Archives for posts with tag: animals

 

henk_wildschut_Photography
Examined. In 2012 the animal welfare organization Wakker Dier (‘Animal Awake’) launched a campaign against industrially bred broiler chickens. Wakker Dier gave this breed the name ‘plofkip’ (chicken fit to burst) because of its rapid growth within six weeks from a chick to a 2.3 kilo bird, having consumed exactly 3.7 kilos of feed to get there. The chicken in the photograph is getting a health check from a vet at the request of Wakker Dier.

When I was asked two years ago to make an in-depth study of the subject of Food for de RijksMuseum in Amsterdam, I was full of preconceptions about the food industry. I saw it as dishonest, unhealthy and unethical. More than that, it was contributing to the decline of our planet, unlike in the good old days, and I felt that the magic word ‘organic’ was going to solve everything. So when I embarked on this project, my first impulse was to bring to light all the misunderstandings about food once and for all.

After two years of research and photography, I realized that the discourse on food production can be infinitely refined and that this often puts supposed advantages and disadvantages in a new light. Scaling-up can actually enhance animal welfare, for example, and organic production is not always better for the environment. Often, an excessively one-sided approach to the subject of food is a barrier to real solutions. Food is simply too wide-ranging and complex a subject for one-liners or to be describing in terms of black and white.—Henk Wildschut

Dutch photographer Henk Wildschut enters a world of debate and controversy, documenting the modern processing and production of our food. After spending extensive time with those who handle the day-to-day management of various animals and plants, Wildschut concludes that the entire issue of demand, population growth and government regulation is far more complicated than the general public understands. Shot in a clinical but thoughtful method, Wildschut presents us with the facts that are before him, refusing to take up an agenda or make direct comment on what we see. Food was recently published as a photo book, full of further stories and images from Wildschut’s research. Taken from Feature Shoot

All images © Henk Wildschut

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Semi-finished. With brown poultry it is possible to breed a variety that makes a visual distinction between a hen and a cock. A young female is brown and a young male white. This difference is essential at a hatchery for layer chickens, as males don’t lay eggs.The selection process is now less complicated and can be carried out by eye by non-specialized staff. Using a conveyor belt, 20,000 brown and white chicks can be separated every hour.

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Sexing. As for white poultry, there has been no success as of yet in achieving a clear visual distinction between the sexes. A specialized external firm is enlisted to sex these chicks. The difference can be read off in the wing feathers. One specialist can sex 25,000 chicks a day. The male chicks are carried off on a special production belt to the gassing unit.

henk_wildschut_Photography
Feces. After three weeks in the Patio module, the chicks–now a full 700 grams–are carried by a conveyor belt to the ‘ground floor’, where within three weeks they will grow to 2.5 kilos. After each cycle, the two levels are washed and disinfected. Once the manure is removed, the whole area is cleaned with a detergent and later thoroughly disinfected with a sprinkler. The process of cleaning takes three days for the Patio module and two days for the ground floor.

henk_wildschut_Photography -196 C. A bull produces an average of 480 doses per approved ejaculation. A popular bull can supply up to 300,000 doses in its lifetime. Each such dose is collected in a straw. The straws are stored in liquid nitrogen at a temperature of -196 degrees Celsius. Every beaker holds 3000 straws. Altogether there are some 600,000 straws in a container. The colour, together with a code, name and date, makes each straw unique.

henk_wildschut_Photography
Washing. The veal industry took off in the Netherlands at the end of the 1960s as a response to the growth of the dairy industry, which had created a surplus of calves. The Ekro slaughterhouse processes 350,000 calves a year and is the world’s largest veal producer.

henk_wildschut_Photography Collecting. A calf’s liver has an average weight of 4.5 kilos and after removal of the carcass it cools off to 1 degree Celsius within 24 hours. The racks speed up the cooling process and prevent damage to the delicate organ tissue.

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Quarantine. The smoking compartment in the canteen is there to combat infection. Staff are not allowed to leave the building during working hours. The company is hermetically sealed off from the world at large to minimize the risk of infection. There is overpressure throughout the interior to ensure that polluted air is kept out

henk_wildschut_PhotographyGrowth. Sweet pepper producer De Wieringermeer grows red, yellow and green sweet peppers on a 40-hectare site. The colour is determined by the stage of the ripening process (green is unripe, red is ripe). The plants grow between 5 and 10 cm a week. The red-and-white ribbon marks off a compartment of one hectare. This division into hectares gives a good understanding of the growth process among young plants; the work can then be planned accordingly.

