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From the Editor, ArthurineWhew! Record number of images entered into the monthly exhibitions, record number of new members joined in one month, and record contributions submitted to the f/stop. Way to go club members! Keep the opportunities flowing.

Thanks Kim Ashley for your great contribution this month. Thanks also to some of judges for taking another interest in our club and especially the time they invested to

enhance our exhibitions. It nice to make announcements about gallery shows and workshops

Due to the extra space on the President’s page and the extra submissions in the f/stop attachments, I put a “rough” What’s Inside table of contents on the first page. As I stated before as currently defined, , the f/stop committee members are simply volunteers that compile the club’s news into a common document. We seldom write actual articles for the newsletter. We depend totally on input from the club. Contributions of text and especially images are always welcome.

Features like What’s Inside and others is what makes the difference between a minimal newsletter and a more polished effort. Most ideas to improve the f/stop can simple down to a volunteer is needed to invest the additional time. It’s time for our annual support drive. The ELCC runs on volunteers of TIME not money. Make your pledge now. Seriously, please consider volunteering.

So with all of the ELCC effort, it is easy to say we are the best camera club in the world. So let’s go after the title. Please consider submitting an image to me for the Smithsonian Camera Club competition (named after Windland Smith Rice). See the details below.

Workshop AnnouncementTent Rocks, Wild Horses, Missions and More

When: New Mexico Spring, May 13-16, 2010. Where: Northern New Mexico Tuition: $625 This workshop will explore the art, culture and nature that makes northern New Mexico a unique place. Our photographic subjects will include the Placitas wild horses, the Kasha-Katuwe Tent Rocks and Slot Canyon, an old mill, several small old missions (some in disrepair and some still in use), an adobe ghost town, and some of the architectural splendors of Las Vegas, NM. We will also create HDR and infrared photography on our outings. Digital darkroom sessions include image processing and the development of your style as an artist. Workshop Organizer: David Cramer Please contact at david@davidcramer.com or 505-503-3929 to receive an application packet and daily schedule. ELCC members can receive a 10% discount on tuition. Tuition does not include meals, transportation, or hotel.

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New Member ProfilesWelcome to ELCC!

New Section

in f/stop

Kayln Johnson: I live near Old Town. My work is in the healthcare field. I enjoy the creative arts. I have a simple Panasonic point and shoot, but have used Canon and Nikon cameras when working at Citibank. I consider myself a novice. I enjoy all kinds of photography, but I’m not much into photographing people except when doing newsletters/papers.

Tina Tanaka Martin: I live in the NE heights with my husband, club member Steve Martin. I have retired from Sandia National Labs and now spend much of my time tutoring middle school children in math. I have a Canon PowerShot SX 10IS with super zoom. I shoot just for fun and really enjoy taking photos of animals and plants.

Beth Smith: I live in Rio Rancho and I’m a civil engineer currently at home with two toddler boys. My camera is a Canon Rebel XSi. I consider myself to be an intermediate photographer and like to shoot landscapes and kids.

Robin Poague: I am a Westside Albuquerque resident who works for the Forest Service. I shoot with a Canon 40D and am a novice photographer. I like to photograph architecture, street scenes, outdoors all over New Mexico.

John Gilbert: I am a lifelong resident of Albuquerque and I live in the NE part of the city. I shoot with Nikon D200 and D70 cameras. I have been a professional photographer for over 20 years and photograph portraits, commercial, studio and fine art images.

Philip R. (Dick) Turner: My home is in Four Hills. I am a retired aerospace engineer who enjoys scuba diving. My camera is Nikon D200. I am a long-time photographer who shoots for fun. I enjoy shooting underwater images and nature.

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Carmen Alcazer: I live in NE Albuquerque and work as a nanny for two boys. I like to travel and take pictures. I now own a Sony Alpha 350 with both an 18-75 mm and 70-300 lens. I currently photograph for fun, but would like to eventually make some money at it. I enjoy taking photos of nature, landscapes, building and

macro images. (Re-entry with bio with picture)

Lela Castillo: I live near Spain and Juan Tabo, and I work at UNM. I love outdoor activities. My camera is a Canon EOS Rebel XSi. I consider myself a novice photographer. I haven’t yet defined the type of photos I like to take. I shoot whatever attracts my attention!

Jim Iwerks: I am a retired pilot who lives in Rio Rancho. I shoot with both a Kodak DSC Pro and a Kodak 1485. I am an intermediate photographer who shoots for fun. I like to shoot everything!

Michael Hurley: My home is in the Northeast part of Albuquerque, where I have lived for the past ten years. I work in Public Relations and Crisis Management. I play at golf and like hiking and camping. I am a novice photographer and I currently shoot with both a Minolta Maxxum and Pentax K1000 cameras. I am looking for a digital camera. I really like to shoot faces.

Bob Greenlee: I am a lecturer at UNM in mechanical engineering. My camera is a Nikon D300. As a photographer, I am just learning and shoot for the fun of it. I enjoy shooting landscapes and panoramas.

Lynn Greenlee: I am on a hiatus from a stressful full time job and enjoying my creative outlets until I find another job. I use a Nikon D80 camera. Although my photographic experience is limited, I enjoy being outside and photographing. I like wildlife photography -- of those species of which I am not afraid! Zoo animals are great for that purpose! I also like shooting the microcosm of nature—not the grand landscape.

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Abe Lillard: I am a commercial real estate broker with Grubb & Ellis New Mexico. I am interested in architectural photography and nature. I live on the Bosque at the Rio Grande Nature Center. I love international travel. My camera is a Canon 7D. I consider myself a novice photographer. I enjoy shooting landscapes, birds and travel images.

Martha Smith: I live on the west side and I work for APS. I shoot with a Nikon D60 and I am a novice photographer. I enjoy shoot outdoor images, people and pets.

James Parker: I am retired and live in the foothills with my wife and dog. I shoot with two cameras, a Pentax K7 and a Nikon F Vintage. My interests in shooting include abstract, landscapes and street scenes.

