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Wednesday, May 25, 2016

Striking infrared photos make Central Park look like a futuristic dreamscape

InfraredNYC4Paolo Pettigiani

Every year, millions of visitors flock to New York's Central Park to enjoy an oasis of greenery in the middle of the city. An Italian photographer is looking at the park from a different perspective.

"Infrared NYC," a photo series by 24-year-old Paolo Pettigiani, uses aerochrome infrared film to show Central Park and its surroundings in vibrant, unexpected colors. Trees and grass become bubble-gum pink, while the city's skyscrapers appear in shades of turquoise. 

The photo series, which Pettigiani released this month, is the second infrared project he has undertaken — his first showcased winter landscapes in his hometown of Aviglinana, Italy.

Pettigiani says his goal for the new project is to "highlight the majesty and the contrast of nature" in New York City. See his photos below.


Source: Striking infrared photos make Central Park look like a futuristic dreamscape

Tuesday, May 24, 2016

Spring Is A Majestic Wonderland In These Infrared Photos Of NYC

When spring finally, well, springs, its brilliance can feel unreal. The sky, we're reminded, can dress itself in a spectrum of hues that includes so much more than pantsuit grey or high rise charcoal. Blue exists! The sun exists! And don't even get us started on the blooms. 

To capture the surreality of springtime in New York City, 24-year-old photographer Paolo Pettigiani photoshopped images he snapped of Central Park to give them an infrared-filtered appearance. He describes the inspiration of the project on his personal site: "The purpose is highlight the majesty and the contrast of nature included in the famous Big Apple's skyscrapers." 

Infrared is often used to highlight the beauty, novelty or sublimity of nature, or of a landscape unfamiliar to the artist. Of note are Richard Mosse's infrared snaps of the Congo, which juxtapose the violent weaponry wielded by its subjects with the playfulness of neon pinks and brilliant blues.

The effect is especially powerful when you add to it the consideration that infrared is a type of light on a wavelength that's not visible to the human eye. So, the message communicated by the image's vibrant rosiness and clear cerulean hues could be that the subject is beyond comprehension by the viewer; it's too picturesque. 


Source: Spring Is A Majestic Wonderland In These Infrared Photos Of NYC

State tries to address septic contamination in waterways

INTERNATIONAL FALLS — The water that fills Ken Henrickson's toilet bowl is pumped directly from the lake he lives on, and when he flushes, it goes back to the lake.

"I'm not sure if it's a good system or not," he said last month.

Henrickson lives along the rocky shore of Rainy Lake, which forms part of Minnesota's border with Canada, in the state's far north.

Henrickson's is one of the half-million Minnesota homes from which wastewater flows into buried septic tanks — systems that are maintained, and often ignored, by homeowners, not professional engineers. The Minnesota Pollution Control Agency estimates one in every five septic systems across the state is failing.

The water off Henrickson's piece of shoreline is laced with sewage — likely his own, and that of about 200 neighbors. There are at least that many failing septic systems in a 15-mile stretch from Henrickson's neighborhood east to Voyageurs National Park.

"Nobody says too much about it," Henrickson said, "but yeah, we know it's there."

In Henrickson's neighborhood, the impact and cost of failing septic systems is front and center. But across the rest of the state, both cost and impact are less clear.

By all accounts, the problem on Rainy Lake reaches back to the glacial era: Henrickson's basement floor isn't concrete, but clean, smooth bedrock. Rock is never more than a few feet below the soil in that area. It's a tough place to make a septic system work.

Henrickson's house is built on bedrock.

"Wastewater comes out, hits the bedrock and doesn't get completely treated before it flows on to wherever it goes," said Koochiching County Environmental Director Dale Olson.

After working its way through the enzymes of a home's septic tank, it moves through the drain field, an underground network of perforated pipe. Drain fields are supposed to be at least three feet above groundwater level.

