A group of women in the Korean province of Jeju dives deep beneath the water to collect seafood and other aquatic treasures. Known as Haenyeo (meaning “sea women”) they are part of a tradition that dates back to 434 CE. But they aren’t young people, as you might expect from a group who routinely conquers depths between 32 and 65 feet and can hold their breath for up to two minutes. The Haenyeo are mostly over the age of 60.

Photographer Alain Schroeder spent time with the women and introduces them to a broader audience in his series Grandma Divers. He first visited Jejudo Island in 2019, where he witnessed the divers gathering mollusks, seaweed, and more. They came out of the water with the backdrop of basalt (volcanic) rock, and he began photographing them using a telephoto lens. Captivated, Schroeder knew he needed to go back to shoot a dedicated portrait series.

Schroeder returned that September with an interpreter and was ready to shoot. The weather conditions weren’t ideal, and, at first, the Haenyeo were less than enthusiastic about him being there. Despite these challenges, the compelling portrait series is a striking look at the women who are treasured part of South Korean society and singlehandedly keep the freediving tradition alive.

We spoke with Schroeder about Grandma Divers, how it came together, and the history behind the incredible Haenyeo. Scroll down for My Modern Met’s exclusive interview.

Photographer Alain Schroeder captures the women carrying on the Korean tradition of freediving in his series Grandma Divers. Learn more about it in My Modern Met's exclusive interview, below.

How did you get your start in photography?

When I was 16–17, I was studying fine arts, and I spent a lot of time at the library reading fine art books. When I had seen everything they had about painting, the librarian gave me some photography books. One was the famous French magazine PHOTO, and the first story I liked and remember was by a Japanese photographer, Kishin Shinoyama. It was a very interesting magazine as it mixed all kinds of photography—fashion, documentary, travel, war, and personal work—in one issue. After that, I discovered another famous magazine called ZOOM, and all the classic photographers like Cartier-Bresson, Koudelka… I was hooked and switched immediately from fine arts to photography.

As a student with very little money, I traveled to Afghanistan and caught the travel virus. It was the perfect combination of travel and photography but it wasn’t easy to make a living. Of course, you need a little bit of luck and that came by coincidence in the form of sports photography. I was asked to replace a tennis photographer who was sick. At first, I declined as I did not have the right (telephoto) lenses, but the magazine had its own equipment so I could not refuse. As a long-time tennis player, I knew immediately what to do and I captured the ball in almost all the pictures. The editor was impressed and he hired me. That was the beginning of my professional career and I haven’t stopped working since.

(continued) In 1989, after 10 years of freelancing, I established Reporters, a photo agency, with two other photographers. Within a few years, it grew from 3 to more than 25 people doing all types of photography. Around 2000, business was getting harder due to the internet and the rise of digital cameras. While both were great advancements, competition became tougher and more diverse, not only from other agencies but now almost anyone could sell, or try to sell, pictures. Prices dropped. This revolution affected magazines and newspapers as well and the money suddenly disappeared. Magazines no longer offered assignments or guarantees and we were forced to explore other sources of revenue like corporate communications and video. In 2012, I sold my shares in order to travel the world and shoot personal projects focusing on social issues and human interest stories. I have been a professional photographer for 45 years. Technically, I am retired (67) but still working.

You capture really interesting subjects. How do you find your subject matter?

When I find something interesting, I do a print screen and file it on my computer. Years later, when I’m in a particular country, I have something to check or research that can eventually become a story, like the Grandma Divers series.

What kind of considerations do you take into account when creating a series?

I like to tell stories in a personal, visual way, through the sense of framing, the use of color or black and white… Shooting a series gives a better understanding of a story. In general, I am not a single-shot photographer. I think in series. Editing is key. You can tell one story or another by where you place the accent. Even here in a portrait series, the sequencing is important. I'm most interested in the in-depth reporting of stories relating to people and their environment. Various cultures, modes of living, rituals, and customs fascinate me. I strive to tell a story in 10–15 pictures, capturing the essence of an instant.

The Grandma Divers series is a compelling look at an aging group of women who free dive. What inspired you to capture their portraits?

The first time I saw a diver coming out of the water, I was struck by her black wetsuit against a black background created by the basalt rock of Jeju (in South Korea). I immediately had the vision of the portraits I wanted (black on black, in black and white) and I was lucky to get them.

What was it like capturing the portraits of the women in Grandma Divers? Can you tell us a little more about them?

The overwhelming majority of Haenyeo are over the age of 60. Most of the ladies I shot were in their late 60s, early 70s. They are freediving to 10–20 meters, holding their breath for up to two full minutes! This occupation is highly regulated and organized by local fisheries. Divers adhere to strict rules regarding who can dive, when, where, what they can harvest, and allotted quantities. It is a difficult, risky lifestyle that is rapidly disappearing as young women choose to pursue other careers. Most of the divers told me they did not encourage their children to dive. Most of the women have been diving for 30–40 years or even longer. Their days are long. They can spend up to 7 hours a day in the cold water battling currents. Divers are separated by category and only the older, more experienced, divers can go further out and deeper. Today, they dive according to the tides and the weather and it is much more regulated than in the past.

Although freediving for seafood has existed for many centuries in Jeju, the practice was taken over by women in the 18th century, transforming the region into a semi-matriarchal society. Women were responsible for most of the household income, but numbers have dwindled since the 1970s as other opportunities (cultivating mandarin oranges and developing tourism) offer less arduous working conditions. There are still about 4,000 ladies who make a living by collecting delicacies from the sea. Today, they are celebrated as a national treasure and inscribed on the UNESCO list of Intangible Cultural Heritage, with a dedicated museum in Hado-ri, Gujwa-eup, on Jeju island.

(continued) The first time I went was in March and I saw them coming out of the water in a protected bay with a basalt (volcanic) rock in the distance. I shot with a telephoto lens and the background was totally black. With the wetsuit, that black-on-black was visually interesting. That was the start, but it was not the right season so I decided to go back in September. Then another problem appeared; a tropical storm and nobody was diving for one week. With only a few days left, I decided to buy a piece of black cloth and shoot the divers in front of it wherever I could. On one particular day, it was raining quite hard so the ladies were waiting to dive. I was lucky to be able to take advantage of that moment.

Can you take us through your stylistic choices?

As I said, I had the vision of the portraits I wanted (black, because of the color of their neoprene suit, on black in black and white). I attached the black backdrop with ropes and rocks to the side of one of their diving houses (a small structure made of volcanic rock) because it was very windy. I chose a location that would remain shaded if there was a break in the clouds as I did not want any sun in the pictures. I used a wide-angle lens to go close with a more dramatic effect, and I used low-angle shots to make the women appear stronger in the frame. The grey light was perfect to set the mood for the pictures. When I finally had divers willing to be photographed and permission to hang my backdrop, it rained almost the whole day and I had to shoot holding an umbrella. The good news about the rain is that it gives a nice sheen to the neoprene suit.

(continued) These women wear their experiences on their (wrinkled) faces. Their lifestyle is difficult and dangerous, but it is what they have been doing their whole lives and they are proud of their traditions. The women were difficult to engage even though I had a local fixer who spoke Korean and their dialect. Many of them were indifferent. To keep them standing in front of the backdrop long enough to get the shots, I asked them to demonstrate their daily gestures of preparation and at the same time respond to questions about their lives. The idea was to keep them busy for a few minutes without just standing there. A few ladies simply refused to participate. It is the first time that people did not react enthusiastically to the pictures. I don’t really understand why as I had a young assistant who spoke their dialect and we did not make any cultural mistakes, and at the end of the shooting, we bought some of their seafood and ate it. I think they have too much pressure from locals (there are almost no Western tourists) who want to shoot selfies with them and at a certain point, it is too much. The work they do is really hard and most simply prefer to be left alone.

