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36 Scientific Photography Magazine - Issue 36 - November 2014 . . THIS ISSUE The ART to Science To pheasant or not to pheasant Bees behind bars Not so urban wildlife BCís Monashee Mountains . . . . £5.99 $10.99 MICROSCOPIC IMAGE OF T.S. OF STEM OF LYCOPODIUM CLAVATUM (X10) / PHOTOGRAPHER TATIANA PARIS side by side Image 1 (assessed)

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36Scientific Photography Magazine - Issue 36 - November 2014. .

TH IS ISSU EThe ART to Science To pheasant or not to pheasant Bees behind bars Not so urban wildlife BCís Monashee Mountains. . . .

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EDITORS LETTER

side by side - the magazine that aims to bring to light issues and articles which highlight the coexistence between science and art.

To all you budding photographers and enthused naturalists far and wide, we here at side by side aim to combine our love for photography with all things natural to give you a monthly feast of eye-tingling information. Where photography meets the natural world is where you will find the side by side crew busily conjuring up an artistic representation of the environment that surrounds us. Carefully selected articles chosen and illustrated by the team cover a diverse number of topical environmental issues. As always we like to entice readers by our unique interpretation and illustration of the environmental articles at hand, while discussing the forefront of scientific findings, in an attempt to bridge the gap between

science and art.

In this month’s issue, each article will have an underlying melody pertain-ing to how humans and animals coexist in the world today. The ongoing discussion about how humans and their surrounding environment are engaged in a parasitic relationship has graced the periodicals and sci-ence magazines for years now. It can never be discussed too much due to new evidence being flushed out of the woodwork on a daily basis. More specifically, humans and other non-human animals, domesticated or non-domesticated seem to be in this perpetual battle to coexist in harmony. With this in mind, here at side by side we have carefully cherry-picked a handful of articles to keep the mind ticking over the topic at hand, but as always supplementing our words with stimulating imagery. So go ahead, feast your eyes on our selection of microscop-ic organisms-turned fashionable prints, or the ever-beautiful Canadian Monashee Mountains- the epitome of human colonisation of a very nat-

ural environment.

EnJoy!

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Tatiana ParisEDITOR

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‘Coexistence = ‘to live side-by-side together in the same place or at the same time’

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CONTENTS

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4To pheasant or not to pheasant

Why is shooting such a popular hobby? Looking at the anatomy of diffferent pheasants and the history behind the sport might give us a better clue.

8Bees behind bars

Delving into the life of the honey-bee will hopefully help us under-stand why they are dwindling in numbers as of late.

1 Editor’s letter

A short description of what the magazine does and why it does it.

14The art to science

Can artistic representations of scientific articles and research be universally recognised as an art form?

19not so urban wildlife

With the increasing number of disturbances due to urban wildlife in major cities, could a creative and positive depiction of our fur-ry friends decrease the animosity directed towards them?

22bc’s monashee mountains

With so many beautiful land-scapes and environments being turned into tourist attractions, where will British Columbia’s native wildlife be driven to next?

29 Locations, Technical Data

Details of the location where the images were taken, including relevant technical specifications.

33 References

All references used in the maga-zine, written in full.

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To Pheasant or not to PheasantHow can such a beautiful bird be shot as a past-time? Surely shooting pheasants is redundant as it is not an essential part of our diet? Or is it just a matter of tradition? Here we look at the key anatomical features of the male and female Common Pheasant, and explore the relationship

between the ‘hunter’ and ‘hunted’.

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In our society today, we are presented with many perpetual arguments about contradictory environmental issues. The idea of whether something is ‘right’ or ‘wrong’ is constantly being contested. Shooting pheasants for sport or pleas-ure is no different. After the Hunting Act passed in 2005, the idea of killing an animal as a sport, for tradition or for pleasure has been not only frowned upon, but also in some cases boycotted. Regardless of the constant protest, and not taking into account the affect of the economic downturn in 2009, the act of shooting pheasants is still a very popular hobby. To understand how this custom came about, we will look at the subjects in question- the ‘hunter’ and ‘hunted’- to see if we can bring to light both the pros and cons of this age-old tradition. The pheasant is native to Asia, but has been introduced to countries across the world as a popular game bird. Biologically there are just four true subspecies sig-nificant to the UK shooting scene today- three are from the Phasianus colchicus species and one is from the Japanese Phasianus versicolor. The blackneck pheasant (P. colchicus colchicus), one of the first species introduced into the UK, originated from northern Turkey and is recognisable by the absence of a white ring around its neck. The Chinese ring-neck (P. colchicus torquatus) is not only smaller in size than the blackneck, but is also lighter in colour and has a white

ring around its neck. This bird is one of the more favourable species for game shoots as it flies very well and is fairly successful in rearing offspring. The Mon-golian ringneck (P. colchicus mongolicus) originates form northwest China and has the identifiable white ring around its neck. It differs from the Chinese ringneck in that it is darker in colour, boasting a coppery, maroon-coloured plumage. Finally, the last true subspecies found in the UK is the Japanese Green (P. versicolor versicolor). It was imported to the UK from Japan in 1840 and has been dwindling in numbers since. The male is unsurprisingly green all over, and the female also has a green tinge to her plumage. Although a very beautiful bird, it can be very aggressive and is renowned for its poor egg produc-tion; therefore it is commonly crossbred with other subspecies. With many different species of pheas-ant inhabiting many different countries across the world, the Common Pheasant (Phasianus colchicus), with its varying subspecies, is the most frequently seen species across the UK. In many countries across Europe, where none of its rela-tives occur, it has become naturalised. The pheasant is now one of the most hunted birds in the world, regardless of it possibly being one of the most ancient. Ring-neck pheasants in particular are commonly commercially bred as game farm stock- the process of rearing the birds up to the point where they are

