Photography

How a Photographer Captured an Incredible Green Flash Around Venus

How a Photographer Captured an Incredible Green Flash Around Venus

Peter Rosén interview on a green flash around Venus. Astrophotography.

Swedish photographer and self-described amateur astronomer Peter Rosén witnessed a magnificent and rare sight in Sweden’s night sky on January 8. While watching Venus rise above Stockholm’s skyline, Rosén captured a colorful green flash around the planet.

“I was shooting the Moon and Venus rising over Stockholm starting before 7 AM (local time),” Rosén tells PetaPixel over email. Rosén says he was capturing images in quick succession using his Canon EOS 5D Mark IV DSLR and a Tamron 150-600mm f/5-6.3 Di VC USD G2 telephoto lens set to its 600mm focal length. The image sequence was shot at ISO 3200 with a 0.6-second exposure and f/8 aperture.

Peter Rosén interview on a green flash around Venus. Astrophotography.

The animated sequence above comprises 11 frames. The green flash itself lasted about just a second or two. The GIF shows crops from Rosén’s larger overall photo.

Peter Rosén interview on a green flash around Venus. Astrophotography.

Amazing Sighting is Rosén’s Second Planetary Green Flash

Despite the rarity of seeing a green flash around a planet, which Space Weather describes as maybe “the best ever,” it is not the first time Rosén himself has seen something like this around a planet.

“Besides the Sun where it is more commonly observed, I have filmed it on Mars in 2018,” the photographer says.

Peter Rosén interview on a green flash around Venus. Astrophotography.

“Along with the green flash, what is quite astonishing if I may say so myself is that I managed to get a quite decent image of Mars by stacking some thousands of frames from the extremely turbulent stream that turns out a round red planet with surface features, a bluish polar cap and some bluish haze / clouds,” Rosén tells PetaPixel. “That illustrates the power of the software at our disposal combined with a lot of experience, I guess.”

Peter Rosén interview on a green flash around Venus. Astrophotography.

“It is often said that these events are extremely rare, and of course, it is true as I have only observed it twice in six years,” Rosén says.

“But the reason that I happened to catch them is that I did not give up photographing the planets through a telephoto lens or a telescope even though the planets were at very low altitudes and with strong turbulence in the atmosphere. Most amateurs see no use to photograph under such difficult conditions and turn to better positioned targets. I always have my reasons not to give up and sometimes it pays off.”

Peter Rosén Has Long Loved Space

Rosén has been interested in the night sky since he was a child. When his mother pointed out Mars and told a young Rosén that it wasn’t a star but a planet, he was “absolutely amazed” that he could view another world with his naked eyes.

“Later, at age 16, I got the opportunity to watch Saturn in a small telescope, and after that, I was hooked. At 18, I bought my first simple Newtonian telescope, got a Braun Paxette viewfinder camera, and started taking pictures of the Sun, Moon, and planets through the telescope on slide film.”

“I took my first color image of Jupiter on March 20th, 1974, at 9:22 PM UTC, soon 50 years ago! The original image on the slide film is only about 1.2 mm wide, which explains the grain from excessive magnification,” Rosén says.

Peter Rosén interview on a green flash around Venus. Astrophotography.
Rosén’s photo of Jupiter will turn 50 years old this year.

“Nevertheless, for me it has become an important document as it was taken shortly after Pioneer 10 reached Jupiter on December 3rd, 1973, and before Pioneer 11 one year later. These were the first probes to visit the giant gas planet and send images back to Earth.”

“I think that my image shows well the same main features as the images from Pioneer 10, a big Great Red Spot (GRS) much bigger than today and the disappeared South Equatorial Belt (SEB) below the GRS.”

“This was not photographed by many in 1973!” Rosén adds.

A Very Versatile Photographer

While interested in general photography these days, Rosén’s primary interest initially was astronomy and taking pictures through the telescope.

