The local environment of this cluster is a close analogue of what existed in the early Universe, with very low abundances of elements heavier than hydrogen and helium. The existence of dark clouds of dense dust and the fact that the cluster is rich in ionised gas also suggest the presence of ongoing star formation processes. This cluster provides a valuable opportunity to examine star formation scenarios under dramatically different conditions from those in the solar neighbourhood.
It is very worth your time to click through and look at this image in all of its massive celestial glory. I found this image via Phil Plait, who calls it “one of the most jaw-droppingly mind stomping images I’ve seen from JWST” and, directing us back to the science (remember the science?!), notes that NGC 602 is actively forming stars (it’s only about 5 million years old) and that it depicts “the first young brown dwarfs outside our Milky Way”. Cool!
Too Much Love is a project from Katja Kemnitz in which she photographs the beloved dolls & stuffed animals of young children alongside brand-new versions of the same toys. Anyone who is a parent or caregiver can relate to the destruction on display here, as well as the difficulty of replacing these items.
I show old, much-loved teddies and dolls and compare them with as good as new doppelgangers. I think the broken stuffed animals have a lot of soul. The project is inspired by my older daughter, who took her plush dog everywhere when she was little. One day I found this dog again without button eye and torn seams in the store and bought it. She did not like him. The old one was better and could not be replaced.
OVER presents a scenario that seems to point to a dystopian future, but which, in fact, brings together fragments of the present. The exaggerated agglomeration denounces the misleading idea of “disposal”, given that objects do not cease to exist in the world when we throw them away. Rather, they inhabit other places.
This video shows the artist’s process, from hanging out the side of a helicopter to arranging all the items in Photoshop.
Out today from National Geographic is Infinite Cosmos, a gorgeous-looking book by Ethan Siegel (intro by Brian Greene). It’s about the history of the JWST, humanity’s biggest ever space telescope, a machine that allows us to peer deeper & clearer into the universe than ever before, and some of the amazing results obtained through its use.
Even with its unprecedented capabilities, JWST’s views of the universe are still finite and limited. The faintest, most distant objects in the cosmos — including the very first stars of all — remain invisible even in the longest-exposure JWST images acquired to date. The universe itself offers a natural enhancement, however, that can reveal features that would otherwise remain unobservable: gravitational lensing.
Whenever a large amount of mass gathers together in one location, it bends and distorts the fabric of the surrounding space-time, just as the theory of general relativity dictates. As light from background objects even farther away passes close to or through that region of the universe, it not only gets distorted but also gets magnified and potentially bent, either into multiple images or into a complete or partial ring. The foreground mass behaves as a gravitational lens. The amount of mass and how it’s distributed affect the light passing through it, amplifying the light coming from those background sources.
In 1888, the Eastman Kodak Company rolled out a new camera and a new slogan. “You press the button, we do the rest.” To say this moment revolutionized photography would be an understatement. But this story isn’t just about Kodak. It’s about what happens when a powerful technology, originally only understood by a select few, can suddenly fit in your hand.
And then, fast-forwarding to the 90s and 00s, Kodak gradually, then suddenly, missed a similar shift that further democratized photography: the move to digital.
Adam DiCarlo takes photos of commuters (mostly bikers) as they exit the Williamsburg Bridge bike path on the Manhattan side and posts them to his Instagram account. (via @BAMstutz)
In 1950, master photographer Irving Penn set up a simple studio in Paris and started to photograph people of all kinds of professions, each wearing their work clothes and carrying the tools of their trade.
Working in the tradition of representing the petits métiers, Penn photographed fishmongers, firefighters, butchers, bakers, divers, baseball umpires, chefs, bike messengers, and sellers of goods of all kinds.
Penn continued photographing workers in New York and London, collecting the photos into a project called Small Trades.
Like everyone else who has recorded the look of tradesmen and workers, the author of this book was motivated by the fact that individuality and occupational pride seem on the wane. To a degree everyone has proved right, and since these photographs were made, London chimney sweeps have all but disappeared and in New York horseshoers — hard to find in 1950 — now scarcely exist.
