The AVA Center’s new exhibition features Jeff Caffee’s “Street Grunt” photography series, beginning in July. AVA Center exhibitions are free to the public, and the center is open from 10 a.m. to 5 p.m. Tuesday through Friday, 10 a.m. to 4 p.m. on Saturday, and is closed on Sunday and Monday.
Ariel Flankey, 28, packs up blankets, clothes, food and other belongings as the city of Missoula carries out a campsite sweep and cleanup of the West Broadway Island, forcing Flankey and other folks experiencing houselessness to remove and relocate their campsites on March 14, 2024. Flankey, who was born and raised in Missoula, had been living at the island since the summer of 2023. She has been experiencing houselessness since 2017, saying high rent prices and the high cost of living has kept her from securing permanent housing.
For the fifth year in a row, we are blessed to see the greatest shots from the sports community. To celebrate the winners of this year’s World Sports Photography Awards, we have shared their mesmerizing pictures below.
Three photographers won both an award as overall winner and gold in their category. Those great photographers are Eric Tkindt (gold), Isaac Julián Morillas Sánchez (silver), and Ryan Pierse (bronze). Eric competed in the category Gymnastics, Isaac in Other, and Ryan – Aquatic. And they didn’t have it easy as this year they broke the record of submissions spanning over 83 countries.
So, without further ado, let’s take a look into the world of sports. And for previous year’s competitions, see winners from 2023 and 2022.
More info: worldsportsphotographyawards.com | Facebook | Instagram | x.com
It’s been an active year so far for astronomers. We’ve had the tantalizing Northern Lights, a solar eclipse, and a close call with an asteroid.
Not to mention sky platypuses and cosmic koi carp.
Last year, an astronomical highlight was the incredible meteor storms, among other cosmic events captured by the entries to the Astronomy Photographer of the Year competition.
The competition is run by Royal Observatory Greenwich in association with BBC Sky At Night Magazine. This year, the competition received over 3,500 entries and from passionate amateur and dedicated professional photographers from 58 countries across the globe.
The winners will be announced September 12, but until then, we can take a look at the shortlisted entries, which include sky dragons, Himalayan cosmic rainbows, and the screams of a dying star.
The overall winner will take home £10,000 ($12,630), with other prizes ranging from £250 to £1,500 ($315 to $1,895), and all winning entries will receive a one-year subscription to BBC Sky at Night Magazine.
Photographers entered their work into nine categories: Skyscapes, Aurorae, People and Space, Our Sun, Our Moon, Planets, Comets and Asteroids, Stars and Nebulae, and Galaxies.
There are also prizes for the best newcomer, and for entrants processing images using pre-existing open source data, and for the best under 16 photographer.
Explore some of our favorite shortlisted images.
The lead image for this story: “This image was taken at Snettisham Beach, famous for its vast tidal mudflats that attract migrating birds in staggering numbers. The foreground subject is a dilapidated jetty, which was built in the Second World War to allow gravel extracted from the nearby pits to be moved by boat. The curved channel in the mudflat mirrors the trailing stars.”
Equipment used: Taken with a Canon 6D camera, Samyang 14 mm f/2.8 lens, ISO 400, 319 x 30-second exposures Foreground: ISO 800, 120-second exposure
“A view of the Eystrahorn Mountain on the night of a KP7 storm (a strong geomagnetic storm that can cause aurorae and upset electrical power systems). The intensity of the storm resulted in the impressive range of colours in the sky.”
Equipment used: Taken with a Nikon Z7 II camera, 14 mm f/1.8, ISO 6,400, 4-second exposure
“The photographer was able to capture the aurora in motion when it turned into something resembling a dragon’s head on a clear night. Telser chose to use black and white to emphasise the contrast of the aurora against the dark sky.”
Equipment used: Taken with a Canon EOS R6 camera, 14 mm f/2.8, ISO 12,800, 1.6-second exposure
“This image shows the International Space Station (ISS) transiting the 51 per cent illuminated Moon. The photographer initially struggled to find a suitable shooting location with clear skies along the very narrow transit corridor.”
Equipment used: Taken with a Saxon ED127 FCD100 Triplet Refractor telescope, Baader IR/UV filter, Sky-Watcher EQ6-R mount, ZWO 294MC Pro camera, 952 mm f/7.5, Gain 192, 1-millisecond exposure
“During the Spring Festival, the Sun and altostratus clouds acted together to create this huge corona, soaring above the Himalayas. The result is an enormous colour palette above the snowy peaks.”