“Eventually, I became a photographer and digital artist starting with a Texas Instruments TI-99/4A in the early 1980s and a Macintosh IIfx in the early 1990s with the launch of the first version of Photoshop. For me, it has always been a cross-fertilization between photography and astrophotography,” he explains.

Rosen notes that he has not separated his astrophotography from his more general photography, arguing that for him, “the Universe is part of my everyday life, just like my family or my dog.”

Peter Rosén interview on a green flash around Venus. Astrophotography.
“… When the Sun finally appeared on April 4th, there was not one but two perfect tiny Suns, slowly moving across the opposite wall. Our building is perfectly oriented to the cardinal points, so theoretically, it could have occurred on the spring equinox, but as the windows are slightly offset, we have to wait for two more weeks before getting this perfect alignment. But it still is like having a miniature Stonehenge at home,” Rosén wrote on Space Weather on April 4th, 2014. This photo took many months of planning.

Over the years, many of his images have been featured on Space Weather‘s homepage and other astronomy websites.

He has also worked with images created by scientists and professional astronomers, a common and vital part of scientific projects and missions.

Peter Rosén interview on a green flash around Venus. Astrophotography.
“I downloaded the best images of Mars from last year’s opposition from ALPO Japan and spent four days stitching them together into a polar stereographic projection. I have mapped the pole so that it shows significantly more than just down to the equator because I think it enhances the visual experience,” Rosén explained to Space Weather in 2021. He also created an animated equatorial version that shows the Red Planet spinning.

Rosén loves space so much that he even created a 30-image animated Valentine’s Day card using images he captured on February 8th, 2022.

Peter Rosén interview on a green flash around Venus. Astrophotography.
“The Moon and I wish you a very happy Valentine’s day,” he wrote.

Some of Rosén’s work has also been featured as part of NASA’s Astronomy Picture of the Day.

Peter Rosén interview on a green flash around Venus. Astrophotography.
“A Sun Halo Beyond Stockholm” by Peter Rosén. This image was the NASA APOD on January 10th, 2011.
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The video above featured by NASA is just a snippet of one of Rosén’s two significant projects concerning Jupiter.

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“The first one took 6 month of work full time (free time of course but many hundreds of hours),” he says, noting that it was actually featured on PetaPixel in 2014.

The second project took a full year to complete and was Rosén’s contribution to a Pro-Amateur collaboration with the NASA Juno mission.

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“I was invited to a planetary meeting in London organized by the British Astronomical Association and NASA and gave a lecture of this project in May of 2018,” he says. Rosén discussed the project in detail with the Planetary Society in a pair of articles (1, 2).

More of Peter Rosén’s work is available on his Instagram page. Followers will find many lovely photos of space and dogs, and what better combination is there?


Image credits: All images © Peter Rosén. The featured image combines Rosén’s GIF of the Venus green flash and his wider view of Stockholm. The cropped view of Venus is centered over the planet’s location in the sky.

New photography exhibit gives glimpse into the lives of Mississauga firefighters

New photography exhibit gives glimpse into the lives of Mississauga firefighters

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Past is prologue to today’s anxieties amid 35 years of Catherine Opie’s photographs

Past is prologue to today’s anxieties amid 35 years of Catherine Opie’s photographs

Catherine Opie’s photograph “Day Before the O.J. Verdict,” one of nearly 70 examples in an intimate and absorbing survey exhibition at Regen Projects in Hollywood of the L.A.-based artist’s work from the past 35 years, looks away from the celebrity at the center of the notorious 1995 double murder trial. Here, you won’t find “if it doesn’t fit, you must acquit.”

Instead, she focused her camera on the urban landscape. Opie’s subject is the media infrastructure quickly erected in downtown Los Angeles — specifically the cumbersome huddle of satellite dishes packed into the empty lot next door to the federal courthouse, all pointed heavenward to a clear azure sky. With a sliver of the imposing Beaux Arts federal building rising from the left, the phalanx is framed by leafy green trees — an ensemble rather like classical sculptures of ancient deities, orators and ancestors prowling a 17th century garden at an English manor. Blunt signs warning “do not enter” at the parking lot gate contradict what Opie’s camera is up to.

