At The Frying Pan Gallery, connect to nature through local art and live music
More time in nature was one of the small pleasures of the pandemic, says Scientific America. We found some New Englanders who embraced the idea of going back to nature years ago
Updated: 8:30 PM EDT May 26, 2023
SARAH SWAIN AND THE BOYS ARE FAMILIAR FACES ON THE CAPE COD MUSIC SCENE. YOU GOT A CAP JUST AS THE FRYING PAN. THE ART GALLERY SARAH STARTED WITH HUSBAND STEVE SWAIN HAS BECOME FAMILIAR TO ART LOVERS IN WELLFLEET LIVING ON CAPE COD. THERE IS DEFINITELY A SPIRIT OF RECLAIMING AND REUSING WHAT YOU HAVE, AND THAT’S REPRESENTED IN THE GALLERY AND SO MANY WAYS. I MEAN, JUST FROM THE BUILDING ITSELF, BEING AN OLD OYSTER SHACK TO ARTISTS WHO ARE INSPIRED BY OUR NATURAL ENVIRONMENT HERE, A LOT OF THEM USE FOUND OBJECTS, WHETHER IT’S DRIFTWOOD OR SHELLS. STEVE SWAIN IS AN ARTIST WHOSE HANDCRAFTED METALWORK IS DISPLAYED PROUDLY THROUGHOUT THE GALLERY. I GREW UP ON THE WATER IN SITUATE AND ON THE CAPE. I BECAME A LICENSED CAPTAIN AND I WORKED ON BOATS AROUND THE WORLD. INFLUENCES THAT I BROUGHT BACK HERE. ANYONE WHO HAS SPENT TIME ON OR UNDER THE WATER WILL APPRECIATE HIS EXQUISITE DETAIL. WHEN I DESIGN THE PIECES, I LOOK AT LOTS OF VIDEO AND PHOTOS, SCHOOLS OF FISH. A LOT OF THAT’S FROM MY OWN EXPERIENCE AND MEMORY. BUT IF YOU’RE HAVING TROUBLE FINDING A NEMO THAT SPEAKS TO YOU, COME BACK BECAUSE THERE’S ALWAYS MORE. YOU SHOULDN’T BE ABLE TO EXHAUST THE STUFF THAT’S IN THE OCEAN, HOPEFULLY, BECAUSE IT’S WHERE MY HEART IS. ALSO ON DISPLAY ARE PICTURES FROM COMMUNITY ACTIVIST AND PHOTOGRAPHER SHIREEN DAVIS. A LOT OF THE BOATS THAT WE HAVE HERE ON THE CAPE, MOST OF THEM ARE DAY BOATS, SO SMALL BOAT FISHERMEN, SO I’VE BEEN PART OF THAT COMMUNITY ALL MY LIFE AND BEEN DOCUMENTING THE DIFFERENT CHARACTERS THAT HAVE BEEN PART OF THAT. A WOMAN WITH SOME VIBRANT RED HAIR STANDING STRONG IN FRONT OF THE PEOPLE THAT SHE’S WORKING WITH. THREE KIDS DOWN AT THE DOCK. THAT’S THEIR LIFE. THEY GREW UP THERE. IN HER PHOTO, AS DAVIS CELEBRATES HER SUBJECTS WHILE ALSO SHINING A LIGHT ON AN INCREASINGLY RARE WAY OF LIFE. YOU’RE LIVING WITH THE TIDES AND THE WIND AND AND THE QUIETUDE OF WHAT YOU’RE DOING AND THAT YOU’RE HARVESTING FOOD, AND THEN YOU’RE IN THIS BEAUTIFUL SURROUNDING. YOU CAN’T BEAT IT. AS PART OF CHATHAM FOUNDING FAMILY, SHIREEN DAVIS’S ROOTS RUN VERY DEEP, VERY DEEP. 13 GENERATIONS FOR HER HUSBAND, HOWEVER, RELATIVE NEWCOMER, ONLY TEN GENERATIONS DEEP ON HIS SIDE. BY THE WAY, THEY’VE OPENED A SECOND FRYING PAN GALLERY. THIS ONE IS IN ORLEANS, AND STEVE’S WORK, OF COURSE, CAN BE FOUND IN GALLERIES ALL OVER THE CAPE. AND THAT IS CHRONICLE FOR TONIGHT. THANKS SO MUCH FOR JOINING US, EVERYONE. I’M ANTHONY EVERETT AND I’M SHAYNA SEYMOUR. HAVE A GREAT WEEKEND. WE’LL SEE YOU BACK HERE ON MONDAY.
