Nature Photography – Page 24

So many ‘strong pictures to choose from’ at this year’s Istanbul Photo Awards, says jury member

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ANKARA

There was such a wealth of quality choices at this year’s Istanbul Photo Awards that it was hard to pick the winners, said a member of the jury for the esteemed competition.

“We had so many, so many really strong pictures to choose from, it was really difficult to say (which) one was the best because they were all so powerful,” Carol Guzy, a Pulitzer Prize-winning photojournalist, told Anadolu.

On the Photo of the Year winner, showing a burned personnel carrier next to a lifeless soldier’s body in Ukraine, Guzy said the image by Sergey Kozlov of the German-based EPA agency “had the feel of an iconic image, almost nostalgic.”

“This just felt like a photo from a bygone era. It had that iconic feel to it that I think you know, everybody was moved by. The palette is very sort of monotone black and white with just this hint of red blood that that was extremely compelling, and I think left an indelible mark on our consciousness,” she said.

“But I also personally, I also felt that third place was a strong contender,” she added, speaking about Alkis Konstantinidis’ image of a woman in Ukraine mourning the death of her elderly father. “It was heart-wrenching emotion. It was a photo in Ukraine. You know, the civilian deaths. I feel like that is the story of Ukraine.”

She said that Ukraine was the top news story of 2022, and this affected the images submitted to the awards competition.

Guzy herself also went to Ukraine to document the war. “It was a hard decision to make to even cover the war for many reasons,” she explained. “Health issues for one thing, so I decided to cover features, not front line, though all of Ukraine is really a front line. There’s nowhere that’s safe. I experienced the civilian toll firsthand.”

Choosing the winners

Guzy, a photojournalist with over four decades of experience, said that “content and moments are key” when making a decision on the winners of the contest.

“I can forgive technical quality that’s not just right spot on for a picture that moves me. You know, the thing to reach someone on a visceral, personal, emotional level should always be the goal and provide some depth, especially with stories,” she said.

Guzy said that the viewer can be subjective and this should be kept in mind, adding: “Just because you didn’t make first place doesn’t mean your photo wasn’t very powerful and deserving of merit in some way.”

She also advised photojournalists who want to enter the competition next year to “be more careful with captions.”

“I think it really can make a whole difference with the photo or the story … when we understand better the meaning behind it, and the importance of that image,” she explained.

Categories in the contest

Guzy said the contest covering a diverse world with additional categories in the news and sports categories is critically important.

“I personally feel that daily life, portrait, and nature photography (deserve) equally important coverage,” she said.

Such categories have “the ability to transcend that immediate spot news story, give us a deeper look at issues or sometimes just the gentle poetry of daily life. And the environment is of course critical to all life on Earth and paramount to our survival,” she added.

The first place winner in the Single Nature category, Brais Lorenzo’s, showing people in swimsuits watching nearby forest fires, was a juxtaposition between bathers and wildfire. “That was really compelling, it was very quirky image that was arresting in many ways,” said Guzy.

Bence Mate’s photo of birds was also a delightful image to look at, with Guzy saying: “I don’t think we need to only focus on the problem but sometimes we just need to show that innate joy of the life experience.”

On the winning photo of a woman who cut her hair in solidarity with Iranian protesters, Rebirth, Guzy said: “It was deeply moving, and the other portraits were also incredibly evocative.”

Photojournalism

Guzy stressed the need to find a way to bring documentary photojournalism to the public, saying: “Anytime we can highlight such powerful coverage is critical to world understanding, and photojournalists also should be recognized for doing this outstanding work, whether it’s in high- risk situations or their neighborhoods.”

She said that there’s a great power in photojournalism, and photojournalists are the eyes of the world, adding: “It may not change the world that day, but it could incrementally change people’s awareness, for an issue, create positive change, certainly open people’s eyes.”

“But truth, truth is a loaded word. Whose truth? So we can’t necessarily say we’re always offering the truth, but it’s our responsibility, I think, to try our very best to accurately portray any situation for others to judge,” she said.

However, she said, people are starting to lose trust in the media, and the rise of artificial intelligence may only make things worse.

“I think it’s our responsibility to try to educate people about our role in providing coverage and a difference when it’s done by trained professionals,” she said.

War, disaster photojournalism, advice for budding journalists

Guzy said that covering conflict and natural disasters comes with personal risks but also requires the emotional courage to witness atrocities and the profound suffering from man’s frequent inhumanity.

“I think the goal is always to put a face on the number of casualties or issues that we’re trying to explain, that can evoke empathy with viewers, and also, of course, raising awareness,” she said.

“But I think we need to find balance, and also highlight those moments of hope, which sometimes we forget to do as journalists, I think, in any dire situation, there are angels that rise above the chaos to help,” she added.

She also said that she came to Türkiye briefly after two earthquakes shook the country’s southeast this February, taking over 50,000 lives and flattening many areas.

“It felt like being in Armageddon. The one thing you can’t photograph really is the scale, the number of people and the amount of cities that were affected – it was it was heart wrenching,” she said.

To young photojournalists, she advised against jumping into war zones without proper training as they would not only risk their own lives but also others who try to help them.

She said rookie journalists and photojournalists can learn more from doing feature stories.

“Journalism is not a job. I mean, for those of us who love it, it’s a passion. It’s our heart. It’s our life, literally. If I can’t be a visual storyteller, it’s like you took the oxygen out of a room and I can’t breathe,” she added.

