When Guggenheim award-winning photographer and Bend resident Nancy Floyd takes on a project, she’s in it for the long haul. She began her best-known project, “Weathering Time,” in 1982. Just out of grad school at Cal Arts, she planned to take a single picture of herself in her apartment every morning for 20 years to capture how she aged. But the most striking aspect of this collection isn’t the change we see in Floyd in pictures that show her with friends, family, pets, and the clothing and objects that mark each time period, but how her world — and by extension ours — changes, with the people and things that anchor us shifting as the years accumulate.

After a first exhibition of this collection at the 20-year-mark, Floyd understood that its true power would be to record her entire life. At the 39-year mark, the collection was published as a book, and now, in her 60s, she continues to take her daily picture.

Until her first trip to Death Valley in 2009 Floyd thought of herself as an environmental/documentary/portrait photographer. During that trip she learned that her mother was dying, and within the next month her mother passed away. The next year, when Floyd began visiting Death Valley with the idea of getting away and mourning her mother in the beautiful desert landscape, her work began to change. The photographs she was taking were becoming more conceptual, more an exploration of her connection to the environment than a recording of the environment itself. Her lens was capturing not just the wider expanses of the landscape surrounding her, but the more intimate signs and marks of her presence within it.

After her third visit she realized she could do a project about her time there, and her focus would be more on personal space and connection, a significant shift from her documentary work. The resulting body of work became the exhibition “Walking Through the Desert with My Eyes Closed.” “The desert is big and vast,” she says. “How can you tell the story of the desert? I can tell the story of me, in the desert.”

Floyd’s current project, “For the Love of Trees,” embraces her love of the natural world, combining both documentary and more personal photography to explore how, as a culture and as individuals, we relate to and work to sustain Oregon’s forests. Inspired after meeting scientists working at the H. J. Andrews Experimental Forest in the central Cascades, Floyd began taking her camera into the woods, spending time with and photographing key forest stakeholders — those who study trees, protect trees, make a living off of trees, and those who see trees as part of their daily life. These stakeholders, she says, include scientists, National Park Service rangers, firefighters, loggers, environmentalists and Indigenous people.

Now three years into this project Floyd adds to her ongoing documentary work by hiking into the forest alone, trying to make work that’s both personal and, she hopes, holds meaning for others. Her long-term goal for these photographs, she says, is to show the disparate ways we humans rely on trees, and to celebrate the possibilities for positive environmental change.

Editor’s note: The following is an edited excerpt from the new book “Big River: Resilience and Renewal in the Columbia Basin,” by Eileen Delehanty Pearkes and David Moskowitz (June 2024, $39.95, Braided River/Mountaineers Books).

THIS PROJECT HAS BEEN the most ambitious and complicated of my photographic career.

My aim as a documentary photographer is to present the world to viewers as I encounter it. For this project, however, several elements moved away from simple documentation of the world as we humans typically see it walking around during the daylight hours. Camera traps offered me the opportunity to capture the secret lives of wildlife at night, while flash photography similarly let me document the world of gillnet fishermen plying their trade in the darkness on the mainstem of the river.

Flights, generously donated by LightHawk Conservation Flying and others, along with the use of a photography drone (DJI Mavic 2 Pro), allowed me the opportunity to share an aerial view of the watershed I believe is critical to appreciate the scale of the geography and the ways water shapes the landscape.

To get down to eye level with fish required underwater photography on a scale I previously had not endeavored to create. Finally, producing a series of portraits of individual people with vastly different relationships to the Big River required careful coordination and staging to create a cohesive series of images in contexts that were relevant to them and that showed the connections they all have to this one collective watershed.

I used a variety of mirrorless and DSLR Canon bodies and lenses for the majority of the images. I toned images in Adobe Lightroom. My love of strong contrast in landscape images means several involved layering multiple exposures of the same image to capture the full range of light. For some underwater images, I used denoising software as part of image processing to balance low light and turbid water.