A photograph of media tents and satellite dishes in a parking lot next door to a federal courthouse.

Catherine Opie, “Day Before the O.J. Verdict, 1995,” 1995, pigment print.

(Catherine Opie / Regen Projects)

Simpson’s trial coincided with the internet becoming an established phenomenon, which would decisively upend the already shrinking world of hard Gutenberg print and lean into the ephemeral, quicksilver phantoms of a digital web. (Netscape Navigator, which was the most popular browser at the time, had topped 10 million global users by 1995, according to Britain’s National Science and Media Museum.) As the slower-paced analog world shifted toward hyper-fast digital experience, “Day Before the O.J. Verdict” recorded a kind of tipping point in the way humans connect — for better or worse.

Connection and social cohesion together form a subliminal theme encountered all over the Regen Projects show, which is composed of never-before-exhibited photographs. Individual images come from familiar bodies of work, almost all of it diaristic — portraits of her girlfriends and other pals, most from the queer community; ordinary domestic life, including her young son with a Thanksgiving turkey; surfers at the beach; former professors, who pass on knowledge; angry political protests; spirited communal gatherings; L.A. cityscapes, etc. More than two-thirds date from the 1990s, when Opie was in her 30s and her evolving aesthetic reached maturity.

Near the front, a large, horizontal, softly illuminated black-and-white 1994 picture of colossal concrete interchanges on the 105 Freeway linking El Segundo and Norwalk evokes British grocer-turned-photographer Francis Frith and his sober 1850s pictures of Egypt’s ancient imperial monuments. (Opie’s camera work often nods to photography predecessors, including F. Holland Day, Helen Levitt and Peter Hujar.) At the end is a large, horizontal 2022 photograph, also black and white, of construction on the new 6th Street Bridge downtown, designed by architect Michael Maltzan.

A photo of a woman with short hair, wearing a red and black striped collared shirt over a black tee, holding a cigarette.

Catherine Opie, “Judie Bamber, 1993,” 1993/2024, pigment print.

(Catherine Opie / Regen Projects)

Like a bouncing ball above the lyrics to a singalong, the bridge’s 10 pairs of lively arches link the Eastside and the city center severed by a river and train tracks along freeways, connecting past and present as it goes. The point of view is from Boyle Heights, where the Latino-majority demographic represents ongoing transformation in the larger civic realm, looking toward the Oz-like urban skyline. Inside Regen Projects, a building also designed by Maltzan, the ties between connecting paths get physical.

That the show’s individual examples are newly seen, while most of the bodies of work in which they were made are well-known in the art world, yields a surprising resonance. Connections are made to memory. Visual knowledge cannot be complete, but always holds the promise of additional awareness.

One surprise arrives in a documentary video that is extremely difficult to watch. (It’s just over a half-hour, but I lasted less than 10 minutes.) The video chronicles the making of “Self-Portrait/Cutting” (1993), perhaps Opie’s greatest photograph. Her bare back faces the camera as her colleague, the superbly gifted artist Judie Bamber, methodically draws into her soft, pale skin with a sharp razor blade. Crimson blood streams down.

Expertly mimicking a child’s earnest handiwork, the picture being incised into human flesh shows two stick-figure girls holding hands. The sun peeking out from behind a fluffy cloud overhead and a simple house in the distance resting on a wobbly horizon line complete the suburban domestic scene. Opie’s backdrop is a damask drapery in dark green, red’s vivifying complementary color. The drapery slyly recalls Renaissance artist Hans Holbein’s famous double portrait of “The Ambassadors,” rife with undertones of deadly religious discord during the reign of the much-married Henry VIII.

A documentary video shows a drawing being cut into photographer Catherine Opie's back.

A documentary video shows a drawing being cut into photographer Catherine Opie’s back for a famous 1993 Opie self-portrait.

(Regen Projects)

Opie’s blood-soaked image was made following a painful romantic breakup with a longtime girlfriend. Home was torn asunder.