Toby Finke: I am originally from Germany and came to the US about four years ago. I moved to Albuquerque a year and a half ago. I like to do a lot of outdoor activities and gives me lots of opportunities for shooting. My camera is a Nikon D80 and I am an intermediate photographer. I enjoy shooting landscapes.

Erin Greenlee: I am a PhD student at the Ohio State University studying birds and climate change. Currently I am working on my degree while living in Albuquerque. I have been taking pictures for many years. As a biologist, I find my work often takes me to great places to study and shoot! I use a Pentax K-7, and a Holga camera. I consider myself an intermediate photographer and have had a few shots published here and there. My last publication was in Digital Camera Magazine (formerly PC Photo Magazine). I love to shoot

John Mohr: I am new to New Mexico, having moved here from Wyoming. I am interested in photography and motorcycles, as well as geology. I shoot with a Canon 5D Mark II and a 40 D. My experience is novice or perhaps intermediate. My favorite subjects to photograph are wildlife, landscapes and people.

Sharon Bloom: I live in the South Broadway neighborhood, and I work downtown. Originally I came from Detroit. I am part-owner/founder of the Wooden Cow Gallery in the Northeast Heights. My camera is a 50D and I am a novice photographer.

Spring/Summer 2010 Schedule

• Best source for independent photography workshops in theSouthwest

• Hands-on, one-on-one instruction

• Active student interaction and participation

• Focused, intimate environments enhance the learningexperience

Rio Grande Workshops4730 Jefferson Street NE, #EAlbuquerque, NM 87109

www.riograndeworkshops.cominfo@riograndeworkshops.com

505-888-8937

• Lighting the Model (Saturday, March 20): From electronicflash to simple household lighting, you will learn how to effec-tively use light, and the lack thereof, to create compellingphotographs.

• Old Main Prison for Writers and Artists (Saturday, March27): Experience the quiet solitude of a cell or the confinementof the gas chamber to unleash the creative power of your innerinmate!

• Old San Ysidro Church (Saturday, April 10): Using existinglight will be our primary focus, while learning to use reflectorsand scrims to balance light and shadow in this historic church.

• The Dunes: Sun, Sand, and Sensuality (Saturday, May1): The lessons learned in this workshop will give you anintroduction to using natural light to enhance your results.

• Old Main Prison for Photographers (Saturday, May 15):From the gloom and doom of the gas chamber to the burned-out dormitories, we will have full run of this haunting facility.

• The Railyard (Friday, June 4 or June 11): The old railyardrepair shop has been referred to as an “industrial cathedral.”Learn to use existing light and modify it with reflectors andscrims to produce well-lit photos of models.

• Dreamscapes Series (Saturday, August 7): We are in theplanning process of this indoor/outdoor glamour worshop,which will follow the extremely popular Dreamscapes seriesbegun in 2008. Each previous workshop was a sell-out! For additional info,

please contact us:

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What Exactly Is The Image Trying To Say?Mid Year Banquet Images

Copyright Bob Martin and Kathy Dominguez

Enchanted Lens Camera Club Equals

Good Food* Good Friends* Good Fun*

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What is Fine Art Photography?By Kim Ashley

I consider myself a fine art photographer. And I exhibit my images in a gallery with a sign out front that reads: “Fine Art Photography Gallery.” But one day a customer came in and asked me to define the term “fine art photography.” It was a sincere question. But I, sincerely, fumbled the answer. I said something about “artistic vision,” “personal expression,” and “aesthetic qualities.” But, even to my own ears, my explanation sounded unconvincing.

That experience launched me on a search to discover a better understanding of fine art photography. As a result, I studied art books and the history of photography, and I even googled Wikipedia. But I never found a satisfactory definition. What I did find, however, were some features that seem to distinguish fine art from other types of photography. These features include aesthetics, self-expression, originality, viewer’s share, and purpose.

Aesthetics. From art books, I learned that the adjective “fine” is meant to emphasize the beautiful in art, as distinguished from applied art that is intended to be useful, decorative, or morally uplifting. So fine art, such as a painting, a sculpture, or a photograph, is concerned primarily with the creation of beautiful objects, artwork that appeals above all to our aesthetic sense.

As a branch of philosophy, of course, aesthetics deals with the nature of beauty and its universal expression in forms of art. In fine art photography, aesthetic qualities such as harmony and balance are revealed through design elements—including line, shape, space, tone, and color—as well as through composition, the pleasing arrangement of these design elements.

These aesthetic qualities are neither arbitrary nor relative; they are embedded in our DNA and in our collective unconsciousness. Aesthetically pleasing images, therefore, connect with us on a deeper level than rational thought. They speak to our souls, revealing a universal order and design beneath the surface of an ever-changing world.

To the viewer of fine art photography, these aesthetic qualities tend to uplift or inspire.

Self-Expression. Another important feature that distinguishes fine art from other types of photography is self-expression. While every photographer, to a greater or lesser degree, pursues the goal of effective expression, fine art photographers pursue the unique goal of self-expression; they want their images to express what they feel or think.

Self-expression may be revealed in the choice of subject matter, lighting, lens, angle of view, composition, treatment, and so on. Lighting angle, for instance, may make a human face look angelic or sinister. And tones may express a range of moods; dark tones, for instance, often convey sadness while light tones often convey happiness or joy.

Some photographic professions, of course, prohibit or stifle self-expression. When I was a photojournalist, for example, I learned how to develop a certain

detachment while photographing a newsworthy event, such as a natural disaster. My personal feelings were irrelevant. My job was to witness or report, not interpret. In the darkroom, I could use dodging and burning to optimize an image but never to express my feelings.

Now that I am a fine art photographer, however, I seek ways to translate the content of the visible world into ideas, concepts, feelings, or values. Above all, I want my images to convey feelings and thoughts. I want them to reveal the spiritual dimension that underlies all reality. I also want my images to express a personal vision,

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the interplay between outer and inner experiences.