In the end, I wanted a series of images that gave the viewer as wide a variety of unique perspectives as possible. I wanted to let the many voices of this watershed, from salmon in the river, to humans on the banks, to glaciers on the mountaintops, have the opportunity to share their perspective with you.

I worked very hard to listen to and watch the people, creatures and places and take my cues from them about what stories they wanted to share.

Photographer Sirui Ma’s debut exhibition explores the unspoken solidarity among women of Asian descent navigating multiple cultural identities in a new city

June 21, 2024

By Lauren Hughes

Published: 08:26 EDT, 21 June 2024 | Updated: 08:29 EDT, 21 June 2024

The Princess of Wales has had a passion for photography since her student days – and her flair for documentary-style images has resonated with royal fans who get an intimate insight into her and Prince William’s young family. 

Today, Kate released a brand new picture to mark her husband’s 42nd birthday, showing the heir to the throne’s playful side as he jumps for joy with his children on a beach in Norfolk.

It’s the latest in a series of sweet candids the mother-of-three has shared on social media – which are a world away from the stuffy and posed pictures we’ve seen from royals in years gone by.

Just last week, a photo released on Father’s Day showed Prince George, 10, Princess Charlotte, nine, and Prince Louis, six, on a beach trip alongside their dad, posing with their backs to the camera as they looked out to sea on the coast, near their Anmer Hall home.

Elsewhere, Kate has also been known to capture her children’s birthday portraits – which let their personalities shine through – as well as a heartwarming image of the late Queen Elizabeth and her grandkids.

She is particularly adept at capturing her family in natural poses, letting their personalities shine through.

The photo album looked very different only a few decades ago, when King Charles and the late Princess Diana were releasing much more formal, posed images. 

The difference between the easy grins and smiles in Kate’s images – over the at-times stiff silhouettes captured of her husband’s parents when he was a baby – are stark.

Charles and Diana look more formal – and less natural – in archive shots, and don’t signal the same warmth evident in Kate’s photos.

In photographs taken after Princess Diana left the Lindo Wing in London with a newborn Prince William, the couple are dressed in formal outfits – with Charles donning a suit for the occasion.

Compared to Prince William’s laid-back shorts and baseball cap, Charles and Diana’s ensembles look decidedly less down to earth.

In a 1984 portrait taken to mark Prince Harry’s christening, the couple are in more ceremonial attire again, posing for the camera with their two children.

Proving just how difficult it is to get children to pose for a serious photo, William’s pointing at the camera is arguably the most natural element of the shot. 

It’s however promising to see that Kate is still keen to share her photography with the world with this latest release, after she was subjected to criticism following the Mother’s Day photo-editing furore.

After concerns from photo agencies were publicly aired, the Princess issued a statement on X  and Instagram admitting she ‘edited’ the image.

Kate added that she does ‘occasionally experiment’ as an ‘amateur photographer’ and apologised for ‘any confusion’ the image caused.

The family photo was the first picture of the Princess of Wales, 42, to appear since her abdominal surgery earlier in the year. 

Despite the blip, Kate has captured countless touching images of her children and husband over the years – and shared many of these with the world through emotive social media posts. 

Prince George, now ten, is naturally a firm fixture on Kate’s camera roll, with his mother marking milestones such as his first day at nursery in Norfolk, and supporting the England squad in a team shirt in 2019. 

With the Royal Family moving towards a more relatable direction, it’s no surprise they’ve ditched the formal dress for something more low-key.

And Kate’s photography talents only add to this new image of the monarchy.

On George’s seventh birthday, two photographs were released, taken in July 2020 during lockdown at their then Norfolk home, Anmer Hall, while his eighth birthday saw him perched on the bonnet of a Land Rover Defender.

The most recent snaps of the young Prince were on his ninth birthday and showed the future King posing in a polo-style top in a beach setting. 

Princess Charlotte’s birth also gave Kate the opportunity to practice snapping her two children together for the first time – which is no mean feat when toddlers are so easily distracted. 

