Edit request: Shane Balkowitsch: proposed rewrite, change log
editPurpose. This request proposes an update, re-sourcing, and reorganization per WP:NPOV, WP:V, WP:RS, WP:BLP, and MOS:LAYOUT. It replaces dead, self-published, and primary references with independent bylined coverage and archive links, corrects a unit error in the plate count, converts the bulleted Recognition list to prose, and consolidates the Thunberg material now scattered across three sections. Nothing is written to promote the subject; all critical material (vandalism threats, boycotts, the cancelled mural) is retained. Each change is documented below for individual approval.
| # | Current text (X) | Proposed text (Y) | Reason and citation (Z) |
|---|---|---|---|
| 1 |
Infobox: caption = Self Portrait, a wet plate collodion photograph of Balkowitsch. / image_size = 250px / birth_place = Bismarck, North Dakota / occupation = Wet plate photographer, and founder of Balkowitsch Enterprises |
Infobox: caption = Self Portrait, June 21, 2013 / image_size removed / birth_place = Bismarck, North Dakota, US / occupation = Photographer |
Simplifies per MOS:INFOBOX; founder role covered in Career. Note: confirm the June 21, 2013 plate date against the Commons file page. |
| 2 |
Balkowitsch was given the name "Maa'ishda tehxixi Agu'agshi" ("Shadow Catcher") by Calvin Grinnell of the Hidatsa-Mandan-Arikara Nation on October 28, 2018. The subject of his photos is the human condition. Since 2012 he has photographed over 5,335 individuals, including various celebrities and historical figures. Balkowitsch is a self-taught photographer. |
The subject of his photos is the human condition, focusing on portraiture. Balkowitsch is a self-taught photographer. Since 2012 he has produced over 5,335 plates, including images of Native Americans, celebrities, and historical figures. [Shadow Catcher naming moved to Personal life, row 17.] |
Lead cleanup per MOS:LEADREL. Corrects the unit: Native News Online says 5,335 plates, not individuals (the sitter count in the Native series is 862), which also resolves the contradiction with the old Career claim of "over 2,000 plates." Drops a dead KXNet link and the onphotography.me blog. Native News Online (Rickert, March 30, 2025); Petapixel (March 5, 2015); AI-AP (Dobbins, Aug 24, 2018). Note: NNO ties 5,335 to the Indigenous series specifically; if the reviewer presses, re-anchor the figure to the series or soften to "thousands of plates." |
| 3 |
Prior to beginning his career as a photographer, Balkowitsch founded Balkowitsch Enterprises, Inc. in 1998. He retired and sold the company in June 2023. |
Prior to beginning his career as a photographer, Balkowitsch trained as a nurse at Medcenter One College of Nursing. He worked as an oncology nurse for Medcenter One Health Systems. After he began helping his mother to sell collectibles online, the two co-founded Balkowitsch Enterprises, Inc., an online retailer of housewares and health products. Balkowitsch left his nursing career as the company grew into a multimillion-dollar enterprise. After he took up photography, he used sales from this business to fund his art, and operated a studio space in its warehouse. He retired from sales and sold the company in June 2023. |
Adds the sourced pre-photography biography. Bismarck Tribune (March 11, 2001 and Dec 14, 2003, clips; Johnson, Nov 25, 2013); InForum (Huebner, Aug 16, 2016); Yes! Magazine (Keeler, June 14, 2017); Bis-Man Inc (July 20, 2022); Canvas Rebel (Jan 22, 2024). Notes: the 1998 founding year is dropped rather than re-sourced; verify the Medcenter One Health Systems link resolves. |
| 4 |
In 2012, Balkowitsch began researching the process of wet plate photography after reading a manual on the subject by tintype photographer John Coffer. With little experience in photography, Balkowitsch experimented with the process and took his first successful photo the same year. Since then he has produced over 2,000 plates and his work has appeared in numerous publications. He holds demonstrations in North Dakota with the use of a portable darkroom. |
Balkowitsch began researching the process of wet plate photography after seeing a wet plate image of a motorcycle online. He contacted the photographer, who told him that "there is no way a non-photographer could figure this out". With little experience in photography, Balkowitsch learned by reading the Doer's Guide on the subject by photographer John Coffer and through trial and error, taking his first successful photo (of his brother Chad) less than two months later. The following year, he was selected for a yearlong traveling art exhibition by the North Dakota Art Gallery Association. |
