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This picture is what title says, a man covering his face from smoke. This photo also shows Weege's style of following emergency services around.

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Wegee was known for following emergency services

around. This photo was taken when a police officer

was chasing this kid named he stole a car from

a parking lot, tried to squeeze through a milk wagon

and knocked over the wagon over. This picture

captured the moment when the police captured Horn.

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Weegee was the pseudonym of Ascher Fellig who was born on June 12, 1899 and died December 26, 1968.An emigrant from Austria-Hungry now present day Ukraine. He is known for his stark black and white street photography. He developed his style through the 1930's and 1940's while he was working as press photographer in New York City's Lower East Side. His photography was derived from the city's emergency services which he followed around. And when asked about his work and beginnings he had this to say: In my particular case I didn't wait 'til somebody gave me a job or something, I went and created a job for myself—freelance photographer. And what I did, anybody else can do. What I did simply was this: "I went down to Manhattan Police Headquarters and for two years I worked without a police card or any kind of credentials. When a story came over a police teletype, I would go to it. The idea was I sold the pictures to the newspapers. And naturally, I picked a story that meant something."

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Weegee was the pseudonym of Arthur (Usher) Fellig (June 12, 1899 - December 26, 1968), a photographer and photojournalist, known for his stark black and white street photography. Weegee worked in Manhattan, New York City's Lower East Side, as a press photographer during the 1930s and 1940s, and he developed his signature style by following the city's emergency services and documenting their activity.

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Harold Horn,Knocked Over Milk, Wagon with Stolan Car

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Harold Horn,Knocked Over Milk, Wagon with Stolan Car

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Red Ceiling, also known as Greenwood, Mississippi, it is considered his most famous piece. As with any artist, any one of their pieces could be argued to be their best or most famous, but this one is considered that because of how obviously he uses his die transfer technique and the saturation of the red throughout the piece making it seem menacing and vivid at the same time.

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As usual, his photographs feature simple subjects. This one again though exemplifies his style because if you examine the piece closely you notice little nuances that define his career and are continuously present throughout his work.

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In addition to shooting sporting events, Walter loos' also shot famous athletes. In this photo loos' used natural sunlight to create a contrast between the shadows in the stadium and the sun rising in the distance. This is also a fairly recent photograph, which shows how famous Walter loos has become.

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This was one of Walter loos' Sports Illustrated assignments. His method of shooting is taking continuous shots. This was one of the images he captured.

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Walter Iooss is an award winning sports photographer focusing on sports and beauty. Walter Iooss has worked for sports illustrated for 47 years with 300 sports illustrated covers and more than 20 sports illustrated swimsuit issues.

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by Sean Judge and Ryan Dimler

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William Eggleston was born in Memphis, Tennessee on July 27, 1939 but was raised in Sumner, Mississippi. As a child he was described as Introverted: because he enjoyed playing the piano, drawing, working with electronic's, and cutting pictures out of magazines and postcards. He had no interest in photography until after reading french photographer Henri Cartier-Bresson's book, The Decisive Moment, which he described as " the first serious book I found, from many awful books... I dont understand it a bit, and than it sank in, and I realized, my God, this is a great one." He is known mostly for increasing recognition for color photography as a legitimate artistic medium to display in art galleries.

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William Eggleston was born in Memphis, Tennessee and raised in Sumner, Mississippi. His father was an engineer and his mother was the daughter of a prominent local judge. As a boy, Eggleston was introverted; he enjoyed playing the piano, drawing, and working with electronics.

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Walter loos is a famous sports photographer. He was born Temple, Texas, and raised in East Orange New Jersey. When he was a teenage his favorite thing in the world was the intensity that a game of stick ball would bring. 40 years later he has been a photographer for major sporting events and sports magazines. Walter loos went to accelerated photography program at the German School of Photography in NYC. He always wanted to photograph for sporting magazines. Before Walter even graduated high school his dreams started to become a reality when he got his first assignment from Sports Illustrated. His first assignment was to go to Connecticut and photograph Arthur Chester, a guy who built his own boat without making any plans. The result being his picture making the back page. While his first assignment may not have came out the way he wanted to, he continued to get more assignments from sports illustrated and later one he help out with a project for the 1984 Olympics. Since then loos has become a famous sports photographer. He has photographed hundreds of sporting events and famous athletes such as Lebron James.

