#From pollution to preservation: the black water dilemma

[greenthestral]

From Black Water to Clear Water: The Remarkable Journey of Environmental Restoration

Understanding the Problem: The Issue of Black Water

Black water, with its ominous name, evokes images of pollution and contamination that have become a growing concern in many regions across the globe. It refers to water bodies that have become heavily polluted, resulting in a dark, murky appearance that stands in stark contrast to the clarity and vibrancy of healthy water ecosystems. This phenomenon is primarily caused by the accumulation of various pollutants, including industrial waste, agricultural runoff, and sewage.

The consequences of black water extend far beyond its visual impact. The pollution present in black water wreaks havoc on aquatic ecosystems, leading to severe ecological imbalances and devastating consequences. As pollutants infiltrate water bodies, they disrupt the delicate balance of life within the water, depleting oxygen levels and impeding the growth and survival of aquatic organisms. The effects ripple through the entire food chain, resulting in the decline of fish populations, the loss of habitat for aquatic plants and animals, and a significant reduction in overall biodiversity.

Moreover, the dangers associated with black water extend beyond ecological concerns and pose a substantial risk to human health. The polluted water can harbor harmful pathogens and toxic chemicals that can have dire consequences for those who come into contact with it. When people consume or come in contact with black water, they face the risk of contracting waterborne diseases, experiencing skin irritations, and even suffering from long-term health issues due to the exposure to toxic substances.

Industrial activities, including manufacturing and mining, often contribute to the pollution that transforms water bodies into black water. Discharge from factories, improper waste management, and the release of untreated or inadequately treated effluents into waterways significantly contribute to the accumulation of pollutants. Similarly, agricultural practices play a significant role in polluting water bodies, as chemical fertilizers and pesticides from farmlands can be washed away by rainfall, contaminating rivers, lakes, and other water sources. The improper disposal of sewage and the absence of adequate wastewater treatment facilities also contribute to the blackening of water bodies, as untreated or partially treated sewage finds its way into natural water systems.

Addressing the issue of black water and restoring polluted water bodies require a comprehensive and multidimensional approach. Environmental awareness and education are vital components in tackling the problem at its root. By increasing public awareness about the importance of clean water and the consequences of pollution, individuals can be encouraged to adopt more responsible practices and actively contribute to the preservation of water resources.

Governments and regulatory bodies also have a critical role to play in implementing and enforcing effective policies and regulations. Stricter regulations regarding industrial waste management, wastewater treatment, and agricultural practices can help curb the pollution that leads to black water. Additionally, monitoring programs and stringent enforcement of pollution control measures are necessary to ensure compliance and hold accountable those who contribute to water pollution.

The development and implementation of advanced treatment technologies are essential in the restoration of black water bodies. Cutting-edge filtration systems, such as activated carbon filters and membrane bioreactors, can effectively remove contaminants and pollutants, helping to restore water quality. Biological methods, such as constructed wetlands and bioaugmentation, also offer promising avenues for the restoration of polluted water bodies. These natural processes utilize the power of plants and microorganisms to filter and cleanse the water, promoting the recovery of ecosystems.

Furthermore, restoring riparian zones and wetlands plays a pivotal role in rehabilitating black water areas. Riparian zones, the transitional areas between land and water, and wetlands serve as natural filters and buffers, trapping sediment and pollutants before they enter water bodies. Protecting and restoring these valuable ecosystems can significantly contribute to improving water quality, enhancing biodiversity, and establishing sustainable environments.

While the challenges associated with black water restoration are considerable, several success stories provide hope and inspiration. Lake Washington in the United States serves as a notable example. Once heavily polluted and suffering from black water, Lake Washington underwent a remarkable transformation through the implementation of wastewater treatment facilities, stormwater management plans, and habitat restoration projects. Today, it stands as a testament to successful environmental restoration, supporting diverse aquatic life and serving as a valuable recreational resource for the community.

Similarly, the Thames River in the United Kingdom, once infamous for being a "dead river" due to severe pollution, has seen significant improvements. Through collaborative efforts involving government agencies, environmental organizations, and local communities, the river has undergone extensive restoration. Strict regulations, water quality monitoring programs, and pollution control measures have contributed to the recovery of the river's health, turning it into a thriving ecosystem that stands as a symbol of successful environmental restoration.

Black water represents a pressing environmental issue that threatens the health and vitality of water bodies worldwide. Its accumulation of pollutants, including industrial waste, agricultural runoff, and sewage, leads to severe ecological imbalances and poses risks to both aquatic life and human health. However, through a comprehensive approach that includes awareness, education, policy implementation, advanced treatment technologies, and ecosystem restoration, it is possible to restore black water bodies to their former clarity and vibrancy. By working together and embracing our responsibility as stewards of the environment, we can pave the way for a future where black water becomes a thing of the past, replaced by thriving, clear water ecosystems that benefit both nature and society.