It also resounds with the mix of unspeakable indifference and cruelty around AIDS, a blood-borne disease whose sufferers were being ignored or attacked by venomous anti-LGBTQ+ conservatives in the politically powerful religious right. In a timeline of the medical emergency, then nearing its peak, “Self-Portrait/Cutting” coincides with the deaths of ballet dancer Rudolf Nureyev and tennis champion Arthur Ashe; the long-delayed establishment of a White House Office of National AIDS Policy by President Clinton; Tony Kushner’s Tony Award and Pulitzer Prize for “Angels in America,” his brilliant theatrical meditation on the social intersections between the disease and homosexuality; and more.

An outrageous coalition of fundamentalist Protestant and Catholic theocrats was behind the AIDS-era assaults, blocking government action. Some of the same censorious actors prominent as Opie was shooting her landmark photograph a generation ago are still at work today; in January alone, more than 275 anti-LGBTQ bills were introduced in statehouses across the country.

The bloodstained sorrow carved into the artist’s body still weeps, aggravated by the Supreme Court’s brutal 2022 anti-abortion decision that gutted women’s control of their own bodies. Opie titled her exhibition “harmony is fraught,” underlining current anxieties. Historical survey shows in commercial galleries don’t often speak with a timely voice, but this one does.

Four stacked images show blood running down a woman's bare back in order of increasing bloodiness.

Catherine Opie, “Self-Portrait/Cutting contact sheet, 2003,” 2003/2024, pigment print.

(Catherine Opie / Regen Projects)

‘Catherine Opie: harmony is fraught’

Where: Regen Projects, 6750 Santa Monica Blvd., Hollywood
When: Tuesday–Saturday, 10 a.m.–6 p.m. Closed Sunday and Monday. Through March 3.
Info: (310) 276-5424, www.regenprojects.com

Blast From The Past: BPL Explores Old ‘Boston Herald-Traveler’ Photographs

Blast From The Past: BPL Explores Old ‘Boston Herald-Traveler’ Photographs

BOSTON (WBZ NewsRadio) — Hundreds of thousands of historical pictures from an old Boston newspaper are now available for public viewing.

The Boston Public Library (BPL) in Copley Square hosted a Special Collections Open House to showcase the Boston Herald-Traveler Photo Morgue. Curator of Photography for the BPL Aaron Schmidt said they have somewhere between 700,000 and over little over one million photographs.

“There’s so many photographs, we don’t know how many,” said Schmidt.

Schmidt said collections like this usually get wasted because they are a lot more valuable now than they were at the time.

“Back in the 60’s and 70’s when nobody really valued these kinds of collections, they didn’t see the monetary or historical value, a lot of the stuff ended up in landfill,” said Schmidt.

Those who missed the open house still have a chance to view the photographs.

“You can make appointments to come in and see the files from the collection, depending on the subject of your research. We also have over a little over 16,000 images digitized online in our digital commonwealth site,” said Schmidt.

WBZ’s Carl Stevens (@CarlWBZ) reports. 

Blast From The Past: BPL Explores Old ‘Boston Herald-Traveler’ Photographs

Blast From The Past: BPL Explores Old ‘Boston Herald-Traveler’ Photographs

BOSTON (WBZ NewsRadio) — Hundreds of thousands of historical pictures from an old Boston newspaper are now available for public viewing.

The Boston Public Library (BPL) in Copley Square hosted a Special Collections Open House to showcase the Boston Herald-Traveler Photo Morgue. Curator of Photography for the BPL Aaron Schmidt said they have somewhere between 700,000 and over little over one million photographs.

“There’s so many photographs, we don’t know how many,” said Schmidt.

Schmidt said collections like this usually get wasted because they are a lot more valuable now than they were at the time.

“Back in the 60’s and 70’s when nobody really valued these kinds of collections, they didn’t see the monetary or historical value, a lot of the stuff ended up in landfill,” said Schmidt.

Those who missed the open house still have a chance to view the photographs.

