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Red Bull aerobatic pilots captured in a once-in-a-lifetime photograph

Red Bull aerobatic pilots captured in a once-in-a-lifetime photograph

America was plunged into darkness yesterday as the rare full eclipse was viewed and photographed by millions – but of course, Red Bull gives us wings!

Sulfur Springs Texas was cast into shadow yesterday at approximately 1:40 pm local time and lasted roughly 4 minutes. This was the amount of time photographers Dustin Snipes and Mason Mashon had to shoot one of the most creative photographs of their careers as they photographed two Red Bull aerobatic planes flying in formation through the eclipse. 

• See our guide for the best camera for astrophotography

(Image credit: Red Bull)

The duo spent countless hours planning the shot, researching lighting solutions, flight patterns, and positioning so that they could capitalize on the eclipse’s short window of totality. To outline the planes and make them more visible to the cameras below, reflective tape was installed on the wings to assist in illuminating the aircraft.

Then when instructed by the photographers below, the two aerobatic pilots Kevin Coleman and Pete McLeod, met and flew in tight formation under the eclipsing celestial bodies. The aircraft zoomed past while flying at 1500 feet and – most daringly – only 4 ft apart to line up with the moon.

(Image credit: Red Bull)

Pilot Kevin Coleman speaking on the project says, “Normally, this would be a manageable maneuver, but when you have the darkness from the eclipse, a flight angle that needs to be perfectly lined up with the sun, and only four minutes to take the shot while moving at 180 mph, it makes it incredibly challenging”.

Knowing the window of totality would not last long, for months leading up to the eclipse the photographers meticulously planned positioning and lighting scenarios, testing numerous pass-throughs, taking into account all variables. When showtime finally arrived the pilots had only 3 pass-throughs to get the shot, and thankfully for all involved, it resulted in a stunning and never again repeatable image.

(Image credit: Red Bull)

Red Bull has not disclosed what equipment was used to capture the image, but behind-the-scenes images show an array of the best Sony and Canon cameras on the market, including the monster Canon RF 1200mm F/8L IS USM. It is certainly one of the lesser-seen Canon super-telephoto lenses as it will currently set you back $20K!

The project was developed to celebrate a rare celestial event and challenge pilots and photographers in new and unexpected ways. Pilot Pete McLeod says, “Unlike the high adrenaline and aerobatics I’m used to, this project is all about exact precision and planning… It’s all about teamwork to make this happen so it’s been incredible to be a part of it.”

Are you inspired to capture celestial bodies yourself? See our guides for more information on the best telescopes for astrophotography, the best deep space telescopes, and the best smart telescopes

The Winners Of The 13th Annual Mobile Photography Awards (27 Pics)

The Winners Of The 13th Annual Mobile Photography Awards (27 Pics)
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Anyone with a phone instantly becomes somewhat of a photographer. However, even with mobile photography, some people manage to take it to the next level.

The Mobile Photography Awards (MPA) come into play to recognize talented individuals who capture unique shots with their phone cameras. This year, the MPA celebrated its 13th anniversary by spotlighting the finest moments from around the world, and the grand prize was awarded to Yajun Hu, a Shanghai-based photographer. Yajun Hu captured his photos with a Xiaomi Ultra 13, and as a winner, Hu earned both the prestigious title and also walked away with a $3,000 US cash prize.

Besides the grand prize winner, there were 13 categories, and each had a worthy champion, showcased down below.

More info: mobilephotoawards.com | Instagram | Facebook | twitter.com

MPA Photographer of the year – Grand Prize winner Yajun Hu

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Landscapes and wildlife category winner- “Golden Mountains” by Di Lu

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People photos category winner – “Cadet Obstacle Course” by Elliot Ferguson

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Macro and details category winner – “Beyond the Green” by Hollyn Johnson

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Portraits and self-portraits category winner – “The Violinist Returning Home at Night” by Queenie Cheen

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Silhouettes category winner – “Tetris” by Roy Pan

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Travel and transportation category winner – “Wonder Kelingking Beach” by Yuepeng Bao

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Street photography category winner – “Playground” by Chang Nianzu

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Black and white category winner – “Broken Portrait” by Yajun Hu

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Visula FX and digital art category winner – “Forge” by Melissa Johnston

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Water / snow / ice category winner – “The Falls” by Ryan Cardone

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The darkness / noir category winner – “Light Up” by Wai Ying Kwok

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Architecture / design / still life category winner – “The Void” by Wei Wei

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Photo essay category winner – “Firecracker Symphony” by Victor Tan KH

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How I got the photo: Strawberry tarts

How I got the photo: Strawberry tarts

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Inside Leo Costelloe’s ‘actually quite sinister’ universe

Inside Leo Costelloe’s ‘actually quite sinister’ universe

Presided over by an uncanny bride doll, Leo Costelloe’s latest exhibition Special Day explores idealised beauty and the fantasy of romantic love

9April 2024

Framed in a picture window overlooking Cambridge Heath Road in east London sits a figure enshrouded in ivory tulle. Perched on a plinth (or is it an altar?), she gazes out unblinkingly from behind her veil as the lace of her dress spreads resplendently around her and the traffic and street life rumble past on the road outside. 

