MILDLY distressed and hopelessly tangled, these birds look like the poster children for some environmental tragedy of our own making. In reality, they are the face of modern ornithology.
, a photographer based in Baltimore, Maryland, is fascinated by the long and intertwined history of birds and art. The two meet in the mist nets researchers use to trap Costa Rica鈥檚 wild birds, which cause a short-lived, slight shock but no injury. The (left) and (right) caught here are moments from being freed. 鈥淚 hope as people learn more about the moderately traumatic process of mist net trapping, they will see the images as beautiful,鈥� says Forsgren.
Earlier generations of birds have paid a higher price in the name of art. Forsgren draws inspiration from the lifelike paintings that feature in 鈥榮 famous 19th-century monograph The Birds of America, which is among the . But their lifelike poses are deceiving: Audubon shot and mounted his birds before painting them.
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A century later, bird art was at the forefront of the new environmental movement. Artist and ornithologist used photographs to paint an early field guide to the birds of North America. Because of people like him, binoculars, not shotguns, became the ornithologist鈥檚 primary tool.
Today, through advances in technology, it is radio transmitters that are cracking the remaining mysteries of bird ecology. That鈥檚 where the mist nets come in, offering an easy and safe way to catch birds so that the transmitters can be fitted. 鈥淢y photographs are about our world progressing, and moving forwards in some direction,鈥� says Forsgren.
