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Tuesday, June 30, 2015

Photographer’s Guide to the Nikon Coolpix P900

News image

White Knight Press have released their newest camera guide book, Photographer's Guide to the Nikon Coolpix P900: Getting the Most from Nikon's Superzoom Digital Camera. This book, by Alexander S. White, is a complete guide to the operation of the Nikon Coolpix P900. Explaining topics such as autofocus, manual focus, HDR (High Dynamic Range) photography, ISO sensitivity, memory cards and flash modes; it discusses techniques for using the P900's superzoom lens to full advantage. The book also explains the camera's features for remote control and image transfer using a smartphone or tablet with the P900's built-in Wi-Fi capability, as well as the camera's features for adding location data to images. The Photographer's Guide to the Nikon Coolpix P900 is available now for $9.99 in PDF, iPad, and Kindle formats for download through the website below. The paperback version is available now for $24.95 from Amazon.

Website: White Knight Press

Press Release

White Knight Press has released its newest camera guide book, Photographer's Guide to the Nikon Coolpix P900: Getting the Most from Nikon's Superzoom Digital Camera

This book, by Alexander S. White, is a complete guide to the operation of the Nikon Coolpix P900 digital camera. The book explains all shooting modes, menus, functions, and controls of this superzoom camera, illustrated by more than 350 full-color images. The guide shows beginning and intermediate photographers how to get excellent results using the many features of the P900.

The book explains topics such as autofocus, manual focus, HDR (High Dynamic Range) photography, ISO, memory cards, and flash modes. It discusses techniques for using the P900's phenomenal zoom lens, with a maximum optical focal length of 2000mm, to full advantage. The book also explains the camera's features for remote control and image transfer using a smartphone or tablet with the P900's built-in Wi-Fi capability, as well as the camera's features for adding location data to images.

The book includes sample photos taken with the creative options of the camera, including the Picture Control settings, which alter color processing of images; the Special Effects and Scene shooting modes, with settings optimized for subjects such as the moon, birds, landscapes, pets, sunsets, and action shots; and the Coolpix P900's features for burst shooting and time-lapse photography.

In addition, the book provides introductions to topics such as street photography, infrared photography, and macro photography.

The book also explains the video features of the P900, which can shoot HD video with stereo sound and can record high-speed video at speeds up to 4 times greater than normal. In addition, the book describes procedures for using the Filter Effects option to add special effects to images after they have been captured.

In the appendices, the book discusses accessories for the Coolpix P900, including external flash units, cases, and charging and power options. The appendices also include a list of useful web sites and other references, as well as a section with "quick tips" to help users take advantage of the camera's features in the most efficient ways possible.

This guide book to the P900 camera includes a detailed Table of Contents and Index.

The book is available now for $9.99 in PDF, iPad, and Kindle formats for download through whiteknightpress.com. The paperback version is available now for $24.95 from Amazon.com, and will be available from other Amazon sites and additional online sellers by July 2015.

Further Details:

Publisher: White Knight Press, Henrico, Virginia, USAAuthor: Alexander S. WhitePrint Publication Date: June 28, 2015ISBN-13: 978-1-937986-38-4ISBN-10: 1937986381Print Format: Perfect bound paperback, 8.5 x 8.5 inches (216 x 216 mm)Interior: 236 pages, more than 350 mostly color photographs and illustrations, full Index and Table of Contents; 3 AppendicesRetail price: $24.95 paperback; $9.99 PDF and Ebook downloadWeb site: http://www.whiteknightpress.comE-mail: mailto:contact@whiteknightpress.com

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Source: Photographer's Guide to the Nikon Coolpix P900

Saturday, June 27, 2015

Photographer Profile: Jason Odell

"At the end of the day it's about making people happy. I do photography to make myself happy. I teach photography to make my students happy."

That's Jason Odell's answer to why a PHD in animal physiology and evolutionary biology left corporate America and became a highly-regarded wildlife photographer and instructor. But this doesn't mean his skill set isn't put to good use.

"So much of my experience in getting a doctorate involved learning something that I didn't realize I was learning along the way. Writing, teaching and technical, I'm using all of the stuff I learned," he says. 

Odell also says his time spent as a teaching assistant is huge asset to teaching photography. "It's what I really enjoy about teaching. I'm watching the light bulb turn on and I see it in people's eyes. 'Oh, I get it' That's where I derive a lot of personal satisfaction."  

His scenic landscapes and wildlife photographs are the real deal, and he only does a handful of intimate workshops (two instructors and no more than 10 students) every year. One of his favorites trips is to South Texas to photograph song birds. Photographing birds? That's a technical challenge and difficult to do well, even for the seasoned professional.

"It's very difficult to fill the frame of a camera with a small bird. It takes a lot of lens and you have to be quite close," he says. 

His journey as photographer began in 2004 when took a job in Colorado Springs after getting his doctorate at UC Riverside. He quickly got bored and decided he wasn't up to warming a seat in an office cubicle. 

"You certainly learn what you don't want to do. I decided to do what I liked to do. I like animals. I like the outdoors and I enjoy teaching," he says. "I get to do something I didn't get to do when I was working in corporate America. Something that is intellectually challenging and creative."

His next project is teaching how to shoo t the urban landscape, and teamed up with well-known travel photographer, Deborah Sandidge for workshops in Chicago and South Beach this year. The idea is to teach people how to make great travel pictures.

"When people travel they're usually on and off a bus and onto the next thing. This workshop is designed for people who want to take pictures. We make it a point to go to places to photograph them. This is really for people who love to travel," he says.  

And the challenge in urban settings? Making one-of-a-kind pictures. 

"We try to impart a skill set that allows them to tackle a variety of subjects, sometimes in less than ideal conditions, and still come away with an image that is different than everyone else." he explains. "We show people how to do multiple exposures, light painting, long exposures, infrared photography, cinema graphs, light trails etc… You don't always get to go to a spot at the perfect time. So, what do you do? In this workshop, we show them."

Colorado Springs wedding photographer Sean Cayton loves remarkable photographs and the stories behind them. You can see his wedding work at caytonphotography.com, his personal work at seancayton.com and his editorial work in the Colorado Springs Independent. Submit your photo and the story behind the image - no more than two a week, please - to sean@caytonphotography.com for consideration in upcoming blogs.


Source: Photographer Profile: Jason Odell

Friday, June 26, 2015

Bonny Zanardi: SWA celebrates 65th annual show

The Society of Western Artists is holding its 65th annual show at the SWA Fine Art Center in San Bruno. Judges for the show were Gerald Boyd, Jan Grady and Mike Kirschel.

Romero Washington took best of show for his oil painting "Tahitian Tari Parau." In the oil category, first place was won by Sherry Eidhammer, second place by Claudia Fletcher, third place by Anneliese Drbal and honorable mention by Trowzers Akimbo. For watercolors, Yvonne Newhouse took first place, Myrna Wacknov took second, Dean Dallin third and Leona Moriarty the honorable mention.

For pastel/mixed media work, Dmitry Grudsky won first place and Arena Shawn second.

A reception will be held from 1 to 3 p.m. on Aug. 2, the final day of the exhibit. The SWA Fine Art Center is at 527 San Mateo Ave. Visit www.societyofwesternartists.com.

Life and Color

Two new art exhibits, "Life Lines" and "Color Me Woman," open Wednesday at The Main Gallery in Redwood City. A reception with the artists will be held from 5 to 7 p.m. July 12. "Life Lines" centers on work by fine art photographer/digital artist Jeanne Gadol. She uses a variety of techniques to explore the diverse patterns and rhythms of life, including infrared photography and digital art.

