The Master Chef of Kids’ Hands-on Science
You can’t play tennis unless you know where the ball will be after it bounces. You can’t pass a basketball unless you understand how to angle a bounce so that it goes where you want it to go. As long as the court surface is smooth and flat, a ball’s bounce is very predictable. Its path depends on gravity and on the strength and direction of the force that sets the ball in motion. Thanks to high speed photography we can get a closer look at a bouncing ball.
This is a multiple exposure photograph of a bouncing ball. It was taken in complete darkness with the camera shutter open while a high-speed flashing light, called a stroboscope or strobe, flashed 30 times a second. Each flash produced an image.
Here’s what you can learn from this photo: The ball is moving fastest where the images are farthest apart and slowest where they are closest together. When the ball is falling, it speeds up. After it bounces and moves opposite the pull of gravity, it slows down at exactly the same rate as it sped up when it was falling until it stops for an instant and starts falling again. Each time it collides with the ground, some energy is lost. That’s why each bounce loses altitude. If the bounce were perfect, no energy would be lost, every bounce would be as high as the last and the ball would bounce forever.
A strobe also captures the split second when a tennis ball is struck by a racket. The collision flattens the ball, and stretches the strings and distorts the frame of the racket, all in .005 seconds. If these objects kept their distorted shapes, most of the force of the collision would be absorbed. But they are elastic—they restore themselves to their original shapes after they collide. This restoring force is transferred to the ball to change its direction and help add to the speed of the athlete’s swing. The fastest serve leaves a racket at 130 miles an hour. In a rally, a ball-racket collision changes direction of the ball so it is not as fast as a serve, maybe 70 miles per hour. Since the distance between images made by a strobe tells how fast an object is moving, strobes are part of the instruments used to measure the speed of balls from a tennis racket and a baseball pitcher.
In this MIT YouTube, a ball is dropped in front of a meter stick and lit by a strobe light. A long exposure photograph captures the position of the ball at each evenly spaced flash of light. The acceleration of the ball can then be measured from the photo.
Would you believe that you could throw an egg across the room without breaking it? Burn a candle underwater? Vicki Cobb's We Dare You! is a gigantic collection of irresistible, easy-to-perform science experiments, tricks, bets, and games kids can do at home with everyday household objects. Thanks to the principles of gravity, mechanics, fluids, logic, geometry, energy, and perception, kids will find countless hours of fun with the selections included in this book. If you would like to make a We Dare You Video, click here.
Vicki Cobb is a member of iNK's Authors on Call and is available for classroom programs through Field Trip Zoom, a terrific technology that requires only a computer, wifi, and a webcam. Click here to find out more.
MLA 8 Citation
Cobb, Vicki. "A Bouncing Ball Like You've Never Seen." Nonfiction Minute, iNK
Think Tank, 5 Feb. 2018, www.nonfictionminute.org/the-nonfiction-minute/
How many of you have ever taken a selfie with friends and posted it on Instagram? Millions of people carry their cell phones with them all the time just in case they get a call or email. But we also use the camera on our iphones to record our day-to-day lives, sometimes exaggerating for affect.
Did you know that the first selfie was taken in 1839 by Robert Cornelius, an American pioneer in photography? He had to uncover the lens, run to be in the photo and then go back to replace the lens cap. There is a copy of his selfie etched onto his gravestone.
In 1913 the Grand Duchess Anastasia of Russia was only thirteen when she took a picture of herself in the mirror with a Kodak Brownie camera and sent it to a friend.
In the 1970s instant cameras made it easier for amateur photographers to take photos with instant results. And digital cameras thirty years later made it even easier.
When did the word selfie become a common word in the English language? I first heard it from my granddaughter, now thirteen-year-old Clara, who asked me to take a selfie with her on her smart phone. That was only about three years ago but by then “selfies,” especially by teenage girls, had flooded the internet. By 2017, social media, such as Facebook, Instagram and Snapchat, all of which encouraged the practice, reported over 800 million monthly users of their selfie promotion app. Features of this selfie phenomenon include apps that allow users to alter their appearance, sometimes in both hilarious and unflattering ways.
In 2013 the Oxford English Dictionary anointed the selfie word of the year, making it officially worthy of a spot in our vocabulary. Here is their definition.
“A photograph that one has taken of oneself, typically one taken with a smartphone or webcam and shared via social media.”
Cindy Sherman, an artist who uses photographs as her medium, just as others might use paints and brushes, has made a career of using herself as the model, the photographer, the director and the costumer of her artwork. As a child she loved dressing up, disguising herself with make-up and clothes she collected at Goodwill or secondhand shops. When she grew up, she still liked playing dress-up and at art school, started photographing herself posed in various roles. Her first photographs in black and white, grainy images she meant to be faded and imperfect, came out in 1977. She was in her twenties, living in New York, working as a receptionist in an art gallery. As a clown, a teen queen, a society matron, a biker, and many other characters in elaborate costumes, she mainly explored roles of women in America’s cultural landscape. The art world took notice of these sixty-nine black-and-white prints of young women, who each seemed caught in an uncomfortable or scary moment. Sherman’s career has moved forward with fame and fanfare ever since.