At The Frying Pan Gallery, connect to nature through local art and live music
More time in nature was one of the small pleasures of the pandemic, says Scientific America. We found some New Englanders who embraced the idea of going back to nature years ago
Updated: 8:30 PM EDT May 26, 2023
In Wellfleet, art and community meet at The Frying Pan Gallery where you’ll find co-owner Steve Swain’s hand crafted sculpture as well as local art, jewelry, furniture, and more. Currently on display is work by local photographer/activist Shareen Davis whose latest photography (and cooking) can be found on her Instagram #fishchickphotog.Sarah Swain & The Oh-Boys Rockabilly sounds are staples in the Cape Cod music community. During COVID they produced a series of “Frying Pan Sessions” that are currently available Facebook.
In Wellfleet, art and community meet at The Frying Pan Gallery where you’ll find co-owner Steve Swain’s hand crafted sculpture as well as local art, jewelry, furniture, and more. Currently on display is work by local photographer/activist Shareen Davis whose latest photography (and cooking) can be found on her Instagram #fishchickphotog.
Sarah Swain & The Oh-Boys Rockabilly sounds are staples in the Cape Cod music community. During COVID they produced a series of “Frying Pan Sessions” that are currently available Facebook.
Cruise ships aren’t usually associated with astrophotography – unless there’s a remote total solar eclipse happening – but can present anyone with a camera or even just a smartphone with unique nocturnal opportunities.
Light pollution on land is now so bad that few can see – or will ever see – the arc of our own galaxy. While on a cruise ship, you’re in a privileged position, but you do need to plan your equipment in advance. For best results, use a tripod. Even a small tabletop tripod is helpful, or one that grips onto a deck railing. “I carry a collapsible carbon fiber tripod in my camera bag, but if you’re using a smartphone you can brace yourself against the ship, effectively using it as a tripod,” says Greg Redfern, author of Cruise Ship Astronomy and Astrophotography and a NASA JPL Solar System Ambassador. “Just always keep a hand on your camera – you’re on a moving ship and you don’t know what’s going to happen.”
From capturing sunsets and moonrises to Earth’s shadow and aurora, here’s everything you need to know about astrophotography from cruise ships.
1: You’ll need to find a dark corner
They may be traveling through some of the least light-polluted areas of the planet, but cruise ships can very often be ablaze with light. If you’re very lucky, during a cruise the captain will switch off the lights on the back of the ship and the ship astronomer will do some guided stargazing. Otherwise, it’s up to you to find some shadow zones and dark spots. “Every ship has them – try the guardrail, the ship’s deck rail at the stern,” says Redfern. “With your back to the ship, you’re staring out into the open ocean, and unless the ship’s got some bright side lights on the entertainment deck you are going to have dark skies there.” Explore the ship during the day and at night you can go out and find a dark spot.
2: Hunt for the Milky Way
Each year between March and October the Milky Way’s bright core becomes visible, though where you are on the planet decides what you’ll see. “What you have to figure out is where is the Milky Way going to be in relationship to the ship – port-side, starboard side, bow or stern,” says Redfern. A stargazing app is handy for that, though a compass is also useful – it will be in the east in March, the south in June and the west in September. “Find a shadow zone and use a tripod – I’ve shot it with 14mm, 35mm and 50mm, and using the Nocturne app,” says Redfern. “The Milky Way from a cruise ship can be absolutely spectacular.”
3: Nocturne app works well for smartphones
Although smartphones can be used in a similar way to DSLR and mirrorless cameras – after all, most now have ‘night modes’ that expose for 10 seconds or so – something to consider for cruise ships is Unistellar’s Nocturne app for the iPhone. “Point your smartphone straight up. Hit a button and it assesses the sky, then gives you an estimated exposure time – which could be minutes,” says Redfern. “It then focuses and fires-off multiple exposures, stacking them and using AI to compensate for any potential light pollution – it’s amazing.” Nocturne essentially makes a smartphone into an astrophotography camera.
4: Make the most of the hemisphere you’re in
If you live in the northern hemisphere and you’re getting our first-ever view of the southern hemisphere’s night sky from, say, a Pacific cruise, then don’t waste it. The Southern Cross, Alpha Centauri, the bright core of the Milky Way and the spell-binding Large Magellanic Cloud (LMC) and Small Magellanic Cloud (SMC) are yours to capture – and it could be your only chance.
5: It’s a great time to book an aurora-themed cruise
Many photographers specifically got on cruises to photograph the aurora. Now is a great time because ‘solar maximum’ – when our sun and, therefore, the solar wind, is at its most intense – is predicted to occur in the mid-2020s. That means aurora is visible from lower latitudes more often, though the aurora zone around 65º to 70º North is still where they most often occur. Any cruise that heads up to the Arctic Circle is in prime position.
Northern Lights photography: tips and techniques
6: You’ll get a perfect view of Earth’s shadow
Look east just after sunset – as the ‘golden hour’ begins – and you’ll see a pinkish strip close to the horizon. This is civil twilight and it’s an incredible time to be on a cruise ship. That pink band is called the ‘belt of Venus’ and it reaches about 10° to 20° above the horizon, so it’s best seen at sea. “It’s the last rays of the day passing through the Earth’s atmosphere to illuminate on top of the Earth’s shadow,” says Redfern. As the sun drops further beneath the horizon a bluish band appears and begins to engulf the pink. That’s Earth’s shadow. You can capture all this very easily from a cruise ship just with a smartphone. “This is the event that heralds the beginning of a new night – and to photograph it all you have to do is turn 180º from where the sun has just set,” says Redfern.