"Color Me Woman" features work by five artists who explore the nature of women in their work, which ranges from pencil drawings and mixed media to photography, jewelry and fused glass.

The show includes work by Jean Thrift, Lynne Auld, Pia Brandt, Tim Scott and Susan Fast.

Both exhibits will be on view through Aug. 2. The Main Gallery is at 1018 Main St. Hours are 10 a.m. to 3 p.m. Wednesdays through Sundays. Call 650-701-1018 or visit www.themaingallery.org.

At an exhibition

"Pictures at an Exhibition" opens Tuesday at Gallery House. The show centers on fine art photography by Vidya Narasimhan, Steven Shpall and Bill Shupp.

The works include archival prints on fine art papers as well as dye infused on metal. Photographic subjects range from western landscapes to "things that splash."

A reception with the artists will be held from 6 to 8 p.m. July 10. The exhibit will continue through July 25.

Gallery House is at 320 S. California Ave., Palo Alto. Hours are 10 a.m. to 6 p.m. Tuesdays through Saturdays and 11 a.m. to 3 p.m. Sundays. Call 650-326-1668.

Florals and gardens

The show "Color and Complexity" opens Tuesday at Gallery 9 in Los Altos. The exhibit features paintings of flowers and gardens by Kathy Sharpe.

An artist's reception will be held from 5 to 8 p.m. July 9. The exhibition will be on view through Aug. 1. Gallery 9 is at 143 Main St. Hours are 11 a.m. to 5 p.m. Tuesdays through Saturdays and noon to 4 p.m. Sundays. Call 650-941-7969 or visit www.gallery9losaltos.com.

Shades of the season

Viewpoints Gallery's group exhibit "The Color of Summer" opens Tuesday. A reception for the show will be held from 5 to 8 p.m. Friday.

The exhibition will continue through Aug. 1. Viewpoints is at 315 State St., Los Altos. Hours are 11 a.m. to 5 p.m. Mondays through Saturdays and 11 a.m. to 3 p.m. Sundays. Call 650-941-5789 or visit www.viewpointsgallery.com.

Sommer remembered

A retrospective exhibition of work by the late Edith Sommer opens with a reception from 1 to 4 p.m. today at the Palo Alto Art Center.

Sommer, who died on Feb. 4, was a founding member of Gallery House. She spent 60 years as a jeweler, textile and mixed media artist and teacher.

The show will continue through Sept. 6. The Palo Alto Art Center is at 1313 Newell Road, Palo Alto. Hours are 10 a.m. to 5 p.m. Tuesdays through Saturdays, with evening hours until 9 p.m. Thursdays, and 1 to 5 p.m. Sundays. Call 650-329-2366.

On 3D

The exhibit "3D Printing Technologies — The Radical Shift" ends Sunday at the Peninsula Museum of Art. On that final day, curator Hanna Regev will head an Artist Panel for a conversation with artists Reza Ali, Donald Farnsworth and Bill Kreysler.

The museum is at 1777 California Drive, Burlingame. Hours are 11 a.m. to 5 p.m. Wednesdays through Sundays. Admission is free. Visit www.peninsulamuseum.org.

At Neologian

Neologian Art Gallery will hold a special "Independence: First Friday" from 7 to 10 p.m. Friday. The event features local artists Wendy Golden, Mona Lisa Safai and Alan Rappoport. The gallery is at 1027 S. Claremont St., San Mateo. Call 650-393-5743 or visit www.neologianartgallery.com.

For the 4th

The San Mateo County History Museum will hold an "Old-Fashioned Fourth of July" next Saturday. Between 10 a.m. and 4 p.m., youngsters will be invited to hand-crank and taste vanilla ice cream. There also will be traditional Independence Day craft-making.

Beginning at 1 p.m., adults can view vintage films of the San Francisco Peninsula. Admission will be half-price on the 4th: $3 for adults and $2 for seniors and students; children aged five and younger always get in free.

The museum is at 2200 Broadway, Redwood City. Call 650-299-0104 or visit www.historysmc.org.

Also, the Redwood City Parks & Arts Foundation is presenting "Chalk Full of Fun on the 4th," a chalk painting event, as part of the downtown festivities for the 4th of July. The four participant categories are students in grade 3 to 8, students in grade 9 to 12, professional artists and multiage family teams. For registration information, visit www.rwcpaf.org.

Information on visual and literary arts can be sent to Bonny Zanardi at Bzanardi@aol.com.


Source: Bonny Zanardi: SWA celebrates 65th annual show

Thursday, June 25, 2015

Cardot juries photo exhibit in Meadville

With talent comes responsibility, When that talent is in the artistic realm, sometimes the responsibility is to act as an art show juror.

What makes that task especially difficult is that one is often judging works of friends and colleagues. It can be an unenviable position, but then those who accept the challenge are to be all the more commended.

For the 2015 Meadville Council on the Arts Juried Photo Exhibit, renowned local photographer Gary Cardot was invited to compile a show from entries by artists within a 250-mile radius of Meadville. The 34 pieces he selected -- from 68 entered -- are on view at Meadville's Heeschen Gallery through July 25.

Twenty-one artists are represented by those pieces. Named best of show is Jodi Staniunas Hopper's "Tantrum," a collection of 24 photos of the various body parts and activities of a whirling young woman. In 2014, this same piece was accepted into the National Juried Photography Exhibit in Frederick, Md.

Cardot chose four other works for juror's awards. "Abandoned" by Dorothy Kloss is one of three pieces she has in the show, moody black and white images starring creepy dolls and cages and bars that are indeterminately keeping things in or out. Lisa Huya's "Trees" presents an ombre forest scene, greens to blues, in a misty morning haze.

Frances R. Rosiak has three photos in the show, travelogues of the highest artistic merit. "Off Old Route 66 Hackberry, AZ" is the one singled out for award recognition. The two entries by Ben Haytock also take the viewer to Arizona, but his are sensuous, striated, sepia-toned abstracted images are of rock formations at Antelope Canyon.

Finding inspiration closer to home are Christopher Lyons, whose nighttime photo of the Erie Water Works Building showcases the incongruously elegant architecture and style for such an industrial and utilitarian facility, and Frederich Fiedler, who captures frozen vineyards in "Ice Wine."

Botanical studies, landscapes, slices of life, portraits, and more fill out what is a delightfully well-rounded show.

A bonus mini-show-within-a-show features six of Cardot's digital infrared photos. He began experimenting with this technique three years ago, taking the trouble to have his camera recalibrated for infrared exposures and learn the latest techniques in computer manipulation.

It was time well spent. His images of local sites like Waldameer and Conneaut Lake Park as well as locales in Pittsburgh, Cleveland, and New York City, are eerie and otherworldly and explore the possibilities of light and exposure in a startling, ethereal way. Cardot sets a high bar and a fine example; the juried artists have met the challenge with plenty of freshness and enterprising effort.

SEE ITThe 2015 Meadville Council on the Arts Juried Photo Exhibit continues through July 25 at the Heeschen Gallery on the second floor of the Meadville Market House, 910 Market St. in Meadville. Hours are Wednesdays and Fridays, noon-4 p.m., and Saturdays, 10 a.m.-2 p.m. Call (814) 336-5051 or visit www.artsmeadville.org.