This year’s Istanbul Photo Awards are supported by Nikon, the Turkish Cooperation and Coordination Agency (TIKA), and Turkish Airlines, the nation’s flag carrier.

All the winners can be seen by visiting istanbulphotoawards.com/winner/index

Anadolu Agency website contains only a portion of the news stories offered to subscribers in the AA News Broadcasting System (HAS), and in summarized form. Please contact us for subscription options.

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Contemporary African Photography prize 2023 winners – in pictures | Photography

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The CAP prize is the international award for Contemporary African Photograpy and has been presented annually since 2012 to five photographers. This year’s winners are Nadia Ettwein, Yassmin Forte, Maheder Haileselassie, Carlos Idun-Tawiah and now two-time winner Léonard Pongo. Each of their projects was created on the African continent, or engages with the African diaspora. Below, the artists introduce themselves and some of the inspirations that inform their work.

A black and white photo of a man with a missing face

Born in 1984 in Port Shepstone, South Africa. Nadia Ettwein lives in Cape Town, South Africa

Hond, 2023

“Hond” is the Afrikaans word for dog. I was told my mother threw me away like a dog – I’ve never stopped believing that. We were discarded children at a time when my country was struggling with its demons.

Black and white photograph of a little girl on a swing made of tyres

Black and white photograph of a baby manipulated to make the face pink

I’m Nadia. Born in 1984 and raised all over South Africa.

My sister was three when Mom left Dad in 1989. We were raised by parents who fought private battles within a faltering political ideology. There was sickness outside and at home. My father joined the South African army, and my mother legally wrote me off. I was adopted. Had multiple step-parents. Absence of love. I am afflicted by my ancestry and heredity.

Black and white aerial view of a flower with hands surrounding the petals

Black and white photograph of a woman with her face obscured

There are always people who give you up. My work relates to dissociating from painful memories, trauma, rejection and my current experiences. You find yourself in a situation of instability and displacement of post-apartheid, religion and child welfare, trying to grow up as a solid human in between the neglect. There are beginnings and endings, balance and imbalance, and the betweenness which forms a collective memory.

Abuse isn’t poetic, nor was being raised as an Afrikaans girl.

Born in 1980 in Quelimane, Mozambique. Yassmin Forte Lives in Maputo, Mozambique.

This is a story about my family, 2022

My parents fell in love on a dancefloor in Quelimane, Mozambique. He was stationed at the height of the Portuguese occupation of Mozambique, part of the armed forces, and my mother was a local Mozambican woman. He was destined to return to Portugal.

With independence in 1975, the Frelimo party (The Front for the Liberation of Mozambique) ordered the Portuguese to leave the country within 24 hours.

He stayed and fell in love.

My images attempt to dissect and navigate the effects of colonialism and migration from my family’s history. They address three aspects: family, migration and the story of Africans, using family archives and my images. I attempt to investigate how Africans have become the result of mixtures, migrations and colonisation, histories mixed and patterns repeated, and in this way, unpack my own African identity.

The collage exaggerates and emphasises this history; at times, family images are placed on top of the scenes from modern and remembered Mozambique, juxtaposing past and present. I used collage to construct a past and the perception of my own identity.

An illustration of obelisks superimposed with a modern photograph — National Memories III, Shifting Identities. Axum obelisks symbolise pride and testify to 3,000 years of Ethiopian history

Born in 1990 in Addis Ababa, Ethiopia, where she now lives.
www.maheder.photography

Between Yesterday and Tomorrow, 2023

I read Ethiopia’s history as a child in the books my father left before his passing. Ethiopian society prides itself on having 3,000 years of history and defeating colonisation. Remembering is in our cultural DNA. We stand at an intersection, yearning for the past and longing for the future with profound uncertainty.

I superimposed 19th-century archives made by Europeans with images from my current work and family albums. This acts as a metaphor for the overlapping of time and space in one’s memory, speaking to our nostalgia while acknowledging the involvement of the western world in our history.

A photograph of a woman’s face superimposed with an illustration of the same image

The landscape is part of our heritage. Visiting my grandparents’ birthplace brought a fleet of memories. It was an initial longing for the presence of my ancestors, followed by a rush of melancholy for the complex and contested future awaiting this generation of Ethiopians.

Identity photos from my family album are layered with archival portraits of Ethiopian rulers and everyday people, bringing a new being into existence, removed further from the original, speaking to the fluidity of memory and identity shifting between personal and collective memories.

Remembering is feeling. It’s involuntarily navigating in a dreamlike state between yesterday and tomorrow.

Born in 1997 in Sekondi-Takoradi, Ghana. Carlos Idun lives in Accra, Ghana.

Sunday Special, 2022

I photographed this series as a requiem of my memories.

Black and white photograph of a woman waiting by a gate

I was inspired by a close study of the family album and my recollection of growing up in a Christian home. I highlighted the ethos of Sundays from a much more vernacular perspective. I played with visual nostalgia, juxtapositions, colour and gesture to fully extract the roundedness of the traditions of what Sundays typically felt like in Ghana, also being conscious of blurring the lines between sanctity and our humanity and underscoring how community and divinity could exist in one place.

