noun . es·sence . \ˈe-sən(t)s\
Essence is the attribute or set of attributes that make an entity or substance what it fundamentally is, and which it has by necessity, and which without it loses its identity.
Handmade silver gelatin prints, selective toned. Limited Edition of
- 10 in the size of 50x60cm
- 7 in the size of 64x77cm
- 5 in the size 104x125cm
INTRODUCTION BY RUBÉN MENDOZA
(Rubén G. Mendoza, PhD, CSU Monterey Bay, USA. Anthropologist)
As an anthropologist I have devoted myself to exploring the cultural landscapes of the American Hemisphere on a quest to recover my American Indian heritage. As a photographer I seek the spirit of the elders through the art of the imaginary. In recent years, however, I have been jolted from complacency by the extent to which globalization has wrecked the traditions, peoples, and places of the human condition, and thereby, the collective memory I have so long sought to capture through the eyes of the ancestors. It is from within this juggernaut of globalization that a new phoenix has arisen from the ashes into the light through the art, vision, and humanity of photographer Jan C. Schlegel of Nuremberg, Germany.
In recent years, I have become increasingly drawn to those forms of art and photography that speak to me from beyond the veil that so often shrouds the extraordinary. Some years ago I was drawn to a particularly unique collection of richly detailed and selenium-toned images of the tribal peoples of Africa and Eurasia. Whereas the anthropologist in me was instantaneously captivated by the enigmatic cultural narratives of the peoples depicted, the photographer in me soon recognized the commanding and relentless personal vision of a master photographer of the human experience. At that time, I could not have known that our paths would cross, and I would have the opportunity to know artist, adventurer, and photographer Jan C. Schlegel. In order to more fully comprehend the origins and significance of this extraordinary collection of unforgettable traces, it is first essential that we explore the origins of that quintessential inspiration that drives the man behind the camera.
Jan was born in the Black Forest of southern Germany on 13 September 1965. Jan’s youth was spent on Lake Constance, or Bodensee,where he underwent an apprenticeship in photography that changed the course of his life. First drawn to photography at the age of 12, his initial interests were with the technical side of the photographic process. By age 14, Jan devoted himself to his darkroom, fascinated by the apparition of the photographic image from trays of chemistry, light, and silver alone. In those days, Jan was transfixed on perfecting the technical processes entailed, but it was not then that he discovered the creative soul that today fuels his work. That would be left to winning an Agfa photography competition that led to a transcendent encounter with master photographer Walter Schels. It was there on Lake Constance that Jan’s apprenticeship began by way of a portrait seminar with the formidable creativity of Schels. At age 19, Jan was absolutely inspired by the power and the passion of that portraiture to which he was introduced at so pivotal a moment in the young photographer’s life. Jan acknowledges the significant impact of that time by noting that Schels was very passionate and absolutely driven, and it was made apparent that passion was synonymous with excellence. The young Schlegel was soon filled with an ardent desire and passion to produce truly powerful images that communicated the depth, individuality, and diversity of the human condition.
Immersing himself in portraiture, Jan was drawn to the works of prolific American fashion photographers Irving Penn and Richard Avedon, both celebrated for producing richly nuanced black and white portraits and still lifes through depictions of the fashion world, not to mention the common man and woman, which continue to resonate with and define the world of photography. Such were the inspirations for Schlegel’s own works, which resonate with Penn and Avedon’s artistic depth through the production of powerful black and white portraits of the diverse peoples and cultures that populate the landscapes of the human experience. For Schlegel, Penn’s photography of tribal and ethnic groups, and Avedon’s remarkable ability to transform the ordinary into the extraordinary, aligns with his own pursuits for documenting traditions and peoples beset by the corrosive effects of globalization and colonialism.
When I first met Jan Schlegel at San Francisco International Airport on 18 July 2015, I was immediately struck by the energy and determination in his eyes. En route to a Hippie commune in northern California for the purposes of producing images for a current project titled The Tribes of our Generation, Jan spoke excitedly about the people that he sought to engage and photograph on that trip through northern California. With over 60 countries and innumerable photography excursions under his belt, it was clear from the outset that Jan was among the most adventurous and seasoned travelers and photographers I had ever had the privilege to meet. Like his mentor, he was driven, passionate, and meticulous, but unlike his mentors, he bore the unmistakable hallmarks of a kindred soul, messianic visionary, and this by virtue of having maintained a presence of mind determined to push the envelope of photography in a quest to document the Other. His objective remains to capture the essential spirit and primordial essence of the tribal peoples and cultures whose very lifeways are increasingly threatened by the insidious encroachment of the modern world. Since our initial encounter, I have frequently sought to share Jan’s work with fellow anthropologists, photographers, and environmentalists in an effort to gauge their respective reactions to such extraordinary imagery. All have proven awestruck and mesmerized by a connection with the majestic beauty of the peoples and cultures depicted. And so it was that the opportunity to more fully know this kindred spirit was ultimately realized.
The images represented in this portfolio span but a cross-section of the many nations, cultures, and villages that Jan has envisioned through travel, photography, and communion with the Other. This collection as such selectively represents such diverse traditions as the Turkanaand Rendilletribes and villagers of northern and eastern Kenya, the Mursi, Suri, Ebore, Hamar, and Karaof southern Ethiopia and the Omo River Valley, Pokotand Massaiof Kenya, Beduineof Egypt and the Libyan Desert, Tauregof Algeria, Himbaof Namibia, Hazarof Afghanistan, Nuristanof the Hindu Kush, and Kalashiand Pashtunof Pakistan. In each instance, globalization, political and economic upheaval, religious wars, human trafficking, militarization, HIV, alcoholism, drug addiction, and the consequences of living in the shadow of conflict zones continue to exact a tragic human toll.
In an interview conducted with Jan in Nuremberg, on 8 January 2016, I was afforded a firsthand glimpse into the life of this prodigious and formidable photographic talent. To that end, the anthropologist in me sought to understand how it was that this man from the Black Forest of Germany could connect so thoroughly and spiritually with such diverse peoples as Ethiopian warriors, Taliban fighters, Nigerian warlords, and armed African vigilantes. Ironically, it was Jan’s description of a frightening encounter with an African predator that most decisively bolstered my understanding of his approach to life and the world of photography. During one such expedition into the wilds of Africa, Jan was awakened by a strong smell while lying within his tent, and upon turning his head, found himself peering straight into the eyes of a leopard. Jan stared unflinchingly into the eyes of the leopard, and the leopard stared intently back, only to return to the darkness of the forest.
