ESO 422-41. (Image Credit: ESA/Hubble and NASA, C Kilpatrick).
New Delhi: The image above is a galaxy designated as ESO 422-41, at a distance of about 34 million lightyears in the direction of the constellation of Columba. This image was captured by the Hubble Space Telescope. The galaxy was originally spotted in the 1970s by a brand new telescope at the European Southern Observatory’s La Silla facility in Chile, which was used to perform a survey of the southern sky.
The astronomical instrument was used to produce a collection of photographic plates that became the ESO (B) Atlas of the Southern Sky. Humans know the skies of the northern hemisphere much more intimately than the southern skies. ESO 422-41 is just one of the many galaxies, star clusters and nebulae spotted by the ESO (B) Atlas of the Southern Sky.
Towards the end of the nineteenth century, astronomers began using specialised telescopes which were essentially large, modified cameras to capture images of celestial objects on photographic plates. These photographic plates revealed hundreds of nebulae, asteroids and stars that were previously unknown.
An image from 1883 of the Orion Nebula. (Image Credit: Andrew Ainslie Common).
Those astronomers who laboriously scanned the skies for fleeting glimpses of transient objects considered cameras as an obscene instrument that would render the ‘sport’ of astronomy obsolete. At this time, astronomers did not even have the concept of galaxies, and did not understand that there were isolated islands of stars suspended in space.
The equipment necessary for astrophotography steadily improved, and astronomers began to conduct systematic photographic surveys, imaging portions of the skies. The Carte du Ciel and the Astrographic Catalogue that was initiated in 1887 was a massive international scientific collaboration, using 20 observatories around the world to produce 22,000 photographic plates of the night sky. This ambitious project was only completed in 1962,
The development of the Schmidt telescope in the 1930s allowed for wide field imaging, producing deep sky maps. It was used for the Palomar Observatory Sky Surveys that resulted in a database of 20 million galaxies and over 100 million stars, significantly advancing our understanding of the cosmos.
The 18 inch Schmidt telescope during assembly. (Image Credit: Palomar/Caltech/Caltech Archives).
In the 1970s, the best available technology for recording the images for archival purposes was to use glass plates, treated with chemicals. This was the technology used to preserve the images captured by the ESO (B) Atlas of the Southern Skies, in the 1970s.
Modern sky surveys do pretty much the same thing, but use automation to periodically scan the entire skies. Examples include ESA’s Global Astrometric Interferometer for Astrophysics (GAIA), Sloan Digital Sky Survey (SDSS), Transient Optical Sky Survey Automated Telescope System (TOSS) and the All-Sky Automated Survey for Supernovae (ASAS-SN).
The Gaia telescope. (Image Credit: ESA).
The modern automated sky surveys also benefit from using space telescopes. The atmosphere of the Earth absorbs most of the frequencies in the electromagnetic spectrum, except those in optical frequencies, and those in the radio spectrum. The objects in the astronomical catalogues are prefixed by the names of the surveys for reference, allowing astronomers to easily track and identify objects such as ESO 422-41.
When astronomers started using cameras to hunt down asteroids, people believed that all the asteroids would be found within a few decades. We continue to discover new objects within our own Solar System, let alone the entire galaxy and the universe. Despite the advent of astrophotography and automation, we have not discovered all the objects in the universe that we have seen. Humans have gathered so much data that scientists are seeking the help of the general public to classify objects, and even machine learning. Then there are objects that have been forever hidden from view because of the acceleration of the expansion of the universe.
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Japan / A Love Story by acclaimed landscape photographer Michael Kenna is presently on display at the Daikanyama Hillside Forum in Daikanyama, Shibuya ward until May 5. The exhibition is accompanied by a book of the same name. After finishing its run in Tokyo, the exhibition will relocate to Los Angeles (May 11–July 20), and then London (September 24–October 20).
Kenna (70) is one of the world’s most preeminent landscape photographers. His work has been shown in hundreds of exhibitions in over 40 countries. A self-proclaimed “dinosaur,” he maintains the analog photographic traditions of his upbringing. He works solely in black and white, spending countless hours alone in the darkroom personally developing every print. A dedicated assistant of long-standing, Mark Silva, spends an equally voluminous amount of time retouching each print by hand.
The analog option is an “extremely slow, patient, unpredictable, uncontrollable, process” he concludes, which is “all of the reasons why I love it.” The digital option is “too fast, too easy, too intense, too saturated, too everything — for my personal, very slow taste.”
