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Carnegie Museum of Natural History

One of the Four Carnegie Museums of Pittsburgh

Blogs from our Scientific Researchers

Carnegie Museum of Natural History is home to active research and vast scientific collections. Our scientific researchers regularly contribute to the blog at the museum.

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“Say Cheese!” – Specimen Imaging in Invertebrate Zoology

“A picture tells 1,000 words.”

Specimen imaging is a method of documenting specimens in the Invertebrate Zoology collection for research as well as collection maintenance. Digitizing the collection allows it to be more accessible to the scientific community. Specimen-based documentation includes capturing the data from the specimen as well as images of the specimen from different angles. Images of labels serve as a primary data capture that may then be used to populate a database of specimen records.

Most of the imaging currently being done is based on requests from the entomology community needing images of specimens known to be deposited at the Carnegie. There are many historical specimens that are not otherwise imaged but are referenced in older publications. These specimens include cataloged species vouchers referred to as types, or specimens referenced in publications that are of interest to researchers studying those species.  

Specimen photography is also essential when discovering new species. When a paper is published describing a new species, images of the designated types are included. The type series includes the series of specimens that were examined and used to describe the new species in detail. These images should be taken with a scale line to show the size of the specimen. Images of prepared dissections are also included.

Imaging techniques include using a copy stand, flash lighting, and focus-stacking through software that produces a final high-quality image with all parts of the specimen in focus. A light box may also be used, as an alternative to flash lighting, to provide even lighting and sharp images.  

A macro ring flash helps with producing even lighting when imaging live insects that are moving or are very small and need to be really close to the lens.  

Photographing live specimens that will lose their color when preserved in alcohol, such as caterpillars, is crucial.  Larval images are a major component of the caterpillar collection and are incredibly valuable documentation of larval growth.  Raising caterpillars is a way to document the life history of different species of moths and butterflies, and their associated caterpillars.  Since the caterpillars will be stored in alcohol, the color will be lost in the preserved specimen, but these characteristics will be recorded through high-quality images.  

Several other types of equipment are used to capture images at higher magnification so that characters may be seen in greater detail.  Taking an image through a compound microscope allows one to capture an image that may be used to draw a detailed illustration. An image taken through a Scanning Electron Microscope offers even greater detail. All-together, the image collection is a major component of the archived data that contributes to the understanding of the specimens in the collection. This includes digital files and images on older slide film that still need to be scanned. The digital image collection continues to grow daily, and serves the broader entomological community that needs access to the reference specimens stored in the Invertebrate Zoology collection at the Carnegie.

Vanessa Verdecia is a collection assistant in the museum’s Invertebrate Zoology Section. Museum employees are encouraged to blog about their unique experiences and knowledge gained from working at the museum.

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What is the Anthropocene and How Does it Relate to Earth Day?

The Anthropocene translates roughly to “human” “times” and it is the proposed current geological period that started when the activities of human beings collectively began to have big impacts on Earth system processes, so much so that it leaves a record in Earth’s geology. While it is hard to untangle when exactly the Anthropocene should start, the leading proposal is around 1950, when human population and technology really started to grow rapidly.

The first Earth Day was organized about 2 decades after the Anthropocene “officially” started. Back then the public was already seeing how much impact humans were having on the planet and they were concerned. In the 1970s, America responded and passed all of our major environmental laws, the Clean Water Act, the Clean Air Act, the Endangered Species Act. Today, 50 years later, we know a lot more about how human activities are changing the planet, including the threat of global climate change. And like those folks celebrating the first Earth Day, we again have the great opportunity to respond and protect what we love.

Stewardship in the Anthropocene

One big question with the Anthropocene is what the heck are we going to do about it? How can we respond? The concept of stewardship is helpful here. Stewardship can be defined in different ways, but generally it refers to the job of ‘caring for the land and species.’   At CMNH a number of our scientists use their research to inform how people can live and care for the land to produce things they want while taking care of nature. We want to find these beneficial land-use and stewardship practices and share them more broadly. If more people can find ways to support the human economy while also protecting the health of ecosystems, the Anthropocene may cease to be a problem.

Examples of Stewardship Research

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Ancient Canyon Live Oak, Santa Cruz Mountains

Curator of Anthropocene Studies, Dr. Nicole Heller conducts field work in California, where she works to adapt conservation frameworks to better include people and their positive stewardship practices in conservation decision-making. She is working with a group of scientists, farmers, foresters, conservationists, and Indigenous tribes to map and monitor all the different stewardship practices on the landscapes and understand how those practices work together to affect ecological and social health.

Curator of Amphibians and Reptiles, Dr. Jennifer Sheridan, conducts field work in Borneo, where she works with a consortium of scientists and a large palm oil producer to assess how spatial arrangement of forest and plantation can maximize biodiversity conservation. Because deforestation for oil palm plantation is the largest driver of deforestation in this biodiversity hotspot, such partnerships are critical to effective conservation.

