"With the introduction of the new Photos app and iCloud Photo Library, enabling you to safely store all of your photos in iCloud and access them from anywhere, there will be no new development of Aperture," said Apple in a statement provided to The Loop. "When Photos for OS X ships next year, users will be able to migrate their existing Aperture libraries to Photos for OS."
I wonder if the Photos app will be geared at all towards semi-pro/pro photographers or if they've permanently ceded that market to Lightroom.
That's a photo of one of the massive mining machines used to extract lignite (aka "brown coal") from the mine. The machines are almost 800 feet long and 315 feet high...those yellow specks to the right of the machine are likely fairly sizable construction trucks. (via co.exist)
Impressive stuff. I've been saying recently that the iPhone 5s is the best camera in the world. Looking back on the 2008 winners, it becomes apparent how much more comfortable photographers have become wielding this increasingly powerful device. (via the verge)
With impeccable craftsmanship, Demetz builds figures and reliefs of children and rural, often religious, architectural forms. While his subjects often take the forms of adolescent or very young children who are at the precipice of self-realization, their grave expressions and powerful stances suggest something much less innocent than their ages might suggest. Situated on plinths, these life-size works are elevated above their natural stature, allowing them to confront adults at eye level with a fierce or introspective gaze far beyond their years. Rather than being carved from a single large block of wood, these sculptures are built up from smaller rectangular units-mimicking classic building blocks-with gaps in their structures like pieces missing from their bodies or lost fragments of their being.
Back in January, an astronaut on the International Space Station took this photograph of the Korean Peninsula, which shows the stark difference in nighttime light levels in North Korea compared to the neighboring countries of South Korea and China.
I remember seeing a satellite photo several years ago, thought it was fake, then heard it had been photoshopped to accentuate the darkness, and dismissed the whole thing as a hoax. I can't believe the whole country is that dark. (via in focus)
From Annalisa Hartlaub, a series of self-portraits portraying "culture and counterculture for the past 10 decades". Here is her representation of the 1960s (culture on the left, counterculture on the right):
When Europe's armies first marched to war in 1914, some were still carrying lances on horseback. By the end of the war, rapid-fire guns, aerial bombardment, armored vehicle attacks, and chemical weapon deployments were commonplace. Any romantic notion of warfare was bluntly shoved aside by the advent of chlorine gas, massive explosive shells that could have been fired from more than 20 miles away, and machine guns that spat out bullets like firehoses. Each side did its best to build on existing technology, or invent new methods, hoping to gain any advantage over the enemy.
It's fascinating to observe both sides using trial and error with things like tanks, testing out what works and what doesn't. Look at this kooky German cannon for instance:
Heather Ogden is a principal dancer for the National Ballet of Canada and The Heather Project is a series of short videos shot by Christopher Wahl that shows how beautiful and demanding ballet can be. (via cup of jo)
The Overview Effect, first described by author Frank White in 1987, is an experience that transforms astronauts' perspective of Earth and mankind's place upon it. Common features of the experience are a feeling of awe for the planet, a profound understanding of the interconnection of all life, and a renewed sense of responsibility for taking care of the environment. 'Overview' is a short film that explores this phenomenon through interviews with five astronauts who have experienced the Overview Effect. The film also features important commentary on the wider implications of this new understanding for both our society, and our relationship to the environment.
The Planetary Collective made a short documentary about the Overview Effect:
Liittschwager took the photo for National Geographic, but it also might be contained in his book, A World in One Cubic Foot, in which he took photos in locations all over the world of the life that passed through 1 cubic foot of space in 24 hours.
For A World in One Cubic Foot, esteemed nature photographer David Liittschwager took a bright green metal cube-measuring precisely one cubic foot-and set it in various ecosystems around the world, from Costa Rica to Central Park. Working with local scientists, he measured what moved through that small space in a period of twenty-four hours. He then photographed the cube's setting and the plant, animal, and insect life inside it -- anything visible to the naked eye. The result is a stunning portrait of the amazing diversity that can be found in ecosystems around the globe.
The very first Kickstarter campaign I ever backed was Rachel Sussman's project to photograph the oldest living organisms in the world.
I'm researching, working with biologists, and traveling all over the world to find and photograph continuously living organisms that are 2,000 years old and older. I started the project 5 years ago, and have since photographed nearly 25 different organisms, ranging from the Bristlecone Pine and Giant Sequoias that you've surely heard of, to some truly unusual and unique desert shrubs, bacteria, a predatory fungus, and a clonal colony of Aspen trees that's male and, in theory, immortal.
