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Bill Frakes is a Sports Illustrated Staff Photographer based in Florida. He has worked in more than 100 countries for a wide variety of editorial and advertising clients. His advertising clients include Nike, CocaCola, Champion, Isleworth, Stryker, IBM, Nikon, Kodak, and Reebok. Editorially his work has appeared in virtually every major general interest publication in the world. Bill won the coveted Newspaper Photographer of the Year award in the prestigious Pictures of the Year competition. He was a member of the Miami Herald staff that won the Pulitzer Prize for their coverage of Hurricane Andrew . He has also been honored by the Robert F. Kennedy Journalism Awards for reporting on the disadvantaged and by the Overseas Press club for distinguished foreign reporting. He was awarded the Gold Medal by World Press Photo. He has received hundreds of national and international awards for his work. The total content of this entire site, all text, graphics, code and photographs are protected by copyright. Violation of copyright will be actively prosecuted. None of the images on this site are to construed as an endorsement by the individuals photographed or the holders of any of the marks pictured. It is simply Bill Frakes photographic portfolio.

The Panoramic Photograph Collection contains approximately four thousand images featuring American cityscapes, landscapes, and group portraits. These panoramas offer an overview of the nation, its enterprises and its interests, with a focus on the start of the twentieth century when the panoramic photo format was at the height of its popularity. Subject strengths include: agricultural life; beauty contests; disasters; engineering work such as bridges, canals and dams; fairs and expositions; military and naval activities, especially during World War I; the oil industry; schools and college campuses, sports, and transportation. The images date from 1851 to 1991 and depict scenes in all fifty states and the District of Columbia. More than twenty foreign countries and a few U.S. territories are also represented. These panoramas average between twenty-eight inches and six feet in length, with an average width of ten inches.

Bill Owens: Photographing the Suburban Soul Interview by Robert Hirsch Bill Owens's Suburbia (1972) is a quintessential photographic study of suburban California life and of its rituals. Owens followed with Our Kind of People (1975), which examined political, religious, scholastic, and sports groups and their practices. Then he published Working: I Do It for Money (1977) that looked at people who work from nine to five. In 1976, Owens received a Guggenheim Fellowship and, afterwards, two National Endowment for the Arts awards. Between 1978 to the 1982 he was a freelance photographer and did work for magazines including Life and Newsweek. In 1982 Owens started Buffalo Bill's Brewery and published American Brewer Magazine (1984 - 2001). In 2004 Owens added to his visual anthropology cycle of the American middle class with the publication of Leisure: Americans at Play. Currently, Owens is making mini digital movies about America society. This piece is the result of conversations and emails between Owens and the author from December 2004 through March 2005.

Joe McNally shoots assignments for magazines, ad agencies, & graphic design firms. Clients include Sports Illustrated, ESPN Magazine, National Geographic, Life, Time, Fortune, New York Magazine, GEO, Golf Digest, Discover, Men's Journal, Business Week, Rolling Stone, New York Stock Exchange, Target, Sony, GE, Nikon, Lehman Brothers, & PNC Bank. In addition to having been a recipient of the Alfred Eisenstaedt Award for outstanding magazine photography, McNally has been honored numerous times by several of the following: Communication Arts, Applied Arts, Photo District News, Pictures of the Year, The World Press Photo Foundation, The Art Directors' Club, American Photo, and Graphis. Joe's teaching credentials include: the Eddie Adams Workshop, the National Geographic Masters of Contemporary Photography, the Santa Fe Workshops, the Smithsonian Institute Masters of Photography, Rochester Institute of Technology, Maine Photo Workshops, Department of Defense Worldwide Military Workshops, and the Disney Institute. He has also worked on numerous "Day in the Life" projects. One of McNally's most notable large scale projects, "Faces of Ground Zero - Giant Polaroid Collection", has become known as one of the most primary and significant artistic responses to the tragedy at the World Trade Center. Joe was described by American Photo magazine as "perhaps the most versatile photojournalist working today" and was listed as one of the 100 most important people in photography. In January 1999, Kodak and Photo District News honored Joe by inducting him into their Legends Online archive. In 2001, Nikon Inc. bestowed upon him a similar honor when he was placed on their website's prestigious list of photographers noted as "Legends Behind the Lens".

The Beauty of the Slideshow - Now Available to Everyone By Stanley LearystanleylearycloseAuthor: Stanley Leary See Author's Posts (38) Recent Posts * Still Images Plus Audio Can Be More Effective Than Online Video * Teaching Is a Great Way to Learn * Telling Stories with a Telephoto Lens * If Your Pictures Aren't Good Enough, You're Not Close Enough * What Kind of Photographer Are You? Stanley Leary is a Black Star photographer who has been telling stories for more than 20 years as a photojournalist. His work has appeared in Newsweek, Business Week, Sports Illustrated, Wired, Chicago Tribune, NY Times, World Book Encyclopedia, Information Week, Popular Mechanics, Technology Review, Atlanta Journal and Constitution, and many other publications. in Video and Multimedia on January 20th, 2008 Even before the Internet, I appreciated the slideshow. I created presentations with multiple projectors and audio, and I was always impressed with what the combined media could communicate. Even compared to video - where you move right through a moment so quickly you can miss the subtlety of it - the slideshow has its unique charms. The problem, in the old days, was that you had to have the audience present to deliver the program; it was a lot of work for a small number of people. The printed page reached a much larger audience. Today, with the Web becoming the leader in delivering the news, we are no longer limited to printed words and still images on the page. Rather than publishing a quote, we can deliver audio of the interviews and the experience, giving a story authenticity in a way that we couldn't achieve before. We can create slideshows for everyone - to watch whenever they choose.

Still Images Plus Audio Can Be More Effective Than Online Video By Stanley LearystanleylearycloseAuthor: Stanley Leary See Author's Posts (38) Recent Posts * Still Images Plus Audio Can Be More Effective Than Online Video * Teaching Is a Great Way to Learn * Telling Stories with a Telephoto Lens * If Your Pictures Aren't Good Enough, You're Not Close Enough * What Kind of Photographer Are You? Stanley Leary is a Black Star photographer who has been telling stories for more than 20 years as a photojournalist. His work has appeared in Newsweek, Business Week, Sports Illustrated, Wired, Chicago Tribune, NY Times, World Book Encyclopedia, Information Week, Popular Mechanics, Technology Review, Atlanta Journal and Constitution, and many other publications. in Video and Multimedia on March 27th, 2009 I've written before about multimedia slideshows, and how nice it is that today they are available to everyone via the Web, when in the past they were generally created for small groups. In this post, I will make the argument that multimedia slideshows can be a more effective way of communicating than online video. Advantages of Multimedia Slideshows Today nearly 70 percent of Americans are considered visual learners. That only leaves about 30 percent who learn primarily from words-only communication. But does that mean we should skip past slideshows and go straight to video? I don't think so.