In the end, I was able to follow my stylistic choices; black on black with a focus on the texture. I wanted the pictures to have the same look and feel while depicting different aspects of their life.

When you photograph groups like Grandma Divers, how do you view your role as a photographer? What are your concerns as you work?

I try to show various cultures and lifestyles; maybe show something you are not aware of.

Unfortunately, I did not really enjoy shooting this series as the women were not very cooperative despite my best efforts to work quickly and disturb their routine as little as possible. But Grandma Divers seems to be a popular series. Probably the right combination of drama, aesthetics, age, and harsh weather. It is the magic of photography.

What's on the horizon for you? Anything exciting you can tell us about?

A few years ago, I shot a story called Saving Orangutans which won two World Press and one POYI. I just came back from Indonesia (Sumatra and Borneo) where I spent 2 months completing that story with pictures illustrating the numerous environmental issues contributing to the destruction of their habitat.

Alain Schroeder: Website | Instagram

My Modern Met granted permission to feature photos by Alain Schroeder.

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READ: Photographer Captures Portraits of ‘Grandma Divers’ Who Free Dive Deep Into the Sea [Interview]

Photographer Travis Patenaude finds his life's purpose in photography. As someone who was once on the brink of something irreparable, he found a sort of salvation by adopting a dog named Leena. The dog was a Spanish Greyhound, more commonly known as a Galgo, that had been abused and was on the edge of death. Patenaude and his wife rescued Leena, and she, in turn, rescued him, too.

The couple learned about Leena’s life in Spain and the horrible circumstances that Galgos face. They are fast and athletic hunting dogs, but when they are no longer useful to their owners, they are disposed of. Patenaude was determined to do his part to help these creatures. He and his wife started an adoption group for them in Chicago. It was also when he learned photography, using YouTube videos as a way to teach himself how to create compelling and empathetic imagery.

“When I was first starting in photography,” Patenaude tells My Modern Met, “I was told, ‘Shoot what you are passionate about, and it will show through in your images.’ My passion is for telling the story of the hunting dogs of Spain.”

Patendaude saw how translating his passion can impact others. “During a trip to Spain to volunteer at a shelter, I took a photo of a very scared black Galgo who was covered in scars and very thin. When I showed people the photo, I saw their reaction to the photo and how they felt the dog's fear, and it evoked empathy for the dog in the image.”

We spoke with Patenaude about the plight of the Galgo and how you can help. Scroll down for My Modern Met’s exclusive interview.

Content warning: Mention of suicidal ideation and descriptions of animal abuse.

Photographer Travis Patenaude finds his life's purpose in photography. He creates soulful portraits of Spanish Greyhounds, more commonly known as Galgo, which are routinely abused and need our help.

How did you get started in photography?

In October 2012, I was dealing with a very dark depression and came very close to hanging myself in my garage. Luckily, I realized what was happening and was able to stop myself. A week later, my wife and I adopted a very scared Spanish Greyhound whose owner was going to hang her in a tree because she was no longer useful to him. The irony was not lost on me.

We spent months working with her to help her learn to trust people again, and because of this, I forgot about my depression. She literally saved my life.

We learned more about Leena's life in Spain and wanted to help, so we started an adoption group for Galgos here in Chicago. We have never been to Spain, did not know anyone in Spain, and could not speak Spanish, but we were determined to help.

After our first transport of four dogs from Spain, we had to promote the dogs for adoption which required taking photos of them. My adoption photos were not very good at that time. We were lucky to have a professional photographer from Hearts Speak come out and take photos of our adoptable dogs. After seeing her images, I knew I had to figure out how to take better photos. I started watching YouTube videos and purchasing several videos. I set a goal to pay it forward and become a member of Hearts Speak and offer photos to dogs looking for their forever homes. One year later, I was able to become a proud member of Hearts Speak.

For those who are unfamiliar, can you tell us more about Galgos? 

After adopting Leena, and seeing how traumatized she was, we needed to know more about her past and the life of the hunting dogs of Spain.

Galgo Españols (Spanish greyhounds) are mainly used for hunting or coursing hares. During the annual hunting season that runs from October to January, many live in deplorable dark sheds when they are not coursing, spending their days confined and neglected. Training techniques are barbaric and include towing Galgo’s from cars, trucks, and motorcycles at 30mph for 15–20 miles.

Known as Galgueros, hunters dispose of Galgos at the end of hunting season in the most horrific ways imaginable… hung from trees, thrown into wells, starved, beaten to death, or abandoned. It is estimated that tens of thousands of Galgos are killed every year.

(continued) A favorite among hunters to dispose of unwanted Galgos is called “piano playing.” The Galgo is tied around the neck and hung in a tree so that the poor dog barely reaches the ground with its hind paws, trying to balance and “dancing” back and forth with the back legs and paws, barely on the ground, to avoid strangulation. Being killed in this way is a slow death and the dog experiences panic, anxiety, despair, and unimaginable pain. The suffocation can take hours and sometimes even days. At the end, when the Galgo can no longer manage to stand on its hind legs, exhausted in the snare, the dog finally suffocates to death.

If merely abandoned, they are purposely hobbled so that they cannot physically return to the hunter. Those that survive abandonment languish in state-run shelters where they inevitably die.

The excessive, uncontrolled breeding and mass abandonment of dogs at the end of hunting season leaves a massive population of starving and sick dogs.

Associations in Spain rescue and rehabilitate as many dogs as possible so that they have a chance at a future and a forever home. The Galgo is a truly precious and noble breed. Although not considered pets by Galgueros, they are wonderful companions, affectionate, and eternally grateful for a second chance.

What do you like about photographing animals?

I love photographing dogs; their emotions are so unfiltered. I love to capture their personality and show people how I see these beautiful dogs through my eyes. I have learned to be able to read dogs’ body language and this has helped me greatly with being able to communicate with the dogs and help them relax and be comfortable in the studio when I photograph them. This has allowed me to capture natural expressions from the dogs.

After taking the photo of the very traumatized black Galgo at the shelter, I discovered the power of photography and telling a story in a single frame. I suffer from severe dyslexia and inattentive ADHD, I have always found it difficult for me to communicate and express myself. When we had to say goodbye to Leena in April 2015 due to cancer, I promised I would be a voice for Leena and the hunting dogs of Spain. I learned photography with the specific goal to raise awareness and share the story of the hunting dogs of Spain through photography.

What is your goal in representing Gaglos on camera?

I want to show people how I see these beautiful, intelligent, athletic, fragile, and loving dogs through my eyes. I came across Tim Flach’s book Endangered and after researching him, I learned about how he evokes emotions in his images by taking animals and separating them, concentrating on them as subjects and as individuals with personalities, and the importance of empathy. Once I started applying this to my images, I was able to show these dogs truly as I see them.

My image Saying Goodbye was created to honor Leena for saving my life and giving me this new voice through photography. I purchased my first DSLR in August 2014, with the goal to tell the story of these dogs through photography and show how I see them through my eyes. Leena gave me this new voice through photography and my goal is to share her story with everyone I can.