Her goal was to compile the photographs into a book. Almost four years later, the book is out. Looks like it was worth the wait. The trailer does a nice job explaining what the book is all about:
Asher Svidensky's photographs from Mongolia of apprentice eagle hunters are fantastic. (FYI, they hunt with eagles, not for them.) Among Svidensky's subjects is a 13-year-old girl, Ashol Pan:
At the end of the photographing session, I sat down with her father and the translator to say my goodbyes, and I asked him this:
"How did it feel watching your daughter dressed in Kazakh uniform, on a mountain top, sending the eagle off and calling it back again?"
"And honestly... would you have considered truly training her? Would she become Mongolia's first ever female eagle huntress?"
I expected a straightforward "No" or a joking "Maybe", but after a short pause he replied:
"Up until two years ago my eldest son was the successor of the eagle hunting tradition in our family. Alas, two years ago he was drafted to the army, and he's now an officer, so he probably won't be back with the tradition. It's been a while since I started thinking about training her instead of him, but I wouldn't dare do it unless she asks me to do it, and if she will? Next year you will come to the eagle festival and see her riding with the eagle in my place."
From the father's answer I realized that the idea of women's participation in keeping the tradition is a possible future, but just like many other aspect of Mongolian life, it's an option which women will need to take on by themselves.
For the past couple of months, Amit Gupta has been playing around with taking moving self-portraits with a camera mounted on a drone. Here's an early effort. This past weekend, Amit's efforts crossed over into the realm of art. This is beautiful:
In the comments at Vimeo, Alex Dao dubbed this type of photograph a "dronie". We'll see if that catches on.
Back in the olden days, you just tied your cameraman right to the car:
Looks almost as goofy as Google Glass. Legendary F1 driver Jackie Stewart wore this stills-only proto-GoPro at the Monaco Grand Prix in 1966 (though not during the actual race):
Stewart ended up winning that race. I believe Stewart is also the model for this contraption, which looks like a film camera counterbalanced with a battery pack?
That couldn't have been comfortable. For some reason, neither of Stewart's helmet cams are recognized by Wikipedia as being the first documented helmet cam, which is instead attributed to a motorcycle race in 1986:
Update: Not even a bulky taped-up helmet camera can keep Steve McQueen from looking cool:
Well, he just barely looks cool. McQueen wore the helmet during the filming of 1971's Le Mans. While researching this, I came across another film featuring McQueen that used helmet cams to get footage: 1971s On Any Sunday, a documentary about motorcycle racing. (via @jackshafer)
The photo was taken by Alfred Eisenstaedt, who was covering the University of Michigan's marching band. When some children playing nearby set off after this practicing drum major, he snapped the photo. Said Eisenstaedt, "This is a completely spontaneous, unstaged picture."
Michael Paul Smith takes photographs of classic cars that evoke feelings of nostalgia for America in the 30s, 40s, 50s, and 60s. Take a look, these are about as Pleasantville as you can get:
But as you'll discover browsing through Smith's collection, the cars he photographs are scale models. Here's the set-up for that second shot:
And here's further evidence of Smith's trickery:
No Photoshop here...all effects are done in-camera. As Smith notes, "It is the oldest trick in the special effects book: lining up a model with an appropriate background, then photographing it." (via @osteslag)
Now showing at IFC Center in NYC: Finding Vivian Maier. Maier is the Chicago street photographer whose extensive and impressive body of work was recently discovered at an auction. John Maloof bought Maier's work, started posting it to a blog several years ago, did a Kickstarter (one of the first I backed) to fund a documentary about Maier and her photos, and now the film is showing in theaters around the US and Canada.
At our request for an interview, Lubell issued the following statement. "The International Center of Photography has been and continues to be at the center, both nationally and internationally, of the conversation regarding photography and the explosive growth of visual communications. In advancing this conversation, ICP has decided to move its current museum to a new space. This decision reflects the evolution of photography and our role in setting the agenda for visual communications for the 21st century. ICP will announce our future sites this spring. The school will remain at 1114 Avenue of the Americas in Midtown Manhattan."
Moisés Naím has an article that explains what's behind the protests.
This is the half of the country whose sons and daughters have taken to the streets to protest against a repressive regime that treats them as mortal enemies. And maybe they are. After all, they represent the vanguard of a society no longer willing to tolerate an abusive government with disastrous results to show for its 15-year grip on power: Venezuela is now the world champion of inflation, homicide, insecurity, and shortages of essential goods-from milk for children to insulin for diabetics and all kinds of indispensable products. All this despite having the greatest oil reserves in the world and a government with absolute control of all state institutions and levers of power. Sadly, that government has used its immense wealth and authority to push through unsustainable populist policies, buy votes, jail opposition leaders, and shut down television channels. Daily shortages of basic goods, fear of crime, and hopelessness have become unbearable.
The protests began on November 22, after President Viktor Yanukovych reversed course and refused to sign political and trade agreements with the European Union that had been in the works for years after heavy pressure from Moscow to abandon the agreements. Despite a violent police crackdown, protesters vowed to continue blockading streets and occupying public buildings until their central demand is met: the current government, including Yanukovych, must go.