Corrects the origin sequence per the sources and adds the 2013 exhibition; the superseded plate count and demonstrations sentence go. Jamestown Sun (Olson, Jan 15, 2015, archived); HPR (Nov 18, 2015); InForum (Huebner); Mandan News (White, July 24, 2014, archived); Vice (Pangburn, March 6, 2017); Canvas Rebel (Oct 3, 2024); Bismarck Tribune (Johnson). Note: the quote must match HPR exactly. |
| 5 |
In 2018 Balkowitch opened a new photography studio in Bismarck, North Dakota. The studio took two years to plan and eight months to construct. According to Balkowitch, Nostalgic Glass is the first natural light wet plate studio built from the ground up in North America in over 100 years. |
In 2018 he opened a new photography studio in Bismarck, North Dakota. The 1,800 sq ft studio took two years to plan and eight months to construct. According to Balkowitsch, the Nostalgic Glass Wet Plate Studio is the first natural light wet plate studio built in the US in over 100 years. |
Moves the studio from Projects into Career, fixes two "Balkowitch" misspellings, adds square footage. Don't Take Pictures (Kiernan, March 25, 2019); Canvas Rebel (Oct 3, 2024). Note: the superlative narrows from "North America ... from the ground up" to "in the US"; both are the subject's own attributed claim, and the US wording matches the 2024 source. |
| 6 |
(no counterpart in the current article; new material, three passages) |
(a) Balkowitsch has also taught photography at Bismarck State College and hosted apprentices in his studio. (b) Balkowitsch's 2016 work Death by Oil features Ojibwe writer and musician Darren Thompson with a noose around his neck and oil dripping down his body. The piece references both the Standing Rock protests and the historical Dakota 38, a mass execution of Native American prisoners following the Dakota War of 1862. Death by Oil was acquired by the Heard Museum in Arizona for its permanent collection. (c) In 2017, Balkowitsch staged The Capsizing of Humanity, based on the 1819 oil painting The Raft of the Medusa by Théodore Géricault. The work involved 40 volunteers, including Balkowitsch's brother and two of his children. |
All new, sourced material: (a) teaching, in Career, per Dickinson Press (Feddeler, Feb 3, 2026) and Lakota Times (White, Oct 23, 2014); (b) a major work with a museum acquisition, per Yes! Magazine (Keeler, June 14, 2017), HPR (Dec 18, 2016), Buffalo's Fire (Bull, Feb 19, 2026); (c) the 2017 collaboration, per HPR (July 19, 2017). Note: the HPR ref title in (b) contains a transcription typo ("rembembering"); the headline reads "Remembering". |
| 7 |
Balkowitsch uses an Italian made Alessandro Gibellini 8x10" folding camera in the studio. He uses Carl Zeiss Tessar 300mm and 360mm lenses. Since 2012 studio sessions required 4500 watts of continuous light. For outdoor sessions the sunlight is enhanced with the help of reflectors. In 2018 Balkowitsch opened a new photography studio in Bismarck, North Dakota where natural light is exclusively used in studio. |
Balkowitsch specializes in wet plate (collodion) photography, a historic method that was widely used in the second half of the 19th century. As of 2024 fewer than 1000 photographers worldwide use this technique. He creates ambrotypes using silver on black glass. The technique is "difficult, time-consuming, costly, [and] unpredictable", but produces plates that are enduring and of very high resolution. He contrasts this with digital photography, which he sees as "devaluing the meaning of images". He has also experimented with Van Dyke brown printing, cyanotype, and platinum printing. He started photography with a 5x7 wood wet plate camera. He later adopted a custom Italian-made Alessandro Gibellini 8x10" folding camera in the studio, with Carl Zeiss Tessar 300mm and 360mm lenses. Balkowitsch's photography studio uses exclusively natural light. Balkowitsch's works are primarily portraits, which he feels best represent the human condition. His ouevre covers a variety of subjects, but fantasy and mythology are of particular interest. He cites William Mortensen and Joel-Peter Witkin as influences. |
