Best Ultra-Wide and Wide-Angle Lenses

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It’s our first day for Camera of the Year Awards, and we’re kicking things off with the ever-popular categories of ultra-wide angle and wide-angle lenses. It was a busy year for wide lenses, with new optics arriving from a wide range of manufacturers across nearly every lens mount and camera system.

Sigma was especially busy this year, releasing excellent full-frame prime lenses in both ultra-wide and wide-angle categories. Panasonic was prolific this year, as well, launching excellent new wide primes for its Micro Four Thirds and full-frame S system cameras. Not to be outdone, Sony released five (!) new ultra-wide and wide-angle lenses, including a trio of APS-C lenses. However, we can’t give awards to every great lens that launched in 2022 — we must select the very best. Read on to learn the winners of our “Best Ultra-Wide Angle Lens” and “Best Wide-Angle Lens” awards for 2022. You’ll also find links to our extensive coverage for each lens, where you can read much more about the winning lenses. 

Looking ahead, tomorrow we’ll reveal the winners of our “Best Telephoto Lens” and “Best Super-Telephoto Lens” categories, so be sure to come back to learn which long lenses took the crown this year. If you missed this morning’s Camera of the Year announcement for “Best Camera for Beginners” and “Best Camera for Enthusiasts,” you can read all about those awards here. If you haven’t voted yet in our Reader’s Choice Award poll, be sure to do so before the poll closes later this week. 

 

 

As you’ll also see in the “Best Wide-Angle Lens” section, it’s been an excellent year for Sigma. The company released a pair of F1.4 “Art” lenses this summer, the Sigma 20mm F1.4 DG DN Art and the Sigma 24mm F1.4 DG DN Art. The lenses, both available for E-mount and L-mount, deliver excellent build quality and optical performance across the board.

 

The Sigma 20mm F1.4 DG DN Art lens is in a class of its own. While the F1.4 aperture makes the lens quite long and heavy, it also sets it apart from the numerous 20mm F1.8 lenses on the market. The Sigma 20mm F1.4 DG DN Art is the fastest 20mm prime lens available for full-frame mirrorless cameras.

The Sigma 20mm F1.4 DG DN Art, in particular, is a unique offering. Alongside the Sigma 20mm F1.4 DG HSM Art for DSLR cameras, the new Sigma 20mm F1.4 DG DN Art for mirrorless cameras is the only full-frame 20mm F1.4 lens available. There are 20mm F1.8 lenses but no other 20mm F1.4 lenses. While the extra speed adds a bit of weight and size to the 20mm F1.4 DG DN Art, it also provides more utility in low-light situations, especially for night sky photography. While the same focal length and aperture as the older DG HSM Art version, the new DG DN Art iteration is all-new, with a new appearance, design and optical formula. The fast aperture also allows for unique shallow depth-of-field images with an ultra-wide perspective.

 

Sony A7R IV with Sigma 20mm F1.4 DG DN Art lens at F1.4, 1/3200s, ISO 100.

For photographers looking for the unique qualities of an ultra-wide angle perspective, you’ll be hard-pressed to do better than the Sigma 20mm F1.4 DG DN Art lens. It’s a great option for full-frame E-mount and L-mount cameras thanks to its excellent optical performance, fast aperture and outstanding $899 price point.

More info: Sigma 20mm F1.4 DG DN Art Hands-on Review / Gallery

Buy now: Amazon, Adorama and B&H

Try before you buy: Lensrentals

 

Best Ultra-Wide Angle Lens, Runner-up: Panasonic 9mm F1.7

One of the few Micro Four Thirds lenses on our list this year, the teeny tiny Panasonic Leica DG Summilux 9mm F1.7 made a big impression. This compact ultra-wide angle lens offers MFT photographers an expansive 18mm-equivalent field of view, and the bright F1.7 aperture gives it excellent light-gathering capabilities for astrophotography, low-light shooting, and pretty good shallow depth-of-field potential when combined with its good close-focusing distance.

 

 

In our testing, the lens proved impressive in most areas. It’s sharp, even wide-open, and focuses very quickly and closely, making it surprisingly versatile for a variety of subjects. It’s a fantastic addition to Panasonic’s Micro Four Third lineup and to the MFT system as a whole. It’s small, light, sharp and doesn’t cost a pretty penny, either. At just $500 MSRP, it undercuts several other wide and fast primes in the MFT system, which makes it even more of a compelling choice!

 

Olympus E-M1 Mark III + Panasonic 9mm F1.7: F1.7, 1/5000s, ISO 200. This image has been edited.