Source: Cardot juries photo exhibit in Meadville

Wednesday, June 24, 2015

Hunt for life beyond Earth may have to look for non-photosynthetic biosignatures

What if the life beyond planet Earth isn't the way as we know it? What if life on other planets don't rely on photosynthesis? What if we need to look for biosignatures which are non photosynthetic? That's exactly what researchers at University of Washington sought to answer in a bid to further the hunt for life beyond Earth.

Doctoral student Edward Schwieterman and astronomer Victoria Meadows of the UW-based, interdisciplinary Virtual Planetary Laboratory used computer simulations found that if organisms with nonphotosynthetic pigments — those that process light for tasks other than energy production — cover enough of a distant planet's surface, their spectral signal could be strong enough to be detected by powerful future telescopes now being designed. The knowledge could add a new perspective to the hunt for life beyond Earth. The findings of their research have been published in the journal Astrobiology.

Such organisms "will produce reflectance, or brightness, signatures different than those of land vegetation like trees," said lead author Schwieterman. "This could push us to broaden our conception of what surface biosignatures might look like" on an exoplanet, or world beyond our solar system.

He said the research grew from a meeting with co-author Charles Cockell of the UK Centre for Astrobiology in 2012. Schwieterman sought a topic for a research rotation in the UW Astrobiology program in which students do work outside their main field of study.

"I was interested in doing biology in the lab and linking it to remotely detectable biosignatures, which are indications there is life on a planet based on observations that could be made from a space-based telescope or large ground-based telescope," Schwieterman said.

There had already been literature about looking for something akin to Earth's vegetation "red edge" as a possible biosignature on exoplanets, he said. The red edge — caused by oxygen-producing organisms such as trees — is the increase in brightness when you move from the visible wavelength range to the infrared, or light too red to see. It's why foliage looks bright in infrared photography and is often used to map vegetation cover by Earth-observing satellites.

Schwieterman and Cockell, a University of Edinburgh astrobiologist, decided to look further, and measure the reflectance of Earthly organisms with different kinds of pigments. They included those that do not rely on photosynthesis to see what biosignatures they produce and how those might differ from photosynthetic organisms — or indeed from nonliving surface features like rocks and minerals.

Pigments that absorb light are helpful to Earthly organisms in ways other than just producing energy. Some protect against the sun's radiation or have antioxidants to help the organism survive extreme environments such as salt concentrations, high temperatures or acidity. There are even photosynthetic pigments that do not produce oxygen at all.

Schwieterman and Meadows then plugged their results Virtual Planetary Laboratory spectral models — which include the effects of the atmosphere and clouds — to simulate hypothetical planets with surfaces covered to varying degrees with such organisms.

"With those models we could determine the potential detectability of those signatures," he said.

Exoplanets are much too far away to observe in any detail; even near-future telescopes will deliver light from such distant targets condensed to a single pixel. So even a strong signal of nonphotosynthetic pigments would be seen at best only in the "disk average," or average planetary brightness in the electromagnetic spectrum, Schwieterman said.

"This broader perspective might allow us to pick up on something we might have missed or offer an additional piece of evidence, in conjunction with a gaseous biosignature like oxygen, for example, that a planet is inhabited," Schwieterman said.

The UW-based planetary lab has a growing database of spectra and pigments of nonphotosynthetic organisms and more that is available to the public, and to which data from this project have been added.

Schwieterman said much work remains to catalog the range of spectral features that life on Earth produces and also to quantify how much of a planetary surface could conceivably be covered with pigmented organisms of any type.

"We also need to think about what kinds of adaptations might exist on other worlds that don't exist on Earth — and what that means for the interaction of those possible extraterrestrial organisms with their light environments."


Source: Hunt for life beyond Earth may have to look for non-photosynthetic biosignatures

Tuesday, June 23, 2015

Spectrum of life: Nonphotosynthetic pigments could be biosignatures of life on other worlds

Laguna Colorada is a shallow salt lake in the southwest of Bolivia. One of several places on Earth whose colors are affected by nonphotosynthetic pigments. UW doctoral student Eddie Schwieterman has published research on how such nonphotosynthetic biosignatures might appear on exoplanets, or those outside our solar system. Credit: Noemí Galera / Flickr

To find life in the universe, it helps to know what it might look like. If there are organisms on other planets that do not rely wholly on photosynthesis—as some on Earth do not—how might those worlds appear from light-years away?

That's among the questions University of Washington doctoral student Edward Schwieterman and astronomer Victoria Meadows of the UW-based, interdisciplinary Virtual Planetary Laboratory sought to answer in research published in May in the journal Astrobiology.

Using computer simulations, the researchers found that if organisms with nonphotosynthetic pigments—those that process light for tasks other than energy production—cover enough of a distant planet's surface, their spectral signal could be strong enough to be detected by powerful future telescopes now being designed. The knowledge could add a new perspective to the hunt for life beyond Earth.

Such organisms "will produce reflectance, or brightness, signatures different than those of land vegetation like trees," said lead author Schwieterman. "This could push us to broaden our conception of what surface biosignatures might look like" on an exoplanet, or world beyond our solar system.

He said the research grew from a meeting with co-author Charles Cockell of the UK Centre for Astrobiology in 2012. Schwieterman sought a topic for a research rotation in the UW Astrobiology program in which students do work outside their main field of study.

"I was interested in doing biology in the lab and linking it to remotely detectable biosignatures, which are indications there is life on a planet based on observations that could be made from a space-based telescope or large ground-based telescope," Schwieterman said.

There had already been literature about looking for something akin to Earth's vegetation "red edge" as a possible biosignature on exoplanets, he said. The red edge—caused by oxygen-producing organisms such as trees—is the increase in brightness when you move from the visible wavelength range to the infrared, or light too red to see. It's why foliage looks bright in infrared photography and is often used to map vegetation cover by Earth-observing satellites.

Schwieterman and Cockell, a University of Edinburgh astrobiologist, decided to look further, and measure the reflectance of Earthly organisms with different kinds of pigments. They included those that do not rely on photosynthesis to see what biosignatures they produce and how those might differ from photosynthetic organisms—or indeed from nonliving surface features like rocks and minerals.

Pigments that absorb light are helpful to Earthly organisms in ways other than just producing energy. Some protect against the sun's radiation or have antioxidants to help the organism survive extreme environments such as salt concentrations, high temperatures or acidity. There are even photosynthetic pigments that do not produce oxygen at all.

Schwieterman and Meadows then plugged their results Virtual Planetary Laboratory spectral models—which include the effects of the atmosphere and clouds—to simulate hypothetical planets with surfaces covered to varying degrees with such organisms.

"With those models we could determine the potential detectability of those signatures," he said.

Exoplanets are much too far away to observe in any detail; even near-future telescopes will deliver light from such distant targets condensed to a single pixel. So even a strong signal of nonphotosynthetic pigments would be seen at best only in the "disk average," or average planetary brightness in the electromagnetic spectrum, Schwieterman said.

"This broader perspective might allow us to pick up on something we might have missed or offer an additional piece of evidence, in conjunction with a gaseous biosignature like oxygen, for example, that a planet is inhabited," Schwieterman said.

The UW-based planetary lab has a growing database of spectra and pigments of nonphotosynthetic organisms and more that is available to the public, and to which data from this project have been added.

Schwieterman said much work remains to catalog the range of spectral features that life on Earth produces and also to quantify how much of a planetary surface could conceivably be covered with pigmented organisms of any type.

"We also need to think about what kinds of adaptations might exist on other worlds that don't exist on Earth—and what that means for the interaction of those possible extraterrestrial organisms with their light environments."