She is the creation of artist Leo Costelloe, whose current exhibition Special Day at Neven Gallery takes the archetype of the Western bride as a starting point to explore the semiotics of femininity and idealised beauty, spectacle, commodification, romantic love and much more. “It’s both a motif and character that is simultaneously public and personal, universal and local,” explains Costelloe, “and can both embody and unravel our own associations to the way in which femininity is both consumed, celebrated and vilified in Western culture.” 

At once deeply reverent yet iconoclastic, the Australian-born, London-based artist previously captured imaginations with their bewitching jewellery designs, often featuring bows and ribbons cast prettily in silver but with a slightly spectral feel that makes one think unavoidably of haunted Victorian nurseries. Their exhibition soft when warm at Guts Gallery last year saw the artist echo these themes of gender performance, fantasy, and artifice, in a series of larger sculptural works. But, whatever the scale or medium – whether it be in glass, silver, flowers, synthetic hair or tier upon tier of cake – Costelloe is articulating the contours of their own unique universe.

Presiding over Special Day, Costelloe’s bride is a 1930s mannequin, lovingly restored with the help of toy doctor Joel Davidson, and dressed in a 1960s traditional white wedding dress. Totemic yet also, as the gallery’s statement points out, a cake-topper – she is both subject and object; the passive, unblinking centrifugal point of the show. Around her, other works by Costelloe – such as Romantic Tendrils (2024), created from synthetic hair, or “Something old, something new, something borrowed, something blue (and a silver sixpence)” (2024), created from sterling silver, satin ribbon, a lace garter, Akoya pearl, glass, mother of pearl, a silver sixpence, and satin and diamanté flowers – are displayed like offerings and artefacts 

Below, we talk with Leo Costelloe about their obsessions, the enduring allure of weddings and “romantasy”, and why their work is always “a little bit dark”.

Please could you introduce Special Day? In what ways is it a continuation of your practice and in what ways is it a departure?

Leo Costelloe: I don’t really look at these works as a continuation or departure. The practice moves organically and ideas are born and expanded on simultaneously. Materially, ‘Bridal Shop Mannequin 1 (Finsbury Park)’ feels more expansive than previous works as I rarely work at this scale, so in that sense perhaps it is a departure from working on more intimate forms. Fundamentally, I try to look at the work as one universe that I translate into different objects or images in order to explore or reflect on certain ideas. 

What is it about the Western bride that captured your imagination? And what do you think this archetype represents as a cultural signifier?

Leo Costelloe: It’s both a motif and character that is simultaneously public and personal, universal and local, and can both embody and unravel our own associations to the way in which femininity is both consumed, celebrated and vilified in Western culture. 

I’m interested in unpacking and reflecting on Western cultures of femininity as a means of celebration as well as integration. Looking particularly at how these cultures could behave outside a patriarchal/capitalist landscape. I’m interested in the power of gender expression as self-determination and how the self can be activated through adornment and decoration. ‘The bride’ is a paradoxical icon – complex as a personal and impersonal symbol – which, when stripped of a particular identity or personhood can take on new meanings and act as a reflection of both societal pressure and romantic fantasy. 

“When watching a TikTok of the world burning and a cute video of a sausage dog in quick succession starts to feel normal, you have to realise that the cute sausage dog is actually quite sinister. My work is a bit like the cute sausage dog” – Leo Costelloe

In a previous interview with Dazed you described your work as ‘a little bit dark’. Please could you elaborate on this? 

Leo Costelloe: I think we’re living in an era of post-post-modernity. When watching a TikTok of the world burning and a cute video of a sausage dog in quick succession starts to feel normal, you have to realise that the cute sausage dog is actually quite sinister. My work is a bit like the cute sausage dog. 

What would you say you are most obsessed by as an artist? What are the recurring themes and references in your work?

Leo Costelloe: At the moment, I love Tinsley Mortimer and Sarah J. Maas books, particularly the A Court of Thorns and Roses series. The literary genre of romantasy feels necessary at this current time in history. I haven’t referenced either of them in the work yet, but I definitely will at some point. 

I use a lot of ‘hyperfeminine’ motifs throughout the work, bows in particular. I’m drawn to certain materials that innately carry a lot of symbolism or associations, like silver, glass, hair, flowers and photographs. These function both as object and image, all of which occur and are referenced throughout the work. 