More info: Panasonic 9mm F1.7 Hands-on / Gallery

Buy now: Amazon, Adorama and B&H

Try before you buy: Lensrentals

Best Ultra-Wide Angle Lens, Runner-up: Panasonic S 18mm F1.8

We have yet another Panasonic lens to make our list of Best Ultra-wide Angle lenses of the year, this time it’s a fast ultra-wide prime for Panasonic’s full-frame cameras, the Lumix S 18mm F1.8. One of several F1.8 primes for Panasonic’s L-mount mirrorless cameras, this 18mm variety is the widest of them all, yet it shares essentially the same size, shape and weight as the rest of them. It’s a key feature that makes them all easily swappable — great for video shooters who use gimbals, cranes or other balance-sensitive equipment. A fairly simple lens in terms of its design, the 18mm F1.8 is nevertheless lightweight but ruggedly built with a dust- and moisture-resistance design.

 

 

Optically, the lens proved very sharp, even wide open at F1.8, and remains sharp throughout much of its aperture range. The F1.8 aperture and wide field of view make this not only a generally great landscape lens but also a good choice for astrophotographers. Focusing speed was very good, while close-focusing performance was even more impressive, allowing for nice, dramatic close-up wide-angle shots. Overall, the Panasonic Lumix S 18mm F1.8 is simply a solid, all-around great choice for L-mount shooters looking for a sharp, capable ultra-wide angle prime lens.

 

Panasonic S1R + Panasonic S 18mm F1.8 at F8, 8s, ISO 100. This image has been edited.

More info: Hands-on Review / Gallery

Buy now: Amazon, Adorama and B&H

Try before you buy: Lensrentals

 

Announced alongside the Sigma 20mm F1.4 DG DN Art, the 24mm F1.4 DG DN Art may not deliver a unique experience like its wider sibling, but it has distinct strengths. One of its greatest strengths is its affordable $799 price tag. That’s $600 less than the Sony FE 24mm F1.4 GM lens. Of course, we aren’t going to knock the Sony 24mm F1.4 GM – it’s a fantastic lens, but for Sigma to achieve the same focal length and aperture at a significantly reduced price is great news for photographers on a tighter budget. 

 

The Sigma 24mm F1.4 DG DN Art is a moderately compact, lightweight wide-angle prime lens

The Sigma 24mm F1.4 DG DN Art lens is a suitable choice for landscapes and even environmental portraiture. It’s also much more compact and lightweight than the 20mm F1.4 lens, weighing just 520g (18.3 oz). The lens exhibits minor image quality issues at F1.4 but also delivers beautiful bokeh. As always, there are tradeoffs.

 

Sony A7R IV with Sigma 20mm F1.4 DG DN Art lens at F11, 1/8s, ISO 100.

That said, the Sigma 24mm F1.4 DG DN Art is a great, fast wide-angle prime lens for full-frame mirrorless cameras. It delivers high-end performance across the board at a very fair price. Bravo, Sigma, for its outstanding new wide-angle lenses in 2022.

More info: Sigma 24mm F1.4 DG DN Art Hands-on Review / Gallery

Buy now: Amazon, Adorama and B&H

Try before you buy: Lensrentals

 

Best Wide-Angle Lens, Runner-up: Sony FE PZ 16-35mm F4 G

So far, all of our top wide and ultra-wide lenses this year have been primes, but this Sony 16-35mm is our first zoom lens to make the list, and it’s quite an impressive and unique one at that. The Sony FE PZ 16-35mm F4 G lens is unique among Sony’s several other 16-35mm full-frame lenses in that this one has Power Zoom, making it a really handy wide-angle lens for video creators. Of course, it works great for still photographers, too, but its primary use case is with hybrid creators who do both. You can manually zoom the lens, but the zoom ring is electronically controlled and can be operated directly from a compatible camera body, which is pretty cool. Plus, the lens is all internally zooming. The zoom behavior and speed are also adjustable.

 

 

Optically, the lens is very sharp lens across its full focal length range, especially in the centers, and even when shot wide open. There is some vignetting and distortion, but they are easy to correct if desired. Focusing is extremely fast thanks to its XD Linear Motors, and the good close-focusing distance allows for great close-up shots. Overall, this is another very impressive lens in Sony’s already-extensive lens lineup. If you find yourself in need of a wide-angle lens and you shoot lots of video as well as photos, consider the compact, lightweight and excellent power-zooming 16-35mm F4 lens.