What do you hope to achieve by doing so?

My main goal is to raise awareness about the situation of these dogs in Spain and as more people learn about them, hopefully, more pressure can be put on Spain to change the laws and regulations to protect these dogs.

Many people may feel compelled to want to help the Galgos. How can they help?

One of the most important things is to share their story. If they are animal lovers, then most of their friends are animal lovers also. As more people are aware of their plight, more pressure can be put on the Spanish government to change the laws and include the hunting dogs of Spain in the animal welfare laws.

People can volunteer at a shelter in Spain for a day or a week. If you are a veterinarian, you can volunteer at a shelter and perform spay and neutering for their dogs. Dog trainers that are experienced with positive reinforcement and dogs that have endured abuse.

Shelters can also use help with social media, fundraising, foster homes, and adoptable homes. Galgos are very smart and very good at problem-solving. They are also very good jumpers and require a 6-foot fence or commitment to leash walk only. Galgos should not be off leash in open areas as they can reach full speed within two strides and can run at full speed for 10–12 miles. Galgos are usually very good with other dogs as they were raised around many dogs and several live happily with cats and small dogs.

If you travel to Spain from the United States, you may be able to help transport dogs from Spain to adoption groups here in the U.S. Flights would need to be direct flights from Spain to the final destination in the U.S. There are several groups in the U.S that find loving homes for dogs from Spain.

How do you think photography can help others?

I was really drawn to photography and the ability to tell stories through a single image that has no language barrier, which can make them more powerful than the written word. Photography has helped me be more open about my depression. I find a part of me in each of my images of the Galgos. When you open yourself up and allow yourself to be vulnerable and in the moment, it shows in the images. Photography can act as non-verbal communication, which can be very helpful when dealing with issues like depression or anxiety when you feel isolated due to stigma.

What's on the horizon for you? Anything exciting you can tell us about?

I’m planning on additional trips to volunteer at the shelters in Spain to continue to highlight the amazing work the shelters and volunteers do to rescue these dogs. In April I will be doing a presentation at the Animal Image Makers Conference to talk about Photo-Activism—Photography with a Purpose.

Travis Patenaude: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by Travis Patenaude.

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READ: Photographer Uses Soulful Portraiture To Shed Light the Plight of Spanish Greyhounds [Interview]

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For years, former The Simpsons cartoonist Liz Climo has been creating adorable animal comics. Filled with positivity, her cute cast of characters focuses on self-love, perseverance, and finding joy in life’s ups and downs. Coming off the heels of You're Mom and You're Dad, her newly released third picture book for adults takes a look at the care we need to show ourselves.

I'm So Happy You're Here, published by Flatiron Books, gives us the pep talk we need when we might be feeling down. Across nearly 100 pages, Climo's delightful animal comics act as our own personal cheerleaders. Whether it's saying a positive phrase or sharing a reminder that it's ok to feel down, Climo's characters pull through in our time of need.

We had a chance to ask Climo about the impetus behind her new book and how it builds on her previous work. Climo also shares why she feels that it's important to put compassion into her work and how words of affirmation have been important for her personally. Read on for My Modern Met's exclusive interview and pick up your copy of I'm So Happy You're Here, which is available online and in all major bookstores.

How do you feel I'm So Happy You’re Here builds on your previous work?

In my previous work, I feel like I focused a lot on care for others—friends, family, etc. The Rory the Dinosaur series, as well as You’re Mom, You’re Dad, and You’re Loved, is about parenting or taking on a parental role, while my comic compilations are largely about love in friendship. With this book, I wanted to really focus on how we care for ourselves. I think we tend to neglect our own self-worth, and it’s really important that we direct the love we give to others back onto ourselves sometimes.

Why do you feel that it's important, as an artist, to put positive content into the world?

I certainly don’t think everyone needs to be making positive content and don’t agree with forced positivity either (if you’re feeling bad, sometimes you just need to sit in that feeling for a bit). I try to put compassion into my work in a way that makes people feel good, and hopefully do it in a way that isn’t too outwardly sentimental. I think it’s something I’m good at, and I’ve decided to keep doing that as long as it feels natural to me. Life can be so hard, and the goal of my work is to bring people a bit of joy.

Why do you think that your animal characters resonate, even with adults?

Animals are complex in their own way, but really pure in their motivations. Our relationships with our pets, for instance—I don’t hold a grudge against my dog when he poops on the rug, or feel hurt when he doesn’t greet me at the door. The relationship is deep and meaningful but completely uncomplicated. I think these animal characters are able to strip down pretty complex emotions and get to the heart of the issue in a way that’s very relatable.

What do you hope that people take away from the book?

I want people to pick up this book whenever it’s needed. It’s actually even helped me—there have been times since I wrote the book where I’m feeling a bit sad, and then I remember certain parts of the story and I feel a little better! It’s really hard for a lot of us to allow ourselves to feel loved, and to feel joy. I want this book to be a reminder that these are normal feelings, and that we are all worthy of love and happiness.

How are words of affirmation important to you, as an artist?

As an artist, I think words of affirmation allow me to keep doing my work, and to not worry so much about it not being good enough. As an anxious person, I try to practice positive self-talk just to make moving through the world feel a bit less daunting. Instead of “don’t do this” or “why did you do that” I try hard to speak kindly to myself, as if I were talking to somebody I love. This book is here to speak kindly to you when you are struggling to do it for yourself.

How do you feel that your art has grown or changed since your last publication?

I am trying to worry less about mistakes I’ve made and concentrate more on how I can learn and grow. I don’t think I could have written this book before because I don’t think I was in a place where I could speak as kindly to myself. At the time, it was much easier for me to talk about loving friends, or family, or my child, because that just felt so natural to me. But ultimately, your relationship with yourself is really important, and also needs attention. I feel like I’m finally comfortable enough to address that.

Liz Climo: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by Flatiron books.

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READ: Liz Climo Shares the Story Behind Her New Uplifting Book of Adorable Animal Comics [Interview]

Sphingicampa raspa (Raspa silkmoth)

For three years, British photographer Levon Biss worked tirelessly to capture every hair, feature, and fiber of rare insects from the American Museum of Natural History's collection. Known for his ability to bring out their beauty with his macro photography, Biss's meticulous method of photographing the specimens has culminated in the Extinct and Endangered exhibition. This ongoing exhibit at the American Museum of Natural History shows all 40 of Biss's photographs and encourages the public to gain a new appreciation for these insects.

Over 10,000 individual images are used in each photo as Biss spends weeks photographing every part of the specimen. The insects, selected for their conservation status, habitat, and order, weave a tale about the fragile state of the world's insect population. Though vital to humans, insects are often underappreciated and misunderstood. And, unfortunately, this can result in great harm to insects that play a vital role in the ecosystem.

By highlighting their diversity and allowing the public to drink in the rich details of these insects, Biss is hoping to use his artistic skills to enact change.  We had the opportunity to speak with Biss about why insects inspire him, how he went about photographing the specimens, and what the public can do to change the fate of these insects. Read on for My Modern Met's exclusive interview and check out all the images on the Extinct and Endangered website.

Coccinella novemnotata (Nine-spotted ladybug)

I know that you were initially drawn to macro photography after your son found an insect in the backyard and you looked at it under a microscope. Can you share what that moment felt like when you viewed it and how that translates into what you are currently doing?