The treaties would have opened the European Union market to Ukrainian companies and could have boosted the Ukrainian GDP by more than six percent over ten years. The country is suffering through an economic depression and lower tariffs and expanded competition could have also lowered prices, "fueling an increase of household consumption of some 12 percent." Ukraine would have also adopted 350 EU laws, codifying what many Ukrainians saw as a "commitment to European standards of governance and social justice." To them, the treaty was a way of diminishing Russia's long-time influence and reversing the trend of persistent economic corruption and sluggishness.
Earlier photo sites were mostly concerned with letting you put your pictures in front of friends and family. Flickr did that, too. But from the start, it was building a community of photo lovers around the world who wanted to share images with other photo lovers, as well as thousands of special interest sub-communities. It was about storytelling.
I was at Etech when Flickr launched and was one of the site's first few hundred users. The photo chat room they launched with was not that interesting to me, but when they turned it inside out, I was hooked. Happy birthday, Flickr.
Photographer Jeremy Cowart writes about a rare time he made a real connection with one of his celebrity subjects. It happened during a shoot with the cast of The Haves and the Have Nots, a show on Oprah's network. As usual with shoots like this, Cowart only got a few minutes with each subject, time to shoot but not much else. But then John Schneider pulled him aside.
Once we wrapped up his session, Tika walked off set and John came to me and whispered in my ear "Hey can you sneak a few more portraits of me?" and I said "sure of course". He said "there's something going on and I just need a photo."
So I grabbed my camera again and John walked back on set.
He immediately began weeping. Legitimately crying. He was so good at impressions that I thought this was another impression and I thought "wow, what an acting talent."
In March, the New York Historical Society is mounting an exhibition of photographer Bill Cunningham's project, Façades.
Scouring the city's thrift stores, auction houses, and street fairs for vintage clothing, and scouting sites on his bicycle, Cunningham generated a photographic essay entitled Façades, which paired models -- in particular his muse, fellow photographer Editta Sherman -- in period costumes with historic settings.
Craig Mod, writing for the New Yorker, says goodbye to cameras as photography transitions to the use of "networked lenses".
After two and a half years, the GF1 was replaced by the slightly improved Panasonic GX1, which I brought on the six-day Kumano Kodo hike in October. During the trip, I alternated between shooting with it and an iPhone 5. After importing the results into Lightroom, Adobe's photo-development software, it was difficult to distinguish the GX1's photos from the iPhone 5's. (That's not even the latest iPhone; Austin Mann's superlative results make it clear that the iPhone 5S operates on an even higher level.) Of course, zooming in and poking around the photos revealed differences: the iPhone 5 doesn't capture as much highlight detail as the GX1, or handle low light as well, or withstand intense editing, such as drastic changes in exposure. But it seems clear that in a couple of years, with an iPhone 6S in our pockets, it will be nearly impossible to justify taking a dedicated camera on trips like the Kumano Kodo pilgrimage.
And indeed, the mid-tier Japanese camera makers (Panasonic, Fujifilm and Olympus) are struggling to find their way in the networked lens era. A few years ago, I wrote a post called "Your company? There's an app for that." about how smartphones were not only going to make certain devices obsolete, but drive entire companies and industries out of business. This bit, about cameras, seems almost quaint now:
Point and shoot camera -- While not as full-featured as something like a PowerShot, the camera on the iPhone 3GS has a 3-megapxiel lens with both auto and manual focus, shoots in low-light, does macro, and can shoot video. Plus, it's easy to instantly publish your photos online using the iPhone's networking capabilities and automatically tag your photos with your location.
The best camera is the one you have with you the one with built-in posting to Facebook.
The researchers say that in crimes in which the victims are photographed, such as hostage taking or child sex abuse, reflections in the eyes of the photographic subject could help to identify perpetrators. Images of people retrieved from cameras seized as evidence during criminal investigations could be used to piece together networks of associates or to link individuals to particular locations.
By zooming in on high-resolution passport-style photographs, Jenkins and co-researcher Christie Kerr of the School of Psychology, University of Glasgow were able to recover bystander images that could be identified accurately by observers, despite their low resolution.
Errol Morris is at it again, publishing book-length blog posts for the NY Times. This time, he's examining the photograph evidence of Abraham Lincoln and, I think, what those photos might tell us about Lincoln's death. Here's the prologue and part one (of an eventual four).
My fascination with the dating and interpretation of photographs is really a fascination with the push-pull of history. Facts vs. beliefs. Our desire to know the origins of things vs. our desire to rework, to reconfigure the past to suit our own beliefs and predilections. Perhaps nothing better illustrates this than two radically different predispositions to objects -- the storyteller vs. the collector.