A woman in a Sunday dress and hat, turned away from the camera

Left and right: 103 Sunday Special, 2022

My joy is to watch everyone who sees this go back in time. Inciting that delight that can only be found when we look back. Provoking the sweet joys of what our memories could best serve us.

Born in 1988 in Liège, Belgium. Léonard Pongo lives in Kinshasa, Democratic Republic of Congo

Primordial Earth, 2023

Primordial Earth is an experimental documentary project that relies on technical inaccuracies to translate the idea that vision is limited and man is biased. Inspired by Kasaï traditions (southern DRC) that parts of reality exist outside human’s limited reach, the project uses “Full Spectrum” cameras to create images “touched by the invisible” and impacted by wavelengths invisible to humans.

Two boys head through long grass towards smoke

By photographing the landscape of the Democratic Republic of Congo and focusing on the places, objects and shapes mentioned in Congolese traditions, the project recreates a visual narrative connected to the country’s traditional tales and stories and which is based on a physical experience of the landscape. Photography becomes a tool to connect with the land. It creates a dialogue between the country’s incredibly varied landscape – a character with its own will and power – the inspiration from traditional symbols, stories and philosophies, and my presence as a limited actor trying to reconnect with this heritage. The space depicted becomes an allegorical tale revolving around genesis, apocalypse and eternal return, questioning our relevance and relationship to nature in a constant cycle of life and death as part of a natural cycle originating in Congo.

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In Pictures: Photos from a US storm chaser

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(Image credit: Camille Seaman)

Supercell storm above Browerville, Minnesota

American photographer Camille Seaman spent eight years chasing supercell storms around the US, capturing their sublime and terrifying splendour in captivating images.

I travel the world capturing fleeting moments of power in diverse landscapes. From melting icebergs at both poles to stormy states across the US, my images showcase the beauty and fragility of nature. I began storm chasing after my daughter, eight years old at the time, suggested it might be of interest while we were watching the Storm Chasers TV show.

It was the light, the colour and the strange nature of the clouds themselves that drew me to actually do a web search, contact a chaser and then just three days later, find myself in a vehicle driving fast through bad weather. After that first chase week, I asked the trip leader if he had any other spaces available and he asked me if I could drive. Then he hired me on the spot, and I officially became a professional chaser.

We would chase as far south as Texas and as far north as the Dakotas. We stayed mostly in the Great Plains but sometimes found ourselves as far west New Mexico. It was for a long time something I enjoyed doing. But after eight years I had had my fill. My book The Big Cloud is an opus to that time.

I wasn’t prepared for just how overwhelming an experience chasing can be. This storm in Kansas was visceral and multisensory: the smell of the charged particles, the sweetness of the grass, the scent of the pavement just before it rains, the sight of the wind blowing through cornfields. Not to mention the colours of the clouds and the light of the sky and the lightning. It was all so beautiful, so awesome and so humbling at the same time.

When I’m storm chasing, I feel a sense of belonging. Not because I’m photographing, but because I am present and realise that our experience as humans on this planet is limitless. Everything is interrelated. The storms provide vital water and nutrients to the very fertile plains. Something about being there as a witness to this incredible force, this elemental force of vortex energy, reminds me that I am part of this great interconnection.

I like images that don’t look overworked or manipulated, such as this one I took in Bartlett, Nebraska. The storm is already so amazing, there’s no need to accentuate it. I look for images that capture the structure and compositional balance and have a sensitivity to colour and light. When you get the image, you feel it.

Supercell storms, like this one near Browerville, Minnesota, can be 50 miles wide, so it’s almost impossible to fit that into a 24mm lens on a full-frame camera, and there’s no time to set up a tripod. Clouds are a little forgiving to photograph because they are soft shapes with no hard edges, but it’s very dark. A lot of my images are taken with a wide aperture to let the most available light in. When photographing storms, my advice would be to have both a long lens (telephoto) as well as a wide-angle lens.

Whenever we pulled into a town, inevitably we’d stand out as we’d have storm chasing equipment on our car. People either saw us as a bad omen or they’d say, “Is it coming our way?”. There is nothing more frightening than hearing those storm sirens go off. You have all this warm, moist air being sucked into the plains, you have rotating clouds. You can feel the warm air against your back, being pulled into the storm.

I grew up always knowing to respect nature and its power. At no point during this storm in Presho, South Dakota, did I feel brazen, like I’m invincible. At the same time, in storm chasing, you want to stay on the chasing side. You don’t want to become chased. That can pivot very quickly. As careful as you want to be, sometimes that’s irrelevant.

Once, after determining we weren’t in danger, we decided to stay put while a massive rotating cloud known as a low precipitation mesocyclone passed overhead of Lodgepole, Nebraska. It looked like a spaceship. It was one of the few times where I didn’t know what to do. Anywhere you looked, it was unreal. The cloud was so large it occupied the entire visual space. I needed a bigger lens. You couldn’t make one wide enough.

Storm chasing isn’t for everyone. When Tim Samaras (one of the US’ most respected and safety-conscious chasers) died in the 2013 El Reno tornado (pictured above), that storm felt like a wake-up call. I tried to chase the following year, but when we were out there, it was like I had lost my nerve. I missed a lot of great opportunities because I wouldn’t get close enough. I could feel that I was done.

But what I learned was that storm chasing offers an insight into some of the most powerful and beautiful forces on our planet. However, you must have immense respect and common sense. Don’t chase on your own. Find responsible, vetted tour leaders. Most of all, be safe out there.