 

Sony A7 IV + FE PZ 16-35mm F4: 16mm, F6.3, 1/320s, ISO 100

More info: Sony FE PZ 16-35mm F4 G Hands-on Review / Gallery

Buy now: Amazon, Adorama and B&H

Try before you buy: Lensrentals

 

• • •

We’re still running our poll through the end of this week for our Reader’s Choice Award!

So get in your vote today!

 

Imaging Resource Camera of the Year 2022:
Best Cameras for Beginners and Enthusiasts



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Charting Photography’s Gender Dynamics

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Close Enough: New Perspectives from 12 Women Photographers at Magnum presents an immersive installation with multiple layers of photographs and moving images that foreground human relationships. Bringing gender to the forefront, the exhibition probes the boundaries of proximity and asks what is “close” for photographers today, and what are the strategies that elicit this intimacy? The responses unfold the complex gender dynamics that women experience behind the camera. 

In Hannah Price’s “City of Brotherly Love” (2010), striking portraits of male strangers are the result of a game of attraction between Price and the men who initially approach her by catcalling. Proximity here is about an exchange that is not financial but deeply psychological, if not disturbing. Similarly, Cristina de Middel enters the intimate space of sexual transactions in “Gentlemen’s Club” (2015), a tight grid of portraits through which the artist records the stories of men involved with sex workers, pushing herself to cross a boundary that she describes as precarious. As viewers, we look at these portraits as if through a periscope, entering an underground space that the photographer has set out to bravely excavate. 

If the encounter is with another woman, the collaboration can be as playful as transgressive. “You allowed me to look at you so I could understand myself better,” says Bieke Depoorter to her sitter-become-friend, Agata. The boundaries between inside and outside collapse in this extraordinary installation where photographs and animated stills are punctuated with intimate writing. A process of identification culminates with a video of the two women dancing together, and the photographic frame dissolves.

Lua Ribeira, “Almeria, Spain,” from Agony in the Garden (2021) (© Lua Ribeira / Magnum Photos)

Close Enough opens a narrative dimension that is relational in content and form. Lua Ribeira’s personal involvement with Spanish youth engaged with trap and drill music is evident in her series Agony in the Garden (2022), which unravels an epochal narrative of precarity as her subjects perform pain and ecstasy. In A Room of Her Own, Susan Meiselas animates photographs of interiors with short sentences that run on small monitors and convey the emotions experienced by victims of domestic violence. Newsha Tavakolian also plays with language boundaries by drawing an analogy between the hormonal state of PMS and the political state of her country, Iran. “There is no filter,” she says, “between you, your body, and the rest of the world.” 

The show excels at representing personal stories where stills are layered onto moving images, where the cinematic anticipation of future events is in dialogue with the photographer’s past. As these women provocatively show, photography as a relationship is about transitions, collaborations, reflections, and is, by necessity, fluid and evolving.

Installation view of Close Enough: New Perspectives from 12 Women Photographers of Magnum at the International Center of Photography (2022–2023); Sabiha Çimen’s series “Hafiz” (2017–2020), which explores the lives of young Islamic women in Turkey at all-girl Qur’an schools (photo by Scott Rudd Events)
Susan Meiselas, “Tia in the garden, a refuge in the Black Country,” from A Room of Their Own (2015) (© Susan Meiselas / Magnum Photos)
Hannah Price, “Untitled (Pull Over), Brewerytown” from City of Brotherly Love (2011) (© Hannah Price)
Installation view of Close Enough: New Perspectives from 12 Women Photographers of Magnum at the International Center of Photography (2022–2023); Susan Meiselas’s “A Room of Their Own” (2015–2017) and its participatory process, which included working with an illustrator and a writer in collaboration with survivors of domestic abuse living in shelters in the UK (photo by Scott Rudd Events)
Newsha Tavakolian, still from For the Sake of Calmness (2020) (© Newsha Tavakolian / Magnum Photos)
Installation view of Close Enough: New Perspectives from 12 Women Photographers of Magnum at the International Center of Photography (2022–2023); Carolyn Drake’s “Knit Club” (2012–2020), a meditation on the mythologies and evocative presence of Southern Gothic culture that emerged from Drake’s collaboration and friendships with an enigmatic group of women and girls (photo by Scott Rudd Events)

Close Enough: New Perspectives from 12 Women Photographers at Magnum continues at the International Center of Photography (79 Essex Street, Lower East Side, Manhattan) through January 9. The exhibition was curated by Charlotte Cotton.

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North Augusta resident self publishes photography book | Community

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Turning a hobby into a self-published book, North Augustan Bob Pyle took his camera to showcase the landscape of the Augusta area.