For the collector the image with the crack [in one of Lincoln's photographs] is a damaged piece of goods -- the crack potentially undermining the value of the photograph as an artifact, a link to the past. The storyteller doesn't care about the photograph's condition, or its provenance, but about its thematic connections with events. To the storyteller, the crack is the beginning of a legend -- the legend of a death foretold. The crack seems to anticipate the bullet fired into the back of Lincoln's head at Ford's Theater on Good Friday, April 14, 1865.
It should have a name. I call it "the proleptic crack."
Mr. Vollmann is 54, heterosexual and married with a daughter in high school. He began cross-dressing seriously about five years ago. Sometimes he transforms himself into a woman as part of a strange vision quest, aided by drugs or alcohol, to mind-meld with a female character in a book he's writing. Other times it's just because he likes the "smooth and slippery" feel of women's lingerie.
He said his wife, who is an oncologist, is not thrilled with his outré experiments and keeps her distance. "Probably when the book comes out, it'll be the first she's heard of it," he said. "I always try to keep my wife and child out of what I do. I don't want to cause them any embarrassment." He asked that his wife not be interviewed for this article.
The only crew that volunteered, of course, was Jay Zeamer and the Eager Beavers. One of the crew, bombardier Joseph Sarnovski, had absolutely no reason to volunteer. He'd already been in combat for 18 months and was scheduled to go home in 3 days. Being a photo mission, there was no need for a bombardier. But if his friends were going, he wanted to go, and one of the bombardier's battle stations was to man the forward machine guns. They might need him, so he went.
They suspected the airstrip at Buka had been expanded and reinforced, but weren't sure until they got close. As soon as the airfield came in sight, they saw numerous fighters taking off and heading their way. The logical thing to do would have been to turn right and head for home. They would be able to tell the intelligence officers about the increased number of planes at Buka even if they didn't get photos.
But Zeamer and photographer William Kendrick knew that photos would be invaluable for subsequent planes attacking the base, and for Marines who were planning to invade the island later. Zeamer held the plane level (tilting the wings even one degree at that altitude could put the photograph half a mile off target) and Kendrick took his photos, which gave plenty of time for over 20 enemy fighters to get up to the altitude Old 666 was flying at.
In her series City of Brother Love, Hannah Price photographs the men who catcall her on the street. A selection of her images and a short interview is available on The Morning News.
Once a guy catcalls me, depending on the situation, I would either candidly take their photograph or walk up to them and ask if I can take their photograph. They usually agree and we talk about our lives as I make their portrait.
But sometimes, a heckler still makes himself heard, like the wheezing smoker on a park bench who called out to me: "I could give you a better workout, love," as I ran past him earlier this week.
I suddenly thought of that 16-year-old stuck indoors on the treadmill, and turned around. "You know what I want?" I said, as he shrank back in alarm. "I want you to never, ever speak to another woman or girl like that, you pathetic old fool." I was very sweaty, very pink and very angry, and he was plainly terrified.
In Gruyeres, western Switzerland, from mid-May to mid-October, the fifth generation of the Murith family produces its distinctive mountain pasture Gruyere cheese. Each wheel of cheese weighs between 25 and 40 kilograms, and takes a minimum of six months to mature. The family produces 200 wheels each year to sell locally, using unpasteurized milk from their own herd of cows. Reuters photographer Denis Balibouse spent time with the Murith family over this past grazing season, capturing days and nights in the alpine pastures of Switzerland.
This enormous mosaic showing the flattened globe of Saturn floating amongst the complete disk of its rings must surely be counted among the great images of the Cassini mission. From Earth, we never see Saturn separate from its rings. Here, we can see the whole thing, a gas giant like Jupiter, separated at last from the rings that encircle it.
Taking this idea one step further, I removed the rings completely, along with the "ringlight" lighting up the night hemisphere, creating a more-or-less pure look of what Saturn would look like without its rings.
Photographer Edward Burtynsky's latest project is called Water.
While trying to accommodate the growing needs of an expanding, and very thirsty civilization, we are reshaping the Earth in colossal ways. In this new and powerful role over the planet, we are also capable of engineering our own demise. We have to learn to think more long-term about the consequences of what we are doing, while we are doing it. My hope is that these pictures will stimulate a process of thinking about something essential to our survival; something we often take for granted -- until it's gone.
This is powerful and amazing (and upsetting): Project Unbreakable is a photography project that features images of sexual assault survivors holding signs showing what others (attackers, family members, cops, etc.) said to them about the assaults.
It's difficult to pick the yuckiest bottom-of-the-barrel sludge here, but the comments from the police officers really get my dander up.
