Photograph by @JohnStanmeyer Mount Bromo (foreground) and Mount Semeru, simultaneously erupting as the earliest touches of dawn mix with the light from a setting full moon during the sacred #Kasada ceremony in the spectacular #Tengger Caldera located in #EastJava #Indonesia. Pleased to announce that beginning today I’ve joined @NatGeoCreative for representation in commercial assignments and image licensing. In addition, I’m bringing my entire archive — 14 stories from more than a decade with @NatGeo magazine — over to NatGeo Creative, expanding my collaboration with the Society, sharing more loudly the passions for education, awareness on the issues facing all of us today and into the future. Looking forward to dancing with the talented team lead by Maura Mulvihill and the likes of @alicebrkeating, @ginamartindc and more. Above is a photograph from my 4th story with the magazine, published in the January 2008 edition, titled #VolcanoGods. A story I proposed to the magazine, the approach was rather unorthodox — not how one volcano is interacted with #spiritually, rather how an entire nation located along the #RingofFire interacts with what many Indonesian’s believe are the bellybuttons of the earth. Will never forget the story proposal conference call. It went somewhat like this: Mid-morning in a bar in Iquitos, Peru. On the phone was editor and chief, Chris Johns, then director of photography @dlgriffin, creative director @billmarr, members of the editorial and art departments, maps and more. After explaining the story approach for 10 or so minutes, Chris said, “I like this idea, let’s do it.” Then I thought, great — now I have to prove my theories on a topic never widely studied. Had the privilege to be partner with Senior Photo Editor, @sadiequarrier. Sadie and I worked through the process of creating the final narrative that appeared in the magazine. Often complex, I’ve always feel that each National Geographic story I do is like preparing — then defending — your doctoral thesis. In this case, it nearly was, standing in a room over a year later, presenting the final story that originated with a "let’s do it" back in South America.

natgeoさん(@natgeo)が投稿した動画 -

ナショナルジオグラフィックのインスタグラム(natgeo) - 3月19日 05時09分


Photograph by @ジョン・スタンメイヤー

Mount Bromo (foreground) and Mount Semeru, simultaneously erupting as the earliest touches of dawn mix with the light from a setting full moon during the sacred #Kasada ceremony in the spectacular #Tengger Caldera located in #EastJava #Indonesia.
Pleased to announce that beginning today I’ve joined @NatGeoCreative for representation in commercial assignments and image licensing.

In addition, I’m bringing my entire archive — 14 stories from more than a decade with @ナショナルジオグラフィック magazine — over to NatGeo Creative, expanding my collaboration with the Society, sharing more loudly the passions for education, awareness on the issues facing all of us today and into the future. Looking forward to dancing with the talented team lead by Maura Mulvihill and the likes of @alicebrkeating, @ginamartindc and more.

Above is a photograph from my 4th story with the magazine, published in the January 2008 edition, titled #VolcanoGods.

A story I proposed to the magazine, the approach was rather unorthodox — not how one volcano is interacted with #spiritually, rather how an entire nation located along the #RingofFire interacts with what many Indonesian’s believe are the bellybuttons of the earth.

Will never forget the story proposal conference call. It went somewhat like this:

Mid-morning in a bar in Iquitos, Peru. On the phone was editor and chief, Chris Johns, then director of photography @dlgriffin, creative director @billmarr, members of the editorial and art departments, maps and more. After explaining the story approach for 10 or so minutes, Chris said, “I like this idea, let’s do it.” Then I thought, great — now I have to prove my theories on a topic never widely studied.

Had the privilege to be partner with Senior Photo Editor, @sadiequarrier. Sadie and I worked through the process of creating the final narrative that appeared in the magazine.

Often complex, I’ve always feel that each National Geographic story I do is like preparing — then defending — your doctoral thesis.

In this case, it nearly was, standing in a room over a year later, presenting the final story that originated with a "let’s do it" back in South America.


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