For his project The Disciples, photographer James Mollison took photo montages of fans outside of music concerts. See if you can guess which concerts these groups of fans attended:
Here’s Mollison on the project:
Over three years I photographed fans outside different concerts. I am fascinated by the different tribes of people that attend them, and how people emulate celebrity to form their identity.
As I photographed the project I began to see how the concerts became events for people to come together with surrogate ‘families’, a chance to relive their youth or try and be part of a scene that happened before they were born.
Fascinating! From top to bottom: Lady Gaga, Merle Haggard, 50 Cent, The Casualties, and Tori Amos. Here’s a video featuring some of the photos accompanied by music from the corresponding artists:
Oh, I really like this particular image from Bernhard Lang’s series of aerial photographs of sea ice in the Baltic (part one, part two). (via colossal)
“I drove a Checker cab but I usually got the wrecks because I only drove three or four nights a week,” he remembers wistfully. “I spent the rest of the time in my darkroom, printing and developing film.”
The quintessential New York cabbie, with a wisecracking mouth and lead foot on the gas pedal, Weideman carefully covered the first three letters of his license so that only the letters ‘DEMAN’ were visible. When passengers entered the cab, he would proudly announce, “You’re riding with the Street Demon.”
“I was on the edge of my seat most of the time because I was caught up in the rush of the ride,” he recalls. Although the 12-hour shifts were grueling, he never drank coffee or took drugs.
“It was all the adrenalin that flowed from my driving style. I enjoyed the thrill of driving and the sense of competitiveness. Some people really loved it; others were scared and wanted out so I would have to drop them off. Once in a while I would have a passenger that really enjoyed it. One guy jumped out of the cab and said, ‘My God, that was a religious experience!’”
As scientists study the effects of global warming, one of the most visible and alarming indicators is the rapid shrinking of glaciers. Government scientists have been documenting the size, shape, and movement of glaciers since the 1950s employing techniques ranging from direct field observations to aerial photography.
The United States Geological Survey (USGS) has one of the largest collections of aerial glacier photographs. Over 40 years, the USGS’ North American Glacier Aerial Photography (NAGAP) project captured thousands of striking high-resolution photos of glaciers and their surroundings.
From 1960 to 1983, self-taught glaciologist Austin Post used a 63-pound World War II-era Fairchild K-17 aerial reconnaissance camera to shoot over 100,000 glacier photos in the western US and Alaska. One of the bush pilots Post teamed up with was William R. Fairchild, who flew a Beech 18 twin engine airplane equipped with five K-17 cameras-one mounted on the nose, two in the belly of the plane, and one on each side.
A group of photographers, editors, and curators recently convened to choose a list of “the 25 most significant photographs since 1955”. Choosing just 25 photos to represent 70 years of the richest visual era in human history is just an impossible task, so there’s bound to be some grousing about individual choices. (I love Beyoncé but really?) But the selection is fascinating, includes a few images I’d never seen before, and the accompanying discussion is worth reading.
I would love to see a process that asks for nominations across a
larger & broader range of folks and then whittle it down through ranked choice voting or pairwise ranking. Paging The Pudding…
The Century City mall, selected for its futuristic appearance, was a primary battleground in the plot. LIFE staff photographer Ralph Crane came to the set and took pictures of the costumed actors in the mall, trying on shoes and making eyes at the lingerie store display, as well as eating in the mess hall with their masks half off. The pictures make for easy laughs, capturing the kind of shenanigans that help liven up a fourth Apes film in as many years.
The photos above are by Albert Dros and Sean O’ Riordan (prints here). O’ Riordan took his shot in Tasmania and actually had to tone it down for publication:
When the clouds are glowing red you know something is off the charts, I tried my best to desaturate this and make it look some bit like a photo and not a science fiction scene!
When the magazine asked the photographer Jack Davison to create the art for this story, he took inspiration from Cate Blanchett’s legendary gift at transforming herself on film. Over the course of a four-hour shoot, across nine different setups, Davison made the fantastical, perspective-bending portraits that appear here.
