Summary: Herbert W. Hamber, a professor at the University of California, Irvine, has blended his academic expertise in physics and astronomy with his passion for photography to capture stunning images of celestial phenomena. Trading the lecture hall for the desert’s tranquility, Hamber seeks the perfect conditions to photograph the cosmos.

Herbert W. Hamber is not your typical astronomy enthusiast. As a physics and astronomy professor at the University of California, Irvine, Hamber combines his scientific background with a keen eye for photography, turning the night sky into his personal gallery. Away from the urban glow, he finds solace and the ideal dark skies in Borrego Springs at the Steele/Burnand Anza-Borrego Desert Research Center.

Equipped with his camera gear and sophisticated telescopes, Hamber dedicates several nights to capturing the elusive beauty of nebulas and galaxies. The remote research center becomes his observatory—a refuge from light pollution and urban distractions, allowing him to witness the brilliance of celestial bodies in profound clarity.

Hamber, who began exploring astro-photography nearly seven years ago after receiving a telescope from his daughter, now frequents the desert for his astronomical pursuits. The technology’s advancements have not only deepened his engagement but have also enhanced the quality and details of his images.

The astro-photography process requires patience and precision. Hamber employs computerized telescope mounts and automated sessions to stack multiple short exposures into a unified image, revealing the hidden splendor of space objects. The results are meticulously adjusted to show the true colors and forms of astral features, from the Orion Nebula to the Whirlpool Galaxy.

Hamber’s works are available for public viewing in his online gallery, showcasing the array of astronomical magnificence he has chronicled. He advocates for the educational benefits of astro-photography, advising beginners to start with a small telescope and to join local astronomy clubs for communal knowledge-sharing. Emphasizing the importance of location, he echoes NASA’s suggestions to stargaze in open, naturally dark locales to fully appreciate the galactic showcase above. For those interested in the night sky’s marvels, NASA’s monthly video series offers guidance on the optimal viewing of celestial events.

The Growing Fascination with Astro-Photography

Astro-photography is more than a hobby for those fascinated by the night sky—like Herbert W. Hamber, it’s a blend of art and science. This niche within the broad field of photography has gained momentum alongside technological advancements in camera sensors, telescope optics, and image-processing software. The ability to capture stunning images of celestial bodies has tantalized both professional astronomers and hobbyist photographers, creating a thriving market for dedicated equipment and software.

Industry and Market Forecasts

The astro-photography market aligns with broader trends in the consumer electronics and educational sectors, particularly within the telescope market. These devices are critical for both amateur and professional astro-photographers. Market analysis suggests steady growth, driven by an increasing interest in space phenomena, the popularity of STEM (Science, Technology, Engineering, and Mathematics) education, and the advent of user-friendly astro-photography equipment.

Advances are not limited to hardware. Software for image processing and stacking has transformed the industry, making it possible for novices to achieve results that were once the preserve of experts. Organizations like the National Aeronautics and Space Administration (NASA) have played a significant role in arousing public interest through education and outreach.

Issues Facing the Astro-Photography Industry

Despite the rising popularity of astro-photography, the industry faces several challenges. Light pollution remains a significant issue, as it impedes the ability to capture clear images of the night sky. This has led photographers like Hamber to seek out remote locations offering dark skies, such as the Steele/Burnand Anza-Borrego Desert Research Center.

Furthermore, the high cost of advanced equipment can be a barrier to entry for newcomers to the field. While many practitioners suggest starting with modest gear, the pursuit of high-quality images often requires a significant investment in telescopes, mounts, cameras, and software which may dissuade potential enthusiasts.

The environment and conservation are also concerns. As more astro-photographers venture into natural habitats to capture the beauty of the night sky, questions arise about the impact of their presence on local wildlife and ecosystems.

Lastly, there is a learning curve involved. Astro-photography demands a combination of technical skills and patience, which can be daunting for beginners. It’s not just about the right equipment; knowledge of the night sky, weather patterns, and post-processing techniques all play essential roles in capturing the cosmos effectively.

Astro-photography is at a crossroads, where passion meets technology, and science merges with art. For those inspired by Hamber’s work, the pursuit of astro-photography offers a way to appreciate the universe’s beauty and share it with others, provided they are willing to navigate the associated complexities and advocate for the preservation of our night skies.