“You can make appointments to come in and see the files from the collection, depending on the subject of your research. We also have over a little over 16,000 images digitized online in our digital commonwealth site,” said Schmidt.

WBZ’s Carl Stevens (@CarlWBZ) reports. 

In memoriam: photographer Brian Griffin (1948

In memoriam: photographer Brian Griffin (1948

British photographer Brian Griffin has died aged 75. Griffin was celebrated for his playful photography and later work, which appeared on album covers for artists including Depeche Mode and Echo & the Bunnymen.

Griffin, who was born in Birmingham in 1948, intertwined surrealist motifs throughout work that mischievously rethought the corporate world, drawing on his diverse inspirations, from the industrial influences of his childhood to futuristic films such as Fritz Lang’s Metropolis, and Renaissance paintings.

man in suit slumping against wall in resignation

Brian Griffin’s menswear shoot for Wallpaper* May 2018

(Image credit: Brian Griffin for Wallpaper* magazine. Fashion: Jason Hughes)

After graduating from Manchester School of Art in 1972, Griffin moved to London and focused on portraits of musicians including Elvis Costello, The Jam, Queen, Ringo Starr, Iggy Pop, Siouxsie and the Banshees. He shot the first five Depeche Mode studio album covers, among which the debut one was released in 1981. 

man in suit with plastic cup

Wallpaper* May 2018

(Image credit: Brian Griffin for Wallpaper* magazine. Fashion: Jason Hughes)

Griffin also created the album cover for Echo & the Bunnymen’s Heaven Up Here (also 1981), which was named the best album of that year by NME, and one of the best albums of all time by Rolling Stone magazine. He received the Royal Photographic Society Centenary Medal in 2013, and his works have also been celebrated in retrospective exhibitions at Reykjavík Art Museum, and London’s V&A and National Portrait Gallery.

Here, we look back to Griffin’s shoot for Wallpaper* in May 2018, capturing an immaculately tailored corporate meltdown. 

Brian Griffin’s Wallpaper* shoot

man in suit slumped over filing cabinet

Wallpaper* May 2018

(Image credit: Brian Griffin for Wallpaper* magazine. Fashion: Jason Hughes)

man in suit climbing over desks

Wallpaper* May 2018

(Image credit: Brian Griffin for Wallpaper* magazine. Fashion: Jason Hughes)

models in suits

Wallpaper* May 2018

(Image credit: Brian Griffin for Wallpaper* magazine. Fashion: Jason Hughes)

SlickPic Photography Challenge: Still Life

SlickPic Photography Challenge: Still Life

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The ultimate DIY digital clock, built inside a flash unit #Photography #RaspberryPi #CircuitPython @petapixel

The ultimate DIY digital clock, built inside a flash unit #Photography #RaspberryPi #CircuitPython @petapixel

Finnish photographer Petri Damstén has crafted a digital clock within a photography flash unit using a Raspberry Pi Pico W with a ST7735 display coded in CircuitPython.

The digital display fits into where the diffuser panel once was. It mimics the simple aesthetics seen when on camera lenses to perfection. At the top, in large, easy-to-see numbers is the time. Below that a graphic reminiscence of depth of field markings seen on lenses. This part is just for aesthetics, but it’s a nice touch.

“The idea of a camera-themed clock originated from my interest in photography. Another concept I had in mind was a Back to the Future DeLorean time machine-themed clock, but that might be a project for another day,” Damstén says in a blog post detailing the project

See the video below and more on PetaPixel. The project files are on GitHub.

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Asia Society presents immersive photography and video exhibition visualizing the climate crisis

Asia Society presents immersive photography and video exhibition visualizing the climate crisis

NEW YORK; January 31, 2024 — Climate change takes center stage at Asia Society with the presentation of COAL + ICE, an immersive photography and video exhibition taking place February 13 through August 11, 2024. The exhibition will be accompanied by a multidisciplinary program series, with performances and activations throughout the city, designed to raise awareness and catalyze responses to the climate crisis.