Two summers ago she took her private Instagram account public. Tens of thousands of followers signed on to watch Sherman’s self-portraits, wildly distorted headshots of herself. Instead of masquerading with fake noses and lips, thick make-up and wild get-ups, she used Facetune, Perfect365, and YouCamMakeup to change the shape of her face, the color of her eyes, her hair and her complexion. The results were both hilarious and frightening. How did she start on this new quest? She says she was lying around for weeks after an injury and just started playing around with her iphone, taking a look at some apps friends had told her about. The results, she says, are not competing with her serious art. She’s not a perfectionist about these selfies as she is in her studio. But selfies freed her up to experiment. They allowed her to imagine the images of these molded and sculpted, at times grotesque, at other times fetching portraits going out into cyber space. She envisioned them arriving onto thousands of screens and devices, each time making us all wonder yet again, “Who is the real Cindy Sherman?” “Who is the real me?”
Jan Greenberg's latest book (with Sandra Jordan) is Meet Cindy Sherman: Artist-Photographer-Chameleon. They have created an unconventional biography, that much like Cindy Sherman's famous photographs, has something a little more meaningful under the surface. Infusing the narrative with Sherman's photographs, as well as young people's first impressions of the photographs, this is a biography that goes beyond birth, middle age, and later life. It's a look at how we look at art.
STEM through the lens
Chances are you’ve seen this photograph before—maybe on a T-shirt, on a billboard, or in a TV ad. The “Blue Marble Shot” has been reprinted more than any other photograph in history. It was taken on December 7, 1972, by one of the three Apollo 17 astronauts on their way to the Moon. But no one knows which astronaut took the picture because all three claimed to have been the photographer.
During the few minutes Apollo 17 flew across the place in space located directly between the Sun and Earth (which was 28,000 miles away), no one should have been looking out of the window as they all had important tasks to do. But, obviously, someone, and perhaps everyone, was looking out. One of them grabbed a camera and clicked the shutter four times.
After Apollo 17 returned to Earth, the picture was published on the front page of newspapers all over the world. For the first time ever, people saw the full planet Earth completely flooded in sunshine. Heavy clouds swirled over vast oceans. The African coastline was clearly visible, with its northeastern edge fitting like a puzzle piece with the Arabian Peninsula. Madagascar, the fourth largest island on Earth, was slightly off center, looking like a slipper floating in the middle of the Indian Ocean. And because the photo was taken just two weeks before the winter solstice, Earth’s southern hemisphere was tilted toward the sun, revealing Antarctica. For the first time ever, the south polar ice caps appeared in a photo.
The mystery of who took the picture has never been solved. The commander of the mission, Eugene Cernan, who was the last man to walk on the moon, says he snapped the picture. But would the commander have had the time to take the photo at that critical point of the flight? Harrison “Jack” Schmitt, the first geologist sent to the moon, also swears that he took the picture. Perhaps that makes sense because he was responsible for making scientific observations. Ron Evans, who died in 1990, also claimed that he took the picture.
No one will ever know for sure who took the Blue Marble Shot. But the words of Commander Eugene Cernan describe what he saw out of his spaceship window “…you can look out the window and you're looking at the most beautiful star in the heavens— the most beautiful because it's the one we understand and we know, it's home, it's people, family, love, life —and besides that, it is beautiful. ”
In Alex's book Cars on Mars you can follow the course of NASA’s Mars Exploration Rover (MER) mission as twin rovers Spirit and Opportunity explore the Red Planet. Learn how scientists determined that there was once water on Mars and how the earthbound NASA team resolved problems with the rovers from afar in order to prolong the mission, which continues today. For more information, click here.
Alex is a member of iNK's Authors on Call and is available for classroom programs through Field Trip Zoom, a terrific technology that requires only a computer, wifi, and a webcam. Click here to find out more.
MLA 8 CItation
Siy, Alexandra. "Mystery of the Blue Marble." Nonfiction Minute, iNK Think Tank, 30 Nov. 2017, www.nonfictionminute.org/ Mystery-of-the-Blue-Marble.
Have you ever noticed how photographs of underwater scenes have a bluish tint? Sunlight is made up of a rainbow of colors, but when it enters the water the reds and yellows in the light are quickly filtered out. The blues and greens penetrate deeper into the water and give those watery scenes their peculiar cast. Because there is very little red light in the deep sea, most of the animals that live there have never evolved the ability to see the color red. This is why many deep-sea animals are red. In the depths of the ocean, a creature that can’t be seen is safe from many predators.
