Once a year or so, I have a biology student who’s a great photographer or illustrator. We talk about scientific photography or scientific illustration as a career path, but I haven’t been able to offer much beyond that. Well, now I can. A colleague just turned me on to this organization, the BioCommunications Association (http://www.bca.org/about/about.html).
From their website:
A typical BCA member is a dedicated, passionate, creative and technical biological/medical photographer, graphic designer, illustrator or videographer employed by hospitals, medical facilities, colleges, universities and research institutions in the life sciences and health care industry.
They offer an education grant: The fund has awarded grants to applicants from several countries for a wide variety of projects such as preparation for certification, attendance at workshops, photographic exhibit support, and the development of new imaging techniques for the microscope. Awards are limited to no more than 33% of available funds for the year and are typically $500 or less. and Any student, trainee, biocommunicator, or institutional program that can demonstrate a need for project funding may apply. So, it’s only $500, but its something.
They also offer a scholarship to support educational opportunities for full-time undergraduate or graduate student pursuing a career in scientific/biomedical visual communications, at an accredited school.
Additionally, they run an annual BioImages competition. Check out their amazing winners gallery here: http://www.bca.org/gallery/bioimages2014salon.html. Be sure to scroll down for the videos!
Last but not least, check out their nicely curated list of links. They include links to academic programs, inspirations and stock images. Maybe I’ll be inspired to branch out from WikiMedia Images.
Methicillin-resistant Staphylococcus aureus. A bacteria that causes infections and is one that is resistant to many antibiotics.
A recent paper by David Hay et al. of Kings College London (http://onlinelibrary.wiley.com/doi/10.1002/sce.21055/abstract) examines the role of scientific illustration as evidence of expertise, and considers pedagogical techniques that can lead undergraduates to produce illustrations indistinguishable from those of PIs.
Tyramide-filled neurons from the cingulate cortex of mouse brain.
An understanding of invisible structures, processes and phenomena requires a level of abstraction that presents a challenge to the typical undergraduate student. The authors show how activities that support the creativity and imaginations of students can lead to expert-level work.Their interventions required the students to use imagination and movement to see themselves as their biological subjects, in this case brain cells undergoing development. The activities appeared to provide students with insight into the research perspective without the need for benchwork. After participation in the activities, student drawings were more likely to represent a variety of types of neurons and to demonstrate the creative approach, imagination, and hypothesis-building typical of PIs. They include elements of neuron identity that are not visible. It is suggested that illustrations by PIs, which to a certain extent represent their original conceptual models, may fuse objective scientific illustration with elements of design.
As an introduction to their argument, the authors present useful reviews of the topics of Science Studies and of Science Visual Culture. They also reference Objectivity (Daston & Galison, 2007), and use the framework presented therein for what they describe as the three types of representation in science: Truth-to-Nature, Mechanical Objectivity, and Trained Judgement. Benjamin Cohen gives a clear summary of this framework in his blog post on the topic: http://scienceblogs.com/worldsfair/2008/01/03/objectivity-truetonature-mecha/
The authors conclude that
“… an ability to label what is otherwise invisible, functions as the code marking-off a boundary between real professionals and novices or the boundary between the members of a specific laboratory culture and outsiders. Our current data reinforce this view suggesting that there is an imaginative constant to experts’ images, depending on their embodiment of relationships toward objects experienced thorough the material realization of experiments (see Radder, 2012). “