Please could you introduce us to the protagonist of the show – your 1930s bride doll who presides over the exhibition?

Leo Costelloe: ‘Bridal Shop Mannequin 1 (Finsbury Park)’ was loosely based on dolls by Gisèle Vienne and figurative sculpture by Lisa Lichtenfels. I wanted to achieve a type of ritual presence in the space or an uncanny liturgy. I was thinking about the type of silence that occurs at funerals and births. That sort of hushed anticipation of a wedding which is simultaneously tied up with emotion and artifice is interesting to me, and I wanted to see if it could be transposed to a gallery setting. The title also references a street of bridal shops in Finsbury Park which I love for their dishevelled mannequins with the hands on the wrong way. They burst the fantasy bubble in many ways. Ideally, though, I’d like people to make their own assumptions about this work and all the works for that matter. 

Could you tell us about some of the other pieces in the exhibition (which appear almost like ritualistic artefacts)?

Leo Costelloe: More often than not, when I’m making objects, I’m thinking about ways in which they transform with use or function, or imagining how functional objects might be imbued with more meaning through materiality or placement within space. A gallery setting is always a fun way to manipulate the validity or sacrality of objects, and I think a lot of the works in Special Day are doing that. One of the works included in the show is a full cutlery set which is unfit for dining, but instead becomes an image of itself and a vehicle for projection. Likewise, the hair sculptures which are based on formal women’s hairstyles, like a sort of physical Pinterest board.

How does Special Day comment on the construction of romantic fantasy?

Leo Costelloe: Special Day is as open and obtuse as it is specific. I think it is both a reflection, critique and celebration of societal ideologies surrounding romantic fantasy. For the most part, I was trying to elicit a personal response from viewers, or maybe even a sense of nostalgia for a time when talking about weddings felt safe and simple. I am also very bored of looking at art that is about sex and violence and I think London needs some reprieve. 

Leo Costelloe’s Special Day is on display at Neven Gallery until May 18, 2024.

Lydia Melamed Johnson on the Future of AIPAD’s Photography Show

Lydia Melamed Johnson on the Future of AIPAD’s Photography Show

Lydia Melamed Johnson believes the best days of photography have yet to come—and in that light, she knows the medium deserves a fair befitting its many forms.  

Johnson, who was named the Executive Director of The Photography Show presented by AIPAD in the fall of 2023, is at once ebullient and considered in her passion for photography. She has a profound appreciation for art collecting—one she shares with her husband—and Johnson could quickly rattle off the names of dozens of contemporary photographers who inspire her. This enthusiasm is paired with a staid sense of responsibility for her role helming the longest-running and leading fair dedicated to photography as it enters its 43rd year (the fair runs April 25-28, 2024). 

Under Johnson, this has meant a return to form; The Photography Show will return to the grandeur of the Park Avenue Armory, for the first time since 2016. With 76 international exhibitors participating, the fair is also bringing on a remarkable selection of newcomer galleries including ELLEPHANT, Marshall Gallery, Olivier Waltman, RocíoSantaCruz, and The Third Gallery Aya.  

The lead-up to the fair means long days, but Johnson makes sure to spend her cherished time with her husband and young daughter, enjoying life’s little pleasures—a watch she was gifted from loved ones reminds her that every minute is precious. One of her favorite splurges is a bouquet of tulips from the Union Square Farmer’s Market.  

Ahead of the fair, we caught up with Johnson, who shared a few of the artists who have caught her keen eye, and what she values in her day-to-day life.

What is the last thing that you splurged on?
A photograph by Theis Wendt from The Ravestijn Gallery and a game-changing travel stroller that made flying with my newborn actually manageable, even through LAX.

What is something that you’re saving up for?
Rather on the nose, but a photograph from the upcoming fair. My husband and I love walking through the fair once a day together during the run-of-show, discussing and seeing which works we continue to return to over and over again. We make the decision on Sunday but at the 2022 fair, we knew right away we wanted a small work by Paul Cupido at IBASHO.

What would you buy if you found $100?
Flowers. There is a fabulous tulip grower at the Union Square Farmers Market who I would buy bundles from every week.

What makes you feel like a million bucks?
My daughter’s smile, helping a member of my small team accomplish a goal we’ve set together… and a Dries van Noten suit.

two white women look out of the picture, they are seated at a small table with flowers in an office like setting, both are dressed professionally, on the wall behind them is a photograph of two black women on a couch in what appears to be a 1970s intertior

Cathy Kaplan and Lydia Melamed Johnson, in a Dries van Noten blazer, seated in front of a work by  Mickeleane Thomas. Photo: Michael Priest Photography.

