Photographer James Crombie and his friend Colin Hogg captured an amazing moment over Lough Ennell in County Westmeath, Ireland on Tuesday: a murmuration of starlings that, for a split second, looked like a huge bird. Crombie took the photo and Hogg the video:
Crombie made, he thinks, about 50 trips to Lough Ennell in the past few months. “I’m usually a sports photographer, so for a while I’ve had a bit of time to think about other things. I had an image in my head,” he explains. “I could see they were making shapes. I kept going back, to get the image I had in my head.”
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Finally, at about 6pm on Tuesday, Crombie focused his Canon EOS-1D X Mark III and got the image he wanted. That night alone he shot between 400 and 500 frames before capturing this unforgettable photograph. “It paid off,” he says.
I know there has to be a word for a collection of things that looks like an individual member of the group (like the school of fish in Finding Nemo) but I can’t find it right now. Anyone know? Or have a good suggestion? (thx, aaron)
Projection is a short film by Joseph Holmes of clips from 50 different films that take place in movie theater projection rooms. This supercut was made to accompany Holmes’ series The Booth, a collection of photos from 2012 that document the disappearing/changing movie theater projection rooms.
Aspreviouslydocumented, I am a big fan of satellite images taken from a low angle. Planet Labs’ Robert Simmon wrote a post that talks about the history and uses of low-angle satellite imaging and shares many examples (like the two above of the Hoover Dam and Paris).
With regard to the Chicago’s street numbering system, Madison Street is the boundary between the North and South Sides of Chicago. Because of discriminatory housing policies and practices, especially during the Great Migration, Chicago is one of the most segregated cities in America. Generally speaking, a predominantly white North Side has had better access to resources and higher home values while a largely Black South Side has had lower home values and less access to resources.
The ultimate point that I was trying to get across was that Chicago’s history of segregation is still with all of us today. I wanted to prove this point for people who might not make that connection [between] the disparity that exists and the history behind it. I wanted the project to be an entree into expanding people’s minds of Chicago’s history of segregation through thinking about their own lived experience. I really appreciated being able to do that through art, through photos and portraits and video because I wasn’t blaming people who live on these different sides. I was offering them insight into the larger question of, “did you really choose this? Does our segregation reflect how we want to interact? And if it doesn’t, then you have to question why is it this way?”
There is this narrative that people think [Chicagoans] don’t interact. But we do, a lot, especially through art. That’s how we know the city is segregated. (laughing) We know that we’re disrupting this segregation when we come together. And that’s why I think art is such a beautiful common denominator.
It’s the result of the DESI Legacy Imagining Surveys, maps of the sky made by the three observatories (the Dark Energy Camera Legacy Survey, the Beijing-Arizona Sky Survey, and the Mayall z-band Legacy Survey, in combination with the orbiting WISE infrared observatory). They mapped the northern sky in seven colors, covering a third of the entire sky — 14,000 square degrees, or the equivalent area of 70,000 full Moons on the sky.
The ultimate goal is to better understand dark energy, the mysterious substance that’s accelerating the expansion of the Universe, by looking at the distribution of galaxies throughout the Universe. They’ll do that by picking tens of millions of the billion galaxies in the data and getting follow-up observations with the Dark Energy Spectroscopic Instrument (DESI), which will take spectra of those galaxies and find their distances.
Since we’ll know their positions on the sky, and their distances, this will make a 3D map of the Universe larger than any ever before.
The photo included at the top of the post is just a tiny tiny bit of the full image — you can pan and zoom the whole thing in this viewer. Be sure to zoom out in increments from the default view so as to fully appreciate just how absurdly large this image (and the universe) is.
How will we remember this pivotal year in human history? Many of us won’t want to, but in doing so we risk repeating what got us into this mess in the first place. Photography is always a powerful way to document events and this year was particularly suited to it: these photos vividly tell the story of 2020. You can check out many more of them here:
The embedded photos above, from top to bottom: Black Lives Matter protests by Dai Sugano, hospital staff by Sarah Lawrence, Black Lives Matter protests by Matt Rourke, empty grocery shelves by Justin Sullivan, Black Lives Matter protests by David Dee Delgado, California wildfires by Noah Berger, Covid-19 vaccine by Graeme Robertson.
(Note: The images below depict simulated violent death.)By An Eye-Witness is an arresting series of images by Azadeh Akhlaghi that recreate seventeen prominent deaths from Iran’s history. According to this interview, Akhlaghi was inspired by post-election uprisings in Iran and Arab Spring to document these deaths.
Eiferman: How was this like shooting a movie?
Akhlaghi: After three years of research by myself, I found a producer and then a crew. We had one month for pre-production and 20 days to shoot all 17 pictures, so we had to be very quick, with only one day to shoot each picture. We had a very low budget so we couldn’t hire actors, and we mostly used friends or extras. But like a movie, I had a professional team with a make-up artist, set designer, assistant director, and everything.