Explore further: Atmospheric signs of volcanic activity could aid search for life

More information: Nonphotosynthetic Pigments as Potential Biosignatures, Astrobiology, online.liebertpub.com/doi/full/10.1089/ast.2014.1178

Journal reference: Astrobiology


Source: Spectrum of life: Nonphotosynthetic pigments could be biosignatures of life on other worlds

Monday, June 22, 2015

Fire in Olympics grows to 600 acres, moving through treetops

With flames traveling from treetop to treetop, the Paradise Fire in the Olympic National Park grew Sunday to about 600 acres, becoming more intense and difficult to contain.

Smoke could be seen from Port Angeles, more than 30 miles away, said Diane Abendroth, an information officer for the Paradise Fire management team.

Authorities are finding it difficult to determine the exact size of the fire because the forest is loaded with heavy fuels.

"There's so much smoke," Abendroth said.

The team will take aerial infrared photos Monday evening to determine a more accurate size.

The fire has moved into steep, inaccessible terrain and smoke jumps were called off over the weekend.

"They can't operate there," Abendroth said. "They achieved what we brought them in here to do: To wrap up … flat areas to keep the fire spreading down the valley."

Eighteen firefighters and two helicopters are working to manage the fire. More resources have been called in to help.

The team managing the fire expects it to increase in size and complexity.

"We are expecting a heat wave. We are nervous about what that could bring," Abendroth said. A dry air mass and ridge-top winds of between 15-20 mph contributed to an increase in the fire's intensity Sunday evening.

Through Wednesday, the forecast looks relatively mild, said Andy Haner, a fire-weather meteorologist at the National Weather Service. But later this week, it will be hot and dry, he said.

"By Friday, the sun will be out in full force where the fire's at. Temperatures will start to heat up," Haner said. "By Saturday, out where the fire is it could be 90 (degrees Fahrenheit) or a little higher."

  Thousands of Yakima basin farmers will be short of water this summer, in a year marked by a stunning lack of snow to feed a river that sustains crops worth more than $2 billion annually. Read more. (Steve Ringman & Lauren Frohne / The Seattle Times)    

Haner expects little cloud cover later this weekend on the peninsula, but said wind shouldn't be too problematic for firefighters.

Experts across the state are concerned about dry conditions this season and the snowpack is gone. Nationwide, wildfires are growing larger and becoming more volatile.

It's the driest year since 1951 on the Olympic Peninsula, according to the fire management team. In 1951, the Great Forks Fire traveled nearly 18 miles in a single day and nearly destroyed the town that gave the fire its name. More than 30,000 acres were burned.

News reports from 1951 described streams of sirens, "sparks and embers raining through the air," and ash filling "eyes, hair, ears and mouths and coating everything with a fine powdery cover."

"The sky has been so dark with smoke that no one can tell when daytime ended and night began," wrote the Port Angeles Evening News after the fire had been extinguished.

Despite an evacuation order, some Forks residents stayed to fight the fire, which helped spare the town.

Fire weather across the state

The Department of Natural Resources announced a burn ban for all state-protected lands Monday, and the forecast across the state this week looks problematic for wildfires.

"This weekend will be the first real test for fire season," Haner said. "Out in Eastern Washington this coming weekend, especially when you get out to Sunday and Monday, they're looking at triple digit temperatures well in excess of 100."

Haner said there's a possibility that storms with lightning could roll through the state early next week.

"In a normal year, a lightning outbreak in the last few days of June wouldn't concern me that much. This year, it's a concern," said Haner.

Thunder Creek fire

In North Cascades National Park, the Thunder Creek Fire that has burned 103 acres is 60 percent contained.

"For safety of hikers and everyone else, trail closures are in effect," said Katy Hooper, a public-information officer for the group managing that fire.


Source: Fire in Olympics grows to 600 acres, moving through treetops

Sunday, June 21, 2015

J. Crew Offers a Tote-ally Useless Way to ‘Help’ Nepal

(screenshot via jcrew.com)

(screenshot via jcrew.com) (click to enlarge)

Just in time for your summer beach trip, J. Crew has released a limited-edition tote bag emblazoned with a Slurpee-shaded landscape and discreet sans serif lettering wishing "Love to Nepal." The eye-catching infrared image, captured by New York–based photographer Sean Lynch, features Nepal's Annapurna mountain range, according to the brand's website. The fashion label states that it will donate 50% of the proceeds from the tote's sales to the American Red Cross's relief efforts in the recently earthquake-devastated country.

While this certainly isn't the first time a brand has commodified a disaster, epidemic, or other charity cause to help boost sales and bolster buyers' perceived virtue, what is particularly interesting about this case is Lynch's image and the resemblance it bears to another contemporary photographer's work: Richard Mosse. The Irish artist gained acclaim for his 2012 photo series Infra, which captures the war-torn Congolese landscape using a discontinued film, Kodak Aerochrome. Originally developed for wartime government surveillance since it made camouflage easy to spot, the film provides Mosse with a convenient war-related medium in addition to lending the photos their signature rubicund hue.

Richard Mosse, "Suspicious Minds" (North Kivu, Eastern Congo, 2012), digital c-print, 122 x 152 cm, edition of 2 (image courtesy the artist and Jack Shainman Gallery) (click to enlarge)

Richard Mosse, "Suspicious Minds" (North Kivu, Eastern Congo, 2012), digital c-print, 122 x 152 cm, edition of 2 (image courtesy the artist and Jack Shainman Gallery) (click to enlarge)

Infrared photography is not a new technology, and its use isn't the purview of any one photographer. Judging from Lynch's Tumblr, he has been creating infrared images for at least as long as Mosse, and his Nepalese series precedes the country's recent earthquakes by nearly two years. Unlike Mosse, whose infrared use is limited to the Congo, Lynch has captured numerous other ultraviolet vistas, ranging from New York's Central Park to Utah's national parks.

Yet what Lynch's and Mosse's photographs share, besides their candy-hued hills, is a fetishized landscape that challenges reality. Because infrared film reveals color wavelengths that the naked eye can't detect, this style of photography implies that we can see more through the image than we otherwise could in person.

With regard to Mosse especially, the luscious infrared tones abstract the land they depict. Amidst the fantastic vegetation, the harsh realities of war become grotesquely real — guns appear flatly gray, soldiers' uniforms are often a muddy brown, skulls remain staunchly bone white. It is the tension between seduction and abjection that imparts critical weight to Mosse's photos.

Lynch's Nepalese landscapes are less overtly political and instead seem largely aesthetically driven. They showcase breathtaking mountain landscapes devoid of people and quaint huts seemingly empty of inhabitants. Without the grossly human element that grounds Mosse's images, Lynch's infrared style fetishizes an already mythologized, underprivileged, non-Western country. The film obscures the economic realities of a struggling nation and reduces it to a visual experience ripe for Western audiences.

By plastering Lynch's Annapurna vista on a canvas tote to marginally benefit victims of Nepal's back-to-back earthquakes this spring, J. Crew is trying to capitalize on the abject sublime, which in this case fails to present anything more than an illusory candy land. The bag further objectifies a now devastated nation, reducing it to a palatable consumer item that gestures toward philanthropic awareness but ultimately just confirms what we already knew about summer style — bright colors are in.