To share something is to risk losing it, especially in a world where sharing occurs at tremendous scale and where everyone seems to want to be noticed, even if only for cutting down a beloved tree.
Well, the stump of the tree was left in the hopes that it would grow again and I’m pleased to say that it has — here’s a photo from three years ago:
You can even see it on Google Maps. I’m glad the tree is growing again but wish the destruction hadn’t happened in the first place.
Several years ago in the Guardian, Oliver Burkeman wrote a piece called This column will change your life: Helsinki Bus Station Theory. It’s about how difficult it can be as a creative person to find your way to making work that feels like it’s uniquely yours.
There are two dozen platforms, Minkkinen explains, from each of which several different bus lines depart. Thereafter, for a kilometre or more, all the lines leaving from any one platform take the same route out of the city, making identical stops. “Each bus stop represents one year in the life of a photographer,” Minkkinen says. You pick a career direction — maybe you focus on making platinum prints of nudes — and set off. Three stops later, you’ve got a nascent body of work. “You take those three years of work on the nude to [a gallery], and the curator asks if you are familiar with the nudes of Irving Penn.” Penn’s bus, it turns out, was on the same route. Annoyed to have been following someone else’s path, “you hop off the bus, grab a cab… and head straight back to the bus station, looking for another platform”. Three years later, something similar happens. “This goes on all your creative life: always showing new work, always being compared to others.” What’s the answer? “It’s simple. Stay on the bus. Stay on the fucking bus.”
Wonderful shots of the pyramids of Giza by Egyptian photographer Karim Amr. From a caption on one of his photos three years ago:
I’m a 21 years old photographer you can see a lot of photos I share at the pyramids cause I just live near the pyramids so it’s easy for me to go and shoot there. I started doing photography to share my thoughts with others it’s how I express my feelings it’s also my escape from life. Life is tough and not easy for some of us and you got to find your place in this world.
Well, the total solar eclipse was once again completely awesome. I didn’t have to go chasing all over tarnation this time, the telescope worked out amazingly well, and I got to share it with a bunch of first-timers, both in-person and via text. I’m going to share some thoughts, photos, and videos from others around the internet in an even bloggier fashion than usual. Here we go.
Quick solar prominence explainer interlude: if you had a clear look at totality, you may have noticed some orange bits poking out around the moon. NASA: What is a solar prominence?
A solar prominence (also known as a filament when viewed against the solar disk) is a large, bright feature extending outward from the Sun’s surface. Prominences are anchored to the Sun’s surface in the photosphere, and extend outwards into the Sun’s hot outer atmosphere, called the corona. A prominence forms over timescales of about a day, and stable prominences may persist in the corona for several months, looping hundreds of thousands of miles into space. Scientists are still researching how and why prominences are formed.
The red-glowing looped material is plasma, a hot gas comprised of electrically charged hydrogen and helium. The prominence plasma flows along a tangled and twisted structure of magnetic fields generated by the sun’s internal dynamo. An erupting prominence occurs when such a structure becomes unstable and bursts outward, releasing the plasma.
A timelapse video of totality from Scientific American:
A sunspot is simply a region on the surface of the sun-called the photosphere-that is temporarily cool and dark compared to surrounding regions. Solar measurements reveal that the average surface temperature of the sun is 6000° Celsius and that sunspots are about 1500° Celsius cooler than the area surrounding them (still very hot), and can last anywhere from a few hours to a few months. Sunspots expand and contract as they move across the surface of the sun and can be as large as 80,000 km in diameter.
Sunspots are magnetic regions on the sun with magnetic field strengths thousands of times stronger than the Earth’s magnetic field, and often appear in pairs that are aligned in an east-west direction. One set will have a positive or north magnetic field while the other set will have a negative or south magnetic field. The field is strongest in the darker parts of the sunspots — called the umbra. The field is weaker and more horizontal in the lighter part-the penumbra. Overall, sunspots have a magnetic field that is about 1000 times stronger than the surrounding photosphere.
