The third is from Reuben Wu (Instagram), whose work I’ve featured here for many years. IMO, Wu’s work is slightly more polished than Jadikan’s or Ferguson’s, but I enjoy experiencing all of it. (via petapixel)
The software for running your own trainbot is available on Github and “should work with any video4linux USB cam, or Raspberry Pi camera v3 modules”. (via nelson)
Charles Brooks takes photographs of the insides of musical instruments like pianos, clarinets, violins, and organs and makes them look like massive building interiors, enormous tunnels, and other megastructures. So damn cool. Some of the instruments he photographs are decades and centuries old, and you can see the patina of age & use alongside the tool marks of the original makers. Prints are available if you’d like to hang one of these on your wall.
Because many of his works are destined to melt and be reabsorbed, Popa opts for natural materials like white chalk from the Champagne region, ochres from France and Italy, and powdered charcoal he makes himself — the latter also plays a small role in purifying the water, leaving it cleaner than the artist found it. Most pieces take between three and six hours to complete, and his work time is dependent on the weather, temperature, and condition of the sea. “The charcoal will sink into the ice and disappear from a very dark shade to a medium shade, so it has to be created very quickly and documented. No to mention the work on the ice will just crack and drift away completely, or the next day it will snow and be completely covered,” he says. “I’m really battling the elements.”
I love these so much — they remind me of self-portraits taken in shattered mirrors or fragmented mirrored surfaces, a practice I apparently engage in withsomeregularity.
What I like about the still image above, along with the rest of the images in a project called In Anxious Anticipation by Aaron Tilley & Kyle Bean, is that it makes a noise. It’s so cool how your brain sees what’s about to happen and then you hear eggs smashing on a hard surface — splat, splat, splat. More still art should make noise! (via moss & fog)
That last image is the mailing wrapper from when jeweler Harry Winston sent the Hope Diamond (currently valued at $200-350 million) to the Smithsonian through the regular US Mail.
Mailed on the morning of November 8 from New York City, the item was sent by registered (first class) mail — considered the safest means of transport for valuables at that time. The total fee was $145.29 (see the meter machine tapes). Postage only amounted to $2.44 for the package which weighed 61 ounces. The remainder of the fee ($142.85) paid for an indemnity of about $1 million.
From a height of three meters, porcelain figurines are dropped on the ground, and the sound they make when they hit trips the shutter release. The result: razor-sharp images of disturbing beauty, more than the sum of its parts. Temporary sculptures made visible to the human eye by high-speed photography. The porcelain statuette bursting into pieces isn’t what really captures the attention; the fascination lies in the genesis of a dynamic figure that seems to stop/pause the time and make time visible itself.
See also Klimas’ Flowervases (“Flawlessly arranged flower vases are shot by steel bullets and captured at the moment of their destruction”) and Sonic Sculptures (“Klimas begins with splatters of paint in fuchsia, teal and lime green, positioned on a scrim over the diaphragm of a speaker — then, the volume is turned up”).
I’ve long been a fan of Edward Burtynsky’s photographic surveys of humanity’s impact on our environment, so I was eager to explore his newest project, African Studies.
In Edward Burtynsky’s recent photographs, produced across the African continent, the patterns and scars of human-altered landscapes initially appear to form an abstract painterly language; they reference the sublime and often surreal qualities of human mark-making. While chronicling the major themes of terraforming and extraction, urbanization and deforestation, African Studies conveys the unsettling reality of sweeping resource depletion on both a human and industrial scale.
The prosperity of early 20th century America resulted in a boom of skyscrapers that still tower over cities across the country today. Focusing on the character and craftsmanship on display at the top of these landmark buildings in a way that can’t be seen from street level, the Highrises Collection reveals fascinating details and stories of these distinctly American icons.
They’ve done almost a hundred of them so far and are planning on adding about 100 more to the tally before they are finished. Hytha recently shared some of his favorite Art Deco buildings from the project. (via @mwilkie)
In 1975, famed French photographer Henri Cartier-Bresson traveled, at the behest of a public television station, to the US to take photographs of New Jersey.
The photographer felt that New Jersey’s anywhere-ness, its density and diversity, was “a kind of shortcut through America.” With that prompt, Evans assembled an itinerary. Cunningham picked up Cartier-Bresson in Manhattan around sunrise each day for three weeks and headed for the bridges and tunnels. They embedded with ambulance drivers in Newark and chicken farmers in West Orange. They visited suburban sprawl, horse country, pine barrens, swamps, seashore, beauty parlors, labs, nuclear facilities, jails, mansions. They once stayed overnight in a South Jersey motel, and Cartier-Bresson insisted that they flip a coin to determine who got the bed.