Retitles "Techniques" as "Style and technique" and expands it: process context and rarity, the artist's attributed self-description, alternative processes, equipment provenance, subject matter, and influences (Mortensen relocated from the Persecution section). Retires the stale 4,500-watt lighting detail, which contradicted the natural-light sentence beside it. Native News Online; Canvas Rebel (Jan 2024); HPR (Nov 2015); Vice (Pangburn); On Portraits (Comeau, archived); Petapixel; Don't Take Pictures (Kiernan). Fixes needed: stray space in "19th century. <ref"; "ouevre" should be "oeuvre". |
| 8 |
The Mask Series was started by Balkowitsch in 2012 after taking a very simple collodion image of a vintage Czech M10 gas mask and a wilting flower. He called the plate 'The Last Flower'. The goal for this series is to raise awareness of the historic wet plate technique as an art form. This will allow artists that normally do not have a chance to share their work to participate in a collaborated effort with other artists from around the world. Once an artist decides to participate and take up the challenge of creating an original work, a gas mask is sent to them. The artist then produces a wet plate collodion image of any size or type that works best for them. The Series is expected to be completed in 2017. |
The Mask Series was started by Balkowitsch in 2012 after taking a collodion image of a vintage Czech M10 gas mask and a wilting flower. He called the plate 'The Last Flower'. The goal for this series was to raise awareness of the historic wet plate technique as an art form, highlighting collaborations with other artists. Once an artist decided to participate, a gas mask is sent to them. The artist then produced a wet plate collodion image of any size or type, which was shared in an online gallery. According to Balkowitsch, this was "the largest international wet plate collaboration since Frederick Scott Archer first invented the process. |
Past tense; removes the stale "expected to be completed in 2017," the project's own site, and a hobby blog; adds an attributed superlative. Petapixel (Zhang, April 5, 2013); Alternative Photography (Dec 4, 2013). Fix: the closing quotation mark after "invented the process" is missing. |
| 9 |
Northern Plains Native Americans Series is an ongoing wet plate project inspired by the works of 19th Century wet plate photographers Mathew Brady, Edward S. Curtis, and Orlando Scott Goff. The first wet plate in the series is "Eternal Field," a 2014 wet plate photograph of Ernie Lapointe, the Great Grandson of Sitting Bull. The goal of the series is to capture one-thousand 8x10" black glass ambrotypes of Native American communities and individuals. On November 3, 2017, the Bismarck Art Galleries Association hosted the reception of Balkowitsch's photograph series ... In 2019 Balkowitsch published "Northern Plains Native Americans: A Wet Plate Perspective," the first volume of a multi-volume set ... On June 23, 2019 U.S. Rep. Debra Haaland ... appeared as guest speaker at the photographer's book signing event in Bismarck. In 2021 Balkowitsch's plates of U.S. Rep. Debra Haaland appeared in the Fall 2021 issue of Sierra Magazine, including the cover image. |
Northern Plains Native Americans is an ongoing wet plate project that seeks to produce portraits of 1000 Native Americans. It is inspired by the works of photographers Edward S. Curtis and Orlando Scott Goff. The first plate in the series is "Eternal Field," a 2014 wet plate photograph of Ernie Lapointe, the great-grandson of Sitting Bull. In 2019 Balkowitsch published the first volume of an anticipated four-volume set that includes photographs from this series, with each volume to include 50 photos from every 250 taken. Sales of the books were dedicated to the American Indian College Fund. On June 23, 2019, U.S. Rep. Debra Haaland, one of the first Native American women elected to the U.S. Congress, was a guest speaker at the photographer's book signing event at the North Dakota Heritage Center and State Museum. In 2021 Balkowitsch's plates of Haaland appeared in the Fall 2021 issue of Sierra Magazine, including the cover image. |