This Instagram account has a lovingly assembled collection of solar eclipse stamps from around the world (Aruba, Bhutan, Chile, Romania, Kenya, and even North Korea).
Total solar eclipses occur because the moon and the sun have the same apparent size in Earth’s sky — the sun is about 400 times wider than the moon, but the moon is about 400 times closer.
But the moon is slowly moving away from Earth by about 1-1/2 inches (4 centimeters) per year, according to the NASA statement. As a result, total solar eclipses will cease to exist in the very distant future, because the apparent size of the moon in Earth’s sky will be too small to cover the sun completely.
“Over time, the number and frequency of total solar eclipses will decrease,” Vondrak said in the statement. “About 600 million years from now, Earth will experience the beauty and drama of a total solar eclipse for the last time.”
Ok, that’s all for now. Depending on what else I come across, I might update this post periodically throughout the day. I know some of you who were lucky enough to see the total eclipse shared your experiences in the comments of yesterday’s post but feel free to do so here as well.
It’s been about five years since scientists captured the first blurry image of a black hole. Using what they learned from that experience, they’ve teased out some more detailed images of the black holes at the centers of the Milky Way galaxy (top) and the M87 galaxy (bottom). The process of collecting the data for these images is interesting:
The only way to “see” a black hole is to image the shadow created by light as it bends in response to the object’s powerful gravitational field. As Ars Science Editor John Timmer reported in 2019, the EHT isn’t a telescope in the traditional sense. Instead, it’s a collection of telescopes scattered around the globe. The EHT is created by interferometry, which uses light in the microwave regime of the electromagnetic spectrum captured at different locations. These recorded images are combined and processed to build an image with a resolution similar to that of a telescope the size of the most distant locations. Interferometry has been used at facilities like ALMA (the Atacama Large Millimeter/submillimeter Array) in northern Chile, where telescopes can be spread across 16 km of desert.
In theory, there’s no upper limit on the size of the array, but to determine which photons originated simultaneously at the source, you need very precise location and timing information on each of the sites. And you still have to gather sufficient photons to see anything at all. So atomic clocks were installed at many of the locations, and exact GPS measurements were built up over time. For the EHT, the large collecting area of ALMA-combined with choosing a wavelength in which supermassive black holes are very bright-ensured sufficient photons.
While this idea may initially sound somewhat mundane, it is anything but. The result is surprising because Sgr A*’s mass is about 4.3 million times that of the Sun, while M87*’s is about 6.5 billion times that of the Sun. Despite the significant difference in mass between the two supermassive black holes, the fact that their magnetic fields behave similarly and are both well-organized is an incredible discovery.
The Vela Supernova remnant, located about 800 light-years away from Earth, is the cosmic corpse of a massive star that exploded 11,000 years ago. It is one of the closest supernova remnants to Earth and the perfect subject for the remarkable Dark Energy Camera.
The supernova is a vast cosmic structure about 100 light-years across. For context, one would have to travel around the Earth 200 million times to have traveled a single light-year.
I didn’t know what to expect from this 1937 video explanation of how wire photos were transmitted to newspapers, but a double stunt sequence featuring an airplane and a death-defying photographer was not anywhere on my bingo card. This starts kinda slow but it picks up once they get into the completely fascinating explanation of how they sent photographs across the country using ordinary telephone lines. The whole setup was portable and they just hacked into a wire on a telephone pole, asked the operator to clear the line, and sent a photo scan via an analog modem. Ingenious!
The Wikipedia page about wire photos is worth a read — French designers argued that the technology was responsible for an early form of fast fashion.
After World War II at haute couture shows in Paris, Frederick L. Milton would sketch runway designs and transmit his sketches via Bélinographe to his subscribers, who could then copy Parisian fashions. In 1955, four major French couturiers (Lanvin, Dior, Patou, and Jacques Fath) sued Milton for piracy, and the case went to the Appellate Division of the New York Supreme Court. Wirephoto enabled a speed of transmission that the French designers argued damaged their businesses.
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