Unlike his many such encounters, Jan’s approach seeks to represent the beauty, dignity, pride, and hope of a people who both live and cherish ancient traditions and cultures. As such, Jan often spends weeks embedded in remote villages and communities, living, eating, sleeping, and working side by side with his subjects as he comes to know them by virtue of his and their deeds and actions. This communion with his fellow human beings has proven essential to his photography. Bonding with his subjects has always been a fundamental need, and as such, Jan has always been prepared to forego photography so as to commune with those whose portraits constitute his growing portfolio. With the utmost respect for the elders, Jan often defers photographing them until the end of any given shoot, so as to permit them to maintain a respectful distance as others come forward to meet the photographer and his camera. Schlegel is absolutely committed to capturing the spirit of each subject through studied contemplation of individuals, faces, clothing, ornamentation, and the eyes that echo the windows into the soul of a community. In this way, he seeks to honor the integrity, beauty, and dignity of the Other by evoking the indomitable spirit and tribal ethos of these surviving spirits of the forest and desert.
Using a handmade wooden Ebony (SV45 Ti) 4×5 field camera with a tack-sharp Schneider 150mm APO f5.6 Super Symmar XL lens, grey canvas backdrop, and Profotoportable flash system outfitted with a 90cm softbox, Jan and his team capture the essence of a community through portraiture produced in some of the most remote and inhospitable regions imaginable. To that end, Jan awaits that moment of connection, when the eye of the photographer meets the eye of the subject such that the transcendence and intensity of that moment conjures a connection. It is in that moment that Jan communes with his subject, and thereby, accentuates the beauty, dignity, pride, and spirituality of a people through the unforgettable traces of a shared human community. So as to assure that he honors the very people and traditions encountered in the field, and the villages and nations of his travels, Jan seldom carries more than 100 individual 4x5 sheets of Kodak Tmax 400negative film on any given photographic expedition, and in so doing is limited to approaching his subjects knowing that every shot must count. In setting the stage for the photographic moment, Jan often spends days and weeks observing potential subjects in the marketplace and from within their villages. Only then does Jan request permission to photograph those he has come to know. Jan acquaints them with his protocol by way of first shooting Polaroids, or by triggering his cable release sans sheet film, only to load the camera when he and his subject have made that connection discerned through peering intently and introspectively into one another’s eyes. At that moment, Jan captures through minute details, textures, scars, imperfections, and via an abiding intimacy and intensity, the human element he seeks.
Jan refrains from digital manipulation or editing of any kind, and the selective toning process that he has developed is unique to his work. The many safeguards, and those risks undertaken to assure the honesty and integrity of these images of a vanishing way of life, are rewarded by way of the transcendent detail, and richly toned and textured manifestations of light and dark that constitute the work of this master of the medium. In the final analysis, there is no doubt that the collective works of artist, adventurer, and humanist Jan C. Schlegel constitute one of the most significant contributions presently available to document the vanishing traditions and marginalized peoples of a world in the throes of global conflict and cultural erasure.
Handmade silver gelatin prints, selective toned. Limited Edition of
- 10 in the size of 50x60cm
- 7 in the size of 64x77cm
- 5 in the size 104x125cm
INTRODUCTION BY LARS ELTON
(Lars Elton is a critic, freelance journalist and editor. He is the art- and architecture critic for the Oslo-based, daily newspaper Dagsavisen, and he has held the same position in Norway’s biggest newspaper VG for 16 years. Elton also writes about art and other cultural topics in a broad variety of publications.)
HOW IS IT POSSIBLE THAT PHOTOGRAPHY CAN MOVE PEOPLE TO THE ROOT OF THEIR HEART? JAN C. SCHLEGEL MANAGES TO DO THAT. HIS STRAIGHT PHOTOGRAPHY IS NAKED IN MORE THAN ONE MEANING OF THE WORD.
This text could have had many titles. “Tattoos and urban subcultures” is perhaps the most obvious title. “From African tribes to the urban jungle” could have been another. “Finding solidarity in solitude” is yet another option. The many possibilities speak about an artist whose ability to trigger emotions, tell stories and construct narratives are manifold.
The obvious titles are seldom the best. And Jan C. Schlegel’s art is so strong that – in spite of all these options – I ended up with pointing at the most direct and sincere tool of communication we have as humans: Our eyes. A cliché says that the eyes are the mirror of the soul. The power of our eyes is best shown when another person looks you straight in the eye. That is the moment you might feel love. Or fear. Our eyes are powerful in every aspect of the word.
The choice of title points to the most important feature when Jan C. Schlegel’s art is concerned: His ability to use his eyes. He does that in a way that exposes people in a very personal manner. We, the spectators, are allowed to have a glimpse of the private personae, the real human being that hides behind a mask. It is those masks that make these models interesting. They are different because of their public appearance.
But the title is also talking about something else. Jan C. Schlegel encounters humans who are strange to us. They come from another culture or they look different in our eyes. On the street, in everyday life, most people would recognize them as strange. Some would say that they are threatening and avoid confrontation. Many men and women would be afraid to talk to them. We would easily have rejected their gaze and not made eye contact. But in Jan C. Schlegel’s pictures they look us straight in the eye. And thus a strange thing happens: Despite their differences they appear like someone you would like to give a hug and talk with for a long time.
The strange thing is that Jan C. Schlegel’s pictures remove the threat from the unknown. He became famous for his beautiful pictures of men, women and children from indigenous tribes in the deep heartland of Africa – and further on photographs of tribal people from different, distant parts of the world. His photographs picture them with pride and dignity.
With his new series “The Tribes of our Generation”, which is shown for the first time in the Oslo-gallery Willas contemporary, he takes a giant step towards his own culture. But the young women (and a few men) he portrays are as much strangers to most of us as the members of the African tribes. These youngsters are IT-girls and tattoo artists. They are idols of a new generation. They are stars on YouTube, Instagram and other varieties of social media. They are strangers to everyone who is not a part of that specific subculture.
These people are more alive on the internet than in real life. They are used to pose for the camera. They inhabit a make-believe-world where appearance is everything. That is why they fascinate us so much. They are not comfortable with the flaws and imperfections of everyday life. That is why they become so human in Jan C. Schlegel’s photographs. He has a special ability to make them relax in front of the camera. He makes them forget themselves. For a short period of time he makes them leave their appearance behind, standing naked and exposed to the world. They have their image intact, but we as spectators are allowed to enter behind their masks.