Leads with the 1,000-portrait goal, adds the four-volume plan, the College Fund donation, and the venue; drops the routine 2017 reception. Canvas Rebel; My Modern Met (Stewart, July 4, 2019); SHSND Digital Horizons; Bismarck Tribune (Dura, June 19, 2019); Minot Daily News (Ogden, June 16, 2019); Sierra (Monet, Fall 2021); HPR (Hornung, Aug 15, 2018). Notes: restore the Orlando Scott Goff link (his article exists) and decide whether dropping Mathew Brady is intended; confirm the College Fund claim is in Hornung; verify the caption link Debra Anne Haaland redirects. |
| 10 |
In 2016 The Smithsonian Institution acquired from Balkowitch his wet plate portrait photograph of boxing champion Evander Holyfield. Indexing of the portrait was finalized by the Smithsonian in 2018. The portrait is now part of the National Portrait Gallery, object number NPG.2017.3 |
In February 2015, Balkowitsch photographed Evander Holyfield, four-time world heavyweight boxing champion. Balkowitsch titled the portrait The Real Deal. In 2016 the Smithsonian Institution acquired Balkowitsch's wet plate portrait photograph of Holyfield in 2016. The portrait was added to the National Portrait Gallery. |
Converts a Recognition bullet into a project section with the sitting date and title. KFYR (Evans, Oct 21, 2016); KFGO (Harris, Oct 20, 2016, archived); NPG object page (archived). Fix: "In 2016 ... in 2016" repeats the year; delete one. The NPG object number is dropped; the archived page carries it. |
| 11 |
In 2016 Balkowitsch set out to create an homage to the famous 1887 New York photo by Jacob Riis called the "Bandits Roost." ... The final glass plate, titled, "Murderer's Gulch" is being curated by the Historical Society of North Dakota in their permanent archive. |
In 2016 Balkowitsch set out to create an homage to the famous 1887 New York photo by Jacob Riis called the "Bandit's Roost." The recreation project took place in East Alley near 423 E Broadway Ave in Bismarck, North Dakota, on June 11. About 100 individuals assisted in the project volunteering hay, wood, props, costumes, and as actors for the image. The final image was titled Murderer's Gulch, a historic nickname for Bismarck's nearby Fourth Street. A plate from this project was donated to the North Dakota Heritage Center "as a visual aid for those learning about the history of North Dakota". Prints were also sold to benefit the family of a local child diagnosed with advanced cancer. |
Corrects the Riis title, adds the nickname origin, the Heritage Center donation, and the charity prints; dead links swapped for archived bylined versions. Midwestern Scout (White, July 19, 2016, archived); KXNews (Smith, June 12, 2016, archived); KFGO (Harris, June 30, 2016); KFYR (Salling, June 11, 2016; Dickert, Aug 5, 2016). Notes: X's "curated in their permanent archive" and Y's "donated as a visual aid" are related but distinct claims, so confirm the KFYR wording; lowercase the "<Ref>" tag. |
| 12 |
On August 15, 2016, Balkowitsch travelled to Cannon Ball, ND, to capture images of the Dakota Access Pipeline protests. ... The 2018 documentary film Peacekeeper also includes and credits wet plate images taken by Balkowitch during the Dakota Access Pipeline protests. In 2019 Balkowitschs' work No Spiritual Surrender was awarded Best Photograph by the North Dakota Human Rights Art Festival. |
On August 15, 2016, Balkowitsch travelled to Cannon Ball, North Dakota, to capture images of the Dakota Access Pipeline protests against a planned pipeline to run less than one mile from the Standing Rock Indian Reservation of North Dakota and South Dakota. One of only a few photographers allowed at the scene of the protest, Balkowitsch captured images of the protesting encampment. The protest included many people Balkowitsch met during work on a photography project for the Historical Society of North Dakota, Northern Plains Native Americans: A Modern Wet Plate Perspective. The 2017 documentary film Awake: A Dream from Standing Rock by director Josh Fox features a wet plate by Balkowitsch of Floris White Bull who also appears in the film. In 2019 No Spiritual Surrender was awarded Best Photograph by the North Dakota Human Rights Art Festival. |
Tightens to the sourced core; adds a peer-reviewed Jump Cut essay; cuts Peacekeeper, which rested only on a YouTube link. HPR (Hagen, Aug 24, 2016); Vice (Pangburn); Midwestern Scout (White, Aug 31, 2016); Jump Cut no. 59 (Roehl, 2019); human-family.org (March 13, 2019). Note: the Jump Cut author is Emily Roehl, verified; "Rohel" in the URL is the journal's own slug misspelling, so the cite is correct. |
| 13 |
