Evolutionary biologists urged to adapt their research methods

Synthesizing ancestral molecules can give a clearer view of genetic evolution, says Shozo Yokoyama. Photo of olive baboon by Nivet Dilmen, via Wikipedia Commons.
By Carol Clark: To truly understand the mechanisms of natural selection, evolutionary biologists need to shift their focus from present-day molecules to synthesized, ancestral ones, says Shozo Yokoyama, a biologist at Emory University. Yokoyama presented evidence for why evolutionary biology needs to make this shift on Friday, February 15, during the American Academy of Arts and Sciences (AAAS) annual meeting in Boston. “This is not just an evolutionary biology problem, it’s a science problem,” says Yokoyama, a leading expert in the natural selection of color vision. “If you want to understand the mechanisms of an adaptive phenotype, the function of a gene and how that function changes, you have to look back in time. That is the secret. Studying ancestral molecules will give us a better understanding of genes that could be applied to medicine and other areas of science.” For years, positive Darwinian selection has been studied almost exclusively using comparative sequence analysis of present-day molecules, Yokoyama notes. This approach has been fueled by increasingly fast and cheap genome sequencing techniques. But the faster, easier route, he says, is not necessarily the best one if you want to arrive at a true, quantitative result. “If you only study present-day molecules, you’re only getting part ofFish provide clues for how environmental factors can lead to vision changes. Photo of scorpionfish by Andrew David, NOAA's Fisheries Collection.
the picture, and that picture is often wrong,” he says. Yokoyama has spent two decades teasing out secrets of the adaptive evolution of vision in fish and other vertebrates. Five classes of opsin genes encode visual pigments and are responsible for dim-light and color vision. Fish provide clues for how environmental factors can lead to vision changes, since the available light at various ocean depths is well quantified. The common vertebrate ancestor, for example, possessed ultraviolet vision, which is suited to both shallow water and land. “As the environment of a species sinks deeper in the ocean, or rises closer to the surface and moves to land, bits and pieces of the opsin genes change and vision adapts,” Yokoyama says. “I’m interested in exactly how that happens at the molecular level.” Molecular biologists can take DNA from an animal, isolate and clone its opsin genes, then use in vitro assays to construct a specific visual pigment. The pigment can be manipulated by changing the positions of the amino acids, in order to study the regulation of the gene’s function. In 1990, for example, Yokoyama identified the three specific amino acid changes that switch the human red pigment into a green pigment. A few years later, another group of researchers confirmed Yokoyama’s findings, but found that the three changes only worked in one direction. In order to reverse the process, and turn the green pigment back to red, it took seven changes. “They discovered this weird quirk that didn’t make sense,” Yokoyama says. “Why wouldn’t it take the same number of changes to go in either direction? That question was interesting toUnlike many other animals, most primates, including humans, have both a red and a green pigment, enabling them to distinguish red from green and vice-versa. Photo by Richard Ruggiero, U.S. Fish and Wildlife Service.
me.” He spent 10 years researching and pondering the question before he realized the key problem: The experiments were conducted on present-day molecules. When the earliest mammalian ancestors appeared 100 million years ago, they had only the red pigment. Around 30 million years ago, the gene for the red pigment duplicated itself in some primates. One of these duplicated red pigments then acquired sensitivity to the color green, turning into a green pigment. “At the point that the three changes in amino acids occurred in this pigment, other mutations were happening as well,” Yokoyama says. “You have to understand the original interactions of all of the amino acids in the pigment, which means you have to look at the ancestral molecules. That’s the trick.” In other words, just as changes in an animal’s external environment drive natural selection, so do changes in the animal’s molecular environment. Statistical analysis allows Yokoyama and his collaborators to travel back in time and estimate the sequences for ancestral molecules. “It’s a lot of work,” he says. “We don’t have a clear picture of every intermediate species. We have to do a step-by-step retracing, screening for noise in the results at each step, before we can construct a reliable evolutionary tree.” In 2008, Yokoyama led an effort to construct the most extensive evolutionary tree for dim-light vision, including animals from eels to humans. At key branches of the tree, Yokoyama’s lab engineered ancestral gene functions, in order to connect changes in the living environment to the molecular changes. The lengthy process of synthesizing ancestral proteins and pigments and conducting experiments on them combines microbiology with painstaking techniques of theoretical computation, biophysics, quantum chemistry and genetic engineering. This multi-dimensional approach allowed Yokoyama’s lab in 2009 to identify the scabbardfish as the first fish known to have switched from ultraviolet vision to violet vision. And Yokoyama pinpointed exactly how the scabbardfish made the switch, by deleting an amino acid molecule at site 86 in the chain of amino acids in the opsin gene. “Experimenting on ancestral molecules is the key to getting a correct answer to problems of natural selection, but there are very few examples of that being done in evolutionary biology,” Yokoyama says. Source: eScienceCommons
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How do Birds get their Color?