It was one of his final photo projects and because his photos were cropped for use on television (“a practice Cartier-Bresson viewed as sacrilege”), the project was not included in most catalogues of his work and was almost forgotten.
Almost 300 days out of every year, there are thunderstorms over Venezuela’s Lake Maracaibo. Called Catatumbo lightning — “Catatumbo means ‘House of Thunder’ in the language of the local Barí people” — the phenomenon is caused by the unique confluence of warm air and water from the Caribbean Sea with the cold air flowing down from the Andes, which nearly surround the lake. The result is near-nightly storms with the world’s highest density of lightning and up to 200 flashes in a minute. It sounds, literally, awe-some.
The short video above is a profile of photographer Jonas Piontek, who has captured some amazing photos and video of the Catatumbo lightning. The NY Times featured some of his photos in this piece about the lightning.
Less than half an hour after the first cloud forms, it starts to flash. It does this faster and faster - 200 flashes a minute is not uncommon. After that, the cloud becomes a giant bulb that lights up the night.
“You can read a newspaper in the middle of the night because it’s so bright,” said Jonas Pointek, a photographer who has documented the storms.
The aptly named “Fusion of Helios” is a fusion from the minds of two astrophotographers, Andrew McCarthy and Jason Guenzel. Using a custom-modified hydrogen alpha solar telescope, the combined data from over 90,000 individual images was jointly processed to reveal the layers of intricate details within the solar chromosphere. A geometrically altered image of the 2017 eclipse as an artistic element in this composition to display an otherwise invisible structure. Great care was taken to align the two atmospheric layers in a scientifically plausible way using NASA’s SOHO data as a reference.
So how do I resolve atmospheric details, like spicules, prominences, and filaments? The trick is tuning the telescope to an emission line where these objects aren’t drown out by the bright photosphere. Specifically, I’m shooting in the Hydrogen-alpha band of the visible spectrum (656.28nm). Hydrogen Alpha (HA) filters are common in astrophotography, but just adding one to your already filtered telescope will just reduce the sun’s light to a dim pink disk, and using it without the aperture filter we use to observe the details on the photosphere will blind you by not filtering enough light. If you just stack filters, you still can’t see details. So what’s the solution?
A series of precisely-manufactured filters that can be tuned to the appropriate emission line, built right into the telescope’s image train does the trick! While scopes built for this purpose do exist (look up “coronado solarmax” or “lunt solar telescope” I employ a heat-tuned hydrogen alpha filter (daystar quark) with an energy rejection filter (ERF) on a simple 5” doublet refractor. That gives me a details up close look at our sun’s atmosphere SAFELY. I’ve made a few custom modifications that have helped me produce a more seamless final image, but am not *quite* yet ready to share them, but just the ERF+Quark on a refractor will get you great views.
Photography has always been a combination of technology, artistry, and wrangling whatever light you can get to best express the feeling that you’re going for — astrophotography certainly dials that wrangling up to 11.
Prints of this image (and some digital downloads) are available in various sizes from McCarthy and Guenzel.
Folks, I told you that this was going to become a JWST fan blog and if you didn’t hear me the first time, consider yourself notified. NASA’s newest space telescope is still stretching its legs, but even back in its early days last summer, it captured this breathtaking near-infrared and mid-infrared image of a star preparing to go supernova.
The 10 light-years-wide nebula is made of material cast off from the aging star in random ejections, and from dust produced in the ensuing turbulence. This brilliant stage of mass loss precedes the star’s eventual supernova, when nuclear fusion in its core stops and the pressure of gravity causes it to collapse in on itself and then explode.
Images like these are useful for studying dust, which sounds a little boring but actually is fascinating (italics mine):
The origin of cosmic dust that can survive a supernova blast and contribute to the universe’s overall “dust budget” is of great interest to astronomers for multiple reasons. Dust is integral to the workings of the universe: It shelters forming stars, gathers together to help form planets, and serves as a platform for molecules to form and clump together — including the building blocks of life on Earth. Despite the many essential roles that dust plays, there is still more dust in the universe than astronomers’ current dust-formation theories can explain. The universe is operating with a dust budget surplus.
Currently imagining a sci-fi office dramedy about the dust budget surplus — someone over at HBO Max or Apple+ get on this.
Most of the topics of my Aerial Views project, which I have been following since 2010, deal with the intervention and often also the destruction of our environment by humans.