7: Be patient with sunsets
It’s the classic holiday shot that everyone wants to photograph by pointing their smartphone at the sun. Everyone, except photographers, of course. “You don’t have to have the sun in the picture – some of the best stuff I have gotten has been when the sun is below the horizon illuminating cloud,” says Redfern. “You get the crepuscular shadow and you get the light from the dusk playing in the tapestry of the sea.” However, the moment the last tiny bit of sun sinks into the ocean have a look for the ‘green flash’, an optical phenomenon that’s best seen at sea.
8: Go around the New Moon for ‘Earthshine’
If you’re at sea around the New Moon then your timing is good to capture a crescent moon displaying ‘Earthshine’. A crescent moon is visible close to the eastern horizon before sunrise in the few days before the New Moon and close to the western horizon just after sunset for a few days after the New Moon. When it’s very slight the dark side of the moon – its shadowed portion – is visible. That’s because sunlight is being reflected off Earth’s clouds and ocean and back onto the moon. A cruise ship is an ideal place to capture it. If you’re lucky there will be planets close by, too. Either way, with the crescent moon close to the horizon look out for moon-shine (and/or planet-shine) on the ocean streaming towards you.
9: Cruise ships are perfect for seeing Mercury
The ‘Swift Planet’ is not an easy world to see. From our position on the third planet from the sun, this innermost planet in the solar system is mostly lost in the sun’s glare. However, when the angles are good it can be seen for a short time before sunrise or after sunset. Look for the dates of these ‘greatest elongations’ because, if you’re at sea, you’re in the enviable position of being able to see right down to the horizon. There’s no better place on Earth to see Mercury than from a cruise ship.
10: Don’t forget daytime optical phenomena
A cruise ship is also a good place to photograph optical phenomena such as solar halos and rainbows – the result of light interacting with ice crystals suspended in the atmosphere, but difficult to see. “Use a piece of the ship to block out the sun,” says Redfern, who advises using the ‘big white balls’ you’ll always find on the top of the ship (they’re actually called Ra-domes, a portmanteau of the ‘radar’ and ‘dome’). “I’ve also photographed rainbows, double rainbows and even ‘bow’-bows – when the ship is making spray and the sun is directly overhead.”
Enter the realm of ‘Snails in the Sun’ where delicate shells become radiant lanterns, casting ethereal light. Behold the captivating beauty that nature unveils under the warm embrace of sunlight.
Within this world, snails exhibit unique personalities. Some are timid, retreating into their shells, while others exude curiosity, boldly exploring their surroundings. These observations have been gleaned through my years of immersion in the company of these remarkable creatures.
Katarzyna Załużna, is a nature enthusiast hailing from Poland. For a decade, she have immersed herself in the art of capturing the wonders of the natural world through her lens. It is a source of profound joy and relaxation, providing solace amidst life’s demands. Whenever time and energy align, she find solace in the meadows, recharging her spirit amidst nature’s embrace.
Scroll down and inspire yourself. Check Katarzyna’s Website and Instagram for more amazing work and information.
You can find Katarzyna Załużna on the Web :
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“My adventure with photography began when I photographed children at a family gathering during the Easter holidays. I wanted to capture the emotions I observed. There was a nice atmosphere. I thought the photos I took were beautiful, flawless. After a few days, I put them up on a photo portal, and it was there that I only learned about the mistakes I had made: the exposure parameters simply sucked, as well as the composition and many other issues.
I was intrigued by the art. I wanted to take good photos, and step by step, after painstaking attempts and the subsequent “kicks” I received from the community, which had more knowledge than me, I began to photograph better and better, until I managed to develop my own style over the years.”
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“I have always been fascinated by nature motifs in photography. Flowers, butterflies, spiders, and snails. I also wanted to show them beautifully as they bring solace – a pleasant visual experience – that relaxes me. I was very much inspired by other authors who specialize in nature photography. I photograph other subjects as well (including people), but snail photographs seemed to be admired the most. And why do I present them in the sun? Because then the light is very plastic, and they look more attractive in it. Then a snail is not just shown, as for a biological album, but is portrayed in an artistic way.”
This photographer captured Mars as it passed in front of the stars of the Beehive Cluster (M44) in September 2013. Credit: John Chumack
Friday, May 26 With the waxing Moon in the west after sunset, let’s concentrate our gaze east, where the cross-shaped constellation Cygnus is rising. About two hours after sunset, the Swan has sufficiently cleared the horizon for observers to seek out one of its many deep-sky treasures: The North America Nebula. Also cataloged as NGC 7000, this emission nebula sits just under 3.5° east of bright Deneb, the tail of the Swan. That makes it easy to find with binoculars or a telescope — and you’ll want to go for a wide-angle view, because NGC 7000 stretches some 2° across at its widest.