Camille Seaman is an American photographer who applies portraiture strategies to capture the changing natural environment.Many of her photographs focus on the natural world, including icebergs and clouds.

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12 Rare & Stunning Shots Captured By Wildlife Photographers Across the World

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Wildlife photographers Rohit and Kalyan Varma share 12 stunning shots from their repository at Nature inFocus, a collective of like-minded wildlife enthusiasts from across the world.

Towards the 29 and 30 of this month, hundreds of wildlife photographers will gather at the Jayamahal Palace in Bengaluru. Armed with shots that could make it to the front covers of the most acclaimed magazines, they will discuss wildlife conservation, share their observations on potential policies, and ideate on how the scope of wildlife protection can be scaled in the country.

The event is one of the many under the umbrella of a Bengaluru-based media and production house Nature inFocus incepted by friends and wildlife enthusiasts Rohit Varma (50) and Kalyan Varma (43). It all began when Rohit — a marketing professional from Madhya Pradesh — and Kalyan — an engineer from Andhra Pradesh — were introduced during a photography expedition in 2011.

“We felt there was no single platform where people who love nature could meet and interact,” says Kalyan. “We felt the need to do more than just click and share images.” The idea was to illuminate the trail for more such wildlife enthusiasts to follow.

Today, not just photographers but also researchers, conservationists, scientists, and filmmakers are a part of the community.

“Over the last eight years,” says Rohit, “Nature inFocus acts as a portal to showcase and narrate stories of nature, and reveal the diversity of India to the world through its body of work such as documentaries, films etc.”

Here’s a glimpse of some astounding shots — each holding a glittering fascination of its own — captured by photographers who are part of the community.

1. Cloaked in Lilac

Clicked by photographer Sanjay Nair in the Pilibhit Tiger Reserve, Uttar Pradesh, the shot focuses on the beast against a backdrop of water hyacinths. Nair’s intent behind this particular shot was to convey the nature of the invasive plants, which are notorious for displacing native plant species within water bodies while reducing oxygen levels. “As seen in the image, even protected areas like national parks and tiger reserves are not immune to their impacts,” he notes.

2. A Croc’s World

“This high-contrast, half-and-half image of an American Crocodile in an archipelago in southern Cuba captures the reptile in its element,” says Massimo Giorgetta, the photographer behind the lens. As a member of the World Photographic Cup, Massimo spent days with a bask of crocodiles near a mangrove forest in Cuba studying the currents, the light in the region, the water clarity, etc. At last, the long wait culminated in the perfect opportunity to shoot a close-up of the croc against the backdrop of the blazing sun.

3. Chaos Theory

A brave shot by photographer Nejib Ahmed from Assam, who was in the village of Borsola trying to get a shot of a tigress near the Orang Tiger Reserve. The picture captures the absolute chaos that ensued seconds after the tigress was spotted by one of the villagers. “The villagers panicked and began pelting stones at the field. They also set fire to dry paddy, further agitating the animal. While the tigress ran amok, so did the people trying to flee the area.”

He adds that while the beast eventually retreated into the forest, the image portrays the ground realities of human-tiger conflict and emphasises the need for empowering local communities to manage these situations.

4. A Full Meal

In the picture, a sea snake can be seen engulfing its prey. Photographer Joshua Barton, who spends a great deal of his career capturing the magic of marine life, notes that while many might feel sorry for the prey in this picture, finding food is quite a task for this species of snake. They are lucky when they manage a meal.

“While these marine serpents are surrounded by their prey, in a world of coral reefs, rock crevices and quick manoeuvres, to make an actual catch requires additional skills,” notes Barton, adding that, however, being highly venomous works to their advantage. One bite and the prey dies instantly.

5. Where the Giants Roam

Lalith Ekanayake, the photographer who captured this fascinating shot in Dambulla, Sri Lanka, is a gastroenterologist by profession while being an avid wildlife photographer. Elephants are a common sight along the river and in the paddy fields of Sri Lanka’s north-central province and while the farmers in this region are happy to allow these “gentle giants” to enter their paddy fields after harvest.

“But they do everything possible to chase away the pachyderms during the crop season. This aerial shot of a massive tusker beautifully captures its larger shadow against the riverbank decorated with the footprints of his herd,” says Ekanayake.

6. Heart of Pink

Elongating their necks and moving their heads from side to side, the birds’ unique walk style is described as a ‘march’ and rightly so. This isn’t merely a way of striding, but rather a way of sending a message that they are ready to breed. The march of the flamingoes is seen in May indicating the start of the breeding season and that the birds will soon be pairing. The female chooses the male with the best dance moves. Photographer Raj Mohan managed to capture this flamingo formation at Pulicat Lake, Tamil Nadu. Alongside the busy flamboyance, one can spot a sea of green made by quickly accumulating algal populations.

7. A Tale of Two Cities

When photographer Sarang Naik from Mumbai spotted a colony of Zoanthids glowing under the light of an ultraviolet flashlight, against the backdrop of a lit Mumbai city skyline, he couldn’t stop himself from capturing it. “Zoanthids are commonly found in coral reefs,” he shares, adding “This long exposure shot brings together two sides of the city of Mumbai: the bustling metropolis that we’re all familiar with and the wildlife haven that hides in plain sight.”