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2,400 m2. Torsius has a total of 120,000 laying hens. Besides the standard free-range birds the hatchery has a further 5700 organic laying hens. At Torsius there is no need to debeak the chickens; the barns are minimally lit with special high-frequency strip lighting so that the chickens are kept calm. They also have enough distractions and enough room to move. Stressed-out chickens tend to peck others, something that happens a lot less at Torsius. Torsius produces about 100,000 eggs every day, putting it in the major league among hatcheries.

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Pasture. The Brandsma Dairy Farm is a dynamic-organic company of 55 cows and 25 sheep. Brandsma is widely known as an ‘ear-tag objector.’ For them, ear tagging is a violation of the animal’s integrity. After 20 years of legal wrangling, these farmers are allowed to register their animals using the traditional I&R method, that is, hide brands and other surface marks. For six months in the year, Brandsma’s cows have free access to the pastures around the barn. For the product to qualify as pasture milk, the cows need to graze outdoors for 120 days a year, 6 hours a day.

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Lavatory. Research on Pigsy, a toilet for pigs, began in 2012. A pig usually looks first for a place to sleep and then–at a comparatively great distance away–a place to defecate. Piglets are trained early on to relieve themselves in a special corner of the shed. A major advantage is that the feces can be collected and removed in a shorter time. This lowers the level of ammonia emissions in the shed, the advantage for the farmer being that there is no further need for air washers.

Henk WildschutShower. Paul Steenbekkers is manager at one farm, Ven/Heide, where they keep 1700 sows and 3300 piglets. Paul works from 7:30 in the morning until 10 past four in the afternoon. All staff and visitors are required to take a shower before entering the farm and don a complete set of company clothes. These strict rules on hygiene have meant a reduction in the use of antibiotics in recent years of 70%. The administering of antibiotics was a preventive measure until 2009.

henk_wildschut_Photography
Export. To avoid the fish becoming dehydrated they are coated in a glaze solution. The deep-frozen fish are then drawn through a shallow layer of water. This treatment, which is sometimes done repeatedly, adds to the weight of the fish so that more can be sold for less.

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Infusion. By optimizing plant growth conditions—the ideal mix of water, light, nutrition, CO2 and temperature—PlantLab seeks to revolutionize plant cultivation. According to PlantLab, this way plants produce up to 10 times more than in a regular greenhouse and use something like 90% less water. And there are no pesticides involved. A plant treated this way proves to be no longer susceptible to diseases and epidemics.

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In his series ‘Portrait of a Species’ Rowan Corkill presents a collection of dead animals, as if he just came from a hunt and proudly presents them to the viewer. All of them are self portraits of Corkill, with a blank stare and an animal in his mouth. With this project, he places mankind as a dominant predator far beyond food chains, and questions various aspects of our existence and position on the planet: the distancing we have created from other species, the loss of natural instincts and senses, as well as our disconnection from nature and natural cycles. Apart from the canary, all of the animals used in the images were found at the sides of roads around the countryside where the artist lived. All of these animals have died as a result of man-kinds continuous effect on the planet. Taken from iGNANT

All images © Rowan Corkill

French photographer Guillaume Dutreix shot a series of pictures called ‘Wild Pop’. For this project he aimed to bring out pure beauty of animals, presenting them as models in a classical photo shooting. He used studio lights and flashy colored backgrounds to create pure esthetic, mixing wild life with contemporary vision of photography. Taken from iGNANT

All images © Guillaume Dutreix

shark Michael-Muller photography

Los Angeles-based photographer Michael Muller’s fascination with sharks started when he was a kid surfing Northern California waves amongst the plentiful great white’s. Since then he has photographed sharks around the world in places such as the Galapagos Islands, South Africa, Fiji and Guadalupe Island. We asked the advertising and editorial photographer some questions about his hobby photographing one of the most feared animals on the planet. Taken from Feature Shoot