And angelic looking George was clearly up to the challenge though, cradling his baby sister while wearing an adorable button-up shirt. 

Princess Charlotte’s development from a bright-eyed toddler to a headstrong young woman has also been documented on Kate’s camera roll. 

In earlier pictures we see Charlotte looking adorable in a lemon cardigan, as well as holding the family dog for a portrait to mark her seventh birthday. 

 Later we see Charlotte posing with the family dog and a cheeky grin aged seven. 

And of course, Prince Louis, the youngest Wales child has been the subject of a number of sweet photographs, with his cheeky personality shining through more and more as he gets older. 

The Princess of Wales has also captured some early moments between Charlotte and Louis, as well as the young Prince as a tiny baby. 

More recently, Prince Louis has been photographed cycling to nursery on his bicycle – and in a group family photos with dad Prince William.  

FAMILY PORTRAITS 

The rest of the royal family also benefit from Kate’s photography talents, with the Princess capturing a beautiful picture of her father-in-law Charles and Prince Louis when he was just two years old.

Kate was also given the honour of photographing Queen Camilla on her 75th birthday, with an image released showing the Queen in a summer setting with a basket of cut flowers, wearing a pretty blue dress.

The Princess of Wales also took moving photographs of Prince Philip and great-granddaughter Mia Tindall sharing some lunch before he passed away in 2021, as well as a sweet moment between the late Duke of Edinburgh and Prince George enjoying a carriage ride.

Pentax has launched an innovative addition to its lineup with the Pentax 17, a new film camera designed to bridge the gap between smartphone photography and traditional film cameras. Priced at $500, this camera offers a unique proposition in the world of film photography.

Embracing Half-Frame Technology

The Pentax 17 stands out with its half-frame format, allowing it to capture 72 smaller frames on a standard 36-exposure film roll. This approach not only doubles the number of photos per roll but also introduces a vertical framing style, reminiscent of smartphone photography. For users accustomed to the convenience of digital devices, this format offers a familiar shooting experience.

Design and Build Quality

While its appearance may resemble entry-level SLRs of the past, the Pentax 17 is far from ordinary. Boasting a robust build and equipped with a sharp lens (albeit with a maximum aperture of f/3.5), it promises reliable performance for both novice and experienced photographers alike.

Automatic Features and User-Friendly Design

Targeted towards smartphone photographers transitioning to film, the Pentax 17 simplifies the shooting process with automatic exposure modes. These modes cater to various lighting conditions and even include options for combining ambient light with built-in flash, catering to creative needs. Despite the lack of manual controls, users can still adjust exposure compensation to fine-tune their shots.

Creative Possibilities and Future Prospects

One of the exciting features of half-frame cameras is their ability to create diptychs effortlessly, allowing for unique storytelling through paired images. As Pentax looks ahead, the 17 is just the beginning, with plans for future models including an SLR and a fully manual SLR. This expansion promises to revive interest in film photography among a new generation of enthusiasts.

How did you develop the palette for the film?

We found five color photos that Lyon took which helped a lot. After looking at so many black-and-white photos from the book, it was strange to see what his world looked like in color suddenly. Those photos were especially helpful with costuming and hair and make-up. Using those photos, we developed an overall palette for the film.

Mitch Paulson was our color grader and he helped us keep all the colors pretty warm. When we did our digital intermediate, we had the colors be a little saturated and a little on the sepia side, which helped pop greens and reds, like the red shirt that Johnny wears.

What was particularly memorable in shooting this film?

We hadn’t shot in film in a while, especially since so much is digital right now. We had to get out our light meters out and start taking reference photos. Shooting film again felt a little like getting back on a bike. The thing that is interesting about shooting celluloid is you never know what you’re going to get. No one knows what the film’s going to look like until you get it developed and look at the dailies.