ready to be killed has meant that this bird is now recognised as a semi-domesti-cated animal. Through the domestication of this bird, crossbreeding of different subspecies has produced many differ-ent colour forms of the male Common Pheasant, whereas the female Common Pheasants look very similar to one anoth-er. The males are brightly coloured with many different patterned and coloured feathers while the females often look dull in comparison, with mottled tones of beige in amongst the patterns on their feathers. This sexual dichromatism, a difference in colour between the sexes of the same specie, is intended to encour-age competition between the males in attracting and courting the females. This sexually dimorphic bird not only differs in its coloured plumage between the sexes, but also differs in its length and weight. Their weight can range from 0.5 to 3 kg, with females averaging 0.9 kg and males averaging 1.2 kg. The weight coupled with their laziness means that pheasants are ordinarily seen on the ground foraging for berries and seeds, instead of flying in the sky. There is also a substantial dif-ference in length between the male and female pheasant. The male can reach up to 89cm in length, with its tail accounting for 50cm of that total length, while the females can reach up to 63cm in length with her shorter tail accounting for 20cm of that total length.

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These prominent features lend them-selves well to the idea of shooting a ‘prize’ animal for recognition and glory, so often seen today with impressive animals such as lions and tigers. Surely the idea of shooting an animal with such elabo-rate markings and ostentatious plumage should not be shown off, or commended, or encouraged, unless its death is of direct benefit to us? The act of hunting or shooting has been practiced for centuries and is part of British rural culture in parts of the UK. This traditional activity was crucial for hunter-gatherers before the domestica-tion of animals and the rise of agriculture. Hunting with hounds was popularised in Celtic Britain before the Romans arrived. Along with the Romans came the Cas-torian and Fulpine hound breeds, and the brown hare. The earliest document-ed hunt of a fox was in 1534- farmers chased a fox with their dogs as a form of pest control. Thereafter packs of hounds were trained to hunt foxes and hares from the 17th Century onwards. This led to the rise in popularity in game shoot-ing in the 18th and 19th Century, where gamekeepers were employed to elimi-nate pests such as foxes and large birds,

crop or field nearby via food, where he will instruct beaters to flush the birds out of the cover crop or field for the shoot-ers to shoot at. Rough shooting, where many people walk through woodland and shoot the birds flushed out by their dogs, is a less formal style of shooting and is becoming more and more popular. The association of shooting with royalty or rich families with large estates exac-erbates even further the already large divide between those in favour of game bird shooting and those not in favour. With the knowledge of how beautiful and resilient these birds are, coupled with the feeling of societal class division which is linked with this sport, would your allianc-es be with those not in favour? Or would you be of the same mind as the so-called ‘royals’ amongst the population and stay true to British rural tradition? In both cases, the relationship between human and bird, in this case, is examined. Do we accept that in some cases humans cannot have symbiotic relationships with animals, domesticated or not, or should we be striving to live harmoniously with everything that inhabits the environment which surrounds us?

as they would regularly kill the pheas-ants. The gamekeeper was, and still is, in charge of the way in which the shooting day is run- he will rear the pheasants in pens, eventually luring them to a cover

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- IMAGE OF FEATHERS FROM MALE CHINESE RINGNECK PHEASANT (P. COLCHICUS TORQUATUS)/ PHOTOGRAPHER TATIANA PARIS

IMAGE SHOWING WHITE RING ON MALE CHINESE RINGNECK PHEASANT (P. COLCHICUS TORQUA-TUS)/ PHOTOGRAPHER TATIANA PARIS

IMAGE OF FEATHERS FROM FEMALE CHINES RINGNECK PHEASANT (P. COLCHICUS TORQUATUS)/ PHOTOGRAPHER TATIANA PARIS

IMAGE OF CHINESE RINGNECK PHEASANT (P. COLCHICUS TORQUATUS) MALE AND FEMALE/ PHOTOGRAPHER TATIANA PARIS

IMAGE OF THE HEAD OF THE MALE CHINESE RINGNECK PHEASANT (P. COLCHICUS TORQUA-TUS)/ PHOTOGRAPHER TATIANA PARIS

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Bees Behind Bars

The wonderful life of bees- Here we delve into the life of the honeybee and how hu-mans are now heavily involved in sustain-

ing their populations.

The beekeeping industry is thriving now more than ever. Although proving to be beneficial to bee colo-nies, some of these methods are technically keeping the honeybees in a captive environment. This seems obvious when you think about it. The method involves containing animals against their will in an enclosed space, manipulating their movements and behaviours. Yet, with the negative connotations that come hand in hand with captive programs like zoos, we have to be careful when comparing a successful system which is sustaining bee populations, with a theoretical animal detention. To clearly weigh up the validity in the comparison being made, we must first understand the honeybee, its natural behaviour and habitat, and the positive and negative effects humans have on this complex organism. Bees are easily recognisable by their close relation-ship with insect-pollinating plants and by their produc-tion of honey and beeswax. There are over 20,000 known species of bees, with some very closely related to wasps and ants. Bees can be found on any continent or in any country that grow insect-pollinating flowering plants. This is due to the fact that their pri-mary food sources are pollen and nectar. Morpholog-ically, bees will all generally have the same or similar basic features. They have been adapted to collect nectar with their long proboscis, which can reach down into the flower where the nectary is located. Stereotypically the males will have antennae which are made up of 13 segments, while the females have antennae made up of 12 segments. Both sexes have two pairs of wings, the hind pair being much smaller than the front pair, which enables them to travel from flower to flower, collecting pollen and nectar, thus pollinating the flowers as they go. Among the known bee species, the European honeybee is the most universally recognised.

