ENR's "2021 Year in Construction" Slideshow
With this year’s 40 photo contest winners appearing here and throughout the magazine, senior art director Scott Hilling curated the images to take the reader through a visual narration of the ups and downs many in the industry experienced in 2021. “Many of us started the year off stuck at home, facing dreary times and tough roads,” Hilling says. “We faced isolation, with difficult and rough environments to navigate our way through. At times it felt like we had the weight of the world on our shoulders. So many unknowns left us overwhelmed. Figurative and literal walls were erected to protect ourselves, and sometimes we were left just staring at them. But as we struggled, people started to come together to help each other out. Gray skies lifted. Life felt a bit more normal. People were back together, supporting each other. Beautiful work carried on, and while things still can get dark again, we know how to persevere. At the end of the day, we can stand there knowing we can get through anything.”
TSX Broadway
Photographer and submitter: Meghan Krupka
TSX Broadway
New York City
During an inspection, lather Kevin Kelly of Local 46 adjusts and places vertical rebar for the first lift of a four-story-high, more than 130-ft-long post-tensioned girder. The girders, located between the 12th and 16th floors, aim to correct girder deflection after a specific number of stories were added. “I took many photos of [them], since they’re a pretty unique structural element,” says Krupka, a structural engineer with Severud Associates. She chose to make this black and white in order to showcase Kelly. “The work these guys do out here is incredible and what they often do to get the job done is even more so.”
Tech Port San Antonio
Photographer: Robby Brown
Tech Port San Antonio
San Antonio, Texas
Submitted by: Kimberley Hoidal, Sundt Construction
For this 130,000-sq-ft technology and innovation campus, Sundt Construction crews placed concrete for tilt-up panels in March 2021. Brown was on site around 2 a.m. to capture video and photos of the work, using a Canon 5D Mark IV with a Canon EF 24-70mm f/2.8l lens. “With so much action happening, I moved fast and kept a distance to avoid splattering my lens,” Brown says. “I wanted to capture the action, the people, the tools and the balancing act of walking on rebar while maneuvering the pour. I wanted to grab a unique view from the rebar’s perspective. The angle of the photo shows the true grittiness of construction—where you are [the] boots on the ground.”
I-87 Bridge Work
Photographer and submitter: Dennis Lee
I-87 Bridge Work
Newburgh, N.Y.
A crew from Harrison & Burrowes Bridge Constructors puts safety cables on beams during a late night rainstorm. “It was just a constant, steady kind of rain, and there was no escaping it,” Lee says. A technical issue with the crane prevented workers from setting steel as planned, but Lee, a former charter boat fishing captain, lives by the mantra “keep moving” and ventured into the storm anyway to get this shot. He generally shoots in color, but made this photo black and white to account for the weird color balances of the work lights and to better highlight the rain, leading to a moody, dramatic result.
Bluestone Wind Farm Construction
Photographer and submitter: Dennis Lee
Bluestone Wind Farm Construction
Windsor, N.Y.
An ironworker signals to a crane operator as they lower a steel rod for a wind turbine bolt cage into place. Lee had to lie down on rebar and stretch his arm between the bars to make this image, using his camera’s monitor to frame it. “I knew I had to get it straight, because if you’re a little bit crooked, everything becomes kind of oblong; it doesn’t look right,” he says. He finally got the shot just as the crew was guiding the last bar into place.
1915Çanakkale bridge,
Photographer and submitter: Resit Yildiz
1915Çanakkale Bridge
Çanakkale, Turkey
To capture this shot, Yildiz, a director with Limak Construction—one of the four joint venture partners building what will be the world’s longest suspension bridge with a main span of 2,023 meters—was standing on the Asia tower at a height of about 318 m. The bridge spans Asia and Europe across the windy Dardanelles Strait. “On that day the sky was gray, which made the sea look gray as well,” says Yildiz. “So when I looked down at our deck level, it was almost completely in black and gray format. This made the shadows of the decks look more noticeable on the sea surface. However, the part that struck me the most was the 9-meter gaps we had on the decks. Though the light was passing through them, they looked black due to the shadow of the deck on the sea. I captured the moment with my iPhone 11 Pro Max.”
JPMorgan Chase tower
Photographer and submitter: c.lilianmarlen
JPMorgan Chase tower
New York, N.Y.