When you look at the pictures in Jan C. Schlegel’s new series, the model’s eyes are the last thing you think about. You look at their tattoos and piercings; the artistic hairstyles; the skinny, naked bodies; the details on their skin. You might even have a peek at their breasts and nipples. There is nothing wrong about that. Their nakedness is not sexual. It is only beautiful. And you might discover, gradually, that these people, the ones that many people avoid in the street, look nice and friendly. You experience that they appear fragile and naked, not only in the flesh, but also in the indirect, psychologic meaning of the term. It is all because of their eyes. That is the most important, special quality that turns these pictures into art.
The German artist Jan C. Schlegel (born 1965) made a remarkable debut in 2012. He already had a long career as a photographer. For many years the artistic side of his preferred media was something he did not think about, even less consider as an option for himself. When he made his debut as an artist, at Paris Photo in 2012, he had never heard of Irving Penn (1917–2009). The American photographer is one of the legends of the post-war era, and even if he is most famous as a celebrity- and fashion photographer, he is also a pioneer in the modern history of ethnographic photography.
It is this tradition Jan C. Schlegel has brought to a new level. He does the same as Penn when he places the people he photographs in front of a neutral background. They are in their well known, local community, but the situation caused by the photo-session does something to the subjects in front of the camera. The results were regarded as a sensation. The Lucerne- and München-based gallery Bernheimer Fine Art’s exhibited the pictures at Paris Photo. Suddenly Schlegel was ranked along with Penn and other great photographers. It came as a big surprise to the German photographer. Gradually he has found his way into the art-world.
It was his stunning pictures from Africa, of indigenous men, women and children living in remote villages and isolated tribes, that caused the attention. Jan C. Schlegel’s pictures were the result of a long lasting engagement that started ten years earlier, when he, after a drought disaster in 2002, volunteered to work with aid in southern Ethiopia. He was seduced by the people, and he returned several times in order to experience their warmth, their smiles and joy of life. But every time he returned to Germany and developed his negatives, none of the photos reflected his experiences. The people he had photographed looked poor, weary and sad, and he did not understand why he was not able to catch the one thing that he thought was crucial to his experience – their zest for life.
To cut a long story short – after years of hard work Jan C. Schlegel discovered the key. He found a way to communicate with people from different cultures. He developed a method that is universal and humanistic, which works either he photographs indigenous people or IT-girls. It has nothing to do with language. It is all about trust, about using your eyes and body language to communicate. It is about having enough time and being able to see and respect people as they are.
If you add Jan C. Schlegel’s technical skills, you encounter an artist who has the rare combination of technical and aesthetic personality. He works with traditional black and white film in a large format camera, and nothing is digitally edited. He has developed his own method of toning parts of his black and white prints. His perfectionistic demands add a special quality to the handmade prints, and because of the special toning process each print has its own individuality.
This text could have enveloped a lot of different questions. It would – for instance – have been interesting to write about the psychological aspect of tattoos and the human urge to decorate our bodies and environment. Or I could have dug into the world of IT-girls and tattoos. I have spent time researching these things, and I have looked at several thousand pictures of tattooed people. But all the research turned out to be of less importance when I understood what is really important. It is all about their eyes. After hours of reading and watching I understood that I would never find what I was looking for on the internet. I had already seen it in their eyes. The solution to all my questions was looking at me from Jan C. Schlegel’s photographs. That is what makes him a truly human artist.
Platinum Prints, limited edition of 5 in the size of 56x76cm (Arches Platinum Rag).
A folio of 12 plates (plus cover page) is available as limited edition of 3
The series „of Aliens, Mermaids and Medusas" was inspired by imagination itself.
Today it seems as if its influence on people is losing its power because we begin to forget or stop noticing how imagination can change our lives. It is the way people approach all kinds of problems with creativity.
We live in a time of crisis when everything in the world has been turned upside down by global warming, ocean pollution, the coronavirus pandemic, and wars (just to mention a few). We have to deal with everyday problems, and this is quite difficult in a state of anxiety. In addition, we are attacked by negative news, and in this information noise, the voice of our imagination that helps us to cope mentally is drowned out.
We do not mean an escape from reality to completely lose touch with it, but a deeper dive into your inner world, where the answers to all questions lie. The ability to imagine, to think outside the box, encourages us to change for the better.
How long ago have you been peering into quirky, chaotic at first glance patterns to discern unusual images in them? How long ago have you laid with a friend on the grass, looking up at the sky and saying, "That cloud looks like a jumping tiger!"? Jan C Schlegel's series of photographs will help you revive your imagination. Just take a closer look at the most primitive, yet incredibly complex creatures: jellyfish.
Jellyfish appeared long before the dinosaurs. They inhabited the ocean 500-700 million years ago, at the dawn of life on Earth. They have no blood, bones or brain, but thanks to evolution, these organisms have developed very cunning methods of adaptation, some secrets of which scientists have not yet managed to unravel. Bizarre camouflage is the most understandable means of adaptation. But there are many unsolved mysteries. Why would a sea creature without a brain need eyes? How can some individuals transform from adult jellyfish to polyps without any limitations, thereby repeating the life cycle and providing themselves with actual immortality?
To date, scientists have described nearly 3,200 species of jellyfish, and the number is only growing every year. The in-depth study of jellyfish has made it possible to advance in solving the ecological problem of plastic emissions into the ocean. Geneticists are grappling with the question of immortality and suggest that the very same immortal jellyfish will help them get a little closer to answering this important question.
It was these amazing, little-studied creatures that attracted the attention of Jan C Schlegel, and he has attempted to show them from a different perspective. The project was photographed in Germany, at the artist’s house, and the Two Oceans Aquarium in Cape Town, South Africa.
The jellyfish placed in large aquariums moved chaotically, and their movements were meditative and calming. These are the moments when the magic of the imagination happens. The relaxed mind is attuned to observation. The smooth movements of the jellyfish seemed to show some pictures, and Jan only had to follow them and catch the moment.
Each person has their own unique experience, so we guess you'll see something of your own. You can look at the jellyfish silhouette as a whole or you can gaze at a particular element. You can focus on the pattern of the tentacles or the unusual fibers that make up the jellyfish's pileus. All of Jan's photos are chosen so that with a little effort you can see something really unexpected. Just take a closer look.