His prints are predominantly 7 ¾ inches square (19.69 cm square) with some larger alternatives of 15 inches square. The small size is chosen to establish an intimacy with the viewer. The square shape of the prints is a function of his choice of camera, a prism viewfinder Hasselblad.
Kenna grew up in the industrial north of England within a working-class Catholic family. He attended a seminary school from the age of 10 in preparation for becoming a priest. Priorities changed at the age of 17, however, when — as stated in the press preview — he “discovered girls.” Art school followed, before a relocation to California in 1977.
His love affair with Japan began a decade later, in 1987. “On my first visit to Japan” the exhibition flyer states, “I was blown away by the aesthetics, the spiritual and religious aspects.” He has been back innumerable times since. To celebrate his 50th birthday, in 2003, he completed the Shikoku pilgrimage. Japan was the last country he visited before the COVID-19 lockdown, and the first that he returned to after the lockdown was lifted.
The exhibition is loosely divided into two sections. In the initial gallery, the black-and-white images are generally dark. In the following two galleries, there is an abundance of white. The latter shots were largely taken in Hokkaido during the winter months.
“I went up to Northern Hokkaido in the middle of winter, and it looked to me like a stark sumi-e ink painting, a white canvas with Kanji characters marked on it” Kenna states. “I’ve been in love with the place ever since.”
Kenna is naturally drawn to mountains, coastlines, and lakes, but maintains a fascination for how humans relate to the land and what they place upon it. Within the Japanese countryside, a distinctive feature is the torii gate, which to Kenna symbolizes “respect and reverence” for the landscape. He finds common cause with the Japanese concept of gods inhabiting every object, no matter how humble — the notion that “everything is sacred” pervades his work. He feels the need to “ask permission” from whatever he is photographing.
The human-made structures that he prefers are those that do not dominate the landscape. Boardwalks, jetties, fences, and posts, invariable attract his attention. They represent “pathways,” he states. They lead the viewer into the photographs, but their depiction within broad landscapes “leaves space for the viewer, to interpret, to imagine, to exist, to be themselves, to think.”
The Hokkaido-based shots are typically minimalist. They can have the feel of a Japanese rock garden, with snow substituting for raked gravel. They have been described by noted art critic, Kotaro Izawa, as “pictures written in short poem form,” of being “visual haiku.” It is a characterization that Kenna finds appealing.
There is an infectiousness about Kenna that reminds one of the English north in the days before the internet and cable television, of nights at the pub, a knees up, singalongs around the piano — of a basic sense of faith founded in community and family. In a video presentation of his Hokkaido travels that concludes the exhibition, Kenna is shown completing a commendable rendition of a Japanese tune on the karaoke machine of a local bar. He looks right at home.
Kenna is far from ungrateful for the hospitality he has received. The exhibition flyer declares a deep gratitude for “the curiosity” of the Japanese people, “their friendliness and generosity.” Through this exhibition, Kenna hopes to move towards squaring the ledger — to pay some of that generosity back. In Japan, however, the act of reciprocation can be a harder task than one might think.
I recounted to Kenna a personal anecdote of a night out with a group of younger coworkers during my third year in Japan. Here, at last, was my opportunity to pick up the lion’s share of the tab after years of having been treated by company workers of senior age — to be the host rather than guest.
When the young ones resisted my generosity, I became more than a little agitated. Had Kenna experienced something similar, I enquired. He had not, but with true northern English wit, he had a solution to my ongoing guestist dilemma: “You could always pay Japan back by writing nice comments about me” he joked — a task, in truth, that would be hard not to do.
Astutely, Kenna has opted to repay the kindness he has received. Not in kind, but with what he does uniquely well — with an exhibition and book that symbolize his “immense ongoing appreciation and deep gratitude” for the “alluring and mysterious country” of Japan.
Author: Paul de Vries
Find other reviews and articles by the author on JAPAN Forward.
To celebrate local photographers in the CSRA, the Arts and Heritage Center of North Augusta had a reception for the Eyes Wide Open Photography Invitational and book signing by local photographer Mark Albertin April 18.
The exhibit, which has been on display since April 4, gives local photographers a chance to display their work.
“Here they can showcase their talents,” said Cassie Bear, who serves as the Arts and Heritage Center treasurer for the board of directors.
