The public is invited to Audrey Garbacik’s underwater photography presentation on March 14 at 7 p.m. at the Anacortes Public Library and via Zoom.
An Anacortes resident, Garbacik, had a long career as an electrical engineer in high tech industries. Since retiring, however, underwater photography has become her passion.
Imagine a world where the transfer of gigabytes worth of photography and videography data takes mere seconds instead of minutes or even hours. This isn’t a scene from a futuristic movie; it’s the reality brought forth by Other World Computing (OWC) with the launch of their groundbreaking Atlas USB4 CFexpress Type B memory card reader at the CP+ Camera & Photo Imaging Show in Yokohama, Japan. As a seasoned journalist, witnessing the evolution of technology and its impact on creative professions first-hand, it’s exhilarating to see innovations that promise to redefine the boundaries of efficiency and creativity.
The Atlas USB4 CFexpress Type B memory card reader stands out not just for its sleek design but for its unprecedented data transfer rates. Boasting speeds of over 3300MB/s, it is more than four times quicker than its USB 3.2 predecessors. This level of performance is not just an incremental upgrade; it’s a monumental leap forward. For professional photographers and videographers, this translates to drastically reduced data transfer times, freeing up precious hours for more creative endeavors or well-deserved rest. The device’s compatibility with CFexpress 4.0 Type B and 2.0 Type B cards at maximum speeds ensures that it is not only relevant today but also future-proofed for advancements in memory card technology.
OWC has meticulously engineered the Atlas USB4 card reader to meet the rigorous demands of professional workflows. Its compact, robust aluminum enclosure is not just about aesthetics; it houses an effective heat sink to prevent thermal throttling, ensuring consistent peak performance even during extensive data transfer sessions. The innovative Innergize switch further enhances this, boosting USB 3.2 transfer rates by over 30%. This attention to detail underscores OWC’s commitment to providing solutions that aren’t just about meeting the basic requirements but exceeding them, ensuring that professionals can rely on their equipment to perform when it matters most.
OWC’s dedication to enhancing the user experience goes beyond the hardware. The accompanying Innergize software is a testament to this, offering tools to check the health of Atlas memory cards, clean them, restore performance, and even allow firmware upgrades. This holistic approach ensures that the Atlas USB4 CFexpress Type B memory card reader not only delivers unmatched speed and efficiency but also reliability and longevity. Priced at $99.99 and available for pre-order, with shipments starting in early March, it represents a significant investment in one’s creative toolkit, promising to pay dividends in saved time and enhanced productivity.
WorkBoat sat down with Austin Leathers, a freelance photographer and deep-sea diver, to better understand his take on the commercial diving industry through his work.
“I ended up joining the Navy as a welder diver, an all-technician diver, so that’s how my journey started. I became a commercial diver for the Navy and the Department of Defense in 2015,” said Leathers.
Alongside his passion for diving, Leathers had a true interest in filmmaking, particularly black and white. He currently dives for Shoreline Diving, out of New London, Conn. That work covers a number of different projects in waters all over New England.
WB: What initiated your passion for subsea photography?
AL: I just enjoy documenting the daily life of diving and the people I’ve worked with. Nobody’s really documenting divers like this, so feel that I need to do it. I have family, friends and coworkers saying ‘You have to continue taking these pictures, it’s such a unique viewpoint and position that you have.’
When you dive every day it becomes ordinary. To me it’s nothing new, but it is such a unique position to be a photographer and a diver at the same time. That’s my spin on it, in order to provide the most accurate representation of what it’s truly like to be a commercial diver, I think you need to be one.
WB: What’s your process? What’s it like shooting images 70’ below the surface?
AL: I have a theme that it’s not about one specific person. I’m trying to portray what it’s like working at that depth. I’ll dive on different jobs and think, ‘Wow, this would be a cool shot’, or we’ll be working on a different type of job and I think, ‘This is interesting, nobody’s probably ever heard of this.’