Let's consider one example that might help you engage your imagination at Jan C Schlegel's series. The box jellyfish, considered one of the most dangerous creatures on Earth, has another name: the sea wasp. Its venom can kill an adult in a few minutes if the victim is not treated in time. And yet in the photo from the series „of Aliens, Mermaids and Medusas“ she appears in a slightly different guise, more peaceful. The pattern of her head resembles the gaze of an elephant. As soon as you notice this look, your imagination will add the recognizable elephant skin texture and it will be very hard to get rid of this image, it will stay in your memory for a long time.
There is no point in telling what Jan l saw in all these amazing creatures. We'll just ask a few guiding questions to stimulate your imagination. Could you see a single jellyfish as a forest on a lonely planet? Would you have thought of the idea that a close friendship might develop between a jellyfish and a fish? Or maybe some picture reminded you of your childhood fears when you didn't want to get out from under the covers, being afraid of the monster under the bed? Would you find a woman's profile in one of Jan C Schlegel's works? As you look at the dancing tentacles, will you hear a melody dear to your heart?
The Series is dedicated to Ksenia Chapkayeva who also wrote this introduction. Her inspiration, encouragement and support were vital to see the series realized.
The Platinum Print: The Most Noble Print
For people who collect photographs, platinum prints are known for their beauty, gracefulness, archival stability and unique, one-of-a-kind print statement. Made from the salts of platinum, these prints are also called “platinotypes” or “platinum” prints.
Platinum is a noble metal on the Periodic Table and are resistant to oxidation. The platinum salt emulsion is imbedded into the fiber of the paper during the printing process.
As with most historical photographic processes, a platinum print is made by placing the negative and emulsion-coated paper in direct contact. Platinum prints have a different “look ” from silver gelatin or digital prints.
All platinum prints have a matte, not glossy surface, because the sensitizer is absorbed into the paper rather than sitting on the surface. A platinum print also has a more gradual tonal change from black to white. To the eye accustomed to the punch of a silver gelatin print, a platinum print will often feel “softer” or lower in contrast. In reality there are actually more steps between pure black and pure white in platinum prints than in a silver gelatin print. This contributes to the deeper, richer feeling you experience when looking at these prints.
Jan C Schlegel’s platinum prints are made from hand-mixed and hand-coated emulsions. These sensitizers are mixed just prior to use, coated on the paper with a brush. Once dry, a negative is placed in direct contact with the paper, and then exposed to sunlight or ultraviolet light. Exposure to the light source takes an hour or more, depending on the density and contrast of the negative.
The image tone of a platinum print can vary in color. These prints can range from a cool, slightly purple black to split tones of brown and warm black, to a very warm brown. The proportions of the different components in the emulsion, choice of developers and the temperature of the developer control the final color.
The platinum prints of the series are double layered like Irving Penn did it for some of his iconic images. To increase tonality and depth I also added in some of my images as a second component to the sensitizer some Iridium which makes the picture even more noble and creates more richness in the mid tones.
As these emulsions are mixed and coated by hand no two prints are exactly alike and become unique art pieces.
Platinum Prints, Limited Edition of 5 in the size of 56x76cm (Arches Platinum Rag)
Platinum Prints, Limited Edition of 5 in the size of 56x76cm (Arches Platinum Rag)
INTRODUCTION
by Olesya Spashchanskaya, July 2021
Over the centuries, evolutionary survival has created many fears in humans. Some of them date back to antiquity, currently existing only on a subconscious level, having been suckled in alongside mother‘s milk. Others are the result of personal negative experiences, either one‘s own or that of a loved one. Fear as the basis of the self-preservation instinct is an integral part of our existence; it facilitates human survival and the continuation of life. The dynamics of existence create stress in humans and lead to the development of new phobias. The Primordial Fears, however, which can be traced to our earliest ancestors, are directly connected to death, and most often cannot be erased from our collective consciousness.
Such fears are passed down from generation to generation in the form of fables, legends, myths, and folk tales. Herpetophobia (a type of zoophobia, a fear of snakes) is a particularly widespread phenomenon.
Snake cults have been plentiful through the history of mankind. Various nations have idolized them throughout different historical periods. This is only natural: these cold-blooded reptiles are ubiquitous and pose a deadly threat.
As a rule, the snake has always been a symbol of frightening power, wisdom, death, and even revival (through shedding its skin, a sort of rebirth), inspiring fear, reverence, and admiration. It emerged in the mythologized consciousness of primitive society at a time when all creatures that looked “different” were endowed with mystical qualities.
Undoubtedly, these unusual creatures, having a scaled, flexible, and limbless body, inspired the greatest fear in people. They were thought to be chthonian animals, living in the bowels of the earth and guarding the netherworld. In ancient times, they became synonymous with death and were contrasted with the sun. Their covert lifestyle added to their aura of mystery. Over time, the image of the snake became more multiform: it symbolized not only destructive force but also creative power, the spirit of nature and of all that grows. Reptiles became an inseparable attribute of the gods of healing, and symbols of wisdom. In some mythologies, the coiled serpent was believed to be the keeper of the Cosmos, associated with the circle of life and cycling of events, and symbolized the endless chain of births and deaths. In Africa, it is thought to be the sign of immortality; in Greece, the sign of recovery; in India, it is sacred, and some myths ascribe to it the salvation of Buddha. In Christianity, the Serpent is not only responsible for the Fall of Man, but is also a symbol of Christ on the Tree of Life. In many cultures, snakes are a protective amulet. In Europe, they were revered in a solar cult.
Most modern people seem to have a negative attitude toward snakes, though the vast majority have never experienced contact of any kind with these reptiles. They are practically non-existent in some parts of our planet, and in many areas, there are utterly harmless snakes that pose no threat to human lives. However, every second person would certainly add snakes to the list of creatures which, in their opinion, are the most unpleasant.
The power of art can influence people‘s minds and hearts. German photographer Jan Schlegel‘s project titled “Of Fear and Death” prompts us to reconsider our fears by looking at their cause from the artist‘s perspective. The photos show the duality of being: we look at the most dangerous snakes in the world, yet have no fear or disgust. We can see what we would not pay attention to in real life: the smooth bends of the graceful bodies, as if covered with glistening scales made of steel. Snakeskin is very tough and always differs in thickness and structure. In fact, all reptiles have an intricate and unique pattern on their skin, which they use as camouflage to protect themselves and to stalk their prey. These intricacies can be seen in detail in Schlegel‘s hand crafted platinum prints. The snakes portrayed are venomous and pose a life-threatening danger to humans.
However, all we see is the unique beauty created by Nature, the best artist, as we enjoy it to the fullest, forgetting about the fear and anxiety.