Local photographers Patrick Krohn and Susan Igel had some of their work on display. Krohn said his photography focuses on intentional camera movement, which is when you move the camera up and down.
Igel said she loves landscapes and internal camera movement and it her first invention exhibit
Jim Bevins came out to support Ellie McGuire’s photography, which is like retro pin-up style. In addition to McGuire’s work he has enjoyed art that is local to the area, such an image of the downtown Augusta skyline.
“I like it because I know where it’s at. It’s something that I can relate to,” he said.
Photographer John Dean said he came to the event to meet with other photographers like himself, become a better photographer and get his name out there. His first photography exhibit will be displayed in May.
“I kind of got into photography to do stuff like this, present my work, and have people appreciate how I see the world,” he said.
Attendees had a chance to get a signed copy of Albertin’s book, “Along The Fall Line.”
“I feel really overwhelmed, and it feels really wonderful to be here with other photographers,” he said
Albertin said the photos in the book were processed in a dark room.
Albertin said a grant from Porter Fleming made his dream of making a book possible.
“That was kind of the push to make me do it,” he said.
Watercolorist Laurie Cordaro was the first person to stop by to get her book signed.
“I came out to see Mark Albertin, a wonderful writer, photographer and a former neighbor,” Cordaro said.
Cordaro said she takes time to get to know people with his work and was glad to have her book signed by him.
Albertin said he hopes his work will interest other photographers to get back into film photography.
“I think it so interesting to look at all these different photographs and beautiful work,” he said
The Eyes Wide Open exhibit will be on display until April 26. Albertin will talk about his photographs at the Morris Museum of Art April 27 from 2-4 p.m. The free event will include a reception.
The public is invited to a hosted walk-through Los Alamos Photography Club’s current exhibit at the Step Up Gallery at Mesa Public Library on Tuesday, April 23 between 5:30 p.m. and 7:30 p.m. Photographers who have photos in the exhibit will be present to discuss their work and take questions and/or comments from the audience.
I love looking through my parent’s photo albums. My dad, like a lot of dads, looks absolutely absent from my childhood, but, in reality, he was always the one behind his Olympus 0M30 rather than in front of it. He wouldn’t call himself the most accomplished photographer, but what shines through in these 1980s era photos is the feeling of depth and narrative.
There’s a strong chance that I’m just being nostalgic and sentimental, but I’m fairly sure a lot of the feeling has to do with the colors. A lot of my childhood photos are either black and white or what I would describe as caramel looking. There’s a fair amount of chromatic aberration and halatian, and the black colors are over crushed. Looking at them fills me with that feeling of optimism and hope, almost like the world was a better place. I know that isn’t true, but it doesn’t stop me from feeling it.
In many ways, we’ve lost this. With copious numbers of photos snapped on our mobile phones every single day and very few of them ever making it into printed form, we’re becoming satisfied with below standard photos. They might communicate the facts, but they rarely move us. I have three children, and I’m forever taking snaps of them. The photos document their lives, but they don’t move me in the way traditional film does. I wanted to get this feeling back, and I’ve managed it, armed with a gorgeous little app called mood.camera.
mood.camera price and availability
mood.camera is available in the only for a free 7-day trial, after which you need to purchase the app to keep using it, starting from $4.99 / £4.99.
It’s new to the App Store and is, at the time of writing, only available for Apple users. The core of the creator’s vision is to recreate the look and feel of film, achieved by using a custom ProRAW (iPhone Pro 12 or newer) image processing pipeline that allows for a greater level of color grading than is ordinarily possible.
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The app itself is incredibly simple. In fact, that’s one of the biggest selling points. The camera feed is restricted to a smaller part of the screen, which gives space for and clarity to all the buttons that provide functionality. This feed even has curved corners to give a feeling of film, and the interface colors are black and orange to make it feel retro.
Most of the nostalgia is created through the use of color emulations. You could call them filters, although the option to adjust the quality and tone of each gives a welcome level of customization that is absent on apps like Instagram.
With 15 to choose from, you’ll be sure to find a style that you just can’t put down. I have been transfixed by the Noir emulation with quality 400 and tone crush. My children have loved seeing themselves in black and white, and for me, it adds a depth of story to the photo. Maybe you’re shouting at the screen, “That’s all possible already. Just use a photo editing app.” I get that, but there’s something about having it in the app and it certainly helps that these emulations are so ridiculously gorgeous.