Take some time with this object and see whether you can pick out the familiar shape of its namesake continent — the Eastern Seaboard appears more prominent and sharply defined than the West Coast. Slip in a UHC filter if you have one to bring out the gas’ soft glow even more. Just west of the North America Nebula, across a narrow dark divide, is the Pelican Nebula (IC 5070). Although smaller at about 1° across, this is another worthy target to enjoy.
Both objects are popular astrophotography subjects as well. With a wide-angle view, you can capture the whole area in a single shot. The later you look, the better conditions will be as the area rises farther above the ground and the turbulent air that sits just above it.
Sunrise: 5:37 A.M. Sunset: 8:18 P.M. Moonrise: 11:38 A.M. Moonset: 1:30 A.M. Moon Phase: Waxing crescent (41%) *Times for sunrise, sunset, moonrise, and moonset are given in local time from 40° N 90° W. The Moon’s illumination is given at 12 P.M. local time from the same location.
M101 lies in Ursa Major near the last two stars in the Big Dipper’s handle. Credit: Alison Klesman (via TheSkyX)
Saturday, May 27 First Quarter Moon occurs at 11:22 A.M. EDT. Our satellite is now traveling through Leo and sits just over halfway between the Lion’s heart (Regulus) and his tail (Denebola).
Before the Moon gets too much brighter, have you heard? There’s a new supernova visible in M101, the Pinwheel Galaxy in Ursa Major. To find magnitude 7.9 M101, first find the familiar shape of the Big Dipper. Follow the curving handle and stop at the end, identifying its last two stars: magnitude 2.2 Mizar and magnitude 1.9 Alkaid. These two stars create the base of a triangle; about 4.5° northeast of a point between them is M101.
This face-on galaxy has a low surface brightness, so if you want to see its spiral arms, you’ll need a large aperture. To find the bright supernova just southeast of its nucleus, however, all you’ll need is a small backyard instrument, about 4 to 4.5 inches. Look for what appears to be a bright star embedded in the grayish fuzz of the galaxy in your eyepiece — that’s the brilliant light of an explosion marking the end of a massive star’s life. Astronomers expect the supernova, which reached magnitude 11 earlier this week, to be visible through a telescope for months as it slowly fades.
Sunday, May 28 Saturn’s largest moon, Titan, lies due south of the planet this morning. The ringed planet rises around 1:30 A.M. local daylight time, but you’ll want to give it some time to climb above the horizon. About two hours before sunrise, you’ll find Saturn hanging 20° high in the southeast, glowing at magnitude 0.8 among the stars of Aquarius.
Zoom in with a telescope to spot magnitude 8.7 Titan to the planet’s south. Several other, fainter moons cluster closer to the planet’s stunning rings, including Enceladus and Dione to the east, and Tethys and Rhea to the west. See how many of these 10th- to 12th-magnitude moons you can catch in your eyepiece.
Those rings, of course, take center stage. They stretch nearly 40″ end to end, while the planet itself appears 17″ across. The ring system is now tilted toward us by only about 7°; this angle changes slightly throughout the year but overall is shrinking as the planet heads for an edge-on appearance in two years’ time.
While you’ve got your telescope out, swing over to the Circlet of Pisces and then drop down about 7° to land on the distant planet Neptune. Only visible through binoculars or a telescope, the magnitude 7.8 world sits just slightly north of the midpoint on a line drawn between 6th-magnitude 24 and 20 Piscium. Look for its slightly odd appearance: Not a bright pinpoint of light, but a small, circular, “flat” and grayish point.
Monday, May 29 Mercury reaches its greatest western elongation of 25° from the Sun at 2 A.M. EDT. It’s another early morning to catch it: The solar system’s smallest planet sits about 5° high just 30 minutes before sunrise. It’s glowing at magnitude 0.5 and brightening fast — in another week, it will be magnitude 0 and roughly the same height above the horizon half an hour before sunrise.
But this isn’t the only bright planet in the morning sky. To Mercury’s west (upper right) lies Jupiter, far brighter at magnitude –2.2. The king of planets stretches 34″ in a telescope — compare that with Mercury’s tiny 8″! See also if you can spot Jupiter’s four Galilean moons in the brightening sky: Europa lies to the planet’s west, while (closest to farthest) Io, Ganymede, and Callisto are east. You can start looking for them earlier than just before sunrise if you’re up, as Jupiter rises around 4 A.M. and is already a bit over 5° high an hour before sunrise.
Do make sure that, as always, you put away any optics several minutes before the Sun is scheduled to rise from your location, which can differ from the time we list as it’s heavily location dependent.
Tuesday, May 30 Venus passes 4° south of Pollux in Gemini at noon EDT; by dark, it is in roughly the same position. The bright planet also sits less than 1° from 4th-magnitude Kappa (κ) Geminorum, which will become visible as the sky darkens.
