Important update: Since I published this guide a month ago, NASA and the AAS have updated their recommendation on buying solar safety glasses due to reports of counterfeit eclipse glasses. They no longer recommend looking for the ISO rating alone but only buying from a recommended manufacturer. If you have purchased glasses or are going to purchase glasses, read this page carefully before using them, paying particular attention to this bit:
Unfortunately, you can’t check whether a filter meets the ISO standard yourself — doing so requires a specialized and expensive piece of laboratory equipment called a spectrophotometer that shines intense UV, visible, and IR light through the filter and measures how much gets through at each wavelength. Solar filter manufacturers send their products to specialized labs that are accredited to perform the tests necessary to verify compliance with the ISO 12312-2 safety specifications. Once they have the paperwork that documents their products as ISO-compliant, they can legitimately use the ISO logo on their products and packaging.
Even more unfortunately, unscrupulous vendors can grab the ISO logo off the internet and put it on their products and packaging even if their eclipse glasses or viewers haven’t been properly tested. This means that just seeing the ISO logo or a label claiming ISO 12312-2 certification isn’t good enough. You need to know that the product comes from a reputable manufacturer or one of their authorized dealers.
Amazon recently sent out emails to the buyers of the plastic-framed glasses I bought and linked to here (“habibee 4-Pack Black Plastic Eclipse Glasses CE & ISO Certified 2017 Safe Solar Eclipses Viewing Shades Block Sun Ultraviolet UV Lights Goggles”), saying that they have “not received confirmation from the supplier of your order that they sourced the item from a recommended manufacturer” and, to their credit, have automatically issued refunds to those buyers. They also appear to have removed any products from their site that aren’t sourced from a recommended manufacturer. This doesn’t necessarily mean the glasses are faulty…it just means the solar filter paper used for the lenses can’t be sourced. Again, read this page carefully before deciding to use any glasses you may have purchased. I tested a pair this morning, looking at bright light bulbs and they seem appropriately dark, but as noted by the AAS, who knows about the UV and IR filtering? I’m throwing mine out.
The cardboard-framed glasses I linked to (while currently sold out) are manufactured by American Paper Optics, which is on the AAS’s list of reputable vendors. Also on the list is the manufacturer of the solar filter sheets, Thousand Oaks Optical. The two cardboard camera lens covers I linked to have been deleted from Amazon, a sign that their sourcing cannot be verified. I’ve updated the links and text below to only include links to products on the list of reputable vendors. Most are sold out at this point anyway, so…
I wish I’d had these new NASA and AAS recommendations a month ago…I obviously would have followed them closely in making buying choices & recommendations. That some unscrupulous manufacturers are using people’s enthusiasm for science and viewing the eclipse to sell potentially harmful products makes me angry and sick to my stomach. Luckily Amazon is doing the right thing here with refunds and safety notices. And thanks to NASA and the AAS for their guidance…again please read this before using your eclipse glasses, even ones you may have gotten free from your public library or through other organizations. /end update
On August 21, 2017 across the entire United States, the Moon will move in front of the Sun, partially blocking it from our view. For those on the path of totality, the Moon will entirely block out the Sun for more than 2 minutes. I’ve been looking forward to seeing a total solar eclipse since I was a little kid, so I’ve been doing a lot of research on what to buy to enjoy the eclipse safely. Here’s what I’ve come up with.
I’ve oriented this guide toward the enthusiastic beginner, someone who’s excited about experiencing the wonder of the eclipse with their friends & family but isn’t interested in expensive specialty gear or photography (like me!). And, again, since you will be able to see this eclipse from everywhere in North America to some degree, this guide applies to anyone in the US/Canada/Mexico.
In planning for eclipse viewing, please check out NASA’s safety notes for more information. Make sure that whatever you buy, it’s properly rated for naked eye solar viewing. Looking directly at the Sun without a proper filter can cause permanent damage, particularly through binoculars, a camera lens, or a telescope.
Note: If you’re going to get eclipse supplies, now is the time. Some of this stuff will probably be very difficult to find (or very expensive) as we approach August 21 — for instance, shipping estimates on Amazon for some of the glasses are mid-August already.