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"I've always felt the moment. People call me lucky, and luck is a wonderful attribute. But it's more - it's a sense somehow. It's inexplicable, it happens. It's a feeling and you just move into that direction. Someone once said that wherever I am is the perfect picture. I didn't like the way it sounded but I believe that. It's not that I'm positive of it deep down inside, it's that I have to believe it. When you make that decision - 'This is the place to go' - you've got to live with it. There's no alternative." - Walter Iooss

When Walter Iooss was a teenager in East Orange, New Jersey, he couldn't imagine that anything would ever replace the joy and intensity of the stickball games that absorbed his summer days. Four decades have passed, and now Steve Fine, Sports Illustrated magazine's director of photography, calls Iooss the foremost sports photographer of his generation, "a fixture in American journalism to a degree I think people who see the cover of Sports Illustrated don't know."

They might be forgiven, although Iooss's shots have graced the cover of Sports Illustrated over 300 times. Half of those readers weren't even born in 1959 when Walter got his first assignment. He was told to go to Groton, Connecticut to photograph an octogenarian sailor named Arthur Chester, a man who had built a boat with no plans. The picture made the back page. Iooss has built his own craft, four decades long in the making, also with no plans, just an intuitive gift for light and composition, and a restless internal compass that has pointed him back to the basics. In the fall of 1997, the compass pointed him east to the dimly lit ritualistic world of Thailand's kick-boxers. The Thai retreat proved to be what the photographer hoped cleansing passage back through the "three Walters." Steve Fine's short-hand term for Iooss's artistic evolution, an assessment the photographer accepts.

The first Walter is the one who ran along the sidelines, a guerrilla armed with a Nikon focusing short and long lenses with amazing eye-hand coordination, while the old guard sat in the press box with their fixed-focus Graflex's. He captured action in a way never seen before, and created a new, freer perspective. It was basic journalism but with a difference: extraordinary backgrounds. Iooss realized

that while a 1,000 millimeter lens isolated the tennis player, golfer, outfielder, or wide-receiver he was shooting, the right background created the graphics that often clinched the shot.

There was a favorite background he exploited as he morphed into his second, and subsequent, incarnations. Iooss is like Gulley Jimson, the eccentric painter in Joyce Cary's "The Horse's Mouth." He never met a wall, especially a curiously-lit one, he didn't like. "I love walls. If there isn't one there, I bring one with me." The kind of shots taken by the second Walter evolved from the raw black and whites that are downright sweaty, playful - pure sport - to the color saturated, "posed" action portraits - pure athlete. This Walter began cataloguing walls and other backgrounds in his head, their best light and shadow, and then waited for the right colored, or action to come their way. They always did.

The second Walter matured with his swimsuit work. Ah, the Sports Illustrated swimsuit issues for which the Iooss lens has born fruit, all the riper for the backgrounds. As in the action shots, the portraits of SI's swimsuit issues reveal an uncanny graphics sense and Rembrandt-like reverence for light and shadow. He sought and found more control in his swimsuit photographs, especially in

the early days traveling light with only cameras and beautiful women, without the interference of art directors.

In his wildest dreams, the 16-year-old Walter could not have foreseen such a future as he pulled himself from the stickball field for the trips to Manhattan to attend photography classes. The most memorable featured a model - the first naked girl he'd ever seen. They eye approved. The die was cast. Thank you, Walter.

The third Walter began to emerge in 1982 when he was approached by Fuji film. The teaming unleashed an epic, two-and-a-half-year project to photograph Olympic athletes up to and during the 1984 games. This required a traumatic severing of ties with Sports Illustrated, "my psyche, my life since I was 16," as he put it. He has since re-upped.

During the period of advertising work that followed Fuji, with its emphasis on portraiture and its opportunities for technical control, the intense essays of individual athletes he'd created at the Olympics played on his mind.

In the fall of 1992, Iooss approached Michael Jordan with the idea of just such an essay. It would contain both historic and artistic value, he told the star Chicago Bull, like the old photos of Elvis, the young Muhammad Ali. Jordan agreed. The results show the god of basketball in full flight and, perhaps more importantly, as an earthling, a human after all, amid the trappings of the upper-class athlete. Walter's studies of Michael Jordan are classics. More than the sum of their parts of f-stop and shutter speed, they reveal a relationship between artist and athlete, each in top form.