Venus is magnitude –4.4, unmissable in the sky. Through a telescope, its 22″-wide gibbous face is approaching half-lit, now appearing some 52 percent illuminated. Keep coming back to the planet over the next few days and record when you see it reach exactly half lit. Because of various effects, this can occur several days before or after the time it truly hits half phase late on June 3.
To Venus’ upper left (east) just one constellation over in Cancer is Mars. The magnitude 1.6 Red Planet reaches aphelion, the farthest point from the Sun in its orbit, at 5 P.M. EDT this afternoon. At that time, it will be 155 million miles (249 million kilometers) from our star. Mars is currently 1.5° from the stunning Beehive Cluster (M44) at the center of the Crab, just starting to skirt its edge. It will continue deeper into the cluster night by night, and we’ll be back before the week is out to check out the pairing.
Wednesday, May 31 Our quickly waxing Moon steals the spotlight tonight for telescopic observers as we target Mons Rümker in the Ocean of Storms. The Moon has moved east along the ecliptic day by day, sliding from Leo into Virgo, where it now sits some 8° east of the bright star Spica. We’ll be back to visit this constellation at the end of the week.
Located near the Moon’s northwestern limb, Rümker is just now coming out of shadow as the Sun rises over the lunar landscape. This isolated, ancient volcano appears lumpy and gently sloped, rather than sharp and jagged like a typical mountain. That’s because this mound rose from the floor slowly, built by upwelling lava rather than the devastating, quick-acting effects of a massive impact.
Just east of Rümker and likely easier to spot among lighter terrain is the bowl of Mairan Crater. About 25 miles (40 km) across, Mairan was formed about thousands of millions of years ago, yet retains a sharp, youthful rim.
Keep watching the area for a few hours and you may notice the sunlight creeping across the surface, shrinking the shadows as the Moon continues to wax toward Full.
Thursday, June 1 Mars is now fully embedded within the 1.6°-wide Beehive Cluster in Cancer. You can enjoy the lovely pair tonight as the sky turns dark after sunset and the stars of this young cluster begin to twinkle into view about 30° above the western horizon.
Also called M44, the Beehive is a relatively close-by (roughly 500 to 600 light-years) young cluster of stars known since ancient times, thanks to its naked-eye magnitude of 3.7. The bright red spot of Mars sits just west of the cluster’s center tonight; tomorrow, the planet will sit just east of it. Enjoy the view through binoculars or a low-power scope — too much magnification and you’ll cut out the stars in the cluster’s outskirts. Because the Beehive sits along the ecliptic, it’s often visited by planets, including bright Mars and Venus.
And speaking of, Venus has now pulled away from Kappa Geminorum just a bit and tonight sits just over 2.5° from this star, to the lower left of golden-hued Pollux. On the other side of the Beehive, to the east, lies the Sickle of Leo, anchored by the bright magnitude 1.4 star Regulus.
Porrima (Gamma [γ] Virginis) is fairly easy to split today, when 2.3″ separate its components. In 2008 (seen here), they were only 0.4″ apart. Credit: Jeremy Perez.
Friday, June 2 Let’s return to Virgo, again finding its 1st-magnitiude luminary, Spica. This star stands about 40° high in the south an hour after sunset. Spica’s blazing white light is a prominent sight in springtime evening skies — but, according to the late stellar astronomer Jim Kaler, that light is a little bit deceptive. Spica is not one star but two, orbiting each other every four days with only about one-tenth of the average Earth-Sun distance between them.
Because the two stars are so close, they can’t be split in your telescope. But there’s a nearby neighbor who can: Slide about 14.5° northwest of Spica to magnitude 2.7 Porrima (Gamma [γ] Virginis). This stunning pair of stars consists of two suns with nearly identical magnitudes that are currently several arcseconds apart. Astronomy contributor Raymond Shubinski likens them to “two tiny headlights in space.”
This pair completes an orbit once every 169 years, averaging about 43 times the Earth-Sun distance as they dance, though their highly elliptical orbit means they come much closer and grow much farther apart than this over the course of each orbit. Each is about 1.5 times as massive as the Sun.
Despite their authoritative-sounding titles, recent editions of the Museum of Modern Art’s recurring “New Photography” series have grown especially diffuse—too conceptual and too slippery to really make a dent. Here’s the good news: the latest “New Photography” show brings an end to that losing streak. Finally, a “New Photography” with signs of life.
For the first time ever, “New Photography” has a geographic purview. All of the photographers included this time have ties to the Nigerian city of Lagos, otherwise known to Yoruba speakers as Èkó. That alone would make it notable, since African art, and in particular African photography, has rarely been given the spotlight at MoMA.