Often taking photos of Manhattan jobsites, such as the finance giant’s new midtown base on which work started last year, c.lilianmarlen says, “when surrounded by other skyscrapers, light is absolutely unpredictable, bouncing back and forth.” But in shooting Local 40 union ironworker Brian Sheehy aligning steel beams, “for a brief moment, light and action lined up perfectly,” she says. “He started swinging the beater just when a sliver of sun hit him like a spotlight.” lilianmarlen adds: “We celebrate finished skyscrapers, memorize names of architects and barely know the names and faces of those who built the city.”
Road Construction
Photographer and submitter: Milana Tarasova
Road Construction
Saint Petersburg, Russia
Milana Tarasova happened upon this scene “during a frosty winter morning in Saint Petersburg.” While stuck in traffic, she witnessed workers repairing under “very difficult conditions” hot water pipes that had burst in the middle of the street. Tarasova, for whom photography is a hobby, does not often choose construction as her subject matter, but nature and chance merged in a moment of artistic inspiration. “I saw the sun come out for a minute, highlighting the fog coming up from the excavation pit. It looked surrealistic,” she says, and so she took the shot—right through her car’s windshield.
St. Mary's Hospital Demolition
Photographer and submitter: Andrew Roberts
St. Mary’s Hospital Demolition
Knoxville, Tenn.
During selective demolition of an 8-acre hospital campus, Renascent Inc. crews used a demolition robot (right) to take down a 180-ft-tall brick smokestack. Once the stack was low enough, an excavator was deployed for the remaining work. Roberts, the firm’s director of marketing, caught the excavator via a top-down view with his drone (above) just as the setting sun “cast a perfect light,” he says. In addition to using drones for video and photography, Roberts says his iPhone “has been an absolute game changer” to capture the action. “Demolition moves quickly and setting up a tripod and such can just take too long sometimes,” he says. “With the iPhone, I shoot hand-held in all sorts of environments.”
St. Mary's Hospital Demolition
Photographer and submitter: Andrew Roberts
St. Mary’s Hospital Demolition
Knoxville, Tenn.
During selective demolition of an 8-acre hospital campus, Renascent Inc. crews used a demolition robot (right) to take down a 180-ft-tall brick smokestack. Once the stack was low enough, an excavator was deployed for the remaining work. Roberts, the firm’s director of marketing, caught the excavator via a top-down view with his drone (above) just as the setting sun “cast a perfect light,” he says. In addition to using drones for video and photography, Roberts says his iPhone “has been an absolute game changer” to capture the action. “Demolition moves quickly and setting up a tripod and such can just take too long sometimes,” he says. “With the iPhone, I shoot hand-held in all sorts of environments.”
Zaporizhzhia Cable-stayed Bridge
Photographer: Victor Petrovych
Zaporizhzhia Cable-stayed Bridge
Zaporizhzhia, Ukraine
Submitted by: Onur Group
Onur Group staffer Petrovych shot with a drone camera the 166-m-high bridge, Ukraine’s tallest and a symbol of national progress and pride that opened for traffic on Jan. 22 in a dedication by President Volodimyr Zelensky. The 9-km bridge connects 750,000 Zaporizhzhia residents across the Dnipro River “after construction was postponed, frozen and stopped many times” in 18 years due to lack of funding and other issues, says a spokesman for Turkish contractor Onur Group, which has worked in Ukraine since 2004. The firm resumed work in 2020 on the estimated $420-million bridge, which he said used the largest floating crane in Europe.
Children's Healthcare of Atlanta, Arthur M. Blank Hospital
Photographer: Wayne Degan
Children’s Healthcare of Atlanta Arthur M. Blank Hospital
Atlanta
Submitted by: Carla Jean Whitley, Brasfield & Gorrie
When Wayne Degan arrived to the jobsite and spied the “unique and interesting” shear wall standing alone, he thought, “I’ve got to get this light to work.” Circling the site, Degan wasn’t “100% pleased” with the colors, so he switched modes on his Lumix S1H camera to try to get that elusive “clean black-and-white photo that I’d been looking for,” he says. Positioned slightly below, Degan snapped the photo as the sun hit the wall just right and the shadows below helped lend the scene the dramatic feel he’d long sought.