Solar eclipse glasses are essential. Right up until the Sun goes completely behind the Moon (if you’re on the path of totality), you will want to look at the crescent-shaped Sun and you’ll need certified safety glasses to do so. Regular sunglasses will not work! Do not even. There are several options…find some in stock that ship soon. Note: If you have young kids, splurge for the plastic framed glasses (if you can find them…most are sold out now)…my testing indicates the cardboard ones don’t stay on smaller heads as well.
Make a pinhole viewer. A pinhole viewer will let you see the shape of the eclipsed Sun without having to look directly at it. This Exploratorium guide should get you started. All you need in terms of supplies you probably have lying around at home: aluminum foil, paper, cardboard, etc. I suspect Kelli Anderson’s This Book is a Camera ($27) might also work if you play with the exposure times?
Apply good sunscreen. You’ve got your eye protection down, now for the rest of yourself. The eclipse is happening in the middle of the day in much of the country, in what you hope will be complete sunshine, so bring some sunscreen. The Sweethome recommendsthis SPF 70 Coppertone for $9. Wear a cap. Stay in the shade. Bonus for shading yourself under trees: the gaps between the leaves will form little pinhole lenses and you’ll see really cool patterns:
A nice pair of binoculars. If you’re in the path of totality, you might want a pair of binoculars to look more closely at the totally eclipsed Sun (after checking that it’s safe!!). I’m guessing you don’t want to buy a pair of specialty astronomy binoculars, so the best binoculars are probably ones you already own. If you don’t already have a pair, The Wirecutter recommendsthe Midas 8 x 42 binoculars by Athlon Optics ($290) with the Carson VP 8x42mm ($144) as a budget pick. (For solar filter options, see below.)
A solar filter for your camera. If you have a camera, they might make a solar filter for whatever lens you want to use. Hydrogen alpha filters will allow you to see the most detail — “crazy prominences and what-not” in the words of a photography pal of mine — but are also pretty expensive. You can buy solar filter sheets ($29) to make your own lens coverings for your camera, binoculars, or telescope. Quality will likely not be fantastic, but you’ll get something. Safety warning: place any filters in front of lenses or it can burn a hole in the filter (and then into your eye); i.e. don’t use binoculars in front of safety glasses!!
Note for budding solar photographers: Shooting the eclipse will be challenging. First there’s too much light and you’ll need a filter. Then when totality occurs, you’ll be in the dark needing a tripod and a fast lens. Plan accordingly…or leave it all at home and look at the thousands of photos taken by pro photographers after the fact.
Ok, that’s it. Have a good eclipse and stay safe!
Update: I removed a reference to the plastic-rimmed safety glasses I ordered because the image has changed on this item since I ordered them and published this guide…it’s now a wire-rimmed pair of glasses. I would recommend getting something else instead, just to be safe. (thx, @kahnnn)
Update: NASA has been alerted that some of the paper glasses being sold are not safe for viewing the eclipse. When buying, look for the ISO icon (referencing 12312-2) and for glasses made by these recommended manufacturers: American Paper Optics, Rainbow Symphony, Thousand Oaks Optical, or TSE 17. (via @ebellm)
Update: The Wirecutter has released their guide to The Best Solar Eclipse Glasses and Filters and they recommend the Celestron EclipSmart 2x Power Viewers (2-pack for $10), which provide not only certified eye protection but a nice 2X zoom.
When your phone takes a photo of something, it scans the frame of view line-by-line from top to bottom quickly. But, if you’re photographing an object like a fan or plane’s propellor that’s moving very quickly, the scanning exposure can warp the final image. That’s the rolling shutter effect. Using high-speed camera footage to simulate the warping, Smarter Everyday shows us exactly how the rolling shutter effect occurs. The guitar strings are the coolest; more of that in this video:
In his series Guide to the Flora and Fauna of the World, Zhao Renhui photographed a number of animals and plants that have been bred or otherwise modified by humans. Pictured above are a square apple:
Sold in a department store in South Korea, these square apples were created as gifts for students taking the College Scholastic Ability Test, with some inscribed with the words ‘pass’ or ‘success’. A similar square watermelon was developed in Japan in the 1980s. The cubic fruits are created by stunting their growth in glass cubes.
a remote-controlled beetle:
In 2012, Japanese scientists implanted electrodes, a radio and a camera on a Goliath beetle which could be wirelessly controlled. The scientists inserted the parts in the beetle during different phases of the pupa stage. The components were powered by generators connected to the flight muscles of the beetle. Most of the components were not visible to the human eye, except for the tiny camera lens peering out of the beetle’s head. The first photograph by a Goliath beetle camera was taken in December 2012, remotely controlled by researchers in a facility 200km away.
and Chinese pork that’s been made to look and taste like beef:
It has recently been found in China that pork has been made to aesthetically look like beef. ‘Beef colouring’ and ‘beef extracts’ were added to pork to make it look and taste like beef.