The number of people studying snakes is decreasing progressively in the modern world. Experienced serpentologists point out that this is a very dangerous occupation, which cannot be studied to the fullest potential anywhere. Generally, this profession seems to decline from generation to generation.
Snake catchers and handlers never know how their next encounter with these unpredictable creatures will turn out.
The photo captures were not as simple as first imagined: a snake handled by the owner was placed into a specially prepared white box, and a tripod with a camera was placed strictly vertically over it without any protective glass. This risk was justified by Jan‘s wish to avoid distortions and show us a picture that would be as true and clear as possible. It was not easy to find snake owners who would give their consent to such a risky photo shoot of such dangerous creatures. As a result, the photos were made in Thailand, the Netherlands, the Czech Republic and Germany.
In total, photos of 35 snakes were taken, and 16 of them are presented in the series.
To insure accuracy and knowledge all of the snakes were venomous and dangerous. Each snake is an excellent representative of its native habitat: China, Australia, America, Africa, Thailand, Malaysia, and other places.
Of course, fear is a thing that protects people from potential threats. Yet, sometimes, blinded by our own emotions and prejudices, we are unable to notice the beauty around us, and it flies swiftly past us like a cobra‘s strike.
The “Of Fear and Death” series was created to seize the moment and see beauty in the things we are afraid of, and to overcome our anxiety.
Salt Prints, Limited Edition of 5 in the size of 56x76cm (Arches Aquarelle paper)
INTRODUCTION
When we see those little spiders, bugs or other crawlers we often see people respond by screaming, killing them or running away in panic like they are facing a monster or a dragon. Getting close to those little creatures shows their amazing beauty and detail that we normally never see. Some appear to me like they would be out of another world, or almost unreal. Taking the color away by turning them into unique salt prints emphasizes the amazing structures and patterns they have.
SALT PRINTING: THE EARLIEST PHOTOGRAPHIC PROCESS IN HISTORY
Since Aristotle (384-322 BC) there is evidence that men and women have explored the relationship between light and chemicals. Remarkably, it took until 1834 before William Henry Fox Talbot discovered the process of permanent chemically produced images created by light. His salted-paper prints were the first photographic process to create a positive image from a negative. Talbot’s photogenic drawings and his continual discoveries had a profound effect on both photography and the development of printmaking.
William Henry Fox Talbot (1800-1870) came from a privileged background. He was well educated, had a brilliant mind and was curious about the world around him. Fortunately for historians and photographic researchers Talbot documented most of his experiments.
In 1833 Talbot was on holiday in Italy with his new wife and family members. He became frustrated with his inability to sketch on paper. Even with the aid of his drawing instrument, a camera lucida, he could not capture the beauty of Lake Como. Utilizing his knowledge of chemistry he pondered ways of “fixing” an image on paper. By spring 1834 Talbot’s ponderings became reality. He found the ratio between salt and silver nitrate that was essential to create and ‘stabilize’ an image. Talbot’s discovery of the salt print inspired the foundation for many future photographic processes.
In 1839 with the assistance of his colleague, Sir John Herschel, Talbot was able to ‘fix’ this image permanently on paper.
The history of Talbot and his inventions is quite remarkable. His discoveries were the foundation of the photographic processes until today.
THE PROCESS
Salt printing is a hand-coated two-step process. First, the salt solution is applied to the paper and allowed to dry. Next is the sensitizing step when a silver nitrate solution is applied to the paper to form light sensitive silver chloride. Exposure to light changes the silver chloride to the image making metallic silver.
Due to the inherent masking ability of the metallic silver the salt print can create a greater tonal range than any other photographic processes and makes it to one of the the finest and nobel printing process. Even it seems to be one of the simplest photographic processes, it is one of the most difficult to control the outcome. However the intrinsic production problems have made it a 'forgotten' process.
PERMANENCE
The salt prints of Jan C Schlegel are done in the tradition of William Henry Fox Talbot and uses the same chemical compounds. The noble 100% cotton paper, together with carefully handled fixage through Ammonium Thiosulfate and a slightly gold borax toning followed by a two hours wash give the salt print a maximum durability.
Today you can find in museums (like in the Getty Museum in Los Angeles) the original salt prints made by Talbot without any sign of fading or altering.
Platinum Prints, Limited Edition of 5 in the size of 56x76cm (Arches Platinum Rag)
The ocean has always been one of the most mysterious places on earth. In the past many legends and myths have evolved around monsters living in the deep sea. As a child many of us used to fantasize about underwater monsters like giant colossal squids having so much power that they were able to take down ships.
By looking at Jan C. Schlegel his pictures, you can get a small glimpse of the richness and diversity of our oceans. When we think of fish, we usually perceive them as food and think of salmon or tuna.
The photographs reveal much more than what could be imagined and are truly a special tribute to all the different kind of species living underneath the surface. There are sea horses that look like dragons with galaxies on their skin, flounders with their perfect flat form and their ability to turn invisible or even squids that will remind you of aliens from another planet. Using platinum printing as a process allows Jan C. Schlegel to create a deepness in his pictures that makes every small detail and structure visible for the human eye. It gives you the impression of being able to feel the animal just by looking at the pictures. This series celebrates the art of nature.
Every single creature is unique in its appearance, but they have all one thing in common: The ocean as their home.
Just like the animals living in the deep sea, we need the ocean for our existence, helping us to breathe and regulate our climate.
The series “Creatures of the Seven Seas” shouldn’t only show us all the beauty and the fascinating side of the ocean, it also should serve as a reminder to create awareness of what we will loose if we don't take care of our earth.
PLATINUM PRINT: THE MOST NOBLE PRINT
For people who collect photographs, platinum prints are known for their beauty, archival stability and unique, one-of-a-kind print statement. Made from the salts of platinum and palladium, these prints are also called “platinotypes” or “platinum” prints. Platinum is a noble metal on the Periodic Table and are resistant to oxidation. The platinum salt emulsion is imbedded into the fiber of the paper during the printing process.
As with most historical photographic processes, a platinum print is made by placing the negative and emulsion-coated paper in direct contact. Therefore, the size of the photographic print is equal to the size of the negative.
Platinum prints have a different “look” from silver gelatin or digital prints. All platinum prints have a matte, not glossy surface, because the sensitizer is absorbed into the paper rather than sitting on the surface. A platinum print also has a more gradual tonal change from black to white. To the eye accustomed to the punch of a silver gelatin print, a platinum print will often feel “softer” or lower in contrast. In reality there are actually more steps between pure black and pure white in platinum prints than in a silver gelatin print. This contributes to the deeper, richer feeling you experience when looking at these prints.