Those three feet of dry dirt are meant to filter nutrients from sewage, turning it back to clean water. But thanks to that shallow layer of bedrock around the south shoreline of Rainy Lake, dirt is scarce and wastewater can't be fully treated.

"Generally, eventually it ends up in the lake," Olson said. "All water does."

And that's when it becomes a problem.

"Anywhere where you have wastewater going into a lake, you're going to get extra weed growth," he said. "You're gonna get extra algae. And that can kill off certain species or make them move to different areas."

Twenty years and $17 million for a 6-inch pipe

For the last 20 years, Olson has been working to extend a sewer line from the International Falls water treatment plant to those failing systems in Henrickson's neighborhood. Now, thanks to a handful of state and federal grants, and a county loan, he has the $17 million it will take to bore a 6-inch pipe channel through more than 15 miles of solid granite.

In a little more than a year, he hopes, hundreds of faulty Rainy Lake septic systems will be capped and dormant.

But the Rainy Lake project solves just a tiny piece of Minnesota's septic problem.

The MPCA estimates more than 100,000 septic systems across the state are too old or so close to the water table that they're putting groundwater at risk. A quarter of those are believed to be so degraded that they pose an immediate threat to human health. But MPCA septic supervisor Aaron Jensen said most people never think about their septic systems.

"It's not visual. It's not like the roof of your house that you can see," he said. "A septic system that's in the back yard is kind of out of sight out of mind. It's something that might be leaking on the bottom, but I can still flush the toilet."

The mystery of failing systems

The septic problems are obvious on Rainy Lake. But across most of Minnesota, faulty systems are spread out — and hard to identify.

Phil Votruba knows that challenge firsthand. He tests hundreds of lakes and rivers across north-central Minnesota for contaminants and water quality in his work as a state watershed researcher for the MPCA. Sussing out a septic problem isn't straightforward.

Leaking septic systems can cloud lakes with phosphorous and nitrate. But so can agricultural runoff. Even rotting leaves will leach phosphorous into a lake. It takes a significant amount of sewage in a waterway to raise a red flag.

• Related: Should farmers or city pay to clean water? Iowa may decide

In his most recent round of testing, Votruba didn't find a single lake with clear signs of septic contamination. Even so, he said, leaking sewage is almost certainly degrading Minnesota waters. Even one failing septic system can have an impact.

"It all contributes," he said. "Each lake and each stream has kind of a pollution diet, so to speak, A lake has so much capacity to assimilate nutrients, but every little bit is a chink in the armor."

No one knows exactly how extensive the damage is, Votruba said. It's up to counties to keep an eye on older systems, and some counties are more vigilant than others. His agency has had a history of conflict with counties over the extent of regulation.

Beltrami County, for instance, is one of several counties that don't report the results of septic inspections to the state.

Others, like Ottertail County, have conducted thousands of inspections over the last few years. Officials there say about one out of every four septic systems within its borders is failing. That's likely close to accurate, but statewide data is less reliable.

All told, about two percent of septic systems in the state are inspected each year. When the MPCA claims that 100,000 systems are failing, that's a guess, based on a narrow slice of data from all 87 counties.

Proof that's 20 years old

Even on Rainy Lake, where enough sewage has leaked down the shore to attract millions in federal funding for the sewer project, solid facts are in short supply.

Hundreds of inspections have confirmed that roughly two-thirds of septic systems in the Voyageurs National Park area are failing, but the only proof of untreated sewage actually having an impact on Rainy Lake is in a dusty old folder in the Koochiching County courthouse.

That proof exists thanks to Dale Olson. Early in his career as the county's environmental services director, he hired a pilot to fly over the south shore of Rainy Lake to gather infrared photos. It was the mid- 1990's and at the time he suspected the septic systems in that area weren't working properly, but he didn't know the extent of the damage.

Those infrared photo slides show blooms of algae feasting on enough sewage to generate visible heat signatures. The images set Olson to work on the sewer line project that has taken most of his career to launch. But that photographic proof — the most tangible proof that exists — of sewage on Rainy Lake is 20 years old. Olson can't even find a place to develop the old slides.