Birds have captivated us for time eternal, not only because of their ability to fly, but also because of the color they add to our lives. Ok, let me be clear that I’m not suggesting that ALL birds are colorful. Birds like Plain Chachalacas and Grey Catbirds hardly evoke images of stunning beauty. But a vast number of species DO exhibit dazzling displays of color. And these displays are not always what they might seem. Have you ever wondered why grackles look iridescent blue in good light and black in bad light? Or why the colorful gorgets of male hummingbirds appear and then disappear without warning? This is because color in birds is not a simple thing. But rather it is a complex concoction of some very specific recipes. There are two main ingredients that are essential in the making of color. The first is pigment and the second is keratin. And the ways in which these two fundamental ingredients are added to the color cooking pot are what produces the final colors that we see. Pigments are relatively simple color makers. There are three main pigments that give feathers their colors. The first pigment is called melanin and it produces black or dark brown coloration. Melanin is also very strong and is thus often reserved for the flight feathers. White feathers are caused by a lack of pigmentation and are much weaker than black feathers due to the lack of melanin. This might explain why many predominantly-white bird species have entirely black or black-tipped feathers in their wings. These feathers are exposed to the greatest wear
Pied Kingfisher, Ceryle rudis at Pilanesberg National Park, South Africa
and are required to be stronger than regular feathers. The second group of pigments are called carotenoids and they produce red, orange or yellow feathers. Carotenoids are produced by plants. When birds ingest either plant matter or something that has eaten a plant, they also ingest the carotenoids that produce the colors in their feathers. The pink color of flamingoes, for example, is derived
from carotenoids found in the crustaceans and algae that the birds sieve from the water. The third group of pigments are called porphyrins and these are essentially modified amino acids. Porphyrins can produce red, brown, pink and green colors. This pigment group is the rarest of the three pigment groups and is found in only a handful of bird families. The best-known example of porphyrins is the red pigment (often called turacin) that is found in many turaco species and turacoverdin, the green pigment found in
many of the same turaco species. Mixtures of pigments can also produce different and unusual color hues and shades. For example, the dull olive-green colors of certain forest birds is actually a mixture of yellow carotenoid pigments and dark-brown melanin pigments. Then we get to the second main ingredient that produces color: keratin. Keratin is the tough protein of which feathers are made. It also covers birds’ bills, feet and legs. Keratin is responsible for the iridescent coloring of many spectacular bird species. How keratin produces color is a rather complex process but, from what I’ve read on the subject, I shall attempt to simplify it as follows. Keratin produces color in two main ways: by layering and by scattering. Layering colors are produced when translucent keratin reflects short wave-lengths of colors like blues, violets, purples and greens. The other colors are absorbed by an underlying melanin (black) layer. The ways in which the keratin of the feathers are layered will dictate the color of the iridescence. Examples of layered coloring include the iridescence of glossy starlings and the speculums or wing patches of many duck species. Scattering is produced when the keratin of feathers is interspersed with tiny air pockets within the structure of the feathers themselves. These air pockets and the interspersed keratin scatter blue and green light and produce the shimmering colors of birds like kingfishers, rollers and bee-eaters.  The magnificence of some of these scattered colors is wonderfully exhibited in Adam
Guêpiers d'Europe
Riley’s post on the “Bee- eaters of Africa”. And like any really good dish, there are times when several ingredients need to be mixed  together to produce  a really good recipe. And both keratin and pigments can be combined to produce certain colors. The greens of many parrot species are caused by blue scattered light (produced by keratin) interacting with yellow carotenoids (produced by pigments in the feathers). Grey feathers are produced by the combination of scattered white light and melanin pigments. Learning a little about how color is produced in birds now presents me with an entirely new birding challenge when out in the field: figuring out the various color recipes that birds employ to dazzle! Source: Article, Images: flickr.com
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