Chest Variety Store in Toppenish, in 1971. They had been married 69 years when he died in November 2020.
The Winterfelds married in Medina, Ohio. How did they end up in Toppenish?
“He just was adventurous,” Denice said of her dad.
Hope Chest Crafts customer Betty Carl walks around the store during their closing sale Tuesday, Dec. 5, 2023, in Toppenish, Wash.
Evan Abell / Yakima Herald-Republic
Adventurous indeed. For those who grow up east of the Mississippi River, the western half of the United States can seem like another country, vast and obscured by mythology. Bob Winterfeld was born in Ohio, graduated from high school there and left to serve in the U.S. Army during the Korean War. After coming home he worked for several years as a technical writer in engineering for General Motors in Cleveland, writing manuals for military vehicles.
As he and Jeanne’s family grew to include six children, Bob kept adding on to their house, which he constructed. He was “an avid do-it-yourselfer,” according to his obituary, and was fondly known as “build-it Bob,” his daughter said.
His expertise with a skill saw came in handy after he and Jeanne and their kids fit as many carefully chosen belongings as they could into a big panel truck and headed from Valley City, which is near Cleveland, to Toppenish in the summer of 1971.
They needed a big house and build-it Bob saw opportunities in the Bolin mansion. His obituary describes it as “the ultimate fixer-upper,” and some may have called that an understatement. While grand in size and silhouette, the massive house made of molded concrete blocks had sat empty for several years and had suffered vandalism, broken pipes, ruined plaster and other structural and architectural indignities.
“‘Pioneer’ family roughs it in Toppenish’s Bolin mansion,” headlined a story about their “giant renovating project” in a September 1971 Toppenish Review. It’s among many newspaper clippings, photos and other ephemera about the Bolin mansion filling a large scrapbook.
The Winterfelds worked to make the mansion their home as they began running the Hope Chest Variety Store. Bob had learned from a national real estate firm that Gil Burns was selling it. The information made it sound like the buyer would get the variety store business and its building, Denice said. It sounded like a great deal.
An advertisement for Hope Chest Crafts grand opening in 1976 sits in a scrapbook in the store Tuesday, Dec. 5, 2023, in Toppenish, Wash.
Evan Abell / Yakima Herald-Republic
Turned out that the Winterfelds bought only the business. But they liked Toppenish and settled into that business with friendly enthusiasm. It began with “get-acquainted specials” on inflatable pools (While They Last!) with a 40-by-8-inch pool costing 99 cents and a 60-by-12-inch pool available for $1.99, according to a July 1971 newspaper advertisement saved with many others in another scrapbook.
“A Variety Store For A Variety of People. Everything For Babies And So Much More!!” a December 1971 newspaper ad declared. “Arts & Crafts — A Special Section! Baby Furniture — Largest Selection In The Lower Valley. Miscellaneous — A Lot Of Many Things!!”
Bob and Jeanne decided in the mid-1970s to split Hope Chest Variety Store into the variety store and an arts and crafts store. He built an addition to the back of the Bolin mansion to house Hope Chest Crafts, using molded concrete blocks similar to those used for the house and installing a small parking lot.
Hope Chest Crafts opened in 1976.
“The craft part of the business was really growing. It was macrame and decoupage — I did lots of classes in macrame,” Denice said. There was also tole painting, chenille and fake fur animals and cool cross-stitching, among other groovy popular crafts of the 1970s.
The variety store stayed in its downtown location, but not for long. It closed in late 1977 after the building sold.
Hope Chest Crafts became a community destination. Jeanne wrote a “Crafty Corner” column for the Toppenish Review, the store offered lessons galore and the Winterfelds sent newsletters with information about classes, demonstrations and other special events.
“We wish to thank all who participated and also appreciated the nice comments many had about our store,” the January 1979 newsletter said, naming winners of the store’s second anniversary drawing. “We will continue to try our best to supply your craft needs with quality merchandise at the lowest possible price.”
One memorable evening, Hope Chest Crafts hosted two large craft groups simultaneously in a “midnight madness” event. People didn’t leave until about 2 a.m., Merlin said.
Merlin joined the Peterson family when he and Denice married on Dec. 17, 1983. They raised their two daughters in the Bolin mansion. Both served in the military. Beaded medallions with their branches of service hang on Christmas trees inside the house, along with other beadwork given to them by friends.
There are so many friends. Over and over, they offered well-wishes and hugs. Good luck you guys, they said. God bless you.
“We enjoyed all of you,” Merlin said. “Thank you for coming all these years,” Denice added.
The Petersons aren’t sure what they will do with the craft store space. As for retirement adventures, no cruises for them. “We’re just more into the hiking. Washington is beautiful,” she said.
By Admin in Photography
On today’s episode of Project of the Week, we’re taking a dive into the process of photographing a structure under construction — one that has been in the works for 26 years from its conception! We’re talking about Stuttgart 21 rail node. Construction on this mammoth project is winding down, and the rail node will be finished next year!
Architect-turned-photographer Ingo Rasp has submitted in this ultra-sculptural, even ethereal, beauty to us, along with a breakdown of what it’s like to photograph a project of this nature.
“The documentation of Stuttgart 21 was an initiative project of mine that I proposed and then shot for the client Deutsche Bahn. Hours after I published the images on the web & my social media, Ingenhoven Architects and leading engineer (Werner Sobeck) reached out to me and asked to license the images” Ingo explains – and it’s easy to see why. Ingo’s photographs of the space are sublime!