A performance art event performed on August 27, 2016, The Persecution of Complete Strangers is a modern expression of a current event influenced by past images to visually express the continued xenophobia and resulting crimes against perceived enemies. The images are inspired by William Mortensen. The exhibit was created, directed, and photographed by Balkowitsch and dedicated to the memory of Hande Kader ... It is part of the global outcry and protests against the hate, mistreatment, and irrational fear of transgender people. |
A performance art event on August 27, 2016, The Persecution of Complete Strangers was created, directed, and photographed by Balkowitsch and dedicated to the memory of Hande Kader, a Turkish transgender woman whose body was found raped, mutilated, and burned by the roadside on August 12, 2016. |
Condenses to the event and dedication; removes unsourced editorializing; Mortensen moves to the influences paragraph (row 7). The Guardian (Shafak, Aug 23, 2016); Midwestern Scout (White). |
| 14 |
Liberty Trudges Through Injustice, is a wet plate image created by Balkowitsch resulting from a collaboration event that took place in Bismarck, North Dakota on July 21, 2018. The collaboration was directed by Balkowitsch and inspired by the painting Liberty Leading the People by Eugène Delacroix. [From Controversy:] The mural Liberty Trudges Through Injustice ... was vandalized on February 13, 2020. |
Liberty Trudges Through Injustice is a wet plate image created by Balkowitsch resulting from a collaboration event in Bismarck on July 21, 2018. The collaboration, inspired by the painting Liberty Leading the People by Eugène Delacroix, featured actors carrying period weaponry lent by the Lewis and Clark Interpretive Center. A 7 ft mural version of Liberty Trudges Through Injustice was put up in Bismarck in early 2019, but was vandalized in 2020. |
Adds the weaponry detail and folds the mural and its vandalism in from the old Controversy section. HPR (Hornung, Aug 15, 2018); KFYR (Burbank, May 5, 2019); KXNews (Cooper, May 5, 2019); Dickinson Press (Hagen, Feb 13, 2020). |
| 15 |
On July 20, 2019, Balkowitsch brought together more than 45 artists to recreate the 18th century painting 'The Olympians' by artist Nicolas-Andre Monsiau. The project took Balkowitsch more than 8 months to plan and is his largest collaboration project to date. |
On July 20, 2019, Balkowitsch led a large-scale collaboration to recreate the 18th-century painting The Olympians by artist Nicolas-Andre Monsiau. The work involved over 45 North Dakota artists portraying Mount Olympus of Greek mythology. |
Adds the subject; drops "largest collaboration to date," superseded by the 2021 work. KFYR (Burbank, July 20, 2019); Post Bulletin (Olsen, July 21, 2021, clip); HPR (Hornung). |
| 16 |
[Recognition bullets:] On December 1, 2019, a photo of Swedish climate activist Greta Thunberg ... was archived at the Library of Congress ... After receiving threats of vandalism in February 2020 ... communities across the globe responded ... [Controversy section:] In February 2020 a seven-foot mural of the work Standing For Us All ... threats of vandalism and boycotts from the community followed ... a former Fargo, North Dakota city commissioner spearheaded plans to bring the mural to the eastern North Dakota city. The mural of Thunberg will go on permanent display in downtown Fargo in March 2020. Standing for Us All was featured in National Geographic Magazine on October 28, 2020. |
Standing For Us All is an image showing Swedish climate activist Greta Thunberg, taken by Balkowitsch during Thunberg's visit to Standing Rock Indian Reservation in October 2019. It was one of two images he took in a brief scheduled portrait session with Thunberg. The image went viral after Thunberg posted it to her Twitter account, receiving over 2 million likes. Standing for Us All was featured in National Geographic Magazine on October 28, 2020, and was covered by over 75 other media sources. It was also added to the collection of the Library of Congress. In February 2020 Balkowitsch planned to install a seven-foot mural of Standing For Us All on the side of a bakery business in Bismarck, North Dakota. A Bismarck TV station reported on the planned mural and threats of vandalism and boycotts from the community followed, causing Balkowitsch to cancel the installation. Communities across the globe responded by displaying and projecting the image on various structures. Balkowitsch also funded an installation at Sitting Bull College in Standing Rock. A former city comissioner from Fargo, North Dakota, spearheaded plans to bring the mural to that city. The installation in Fargo was the target of vandalism, but was subsequently restored. |