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Most honeybees, from the genus Apis, are thought to have originated from Southeast Asia. The Western or Europe-an honeybee is the only honeybee native to Europe, which has subsequently been spread throughout the Americas, Africa and Asia. Through evolution, the Western honeybees have adapted to their differ-ing environments, by acquiring physical or behavioural modifications such as colonies forming ‘winter clusters in colder climates’ and ‘migratory swarming in Afri-ca’. The 28 subspecies found on these continents can all potentially crossbreed to produce viable offspring, unless their specific adaptations have permanently affected their reproductive organs. Hon-eybees live in colonies which consist of the queen bee, the worker bees and the drones. The queen bee is the only fertile female bee in the colony. All other female bees are worker bees, and the males are called drones. The only visible difference between the female worker bee and the queen bee is size. This is due to the fact that the queen bee is fed pure ‘royal jelly’, whereas the worker bees feed mainly on pollen, with small amounts of ‘royal jelly’.

The queen bee begins laying her eggs during the winter months in preparation for the spring. The worker bees prepare a cell for each egg to be deposited into, identifiable to us as one cell in the honey-comb matrix. Once the egg hatches into a larvae in its cell, the worker will provide the larvae with food until they seal up the cell which initiates the pupal stage. The fi-nal emergence as a bee takes place only a week after the pupal stage begins. For the first few days of a worker bee’s life, it will ensure the hive is clean at all times, and feed the larvae constantly. After this, the worker will start to produce cells for the eggs to be laid into, then it will receive and store nectar from older workers bees, before it finally becomes a forager for the remainder if its life. The duties of a worker bee consist of forag-ing for nectar, rearing the young and pro-tecting the hive from potential predators. They are able to do so with their modified ovipositor, also called a stinger, which pierces the skin of the predator causing pain from either the barbed stinger or the venom released from the venom sac. The drones on the other hand provide a

very different service to the colony. They do not have a stinger, nor do they forage for nectar or pollen. Their main purpose is to mate with and fertilise the queen. Once insemination has taken place, the drone honeybee dies. Due to the sheer volume of worker bees produced in rela-tion to drones, the relatively short lifespan ranging from two weeks to two months does not affect the number of worker bees in a colony. However, the even shorter lifespan of the drones will even-tually affect the colony size, as ultimately the queen will have no one to mate with. As the number of drones slowly diminish-es, the queen - who can live up to eight years - will start laying unfertilised eggs, prompting beekeepers to replace the queens every year or so. These extremely clever colonies not only create intricate multi-combed wax structures to store their nectar and pollen, whilst housing bees at larval and pupal stages; but they also produce honey from the nectar they collect. The forag-ing bees will collect the nectar, which is made up of 80% water and 20% complex sugars, and then return to the hive. The

worker bees will then digest the nectar for roughly 30 minutes, breaking down the complex sugars into more simple sugars. This digested honey is then packed into the comb cells where it is left to dry out, reducing the water content from 80% to less than 20%, before being coated with a layer of wax to preserve it. A hive becoming too full of honey, leaving no room to lay eggs, can sometimes cause a colony to divide. When there are space constraints, the old queen may take half of the worker bees and drones to create a new colony else-where, leaving a new queen to take over the old colony. Another situation where a new queen might be needed is when the old queen fails to lay viable eggs any-more- in this situation she will be killed by the worker bees. Similarly, if the queen dies, the worker bees will extend the cell where a larvae is growing and only feed it ‘royal jelly’, eventually producing a queen bee. To ensure that the workers are all aware of a queen bee’s death, or when foragers have found new sources of food, they have devised an intelligent and cryptic way of communicating. Foraging

honeybees are capable of communicat-ing with other foragers when there might be a larger or new food source. They do this by dancing. Combinations of move-ments, or dances, are performed to notify other foragers of the distance and direc-tion a food source might be in relation to the hive. So what would happen if these astute foraging bees never came back to the hive to relay these crucial messages on? Beekeepers worldwide have been no-ticing bees leaving the hive and not com-ing back. This has led to ‘colony collapse disorder’. When the number of foraging and worker bees declines, the hive is no longer maintained; this leads to the collapse of hives and the decimation of whole bee colonies. One of the reasons as to why colonies have been declining is climate change, which is making the bees confused. Also, the atmospheric electromagnetic radiation from cell phone towers, interferes with their sophisticated communication system and affects their routing back to the hive. Others believe their disappearance is due to parasites, yet convincing conflicting evidence has

shown that their decline is due to pesti-cides. In a recent scientific study carried out by Dr Richard Gill from the Univer-sity of London, results showed that two particular pesticides, neonicotinoid and pyrethroid, are the cause of CCD (colony collapse disorder). These two pesticides are thought to ‘impair natural foraging behaviour and increase worker mortality’. While these pesticides aren’t critical at an individual level the combined effect on a whole hive can be devastating. So how does this decline in bees affect the rest of the world? Honeybees are largely responsible for pollinating a considerable percentage of the crops grown as a food source, and without them, the agriculture trade will slowly deteriorate. In addition to this, they play a key role in many different food chains. Without them we would see various trophic cascades, in which their natural predators would have to look elsewhere for food, slowly depleting a different animal’s food source. Scientists in the lab and beekeepers on the ground are trying to prevent this vicious cycle. Beekeepers create manmade hives

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IMAGE SHOWING WORKER BEES BUILDING THE WAX CELLS OF THE COMB/ PHOTOGRAPHER TATIANA PARIS IMAGE SHOWING LARVE GROWING IN THE CELLS, AND WORKER BEES STORING NECTAR AND POLLEN IN THE CELLS OF THE COMB/ PHOTOGRAPHER TATIANA PARIS