I remember we were shooting Cockroach (Emory Cohen) at the end of the day in a location in Ohio, just above Cincinnati. The clouds were moving in and suddenly there was no more light. We just shot it and had to wait to see what we got. It went really blue, but we just kept it in the film. I’m sure that when Danny was shooting his book, he ran into situations where he had to shoot when the light was gone and create what he could from the elements he had. That’s kind of what we did for that scene.

This interview has been edited and condensed for clarity.

A new book collating early photography of Manic Street Preachers has been announced.

The band’s fusion of left-wing, anti-authoritarian politics, glam metal riffs, and eye-linger made them instant cult heroes, splitting opinion like few other groups in their era. Gaining copious amounts of inches in the weekly music press, Manic Street Preachers quickly built up a profoundly influential visual identity, echoed by thousands of fans.

Incoming tome Little Baby Nothings – the title echoes a song from their debut album – collates work by photographer Valerie Phillips, who shot them countless times during their open era.

A limited edition book published by Longer Moon Father, the idea was sparked into life after bassist, lyricist, and effortlessly stylish gentleman Nicky Wire found some long-lost negatives in his home archive.

Touching base with Valerie Phillips, the book was brought into being through those conversations. The photographer comments…

“When I was a baby photographer obsessed with records and seeing bands, I was asked to get a train to a small town in Wales to take pictures of Manic Street Preachers. I hadn’t yet figured out how to take the kind of pictures I wanted to take. So I made it up. That day. With the beautiful Manics. We were both in our own starting-out all-consuming little worlds and now those worlds collided.”

Nicky Wire pens the introduction to the book, and an excerpt has gone online:

“It was a bitterly cold day in late winter March 1991 – Vox magazine are coming down for a photo shoot – like everything back then it feels important and vital – then a ball of American energy bursts through the door – wide eyed optimism and thankfully some severe sarcasm are quickly evident, It doesn’t take long to realise that some magic is happening.”

Little Baby Nothings is limited to 2000 copies and is available on its own or as part of a bundle with a small run of t-shirts (the t-shirt is also available on its own via Manic Street Preachers website here).

Very limited copies of the book will be available on the forthcoming Manic Street Preachers sold out joint headline tour of the UK with Suede. 

EPHRATA — Since moving back to the Pacific Northwest, my wife and I have rekindled our love of photography and have regularly made it a point to go on various adventures in and around the Columbia Basin to play with our cameras and explore. 

The three trips below are easy day trips that have become some of our favorites. Each can be done in a day and offers a variety of stops to take in scenery, eat some good food and enjoy the natural beauty of Central Washington. 

White Pass Scenic Byway

Travel to Yakima and take State Route 12 west, then swing a left just past Naches, you’ll find yourself on the White Pass Scenic Byway.

Near the start of the Byway are several opportunities to get out of the car, sling a camera or pair of binoculars over your shoulder and enjoy nature. The Oak Creek Big Horn Sheep Feeding Station, Water Works Canyon Trailhead and Oak Creek Wildlife Area are all right there.

Along the byway, SR 12 follows the Tieton River and passes by Rimrock Lake, Dog Lake, Leech Lake and Knuppenburg Lake. Clear Lake is a short drive off the highway and offers a great chance for hiking and photography as well.

If photography isn’t your thing, there are also plenty of places for camping for those not in a rush to get home. Fishing spots along the Tieton River and at all the lakes are plentiful as well. 

On day trips, my wife and I have found ourselves ending the day in the small town of Packwood, a little way past the White Pass Ski Area. The food is good and includes gluten-free options, and children can work off energy at the arcade most days unless the arcade/party room is booked. 

Whether you’re going to or returning, there are several scenic overlooks of the Cascades, including Mount Rainier National Park as you travel SR 12. 

Just pass the tunnel by Tieton Dam, there is a turnoff for the Tieton Dam Historical Marker along with several other places to turn off to appreciate the view with an overlook of Rimrock Lake. The Clear Creek Falls Overlook, Mount Rainier Goat Rocks observation site, Lava Falls viewpoint, Palisades viewpoint and several campgrounds all offer places to stop and enjoy nature. Some may require a Discover Pass, so pay attention to the signage at each location. 