Consolidates material split across two Recognition bullets and the Controversy section into one chronological account, ending a heading that framed threats against the artist's work as his "controversy" (WP:CSECTION). Washington Post (Armus, Feb 13, 2020); My Modern Met (Stewart, Oct 18, 2019); Analog Forever (Behlen, Dec 21, 2019); InForum (Hagen, Feb 21, 2020); Pioneer Press/AP (Feb 13, 2020); National Geographic (Whang, Oct 28, 2020, archived); Pioneer Press (Lamb, April 12, 2022). Fixes: "comissioner"; stray comma in "from Fargo, North Dakota, spearheaded". Note: the LOC claim now rests on the Washington Post and the Dec 1, 2019 archiving date is dropped; confirm the Post mentions the LOC or retain the Bismarck Tribune (Sisk, Dec 2019) ref. |
| 17 |
On July 17, 2021, more than 100 collaborators came together at the University of Mary's Marian Grotto in Bismarck, North Dakota to create one of the largest wet-plate photographic collaborations in history. The final image, called 'No Vaccine for Death' was inspired by the painting 'Triumph of Death' by Pieter Bruegel the Elder, circa 1562. [Plus an uncaptioned-in-text image of Jordan Peterson.] |
On July 17, 2021, Balkowitsch and more than 100 collaborators created an image based on the painting Triumph of Death by Pieter Bruegel the Elder (c. 1562). Inspired by the COVID-19 pandemic, the piece "is likely the largest wet-plate photographic collaboration in history". This was the fifth large-scale collaboration between Balkowitsch and Mary College professor Marek Dojs, and was staged in the Marian Grotto on the college campus. |
Replaces "one of the largest" with the newspaper's quoted assessment, adds the pandemic framing and the Dojs partnership, removes the tangential Peterson image. Post Bulletin (Olsen, July 21, 2021, clip); Photomuse Journal (Ascherman, Aug 4, 2021). Fixes: attribute the quote in text ("which the Post Bulletin described as...") to keep it out of Wikipedia's voice; the school is the University of Mary ("Mary College" was its pre-1986 name). |
| 18 |
[Section titled Clemency.] ... He was granted a special pass on March 26 to take part in a photography session with Balkowitsch. The resulting photograph, titled "Clemency", was selected by the Library of Congress to be part of its collection on March 28. |
[Section retitled "Leonard Peltier".] Native American activist Leonard Peltier, who was convicted in the 1975 murders of two FBI agents, had his sentence commuted on January 19, 2025, to indefinite house arrest by President Joe Biden shortly before Biden left office. He was granted a special pass on March 26, 2025, to be photographed by Balkowitsch. A plate of Peltier, titled Clemency, was selected for the collection of the Library of Congress. The Smithsonian Institute requested another plate from the same session, titled Doing Time. Plates from the session were also sent to the state historical societies of North and South Dakota, the Heard Museum in Arizona, and the Pitt Rivers Museum in Oxford, UK. |
Retitles for the sitter, adds Doing Time and the institutional distribution, and corrects a mislabeled cite (the NBC story was credited to Native News Online). NBC News (Ortiz and Arkin, Jan 20, 2025); Native News Online (Rickert, March 30, 2025); KVRR (Welker, March 31, 2025); HPR (Hornung, April 2, 2025). Fix: "Smithsonian Institute" should read "Smithsonian Institution". |
| 19 |
[The Shadow Catcher naming appears in the lead and as a Recognition bullet; no other personal-life content exists.] |
[New Personal life section.] Balkowitsch was born on January 24, 1969, in Bismarck, North Dakota, to Sharon and Quentin Balkowitsch. He is of German descent. He married Bonnie Heidrich in 2001. They have four children: Abby, Greyson, Alyvia, and Mahliya. His daughter Abby has also pursued wet-plate photography. Balkowitsch was given the Hidatsa name "Maa'ishda tehxixi Agu'agshi" ("Shadow Catcher") by Calvin Grinnell of the Mandan, Hidatsa, and Arikara Nation in October 2018. He describes this as "the largest single honor of my life. They are no longer my friends, but they now come into my studio as my brothers and sisters. I will be damned if I will let them down". |