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using bee boxes, in an area called an apiary, to maintain bee colonies and pro-duce honey, pollen and beeswax. These bi-products can then be sold in varying forms. Pollen is sold to farmers, which they can use to pollinate their crops/flowers. They can also be sold to shops in the form of honey, or as bees to other beekeepers with which to replenish or expand their bee colonies. The domestication of bees is docu-mented to date back to 4,500 years ago, depicted in Egyptian art. The older, tradi-tional method of using a fixed comb hive, in which the combs cannot be detached from the hive, is used less and less as this method is inefficient when trying to harvest the honey. The only advantage of using a fixed comb hive is that you can make it out of any material, benefiting poorer countries and communities who harvest bee colonies for their livelihood. In the UK, the most common type of hive found is the British National hive which can hold many different types of frames. This British National hive, along with the traditional American Langstroth hive, allow effective honey harvesting, and bee colo-ny maintenance. A beekeeper must regularly check the

hive to ensure the following: the queen bee is healthy and still laying eggs, the worker bees are maintaining the hive correctly, and the foragers are collecting and storing nectar and pollen properly. To avoid getting stung, beekeepers generally wear protective clothing and will use a smoker to calm the bees before exam-ining the hive. When bees detect smoke, they liken it to a forest fire, and therefore prepare to evacuate the hive. In doing so they gorge on as much honey as pos-sible, which makes them more relaxed and passive. After the bees have been slightly sedated, the hive can be inspect-ed by the beekeeper. The process of beekeeping seems to be sustaining bee populations around the world, although some liken beekeeping to zoos, in that the bees are being controlled in a captive environment. The artificial manipulation of the enclosed hive, coupled with the manmade queen separator, means that this process, is not by any means natural. Although the immediate results of this technique seem to be positive, the lasting affects appear to be more negative. The bee boxes being used to harvest the bees and honey are thought to harbour lethal diseases, which have been known

to wipe out whole bee colonies and spread harmful diseases to wild bee pop-ulations. So is the captivity of honeybees a successful way of increasing honeybee populations, or will it eventually be the straw that broke the camel’s back? Captivity, although riddled with negative connotations due to those who abuse their power over domesticated animals, is also a positive process whereby endan-gered animals can be protected. Farmed animals, or those used for scientific research are also kept in captivity, which does not benefit them, but greatly bene-fits humans. So, although in this instance, humans are trying to sustain bee popula-tions - as they recognise their importance to the environment - the domestication and incarceration of animals has led to their adverse treatment for human benefit. In relation to bee populations, efforts to save honeybees might be redundant due to the persisting cause of their initial diminution, instigated by humans. By banning pesticides, and reducing factors which instigate climate change, we might be more successful in sustaining honey-bee populations, rather than attempting to solve the problem by introducing bee boxes.

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IMAGE SHOWING HOW FRAMES ARE STORED IN A BEE BOX/ PHOTOGRAPHER TATIANA PARIS

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The Art To science

What is art- and who decides what art is and isn’t? Can sci-ence ever be considered art? Has the recent emergence of artistic scientific imagery made people think about science in a

different way?

With pretty much anything passing as art nowadays whether it shows the art-ist’s emotions or feelings through visual, audio or tactile mediums, the possibil-ities to express creativity are endless. So, how do we classify what is art and what isn’t? To me there seems to be no boundaries. Everything about art is sub-jective to each individual viewer and the artist who created it- therefore extremely differing opinions are an expected out-come. People’s perceptions of art have been molded by what they were taught at school, by what they read in periodi-cals and through old and new literature - so can they be persuaded to accept the

outcome when the unusual combination of science and art happen to collide? Science and art are often seen as two opposites- science being very factual with wrong and right conclusions, and art being very subjective. In fact these two overlap more than they suggest. Apart from the fact that Leonardo Da Vinci was an artist and also an inventor/scientist, there have been many recent examples of the two subjects coming together to create new and creative pieces of art. Just after 9/11 the National Portrait Gal-lery commissioned the artist Marc Quinn to produce a portrait of the geneticist Sir John Sulston. Not only did Quinn fill the

brief, he did so in a very inventive way. From Sulston’s sperm, a sample of DNA was cut into segments and treated, so that it could be replicated in bacteria. The bacteria was then placed on agar jelly and positioned under some glass to form the A4 portrait. The aim of this project was to hopefully change the men’s atti-tudes towards each other’s profession. In a way it was successful. Since then they have produced work which gravitates towards each others professions- Quinn has created a lot of work revolving around fingerprints while Sulston has become more concerned with the ethical questions behind his DNA work;

something which Quinn was previously very conscious of. All in all I would say, although an unusual combination of science and art, the outcome has shown that people can change their previous misconceptions of science and art being mutually exclusive. Other instances where science and art have met have been at the microorgan-ism level, which seems to be becoming more and more popular. Microorganisms which are found in humans, such as DNA and mitochondria, are thought of as those tiny little insignificant organisms, which play some sort of important role in our lives, but we aren’t quite sure what they

do or what they look like. Microscopes have allowed us to enter an infinitesimal world which has helped educate us about microorganisms- how they are formed, what parts play what role in their functionality and how they affect us. The images created by microscopes are pro-duced by passing visible light from a light source, through the sample and into the lens, to produce a magnified view of the sample. The image detected by the eye can be captured digitally and manipulated in post-production. The images produced are not only used for educational purpos-es, but can sometimes look unexpectedly creative and artistic. One recent example

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MICROSCOPIC IMAGE OF A SMALL INTESTINE OF A RAT (x20)/ PHOTOGRAPHER TATIANA PARIS MICROSCOPIC IMAGE OF T.S. PETIOLE CYCAS SPECIES (x10)/ PHOTOGRAPHER TATIANA PARIS MICROSCOPIC IMAGE OF T.S OF A VENTRICLE FROM A PIECE OF CARDIAC MUSCLE (x10)/PHOTOGRAPHER TATIANA PARIS