8. Nothing to See Here

In the middle of the wild of the Sundarbans of West Bengal, photographer Sounak Dutta captures an estuarine crocodile waiting in ambush for its next unwitting prey. “The mud is maybe unimpressive make-up, but camouflage remains one of the most impressive weapons in the predator’s arsenal,” he notes.

A few more shots from the collective:

Edited by Divya Sethu

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Nature inFocus festival 2023: Indian Ocean performance, wildlife film screenings and more

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Indian Ocean band
| Photo Credit: Special Arrangement

The folk fusion band Indian Ocean shares a connection with nature, evident through various aspects of their musical journey. Firstly, their very name evokes imagery of the majestic ocean. Their latest album, Tu Hai, features a track, ‘Jungle’. Another song, ‘Mare Wa’ from their 2000 album Kandis, was about the river Narmada. According to Amit Kilam, the band’s drummer and vocalist, nature is an “intrinsic part” of the music and the lives of the band members.

All this makes them an excellent choice to headline the Nature inFocus festival, which is returning after a three-year pandemic-induced hiatus. Nature inFocus was founded in 2014 by Rohit Varma and Kalyan Varma to build a community for wildlife and nature lovers – photographers, filmmakers, researchers, conservationists, travellers and nature enthusiasts. This year’s festival, which spans three days and begins on July 28, seeks to foster a stronger bond with nature by showcasing a diverse range of activities such as film screenings, talks, panel discussions, photography exhibitions, entertainment, art installations, book releases, workshops and masterclasses, sustainable flea markets, and an awards ceremony. Indian Ocean will perform on July 29.

“The band is interested in wildlife. It’s like a coming together of our own ideas of how we live our lives, our different thoughts, and environment, nature, jungles, photography is such an intrinsic part of a lot of us. We have some friends who brought us and Nature inFocus together. So, it was just a thing that had to happen,” says Amit about playing in the festival.

Folk music in India, which traditionally, has spoken about people and their relationship with nature. Ankit concurs. “When people used to stay close to jungles, their songs, stories, and art were centred around their environment. Now we see a lot of young Indian talent singing about their roots. Some of them directly take songs from their folk readings. So, it is impossible to disassociate folk music from environmental issues,” he says.

Though the band doesn’t believe in preaching, Ankit believes art has the power to connect with the people. “Music or any other art form can convey a story in a format people love. So, someone listening to the song now will carry this story about wildlife and the importance of conserving them. They will make a difference and then pass it on to their generation. That’s how art makes a lasting change in society.”

In addition to Indian Ocean’s performance, this year’s festival highlights include a panel discussion commemorating 50 years of Project Tiger, the Nature inFocus Photography Awards Exhibition, the Wildlife Photographer of the Year Exhibition, and a filmmaking masterclass.

“The festival is about hope,” says Rohit Varma, a founder of Nature inFocus. “The objective has always been to reconnect people with nature and to celebrate the natural world. The event gives you the opportunity to learn about the work done by individuals and organisations from all over the country in protecting and conserving the natural world.”

The Nature inFocus festival is on from July 28 to 30. For more information about the event, visit festival.natureinfocus.in/2023/

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Here’s the new proton battery tech that’s cheaper and kinder to nature – and spell the end for lithium Energy

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Researchers and scientists at the Royal Melbourne Institute of Technology may have found an alternative to problematic lithium-ion batteries that sometimes explode or catch fire, especially at the cheaper end of the e-bike and e-scooter range.

A research team working in collaboration with Italian-based automotive component supplier Eldor Corporation, hopes its work means it’s hopes it’s close to winning the global race to find cheap, rechargeable batteries.

“There are definitely a lot of companies and researchers looking for replacements,” lead researcher, Dr Shahin Heidari, told The Fifth Estate.

“I’ve seen sodium batteries, cobalt batteries and other solutions relying on sources of the elements, which can be either not environmentally friendly or become scarce – whereas the proton battery just needs hydrogen and carbon, a concept I have never seen anyone else do.”

Lithium-ion batteries are widely used for rechargeable batteries in everything from mobile phones, laptops, smart watches and power tools to e-bikes and e-scooters. But as The Fifth Estate heard at its Festival of Electric Ideas masterclass #2 Kit and Fit, around 450 of these e-mobility solutions have caught fire in Australia in just 18 months, causing fire experts serious concern.

Product Safety Australia has also flagged concerns of fire and even explosion if the lithium-ion batteries are poorly manufactured, handled, stored, or disposed of. Case-in-point the well-known phenomenon of a few years back: the exploding Samsung phones.

The proton battery, by contrast, offers a carbon neutral alternative.

Lead researcher Professor John Andrews said it splits water molecules to generate protons, which bond to a carbon electrode.

“When discharging, protons are released again from the carbon electrode and pass through a membrane to combine with oxygen from the air to form water – this is the reaction that generates power,” Andrews said.

“Our proton battery has much lower losses than conventional hydrogen systems, making it directly comparable to lithium-ion batteries in terms of energy efficiency.”

Dr Heidari, told The Fifth Estate that “in a lithium-ion battery, lithium ions move from the negative electrode to the positive electrode during discharge and back when charging.”

The proton battery is very safe by comparison – now for the development phase

“Compared to Lithium, proton is very safe, works under ambient pressure and environment and works better in higher temperatures because of the concept of charge and discharge,” he said.