SE Wastewater Treatment Plant Headworks
Photographer and submitter: Robin Scheswohl
SE Wastewater Treatment Plant Headworks
San Francisco, California
“This looks like a spontaneous photo, but I actually spent a long time waiting for the worker to climb to just the right position” on the round sleeves through which pipe and conduit will enter the enlarged facility set for substantial finish in 2023, says Scheswohl, head photographer for the city Public Utilities Commission and a multiple past ENR photo contest winner. “His positioning provided a sense of movement and balance amid static geometric lines and shapes—a visual harmony,” she says. On agency staff since 2007, Scheswohl notes the impact of project images widely used in its public outreach, especially during the pandemic. “They are crucial to including and engaging the community to see what is happening on site, transcending language barriers and education levels,” she says.
Hirshhorn Museum Facade Renovation
Photographer: Adam Ewing
Hirshhorn Museum Facade Renovation
Washington D.C.
Submitted by: Stephanie Hynes, CallisonRTKL
For this photo, Ewing says he and the project team particularly wanted to showcase the vast expanse where crews were replacing the museum’s outer stonework. “It was all about finding the right angle to show as much of it as we could, and placing some engineers in the frame to show exactly how large of a scale it really is.” Ewing says he usually shoots “a fair bit when I’m on site” to get the right shot and build a library of images. Here, he used a Fuji GFX100 at 250th shutter speed. “It was a very overcast day,” he recalls, “and the scaffolding area is concealed by a massive covering that wraps the building, which made the light very soft inside.”
Waltham High School
Photographer and submitter: Moritz Schmid
Waltham High School
Waltham, Mass.
Moritz Schmid, superintendent at Consigli Construction, took this natural light photograph in the early morning, the cloudy skies accentuating the machine’s bright lights. Schmid’s love for construction sites started as a kid. “This photograph captures everything I love about construction and the reason why I got into the industry,” Schmid says. “The little kid in me loves seeing all sorts of earth-moving machines and large-scale construction projects. Capturing a photograph like this allows people to see how beautiful construction is and why there are so many people passionate about what they do.”
IH 35 Segment 4B Reconstruction Project
Photographer: Brandon Bachor
IH 35 Segment 4B Reconstruction Project
Waco, Texas
Submitted by: Blake Axen, BGE Inc.
During the concrete “U54” girder placement on the 11th and 12th Street overpass bridge in July 2021, Bachor, an inspector for BGE Inc., was on site to inspect the erection process when he captured this shot using his phone, a Samsung S21 Ultra, “straight out of my pocket with dirt on my hands,” he says. Crews were transporting a girder with two Manitowoc 999 cranes from the truck to its position on the structure. “Between each girder, the guys in this photo would take a second to rest. I thought this really showed the view of the ground crews on a long day,” Bachor says. “It represents the grit and strength of the guys in the field working countless hours, the median between paper and the finished product that most people don’t have the opportunity to see.”
Doral Cultural Arts Center
Photographer: David Soler
Doral Cultural Arts Center
Miami
Submitted by: Karina Tijerino, BCC Engineering
To get a bird’s-eye view of the construction progress at the arts center, BCC Engineering senior project manager David Soler used a DJI Mavic Air drone. “Because of the project’s proximity to Miami International Airport, you need to request authorization codes every time you intend to fly,” Soler explains. “The authorization limits the flight height and duration, so you need to plan your shots and flight pattern ahead of time.” On this day, Soler says he was lucky to capture different tradespeople simultaneously working.
Peachtree Creek Bridge Replacement
Photographer and submitter: Pierre Solomon
Peachtree Creek Bridge Replacement
Atlanta
Concrete cutter Pierre Solomon positioned himself in advance to frame this image of the moment his coworker at B&D Concrete Cutting plunged a saw blade into the bridge they were demolishing. “I’m extremely particular in how and what I shoot,” says Solomon. “I planted one knee on the ground, focused my camera and waited for the right moment.” Each section cut was strapped and safely removed with the crane on the left. It was the concrete cutter’s focus that stood out to Solomon. “To me, this is what makes the image so powerful.”
Property Demolition
Photographer: Whitney Whitehouse
Property Demolition
Santa Cruz, California
Submitted by: Maria Zavala, Anvil Builders
This past year, San Francisco-based Anvil Builders completed the cleanup of the destruction of the 2020 wildfires in the Santa Cruz Mountains in California. “This [Cat excavator] is knocking down a chimney on one parcel in Santa Cruz County, one of the first steps in the debris removal process,” says William Robowski, project executive at Anvil Builders, of the scene depicted in the photo. The fires, which took place in September 2020, burned 846,000 acres and destroyed 2,723 structures. Anvil completed debris removal on 900 properties and removed 25,000 hazard trees that were damaged by the fires.