But the art itself matches the ambitions of the show’s curator, Oluremi C. Onabanjo, who is challenging what it really means for photography to document a city, let alone the people who reside in it. She has made the wise choice to go with just seven artists, a much smaller group than the past two editions of “New Photography.” Doing so allows her to dive deeper into their practices, which each find intriguing ways of paying homage to Lagos’s citizenry and history, in ways both conceptual and not. Guiding all of the artists’ explorations is a fascination with photography itself as a medium—what it does, who it’s for, and what it can reveal.
Logo Oluwamuyiwa, the strongest of these artists, trains his lens on the streets of Lagos, which he sometimes photographs using oblique angles that distort his images beyond recognition. Oil Wonders II (2018) features an upside-down shot of two standing people, one pair of sandaled feet visible at the bottom. Look above them, and a puddle reflecting these people’s top halves becomes visible. He literally reorients our view of Lagos, then does it again and again in an array of prints, vinyl wallpapers, and films shown nearby.
Oluwamuyiwa’s lush black-and-white photography finds a neat corollary in the work of Akinbode Akinbiyi, an artist roughly half a century older. Working in a mode that’s likewise devoid of color, Akinbiyi turns his attention to Bar Beach, a seaside locale previously popular with Lagosians that has since become a destination for foreigners who can afford it. These photos act as records of what once was, with women lounging, men running, and, in one quaint image, a dog slumbering, seemingly unaware of the bathers around it.
Akinbiyi started this series, “Sea Never Dry,” in 1982, a little over a decade after the Nigerian Civil War ended. His works are serene, mellow, and dreamy, and so, too, are most of the works in this show. But the churning forces of history are still palpable, even in the cases where evidence of them isn’t always visible.
Some of Amanda Iheme’s photographs seem at first glance to be archival documentation—they appear to be straightforward pictures of vintage cassette tapes, yellowed public transit tickets, and decaying buildings. Yet pictures such as these represent history that is being lost, especially in the eyes of people who can’t see the erosion taking place.
One of Iheme’s photographs from 2015 features the Casa de Fernandez, a structure built in the 19th century by formerly enslaved people, beneath a sunny sky. It stands unassumingly, its walls streaked with signs of age. The year after Iheme took this picture, the building was demolished under mysterious circumstances. Now, Iheme’s photograph stands as proof that it existed at all.
The past is a fragile thing, a fact underscored by the thin, vulnerable chiffon that Abraham Oghobase uses in his installation Constructed Realities (2019–22). These pieces of silk are printed with centuries-old British texts about “primitive tribes” and the mining of coal in Nigeria; they are then placed atop re-photographed images from the colonial period. Some of those pictures have portions removed, so that the people in them appear to slip away, leaving behind ghostly half-presences.
Similar specters appear in images collected by Karl Ohiri, whose Lagos Studios Archives project has involved amassing old studio portraits and representing them in their damaged state. Many of Ohiri’s scanned and re-photographed images have lost the battle to time—they bloom with unnatural bruise-like splotches and have turned different hues. In their current state, they contain their own haunted beauty. They pair nicely with works by Kelani Abass, whose family’s pictures from decades past are used as raw material for her own work, which sets these snapshots into letterpresses.
There’s only one artist here who contributes what’s conventionally understood as documentary photography: Yagazie Emezi, a photojournalist whose work has appeared in the New York Times and TIME. She’s showing works that capture protests against police brutality held in 2020 as part of the #EndSARS movement. These are invigorating pictures that take viewers into the streets, with one featuring a woman who stoically walks between rows of cars while waving a flag.
But the more effective works are the ones which find less obvious routes into Lagos’s roads. In these photographers’ hands, these avenues lead not only to the rest of the city but to the whole of Nigeria—and, ultimately, to many other faraway places.
This much is implicit in Oluwamuyiwa’s Lagos Hosts (2014), a shot of the backside of a dusty bus. Its title comes from a sign in its window: “LAGOS HOSTS THE WORLD.” Oluwamuyiwa has printed this shot as a poster that MoMA visitors can take home for free. Hold on to one of Oluwamuyiwa’s posters, cherish it, and let the influence of this Nigerian hub wind its way into the place you call home.
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This photo taken on May 23, 2023 shows Tibetan wild donkeys at Altun Mountains National Nature Reserve in northwest China’s Xinjiang Uygur Autonomous Region. (Xinhua/Ding Lei)
This photo taken on May 23, 2023 shows Tibetan antelopes at Altun Mountains National Nature Reserve in northwest China’s Xinjiang Uygur Autonomous Region. (Xinhua/Ding Lei)
This photo taken on May 23, 2023 shows bar-headed geese at Altun Mountains National Nature Reserve in northwest China’s Xinjiang Uygur Autonomous Region. (Xinhua/Ding Lei)
This aerial photo taken on May 23, 2023 shows Tibetan wild donkeys at Altun Mountains National Nature Reserve in northwest China’s Xinjiang Uygur Autonomous Region. (Xinhua/Ding Lei)
This photo taken on May 23, 2023 shows wild yaks at Altun Mountains National Nature Reserve in northwest China’s Xinjiang Uygur Autonomous Region. (Xinhua/Ding Lei)
This photo taken on May 25, 2023 shows a lynx at Altun Mountains National Nature Reserve in northwest China’s Xinjiang Uygur Autonomous Region. (Xinhua/Ding Lei)
This photo taken on May 23, 2023 shows Tibetan wild donkeys at Altun Mountains National Nature Reserve in northwest China’s Xinjiang Uygur Autonomous Region. (Xinhua/Ding Lei)
Embark on a visual journey curated by the talented Swedish photographer, Johnny Kääpä, as he skillfully captures the enchanting world of squirrels and their rich tapestry of emotions. A stroke of serendipity blessed Johnny last year when his outdoor squirrel studio found its home adjacent to the new squirrel drey chosen by the endearing Wonky and her precious offspring.
