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I didn't expect to learn about this barred owls vs northern spotted owls ecological dilemma from a #photography podcast. It is rather interesting.
Pocket Casts87. Morgan Heim: Wildlife Conservation Photography, Floral Tributes to Roadkill, and the Power of Personal Passion Projects - Beyond The Lens with Richard BernabeThis photography podcast takes you ‘beyond the lens,’ exploring the arts, travel, conservation, entrepreneurship, creative culture, and more through deep-dive interviews with some of the world's most influential and inspiring people. Host Richard Bernabe is a renowned photographer, intrepid world traveller, explorer, author, and champion of wildlife and endangered species. He’s been hailed as one of the "Top 30 Influential Photographers on the Web" by the Huffington Post and Influence Digest's "20 Photographers Changing the World Through Social Media." He has travelled to more than 60 countries, capturing photographs and writing for clients including National Geographic, CNN, The New York Times and the BBC.
![photo of gallery label #2: “Robert Havell Jr. (1793-1878) after John James Audubon (1785-1851) Great Horned Owl (Bubo virginianus) plate 61 of The Birds of America (1827-38), volume 1 Hand-colored etching with aquatint and engraving The New York Historical, Gift of Mrs. [Patricia] Harvey Breit and Mrs. Gratia R. Laiser inmemory of their mother, Gratia Houghton Rinehart, 1954 Audubon intended his watercolors of the birds of North America to be reproduced and distributed in print form. For all but ten of the 435 prints, he partnered with Robert Havell, Jr. of Robert Havell and Sons, who translated Audubon's watercolor models onto copper plates through a complex process of etching, engraving, and the layering of aquatint tones. The plates were printed onto double elephant folio sheets— so named for their unprecedentedly large paper size, which allowed the birds to be reproduced life-sized. These prints were then hand colored by yet-to-be-identified women who worked in assembly-line fashion, each applying a single hue. The resulting Birds of America prints, sold on subscription five at a time, rank among the finest in printmaking history. This is a rare example from a complete, bound, four-volume set.”](https://media.historians.social/media_attachments/files/114/407/744/612/743/760/original/3371eca6ad98647c.png "photo of gallery label #2: “Robert Havell Jr. (1793-1878) after John James Audubon (1785-1851) Great Horned Owl (Bubo virginianus) plate 61 of The Birds of America (1827-38), volume 1 Hand-colored etching with aquatint and engraving The New York Historical, Gift of Mrs. [Patricia] Harvey Breit and Mrs. Gratia R. Laiser inmemory of their mother, Gratia Houghton Rinehart, 1954 Audubon intended his watercolors of the birds of North America to be reproduced and distributed in print form. For all but ten of the 435 prints, he partnered with Robert Havell, Jr. of Robert Havell and Sons, who translated Audubon's watercolor models onto copper plates through a complex process of etching, engraving, and the layering of aquatint tones. The plates were printed onto double elephant folio sheets— so named for their unprecedentedly large paper size, which allowed the birds to be reproduced life-sized. These prints were then hand colored by yet-to-be-identified women who worked in assembly-line fashion, each applying a single hue. The resulting Birds of America prints, sold on subscription five at a time, rank among the finest in printmaking history. This is a rare example from a complete, bound, four-volume set.”")
by mikullashbee 