The current camera I’m using is just a crop sensor. It’s not a crazy expensive camera. But it has a really good autofocus. I use a wide-angle lens. You’re really shooting at 20 to 21 millimeters or less. And it’s up close and personal to the divers.
Water quality comes into play. We’re in New England, it’s not Fiji. That visibility affects the images a lot. At first, you’re frustrated because it isn’t clear, but at the end of the day, you’re telling a story that’s more accurate. That’s what it’s really like in the water. A lot of times there’s zero visibility, all you feel is your hand and an object in the water, so a lot of my pictures are really close because of the water quality. I’m almost touching people’s faces with the camera lens. And black and white is kind of my thing, I’m not really into color photography.
Down there, it’s also extremely calming. It can be dangerous, but when you are in the water for so many hours or most of your life it becomes second nature. Yes, there are always accidents that are going to happen, but for the most part it’s very peaceful.
WB: What is it about people in this industry that you want to capture? What are some future projects that you’re working on?
AL: I want to continue documenting hardhat divers. Plus, there are so many people that work in and around the water. Nobody’s documenting these guys. We get different contracts all of the time. We’re working with the Northstar boats that are doing all of this windfarm work. But you get to meet the crew and see all of these deckhands and captains.
We’re working with pile drivers, so these floating barge and crane guys. And it’s all interesting stuff! So much so that I think somebody needs to document pile drivers on the water.
Here’s an example of an interesting character. There’s a guy named Josh, he lives on a sailboat and he dumped all of his money into buying a crane and a floating barge just trying to make it happen. And it just so happens that he’s got one leg.
I mean, think about it, where does your marina come from? Who builds it? Divers, welders, tugboat crew, captains. These are all super interesting people with their own stories.
A lot of these people are standoffish to outsiders, so it’s good to be in the industry, to know them. Knowing that I’m a commercial diver, they’re a lot more comfortable when you’re photographing them.
WB: How can people support your work?
AL: I sell prints on my website. I started doing old salt prints and having silver gelatin prints made. So, I’m taking modern technology, doing digital photography, and then using techniques from the 1800s, like the beginning of photography to print my work. So I’m switching back and forth between past and modern.
I would really love to have a show or a gallery where people would come in and see all the commercial diving and maritime industry photos that I’ve taken over the years.
Another way to support my work is through my Instagram.
Central Washington University student Sue Wright will celebrate her exhibition opening with a reception 4 to 7 p.m. Saturday, Feb. 24 in Gallery 231 in Randall Hall on campus.
The exhibit, “Touch of Plumage,” will run through March 1.
Imagine floating hundreds of miles above Earth, where the atmosphere thins into the blackness of space, and the planet below transitions from a vast expanse of color and texture into a canvas of light and shadow. This is the daily view for a select few humans aboard the International Space Station (ISS), but one American astronaut has transcended her role as a space traveler to become a bridge between the cosmos and those of us bound by gravity. Her photography offers a breathtaking perspective that not only documents her journey in space but also serves as a testament to the beauty and fragility of our planet.
Jasmin Moghbeli, known among her peers as a U.S. Marine Corps test pilot with over 150 combat missions and 2,000 flight hours, embarked on a mission that would see her capturing the Earth’s magnificence from an unparalleled vantage point. Her work, compiled during her time aboard the ISS, showcases everything from the swirling patterns of tropical storms to the ethereal glow of the atmosphere as the Sun’s rays dance across it. This collection of images, soon to be showcased in a gallery upon her return, offers a unique insight into not just the life of an astronaut but the profound beauty and complexity of our planet.
Moghbeli’s photography does more than document the extraordinary; it serves as a bridge, connecting those of us on Earth to the vast expanse of the cosmos. Through her lens, we are offered a glimpse into the daily life aboard the ISS, the breathtaking views of celestial phenomena, and the delicate beauty of Earth itself. Her work is a reminder of our place in the universe, inspiring awe and curiosity about the world beyond our immediate senses. In a time when space feels more accessible than ever, her photographs encourage us to look up and wonder, to ponder our role and responsibility as citizens of this planet.