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  • Source: J. Crew Offers a Tote-ally Useless Way to 'Help' Nepal

    Saturday, June 20, 2015

    Drones are the future of Ag

    farm-bureua-usaBy American Farm Bureau Federation

    Drones: The Next Step in Precision Ag and Improved SustainabilityBy Robert Giblin

    Once a science fiction dream and then used extensively for military surveillance and warfare, small Unmanned Aerial Systems – commonly known as drones – are moving rapidly into daily business and consumer use and poised to become powerful tools for farmers. Drones could revolutionize precision agriculture and enable farmers to enhance yields and production, while profoundly contributing to reduced environmental impacts.

    The evolution of drones strongly mirrors the early days of personal computers. At first, few people could dream of how computers would be incorporated into daily lives, how they would evolve and improve, or what future innovations would bring. Like personal computers, drones are an "enabling" technology that will foster innovation, jobs, and uses not yet imagined.

    Farmers have long-relied on images from satellites and private planes to track crop progress, and manage water, fertilizer and pesticide use. But satellite and airplane photography is expensive, inflexible and out of reach for many farmers. Drones may offer farmers more accessibility and greater flexibility, at a lower cost. As drones become more available, they will become even cheaper, while providing higher-resolution field images, infrared photography and instant integration with other farm data technologies. Drones also have convenience on their side: They can be used on very short notice, as well as on farms adjacent to urban areas or in areas with flight restrictions.

    The benefits are also not confined to crop fields either. Drones can be used by ranchers to observe grazing patterns, monitor predators, or find animals stranded in inclement weather. Similarly, environmental managers are already using drones to observe wildlife habitat, including endangered bird species.

    Some of the most significant benefits of drones, however, may come through increased precision and contributions to sustainability. Precision agriculture has revolutionized American farming by allowing farmers to maximize yields while reducing water, fertilizer and pesticide use. Drones are the next step in this evolution. Farmers will be able to nimbly use drones to assess water, pesticide and fertilizer needs, and to identify and target pests, diseases, weeds and stress.

    Farmers can get images and data within minutes to make more informed decisions about using resources. For example, drones may aid in early detection of plant diseases or insect problems in remote areas of fields, helping farmers accurately address such problems before they spread.

    Farmers are eager to embrace drones, not only to reduce costs and increase yields, but also to help meet targets for sustainability and reducing environmental impact. A study conducted by the Association for Unmanned Vehicle Systems International concluded that among different types of businesses that will use drones, the commercial agriculture market is "by far the largest segment, dwarfing all others." From 2015-2025, drone integration is expected to contribute $75.6 billion in economic impact by agriculture, compared to $3.2 billion by public safety and $3.2 billion by other activities. Another study, conducted by GRA, Inc., in cooperation with Booz Allen Hamilton, estimates that annual crop savings from using drones could reach more than $200 million by 2035.

    The Federal Aviation Administration recently approved the first exemption of current rules to allow use of drones over crops for the purposes of spraying water, fertilizers, pesticides and herbicides. But the rules are still very strict. The exemption only allows drones to be flown in visual line-of-sight during daylight hours at a maximum altitude of 400 feet, and requires FAA-certified pilot training for the user, along with another person acting as a spotter. It also must be used under the direction, supervision and control of the manufacturer, which means that for now, drones can't be purchased and used by most custom applicators or farmers.

    While the stakes could not be higher, American agriculture still trails other countries – including Canada, the United Kingdom, France, Australia and Japan – in using drones, in part because of prohibitive regulations. American farmers and ranchers need performance-based standards so they can use drones themselves, round-the-clock, beyond visual line-of-site, and with other low-risk rules.

    Technology is advancing rapidly, and the regulatory structure needs to advance as well. Farmers and ranchers need access to secure technology to unlock the potential for drones to improve precision, productivity and sustainability.

    Robert Giblin writes, speaks and consults about agricultural and food industry issues, policies and trends.

      
    Source: Drones are the future of Ag

    Tuesday, June 16, 2015

    J. Crew Offers a Tote-ally Useless Way to ‘Help’ Nepal

    (screenshot via jcrew.com)

    (screenshot via jcrew.com) (click to enlarge)

    Just in time for your summer beach trip, J. Crew has released a limited-edition tote bag emblazoned with a Slurpee-shaded landscape and discreet sans serif lettering wishing "Love to Nepal." The eye-catching infrared image, captured by New York–based photographer Sean Lynch, features Nepal's Annapurna mountain range, according to the brand's website. The fashion label states that it will donate 50% of the proceeds from the tote's sales to the American Red Cross's relief efforts in the recently earthquake-devastated country.

    While this certainly isn't the first time a brand has commodified a disaster, epidemic, or other charity cause to help boost sales and bolster buyers' perceived virtue, what is particularly interesting about this case is Lynch's image and the resemblance it bears to another contemporary photographer's work: Richard Mosse. The Irish artist gained acclaim for his 2012 photo series Infra, which captures the war-torn Congolese landscape using a discontinued film, Kodak Aerochrome. Originally developed for wartime government surveillance since it made camouflage easy to spot, the film provides Mosse with a convenient war-related medium in addition to lending the photos their signature rubicund hue.

    Richard Mosse, "Suspicious Minds" (North Kivu, Eastern Congo, 2012), digital c-print, 122 x 152 cm, edition of 2 (image courtesy the artist and Jack Shainman Gallery) (click to enlarge)

    Richard Mosse, "Suspicious Minds" (North Kivu, Eastern Congo, 2012), digital c-print, 122 x 152 cm, edition of 2 (image courtesy the artist and Jack Shainman Gallery) (click to enlarge)

    Infrared photography is not a new technology, and its use isn't the purview of any one photographer. Judging from Lynch's Tumblr, he has been creating infrared images for at least as long as Mosse, and his Nepalese series precedes the country's recent earthquakes by nearly two years. Unlike Mosse, whose infrared use is limited to the Congo, Lynch has captured numerous other ultraviolet vistas, ranging from New York's Central Park to Utah's national parks.

    Yet what Lynch's and Mosse's photographs share, besides their candy-hued hills, is a fetishized landscape that challenges reality. Because infrared film reveals color wavelengths that the naked eye can't detect, this style of photography implies that we can see more through the image than we otherwise could in person.

    With regard to Mosse especially, the luscious infrared tones abstract the land they depict. Amidst the fantastic vegetation, the harsh realities of war become grotesquely real — guns appear flatly gray, soldiers' uniforms are often a muddy brown, skulls remain staunchly bone white. It is the tension between seduction and abjection that imparts critical weight to Mosse's photos.

    Lynch's Nepalese landscapes are less overtly political and instead seem largely aesthetically driven. They showcase breathtaking mountain landscapes devoid of people and quaint huts seemingly empty of inhabitants. Without the grossly human element that grounds Mosse's images, Lynch's infrared style fetishizes an already mythologized, underprivileged, non-Western country. The film obscures the economic realities of a struggling nation and reduces it to a visual experience ripe for Western audiences.

    By plastering Lynch's Annapurna vista on a canvas tote to marginally benefit victims of Nepal's back-to-back earthquakes this spring, J. Crew is trying to capitalize on the abject sublime, which in this case fails to present anything more than an illusory candy land. The bag further objectifies a now devastated nation, reducing it to a palatable consumer item that gestures toward philanthropic awareness but ultimately just confirms what we already knew about summer style — bright colors are in.

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  • Source: J. Crew Offers a Tote-ally Useless Way to 'Help' Nepal

    Sunday, June 14, 2015

    Deep thinking, lots of music reflect Amy Jo Krise's life

    (Photo)

    Amy Jo Krise takes a selfie with her daughters, Katarina and Chloe.(Submitted photos)

    This week the T-G caught up with local artist and mother Amy Jo Krise. If you have anyone you think would make for an interesting Sunday Conversation, email Sadie Fowler at sfowler@t-g.com.