In the end, the mission of fine art photographers is not to create realistic images; instead, their mission is to create expressive images, images that reveal inner meaning through outer form. For fine art photographers, then, the camera is not a mirror reflecting reality; rather, the camera is a lamp that illuminates reality, a medium of self-expression.

Originality. A third feature that distinguishes fine art photography from other forms of photography is originality. The vast majority of photographs, taken by both amateurs and professionals, are very safe and conventional.

Fine art photographers, however, are willing to challenge visual conventions in order to express—or remain true to—their personal vision. For example, they may choose mundane or inglorious subjects. Or they may defy the rule of thirds. Or they may tweak the harmony of complementary colors. Or they may juxtapose unrelated elements in surprising ways.

The “White Radish” photo of Edward Weston comes to mind, along with “The Lonesome City Dweller” by Herbert Bayer and the revealing portrait of “Alfred Krupp” by Arnold Newman.

Because fine art photographers are willing to take risks, their artwork seems both imaginative and original. By playing with the conventions of subject matter, design, or composition, their photographs oftentimes elicit responses of surprise and delight.

However, if the risk taken by these photographers leads to ambiguity, then their images elicit a less pleasing response from viewers, such as shock, confusion, or even ridicule. And, of course, that is always the risk of going against the safe route of convention. In short, unlike most photographers, fine art photographers are willing to take the road less travelled.

Viewer’s Share. A fourth feature that distinguishes fine art photography from other types of photography is viewer’s share, that is, how challenging an image is to read or interpret. Every photograph, to be sure, requires something from the viewer. But some photographs are straightforward, needing no caption or explanation. A color picture of the Washington Monument in daylight, for example, demands little from the viewer; it is immediately recognizable and, therefore, understandable.

Other images, however, are more demanding; for instance, consider a night photo of an old village in New Mexico, rendered in black-and-white, with white crosses in a cemetery illuminated by a moon rising over the Sangre de Christo mountains. This photo, Moonrise by Ansel Adams, demands more from its viewer and, therefore, delivers more in terms of visual impact and viewer satisfaction.

Part of the reason why a fine art photograph is more challenging to the viewer than a conventional photograph has to do with the intention of the photographer. If the photographer’s intention is to represent reality faithfully, then the viewer’s share is low. But if the photographer’s intention is to express a feeling, mood, or concept, then the viewer’s share is high. The viewer must stay with the image longer, exploring its tones, shapes, composition, and all the other visual elements that convey meaning.

In short, the less obvious the photograph, the more it engages the viewer’s mind and emotions. In this way, viewers gain a deeper level of appreciation because the fine art photographer challenges them to use their imaginations and invites them to complete the viewing experience on their own.

Purpose. A final feature that characterizes fine art photography has to do with its purpose. Simply stated, the ultimate purpose of a fine art image is to fulfill the creative vision of the artist. For the fine art photographer, the whole process is a labor of love, from capture to post-production to print. In this sense, fine art photographers are amateurs, not in the modern sense of being “unprofessional” but in the original sense of being “in love.”

The word “amateur,” in fact, derives from the Latin verb amare, “to love.” For me, as a fine art photographer, I create images for the sheer fun of it, the pleasure of the creative process, the joy of self-expression. To me,

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my images are not products or commodities. If I sell an image, great. But profit is not my motive. My motive is to communicate, to express my feelings and thoughts, to connect with others.

In contrast, thousands of professional photographers make a living from photography. Mostly, they are commercial photographers who sell their work for hire. Typically, they sign a contract with a client, agreeing to produce images to their client’s satisfaction. Because of this contractual nature, commercial photographers are more constrained than fine art photographers in terms of subject choice, self-expression, and originality. As a result, they are obliged to produce images that are safe, staying close to visual conventions in order to please their clients. And while they may produce images that are aesthetically pleasing, their images rarely challenge the viewer’s imagination or deviate from their client’s expectations.

Given these five features, I have come up with a working definition of fine art photography. It is a working definition because, like the words “art” or “beauty,” fine art photography is an elusive concept and slippery to define.

“Fine art photography is a special type of photography in which the artist, in an act of self-expression, produces an image for the purpose of fulfilling a creative vision. Such an image is typically more expressive than realistic, conveying the artist’s feelings and thoughts. Fine art images are often characterized by aesthetic qualities, by originality, and by a heightened demand on the viewer to interpret their meanings. As a result, fine art images frequently uplift, delight, surprise, or inspire.”

Kim Ashley February 2010

Urban Views: Capturing City LifeOpening Reception: April 2, 5-8PM

Exhibit: March 31-May1The Wooden Cow Gallery invited Kim Ashley as the guest curator for this show. Submission were photographs that fit the theme of “Urban Views.” Submissions are now closed and hopefully numerous ELCC members will have their work represented. Paige West, mentorship chairperson, had two entries (see next page) juried into the show. Congratulations in advance to any member participating.

The Wooden Cow was named “Best Gallery in Albuquerque” based on a survey conducted by the Albuquerque -- The Magazine.

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Top Image Title: Route 66Bottom Image Title: City Lights

Both Images Copyright Paige West

Other AnnouncementsCongratulations! Paige West for being juried

into Wooden Cow’s Urban Views Show.

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Albuquerque Photographers Gallery:Guest Photographer- Bill D’Ellis

My wife, Elsa, and I moved to Albuquerque in September of 1987 from Bakersfield, California, where we co-owned a coffee café, similar to Starbucks, and I managed a retail jewelry firm. Up until late 2008 we owned D’Ellis Home Team, a residential real estate brokerage in Albuquerque, when we retired. Since then, I’ve been pursuing the “art of photography,” after enjoying “taking pictures” most of my adult life. Elsa joined me in this pursuit last year, and we are both members of The Enchanted Lens Camera Club. New Mexico has become our adopted home… we can’t imagine living anywhere else!New Mexico is a wonderful place to live if you are a photographer…and especially if, like me, your favorite subjects are zanier, landmarks and landscapes! Many artists have made their home in New Mexico and the Southwest in order to be close to the unique landscapes and colors found only in the Southwest. It is a rare day when a scene, or moment, cannot be found that is special and unique…crying out to be captured and preserved for future viewing by those who are stirred and blessed by the beauty of nature.