Eiferman: You have a lot of experience in filmmaking; why did you choose to do this series as photographs?
Akhlaghi: I worked as an assistant director for a few years, yes. But I thought staged photography would be closer to the idea of art I had in mind. I was heavily influenced by old paintings but the narrative techniques are borrowed from my old engagement with cinema and literature.
Floyd began the undertaking in 1982, at the age of twenty-five, as a recent graduate of the University of Texas at Austin. Each morning, she’d capture herself in a full-length shot, with her camera set up on a tripod in the corner of her room. Her aim, at the start, was to keep up the daily ritual for twenty years, in order to observe herself aging. At first, on days when she skipped taking a photo, she advanced the film in her camera, leaving a blank when she processed the roll. But, as the project continued, she ended up skipping weeks, entire months, a good chunk of the nineties. Over the years, she moved the tripod around, from room to room, from house to house, outdoors, and around the world; she included family members and pets in her pictures. The metamorphosis or decline of her own body turned out to be, it seems, less interesting than — or inextricable from — the major events, changing backdrops, and interdependent relationships that made up her life.
Those are just a couple of the shots of birds in the air from Mark Harvey’s In Flight series. I love that top photo — I don’t know if those feathers are translucent or if it just appears that way because of the sky color. You can see more of Harvey’s photography on his website, at Instagram, and at Colossal.
Posing as young apartment-hunting Hungarian billionaire, artist Andi Schmied was able to gain access to more than two dozen luxury apartments in Manhattan and photograph the views from them. The resulting project is called Private Views and you can see some of her photos in this portfolio. Christopher Bonanos interviewed Schmied about the project for Curbed. Regarding the banal sameness of rich people things:
Did you discover anything interesting about the apartments themselves?
They are all the same! I mean, really! For example, the layout of the apartments are essentially identical. You enter, and there’s a main view, always from the living room — in the case of Billionaires’ Row, everything’s facing the park. The second-best view is from the master bedroom, which is usually the corner. Then there’s the countertop, which usually a kitchen island in the middle, and there’s different types of marble but there’s always marble — Calacatta Tucci, or Noir St. Laurent, or Chinchilla Mink, and they always tell you, “It’s the best of the best,” from a hidden corner of the planet where they hand-selected the most incredible pieces. After five of these, it’s incredibly similar, all of them. Also they put a lot of emphasis on naming the designer.
The branding.
Yes. And there’s a big competition for amenities, who has the craziest amenities. Of course there’s the pool and all of that, but one of the newest things in the past two years in every single development is the golf-simulator room - it’s just the standard now.
Private Views is performance art as much as it is about photography and architecture. I love the details about how she conned her way into these buildings by using the eagerness of real estate brokers against them.
But after a while I realized that it absolutely doesn’t matter what I wear: From their point of view, you’ve passed the access, and you can do anything — anything is believable. For example, all the pictures were taken with a film camera, which is [gestures broadly] this big. I’d just ask, “Can I take some pictures for my husband?” which is a very obvious and normal thing to do. There were a few agents who noticed that it was a film camera, not a digital camera, and those who noticed asked, “Oh, wow, is it film?” And I’d always say something like, “Oh, my grandfather gave it to me — to record all the special moments in my life.” And they’d just put me in this box of “artsy billionaire,” and would start to talk to me about MoMA’s latest collection. So anything goes.
Critic, artist, and experimental philosopher Jonathon Keats has installed pinhole cameras in three locations around the United States — Amherst College, Arizona State University, and Lake Tahoe — that are designed to take 1000-year-long exposures of their surroundings.
I don’t plan to be here in a thousand years, but for those of you who are, what you’ll see if all goes well is not an image of a single landscape, but rather an image of change within that landscape over that very long period of time. How is that possible? To address the question at a technical level, I built the camera based on archaeological and art-historical research. The casing of the camera is made out of copper. Archaeologists know what happens to copper: it will take on a patina, and the oxidation creates a sort of protective surface that will preserve the integrity of the camera as an object, which is intentionally very simple and very small. The pinhole can’t be allowed to oxidize at all, so that is pierced through a sheet of hardened twenty-four-carat gold, and gold will not corrode. This provides integrity over the next thousand years for the means by which the image is focused.
The image is focused onto the back of the camera, which is not paper in this case. Instead it is oil paint. The pigment that I chose is a paint called rose madder. The madder root has a red color that was very much valued in antiquity, but is the bane of any conservator today. Examples of paintings from the Renaissance show that it’s not very light-fast. It is a fugitive color. And the so-called “inherent vice” of it becomes a virtue in the case of a camera like this, because we are causing it to fade.