Pyle found his way to landscape photography in the 1970s. He decided to focus on his hobby and spent 13 years collecting images to share in his new book Georgialina Images, which features nature landmarks in North Augusta, Augusta and Aiken. 

“I kind of like having the idea of something to publish with your name on it, it’s kind of neat,” Pyle said.

Pyle photographed a variety of locations including Aiken’s Hopelands Gardens, Brick Pond Park in North Augusta and the Augusta River Canal in Georgia. Small paragraphs detail the history and impacts of the properties.

Pyle worked on the project for 18 months and published over 100 images from the region. He wanted to share some of the beauty with his loved ones.

“I think this will have mainly regional and local appeal,” he said. “What I am really trying to do is get the book out there and let people see it and enjoy it.”

The book can be purchased for $32 at four locations throughout the region: North Augusta Arts and Heritage Center, The Morris Museum of Art, Sacred Heart Cultural Center and Augusta Canal.

Sign up to receive weekly roundups of the latest Post and Courier North Augusta stories.

Handpicked by our editor, as well as breaking news, business profiles, and government recaps from North Augusta.

Samantha Winn covers the cities of North Augusta and Augusta, with a focus on community oriented business and events. Follow her on Twitter: @samanthamwinn and on Facebook and Instagram: @swinnnews. 



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Unistellar reveals second-gen eVscope eQuinox smart telescope at CES 2023

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French smart telescope-maker Unistellar has used CES 2023 to announce and show off its eVscope eQuinox 2 smart telescope – the follow-up to 2021’s impressive eVscope eQuinox (opens in new tab). Selling for US$2,499/£2,199, it’s the company’s most affordable model yet in a line-up that also includes the Unistellar eVscope 2

Read: Best smart telescope

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What Can We See in the Oldest-Known Photographs of Kandahar?

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Benjamin Simpson arrived in Qandahar, Afghanistan, in late 1880, at the end of what would become known as the Second Anglo-Afghan War. Simpson, a British surgeon assigned to the Indian Medical Service, had been sent to the strategically located city not only as a military doctor, but also as a documentary photographer, tasked with creating a visual record that would serve a bevy of purposes, including for surveillance, military intelligence, and propaganda directed at the British public. When he left the following April, along with the rest of the British Army, he carried with him images of an ancient city under siege, rare glimpses of a place now lost to time—and to decades of conflict.

“These amazing, sweeping views seem to be the earliest images of the city,” says Frances Terpak, curator of photography at the Getty Research Institute in Los Angeles, which recently acquired and digitized one of two known copies of the 72-plate album (now available in an immersive virtual exhibition, At the Crossroads: Qandahar in Images and Empires).

The Qandahar Benjamin Simpson captured with his camera was under siege from Afghan forces trying to reclaim the city. Here, he photographs a group of military officers.
The Qandahar Benjamin Simpson captured with his camera was under siege from Afghan forces trying to reclaim the city. Here, he photographs a group of military officers. Courtesy of Getty Research Institute

Nineteenth-century Qandahar—today generally spelled “Kandahar”—was renowned for its massive walls, nearly 30 feet thick at the bottom and more than 26 feet high. Inside were important Islamic sites like the Shrine of the Cloak, which held—and still does—a garment believed to have been worn by the Prophet Muhammad. Bazaars buzzed with traders selling carpets, camels, sheep, silks, leather, and metalwork from Iran, India and across Central Asia. These goods, along with news and ideas, traveled daily through the city’s six huge gates, each named for a city with which Qandahar had an important economic relationship.

It was that role as a hub of trade that convinced the British military of the city’s strategic importance in the proxy war they were then fighting with Russia. Where the tsar hoped to expand his holdings, the British were protecting their interests in India—the “jewel in the crown” of Queen Victoria’s empire. The British had secured Qandahar after a hard-fought 1880 battle against Afghan forces, but the war overall was going poorly. By the time Simpson traveled to Qandahar, parliament was debating whether to withdraw.

Simpson would have brought his own heavy camera and hundreds of pounds of equipment, including glass plates and chemicals—logistical challenges that reveal the importance of the assignment to his superiors, who may have used these photographs to inform their strategic decisions. And Simpson was a thorough documentarian, capturing bustling street scenes, views of the landscape beyond Qandahar’s walls, images of the British occupying forces and portraits of ethnic groups who lived and worked in the area.