Gemdale Viseen Tower
Photographer: Yihuai Hu
Gemdale Viseen Tower
Shenzhen, People’s Republic of China
Submitted by: Stephanie Hynes, CallisonRTKL
As staff photographer for architect CRTKL across the Asia-Pacific region, Hu has had to adjust schedules and shoots to adhere to stricter health and safety protocols during the pandemic. While site scouting during construction of the 280,000-sq-meter, mixed-use office and industrial project, he “saw the spectacular view juxtaposed with the curtain wall,” but thought it needed something more. When workers began testing equipment, “the scene came to life,” he says. One worker was removing temporary support from a glazing unit on the nearly 44-m-tall curtain wall system, but the other was “seemingly captured by both the view,” of the active Shenzhen Bay, China Resources Headquarters and the Shenzhen Bay Bridge, along with “an appreciation of his craft,” Hu adds. Since Hu had already framed the shot with a Fuji medium-format camera and 14-mm axis-shifted lens, he says, “all I needed to do was to press the shutter.”
Mt. Hood National Forest, Oregon
Photographer: Chris Sawiel
Mt. Hood National Forest, Oregon
Submitted by: Brett Salmi, WSP
Oregon suffered one of its most devastating wildfires in September 2020, which burned over one million acres. Crews organized by the state’s Debris Management Task Force cut and removed dead or dying trees blocking roads or home sites. Videographer/photographer Sawiel, on his first assignment for WSP, spent months documenting the work of the task force. Visiting a crew working to open State Route 224 in Clackamas County, he photographed soot-stained Katelyn Johnson. In contrast to his earlier video work on hunting and fishing TV programs, he found that “telling real stories about real people and real problems” has been more rewarding.
Wind Farm Construction
Photographer and submitter: Dennis Lee
Wind Farm Construction
Lowville, N.Y.
Lee faced several constraints when he created this photo of the top tower section of a wind turbine being lowered into place by a Wesson Group crew. He needed to get the drone at just the right height to show the workers on the tower above the horizon, but in order to avoid distorting the background turbines, he needed to shoot straight on. He also was limited to his drone’s 18-minute flight window as the piece was slowly lowered by crane. Finally, everything lined up just right as the workers reached up to guide the piece. “Then I’m just pushing the button on the drone over and over and over again,” Lee says.
Winthrop Center
Photographer and submitter: Lou Jones
Winthrop Center
Boston
As workers erected the elevator core in December 2020 of what will be one of Boston’s tallest towers when it’s completed this year, Jones followed this Black female ironworker “climbing into a space between rebar columns so tight that it was totally dark in broad daylight … I had to wedge myself in behind her to get this picture with a very wide-angle lens.” Jones adds, “the acetylene torch created its own colors and this unique light.” Jones says the ironworker “loved the pictures” and told him weeks later she was promoted to foreperson on another job. “The photograph represents several aspects: competent women on the job, minority diversity and the complexities and physicality of the profession,” Jones says.
500 Boylston Street Courtyard
Photographer: Ed Campbell
500 Boylston Street Courtyard
Boston
Submitted by: Sarah Marcone, Select Demo Services LLC
Select Demo Services foreperson Ed Campbell used his iPhone to snap a photo of Mel Deyulus (left) and Anthony Fabbo (right) as they cut steel for demolition from the building’s courtyard. The steel previously supported large granite columns and colonnades that were removed as part of a renovation. The men needed to be lifted 50 ft in the air for the job while making sure the weight of the construction equipment used would not compromise the parking garage below the courtyard. “Because of its light weight, they had to use a Jekko spider crane to remove the steel,” explains Sarah Marcone, vice president of business development for the company.
Nur-Sultan Grand Mosque
Photographer: Uluc Gucar
Nur-Sultan Grand Mosque
Kazahkstan
Submitted by: Ionut Popa, Hill International
A cost control staffer based in Kazakhstan, Gucar took this shot with his iPhone 12 Pro Max camera. The dome is composed of glass fiber reinforced gypsum panels, supported by steel ribs, which are hidden. The dome’s decoration is hand painted in place. When complete, the structure will accommodate up to 30,000 worshippers. “The mosque is a very successful combination of an immense building and a work of art,” Gucar says. “Something in between or as an overlay of these two is the use of light, which is an engineering solution, but an important agent of artwork as well.” He has been working exclusively on the mosque project for three years.