The project he started so long ago is now funded. He expects ground will be broken next summer.

Soon, for the first time, Ken Henrickson will be able to flush his toilet and know he's not polluting his beloved lake. He and his neighbors are funding roughly a quarter of the sewer line project through their monthly utility bills. Henrickson said it's worth whatever he has to pay to keep his lake clean.

"I don't want my kids swimming in stuff that shouldn't be there," he said. "It's a beautiful area. We have to take care of it. That's all."


Source: State tries to address septic contamination in waterways

Monday, May 23, 2016

Spring Is A Majestic Wonderland In These Infrared Photos Of NYC

When spring finally, well, springs, its brilliance can feel unreal. The sky, we're reminded, can dress itself in a spectrum of hues that includes so much more than pantsuit grey or high rise charcoal. Blue exists! The sun exists! And don't even get us started on the blooms. 

To capture the surreality of springtime in New York City, 24-year-old photographer Paolo Pettigiani photoshopped images he snapped of Central Park to give them an infrared-filtered appearance. He describes the inspiration of the project on his personal site: "The purpose is highlight the majesty and the contrast of nature included in the famous Big Apple's skyscrapers." 

Infrared is often used to highlight the beauty, novelty or sublimity of nature, or of a landscape unfamiliar to the artist. Of note are Richard Mosse's infrared snaps of the Congo, which juxtapose the violent weaponry wielded by its subjects with the playfulness of neon pinks and brilliant blues.

The effect is especially powerful when you add to it the consideration that infrared is a type of light on a wavelength that's not visible to the human eye. So, the message communicated by the image's vibrant rosiness and clear cerulean hues could be that the subject is beyond comprehension by the viewer; it's too picturesque. 


Source: Spring Is A Majestic Wonderland In These Infrared Photos Of NYC

Saturday, May 21, 2016

Inside Michael Jurick’s INFRARED One-Night-Only Exhibition at The Glasshouses

Harriette Rose Katz and Michael JurickHarriette Rose Katz and Michael Jurick

Harriette Rose Katz's elite event collective The Chosen Few has done it once again in a haute collaboration with artist Michael Jurick. Over 200 guests got to enjoy the Infrared exhibition at The Glasshouses on Monday, May 16th. The night was filled with Jurick's incredible photographs and multimedia pieces as attendees enjoyed music by Chosen Few member Total Entertainment and lighting by Chosen Few's Frost Lighting. It was only further enhanced by light bites from Matt Miller Events and panoramic views of our beloved New York City.

Michael then took to the floor to say, "Infrared is invisible, radiant energy. Radiant is the key word in that definition. To radiate joy, to radiate love and to radiate creativity permeates all that I do." He continued, "At the second annual induction to The Chosen Few I had a vision to collaborate with the most talented designers in New York, so we could interpret these never before seen photographs with a touch of color and concept."

The exhibition displayed 12 diverse photographs by Michael Jurick accompanied by seven collaborative experiential artworks created by a selection of The Chosen Few members including Frank Alexander, Jennifer Gould of Diana Gould, Ltd., Pat James & Glenn Jacinto, Jen Stone & Marco Olmi, DeJuan Stroud, Anthony Taccetta, and designer Beth Banker.

Harriette Rose Kat'z concluded the night with a few wonderful words, "This is a room filled with people from the most creative corners of New York City and how did we all end up here…The Chosen Few. I created this highly selective organization in order to recognize the best of the best in each category in the events world." She continued, "Michael Jurick, one of the most talented and lovely photographers I have ever had the pleasure of working within my career, came to my house last summer to show me his infrared photography and I was totally blown away."