The team has patented the latest development in this technology internationally.

“While we are working on making the prototype, our industry partner, Eldor, will work on testing the proton battery on different products,” Dr Heidari said.

“At the moment, we’ve managed to connect the battery to smaller products like fans and led lights,” said. “Bigger products are still a work in progress as we haven’t tested the maximum output of the battery.”

The RMIT team hopes the battery will one-day power homes, vehicles, and devices without the end-of-life environmental challenges of lithium-ion batteries.

“Our dream is for these batteries to be on the biggest scale possible, for them to replace energy storage devices at houses and supply home appliances,” added Dr Heidari.

The environmental difference between proton battery, lithium-ion and every other rechargeable battery

Dr Heidari told The Fifth Estate that the main problems with lithium were:

Mined from the Earth
Extremely limited as a resource
Recycling stumps even Dr Heidari – “it’s hard to know how much of the lithium is reusable after battery contamination”

Meanwhile, this is how the proton battery delivers where lithium-ion fails:

Proton batteries are powered by renewable energy stored in carbon
All you need to do is split atoms from water, carbon from wood and energy from the sun – resources that need to be used more often, according to Dr Heidari.
Proton uses recycled parts, and materials can be rejuvenated, reused or recycled

While the structure and concept of charging and discharging differ, the proton battery competes with lithium-ion batteries with fast charging and discharging capabilities.

The Future is closer than you think

Professor J Andrews says that their latest battery’s storage capacity of 2.2 weight per cent hydrogen in its carbon electrode is more than double other reported electrochemical hydrogen storage systems.

“As the world shifts to intermittent renewable energy to achieve net-zero greenhouse emissions, additional storage options that are efficient, cheap, safe and have secure supply chains will be in high demand,” said Professor Andrews.

“That’s where this proton battery – which is a very equitable and safe technology – could have real value and why we are keen to continue developing it into a viable commercial alternative.

When asked when the RMIT proton battery will replace our iPhones, Dr Heidari and the research team said they are tentatively expecting the proton battery to enter the market in five to 10 years if everything goes according to plan.

“We all aim and hope for a world run on environmentally friendly energy,” added Dr Heidari. “Make the world a better place for us and our future generations.”

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Dikan Gallery explores the multifaceted nature of Home in its latest exhibition: ‘Home is more than a Place’

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Renowned Ghanaian-based photo gallery, Dikan Gallery, recently presented its latest exhibition, “Home is More than a Place,” an exploration of the profound essence of home that reaches beyond physical boundaries.

Through captivating images by talented photographers, the exhibition delved into the vibrant tapestry of modern African life, inviting viewers on a visual journey that celebrates the diverse perspectives and shared narratives that bind people from all walks of life together.

The exhibition captured the essence of home through the lens of photographers who have skillfully captured intimate moments, daily rituals, and shared joys that collectively define the concept of home.

From the bustling streets of Accra to the serene landscapes of Ethiopia, these evocative photographs opened windows into the lives of individuals who find a sense of belonging that transcends borders and cultures.

Dikan Gallery explores the multifaceted nature of Home in its latest exhibition: 'Home is more than a Place'

At the heart of ‘Home is more than a Place’ is the notion of Pan-Africanism, a dynamic movement that has shaped the African identity for centuries. Rooted in emotional, cultural, and political responses to historical injustices, Pan-Africanism seeks to reclaim and renew what has been taken from people of African descent.

This exhibition paid homage to the spirit of Pan-Africanism, highlighting the unity and shared experiences of the sons and daughters in Africa and the diaspora.

The images showcased in this exhibition inspire a reflection on the universal yearning for connection and identity, as seen through African lenses. They celebrate the strength, resilience, and complexity of the human spirit, prompting viewers to contemplate their own understanding of home.

Each piece captures unique stories of the houses many grew up in, the town they left behind, or the cherished relationships they hold dear, unfolding distant memories or a longing for a place never known, or the profound connection formed with those who share their dreams and aspirations.

“Dikan Gallery invites visitors to immerse themselves in the visual narratives presented in ‘Home is more than a Place,’ fostering dialogue, understanding, and a sense of belonging that extends far beyond the confines of the gallery space,” said Paul Ninson, curator of Dikan Gallery. “This exhibition serves as a celebration of the multifaceted nature of home, emphasizing its importance in defining our identity and fostering connections that transcend borders.”

Paul Ninson, the founder and executive director of the Ghanaian nonprofit, Dikan Center for Visual Education, developed the idea of a photo gallery and began collecting photography books while he was a student at the School of the International Center of Photography in New York.

He studied Industrial Arts at Ghana’s Kwame Nkrumah University of Science and Technology (KNUST) and fell in love with photography while in school. He revealed to Face2Face Africa, “I’ve always been an artist. I used to draw a lot. I studied visual arts in Kumasi Academy,” he said, describing his passion for the arts.

As a result of the rich oral history he was able to access during his early life, Ninson explained that he needed to find a way to express his personality and life experience. He discovered photography as a means of doing this. He later attended school in New York as a result of his passion for photography and narrative.

He founded the groundbreaking Dikan Center, which has Africa’s first photo library, a screening room, a gallery, a production room, a curriculum for Junior High Schools, and other intentionally constructed facilities to foster the creativity of African and diasporan youth.