"If you were my daughter I would have killed you." - Lady police officer while being interrogated
"If you don't tell us how many people you've slept with, the ADA won't even consider your case." - Interviewing Dectective
"This is why we have underage drinking laws! THIS IS YOUR FAULT! If you hadn't been drinking this wouldn't have happened to you!" - St. Petersburg police when I tried to press charges
Sickening, sickening. The police are supposed to protect the vulnerable, not persecute them. (via @rebeccablood)
In the parlance of NYC graffiti enthusiasts, going "all city" means getting your stuff known all over the five boroughs. Now a group of designers are challenging each other to go "all RGB", to make images that contain all of the 16.7 million colors that make up the RGB spectrum once each. This entry is amazing because it still looks like an actual photograph when you zoom out (many others do not):
I watched a lot of pro wrestling when I was a kid and this photo of Brutus "The Barber" Beefcake, Greg "The Hammer" Valentine, and fashion photographer Terry Richardson is just too much for me. If nostalgia truly is death, someone better make some arrangements for me.
I have a soft spot for photography that reaches, seemingly impossibly, back into time...e.g. early color photography. It's an inexpensive form of time travel. The American Revolution took place back in the days before photography and the way we remember it visually is something like this:
But, some Revolutionary War participants lived long enough to have their daguerreotypes taken in the 1850s and 1860s. This is a photo of Lemuel Cook, the last official surviving veteran of the Revolution1, taken sometime before his death in 1866.
The source of many of these photos is a book published in 1864 by E.B. Hillard called The Last Men of the Revolution. The book contains six photos of surviving war vets and brief biographies of each man. (via @ftrain)
 Daniel Bakeman lived until 1869 but could not prove his service in the war. However, Congress passed a special act in 1867 that provided him with a war pension. Bakeman's longevity (he lived to 109) contributed to another astounding achievement: he and his wife Susan had the longest marriage on record, 91 years. Their marriage began 3 years before the Revolution and continued until Susan's death in 1863, right in the midst of the Civil War. Amazing. ↩
Yum, I can almost taste the blueberries through the screen. Well, that's all the time we have today, folks. You've been a great group of contestants, and we hope to see you next week on Golf Ball Innards or Bowl of Gelato? (via edible geography)
That's the iconic "Lunch atop a Skyscraper" photo taken in 1932 during the construction of the RCA Building (aka 30 Rock) in NYC. Eleven construction workers eating lunch on a steel girder 840 feet in the air. The shot was a PR stunt to drum up excitement around the near completion of the new skyscraper...no one even knows for sure who took the photo because it was likely a multiple photographer situation. On the same day the lunch photo was taken, some of the same men were photographed taking a nap on the same girder:
Photographer Clayton Cubitt and Rex Sorgatz have both written essays about how photography is becoming something more than just standing in front of something and snapping a photo of it with a camera. Here's Cubitt's On the Constant Moment.
So the Decisive Moment itself was merely a form of performance art that the limits of technology forced photographers to engage in. One photographer. One lens. One camera. One angle. One moment. Once you miss it, it is gone forever. Future generations will lament all the decisive moments we lost to these limitations, just as we lament the absence of photographs from pre-photographic eras. But these limitations (the missed moments) were never central to what makes photography an art (the curation of time,) and as the evolution of technology created them, so too is it on the verge of liberating us from them.
Photography was once an act of intent, the pushing of a button to record a moment. But photography is becoming an accident, the curatorial attention given to captured images.
Slightly different takes, but both are sniffing around the same issue: photography not as capturing a moment in realtime but sometime later, during the editing process. As I wrote a few years ago riffing on a Megan Fox photo shoot, I side more with Cubitt's take:
As resolution rises & prices fall on video cameras and hard drive space, memory, and video editing capabilities increase on PCs, I suspect that in 5-10 years, photography will largely involve pointing video cameras at things and finding the best images in the editing phase. Professional photographers already take hundreds or thousands of shots during the course of a shoot like this, so it's not such a huge shift for them. The photographer's exact set of duties has always been malleable; the recent shift from film processing in the darkroom to the digital darkroom is only the most recent example.
What's interesting about the hot video/photo mobile apps of the moment, Vine, Instagram, and Snapchat, is that, if you believe what Cubitt and Sorgatz are saying, they follow the more outdated definition of photography. You hold the camera in front of something, take a video or photo of that moment, and post it. If you missed it, it's gone forever. What if these apps worked the other way around: you "take" the photo or video from footage previously (or even constantly) gathered by your phone?
To post something to Instagram, you have the app take 100 photos in 10-15 seconds and then select your photo by scrubbing through them to find the best moment. Same with Snapchat. Vine would work similarly...your phone takes 20-30 seconds of video and you use Vine's already simple editing process to select your perfect six seconds. This is similar to one of my favorite technology-driven techniques from the past few years:
In order to get the jaw-dropping slow-motion footage of great white sharks jumping out of the ocean, the filmmakers for Planet Earth used a high-speed camera with continuous buffering...that is, the camera only kept a few seconds of video at a time and dumped the rest. When the shark jumped, the cameraman would push a button to save the buffer.
