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Buichladdich, Islay 20070702. A Bruichladdicher adds the yeast to a wash back. Here, they do it all by hand.
980117-N-5961S-002.A Navy Landing Signal Enlisted signals a U.S. Marine Corps CH-53 Super Stallion helicopter to lift off from the amphibious assault ship USS Wasp (LHD 1) on Jan. 17, 1998, during Joint Task Force Exercise 98-1. More than 30,000 U.S. military personnel are participating in the exercise which is testing joint forces on their ability to deploy rapidly and conduct joint operations during a crisis. All branches of the armed forces are training side-by-side using the latest advances in technology in a simulated high-threat environment that involves air, naval and ground operations. DoD photo by Airman Apprentice Daniel S. Stokes, U.S. Navy..
Reunião e café da manhã dos deputados do PSDB membros da comissão de educação da câmara.
Foto: Alexssandro Loyola
Lid. Do PSDB na Câmara dos Deputados
Flagstaff, Arizona USA
Colorado Plateau
Coconino County
view from Arizona Snowbowl in the San Francisco Mountains
Photo by Cathy Mullan
DSC02711_2
They all seemed so monochromatic and the wet snow on the trees brought about a good contrast and shadow..
This Caption will be added as I get time, but upu can also find the image with caption and other information at the end of the paragraph below.
Edward S. Curtis Collection of Historic Photographs of Native American People (1895-1930) in the Library of Congress comprise a significant collection of over 2,400 photographic prints, many displayed here.
www.loc.gov/pictures/search/?st=grid&co=ecur
Edward Curtis and the Background of the Collection
Although unknown for many years, Edward S. Curtis is today one of the most well-recognized and celebrated photographers of Native people. Born near White Water, Wisconsin, on February 19, 1868, he became interested in the emerging art of photography when he was quite young, building his first camera when he was still an adolescent. In Seattle, where his family moved in 1887, he acquired part interest in a portrait photography studio and soon became sole owner of the successful business, renaming it Edward S. Curtis Photographer and Photoengraver.
In the mid 1890s, Curtis began photographing local Puget Sound Native Americans digging for clams and mussels on the tide flats. One of his earliest models was Princess Angeline, the aged daughter of Sealth, the Suquamish chief after whom Seattle was named. Later, as an official photographer of the 1899 Harriman Expedition, Curtis documented the geological features of the Alaskan wilderness as well as its indigenous population. This was a pivotal experience for Curtis and greatly increased his interest in Native cultures. He visited tribal communities in Montana and Arizona and began in earnest to photograph many other Native Americans in the West, spending more time in the field and less time in his studio.
The North American Indian Project
In the early years of the 20th century, Curtis embarked on a thirty-year mission which he described as an effort "to form a comprehensive and permanent record of all the important tribes of the United States and Alaska that still retain to a considerable degree their...customs and traditions." Along with most scholars of this period, he believed that indigenous communities would inevitably be absorbed into white society, losing their unique cultural identities. He wanted to create a scholarly and artistic work that would document the ceremonies, beliefs, customs, daily life, and leaders of these groups before they "vanished." The North American Indian project, Curtis decided, would be a set of 20 volumes of ethnographic text illustrated with high quality photoengravings taken from his glass plate negatives. Each of these volumes would be accompanied by a portfolio of large size photogravures, elegantly bound in leather and printed on the highest quality paper. To fund the enormous project, Curtis would sell subscriptions to five hundred sets of the publication.
Working alone or with various assistants, soliciting donations and support from diverse sources including President Theodore Roosevelt and the railroad tycoon John Pierpont Morgan, and also accumulating a heavy personal debt, Curtis visited more than eighty tribes across the country, and north into Alaska and parts of Canada. Eventually, he took more than 40,000 photographs; made over 10,000 recordings of Native speech and music; produced lectures, slide shows, and a multi-media Curtis Indian Picture Opera throughout the U.S.; and in 1914 directed In the Land of the Headhunters, an inventive, seminal film documentary on the Kwakiutl tribe.
Volume one of The North American Indian appeared in 1907. In 1930 the last two volumes were finally published, completing nearly thirty years of work. Only 272 complete sets had been printed. By this time, the modest popularity of Curtis's work had diminished and the North American Indian Corporation--the business enterprise overseeing Curtis's ethnographic ventures--soon liquidated its assets. The original glass plate negatives--most of which had been stored and nearly forgotten in a basement of New York's Morgan Library--were unwittingly dispersed during World War II. Many others were destroyed and some were sold as junk.
When Curtis died in 1952, his lifework with Native Americans had all but faded into obscurity. "Rediscovered" in the 1960s and 1970s, Curtis's photographic work is now recognized as one of the most significant records of Native culture ever produced. His photographs have been included in virtually every anthology of historical photographs of Native Americans and are now frequently used to illustrate books and documentaries.
Text above describing Curtis's background and his history of work on the The North American Indian Project is from the Library of Congress and can be reviwed online at: www.loc.gov/pictures/collection/ecur/background.html
Image Rights and Restrictions Statements
This page provides information about rights and restrictions for some materials held by the Prints & Photographs Division. These statements, related to specific collections, artists, and organizations, should be read in conjunction with the general information document, "Copyright and Other Restrictions That Apply to Publication/Distribution of Images: Assessing the Risk of Using a P&P Image," which also provides guidance for material not reflected in the statements listed below.
Edward S. Curtis Collection
Rights and Restrictions Information
Prints and Photographs (P&P) Division, Library of Congress, Washington, D.C., 20540-4730
Access:
Subject to P&P policy on serving originals.
Reproduction (photocopying, hand-held camera copying, photoduplication and other forms of copying allowed by "fair use"):
Subject to P&P policy on copying. This policy prohibits photocopying of original photographs.
Publication and other forms of distribution:
Photographs in this collection were deposited for copyright between 1899 and 1929. The copyrights were not renewed. Therefore, the copyrights have expired and the images are considered to be in the public domain (see: Copyright and Other Restrictions That Apply to Publication/Distribution of Images: Assessing the Risk of Using a P&P Image - How Long Copyrights Last).
Credit Line:
Library of Congress, Prints and Photographs Division, Edward S. Curtis Collection, [reproduction number, e.g., LC-USZ62-90145]