Equipment used: Drone footage, DJI Mavic 3 Camera, 12.3 mm f/5, ISO 100, 1/3200-second exposure
“The 100-megawatt molten salt tower photovoltaic power station pictured here has 12,000 super mirrors. In the daytime, the mirror matrix reflects the sunlight back to the central heat-collection tower which can reduce carbon dioxide emissions by 350,000 metric tonnes per year. At night, the mirrors reflect the light of nebulae, clusters, planets, the Milky Way and countless stars at different angles, making it difficult to tell what’s real and what’s not.”
Equipment used: Taken with a Sony ILCE-7RM5 camera, Sony FE 50 mm F1.2 GM lens, 50 mm f/1.2, ISO 3,200, 5-second exposure
“This image was taken in Castle Hill, New Zealand, facing south as the Milky Way set. Partway through the night, Hall-Fernandez noticed a faint glow growing stronger, though he was not expecting to see the Aurora Australis. As the aurora was very far away, only the deep reds were visible.”
Equipment used: Taken with a Nikon Z 6 (astro-modified) camera, Tamron 35 mm f/1.4 lens, ISO 1,600, Sky: 11 x 60-second tracked exposures; Foreground: 6 x 60-second exposures
“Saturn’s decreasing ring tilt means the moon Titan is closer to Saturn from our viewpoint than it has been in over a decade. At the centre of the image, Tethys is just about to disappear behind Saturn, while Rhea, Enceladus and Mimas are on the left, and Dione is to the lower right. The planet’s shadow on the rings is prominent, as are the Cassini and Encke divisions.”
Equipment used: Taken with a Celestron C14 Schmidt-Cassegrain telescope, Tele Vue 2x Barlow lens, Chroma RGB filters, Celestron CGX-L mount, QHY5III200M camera, 10,000 mm f/29, 40-minute video, 10-millisecond exposures, 25% of ~220,000 total frames
Take a look at our guide to the best cameras for astrophotography, and the best lenses for astrophotography.
We’ve also go guides to the best star tracker mounts for astrophotography, and the best low-light cameras.
A BRIDE’S dissatisfaction with her wedding photos has sparked an online debate.
Alexandra Conder took to TikTok to chronicle her experience with a photographer and the snapper’s editing skills on her wedding pics.
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At first glance, Conder expressed how she loved the shots, but 30 days after her festivities faded, she noticed something was off about the pictures.
Conder explains to her TikTok followers how she found her wedding photographer on Instagram and paid almost $8,000 to shoot the event.
“So, she delivered the photos, and, of course, right away, I’m like, ‘Oh my god, I love them, I love them.’ Every single one of them, I’m like beaming with excitement,” the discontent bride said.
“And, then, for about 30 days, I’m staring at the photos, and I’m like, why is there something bothering me? I couldn’t put a finger on it.”
Conder, who clarifies that she’s a cosmetic artist and did her own makeup for her wedding day, explained how, in the photos, she looks extremely pale, and dull.
The bride said she contacted the photographer about her displeasure with the photos and shared side-by-side images of the edited picture and a snap of her on the wedding day.
“What did she put on my lipstick, what blush am I wearing like what is on my eye, my skin, everything,” a raging Conder said.
Conder proceeded to share three other editing snaps, grumbling about the photographer’s sepia-tone edit.
“Especially when I looked further, the filter on my teeth, my teeth look yellow, like what is that? My teeth are white, what is that,” she said.
“One last example, this is the ocean. It looks like we got married in Seattle. What is that?” the dissatisfied bride added before clarifying that the photo is “beautiful” nonetheless.
“I’m not discrediting her ability to capture a moment because that she was really good at, but it was the post edit that I was unhappy about.”
More to follow… For the latest news on this story, keep checking back at The U.S. Sun, your go-to destination for the best celebrity news, sports news, real-life stories, jaw-dropping pictures, and must-see videos
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Within the visual legacy of Bauhaus, few are as centrally positioned as Lucia Moholy and yet none more overlooked. While the Czech photographer’s painstakingly composed black and white images of the Bauhaus buildings in Dessau have become globally synonymous with the school, recognition of Moholy’s work, both around Bauhaus and beyond, has been routinely obscured.
‘Lucia Moholy: Exposures’, the first major retrospective of the photographer, aims to change that. Opening at Kunsthalle Prague, in the city of Moholy’s birth, the exhibition casts a suitably wide net in capturing her life’s work. Spanning the 1910s to the 1970s and drawing together more than 600 artefacts, this monumental undertaking offers a long overdue appraisal of a true virtuoso of 20th-century photography.