That is my goal when I go out with my camera…to find, and capture that special scene bathed in the wonderful light found only in “The Land of Enchantment,” and preserve it in a digital file or as a print so that I can relive that moment at any time I choose, and so that it can be enjoyed by others. It has been gratifying to see a number of my images in exhibitions at the Enchanted Lens Camera Club, Spring Art Show and Sale at the Cancer Center of New Mexico and at the first Annual New Mexico Photographers Art Show. I feel honored that I was invited to display some of my images here at the Albuquerque Photographers Gallery…they are in wonderful company! Most of my images are available in other formats and sizes, and can be matted and framed so as to better fit in with the décor in your home or office. Inquire here at the gallery, or by calling me at (505) 899-1598, or email me at bill@billandelsa.com.

You are invited!! Directions To Gallery I would love to see you there! Bill.

The reception is for Bill d’Ellis on March 7, 2010, at the Albuquerque Photographers Gallery, in historic Old Town Albuquerque, from 2-4 pm. The gallery is located at 328-C San Felipe NW, in the Poco A Poco Patio, which is in the second alleyway north of La Hacienda as you leave the square. You’ll see the sign on the east side of San Felipe. Turn right (east) and walk a few yards back to the gallery.

Exhibit: March 1 - 31, 2010Reception: March 7, 2010, 2-4PMwww.abqphotographersgallery.com

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ELCC is the best camera club solet’s get the title officially.

2010 WINDLAND SMITH RICE INTERNATIONAL AWARDS

DEADLINE: January 1 - April 5, 2010ELCC DEADLINE: Now through March 15, 2010

As mentioned in the December f/stop, this photography contest has a “Camera Club” category. The Enchanted Lens Camera club would like to enter and of course win.

So here’s how the submission will be done. All ELCC ideas need a volunteer. Arthurine Pierson, f/stop editor, has volunteered to prepare the submission. She will be asking several of you to help select the images based on the club’s input and volume of response. Note: Please make sure you have “truth” in representing your images. For example, most of Arthurine’s images would be disqualified from any category except Creative Digital. We will need to follow the competition rules closely. The goal is to have a well-rounded submission in most of the 15 categories. In other words, we might have 20 of the most fabulous bird images but that one image of an endangered species would be added instead of two more birds. African wildlife is singled out as a separate category, etc.

I’ve attached the instructions minus the entry form. In order to make this happen, I’m going to impose the following deadline of March 15, 2010 (so I can get the package together by April 5, 2010 deadline.)

Submit entries to Arthurine.Pierson@gmail.com.I am requesting all entries to be labeled according to the official instructions to save me time. Please send only low resolution images to my e-mail address. If you are selected to represent the club, I will be asking for more data to populate the EXIF information fields, etc. I’ll use e-mail to keep you in the loop and the April f/stop to advertise our submission.

Thanks in advance, Arthurine

View the website at

http://www.naturesbestphotography.com/

http://naturesbestblog.com/2009/11/03/natures-best-photography-windland-smith-rice-awards-09/

Flamingo Chick At Rio Grande Zoo By Jerry Goffe

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The editors of NATURE’S BEST PHOTOGRAPHY magazine invite all photographers to enter the 2010NATURE’S BEST PHOTOGRAPHY WINDLAND SMITH RICE INTERNATIONAL AWARDS competition.

Category Winners and a selection of Highly Honored photographs will be displayed in an exhibitionat the Smithsonian’s National Museum of Natural History, one of the most widely respected and highlyvisited museums in the world. In addition, all winning images will be published in the 2010 Awardscollector’s edition of NATURE’S BEST PHOTOGRAPHY magazine. More details on prizes online.

Entries are judged on technical quality, originality, and artistic merit. Enter a TOTAL of up to 20images for one entry fee ($25 US dollars no foreign checks). Each submission must follow the guidelines.NOTE: Prints and images on negative film are NOT accepted.

SUBMISSIONS MAY BE UPLOADED ONLINE OR MAILED TO OUR OFFICE IN RESTON, VA

TO SUBMIT YOUR DIGITAL photoS ONLINE:

Create low-resolution JPEGs (72 ppi) no larger than 500K for each of your images and label each filewith your first and last name, image title, and the category. (Example: JohnDoe_fox_wildlife.jpg)Follow the instructions on www.naturesbestphotography.com to upload your photos.

WHEN ENTERING ONLINE: Photographers who have images that pass into the final round forjudging will be required to supply high-resolution files (and RAW files if available), a complete captionand camera specifications before the final judging. Failure to supply requested materials will lead todisqualification. NOTE: Information on how to send high-resolution files and accompanying captioninformation will be provided to you if your images reach the final round.

TO SUBMIT photos by mail or courier:

WHEN ENTERING BY MAIL: Be sure to include BOTH low and high resolution files or yourtransparencies along with the $25 entry fee (US dollars only) and the completed 2009 Awards EntryForm (page 3) with ALL information clearly filled out. Mail your submission (details on page 2) to:2010 AWARDS, 11411-C SUNSET HILLS ROAD, RESTON, VA 20190, USA, PHONE: 703-467-9783

enter online or by mail

nature’s best photographywindland smith rice international

awards 2010

DEADLINE:UPLOAD OR MAIL JANUARY 1 THROUGH APRIL 5, 2010

guidelines

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mailing DIGITAL IMAGES:Digital images should be taken with the camera set for the highest possible resolution. Each electronicimage must be labeled with your first and last name, image title, and the category it is to enter(Example: JohnDoe_fox_wildlife.jpg). Each CD or DVD must be labeled with your full name,address, and phone number. Keep your own copy of your submission on CDs or DVDs, as they willnot be returned after the contest. Send BOTH low and high resolution images with your originalsubmission at the following specifications:• Low Resolution (72 ppi) jpeg copies of your images, measuring 1000 pixels on the longest side, mustbe burned to a single CD or DVD and labeled ‘LOW RES’ for preliminary judging.

