A while back, I posted . I asked for your thoughts on my suggested alternatives and other recommendations that you had. I got more than I bargained for in your comments. I quickly realized that I had left many great sites out of my abbreviated list. Due to all of your great suggestions, I felt that you deserved a more complete list of photo sharing sites. I’ve included my original 7, all of your suggestions and a few others that I’ve scoured the web to find. Read on for 45 ways to share your photos.
1. – It’s adding new features extremely fast, support in the forums is almost instantaneous and its interface is very clean. ()
. . . with your free 23 account you can upload 30 photos every month, and if that’s not enough you can upgrade to 23 Plus for EUR 20/year and upload an unlimited number of photos
2. – Free photoblog hosting. Unlimited images and bandwidth. Search engine optimization for your photos.
The original concept of Aminus3 (pronounced “a minus three”) was revealed to Jason Kravitz in a dream of March 2003. The dream was elusive, with a host of different characters including a Full Metal Jacket drill sergeant who was screaming, “I cannot tell you what Aminus3 is, I can only tell you what Aminus3 is not!” Jason was aware that to find the meaning of Aminus3 would be to uncover some great secret.
The dream became reality in the form of a photoblog community website developed by Aaron Schmidt. Originally consisting of just a few friends, the site now encourages creative photographers from around the world to connect, learn and display their photography on a daily basis.
3. – Photos, art and critics galore.
This site is for artists, models and critics who propose creative, personal and original high quality work which is recognized and appreciated. If you wish to only comment on the pictures and take advantage of the message center and forums to enter into discussions with the artists (art dealer, gallery director, curator, artist agent, publisher, gallery representative, image researcher, collector, press, communication), you can create a “OBSERVER” account.
4. – DeviantART is probably less of a photo sharing site than any of the other sites listed here. Check out what’s been at DeviantART.
As you can see, DeviantART is more of an art community than a photo sharing site. And it is a very active community with tons of and to chime in on. You’ll even find a forum dedicated to . (Read more on )
5. – Hails itself as a next generation photo and video sharing site. DropShots looks and works kind of like a desktop application.
It’s made for everyone – DropShots was designed to be simple and easy to use suitable for any level of computer user (even grandma!) – NOT the feature overload and complexity of other services designed for the technically inclined. It’s all about interaction – DropShots is a destination for families to connect and converse about the joys of life captured on photos and videos – NOT just a place facilitating the one-way event of sending or posting pictures for others to view.
6. – Flickr is great for sharing photos for free. It’s definately the biggest photo sharing community on the web.
The community features on Flickr are very deep and part of what makes Flickr so successful. are one of the easy ways to get involved in the Flickr community. Groups revolve around a general topic that’s usually related to the kind of photos that users take or the kind of gear that they use. You can share your photos in the groups’ pools or engage in discussion in forums with the groups.
Still, there are some limitations to Fickr’s free accounts that detract from its usefulness. When you have a free Flickr account, you can upload 100MB worth of photos each calendar month. This is a bandwidth limit, and not an amount of space that you have on Flickr servers. (Read more on the article)
7. – Currently in a closed alpha phase, but it shows promise.
Solving the current problems of photo hosting and online photo management to help photographers advance their work online.
- Reduce the Work of Sharing Photos Online: Upload Once, Share Everywhere!
- Control and Re-inforce Your Photographic Brand
- Protect Your Work: Control Where Your Work is Shared
- Get Your Images Online Fast: Integrates into Your Workflow
8. – Fotki seems like it’s really trying to outdo Flickr, and may be succeeding in some areas. While Fotki is easy to use, it has a lot of different options that can be overwhelming at first. One rather popular feature that’s prominent on the front page is free unlimited photo hosting for websites, blogs, emails and auctions. (Read more on )
9. – Kind of Flickr meets MySpace.
What makes Fotolog special is not just the ability to post photos, but the way it makes it easy to connect with others — whether staying in touch with friends and family, exploring the diverse Fotolog universe, discovering photos of new people from different cultures, participating in the site’s fascinating special-interest communities or, perhaps most important, receiving personal feedback from around the world on your photos.
10. – is an open source photo album organizer packed with a ton of options for websites.
Gallery is a web based software product that lets you manage your photos on your own website.
You must have your own website with PHP and database support in order to install and use it.
With Gallery you can easily create and maintain albums of photos via an intuitive interface. Photo management includes automatic thumbnail creation, image resizing, rotation, ordering, captioning, searching and more. Albums and photos can have view, edit, delete and other permissions per individual authenticated user for an additional level of privacy.
It’s great for communities – give accounts to your friends and family and let them upload and manage their own photos on your website!
11. – More than just photography, it’s for artists of all genres – film, word, photography, art and music
Humble Voice offers a variety of inspired features geared toward both local and widespread audiences to view and create artist profiles. Each anomalous profile offers ample views of photography, art, film, writing or music. By creating a profile, one can upload, maintain and manage not only a community of friends and family, but also a vantage point to share your own artistic creations – in whichever form they may abound.
12. – Available in premium and pro-premium flavors, at .95 and .95 per year respectively. The premium version allows you to store 1500 images. The pro-premium is unlimited. ImageEvent allows you to upload in a variety of ways – everything from a single file upload, to using ftp or even .zip files and more. You can also share a ton of other file formats, including videos and even documents. You can sign up for a free 21-day trial to take it for a test drive.
13. – Share whatever you want with whoever you want – photos, videos, audio, docs. Currently in beta and free to join.
14. – Commonly known as a source for cheap prints for your snapshots. However, you can sign up for the premium service to enable enhanced hosting features and get a break on 4×6″ prints for only
For other people named Elizabeth Taylor, see .
Dame Elizabeth Rosemond Taylor (February 27, 1932 – March 23, 2011) was a British-born American actress, businesswoman, and humanitarian. She began her career as a child actress in the early 1940s, and was one of the most popular stars of in the 1950s. She continued her career successfully into the 1960s, and remained a well-known public figure for the rest of her life. In 1999, the named her the seventh-.
Born in London to wealthy, socially prominent American parents, Taylor moved with her family to Los Angeles in 1939, and she was soon given a film contract by . She made her screen debut in a minor role in (1942), but Universal terminated her contract after a year. Taylor was then signed by , and had her breakthrough role in (1944), becoming one of the studio's most popular teenaged stars. She made the transition to adult roles in the early 1950s, when she starred in the comedy (1950) and received critical acclaim for her performance in the drama (1951).
Despite being one of MGM's most bankable stars, Taylor wished to end her career in the early 1950s. She resented the studio's control and disliked many of the films to which she was assigned. She began receiving roles she enjoyed more in the mid-1950s, beginning with the epic drama (1956), and starred in several critically and commercially successful films in the following years. These included two film adaptations of plays by : (1958), and (1959); Taylor won a for Best Actress for the latter. Although she disliked her role as a in (1960), her last film for MGM, she won the for her performance.
Taylor was then paid a record-breaking million to play the in the historical epic (1963), the most expensive film made up to that point. During the filming, Taylor and co-star began an extramarital affair, which caused a scandal. Despite public disapproval, she and Burton continued their relationship and were married in 1964. Dubbed "Liz and Dick" by the media, they starred in 11 films together, including (1963), (1965), (1967), and (1966). Taylor received the best reviews of her career for Woolf, winning her second Academy Award and several other awards for her performance. She and Burton divorced in 1974, but reconciled soon after, and re-married in 1975. The second marriage ended in divorce in 1976.