Sperm whales sleep together in a pod facing up in the water. From bioGraphic:
Photographer Franco Banfi and his fellow divers were following this pod of sperm whales (Physeter macrocephalus) when the giants suddenly seemed to fall into a vertical slumber. This phenomenon was first studied in 2008, when a team of biologists from the UK and Japan inadvertently drifted into a group of non-responsive sperm whales floating just below the surface. Baffled by the behavior, the scientists analyzed data from tagged whales and discovered that these massive marine mammals spend about 7 percent of their time taking short (6- to 24-minute) rests in this shallow vertical position. Scientists think these brief naps may, in fact, be the only time the whales sleep.
NASA’s Opportunity rover started exploring the surface of Mars in January 2004. Its mission was supposed to last about 90 days, but over 13 years later, Opportunity is still rolling around the red planet, doing science and taking photos. Jason Major processed a few of Opportunity’s most recent snaps of the Endeavour Crater and they’re just wonderful. I’m especially taken with the one included above…it belongs in a museum!
The bottom photo is actually from the 2013 contest but is a good reminder that waves are nothing more than a bunch of high water that needs to get down in a hurry, not unlike Wile E. Coyote hanging in midair after running off of a cliff. Photos of the waves at Teahupo’o makes this pretty evident as well.
From the top, photos by Lorenz Holder, Alexandre Voyer, and Stuart Gibson.
I knew almost nothing of Uzbekistan before my visit there so everyday was a cascade of surprises. While Americans think of Central Asia as the most remote places possible, people in Uzbekistan see themselves as at the center of the universe. They’ve been farming there for 6,000 years, and everyone has passed through over the centuries. I was so delighted I could as well.
Aside from its status as a former Soviet republic, I also knew next to nothing about Uzbekistan until a month or two ago. My barber told me he was “from Russia” when I first started seeing him many years ago, but at my last appointment, I asked him where he lived in Russia before his family moved to the US and he said he was actually from Uzbekistan. But then he went on to explain that Uzbekistan is a predominately Muslim country, that his family is Jewish, and so he didn’t consider himself an Uzbek. “If you’re not Muslim, you can’t really be considered a true Uzbek,” he told me. According to Wikipedia, Uzbekistan was home to a small Jewish community until the fall of the Soviet Union, when nationalism drove most Jews to leave for the US and Israel. We moved on to other topics before I learned more of the specifics — getting to know someone in 20-minute intervals every month or two can be challenging — but the post-collapse timing makes sense; he probably moved to the US as a kid in the early 90s, grew up in Queens, and now runs a successful business cutting hair.
For places that people go to immerse themselves in books, libraries sure do try to steal the show sometimes. For his photo series on libraries, Thibaud Poirier travelled to a number of libraries in Europe and took photos of them while empty.
“Reading is solitude,” Italo Calvino once said, embodying the inspiration behind this series. These temples of cultural worship gather communities, and yet the literary experience, and therefore the experience of a library, remains solitary. Giving groups of scholars and peers glimpses into the past, present and future of humanity, literature offers an unparalleled opportunity to explore one’s self from within through the unique internal narrative that each reader develops. It is this internal narrative that forms us when we are young, matures with us, and grows when we feed it. It was the first means of travel offered to many and continues to be the most accessible form of escape for millions of people seeking knowledge, the world, themselves. It is with an eye towards this improbable bled of public space and private experience that Poirier displays some of the finest libraries, both classical and modern, across Europe.
Ever since Colossal linked to them before the weekend, I’ve been stealing glances at these trying to pick a favorite. I can’t, they’re all so good.
At the time of the pro-democracy Tiananmen Square protests in 1989, David Chen was a 25-year-old student. Using a camera his uncle had given him, he spent a week taking photos of the protests. Those photos have been hidden away until now: the NY Times has published a selection of them today.