• High Resolution (300 ppi) uncompressed and unsharpened tiff images, largest file available, maybe burned to as many CDs or DVDs as needed for the final round of judging, each labeled ‘HIGHRES.’ Tiff files, or the original RAW files, will be used for publication and/or exhibition if selectedas a winner. (Include the original RAW files with your submission if available.)

mailing transparencies:Original slides, or large format transparencies must be sent to us in protective plastic sheets (PrintFilebrand, etc.). Each slide or transparency mount must bear the photographer’s contact information:name, phone number, e-mail, and state or country of residence. NO GLASS MOUNTS!• High quality duplicate slides will be accepted for preliminary judging only.• Digital scans of original slides or transparencies will be accepted for preliminary judging only(follow the specifications for ‘Low Res’ digital images above).

• Original images must be made available for final round judging.

SPECIFY METHODOF RETURN: Include a self-addressed, stamped envelope of adequate size forthe safe return of your materials, with sufficient postage. For courier returns, include a completed ship-ping form with a courier account or credit card number, expiration date, and security code for payment.Check or charge information for the amount of the return postage using the return method you requestis acceptable in place of a SASE. Photos sent with insufficient return information will not be returned.

RULES:All photographs must accurately reflect the subject matter as it appeared in the viewfinder. Nothingshould be added to an image, and aside from dust spots, nothing should be taken away. Normal pro-cessing of RAW image files and minor adjustments to color and contrast are acceptable, as is minimalcropping. EXCEPTIONS: Anything goes in the Creative Digital category! Stitched panoramas may be enteredin any category, but they must be identified. NOTE: Images that do not comply with the contest rules will beeliminated from the competition. Select a category that you feel is the best fit for each image. Imagesmay be moved to another category by the contest judges. SEE CATEGORIES ON PAGE 4-5.

ENTRY FEE and entry form:

If mailed, a check or money order for $25 (US dollars only—no foreign checks) must be included withyour entry, made out to: NATURE’S BEST PHOTOGRAPHY. Or you may use a Visa, MasterCard, orAmerican Express charge card on your entry form, or phone in your information to 703-467-9783.Each submission must be accompanied by an entry form with all information clearly filled out.

QUESTIONS?Call 703-467-9783 or e-mail: Awards@NaturesBestPhotography.com

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CATEGORIESNEW CATEGORY SPONSORED BY AWF!

AFRICAN WILDLIFE:Wild animals (mammals, reptiles, amphibians, etc.—Birds are a separate category, see below) photographed

on the African continent including Madagascar and offshore island groups, taken within theirnatural habitat. (NOTE: No captive animals allowed.)

ANIMAL ANTICS:Wildlife in humorous or surprising situations.

ART IN NATURE:Naturally occurring artistic compositions (colors, forms, textures, etc.) in nature.

BIRDS:Wild birds in native habitats displaying plumage, mating rituals, nesting, feeding, or other behaviors.

CAMERA CLUB:Up to 20 photographs may be submitted as a group entry by a camera club. Each individual image

in a camera club submission must fit within one of the contest categories, without exception.NOTE: Each individual member can contribute no more than three (3) images to the group submission.The entry will be judged as a portfolio and selected on the overall excellence of the entire group of images.

Participating club members are also permitted to submit their own entry (up to 20 images) separatefrom the Camera Club entry, and may include the same images in both submissions.

CONSERVATION PHOTOGRAPHER OF THE YEAR:To nominate a CPY recipient go to www.naturesbestphotography.com/competition_conservation.php

CREATIVE DIGITAL:Any nature-related image or combination of images that is created and/or manipulated usingdigital/electronic technology (such as Adobe® Photoshop®). Let your imagination go wild!

Please provide the details on all techniques used. EXCEPTION: Panoramic images created by digitallystitching two or more images together may be entered into other categories as appropriate.

ENDANGERED SPECIES:Plants or animals that are listed as endangered species by the IUCN. Please visit www.redlist.org

to confirm the endangered status of a species before submitting to this category.

nature’s best photographywindland smith rice international

awards 2010

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ENVIRONMENTAL ISSUES:Images that document current environmental issues, such as pollution, global warming, loss of habitat, etc.

LANDSCAPE:Dramatic scenes and unusual perspectives of wild places providing expansive views.

OCEANS:The fascinating world of the sea: tide pools, coral reefs, marine life, waves, etc.

Photos taken above the ocean’s surface, related to ocean life or landscapes, are also welcome.

PEOPLE IN NATURE:People enjoying the outdoors: backpackers, kayakers, divers, hikers, etc., in natural settings.

PLANT LIFE:Flowers, trees, and other flora in natural habitat. May include wide vistas.

SMALL WORLD SPECTACULARS:Shots of plants, animals, and miniature landscapes taken with close-up lenses.

WEATHER:From dramatic storms to tranquil skies—weather in all its fury and forms.(Tornados, hurricanes, floods, rain, wind, beautiful cloud formations, etc.)

WILDLIFE:Wild animals (mammals, reptiles, amphibians, etc.—Birds are a separate category, see above) photographedwithin their natural habitat anywhere in the world outside of Africa. (NOTE: No captive animals allowed.)

YOUTH PHOTOGRAPHER OF THE YEAR:An entry of up to 20 photographs may be submitted by photographers 18 years of age or younger.Each individual image in a youth submission must fit within the contest categories, without exception.

NOTE: Please be sure to include your date of birth and current age on your entry form.

ZOOS & AQUARIUMS:Images may include animal portraits, behavior, zookeepers working with animals, visitors (may require

model release), special events, etc. All photographs must have been taken at zoos and aquariums belongingto the Association of Zoos and Aquariums (AZA) or the World Association of Zoos & Aquaria (WAZA).

