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I’ve photographed hundreds of glowing flowers since 2014 after seeing Oleksandr Holovachov’s work with ultraviolet-induced visible fluorescence (UVIVF) photography.
Each time I do a set of UVIVF photos, it starts with going out under the cover of darkness to snatch unsuspecting flowers growing around the neighborhood. I rarely know what to expect from a flower before I get it back to shoot. Some I think will dazzle end up flopping, and others I am surprised by their colors or light. Every one is a surprise!
In the same way a tee-shirt blue glows under a black light, most organic material glows at least a little with UV stimulation and in all kinds of colors. To make the most of it, I make sure I’m working in the darkest environment I can and use a 365nm light so the camera can’t see the UV light.
Any time the flowers are hit by sunlight, they’re letting off their own glow in response and it’s simply overwhelmed by the sunlight we can see. These photos capture something we always see, but never can observe.
More info: cpburrows.com
Ahead of a series of major events later this year, The Foundation for Deep Ecology and the Population Media Center released a collection that illustrates the devastating effects of out-of-control growth and waste, and it’s breathtaking.
“This is an issue that people care about, and oftentimes it’s just not discussed by mainstream media,” Missie Thurston, director of marketing and communications at the Population Media Center, told Mic.
It’s difficult to always know the impacts of our daily choices, like the real effect of buying a bottled water or an extra TV or laptop. With 220,000 more people on the planet every day, and the average person generating over 4 pounds of waste a day — an almost 60% increase since 1960 — the impact of that growth and change in behavior is rarely seen like this.
Electronic waste, from around the world, is shipped to Accra, Ghana, where locals break apart the electronics for minerals or burn them.
Mexico City, Mexico, one of the most populous cities in the Western Hemisphere.
Los Angeles, California, which is famous for sometimes having more cars than people.
Kern River oil field, California, USA.
Former old-growth forest leveled for reservoir development, Willamette National Forest, Oregon, per the Population Media Center.
Coal power plant, United Kingdom. The tall center structure is a stack from the plant, while the surrounding structures are its cooling towers.
North East Land, Svalbard, Norway, where rising global temperatures are fundamentally changing the ecology.
The world’s largest diamond mine, Russia.
Amazon jungle burns to make room for grazing cattle, Brazil.
Tar sands and open pit mining in an area so vast, it can be seen from space. Alberta, Canada.
Tires discarded in Nevada.
Vancouver Island, Canada.
Industrial agriculture in Almeria, Spain, stretches for miles.
Tar sands, Alberta, Canada.
A man turns away from the smell of the Yellow River in China.
In this series of photographs featuring the delicate details of peacock feathers, photographer Waldo Nell relied on an Olympus BX 53 microscope to take hundreds of individual shots that were combined to create each image seen here. The process, called photo stacking, blends dozens or even hundreds of photos taken at different focal points and then stitches them together to extend the depth of field. At this level of detail the feathers look more like ornate jewelry, thick braids of iridescent necklaces or bracelets, rather than something that grows organically from the wings of a bird.
By day Nell is a software engineer in Port Moody, BC, Canada, but is fascinated by technology, science, and nature, all of which he merges in his photography practice. You can see more of his work on Flickr. (via Reddit)
Source – Thisiscolossal
If you’ve ever wondered how a diving beetle swims through the water or manages to rest just on the surface, the answer is in part because its foot is infinitely more complicated than your own. As seen above, this microscopic image of a male Acilius sulcatus (diving beetle) by photographer Igor Siwanowicz reveals the extraordinary complexity of this aquatic insect’s tiny appendage. This is just one of many examples of Siwanowicz’s work as a neurobiologist at the Howard Hughes Medical Institute’s Janelia Farm Research Campus. His brilliantly colored images show the tree-like structures of moth antennas, the wild details of barnacle legs, and the otherworldly shapes of plant spores. The photos are made with a confocal laser-scanning microscope capable of “seeing” vast amounts of detail beyond what you might capture with a traditional lens-based microscope. You can see much more of his nature photography here. (via Synaptic Stimuli, Wired)
Using fluorescent body paint and ultraviolet light, photographer Mikael Owunna’s latest work aims to transform the black body into “the cosmos and eternal.” The images evoke celestial beings, magical and otherworldly.
But the concept for the project, Infinite Essence, was sparked by frustration and exhaustion.
The 28-year-old Nigerian-Swedish photographer, who was born in Pittsburgh, Pa., and is based there now, says he grew weary of the barrage of violent, dehumanizing imagery of black people he saw in the media.