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18of this has been exhibited at Chicago’s Midway Airport. Researchers at the Institute for Genomic Biology (IGB) joined forces with the University of Illinois to pro-duce twelve different images which ad-dress a range of serious problems which face humanity- related to agriculture, health, energy and the environment. One of the pieces of artwork was of proteins in cancer cells, taken with a Zeiss Laser Scanning Confocal Microscope, which increases the ‘sensitivity and flexibility in examining fluorescent biological speci-mens.’ These larger commissions have allowed the general public to become aware of not only scientific findings, but also the idea of scientific material being displayed as artwork. These artistic images have not only been created using cells from animals or plants, but also from pretty much any ma-terial. Photographers and scientists have often collaborated to produce portfolios of microscopic images which highlight patterns seen in nature. Fernan Federici, a graduated biologist from Cambridge University, produced multiple microscopic images of plants, bacteria and crystals. By using fluorescence microscopy, he

was able to illuminate different parts of the cells with fluorescent light, and in return, he saw different parts of the cell shining a different colour or light back to him. These striking images, after being uploaded onto his flickr site, created an unusually large and positive response from other photographers and admirers on the site. In response to all the atten-tion, Frederici explained that this had been a great way of bringing ‘scientific data to the general public.’ Similarly, a cell biologist named Eve Reaven has used light and electron microscopy to create images of different intracellular organelles such as mitochondria, Golgi bodies, endoplasmic reticulum and centrioles, and has printed them onto silk scarves. Like many other scientists who are fascinat-ed with patterns in nature, Eve has not only explored this through microscopy, but has also pushed the boundary even further into the field of fashion. A more re-cent collaboration between science and fashion has been illustrated by Jacquelin Firkins in her recent exhibition titled ‘Fash-ioning Cancer: The Correlation between Destruction and Beauty’. The exhibition consists of ten ball gowns which were inspired by microscopic photos of cancer cells and cellular systems. Jacquelin

hopes that these gowns will prompt con-versations about the relationship between our bodies, the beauty of them and this increasingly common disease which can take over them. The artistic connection between science and fashion or art, in almost all cases, is aimed to promote scientific findings to the general public, or to increase awareness in science in general. The different mediums as to how this is being brought to the general public have become more and more experimen-tal. The popularity of art and photography, and the connection between those two subjects and science has allowed the less appealing scientific articles, normally found at the back of old scientific

journals, to be more appealing and readily available to the general public in a very inventive and exciting way. With more and more microscopic images being produced as pieces of art, I believe the awareness and intrigue of the general public to pieces of this nature, and there-fore science as a whole, has increased therefore validating the connection be-tween art and science and its importance in our society in its role for communicating ‘theoretical explanations of phenomena’ to the rest of the world.

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Not so urban wildlifeWith the ever-increasing human population comes the surging sprawl of urban cities. It is no surprise really that more and more often we see wildlife in our major cities. Through no other fault than our own, urban wild-life are making bad names for themselves- can artistic representations of our furry friends change our views

towards them?

Media outlets, such as television programs and nature mag-azines, have generally increased the UK’s interest in wildlife, which commenced when the urbanisation of rural areas started increasing. About 2000 years ago, the majority of Britons lived in rural areas, due to the fact that most of the population was poor. The wealthier in the population were able to afford a house in major towns and cities, while the poorer people occu-pied the countryside. As Britons became wealthier, there was a major shift in numbers of people living in rural areas to urban areas, which changed the way Britons viewed nature and wildlife of the UK. The industrial revolution was the catalyst of the move from the countryside to cities, and by the end of the 19th Century, 4 out of 5 people lived in urban areas versus rural areas. After living in large towns and cities for a while, people started to yearn after the life they used to live in the country-side. This instigated a rise in the number of excursions to the countryside with the aim of enjoying a day of walking through

woodlands and fields. Many people took up outdoor hobbies including gardening, bird watching and rambling. By the 20th Century, those who enjoyed spending much of their time in the countryside, invested in the development of green areas in towns and cities. The creation and expansion of urban parks increased during the 20th Century and the wildlife, which was being attracted to these parks via food and a place to live, came with it. Meanwhile, in the countryside, natural habitats were being destroyed through people’s desperation to find food. Even after the Second World War, when food rationing was no longer necessary, and the destruction of natural habitats was no longer essential for survival, the demolition continued. The rapid increase in Britain’s population meant that more housing had to be built, which meant more roads to access the houses followed, proving to be devastating for the wildlife. With more people, means more food. The demand for food increased,

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PREVIOUS PAGE LEFT: MICROSCOPIC IMAGE OF A MOUSE PANCREAS (x10)/PHOTOGRAPHER TATIANA PARIS

PREVIOUS PAGE RIGHT: MICROSCOPIC IMAGE OF T.S OF A MRYONIA STEM (x20)/PHOTOGRAPHER TATIANA PARIS

THIS PAGE: MICROSCOPIC IMAGE OF T.S OF STEM OF LYCOPODIUM CLAVATUM (x4)/PHOTOGRA-PHER TATIANA PARIS

IMAGE SYMBOLISING A WILD CROW COMING FROM ITS NATURAL HABITAT INTO, AND PERSISTING IN AN URBAN ENVIRONMENT/PHOTOGRAPHER TATIANA PARIS

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which saw the countryside being filled with factories churning out processed, chemically derived foods. The population has been expanding ever since. The urbanisation of rural envi-ronments, which has been increasing at a constant rate since the end of the Second World War, has meant that many different indigenous species including the bee, skylark, butterfly, and various plant families have been slowly declining in response to this process. While these species are dwindling in numbers due to the decline in ‘true’ countryside, other areas such as private gardens and restored roadside verges, which are now growing in numbers, are providing new living opportunities for a lot of the wildlife living in the UK. Some of the more common animals, which are taking advantage of and thriving in city parks and private gardens are, pigeons, crows/ravens, squirrels and foxes. Although the green areas were the initial attraction to these species, you can often see them roaming through residential areas, or scavenging scraps of food right off the pavements next to a busy road. Pigeons and other birds found in cities can regularly be seen nesting in tall build-ings, more often than not causing damage to the structure, and generally being a nuisance. Red foxes are becoming more and more boisterous, having been spotted walking down city streets in pure daylight, while others have been found living at the top of skyscrapers. Their confidence has stemmed from the fact that many city dwellers, which like to see wildlife in the cities, feed these so-called vermin, which eventually makes them more accustomed to humans. Generally, although the urban wildlife in cities today have no other choice than to live there due to the urbanisation of rural areas, they seem to cause more trouble than they do pleasure. Pigeons, crows and foxes, among others, have become inured to feeding on human waste instead of their natural food sources. This can be seen as an advantage,