Taylor's acting career began to decline in the late 1960s, although she continued starring in films until the mid-1970s, after which she focused on supporting the career of her sixth husband, Senator . In the 1980s, she acted in her first substantial stage roles and in several television films and series, and became the first celebrity to launch a perfume brand. Taylor was also one of the first celebrities to take part in / activism. She co-founded the in 1985, and the Elizabeth Taylor AIDS Foundation in 1991. From the early 1990s until her death, she dedicated her time to philanthropy. She received several accolades for it, including the .
Throughout her career, Taylor's personal life was the subject of constant media attention. She was married eight times to seven men, endured serious illnesses, and led a lifestyle, including assembling one of the most expensive private collections of jewelry. After many years of ill health, Taylor died from at the age of 79 in 2011.
Early lifeFifteen-year-old Taylor with her parents at the in Manhattan, 1947
Elizabeth Rosemond Taylor was born on February 27, 1932, at Heathwood, her family's home on 8 Wildwood Road in , London. She received at birth, as her parents, art dealer (1897–1968) and retired stage actress (née Sara Viola Warmbrodt, 1895–1994), were United States citizens, both originally from . They moved to London in 1929, and opened an art gallery on ; their first child, a son named Howard, was born the same year.
The family led a privileged life in London during Taylor's childhood. Their social circle included artists such as and , and politicians such as Colonel . Cazalet was Taylor's unofficial godfather, and an important influence in her early life. She was enrolled in Byron House, a school in , and was raised according to the teachings of , the religion of her mother and Cazalet.
In the spring of 1939, the Taylors decided to return to the United States due to the . United States ambassador also contacted Francis and encouraged him to return to the U.S. with his family. Sara and the children left first in April 1939, and moved in with Taylor's maternal grandfather in . Francis stayed behind to close the London gallery, and joined them in December. In early 1940, he opened a new gallery in Los Angeles, and after briefly living in , the family settled in , where Taylor and her brother were enrolled in Hawthorne School.
Early roles and teenage stardom (1941–1949)
In California, Taylor's mother was frequently told that her daughter should audition for films. Taylor's eyes in particular drew attention; they were blue to the extent of appearing violet, and were rimmed by dark double eyelashes, caused by . Sara was initially opposed to Taylor appearing in films, but after the outbreak of war in Europe made return there unlikely, she began to view the film industry as a way of assimilating to American society. Francis Taylor's Beverly Hills gallery had gained clients from the film industry soon after opening, helped by the endorsement of gossip columnist , a friend of the Cazalets. Through a client and a school friend's father, Taylor auditioned for both and in early 1941. Both studios offered Taylor contracts, and Sara Taylor chose to accept Universal's offer.
Taylor began her contract in April 1941 and was cast in a small role in (1942). She did not receive other roles, and her contract was terminated after a year. Universal's casting director explained her dislike of Taylor, stating that "the kid has nothing ... her eyes are too old, she doesn't have the face of a child". Biographer agrees that Taylor looked different from the child stars of the era, such as and , and she herself later explained that, "apparently, I used to frighten grown ups, because I was totally direct".
Taylor received another opportunity in late 1942, when her father's acquaintance, MGM producer , arranged her to audition for a minor role requiring an actress with an English accent in (1943). After a trial contract of three months, she was given a standard seven-year contract in January 1943. Following Lassie, she appeared in minor uncredited roles in two other films set in England – (1943), and (1944).and Taylor in National Velvet (1944), her first major film role
Taylor was cast in her first starring role at the age of 12, when she was chosen to play a girl who wants to compete in the exclusively male in . She later called it "the most exciting film" of her career. MGM had been looking for a suitable actress with a British accent and the ability to ride horses since 1937, and chose Taylor at the recommendation of White Cliffs director , who knew she had the required skills. As she was deemed too short, filming was pushed back several months to allow her to grow; she spent the time practising riding. In developing her into a new star, MGM required her to wear braces to correct her teeth, and had two of her baby teeth pulled out. The studio also wanted to dye her hair and change the shape of her eyebrows, and proposed that she use the screen name "Virginia", but Taylor and her parents refused.
became a box-office success upon its release on Christmas 1944. of stated that "her whole manner in this picture is one of refreshing grace", while of wrote that she "is rapturously beautiful... I hardly know or care whether she can act or not."
Taylor later stated that her childhood ended when she became a star, as MGM started to control every aspect of her life. She described the studio as a "big extended factory" where she was required to adhere to a strict daily schedule: Days were spent attending school and filming at the studio lot, and evenings in dancing and singing classes and in practising the following day's scenes. Following the success of , MGM gave Taylor a new seven-year contract with a weekly salary of 0, and cast her in a minor role in the third film of the Lassie series, (1946). The studio also published a book of Taylor's writings about her pet chipmunk, Nibbles and Me (1946), and had paper dolls and coloring books made after her.Publicity photograph, circa 1947
When Taylor turned 15 in 1947, MGM began to cultivate a more mature public image for her by organizing photo shoots and interviews that portrayed her as a "normal" teenager attending parties and going on dates. Film magazines and gossip columnists also began comparing her to older actresses such as and . called her "Hollywood's most accomplished junior actress" for her two film roles that year. In the critically panned (1947), she portrayed a frail girl who defies her over-protective parents to go to the prom, and the love interest of a stockbroker's son in the period film (1947), opposite and .
They were followed by supporting roles as a teenaged "man-stealer" who seduces her peer's date to a high school dance in the musical (1948), and as a bride in the romantic comedy (1948), which became a commercial success by grossing over million in the box office. Taylor's last adolescent role was as Amy March in 's (1949). While it did not match the popularity of the previous of 's , it was a box-office success. The same year, featured Taylor on its cover, and called her the leader among Hollywood's next generation of stars, "a jewel of great price, a true sapphire".
Transition to adult roles (1950–1951)
Taylor made the transition to adult roles when she turned 18 in 1950. In her first mature role, the thriller (1949), she plays a woman who begins to suspect that her husband is a Soviet spy. Taylor had been only 16 at the time of its filming, but its release was delayed until March 1950, as MGM disliked it and feared it could cause diplomatic problems. Taylor's second film of 1950 was the comedy (1950), co-starring . It was released in May, and the same month, Taylor married hotel-chain heir , in a highly publicized ceremony. The event was organized by MGM, and used as part of the publicity campaign for Taylor's next film, 's comedy (1950), in which she appeared opposite and as a bride preparing for her wedding. The film became a box-office success upon its release in June, grossing million worldwide, and was followed by a successful sequel, (1951), ten months later.
Taylor's next film release, ' (1951), marked a departure from her earlier films. According to Taylor, it was the first film in which she had been asked to act, instead of simply being herself, and it brought her critical acclaim for the first time since National Velvet. Based on 's novel (1925), it featured Taylor as a spoiled socialite who comes between a poor factory worker () and his pregnant girlfriend (). Stevens cast Taylor as she was "the only one ... who could create this illusion" of being "not so much a real girl as the girl on the candy-box cover, the beautiful girl in the yellow Cadillac convertible that every American boy sometime or other thinks he can marry".
A Place in the Sun was a critical and commercial success, grossing million. Herb Golden of stated that Taylor's "histrionics are of a quality so far beyond anything she has done previously, that Stevens' skilled hands on the reins must be credited with a minor miracle", and of The New York Times wrote that she gives "a shaded, tender performance, and one in which her passionate and genuine romance avoids the pathos common to young love as it sometimes comes to the screen".