This new aerial photo series about the Bavarian Forest, the first Nationalpark in Germany founded in 1970, shows nature that is largely left to its own devices again, true to the park’s motto “NATUR NATUR SEIN LASSEN”.
The nature zone of the Bavarian Forest National Park is thus one of the very few places in geographically divided and densely populated Germany where, in the sense of human non-intervention, at least secondary wilderness should be possible again, especially in spite of the age of the Anthropocene, in which there is no completely uninfluenced nature anymore.
When you look at these incredible close-up shots of fungi and slime molds by photographer and amateur mycologist Max Mudie, you realize that we don’t have to go looking for bizarre alien life on other planets: there’s plenty of it in our forests. (See also coral reefs, tbh.) Check out more of Mudie’s work on Instagram.
I’m almost positive I’ve featured the photograph at the top of the post before (but can’t find where), but I love it so much I’m featuring it again.
A beautiful snow leopard triggers my camera trap high up in the Indian Himalayas. I captured this image during a 3-year DSLR camera trap project in the Ladakh region in northern India. The mystery surrounding the snow leopard always fascinated me. They are some of the most difficult large cats to photograph in the wild. Not only because of their incredible stealth, but also because of the remote environment they live in.
Open Circuits is a book that takes you inside the electronic components that power the modern world, with cross sections and close-up views of things like headphone jacks, chips, circuit boards, cables, etc. Lovely images — it’s like a whole little urban world down there. Buy it now at No Starch Press, Bookshop.org, or Amazon. (via clive thompson)
I don’t know how kottke.org isn’t going to turn into a JWST-only blog — it seems like there’s some never-before-seen imagery released every other week that just absolutely knocks my socks off. Like these unprecedented images of nearby galaxies that were taken to help study how individual stars affect galactic structure.
The saying goes, ‘From a tiny acorn grows the mighty oak.’ This is accurate not just here on Earth, but in our solar system and beyond. Even on a galactic scale, where individual stars and star clusters can sculpt a galaxy’s overall structure. Scientists say NASA’s James Webb Space Telescope is perfectly primed to study these phenomena, and the first data is astounding astronomers.
New imagery from Webb’s Mid-Infrared Instrument is revealing never-before-seen details into how young, newly forming stars influence the structure of the gas and dust of nearby galaxies, and therefore how they evolve over time. Areas of galaxies that once appeared dim and dark in visible light, now under Webb’s infrared eye, are glowing cavities and huge cavernous bubbles of gas and dust.
When I saw a link to Lisa Whiteman’s photo essay on “muleskinning”, I was like oh dear god what am I getting myself into here. But it turns out that a muleskinner is a mule driver, particularly one who travels by mule in groups.
I met Ronald in 2009, when I attempted to make a shot-but-never-finished documentary about him and a group of his muleskinner friends who regularly take recreational road trips across North Carolina. A “muleskinner” is the term used for a mule driver, but it also refers to the microculture of the caravan. They pull over at night to sleep on farms and in the yards of churches and friends, their sleeping bags or old quilts laid out in the backs of their wagons. They open up a can of Beanee Weenee, or splurge on a “fish dinner” — what they affectionately call a tin of sardines. Sometimes they chase it down with a few sips of homemade moonshine they’ve brought in Mason jars, sitting around a campfire and telling stories they’ve shared a thousand times.
A lovely story and photos of a US subculture I knew nothing about until today. You can check out more of Whiteman’s work on her website or on Instagram.
Gathering the data required to cover this much of the night sky was a Herculean task; the DECaPS2 survey identified 3.32 billion objects from over 21,400 individual exposures. Its two-year run, which involved about 260 hours of observations, produced more than 10 terabytes of data.
Most of the stars and dust in the Milky Way are located in its spiral disk — the bright band stretching across this image. While this profusion of stars and dust makes for beautiful images, it also makes the galactic plane challenging to observe. The dark tendrils of dust seen threading through this image absorb starlight and blot out fainter stars entirely, and the light from diffuse nebulae interferes with any attempts to measure the brightness of individual objects. Another challenge arises from the sheer number of stars, which can overlap in the image and make it difficult to disentangle individual stars from their neighbors.
A crowded field of galaxies throngs this Picture of the Month from the NASA/ESA/CSA James Webb Space Telescope, along with bright stars crowned with Webb’s signature six-pointed diffraction spikes. The large spiral galaxy at the base of this image is accompanied by a profusion of smaller, more distant galaxies which range from fully-fledged spirals to mere bright smudges. Named LEDA 2046648, it is situated a little over a billion light-years from Earth, in the constellation Hercules.