My platinum prints are made from hand-mixed and hand-coated emulsions. These sensitizers are mixed just prior to use, coated on the paper with a brush. Once dry, a negative is placed in direct contact with the paper, and then exposed to sunlight or ultraviolet light. Exposure to the light source takes an hour or more, depending on the density and contrast of the negative.
The image tone of a platinum print can vary in color. These prints can range from a cool, slightly purple black to split tones of brown and warm black, to a very warm brown. The proportions of the different components in the emulsion, choice of developers and the temperature of the developer control the final color.
Some of my platinum prints are double layered like Irving Penn did it for some of his iconic images. To increase tonality and depth I also added in some of my images as a second component to the sensitizer some Iridium which makes the picture even more noble and creates more richness in the mid tones.
As these emulsions are mixed and coated by hand no two prints are exactly alike and become unique art pieces.
The Series is dedicated to my friend Kim Schwanhäusser, who had inspired me greatly to create this series. Her encouragement and help were vital to see the series realized.
A special thank you to my friend Hans von Staff-Reitzenstein for his generous support and encouragement.
8x10 Polaroid
1 of 1 unique
Polaroid stopped producing instant film 2008.
The pictures taken in that series are all taken with long expired Polaroid 809 and 803 film. The color shifts are due of the expiration of the film and can’t be controlled. You never know what you get until you open the Polaroid after the picture was taken.
These are the very last of this kind of film.
Under construction. Coming soon.
Platinum Prints, Limited Edition of 5 in the size of 56x76cm (Arches Platinum Rag)
Portraits by Jan C. Schlegel are minimalist works with no emptiness; every detail in them is of importance. There are no typical model poses, feigned emotions or complex light schemes. It is the situation when a photographer catches an elusive moment, a living emotion in a glance, or even a special turn of the head.
If Jan has no topic for the series, he simply wants to show a person the way he or she is. The truth in his pictures is vital for him because this is the only way his photographs can become works of art that are capable of deeply touching the viewer. There are no photo manipulations, effects or Photoshop tricks. In his creative process, Jan resorts to the "window and mirror" principle.
Creation of artistic photo portraits always implies co-authorship. A model needs to open, bare their soul to the photographer with all their fears and weaknesses, with all the beauty and strength. This is also a sort of labor because one needs to fully trust a person without any fear of being exposed in front of the camera.
This is why working on portraits is a delicate and intimate process. Portrait photography is both a window and a mirror for Jan. Through a window you can see a person you have photographed: not just the appearance but also what is hidden in his or her soul. On the other hand, photography is a mirror that shows the photographer's vision, feelings, emotions and thoughts.
The window must be wide-open: only when the person being portrayed lays bare their true feelings, the photograph becomes a powerful reflection of the person in the picture. Blank emotions created artificially cannot influence the viewer, they are just kitsch.
One can often see melancholy and sorrow in Jan's photographs. Enigmatic looks with an unspoken question is another frequent feature of his works. You can find absolute tranquility and childish expression or, on the contrary, a completely unexpected seriousness on a young face. All of these are complex emotions associated with vulnerability and they tell their story.
Jan C. Schlegel never betrays the trust of his characters, carefully looking into their inner world through a large format camera lens. A picture taken with such an approach becomes a revelation.
By the way, in the opinion of Paolo Roversi, one of Jan's favorite photographers, such a camera can catch a larger part of the soul than the medium format or 35 mm film.
The artist pays particular attention to details and imperfections. Tiny wrinkles, the texture of the skin or shadows on a face are the inseparable attributes of Jan C. Schlegel's images, which many photographers retouch, considering them as flaws. Jan doesn't think so. Wrinkles are attributes of a living face but not of old age. Marks, scars and irregularities on the skin, in the photographer's opinion, constitute a part of the person being portrayed and are, therefore, valuable from the artistic viewpoint.
The shadows add volume, depth and intensity to the face but do not spoil it. All these details show that a person is not ideal, meaning that he or she is real, because there are no ideal people in the world.
Time leaves its traces on everything, and we should all appreciate this and find it beautiful. All of this taken together, and not the complex light schemes, decorations or processing methods, is Jan C. Schlegel's true secret method. In fact, he uses one source of light, a background and a flash lamp. Models do their best in the studio and Jan works hard in a darkroom as he develops the film and prints the pictures, completing the process of penetrating the inner world of a person that once inspired him.
A Personal Discovery of the Very Basis of Our Life on Earth
When embarking on a new project or series, I immerse myself fully in the journey. For the phytoplankton series, this meant delving into the intricacies of microscopy and, more importantly, comprehending the essence of the subjects I want to portray.
I spend many hours looking through my microscope not only to see something but to comprehend this view's meaning. I wanted to focus on the beauty of this largely unseen world of plant-based plankton rather than allow a by-product of this to turn into a severe science project. Thus, I tried to provide these little but essential organisms with a giant megaphone and draw people's attention to their role in our world.
The project was a personal discovery of the most fundamental basis of life. Discovering and seeing these microscopical beings, reading about them, and studying them altered how I look at the world.
I soon realized just how vital phytoplankton are. They are at the lowest levels of the planet's food chain and are indispensable for our climate, as they release 50% to 80% of the oxygen we breathe. I also became educated on issues that include microplastic pollution of the oceans, the slowing of the Gulf Stream, heating of the oceans, and the formation of clouds. I did not expect this series to develop into such significant work, and for that, I needed to truly understand what I was trying to show.
Motivated by curiosity and determination, I attempted to create my microcosm in a jar of water and salt. After much effort, I cultivated adequate phytoplankton that grew into a populous colony. And out of that one plankton, I generated a plankton bloom of bioluminescent specimens seen from my trip to Thailand. Their glitter made my jar look like an enchanting spectacle. Just a shake, and out came the beautiful, magical blue light.
This project took me more than two years of research, and I traveled to numerous oceans, including the South China Sea, the North Atlantic, the South Pacific, the Mediterranean Sea, the Black Sea, the Caribbean Sea, and many more. Therefore, I aimed to provide a broad outlook on phytoplankton. With my plankton net, I went to more than 20 locations where I hired a boat and towed the plankton net behind me, filling many bottles of water with the leftovers of the net, without knowing what I would discover at home while looking through the ocular of my microscope.
