The May/June cover is a first for Scientific American MIND in that it features our first non-human cover boy - a very handsome 5 year old Border Collie named Ten!
In order to get more information about the forest here at the Sikundur research station in North Sumatra, I've set up four camera traps, which I'm using to get a better look at the wildlife around the site.
Welcome to a new feature here on Symbiartic! SciArt in the Crowd will share some of the most interesting crowdfunding projects by a variety of artists engaged in SciArt.
Compound Eye has been quiet of late. My silence is for a good cause, though! The past few months have been hectic as I transitioned from freelance photography in Illinois to a new job: Curator of Entomology at the University of Texas in Austin.
It’s a marvelous time to be a photographer. The blossoming tech industry has made us all kids in a candy shop, suddenly realizing the whole street is candy shops, on a street with peppermint cobblestones and licorice fountains.
Stock photography giant Getty Images took a gamble yesterday, releasing 35 million files for free non-commercial and editorial uses. Images are served in a YouTube-style embedder that displays a credit and links back to the licensing page at Getty.
The second in our series promoting the breadth and value of wasps features the gorgeous Orasema, a tiny metallic wasp that lives in ant nests.
In 1970, fewer than one in five professional photographers were female. Times have changed: (Source: Institute for Women’s Policy Research, with data from the U.S.
What is the secret to the evenly balanced exposure across both the foreground and background in this fisheye photograph? It is not a clever processing job in photoshop.
Earlier, I mentioned that chilling active insects to more easily photograph them can give unnatural results. How is the intrepid photographer to work with animals that do not sit still?
[The following is a guest post by entomologist Guilherme Ide Marques dos Santos, of the Museu de Zoologia da USP, Brazil] Scientific photography is an important part of many publications.
Following on last week’s California gull photo, here are a few more from that day. It’s a lesson in composition: the top photo tells a story.
The number of exhibits combining science and art in some capacity has grown steadily since I began blogging about them in 2011. With exhibits in galleries and museums across the country, there’s something for everyone.
“Is Griffith Park an island?” That’s the question that Miguel Ordeana, a wildlife biologist at the Natural History Museum of Los Angeles who also does field work in Nicaragua, wanted to know.
One of the main challenges with photographing the non-human animals at the zoo is shooting through glass. Sometimes you just can’t get an angle without any glare, but sometimes it doesn’t matter.
The best Halloween stories are true. There is a lake in Tanzania, Lake Natron, that is so hostile to life that only two species, alkaline tilapia and blue-green algae can live in its deadly waters.
Most people in Los Angeles interact with seagulls – that is, the California gull, Larus californicus – mainly by shooing them away from our picnics at the beach.
Since I photograph insects for a living, people frequently ask how often I get stung. The answer is, probably not as much as you’d think.
When I lived in Tucson a few years back, I often wondered why a city even existed there. Modern Tucson is completely dry, save a few artificial ponds propped up for the golfing set.
Now that firefly season is sparking up our eastern and midwestern summer evenings, I am starting to see not just the insects themselves but the attendant media buzz.