Marcin Frąckiewicz is a renowned author and blogger, specializing in satellite communication and artificial intelligence. His insightful articles delve into the intricacies of these fields, offering readers a deep understanding of complex technological concepts. His work is known for its clarity and thoroughness.

Within hours of the Russian invasion in February 2022, Ukraine’s President Volodymyr Zelensky invoked martial law across the country, setting in motion an ongoing defence operation and signing a decree to mobilize conscripts. With eligible men aged between 18-60 not being allowed to leave Ukraine, news reports were filled with images of mostly women and young children fleeing the country, wrapped in blankets or with grandparents nearby.

Like many of us, in the early days of the war, British photographer Polly Braden’s grasp of what was happening was informed by TV and newspaper coverage. In it, she recognized the correlation between what she was witnessing and her own practice. “I’d made this body of work about single parents (‘Holding the Baby,’ 2022), and seeing these women leaving Ukraine, I thought about everything they were going to have to do to support the children and older people they were bringing with them,” she told CNN in an interview.

Weeks after those initial reportage images began being shown, Braden flew to Moldova, which shares a border with Ukraine, inspired to work on a new series. “It felt important to record what was going to happen to these women. They were going to have to find housing, schooling, jobs… to build new lives,” she explained. “It also meant they suddenly became refugees — they might have been teachers, lawyers, important people in their community — what was that going to look like for them?” The project would ultimately become an exhibition called “Leaving Ukraine,” currently on display at the Foundling Museum in London.

“Of course, it’s important we have pictures of the frontline and what’s happening inside Ukraine, but it’s also important we understand what role women play in war, especially this war, where women have given up their status in their country,” continued Braden, reflecting on the traditionally gendered approach to documenting conflict. “They are safeguarding the next generation of Ukraine.”

Spanning two years (the most recent image was taken in early March 2024) and featuring a mix of still photography and moving image, “Leaving Ukraine” closely follows the stories of six women Braden met when she travelled to Moldova: law graduate Lena, pregnant mother Anya, school friends Sofiia, Aliesia and Yuliia, and Narine who left Ukraine with her children and a close friend.

Conscious of the work’s broader scope, Braden considers “Leaving Ukraine” not just a depiction of these six women and their families, but also as a reflection of the countries they’ve ended up in, which include Italy, Poland and the UK. According to the UNHCR’s most recent report, Moldova has received over 850,000 Ukrainian refugees and more than 120,000 third country nationals since February 22, 2022. Of them, as of November 12, 2023, more than 113,000 have stayed on in the country.

“I thought I’d meet people in a country then follow them building a life there, but not one person I met has landed in a country, found their feet and made it work,” she shared. “They’ve had to move because they can’t find work, there’s no housing, they can’t get their kid to school — or they’ve landed in the countryside in a country they’ve never been to.”

Braden describes the project as wholly collaborative, detailing her close work with the women to construct an intimate portrait of their new reality (photographing Anya, for example, just hours after she gave birth). Many of the images are tender studies of private moments, shot in homes, social spaces and on public transport. “They’ve been telling their own story really, I’ve just been holding a camera,” she said.

Lena, who Braden recalled had become irritated speaking to journalists in Moldova, later came to live with her in London. The photographer noted how they didn’t take any photos during this period. “I thought it was quite invasive,” she said, reflecting on the trust they’d developed. “After all it’s a privilege, (this work). And finding a new life is like a jigsaw, right?” Lena has since moved out, meeting a partner and having a baby, and Braden is conscious of how the war has affected her family’s trajectory. “The child hopefully will speak Ukrainian, but they’re an English family,” she said.

Elsewhere, with two teenagers of her own, the photographer has taken great pleasure in working with the three schoolgirls, one of whom is now studying film in Warsaw and used the project in her coursework. “The most amazing part about following young people, like Sofiia, Aliesia and Yuliia, is they’re optimistic and full of the joys of life,” she said. “Wanting love and all the normal things young people want.”

Initially, Braden had envisioned she’d be able to return to Ukraine with some of the women, but with the war now in its third year, that has not yet been possible. Ultimately she determined that the series is about building a life away from home, and “finding new paths in Europe.”

Similarly, her commitment to just a small group of families, in tandem with her long-term approach, allowed her to harness greater power in her storytelling. “If we don’t look at individual stories,” she clarified, “then big policies are made without understanding details.”