Encompassing work by over 30 photographers and artists from around the world, the exhibition traces a photographic arc of climate change spanning the past century, from deep within coal mines, to the melting glaciers of the greater Himalaya. Greenhouse gases are warming the high-altitude climate of the Tibetan Plateau, disturbing the great rivers of Asia and disrupting the lives of billions of people downstream. Rising sea levels and extreme weather events are highlighted in the exhibition by an immersive presentation of the video installation Deluge by Gideon Mendel, documenting flooding around the world.  

COAL + ICE is a collaborative visual experience that calls attention to the urgent global issue of climate change. Through intimate portraits and vast, altered landscapes, the works on view document the consequences triggered by our continued reliance on fossil fuels, and bring to life the environmental and human costs of climate change, in Asia and around the world. The exhibition will be presented across four floors of Asia Society, and will culminate with a series of projects by photographers, artists, and designers who foreground a range of differently scaled solutions to the climate crisis including an installation on renewable energy by Jamey Stillings.  

Co-curated by Magnum photographer Susan Meiselas and exhibition designer Jeroen de Vries, and led by Orville Schell, Asia Society Vice President and Arthur Ross Director of the Center on U.S.-China Relations, the exhibition has evolved since its initial premiere in Beijing in 2011. A growing set of works from around the world visualizes the human consequences of climate change, including droughts, floods, fires, and migration. Each photographer’s commitment to capturing our changing environment and its human toll is reflected in imagery curated from their long-term, authored bodies of work.

Visitors to the exhibition at Asia Society will be greeted by a two-story presentation on the Park Avenue building facade of two large-scale photographs by artist Clifford Ross capturing the menacing waves of Nazaré, Portugal, which swell up to 100 feet high with increased hurricane and storm activity.

The immersive installation New York, 2050: A Possible Future, created for Ingka Group (IKEA) for their Action Speaks summit in NY, presents a vision—through sight, sound, and smell—of a thriving net-zero city, where New Yorkers have transformed the way they live to ensure a hopeful and resilient future. It was produced in collaboration with UK-based studio Superflux, led by Anab Jain and Jon Ardern.  

Artist Maya Lin has created an interactive presentation from What Is Missing?, a memorial to the places and species we are losing during this sixth mass extinction that highlights memory, action, and hope, and shares new pathways toward a more livable planet. 

Leveraging behavioral science, world-building, and storytelling, Jake Barton’s Accelerator 2050 features a time machine that invites visitors to text with an AI-derived version of their future self about the positive impact of the climate actions they will take now and in years to come.  

Participating artists and photographers
Jake Barton
Bernd and Hilla Becher
Daniel Beltrá
Noah Berger
Matt Black
David Breashears
Jimmy Chin
Bruce Davidson
Cameron Davidson
John Davies
Willem Diepraam
Anna Filipova
Geng Yunsheng
Lewis Hine
Jane Hirshfield
Joris Ivens
Dolf Kruger
Meridith Kohut
Maya Lin
Dana Lixenberg
George Mallory
Gideon Mendel
Niu Guozheng
Darcy Padilla
Gordon Parks
Clifford Ross
Camille Seaman
Vittorio Sella
Nichole Sobecki
Song Chao
Jamey Stillings
Henri Storck
Superflux
Peter van Agtmael
Major E. O. Wheeler
Witho Worms
Yu Haibo 
 
Climate Action Partners 
Asia Society has partnered with over 30 arts, culture, educational, environmental, and community organizations across the city to highlight the breadth of climate-related activities occurring in all five boroughs. Our Climate Action Partners include: American Museum of Natural History, Billion Oyster Project, Bronx River Alliance, Brooklyn Academy of Music (BAM), Brooklyn Grange, Children’s Environmental Literacy Foundation, City of Water Day, Climate Fresk, Climate Film Festival New York, The Climate Museum, Dysturb, Fotografiska New York, French Institute Alliance Française, Hudson River Foundation/NY NJ Harbor & Estuary Program, Hunter College NYC Food Policy Center, International Center of Photography (ICP), LA MAMA, Lincoln Center, Magnum Foundation, Melting Metropolis, National Sawdust, New York Botanical Garden, New York Public Library, New York WILD Film Festival, NYU Gallatin WetLab, Park Avenue Armory, THE POINT Community Development Corporation, Queens Public Library, Staten Island Museum, The Trust for Governors Island, Waterfront Alliance, and Working & Learning Together Electronics (WALTER).

