We are delighted to announce that Volume 35, Issue 5 (2026) of the Journal of Seismic Exploration has been officially published and is now available online.

To view and download full text of this Issue, please visit at:
https://geophysical-press.com/journal/JSE/35/5

The paper of Cover Story is:
Bunn, A. R. (2026). The BLiSS model: Four-way triangulation of a buried 293-m horizon at the White Terrace site, Taupō Volcanic Zone. Journal of Seismic Exploration, 35(5), 026200083. https://doi.org/10.36922/JSE026200083

The original cover image is courtesy of the author team (Alfred Rex Bunn). There is an interesting story behind this photo, provided by the author.

"The cover photo is Burton Bros. 1885 shot 3907, “White Terrace.” Burton deliberately placed Alfred Warbrick in the scene to illustrate the double-shadow effect produced by the terrace. Warbrick kneels on the terrace apron and points his right index finger into the terrace reflection on the shallow water over the apron. Such dual illumination is common in snowfields and had been reported at the Pink Terrace; given the size of the White Terrace, the illumination on that summer morning was visually stunning. A third shadow effect also appears: because of the solar angle, Warbrick’s fedora casts a clean 30° shadow across his face, extending from his first cervical vertebra to his philtrum. This is mediated by competing light sources rather than by solar illumination alone.

Burton posed Warbrick in a braced kneeling posture to minimize subject movement during an exposure that may have lasted 1–2 seconds. Warbrick shows two optical effects: a startling reflection of his torso, legs, and arms, and his right index finger immersed in the water flow, indicating a depth of about 3 cm. He is posed parallel to the lower basins. Burton cleverly used the Rule of Thirds, with the platform and lowest basin forming the horizontals and the steaming fog and Warbrick marking the verticals. He would have optimized his distance back on the apron and his camera height to frame the terrace reflection. He may also have inserted his whole plate into his 10" × 8" camera to access a 10' × 8" lens and enable a shift movement to better capture the elevated terrace, since the optical axis was above his camera height and there is no vignetting.

The lower apron around Warbrick acts as a giant mirror. The sinter of the terrace basins glows with an albedo of ≤0.75 on the dry, exposed sinter rims, and the basins glow in the morning sun as a large series of secondary light sources. That terrace glow is then reflected by the apron’s shallow water film, flooding Warbrick with light. This flood-lighting is much brighter than a simple water reflection, turning the whole midground and foreground into a secondary light source."

We extend our sincere gratitude to all authors, reviewers, and Editorial Board members whose dedication made this issue published.

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