Polly Braden’s exhibition “Leaving Ukraine” is on at the Foundling Museum in London until September 1, 2024.

State College native Pat Little never used a camera until his senior year at Penn State. Now, he’s a published photographer for the Associated Press and the Centre Daily Times, an author, and he rakes in hundreds of comments on Facebook for his images.

Little’s origin story is a humble one. Interested in newspaper photography at a young age, but with no experience, he joined the Daily Collegian during his senior year after an encouraging encounter with a sports reporter. 

The first event he covered was a bike auction, from which he brought back a silhouette shot of a man holding up a bike over his head. The picture ran in the paper the next day. From there, Little was hooked.

“They decided to take me on the staff and started teaching me and I was reading everything I could get my hands on trying to figure this out,” Little said. “It just took off from there. Once I’d made my first print and looked at it and watched the process, I was absolutely captivated.”

Little spent the rest of his senior year shooting and learning with the Collegian and became a professional within those nine months.

In 1977, the Johnstown Flood became the first major news story Little covered. He slept in his car and walked along with locals all while taking in the damage and reactions as he went. He returned the following week with a relief crew.

A few weeks later, Little was at a conference for National Press Photographers with his folder full of Central Pennsylvania photos. He caught the photo editor of Time magazine in the hotel lobby and showed him his work. Upon request, he spread his shots of the Johnstown Flood on the floor of the Sheraton Hotel.

“I was thinking, ‘Oh my god you’re gonna get crushed,’ and he looks at me and asks my name and if I shot these,” Little said. “He just kept looking down at the prints and at me and asking if I shot them and then said, ‘These are the best things I’ve seen out of the event.’”

Little went on to do a handful of freelance work for Time, but it never amounted to much. What mattered was the confidence boost given in that hotel lobby that set him up for a lifetime of photography.

Little graduated with a liberal arts degree in general arts and sciences from Penn State in 1977. After working professionally for 13 years, he got his master’s degree from Ohio University in photojournalism where the idea for his book, “Penn State Then and Now,” was born.

“I had a class and one of the projects was you had to think of an original idea or fix something,” Little said. “I always liked those ‘Then and Now’ books, but I didn’t like how the photos were different. Always a few feet off or never lined up. It drove me nuts.”

After some trial and error with recreating a photograph of the historic courthouse in Athens, Ohio, Little had a revelation: if only he could see through the original photograph to line it up perfectly.

“I took another picture of the old photograph, made a new negative, cut the sprocket holes off so it was just the image, and then laid the negative inside the prism of my camera,” Little explained. “You can see it through the prism because it goes through a mirror. I could move the camera around and the live image would lock in with the photo. I could find exactly where that guy stood to take the original.”

Nine years later, Little realized he could replicate this at Penn State. With the help of university archivist Jackie Esposito, Little combed through pictures and picked the ones that fit the best. 

“The coolest thing about those is when I would position the camera with the field shot negative in it and looked through, you would see live people walk through these images of people like they were ghosts,” Little said.

Unfortunately, patenting the idea was out of the question. Little, who wrote, edited, and designed the book, included his process in the back for those interested in recreating it.

Throughout this process, Little was a known sports photographer for the Centre Daily Times. Very big on the football scene, he was there for the glory days of Penn State’s football team in the 1980s and even had a photo published in Sports Illustrated as a result.

“There was a football game and they called down and asked ‘if anyone got a shot of this happening, and I had it so I sent it up to them and they published it over two full pages that Monday,” Little said. “Once you’re in the business, people start seeing your work or you just happen to be in the right place at the right time.”

With nothing short of an impressive career, it’s Little’s dependability that still keeps him at the front of everyone’s mind when they need a project done.

After graduating and before returning to Centre County, Little worked at a newspaper in Philadelphia where his editor taught him the importance of showing up and working hard.

“You have to be dedicated. Showing up early and leaving late,” Little said. “When I’d shoot those football games, there’d be people walking down the sidelines. I’d be running.”

While slowly phasing out of that intensity, Little is still providing joy to the community through his photography. 

About six months ago, Little received a call from the Centre Daily Times that he could collect all of his negatives, which previously weren’t available to him. Twenty boxes in a pickup truck later, Little now uploads chunks of those negatives to Facebook day by day inspired by his friend, Tor Michaels, posting a “Photo of the Day.”