Continued success at MGM (1952–1955)
Taylor next starred in the romantic comedy (1952). According to Alexander Walker, MGM cast her in the "B-picture" as a reprimand for divorcing Hilton in January 1951 after only nine months of marriage, which had caused a public scandal that reflected negatively on her. After completing Love Is Better Than Ever, Taylor was sent to Britain to take part in the historical epic (1952), which was one of the most expensive projects in the studio's history. She was not happy about the project, finding the story superficial and her role as Rebecca too small. Regardless, Ivanhoe became one of MGM's biggest commercial successes, earning million in worldwide rentals.
Taylor's last film made under her old contract with MGM was (1953), a remake of the drama (1931). Despite her grievances with the studio, she signed a new seven-year contract with MGM in the summer of 1952. Although she wanted more interesting roles, the decisive factor in continuing with the studio was her financial need; she had recently married British actor , and was pregnant with her first child. In addition to granting her a weekly salary of ,700, MGM agreed to give the couple a loan for a house, and signed Wilding for a three-year contract. Due to her financial dependency, the studio now had even more control over her than previously.
Taylor's first two films made under her new contract were released ten days apart in spring 1954. The first was , a romantic film starring her as a woman caught in a love triangle with two musicians. The second was , a drama in which she played a British woman struggling to adapt to life on her husband's tea plantation in . She had been loaned to for the film after its original star, , fell ill.
In the fall, Taylor starred in two more film releases. was a period film, another project in which she was cast against her will. Taylor disliked historical films in general, as their elaborate costumes and make-up required her to wake up earlier than usual to prepare, and later stated that she gave one of the worst performances of her career in Beau Brummell. The second film was ' , based on 's short story. Although she had instead wanted to be cast in (1954), Taylor liked the film, and later stated that it "convinced me I wanted to be an actress instead of yawning my way through parts". While The Last Time I Saw Paris was not as profitable as many other MGM films, it garnered positive reviews. Taylor became pregnant again during the production, and had to agree to add another year to her contract to make up for the period spent on maternity leave.
Critical acclaim (1956–1960)
By the mid-1950s, the American film industry was beginning to face serious competition from television, which resulted in studios producing fewer films, and focusing instead on their quality. The change benefited Taylor, who finally found interesting roles after several years of career disappointments. After lobbying director George Stevens, she won the female lead role in (1956), an epic drama about a ranching dynasty, which co-starred and . Its filming in , was a difficult experience for Taylor, as she clashed with Stevens, who wanted to break her will to make her easier to direct, and was often ill, resulting in delays. To further complicate the production, Dean died in a car accident only days after completing filming; grieving Taylor still had to film reaction shots to their joint scenes. When Giant was released a year later, it became a box-office success, and was widely praised by critics. Although not nominated for an Academy Award like her co-stars, Taylor's performance also garnered positive reviews, with Variety calling it "surprisingly clever", and lauded it as "an astonishing revelation of unsuspected gifts", and named her one of the film's strongest assets.
MGM next re-united Taylor with Montgomery Clift in (1957), a drama it hoped would replicate the success of (1939). Taylor found her role as a mentally disturbed fascinating, but overall disliked the film. Although the film failed to become the type of success MGM had planned, Taylor was nominated for the first time for an for her performance.
Taylor considered her next performance as Maggie the Cat in the screen adaptation of the play (1958) a career "high point", although it coincided with one of the most difficult periods in her personal life. After completing Raintree Country, she had divorced Wilding and married producer . She had completed only two weeks of filming in March 1958, when Todd was killed in a plane crash. Although she was devastated, pressure from the studio and the knowledge that Todd had large debts led Taylor to return to work only three weeks later. She later stated that she "in a way ... became Maggie", and that acting "was the only time I could function" in the weeks after Todd's death.
During the production, Taylor's personal life drew further public attention when she began an affair with singer , whose marriage to actress had been idealized by the media as the union of "America's sweethearts". The affair – and Fisher's subsequent divorce – changed Taylor's public image from a grieving widow to a "homewrecker". MGM used the scandal to its advantage by featuring an image of Taylor posing on a bed in a négligée in the film's promotional posters.Cat grossed million in American cinemas alone, and made Taylor the year's second-most profitable star. She received positive reviews for her performance, with Bosley Crowther of The New York Times calling her "terrific", and Variety praising her for "a well-accented, perceptive interpretation". Taylor was nominated for an Academy Award and a .Promotional poster for , for which Taylor won her first Academy Award
Taylor's next film, ' (1959), was another Tennessee Williams adaptation, and co-starred Montgomery Clift and . The independent production earned Taylor 0,000 for playing the role of a severely traumatized patient in a mental institution. Although the film was a drama about mental illness, childhood traumas, and homosexuality, it was again promoted with Taylor's sex appeal; both its trailer and poster featured her in a white swimsuit. The strategy worked, as the film became a financial success. Taylor received her third Academy Award nomination and her first for her performance.
By 1959, Taylor owed one more film for MGM, which it decided should be (1960), a drama about a high-class prostitute. The studio correctly calculated that Taylor's public image would make it easy for audiences to associate her with the role. She hated the film for the same reason, but had no choice in the matter, although the studio agreed to her demands of filming in New York and casting Eddie Fisher in a sympathetic role. As predicted, BUtterfield 8 was a major commercial success, grossing million in world rentals. Crowther wrote that Taylor "looks like a million dollars, in mink or in negligée", while Variety stated that she gives "a torrid, stinging portrayal with one or two brilliantly executed passages within". Taylor won her first Academy Award for Best Actress for her performance.
Cleopatra and other films with Richard Burton (1961–1967)as Mark Antony with Taylor as Cleopatra in Cleopatra (1963)
After completing her MGM contract, Taylor starred in 's (1963) – a historical epic which, according to film historian Alexander Doty, made her more famous than ever before. She became the first actress to be paid million for a role; Fox also granted her 10% of the film's profits, as well as shooting the film in , a widescreen format for which she had inherited the rights from Mike Todd. The film's production – characterized by costly sets and costumes, constant delays, and a scandal caused by Taylor's extramarital affair with her co-star – was closely followed by the media, with Life proclaiming it the "Most Talked About Movie Ever Made". Filming first began in England in 1960, but had to be halted several times due to bad weather and Taylor's ill health. In March 1961, she developed nearly fatal , which necessitated a ; one news agency even erroneously reported that she had died. Once she had recovered, Fox discarded the already filmed material, and moved the production to Rome, changing its director to Joseph Mankiewicz, and the actor playing to Burton. Filming was finally completed in July 1962. The film's final cost was million, making it the most expensive film made up to that point.
Cleopatra became the biggest box-office success of 1963 in the United States; the film grossed .7 million at the box office. Regardless, it took several years for the film to earn back its production costs, which drove Fox near to bankruptcy. The studio publicly blamed Taylor for the production's troubles and unsuccessfully sued Burton and Taylor for allegedly damaging the film with their behavior. The film's reviews were mixed to negative, with critics finding Taylor overweight and her voice too thin, and unfavorably comparing her with her classically trained British co-stars. In retrospect, Taylor called Cleopatra a "low point" in her career, and stated that the studio cut out the scenes which provided the "core of the characterization".Taylor and Burton in The Sandpiper (1965)
Taylor intended on following Cleopatra by headlining an all-star cast in Fox's black comedy (1964), but negotiations fell through, and was cast, instead. In the meantime, film producers were eager to profit from the scandal surrounding Taylor and Burton, and they next starred together in 's (1963), which mirrored the headlines about them. Taylor played a famous model attempting to leave her husband for a lover, and Burton her estranged millionaire husband. Released soon after Cleopatra, it became a box-office success. Taylor was also paid 0,000 to appear in a television special, Elizabeth Taylor in London, in which she visited the city's landmarks and recited passages from the works of famous British writers.