Curator of Birds, Chase Mendenhall is a leader in establishing methods for monitoring changes in biodiversity and quantifying factors that enhance re-diversification of human-disturbed landscapes. This work has largely been conducted in Costa Rica.

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Matt Webb and Jon Rice installing decorative bird safe window film. 

Since 1961, Powdermill Avian Research Center (PARC) staff have operated one of the North America’s best bird banding programs, recording the timing of bird migration and a broad variety of life history and ecological attributes of migrating birds. PARC uses their data on birds to inform a wide variety of stewardship actions across the landscape to help birds survive. In one project, PARC works jointly with the American Bird Conservancy and select industrial partners to develop window glass that birds can see and avoid collisions.

Nicole Heller is Curator of Anthropocene Studies at the Carnegie Museum of Natural History. Museum employees are encouraged to blog about their unique experiences working at the museum.

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A Century Ago, a Donor Walked into the Carnegie Museum

Figure 1:  Accession #6163, Donated By Major J.P. Young

What could have inspired someone to arrive at the Carnegie Institute, on a cold winter day to donate a small collection of fossils found while serving in World War I, less than a month after returning to the United States?

Albert D. Kollar, Collections Manager for the Section of Invertebrate Paleontology at the Carnegie Museum of Natural History, discovered this mystery while undertaking a multi-year project to take a fresh look at the Baron de Bayet Collection, a collection of 130,000 fossils purchased by Andrew Carnegie in 1903.   While looking at the trilobites, an extinct group of arthropods, Albert noticed a few specimens missing the characteristic “BH” letters and/or labels that typically identify the Bayet collection. After some detective work, Albert uncovered evidence of a previously unknown collection, “a small collection of fossil shells,” from France, that had been donated by a “Major J.P. Young” in 1919. (Figure 1).

Major Young, born in 1873 in Middletown, Ohio, developed a love of collecting early in life, spotting artifacts from indigenous cultures of North America, while working as a surveyor, for the Pennsylvania Railroad. His connection to Pittsburgh was further strengthened by his marriage to Margaret Young Oliver, daughter of George T. Oliver, industrialist and United States Senator from Pennsylvania. After World War I, John and Margaret settled in Ithaca, New York, where John was affiliated with his alma mater, Cornell University, for the remainder of his life.  From 1925-1935, he painstakingly illustrated eight volumes of diatoms, single celled algae with sharp exterior coatings made of silica. Many of these illustrations were published by Dr. Mathew Hohn in 1951. During World War II, John Young volunteered as a “dollar a year man;” so that a Cornell staff member could serve in the war effort. After the war, he returned to his fascination with indigenous artifacts when he reorganized the Seneca and Cayuga collections of the DeWitt Museum in Ithaca, New York. But his longest tenure of service involved the Cornell Paleontological Research Institution (PRI), which he joined in 1934. He served as president from 1941-43 and remained active until his death in 1957. Fellow members of the PRI described him as “scholarly and pleasant” in a memorandum published after his passing.

Which brings us back to those fossils. In 1917, at age 44, John Paul Young joined the United States Army, and was tapped to lead the 5th Trench Mortar Battalion, a unit of 600 soldiers. Sometime between September and November of 1918, while managing his soldiers’ cold, thirst, hunger, and conditions such as “trench foot,” a complication from extreme wetness and cold that could turn a soldier’s foot into a gangrenous mass, Major Young  uncovered the trilobite fossils during the excavation of trenches under his command. The construction of a World War I trench is shown in real time in the first 17 minutes of the movie, 1917.   After this blog’s original release, Albert watched 1917 on the big screen in January 2020 to gain an appreciation of the difficulty in trench construction shoring the walls with wood, tin, and wire while a battle takes place.  To Albert’s amazement the process of digging a 7-foot-deep trench to the top of the parapet out of brown mud and brown colored rock, closely matches the Major’s accession description (Fig. 1) and fossil colors (Fig. 4). The Major noticed fossiliferous rocks at the bottom of a trench along the Western Front in Vitrey-sur-Mance, France (Figure 2). Intrigued to find fossils in a trench, the Major collected and then later donated them to the Carnegie Institute in 1919.

Figure 2: French Locations of Carnegie Trilobites

This fall, Albert travelled to Paris to visit the Muséum national d’Histoire naturelle in Paris seeking to uncover this 100-year-old French trilobite mystery. Albert met with Dr. Sylvain Charbonnier, Collections Manager of Invertebrate Paleontology at the Muséum to discuss this puzzle. Albert’s query is to verify the genus, species, age, and stratigraphic locality of these trilobites. At this point, his preliminary research indicates that the Bayet trilobites are distorted and preserved in a black siltstone rock, that Albert recently coated with a white salt to enhance the fossil detail (Figure 3). In contrast, the three trilobites without labels possibly attributed to Major Young (see Figure 4) are also distorted; but preserved in a brown iron color siltstone. The iron oxide coating gives them a reddish appearance. They too are coated with a whitish salt to enhance detail.