Jem Cresswell swam with humpback whales, took over 10,000 black & white photos, and whittled them down into his series, Giants. From Colossal:
In addition to being intrigued by the animals’ size, the Australian-based artist is also fascinated by their brains. In 2006, spindle cells, which were only thought to be present in humans and great apes, were also found to exist within the brains of humpback whales. These cells, which are tied to social organization, empathy, and intuition, were found to be more than three times as prevalent in humpback whales than they were in humans.
Many neurons are also outlandishly large. A zillion red blood cells fit on the proverbial period at the end of this sentence. In contrast, there are single neurons in the spinal cord that send out projection cables many feet long. There are spinal cord neurons in blue whales that are half the length of a basketball court.
Anyway, here’s a behind-the-scenes of Cresswell doing his work.
Beautiful. I may have to add “swimming with humpbacks” to my bucket list.
Duh. As the largest animal ever known to swim the ocean or walk the earth, blue whales are almost twice as big as humpbacks and can live more than twice as long.↩
NASA’s Juno spacecraft is currently orbiting around Jupiter and taking some of the best photos and scientific measurements we’ve seen of the solar system’s largest planet. The photo above is of Jupiter’s south pole, gathering point for massive cyclones.
Early science results from NASA’s Juno mission to Jupiter portray the largest planet in our solar system as a complex, gigantic, turbulent world, with Earth-sized polar cyclones, plunging storm systems that travel deep into the heart of the gas giant, and a mammoth, lumpy magnetic field that may indicate it was generated closer to the planet’s surface than previously thought.
“We are excited to share these early discoveries, which help us better understand what makes Jupiter so fascinating,” said Diane Brown, Juno program executive at NASA Headquarters in Washington. “It was a long trip to get to Jupiter, but these first results already demonstrate it was well worth the journey.”
Using data and photos from Juno, Gerald Eichstädt and Seán Doran have created these videos that approximate what it might look like flying by Jupiter in a spacecraft.
Dronescapes is an art book of some of the most visually arresting drone photography collected from Dronestagram.
Readers will see the planet from entirely new vantage points, whether it’s a bird’s-eye view of Christ the Redeemer in Rio de Janeiro, a photograph taken inches away from an eagle in midflight, or a vertiginous shot taken above Mexico’s Tamul Waterfalls. There are extended commentaries on how individual images were created and a separate, concise guide containing technical advice on how to use a drone and select the right model.
God knows we can all use a shot of the mini-overview effect right now.
Thread! Austin Kleon shared something he learned on Twitter yesterday: there are actually two photos of Jack Ruby about to shoot Lee Harvey Oswald taken by two different photographers. We’ve all seen the familiar one, taken by Bob Jackson:
But like Kleon, I had never seen Jack Beers’ version shown at the top of the post, taken a little more than a half-second before Jackson’s. Kleon says:
At the time, Bob Jackson was “depressed” because he didn’t have film in his camera when Kennedy was assassinated. When Beers’ superiors saw the negative they were sure he’d just won the Pulitzer. Meanwhile, Jackson’s editors asked if he’d gotten anything. Jackson’s shot captured the exact right moment, with Oswald recoiling in pain, making the face, etc. He won the Pulitzer and fame. Beers was devastated. He felt like he’d had the Pulitzer and lost it. His daughter says he never really got over his bad luck. So, you have two photographers shooting a guy who got shot — one’s career “ruined” for him, one’s made.
According to an article about the two men who took the photographs, Beers was personally acquainted with Ruby:
He loved crime stories, she says, and went on ride-alongs with the Dallas police. He also came to know a strange little man who often hung out at police headquarters, a stripclub operator named Jack Ruby.
To fatten his pocketbook, Mr. Beers even photographed some of Ruby’s “girls,” whose pictures are part of the family collection.
And Jackson was in President Kennedy’s motorcade and spotted Oswald’s rifle peeking out of a window:
And then came the first shot.
Instinctively, Mr. Jackson says he looked to where the shot was coming from — and saw a rifle protruding from a window in the east end of the sixth floor of the Texas School Book Depository. The Warren Commission concluded that Oswald fired three shots from a sniper’s perch he had constructed in that window.
But he’d used all of his film up getting crowd shots and was unable to reload quickly enough. Back to the Ruby Oswald photos:
“Out of the corner of my right eye, I saw a sudden movement … My first impression was, it was a photographer out of position or with a very short lens trying to improve his position, then the curse, ‘You son of a bitch,’ punctuated by the shot. The curse was in such an unnatural and excited voice, before it concluded I knew someone had gone berserk and was attacking Oswald.”