Morning Ride by Michael JurickMorning Ride by Michael Jurick Herd, American Prairie Reserve, Montana by Michael JurickHerd, American Prairie Reserve, Montana by Michael Jurick
Source: Inside Michael Jurick's INFRARED One-Night-Only Exhibition at The Glasshouses

Friday, May 20, 2016

NYC's Central Park Gets Psychedelic New Look in Infrared Photographs

The best architectural photography gets the viewer to see a building, neighborhood, or city anew and this series by Italian lensman Paolo Pettigiani is no different. Pettigiani takes us down the rabbit hole in a collection of snaps taken with an infrared camera, which detects wavelengths of light not visible to the human eye. This means the bright whites and vivid greens Jo Schmo may see on her visit to Central Park—on which this series centers—are rendered in turquoise and shocking pink.

This is a departure for Pettigiani, whose previous infrared photography project featured his small Italian hometown of Avigliana (population: 11,000). Like this photo series, which is simply called "Infrared NYC," Pettigiani's last also focused on Avigliana's snowy, windswept landscape. Take a gander.

  • paolo pettigiani photographs italian landscapes in infrared [Designboom]
  • Aerial Photos of Tiny NYC Scale Model Show Beautifully Dense City [Curbed]
  • See Romantic Photos of Hong Kong at Dusk [Curbed]
  • All Photography coverage [Curbed]

  • Source: NYC's Central Park Gets Psychedelic New Look in Infrared Photographs

    Thursday, May 19, 2016

    Coast Chronicles: Pacific County in infrared photos and obsidian

    Rich Bergeman talks about how the technique of infrared photography allowed him to captured some of the magic of James Swan's favorite places in the Columbia-Pacific region.

    GATE GABLE PHOTO

    Rich Bergeman talks about how the technique of infrared photography allowed him to captured some of the magic of James Swan's favorite places in the Columbia-Pacific region.

    Aaron Webster, who teaches the primitive art of flintknapping, is also a sought after educator at the Lewis and Clark Interpretive Center. His work is partnered with Rich Bergeman's in the Columbia Pacific Heritage Museum's current exhibit.

    CATE GABLE PHOTO

    Aaron Webster, who teaches the primitive art of flintknapping, is also a sought after educator at the Lewis and Clark Interpretive Center. His work is partnered with Rich Bergeman's in the Columbia Pacific Heritage Museum's current exhibit.

    A couple weekends ago I was amazed to find nueva cancion — Latin American new music — being performed at the Columbia Pacific Heritage Museum. The songs of Victor Jara and Violeta Parra — their traditional rhythms on guitar with drum, pan pipes and heart-rending lyrics — echoed around the community room.

    This weekend I was back for another phenomenal exhibition. I'm pretty sure that before Betsy Millard arrived to take the helm I had been inside the museum no more than once or twice. But now, twice in two weeks!

    So, first of all, a shout out for Betsy's professionalism and the magnetic quality she has in attracting talented, dedicated staff and volunteers. Then there's her undeniable perspicacity in recognizing quality artists and unique exhibits.

    The current show is one of the most intriguing in recent memory; it combines art, artisanal technique, local legend and historical roots that go back centuries. In the case of photographer Rich Bergeman, we're talking the 1850s, the era of James Swan and the early white settlement days of Shoalwater Bay. Rich's photos are partnered with the exquisite knapping of Aaron Webster, who is working from ancient traditional Danish flint shapes like the dagger, blade, halberd and sickle to create his own contemporary versions of Neolithic artforms.

    Rich Bergeman

    Rich was one of Cyndy Hayward's Willapa Bay AiR artists. He arrived for his residency in April 2015 not knowing exactly what his project would be. As he says, "I did know I wanted to experiment with either my pinhole or my infrared camera on a project of landscapes, bay water and sky." What he wasn't sure about was what the exact content of his project might be, until he found his way to James Swan's 1857 book "The Northwest Coast; Or, Three Years' residence in Washington Territory" — then an idea began forming. Rich is a journalist, editor and educator as well as a photographer. "What I like to do is a photographic retelling of history and I've done that in other places," said Rich. Soon he realized the project was staring him in the face — he began photographing the local places described by Swan.