The third Walter drew the essence of sport from superstars like Jordan, Cal Ripken Jr., and Ken Griffey Jr., with whom hehelped create the books Rare Air, Cal On Cal and Junior. The athletes he chose were self-made, he says, not the product of hype or conceit, and their strength of character shows. Iooss was able to draw out their individualities and capture them on film.

He's good with people - a trait his wife Eva attributes in part to a gregariousness, but also to his school days at multi-cultural East Orange High. His instincts are those of an athlete. He is a giftedone, once a competitive tennis player. (He once even participated in a doubles match with Bjorn Borg.) Surfing grabbed him hard, and he follows the waves with his sons Christian and Bjorn from his home on Eastern Long Island, New York, to the West Indies and the SouthPacific. The surreal beauty of the sport and the environment moved Iooss toward abstraction in his photographs and introduced him toanother breed of possessed sportsmen whose souls were ripe for capture. Iooss likes to call himself "a photo-investigator - Sherlock Holmes with an eye." Perhaps it's why he felt a certain anxiety - "I photograph millionaires" - in deciding to go to Thailand. He wanted to rediscove the raw desire of athletes, unadulterated by money or fame, and to document it using a variety of styles. The chiaroscuro black-and-whites from the kickboxing collection place the teenage warriors in the same smoky ring as the young Ali, and the same timeless pantheon as the baseball players he loves the most. But he found a connection between the Thai kickboxers and his friend Michael Jordan, the chance "to be free," Walter says, "to go anywhere you want with no media. It's almost like you're welcomed, whereas you're not a welcomed guest necessarily in a lot of locker rooms or fields. They're just tired of you. It's not you personally. They're just tired of you as a group - the media."

Sadly, the jaded spirit, he has found, is photographable.

His longtime friends call him "coast-to-coast Iooss," and Eva calls her husband "a human Fed-Ex package" for his frenetic travel schedule. He now travels, but with discrimination. The big events like the Super Bowl lost their allure. It's a more contemplative Iooss, a fourth Walter, the human light meter, who's bringing forth the land and waterscapes of extraordinary color and clarity that he began taking in the 1970's.

And, there's a recent urge to make collage, to explore graphic design to another dimension. As with the Jordan and Ali hand prints that serve as this book's end papers, Walter reaches further into the realm of mixed media. At the same time, Walter's color portraits like some of his track and field photos, and some of his recent surfing waterscapes, are nearly pure abstract expressions of form and color.

To hear him talk, a fifth Walter is in the batter's box. He's the one who intends to seek out the kids in remote places who make due with window shutters for surfboards, and sticks for cricket wickets, because that's where the real action is, and has always been.

"It's always been instinct. In the beginning, I never thought about photographs or photography. I'd get an assignment on a Sunday. It was exciting. You'd tell your friends about it. You'd go to the game to see your heroes, because I was still young and these people were still heroes to me. Foryears, it went that way. Then, this instinct sort of meshed with my athleticism. My dreams of what sport was, the feeling I get from sport. When I was a Little Leaguer putting my uniform on, it was like Superman putting on his cape. Something came over you. For the moment, if you could squint hard enough in the mirror, maybe I was Mickey Mantle. You were transported into another realm. In high school I would always draw athletes and it was always form: legs, arms, the ballet of sport, bodies in beautiful positions. As time developed, I started to take my fantasies and they'd be manifested in photographs of kids first. Little League and kid's basketball, which I played every day. I was a complete addict. Those things I enjoyed so much, I'd try to get into the picture somehow, like a swish. There's a timing of a jump shot. The release. The swishhhhh."

Walter's passion recalls the words of his gifted predecessor, Henri Cartier-Bresson: "To take photographs is to hold one's breath when all faculties converge in the face of fleeing reality...it is putting one's head, one's eye, and one's heart on the same axis."

"The real joy of photography is these moments," says Iooss. "I'm always looking for freedom, the search for the one-on-one. That's when your instincts come out. I've been lucky enough to have people hire me to do that. Sports Illustrated never really restricts me. They want me to do what I do. It's the discovery. It's still magic."

It seems the ingredients of the Iooss styles were all there back in East Orange; the awestruck fan taking Duke Snider name to bat, his eye honed by fast-pitched Spauldings until the end glow of summer sun beat against the backstop.

Written by Russell Drumm

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Biography - Sports Photography Walter Iooss

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"I've always felt the moment. People call me lucky, and luck is a wonderful attribute. But it's more - it's a sense somehow. It's inexplicable, it happens. It's a feeling and you just move into that direction. Someone once said that wherever I a