Simpson's primary focus was images of use for surveillance, military intelligence, and propaganda.
Simpson’s primary focus was images of use for surveillance, military intelligence, and propaganda. Courtesy of Getty Research Institute

“The album is really one-sided, taken from a British perspective,” Terpak notes. “They were gathering information on who would be sympathetic, where they could find more camels, where they could get enough food, the terrain—basically, how and whether the British can control the region.”

For all their imperial strength, the British were ultimately not able to control Afghanistan, and when they left Qandahar in 1881 they never returned. Simpson’s album was soon forgotten, with the only other extant copy tucked away in the archives of the Royal Geographic Society. (The Getty’s is believed to have been passed down through the family of a military officer who served in Afghanistan.)

Qandahar, meanwhile, saw a century of peace followed by 40 years of conflict. It was a center of mujahideen resistance during the 1979-1989 Soviet-Afghan War, then, in the 1990s, the capital of the fundamentalist Taliban government, whose ties to the Al Qaeda terrorism network led the United States and its allies to invade after the September 11, 2001 attacks.

While documenting sites of importance to the British in the war effort, Simpson also captured life in the city.
While documenting sites of importance to the British in the war effort, Simpson also captured life in the city. Courtesy of Getty Research Institute

Modern Afghanistan has endured perhaps more than its share of history, with the ironic result that much of its past has been destroyed or rendered inaccessible to its people. That makes this album all the more valuable, notes Jawan Shir Rasikh, an independent historian who is working on a book about the region, and who recently appeared on a panel discussing the Simpson album on TOLOnews, Afghanistan’s equivalent of CNN.

“Kandahar is an extremely important place in the history of civilization,” Rasikh says, in a Zoom interview with Atlas Obscura. “This album represents a rare source from a very important period, and there’s a richness to the information there that’s worthy of a dissertation.”

Khirka Sharif—the Shrine of the Cloak—holds a garment believed to have been worn by the Prophet Muhammad. Simpson noted that the man in front of the shrine was said to be 112 years old.
Khirka Sharif—the Shrine of the Cloak—holds a garment believed to have been worn by the Prophet Muhammad. Simpson noted that the man in front of the shrine was said to be 112 years old. Courtesy of Getty Research Institute

Rasikh grew up in Kabul, the son of a teacher and a civil servant, and like all young Afghans, his life has been shadowed by conflict. He remembers journeying to Iran on foot as a teenager, sent away by his parents to keep him from being drafted into the Taliban’s army—and that was before America’s 20-year War on Terror, which ended last year with U.S. forces’ abrupt departure and the Taliban’s return to power. But it’s important to Rasikh, who lives in Philadelphia but plans to return home one day, that Afghanistan be seen, especially by Afghans themselves, as more than a warzone. These pictures can play a part in that, he believes. It’s why he lent his expertise to TOLOnews, and why he also hopes that the photos might one day be exhibited in person in Afghanistan.

“I have been always interested in how we can transfer what is produced about Afghanistan in North America and in Europe and elsewhere to the people of Afghanistan,” he says. “It has been my intellectual and personal commitment to make sure that the people know that they had a very complex past—one which was not just black and white.”



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Kristin Cavallari Plays Into Tyler Cameron Speculation After PDA Photo Shoot: What We Know

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Two former reality stars walk into a barn — and break the internet? After Kristin Cavallari and Tyler Cameron were spotted making out on a set of a photo shoot, fans couldn’t help but speculate about the nature of their relationship. Us Weekly confirmed that the 35-year-old Uncommon James designer enlisted the 29-year-old Bachelorette alum to appear in a campaign for Cavallari’s clothing and jewelry line on Monday, April 4. The steamy snaps were taken in Joshua Tree in Palm Springs. After the photos made headlines, the Hills alum added fuel to the fire by sharing a picture of her legs wrapped around a mystery man, who appears to be the Florida native, via Instagram. While Bachelor Nation’s Kaitlyn Bristowe left an eye emoji on the post, Cavallari’s best friend Justin Anderson added, “No caption naughtyyyyy cav.” The Nashville resident’s publicist, Jack Ketsoyan, then weighed in, adding, “I have the best job everrrrr.” While it appears that Cavallari and Cameron are just attempting to drum up attention to Uncommon James, the kissing pics came hours after she confirmed she is ready for a serious relationship following her split from Jay Cutler. “I’ve honestly needed the past 2 years to work through some heavy stuff. I dated a little here and there but no one serious. I am finally in a place where I’m ready for a relationship,” Cavallari wrote on Sunday, April 2, via Instagram Stories. “When you are able to finally fully close a chapter, it’s amazing what you will start to attract.” Cavallari has been linked to comedian Jeff Dye and singer Chase Rice amid her divorce from Cutler. The former couple, who split in April 2020 after seven years of marriage, share three kids: Camden, 9, and Jaxon, 7, and Saylor, 6. They have yet to finalize their divorce. “I still very much believe in marriage and I’ve had tremendous growth over the past 2 years so I will be entering a new relationship as a different person which really entices me,” Cavallari added on Sunday. In light of Monday’s photo shoot, a video of the True Roots cookbook author and the Real Dirty Dancing alum on E!’s Daily Pop from February has resurfaced. During the joint appearance, Cameron revealed what he is looking for in a partner, explaining, “Someone that, one, is hungry and ambitious … But two, someone who’s very family oriented. That’s big for me. And three, someone just ready for an adventure.” Scroll through for more on Cavallari and Cameron:

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Watch the Sky: Celestial Events to Spot in January 2023

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Get fit, read more books, date more people… pfft; we’ve tried all these resolutions before. This new year, why not give astrophotography a go? It’s absolutely niche; you get great pictures for the ‘gram — and better yet, you have an excuse for pulling those otherwise unjustifiable late nights that have been carving themselves a quaint tiny home under your eyes.

But if you need that extra push to turn this newfound curiosity into commitment, January has your back! With one of the year’s most impressive meteor showers in store right out of the gate, this presents the perfect opportunity to dip your feet (and cameras) into ravishing skywatching waters.

Keep reading to find out what glamorous cosmic events you can witness this January.

January 3, 4: Quadrantids Meteor Shower Peaks

While the rest of the world might be exercising their quads in the gym, you could spend early January working on a different type of Quads. The Quadrantids will be the first meteor shower to grace the skies this year, and there aren’t many meteor showers with as much character as this one!

For starters, the comet that these originate from is most likely dead, meaning you’ll be looking at the spectacular persevering remnants of something that once was. And at an average of 80 meteors an hour with longer tails than usual, you’d be severely amiss not to buy tickets to this extremely exclusive event (considering the shower’s peak will only last for a few hours between Tuesday night to Wednesday morning).

Know more about the Quadrantids here!

January 6: The ‘Wolf Micromoon’ Full Moon

After the Quads, the Moon will present its first speech of the year in full form on this day. However, since the Moon will also be at the farthest point in its orbit around Earth, it will appear more petite and dimmer than usual. Speak up; we can’t hear you from so far away!

January’s Moon is also called the Wold Micromoon, named after the wolves that turn active in the early parts of the year.

January 22: Super New Moon

Perhaps in the embarrassment of the fact that no one could hear its speech, the Moon will briefly disappear into the night sky on this day. In India, this will take place around 2:23 AM, so if you want to prank your sleepy and dazed friends by explaining how the Moon just exploded, set your alarms!

A Super New Moon occurs when the Moon is at its closest orbital approach to the Earth, resulting in this rare event.

January 22: Conjunction of Venus and Saturn

Venus and Saturn will be the first planets to greet each other this New Year. At their closest approach, they will only appear separated by 0.34° in the sky. Good to see some semblance of COVID protocol amid its recent resurgence.

January 23-30: Mercury at its Morning Peak

Let’s face it — a telescope might not be accessible to everybody. However, if you are determined to spot a reclusive planet with your naked eye, watch out for Mercury. The tiny planet will be somewhat visible near the southwestern horizon predawn between the 23rd and 30th of this month.

January 31: M44 Star Cluster

And finally, wrapping up this month’s skywatching show is the Messier 44 star cluster. This mesmerising group of stars will be visible to all viewers within the relatively dim Cancer constellation, making it look like a blotch of light in the night sky where the group of stars are having a nice cosy campfire.

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For weather, science, space, and COVID-19 updates on the go, download The Weather Channel App (on Android and iOS store). It’s free!

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Photographer Ray Collins Captured Incredible Photos Of Waves

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Australian photographer Ray Collins captured incredible photos of waves. His signature style of moody seascapes captured the attention of the art world and nature lovers across the globe.

In 2007 a tragic underground coal mining accident left him with a knee injury and for several months – unable to walk, it was then he discovered photography. Reading and re-reading the camera manual back-to-front helped him understand the processes of photography and how to interpret and manipulate light. As rehabilitation progressed he invested in a water housing to combine his new passion – photography, with his one true love – the ocean.

In his words “My aim is to show the ocean as a living, breathing thing. To document it in all of it’s intimidating strengths; and to bring awareness to its delicate fragility.”