Motion Industries
Photographer: Wayne Degan
Motion Industries
Irondale, Alabama
Submitted by: Carla Jean Whitley, Brasfield & Gorrie
While shooting this Brasfield & Gorrie project for Motion Industries, Degan used the sun’s “quick” movement one morning to catch a momentary symmetry of shadows. As crews erected tilt-up panels, he waited until the fifth panel was placed for the right light and snapped several shots. A worker’s coincidental placement at bottom left provides movement and scale—along with an overall effect Degan likens to a “’90s album cover.” When he captured this image, he says, “I knew that was the shot.” em.
Bakke Recreation Wellbeing Center
Photographer: Paul Vassalotti
Bakke Recreation & Wellbeing Center
University of Wisconsin-Madison
Submitted by: Alex Mielke, JP Cullen
Reminiscent of the iconic Raising the Flag on Iwo Jima photo, Vassalotti’s shot, which looks choreographed but wasn’t, could become an iconic depiction of a concrete gang. The mostly amateur photographer, hired by JP Cullen for this shoot, followed the casting crew to a small work area so he could get closer to the action. He then captured the near-synchronized raking of the concrete, behind the power screed, from various angles and positions. “When I was able to get the lineup of the concrete workers, I was very happy [because] it really shows the teamwork,” says Vassalotti, also a 2019 photo contest winner. The black and white conversion shows the “details and feel” of the work, says the shutterbug, who also fancies shooting trucks, concrete mixers and bicycle races.
Waterloo Station
Photographer and submitter: Cath Bowen
Waterloo Station
Sydney, Australia
As a professional photographer documenting the progress of the Sydney Metro project in Australia, Bowen was struck by the scene of workers standing on top of a layer of reinforcement bars, thinking that it would make an interesting shot. This photo shows piling works at a new metro station that is part of the multibillion-dollar rail project, expected to complete sometime in 2024. Bowen says the photo conveys “the enormity of a project” and captures “a moment in time on a project that will have a lasting legacy.”
Asphalt Testing, University of Missouri's College of Engineering
Photographer and submitter: Samantha Novak
Asphalt Testing, University of Missouri’s College of Engineering
Columbia, Mo.
Samantha Novak, a student at the Missouri School of Journalism - University of Missouri, captured engineers as they installed a recycled plastic asphalt mix. “I chose to edit this photo in black and white as I felt it emphasized the contrast between man and machine,” Novak says. “I enjoyed the dramatic juxtaposition between the two subjects and wanted to draw attention to that with the editing. The dramatic lighting serves this purpose as well, while also focusing in on the road worker as he operates the large machinery.”
Chelsea Soldier's Home
Photographer: Robert Umenhofer
Chelsea Soldier’s Home
Chelsea, Massachusettes
Submitted by: Marta Versprille, Consigli Construction Co.
As part of “Operation Strong Foundation,” dog tags bearing the names of over 350 Massachusetts veterans were encased within the future long-term facility’s concrete. Photographer Umenhofer and Consigli’s Rich Scopelliti chose to shoot in the late afternoon to capture the best light. “Rich is normally a really funny guy, always cracking jokes,” says Umenhofer. “But when we went to hang the tags you could tell that this really meant something to him. He was hanging the tags with the seriousness and respect that these men and women deserved.”
Chesapeake Regional Medical Center
Photographer: Alex Hargrave
Chesapeake Regional Medical Center
Chesapeake, Va.
Submitted by: Kristen Groseclose, Hourigan Group
Hargrave took this photo on a spring morning using an unpiloted aerial aircraft with a 20-megapixel camera mounted on a gimbal attached to its underside. “Most of my flight time on this day was spent at a higher altitude, but I lowered the UAE down to about 25 feet above the ground to capture this image,” he says. Crews were placing a 44-ton steel utility bridge that will connect new utilities from the expanded central utility plant (right) to the main hospital building (left). The bridge was built in a nearby parking lot and lifted onto preinstalled steel piers to minimize disruption to the emergency room entrance. “I felt the placement of the bridge symbolized a major milestone, literally connecting various phases of the project together,” says Hargrave. “I wanted to get a shot where the bridge was the main focal point of the view, but also showed how busy the rest of the hospital campus was.”