Figure 3: Sample of a Bayet Trilobite from Vitré

Figure 4: Trilobites From Major Young Donation

An established paleontological collecting method, crucial to the identification of specimens, is to know the exact placement of the fossil to the stratigraphic locality (rock layer) which can support a known geologic age verified in the Geologic Time Scale. If someone makes a collection, such as the Baron de Bayet, and a paper label is preserved (Figure 3) then, Albert must confirm through paleontology literature and the geologic map of France, all known stratigraphic localities in the region for evidence of similar trilobites. For example, the Vitré label in Figure 3, establishes the location for this trilobite as Bretagne in the northwest of France. To ascertain the proper locality of the Major’s donation (Figure 4), we assume at this point, that it is from Vitrey-sur-Mance in the northeast of France; but further research is planned to resolve the exact location of the of the trenches that the Major occupied in World War I.

Following the advice of Dr. Charbonnier, Albert will proceed to digitize all 50 plus trilobites and send these images and other documentation to the Paris Muséum for further review. While we await the results, the fact that the fossils are sparking a new vein of research is probably exactly what the Major had hoped for all along.

Joann Wilson is the Interpreter for the Department of Education and Volunteer for the Section of Invertebrate Paleontology at CMNH and Albert Kollar is the Collections Manager for the Section of Invertebrate Paleontology. Museum staff, volunteers, and interns are encouraged to blog about their unique experiences and knowledge gained from working at the museum.

Many thanks to the fabulous Carnegie Library of Pittsburgh staff, with special acknowledgment to Carnegie Museum Library Managers, Xianghua Sun and Marilyn Cocchiola Holt, and Carnegie Reference Librarians Joanne Dunmyre and Leigh Anne Focareta. Special thank you to Peter Corina at the Kroch Library, Division of Rare and Manuscript Collections at Cornell University.    

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Smoking Fossils

Figure 1: CM 5881 Trilobite (Isotelus maximus) with “smoke”                    

Figure 2: Same Trilobite without “smoke”

Ever wonder how scientists make fossils jump off the printed page?  Enter a centuries-old technique known as “smoking fossils.”   While there are many ways to “smoke” a fossil, one of the more commonly used methods was refined by paleontologist-geologist, Dr. Curtis Teichert.   In 1948, he developed a process to heat aluminum chloride powder in a test tube with the result creating a white vapor that could be applied with a pump to a fossil.    Although the Teichert process involves vapor rather than smoke; you will hear it informally referred to as “smoking fossils.”  Today, Dr. Teichert’s method is still practiced behind a set of metal doors in the basement of the Carnegie Museum of Natural History with one modification: a ventilator hood runs at a low hum in order to remove vapors circulating in the air during the “smoking” process.  

A few weeks ago, Albert Kollar, Collections Manager for the Section of Invertebrate Paleontology, “smoked” a few fossils for an upcoming blog post on state fossils.  As Teichert noted in 1948, “…  the application of a white coating to fossils is essential for photographic reproduction in order to eliminate spottiness and to bring about fine structural details otherwise lost on a black background.”   One of the fossils selected by Albert was a 480-million-year-old trilobite (Figures 1 and 2).  Trilobites are an extinct group of marine animals with an exoskeleton.   In Figure 1, all three segments of the body are easy to see.   The cephalon (head), thorax (mid-section), and pygidium (end) are well defined and the calcite crystal eyes stand out.   By contrast, the same fossil without “smoke” (Figure 2) is difficult to study because it appears to merge with the rock.  

It takes years of practice to add the aluminum chloride vapor with precision.   Too much vapor gives the fossil a hazy appearance and it makes it difficult to see the fine details, while too little vapor imparts a splotchy appearance with some details visible and others disappearing into the stone.   Albert selected a “death assemblage,” or group of fossils that died on the sea floor, to illustrate the art of getting the vapor just right (Figure 3).    And how long does the vapor last?    Albert explained that the effect can last up to a week if left in a closed cabinet, but it can also be removed with a damp cloth anytime.    

Figure 3: PA State Fossil (CM 53898) – Trilobite (Phacops rana) with too much, not enough and just enough “smoke”

So, the next time you are enjoying a photo of a fossil on exhibit or in a magazine, look for evidence of “smoke.”   It is just one more way that scientists help to bring ancient creatures to life.    

Joann Wilson is a volunteer with the Section of Invertebrate Paleontology and Albert Kollar is Collections Manager for the Section of Invertebrate Paleontology at Carnegie Museum of Natural History. Museum staff, volunteers, and interns are encouraged to blog about their unique experiences and knowledge gained from working at the museum.