There is an unusual fish that takes advantage of its fellow sea creatures’ colorblindness. The stoplight loosejaw, a member of the dragonfish family, can see the color red. Not only that, but it has a patch on its face that glows red. It also has a glowing green spot on its face, which is probably used to communicate with other dragonfish. These red and green patches explain the “stoplight” part of this fish’s name. The “loosejaw” comes from this fish’s ability to open its mouth extra wide and swallow large prey. Scientists think that the open structure of the lower jaw allows the fish to close its mouth quickly, making it difficult for prey to escape. Relative to its size, the stoplight loosejaw has one of the widest gapes of any fish, with a lower jaw measuring one-quarter of the fish’s length. It’s not easy for animals that live in the dark waters of the deep sea to find prey. Many of them, including the stoplight loosejaw, have large mouths and sharp fangs that help ensure that their prey cannot escape.
Below about 650 feet (200 meters), very little sunlight penetrates the ocean. Below 3,300 feet (1,000 meters), the only light is that produced by living creatures. Almost all deep-sea creatures can bioluminescence, or make their own light. But the light they produce is usually blue or green. When the stoplight loosejaw switches on its red spotlight, other creatures in the water are illuminated. Being blind to the color red, they don’t realize that they’ve been spotted. Dragonfish are not known as picky eaters. If one of the lit-up animals is a fish, shrimp, or other suitable prey, the stoplight loosejaw quickly grabs it and swallows it.
The stoplight loosejaw's attributes include a red spot, hinged jaws, and needle-like teeth. Illustration by Steve Jenkins
There are two kinds of stoplight loosejaws. The Northern (Malacosteus niger) shown here and the Southern. Together they are found everywhere in the world except the North and South Poles. Wikimedia Commons
Steve Jenkins has written and illustrated more than forty
nonfiction picture books, including the Caldecott Honor–
winning What Do You Do with a Tail Like This? and the
Boston Globe Horn Book honor–winning The Animal Book.
His most recent books are Apex Predators: Top Killers Past
and Present and Who Am I?, an animal guessing game
written with Robin Page.
MLA 8 Citation
Jenkins, Steve. "The Fish That Sees Red." Nonfiction Minute, iNK Think Tank, 6
June 2018, www.nonfictionminute.org/the-nonfiction-minute/
The Running Encyclopedia
Though people have lived in the Yellowstone National Park region for at least 10,000 years, it was only “discovered” in 1807 by mountain man John Colter. People scoffed at his descriptions of the famous geysers and other features as “fire and brimstone.” Succeeding descriptions by other men during the following decades received similar dismissals.
An expedition led by geologist Ferdinand Hayden in 1871 established the reality of Colter’s observations. Its members included noted landscape painter Thomas Moran and photographer William Henry Jackson. Hayden immediately realized the potential of the area. Aided by the stunning images Moran and Jackson produced, he persuaded Congress to set aside the area as a national park—the first in the United States and perhaps the world. President Ulysses S. Grant signed the bill establishing the park on March 1, 1872.
It was hardly an instant success. The new park’s remoteness and lack of amenities made it accessible only to the hardiest of travelers. Only about 300 people visited it in the first year.
Compounding the problem of access was the disapproval of many people who lived near the park. They wanted to continue to hunt its wildlife and cut down its trees for lumber as well as begin to mine its minerals.
It was difficult to exercise any control over the situation. Congress refused to provide more than a pittance for the park’s protection.
A key development came in 1886 when US Army General Phil Sheridan, acting on his own authority, ordered troops to take control of Yellowstone Park. They built Camp Sheridan (later renamed Fort Yellowstone) inside the park boundaries. Though their presence helped curb poaching and mining, they had little authority to punish offenders.
George Bird Grinnell, publisher of Forest and Stream magazine and founder of the Audubon Society, had long promoted the park even though he lived in New York City. He linked up with rising politician (and future president) Theodore Roosevelt to take advantage of a notorious poaching incident in 1894 and help pass the Lacey Act the same year. The new law provided “teeth” to prosecute lawbreakers.
By then, travel to Yellowstone had become a little easier. Railroads dropped off visitors near the park entrance. They boarded stagecoaches which took them to newly established lodging facilities. And by 1916, when Yellowstone became part of the newly established National Park Service, automobiles were making the park much more accessible. Today more than 3 million people thrill to Yellowstone’s natural wonders every year.
Jim Whiting was a voracious reader when he was a kid, and now he has turned into a voracious writer. He writes books on adventure, sports, history, and most of all, he writes about people. One of his biography series is "Modern Role Models," featuring such popular titles as David Beckham, Jeff Gordon, and Tim Duncan. For more information on the series, click here.
MLA 8 Citation
Whiting, Jim. "The Birth and Growing Pains of the First National Park."
Nonfiction Minute, iNK Think Tank, 8 May 2018, www.nonfictionminute.org/
For Vicki Cobb's BLOG (nonfiction book reviews, info on education, more), click here: Vicki's Blog
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