As Moghbeli prepares to return to Earth, the anticipation for her gallery exhibition grows. The collection promises to be more than a series of photographs; it will be a journey through the eyes of someone who has lived among the stars. It’s an opportunity for those of us who have never left the planet to see it from a perspective few will ever experience. Her work is a testament to the power of art to transcend boundaries, whether they be physical, cultural, or conceptual, uniting us in our shared humanity and curiosity.
While the gallery will soon open its doors, the impact of Moghbeli’s work extends beyond the frame. It challenges us to see our world differently, to appreciate the beauty and fragility of our home planet, and to consider our place in the broader tapestry of the cosmos. Her photographs are not just images; they are invitations to explore, to learn, and to dream about what lies beyond our blue horizon.
WINCHESTER — When Laura Carpenter arrived for her regularly scheduled, 20-week ultrasound, she had no idea that she would leave the appointment with information that would change her — and her baby’s — life.
On the day she and her husband expected to learn the sex of their child, they also learned that the infant would be born with a congenital heart disease, or CHD.
“The floor came out from underneath me and I was sure that I had done something terribly wrong,” Carpenter said, knowing little about the diagnosis at the time. “You feel like you have destroyed your child’s life before it even began.”
Her daughter, Gwenyth, is one of numerous children with CHD whose family has participated in the Zipperstrong Project, a photography initiative by Winchester resident SheRae Hunter to raise awareness about those born with various forms of congenital heart defects.
About one in every 110 infants born in the United States has CHD, according to the Children’s Heart Foundation. This equates to one child every 15 minutes, over 85% of which live to at least 18 years old.
In 2010, Gwenyth passed away from overwhelming sepsis at 2 months old. Once Carpenter discovered the Zipperstrong Project seven years later, Gwenyth’s siblings were able to be photographed in remembrance of her.
“It was such a beautiful way to honor my daughter and to still be raising CHD awareness,” Carpenter said.
Hunter founded the Zipperstrong Project in 2015 after reading stories on Facebook about families whose young ones were born with CHD. She decided that she wanted to do something.
Already a photographer with her own business that specializes in capturing children, Hunter began networking with CHD families on social media to schedule their first meet-up.
Through photography, she aimed to highlight each subject’s zipper-like scar from open heart surgery while still portraying their strength. The name “Zipperstrong” was born from those initial goals.
“What I wanted to convey was the strength that they had, and the joy, and the fact that they are just like any other kid, but they’ve been through these battles and they have the scars to prove it,” Hunter, a mother of five, said. “They are not really to be pitied, but they’re warriors and they’re celebrated.”
Children who participate are able to befriend other young ones who share their scar, Carpenter said.
Not only do children benefit, but also their families, she said. Parents are able to learn more about congenital heart defects and, in cases like Carpenter’s where the child has passed away, siblings are able to be involved as well.
During February, which is American Heart Month, Hunter hopes to raise more awareness about her project and CHD.
“I felt like it’s almost my responsibility if I have a talent to use it for the building of my community,” Hunter said, mentioning her Christian faith. “I try to do it to make Winchester a better place to live.”
There have been seven Zipperstrong sessions so far and the next event is being planned for 2025.
Portraits from the project have been featured on the walls of numerous hospitals, including some which currently hang at Winchester Medical Center.
Images from the most recent photo shoot, which was in 2022, were displayed in Children’s National Hospital in Washington, D.C., Inova L.J. Murphy Children’s Hospital in Falls Church, Johns Hopkins Children’s Center in Baltimore and University of Virginia Children’s Hospital in Charlottesville.
Four mothers whose children were diagnosed with a CHD, including Carpenter, have been pivotal in the initiative’s continued growth and bringing Hunter’s vision to life. Now, there are so many interested families that only some can be included in each chapter of Zipperstrong.
“Zipperstrong really focuses on just how each life is so unique and beautiful,” Carpenter said.