as edible litter is commonly strewn across cities, and these animals are technically cleaning it up for us. Conversely, because the animals are becoming accustomed to a human diet, they will go to any lengths to get their food. Various kinds of urban wildlife now have a bad reputation for rummaging through waste, causing a huge mess on the street, in search of a meal. Similarly, birds have been known to fly through windows, into houses to pinch some food from the kitchen counter. These ruthless methods to obtain food, which is not even suitable for the animals’ consumption, are completely unnatural. Surely, we as humans, can recognise that although some may be thriving, naturally wild animals are not meant to be living in urban areas. The reason they are living in cities, and causing problems for city dwellers, is due to our ancestors extraditing them from the countryside years ago. So how can the general public be convinced that the wildlife living in urban areas aren’t ‘bad’ animals, but that they are only adapting to the environment we previously subjected them to? Recently, graffiti artists have been creating murals of typical urban wildlife, such as foxes, crows and squirrels, in central parts of London. These originally wild animals, turned urban animals, being painted in an urban environment is not only poignant, but also comical. More often than not, humans respond to visual stimulants more readily than any other sense, therefore we are naturally more observant of a piece of art than an article, lets say. There have been many cases where an environmental issue has been depicted as a piece of art, as a way of enticing and therefore reaching more viewers. This recent rise in urban wildlife graffiti murals by artists such as Irony & Boe, could be a medium for communicating to the general public that these animals are wild and should be respected, casting a positive light on these animals, in the hope of changing people’s opinions of them.

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Image 21 (assessed) Image 22 (assessed)

IMAGE SYMBOLISING A WILD SQUIRREL COMING FROM ITS NATURAL HABITAT INTO, AND PERSISTING IN AN URBAN ENVIRONMENT/PHOTOGRAPHER TATIANA PARIS IMAGE SYMBOLISING A WILD PIGEON COMING FROM ITS NATURAL HABITAT INTO, AND PERSISTING IN AN URBAN ENVIRONMENT/PHOTOGRAPHER TATIANA PARIS

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BC’s Monashee MountainsWith Canada being one of the world’s most popu-lar skiing destinations, no wonder there has been an increase in urbanisation and commerce in high eleva-tions such as the Rockies and Columbia Mountains. The Monashee Mountain range, a sub-range of the Co-lumbia Mountains in British Colombia is no exception to this. Here we look at the terrain and climate in BC, how well it is suited to humans and animals, and spe-cifically delve into the history behind one of the most

prestigious ski resorts in BC.

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OPPOSITE PAGE: IMAGE OF LANDSCAPE WHILE SNOWING IN SILVER STAR SKI RESORT/PHOTOGRAPHER TATIANA PARIS

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British Colombia is the westernmost province in Canada, with its southern border flanking US states Idaho and Mon-tana. The terrain varies from the shores of the western coast to the mountainous landscape, which makes up most of the province. There are two major mountain ranges, one on the west side of the prov-ince, the Coast Mountains, and the other on the east side, the Rocky Mountains. The drainage system which surrounds the mountain ranges and circulates water around the province comprises of three major rivers; the Fraser, which runs from the Rockies to just south of Vancouver, where it joins with the Sea; the Peace

which runs through the Rocky Mountain Trench, eventually reaching the neigh-bouring province of Alberta; and the Columbia which originates in the Rocky Mountain Trench and flows southward to the US states of Oregon and Wash-ington. Climatologists say that due to the combined forces of the Japan Current, which warms the coast and adjoining mountain ranges, and the humidity creat-ed by the precipitation in the cloud cover drawn to the mountain ranges and rivers, certain parts of British Columbia provide perfect climates for plants, animals and people to thrive.

The Columbia Mountains are a group of mountain ranges sandwiched between the Rocky Mountain Trench, on the east-ern side, and the Kootenay River on the south-westerly side. Often lumped togeth-er with the Rockies, this separate range comprises of four main ranges; Cariboo Mountains, Monashee Mountains, Sel-kirk Mountains and Purcell Mountains, which each contain many sub-ranges. The Monashee Mountains, which extend from British Columbia to the US state of Washington, orientate north to south and extend up to 530km in this direction. On the westerly side of range is an area called the Okanagan region. Within this

region, lie many sprawling towns, and hills ranging in elevations. Vernon, The largest city in the Northern Okanagan Regional District, is surrounded by towering hills; one of which is situated near Silver Star Provincial Park. The Silver Star area is now well-know for the ski resort, Silver Star Mountain Resort, which boasts a summit of 1,915m and offers extensive Cross Country trails. The first ever per-son to ski in the Silver Star area was a Vernon resident in 1930, who drove his bike up to the furthest point he could go, hiked the rest of the way to a camping point, and skied down the following day. In the 40 years following this construction

of a second A-frame house, to become one of the largest ski areas in Canada by 1968. In 1981, the area was bought and given its name Silver Star Mountain Resort. In subsequent years, the resort was expanded, using vast amounts of financial aid from the owners, into a world-renowned Nordic and Alpine skiing destination. While ski resorts create jobs for the local people, such as the town of Vernon in this case, they also have a negative im-pact on animals and plants. The creation and maintenance of new ski runs and chair lifts incorporates the use of heavy machinery which destroys habitats for

species living in that area. Areas which were previously logged and subsequent-ly turned into ski runs have a reduced negative impact on the species inhabiting the area in comparison to new ski runs. The process of ‘grading‘ and ‘blasting’ slopes has caused a divide in the habitat, and has also disrupted natural migration patterns of species which live in forests, such as the lynx. Included in the process of maintaining ski slopes is the production of fake snow- this is done by spraying water into cold air. This can sometimes oppose natural weather patterns, which can often confuse the animals and plants in the area. Some ski resorts will often