I know we’ve seen deep field images from the Hubble, but I don’t know how you can tire of looking at actual images created by human technology that shows thousands of galaxies, billions of years, trillions of stars, quadrillions of planets, untold numbers of potential intelligences & civilizations, and who really knows what else. It boggles the mind, every time.
You can download/view a massive high-res copy of this image right here.
Update: Here’s a video that zooms in from a wide view of the Milky Way all the way into galaxy LEDA 2046648 pictured above.
For his project Illustrated People, Thomas Mailaender imprinted photographic images onto people’s skin by shining a UV light through negatives. The visual effect created is not unlike that of a sunburn but it goes away as soon as the skin is exposed to light. I wonder…does it hurt like a sunburn?
Some really nice work amongst the winners and runners up of the Minimalist Photography Awards for 2022. I’ve included a few favorites of mine above (from top to bottom: Daniel Dencescu, Gleici Rufatto, Julie Kenny, and Alexandre Caetano).
It’s been a bit since we’ve checked in on artist Reuben Wu, who uses drones to paint (sculpt?) with light in the sky over dark landscapes. Most of his recent stuff seems to be video on his Instagram account but I pulled a couple of photos of his that I haven’t featured before. Always inspiring stuff worthexploring.
Comet C/2022 E3 (ZTF) is currently making its way through the northern skies and should reach its brightest magnitude in early February, according to In-The-Sky.org as it approaches perigee on Feb. 1. To see the comet for yourself, look to the north just after sunset and look for a faint greenish glow. Under the right dark sky conditions, the comet could be visible to the unaided eye, but binoculars will certainly make the job easier.
The comet last visited the Earth about 50,000 years ago and this may be its last visit before it leaves the solar system for good. The unusual green color results from a rare chemical reaction:
The comet itself isn’t green, but its head does appear to glow green thanks to a somewhat rare chemical reaction. The glow likely comes from diatomic carbon (C2) — a simple molecule made of two carbon atoms bonded together. When ultraviolet light from the sun breaks this molecule down, it emits a greenish glow that can last for several days, according to a 2021 study in the journal Proceedings of the National Academy of Sciences.
This eerie light disappears before making its way to the comet’s tail, or coma, which is made of gas. That gas is once again a result of solar radiation - in this case, sunlight causes part of the comet to sublimate, or transition from a solid into a gas without entering a liquid state. That gas streaks behind the comet, often glowing blue from the ultraviolet light.
The best, brightest views of the comet will be right around Feb 1, when it will be near the constellation Camelopardalis (almost due north, in the general vicinity of the Big and Little Dippers) right after sunset — use an app like Sky Guide to help find it. It’s cloudy here in Vermont until Friday…I’m going to try to catch a glimpse of it then.
Amazing photo of Comet C/2022 E3 (ZTF) above by Dan Bartlett.
South Korea currently has a probe called Danuri orbiting the Moon at an altitude of about 62 miles above the surface. It’s just begun its mission but has already sent back some black & white photos of the Moon and the Earth, including the two above. Over at EarthSky, Dave Adalian says these shots “rival the work of legendary nature photographer Ansel Adams” and it’s difficult to disagree.
It took Fitor three years of surgically precise work to get the jewel-like images you see here. First, he would take a boat out on the Mediterranean Sea and dive in to collect water samples, usually 30 to 50 feet below the surface. He’d bring the samples straight back to his home studio in the coastal village of Alicante, south of Valencia on Spain’s eastern coast. Then he’d get straight to work: When copepods die, they quickly lose their color and look like dull brown beetles. Fitor wanted to capture the vivid blues and golds of the living organisms, and he wanted to show them in action just as he does when he photographs any other marine animal.
The neighborhood was different then. During those years, just before a fierce wave of gentrification hit the area, the photographer Angela Cappetta often rose at dawn to roam the streets, a Fuji 6x9 camera in hand. (“I still use it,” she told me. “It looks fake, like a toy.”) It was on one of those mornings that Cappetta encountered a clan that reminded her of her own upbringing, within a multigenerational family of Italian immigrants, in Connecticut. As a child, Cappetta was shepherded among various homes by aunts, uncles, and older cousins-a constant and frenetic flow of relatives. The family she met that day, Puerto Rican New Yorkers living on multiple floors of a tenement building on Stanton Street, had a similar dynamic. Instinctively, she began placing each member in their role. “I looked at this beatific, beautiful family, and I thought, Yeah, I relate to this,” she recalled.