Support
COAL + ICE is funded by the generous contributions of The Schmidt Family Foundation, Janet Ross, Bloomberg Philanthropies, Frank and Susan Brown, Adobe, Jerome Dodson, Stephanie Hui, Laumont Editions, and many kind donors who wish to remain anonymous; list in formation.

Support for Asia Society Museum is provided by Asia Society Council on Asian Arts and Culture; Asia Society Friends of Asian Art; Arthur Ross Foundation; Sheryl and Charles R. Kaye Endowment for Contemporary Art Exhibitions; The Hazen Polsky Foundation; The Mary Griggs Burke Fund, and Mary Livingston Griggs and Mary Griggs Burke Foundation; the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature; and the New York City Department of Cultural Affairs in partnership with the City Council.

Project background 
COAL + ICE was first developed by Asia Society’s Center on U.S.-China Relations for exhibition at Three Shadows Photography Art Center in Beijing in 2011. The exhibition traveled across China, and was on display at the U.S. Ambassador’s Residence in Paris during COP 21 before coming to the U.S., to Fort Mason in San Francisco in 2018 and the Kennedy Center in Washington, D.C. in 2022. 

Asia Society Museum is located at 725 Park Avenue (at 70th Street), New York City. Museum hours are 11:00 am to 5:00 pm, Tuesday through Sunday. Admission is $15 adults; $10 students/seniors; free for persons age 16 and under. Admission to the museum is free on Fridays. Free Friday admission is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Find out more at AsiaSociety.org/NY. Connect with us on Instagram @AsiaSociety, on TikTok @Asia.Society, and on Facebook and X @AsiaSocietyNY.

D-Ray’s Photo Archive is West Coast Hip-Hop Gold

D-Ray’s Photo Archive is West Coast Hip-Hop Gold

So she learned how to do it well the first time.

Now, after more than two decades documenting the culture, she reflects on her work with pride. “I really have a thing about telling the story through my photos about our culture,” she says, “and I feel like I’ve captured everything through the years, and did it the best way possible, you know?”

Below is just a small sample of D-Ray’s photos, some never before seen, and her comments about each, edited for length and clarity.


Legendary late Pittsburg rapper, The Jacka, cracking jokes with Oakland community pillar and lyrical monster, Mistah F.A.B. at Moses Music in East Oakland.
Legendary late Pittsburg rapper, The Jacka, cracking jokes with Oakland community pillar and lyrical monster Mistah F.A.B. at Moses Music in East Oakland in 2004. (D-Ray)

D-Ray: So this was me just looking around the room and seeing these two knuckleheads laugh. You know what I mean? Just seeing them crack jokes there. They’re probably just roasting each other like no tomorrow. If you see Jacka, you can almost hear him laughing.

This picture right here shows Stan and Jack’s relationship. A lot of people might not realize that F.A.B. and Jack are actually close, you know, like friendship-wise, more than just music. But this right here, this is Ramadan. So Jack was definitely fasting that day, and they were probably cracking a joke on how he wanted to eat or something, you know?

Host Sway Calloway and East Oakland MC Keak Da Sneak chop it up while filming an episode of the show 'My Block' for MTV.
Host Sway Calloway and East Oakland’s Keak Da Sneak chop it up while filming an episode of the show ‘My Block’ for MTV in 2006. (D-Ray)

D-Ray: This is at Keak’s house in the 70s in East Oakland, during MTV’s My Block. History was being made and I decided to document it. To see them both sitting on a porch in East Oakland, it meant a lot to me. When Sway came to the Town it brought a lot of people out; it showed the love.