The sudden movement provoked Mr. Jackson, six-tenths of a second later, to snap the shutter.
“The reason Beers shot too soon, in comparison to me,” says Mr. Jackson, “is that he saw it easier and quicker than I did. Ruby was more in his vision. I had a better position because I wasn’t distracted by Ruby as much. I was still looking at Oswald’s face, and I knew I was going to shoot before whoever that was blocked my view.”
37 years ago today, on May 18, 1980, Washington’s Mount St. Helens erupted in a blast that killed 57 people and covered a huge swath of the western US with ash and destruction. Alan Taylor, who grew up nearby and vividly remembers the eruption, shared some photos of the eruption and its aftermath at In Focus.
I was 6 when Mount St. Helens erupted and it was probably my first concrete memory of the wider world from childhood. For days and days, it was all anyone talked about at school. The next summer (or it may have been 1982), my parents, my little sister, and I embarked on a car trip west towards the Pacific from Wisconsin, which I later learned was a last hurrah family vacation before my parents divorced. We motored in a beast of a station wagon resembling The Griswold Family Truckster, and stopped at the Badlands, Mount Rushmore, Wall Drug, Rapid City, Yellowstone, and finally Seattle, where the only memory I have is of seeing the Space Needle briefly.
But the highlight of the trip was going to see Mount St. Helens. The landscape looked very much like in the second photo above, trees flattened over an ashy lunar landscape. It’s still one of the weirdest, most beautiful sights I’ve ever seen. We collected a couple of jars of ash to take home, along with some pumice stone.
Back at school in the fall, I managed a brief respite from my crippling unpopularity by showing off the ash jars and demonstrating how the pumice floated in water. A rock floating in water! But then the holes in the pumice filled with water, it slowly sank, and with it my new-found popularity. I imagine that pumice and those jars are still somewhere at my dad’s house, in a pile of something somewhere…it would be great to see them again.
For his Photographs of Films project, Jason Shulman condenses entire movies into single photos using ultra-long exposures. Some of the resulting photos are just shape and color, but for films that use longer shots of static sets, you can make out some identifying features, as with the war room and Ripper’s office in the Dr. Strangelove still above. And the Dumbo still I could almost drop in as a new header image for kottke.org.
By subtly animating still photos of waves shot by Ray Collins (previously), Armand Dijcks created short looping videos of waves that never break. It’s the visual equivalent of the Shepard tone, a sound that has the illusion of a forever rising or falling pitch.
Wired recently featured Tabitha Soren’s project, Surface Tension, for which she photographed the fingerprints and smudges left on the screens of devices.
The marks on the glass screens that technology users normally try to ignore or get rid of are the focal point of SURFACE TENSION. The textural conflicts in these pictures record how we now spend our lives. They’re not just grime; they’re evidence of the otherwise invisible.
In an earlier project (also, weirdly, titled Surface Tension), photographer Meggan Gould took photos of her and her husband’s smudged iPad screens.
In 2012, Evan Roth produced a series of Multi-Touch Paintings, “paintings created by performing routine tasks on multi-touch hand held computing devices”. The tasks include slide-to-unlock, playing Angry Birds level 1-1, adding two numbers with the calculator app, and typing in a username and password.
I prefer Roth’s take the most (it’s the simplest…and first) but what I like about all of these is they compress many actions over time into a single flat images, not unlike BriefCam does with surveillance videos. Simple examples of time merge media.
Sales Wick is a pilot for SWISS and while working an overnight flight from Zurich to Sao Paulo, he filmed the first segment of the flight from basically the dashboard of the plane and made a timelapse video out of it. At that altitude, without a lot of light and atmospheric interference, the Milky Way is super vivid.
Just as the bright city lights are vanishing behind us, the Milky Way starts to become clearly visible up ahead. Its now us, pacing at almost the speed of sound along the invisible highway and the pitch-black night sky above this surreal landscape. Ahead of us are another eight hours flight time, but we already stopped counting the shooting stars. And we got already to a few hundred.