Scroll down and inspire yourself. Check Ray’s Website and Instagram for more information.

You can find more info about Ray Collins:

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Screening fundus photography predicts and reveals risk factors for glaucoma conversion in eyes with large optic disc cupping

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Through long-term surveillance using screening fundus photography, we found that glaucoma can develop from GLD (glaucoma conversion) at a median follow-up time of 5.1 years (range: 0.7–13.9 years). Vertical CDR \(\ge\) 0.7, vertical cupping, violation of the ISNT rule, disc ovality \(\ge\) 1.2, PPA-to-DA ratio \(\ge\) 0.4, nasalization of CRVT \(\ge\) 60%, history of DH, retinal arterial narrowing/sclerotic changes and baseline IOP \(\ge\) 14 mmHg were significant risk factors for glaucoma conversion by the multivariable model. Moreover, we devised a meaningful scoring system in which HR-matched variables from the initial fundus photography were used to predict glaucoma conversion.

Clinical examination of the ONH is the principal procedure in the management of glaucoma. It can be easily performed with high accessibility and cost-effectiveness for glaucoma screening. Optic disc cupping, often estimated by the CDRs, is the most common sign for general ophthalmologists to consider glaucomatous ONH changes. However, due to the high interindividual variability of the ONH configuration and its dependence on the size of the optic disc, CDRs have limited value for the screening and diagnosis of glaucoma. Nevertheless, the importance of optic disc cupping should not be underrated. In terms of glaucoma screening, accurate risk assessment and stratification of eyes at risk for glaucoma are essential, and close monitoring of selected cases can improve the outcomes of glaucoma screening programs. The present study has a strength in that it demonstrated the long-term follow-up results of eyes with large optic disc cupping, i.e., so-called glaucoma-like discs (GLDs), and investigated the risk factors for conversion to glaucoma. In particular, in addition to CDRs, variable parameters, which have been demonstrated to be associated with glaucomatous damage and can be easily identified on screening fundus photography, were used to analyze individual risks for glaucoma conversion.

The present study demonstrated that eyes with vertical CDR \(\ge 0.7\) were significantly associated with the risk of future glaucoma conversion. Other typical optic disc configuration changes, such as ISNT rule violation and vertical cupping, were also significant baseline risk factors for RNFLDs. These results imply that clinicians can find clues about ongoing glaucomatous damage before apparent RNFLDs are observed on fundus photography. In fact, nonhuman primate models of glaucoma have provided the insight that ONH surface height change precedes RNFL thinning26,27. The temporal relationship between ONH cupping and RNFL thinning was further confirmed by Xu et al., who demonstrated that ONH surface depression occurred before RNFL thinning by up to 41 months (with a median of 16 months)28. At the same time, large optic disc cupping has been well documented to be a significant risk factor for glaucoma in large, longitudinal epidemiologic studies. The OHTS study showed that baseline factors, including larger vertical or horizontal CDRs, old age, higher IOP, larger pattern standard deviations, and thinner central corneal measurements, predicted conversion to open-angle glaucoma (OAG)13. Another longitudinal population-based study from Ghana, the Tema Eye Survey, showed that a larger vertical CDR, male sex, older age, higher IOP, and thinner central corneal thickness (CCT) were significant baseline risk factors for incident OAG14. The present data are consistent with these previous findings, highlighting the importance of careful evaluation and monitoring of optic disc cupping in suspected cases.

The nasalization of CRVT (\(\ge 60\%)\) was significantly associated with glaucoma conversion. Interestingly, a greater PPA area (PPA-to-DA ratio \(\ge 0.4\)) and tilted optic disc configuration (disc ovality \(\ge 1.2)\) were also significant risk factors for RNFLDs. These findings are consistent with previous reports that investigated the effect of the location of CRVT on glaucoma susceptibility and PPA location. Jonas et al.29 reported that glaucomatous neuroretinal rim loss was dependent on the distance from the region of the affected rim to the CRVT. The location of the CRVT was also spatially correlated with the location of enlarged PPA: the longer that the distance to the CRVT exit was, the larger that the PPA was, and the smaller that the neuroretinal rim was30. Lee and colleagues recently proposed that the nasalization of CRVT is related to axial elongation in myopic eyes and demonstrated increased susceptibility to glaucomatous damage in these eyes31. During myopic axial elongation, the CRVT is dragged nasally, and the temporal border tissue of the ONH is further stretched temporally, resulting in an enlarged PPA and tilted optic disc configuration. The present longitudinal data support this idea, leading to incidental RNFLDs from increased ONH strain, as indicated by CRVT nasalization, larger PPA, and a tilted optic disc.