Fillmore raised MC, San Francisco rap star Messy Marv poses for a photo.
San Francisco rap star Messy Marv poses for a photo. (D-Ray)

D-Ray: So Messy (Marv) got the cover of Showcase magazine; that was actually shot behind Showcase’s office in San Leandro, off East 14th. It’s my very first cover shot. Frank Herrera was like, “D-Ray, you think you can do it?” I was like, “Hell yeah.” Mind you, this was film. You couldn’t see what you were taking pictures of.

This shot ended up in The Source magazine, XXL, this is what got me exposure in the world. Messy Marv welcomed me into the world. Also, Kilo Curt, Mac Dre and Miami The Most showed up to go talk to Gary and Frank because they were working Mac Dre’s record at the time. They saw me doing Messy Marv’s photoshoot, and that’s what got me adopted into Thizz — because Dre was like, “Oh, we need a female photographer.”

A candid shot of one of the many dance battles held at Youth Uprising in deep East Oakland, circa 2006.
A candid shot of one of the many dance battles held at Youth Uprising in deep East Oakland, circa 2006. (D-Ray)

D-Ray: We used to have dance battles at Youth Uprising, it was a safe haven. Kids from East Oakland, their parents, folks who weren’t a part of the youth center would come, it was something to do on a Friday night. Those kids, look at them, those kids in the middle row are the only kids that probably go to Youth Uprising. Those other kids are family and friends.

The ambassador of the Bay, E-40, sitting on his scraper watching Oakland going wild on the set of the video for the hit song ‘Tell Me When To Go.’ (D-Ray)

D-Ray: It’s showing East Oakland and both sides of Vallejo. Do you know what I’m talking about? Because I am the official Thizz photographer, and I still have a relationship with people like 40.

I saw it, I took it. I saw the T go up, and it automatically happens. I’ve just got to keep it real. As soon as the T goes up, it just happens. It’s just the way my mental is trained.

Well-known rapper and proud representative of Pittsburg's El Pueblo Projects, The Husalah, posing for a photo while sitting in a cherry red drop top car.
Well-known rapper and proud representative of Pittsburg’s El Pueblo Projects, Husalah. (D-Ray)

D-Ray: I spent like two weeks with Husalah before he turned himself in, and we wanted to get all of his stages, like all of his looks. I mean, he changed his clothes multiple times. We went to the projects, we did all types of stuff, just to make sure he had content while he was in prison.

When he was in prison, I made sure that he was still kept alive. Like, I had good pictures of him. I had press packets. I had whatever we needed. It was a sad situation. I’ll never forget it was like those two weeks.

The late MC, The Jacka, and well-known turf dancer, Ice Cold 3000, pose for a photo at Youth Uprising.
The Jacka and turf dancer Ice Cold 3000 pose for a photo at Youth Uprising. (D-Ray)

D-Ray: This is at Youth Uprising (YU). The Jacka would show up anytime I asked Jack to show up.

I have a thing with YU, those are all my kids. I don’t know him as “Ice Cold,” I know him as Gary. You get what I’m saying? Today, knowing his name is Ice Cold, I’ve had to get used to it.

I have a bunch of kids at YU, and I just felt like I had to make sure (Gary) had a picture with my brother and he had that kind of love that my brother could pass off to him… And I just remember, because they were all excited to see Jack there.

Jack would get me in trouble tho, because he would come through smelling like OH MY GOD. Olis Simmons (the former head of YU) would say, “D-Ray, take him outside and spray him down before he comes in here.” I’d be like, “Why Jack, why?” But then, you couldn’t hold that against him. The kids would love him because he’d come in and he’d be himself. Jack would inspire those kids, and bring shirts and talk to them. I think that’s what gave Gary — Ice Cold — so much hope. He makes me very proud. Ice Cold makes me very, very, very proud. To see him glowing in this picture like he is, that’s why I pulled this picture.