Exhibition view of Lucia Moholy, 1981. Courtesy of the artist
(Image credit: Giorgio Hoch. Courtesy Kunsthalle Prague)
At its heart, ‘Exposures’ reveals the sheer breadth of Moholy’s practice beyond her five years at the Bauhaus and, indeed, beyond the medium of photography. In part, her limited recognition can be attributed to this multidisciplinarity. Moholy worked across art and science, as a photographer, portraitist, writer, editor and information scientist, producing microfilm projects funded by the British government during the Second World War and carrying out others abroad, across Europe and the Middle East, on behalf of Unesco.
Lucia Moholy, Peć, Yugoslavia, 1932
(Image credit: Photo Elysée. Courtesy Kunsthalle Prague)
Linking the visual with the written word, her urge to preserve cultural heritage could be attributed to the loss of her own Bauhaus negatives after fleeing Germany in 1933 (only to discover that many had been taken and used without her consent), as much as it could to her experience working across multiple cultural contexts. Taking her from Austro-Hungarian Prague to pre-war Yugoslavia, interwar Germany and England, Turkey in the 1950s, before settling in Zurich in 1959, Moholy’s nomadic life drove a similar intrepid spirit in her artistic output.
Lucia Moholy, 1981
(Image credit: Giorgio Hoch. Courtesy Kunsthalle Prague)
Because as much as photography reflected culture, it also represented a culture for Moholy, who relentlessly pushed its development. Together with her husband, the Hungarian painter, photographer and Bauhaus professor László Moholy-Nagy (whom she married in 1921 and divorced eight years later), the pair expanded experimental forms of cameraless photography, coining the term ‘photogram’ to refer to a photograph made by placing an object or its shadow directly onto photographic paper and printing the resulting image.
Lucia Moholy, Edith Tschichold, c. 1926
(Image credit: Fotostiftung Schweiz. Courtesy Kunsthalle Prague)
Moholy’s photographs embody this wealth of information and innovation but they also contain great beauty. In her portraiture – a particular delight of the exhibition – Moholy’s eye for lighting and perspective frames each sitter with a directness and clarity that echoes the language of her Dessau photographs. Like the women whom she mostly photographed, from Marxist activist Clara Zetkin to German artist Anni Albers, the beauty in Moholy’s work was too often hindered by male peers throughout her lifetime. This exhibition reveals it in full for the first time.
‘Lucia Moholy: Exposures’ is showing at Kunsthalle Prague until 28 October kunsthallepraha.org
Lucia Moholy, Shadows on Rock and Water, undated
(Image credit: Photo Elysée, Courtesy Kunsthalle Prague)
Unknown photographer, portrait of Lucia Moholy, 1927
(Image credit: Bauhaus-Archiv. Courtesy Kunsthalle Prague)
Lucia Moholy, Lou Scheper, 1927
(Image credit: Bauhaus-Archiv. Courtesy Kunsthalle Prague)
Meditations on Love, curated by the Develop Collective for The Photographers’ Gallery, asks us to “consider how love is represented, preserved, and remembered” through an archive of photobooks, novels, and nonfiction. Designed as a reading room, the exhibition invites visitors to explore books and reflect on themes of resilience, community, friendship, subversion, identity, and queerness. Featuring works by Tami Aftab, Ollie Adegboye, Deana Lawson, Ewen Spencer, and more, it investigates love’s complex iterations, from tender to provocative, across a global landscape, from Palestine to Switzerland, Argentina to Taiwan, showcasing love’s enduring and revolutionary power.
From June 14 – September 22 2024 at The Photographers’ Gallery, London
Space and photography fans are in for a treat. The Astronomy Photographer of the Year competition has returned, with its sixteenth edition shortlist featuring a stunning array of photographs.
London’s Royal Museums Greenwich received a whopping 3,500 entries from both amateur and professional photographers globally, each of whom captured a breathtaking glimpse of space. The 30 shortlisted entries range from visuals from the Geminid meteor shower to an aurora in the shape of a dragon to ancient supernova remnants. Categories cover everything from stars and nebulae to asteroids to lunar and solar images.
The official winners of the competition will be revealed in September, but for now the shortlist is an incredible first look at the intersection between art and astronomy. Take a look:
Want more Astronomy Photographer of the Year wonders? Check out 2023’s list.
Catherine Bauknight’s photography has been featured in prominent publications such as The New York Times, USA Today, Time Magazine, Newsweek, Rolling Stone, People Magazine, and The Huffington Post. Her photographs from assignments across five continents are included in the permanent collections of prestigious institutions like Yale’s Beinecke Library, the Women’s Museum in Washington D.C., the Smithsonian Museum, and the International Center of Photography/NYC.