    T-G: You mentioned you grew up in California? At what age did you leave and how did you end up in Bedford County?

    Krise: I left California when I was 15 years old. My parents were transferred with their job. In our area of California, jobs were scarce due to overpopulation. Simultaneously business doors were closing due to the cost of living increasing dramatically. I was concluding my sophomore year of high school, attending Monache High School. I thought I might die. Luckily, I survived.

    T-G: Both your parents were musicians. Tell us a little bit about your relationship with music. You mentioned you play piano and fiddle, but have had some instances of stage fright. Where do you think that comes from and have you, or do you think you can, overcome it?

    Krise: Music has always been there like a secret best friend. I can't imagine life without it. It reflects the entire spectrum of human experience. My dad used to sing and play for me when I was teeny-tiny and throughout the first years of my life. He made up a song about me that I can't remember, but I remember him singing it to me.

    My Mom's dad and uncles were always playing music (guitar and fiddle). My mother was always an excellent singer. She sang in church, the church choir, and frequently in the shower. One time, my brother and I (his name is Austin) stood outside the bathroom window and howled like our Rottweiler. She seriously thought real dogs were howling. Of course, we were only teasing like two little snots, until we heard her start laughing and say "Oh my! I've got the dogs howling!!". We ran in the house all nonchalant. Such tricksters. She always sang beautifully, though, and knew how to take a joke.

    My first experience with stage fright happened during a dance recital. I was maybe 6 or 7 and was performing a ballet number mixed with tap dance. I got on stage and realized I forgot my other ballet slipper. I awkwardly stayed on stage throughout the routine and pointed at my family in the audience until I was taken backstage by the assistant. "Expect the unexpected" could be my motto. Then there was the time I went to sing "Sweet Chariot" in church. I believe I whispered instead.

    (Photo)

    Krise took part in a color run in Nashville.

    T-G: You said your fiddle's name is "Mystic." What's the story behind that name?

    Krise: It was 2010, and I'd decided I wanted to learn a new instrument. I had some cash stashed away, and decided to hit the Record Shop. It was a toss-up between learning guitar and fiddle. I knew I'd get what I was supposed to get, and just threw it out there openly for the divine to step in if it was supposed to be (I literally do things like this regularly and leave it to fate, or destiny, God to decide), if anything was to be at all.

    It just so happened the gentleman behind the counter had just had a customer bring in a fiddle complete with case and bow, all of it. It was a student fiddle. I didn't discriminate. It looked good and sounded good. I bought rosin and left with a fiddle that day. Her name is Mystic because of the mystical way we met. She's like a unicorn, only a fiddle.

    Maybe it was coincidence to some, but to me, life is more interesting with meaning and myth infused into it.

    (Photo)

    Krise resembles a painting after participating in a color run event.

    T-G: You said losing your father tragically at the age of 5 drastically altered your imagination. Could you elaborate on this? Do you feel imagination and art are important to overcoming tragedy?

    Krise: My Dad died suddenly of a heart attack at age 31. I believe his loss enhanced my imagination in many ways. I had terrible dreams for a long time and bouts with sleepwalking and talking, some night terrors. I remember feeling a sense of him being with me, even though I couldn't see him. Possibly, it was how I coped. I was heartbroken. Everything became a message from him. It still does sometimes. I remember carrying a sense of vulnerability about my odd sensitivity and perception. Singing and music was kind of like a ritual to honor him, whether it be in my room or at church. I withdrew in school and became best friends with a young girl who lost her mom and sister in a car accident. Their van had gone into a canal. Her name was Stacey, and she understood. We understood each other.

    It was my first taste of the lack of permanency in this world, and that fate won't skip one to move on to a more deserving person. We are the equal. If it weren't for the compensation of my imagination things may have turned out differently. I think that having something sacred to turn to is vital. Whether it be a hobby, a belief, an act, praying. Putting intense feelings into form so that they can change form is important. Turn it into a cause, or turn it into a masterpiece; your own masterpiece.

    T-G: What's your favorite memory of your father?

    (Photo)

    Krise's father, Gerald "Gerry" Merlin Krise, plays his banjo on the trunk of a car while other family members join in.

    Krise: My favorite memory is of laying on his lap while he sang to me, and played the drums on my knees. He was always thumping something.

    T-G: You mentioned you studied black and white photography under Ken Preiser. Tell us a little about that experience. What was it like and what insight into photography did you gain?

    Krise: I was swallowed by photography and the entire creative process. I have a tendency to focus intensely on certain things I enjoy, a little obsessively really. Photography was one of them. I began tutoring in the middle of the semester after assisting my classmates in understanding the process of development. I was still learning myself, however. I still learn new things about it. Especially with the ever increasing technology. My favorite photographers are Minor White for his simple but profound study of light and infrared photos, and Mary Ellen Mark for her unflinching capturing of humanity.

    A picture can say a thousand things without a single word being spoken. It doesn't have to overly explain itself, like me.

    T-G: You mentioned you were drawn to analytical psychology. What is it about that particular field of study that interests you so?

    Krise: I feel a compelling need to understand what makes people tick along with an urge to define the inner essence of a person or moment. Depth psychology (analytic psychology) takes us to the root of our psyches through symbols, their meaning, and almost basic mythological inheritance. This fragments and shapes our lives for better or worse; through our own complexes to family demons that remain undifferentiated in a family's psyche for generations only to pop out of nowhere with their own special (yet inconvenient) timing.

    There's meaning behind the black sheep of the family. They express what everyone else represses; they are like a mouthpiece for something much older. Like an inversion of a family blessing.

    The more consciousness we have of ourselves, both the dark and the light, the less we project "out there" and this gives us more control in our lives. Not all, but more. Our personalities as well as experiences are shaped by this constant interaction between conscious and unconscious, and our inner characters have an inherent duality; this fascinates me. We truly contain opposites within ourselves.

    "The brightest flame casts the darkest shadow." (George R.R. Martin)

    T-G: You mentioned you take an active role in the Relay for Life events. How has cancer personally affected you?

    (Photo)

    Krise's mother, Lora Lee Carter Stolle, and Krise's grandfather, Orville "Sheriff" Carter, both of whom were influences to Krise.

    Krise: At the ages of 12-14 I lost both maternal grandparents, Orville and Virginia Carter, and my paternal grandfather, Merlin Gerald Krise, to cancer. I also lost my great-grandmother, although not to cancer. It was as if generations of the most important people were swept away suddenly. My grandmother, Jean Krise, is a breast cancer survivor. She's an amazingly strong woman.

    They are why I Relay.

    T-G: How do you deal with grief?

    Krise: I let it happen. I allow it to pull me down to the underworld. It's a part of living. I don't try to suppress it and I've learned that grief comes with many different faces. Ranging from a façade of "I'm just fine" to a primal rage to insomnia. Sometimes it is paralyzing. Sometimes, doing nothing is the best way to process grief. Personally, I have hidden away to grieve before. Being alone helps to hear what the inner world is saying. It also helps to find meaning in what is being experienced. This helps it to change form and move from the pit of your stomach.

    T-G: Tell us a little about your children.

    Krise: My daughters are Katarina and Chloe. They mean the world to me. Kat loves music to the point that it borderlines obsession. Chloe likes to draw and build incredible things from her imagination. Chloe has a sword called "Blood of Evils Bane", and Kat sings all day recording herself then perfecting her sound.