After completing The V.I.P.s, Taylor took a two-year hiatus from films, during which Burton and she divorced their spouses and married each other. The continued starring together in films in the mid-1960s, earning a combined million over the next decade; Burton once stated, "They say we generate more business activity than one of the smaller African nations." Alexander Walker compared these films to "illustrated gossip columns", as their film roles often reflected their public personae, while Doty has noted that the majority of Taylor's films during this period seemed to "conform to, and reinforce, the image of an indulgent, raucous, immoral or amoral, and appetitive (in many senses of the word) 'Elizabeth Taylor'". Taylor and Burton's first joint project following her hiatus was Vincente Minelli's romantic drama (1965), about an illicit love affair between a bohemian artist and a married clergyman in , California. Its reviews were largely negative, but it grossed a successful million in the box office.
Their next project, (1966), featured the most critically acclaimed performance of Taylor's career. She and Burton starred as Martha and George, a middle-aged couple going through a marital crisis. In order to convincingly play 50-year-old Martha, Taylor gained weight, wore a wig, and used make-up to make herself look old and tired – in stark contrast to her public image as a glamorous film star. At Taylor's suggestion, theater director was hired to direct the project, despite his lack of experience with film. The production differed from anything she had done previously, as Nichols wanted to thoroughly rehearse the play before beginning filming.Woolf was considered ground-breaking for its adult themes and uncensored language, and opened to "glorious" reviews.Variety wrote that Taylor's "characterization is at once sensual, spiteful, cynical, pitiable, loathsome, lustful, and tender", and of The New York Times stated that she "does the best work of her career, sustained and urgent". The film also became one of the biggest commercial successes of the year. Taylor received her second Academy Award, a BAFTA, a , and a New York City Film Critics Circle awards for her performance.
In 1966, Taylor and Burton also performed for a week in to benefit the ; he starred and she appeared in her first stage role as , a part which required no speaking. Although it received generally negative reviews, Burton produced it into a film, (1967), with the same cast. It was also panned by critics and grossed only 0,000 in the box office. Taylor and Burton's next project, 's (1967), which they also co-produced, was more successful. It posed another challenge for Taylor, as she was the only actor in the project with no previous experience of performing Shakespeare; Zeffirelli later stated that this made her performance interesting, as she "invented the part from scratch". Critics found the play to be fitting material for the couple, and the film became a box-office success by grossing million.
Taylor's third film released in 1967, 's , was her first without Burton since Cleopatra. It was a drama about a repressed homosexual and his unfaithful wife, and was originally slated to co-star Taylor's old friend Montgomery Clift. His career had been in decline for several years due to his substance-abuse problems, but Taylor was determined to secure his involvement in the project, even offering to pay for his insurance. However, Clift died from a heart attack before filming began; he was replaced by .Reflections was a critical and commercial failure at the time of its release. Taylor and Burton's last film of the year was the adaptation , which received mixed reviews and was a .
Career decline (1968–1979)Taylor in 1971
Taylor's career was in decline by the late 1960s. She had gained weight, was nearing middle age, and did not fit in with stars such as and . After several years of nearly constant media attention, the public was also tiring of Burton and her, and criticized their lifestyle. In 1968, Taylor starred in two films directed by – , and – both of which were critical and commercial failures. The former, based on Tennessee Williams' , features her as an aging, serial-marrying millionaire, and Burton as a younger man who turns up on the Mediterranean island on which she has retired.Secret Ceremony is a psychological drama which also stars and . Taylor's third film with George Stevens, (1970), in which she played a Las Vegas showgirl who has an affair with a compulsive gambler, played by , was unsuccessful.
The three films in which Taylor acted in 1972 were somewhat more successful. , which portrayed and her as a troubled married couple, won her the . She then appeared with Burton in the adaptation ; although her role was small, its producers decided to give her top-billing to profit from her fame. Her third film role that year was playing a blonde diner waitress in 's Faust parody , her tenth collaboration with Burton. Although it was overall not successful, Taylor received some good reviews, with of The New York Times writing that she has "a certain vulgar, ratty charm", and of the stating, "The spectacle of Elizabeth Taylor growing older and more beautiful continues to amaze the population". Her performance won the for Best Actress at the .In Divorce His, Divorce Hers (1973), Taylor's last film with Burton
Taylor and Burton's last film together was the film (1973), fittingly named as they divorced the following year. Her other films released in 1973 were the British thriller (1973) and the American drama (1973). For the latter, in which she starred as a woman who undergoes multiple plastic surgeries in an attempt to save her marriage, she received a Golden Globe nomination. Her only film released in 1974, the Italian adaptation (1974), was a failure.
Taylor took fewer roles after the mid-1970s, and focused on supporting the career of her sixth husband, politician . In 1976, she participated in the Soviet-American fantasy film (1976), a critical and box-office failure, and had a small role in the television film (1976), and in 1977, she sang in the critically panned film adaptation of 's (1977).
Stage and television roles; retirement (1980–2007)Taylor at an event honoring her career in 1981
After a period of semi-retirement from films, Taylor starred in (1980), adapted from an mystery novel and featuring an ensemble cast of actors from the studio era, such as , , Rock Hudson, and . Wanting to challenge herself, she then appeared in her first substantial stage role, playing Regina Giddens in a Broadway production of 's . Instead of portraying Giddens in negative light as had often been the case in previous productions, Taylor's idea was to show her as a victim of circumstance, explaining, "She's a killer, but she's saying, 'Sorry fellas, you put me in this position'". The production premiered in May 1981, and had a sold-out six-month run despite mixed reviews. Frank Rich of The New York Times wrote that Taylor's performance as "Regina Giddens, that malignant Southern bitch-goddess ... begins gingerly, soon gathers steam, and then explodes into a black and thunderous storm that may just knock you out of your seat", while Dan Sullivan of the stated, "Taylor presents a possible Regina Giddens, as seen through the persona of Elizabeth Taylor. There's some acting in it, as well as some personal display." She appeared as evil socialite in the day-time soap opera in November 1981. The following spring, she continued performing The Little Foxes in London's , but received largely negative reviews from the British press.
Encouraged by the success of The Little Foxes, Taylor and producer founded the Elizabeth Taylor Repertory Company. Its first and only production was a revival of 's comedy , starring Taylor and Burton. It premiered in Boston in spring 1983, and although commercially successful, received generally negative reviews, with critics noting that both stars were in noticeably poor health – Taylor admitted herself to a drug and alcohol rehabilitation center after the play's run ended, and Burton died the following year. After the failure of Private Lives, Taylor dissolved her theater company. Her only other project that year was television film .
From the mid-1980s, Taylor acted mostly in television productions. She made cameos in the soap operas and in 1984, and played a brothel keeper in the historical mini-series in 1985. She also starred in several television films, playing gossip columnist in (1985), a "fading movie star" in the drama (1986), and a character based on in the eponymous (1987). She re-united with director Franco Zeffirelli to appear in his French-Italian biopic (1988), and had the last starring role of her career in a television adaptation of (1989), her fourth Tennessee Williams play. During this time, she also began receiving honorary awards for her career – the in 1985, and the 's Chaplin Award in 1986.
In the 1990s, Taylor focused her time on HIV/AIDS activism. Her few acting roles included characters in the animated series (1992) and (1992, 1993), and cameos in four CBS series – , , , and – in one night in February 1996 to promote her new fragrance. Her last theatrically released film was in the critically panned, but commercially very successful, (1994), in which she played in a brief supporting role. Taylor received American and British honors for her career: the in 1993, the honorary award in 1997, and a in 1999. In 2000, she was made a by . After supporting roles in the television film (2001) and in the animated sitcom (2001), Taylor announced that she was retiring from acting to devote her time to philanthropy. She gave one last public performance in 2007, when and she performed the play at an AIDS benefit at the Paramount Studios.