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IMAGE OF LANDSCAPE IN THE EVENING IN SILVER STAR SKI RESORT/PHOTOGRAPHER TATIANA PARIS

IMAGE OF LANDSCAPE IN SILVER STAR SKI RESORT/PHOTOGRAPHER TATIANA PARIS

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host skiing competitions to promote themselves which simultaneously in-creases the revenue due to the large volume of spectators and competitors. This devastates local vegetation and can displace the animals which feed on it. To house these many spectators, and the visitors these kind of resorts attract every year, accommodation is built on the hillside. This not only removes large areas of natural habitats for plants and animals, but also reduces the air quality, which in turn affects the water quality. So how is this affecting the animals and plants in the long run? The con-struction of new pistes and resorts displaces local animals, deterring them from the area, and in some cases killing off species. The desire to have snow on the pistes for longer than is natural, by using fake snow, can disrupt the cycles of woody plants and late-flowering plants underneath the snow bed. By changing the habitat so drastically, there has been a reduction in numbers of birds in ski resorts which is due to the number of invertebrates being reduced from con-structing pistes. This break-down in one food chain is only an example of others that have been lost due to this process. In the construction and maintenance process, natural water sources are being depleted which is also affecting water-based ecosystems. In summation, while the construction of new ski resorts has had a resounding negative affect on the local wildlife, it has increased com-merce in locals areas, and in some cases has opened people’s eyes to how beau-tiful the landscape can be. Again, this is another example of how humans and animals are competing to co-exist, which usually results in humans coming out on top, while the wildlife suffers. Although the landscape in Silver Star Ski Resort appears to be beautiful, we must remem-ber what is really happening to the local wildlife and ecosystems underneath it all.

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IMAGE OF TALL PINE TREES IN SILVER STAR SKI RESORT/PHOTOGRAPHER TATIANA PARIS

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Lens: Nikon 50mm ISO: 64Focal Length: 50 Shutter Speed: 1/800

Lens: Nikon 50mm ISO: 64Focal Length: 50 Shutter Speed: 1/800

Lens: Nikon 50mm ISO: 64Focal Length: 50 Shutter Speed: 1/320

Lens: Canon ISO 200Focal Length: 50 Shutter Speed: 1/50

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Lens: Nikon 50mm ISO: 64Focal Length: 50 Shutter Speed: 1/1000

Lens: Nikon 24-85mm ISO: 64Focal Length: 52 Shutter Speed: 1/250F Number: 3.8

Lens: Nikon 50mm ISO: 64Focal Length: 50 Shutter Speed: 1/800

Latitude: 52.93821593108286Longitude: -1.1945056915283203

Latitude: 51.833019548947135Longitude: -0.5170440673828125

Latitude: 51.833019548947135Longitude: -0.5170440673828125

Latitude: 51.833019548947135Longitude: -0.5170440673828125

Latitude: 51.833019548947135Longitude: -0.5170440673828125

Latitude: 51.833019548947135Longitude: -0.5170440673828125

Latitude: 51.833019548947135Longitude: -0.5170440673828125

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Locations and Technical Data

I M AG E LOCATION & M A P TECHNICAL DATALens: Canon ISO 200Focal Length: 50 Shutter Speed: 1/40

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Lens: Sigma 50mm ISO: 6400Focal Length: 50 Shutter Speed: 1/8F Number: 8

Lens: Sigma 50mm ISO: 1000Focal Length: 50 Shutter Speed: 1/15F Number: 11

Lens: Sigma 50mm ISO: 3200Focal Length: 50 Shutter Speed: 1/3F Number: 11

Lens: Sigma 50mm ISO: 2500Focal Length: 50 Shutter Speed: 1/5F Number: 11

Lens: Sigma 50mm ISO: 100Focal Length: 50 Shutter Speed: 1/15F Number: 7.1

Latitude: 52.93821593108286Longitude: -1.1945056915283203

Latitude: 51.833019548947135Longitude: -0.5170440673828125

Latitude: 51.833019548947135Longitude: -0.5170440673828125

Latitude: 51.833019548947135Longitude: -0.5170440673828125

Latitude: 51.833019548947135Longitude: -0.5170440673828125

Latitude: 51.833019548947135Longitude: -0.5170440673828125

Latitude: 51.833019548947135Longitude: -0.5170440673828125

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Lens: Sigma 50mm ISO: 50Focal Length: 50 Shutter Speed: 1/55F Number: 16

Lens: Nikon 24-85mm ISO: 800Focal Length: 34 Shutter Speed: 1/4000F Number: 3.2

Lens: Nikon 24-85mm ISO: 800Focal Length: 75 Shutter Speed: 1/4000F Number: 4

Lens: Nikon 24-85mm ISO: 400Focal Length: 28 Shutter Speed: 1/4000F Number: 5

Lens: Nikon 24-85mm ISO: 200Focal Length: 24 Shutter Speed: 1/125F Number: 18

I M AG E LOCATION & M A P TECHNICAL DATA

Latitude: 51.511092905004745Longitude: -0.1270294189453125

Latitude: 50.27047118418463Longitude: -119.26517486572264

Latitude: 50.27047118418463Longitude: -119.26517486572264

Latitude: 50.27047118418463Longitude: -119.26517486572264

Latitude: 50.27047118418463Longitude: -119.26517486572264

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Lens: Canon ISO 200Focal Length: 50 Shutter Speed: 1/30