Carpenter expressed that it is important for parents to share concerns with their doctors and nurses, without fear of being “that mom.” She said she wishes she had trusted her instincts that something was not right with Gwenyth and spoke up.
Gwenyth passed away due to neonatal alloimmune neutropenia (NAN), which is a lack of white blood cells and the resulting inability to fight infection effectively. Prior to this, she underwent successful open heart surgery for her CHD at 2 days old.
Because her pediatrician was so focused on her heart, they overlooked the symptoms of NAN. The same doctors also did not thoroughly read their discharge papers from the hospital where Gwenyth had surgery, which diagnosed the infant’s blood condition.
Had they done so, her daughter’s story would likely have had a different ending, Carpenter said. It was not until the autopsy that they realized Gwenyth’s cause of death was not CHD.
“Her life to me is such a light that I want to shine for people who are trying to figure out what their next step is and I just want to give them the confidence that I didn’t have,” Carpenter said.
Unlike other CHD-related organizations for which Carpenter has volunteered, she is able to be on the front lines of advocacy and awareness at Zipperstrong. In the past, because her family’s story is a more difficult reality to swallow, she was not able to share Gwenyth’s life so passionately.
“Now, I know how many families have faced this from all walks of life,” Carpenter said. “And I know it was not my fault, and I know there’s not enough research to tell me what happened, and I know there’s still too many families that have never heard of it.”
Hunter can be reached at 757-719-4460 or contact@slhunterphotography.com
“Yes!!There is “modernism” in the hood!!” reads Jerald Cooper’s bio on Instagram. Cooper manages the Instagram account Hood Midcentury Modern and has cultivated the eyes of thousands of followers and established that growing up Black, was growing up modern. Using his social media as a map of modern architecture and Black community crossover, he’s been able to break down the semi-elitist design era. Cooper is the recipient of the 2023 Julius Shulman Institute’s excellence in photography award.
“Mr. Cooper has developed a unique method of output that is especially relevant to our world today. He educates people who can be empowered through social media and shares the visual stories of Black modernism,” said Barbara Bestor, executive director of the Julius Shulman Institute at Woodbury University. The annual award is named for Julius Shulman, an American architecture photographer whose eye for modern design similarly matches Cooper’s. Past recipients of the award include Benny Chan and Iwan Baan, both photographers who have become staples in architectural photography.
In lieu of an exhibition centering his work, a three-day line-up on March 1–3 will demonstrate the scope and depth of Cooper’s work. These programmed sessions will include students from Woodbury’s School of Architecture, offer tours of Black modernist residential architecture, and host discussions on these topics.The events are interactive, catering to touring Black modernism both in-person and through images. Cooper isn’t necessarily a photographer, but definitely a documentarian out to capture truth.
The hood has always been modern, or at least abided by its code. Long windows, open floor plans, flat roofs and surfaces. When you’re in the area, or grow up in it, itIn lieu of an exhibition centering his work a three-day line-up on March 1–3 will demonstrate the scope and depth of his work. These programmed sessions will include students from Woodbury’s School of Architecture, offer tours of Black modernist residential architecture, and host discussions on these topics.s not a mind-crossing thought. But architecture’s sociological aspect is one that Cooper has been able to communicate with innovation.
Immediately when you walk into the art exhibit, you are taken into the life and work of Lora Webb Nichols. Located in the Reese Bullen Gallery at Cal Poly Humboldt, Nichols’ black and white photography is displayed for all to see. Her work covers candid portrait shots of those around her.
The massive archive of prints has been preserved through the volunteer efforts of Nancy Anderson, Victor Anderson, and Nicole Jean Hill.
Hill is a Professor of Art at Cal Poly Humboldt and the chair of the department of art and film. Her area of expertise is in photography and she teaches photography classes and professional practices in art. Hill is also the co-curator of the Lora Webb Nichols collections.
“When I first dove into the archive, I didn’t know what was [there] because it wasn’t actually viewable yet,” Hill said. “Only a very small portion of it was accessible to the public. It was kind of a leap of faith, but I was intrigued by the fact that it was an archive made by a female photographer who got a camera at the age of 16 in 1899 and saved 24,000 negatives.”