Taylor was one of the first celebrities to participate in HIV/AIDS activism, helping to raise more than 0 million for the cause. She began her philanthropic work in 1984, after becoming frustrated with the disease being widely discussed, but very little being done about it. She later explained for Vanity Fair that she "decided that with my name, I could open certain doors, that I was a commodity in myself – and I'm not talking as an actress. I could take the fame I'd resented and tried to get away from for so many years – but you can never get away from it – and use it to do some good. I wanted to retire, but the tabloids wouldn't let me. So, I thought: If you're going to screw me over, I'll use you."
Taylor began her philanthropic efforts by helping to organize and by hosting the first AIDS fund-raiser to benefit the . In August 1985, Dr. and she founded the National AIDS Research Foundation after her friend and former co-star Rock Hudson announced that he was dying of the disease. The following month, the foundation merged with Dr. 's AIDS foundation to form the American Foundation for AIDS Research (amfAR). As amfAR focuses on funding research, Taylor founded the Elizabeth Taylor AIDS Foundation (ETAF) in 1991 to raise awareness and to provide support services for people with HIV/AIDS, paying for its overhead costs herself. Her trust continues to do so, and 25% of her image and likeness royalties are donated to ETAF. In addition to her work for people affected by HIV/AIDS in the United States, Taylor was instrumental in expanding amfAR's operations to other countries; ETAF also operates internationally.
Taylor testified before the and for the in 1986, 1990, and 1992. She persuaded President to acknowledge the disease for the first time in a speech in 1987, and publicly criticized presidents and for lack of interest in combatting the disease. Taylor also founded the Elizabeth Taylor Medical Center to offer free HIV/AIDS testing and care at the in Washington, D. C., and the Elizabeth Taylor Endowment Fund for the Clinical AIDS Research and Education Center in Los Angeles. In 2015, Taylor's business partner claimed that Taylor ran an illegal "underground network" that distributed medications to Americans suffering from HIV/AIDS during the 1980s, when the had not yet approved them. The claim was challenged by several people, including amfAR's former vice president for development and external affairs, Taylor's former publicist, and activists who were involved in the in the 1980s and 1990s.
Taylor was honored with several awards for her philanthropic work. She was made a Knight of the French in 1987, and received the in 1993, the Screen Actors' Guild Lifetime Achievement Award for Humanitarian service in 1997, the in 2000, and the in 2001.Taylor promoting her first fragrance, Passion, in 1987
Fragrance and jewelry brands
Taylor was the first celebrity to create her own collection of fragrances. In collaboration with , she began by launching two best-selling perfumes – Passion in 1987, and White Diamonds in 1991. Taylor personally supervised the creation and production of each of the 11 fragrances marketed in her name. According to biographers Sam Kashner and Nancy Schoenberger, she earned more money through the fragrance collection than during her entire acting career, and upon her death, the British newspaper The Guardian estimated that majority of her estimated 0 million- billion estate consisted of revenue from fragrances. In 2005, Taylor also founded a jewelry company, House of Taylor, in collaboration with Kathy Ireland and Jack and Monty Abramov.
Marriages, relationships, and childrenTaylor's relationships were subject to intense media attention throughout her adult life, as exemplified by a 1955 issue of gossip magazine .
Throughout her adult years, Taylor's personal life, and especially her eight marriages, drew a large amount of media attention and public disapproval. According to biographer Alexander Walker, "Whether she liked it or not ... marriage is the matrix of the myth that began surrounding Elizabeth Taylor from [when she was sixteen]". MGM organized her to date football champion in 1948, and the following year, she was briefly engaged to William Pawley, Jr., son of U.S. ambassador . Film tycoon also wanted to marry her, and offered to pay her parents a six-figure sum of money if she were to become his wife. Taylor declined the offer, but was otherwise eager to marry young, as her "rather puritanical upbringing and beliefs" made her believe that "love was synonymous with marriage". Taylor later described herself as being "emotionally immature" during this time due to her sheltered childhood, and believed that she could gain independence from her parents and MGM through marriage.
Taylor was 18 when she married ., heir to the chain, at the in Beverly Hills on May 6, 1950. MGM organized the large and expensive wedding, which became a major media event. In the weeks after their wedding, Taylor realized that she had made a mistake; not only did she and Hilton have few interests in common, but he was also abusive and a heavy drinker. She was granted a divorce in January 1951, nine months after their wedding.
Taylor married her second husband, British actor Michael Wilding – a man 20 years her senior – in a low-key ceremony at in London on February 21, 1952. She had first met him in 1948 while filming The Conspirator in England, and their relationship began when she returned to film Ivanhoe in 1951. Taylor found their age gap appealing, as she wanted "the calm and quiet and security of friendship" from their relationship; he hoped that the marriage would aid his career in Hollywood. They had two sons: Michael Howard (b. 1953), and Christopher Edward (b. 1955). As Taylor grew older and more confident in herself, she began to drift apart from Wilding, whose failing career was also a source of marital strife. When she was away filming Giant in 1955, gossip magazine caused a scandal by claiming that he had entertained strippers at their home. Taylor and Wilding announced their separation in July 1956, and were divorced in January 1957.Taylor with her third husband Mike Todd and her three children in 1957
Taylor married her third husband, theater and film producer Mike Todd, in , , on February 2, 1957. They had one daughter, Elizabeth "Liza" Frances (b. 1957). Todd, known for publicity stunts, encouraged the media attention to their marriage; for example, in June 1957, he threw a birthday party at , which was attended by 18,000 guests and broadcast on CBS. His death in a plane crash on March 22, 1958, left Taylor devastated. She was comforted by Todd's and her friend, singer , with whom she soon began an affair. As Fisher was still married to actress , the affair resulted in a public scandal, with Taylor being branded a "homewrecker". Taylor and Fisher were married at the Temple Beth Sholom in on May 12, 1959; she later stated that she married him only due to her grief.
While filming Cleopatra in Italy in 1962, Taylor began an affair with her co-star, Welsh actor Richard Burton, although Burton was also married. Rumors about the affair began to circulate in the press, and were confirmed by a paparazzi shot of them on a yacht in . According to sociologist , the publication of the photograph was a "turning point", beginning a new era in which it became difficult for celebrities to keep their personal lives separate from their public images. The scandal caused Taylor and Burton to be condemned for "erotic vagrancy" by the , with calls also in the U.S. Congress to bar them from re-entering the country. Taylor was granted a divorce from Fisher on March 6, 1964, in , , and married Burton nine days later in a private ceremony at the . Burton subsequently adopted Liza Todd and Maria Burton (born August 1, 1961), a German orphan whose adoption process Taylor had begun while married to Fisher.