Another way that the app replicates the camera film experience is by not applying the emulation until after the photo has been taken. Depending on your age, you’ll remember the days of having to go to a shop to get your film developed. Between taking the photos and getting them developed, it might have been days or weeks. You had no idea whether you’d forgotten to take the lens cap off or not, and you just hoped the photos would turn out alright. The experience is not quite the same; you do, after all, only have to wait a matter of seconds to see the color adjusted result. But not being able to see it live in the camera feed creates a pleasing level of drama and anticipation.
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This app has genuinely brought joy back into the process of taking photos on my phone. When I want to take a photo, I’m now engaging my creative juices to think about what look and feel I’m after rather than just capturing events so I have a record. I’m also taking fewer photos, but with more thought and a far better end quality. If you’ve lost your joie de vivre when it comes to capturing those special moments around you, why not give mood.camera a try?
Download mood.camera on only.
The UBS Art Collection, the Swiss bank’s corporate art holding comprising more than 30,000 works, has donated 166 photographs to the National Gallery of Art (NGA) in Washington, DC—the biggest single UBS donation to a museum. Included in the gift are works by Terry Evans, Dorothea Lange, Charles Savage, Alfred Stieglitz, Carleton Watkins and Edward Weston. Of the 96 photographers whose images are included in the gift, 75 are new to or underrepresented at the NGA.
The photographs come from a 300-work sub-collection gathered by the late John Szarkowski, longtime head of the photography department at New York’s Museum of Modern Art, in the years following his retirement in 1991 for the US bank PaineWebber, which UBS acquired in 2000. The works, gathered around the subject of land use, span decades and include landscapes, still lifes and portraits.
Mary Rozell, global head of the UBS Art Collection, tells The Art Newspaper that the NGA was “our first choice given the theme of the group, the importance of the photography department there and the fact that the NGA is a national museum with free admission for the public”. Rozell and her team chose Sarah Greenough, head of the photography department at the NGA, as caretaker of the gift in an effort to preserve Szarkowski’s legacy. Greenough “personally came to New York to examine each photograph”, Rozell says.
Jean Bernard, Woman Sewing, Man Painting (1900) National Gallery of Art, Washington; Gift of the UBS Art Collection
Greenough said in a statement: “This wonderful gift from UBS adds important work to the National Gallery’s photography collection that will allow us to explore how artists have viewed our use of and relationship to the land over the last 160 years.”
“Together, all of the images—dating from the 1860s to the 1990s—tell a story, not just of the evolving American landscape in the broadest sense, but also of the evolution of the medium of photography,” Rozell says. “We hope museum visitors will get a glimpse of the various ways land has been used in America—the impact of industry, the transformation of the environment and the celebration of the rich and diverse American topography. It is important to us to be able to share our collection with the public, and I’m thrilled that visitors will have access to the photographs for enjoyment and study.”
An exhibition of the photographs is planned for 2026 at the NGA. Rozell notes that members of the public can also make an appointment to see works not currently on view in the NGA’s Photograph Study Room.
I guess the retro flash look has become popular because Godox has launched yet another retro flash unit. It’s the Godox Lux Master (buy here), and it mounts to the side of your camera like an old-time press photographer.
Despite having a very retro appearance, the Lux Master contains modern tech, too, including a touchscreen OLED display. It also has TTL and wireless sync support for the Godox 2.4GHz flash system.
The Godox Lux Master joins a whole range of retro flashes from Godox. Others include the Lux Junior (buy here), Lux Senior (buy here), Lux Cadet (buy here) and Lux Elf (buy here). Some are available in a whole bunch of colours, too.
Each flash in the lineup is modelled after a design from a different era and style in photography’s history. The new Lux Master is reminiscent of the side-mounted flashes many press photographers used back in the 1940s.
But the new Godox Lux Master isn’t just a replica of an old flash. It drags it into the 21st century with 2.4GHz wireless control and a touchscreen OLED display. It also supports TTL, High Speed Sync, stroboscopic mode, and front or rear curtain sync.
Unlike other on-camera flashes, this one doesn’t actually mount on your camera. It mounts to the side of your camera using a bracket. This gets the light slightly further away from the lens in two axes for a more flattering angle of light.