I remember quite clearly the first time I viewed an insect under a microscope. I had the feeling of entering an entirely new world. I was viewing something for the very first time, and it was intricate, mechanical, and beautiful. I felt as though I had just opened a treasure chest of photographic material, and I just couldn't wait to explore the insect world further. A decade on, I still feel the same way today, which does surprise me. I continue to be inspired by insects for many reasons. They are visually interesting, they are functional, and they are diverse in design. They are many things, but every new insect I photograph teaches me more.

Papilio Achilles chikae chikae (Luzon peacock swallowtail)

Has conservation always been something that fascinated you, or has that evolved along with your macro photography?

I would say the conservation side of my work has certainly evolved and become more prominent since I started photographing insects. When you spend pretty much every waking hour photographing insects, it tends to take over your world; when those insects are being threatened by human influence, it makes sense to steer your work in a direction that brings attention to the issues of insect decline and biodiversity loss. Insects do not receive the attention or protection they deserve, particularly compared to mammals. I have a skill set that allows me to communicate through photography. Therefore it is my duty to help highlight these issues to the general public.

Magicicada septendecim (Pharaoh cicada)

For Extinct and Endangered, the species that you photographed were selected from the American Museum of Natural History's vast collection. How did you go about selecting what to photograph?

The specimens photographed for Extinct and Endangered were selected due to their order, conservation status, and geographical location. The majority of specimens are critically endangered, with a number already extinct—gone from this planet forever. There are, though, some specimens from breeding programs that are trying to restore species populations that are under threat of extinction, the Lord Howe Island stick insect, for example. These programs provide encouragement that threatened species can be brought back from the edge.

Anoplognathus viridiaeneus (King Christmas beetle)

What surprises you the most about these insects when you start photographing them?

The diversity is the most striking thing about insects for me. They adapt so well to their specific environments, and this brings about a whole range of visual interests, which as a photographer, is an ideal scenario. Every insect I photograph shows me something I haven't seen before, whether it's a different type of hair or an unusual design of mouthparts. I photograph at a level of magnification that cannot be seen with the human eye; it is actually way beyond that. Therefore, everything I photograph is new to me, and it makes me curious and eager to learn more.

Bombus dahlbomii (Patagonian bumblebee)

Can you take us through your setup for photographing these insects and how long it takes to arrive at the final product? 

The insects are photographed on a bespoke camera rig using microscope lenses. Each image is created from over 10,000 individual photographs and takes three weeks to create. When you shoot at high magnification, there is very little in the image that is in focus, and therefore we have to take many images, each with a tiny slice of focus, and squash them together to create an image that is fully focused from front to back.

I will also divide the insect into many different sections and shoot them separately, changing the lighting on each section to make it look as beautiful as possible. For example, the lighting on an eye will be completely different from a wing because it is a different shape, reflectiveness, and opacity. The lighting technique used depends on the qualities of the area of the insect body being photographed.

Pseudocharis minima (Lesser wasp moth)

What has been the most rewarding part of putting together this show?

The most rewarding part is seeing the children engaging with the photography and accompanying scientific text. They are curious about the giant insects and are experiencing something for the first time. The exhibition is certainly entertaining, but the photographs are also an educational tool. If the children viewing the work at the museum and online learn a little more about the importance of insects, then I would consider the project a success. They are the next decision-makers in society, and the more we can help them appreciate nature, the better.

Melanoplus spretus (Rocky Mountain locust)

How do you hope that this work can break stereotypes that we may have about insects?

We need to break away from the stereotypical mindset of insects being bad or negative. In reality, there are very few insect species on this planet that can do us any real harm, yet they are treated and portrayed as a danger or threat. They are the complete opposite. Insects do so many positive jobs for us humans, but this goes unnoticed. They pollinate our crops to supply us with food, decompose organic material, recycle nutrients in our soil….the list goes on. Humans need insects far more than insects need humans, and I think we should understand that. We should celebrate them, not portray them as the bad guys.

Osmia calaminthae (Blue calamintha bee)

What can we, as ordinary people, do to ensure that these species will endure and thrive once again?

There is useful information on the introduction page of the Extinct and Endangered website. There are numerous reasons why insect numbers are declining, from habitat loss to climate change, from pesticides to fertilizers. From a public perspective, just simple changes such as growing more wildflowers in your backyard or turning lights off at night can help. It is also important, though, to lobby the people in charge, whether that is your councilor or governor, whatever politician is accessible to you. Encourage them to protect wild spaces, the benefits of which we will all share, no matter what political persuasion we are.

Macrodontia cervicornis (Sabertooth longhorn beetle)

Levon Biss: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Levon Biss.

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READ: Macro Photography Highlights Beauty of Extinct and Endangered Insects [Interview]

Photo: Matt Emmi / Jen Lewin Studio

After a two-year break, Burning Man came back, and with it came the innovative art installations that the festival is known for. This included an interactive LED sculpture made from recycled ocean plastic and glass by artist-engineer Jen Lewin. The Last Ocean is a large sculpture and light platform made from 10,912 pounds of recycled plastic and 9,268 pounds of glass fiber and recycled composites from coastal beach communities in South Africa.

Visitors were invited to interact with Lewin's installation, as 250 interlocking platforms of The Last Ocean illuminated over 70,000 RGB LED lights in millions of colors as people moved across the space. As users were in motion, colors swirled, catalyzing the dynamic experience of the work and representing the organic and powerful nature of the ocean. As the weekend went on, the lights in the platform began to fade, as a prompt for visitors to remember their impact on the ocean.

A bear named Ursa Minor stands at one end of the platform. Its presence is a reminder of the Arctic, which is fitting given that Lewin's installation was inspired by images of Antarctica's Ross Sea. By day, the bear's recycled materials shine bright, and by night they take on the fantastical colors of the platforms.

Luckily, The Last Ocean has a life beyond Burning Man and will be set up in several different locations. We spoke with Lewin about this, as well as the challenges of creating an installation from 100% post-consumer materials. Read on for My Modern Met's exclusive interview.

 

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How did you come up with the idea for the installation?

In 2012, I first conceptualized The Last Ocean sculpture after meeting John Weller and previewing his book The Last Ocean: Antarctica's Ross Sea Project: Saving the Most Pristine Ecosystem on Earth. Weller’s photos included a series of beautiful images collected from Antarctica’s Ross Sea that profoundly touched me.

The vast fractured landscape of ice left me with a sense of epic beauty and awe, but also a deep protective concern for the landscape's future. I was both inspired by the Ross Ice Shelf’s natural beauty, but also terrified by the melting and potential destruction of such an important landscape.

Photo: Matt Emmi / Jen Lewin Studio

The Last Ocean was a long time in the making. What was the most challenging part of bringing your vision to life? 

It took well over 10 years for me to figure out a way to authentically create The Last Ocean in a way that felt socially conscious and authentic to the work. The most challenging part of this ended up being finding manufacturers who would fabricate with large percentages of recycled post-consumer material. Most American and European plastic fabricators do use post-consumer material, but only in very small percentages.

Few fabricators were willing to even talk to my team and me when I insisted that The Last Ocean be created from 100% post-consumer content. After two years of rejection, we finally found Ocean Plastic Technologies in Durban, South Africa, who was willing and open to taking on the project.

Photo: Matt Emmi / Jen Lewin Studio

Can you share a bit about the collaborators who helped you source your materials?

