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Developing Animals
Developing Animals takes us back to the time when Americans started taking pictures of the animal kingdom, investigating how photography changed our perception of animals. Combining approaches in visual cultural studies and the history of photography, Matthew Brower argues that photography has been essential not only to the understanding of wildlife but also to the conceptual separation of humans and animals.
eBook
The whale who won hearts! : and more true stories of adventures with animals
Follows an underwater wildlife photographer on four real-life adventures as he photographs leatherback sea turtles, harp seals, a whale named Wilma, and some gray reef sharks.
Book
Greg Lasley's Texas Wildlife Portraits
Experience the wildlife of Texas, up-close and personal, through the eyes of one of the country's most talented nature photographers. Where else can you look a coyote in the eye while it licks its chops? Spy the long tongue of a Nine-banded Armadillo as it drinks? Watch a rare Blue-faced Ringtail dragonfly eating its prey? Glimpse a Sanderling's feet spread midair as it scurries down the beach? See an American White Pelican's pouch turned inside-out as it yawns?
Award-winning photographer Greg Lasley has been taking pictures of wildlife for thirty years, and although he has photographed some of the most exotic creatures and remote places on earth, inGreg Lasley's Texas Wildlife Portraitshe gives homage to his favorite place for photography: his home state. With more than a hundred stunning color photographs, this book reflects Lasley's penchant for the state's insect life, especially dragonflies, as well as his long affection for Texas birds. In addition, many hours of patient waiting or the happenstance of a chance encounter have yielded fine images of Texas mammals and reptiles in their habitats.
Veteran Texas naturalists John and Gloria Tveten open the text with an introduction to the man behind the camera. From there, photographer's comments and insightful photo captions help vividly re-create the moment each image was shot-what the animal was doing, what the photographer was thinking.
eBook
Zoological Surrealism
An archive-based, in-depth analysis of the surreal nature and science movies of the pioneering French filmmaker Jean Painlevé
Before Jacques-Yves Cousteau, there was Jean Painlevé, a pioneering French scientific and nature filmmaker with a Surrealist's eye. Creator of more than two hundred films, his studies of strange animal worlds doubled as critical reimaginations of humanity. With an unerring eye for the uncanny and unexpected, Painlevé and his assistant Geneviève Hamon captured oneiric octopuses, metamorphic crustaceans, erotic seahorses, mythic vampire bats, and insatiable predatory insects. Zoological Surrealism draws from Painlevé's early oeuvre to rethink the entangled histories of cinema, Surrealism, and scientific research in interwar France. Delving deeply into Painlevé's archive, James Leo Cahill develops an account of \"cinema's Copernican vocation\"-how it was used to forge new scientific discoveries while also displacing and critiquing anthropocentric viewpoints. From Painlevé's engagements with Sergei Eisenstein, Georges Franju, and competing Surrealists to the historiographical dimensions of Jean Vigo's concept of social cinema, Zoological Surrealism taps never-before-examined sources to offer a completely original perspective on a cutting-edge filmmaker. The first extensive English-language study of Painlevé's early films and their contexts, it adds important new insight to our understanding of film while also contributing to contemporary investigations of the increasingly surreal landscapes of climate change and ecological emergency.
eBook
Concepts of nature: a wildlife photographer's journey
Andy Rouse has gained a reputation for getting up close and personal with his subjects -ranging from lions and elephants in Africa to penguins in Antarctica, and taking in a whole host of African, European and North American wildlife on the way. In Concepts of Nature the author brings together some of his most memorable images from a genre-defining portfolio spanning four continents.
Split into three parts, Concepts of Nature begins with 'Visions', in which Rouse presents the photographs, many published here for the fist time, which he feels were the landmarks in his career and in his development from a one 'big shot' specialist to an artist who can capture the whole story of a species and its environment.
In 'Expression' he then discusses and illustrates the ideas and techniques that have enabled him to create a series of themed portfolios devoted to a single species or ecosystem -such as those he made in South Georgia and Antarctica. Finally, in 'Inspiration' Rouse turns to the work of other wildlife photographers who have inspired and influenced him. There is also an appendix giving technical details of the individual photographs.
For aspiring wildlife photographers, this book will itself be an inspiration, showing just what can be achieved with skill, patience and an extraordinary eye for the telling and dramatic shot. But it will also be treasured by the host of wildlife enthusiasts who admire Andy Rouse's pictures, attend his lectures or watch his television programmes.
eBook
A comparison of horizontal versus vertical camera placement to detect feral cats and mustelids
Invasive predators are a threat to biodiversity in New Zealand. However, they are often difficult to monitor because of the animals’ cryptic, mobile behaviour and low densities. Camera traps are increasingly being used to monitor wildlife, but until recently have been used mainly for large species. We aimed to determine the optimal camera alignment (horizontal or vertical) for detecting feral cats (Felis catus) and mustelids (Mustela furo, M. ermineaandM. nivalis). We deployed 20 pairs of cameras, each pair with one horizontal and one vertical camera. We compared the number of photos of target species, non-target species, and false triggers (i.e. camera triggered with no animal present) between camera orientations. Horizontally oriented cameras captured approximately 1.5 times as many images of the target species compared with vertically oriented cameras, and also detected more non-target animals. Orientation did not have a significant effect on the number of false triggers.
Journal Article