In retrospect, I was privileged to create the series. The beauty, mystery, and wonders revealed by using the microscope helped me transform and gave me a new perspective on this world. Now, I have the privilege of showcasing the 48 prints of the series as well as the personal research and study that has taken place, which informs the work about phytoplankton.
I would like to express my gratitude for all the support, encouragement, and skilled assistance I have received during the past two years as I realized the series.
AT THE BEGINNING
Diatoms are single-celled algae, silicon-containing and photosynthetic, that float in the oceans and freshwaters. These species generate their food through photosynthesis; hence, they are the founders of the food pyramid. Phytoplankton are classified into three major categories, and they are known to be the wealthiest formations on our planet Earth. There are approximately 4-5 octillion, a number written with 27 zeroes, phytoplankton in our oceans and seas, but until 35 years ago, people did not even know they existed.
Let us travel back in time to a period four billion years ago; there was no life on Earth, and there was no oxygen on Earth. Around 2.5 to 3 billion years ago, the early relatives of some of today's phytoplankton emerged and started harnessing the sun's energy and converting water into its constituent elements: oxygen and hydrogen. They used the chemical energy produced to fix carbon dioxide (CO2) to construct sugars, proteins, and amino acids—all organisms on Earth are made of. It also took millions of years of evolution to produce enough oxygen to build up in the atmosphere. For significant types of organisms to develop in the Earth's environment, there was a need for oxygen, and this came around half a billion years ago, leading to the production of significant forms of life and the development of human beings.
These photosynthesizers died. They sank to the deeper parts of the sea and sat there for millions of years to form fossil fuels. Today, these ancient organisms' descendants continue to feed the living things on Earth in one way or another. In other words, your heart pulsates with the help of solar energy, which is transformed by beings such as phytoplankton. The components in our bodies are mainly made of carbon, which is metabolized by these minuscule organisms. These organisms quietly drive the world we inhabit.
Phytoplankton are classified in the plant kingdom, and there are thousands of different species ranging in size and shape. On average, phytoplankton are about as big as a tenth of the human hair diameter and can only be seen with a microscope.
There are three main groups of phytoplankton:
Diatoms: Diatoms have cell walls made of a material similar to glass, primarily silica. These complex structures, labeled as frustules, provide protection and structural support. The organism is ordered at the microscopic level that it is produced artificially with some high-tech program; each diatom is different. Diatoms are the most prominent form of phytoplankton and cite a significant degree of interactive carbon within the photosynthetic process.
Dinoflagellates: Dinoflagellates are also smaller compared to diatoms and are characterized by two flagella for their mode of transportation. It is also observed that most species can produce bioluminescence, hence making water glow.
Cyanobacteria: Phytoplankton comprises many small organisms; the smallest of these organisms are the cyanobacteria, the largest group of organisms on this planet. They play a special role in the nitrogen-fixing process and use light energy to synthesize glucose and oxygen. The oxygen-generated cyanobacteria were discovered only in 1985 and provide 20% of the oxygen required by human beings. Regrettably, these microplastics are lethal to these bacteria.
Thus, I'd like to shed some light on the existence and functions of phytoplankton so that people can also appreciate this form of life.
The Development of the Marine Food Chain
Phytoplankton are mostly found at depths of up to 200 meters in the sea and are the foundation of the whole marine community.
Some animals live among them and eat them, while others flock to the water's surface to feed on them during the night, and others lie in ambush deep in the waters to feed on these when they die and sink. For example, copepods and other marine animals that are part of the zooplankton move from the deeper parts of the water mass to the surface to feed on phytoplankton, after which they are expected to return to the deeper water in the morning. It remains the most significant movement of mass animals on the Earth's surface and transports water more than the moon and tides. The energy transferred through this migration is massive and was only realized recently.
Organisms belonging to this category are crucial in the marine food chain because they are the primary producers. Phytoplankton are consumed by zooplankton, which in turn transform the energy into biomass, which are consumed by small fish and other invertebrates. These, in turn, feed on other smaller fish and marine life, such as sharks, whales, and other large fish. This web of food relationships demonstrates the importance of phytoplankton as the base of the marine food pyramid.
I have at home a water tank for jellyfish, and I also breed zooplankton (Artemia) to feed the jellyfish, which inhabit another aquarium. I also cultivate phytoplankton in another jar to feed my zooplankton.
A decrease in the levels of phytoplankton in the seas would affect the overall health of sea-relying organisms and ecosystems.
Every Other Breath
Though microscopic, these species of plants and algae combine to be lighter than about 0.01% of the total mass of the planet's land plants, like the Amazon rainforest, yet they account for more than half of the oxygen in the Earth's atmosphere. These oceans are where these marine plants are found, which are considered the lungs of the Earth. In technical reports, about 50% to 80% of the world's oxygen is expected to be generated in oceans. This figure may be slightly higher, averaging 90%, based on a GOES study.
Annually, phytoplankton convert and sequester 40 to 50 billion tons of carbon dioxide into their bodies, enriching the oceanic bounty. The carbon released into the atmosphere must be retrieved — or, as it is referred to, the carbon cycle. They lock in carbon or transform it into oxygen and other products through photosynthesis. They are phytoplankton whose abundance profoundly impacts the world’s oceanic circulation.
AN EQUATION THAT IS OUT OF BALANCE
Thus, the persistence of plankton marine life in the world's oceans has reduced by over half since 1950, and the present die-off rate is more than one percent each year. At this rate, marine life is likely to be brought to its knees in the next 25 to 30 years. Actual oxygen levels in the atmosphere are decreasing at a much higher rate than carbon dioxide levels are increasing, which is problematic. That is why the loss of plants — especially marine plants — has contributed to the mentioned imbalance.
Life on Earth provides a delicate equation where the amount of carbon released into the atmosphere is neutralized by the amount of plants absorbed. In the past years, we have neglected the oceans, and more than 80% of marine life will be dead as we approach the ocean's acidification end point of pH 7.95 in just 25 years. Ocean acidification is primarily caused by the absorption of excess carbon dioxide from the atmosphere. The waves of the ocean capture the carbon dioxide, and in response, the water becomes slowly more acidic.
The equation is out of balance and leads to climate change, and we will never be able to equal the equation again. If we destroy marine life, humanity cannot survive without the marine life support system.
The carbon balance of the planet is that 11.1 gigatons of carbon dioxide produced by burning fossil fuels and burning trees enters the atmosphere, but only 5.9 gigatons are absorbed by marine and land plants. By reducing the amount of carbon dioxide that we are producing, we can bring the equation into balance again, but this will not be enough; we need to rebuild the marine life of the ocean.