Trailheads for those who want to do a bit of hiking are plentiful along the White Pass Scenic Byway. The Tieton Nature Trail has multiple access points along the start of the byway. Bear Canyon Trailhead, the Willows, Hause Creek and Indian Creek campgrounds, Sand Ridge Trailhead, Dog Lake Campground and Pacific Crest Trail — White Pass North Trailhead all offer hiking opportunities right off the road. 

U.S. Hwy. 2

If you leave Ephrata heading northwest on Sagebrush Flats Road, you’ll see a bit of the Columbia Basin that most people skip by going north on State Route 17 through Soap Lake. 

Along the way there are various coulees and plenty of places to pull over to get photos and take in the view. The area surrounding Moses Coulee and Beezley Hills Preserves is particularly pretty and offers opportunities to get photos of rock formations and waterfalls along the cliff faces in the area. 

Swing left once you get to U.S. 2 and the highway will take you into a patchwork of farmland. The crops in the area are pretty, but wintertime is when this portion of the trip really shines — literally. When the fields are covered with snow, travelers can see the foothills of the Cascades roughly from Entiat to Sunnyslope along the Columbia River. Birds of prey and a variety of wildlife will sometimes show their faces. 

Waterville lies along U.S. 2 and offers some classic architecture to take photos of, including the Douglas County Courthouse at the intersection of South Rainier and East Walnut streets. Small boutiques and restaurants offer a chance for a break from driving and taking photos.

One of the most beautiful parts of this trip is the downhill drive to get through Corbaley Canyon above Orondo. The hills in wintertime are covered with snow, but during the spring and summer are green and you can often find deer and other wildlife along the hills if you look for them. The hill ends by the Martin Family Orchards, a local business that can be a fun stop. 

The return trip routes travelers through East Wenatchee, which can double up as an opportunity to get some shopping done along the way home.

    A bit of fog peeks through the trees and shrouds mountaintops in the Cascades along the White Pass Scenic Byway. Multiple trailheads and places to pull over and enjoy the scenery make the route particularly appealing to those who enjoy watching wildlife or using a camera.
  

    Just above the Rimrock Dam are several places where people can pull off and enjoy the view of the mountains from a high altitude.
  

    A winter view of the fields before entering Waterville while traveling from east to west on U.S. Hwy. 2. Along the way, it is common to see various raptors hunting while flying over the fields during winter or summer.
  

    A waterfall in the Moses Coulee area north of Ephrata. The waterfall pours over some of the Columbia Basin’s well-known basalt rock formations.
  

The 2024 Audubon Photography Awards jury has revealed the winners of this year’s competition. These breathtaking entries were chosen from over 8,500 anonymous submissions. Take a glance at the prize-winning images across seven categories: Amateur, Professional, Youth, Grand, Plants for Birds, Fisher, and Birds in Landscapes.

Grand Prize Winner

The backstory: While out for a walk, photographer Mathew Malwitz had been following the song of a Magnolia Warbler along a trail when two quarrelling Blackburnian Warblers dropped from the trees above. They landed a few feet in front of me, prompting me to carefully step back. They remained motionless, and he worried that the fall had injured them, but a moment later they began battling again. Once Malwitz realised the pair were too busy to notice him, he slowly dropped to the ground at their level to get a better look into their world. He adjusted his settings for action and snapped as they fought. The scene lasted a few minutes before they let each other go and returned to the canopy.

What the Judge (Daniel Dietrich) said: “This photo incorporates so much of what we all hope for in a spectacular image. The photographer had the knowledge to get very low to create a foreground and background that perfectly highlights the subject. The intense action is captured perfectly as the two animals grasp at each other’s beaks. The symmetry of the wing position and color of the birds are brilliant.”

Professional Award

Amateur Award

Plants for Birds

Youth Award

Female Bird Prize

Birds in Landscapes

Fisher Prize