All images © Michael Muller

shark Michael-Muller photography

Has photographing sharks mainly been a personal project?
‘The majority of my shark expeditions are personally funded, but I have had a few that were projects such as the IWC watch campaign in the Galapagos and the TV show I made with the Travel Channel in Fiji. ‘I am passionate about sharks and what started out as personal quest to this day remains one. I am constantly looking for new ways to shoot these amazing creatures and to also shed some light on the fact that they are the ones in danger, not us.’

shark Michael-Muller photography

How far away are you from the sharks?
‘I am very close to the sharks, and actually got knocked over once by 40+ bull sharks swarming me. No cage, no metal suit, just a camera between me and their teeth. ‘With the great whites it’s a little different. At the surface I am in a cage, but get out to get super close. When I dive down to deeper depths, I get completely out of the cage with no protection. Here they are very passive and inquisitive about us. ‘After spending so much time with these animals I’ve realized that we are not on their menu, they are more scared of us than us of them. ‘My wife just joined me a few weeks ago on an expedition I did with Philippe Cousteu, and his board from Earth Eco, and she got out of the cage with me on the first dive! It was quite an amazing experience to share this passion I have and watch it bloom in the woman I love so deeply.’

shark Michael-Muller photography

Can you talk about the lighting set up for these images?
‘I created the most powerful waterproof strobes in the world. With the help of 2 other guys we figured out a way to basically get 1200 watt strobe lights underwater. This allows me to bring a full blown studio to the animals in their environment. ‘Anytime you mix electricity and water you must be very careful. Diving with the equipment poses the biggest challenge and the biggest danger, but it’s just amazing what you can do with the addition of these lights. These are the same lights I used to shoot The Avengers campaign and all the other commercial/editorial shoots that I do, only we are 70 feet down with dozens of hungry sharks around us. ‘I just received 4 patents on these lights and we plan to put them out on the market in a rental capacity. I can’t wait to see what other photographers do with these lights. It’s very exciting for me as not many people get patents for photography-related products these days.

shark Michael-Muller photography

How do you plan for these shoots? What gear do you usually go in with?
‘Each expedition is different but for the most part when you are taking Hollywood lighting into this type of an environment, a lot of gear and manpower is needed. There is a ton of planning that goes into each trip and each trip presents it’s own set of challenges we must overcome on-site. ‘When dealing with Mother Nature you can only prepare so much and then when you get there she always, and I mean ALWAYS, throws you a curve ball. I have an amazing team of guys that have got my back and vice versa. We have always come home in one piece and for the most part with all of our gear, which is a miracle.’

shark Michael-Muller photography

You shoot a lot of surfing/underwater photographs. Are you a surfer as well as a photographer?
‘I am a big time surfer. Surfing is my favorite activity and I grew up riding Northern California waves which are infested with great whites, hence the obsession I have with them. Growing up knowing you weren’t alone, and that at anytime a whitey could pop up definitely added a thrill to surfing those cold black waters and secret spots between San Francisco and Santa Cruz. ‘I still surf today as much as I can, and although there are plenty of great whites off of Malibu, they are all juveniles so they pose no threat to the swimmers and surfers of Southern California, for the most part. In fact, I just took these lights in the water for a shoot I did with surfers for the TransWorld Surf magazine Imaginarium contest.

shark Michael-Muller photography

Are you ever scared of getting eaten or bit by a shark?
‘I’ve never been scared of being eaten or bit. I have a deep respect for these animals and know they are wild so I try and not put myself in situations where risk is too high. I am very careful and treat them with the utmost respect. I am usually laughing underwater when I am surrounded by sharks. I get so excited and it’s so surreal that I have to pinch myself sometimes that this is my life, and I’m living my dream.’

shark Michael-Muller photography

 

Andrew Pinkham 19th century animal portraits

My animal portraits challenge what we think of as historical or authentic, whether it was yesterday or hundreds of years ago. They blur the lines of time and engage the viewer in how we interpret the idea of history itself.—Andrew Pinkham

Five years ago, Philadelphia-based photographer Andrew Pinkham set out to create a body of work that draws upon his love for animals and portraiture. Combining these passions led him to develop these 19th-Century-style animal portraits influenced by artists such as George Stubbs and John James Audubon. Taken from Feature Shoot