Over the course of some time, Hill has worked on digitizing the photographs, organizing the corresponding text, recovering the photographer’s diaries and letters, and collaborating with the Grand Encampment Museum and the American Heritage Center to secure a permanent home for the negatives.
Lora Webb Nichols was a photographer, businesswoman and homemaker living on the Wyoming frontier in the 20th century. She got her first camera at the young age of 16 and over the course of her lifetime, she produced a grand number of 24,000 negatives. The images she captured are about the domestic, social, and economic aspects of the frontier of south-central Wyoming.
“When you’re 16 years old and you get a camera, you’re unfiltered, and I was excited to see what that would be like,” Hill said. “Then, once I was actually physically able to see what was in the archive, it was even more exciting than I could have imagined in terms of the variety of subject matter and Lora’s skill as the photographer.”
The most eye-catching work of the exhibit were the two cork boards with many printed images pinned across them both. On a pedestal below sat a book filled with many more photographs.
More of Nichols’ photographs and writing can be found online through the American Heritage Center or in person at the Grand Encampment Museum.
“I love that this art exhibit has brought people to campus that otherwise would not come to see an art exhibit,” Hill said. “It has a multigenerational attraction to it.”
Imagine a world where the crack of a bat against a baseball is replaced with the soft click of a shutter, where the roaring crowds of a stadium give way to the silent expanse of the African savannah. This is the world that Randy Johnson, once a towering figure on the pitcher’s mound for the Arizona Diamondbacks, now inhabits with a camera in hand. On a crisp Friday evening in Scottsdale, a side of Johnson that many have never seen will be unveiled at the Scottsdale Museum of Contemporary Art.
Johnson’s journey from fastball fame to photographic fervor began in the early 1980s, during his college days at USC. A baseball scholarship might have paid his way, but it was his tenure at the college newspaper that sowed the seeds of a lifelong passion for photography. Initially focusing on film photography, Johnson captured moments that transcended the boundaries of his baseball career. However, as his prowess on the mound grew, his photographic pursuits were momentarily shelved.
Retirement from professional baseball allowed Johnson to revisit his dormant passion. He traded his baseball glove for a camera, dedicating himself to mastering the art of photography with the same zeal he had for baseball. His work, particularly from his travels to Africa, showcases not just his talent but also a profound appreciation for the continent’s vast landscapes and diverse cultures. Johnson’s perspective, honed on the baseball field, brings a unique clarity and focus to his photographs, capturing fleeting moments with precision and grace.
Johnson’s exhibit, which opens to the public on February 23rd, offers an intimate glimpse into his numerous journeys across Africa. Having visited the continent around five or six times, he aims to share not just images but stories of the people, wildlife, and landscapes he’s encountered. His photographs serve as a bridge, connecting viewers to the far-off places and faces that have touched him deeply. The exhibition is a testament to Johnson’s commitment to exploring and understanding the world beyond the pitcher’s mound, highlighting the raw beauty and complexity of African cultures and ecosystems.
The anticipation for the exhibit has been palpable, with fans of Johnson’s baseball career and photography enthusiasts alike eager to witness this new chapter of his life. Admission to the exhibit is free, though reservations are required, offering an accessible opportunity for the community to engage with Johnson’s work.
Johnson’s transition from celebrated athlete to passionate photographer challenges the often one-dimensional perceptions of professional athletes. His work underscores the message that there is life beyond the game, filled with untapped potential and new avenues for expression. The exhibit not only showcases Johnson’s versatility and skill as a photographer but also offers a unique perspective on a continent teeming with stories waiting to be told.
As visitors wander through the gallery, taking in the stunning vistas and intimate portraits that Johnson has captured, they are invited to see the world through his lens. It’s a world where the boundaries between sports and art blur, where a fastball pitcher becomes a storyteller, and where every photograph is a home run.