    I love them both for who they are and the young women they may become. Most importantly, I want them to know they are loved and supported, and also that they must try to shape their dreams. Always. Even if it's to be a professional ice cream maker, but wear a business suit with hi-heels (this is Chloe's dream), or join the Air Force and simultaneously be the winner of "The Voice" (Kat's dream. She gets it from her grandmother).

    (Photo)

    One of Krise's paintings in progress titled, "Going Home."

    T-G: If you could pick one person to interview, who would it be and why?

    Krise: I can't just pick one. It wouldn't be honest. Lt. Joe Kenda and Candace Delong. I'm truly obsessed with forensic psychology, and wish to somehow involve analytic psychology with criminology. I can't imagine anything more painful than the agonizing ache of losing a loved one and not knowing what truly happened to them. I feel that understanding the psychology/psychopathy of individuals who commit such crimes holds the key to comprehending the unfathomable. Last (but not least) Jack White. I mean, where does he come from? How does he stay so in tune with the collective pulse? I love everything he does.

    T-G: What's your idea of a perfect day?

    Krise: It would be a day of good conversation that's deep and lighthearted at the same time. With a little bit of mystery and a lot of trees. Like a hike. I also love exploring old cemeteries, battlegrounds, and dilapidated houses. Even floating the river. I love to be outside.

    T-G: What's you favorite song to play on the piano? How would you describe the song to a deaf person?

    Krise: My favorite song would be I'll Fly Away, in a close tie with Moonlight Sonata, Beethoven's No. 14. Although my kids like it when I sit down and play "Mary had a Little Lamb" with intense drama and hair flinging. "Fly Away" would be a book of pictures portraying resurrection of the soul after the final death. The releasing of our individual cross to bear that we took on when incarnating. Like final emancipation. It says that life is a transient phase to another much more beautiful place. This song is an ode to the happiness that awaits on the other side.


    Source: Deep thinking, lots of music reflect Amy Jo Krise's life

    Saturday, June 13, 2015

    3 Cool Photography Tricks -- Without Using Photoshop

    You may be surprised at what can be done using a Digital SLR(DSLR) camera to produce amazing photographs. Shots of beautiful lights at night, heavenly waterfalls, surf and clouds are possible using long exposure methods. Other tricks that you can do without the need of Photoshop (or other image editing software) include taking a photograph of several bolts of lightning in the same photograph, "disappearing" moving people from a photo, taking brilliant infrared landscape scenes and much more. Some methods need a specific filter but some need only the proper settings on your camera plus a tripod. See the video at the link at the end of this article to observe some examples of pictures with such methods plus much more.

    Let's speak in brief about a few of the things you may do with your camera to produce beautiful and awesome images without Photoshop.

    Long Exposure Night Photography TechniquesMost dslr cameras have exposure settings that will allow you to increase the exposure time and the ones that don't usually have a "night mode" which will give you an exposure time of two seconds. This can enable you to shoot moving lights at nighttime over a longer time than a regular photo producing light trails and other effects. You can experiment with shooting vehicle lights, carnival ride lights, fireworks, lightning and flashlight as well as sparkler lights that you move yourself to produce patterns or trace and light up physical objects.Whenever you capture lights which you move yourself for example torches, LED lights, fiber optic lights and sparklers, that is called "light painting" and may be used to create amazing images of light trails along with the illuminated surroundings and fixed objects. Anything that is in continuous motion and not illuminated by the lights for more than a second or so will not display in the photo.One k ind of long exposure digital photography you could have seen before is "star trails" which involves shooting photos of stars with extra long exposure times. This involves getting a cable release (or shutter release) for your camera to enable the extra long exposure.

    Long Exposure Daytime Photography TipsDoing long exposure digital photography during hours of sunlight requires a special filter to reduce the light considerably in order to allow for a longer exposure time. You can use a Neutral Density Glass filter or even an Infrared filter to achieve this affect in the daytime and also the Infrared filter is a great method alone for shooting stunning shots. Through the day time there are several items you can shoot using a long exposure time to create awesome shots including waterfalls, surf and clouds to give them a misty, blurred, more magical appearance. It's also possible to use this method to capture scenes without having the people that are there showing up in the shot, when they are moving continuously, such as in a busy street with moving pedestrians.

    Color Infrared PhotographySome awesome photos can be snapped with DSLR cameras with an infrared filter in daytime or nighttime. Such photos typically look other-worldly or magical and look like the color was modified using Photoshop. Not all cameras are capable of this as lots of newer digital cameras remove infrared light. You can test whether your camera is able to take infrared photos if you take a long exposure snapshot of your infrared tv remote control's LED as you press the power button. If the light shows up brilliantly in the shot, purchase an infrared filter to fit your dslr camera and you're set.You will need to adjust your focus with the filter off then alter the white balance after you put it on as well as increasing the shutter speed because the filter is quite dark. Sky and water will look deeper and darker and trees and plants will look white or blue/white in your infrared shots. You'll also get the same long exposure results because of the darkness of the filter t hat will make for awesome shots of falls, clouds, rivers and waves.

    As you can see, there are many techniques to take unusual, beautiful and impressive digital photos using some basic techniques and gear. Definitely look at the video at the link listed below to view examples of photos shot using these methods as well as others.

    Jerry Nelson is a freelance photojournalist from America. Now based in South America, Jerry turns his camera and pen on social justice issues globally. Email him today and follow him on Twitter.


    Source: 3 Cool Photography Tricks -- Without Using Photoshop

    Friday, June 12, 2015

    These 6 'Body Farms' Help Forensic Anthropologists Learn To Solve Crimes

    Outdoor forensic anthropology research laboratories are colloquially called "body farms," a term that many researchers find too sensational but that has stuck following the 1994 publication of Patricia Cornwell's popular forensic novel "The Body Farm." We're going behind the macabre moniker, though, to uncover the real story of how six facilities in the U.S. are quietly conducting pioneering research and working with law enforcement to bring killers to justice.

    At these labs, scientists primarily study the process of human decomposition using donated bodies. While the general process of decomp is biologically universal, the rate of it is significantly affected by variables like temperature and humidity, not to mention by the method of disposal of the body.  If a body is found in a car trunk, a house basement, a shallow grave, or a fire pit, how can a forensic anthropologist tell time-since-death? Or discern trauma that happened before death from trauma that happened around the time of death or after death? These questions are being answered by scientists at six "body farms" around the U.S.

    The first research facility of this kind was started at the University of Tennessee, Knoxville in 1981 by forensic anthropologist Bill Bass, who found the need to launch a program that studied human decomposition after being called to consult on forensic cases. After 25 years of being the only one in the country, UTK's groundbreaking facility was followed by similar projects at Western Carolina University (2006), Texas State University (2008), Sam Houston State University (2010), Southern Illinois University, Carbondale (2012), and Colorado Mesa University (2013). These six are currently the only "body farms" that have accepted human donations, although plans are in the works for similar facilities in Florida, Wisconsin, and Pennsylvania.

    We asked the directors of the six outdoor forensic anthropology research centers to share with us the most interesting and important work to come out of their centers.

    ARF

    Undergraduates at the University of Tennessee at Knoxville participate in a body recovery at the Anthropological Research Facility. (Photo used with kind permission of D. Steadman.)