What do you think is your greatest asset?
Big thinking with excruciating attention to detail. My ability to step back and see the larger circumstances and situation, while understanding the minutiae that will get it done.

What do you most value in a work of art?
Emotional resonance.

Who is an emerging artist worthy of everyone’s attention?
David Alekhuogie. A Nigerian-American artist, who shows with Yancey Richardson. Juxtaposing African traditional textiles with canonical elements, such as Man Ray’s photographs of African masks, and personal interventions, like including his own hand, the multidimensional works are spectacular and speak to a layered understanding of self. Each time you look, there is something new to explore.

David Alekhuogie, Scramble for Africa 2-2 (2023). Courtesy of Lydia Melamed Johnson.

Monty the dog sits near David Alekhuogie’s Scramble for Africa 2-2 (2023). Courtesy of Lydia Melamed Johnson.

Who is an overlooked artist who hasn’t yet gotten their due?
There are so many to choose from, and especially, many women artists who have produced incredible work for years. Two that immediately spring to mind are Diana López (Henrique Faria) and Danielle Nelson-Mourning (Weston Gallery). Though the work varies greatly between the two and holds powers in contrasting ways, they are each investigating identity, femininity, the scope of societal expectations across history and the new frontier of the internet, and each commanding their own spaces with deeply insightful art.

What, in your estimation, is the most overrated thing in the art world?
Sauvignon blanc.

What is your most treasured possession?
My watch, a gift from my husband and close family for my 30th birthday. It is treasured because of its givers, its craftsmanship, and the brand’s long history but it also reminds me to invest my time wisely, whether on work, family, friends, or rest. I look forward to a moment when I’ll pass it on to my daughter and she’ll learn the value of her family, history, and time.

Thousands of Daily Diary Drawings by Pep Carrió Unfurl an Enigmatic World

Thousands of Daily Diary Drawings by Pep Carrió Unfurl an Enigmatic World

All images © Pep Carrió, shared with permission

Strange and wondrous events take place with every turn of the page in Pep Carrió’s continuing daily diary series (previously). In 2007, the artist challenged himself to draw every day, and an easy way to keep himself both motivated and accountable was to fill up an entire Moleskine datebook. With whatever materials were at hand, he began a project that kept his creative wheels turning while challenging the possibilities of a simple two-page spread.

Carrió’s illustrations range from fantastical scenes of adventure, like a whale dipping below a diminutive boat full of sightseers, to metaphysical scenes of anonymous figures who wander through enigmatic landscapes, floating calmly or rooting in place like trees. Flipping through the sketchbooks, the chronology unfolds sequentially, but the narrative remains a beguiling mystery.

Find more on Carrió’s website, and follow regular updates on Instagram.

 

a sketchbooks spread with a drawing across both pages of a whale under the sea and a boat full of people above ita sketchbook spread with a drawing of a small house with big roots on the left and an abstract figure on the right with a building floorplan for a head and body, reaching out to a potted flower a sketchbook spread with a rendering of a figure on the left in silhouette with a bright white spine and on the right, a figure lies on the ground and colorful bubbles rise from their mouth a sketchbook spread with a drawing across both pages of a cartoonish alligator with yellow and pink line patterns  a sketchbook spread with a drawing across both pages of a genderless, anonymous figure floating on the water's surface, surrounded by small fish a sketchbook spread with a drawing across both pages of a sideways landscape, where a silhouetted figure stands on orange ground, with myriad roots sprouting from their feet, and a single cloud sits above in a gray sky a sketchbooks spread with a drawing on both pages of a blue head-shaped hot hair balloon in a starry sky

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 Thousands of Daily Diary Drawings by Pep Carrió Unfurl an Enigmatic World appeared first on Colossal.

20 Charming Photographs Of Squirrels Interacting With Props By Geert Weggen

20 Charming Photographs Of Squirrels Interacting With Props By Geert Weggen

Moderator, BoredPanda staff

Hi there! I’m Gabrielė, but you can also catch me responding to Gab, Gabi, Gabert, or Gabe – take your pick. Professionally, I’m the senior community manager over at Bored Panda, helping people share their awesome work and connecting artists with a worldwide audience.

Beyond work, you’ll catch me traveling, listening to vinyl and diving into movies, art exhibitions, and concerts. I’m a culture buff at heart, always eager to explore and embrace the richness of the human experience.

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Wildlife Conservation Photography at High Desert Museum

Wildlife Conservation Photography at High Desert Museum

Join our wildlife team to learn about and photograph the wildlife in our care. Experienced photographers will be available to assist participants with camera techniques for portrait-style and action photography opportunities with raptors and mammals. Participants are welcome to explore the fundamentals of their equipment during a preliminary Zoom meeting on Friday, May 3 at 6:30 pm.