Dubbed "Liz and Dick" by the media, Taylor and Burton starred together in 11 films, and led a jet-set lifestyle, spending millions on "furs, diamonds, paintings, designer clothes, travel, food, liquor, a yacht, and a jet". Sociologist states that they "became a cottage industry of speculation about their alleged life of excess. From reports of massive spending [...] affairs, and even an open marriage, the couple came to represent a new era of 'gotcha' celebrity coverage, where the more personal the story, the better." They divorced for the first time in June 1974, but reconciled, and re-married in , , on October 10, 1975. The second marriage lasted less than a year, ending in divorce in July 1976. Taylor and Burton's relationship was often referred to as the "marriage of the century" by the media, and she later stated, "After Richard, the men in my life were just there to hold the coat, to open the door. All the men after Richard were really just company." Soon after her final divorce from Burton, Taylor met her sixth husband, , a Republican politician from . They were married on December 4, 1976, after which Taylor concentrated on working for his electoral campaign. Once Warner had been elected to the Senate, she started to find her life as a politician's wife in Washington, D. C., boring and lonely, becoming depressed, overweight, and increasingly addicted to prescription drugs and alcohol. Taylor and Warner separated in December 1981, and divorced a year later in November 1982.
After the divorce from Warner, Taylor dated actor , and was engaged to Mexican lawyer Victor Luna in 1983–1984, and New York businessman Dennis Stein in 1985. She met her seventh – and last – husband, construction worker , at the Betty Ford Center in 1988. They were married at the of her long-time friend on October 6, 1991. The wedding was again subject to intense media attention, with one photographer parachuting to the ranch and Taylor selling the wedding pictures to for million, which she used to start her AIDS foundation. Taylor and Fortensky divorced in October 1996.
Support for Jewish and Israeli causes
Taylor was raised as a Christian Scientist, and to Judaism in 1959. Although two of her husbands – Mike Todd and Eddie Fisher – were Jewish, Taylor stated that she did not convert because of them, but had wanted to do so "for a long time", and that there was "comfort and dignity and hope for me in this ancient religion that [has] survived for four thousand years... I feel as if I have been a Jew all my life". Walker believed that Taylor was influenced in her decision by her godfather, , and her mother, who were active supporters of during her childhood.
Following her conversion, Taylor became an active supporter of Jewish and Zionist causes. In 1959, she purchased 0,000 worth of , which led to her films being banned by Muslim countries throughout the Middle East and Africa. She was also barred from entering Egypt to film Cleopatra in 1962, but the ban was lifted two years later after the Egyptian officials deemed that the film brought positive publicity for the country. In addition to purchasing bonds, Taylor helped to raise money for organizations such as the , and sat on the of the .
She also advocated for the right of to , cancelled a visit to the USSR because of its condemnation of Israel due to the , and signed a letter protesting the of 1975. In 1976, she offered herself as a replacement hostage after more than 100 Israeli civilians were taken hostage in the . She had a small role in the television film made about the incident, Victory at Entebbe (1976), and narrated (1981), an Academy Award-winning documentary about the .
Style and jewelry collectionTaylor in a studio publicity photo in 1953
Taylor is considered a fashion icon both for her film costumes and personal style. At MGM, her costumes were mostly designed by and , and in the 1960s by . Her most famous costumes include a white ball gown in A Place in the Sun (1951), a Grecian dress in Cat on a Hot Tin Roof (1958), and a slip and a fur coat in BUtterfield 8 (1960). Her make-up look in Cleopatra (1963) started a trend for "cat-eye" make-up done with black eyeliner.
Taylor collected jewelry through her life, and owned the 33.19-carat (6.638 g) , the 69.42-carat (13.884 g) , and the 50-carat (10 g) , formerly owned by – all three were gifts from husband Richard Burton. She also published a book about her collection, My Love Affair with Jewelry, in 2002. Taylor helped to popularize the work of fashion designers and . She received a Lifetime of Glamour Award from the (CFDA) in 1997. After her death, her jewelry and fashion collections were auctioned by to benefit her AIDS foundation, ETAF. The jewelry sold for a record-breaking sum of 6.8 million, and the clothes and accessories for a further .5 million.
Health problems and death
Taylor struggled with health problems for most of her life. She was born with and broke her back while filming National Velvet in 1944. The fracture went undetected for several years, although it caused her chronic back problems. In 1956, she underwent an operation in which some of her spinal discs were removed and replaced with donated bone. Taylor was also prone to other illnesses and injuries, which often necessitated surgery; in 1961, she survived a near-fatal bout of pneumonia that required a tracheotomy.
In addition, she was addicted to alcohol and prescription medications. She was treated at the for seven weeks from December 1983 to January 1984, becoming the first celebrity to openly admit herself to the clinic. She relapsed later in the decade, and entered rehabilitation again in 1988. Taylor also struggled with her weight – she became overweight during her marriage to Senator John Warner, and published a diet book about her experiences, Elizabeth Takes Off (1988). Taylor was a heavy smoker until she experienced a severe bout of pneumonia in 1990.
Taylor's health increasingly declined during the last two decades of her life, and she rarely attended public events in the 2000s. She used a wheelchair due to her back problems, and was diagnosed with in 2004. Six weeks after being hospitalized, she died of the illness at age 79 on March 23, 2011, at the in Los Angeles. Her funeral took place the following day at the in . The service was a private presided over by . At Taylor's request, the ceremony began 15 minutes behind schedule, as, according to her representative, "she even wanted to be late for her own funeral". She was entombed in the cemetery's Great Mausoleum.
"More than anyone else I can think of, Elizabeth Taylor represents the complete movie phenomenon – what movies are as an art and an industry, and what they have meant to those of us who have grown up watching them in the dark... Like movies themselves, she's grown up with us, as we have with her. She's someone whose entire life has been played in a series of settings forever denied the fourth wall. Elizabeth Taylor is the most important character she's ever played."
-Vincent Canby of The New York Times in 1986
Taylor was one of the last stars of , and also one of the first modern celebrities. During the era of the , she exemplified the classic film star. She was portrayed as different from "ordinary" people, and her public image was carefully crafted and controlled by MGM. When the era of classical Hollywood ended in the 1960s, and paparazzi photography became a normal feature of media culture, Taylor came to define a new type of celebrity, whose real private life was the focus of public interest. According to Adam Bernstein of , "More than for any film role, she became , setting a media template for later generations of entertainers, models, and all variety of semi-somebodies."
Regardless of the acting awards she won during her career, Taylor's film performances were often overlooked by contemporary critics; according to film historian , "No actress ever had a more difficult job in getting critics to accept her onscreen as someone other than Elizabeth Taylor... Her persona ate her alive." Her film roles often mirrored her personal life, and many critics continue to regard her as always playing herself, rather than acting. In contrast, of The New York Times stated that "the range of [Taylor's] acting was surprisingly wide", despite the fact that she never received any professional training. Film critic called her "an actress of such sexiness it was an incitement to riot – sultry and queenly at the same time", and "a shrewd, intelligent, intuitive acting presence in her later years". stated that "she had the range, nerve, and instinct that only had had before – and like Davis, Taylor was monster and empress, sweetheart and scold, idiot and wise woman". Three films in which she starred – National Velvet, Giant, and Who's Afraid of Virginia Woolf? – have been preserved in the , and the American Film Institute has named her the seventh of classical Hollywood cinema.
Taylor has also been discussed by journalists and scholars interested in the role of women in Western society. writes that Taylor was a "pre-feminist woman" who "wields the sexual power that feminism cannot explain and has tried to destroy. Through stars like Taylor, we sense the world-disordering impact of legendary women like , , and Helen of Troy." In contrast, cultural critic M.G. Lord calls Taylor an "accidental feminist", stating that while she did not identify as a feminist, many of her films had feminist themes and "introduced a broad audience to feminist ideas". Similarly, Ben W. Heineman, Jr., and Cristine Russell write in that her role in Giant "dismantled stereotypes about women and minorities".