I watched this twice already, once to specifically pay attention to all the passing airplanes. The sky is surprisingly busy, even at that hour. (via @ozans)
Update: Several people asked if this was fake or digitally composited (the Milky Way and ground footage shot separately then edited together). I don’t know for sure, but I doubt it. The answer lies in the camera Wick used to shoot this, the Sony a7S. It’s really good in low-light conditions, better than many more expensive professional cameras even. As the last bit of this Vox video explains, the camera is so good in low light that the BBC used it to capture some night scenes for Planet Earth II. Here’s a screen-capped comparison at 6400 ISO from that video:
And the full scene at 32000 ISO:
That’s pretty amazing, right? Wick himself says on his site:
I had to take many attempts and a lot of trying to figure it out. Basically the challenge is to keep shutter speed as fast as possible in order to get razor sharp images. While you can use the 500 or 600 rule on ground this doesn’t work out the same way while being up in the sky. Well of course basically it does if you dont fly perpendicular to the movement of the night sky but even if its really smooth there are usually some light movements of the aircraft. So depending on the focal length of your lense you can get exposure times between 15” to 1”. Thats why you will need a camera that can handle high iso. Thats where the A7s comes into play and of course a ver fast lense. The rest is a good mounting and some luck. Last but not least you need to keep the flight deck as dark as possible to get the least reflections…and the rest is magic ;)
Born into wealth, Jacques Henri Lartigue got his first camera at age seven and began documenting the world around him: his friends and family at play in the world. His work presaged the “prolonged adolescence” of the “leisure class” readily on display on Instagram these days.
Taking pictures gave Lartigue a hobby and a purpose. His immediate surroundings and leisure class milieu provided the subject matter and Lartigue, a native user, wielded his camera with technical mastery almost from the beginning. He also brought a child’s whimsy to photography’s staid practice of posing and composing. Lartigue had a low vantage, a wandering eye, and a loose frame that was far ahead of his time. He also had the resources and time to experiment. Lartigue continued photographing prolifically into his teens and early adulthood, finding muses in his wives and mistresses and the diversions of prolonged adolescence.
Lartigue’s photography was an influence on director Wes Anderson, particularly in Rushmore and The Life Aquatic. If you can’t see Rushmore’s Max Fischer in the top photo of the homemade go-kart, you certainly can in this one:
And the kid in the tire boat in the other photo? That is Lartigue’s older brother, Maurice. Everyone called him Zissou. (Curiously, none of this is in The Wes Anderson Collection. Come on! The photo of Zissou’s mentor Lord Mandrake in The Life Aquatic? That’s a self portrait of Jacques Henri Lartigue!)
Errol Morris’s surprising new film is simplicity itself: a visit to the Cambridge, Massachusetts studio of his friend, the 20x24 Polaroid portrait photographer Elsa Dorfman, who specifies on her website that she likes her subjects “to wear clothes (and to bring toys, skis, books, tennis racquets, musical instruments, and particularly pets…).” As this charming, articulate, and calmly uncompromising woman takes us through her fifty-plus years of remarkable but fragile images of paying customers, commissioned subjects, family, and close friends (including the poet Allen Ginsberg), the sense of time passing grows more and more acute.
Flickr represents one of the very best of things in the history of the internet. It was the first popular way to share photos in a social way instead of photos lingering in private accounts online and in the real world in shoeboxes under beds. It brought millions together and helped kick off first the digital SLR revolution, then it was eclipsed by the mobile photography revolution. Flickr—despite being a big corporate entity—embraced open licensing and took on the ambitious goal of being a mirror and gallery for oodles of museums around the globe.
Those values that drove Flickr during its influential peak can be seen in its Explore page, which still knocks your socks off. Matt calls it “an entire year’s worth of epic shots from National Geographic, generated each day, automatically by algorithms.”
Lots of wondrous shots from places I’ve never heard of. Lots of “how’d they even get that shot?!” photos of animals… Instagram has an explore tab but it’s popular music and tv stars and their dogs or it’s brand advertising-driven shots cooked up to sell something. There’s something so completely boring about Instagram’s explore page that makes me ignore it and go back to my friend feeds, whereas Flickr is the opposite: my friend feed is largely silent, but the best of the best page is truly awe-inspiring and at least one photo each day is going to take my breath away.
It is bizarre to think now that Flickr was only active for about a year before it was acquired by Yahoo. For those of us who were on the site then, that year felt like everything.
Jason’s first post that mentions Flickr is from March 2004. He wonders whether Flickr could be used as a universal login (much like Facebook, Twitter, and Google accounts are today). Annotation quickly followed. Then calendar view. RSS feed splicing. Organizr. A public API. The interestingness algorithm. Prints. It was step-by-step, bit-by-bit, but every new feature was a milestone. It excited people, and got them thinking and working on what was next.