Lens: Canon ISO 200Focal Length: 50 Shutter Speed: 1/50

Lens: Canon ISO 200Focal Length: 50 Shutter Speed: 1/13

Lens: Canon ISO 200Focal Length: 50 Shutter Speed: 1/40

Lens: Canon ISO 200Focal Length: 50 Shutter Speed: 1/40

Lens: Sigma 50mm ISO: 50Focal Length: 50 Shutter Speed: 1/10F Number: 9

Lens: Sigma 50mm ISO: 50Focal Length: 50 Shutter Speed: 1/15F Number: 7.1

Latitude: 52.93821593108286Longitude: -1.1945056915283203

Latitude: 52.93821593108286Longitude: -1.1945056915283203

Latitude: 52.93821593108286Longitude: -1.1945056915283203

Latitude: 52.93821593108286Longitude: -1.1945056915283203

Latitude: 52.93821593108286Longitude: -1.1945056915283203

Latitude: 51.511092905004745Longitude: -0.1270294189453125

Latitude: 51.511092905004745Longitude: -0.1270294189453125

Latitude: 51.833019548947135Longitude: -0.5170440673828125

Lens: Nikon 50mm ISO: 64Focal Length: 50 Shutter Speed: 1/320

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Nodder, C. (2014). Choosing the best pheasant. The Field.

O’Neill, M.D. (2006). Electron microscopy on the runway. The Scientist.

Peppers, M. (2014). A fashion line inspired by disease? Theatre professor designs gowns made to look like microscopic photos of cancer cells. The Dailymail.

Ridley, J. (1990). Fox Hunting. HarperCollins.

Robertson, P. (1997). Pheasants. Cornell University: Voyageur Press. 123-136.

Smith, D.R., Villafuerte, L., Otisc, G. & Palmer, M.R. (2000). “Biogeography of Apis cerana F. and A. nigrocincta Smith: insights from mtDNA studies”. Apidologie 31 (2): 265–279

Ridley, J. (1990). Fox Hunting. HarperCollins.

Robertson, P. (1997). Pheasants. Cornell University: Voyageur Press. 123-136.

Smith, D.R., Villafuerte, L., Otisc, G. & Palmer, M.R. (2000). “Biogeography of Apis cerana F. and A. nigrocincta Smith: insights from mtDNA studies”. Apidologie 31 (2): 265–279

Sonja, W., Rixen, C., Fischer, M., Schmid, B., Stoeckli, V. (2005). “Effects of ski piste prepara-tion on alpine vegetation”. Journal of Applied Ecology 42 (2): 306–316.

Texas A&M University - Agricultural Communications. (2006). “Research upsetting some notions about honey bees”. ScienceDaily.

Whitfield, C.W., Behura , S.K., Berlocher, S.H., Clark, A.G., Johnston, J.S., Sheppard, W.S., Smith, D.R., Suarez, A.V., Weaver, D. & Tsutsui, N.D. (2006). “Thrice out of Africa: ancient and recent expansions of the honey bee, Apis mellifera”. Science 314 (5799): 642–645

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Andersson, M. B. (1994). Sexual selection. Princeton University Press.

Anderson, P. (2013). What Does Urban Nature-Related Graffiti Tell Us? A Photo Essay from the City of Cape Town. Available: http://www.thenatureofcities.com/2013/12/14/what-does-nature-related-graffiti-in-the-city-of-cape-town-tell-us-a-photo-essay/. Last accessed 20th April 2014.

Bonney, M. (2007). Eight straight for girls. Jackson Hole News and Guide.

Danforth, B.N., Sipes, S., Fang, J., Brady, S.G. (2006). “The history of early bee diversification based on five genes plus morphology”. Proc. Natl. Acad. Sci. U.S.A. 103 (41): 15118–23

Dilpazier, A. (2005). Ten things you didn’t know. The Guardian. London.

Giudice, J.H. & Ratti, J.T. (2001). Ring-necked Pheasant (Phasianus colchicus). The Birds of North America Online. Cornell Lab of Ornithology. (572)

Grossmith, G. (1911). The Daily Telegraph.

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Williams, A. (2013). Attack of the angry birds: Guerrilla street artists cover walls with giant animal murals Read more: http://www.dailymail.co.uk/news/article-2354486/Its-wild-Lon-don-Street-artists-brighten-capital-hug. Available: http://www.dailymail.co.uk/news/arti-cle-2354486/Its-wild-London-Street-artists-brighten-capital-huge-works-art-featuring-pigeons-foxes-squirrels.html. Last accessed 20th April 2014.

(2008). Bee Species Outnumber Mammals And Birds Combined. Available: http://www.bi-ology-online.org/articles/bee-species-outnumber-mammals-birds.html. Last accessed 19th April 2014.

(2011). “Apis mellifera”. AnAge database. Human Ageing Genomic Resources. Available: http://genomics.senescence.info/species/entry.php?species=Apis_mellifera. Last accessed 18th April 2014.

(2011). Fox lived in the Shard skyscraper at London Bridge. BBC News.

(2012). Reasons Why the Honey Bees Are Disappearing. Available: http://www.beesfree.biz/The%20Buzz/why-bees-are-disappearing. Last accessed 19th April 2014.

(2013). ZEISS Microscopes used to create images for Art Exhibit at Midway Airport: Art of Science: Images from the Institute for Genomic Biology. Available: http://www.nanotech-now.com/news.cgi?story_id=48389. Last accessed 18th April 2014.

(2014). “British Columbia.” Encyclopaedia Britannica. Encyclopaedia Britannica Online. Avail-able:http://www.britannica.com/EBchecked/topic/79964/British-Columbia/261695/Settle-ment-patterns. Last accessed 21st April 2014.

Art and Science. Available: http://www.jic.ac.uk/microscopy/art.html. Last accessed 18th April 2014.

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I would like to thank the following for their help and support in creating this magazine:

Mark HortonNancy HortonChristina Paris

Lawrence CourtTom Hartman

Steve AKA The Beeman

BACK COVER: IMAGE OF A DECIDUOUS WOODLAND IN SPRINGTIME IN STUDHAM

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Tatiana Paris

Student ID: 4198670 University of Nottingham

Biological Photography and ImagingCD14204