Within the frame of his lens, Johnny unveils a realm where these charismatic creatures reveal their diverse range of emotions. Through his masterful photography, he delicately encapsulates the moments of joy, curiosity, and contemplation that animate the squirrel kingdom. Johnny’s extraordinary ability to connect with his subjects results in stunning portrayals that evoke a deep sense of wonder and kinship.
This unique convergence of opportunity and artistry allows us to witness the tender interactions and evocative expressions that unfold in the realm of these captivating squirrels. Johnny’s dedication to his craft and the remarkable bond he shares with his subjects transport us to a world where emotions are palpable and wildlife photography becomes an exquisite form of storytelling.
Scroll down and inspire yourself. Check Johnny’s Website and Instagram for more amazing work and information.
You can find Johnny Kääpä on the Web :
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“I’m thrilled to share my experience of observing and photographing my squirrel friend Wonky and her babies with you. Last year, I was fortunate enough to have my outdoor squirrel studio right next to where Wonky had moved her babies to a new squirrel drey. This gave me the perfect opportunity to observe and photograph them as they explored their new neighborhood.
Through my photographs, I aim to showcase the unique personalities and behaviors of these creatures. Each shot is carefully composed to capture the essence of the squirrel and the beauty of nature. For me, wildlife photography is a passion, and I’ve developed a close relationship with these squirrels over time. Patience, observation, and an open mind are essential when it comes to capturing the beauty of nature, and I hope this shows in the pictures.”
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“I like to shoot against the light, so you need some light from the front to lift the shadows and get correct colors. I started out with a piece of tinfoil wrapped around cardboard as a reflector. Now I use two Rotolight Neo 2 and a Ledgo LED-panel on top. The challenge is, of course, to have them step into the studio with me sitting there. Whether it was time and patience or me sending out good vibes that made them come to me, I don’t know, but they eventually did.”
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“I plan for the shots by arranging the flowers and greenery around them, but it rarely comes out as I planned. It depends entirely on where the squirrel decides to sit. I try to find the best camera settings and angles to see what I can get.
There are many memorable and interesting moments I witnessed while photographing squirrels. The greatest thing is, of course, getting a chance to capture playful squirrel babies. Some may worry that they would be disturbed, but if I get too close, they stop playing and just sit still. So, to get the playful pictures, you need a long lens, to keep still, and not have them notice you. This period doesn’t last more than 1-2 weeks.”
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“There are a couple of key considerations when aiming to capture compelling images of squirrels. One of the most important ones is knowing the best time during the day to spot them. Squirrels sleep 16-17 hours a day, and the books say they are awake in the mornings and evenings. I don’t think they are all on the same schedule, but mornings are the best, as they have the best light.”
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“They say that patience and observation are crucial in wildlife photography. However, I am not actually a very patient man. I prefer to visit the squirrels, get my pictures, and leave. Sometimes it’s just like that, and it’s fun. However, in summer, they sometimes won’t come at all. It’s just me and the mosquitoes. I could do without that. But now, I am much more at peace. I’m not waiting for the squirrels; I’m enjoying nature, living in the present moment. And when the squirrels come, I invite them to stay and have their portrait taken. It’s a good time for all.”
Leica has announced the Q3, price tag £5,300/$59995, a full-frame compact camera with a fast Summilux lens and Triple-Resolution Technology.
Inside the Leica Q3 is a newly developed BSI-CMOS sensor with a resolution of either 60MP, 36MP or 18MP. The Leica Q3 uses the entire size of the sensor when shooting at each resolution, with a native sensitivity range from ISO 50 on up to 100,000.
The Triple-Resolution sensor is paired with Leica’s latest Maestro Series processor. The new Leica camera also boasts a hybrid AF system with both phase detection and contrast autofocus.
Not traditionally known for video, Leica has also given the Q3 some powerful tools for filmmakers. The camera can record C8K and 8K video at up to 30p, C4K and 4K video at up to 60p and Full HD at up to 120p. The Leica Q3 records both MP4 and MOV files and uses the h.264, h.265 and Apple ProRes codecs.