“I worked there from ‘82-2000. I probably have well over a million negatives, but it takes a while to look through them and pick out the images and scan them,” Little explained. “People love it, they love seeing the old stuff. And it gives me the chance to see all of my old stuff from assignments and when I was just messing around.”

Little has around a decade remaining of negatives to go through (he’s currently in the 1990s) and is enjoying the feedback and joint reminiscence his photos bring. His collection ranges from streetscapes to football games and everything in between, so everyone can find something to enjoy.

“Most of the major things that have happened in this town since the late ’70s, I was probably there shooting it,” Little said. “I was in the middle of all the riots. I was in the middle of the whole controversy at Penn State. I was in the middle of everything. I lived the history of the town.”

While plenty of photographers have documented the hardships of those living on the gritty streets of the Tenderloin, Amos Gregory takes a different approach, actually inviting subjects into his studio.

“You take someone who’s never had an opportunity to have these lights in front of them, and within five minutes you’ve got this professional model that’s posing for you,” Gregory explained. 

For the last couple of months, Gregory has photographed dozens of locals, hoping to capture the tender side of the Tenderloin. 

For most of his subjects this is the first time they’ve ever sat for a professional portrait. 

His goal is to refocus the neighborhood’s narrative by showcasing the dignity and resilience of this often-overlooked community.

54-year-old Corui Pounders lives in an alley just around the corner with his two-year-old shar pei named  Goldie. 

He has been homeless on and off for two decades. Like many in the Tenderloin, his bed is the sidewalk. He says living on the streets has made him invisible to others. 

“It’s nice to get some attention and put yourself out there,” Pounders said. 

In addition to the pictures, Gregory also records two-minute videos of his subjects telling their life stories.

“Being out there, that’s the hardest thing. You’re able to see so much stuff on the streets, so much poverty,” Pounders said.

Gregory says his hope is to eventually plaster these photos all over the neighborhood, proving that even in the darkest alleys, there’s always a flash of humanity.

“It would be nice to have community members walk down the street and see themselves featured prominently in a positive light,” he said.

Amos Gregory also co-founded the San Francisco Veterans Mural Project in 2011 to feature artists paintings in Veterans Alley. More information is available on the organization’s website.

Bemidji, Minn. – The Minnesota Department of Transportation is asking residents not to disturb aerial photography targets as crews begin aerial mapping in northwestern Minnesota. Landowners in the area that will have targets placed on or near their property will be contacted directly. Weather permitting, work will begin mid-April and conclude in late May. The mapping will take place in the following locations:

• Highway 2 – Ball Club to Itasca CR 89

• Highway 11 – Williams

• Highway 59 – Thief River Falls

• Highway 89 – Wannaska to Roseau

The aerial survey process relies on clear observations, and must be conducted after the spring melt and before the trees leaf out. To begin the process crews place an “X” on the ground as a reference point for the aerial photographer.

Aerial mapping is used to create a record of existing infrastructure and landscape along MnDOT right of way for transportation planning and highway design. In order to obtain accurate aerial mapping, MnDOT crews paint large white “X” targets on paved surfaces, and place plastic or fabric “X” targets on unpaved surfaces.

A survey crew then records the coordinate position and elevation of the temporary targets for the aerial photography company. The plastic and fabric targets are temporary and will be removed when the photography is completed.

MnDOT requests that landowners not remove or disturb the targets, if possible, until the photography is completed. If a target must be moved, please contact the District 2 survey office at 218-755-6509 or by email at drew.mistic@state.mn.us.

http://www.mndot.gov

By Stephanie Moore

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    RICHLAND COUNTY, South Carolina (WYFF) — A photographer in South Carolina who was previously accused of taking inappropriate photographs of a young girl under his care has been arrested again, according to the Richland County Sheriff’s Office.

According to the sheriff’s office, Gregg Martin, 55, was first arrested on April 8, 2022.

The sheriff’s office said Martin was arrested again on Tuesday for charges out of Georgia.

Deputies said they got a tip that Martin, who had three warrants from Gwinnett County Sheriff’s Department, was at a location on Wilson Boulevard.

Deputies said the new charges include the following: use of computer service to seduce, solicit, lure or entice a child to commit illegal acts, electronically furnishing obscene material to minors and obscene internet contact with a child.

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