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Behind the Scenes…a Life in the Details

Perhaps on a past visit to the museum you have noticed the large, heavy wooden doors and wondered what lay beyond. You might have seen staff members using these doors to access the mysterious spaces beyond and wondered what they do.  Maybe when you think of the museum, you think in terms of its ‘collections,’ which are vast—specimens, artifacts, dinosaur bones, gems, and more. Indeed, many of the museum staff do manage the collections, tirelessly cataloguing, preparing, and preserving our Natural History.

This past January, we had the opportunity to celebrate the work of Marilyn Niedermeier who was employed at the museum for almost 43 years! In a quiet corner of the third floor, behind a door labeled “Section of Birds,” Marilyn spent her career caring for a collection of data.

Since 2007, Marilyn was the person in charge of data gathered at the Bird Banding Lab at Powdermill Nature Reserve, the Carnegie Museum’s scientific research station in the Laurel Highlands, about an hour (58 miles) southeast of Oakland.

Started in 1961, the Powdermill Avian Research Center bands about 10,000 birds per year and processes another 3-4,000 recaptured birds (already banded). Marilyn’s job was to organize, proof, catalogue and submit those data to the National Banding Lab. How did she do all that from 58 miles away, and what does that collection of data look like?

In the early days, long before the invention of desktop computers, Powdermill data were handwritten on paper data sheets which were hand-delivered to the museum up until 2010! Although they rarely met face-to-face, Bob Leberman (founder of the banding program) and Marilyn frequently exchanged hand-written letters to resolve discrepancies in the data.  Reports to the banding lab were prepared on a typewriter and snail-mailed to Maryland.

Over the years, as the database grew bird by bird, Marilyn witnessed many changes in the way the data was handled, from the antiquated computer punch cards (so advanced for the time) to the evolving world of desktop computing. As the binders filled up with datasheets, Marilyn navigated through several iterations of software needed to maintain the growing database and soon hand-written letters were replaced by email and eventually the data sheets were replaced by a direct-entry program at the Powdermill banding lab. Even with direct-entry of data, it doesn’t end there. The data must still be checked for accuracy and consistency and then submitted to the national lab.

For the over two decades, Marilyn worked tirelessly, with a ready smile, under a sign above her desk that read “No one notices what I do until I don’t do it!” Through her efforts and that of the scientists at Powdermill who faithfully collect the data each banding day, the dataset of the Powdermill Avian Research Center is one of the largest and most accurate in the country. Marilyn, we wanted to say, “We noticed,” and we couldn’t have done it without you!

Mary Shidel is a Field Assistant at Carnegie Museum of Natural History’s Powdermill Nature Reserve. Museum employees are encouraged to blog about their unique experiences and knowledge gained from working at the museum.

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A Quarantine Art and Science Collaboration

Local environmental artist Ann Rosenthal creates two prints inspired by the research of Mason Heberling, Assistant Curator of Botany at Carnegie Museum of Natural History during this quarantine art and science collaboration.

Ann Rosenthal is an environmental artist and educator who examines the intersections of nature and culture through timely issues, including climate change, biodiversity, and biophilia. In 2019, she co-curated “Crafting Conversations: A Call and Response to Our Changing Climate” for Creatives for Climate through Contemporary Craft’s BNY Mellon Satellite Gallery in Pittsburgh. She is currently one of four editors for a field guide on ecoart practices on behalf of an international network of ecoartists.

“I am interested in the relationships within and between the human and natural worlds. In this unprecedented time, we can see systems and relationships more clearly; for example, how just a few weeks of staying at home has cleared our air and water,” says Ann Rosenthal. “I am fascinated by the research CMNH botanist Mason Heberling is conducting in forests around Pittsburgh, including at Beechwood Farms. He and collaborators from the University of Pittsburgh and Boston University are studying how climate change is driving the early leaf-out of the tree canopy and how that, in turn, impacts what grows and lives in the understory. 

“My monoprint is inspired by those relationships: the red maple and red oak spring leaves suggest the tree canopy under which a hooded warbler perches on a spicebush branch. All of these species can be seen at Beechwood. The trees depicted are part of Heberling’s current and past research, and Thoreau studied their leaf-out in the 1850s. Researchers can thus compare Thoreau’s findings with their own. I hope my print will prompt readers to pause and consider the invisible threads that bind us to one another and to nature.” As Thoreau counseled, “Shall I not have intelligence with the earth? Am I not partly leaves and vegetable mould myself?”

See more of Ann’s work at locusartstudio.org.

Ann Rosenthal is an environmental artist. Asia Ward is an Anthropocene Science Communication Fellow at the Carnegie Museum of Natural History. Museum employees are encouraged to blog about their unique experiences working at the museum.