Only an after-the-fact camera is able to capture moments like great whites jumping out of the water:
And it would make it much easier to capture moments like your kid's first steps, a friend's quick smile, or a skateboarder's ollie. I suspect that once somebody makes an easy-to-use and popular app that works this way, it will be difficult to go back to doing it the old way.
Photos, once slices of a moment in the past -- sunsets, meetings with friends, the family vacation -- are fast becoming an entirely new type of dialogue. The cutting-edge crowd is learning that communicating with a simple image, be it a picture of what's for dinner or a street sign that slyly indicates to a friend, "Hey, I'm waiting for you," is easier than bothering with words, even in a world of hyper-abbreviated Twitter posts and texts.
"This is a watershed time where we are moving away from photography as a way of recording and storing a past moment," said Robin Kelsey, a professor of photography at Harvard, and we are "turning photography into a communication medium."
Dave Pell worries that the realtime availability of all these photos is getting in the way of our experiencing selves.
Maybe it was a bad angle. Maybe I didn't get his good side. Maybe he just didn't have that surfer vibe. Whatever it was, the photo wasn't all that cool. Given time to reflect (even the few days I used to get between my own childhood birthdays and my mom picking up a set of 4x6 prints at the local pharmacy), my son probably would've developed a version of that day that had him riding a giant a wave, looking like a cross between Laird Hamilton and Eddie Vedder. Instead, he pretty much looked like a landlocked three year-old on a beach-bound surfboard who was suffering from a rare -- but particularly punishing -- bad hair day.
The instant my son looked at the image, his imagination-driven perception of himself was replaced by a digital reproduction of the moment he had just experienced. He had a few seconds, not nearly long enough, to create is own internal version of what that moment looked -- and by extension felt -- like.
[Sherlock season 2 spoilers ahead...] At the end of the second season of the excellent BBC series Sherlock, Holmes jumps off the roof of a building in Smithfield, London. Ever since then, fans of the show have been leaving notes near where he would have landed.
In the early 1900s, photographer George Lawrence built what he called the Lawrence Captive Airship, a series of kites and wires able to hold aloft a camera mounted on a stabilizing mechanism. With his invention, he was able to take aerial photos of cities all over the country -- Brooklyn, Atlantic City, Chicago, Kansas City. You've probably seen his photos of a burnt-out San Francisco after the 1906 earthquake.
You gotta love anyone whose company motto was "the hitherto impossible in photography is our specialty". (via coudal)
Photographer Bela Borsodi fastidiously manipulated household items in the photograph below to create an image that looks like 4 photographs. Created as an album cover for the band VLP, I can confirm it's possible to stare at this picture for many minutes.
Ah, the good old days, when people used to talk to each other in public rather than looking at their phones or listening to headphones all the time. Except that's not been the case for awhile as XKCD demonstrates with a series of quotes from various publications dating back to 1871. This is from William Smith's Morley: Ancient and Modern published in 1886.
With the advent of cheap newspapers and superior means of locomotion... the dreamy quiet old days are over... for men now live think and work at express speed. They have their Mercury or Post laid on their breakfast table in the early morning, and if they are too hurried to snatch from it the news during that meal, they carry it off, to be sulkily read as they travel... leaving them no time to talk with the friend who may share the compartment with them... the hurry and bustle of modern life... lacks the quiet and repose of the period when our forefathers, the day's work done, took their ease...
In 1946, a young Stanley Kubrick worked as a photographer for Look magazine and took this shot of NYC subway commuters reading newspapers:
Click through to YouTube to watch it in the original 4K resolution, which is much better than even 1080p. They produced the video in conjunction with the Night Sky edition of their Field Notes notebooks.
Jacob Riis came to NYC in 1870 at the age of 21. He had $40 in his pocket, which he quickly spent. Unemployed, he lived for a time in the city's notorious slums before working his way up the social and economic ladder to become one of New York's strongest advocates for reform. Riis also took early advantage of flash photography to steer his camera into the city's darkest corners -- tenements, dark alleys, sweatshops, opium dens, beer halls -- and emerged with photographs that helped shift public opinion on NYC's poverty and slums.
To understand what is happening in color photography today it is beneficial to know what has been previously accomplished. The quest for color photography can be traced to Louis-Jacques-Mandé Daguerre's 1839 public announcement of his daguerreotype process, which produced a finely detailed, one-of-a-kind, direct-positive photographic image through the action of light on a silver-coated copper plate. Daguerreotypes astonished and delighted, but nevertheless people complained that the images lacked color. As we see the world in color, others immediately began to seek ways to overcome this deficiency and the first colored photographs made their appearance that same year. The color was applied by hand, directly on the daguerreotype's surface. Since then scores of improvements and new processes have been patented for commercial use.
This is a photograph made by Louis Ducos du Hauron sometime between 1869-1879, a particularly early example of a vivid color photographic print that wasn't colored by hand.
