Abstract In this column, we look back at the content and imagery found in the Journal of the Biological Photographic Association (JBPA), later renamed the Journal of Biological Photography (JBP). This column examines important articles from 25 years ago. In doing so, we gain some insight into those legacy photography techniques of that time.

 

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IntroductionIn 1998, the Journal of Biological Photography published Volume 66, 104 pages in length, in four issues. Here, we will provide a look back at all four of these issues.

JBP Volume 66, Number 1

Cover of JBP Vol. 66, No. 1, January 1998.
An image of a male Anna's Hummingbird feeding by John Ford.

 

 

John Ford, RBP, FBPA, presented an in-depth paper describing the series of procedures he follows to produce images of hummingbirds. The first step is to attract and "train" the birds to come to a feeder. By keeping it well supplied and filling at the same time of day, the birds will accept a human in their area. Next, he used a pop-up canopy to hang the feeder, strobe lights to provide a uniform background and a hunter's blind to hide the photographer. (Figure 1)

 

Figure 1. Hummingbird "studio" (1) blind, (2) strobes, (3) feeder, (4) background, (5) canopy.

The strobes need to fire at 1/ 10,000 of a second (or faster) to freeze the bird's wings that are up to 100 beats per second. With a little luck and patience, good images can be obtained. (Figure 2)

Figure 2. Male Costas Hummingbird photographed in "studio."

 

JBP Volume 66, Number 2

Cover of JBP Vol. 66, No. 2, April 1998.

Japanese Beetle (Popilila japonica) by Mindy Proscia.


Lewis W. Koster, BPA, FBPA, wrote, "Three little words - vision, perception and seeing," highlighting the importance of each of these three words in the visual process.

Vision is the physical process of the eye projecting an image onto the retina, which then transforms the light into electrical impulses and transmits them to the brain. By using different receptors, humans can see color and density. Perception is what the brain does with the impulses it receives, by comparing them to other impulses in its "storage." Sometimes, the brain perceives images that are not what is being seen by the eye. This is called an optical illusion. The brain sees the image as what it should be, not what it actually is.(Figure 3) Seeing is the thinking part of it all. It can be based on life skills and knowledge.

 

Figure 3. What does it say?


In the article, "Photographing groups – A digital solution," Rob Way describes a novel method by capturing each row of individuals separately and combing the rows using digital image processing. Using this methods, a missing person can also be added to the final image.

JBP Volume 66, Number 3

Cover of JBP Vol. 66, No. 3, July 1998.
Maderia Stork's Bill (Geranium maderense) by Bob Turner.

Photographed at Quail Botanical Gardens, Encinitas, California.

Selected for an Award of Excellence in the BioImages Salon at BIOCOMM '98, Portland, Maine.

Bill Peters presented, "Keeping the balls in the air: The trials and tribulations of a one-man department." A one-man department can try the skill and patience of anyone. The jobs can run a spectrum from, "One more slide for my presentation after lunch!" to portraits, to clinical photography, to posters, to public relations photography, to making slides, to setting up a conference room, "Every Wednesday until next June ...and oh yes, we will need chairs, microphone and some kind of a projector," to "my camera is making a strange noise can you fix it?" …many of us have been there.

 

 

JBP Volume 66, Number 4

Cover of JBP Vol. 66, No. 4, October 1998.

Bifurcation of the Tail and Ultraviolet Fluorescence of a Scorpion (Centruroides exilicauda) by Chip Hedgcock.

When many of us think of wildlife photography, we think of the megafauna, the lions, tigers and bears... Chip Hedgcock thinks of the microfauna, as he describes in, "Photographing the charismatic microfauna of the southwest United States."

This branch of photography can be done in either the field or the studio setting. One feature highlighted in this article is the importance of everyone being safe - the photographer and the subject. Hedgcock shares that an insect can be sedated with carbon dioxide or cold. The photography equipment should be set up and then the insect can be introduced into the field. Once the photography is done, the insect should be allowed to safely recover and go. Another key piece of information in the article describes how, when this type of photography is conducted in the studio, it should be done on natural looking backgrounds, as similar as possible to the environment the specimen was captured on. (Figures 4 and 5)

 

Figure 4. Studio setup for microfauna.

 

Figure 5. Jerusalem cricket Stenopelmatus sp.

 

 

 

Thomas St. John Merrill, FBPA
tsmerrill13@gmail.com

 

Author

Thomas Merrill, a US Army Medic, and Viet Nam veteran, has been a biological photographer and member of BPA/BCA since 1968. He has been honored with both a Fellowship in the BPA and Emeritus Membership. He lives in Southern California with his wife of 55 years, Marie. He has run several one-man departments.

 

Licensing

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Conflict of Interest StatementConflict or Interest Statement The Journal of Biocommunication Management Board and our Editors believe that transparency in academic research is essential. Our JBC authors are now required to disclose any possible conflict of interest when submitting a manuscript. In accordance with the Journal of Biocommunication's editorial policy, no potential conflict of interest has been reported or declared by this author.