If net carbon is brought to zero by 2030, we can still have 5 to 10 more years of replenishment of ocean life. But to fight climate change and achieve net zero by 2050, people will inevitably lose the ocean's life support system. The current ocean surface average pH is about 8.1, a release of approximately 0.3 percent from the pre-industrial level, depending on the marine ecosystem.
The amounts of carbon dioxide and other greenhouse gases in the atmosphere increase, and the oceans retain heat. This leads to a rise in temperature within the seas, which results in thawing the ice in the Arctic and Antarctic. These temperature changes influence phytoplankton, the large algae blooms that work as a shield by reflecting sunlight into space are shrinking, leading again to an increase in the temperature of the oceans and our planet.
Shrinking numbers of phytoplankton have an influence on the formation of clouds.
Clouds
Our climate relies on cloud formation, and phytoplankton are very important. These microscopic organisms secrete a chemical known as DMSP or dimethyl sulfoniopropionate, enabling them to live in water bodies with high salinity. DMSP releases when phytoplankton are dying or when it is released fecally, and its subsequent conversion is to a gaseous form known as DMS. This gas bubbles up from the ocean and has a smell, which means it contains phytoplankton.
When in the atmosphere, DMS initiates a chemical process that forms tiny particles called sulfate aerosols. These aerosols act as seeds for cloud formation since water vapor coalesces on them to form clouds. For every qualitative increase in sulfate aerosols, more water droplets are facilitated, and the clouds produce thicker whiteness to reflect more sunlight into space, like an umbrella that reflects heat back to the universe.
The cooling effect plays an immense role in altering the Earth's temperature. Increases in the phytoplankton population through blooms can help to increase cloud formation, which in turn cools the planet. Also, those blooms, which are on the surface level of our oceans, act like a reflector sending sunlight and heat back to the universe.
Also, the evaporation of rain cools the planet while meeting the water needs of terrestrial plants, which, in turn, helps in the conversion of carbon dioxide into oxygen.
Microplastics
Globally, the conventional perception used to be that dilution was an acceptable solution for discharging pollutants into seawater. Nevertheless, it has not been quite beneficial in addressing such an issue as microplastic pollution. Nanoplastics can refer to any plastic fragments up to five millimeters in size, and these fragments can absorb hazardous chemicals from their surroundings.
Most toxic chemicals are lipophilic, meaning they are insoluble in water and have an affinity more or less like oil. Instead, they stick to hydrophobic microplastic particles, which leads to the formation of toxic hotspots. These microplastics become carriers of all sorts of toxins, and marine life, such as fish and zooplankton, consumes the accumulated pollutants. Many microplastics can pass through the cell tissues of phytoplankton directly and cause significant toxic effects that affect phytoplankton growth, reproductive ability, and overall mortality.
Microplastics and bioaccumulated toxins originate from various sources, such as sunscreens and industrial wastewater discharge, not to mention debris that finds its way into the oceans. This is a complex pollution issue because pollution affects the marine environment in many forms, which poses a serious menace to these ecosystems.
This Series Saved My Life
When I began my project, I never thought that I would come across such gorgeous and varied species as phytoplankton. First of all, I did not have any vision. However, now it is as if I am being compared to the grandeur of the mountain top, the top where a magnificent view of the region is achieved.
I never imagined the scale at which phytoplankton contributes to the Earth's life system or how I would be part of a project exploring the core of life and climate throughout the planet. What I never got to know in school is that the ocean is, in fact, the life support system of our planet, while knowing that whales feed on plankton and trees produce oxygen. It is a privilege to have had the chance to enact this project, which has profoundly influenced my life as a living being.
I'm not an activist; I happen to care for our planet, Earth, nature, and the seas. As a result, I now have a much greater need to protect the ocean and the climate. I wish to conclude with a word from the UN conference in Lisbon in 2022:
„This means that pollution emissions, such as those resulting from plastics, chemicals, and toxic particles, are projected to rise by 2 to 4 folds within a span of 25 years unless there is a change in the rate at which this is expected to happen. At least up to 10 years from now, CO2 emissions will continue to rise. Eighty percent of the world has no effluent treatment.
The pumping of pollution and climate change harms marine phytoplankton, and this limits the ability of the ocean to neutralize acidification. The marriage of Mg calcite and aragonite will dissolve or be seriously stressed, and diatoms with pH sensitivity and silica are also threatened. Despite achieving carbon neutrality by 2030, the IPCC reveals that concentrations of CO2 in the atmosphere will surpass 500 ppm and that the pH of oceans will be less than 7.95. The representatives of 1 of each of the two main varieties of marine life species have decreased their populations since 1950. With higher levels of pollution, acidification of waters, and temperature, there will be a change of regime in the seas. All the whales, seals, birds, and fish will die, along with the food that three billion people need.
Thus, it has been established that addressing climate change solely through carbon reduction measures is impossible. Combined with the die-off of one-celled organisms from the surface water in the oceans and anomalously high temperatures, it is quite feasible that we may be headed for unmanageable climate change, even if we are carbon neutral or even carbon negative. We also require the renewal of land greening and marine greening of the oceans.
If this task is not achieved together with carbon mitigation strategies, it will be catastrophic, and an organized extinction of human life over the next 15 to 30 years is guaranteed. – The final declaration of the Lisbon UN conference in 2022.“
However, a ray of hope remains from the worst nightmares found in the global seas themselves. New studies about the ecosystem carried out by the youngest advances of marine biologists show that some phytoplankton can survive in a polluted aquatic environment. Some phytoplankton proved fairly robust and capable of absorbing microplastics and other toxic substances and breaking them down. This discovery is a ray of light while combating the problem of ocean pollution.
In addition, an experimental project called "Ocean Guardians" has been developed to solve the problem of disturbed seascapes using IT tools and indigenous experience. Drones fly around the ocean without any human intervention; they are used to clean the seas, nurse marine life, and monitor their well-being. Citizens of coastal regions can save their coastal waters through sustainable living.
Enduring presence and innovative spirit – nature is opening the gates to a novel epoch that will come to be known as the epoch of responsible conduct towards the environment. The path is long, but it is possible to reverse the damages with reasonable efforts and good strategies being put in place by many individuals. The same oceans that seemed to be condemned to death by pollution are the oceans that bring a definite chance of resurrection, which, in the darkest hours, instills faith in the return of dawn.