The story goes that the photo was taken in 1879 in Las Vegas, New Mexico, at a time when each of the men may have been in town. It's entirely plausible that these men all met and posed for a photo, but as there doesn't appear to be any provenance for particular photo, we're left with trying to ID the long-dead from the very few authenticated photos that exist. So...maybe? But probably not? (via if charlie parker were a gunslinger...)
Update: Ah, here's an even better photo that's almost certainly mislabeled, purportedly featuring Wyatt Erp, Teddy Roosevelt, Doc Holliday, Bat Masterson, Butch Cassidy, and the Sundance Kid:
Update: Max points out I may have misread the article and these 57 girlfriends are not necessarily Jerry's only. Supporting this is Sarah Silverman's inclusion in the composite even though she's was a love interest of Kramer's.
The most amazing is the spiral escalator made by Mitsubishi Electric. Curving escalators were conceived from early on when escalators were invented, but they are very difficult and even today Mitsubishi Electric is the only one in the world who can make them. If I hadn't come across this spiral escalator in Yokohama I don't think I would have committed myself to escalators as much as I have.
For a project called The Fundamental Units, Martin John Callanan used a very powerful 3D microscope to take 400-megapixel images of the lowest denomination coin from each of the world's 166 active currencies. This is the 1 stotinki coin from Bulgaria:
And this is a small part of that same coin at tremendous zoom:
After an exhaustive search, I have decided this photo most exemplifies life in these United States during the 1980s:
And if not that one, then one of several other possible candidates from Roger Minick's Sightseer project, for which he took photos of tourists at popular US tourist destinations during the early 1980s and into the 2000s.
When I approached people for a portrait, I tried to make my request clear and to the point, making it clear that I was not trying to sell them anything. I explained that my wife and I were traveling around the country visiting most of the major tourist destinations so that I could photograph the activity of sightseeing. I would quickly add that I hoped the project would have cultural value and might be seen in years to come as a kind of time capsule of what Americans looked like at the end of the Twentieth Century; at which, to my surprise, I would see people often begin to nod their heads as if they knew what I was talking about.
While French balloonist Gaspard-Félix Tournachon first photographed Paris by air in 1858, those photos were lost, and this photograph of Boston from 1860 by James Wallace Black is the earliest known aerial photo. The title is 'Boston, as the Eagle and the Wild Goose See It.' If I had to guess where in Boston this is, I'd say somewhere along Atlantic Ave.
Update: Several people have identified the steepled building at center left as the Old South Meeting House, which Wikipedia confirms: "Depicts area resembling Old South Meeting House; Milk Street; India Wharf, Central Wharf; and vicinity." Looks a bit different these days.
Paris even does rainbows better than the rest of the world. This is a photo of a horizon rainbow taken over the Parisian skyline last week by Bertrand Kulik.
What the heck is going on there? Astronomy Picture of the Day explains:
Why is this horizon so colorful? Because, opposite the Sun, it is raining. What is pictured above is actually just a common rainbow. It's uncommon appearance is caused by the Sun being unusually high in the sky during the rainbow's creation. Since every rainbow's center must be exactly opposite the Sun, a high Sun reflecting off of a distant rain will produce a low rainbow where only the very top is visible -- because the rest of the rainbow is below the horizon.
Technically this photo was taken several years (probably in 1986 or 1987) before Radiohead officially came to be, but it features four out of the five members, back when the group was called On a Friday.
From left to right, Thom Yorke, Phil Selway, Ed O'Brien, and Colin Greenwood. This occasion marked one of the last times that Yorke smiled for a photo. (via buzzfeed)
Maybe the most depressing part of this threepartseries of photographs of Iraq from the past ten years is not the photos of all the horrible things people are capable of doing to each other, not the [God, I can't even think of the right set of rage-adjectives here] faces of Bush, Cheney, and Rumsfeld, but the fact that there is a part two to this series that starts in 2003, just after the fucking asinine MISSION ACCOMPLISHED banner.
But maybe it was all worth it? To see these happy faces riding an amusement ride? Or these young people able to express themselves? Was it the right thing done the wrong way for the wrong reasons? I dunno. I just don't know.
But how they play can reveal a lot. "The richest children were more possessive. At the beginning, they wouldn't want me to touch their toys, and I would need more time before they would let me play with them," says the Italian, who would often join in with a child's games before arranging the toys and taking the photograph. "In poor countries, it was much easier. Even if they only had two or three toys, they didn't really care. In Africa, the kids would mostly play with their friends outside."
This reminds me of Peter Menzel's photos of what families from different parts of the world eat in a typical week. (via df)
Babies create strong emotions for the bearer, holder, and observer. I have discovered this holds true even when it is known the baby is not real.