Ingo gives us some background on Stuttgart 21 and shares, “I grew up in the southern part of Germany 80 km east of Stuttgart and when the project – as a result of a competition – was announced in 1997. It was a big thing in the media.
At that time I was just about to finish my apprenticeship as a cabinetmaker and had no idea I would later study architecture and eventually – much later – become an architecture photographer.
Following the progress of the project with all its hurdles and delays over the past 26 years, it was nearing completion this year and was all over the media again.”

He goes on to say “Needless to say, I was captivated immediately when I saw the first images from the construction site on the internet and I reached out to the people in charge.”
Ingo documented this space with the perfect mixture of fine art meets architectural photography. His attention to the light and forms is wonderful. His carefully considered compositions showcase the curvature of the pillars and balance the perfect combination of a quiet, delicate ambiance, and the strong, epic structures.

“When I was entering the construction site and saw the 26 unique chalice-pillars in the 450 meter long underground hall my perception was definitely challenged,” Ingo says. “You see a structure that has never been built before in history as the technical possibilities/abilities were not ready.
Most of us grew up in rectangular spaces, so my senses were overwhelmed by the amorphous forms and the effect they had on me. The space was characterized by floating lines and the interplay of natural light.”

He continues, “The concrete works were executed in such a precision and perfection that the surface felt smooth and soft, giving the light no point to cast hard shadows. I was impressed by the enormous dimensions of the (almost spiritual) space.
There was no reference or sense of scale and dimensions as there were no familiar objects I could relate to. Only the workers gave scale by their human size, making it tangible.”

I asked Ingo a bit about what it was like to be on-site and how he managed challenges, as well as his approach to photographing the unfinished space. He shared, “I had just half a day on the construction site and was accompanied by a security guard as the protocol required it… but I could have stayed several days searching for perspectives and the perfect angle.
My plan initially was to shoot the construction site in its pure form, where no other infrastructure elements like railways, additional floors, signposts, or barriers were installed. Just the pure form and shape of the concrete chalice pillars characterizing the space.
But as I was shooting, I understood the proportions and dimensions of the space over time. It was clear to me that I had to implement humans into the pictures to give the viewer a familiar reference of the enormous dimensions of the space and structures.”