Ninson has a mission to make visual education accessible on the continent, and a vision to educate creative leaders to transform Africa.

Dikan has gained enormous support and acclaim from all across the world despite being only a little over seven months old.

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To become one with nature, you need these 47 essentials

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Halfway into our family river hike through the Narrows in Zion National Park, an activity ominously described in all the guidebooks as “walking on wet bowling balls” — but so worth it, and so stunning! — the cloudless skies produced a sunbeam of thoughts:

1. Why? Why? Why? 2. If we turn around now, we still have to hike 4 miles on wet bowling balls to get back. 3. Maybe I’ll just die here. 4. No, dying in this much synthetic fabric would be too sad.

5. David Bowie.

Specifically, I pondered an interview he gave Terry Gross for NPR’s “Fresh Air” in the early 2000s, an exchange that periodically escapes the ol’ hippocampus, especially when I am standing in waist-deep water. In essence, Bowie said wearing jeans and a T-shirt is as much a costume as full Ziggy Stardust regalia. Everything we put on is artifice. “It is merely representation,” he said, and he was right.

Ah, but the outdoors people on their summer vacations will lie. The camping people will lie. The hiking and biking and kayaking and fishing and scalloping people will lie! They will claim they are NOT in costume, that they are simply dressing for function and utility. We humans are deliciously drunk on our little delusions.

Oh, sure, we spotted a few enlightened Zero Equipment types in the river, leaping around the rocks like Peter Pan with bare feet begging for infection. That’s another discussion! The majority of tourists hiking the Virgin River and surrounding Utah terrain were decked out in a mortgage payment’s worth of costume. The Outdoors Costume.

Now, let me be clear: The natural splendor was magnificent. I’m thankful for the hike, which left me humbled like a spiritual dormouse at the base of 1,500-foot sedimentary masterworks. We are all better for a challenge that removes us from the pool resort, even when we get passive-aggressive from low blood sugar around mile 3. I’m not denying the usefulness of the gear, either, without which I would have floated off downstream to establish camp in a slot canyon where I’d anthropomorphize a shoe for company.

I am just saying, we should be for real. Getting back to nature, while vital for our jaded, iPhone-soaked souls, is not an act of simplicity nor a rebellion against consumerism. I am so serious about this: The next time anyone gives me GUFF for packing too many shoes, purses, units of makeup or accessories, I will calmly blink and say, “Show me what is inside your North Face Base Camp Gear Box covered in graphic decals, you absolute Spartan.”

You, friends, are in full Nature Drag! No, no, let’s break it down. To get away from the trappings of modernity and reconnect with Mother Earth, one simply requires:

A breathable Gore-Tex jacket with a windproof, tri-layer construction; nylon soft-shell climbing pants with zip-off legs; a UPF 50+ duo dry shirt from another adventure locale so everyone knows this is NOT our first national park; a hiking backpack with a ladder of bungees, adjustable sternum straps and dual clip-front closures; a Nalgene water bottle with a sticker that says “GO OUTSIDE AND PLAY” and a mouth wide enough for dissolvable electrolyte tablets to replenish salt stores; AND/OR, a hydration backpack with a bite-grip drinking tube and a rubber bladder which we will fill with lodge water that tastes strangely metallic, but that’s OK because WE ARE GETTING BACK TO NATURE; a waterproof smartphone lanyard case, preferably one that floats; an oversized dry bag in a fanny-pack style because the water bladder is taking up our entire pack and we must keep the beef jerky DRY, otherwise it will rehydrate and return to BEEF; merino wool hiking socks with cooling panels engineered by Everest mountaineers; a floppy, wide-brimmed hat with an adjustable chin strap, a look no one has pulled off since “The Flying Nun”; a cluster of enamel destination pins, but not the same pins our hiking partner has, because that would be weird; polarized, multi-sport sunglasses with a rubber strap that will yank out our hair; an elastic-Spandex no-slip knotted hair tie; waterproof hiking boots with ankle support; unless we are going to get extremely wet, in which case we don’t want waterproof boots because the water will get trapped and turn our feet to soggy cinderblocks; in that case, a high-tread water shoe with toe-dome protection and drainage cages that call to mind Carol Anne’s haunted clown in “Poltergeist”; UNLESS we want to consider stealth-tread canyoneering boots with thermal neoprene wetsuit socks, which, of course, we do; a walking stick, not just any stick, but retractable fair-trade carbon and titanium trekking poles with wrist loops and rounded foot attachments to navigate mud and sand and even larger rounded foot attachments should we ever be so foolish as to hike, my God and stars above, through snow; lastly, the professional nature photography camera, which we meant to charge last night when we were busy distributing snacks with the right macros of fat, carbs and protein through a series of four different satchels held together with a phalanx of carabiners and quickdraws, draped lovingly beside our CAREFULLY CONSTRUCTED YET CASUAL COSTUME IN A MIX OF EARTH TONES AND NEON SKITTLES HUES THAT SIGNALS OUR ONENESS WITH THE NATURAL WORLD, so now the camera battery is dead.

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7 Essential Tips for Capturing the Best Photographs

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Photography is an art form that allows us to freeze moments in time, preserving memories and emotions for years to come. Whether you’re a beginner or an experienced photographer, these seven tips will help you elevate your skills and capture stunning images that leave a lasting impression. Photography is a rewarding hobby, and it’s nice to see image quality improve as you sharpen your photo-taking skills. But getting started or advancing your photo quality may feel overwhelming.