Please check the complete AZA list at www.aza.org and the complete WAZA list at www.waza.org.

IMPORTANT NOTE: Entrants must not infringe on the rights of any other photographer or person, orsubmit images that involve the willful harassment of wildlife or damage to the environment by the photographer.Failure to comply with all of the contest provisions described here will lead to the disqualification of your entry.

WWW.NATURESBESTPHOTOGRAPHY.COM11411-C SUNSET HILLS ROAD, RESTON, VIRGINIA 20190 USA

PHONE: 703-467-9783; FAX: 703-467-9785

26

PHOTO USE AND RIGHTS:

THE WINNING PHOTOGRAPHS WILL BE PUBLISHED IN NATURE’S BEST PHOTOGRAPHY MAGAZINE AND MAY BE SELECTED FOR GALLERY

EXHIBITIONS AND OTHER NATURE’S BEST PHOTOGRAPHY WINDLAND SMITH RICE INTERNATIONAL AWARDS (NBPWSRIA) COMPETITION

PROMOTION OPPORTUNITIES, INCLUDING, BUT NOT LIMITED TO, A COMPILATION BOOK OR CALENDAR, ELECTRONIC COLLECTION OF

WINNERS AND WEB PAGES PROVIDING NBPWSRIA INFORMATION, UPDATES, RULES AND ONGOING PHOTOGRAPHY TIPS.

THE NBPWSRIA COMPETITION IS OPEN TO ALL PHOTOGRAPHERS EXCEPT EMPLOYEES OF NATURE’S BEST PHOTOGRAPHY MAGAZINE.YOUR ENTRY TO THIS CONTEST CONSTITUTES YOUR AGREEMENT TO ALLOW YOUR PHOTOGRAPHS, YOUR NAME, OCCUPATION, CITY AND

STATE OF RESIDENCE TO BE PUBLISHED AS SELECTED AWARD WINNERS IN NATURE’S BEST PHOTOGRAPHY MAGAZINES, PRINT AND DIGITAL

EXHIBITIONS, EVENTS, AND OTHER PUBLIC VENUES, PUBLISHED ON WEBSITES OWNED BY OR IN ALLIANCE WITH NBPWSRIA AS AWARD

WINNERS; AND USED FOR PROMOTIONS OF THE NBPWSRIA. ENTRANTS RETAIN OWNERSHIP AND ALL OTHER RIGHTS TO

FUTURE USE OF THEIR PHOTOGRAPHS. NATURE’S BEST PHOTOGRAPHY SHALL HAVE THE RIGHT TO VERIFY, IN THEIR SOLE JUDGMENT,WINNER ELIGIBILITY.

LEGAL CONDITIONS: BY ENTERING THIS AWARDS COMPETITION, YOU AGREE TO CERTAIN LEGAL CONDITIONS. BY ENTERING, PARTICIPANTS RELEASE AND HOLD HARMLESS NATURE’S BEST PUBLISHING LLC (THE COMPANY), ITS RESPECTIVE SUBSIDIARIES, AFFILIATES,DIRECTORS, OFFICERS, EMPLOYEES, ATTORNEYS, AGENTS AND REPRESENTATIVES FROM ANY AND ALL LIABILITY FOR ANY INJURIES, LOSS,CLAIM, ACTION, DEMAND OR DAMAGE OF ANY KIND ARISING FROM OR IN CONNECTION WITH THE NBPWSRIA, OR ANY PRIZE WON, ANY MISUSE OR MALFUNCTION OF ANY PRIZE AWARDED, PARTICIPATION IN ANY NBPWSRA-RELATED ACTIVITY, OR PARTICIPATION IN

THE NBPWSRIA.

PARTICIPANT AGREES THAT ANY AND ALL DISPUTES THAT CANNOT BE RESOLVED WITH THE COMPANY, AND CAUSES OF ACTION ARISING

OUT OF OR CONNECTED WITH THE NBPWSRIA, SHALL BE RESOLVED INDIVIDUALLY, WITHOUT RESORT TO ANY FORM OF CLASS ACTION,BEFORE A COURT OF COMPETENT JURISDICTION LOCATED IN VIRGINIA, WHICH COURT SHALL APPLY THE LAWS OF THE COMMONWEALTH OF

VIRGINIA WITHOUT REGARD FOR RULES OF CONFLICTS OF LAW. IN ANY SUCH DISPUTE, PARTICIPANT SHALL, UNDER NO CIRCUMSTANCES,BE ENTITLED TO CLAIM PUNITIVE, INCIDENTAL OR CONSEQUENTIAL DAMAGES, OR ANY OTHER DAMAGES, INCLUDING ATTORNEYS’ FEES,OTHER THAN PARTICIPANT’S ACTUAL OUT-OF-POCKET EXPENSES (IF ANY) ASSOCIATED WITH PARTICIPATING IN THE NBPWSRIA.PARTICIPANT HEREBY WAIVES ALL RIGHTS TO HAVE DAMAGES MULTIPLIED OR INCREASED.

ANY ATTEMPT BY AN ENTRANT OR OTHER INDIVIDUAL TO DELIBERATELY DAMAGE ANY WEBSITE OR UNDERMINE THE LEGITIMATE OPERATION

OF THE NBPWSRIA IS A VIOLATION OF CRIMINAL AND CIVIL LAWS, AND SHOULD SUCH AN ATTEMPT BE MADE, THE COMPANY RESERVES

THE RIGHT TO SEEK DAMAGES TO THE FULLEST EXTENT PERMITTED BY LAW.

