Bio

Born and raised in Boston, Massachusetts, it was not until adulthood that George Wilson made Central Florida his home. Growing up in a family where paintbrushes, artists and galleries were commonplace, he picked up a camera at an early age making it his medium of choice. George traveled in Europe as an exchange student during high school with a camera recording the journey. These images produced his first major photography award from the Boston Globe Newspaper Company.

His professional career soon brought editorial work with organizations such as: The Springfield Union News, The Associated Press, The Chapel Hill News and The Gold Leaf Farmer. It was here that he was on the front lines for Breaking News, Sports and Feature Photography.

A tremendous influence on his early work were the photographs of Henri Cartier Bresson, Alfred Eisenstadt, Carl Mydans, Margaret Bourke-White and Robert Capa, who once said: “If your photographs are not good enough, then you are not close enough.”

Later work began to evolve into a drive for conservation of our wild spaces. Taking his inspiration from Ansel Adams, Galen Rowell, Frans Lanting and Clyde Butcher. George is in the process of creating a body of work dedicated to the wilderness of Central Florida in hopes that through the medium of photography we all will be inspired to protect and preserve our natural resources.

“It is horrifying that we have to fight our own government to save the environment.” ~Ansel Adams


An important factor setting his photography aside from others, especially now in the digital age, is the fact that there is no use of Photoshop, image sandwiching or even image stitching. Color Channels are not switched in post processing. Items are not added or removed from images. The images you see reflect what was actually there. The image is correct and accurate in the camera. Utilizing Photoshop or any of its techniques is not something that is unethical at all, as long as the viewer is made aware of the fact that the image has changed from photography to digital art. George utilizes only minimal digital tools in his work. Tools that closely align themselves with a traditional darkroom setting (such as sharpening, dodging and burning).

George currently splits his time from photography to teach the craft at various Central Florida locations including Walt Disney Word, Harry P. Leu Botanical Gardens, Mt. Dora Center for the Arts and the Black Hills Wild Horse Sanctuary near Hot Springs, SD.

As the Sole Proprietor of George Wilson Photography, an Orlando FL based photography business specializing in Sports, Construction and Stock Images. His image collection spans many U.S. locations including remote areas, National Parks, Theme Parks, Architectural, Cityscape, Nature and Wildlife. Other collections reflect many worldwide locations.

Contract Work includes, but is not limited to:
Landscape Photography in both Black & White as well as color
Wildlife Photography
Architectural Photography
Facility Photography
Construction Completion and Progress Photography
Aerial Photography (subcontractor utilized)
Corporate Headshots
Exterior Portraits
Conservation & Documentary Photography
Artist Imaging for CD/DVD Media


Equipment: George uses only Nikon Photo Equipment in both Digital and Film Based Mediums. Medium choice depends on the needs of the Client and the ultimate end result of image use. Film based images are digitally scanned to produce a High Resolution Image in a Digital Darkroom

Representation: Photographers Direct (UK), Getty, Corbis and Alamy. ArtWanted.com at ArtWanted. Artmajeur.com at Artmajeur. The Untapped Source Art Gallery and Print Shop at Untapped Source.

Artist’s Statement:


I think the environment should be put in the category of our national security. Defense of our resources is just as important as defense abroad. Otherwise what is there to defend? ~Robert Redford, Yosemite National Park dedication, 1985

Artist Statement

Mission:
To foster environmental conservation through the medium of photography. Photography, a visual art, is capable of being a powerful force for our environment. Only through inspiring the viewer, politicians, religious leaders and policy makers can we replace environmental indifference with stewardship and passion for our beautiful surroundings.

In terms of photography, my work is an introduction to the scenic beauty and unseen vistas of spectacular places in need of protection. The grandeur and intimacy of the world presented here will, I hope, encourage the viewers to seek out the inexhaustible sources of beauty of the world about them. It is my task, the photographer, the artist, the individual, to record and interpret these qualities for others, to brighten the dull and drab mood of cities springing up almost overnight and to express an urgent need of protection of our wild spaces, for the world around us – these are the obligations of my art.

Near my home in Florida each day, hundreds of aircraft touchdown and takeoff at the airport. Rented vehicles jammed with tourists and luggage travel the roads with a central destination in mind. Many of us scramble over these same roads at 55 mph to work, to soccer practices or to school without seeing beyond the rough and un-kept exteriors to the striking wilderness of beauty. Often in National Parks and along scenic drives we do not venture more than twenty yards from our vehicles to explore and discover the inner beauty of our world. If only for a fleeting moment, a stop would provide views of sprawling hammocks, cypress swamps and vacillating prairies. Mountain vistas would be noticed and the echoes of our history might be heard. Often, deep within what is thought of to be inhospitable and dangerous, lie sites long forgotten except to a few souls with an adventurous spirit.

Our natural spaces no longer have the benefit of a great champions, John Muir, Ansel Adams and Galen Rowell have left us alone without someone to step forward to tell the world that here are places like none other, that here are stunning vistas and isolated gems, that once seen, that once experienced can never be forgotten. It is the artist, who must once again step forward and prevent the visitor, no sooner to have arrived than to grope nervously for the return ticket.

It is here in our Wilderness Lands, where wildlife has the home-field advantage, hidden away beyond the main thoroughfares are the areas that we must protect, the tiny simple treasures hidden in plain sight. Did you know that Central Florida is home to Shingle Creek, the Headwaters of the Florida Everglades – what affect does development have on pollution, on water-flow into this valuable ecological resource? What is the real downstream affect – does this lead to destroying thousands of acres of wetlands in the Everglades, the largest subtropical wilderness in the contiguous United States?

Our wilderness areas offer acceptance on its terms, not ours. We must experience and appreciate its subtle beauty by getting out into it. In my home state, I have felt the Spirit of the Swamp and the Echo of Osceola, nature herself beckons to me, to us; witness me, be part of me, protect me.