Alexandra Cousteau

TheTamshee: read a cracking article called Back to the Ocean, by John Dyson. It plotted the rise of Philippe and Alexandra Cousteau, grandson/daughter of the legendary scuba diver, Jacques. check out the links, Blue Legacy and Expedition Blue Planet for some wise words from an exceptional woman "Blue is the new Green" water will be the big issue of the next 100 years. Water shortages and water wars are just around the corner, having a much bigger effect on our lives than climate change"

Rainbow Warrior III

Making Waves: an artist impression of the new Greenpeace Eco Warrior sail vessel
TheTamshee says: Greenpeace has followed the latest environmental trend and bought a new hybrid to replace an ageing run about. The pressure group, which has previously converted older vessels, has penned its first newbuilding at Fassmer Shipyard in Germany. Its Rainbow Warrior III, a sailing ship which will switch to diesel-electric at low wind speeds, will hit the water in 2011 to coincide with Greenpeace’s 40th anniversary.

Black Grouse "Arran"

Conservations have released nine Black Grouse into the wild in an attempt to re-establish the birds on the Isle of Arran. A total of 14 pairs were brought to the island in February. The female birds will be released after the males have had time to establish territories. The last sighting of a black grouse on the Scottish island was in 2000. The birds have been electronically tagged so that their movements can be tracked during the breeding season. Kate Sampson, a senior ranger for the National Trust for Scotland, said "We want the birds to get the best possible start in their new life on Arran, so we are taking all the steps we can to keep their stress levels to a minimum, it is important that they can be freed with as little fuss as possible" TheTamshee: approves of this worthy initiative - orchestrated by Arran Black Grouse Group, Arran Natural History Heritage and the National Trust for Scotland. Raise your glass "through the teeth an ur the gums, look out belly here she comes" nectar to those who like a dram!

Polarstern "Oceanography"

The Indo-German iron fertilization experiment LOHAFEX (LOHA is Hindi for iron, FEX stands for Fertilization EXperiment) will be carried out from the German research vessel

“Polarstern” in the southwest Atlantic from 7th January to 17th March 2009. The interdisciplinary team of 48 scientists on board “Polarstern” will closely collaborate in monitoring the algal bloom expected to grow in the fertilized patch of the ocean and studying its effects on the chemistry and biology for at least 45 days.
The results of LOHAFEX will be of great interest to both ocean ecologists and geochemists because the minute, unicellular algae suspended in the sunlit surface layer known as phytoplankton not only provide the food sustaining all oceanic life but also play a key role in regulating concentrations of the greenhouse gas CO2 in the atmosphere.
Background
The Southern Ocean encircling Antarctica is rich in the nutrients nitrate, phosphate and silicon but phytoplankton growth is limited by the supply of iron which is a crucial ingredient of all organisms. Iron is highly insoluble in sea water, so, unlike the other nutrients, is quickly lost in sinking particles. Addition of trace amounts of iron to these waters, whether from natural sources (contact with land masses and via settling dust blown of the continents) or by artificial iron fertilization (from a ship releasing dissolved iron sulfate to the surface layer), results in rapid algal growth leading to development of phytoplankton blooms.
Phytoplankton grow by taking up CO2 dissolved in sea water and converting the carbon into biomass (organic matter). Because the CO2 sdissolved in the ocean’s surface layer is in equilibrium with the atmosphere, blooms cause a deficit which is compensated by uptake from the atmosphere. The fate of the bloom biomass determines how long this CO2 is retained in the ocean. If the organic matter is recycled by bacteria and zooplankton - unicellular protozoa and a variety of small animals that graze on phytoplankton - within the surface layer, and the iron selectively lost, then the CO2 taken up is returned to the atmosphere within months. However, the organic particles in the form of phytoplankton cells and zooplankton faecal material that settle out of the surface layer sequester CO2 for longer time scales depending on how deep they sink. Carbon transported in particles that sink below 3,000 m is sequestered for centuries and the portion buried in the sediments for much longer.
Five iron fertilization experiments in the Southern Ocean have created phytoplankton blooms but only in the previous experiment EIFEX carried out from Polarstern was it possible to actually follow the rain of particles sinking through the underlying deep water column because the experiment was carried out in the closed core of a stationary, rotating eddy. LOHAFEX will also be conducted in a pre-selected eddy but the size of the patch will be twice as large – 300 km2 fertilized with 20 tonnes of iron sulfate. EIFEX had to be terminated after 35 days while the bloom was still growing and sinking but LOHAFEX will last 10 days longer and quantify the amount sinking to depth more accurately.
Another goal of LOHAFEX is to study the effects of iron fertilization on the zooplankton, in particular the shrimp-like krill, which is the main food of Antarctic penguins, seals and whales. Stocks of krill have declined by over 80% during the past decades and their response to the iron-fertilized bloom will indicate whether the decline is due to declining productivity of the region for which there is evidence. Thus, large-scale iron fertilization of the krill habitat could well help in boosting their stocks to their former high densities and facilitate long-term recovery of the decimated great whale populations. TheTamshee says: this research program is fascinating, you have got too take your hats off to the scientists who think up these worthy concepts - I certainly hope it is a great success - time will tell.