Jason even has a remarkable post from August 2004 where he imagines an entire web-based operating system linking different services together:
To put this another way, a distributed data storage system would take the place of a local storage system. And not just data storage, but data processing/filtering/formatting. Taking the weblog example to the extreme, you could use TypePad to write a weblog entry; Flickr to store your photos; store some mp3s (for an mp3 blog) on your ISP-hosted shell account; your events calendar on Upcoming; use iCal to update your personal calendar (which is then stored on your .Mac account); use GMail for email; use TypeKey or Flickr’s authentication system to handle identity; outsource your storage/backups to Google or Akamai; you let Feedburner “listen” for new content from all those sources, transform/aggregate/filter it all, and publish it to your Web space; and you manage all this on the Web at each individual Web site or with a Watson-ish desktop client.
Think of it like Unix…small pieces loosely joined.
That last part didn’t come true; the pieces didn’t join so much as fuse together into something new. The companies listed either took over the world, faded into relative obscurity, or stopped existing (at least for a little while). And then there’s Flickr — which didn’t do any of those things, but changed how we use the web forever.
I usually say that platforms stop being vital, even if they continue to have lots of users, when the platforms stop getting better. It’s a tricky thing: sometimes a ham-handed “improvement” can actually ruin a lot of what made a platform special. Flickr was extraordinarily vital, for years. It still has so much to offer. Sometimes there’s something reassuring about a tool that’s still much the same.
For a project called Aleutian Dreams, photographer and fisher Corey Arnold has documented the lives and landscapes of the fishing industry in Alaska’s Aleutian Islands.
Fifteen years ago, I wrote a job-wanted sign and hung it outside of a bathroom near Seattle’s Fisherman’s Terminal. It read: “Experienced deckhand looking for work on a commercial crab or halibut fishing boat in Alaska — hard worker — does not get seasick” I was 24 years old, energetic and ambitious, with a few years of salmon fishing experience but naive to the world of high seas fish-work. After a few shifty respondents, I was hired by a seasoned Norwegian fisherman and flew on a small prop plane past the icy volcanos and windswept passes of Alaska’s Aleutian Islands, eventually slamming down onto the short runway in Dutch Harbor. The experience would forever change the direction of my life and shape my identity as both a fisherman and photographer. Isolated from the mainland by some of the world’s roughest waters, Dutch Harbor is a thriving, working-class commercial fishing port surrounded by steep mountains and lonely windswept valleys. It’s a place where industry and nature collide in strange and beautiful ways, a place where people harvest seafood on a massive scale, and share their meals and their refuse with local wildlife — from rapacious bald eagles to curious foxes.
The X27 camera takes videos in darkness that looks like they were shot in the daytime. And they’re in color…none of this black and white, thermal, or infrared stuff. The camera was developed for military use, has an effective ISO rating of 5,000,000, and has a comically long name: “X27 Reconnaissance Day/Night high Fidelity true real time low light/low lux color night vision Imaging Security / Multi Purpose camera system”. Pricing information is not available, but I bet you’re paying for every single one of those words. (via digg)
That’s Linda the Llama, photographed by Inge Morath for Life magazine. I have seen this photo many times in various contexts, but until today, I’d never really stopped to ask who photographed it or how a llama came to be riding through Times Square in a car. Perhaps it’s the context of the location, but it looks almost like something a tourist would have snapped…until further inspection reveals the perfect composition of a great photographer at work.
The caption read the llama was enroute to make a television appearance, but Morath recalled differently in her notes: “Linda, the Lama [sic] rides home via Broadway. She is just coming home from a television show in New York’s A.B.C. studios and now takes a relaxed and long-necked look at the lights of one of the world’s most famous streets.” Her contact sheets showed that Morath was already photographing the llama inside the studio, and the Inge Morath Foundation suggests the photographer might have acquainted herself with the llama and the trainer at least a year ahead of their photo-session.
Morath was a member of Magnum Photos, joining the collective a few years after its inception. She initially joined as an editor and researcher but after taking up photography herself and assisting Henri Cartier-Bresson, she became a full member as a photographer in 1955.