All images © Andrew Pinkham

Andrew Pinkham 19th century animal portraits

Andrew Pinkham 19th century animal portraits

Andrew Pinkham 19th century animal portraits

Andrew Pinkham 19th century animal portraits

Klaus Pichler was born 1977 and lives in Vienna, Austria. After graduating from university in 2005 he decided to quit his profession as a landscape architect and become a full time photographer- without any education in photography. The topics of his work are the hidden aspects of everyday life in its varying forms, as well as social groups with their own codes and rules. This work is from his series, ‘Skeletons in the closet’, which deals with the backstage environments and storage sites of the Museum of Natural History in Vienna. Taken from Feature Shoot

All images © Klaus Pichler

Klaus Pichler photography

Klaus Pichler photography

Klaus Pichler photography

Klaus Pichler photography

Klaus Pichler photography

Klaus Pichler photography

Klaus Pichler photography

Klaus Pichler photography

Nine Francois is a photographer based in Austin, Texas. Her work has been represented internationally in publications such as Communication Arts, Foto&Video (Moscow) and The British Journal of Photography. About her series, Animal, Francois writes: ‘My original intention was to create an alphabet book (“A” is for Armadillo) for children that would appeal to their zany sensibilities and delightfully skewered perspectives. While this project is still active, it has developed into a larger concept linking animal imagery and the development of language, specifically in children. This expanded project is currently underway and incorporates text with the imagery that you see here. In the meantime, I have traveled far and wide to collect these animals. So far, I’ve photographed vicious bunnies, amorous tigers, wise old owls, man-eating turtles, noble armadillos, charging elephants and crazy chickens. It is exhilarating, challenging and sometimes scary. Over the years, I’ve learned how to get close, work fast, hold my ground in some cases, and run like hell in others. I enjoy the “hunt” so to speak and the joy of sometimes getting it just right’. Taken from Feature Shoot

All images © Nine Francois

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nine_francois_photography

nine_francois_photography

nine_francois_photography

nine_francois_photography

nine_francois_photography

nine_francois_photography

nine_francois_photography

nine_francois_photography


Petrina Hicks is a photographer based in Sydney. Her images gently subvert the pervasive language of photography as it is used in advertising and publicity, creating edgy images that intrigue and disturb. While she primarily works with people, her works transcend the boundaries of portraiture as she finds beauty in perceived imperfections and renders idealized beauty strange. Her images are mostly of adolescents and elegantly capture the ambiguities of youth. Whilst she uses digital interventions, they are almost imperceptible, creating instead a polished hyper-reality. These subtle contrasts within the image play with photography’s dual capacities as both a revealer of truths, and a perpetrator of lies. Hicks’ photography embraces the scope of what it means to be human. Taken from Feature Shoot

All images © Petrina Hicks

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petrina_hicks_photography

petrina_hicks_photography

petrina_hicks_photography

petrina_hicks_photography

petrina_hicks_photography

Fredrik Ödman is a Swedish photographer whose images ‘explore and uncover an enchanted world taking the viewer on an extraordinary journey into the borderland between dream and reality. The meeting point of logic, imagination and madness.’ This is a selection from his Composed Animals series. Taken from Feature Shoot

All images © Fredrik Ödman

composed animals fredrik odman photography

composed animals fredrik odman photography

composed animals fredrik odman photography

composed animals fredrik odman photography

composed animals fredrik odman photography

composed animals fredrik odman photography

composed animals fredrik odman photography

 

Rachel Bellinsky is a photographer and graphic designer based in San Diego. This series, Fishbowl, was recently featured in Slideluck Potshow Austin. Bellinsky writes: ‘You would not believe how many of these shots I see and miss because I don’t have my camera. The other day I saw a tiny kitten hanging from the curtains as I passed by, and my lack of camera at that moment was criminal. There is an animal in nearly every window of my neighborhood.’ Taken from Feature Shoot

All images © Rachel Bellinsky

Rachel-Bellinsky pets in windows photos

Rachel-Bellinsky pets in windows photos

Rachel-Bellinsky pets in windows photos

Rachel-Bellinsky pets in windows photos

Rachel-Bellinsky pets in windows photos

Rachel-Bellinsky pets in windows photos

Rachel-Bellinsky pets in windows photos

Rachel-Bellinsky pets in windows photos

Rachel-Bellinsky pets in windows photos

Rachel-Bellinsky pets in windows photos

Rachel-Bellinsky pets in windows photos