Master Your Camera Settings:

Understanding your camera’s settings is crucial for getting the best photographs. Take the time to learn about aperture, shutter speed, ISO, and white balance. Experiment with different settings to see how they affect the final image and adjust them according to your shooting conditions. Knowing your gear inside out will empower you to take control of your photography.

Pay Attention to Composition:

Composition is the foundation of a great photograph. Use the rule of thirds to place your main subject off-center, creating a more balanced and visually appealing image. Look for leading lines, natural frames, and interesting angles to add depth and dimension to your photos. Don’t be afraid to experiment and try out different perspectives to find the most captivating composition.

Find Good Lighting:

Lighting plays a crucial role in photography. The golden hour, which occurs shortly after sunrise and before sunset, offers soft, warm light that enhances your subjects. Avoid harsh midday sun as it can create unflattering shadows. If you’re shooting indoors, utilize natural light whenever possible or invest in quality lighting equipment to control the illumination. Natural lighting is ideal for high-quality photos. You can get great natural lighting in the morning or before sunset during times known as the “golden hours.” Of course, if you can’t manage natural lighting, consider getting artificial sources.

Patience is Key:

Photography often requires patience, especially when capturing subjects in nature or candid moments. Wait for the right moment, observe your surroundings, and anticipate actions to capture that perfect shot. Sometimes, staying still and observing the scene can lead to unexpected and extraordinary opportunities.

Focus on Details:

The difference between a good photograph and a great one often lies in the details. Pay attention to small elements in your composition, such as textures, colors, and patterns. Macro photography allows you to explore and capture intricate details that are often overlooked.

Use Post-Processing Wisely:

Post-processing can enhance your images, but it’s essential to use it judiciously. Avoid over-editing, which can result in unrealistic and unnatural-looking photos. Invest time in learning editing software like Adobe Lightroom or Photoshop, and use it to fine-tune your images while retaining their authentic essence.

Embrace Your Creativity:

Photography is an art, and creativity is its soul. Don’t be afraid to experiment with different styles, techniques, and subjects. Push your boundaries, try new things, and let your imagination guide you. Be open to unconventional perspectives, as they can lead to the most unique and captivating photographs.

Capturing the best photographs requires a combination of technical knowledge, artistic vision, and patience. By mastering your camera settings, paying attention to composition, utilizing good lighting, and focusing on details, you can elevate your photography to new heights. Remember to embrace your creativity and enjoy the process of capturing moments that evoke emotions and tell compelling stories through your lens. Happy shooting!

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Capturing Beautiful Rainy Season Photos

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Gabon releases tender for Africa’s first ‘debt-for-nature swap’: What is it?

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Gabon became the African nation to launch a debt-for-nature swap, on Tuesday (July 25) and plans to buy up at least $450 million of its government debt in exchange for an eco-friendly blue bond, reported Reuters.

The debt-for-nature swaps have recently gained some popularity among conservation finance, particularly after Ecuador struck the biggest deal of its kind and refinanced $1.6 billion of its commercial debt.

What are ‘debt-for-nature swaps’?

Debt-for-nature swap is when creditors provide debt relief for developing countries who commit to taking steps towards the conservation of the environment, like decarbonizing the economy, investing in climate-resilient infrastructure, or protecting biodiverse forests or reefs, according to the International Monetary Fund (IMF).

These so-called swaps can be useful for countries that are most vulnerable to climate change and often unable to afford investment to strengthen climate change-related resilience. Typically, a country’s debt, bought up by banks or specialist investors is replaced with cheaper ones with the help of a multilateral development bank “credit guarantee” or “risk insurance”.

Therefore, these debt-for-nature swaps free up fiscal resources for governments to improve resilience without triggering a fiscal crisis or sacrificing spending on other development priorities, said the IMF.

The supporters of this concept, which was first ideated by the late “godfather of biodiversity,” Thomas Lovejoy, in the 1980s call it a win-win for financiers, countries and conservationists, as per media reports.

The central African nation’s beaches and coastal waters are home to nearly a third of the global population and the world’s largest population of leatherback turtles, an endangered species.

Citing a regulatory filing, Reuters reported that Gabon on the London Stock Exchange had “launched invitations to tender for purchase by the Republic for cash its 2025 Notes and 2031 Notes”.

The filing has since prompted the three Eurobonds that it referred to rise as much as 2.2 cents on the dollar, reported the news agency. Furthermore, the February 2031 maturity rose 2.203 cents to 83.702 cents and the November 2031 maturity jumped 2.129 cents to 83.573 cents.

While the Gabonese government offered to buy back the bonds for 85 cents per $1 of the bond. Meanwhile, the 2025 maturity rose 1.194 cents to 95.4 cents is also lower than the offer price of 96.75 cents.

A report by Reuters citing industry sources also said that the United States International Development Finance Corporation (DFC) would provide political risk insurance like it has for Ecuador and Belize.

Earlier this year, Ecuador sealed the world’s largest debt-for-nature swap on record amounting to $1.6 billion which has freed up as much as $18 million every year for the next two decades. The amount currently serves as a consistent revenue stream for the conservation of the Galapagos Islands, one of the world’s most precious ecosystems.

(With inputs from agencies)

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