I think that in studying [Cartier-Bresson’s] way of photographing I learned how to photograph myself, before I ever took a camera into my hand. […] It was instantly clear to me that from now on I would be a photographer. As I continued to photograph I became quite joyous. I knew that I could express the things I wanted to say by giving them form through my eyes.
In 1959, while photographing the making of The Unforgiven, starring Audrey Hepburn, Burt Lancaster, and Audie Murphy, Morath accompanied Huston and his friends duck hunting on a mountain lake outside Durango, Mexico. Photographing the excursion, Morath saw through her telephoto lens that Murphy and his companion had capsized their boat 350 feet from shore. She could see that Murphy, stunned, was nearly drowning. A skilled swimmer, Morath stripped to her underwear and hauled the two men ashore by her bra strap while the hunt continued uninterrupted.
The Orion Nebula is one of the most studied objects in the sky and also has a significant place in the history of astrophotography. In 1880 it was the first ever nebula to be photographed; Henry Draper used the newly invented dry plate process to acquire a 51-minute exposure of the nebula with an 11 inch telescope. Subsequently, in 1883, amateur astronomer Andrew Ainslie Common recorded several exposures up to 60 minutes long with a much larger 36-inch telescope, and showed for the first time that photography could reveal stars and details fainter than those visible to the human eye.
Also called M42 (the 42nd object in a catalog kept by comet hunter Charles Messier in the late 18th century), it is a sprawling star factory, a gas cloud where stars are born. It’s a couple of dozen light-years across, and sits well over a thousand light-years from Earth. That’s 10,000 trillion kilometers, and you can see it with your naked eye! It’s so bright because of a handful of extremely massive hot stars sit in its center. They blast out ultraviolet light that energizes the gas in the nebula, causing it to glow.
It’s actually a small section of a much larger dark cloud, what’s called a molecular cloud, that we cannot see directly. Stars were born near the edge of that cloud, not too deeply inside it, and when they switched on their fierce light and stellar winds blew a hole in the cloud, popping it like a bubble. The Orion Nebula is a cavity in the side of that cloud, carved by the newborn stars.
Tabitha Soren, who you may remember as a reporter for MTV News, has for the past number of years been working as a photographer. One of her projects began more than 13 years ago as she accompanied her husband Michael Lewis on his visits to the Oakland A’s while working on Moneyball. After the book was published, Soren kept returning to photograph the up-and-coming players Lewis had profiled, following their careers as they either made it in the big leagues or didn’t.
Since then, she has followed the players through their baseball lives, an alternate reality of long bus rides, on-field injuries, friendships and marriages entered and exited, constant motion, and very hard work, often for very little return. Some of the subjects, like Nick Swisher and Joe Blanton, have gone on to become well-known, respected players at the highest level of the game. Some left baseball to pursue other lines of work, such as selling insurance and coal mining. Others have struggled with poverty and even homelessness.
Back in the days before the US bankrupted the Soviet Union with the space race and the nuclear arms race, the Soviets spent lavishly on some public works…like these amazing metro stations built in the Stalin era. Photographer David Burdeny got special middle-of-the-night access to these stations in Moscow and St. Petersburg and came away with these great photographs. Could you imagine an NYC subway station with chandeliers? Or even moderately clean walls? (via petapixel)
Using real images of Mars taken by the HiRISE camera on the Mars Reconnaissance Orbiter, Jan Fröjdman created a 3D-rendered flyover of several areas of the planet’s surface.
In this film I have chosen some locations and processed the images into panning video clips. There is a feeling that you are flying above Mars looking down watching interesting locations on the planet. And there are really great places on Mars! I would love to see images taken by a landscape photographer on Mars, especially from the polar regions. But I’m afraid I won’t see that kind of images during my lifetime.
It has really been time-consuming making these panning clips. In my 3D-process I have manually hand-picked reference points on the anaglyph image pairs. For this film I have chosen more than 33.000 reference points! It took me 3 months of calendar time working with the project every now and then.
Watch this in the highest def you can muster…gorgeous.
Photographers from more than 60 countries submitted almost 230,000 entries for the World Photography Organization’s 2017 Sony World Photography Awards and they recently announced the top 10 (as well as the commended top 50) photographers in several different categories. Some fantastic work in here.
From top to bottom, a school of fish by Christian Vizl, the Shaolin Wushu school of martial arts by Luo Pin Xi, and a landscape by Tom Jacobi. (via in focus)
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