Philae and history

Figure 1 - Philae's image from the surface of comet. Image copyrighten by the A/Rosetta/Philae/CIVA

Figure 1 – Philae’s image from the surface of comet 67P/Churyumov-Gerasimenko. (c) 2014 ESA/Rosetta/Philae/CIVA

Sometimes you just know a historic image the moment that it is taken.  A prime example of that is Figure 1 from the European Space Agency, which was taken by the Philae probe at 300,000 million miles from Earth on the surface of Comet 67P/Churyumov-Gerasimenko.  This is a photograph for the ages. As most people know by now the probe is currently in the sleep of essential battery failure due to lack of light.

So, a number of thoughts come to mind.  It is a truly amazing achievement.  We have gotten so used to such achievements that we forget just how difficult they are.  The physics and celestial mechanics that makes all this possible was developed by an impressive parade of great physicists, mathematicians, and astronomers: Johannes Kepler (1571–1630), Isaac Newton (1643–1727), Joseph-Louis Lagrange (1736–1813), Simon Newcomb (1835–1909), and Albert Einstein (1879–1955).   Kudos to them all!  But the required precision of steering is amazing.  Head the slightest bit off course and you miss by millions of miles.  Power is an issue.  The time delay is so large that all the final maneuvers need to be done automatically driven by sensors either on the probe or on the Rosetta mother craft.  Radio signals are so weak that sending back and receiving digital images is a tour de force.  You’re always fighting signal-to-noise.

But the biggest questions is why do it.  For those of us who truly believe that we are slowly but relentlessly freeing ourselves of the tethers that fetter us to Earth, it is a non question. We do it because it is hard, but when the third Fourth millenials will view it a thousand years from now in retrospect there will seem to be no question at all. But in our myopic, war and suffering filled world the value of reaching for the stars, of understanding the origins of life on Earth, seem eclipsed by everyday urgencies.

There are very few things that we do as a race that ennoble us, that point to an essential non-barbaric humanist curiosity. This may be the ultimate justification.  We can close our eyes and see the future. At the same time, we can look about and see the minions, the intellectual army of creators, of scientist and artists.  They are all dreamers – and therein lies mind spring that is the source of humanity.

Hooded Merganser – Lophodytes cucullatus

Figure 1 - Hood merganser group, male and two females, Blac's Nook, Fresh Pond Reserve, Cambridge, MA. (c) DE Wolf.

Figure 1 – Hood merganser group, male and two females, Blac’s Nook, Fresh Pond Reserve, Cambridge, MA. (c) DE Wolf.

To my eye, the most beautiful of the New England ducks is the Hooded Merganser – Lophodytes cucullatus.  They migrate here in the fall and then again in April.  The hoods on the males are beautiful as are the ruddy and gray fuzzy heads of the females.  I have been trying to photograph them for about two years now.  It required my big lens, since they like to stay on the unpeopled side of Black’s Nook and head over there at the first sign of human presence.  Walk in their direction and they scatter dramatically, skirting over the water as if at play.

This particular morning, I decided to get them in my lens sights and just waiting.  they rewarded me by coming within about 75 meters, which was enough to capture them with the lens fully extended.  I just kept taking photographs and waiting for the right configuration and as a result was able to capture the image of Figure 1 of a male and two females swimming by.  The male’s hood is not extended; but I really like the grouping.  The image is a bit grainier than I like, a combination of using ISO 1600 and the need, even at this focal length to crop the final image.

Canon T2i, EF100-400mm f/4.5-5.6L IS USM Canon lens at 400 mm, IS 1 on, ISO 1600, Aperture-priority AE mode, 1/400th sec at f/8.0 with no exposure compensation, camera monopod mounted.

Updates at Hati and Skoll Gallery

I want to thank everyone for their continued support of Hati and Skoll Gallery.  I have made several updates to the Galleries.  Images from Kennebunkport, ME previously in the “New Gallery” have now been distributed to the other galleries and new images have also been added to these galleries.  These include new bird photographs placed in the “Cabinet of Nature Gallery.” The “New Gallery” now contains photographs that I took in Madison, Wisconsin in early October 2014.

Thanks again to all of my friends and readers.

David

Fall of the Berlin wall

Figure 1 - The fall of the Berlin Wall, November 26, 1989.  Image by Sharon Emerson and from the Wikimedia Commons under creative commons attribution license.

Figure 1 – The fall of the Berlin Wall, November 26, 1989. Image by Sharon Emerson and from the Wikimedia Commons under creative commons attribution license.

We mark this second week of November the fall of the Berlin wall, thirty-five years ago.  The two words “Berlin Wall” conjure up many classic images – of its construction, of the cold war, of people trying to cross it, and of its fall.  Perhaps most deeply are the images of President Kennedy speaking at the wall: “Ich bin ein Berliner.”  It is an important symbol of the durability of human hope.

The image of Figure 1 is from November 1989 by Sharon Emerson and shows section of the wall covered with colorful graffiti.  There is a hole in the wall through which and East German guard speaks to a westerner.  It was a moment that slowly led to the reunification of Germany.

Imagining the wild in New York City

Yesterday I discussed the sensation of wondering just what it was like before North America was “civilized.”  I used to do this as a child growing up in Manhattan in New York City.  And it was a fantasy enhanced by a certain Twilight Zone episode “The Odyssey of Flight 33” in which a commercial airliner breaks the time barrier, while landing in New York City and is sent back first into the prehistoric age (Jurassic judging by the apatosaurs) and then to New York City of 1939. The tale is a modern telling of the Flying Dutchman myth.