    1. Anthropology Research Facility at the University of Tennessee, Knoxville (Dawnie Steadman, Director).

    The first of its kind in the world, the original outdoor forensic research center has grown considerably since its founding in 1981. Since it's been around for decades, research at ARF is varied and copious, as a listing of this year's publications shows. Law enforcement and medical examiners frequently reach out to UTK anthropologists to assist with case-based research. For example, in a case that involves a body wrapped in plastic in the trunk of a car, investigators might ask how long it takes to reach the stage of decomposition in which the body was found. This type of question can be answered scientifically through ongoing research on decomposition at the ARF.

    The facility has also generated the William M. Bass Donated Skeletal Collection, which is the largest documented collection of contemporary American skeletons in the world. Researchers come from all over the globe to access it for various studies on biological profile (such as age-at-death, sex, and ancestry studies), pathologies and trauma, and occupation markers.

    This collection is also part of the data set used to develop the statistical program FORDISC, which employs measurement data from skulls to help forensic anthropologists figure out sex, height, and ancestry. The most recent project that ARF is undertaking involves the investigation of mass graves, which is a major humanitarian concern in several parts of the world today. Research at the Anthropology Research Facility at UTK has revolutionized how human decomp is studied and paved the way for the development of the five other facilities below.

    cadaver dog

    Cadaver dog in training at the Forensic Anthropology Research Facility at Texas State University. (Photo used with kind permission of D. Wescott.)

    2.  Forensic Osteology Research Station at Western Carolina University (John Williams, Director).

    Researchers active at FOREST are primarily interested in taphonomy, or what happens to a body after death, in order to gain a better understanding of how decomposition is affected by the environment and how other post-mortem processes such as scavenging affect the body itself. Students are integral to the hands-on research, undertaking projects such as figuring out whether clear or black plastic causes a body to decompose faster (black plastic does, for the curious among you) and participating in the recovery of the remains, both of which are good training opportunities. Daily photographs and videos show researchers exactly which animals contribute to decomposition, and they were surprised to find that even possums were feeding on remains.

    WCU may be best known, however, for their twice yearly cadaver dog training, as they are among one of the few forensic programs in the country to offer this. Trained cadaver dogs can aid law enforcement in finding and recovering a body more quickly. Recovered remains from FOREST are catalogued and curated at the Western Carolina Human Identification Laboratory, and both facilities hope to draw in visiting scientists living in countries where this sort of forensic decomposition research is illegal.

    facial reconstruction

    Student creating a facial reconstruction at a workshop at the Forensic Anthropology Research Facility at Texas State University. (Photo used with kind permission of D. Wescott.)

    3. Forensic Anthropology Research Facility at Texas State University (Daniel Wescott, Director).

    The research being done at Texas State is largely focused on estimating post-mortem interval (PMI or time-since-death) and on training law enforcement, search and rescue teams, and cadaver dogs to find remains. Both of these goals are accomplished by a focus on the interaction among species within the ecosystem where a body is found.

    Vulture scavenging has therefore been a fruitful research topic, as understanding when they come, how they feed, and how to detect their presence is vital to understanding PMI. Detecting bodies is also being done here using infrared photography and drone technology, techniques that save time and reduce the number of people needed for a search. One application of this is in the search for people who have died crossing the Texas border, which FARF is contributing to along with other legal and humanitarian agencies.

    Finally, the skeletonized remains that FARF collects following research are extensively catalogued and meticulously documented in terms of age-at-death, sex, health, and lifestyle to form a collection that aids researchers in both forensic anthropology and bioarchaeology.

    4. Southeast Texas Applied Forensic Science Facility at Sam Houston State University (Joan Bytheway, Director).

    With both a forensic anthropologist and a forensic entomologist, STAFS's research output involves lots of bugs, barnacles, and scavengers. Since the life-cycle of insects can be used to estimate how long a body has been dead, forensic entomology is imperative in a legal setting. Researchers at STAFS have catalogued and extensively studied the diversity of insects in the local region to find out how they might be useful in a forensic case.

    Other work includes using 3D scanning to better estimate an individual's sex from fragmentary pelvic remains, as well as studying how fire can affect human skeletal remains. STAFS is committed to educating students, law enforcement agencies, and the public about forensic anthropology. They have internships for both undergraduates and graduate students during the summer, and they offer regular short courses in forensic entomology as well as search and recovery. A recently received grant from the National Institute of Justice, in collaboration with the centers at UTK and Texas State, means more research on decomposition will be coming out soon!

    fake skull

    A fake skull sits on a desk at the Complex for Forensic Anthropology Research at Southern Illinois University for use as a demonstration of traumatic injury. (Photo used with kind permission of G. Dabbs.)

    5. Complex for Forensic Anthropology Research at Southern Illinois University, Carbondale (Gretchen Dabbs, Director).

    Since they first accepted a human body donation in January 2012, CFAR has received 26 donations from families after death. Research has included work on vulture scavenging and the effects of freezing on decomposition, and Dabbs has discovered that bodies may naturally mummify in southern Illinois due to constant, low-speed winds.

    The facility is best known, though, for a study on the effects of lawnmowers on skeletal remains. When a riding lawnmower operator accidentally ran over two research subjects, the CFAR team turned it into a new study, which they published in the Journal of Forensic Sciences.

    Their latest research deals with what happens when a body is encased in concrete; namely, that the concrete may preserve the body so that it looks somewhat fresh. This finding is important because a missing persons search in this case should go back several years rather than several months. Don't be surprised if an upcoming episode of FOX's Bones uses these studies for background research!

    FIRS

    The Forensic Investigation Research Station is the facility at the highest altitude, at nearly 5,000 feet. (Photo used with kind permission of M. Connor.)

    6. Forensic Investigation Research Station at Colorado Mesa University (Melissa Connor, Director).

    This newest forensic research facility is also the one at the highest altitude — 4780 feet above mean sea level — and the one furthest west. Researchers have learned from some of their two dozen donations that two main things affect how fast a body becomes skeletonized: pre-death medical conditions of the donor and microenvironments in the high altitude desert. Even placement just a few yards apart can mean dramatic differences in rate of skeletonization and therefore in estimates of time-since-death. Colorado Mesa researchers work primarily with undergraduate students and also take seriously their role as "post-mortem educators," talking with living donors who have willed their bodies to the research facility after death.

    The forensic anthropologists and their students working at these six outdoor forensic research centers around the U.S. are advancing our ability to identify victims of homicide and to provide details that could help find a killer and bring that person to justice.

    When he started the first "body farm" decades ago, Bill Bass never dreamed that so many people around the world would be fascinated by forensic anthropology. But the continued growth of people choosing to donate their remains to these research programs — UTK currently has about 3,500 pre-registered donors! — shows that people see the value of this science and the importance of this work to the community at large.

    Solving murder cases and assisting in disappearances will be significantly aided by bringing forensic research centers to a greater variety of geographic and ecological locations around the country. It's hard not to have a visceral reaction to the idea of decomposing human bodies, though. And the concerns about smell, insects, animals, and, well, gooey stuff are not unfounded. But Bass holds firm against these misgivings. "If you're going to do things scientifically and put the bad guys away," he says, "you have to do this kind of research."

    Kristina Killgrove is a bioarchaeologist and assistant professor of anthropology at the University of West Florida (killgrove.org). This post was co-authored with Tiffany Saul, a graduate student in the Department of Anthropology at the University of Tennessee, Knoxville. We appreciate the research assistance of Andy Hudson, graduate student in the Department of Anthropology at the University of West Florida.

    For more information on these "body farms," including how you can donate (your body or funding), please contact the director of the research facility nearest you.


    Source: These 6 'Body Farms' Help Forensic Anthropologists Learn To Solve Crimes