I began working with Ocean Plastic Technologies in 2021, which helped us hand source all ocean and ocean-bound plastic, hand clean and sort it, and then use it to fabricate our panels. In January 2022, Mikael Flores-Amper, lead designer and project manager at Jen Lewin Studio, and I flew to South Africa and helped directly in this process. It took several attempts to figure out the right melt temperatures, correct oven design, and correct mold shape to create our 100% post-consumer surfaces.
The vast majority of plastics used in the work include blue bottle caps (which create blue particulate swirls in the tops), clear water bottles (which make up most of the LED diffusion material), and white containers (such as milk jugs), which form the rest of the structure.

Photo: Matt Emmi / Jen Lewin Studio

How did it feel to see the installation active and working at Burning Man?

Burning Man is an exciting place to premier a work like The Last Ocean for two important reasons. First, the landscape itself is a barren, open and expansive playa, that creates an unusual and epic canvas or backdrop for a work of this scale. I have few opportunities to install work of full scale in an open landscape.

Second, the participants at Burning Man have a high level of open and expected engagement—few guests  “tiptoe” around.  The sculpture is truly “played with,” often in unexpected ways. My team and I have watched as participants dance on the work, picnic on the work, sit and watch the work, do yoga on the work, play tag on the work, do handstands on the work, take naps on the work, kiss loved ones on the work, etc. We are often surprised, excited, and possibly even inspired by how participants at Burning Man engage with their environment.

Photo: Matt Emmi / Jen Lewin Studio

Why do you think it's important for artists to engage in social issues as part of their creative process?

For me, “Art” and “Life” are entirely intertwined. There is no edge condition where my experience as a human on this planet differs from my experience conceptualizing and building art. My life is filled with social engagement; community and society are reliant on our living environment. My artwork follows—it is engaged in our society and community, and it is reliant on our planet and environment.

Photo: Matt Emmi / Jen Lewin Studio

What do you hope that people take away when they experience the installation?

There are many different ways to think about climate change, precious resources (like the Ross Ice Shelf), or planetary problems like existing plastic waste. When it comes to plastic waste, while ultimately, I believe that humans need to put an end to the appalling levels of single- or limited-use plastic production, in the interim, we will also need a solution for the hundreds of thousands of tons of plastic already in the ocean.

I hope that transforming my practice to more closely engage and pay attention to the preciousness of our planet can help set an example for other artists, fabricators, and the like. I am not promising a solution but pushing to activate engagement, awareness, and open communication that I hope can lead to solution finding and a better future.

Photo: Matt Emmi / Jen Lewin Studio

What are the plans for the installation now that Burning Man is over?

The installation will be traveling to downtown Detroit, then to Arizona, and on to the Exploratorium in San Francisco in November.

Jen Lewin: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Jen Lewin Studio.

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Postpartum depression, or PPD, is a type of depression that occurs after childbirth. Although common, it can be debilitating—something that Romanian photographer Felicia Simion experienced firsthand. She felt disconnected from nature and, thus, didn’t feel like herself. Being a creative person, she used her camera to forge those bonds yet again.

Simion’s photographic project titled Rewired is informed by what she experienced when having severe PPD. “I began to seek relief in people and the urban, plunging myself into the realm of the rushed streets, coffee shops, and never-ending amounts of work,” she writes. Whenever she left the city to go to the country, she didn’t feel the peace or joy she once did. So, Simion decided to get away—really get away—by venturing to Iceland.

In Iceland, Rewired came alive. Simion wrapped herself in yarn to physically connect with the landscape. Blue and red thread, for instance, is wrapped around her arms and legs along with large rocks. Yellow string trails on the ground; Simion and the rugged terrain are one.

“Throughout my journey, I experienced 70km/h winds, negative temperatures, and the stares of the tourist crowds who would often stop and take pictures of me,” she recalls. “I stood before craters, waterfalls, and the ocean, and never was I afraid. I felt life pouring through my veins, into my brains, as if someone—or something—was plugging me back to my spirit.”

We spoke with Simion about Rewired, including why she chose Iceland. Scroll down for My Modern Met’s exclusive interview.

Romanian photographer Felicia Simion suffered from severe postpartum depression. To find herself again, she traveled to Iceland for a series titled Rewired. 

How would you describe your work to someone who has never seen it before?

Eclectic. Real and surreal at the same time.

Tell us about your project Rewired. What was the inspiration for it?

Rewired began as a quest to rediscover my own relationship with Nature, after being deprived of it due to a harsh postpartum depression. Deep inside I wanted to create something raw, to put myself in not-so-comfortable situations, to look at myself from a different perspective. I wanted both the calm and the anger of Nature. I wanted to experience being one with Nature, as close as possible. So that's why I decided to literally tie myself to it, in an effort to re-establish a lost connection.

You ventured to Iceland for the series. What about the country spoke to you?

Everything about Iceland spoke to me—the landscape, the remoteness, the harshness of Nature, the Arctic Ocean, everything. I had dreamt about visiting Iceland since I was a teenager and I began experimenting with photography. I think the Icelandic realm is unique and otherworldly. In terms of nature, I think I have an “extraplanetary syndrome.” I get easily intrigued by peculiar places, places one couldn't tell where they belong to. And Iceland is definitely the right land for it.

What is the symbolism of the yarn in your work, particularly as it interacts with your body as well as the landscape?

To put it simply, the yarn—a natural fabric—is what (re)makes my bond with Nature and takes me back to my roots. It is what both encloses and liberates.

How did you feel after completing Rewired? What do you hope that viewers feel from the series?

I honestly felt rewired. I felt that my need for Nature and art had been satisfied. I hope the viewers will immerse themselves into the landscapes of Iceland and resonate with the emotion that I poured while being there; it was not easy facing negative temperatures and the stares of tourist crowds. But still, for a moment, I was alone with the rocks, the icebergs, the moss and the black sand and that made me feel completely alive.

What's on the horizon for you? Anything exciting you're working on?

My next project will be a small documentary series of portraits that will focus on environmental issues inside a Southern Romanian village. I can't tell you more right now, but stay close!

Felicia Simion: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by Felicia Simion. 

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Indian wildlife photographer Hardik Shelat was rewarded with the photograph of a lifetime after waiting nearly eight hours in the scorching heat. Thanks to his perseverance, he was able to witness and photograph an Asiatic lion drinking from a natural watering hole at the Gir National Park in Gujarat, India. The image features the big cat gently lapping up the water with a cut near its eye to remind us of the harsh reality of life in the wild.

Whether he's photographing birds, a rhinoceros, or a lion, Shelat demonstrates great respect for the animals and their environment. In taking care not to disturb them, he's able to capture incredible shots of them going about their everyday lives.

Shelat makes frequent visits to sanctuaries, parks, and forests as a way to improve his wildlife photography while also discovering the biodiversity that surrounds him. He hopes that people will see his passion for wildlife photography as his way to protect endangered and unique species, which he feels are vital to creating an “ideal balance to thrive on Earth.”

Read on for My Modern Met's exclusive interview to learn more about how Shelat captured his dream photo of a lion drinking.

How did your love of wildlife photography begin?

Since 2014, I have been known for my wildlife photography. It started with my love and curiosity about nature. I always enjoy a walk and having a relaxing time in an area surrounded by nature—whether it is a garden, park, riverside, or forest. During my walks, I used to capture nature's beauty but was always drawn toward photographing different candid moments of birds and animals.

Gradually, I nurtured my passion for wildlife photography. I started investing more time as well as effort while visiting various national parks, sanctuaries, and forests, where my enthusiasm was an added advantage.