Discover Ansel Adams

Ansel Easton Adams American photographer: born February 20, 1902, San Francisco, California, U.S. died April 22, 1984, Carmel, California "Legend with the Lens"
Without doubt, the most important landscape photographer of the 20th century. He is also perhaps the most widely known and beloved photographer in the history of the United States; the popularity of his work has only increased since his death. Adams’s most important work was devoted to what was or appeared to be the country’s remaining fragments of untouched wilderness, especially in national parks and other protected areas of the American West. He was also a vigorous and outspoken leader of the conservation movement.
Early life and work:
Adams was a hopeless, rebellious student, but, once his father bowed to the inevitable and removed him from school at age 12, he proved a remarkable autodidact. He became a serious and ambitious musician who was considered by qualified judges (including the musicologist and composer Henry Cowell) to be a highly gifted pianist. After he received his first camera in 1916, Adams also proved to be a talented photographer. Throughout the 1920s, when he worked as the custodian of the Sierra Club’s lodge in Yosemite National Park, he created impressive landscape photographs. During this period he formed a powerful attachment—verging on devotion—to Yosemite Valley and to the High Sierra that guarded the valley on the east. It might be said that the most powerful and original work throughout his career came from the effort to discover an adequate visual expression for his near-mystical youthful experience of the Sierra.
While photography and the piano shared his attention during his early adulthood, by about 1930 Adams decided to devote his life to photography. (As late as 1945, however, he still thought enough of his playing to have a recording made of his interpretations of Beethoven, Chopin, and perhaps others.) In 1930 he met the American photographer Paul Strand and was shown the negatives that Strand was then making in New Mexico. Adams was deeply impressed with the simplicity of the images’ conception and by their rich and luminous tonality, a style in contrast to the soft-focus Pictorialism still in vogue among many contemporary photographers. The experience confirmed in him his evolution toward a purer and more realistic style. In 1932 Adams helped form Group f.64, a loose and short-lived association of West Coast photographers (including Edward Weston and Imogen Cunningham) who favoured sharp focus and the use of the entire photographic gray scale, from black to white, and who shunned any effects borrowed from traditional fine arts such as painting. Maturity
By 1935 Adams was famous in the photographic community, largely on the strength of a series of articles written for the popular photography press, especially Camera Craft. These articles were primarily technical in nature, and they brought a new clarity and rigour to the practical problems of photography. It was probably these articles that encouraged Studio Publications (London) to commission Adams to create Making a Photograph (1935), a guide to photographic technique illustrated primarily with his own photographs. This book was a remarkable success, partly because of the astonishing quality of its letterpress reproductions, which were printed separately from the text and tipped into the book page. These reproductions were so good that they were often mistaken for original (chemical) prints.
By the time Making a Photograph was published, Adams had already established the subject matter—the natural environment of his beloved West Coast—and the pristine, technically perfect style that characterize his consistent oeuvre. His work is distinguished from that of his great 19th-century predecessors who photographed the American West—most notably, Carleton Watkins—by his concern for the transient and ephemeral. One might say that Watkins photographed the geology of the place, while Adams photographed the weather. This acute attention to the specifics of the physical world was also the root of his intense appreciation of the landscape in microcosm, in which a detail of the forest floor could be as moving as a grand vista. His work on this single extended motif expresses a remarkable variety of response, ranging from childish wonder, to languorous pleasure, to the biblical excitement of nature in storm, to the recognition of a stern and austere natural world, in which human priorities are not necessarily served. One might view this range in mood in Adams’s work to reflect the contrast between the benevolent generosity of the valley, with its cool, clear water and lush vegetation, and the desiccated, inhospitable stringency of the eastern slope of the Sierra.