The Path to Restoration: Environmental Challenges and Solutions

Addressing the problem of black water requires a multifaceted approach that combines environmental awareness, scientific research, and effective policy implementation. Various strategies can be employed to restore polluted water bodies and transform them into clear, vibrant ecosystems once again.

Identifying the Sources of Pollution: The first step in restoring black water is to identify and address the sources of pollution. This may involve conducting thorough water quality assessments and monitoring programs to determine the specific pollutants present. By understanding the root causes, authorities can develop targeted strategies to reduce or eliminate pollution at its source.

Implementing Effective Waste Management Practices: Proper waste management is crucial in preventing pollution and restoring water quality. Industries must adopt responsible practices, such as treating their effluent before releasing it into water bodies. Similarly, agricultural practices should focus on minimizing runoff by implementing erosion control measures and adopting sustainable farming techniques. Encouraging individuals to dispose of waste properly and promoting recycling initiatives can also contribute to a cleaner environment.

Developing Advanced Treatment Technologies: To combat black water, innovative treatment technologies are essential. Advanced filtration systems, such as activated carbon filters and membrane bioreactors, can help remove contaminants and pollutants effectively. Additionally, the use of biological methods, such as constructed wetlands and bioaugmentation, can aid in restoring the ecological balance of polluted water bodies.

Restoring Riparian Zones and Wetlands: Restoring riparian zones and wetlands plays a crucial role in rehabilitating black water areas. These habitats act as natural filters, removing pollutants and sediments from water. By restoring and protecting these valuable ecosystems, we can enhance water quality, promote biodiversity, and create a sustainable environment.

Success Stories: Transforming Black Water into Clear Water

While the challenges associated with black water restoration are substantial, several success stories offer hope and inspiration. These projects demonstrate that with dedicated efforts and the implementation of effective strategies, it is possible to turn black water into clear, thriving ecosystems.

Lake Washington, United States: Lake Washington, once plagued by pollution and excess nutrients, underwent a remarkable transformation. By implementing wastewater treatment facilities, stormwater management plans, and habitat restoration projects, the water quality improved significantly. Today, Lake Washington is a thriving ecosystem, supporting a diverse range of plant and animal species.

Thames River, United Kingdom: The Thames River in London was once heavily polluted, earning the infamous reputation of being a "dead river." However, concerted efforts by various stakeholders, including government agencies, environmental organizations, and local communities, have led to substantial improvements. Strict regulations, water quality monitoring programs, and pollution control measures have helped restore the river's health. Today, the Thames River is teeming with life, and it serves as a vibrant symbol of successful environmental restoration.

The Call for Action: Everyone's Responsibility

While these success stories offer hope, the battle against black water is far from over. It requires collective action and individual responsibility to ensure the continued restoration and preservation of our water bodies.

Promoting Environmental Education: Educating the public about the importance of clean water and the detrimental effects of pollution is crucial. By raising awareness and promoting environmental education, we can empower individuals to make informed choices and take actions that protect water resources.

Advocating for Stronger Policies: Governments and policymakers play a pivotal role in addressing black water. Stronger regulations and policies are necessary to enforce pollution control measures, encourage sustainable practices, and hold industries accountable for their actions. Individuals can contribute by supporting environmental advocacy groups and actively participating in public consultations and campaigns.

Engaging in Sustainable Practices: Each individual can make a difference by adopting sustainable practices in their daily lives. Conserving water, properly disposing of waste, and reducing the use of harmful chemicals are simple yet effective steps that contribute to water conservation and pollution prevention.

The Journey Continues: A Clear Future for Our Water

As we strive to restore black water and transform it into clear water, we must remain steadfast in our commitment to environmental stewardship. By implementing effective strategies, sharing knowledge, and fostering a sense of responsibility, we can create a future where polluted water bodies are a thing of the past.

Together, we can ensure that the journey from black water to clear water becomes a global success story, benefiting both the environment and future generations. Let us seize this opportunity to safeguard our water resources and preserve the beauty and vitality of our precious ecosystems.

[sailorrrvenus]

In Search of Beauty: Discovering My Place in Art as a Photographer

I’ve been taking pictures since I was 10 or 11 years old. A friend of the family noticed the bored expression on my face at the wedding of an extended family member. He was the photographer and he walked over to me, placed a large camera in my hands with a full roll of film, and asked me to help him out. I didn’t know the first thing about cameras, let alone this one. About as much as I could say for it was that it was “nice.”