What type of gear do you use in your photography?

Currently, I am using Canon digital camera 7D Mark II along with Canon 500 mm and Sigma 150 to 600 mm lens.

What sort of research and planning goes into your trips?

Before heading on my excursions, I always consider the season and weather, as India is a vast country with different weather patterns. Sometimes, the sighting of animal depends on climate.

Also, according to the season, one needs to take care of attire. I always prefer to wear camouflage clothing paired with hiking shoes, which not only don't disturb animals but also blend our presence into their natural habitat.

During monsoon season, I must also carry a camera and lens cover for protection.

I make sure to carry essential items for my trips, such as an additional charged camera battery, binoculars, memory cards, compass, torch, cap, gloves, knee and elbow guards, and last but not least, a first aid kit along with basic prescribed medicines.

In regards to your photos of the lion at Gir National Park, what can you share about your experience?

I visited Gir National Park several times and wished to capture my dream moment—an Asiatic lion drinking water from a natural source of water.

I could have photographed one when I visited last time, but the lion was drinking water from a manmade water hole.

We started our day before dawn. We roamed in the national park to ensure the availability of a natural water hole.
The moment we spotted it, we were very happy as, according to the place and marking, the probability of a lion sighting was high.

We settled on the opposite side of water hole and waited for almost eight hours. Finally, the Asiatic lion emerged from the bushes and walked toward the watering hole. We were ready with the camera, but at the same time, we were waiting for the lion's movement while being careful not to make any noise, so that we did not disturb him with any movements from our end.

Finally, the lion started drinking water to quench its thirst in the scorching heat, as it was more than 46 degrees Celsius [115 degrees Fahrenheit].

 How did you feel when he finally emerged to drink?

It took many years and multiple trips to Gir National Park, and finally, my most awaited moment was captured. I was immensely content as my dream came true.

What inspires you about lions as a photographer?

Lions are the only cats that live in a group, which is known as a pride. The entire pride roars together. A lion's roar can be heard up to eight kilometers [five miles] away. They scent mark their territory using their urine to create a border. In order to survive in extreme climate conditions, they migrate from one place to another place.

Similarly, humans also spend their life with family, with whom they share strong bonds of love and affection.

The common traits which inspire me are strength and courage.

How do you ensure your safety in a situation like this?

We always maintain a safe distance from wild animals and avoid wearing bright colors clothes such as red, yellow, and orange.

As a part of precaution, we never ever get down from the jeep. We let the animals roam freely in their own home.

We also do not make unnecessary noises or tease them and let them enjoy their own space as they become aggressive only when they feel insecure regards to their existence.

What is your advice for up-and-coming wildlife photographers looking for opportunities?

Since 2014, I have shot almost more than 10,000 pictures, and after exploring many places, putting forth a lot of effort, and investing ample time, I have a diverse collection of wildlife photography.

According to my experience, patience is the key, along with being positive.

Hardik Shelat: Instagram

My Modern Met granted permission to feature photos by Hardik Shelat.

Interview has been edited for length and clarity.

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Creating art can be akin to solving a puzzle. Once you have an idea of what you want to create, you’ve got to figure out how the elements will come together and make your vision a reality. This is how the artist Hieu Nguyen, aka kelogsloops, approaches his gorgeous watercolor paintings. Blending elements of fantasy with a realistic style of illustration, the storybook imagery is arresting in its emotion and attention to detail. Nguyen’s work begs for a long look—for us to consider the story and admire the technical mastery of the water-based medium.

Nguyen’s paintings feel both intimate and grand. It’s something he’s cultivated on canvas and in his sketchbooks over many years, and it's a characteristic that's grown even more refined the longer he's an artist. Currently, Ngyuen finds inspiration in contemporary creatives such as Shaun Tan and Yoshitaka Amano, but he also looks to past artistic movements such as Romanticism. His interest in a variety of subject matter helps him to be well-rounded as he puts together the pieces of his artistic puzzle to create compelling imagery.

We spoke to Nguyen about his work, including how he generates ideas for his incredible pieces. Scroll to read My Modern Met’s exclusive interview.

Artist Hieu Nguyen, aka kelogsloops, creates incredible storybook illustrations that blend fantasy with arresting attention to detail.

Your work has a beautiful illustrative quality to it. What are some of the inspirations behind your recent paintings?

Thank you very much! My paintings in the recent few years have definitely been inspired by storytelling and narrative art. To name a few specific examples, I’ve been enjoying a lot of Yoshitaka Amano and Shaun Tan. They are two incredible art geniuses in their own rights, but their artworks have a shared commonality in their ability to tell stories and intrigue wonder, even in the most minimal and muted of compositions! The works are stripped back, and yet so hyper-focused on capturing these stories of the subjects within each painting. It’s an aspect I’ve always admired in their works and have been trying to focus and emulate in my own recent works.

I’ve also found a lot of inspiration in artworks from the Romanticism era. Elegantly posed subjects in intimate, graceful, and serene compositions with soft movements. More recently experimenting and exploring with incorporating art-nouveau details and design language has been really fun. I think the direction of my work right now is trying to reduce and minimalize to let the painting breathe and have a story show through.

What is your favorite part of your artistic process?

It varies, but I’d have to say it would be either the start or the end of a painting. The start of a painting is always so exciting because it’s where all my countless ideas come to life and I get to arrange it like a puzzle. I get to figure out compositional elements, color palettes, design elements, what message I want to portray, what story I want to tell, or what feeling I want to capture. It’s the problem-solving that becomes so exciting, rewarding, and fun! For obvious reasons, the completion of a painting is also one of my favorite parts of the process because I get to add those final finishing touches that tie the painting together and take it out of its “ugly stage.” Also, it means I get to peel the tape off the paper, and that’s ALWAYS the most satisfying part!

How do you generate ideas for your pieces?

Ideas for my work come from various sources of inspiration or thoughts throughout my days! It’s always sparked by just a small something, whether it be a color palette, the curvature and shape of an object, the lighting of a sunset, or even a lyric to a song. These ideas kind of sit in my mind until I get to sit at a desk or have a sketchbook opened up in front of me. It’s here that I then plug in (always with music) and begin to scribble and draw. I’ll generally mindlessly scribble until something “clicks,” and it can be as vague or as unrefined as a simple flowing line. From then, that line might become a composition, or a subject, or the flow of movement I want to capture. I’ll refine it further into a sketch or thumbnail, and continue until the idea comes to life. This is generally the workflow, but it’s never the same and it changes with each piece. Sometimes, these ideas and compositions will come completely formed before I even start sketching, yet sometimes the brainstorming can take weeks to bring an idea to life.

What is it like to share your artistic life with such a massive audience [over 1 million fans]?

It’s something I try not to think about too much! On one hand, I’d like to stay authentically true and honest to myself and to my audience in regards to sharing the ups and downs of my journey, as that’s how I’ve always tried to be. To be able to share my successes and failures with so many people with lots of support, encouragement, and love (and also hate of course!) is something that I think is truly a blessing. For example, opening up about my decision to pursue art and leave my studies in physiotherapy, or sharing my first solo exhibition, or even sharing the mental and physical struggles and lows I encountered in recent years. They’ve been very intense moments that I’ve been able to share with my audience. To have people who listen and care, I’m very fortunate.