On the front of the Leica Q3 is a fast Leica Summilux 28mm f/1.7 ASPH fixed lens, which allows you to focus on subjects from as close as 17cm thanks to an integrated macro mode. The lens also allows users to zoom digitally to focal lengths of 35mm, 50mm, 75mm and 90mm. What’s more, it incorporates Leica Perspective Control and Leica Dynamic Range to finesse your images.
Other features include a tilting 3-inch, 1.843k-dot touchscreen and a 5.760k-dot EVF. In continuous shooting mode you can shoot at up to 15fps, while the Leica Q3’s electronic shutter allows for shutter speeds as fast as 1/16,000sec.
A Leica Q3 release date hasn’t been specified yet, but the company says it will be available globally at all Leica Stores and from the Leica Online Store.
Specification
Camera type: Full-frame compact
Announced: 25th May 2023
Sensor: Full frame 60.3Mp CMOS sensor
Lens: Leica Summilux 28mm f/1.7 ASPH.
Lens construction: 11 elements in 9 groups, 3 aspherical elements
Digital zoom: 35mm, 50mm, 75mm and 90mm
Autofocus system: Hybrid with contrast phase detection with 315 points
Closest focusing: 30cm normally, 17cm in macro mode
Aperture range: f/1.7-f/16
Shutter speed: Mechanical shutter: 1/2000 to 120 seconds, Electronic shutter 1/16,000 to 1 second
Sensitivity range: ISO 50 to 100,000
Maximum video resolution: C8K (17:9) 8192 x 4320, 8K (16:9) 7680 x 4320, C4K (17:9) 4096 x 2160, 4K (16:9) 3840 x 2160, Full HD (16:9) 1920 x 1080
Viewfinder: 5,760,000-dot OLED with 120fps refresh rate
Kenichi Ohno’s photograph of wading bird appearing to be in front of two disconnected backgrounds
A Japanese photographer has caused some confusion with his recent image that the internet can’t figure out. It depicts an Egret bird wallowing in shallow water, but the incredible composition of the image has left a few photographers scratching heads.
Kenichi Ohno submitted his amazing image of the Egret to a photographic nature competition, and aside from receiving an honorable mention, the photo accidentally went viral as an unintended optical illusion involving a color split down the middle.
• These are the best lenses for photographing birds
As photographers, we should be pretty good at spotting obscure optical illusions and understanding how an image can be affected by factors such as light, color tones, and exposure levels. But this image from photographer Kenichi Ohno has left even photo competition judges stumped, experts who are supposedly adept at spotting image composition errors and any editing inconsistencies.
The Nature in Japan photo contest in which Kenichi entered his image, titled Gap, saw some other amazing photos submitted by members of The All-Japan Association of Photographic Societies (AJAPS), but none as mesmerizing as the accidental optical illusion featuring Kenichi’s bird in the water.
The image features a perfect split down the center, with the left side showing the natural blue shades of the marsh water, whereas the right side appears to be a totally different muddy brown color with the white Egret dead center in the frame.
None of the best editing software was used to create this effect, so how was it done? Plenty accused Kenichi of having photoshopped the image or even using AI to create it. But what the image actually shows on the right side of the split is a wall, followed by the waterline underneath it, causing the brown reflection of this wall to appear in the water, changing the color to a muddy brown.
To shed some light on how the image was composed, and to help viewers understand what they’re really looking at, the AJAPS has shared an image on its Facebook page (above) that offers some clarity in a zoomed-out perspective of the exact location whereby Kenichi’s image was captured.
It’s amazing how our brains work. Do you remember that photo of a blue/gold dress that divided the internet back in 2015? Well, Kenichi’s Egret image requires some real perception-altering to figure out what’s going on, but once you understand the image and how it was created, the eureka moment occurs and it all makes sense.
• You might also be interested in the best free photo editing software, plus the best bird box and best bird feeder cameras to use in your garden, and not forgetting the best portable hides and camouflage gear for wildlife photography.
• Take a look at these 6 ways to improve your composition, as well as how to photograph an optical illusion using a magic mirror, and understand how forced perspective can be used to create optical illusions that bring your toy photography to life
Are you yearning to step foot into a realm of enchantment? Do you long to soar through the air with delicate, glistening wings or venture into caves adorned with a kaleidoscope of diamonds, sapphires, rubies, and other precious gemstones? We believe that such dreams are among the most wondrous we can experience, even though they must eventually yield to the waking world. As time passes, the memories of Wonderland fade from our conscious minds.
However, there is an artist who preserves that dream within her heart. Meet Verba Mystica, a 33-year-old photographer and digital artist with over 12 years of experience. Through the power of AI, Verba conquered depression and breathed new life into the realm of fantastical digital art. If you yearn for a gentle reminder of what Wonderland holds, be sure not to miss the captivating compilation below!
Prepare to lose yourself in caves adorned and sculpted with the most radiant and coveted gems your imagination can conceive. You can check Verba’s more amazing work on Instagram.