Taylor is considered a , and received widespread recognition for her HIV/AIDS activism. After her death, issued a statement saying that she "was an icon not only in Hollywood, but in the LGBT community, where she worked to ensure that everyone was treated with the respect and dignity we all deserve", and Sir of the called her "the first major star to publicly fight fear and prejudice towards AIDS". According to Paul Flynn of The Guardian, she was "a new type of gay icon, one whose position is based not on tragedy, but on her work for the LGBTQ community". Speaking of her charity work, former President Bill Clinton said at her death, "Elizabeth's legacy will live on in many people around the world whose lives will be longer and better because of her work and the ongoing efforts of those she inspired."
- In October 1965, as her then-husband Richard Burton was British, she signed an oath of renunciation at the U.S. Embassy in Paris, but with the phrase "abjure all allegiance and fidelity to the United States" struck out. officials declared that her renunciation was invalid due to the alteration, and Taylor signed another oath, this time without alteration, in October 1966. She applied for restoration of U.S. citizenship in 1977, during then-husband John Warner's Senate campaign, stating she planned to remain in America for the rest of her life.
- Taylor had serious bouts of pneumonia in 1990 and 2000, underwent in the mid-1990s, underwent surgery for a benign in 1997, and was successfully treated for in 2002.
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Your personal web site on Multiply – http://YOURNAME.multiply.com – is the one place where you can share many different types of content. No longer do you, or your friends and family, need to learn how to use separate sites (and keep track of separate IDs, passwords, and links).
17. – Another unlimited photo hosting option. My Photo Album also permits video hosting. Also good for bloggers and socialites on the likes of MySpace and Facebook for its integrated sharing. There are quite a few typos in the copy of the pages that I browsed through, along with some browser compatibility issues, which makes the site and service seem kind of amateurish. Interestingly, the main page features a banner seeking current Flickr users and provides instructions on how to migrate your Flickr account to My Photo Album.
18. – A very Web 2.0 looking site that’s clearly geared toward social media users and bloggers. Makes slideshow and video montages, among other things like photo books and ecards. Not really a photo hosting solution, but if you need to feature a slideshow on your blog, it could be an option.
19. – Acquired by Google last year, Panoramio is photo sharing meets GPS. Works with to geotag photos automatically.
20. – PBase does not offer a free account option. You get 500MB of storage for per year and you can get 1500MB for per year. Additional storage can be added at any time in increments of 500MB. You can create an unlimited number of galleries from your photos stored on PBase’s servers.
PBase offers StatCounter, Google Analytics and Extreme Tracking capabilities for each of your galleries. There is also a community that users can participate in. PBase users also publish a professional looking magazine, aptly named PBase Magazine, that has a .
21. – Very family oriented with security features as a headline offering.
With Phanfare, your photos and videos are beautifully presented on the web for your friends and family to enjoy, ad-free. . . . From wedding bells to the arrival of a new baby, Phanfare has the perfect album style to showcase all of your treasured photos and videos. . . .
Phanfare’s optional Windows and Mac desktop applications give you even more control. The blazing fast uploads mean that your albums will be ready to be shared within moments. . . . Phanfare stores your full-size photos and high-quality videos. Download these images and videos as often as you like. All Phanfare members can store up to 1GB of photos and videos for no charge. Unlimited storage is available for just .95 per year.
22. – Photo.net will likely only appeal to serious photographers. It is a huge community of amateur and professional photographers with a variety of skill levels and photographic experiences.
You can upload your photos and submit them for comment and critique. Likewise, you can comment and critique fellow photographers’ submissions. You get your own gallery to post photos into. You get a few more features by making a donation each year.
Additionally, you can participate in the very active (and moderated) forums. I’ve learned a lot from photo.net over the past couple of years. I still find myself reading the forums and asking the occasional question when I need some advice on a particular matter. If you’re new to photography or you simply want to learn more, photo.net is probably one of the better online resources out there.
23. – Photobucket is a media management site for photos and video. It allows one click publishing to sites like MySpace, Facebook, Friendster and Xanga. It is clearly geared toward the social media user. You can use Photobucket to create slideshows of photos and video mashups.
There’s a 1GB space limit for images and video clips in free accounts. That’s not much when you consider file sizes of photos these days. Additionally, free accounts are limited to 25GB of monthly bandwidth. That’s quite a lot bandwidth for photos; however, I’m not sure how long that would hold up if you’ve got a lot of video clips on there.
24. – Another more serious photography community.
photoSIG is a community of photographers and photography enthusiasts, ranging from amateurs to working professionals. photoSIG members may critique photos that have been submitted by other users and may also submit their own photos for review by the community.
photoSIG is designed to be self-maintaining. The worthiness, or unworthiness, of photos and critiques submitted by users is determined by the user community. Users have the opportunity to comment, favorably or unfavorably, on photos and on critiques submitted by other users. In addition to the editorial control exerted by the community via the rating system, photoSIG itself also attempts to encourage high-quality critiques by only allowing critiques that conform to photoSIG’s quality standard to affect a photographer’s rating.
25. – Supporting both film and digital, Photoworks offers services that appeal to those who like Kodak Gallery. I recall using Photoworks a dozen or so years ago for film processing, which seemed to work ok at the time; however, I don’t think that I’ve used Photoworks in the past decade. That sentence makes me feel older than I want to.
26. – Share Photos. Get Paid.
Photrade provides the functionality of photo sharing (Flickr/Photobucket) + stock photography sales (istock) + photo print sales at any price (SmugMug) + Photo Protection (currently watermarking + breakthrough upstream protection ideas I can’t talk about yet) + ad revenue (NEW) all in one site. Choose the services you want to use – they are all optional and all free (we charge a commission on sales).
From a user experience perspective its as simple as uploading your images and setting your prices.
The ad revenue sharing is probably the most unique part of the site. Users earn ad revenue from 3 sources. First, ad revenue is earned from ads hosted in the galleries (currently google ads on the left and right banners) – we payout on a CPM basis every time a photo gallery is viewed (not real time payouts – we do periodic deposits).
Second, through our Patent Pending Picture-in-Picture ad platform an ad is embedded in the image when it get shared/linked to by other users (you can turn the ad on/off when you share your own images). We payout on a CPM basis (currently no payout in the private beta test). If your image is linked to or used by anyone on the internet, you earn ad revenue every time it is viewed.
Third, users earn ad revenue from splashscreen ads every time their image is clicked on and the user is brought to their image on .
So, when the image is shared either by the user or by anyone online the user benefits – through 3 potential ad revenue streams PLUS the opportunity to sell prints and stock.
Plus we have photo merchandise, stock and prints that you can sell at any price (including the base price with no markups if you prefer).
– Krista Neher, CMO (via email)
27. – Google’s free photo organizer. It combines editing software with photo sharing solutions via Picasa Web Albums.
Picasa Web Albums is the fast and easy way to put your photos online so you can start sharing. Use it with the Picasa software to upload entire albums of high quality photos in a click of the software’s “Web Album” button, or use your normal web browser to add pics. Each account gets 1GB (and counting!) of free storage – that’s enough to post and share around 4,000 standard resolution photos.
28. – Fundraising meets photography.
Imagine running your own school portrait program and raising thousands of dollars at the same time! Today’s digital cameras and Picateers Portrait Fundraiser makes it easy and fun to do.
It’s simple. We help your school or organization find a talented volunteer parent or teacher to take the photos. With guidance from us, they snap the pictures, and we do the rest. You end up with great portraits and 50% cash back on all revenue. Now that’s something to smile about.
29. -Hails itself as next-gen media sharing. Photos and videos in one. Instant sharing via camera phones.
In addition to sharing items on Pickle, you can embed individual photos and videos as well as entire channels on other websites such as MySpace, Blogger, and eBay.