But on the other hand, I can’t deny that I feel a certain pressure when I sit down and realize how many people follow my work and what I do. To know that there’s young kids, aspiring artists, and professionals who look at what I do with admiration, respect, or even criticism & hate, it’s a lot to shoulder and can sometimes be quite daunting and crippling. I think in a way it matured me a bit quite early on, which I think is a good thing though.

Do you find that your social media audience influences your work? 

To an extent, yes! At the end of the day, I always try to paint and draw what I find interesting, fun, or challenging. However, the content I create and how my audience receives it definitely has an influence to an extent of what other content I continue creating! For example, I recently started creating fan art of anime and games that I enjoy personally. Though very different from my normal work, it was well received and people enjoyed it (I was afraid people wouldn’t like it), so I kept doing more fan art. So to an extent, I try to engage and listen to my audience in terms of what they want to see me create and paint.

What's one of your favorite pieces you've created lately? 

I was commissioned last year to create four paintings for Magic: The Gathering. It was one of the most incredible opportunities for obvious reasons (it’s MAGIC!), so that probably contributes to why it was so special and exciting. But, there’s one painting called Utopia Sprawl that particularly is special to me because I think it’s a HUGE technical leap for my work. I pushed my comfort zones and experimented with and developed new techniques that have paved the way for so many more types of paintings and directions for my future work. I think it’s one of the best and strongest pieces I’ve made to date, and the coolest part is, that the painting now gets to appear as a real card! I’m still pinching myself at the thought and realization of that.

What are you working on next? Anything exciting you can tell us about?

Currently, I’m juggling two projects which I’m extremely excited about, but unfortunately cannot discuss just yet! Hopefully, in the near future, I’ll be able to announce them, but until then my lips are sealed. One exciting thing that I am working on is creating an art book. I’ve always wanted to bring my watercolor sketchbooks to life and offer them as coffee-table-style art books, so I’ve been working on that over the past year to make it a reality!

Hieu Nguyen: Website | Instagram | YouTube | Facebook

My Modern Met granted permission to feature photos by Hieu Nguyen.

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In Lucknow, India, a small family-run workshop is helping preserve a prehistoric artistic tradition. Jalaluddeen Akhtar learned bone carving from his uncle in 1980 and has been producing stunning creations ever since. Now, his son Aqeel works alongside him in one of the very few workshops that are able to keep its doors open. Aqeel, who learned the art of bone carving when he was 14, is using the internet to bring their work to a wider audience in the hopes of helping them continue with the tradition.

Bone carving has a special place in Indian culture. During the Mughal dynasty, royals would commission elaborate bone carvings to adorn their palaces. Of course, those historic carvings were done in ivory, but once that was made illegal, artisans like Akhtar simply pivoted and began using buffalo bones. In fact, that is what Akhtar continues to use today, sourcing his materials from butchers who are happy to get rid of these bones.

Once in his hands, these bones are broken down, cleaned, and carved into stunning works of art. From lamps to pens to knives to earrings and necklaces, there is nothing that can't be made. And whatever bone fragments don't make it into the final carving are sold to businesses that grind them down and place them in fertilizers. In this way, nothing goes to waste.

While government support has helped sustain the craft, the high cost of electricity, scarcity of materials, and the shrinking local market have put the tradition at risk. Currently, the Akhtar family teaches government-subsidized workshops in the community, passing their knowledge along. And, together with a handful of specialist artisans, they continue to create stunning bone carvings.

With a diminishing appetite for their work locally in India, most of their carvings are shipped abroad to international customers. Aqeel hopes to capitalize on this interest by making their catalog available online and posting finished pieces on Reddit, Instagram, and Facebook.

We had the chance to speak with Aqeel about this incredible artform and what he hopes that people take away from their art. Read on for My Modern Met's exclusive interview.

Can you share a bit of history about bone carving and its place in Nawabian culture?

Since humans started to hunt, they utilized the bones of animals to make tools. As shaping bone was much easier than when compared to stone, along with the hardness of bones being higher than wood, it was used to make tools that were intended to last a long time. Eventually, jewelry was also made to be worn by people as a symbolic gesture of power and as a piece of remembrance.

Later, around the 17th century, as people started to refine their skills of carving, bone (such as ivory and Rhino horns) was increasingly used as a medium to display their carving skills. Being prevalent in the Indo-Gangetic region, the Nawabs started to notice the immense skill displayed by the artists of the time. Artworks such as jewelry, intricately carved walking sticks, and jewelry storage chests were commissioned by the local rulers and kings. This significantly catapulted the art of bone carving and to the extent where the poaching of elephants for ivory became commonplace in the region.

Later in the 20th century, many left this field of art after the government rightly banned the trade of ivory in order to bring the poaching of elephants to a complete stop. While some took their skills to wood carving, others took up completely different areas of work to survive. Today, we are one among the few remaining (less than 10 families) descendants of the artists with Nawabi lineage. Although we are on the edge financially, we are committed to continuing and passing on our culture in hope of better days and increased recognition.

Why is it important for you to keep this tradition alive?

While we greatly appreciate the progress and development that the modern world has given us, we believe some aspects are better if preserved. We believe it is both our responsibility and our honor to keep alive the culture that our forefathers began. Although mostly ivory was prevalent in this artform before the government banned it, causing most to move to other works, we were one among the only few to change our medium to buffalo bones instead of abandoning our culture.

The art of bone carving is a practice that precedes almost all the popular art forms. When such is the case, it is an absolute honor for us to keep the artwork alive. It is our opinion that there is an immense opportunity to create works of art that reflect modern culture. Creating works of an ancient art form that represents modern thinking is something few people do today.

How long do the more intricate carvings take?

The most intricate work that we are currently working on is restoring a lamp that was made about 60 years ago. The lamp measures about five feet tall and has carvings whose accuracy measures less than a millimeter all over its body. The base of the lamp was damaged by unknown causes. Restoring that it has already taken years and yet it remains unfinished. Our masterpiece lamps take over 1,000 hours of work by skilled craftsmen who have been in practice for at least 15 years.

Is everything carved by hand, or are lasers also used?

The process of bone carving does involve machines, but they’re limited to only crude ones, such as a sawmill to cut the bones into smaller pieces and a drill press to initiate the Jaali work. These were also incorporated only recently just so the trivial aspects of the work don’t take too much time.

We also use a small buffing machine to smoothen the artwork in the end. A mini handheld Dremel tool is used to make carvings, but that's limited to the crude shaping of the work—the detailing is made by hand using needle files. The Jaali work—the net, star, or flower-shaped latticework—is initiated by drilling holes and then the central part of the carving is entirely done by hand using needle files. No stencils are used anywhere in the process. And no, no lasers are used in the process.

What do you hope that people take away when they look at your work?

Many people, when they look at our artwork, are reserved in their opinion as there is a taboo of using ivory in the past. Our thinking, like others', has transformed, and we understand that harming animals just for the sake of art is heinous. We would greatly appreciate it if people observed our determination to change our views while holding on to our culture through our artwork.

When people look at our work, we desire that they see not only the superficial intricacies of the artwork but also its history, which has managed to transcend through thousands of years. We would like them to recognize through our art how far we’ve come from who we once were.

Learn more about how Jalaluddin Akhtar and his son Akheel are keeping the ancient tradition of bone carving alive.

Art Renatus: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by Art Renatus.

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Photographer Donal Boyd is known for his intimate portraits of wildlife. These unique images are made possible by his custom-crafted steel camera box. By placing it strategically in front of lions, elephants, and other African wildlife, he's able to get innovative images of these animals. In forgoing the typical telephoto lens, Boyd closes the gap between humans and wildlife and brings unparalleled familiarity to his photographs.