The importance of Adams’s work was recognized in 1936 by Alfred Stieglitz, who awarded him the first one-artist show by a new photographer in his gallery, An American Place, since he had first shown Paul Strand 20 years earlier. However, many of Adams’s contemporaries thought that photographers—and even painters—should be making pictures that related more directly to the huge economic and political issues of the day. At the time, Dorothea Lange, Arthur Rothstein, and others were photographing the Dust Bowl and the plight of migrants; Margaret Bourke-White was capturing Soviet Russia and great engineering projects; and Walker Evans was recording the inscrutable—or at least ambiguous—face of America’s built culture. To some critics, these projects seemed more of the moment than did Adams’s impeccable photographs of remote mountain peaks in the High Sierra and of the lakes at their feet—so pure that they were almost sterile. Not until a generation later did it come to be widely understood that a concern for the character and health of the natural landscape was in fact a social priority of the highest order.
Adams increasingly used his prominent position in the field to increase the public acceptance of photography as a fine art. In 1940 he helped found the first curatorial department devoted to photography as an art form at the Museum of Modern Art in New York City. In 1946 he established at the California School of Fine Arts in San Francisco the first academic department to teach photography as a profession. He also revived the idea of the original (chemical) photographic print as an artifact, something that might be sold as an art object. His Portfolio I of 1948 offered 12 original prints of extraordinary quality for $100. Eventually, Adams produced seven such portfolios, the last in 1976.
Interestingly, in contrast to this work on behalf of the photographic print, Adams also became directly involved, and was often a motivator, in advances in photomechanical reproduction. Throughout the 1940s he continued to explore the technical possibilities of photography in this and other ways. In the early part of the decade he codified the technical principles that he had long practiced into a pedagogical system he called the “zone system,” which rationalized the relationship among exposure, development, and resulting densities in the photographic negative. The purpose of the system was ultimately not technical but rather expressive: it was a tool to aid in visualizing a finished photograph before the exposure was made. The first edition of his often-reprinted book The Negative was published in 1948; written for photographers and not the general reader, the book expresses Adams’s technical and aesthetic views in an uncompromising manner.
Later career
Most of Adams’s great work as a photographer was completed by 1950: only a handful of important pictures were made during the last half of his adult life. Rather, in his later life, he spent most of his energy as a photographer on reinterpreting his earlier work and on editing books of his own work (often with his frequent collaborator, Nancy Newhall).
An ardent conservationist since adolescence, from 1934 to 1971 Adams served as a director of the Sierra Club. (Later, in the 1980s, he explicitly and forcefully attacked the environmental policies of the very popular President Ronald Reagan and his secretary of the interior, James Watt.) Many of the books Adams generated in his later career were concerned not only with the art of photography but also with the goal of raising awareness for the campaign to preserve the natural landscape and the life it supported. The most notable of these was This Is the American Earth (1960; with Newhall), published by the Sierra Club. It was one of the essential books in the reawakening of the conservation movement of the 1960s and ’70s, along with Aldo Leopold’s A Sand County Almanac and Sketches Here and There (1949) and Rachel Carson’s Silent Spring (1962). Other major titles by Adams include My Camera in the National Parks (1950) and Photographs of the Southwest (1976). The Portfolios of Ansel Adams (1977) reproduced the 90 prints that Adams first published (between 1948 and 1976) as seven portfolios of original prints. The results can thus be trusted to represent a selection from what the photographer considered his best work.
In 1980 Adams was awarded the Presidential Medal of Freedom by President Jimmy Carter. Acknowledging Adams’s years of work as both a photographer and an environmentalist, the president’s citation said, “It is through [Adams’s] foresight and fortitude that so much of America has been saved for future Americans.”