Standard biography section per MOS:BIO; the naming moves here with a corrected tribal link and an attributed quote. USD Archives finding aid; Bismarck Tribune (March 11, 2001, clip); HPR (Hagen, March 6, 2019); Cowboys & Indians (Nixon, July 23, 2024); BSC Magazine (Voskuil, Spring 2016); HPR (Aug 15, 2018); Analog Forever (Behlen). Decision needed: naming all four children strains WP:BLPNAME. Abby has standalone coverage; the other three are sourced only to an alumni magazine. Safer: "They have four children; his daughter Abby has also pursued wet-plate photography." The naming date loosens from October 28 to October 2018, matching the stronger sources. |
| 20 |
[Bulleted Recognition list: SHSND curation; "featured in various art exhibits"; Rising Star Award; June 23, 2019 honoring; documentary Balkowitsch with release date and IMDb ref.] |
As of 2024 Balkowitsch's works are parts of the collections of over 100 museums, including the US National Portrait Gallery, the Musee d'Archeologie Nationale in France, and the Field Museum of Natural History. Wet plates by Balkowitsch have been permanently curated by the State Historical Society of North Dakota. His work has been exhibited at galleries across North Dakota. In 2016 Balkowitsch received the Rising Star Award from Bismarck State College. On June 23, 2019, Balkowitsch was honored by state officials from North and South Dakota and New Mexico for recreating and preserving Native American culture through wet plate photos. In November 2019, the documentary film Balkowitsch debuted at the North Dakota Human Rights Film Festival. The film is directed by Greg DeSaye and Chelsy Ciavarella and examines the life and work of Shane Balkowitsch. |
Converts bullets to prose per MOS:USEPROSE, adds the museum summary, drops the IMDb ref and release-date sentence. Dickinson Press (Feddeler, Feb 3, 2026); Canvas Rebel; USD Archives; SHSND (archived); On Portraits (archived); BSC Magazine; KFYR (Burbank, June 23, 2019); InForum (Rausch); human-family.org; Pioneer Press (Lamb). Must fix: the first Dickinson Press cite is malformed (citoid scraped page furniture into the author fields: "last=Reporter |first=The |last2=Reported ..."); replace with a named ref to the Feddeler cite in Career. Also reconcile As of 2024[update] with the Feb 2026 source, and verify National Archaeological Museum, France resolves (the article sits at Musée d'Archéologie Nationale). |
| 21 |
Books list with publisher locations; Vol. 3 ISBN unformatted; Vol. 1 carries a cite-book ref whose URL points to an unrelated Bismarck Tribune article. |
Books list with locations trimmed; Vol. 3 ISBN templated; Vol. 1 sourced to the HPR review. |
Citation cleanup. HPR (Hagen, June 24, 2019). |
| 22 |
Sections and content removed: the Nokota Horses section; the Rourke Art Museum exhibit section; the Peacekeeper sentence; the See also list (Albumen print, Calotype, Daguerreotype); the Controversy heading; the NPG object number; the Dec 1, 2019 LOC archiving date; refs to the subject's own website, Zenfolio blog, YouTube, IMDb, dpreview, powwows.com, forsomethingmore.com, personal blogs, and a usurped Consequence Magazine link. |
(removed) |
The Nokota and Rourke sections were exhibit listings largely about other subjects, sourced to event announcements; Peacekeeper rested on YouTube; the See also entries are generic process links already served by the collodion wikilink; the Controversy heading violated WP:CSECTION and its content survives in rows 14 and 16. Nothing unflattering to the subject is removed; the vandalism, threats, and boycott episodes are all retained and relocated. |
| 23 |
[Structure:] Lead → Career → Techniques → Recognition (bullets) → Projects and exhibits (11 subsections) → Controversy → See also → Books |
[Structure:] Lead → Career → Style and technique → Projects and exhibits (12 subsections, chronological) → Personal life → Recognition (prose) → Books |
Reorganization per MOS:LAYOUT and MOS:BIO: Recognition moves below the body and converts to prose, Nostalgic Glass folds into Career, project subsections run chronologically with concise titles, a Personal life section is added, Controversy and See also are eliminated, and references gain bylines, dates, and archive links throughout. |