Boyd is passionate about his work and through his imagery, he hopes to spark more interest in the current state of wildlife. His desire to have the animals interact with his camera box is born from this interest. As they take notice of the camera, he's able to document their personalities in a manner that simply isn't possible from afar.

In his photographs, we see the curiosity sparked in a leopard's eye and the beautiful wrinkles of an elephant trunk feeling the box's steel surface. At the same time, his images have a bird's eye perspective that gives insight into animal behavior.

Given his passion for these creatures and their conservation, it's no surprise that Boyd loves sharing his work and his creative process. His series In the Field with Donal Boyd on Adorama TV gives incredible insight into his work and, as a bonus, is filled with spectacular imagery from his photo shoots.

We had the chance to speak with Boyd about his work and what drew him to wildlife photography. We also discuss what led him to build the camera box and how it led to his favorite photo. Read on for My Modern Met's exclusive interview.

What drew you toward conservation photography?

As a young boy, I would spend hours in the forest behind my family home. Fixated on small details, I wondered how it all worked together. The moss growing on the tree, the salamander sleeping beneath a log, the stream with crayfish clinging beneath the eddies that slipped its way through the dense overgrowth. Whenever I’d return from hours out in the forest covered in mud, my mom would always ask me, “What did you see today?” At first, I wasn’t sure how to express what I’d seen, so I would draw it, sketching out my explanations. This routine continued until my father lent me a very early age digital camera, which was the start of my continued photographic infatuation. The more intently I looked through the lens, the more I wanted to understand, which led me to science.

Eventually, alongside developing my artistic approach, I pursued an education in science and completed two degrees in chemical engineering with a focus on sustainable energy. Because at the same time I wanted to understand the workings of nature, I knew that it was under threat and I wanted to also figure out a way to help protect it. After some years, I was drawn back into pursuing photography full-time, now with a combined approach of science and art. I began to blend the two disciplines together to form what I like to call “Conservation of Wildlife and Nature through Visual Advocacy.” This is my mission and my methodology.

What inspired you to make the custom camera and how did you go about creating it?

From the start, one of the major driving points for me to create the camera box was to capture unusual and intimate portraits of animals that stood out from the constant stream of wildlife portraits. Because I found, in a way, people maybe are too used to seeing the same sort of portraits. Primarily, wildlife portraits are captured using telephoto lenses, which to the majority, make wildlife appear closer than they actually are. But since the world does in fact have some understanding of optics, at least subconsciously, the optical trick is, in a way, less effective. Generally, viewers can feel the physical distance between them and the subject. They know it must have been captured with “a zoom.” And this is not so desirable for me, considering my goal is to get people to empathize with my subjects, which is for sure catalyzed by minimizing physical distance.

Keeping all this in mind, getting physically close to wildlife of any kind is usually not very safe. But rather than just putting the camera on the ground and hoping for the best, which I've seen before, I wanted to avoid the risks. Since in my view, this poses a potential danger to the animals if they decide to eat the camera, for example. So, in order to overcome the obvious difficulties, I decided to engineer a solution.

First sketched out on a napkin, the camera box was later born in the metal shop of Erindi Private Game Reserve in Namibia. It was the simplest design I could come up with at the time—a metal box to encase the camera for protection and designed as not to include sharp edges or bits that could break off and be dangerous to the wildlife. Working with my team at Erindi, we created the first version of the camera box back in 2018. Like the current model, it was made of steel, has an opening on the back for the camera to go in and an opening on the front for the lens. Designed to also fit a GoPro for video and a radio remote trigger, it's pretty rudimentary, but it works surprisingly well most of the time.

What sort of observations go into the camera placement?

Coinciding with my desire to understand nature, I’ve always been drawn in particular to animal behavior and observing wildlife as individual characters. Sentient beings who each have their own personal story and life history. Slowly, over the years, I started to recognize the small mannerisms and postures that give each of my subjects' individual character. And through capturing the essence of each of these characters, I’ve realized I could more effectively catch the attention of viewers by showcasing the unfamiliar visuals of each species that I portray.

Once I have the attention of a viewer for at least longer than a split second, there’s a chance they might look closer, to understand, and to empathize with the plight of the species that I’m so desperately trying to get people to care about. With the camera box, I’m hoping to capture new and intimate perspectives of my subjects that showcase a side of their character that has rarely been seen before, if at all.

What's the biggest challenge of using this camera and the biggest reward?

The biggest challenge is the inherent unpredictability of wildlife. As much as we think we might somehow understand their intentions or their desires, we don’t. Elephants, lions, leopards, and all other animals that I portray have a mental world of their own that we can only attempt to understand. The biggest reward is when I capture something with the box that surprises me—something that I’ve never seen before, which gives me that minute little glimpse into the world of an animal that I might never fully perceive.

What's your favorite image taken with the camera and why?

My favorite photograph was captured back in 2018 of a herd of elephants as they moved across an open area near a watering hole. It's my favorite because it revealed to me a context of the lives of elephants that I never understood before then. In the photograph, closest to the box is a young elephant, curiously looking into the lens. Trunk pointed forward, moving around the box cautiously. You can see the peaceful observation in his stance, but also hesitation. To the right of the box, looking intently is an older sibling. More joyful, and appearing more confident. In the center is the matriarch, the mother of the herd, looking forward and not at the box. She had seen it earlier, acknowledged it, and paid no more attention to it up to this point, leaving it to the young one to inspect closer with the natural curiosity of a toddler. To the left and right sides, older elephants, already having moved past the box. Guardians of the toddler. Together, they formed the barrier around the young one, since to them the box itself was not familiar, and in their minds, there might be other unfamiliar things yet to be seen close by. So the herd surrounds the youngest for protection.

From the safari vehicle where we sat far away in silent observation, it didn’t appear this way. It only looked as if the herd moved towards the box and the young one was at the feet of the older elephants in the back. But from the camera box on the ground in their path, you could see the formation they created clearly. The youngest and most curious in the center, an adolescent to the right curious just the same, the leader matriarch in the back looking forward, and the guards on the side, moving as a unit. This sort of observation revealed to me the way elephants interact with the world around them—methodical and with their own sort of familial wisdom.

From then on I started to pay much more attention to the formation and behavior of elephants, how they structure their herd when they move, and the way they interact with each other. It’s taught me a lot about their culture, if you can call it that, and has helped me to further express the importance of protecting this incredibly complex and sentient creature.

What do you hope that people take away from looking at these portraits?

I hope that people can sympathize—relate in some way to the plight of these animals. Whether or not I incorporate the full back story of a species with an image or not, I hope people can at least see the life in their eyes and the emotions of a species or individual that are uniquely their own. And I hope they can become more intimate with the fact that just like us humans, these animals also have their own character, personalities, and worlds that they belong to.

What adventure is next for you?

This weekend I’m heading to Hornstrandir Nature Reserve in Iceland to photograph Arctic Foxes. In September I’ll be heading to Brazil to the Pantanal to document conservation projects in the Pantanal at Caiman Ecological Refuge. At the same time that I’ll be creating a new photo series, I’ll also be producing three new episodes for the Adorama series in which I'll cover jaguar conservation and conservation of the hyacinth macaw.

Donal Boyd: Website | Instagram

My Modern Met granted permission to feature photos by Donal Boyd.

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