“When documenting construction sites, I’m fascinated by showing the process of transformation, from dirt to polished surfaces in the end — especially when you have the chance to visit construction sites several times over the building process and see how things grow/evolve,” he explains.
“Also, the work itself, when raw concrete is poured into the mold which is laying the foundation for the spaces we later feel comfortable in.
Sometimes structures are missing a reference we can relate to as specific elements are not installed yet, so I’m trying to add familiar objects (e.g. humans) to make it more tangible – or leave it to make it even more abstract.
For me there is definitely a strong aesthetic component of unfinished elements, being a vital part of the overall concept in the end.
For finding the right subject or perspective time is key, I keep searching till my aesthetic eye finds peace.”

I was curious as to which image from this series was Ingo’s favorite, and what he felt made it stand out to him. He said, “My favorite image is definitely [the one below] as it shows just the pure form and the very precise floating lines of the chalice-pillar.”

A gigantic thanks to Ingo for submitting this very cool project to us! The forms, the light, and his compositions are so lovely!

Head over to ingorasp.com to see more of Ingo’s beautiful work! You can also give him a follow on Instagram @ingo_rasp.
If you have a project you’d like to be considered for Project of the Week, you can submit it here.
By Admin in Photography
Dec. 8, 2023 8:00 am ET
Juergen Teller would like to set the record straight: He is not lazy.
Yes, it often takes mere seconds for the German-born photographer to capture an image of Iggy Pop clutching a tree, or his wife and business partner, Dovile Drizyte, posing nude against a cerulean sky. But, he says, just because he’s nimble with the shutter doesn’t mean his images aren’t considered.
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By Admin in Photography
‘Seeing It All,’ a new book from the California Academy of Sciences, showcases breathtaking images of beauty and of peril
A giant panda appears to play peekaboo, confiscated skins and taxidermied skulls of big cats line repository shelves, stately marine iguanas sun themselves on rocks in the Galapagos Islands and icebergs set adrift from Arctic glaciers are among the images in “Seeing It All: Women Photographers Expose our Planet,” a new book co-published by the California Academy of Sciences, located in San Francisco’s Golden Gate Park.

Credit: Photo © Cristina Mittermeier from Seeing It All: Women Photographers Expose Our Planet
“Saving nature is saving ourselves” is a stated theme of the book, and the 125 images reveal moments of profound beauty and also of peril; of a lot of life and yes, some death. “Every image is a freeze-frame of how we are living together with animals and amidst the natural world in these precarious times,” said Rhonda Rubinstein, creative director at the Academy and curator of the book.
“Saving nature is saving ourselves.”
“Some images show the best of us, people working to help bring animals back into the wild, and some show the worst, examples of how we are turning animals into consumer products,” Rubinstein continued. “As a collection of images and words, the book becomes a more powerful thing of beauty and realization.” Each photographer also offered personal manifestos of sorts, sharing their visions for the roles nature photography plays.
The photographers featured in the book are Tui De Roy, Suzi Eszterhas, Daisy Gilardini, Jen Guyton, Morgan Heim, Esther Horvath, Britta Jaschinski, Jo-Anne McArthur, Cristina Mittermeier, Camille Seaman and Ami Vitale. Oceanographer and explorer Sylvia Earle, who called the book “hauntingly beautiful,” wrote the foreword. Writer and activist Rebecca Solnit and neuroscientist and science communicator Indre Viskontas penned introductory essays.

Credit: Photo © Suzi Eszterhas from Seeing It All: Women Photographers Expose Our Planet
The photos, each well worth lingering over, were made from the Arctic to Antarctica, at the National Wildlife Property Repository in Colorado, in African and Chinese wildlife sanctuaries and on land as well as above and below the sea. A Weddell seal yawns in one photo. In another, a male lion meets his cub. Other baby animals featured include koalas, elephants and a cheetah perched atop its mother’s head. People are pictured in the book as well, among them divers exploring watery worlds, workers tending to animals in their care and Indigenous individuals honoring the land.
Images of giant tortoises, hammerhead sharks and blue-footed boobies in “Seeing It All” are the work of photographer and writer Tui De Roy, 69, who has documented the wildlife in the Galapagos Islands for more than 50 years. “I try to portray the world not through our eyes, but through the animals’ lives, from their perspective,” said De Roy. “I want to show them being themselves.”