A prototype of the camera is pictured above. It will be interesting to see to what extent the final product is averaged out — when you’re dealing with 1000 years, you have to reckon with the motion blur of even seemingly stationary objects. (via @zander)
Ghosts of Segregation is a project by photographer Rich Frishman with the goal of documenting the “the vestiges of America’s racism evident in the built environment, hidden in plain sight: Schools for ‘colored’ children, theatre entrances and restrooms for ‘colored people,’ lynching sites, juke joints, jails, hotels and bus stations.” The top photo above is of a segregation wall in a restaurant in Texas photographed in 2017:
This partition was constructed in the early 20th Century to keep people of different races apart. It is decorated with an original pre-1929 Dr. Pepper logo. At the time of its construction (circa 1906) only Caucasian customers were allowed to sit in the front of the saloon. All Hispanic, Asian and African-American customers had to sit behind the wall. When the saloon was remodeled and re-opened in 2014 the wall, no longer used for its original purpose, was retained as a historical reminder. It has recently been demolished.
The bottom photo shows the “colored entrance” for a movie theater in Texas:
The enigmatic door atop the stairway on the south side of the Texan Theater, long locked and largely overlooked, is the “colored entrance,” a vestige of Jim Crow-era segregation. In Kilgore, Texas, the term “colored” extended to anyone not Caucasian, including Hispanics and the occasional Asian.
Also included in the project are photos of WWII internment camps (where persons of Japanese ancestry were held during WWII, many of them American citizens), the US/Mexico border wall, and the Stonewall Inn in NYC. You can view the photos here as well as a few more in the NY Times.
This pinhole solargraph, taken using a beer can pinhole camera over a period of eight years and one month, is thought to be the longest exposure image ever made. The photo shows the path of the Sun across the sky over that time period, almost 3000 trails in all. Regina Valkenborgh set the camera up in 2012 and then forgot about it; it was found by someone else this year. Said Valkenborgh of the project:
“It was a stroke of luck that the picture was left untouched, to be saved by David after all these years. I had tried this technique a couple of times at the Observatory before, but the photographs were often ruined by moisture and the photographic paper curled up. I hadn’t intended to capture an exposure for this length of time and to my surprise, it had survived. It could be one of, if not the, longest exposures in existence.”
Capture the Atlas has collected some of the best aurora borealis and aurora australis photos taken this year in their 2020 Northern Lights Photographer of the Year competition. I’ve highlighted two photos from the competition above, by Ben Maze & Nico Rinaldi respectively. Maze’s photo, of the aurora australis in Tasmania, is stunning — one of the best astronomy photos I have ever seen. Here’s how he captured it:
Captured in this image is a trifecta of astronomical phenomena that made for some of the best astrophotography conditions one can witness in Australia, namely, the setting Milky Way galactic core, zodiacal light, and of course, the elusive Aurora Australis. On top of this, a sparkling display of oceanic bioluminescence adorned the crashing waves, adding the cherry on top to what was already a breathtaking experience.
Having been out of reception and civilization for over a day, fellow photographer Luke Tscharke and I had no idea the aurora would strike on this night. We’d just heard rumors of a potential solar storm. We could barely contain our excitement when the lights first showed up on our camera’s screens. We later realized we were in the best place on the entire continent to witness the rare show, with Lion Rock being on the southernmost cape of Tasmania and much more cloud-free than the rest of the state at the time.
The colors that our cameras picked up were incredible, too. Rather than the classic green, the display ranged from yellow and orange to pink and purple. When I’d captured enough frames that I was happy with, I simply stood by my camera with my head tilted towards the sky, occasionally swirling my hand around in the sparkling water by my feet. I’m forever grateful for moments in nature like this that show us the true wonders of our planet.
This is an aerial photo of Manhattan taken circa 1931. You can see all the way from 125th Street in Harlem down to the tip of Manhattan and beyond. That tall spike 25 blocks south of Central Park is the Empire State Building, which was completed in 1931. Also visible in the photo to varying degrees: Central Park’s Hooverville, the Statue of Liberty, several of the East River’s bridges, the Metropolitan Museum of Art, Governors Island, and the much more uneven shorelines on both the Hudson and East River sides of the city. See also this aerial map of NYC from 1924, which is also available at NYCityMap (click on “Map Type” in the upper right) and a 1931 aerial photo of lower Manhattan.
Note: I tried and failed to track down the source and exact date of this photo. The earliest instances I could find were uncredited posts on Reddit and Facebook from a couple of years ago. Any idea where this came from? Would love to properly credit the source and nail down the year. (via @marinamaral2)
In 2007, Errol Morris wrote a three-part series for the NY Times about a pair of photos taken by Roger Fenton of the Crimean War in 1855. Taken from the same position on the same day, one of the photographs shows cannonballs scattered on a road while in the other photo, the road is clear of cannonballs. Which one, Morris wondered, was taken first and why?