I am photographing dolls that are created to look and feel like living babies. They are constructed and weighted to feel like infants, which includes a head that must be supported while in one's arms. They are the most powerful objects I have ever worked with, I am struck by the strong and palpable emotional reactions they produce. They provoke the dominant biological instinct to nurture and the entire spectrum of human behavior.
Many of the women involved have an especially strong passion for the stage of mothering babies and this is a method to keep this stage permanently in their lives. There is a wide range of personal stories and motivations for being involved in this community. Some create or collect these dolls because they cannot continue to give birth to living babies, or have lost a child, or cannot have one of their own. Some women admire the art form and are doll collectors, others create nurseries in their homes and integrate the babies as part of their families and lives.
Sometimes, women who have lost a newborn have commissioned artists to make a reborn doll that looks exactly like their deceased baby. Modeled after photographs of the real infant, these dolls are called portrait babies.
If this photo series from 1950 of the interior of the White House being ripped out so that the building could be structurally reinforced isn't an apt metaphor for the current state of American politics, I don't know what is.
Experts called the third floor of the White House "an outstanding example of a firetrap." The result of a federally commissioned report found the mansion's plumbing "makeshift and unsanitary," while "the structural deterioration [was] in 'appalling degree,' and threatening complete collapse." The congressional commission on the matter was considering the option of abandoning the structure altogether in favor of a built-from-scratch mansion, but President Truman lobbied for the restoration.
"It perhaps would be more economical from a purely financial standpoint to raze the building and to rebuild completely," he testified to Congress in February 1949. "In doing so, however, there would be destroyed a building of tremendous historical significance in the growth of the nation."
So it had to be gutted. Completely. Every piece of the interior, including the walls, had to be removed and put in storage. The outside of the structure-reinforced by new concrete columns-was all that remained.
The documentary about recently discovered street photographer Vivian Maier that was funded via Kickstarter almost two years ago is finally getting somewhere. Here's the trailer for the film, which appears to involve a crazy twist in Maier's story.
Seeing so many CSI and police procedural shows on TV today, it's easy to take for granted being able to rapidly and accurately identify criminals. Fingerprinting, as probably the biggest technological advancement in identifying criminals, is a big part of that. But what'd we have before fingerprinting?
Alphonse Bertillon was a French criminologist who first developed this anthropometric system of physical measurements of body parts, especially components of the head and face, to produce a detailed description of an individual. This system, invented in 1879, became known as the Bertillon system, or bertillonage, and quickly gained wide acceptance as a reliable, scientific method of criminal investigation. In 1884 alone, French police used Bertillon's system to help capture 241 repeat offenders, which helped establish the system's effectiveness. Primarily, investigators used the Bertillon system to determine if a suspect in custody had been involved in previous crimes. Law enforcement agencies began to create archives of records of known criminals, which contained his or her anthropometric measurements, as well as full-face and profile photographs of the perpetrator (now commonly known as "mugshots," which are still in use today).
It was essentially a criminal justice Dewey Decimal System, the first step in taking police out of the dark ages. Before Bertillion standardized measurements, police just had a jumble of descriptions and photographs with no way to organize them so they'd almost never be able to cross reference existing records when people were arrested.
Of course Bertillion's system was just a stop-gap measure. The system was only really in use for about 30 years before fingerprints became the dominant identification method.
In 1903, a man named Will West was committed to the penitentiary at Leavenworth, Kansas, where he was photographed and measured using the Bertillon system. Will West's measurements were found to be almost identical to a criminal at the same penitentiary named William West, who was committed for murder in 1901 and was serving a life sentence. Furthermore, their photographs showed that the two men bore a close physical resemblance to one another, although it was not clear that they were even related. In the ensuing confusion surrounding the true identities of the two men, their fingerprints conclusively identified them and demonstrated clearly that the adoption of a fingerprint identification system was more reliable than the older Bertillon system.
Edith, Hellrider, and Dadmonster pose for a photograph. In Botswana, heavy metal music has landed. Metal groups are now performing in nightclubs, concerts, festivals. The ranks of their fans have expanded dramatically. These fans wear black leather pants and jackets, studded belts, boots and cowboy hats. On their t-shirts stand out skulls, obscenities, historical covers of hard-rock groups popular in the seventies and eighties, such as Iron Maiden, Metallica, and AC/DC. They have created their own style, inspired by classic metal symbolism, but also borrowing heavily from the iconography of western films and the traditional rural world of Botswana. Their nicknames, Gunsmoke, Rockfather, Carrott Warmachine, Hellrider, Hardcore, Dignified Queen, may appear subversive and disturbing as their clothing, but they are peaceful and gentle. "We like to get dressed,, drink meet friends and feel free , this music is so powerful . We are lucky to live in a country tolerant and open" argues one of the leaders. A precious rarity for Africa.
Botswanian heavy metal fans and other great selections from the 2013 Sony World Photography Awards