![]() ![]() ![]() Jack will also publish a stunning book once he has completed The Lifeboat Station Project. If the venue is large enough to accommodate an all-weather lifeboat too, then all the better! Never one to think small, Jack dreams of exhibiting the project in a high profile venue with Neena (his mobile darkroom) as a centrepiece so that visitors can see where all the photographs were made. His audio recordings will accompany the photographs, taking the audience on a sonic coastal journey too. Jack’s ultimate vision is to show the photographs in geographic order around a huge gallery space as the audience stands in the middle of the venue and looks around, the sensation of looking out to sea from coastline of the UK and Ireland will be extraordinary. However, the true glory of such an endeavour will be realised in bringing around 1000 photographs together as an exhibition and book. Patrick ‘Patch’ Harvey, Penlee RNLI Coxswain, September 2015, 12×10 inch Clear Glass AmbrotypeĮach glass plate - known as an Ambrotype - is a beautiful standalone artwork. The Lifeboat Station Project remained Jack’s full-time occupation throughout and he was finally able to return to lifeboat stations in March 2022 once receiving the go-ahead from the RNLI.Īlthough it has certainly been a huge relief to resume his coastal journey, these remain very challenging times and Jack is asking for more people to join The LSP Society so that he can continue to weather the storms and see this historic odyssey through to completion. The Lifeboat Station Project is Jack Lowe’s epic odyssey to photograph all 238 RNLI lifeboat stations on glass, relying on the support of his online community to keep it on the road.Īfter 150 stations and over 5 years working on the coast, Jack’s station visits came to an abrupt pause when the Prime Minister announced the first social distancing restrictions on 16 th March 2020. ![]() ![]() The organisation has been entirely funded by voluntary contributions for nearly 200 years. The Royal National Lifeboat Institution (RNLI) is the incredible charity of brave volunteers who save lives at sea in the UK and Ireland. All rights reserved.“ I never embarked in any one thing to which I have so entirely devoted myself, and to which I have devoted so much time, thought, and labour, and on the success of which I have staked so much reputation, and to which I have so largely committed myself and those who were disposed to place faith in me.” - Isambard Kingdom Brunel Pinus sylvestris clear-cutting ectomycorrhizal fungi high-throughput sequencing retention trees seed trees. These results suggest that retention of intact forest patches is a more efficient way to conserve EMF diversity than retaining dispersed single trees. From our observations, we conclude that EMF communities, at least common species, post-harvest are more influenced by environmental filtering, resulting from environmental changes induced by harvest, than by the continuity of trees. With increasing stand age, EMF communities became increasingly similar to those in old natural stands and permanently retained trees maintained EMF locally. We found that retention of seed trees failed to mitigate the impact of harvesting on EMF community composition and diversity. We also investigated local EMF communities around retained old trees. We sequenced fungal internal transcribed spacer 2 (ITS2) amplicons to assess EMF communities in 10- to 60-year-old Scots pine stands regenerated either using seed trees or through replanting of clear-cuts with old natural stands as reference. Retention of trees during harvesting enables EMF survival, and we therefore expected EMF communities to be more similar to those in old natural stands after forest regeneration using seed trees compared to full clear-cutting and replanting. Fennoscandian forestry has in the past decades changed from natural regeneration of forests towards replantation of clear-cuts, which negatively impacts ectomycorrhizal fungal (EMF) diversity. ![]()
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