It also has a tiltable head from 0-90 degrees, letting you point the light straight up to bounce light off the ceiling. You can’t rotate it behind you, though. Just forward or up. Obviously, that won’t offer the versatility of a more contemporary speedlight, but it will cover a lot of situations.
| Model | Lux Master |
|---|---|
| GN（1/1 step） | GN25（ISO100, in meters） |
| Lithium Battery | DC7.2V, 2980mAh, 21.456Wh |
| Input Parameter | 5V⎓2A |
| Flash Power | 9 steps：1/1-1/256 (0.1 step increments) |
| CCT | 6000K±300K |
| Panel Display | Touchscreen OLED Display |
| Optical Flash | S1 optical control/S2 optical control |
| Working Environment Temperature | -10℃~50℃ |
| Recycle Time（1/1 step） | ≈1.8s |
| Full Power Flash Times（1/1 step） | ≈460 times |
| Battery Charging Temperature Range | 0℃-45℃ |
| SYNC | Sync Cord |
| Dimension（with reflector） | 5.51″ x 10.24″ x 3.90″ |
| Net Weight | 470g |
The Godox Lux Master Retro Flash is available to pre-order now for $249.99.
Dawn Beckles, “Forever The Cream” (2023), acrylic, charcoal, gold leaf, spray paint, paper on canvas
Get ready for an art event unlike any other. The Other Art Fair presented by Saatchi Art returns to ZeroSpace in Brooklyn from May 16 to 19. With each new fair comes new experiences, and this edition is no different as it unveils a vibrant roster of fresh artwork, new talents, and unexpected delights.
This May installment promises an array of exciting features, including 120+ independent artists set to showcase their collections, the 10th edition of Mike Perry and Josh Cochran’s “Get Nude, Get Drawn” portrait experience, complimentary hand-crafted whisky cocktails (exclusively for those aged 21+) on Thursday’s Opening Night, and live performances on both Opening Night and the highly anticipated Friday Late soirée.
Ahead of the main event, we’re highlighting five categories of artists based on shared themes, offering a look at the diverse range of artistic practices at this year’s fair.
Still life
Bella Wattles fuses colorful objects, ceramics, and thrifted treasures into whimsical paintings that echo societal harmony and celebrate women and LGBTQ+ creators.
Still lifes by self-taught artist Dawn Beckles bridge the energies of London and the Caribbean. Her bold strokes celebrate the beauty of everyday moments, inviting viewers to reconnect with their own stories.
Bryane Broadie, “Mind Growth”
Celebrating Black Portraiture
Bryane Broadie, a graphic artist from Prince George’s County, Maryland, discovered his passion for art in elementary school. His digital and mixed media works reflect Black history and culture.
Inspired by childhood resourcefulness and Brooklyn’s cultural tapestry, Sean Qualls crafts evocative illustrations and paintings. His work investigates identity, history, the human spirit, and universal human experiences.
Carrie Lipscomb, “Blocks (small)” (2024), thread on fine art paper
Embossed and Embroidered
Guided by pure geometries, Brooklyn-based mixed-media artist Carrie Lipscomb explores space and texture, urging viewers to engage with the subtleties in found materials.
Sophie Reid is a visual storyteller who blends geometric shapes across multimedia. She honed her craft as a graphic designer and in her art, she uses illustrations and stitch works to echo her love for design and travel.
Isabella Bejarano, “Silver Water” (2015), fine art photography print in a custom aqua plexi shadowbox frame, limited edition of 25
New Mediums
Mounts in colored acrylic boxes: NYC-based Venezuelan-born photographer Isabella Bejarano champions environmental causes through her sustainable fine art prints, donating proceeds to combat climate change.
Film lightboxes: Montreal-based artist and film aficionado Hugo Cantin creates patterned collages on vintage film stock. Housed in light boxes, his illuminated creations fuse sophisticated design with historical narratives.
Patrick Skals, “THE WRITING IS ON THE WALL” (2023), acrylic, ink, and watercolor on canvas
Text
Toronto artist Patrick Skals escaped the corporate world in 2019 to pursue his unique vision. His collection, In Other Words, aims to disrupt norms with abstract commentary, challenging viewers to be introspective.
Kelli Kikcio, an artist from Toronto now based in Brooklyn, takes a hands-on approach in her work, which reflects her commitment to social justice and community engagement.
See work by all these artists and more at The Other Art Fair’s Brooklyn edition, on view from May 16 to 19.
Grab your tickets for an unforgettable weekend at theotherartfair.com.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Diverse Expressions: 5 Artwork Themes to Discover at The Other Art Fair Brooklyn This May appeared first on Colossal.