After the wedding, he gingerly opened up the back of the camera, carefully pulled out the roll of film, placed it in its container and handed it to me. He told me to give it to my mother and that she would be able to print the pictures out. I remember distinctly the excitement at picking up the envelope from the Smith’s 1-hour photo and flipping through the 24 4×6’s the roll had produced.

Most were blurry, none were well-composed, most were either under or over-exposed — but I couldn’t have been happier. It was a new and fascinating experience for me, and I wanted to feel the rush that came with capturing and reproducing the vision I’d had of the event over and over again.

More than 10 years later, you can find me almost every weekend with a camera in-hand. On a usual trip, I have my camera bag loaded up with lenses, camera frames, and various other pieces of equipment — thousands of dollars worth — on some adventure. It doesn’t matter where I am going — up mountains, across oceans, or through deep canyons — the equipment goes with me. It has become almost a part of me. When I’m out, it becomes as vital as proper clothing, food, and water.

My work has come to focus primarily on landscape photography. I’ll shoot a wedding occasionally, or snap portraits of friends when asked, but I feel at my best when I’m outside, experiencing what the world has to offer through the lens of my camera. About two years ago, I began indulging in a narrower genre known as landscape astrophotography, which sets dramatic landscapes against the similarly dramatic night sky.

This particular brand of photography requires me to visit some of the most remote locales in the world. Places where the sting of artificial light won’t affect your vision or pollute the skies. In these places, the human eye will see more than a couple dozen stars, scattered across the jet-black blanket of space. Stars beyond number speckle that dark canvas — a pointillistic panorama of cosmic proportions.

I could sit staring beneath those skies for hours. Honestly, it can be difficult to convince my often-exhausted self — exhaustion aside — to go to bed. “How many people get to see skies like this?” I wonder. Emerson said it best:

If the stars should appear one night in a thousand years, how would men believe and adore; and preserve for many generations the remembrance of the city of God which had been shown!

At a time when, for most, late-night lighting means dimly-lit apartments and brightly backlit smartphones, we’re so removed from the night sky that, even for someone like myself, it might as well be “one night in a thousand years” that I get to gaze into that breathtaking firmament — thankful to whatever gods may be for the wondrous spectacle—freely available — above my head. Awestruck, I begin to lose myself amongst those stars only to begrudgingly snap back to reality. I’ve got work to do.

I click-click-click away — gathering the photographic data that I need to compose an image. Staying up late is one thing, but often it takes 5-10 minutes per exposure to gather the deep-sky photographic data I need. To make it somewhat more stressful, moonlight has to be absent so as not to drown out the fainter light of surrounding stars. This allows for only a few days each month of good photographing. Add to that the scarcity of the night sky’s most commonly photographed subject, the Milky Way (which only appears 6-8 months out of the year and only during certain times of night), and I’ve got my work cut out for me.

I take that data home and, somewhere between my full-time job, school, social life, and other photographic projects, I spend hours post-processing the material (color corrections, clarity, white balance, exposure adjustments, composite blending, etc.) This is the work few people understand and most never witness firsthand, but in many cases, this is where I have the greatest opportunity to exercise a personal creative flair.

If the editing is done poorly, it doesn’t matter how good the location was or how clear the sky was, I’ll fail to do justice to these places and experiences I so deeply care about. It’s important for me to get it right — not only for me but for those who might look and be moved by the beauty or inspired to get out and explore the wonderful world around them.

From my digital darkroom, I take images and attempt to market them. A well-worded Instagram post with some personal thoughts, a post on Facebook, a link to my website. Logically speaking, the more people that see it, the more likely it is to be successful. If it does really well, I might sell some prints or get featured somewhere online — driving more traffic to my work. Often, however, high hopes lead to disappointment, and I try to remind myself that, ultimately, how I feel about my work is more important even than the lasting legacy of my photographs.

Still, it’s hard to ignore that voice in the back of my head that wants to be known. I already count myself as part of a rich tradition of artists and writers whose aim has always been to inspire by shedding a light on the beauty of the natural world, but I’m not sure yet that they’d count me as one of them.

When I was 17, my AP Art History teacher introduced my class to the “Hudson River School,” a group of artists whose focus was romantic landscape painting. They too were inspired by the likes of Emerson and Thoreau and using paint and canvas, they illustrated the drama of the Catskills and the Adirondacks beneath stirring skies. They wanted to show the wild-ness of wilderness, the mystery, and majesty of unconquerable Mother Earth.

As the movement spread, so did the geographic area it covered. Artists moved beyond the Hudson River and into the American West, painting as they went. Albert Bierstadt was one such artist. Born in Germany but raised in America, Bierstadt sought to bring life to the West through his painting — and he was uniquely qualified to do so. He spent years painting alpine landscapes across Germany, Austria, and Switzerland, and he reflected their drama in his sublime paintings of the Rockies, the Yosemite Valley, and other areas throughout the western territories. His process bore striking similarities to my own.