THE COMPANY IS NOT RESPONSIBLE FOR ANY INCORRECT OR INACCURATE INFORMATION, WHETHER CAUSED BY WEBSITE USERS OR BY ANY

EQUIPMENT OR PROGRAMMING ASSOCIATED WITH OR UTILIZED IN THE NBPWSRIA, OR BY ANY TECHNICAL OR HUMAN ERROR THAT MAY

OCCUR IN THE PROCESSING OF SUBMISSIONS TO THE NBPWSRIA, INCLUDING BUT NOT LIMITED TO ANY MISPRINTS OR TYPOGRAPHICAL

ERRORS. THE COMPANY ASSUMES NO RESPONSIBILITY FOR ANY ERROR, OMISSION, INTERRUPTION, DELETION, DEFECT, DELAY IN OPERA-TION OR TRANSMISSION, COMMUNICATIONS LINE FAILURE, THEFT OR DESTRUCTION OR UNAUTHORIZED ACCESS TO, OR ALTERATION OF,ENTRIES. THE COMPANY IS NOT RESPONSIBLE FOR ANY PROBLEMS OR TECHNICAL MALFUNCTION OF ANY TELEPHONE NETWORK OR LINES,COMPUTER EQUIPMENT, SERVERS, PROVIDERS, COMPUTER ON-LINE SYSTEMS, SOFTWARE, OR FAILURE OF EMAIL ON ACCOUNT OF TECHNICAL

PROBLEMS OR TRAFFIC CONGESTION ON THE INTERNET, INCLUDING INJURY OR DAMAGE TO PARTICIPANT’S OR TO ANY OTHER PERSON’SCOMPUTER RELATED TO OR RESULTING FROM PARTICIPATING OR UPLOADING IMAGES OR INFORMATION IN THE NBPWSRIA.

IF, FOR ANY REASON, THE NBPWSRIA IS NOT CAPABLE OF COMPLETION AS PLANNED, INCLUDING BY REASON OF INFECTION BY COMPUTER

VIRUS, BUGS, TAMPERING, UNAUTHORIZED INTERVENTION, FRAUD, TECHNICAL FAILURES OR ANY OTHER CAUSES BEYOND THE CONTROL OF

THE COMPANY THAT CORRUPTS OR AFFECTS THE ADMINISTRATION, SECURITY, FAIRNESS, INTEGRITY OR PROPER CONDUCT OF THE AWARDS,THE COMPANY RESERVES THE RIGHT AT THEIR SOLE DISCRETION TO CANCEL, TERMINATE, MODIFY OR SUSPEND THE NBPWSRIA.

IN NO EVENT WILL THE COMPANY, ITS SUBSIDIARIES, AFFILIATES AND RELATED COMPANIES, THEIR ADVERTISING AND PROMOTIONAL

AGENCIES, OR THEIR DIRECTORS, OFFICERS, EMPLOYEES, ATTORNEYS, AGENTS AND REPRESENTATIVES BE RESPONSIBLE OR LIABLE FOR ANY

DAMAGES OR LOSSES OF ANY KIND, INCLUDING DIRECT INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES ARISING OUT OF

PARTICIPANT’S ACCESS TO AND USE OF THE COMPANY WEBSITE OR THE DOWNLOADING OR UPLOADING AND/OR PRINTING OF MATERIAL

FROM SAID SITES. WITHOUT LIMITING THE FOREGOING, EVERYTHING ON THE COMPANY SITE IS PROVIDED “AS IS” WITHOUT WARRANTY

OF ANY KIND, EITHER EXPRESS OR IMPLIED. SOME JURISDICTIONS MAY NOT ALLOW THE LIMITATION OR EXCLUSION OF LIABILITY FOR

INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO SOME OF THE FOREGOING LIMITATIONS OR EXCLUSIONS MAY NOT APPLY TO YOU. CHECK YOUR LOCAL LAWS FOR ANY RESTRICTIONS OR LIMITATIONS REGARDING THESE LIMITATIONS OR EXCLUSIONS.

The

grea

t er

a of

pub

lic w

orks

in A

mer

ica,

from

th

e la

te n

inet

eent

h ce

ntur

y un

til t

he e

arly

194

0’s,

si

gnal

ed a

pro

gram

of d

evel

opin

g in

fras

truc

ture

s th

at w

ere

mon

umen

ts t

o hu

man

ach

ieve

men

t an

d

pro

gres

s. H

ighw

ays,

brid

ges,

dam

s, c

anal

s, s

tone

vi

aduc

ts, r

eser

voirs

and

ligh

thou

ses,

all

land

scap

es

of t

he t

echn

olog

ical

sub

lime,

wer

e p

aint

ed,

pho

togr

aphe

d, w

ritte

n ab

out

and

cel

ebra

ted

with

in

the

pop

ular

cul

ture

.

As

pop

ulat

ions

and

tec

hnol

ogic

al c

omp

lexi

ty

incr

ease

d, t

he c

riter

ia o

f effi

cien

cy a

nd

optim

izat

ion

bec

ame

dom

inan

t in

the

des

ign

of

infr

astr

uctu

re s

yste

ms

and

urb

an e

nviro

nmen

ts.

In t

he p

erio

d fo

llow

ing

Wor

ld W

ar II

, the

soc

ial

cele

bra

tion

of a

tec

hnol

ogic

ally

-enh

ance

d

envi

ronm

ent

fad

ed in

to g

rud

ging

acc

epta

nce

of

nece

ssar

y, h

ighl

y ut

ilita

rian

syst

ems

that

op

erat

ed

incr

easi

ngly

out

of s

ight

and

out

of t

he u

nder

stoo

d

cont

ext

of e

very

day

life

. S

omew

here

dur

ing

that

tim

e th

e te

rm ‘p

ublic

wor

ks’ s

hift

ed t

o th

e m

ore

tech

nocr

atic

ter

m ‘i

nfra

stru

ctur

e’. R

oad

way

s,

ener

gy d

istr

ibut

ion,

wat

er s

upp

ly, l

and

dra

inag

e an

d w

aste

man

agem

ent

wer

e d

esig

ned

and

in

stal

led

as

sep

arat

e, is

olat

ed, s

ingl

e-p

urp

ose

syst

ems

in u

rban

env

ironm

ents

, oft

en h

idd

en fr

om

pub

lic v

iew

.