“Black people dead and dying. Being gunned down by police officers, drowning and washing up on the shores of the Mediterranean, starving and suffering in award-winning photography. The trope of the black body as a site of death is everywhere,” he says in his artist statement.
For Owunna, the final provocation came in 2014: seeing photos of Michael Brown’s body lying in the street after he was killed by Darren Wilson, a white police officer in Ferguson, Mo. The image spread across the media, even appearing on the front page of The New York Times.
“If the majority of images that you see of yourself are negative,” Owunna says, “if people who look like you are dead or dying or captured in a negative light, how do those images enter your body?”
Owunna wanted to counteract the pain of those photos, to create imagery that showed the black body not as a site of death but as a site of magic.
The name of Owunna’s project was inspired by Chinua Achebe’s writing on traditional Igbo spirituality, its supreme deity, Chukwu, and the concept of chi, the spirit guide found in every person: “Is chi an infinitesimal manifestation of Chukwu’s infinite essence given to each of us separately and uniquely, a single ray from the sun’s boundless radiance?” Achebe writes in his essay, “Chi in Igbo Cosmology.”
“Each of our spirits is just one ray of the infinite essence of the sun. And in my photography, [I’m] shooting that UV light, trying to capture that spiritual dimension that we’re all on,” he says. “How can I capture a piece or fragment or a shadow in that land of magic? That’s what I’m grounding the project in and that’s what I’m capturing, the spiritual guide for the individual models.”
For inspiration, Owunna looked back to a painful season from his past. As a teenager, he felt isolated and bullied for coming out as queer at the Ohio boarding school he attended. Fantasy helped him cope.
“I would catapult myself into these lands of magic that would be captured in Japanese anime or video games or fantasy novels,” he says. “So magic, for me, was this world of escape.”
“I went back to the [anime] videos that had inspired me as a child, those videos of magic being formed, and those sparkles coming from the body,” he says. His goal became finding a way to embody the eternal — represented by those sparkles — through photography.
He found the solution in fluorescent body paint, the kind people might use for a black light party. The paint is barely visible in normal light, so Owunna had to figure out how to make it show up in his photos.
An engineering student in college, Owunna used that knowledge to augment a camera flash so that it would transmit only ultraviolet light frequencies. That way, when his subjects are covered with the paint and photographed in darkness, the fluorescent colors are illuminated and made visible by the UV light emitted from the flash.
The models look as if they’re wrapped in stars.
See all of the Images and read the full article at NPR
Many photographers have a dream image they’re dying to capture. Mulled over in their minds for months, or even years, it’s the elusive photograph that they know would be spectacular if only they could achieve it. For Indian wildlife photographer Nitish Madan that dream recently became a reality during a December morning at Ranthambore National Park in northwest India. This former hunting ground of the maharajas is now an enormous tiger conservation center, making it one of the best places for Madan to photograph tigers in the wild.
Madan is a wildlife photographer deeply committed to conservation and does his part to make sure animals are respected as he leads guests on photography tours through India’s national parks. Personally, he has a soft spot for tigers. “I have a strange connection with them,” he tells My Modern Met. “They give me the power to move on. When I see one, I just can’t take my eyes off it. They ooze power and magnetism and are breathtaking to see in the wild. They inspire a sense of fearlessness and majesty. They are so focused and unstoppable.”
So it should come as no surprise that Madan’s dream photograph involved a tiger. In fact, he’s spent over 10 years waiting for the perfect moment to capture a tiger walking in front of the picturesque Ranthambore Fort. This 10th-century relic is a UNESCO World Heritage Site and on a recent December morning, while Madan was with a group, they discovered fresh tiger tracks that led them to two young female tigers.
As they watched them fight, play, and explore, Madan realized that they would be heading for Padam Lake, the site of the fort. Seizing the opportunity, he asked the guide to veer in that direction. It’s there, surrounded by the cold winter morning fog, that he finally got his chance.
“My heart was pounding and as I watched with bated breath, one of the girls started walking in the direction of the lake,” Madan recalls. “My fingers were numb from the cold and I couldn’t feel them anymore. It was the moment I had been waiting for as long as I could remember. I shook my head in utter disbelief as I lifted my camera and was so glad to have been able to press the shutter button. I already knew how to compose the shot as I had practiced it a thousand times before, only this time it was with a tiger in the frame. It felt so unreal as if it was a mystic dream with a tiger crossing our world.”
In carrying out his work, Madan hopes to change people’s notions about tigers and to remind the public that these majestic creatures are slowly disappearing in the wild due to poaching and environmental changes. As his images show, if given the respect they deserve and they’re treated in a non-threatening manner, tigers and humans can co-exist peacefully.