Last holiday season I was given an amazing book entitled “Mannahatta: A Natural History of New York City” that tries to take us back. It is the decade-long work of landscape ecologist Eric Sanderson, who reconstructs in words and images the wild island that Henry Hudson first saw in 1609 and which nearly eight million people now call home. Sanderson re-creates the forests of Times Square, the meadows of Harlem, and the wetlands of downtown. Computer generated imagery truly takes us back to what it was like and I highly recommend this book to readers who share my childhood sense of wonder.

Whistling swan – Cygnus columbianus

Figure 1 - Whistling swan, Marlborough, MA. (c) DE Wolf 2014.

Figure 1 – Whistling swan, Marlborough, MA. (c) DE Wolf 2014.

Figure 1 is a photograph of the great indigenous wild eastern American swan, called the “Whistling swan” (Cygnus columbianus).  It tends to be less pure white than the introduced european swan (the muted swan – cygnus olor) and is distinguished by it’s black as opposed to orange in, the muted, beak.  These birds are true peaceful elegance.  They are delightful to watch and truly seem to glide through the water.  You can always hear Saint-Saens music in your head.

John James Audubon (1785 – 1851) painted this bird in 1838. Whenever I visit a Massachusetts lake or pond, I look for them and, when I see them, I try to imagine what wild untouched America was like.  They are a connection with an otherwise forgotten past..

Herring gulls – Larus argentatus

Figure 1 - Herring gull on the attack, Marlborough, MA. (c) DE Wolf 2014.

Figure 1 – Herring gull on the attack, Marlborough, MA. (c) DE Wolf 2014.

I decided that I have been pretty lazy about lens choice in my bird photography. I have been carrying my 70-200 mm zoom rather than my big lens 100 – 400 mm. So this past Saturday, I planned a little excursion to a spot in Marlborough, MA where there are lots of water birds and where children like to go and “feed the duckies,” thinking I would get some praactive with the larger and nmore appropriate lens. I mounted my lens to my monopod and went out and snapped pictures gleefully.

I was photographing a swan, which will be the subject of tomorrow’s post. The swan was gliding along and came onto the turf of a bunch of juvenile delinquent herring gulls (Larus argentatus), who basically got very upset about the incursion and attacked the swan. The swan however was essentially nonplussed and could care less. But I did get the image of Figure 1 showing a gull in mid aerial attack. The coloring of the gull suggests that it is a second winter juvenile. You can also see water droplets thrown up by gull fury and captured mid air. I have framed it with another gull out of focus and floating on the water on the opposite side of the image. This to create an intentional contrast. I thought that for contrast I would also post a more tranquil gull resting very close to me on the shore.

This lens is wonderful for bird photography, and I happily find myself often pulling in the lens. Literally on the Canon EF100-400 f/4.5 – 5.6L IS USM lens, it’s pull and slide rather than turn to change focal length. I just keep focusing on the eyes and shooting every time I get or anticipate a pose that I like!

Figure 2 - Juvenile Herring gull, Marlborough, MA. (c) DE Wolf 2014.

Figure 2 – Juvenile Herring gull, Marlborough, MA. (c) DE Wolf 2014.

Figure 1 – Canon T2i with EF100-400mm f/4.5-5.6L IS USM at 260 mm, ISO 1600 aperture-priority AE mode, 1/1600th sec at f/8.0 with no exposure compensation, monopod mount, IS 1 engaged.

Grizzly photograph

We’ve gotten pretty used to grizzly photographs, but nothing like this. Exploded just now on social media is a photograph by veteran wildlife photographer Jim Lawrence in British Columbia of a grizzly bear. The image was taken on October 30. Lawrence was photographing bears fishing for salmon in a river near Revelstoke, BC. He had set up his Nikon with 400 mm lens on a tripod and returned to his car for a different lens. When he turned around, a five-year old grizzly, whom he affectionately called Harry because of his long fur, had climbed out of the river and was, well, studying the image in the back of the camera. Grabbing another camera Lawrence was able to capture the grizzly photographer at work.

So while, I’m usually not one to assist in the spreading of Facebook viral images, I just couldn’t resist this one.

Blood Swept Lands And Seas Of Red

I was literally stunned this week by images of ceramic artist Paul Cummins’ installation at the Tower of London to mark the centenary of the start of World War I.  As many as four million people are expected to visit the site.

Poppies are the universal symbol of the World War I dead.  There are 888,246 poppies filling the moat.  Each one represents a British or colonial soldier who died in the war. Blood made of poppies seems to pour from the Tower in a sobering display*.

Another thought provoking image is that of Albert Willis (left), Paul Cunilffe (center), and Joe Robinson (right).+ They represent three generations of British military servicemen. You would have hoped that the senseless carnage of World War I (16 million dead and 20 million wounded was behind us).  But perhaps the most haunting legacy of World War I is that it was only the beginning of modern warfare, and that the terrible story continues to this day.

What comes relentlessly to my mind are the words of A.E. Housman written on the Jubilee of Queen Victoria in his poem 1887:

“‘God save the Queen’ we living sing,

From height to height ’tis heard;

And with the rest your voices ring,

Lads of the Fifty-third.

Oh, God will save her, fear you not;

Be you the men you’ve been,

Get you the sons your fathers got,

And God will save the Queen.”

The ultimate statement that Cummins’ masterpiece may make is that the dead scream out to us in anonymity; but we are too involved in our own conflicts to truly listen.  Only the names of the nameless have changed.

*Nick Harvey for Rex Features

+Chris Jackson for Getty Images