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Editor's note: Stewart Brand is co-founder and president of The Long Now Foundation and creator of the Whole Earth Catalog. Thanks to new developments in genetic technology, that DNA may eventually bring the animals back to life. One will describe species that are doing fine as well as species that were in trouble and are now doing better, thanks to effective efforts to help them. Techniques being developed for de-extinction will also be directly applicable to living species that are close to extinction.
For instance, the transmissible cancer on the faces of Tasmanian devils is thought to be caused by a single gene.
The passenger pigeon was a keystone species for the whole eastern deciduous forest, from the Mississippi to the Atlantic, from the Deep South clear up into Canada. Such animals can also serve as icons, flagship species inspiring the protection of a whole region. The current generation of children will experience the return of some remarkable creatures in their lifetime. Best Adventures feature with 50 new trips, bringing our grand total to 100 iconic escapes (see the map, state-by-state list, and photo gallery, too). We have the largest print-on-demand fulfillment network in the world with 15 manufacturing centers in five different countries.
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T-Enami.org - A Welcome, all who like old Photos of Japan !YOU ARE ONE OF OVER 100,000 VISITORS TO THIS SITE. Check out our coverage on species revival, the topic of a Friday TEDx talk at National Geographic. Only species whose DNA is too old to be recovered, such as dinosaurs, are the ones to consider totally extinct, bodily and genetically. The same reasons will apply to species brought back from extinction: to preserve biodiversity, to restore diminished ecosystems, to advance the science of preventing extinctions, and to undo harm that humans have caused in the past.
That something as irreversible and final as extinction might be reversed is a stunning realization. The other list will describe protected wild lands in the world that are particularly well managed. Close examination of the genomes of extinct species can tell us much about what made them vulnerable in the first place.


In their absence, the grasslands they helped sustain were replaced by species-poor tundra and boreal forest. The return of the marvelous marsupial wolf called the thylacine (or Tasmanian tiger), extinct since 1936, would ensure better protection for its old habitat.
A species with a genetic Achilles' heel might be totally cured with an adjustment introduced through cloning. The cancer would disappear in the wild soon after, because the immune animals won't transmit it, and animals with the immunity will out-reproduce the susceptible until the entire population is immune.
Their return to the north would bring back carbon-fixing grass and reduce greenhouse-gas-releasing tundra. They will drag their parents to zoos to see the woolly mammoth and growing populations of captive-bred passenger pigeons, ivory-billed woodpeckers, Carolina parakeets, Eskimo curlews, great auks, Labrador ducks, and maybe even dodoes. Just the thought of mammoths and passenger pigeons alive again invokes the awe and wonder that drives all conservation at its deepest level. Similarly, the European aurochs (extinct since 1627) helped to keep forests across all of Europe and Asia mixed with biodiverse meadows and grasslands.
OTHERWISE, BEGIN SCROLLING DOWN FOR A TREASURE-TROVE OF RARE AND BEAUTIFUL PHOTOS OF OLD JAPAN. ENAMI WEARING SAMURAI ARMOR, TAKING A REST BETWEEN POSES IN HIS YOKOHAMA STUDIO, CA.1898-1900. ENAMI, OTHER WELL-KNOWN JAPANESE PHOTOGRAPHERS WHO OPERATED DURING THE MEIJI-ERA (1868-1912) ARE MENTIONED THROUGHOUT THE COMMENTS.I HOPE YOU FIND THE STORY AND DATA BOTH INTERESTING AND HELPFUL. FOR THOSE WHO ARE HERE PRIMARILY TO LOOK AT THE IMAGES, I HOPE THAT YOU EXPERIENCE SOME ENJOYMENT IN GAZING AT A FEW OF ENAMI'S"LOST PICTURES" OF OLD JAPAN. THOSE THAT LIVE FOR DISCOVERING NEW DATA AND CONNECTING THE DOTS WILL NO DOUBT FIND SOME EYE-OPENING REVELATIONS HERE.A OF COURSE, WE ALL LOVE KIMBEI KUSAKABE AND THE REST OF THOSE ILLUSTRIOUS JAPANESE PIONEERS OF PHOTOGRAPHY WHO GOT THEIR START LONG BEFORE ENAMI OPENED HIS OWN MEIJI-ERA STUDIO.
THEIR BEST WORK IS ENOUGH TO TAKE YOUR BREATH AWAY.HOWEVER, ENAMI ALSO HAD HIS FANS AND FRIENDS, BOTH AS A PERSON AND AS A PHOTOGRAPHER.
AS YOU SCROLL DOWN THESE PAGES, FOR A FEW MOMENTS YOU MAY STEP INTO ENAMI'S SHOES, AND TAKE A PEAK THROUGH HIS LENS.A LIKE SO MANY OTHERS --- SOME NOW FAMOUS, BUT MOST BEING FORGOTTEN --- ENAMI DEDICATED HIS LIFE TO CAPTURING, AS BOTH ART AND DOCUMENT,A WORLD THAT WAS QUICKLY VANISHING BEFORE HIS EYES. AS THIS SITE IS A PERSONAL HOMAGE TO ENAMI, YOU WILL FIND SOME AMATEUR ELEMENTS, AND THE OCCASIONAL PITFALL.
AT ALL TIMES, PLEASE "EAT THE MEAT, AND SPIT OUT THE BONES" WHILE DIGGING FOR VISUAL TREASURE.DISCOVERING THE OCCASIONAL GEM OF A PICTURE, OR ODD BIT OF INFORMATION, WILL HOPEFULLY MAKE THE SCROLLING WELL WORTH IT.
The general wording seen above was fairly common to all photographic self-promotion during the Meiji-era, and actually contains less specifics than some of his studio ads which he placed in various guide books of the time.