    Rich had brought a pinhole and an infrared camera. (A pinhole camera has no lens and just one small aperture for light. Infrared technique opens the camera to a different range of the light spectrum.) Infrared images are often described as dreamy or mystical, and for Rich — although it wasn't necessarily what he was thinking about before he took his shots — this fit into the idea of capturing in an almost ghost-like way, the areas that Swan inhabited so many years ago. Was his ghostly image still lingering there? At the show's opening, Rich said, "Before I came to AiR, I didn't know anything about the Peninsula — I knew Oysterville wasn't a classic ghost town. I was taking pictures of the stone bench [the Willard Espy Bench] with my pinhole camera — they didn't really come out right — and Michael Parker kept coming out and asking me, 'Well what are you doing with the infrared camera?' So I had to keep thinking about it. Although I didn't at first come u p with the idea that I was trailing a ghost around with a camera that captures invisible light — I stumbled across the idea." The images do look ghostly, eerie, starkly dramatic and sometimes other-worldly, even those of places we know and love, like the Oysterville Schoolhouse or Baby Island.

    I asked Rich what his favorite images were and he paused. "Well, some I like because they work better photographically and some I like because of the romance of the story. Others I like because people have said, 'No, no, that one is better than you think it is.'" Then he does concede that one of his favorites is the large-format print of Leadbetter Point. It's a stunning image of that long curve of sand against the bay, with a tumble of clouds above. Rich says, "This one has the feeling of both land and the bay, that's why I decided to used it for the cover of my book. [His book of photographs with excerpts from Swan's journal is available at the museum bookstore.] It was one lucky afternoon. I stepped out and took this photograph and then I walked a little ways down and took another one using the sky again."

    When Betsy hung the show, she decided to group the selected photographs more or less geographically. She said of her organizing principle, "Well, part of it is just the rhythm that is created, but part of it too is the dialogue that the project has internally. I wanted those pieces that were in and around Shoalwater Bay to flow. So I used the Leadbetter Point image as the entrance to the Bay — through them to Swan's claim. It's a little fuzzy in some areas. But then I went on to a Columbia and Grays River grouping. And then Oysterville comes along because there is so much Swan talks about with oysters. Then Naselle. It all just seemed to work."

    She points to a lovely and delicate print on the far wall. "Even though the cow parsnip is not Oysterville, it screams Oysterville to me."

    "But that's where I photographed it!" Rich said, "It was just above town."

    (Get a glimpse of some of Rich's photographs at tinyurl.com/Bergeman-Photos)

    Aaron Webster

    Aaron Webster, Washington State Park's interpreter, primitive skills instructor and resident of Ilwaco, is a featured artist in the side gallery with his beautiful knapping work. Aaron gathers his own obsidian in the fields around Glass Butte, central Oregon. "You dig down through the soil and there is a layer of obsidian all in huge puzzle pieces that you have to pry apart." Aaron demurred — he does not work like Michelangelo who said, "Every block of stone has a statue inside it and it is the task of the sculptor to discover it." Though obsidian does have special properties that constrain the artist, Aaron's traditional Clovis-like blades and spearheads are gorgeous. His knapped fish swim along the gallery wall, exchanging their solid stone form for fluidity. Knowing nothing about the art of knapping, I was surprised when Aaron brought my attention to a knapped cube by the Danish artist Sofus Stenak. "That is the best piece here," Aaron said. It turns out that stone does not want to flake that way. Knapping stone edges into hand-held shapes is a more typical collaboration of man with rock. But coaxing stone into a square cube, that shows the tour de force of a master.

    Rich's photographs and Aaron's flintknapping are on display until July 13 both at 115 S.E. Lake Street in Ilwaco. Stop by and see how these contemporary artists have brought the past into our future.

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    Source: Coast Chronicles: Pacific County in infrared photos and obsidian