She grew up in the Galapagos, after moving from Belgium at the age of 2 with her parents. (Read more about that extraordinary experience in “A Lifetime in the Galapagos,” one of 20 books she has written.) Currently, de Roy lives and works part of the time in the islands and part of the time in New Zealand.
Nature photography requires patience, and De Roy emphasized that she is happiest when alone in the field. “All my life I’ve been trying to photograph the timelessness of nature,” she said. “We live in a 1,000-miles-per-hour world, but time is golden in terms of getting a good photo, because in nature, things happen the way they always have and should — and not interrupted by our speedy lifestyles.”

Credit: Photo © Tui De Roy from Seeing It All: Women Photographers Expose Our Planet
De Roy said she is pleased to be included in a book showcasing women photographers. “I was brought up to be a human being, not to act according to my gender, but I’ve allowed myself to be convinced that women do portray subjects in the natural world in a different, more sensitive manner,” she said. “Photographs by women who connect with nature, who serve as messengers for nature, have a different flavor, because we see our subjects as fellow travelers on this planet.”
In the book, De Roy predicts that nature, not humans, will have the last word. “Nature has been diminished by humans in some areas of the globe, but no matter where we look, nature is still there,” she wrote. “In the end, only nature will endure. Nature quietly gets on with being, with adjusting, with remaining beautiful. I think that’s worth celebrating.”
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Ami Vitale, a former news photographer who lives in Montana, has covered armed conflicts, famines and natural disasters in Afghanistan, Kosovo, Kashmir and beyond. In recent years, she has traveled to more than 100 countries on a mission “to amplify the voices of unsung heroes on the conservation frontline … people all over the world who are taking a stand to protect wild places and the amazing species that live there.”

To do that, Vitale has photographed many individuals who are taking action to help save nature, and by extension, save ourselves. “Everywhere I go, I see people, often with very little, making huge impacts in their communities and for the planet …and I think it’s important to shed some light on these stories,” she said. “And I like to ask if the people in these stories could do so much with just hope, resilience and imagination, what might we all accomplish together?”
Asked whether she agrees with curator Rubinstein’s description of the book as “a time capsule,” Vitale replied, “I think there is some truth to this. We’ve wiped out 50% of the Earth’s wildlife in the last 40 years. It doesn’t take complicated math to figure out if we don’t act now, there will be little left. It’s not only a time capsule; these images are an unfiltered connection to the natural world and they can stir emotions, foster empathy and cut through the noise of misinformation. This book holds cautionary tales of human impact and is a visual invitation to take action.”
A focus on the value of nature photography is not new at the California Academy of Sciences. Along with Suzi Eszterhas, who is among the photographers featured in “Seeing It All,” creative director Rubinstein founded “BigPicture Natural World Photography,” an annual international competition and exhibition.
Since its inception in 2014, the competition has received roughly 64,000 submissions and awarded $120,000 in prizes for more than 80 winning images. Categories include Terrestrial Wildlife, Winged Life, Landscapes, Waterscapes and Flora, Aquatic Life, Art of Nature and Human/Nature. Through the years, all the photographers featured in “Seeing It All” have been either winners or jurors.
“Photographers can change how we see the natural world because they present a whole new perspective.”
Each year, the winning images are first published in “bioGraphic,” the Academy’s independent online magazine and the official media sponsor for the photo competition. This year’s 49 winning photographs, now on display at the Academy, were selected from more than 7,300 submissions from photographers in 58 countries.
“Photographers can change how we see the natural world because they present a whole new perspective,” Rubinstein said. “Paying attention — looking at images in the exhibit or in the new book — is a trigger for caring, and for the urgency of action to protect the essential diversity of life upon which we depend.”

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