Winthrop Center
Photographer and Submitter: Lou Jones
Winthrop Center
Boston
Jones was mostly filming this ironworker hanging from a concrete form on the top level of what will be one of Boston’s tallest towers when completed this year. “He was so dynamic swinging the hammer,” Jones says. But he made sure to snap several still photos to accompany the video he collected. “I had to time my shutter so that I got the union worker at peak action,” Jones says. “I was able to isolate him above his fellow workers while making the yellow environment the important element in the shot.” Jones also marveled at the worker’s “tremendous flexibility of movement to make the adjustments necessary.”
WSCC Summit Building Expansion
Photographer: Tim Rice
WSCC Summit Building Expansion
Seattle
Submitted by: Caitlyn Knutzen, Brundage-Bone Concrete Pumping
Photography had been a side business for Rice until about a year and half ago, when he decided to go all in. Before that, he’d spent decades in construction as a project manager. Because of that background, “I never get directions from a client. I get a text or a phone call, and they say, ‘we need you,’ and that’s it.” Rice stood patiently at the edge of the shoring to capture this shot. “I am very much drawn toward geometrics,” he adds, “and images where your eye is drawn through the picture.” To get that entire aesthetic, Rice waited “for the pumpers to get as lined up as possible, which is nearly impossible to get it perfectly even, but that’s what I was watching for.”
Project Big Bird
Photographer: Matthew McFarland
Project Big Bird
Tracy, California
Submitted by: Allison Vollmar, Clayco
While balance and symmetry were key components for this shot of a Clayco worker carrying PVC pipe at a warehouse/distribution center project, McFarland says he also “looks for as much information in a composition as I can get to tell the story to the viewer.” He says the worker and multiple boom trucks in the background “give the viewer a sense of production and scale” at the fast-track project. McFarland says he does his best work when he formulates the photo on the scene, rather than spending a lot of pre-production time on the shoot. “That journalistic approach is something I really enjoy,” he adds.
Parking Garage
Photographer: Francis Zera
Parking Garage
Redmond, Washington
Submitted by: Yael Morrison, BNBuilders
Zera took this shot of a new concrete-and-steel building comprising 780,000 gsf of conditioned space with over 800 stalls of parking for Meta. “I was on a very large, complex site for the day gathering a variety of marketing photos, and was on an adjacent structure photographing concrete prep work when I noticed one of the tower cranes flying steel into place on the other side of the project,” Zeta says. “I switched to a long lens, found a safe vantage point, framed the image I hoped to get in the viewfinder, and watched the ironworkers bolting the beams into place. Sometimes a little patience pays off.”
Boundary Dam
Photographer: Will Austin
Boundary Dam
Northeastern Washington
Submitted by: Mallory Annear, IMCO General Construction
Austin spent two days at the Boundary Dam site, which is in a remote location near Metaline Falls on the Pend Oreille River. The day he took the shot, he worked for 17 hours—from dawn to dusk. “I was all over the site that day and I took a couple thousand photos,” says Austin, a professional photographer since 2007. He was no stranger to his chosen spot for the photo shoot—a public viewpoint at the top of the cliffs about 250 ft above the dam and 500 ft above the river—having visited it several times, both hiking and driving. For his final location of the day, he drove back up to the viewpoint in the evening and, using a wide angle lens, captured the dam and spillway work at sunset. “I waited for the twilight and was rewarded by beautiful cotton candy skies,” he says. “It is always my aim to capture epic images like this for my clients.”
Commercial Building
Photographer and submitter: Ankush Bagga
Commercial Building
Mohali, India
Professional photographer Ankush Bagga “adores” nature and the natural world, and he particularly likes to capture images of landscapes and natural events and processes. In April 2021, he was spending time with his family in Mohali and spotted from his balcony a solitary worker atop a new commercial building being built about a mile away. He was silhouetted by a stunning sunset. Bagga spontaneously took a photo. “I couldn’t resist,” he says. Although he tried to replicate the shot on subsequent days, this prize-winning image was his favorite. He titled the photo, “Sometimes the best views come after the hardest climb,” perhaps commenting on the spectacular view from the worker’s vantage point.