The

goal

of t

his

com

pet

ition

is t

o re

veal

the

irr

epre

ssib

le p

rese

nce

of in

fras

truc

ture

in

the

land

scap

e, a

nd t

o b

egin

to

re-p

ositi

on

infr

astr

uctu

re a

s sy

stem

s p

rovi

din

g co

llect

ive

iden

tity

and

urb

an le

gib

ility

, ad

din

g to

the

urb

an

exp

erie

nce,

sha

pin

g ur

ban

form

and

inco

rpor

atin

g b

oth

soci

al a

nd e

colo

gica

l fun

ctio

ns. I

t is

a c

all

to a

dvo

cate

for

the

pro

foun

d s

ocia

l, cu

ltura

l and

ec

olog

ical

pos

sib

ilitie

s in

re-

conc

eptu

aliz

ing

infr

astr

uctu

re a

s a

visi

ble

par

t of

a c

omp

lex,

in

terc

onne

cted

urb

an n

etw

ork.

INFR

ASTR

UCT

URE

AN

D T

HE

URB

AN L

AND

SCAP

EA

co

mp

eti

tio

n f

or

reve

lati

on

th

rou

gh

ph

oto

gra

ph

yTh

e Co

mpe

titi

on

The

com

petit

ion

calls

for

subm

issi

ons

of a

pho

togr

aphi

c re

pres

enta

tion

that

reve

als

beau

ty, o

r a

strik

ing

qual

ity, i

n th

e ar

tifac

ts a

nd s

yste

ms

of in

frast

ruct

ure.

The

com

petit

ion

is o

pen

to

all,

and

en

tran

ts a

re li

mite

d to

one

sub

mis

sion

that

mus

t com

pris

e th

e fo

llow

ing:

•

1 ph

otog

raph

ic im

age

with

a m

axim

um s

ize

of 1

1x17

•

The

phot

ogra

ph m

ust b

e m

ount

ed o

n fo

am c

ore,

with

the

entr

ant’s

nam

e an

d co

ntac

t

in

form

atio

n in

an

enve

lope

on

the

back

•

The

entr

y m

ust i

nclu

de a

sep

arat

e sh

eet w

ith a

title

/cap

tion,

and

a 1

50-2

00 w

ord

narr

ativ

e

th

at c

ompl

emen

ts th

e im

age

in s

ome

way

• A

labe

led

CD

with

the

imag

e at

a m

inim

um re

solu

tion

of 3

00 d

pi, i

mag

e tit

le/c

aptio

n,

narr

ativ

e, a

nd n

ame/

cont

act i

nfor

mat

ion

for

the

entr

ant

By

sub

mitt

ing

your

wor

k yo

u ar

e gi

ving

per

mis

sion

for

the

dis

pla

y of

you

r w

ork

in o

ne o

r m

ore

exhi

bits

, and

pub

licat

ion

in a

cat

alog

ue, w

ithou

t co

mp

ensa

tion.

Sub

mis

sio

ns s

houl

d be

left

at th

e re

cept

ion

desk

in th

e S

choo

l of A

rchi

tect

ure

and

Pla

nnin

g, P

earl

Hal

l, U

NM

, by

5 p

m o

n W

edne

sday

, Mar

ch 3

1, 2

010.

Mai

led

subm

issi

ons

mus

t be

RE

CE

IVE

D b

y cl

ose

of d

ay M

arch

31

at:

Infra

stru

ctur

e C

ompe

titio

n /

Sch

ool o

f Arc

hite

ctur

e an

d P

lann

ing

/ 24

01

Cen

tral

NE

/ M

SC

04 2

530

/ 1

Uni

vers

ity o

f New

Mex

ico

/ A

lbuq

uerq

ue, N

M 8

7131

-000

1

The

Jury

for

the

com

petit

ion

is:

Mig

uel G

ande

rt

Pro

fess

or o

f Com

mun

icat

ion

and

Jour

nalis

m, U

NM

Laur

ie M

oye

C

oord

inat

or, R

egul

ator

y R

elat

ions

and

Pub

lic P

artic

ipat

ion,

PN

MR

olan

d P

entt

ila

Sup

ervi

sor;

Sto

rmw

ater

Man

agem

ent S

ectio

n, C

ITY

OF

ALB

UQ

UE

RQ

UE

Car

olyn

Rob

bins

Sie

gel

Arc

hite

ct, A

buqu

erqu

e B

io P

ark;

Mem

ber,

Alb

uque

rque

Art

s B

oard

Jim

Sto

ne

Ass

ocia

te P

rofe

ssor

of A

rt +

Art

His

tory

, UN

M

Awar

ds +

Out

com

esTh

e ju

ry, a

t its

sol

e di

scre

ssio

n, m

ay m

ake

a $5

00 a

war

d fo

r th

e fir

st p

lace

win

ner,

two

mer

it aw

ards

of

$200

eac

h, a

nd u

p to

thre

e ho

nora

ble

men

tions

. The

dec

isio

ns o

f the

jury

are

fina

l.

All

of th

e en

trie

s (o

r a

sele

ctio

n, d

epen

ding

on

the

num

ber

of e

ntrie

s) w

ill be

exh

ibit

ed in

the

Sch

ool o

f A

rchi

tect

ure

and

Pla

nnin

g, P

earl

Hal

l, fro

m A

pril

14 to

Apr

il 30

.Th

e in

tent

ion

is a

lso

to h

ave

an e

xhib

ition

at a

dow

ntow

n A

lbuq

uerq

ue v

enue

.

A c

atal

og

ue o

f the

ent

ries,

or

a se

lect

ion

of e

ntrie

s, m

ay b

e pu

blis

hed.

Sub

mis

sion

s m

ay b

e pi

cked

up

from

the

rece

ptio

n de

sk in

the

Sch

ool o

f Arc

hite

ctur

e be

twee

n Ju

ne 1

an

d J

une

11, 2

010.

Sub

mis

sion

s w

ill no

t be

reta

ined

afte

r Ju

ne 1

1th.