OGAWA, who was actually a year younger than Enami, was still his "elder" in terms of experience. It was photographed by Enami's friendly competitor and neighbor Kozaburo Tamamura, whose studio was located at No.2 Benten Street. It would be built in 1894 just down the street on the right hand side, and appear in endless views and postcards as the most recognizable landmark of Benten Street. Other images of Enami's studio -- both interior and exterior views -- are shown farther down on this page.A  While offering many of the same services and productions as his contemporaries, he also engaged in other activities that made him unique. Further, while no photographer did "everything", Enami worked and published in more processes and formats than any other Japanese photographer of his time. A He was one of only a few photographers born during Japan's old Edo-Bakumatsu period, who went on to photograph right through to the Showa period of Emperor Hirohito.Enami was also one of the few to experience, and then successfully outgrow his roots as a traditional maker of the classic, large-format "Yokohama Shashin" albums. While successfully embracing the smaller stereoview and lantern slide formats, he added to that a portfolio of Taisho-era "street photography" that maintained his own unique and artistic content. Enami and Kimbei Kusakabe are now the only two Japanese photographers known to have a surviving list of their commercial 2-D images. While Enami's 2-D portfolio contained a sprinkling of older, public domain images, his 3-D images and slides made from them were wholly his own.A THE 3-D CATALOG "S 26. Girls Looking at Pictures" A Maiko and two Geisha Looking at Stereoviews in Enami's Yokohama Studio. One of over 1000 cataloged 3-D images of old Japan.A THE "CATALOG OF COLORED LANTERN SLIDES AND STEREOSCOPIC VIEWS"A  Not surprisingly, Enami matched his older Catalog of Meiji-era Prints with a separately published catalog of his classic STEREOVIEWS.
In the case of the 3-D Catalog, the lantern-slides were all made directly from one half of the stereoview negatives. The Cover and two sample pages of the Stereoview Catalog are shown just below in the Enami Activity List numbers (6) and (9). ENAMI'S ACTIVITIES and CONTRIBUTIONS TO THE WORLD OF JAPANESE PHOTOGRAPHYA A  For the moment, based on a wide range of primary sources, it is now clear that T.



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