I spent a considerable amount of time looking at the two photographs and thinking about the two sentences. Sontag, of course, does not claim that Fenton altered either photograph after taking them — only that he altered or “staged” the second photograph by altering the landscape that was photographed. This much seems clear. But how did Sontag know that Fenton altered the landscape or, for that matter, “oversaw the scattering of the cannonballs on the road itself?”
His three posts about these photographs are a fascinating exposition on truth and evidence — I posted about them back when he wrote them, saying of part one that “this might be the best blog post I’ve ever read” — and I recommend you read them, but the next best thing is watching the video above in which Vox Darkroom’s Coleman Lowndes talks with Morris about the mystery of the photos and how he arrived at a conclusion.
Gordon Parks was a novelist, poet, musician, composer, painter, and film director, but he was best known for his photography. In this video, Evan Puschak takes a look at Parks’ photography, from his FSA photos taken in the 40s to his photo essays for Life magazine. What a life, what a career. Here are just a few of Parks’ photos; I encourage you to check out the rest.
Using the Dark Energy Camera at the Cerro Tololo observatory in Chile, astronomers took an image of the stars clustered around the center of our Milky Way galaxy that shows about 10 million stars. Check out the zoomable version for the full experience.
Looking at an image like this is always a bit of a brain-bender because a) 10 million is a huge number and b) the stars are so tightly packed into that image and yet c) that image shows just one tiny bit of our galactic center, d) our entire galaxy contains so many more stars than this (100-400 billion), and e) the Universe perhaps contains as many as 2 trillion galaxies. And if I’m remembering my college math correctly, 400 billion × 2 trillion = a metric crapload of stars. (via bad astronomy)
Even after all the images were shot and each panel completed, the finished image did not come together smoothly. “I began in 2015 on a Mac Pro with 2 Xeon Processors and 64GB of RAM. This machine was easily one of the fastest computers of the day, and it carried me all the way up to panel 47 where I believe I hit the RAM limit of the computer.”
It would take five years from that point for technology to catch up to Harbison’s needs as he wouldn’t have a computer powerful enough to complete the task until August of 2020. “The new computer is an AMD Threadripper with 24 cores and 256GB of memory,” Harbison said. “It took a total of 23 hours to provide an astrometric solution for all 200 panels and then an additional 19 hours to merge into the gradient merge mosaic tool.”
What an amazing thing to be able to make from your backyard.
This is so much fun to play with! You can use the mouse or arrow keys to drive, the spacebar to flip to the other side of the street, and you can change or add years to the display. It’s really interesting to add a bunch of different years to the display and then motor up and down the street to see what’s changed over the decades. It’s the perfect interface for this art.
Pete Souza was the White House photographer for Ronald Reagan and Barack Obama. Reflecting on his experience and the how the current President comports himself while in office, Souza published two books: Obama: An Intimate Portrait and Shade: A Tale of Two Presidents. Those books form the basis for a documentary directed by Dawn Porter on Souza and his work called The Way I See It.
Based on the New York Times #1 bestseller comes The Way I See It, an unprecedented look behind the scenes of two of the most iconic Presidents in American History, Barack Obama and Ronald Reagan, as seen through the eyes of renowned photographer Pete Souza. As Official White House Photographer, Souza was an eyewitness to the unique and tremendous responsibilities of being the most powerful person on Earth. The movie reveals how Souza transforms from a respected photojournalist to a searing commentator on the issues we face as a country and a people.
I didn’t know that Trump’s presidency is not really getting recorded photographically as past presidencies have, but I’m not surprised.
The film was shown on MSNBC the other day…I don’t know if they’re rerunning it or what. It’s also out in theaters but with many of those still closed, I assume it’ll be out on streaming at some point soonish? (Update: According to the MSNBC schedule, it looks like it’s re-airing at midnight on Friday.)
The winning photographs in the 2020 Wildlife Photographer of the Year contest have been announced by the Natural History Museum in London. Photos above by Shanyuan Li, Weiwei Zeng, and Greg du Toit. (via in focus)
Inspired by the symmetry and color palettes of Wes Anderson’s movies, the Instagram account Accidentally Wes Anderson has been collecting and featuring photos from folks all over the world that wouldn’t look out of place in The Royal Tenenbaums or The Grand Budapest Hotel. The creators have turned it into a new book called Accidentally Wes Anderson, which features many of the best contributions from the account. It sounds like it’s kind of a travel book, a visually oriented Atlas Obscura.
Now, inspired by a community of more than one million Adventurers, Accidentally Wes Anderson tells the stories behind more than 200 of the most beautiful, idiosyncratic, and interesting places on Earth. This book, authorized by Wes Anderson himself, travels to every continent and into your own backyard to identify quirky landmarks and undiscovered gems: places you may have passed by, some you always wanted to explore, and many you never knew existed.
And while we’re here, I picked out a few of my recent favorites from their Instagram:
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