“In retrospect of my recent trip to Vietnam and Cambodia I like to thank Art and Gavriel for their wonderful help and assistance during our travels to interesting places. I always seemed to be in trouble with my awkward tripod, the technical aspects of my camera, etc. But Gavriel and Art were present, helped and blocked out the technical difficulties to make a decent shot. How much did I learn!!! Many, many thanks. I have a different approach towards photography now. I am not only reporting a trip in images, I am composing my picture. Your way of looking at a scene had quite an impact on my photographic approach. Thank you, Art and Gavriel for inspiring me. Photography will be a lifelong passion, I cannot stop anymore.”
Art proudly supports the research being done on tracking poached
elephant ivory by the University of Washington’s Center for Conservation
Biology. They have identified poaching hot spots and potential trade
routes by developing a genetic method to track the geographic origin of
Read more about the Center for Conservation Biology
The history of conservation photography did not begin with the creation of the iLCP. Although it is true that as a collective of concerned photographers we coined the term and gave the concept new impetus, the idea has been around almost since the advent of the camera.
There is a long legacy in conservation photography that has blazed the trail for the way we currently use photography for environmental advocacy – William Henry Jackson, Ansel Adams and Eliot Porter are among earlier photographers whose advocacy work, in one way or another, translated into the protection of special landscapes. Jackson’s 1871 photographs of Yellowstone, for example, provided the visual argument that convinced legislators to create America’s first national park, and since then, photographers all around the world have used images for advocacy.
How we use conservation photography today demands a higher degree of urgency, as the issues challenging our planet are ever more complex, pressing and devastating. Addressing these issues by simply making pictures and hoping they reach the right audiences is not enough. Photographers today must take on a very active role in finding ways for their images to impact the right people. Sometimes the audience consists of legislators and other decision-makers, others it is made up of influential people whose opinions and recommendations move attitudes; more often than not, we are trying to educate end users, corporations and extractive industries on the impacts of their activities and how to mitigate them. Rarely is the image made by a conservation photographer used as mere entertainment.
Today’s conservation photographers must strive to be visual activists – activism here defined as “the use of strong actions in opposition to or in support of a cause” – because if we fail to be activists, we will inevitably be merely “inactive”. The difference between making great images and making great images that work hard to protect our planet is what really defines conservation photography.
International League of Conservation Photographers
Nearly 300 of Art’s most amazing landscape images are showcased in this high-definition Digital Art Show™, accompanied by beautiful music from renowned new age musician Scott Cossu.
The images are displayed in a continual slide show showcasing the stunning beauty of distinct environmental landscapes & regions of the world. From the Great Bahamas Bank to the icebound Arctic, you’ll witness the sheer wonder and drama of our earth captured in these amazing< photographs. Use this DVD as the perfect backdrop for entertaining or creating a relaxing environment in your home or office.
Travelling and shooting with Art and Gavriel was an amazing learning experience. Not only did we get to visit some of the most picturesque regions in the world but we benefited from one-on-one instruction with two of the best photographers in the business. This was a tour that was geared for photographers who are serious about their craft. On most days, we shot from dawn to dusk and when we weren’t shooting we were either working on our images, listening to Art’s great lecture series or having Art critique our work. In the field, Art and Gavriel were very generous with their time – Art would sometimes provide a running commentary as he selected and set-up for a shot, explaining his thought process and the results that he was trying to achieve. The end result, for me, was a set of images that I am very pleased with and, more importantly, a feeling that I achieved real growth as a photographer from my experiences on this trip.