Each channel you create has its own viewing page on Pickle. You can customize pages by selecting templates to fit the occasion. To share your media, Pickle provides unique links to your account homepage, each specific channel, as well as your individual photos and videos.
You will be taking digital videos and photos for the rest of your life. Pickle provides tools to help you organize as your account grows over time.
- Assign captions and tags.
- Sort by date uploaded or taken.
- Search your whole collection instantly.
By offering a complete solution to storing and organizing all your personal media, Pickle lets you build and maintain a dynamic archive of memories. Pickle gives you a path to grow.
30. – A unique take on photo organization for online sharing. PicMe sets itself apart by allowing you to organize your photos into stacks.
The photos that you love to share, view and enjoy are now hidden away in your computer like a digital shoe box.
PicMe is a tool for letting you easily see, view, share and enjoy your thousands of pictures. PicMe makes it easy to share a lifetime collection of photos quickly and securely with friends and family, right from your desktop.
PicMe uses stacks to allow you to see 1000’s of photos at once. You have to try to see for yourself.
31. – More free photo sharing. It seems a lot like Flickr, except it’s Irish.
Pix.ie is Ireland’s new online photo sharing community! We provide you with a safe place to upload, share and permanently store your photos online.
We’re offering a massive 500MB upload limit per month! That’s up to 6GB per year for FREE!
With pix.ie you can:
- Join the community and allow others to see your photos within minutes!
- Organise your photos using into easy to manage albums and tags.
- Set detailed permissions on each photo so that others only see the photos you want them to see!
32. – Again, similar to Flickr, but a little more like Flickr meets Facebook. Your free account gets you 2 gigs of total storage, which can get chewed up pretty quick if you’re uploading full-res images.
33. – Not limited to just photos, RedBubble is truly an artist’s site.
The RedBubble community exists to challenge the elitism of the traditional art world.
We believe that everyone’s an artist. We think creative expression and communication should be encouraged and celebrated.
The RedBubble website helps us communicate with artists and showcase the work created by the community.
34. – More photo sharing and fun for the social media hooligans out there.
rmbr is a funware application that combines the best of social multiplayer games and digital photography to maximize fun, stickiness and virtual item revenue. Unlike current photosharing sites, rmbr is designed to be easy and engaging: it works with existing social networks, automatically synchronizes your photos while ensuring the best ones come to the surface, and allows you to instantly message, doodle and play photo games with your friends and family.
35. Shutterfly – Yeah, you’ve heard of these guys. More printing and sharing on par with Kodak Gallery and others like them. Shutterfly has been really pushing their photobooks. Admittedly, they look pretty cool for fun projects, but their photo quality from prints is rather lacking.
36. – Taking the MySpace and Facebook crowd by storm, Slide offers photo hosting and sharing, simple editing, slideshow creations and more. Not to be taken too seriously, but if you need their services, it’s totally free.
37. – Ah, SmugMug. SmugMug is my personal favorite for sharing and hosting images on the web. There’s no free plan to choose from; however, it is well worth the price of admission for me. The is .95 per year. The is .95 per year. The is 9.95 per year. You can see the differences in the features .
SmugMug keeps 4 backup copies of each photo in 3 states. You get unlimited storage in all plans. Your can see your photos without registering, and without spam. The handful of times that I’ve needed to contact support, they’ve gotten back to me with a real answer within minutes.
Pro users (I’m one) get the ability to sell photos and set their own prices. I don’t sell a lot of photos; however, I share tons. I use SmugMug to share photos on Photography Bay and with friends and family. I can make galleries private or password protected and even limit the size of photos that are viewable by others. SmugMug also allows you to employ right-click protection to keep the pervasive use of downloading curbed. I know there are ways around it, but it’s not as easy to do as Flickr.
The print quality that you get from SmugMug is surprisingly good. Printing is outsourced through EZ Prints and you get the option to use auto-enhancing or your own true color adjustments. It’s not on par with the likes of , but it beats the heck out of Wal-Mart.
If you think more polished look of SmugMug is your cup of tea, you can use to save 20% on whatever account you sign up for.
38. – Another popular photo printer like Kodak and Shutterfly. Snapfish offers unlimited hosted options and a variety of print options. You can still send film in to get developed at Snapfish too.
39. – A place to make cool stuff with your photos.
Tabblo was started in 2005 with a simple observation:
There is no good online application for putting together photos and words with styled templates that can be customized by the author for the purpose of telling a story.
While there are plenty of online photo-sharing sites, and a host of options for writing (keeping a blog), doing both together requires a level of commitment not possessed by many.
Tabblo also has opened up a in hopes of expanding its reach.
The Tabblo Print Toolkit (TPT) is a suite of developer tools for making websites more printable. With our first release you will be able to re-format a web page into printable templates through calls to our templating engine.
40. – Yep, you can upload photos to Walgreens.com. .12 prints and limited sharing options. Not that you would, but you could.
41. – Seems like a decent photo hosting and sharing site with both free and premium accounts. The free account gives you 1000 photos plus 100 more for each month of membership. Premium accounts ups the ante to 5000 photos plus 500 more for each month of membership. You can also download the Webshots Desktop software:
Webshots Desktop is a state-of-the-art photo-management application that provides tools for managing photo albums and sharing images online. With the Webshots Desktop, you can:
- Upload photos from a digital camera to your Webshots albums with one click.
- Track and view the photo albums of you friends and family.
- Alerts when favorite members have uploaded and shared new images.
- Alerts when new professional photos are available in Pro Shots.
- Offers wallpaper and slideshow functionality.
- Bonus Webshots Toolbar lets you search Webshots from your browser (IE only).
42. – Buy prints for .06 for a 4×6″ print. Get unlimited storage – forever. Public sharing with your custom domain, like YourName.winkflash.com. Sounds good.
43. – Where pros go to share their photos. Zenfolio is a hosting service for photo galleries. You can upload and elegantly share an unlimited number of photos using simple and intuitive tools. Prices range from to 0 per year. Reminds me of SmugMug in functionality. Uses EZ Photo (same as SmugMug) and MPix for printing. Check out a .
44. -Reminds me a lot of Flickr. It has many of the same photo sharing features, like SmartSets (think Flickr sets, but smarter) and . Additionally, with Zooomr you get unlimited bandwidth, file storage and uploading and . . . it’s all free. One thing Zooomr does that Flickr doesn’t is the . Basically, Zipline allows you to keep in touch with what your contacts are doing, as they’re doing it. Uploading is also simpler with Zooomr. The interface is as intuitive as a Mac and you get great and simple visual feedback on your uploads, file by file.
You can also get a pro account with Zooomr. While you can’t do any better than unlimited for your photo sharing options, you’ll get some from Zooomr’s social aspects.
Zooomr also has a more liberal stance on issues than we’ve seen in the past at Flickr:
- Data that can identify individual users should not be hosted in Internet restricting countries, where political speech can be treated as a crime by the legal system.
- The company will not engage in pro-active censorship.
- The company will use all legal means to resist demands for censorship. The company will only comply with such demands if required to do so through legally binding procedures.
- Users will be clearly informed when the company has acceded to legally binding government requests to filter or otherwise censor content that the user is trying to access.
- Users should be informed about the company’s data retention practices, and the ways in which their data is shared with third parties.
- The company will document all cases where legally-binding censorship requests have been complied with, and that information will be publicly available.
If Zooomr looks like your thing, when you join.
45. – Unlimited storage. No ads. Beautiful interface. One year memberships start at .95.
Did I miss something? Do you love (or hate) some of these sites? Fire away in the comments!
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