He visited a location and gathered raw data (in his case, preliminary sketches), he then returned home and exercised his artistic prowess while painting them on larger canvases. He often tweaked the preliminary sketches to match his vision. He drew on what had inspired him, to manifest the grandeur of a place, in addition to simply replicating its physical appearance. Afterward, he marketed heavily, seeking to spread the word about himself, his work, and the beauty that the West proffered.

Bierstadt was especially successful in his prime. So much so that, in 1863, his painting The Rocky Mountains, Lander’s Peak, sold for $25,000 — a record-breaking price.

“The Rocky Mountains, Lander’s Peak”. Albert Bierstadt, 1863.

He experienced widespread success through the 1860s and 70s, inspiring an entire generation of Americans to make their way West in search of the beauty Bierstadt’s paintings inspired them to seek. The land they found was beautiful, but some met only disappointment — failing to see in the landscape itself what Bierstadt had seen and later attempted to portray. He was lambasted by some critics for the inaccuracy of his portrayals — they were too dramatically lit, too idyllic, too beautiful.

That critical reception later in life led to a decline in his popularity. As he grew older, he experienced little success. This misfortune was exacerbated by the untimely loss of his home, studio, and many paintings to a fire. A decade later, he lost his wife. For the last decade of his life, Bierstadt was alone, his work generated little public interest, and he had little to his name. He died in 1902, a broken man.

While his paintings hang in major museums all over the world and he remains an important figure in the history of American art, his contributions as an artist are still sometimes called into question. Sure, his paintings are beautiful, but they’re not real. They’re excessive. Not only that, some argue that Bierstadt built his career upon lies told to the American public. Perhaps, they say, he was successful not because he was an exemplary artist, but because he was a conman. He sold America a vision of the West that didn’t exist.

If those critics are right — if Bierstadt’s paintings don’t offer viewers more than false representation of a seemingly objective visual — why do the Metropolitan Museum of Art in New York and the Museum of Fine Art in Boston (the two largest art museums in the U.S.) still place Bierstadt’s paintings in places of prominence in their American collections? Is it enough for great art to be simply beautiful — as Bierstadt’s most certainly is?

I haven’t been out to photograph for a couple months — plagued by this question. Am I an artist — or simply a salesman out to earn a quick buck or some social acclaim? Does my work have value beyond being simply “nice to look at?”

For years, I’ve felt a particular kinship to Bierstadt. We share German heritage, we have a shared appreciation for nature, and we love a lot of the same places. I’ve visited the mountains he studied in Switzerland, and I recently stumbled upon paintings he’d done of the mountains right behind my childhood home. I’ve felt even more closely drawn to him as I’ve attempted to answer my own artistic dilemma by defining my love for his work.

Alps near Konigsee National Park, Austria

Location: Lone Peak, Wasatch Mountains, UT, Albert Bierstadt (Date and Title Unknown)

Somehow able to sense my artistic crisis, a friend asked me recently how I felt about photographing around the “ugly busy-ness” of over-crowded national parks or congested urban metropoles. Another criticized my astrophotography. “Human eyes”, he said, “cannot see what your camera has captured. That scene does not exist.”

Self-portrait beneath Delicate Arch, Moab, UT

It’s true that the sensor of a digital camera is capable of more (in some respects) than the human eye. Why is it then, that even when a picture whose clarity and color exceeds the potential of human senses, I find myself continually urging others to visit the places I photograph for an even greater experience?

It took me aback when I realized the experiences I had with those two friends reflected the criticisms lobbed at Bierstadt all those years ago. I replied simply to the first that the people to whom she referred usually don’t factor into the mental image I have of a particularly beautiful place. My pictures show people exclusively what I want them to see.

Jonathan Swift once said that “vision is the art of seeing what is invisible to others.” In my situation, perhaps vision is the art of not seeing what may be impossible for others to ignore. I create a new reality from the reality that exists. Our romantic friend Emerson said “love of beauty is taste. The creation of beauty is art.”

Maybe it’s not real. Maybe it’s fiction. But artistic value has always been found in the unique perspective of artists. Just ask Van Gogh or Picasso — who certainly saw things differently. I choose to see Bierstadt in this sense — as an optimist who looked and saw idealized beauty in the wild west. In the meantime, I’ll keep working to solidify my own place in that tradition.

About the author: Matthew Pockrus is a landscape photographer based in Utah and focusing on the American West. The opinions expressed in this article are solely those of the author. You can find more of Pockrus’ work on his website and Instagram.

source https://petapixel.com/2018/10/22/in-search-of-beauty-discovering-my-place-in-art-as-a-photographer/