DH has been widely accepted to be associated with the development and progression of glaucoma32,33, although the development of DH is unpredictable. In line with this theory, DH was a significant, and most detrimental risk factor for incident RNFLDs and their progression in the present longitudinal observation. In fact, the predictive power of the aforementioned scoring system could be improved, since the best cutoff score was 7.1 with sensitivity of 61.1% and specificity of 90.4% (AUROC = 0.856), by including the presence of DH, which added 6.02 to the final score. This finding emphasizes that the detection of DH, along with at least one other risk sign, would be decisive evidence to anticipate glaucoma conversion in the future. Considering that DH can only be identified through careful examination of the ONH, clinicians should not underestimate the importance of monitoring with fundus photography.

Fundus photography has the advantage of being able to observe morphological changes in blood vessels. A number of large epidemiological studies have cross-sectionally evaluated retinal vascular changes and shown that decreased retinal vessel caliber was significantly associated with glaucoma34,35,36. It is controversial whether changes in the retinal vasculature are secondary findings due to decreased metabolic demands from RNFLDs or whether these retinal vasoconstrictions are primarily due to impaired local autoregulation and leakage of vasoactive substances37. The present study supports the role of vasospasm of retinal vessels in glaucoma development by showing that baseline changes in which blood vessels narrow or stiffen are significantly associated with the risk of future RNFLDs.

IOP elevation significantly increased the risk for glaucoma conversion. Eyes with baseline IOP \(\ge 14\) mmHg had 1.70 times greater risk of incident RNFLD. Moreover, eyes with IOP fluctuation \(\ge 2\) mmHg had a 1.50 times greater risk of progression with marginal significance (P = 0.08). In a 5-year, prospective, observational study involving normal-tension glaucoma eyes with IOP less than 15 mmHg, Sakata et al.38 revealed that long-term IOP fluctuation, along with DH and vertical CDR, was a significant risk factor for glaucoma progression, defined as VF deterioration or disc/peripapillary retina deterioration. The Advanced Glaucoma Intervention Study demonstrated a significant association between greater long-term IOP fluctuation and VF deterioration in the group with low mean IOP (10.8 mmHg) but not in the group with high mean IOP (20.6 mmHg)39. Given that the mean follow-up IOP in the current study population was not high (median value less than 15 mmHg), long-term IOP fluctuations could play an important role in glaucoma progression, especially in patients with a low range of IOPs.

The present study has the following shortcomings. First, the proposed baseline scoring system for predicting future glaucoma conversion must be further validated in a new study population to achieve more accurate diagnostic performance, although the current scoring system provides intuitive insight from baseline parameters to estimate the clinical outcomes of suspected cases. Second, unfortunately, we were not able to measure CCT during the period when the present study was conducted, although we currently obtain CCT value using a noncontact tonopachymeter which offers good feasibility for IOP as well as CCT measurement in health screening centers40. CCT has been well known as a risk factor for development of OAG, and therefore, might change the proposed scoring system. Third, the current study did not evaluate the VF of the subjects. Therefore, the present findings cannot be generalized to the prediction of functional outcomes of glaucoma because the progression of RNFLDs does not always mean the progression of VFs, especially in the very early stage of glaucoma. However, since structural progression usually precedes VF deterioration in glaucoma, the present findings still have strength in terms of the early detection of glaucomatous changes from suspected cases. Finally, with regard to assigning subjects to the control group, at least a 10-year duration of follow-up might not guarantee the absence of glaucoma conversion thereafter.

In conclusion, through long-term follow-up examinations, the present study demonstrated that some eyes with GLD (large optic disc cupping [vertical CDR ≥ 0.6] without RNFLDs) underwent conversion to glaucoma. Careful examination of screening fundus photography, including not only the ONH configuration but also retinal vascular changes, can predict the risk of glaucoma conversion and the progression of RNFLDs in these eyes. The current findings could provide clinicians with new insights to assess the risk of glaucoma in suspected cases and to identify patients who require close monitoring for glaucoma development. Although the proposed scoring system for predicting future glaucoma conversion should be further validated, we carefully suggest that subjects with high scores be followed up every 1–2 years while subjects with low scores be monitored every 3–5 years using screening fundus photography.

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Quadrantid meteor shower, one of the best of the year, peaking now at the wrong time

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Early each January, the Quadrantid meteor stream provides one of the most intense annual meteor displays, with a brief, sharp maximum lasting only a few hours. 

The Quadrantid meteor shower actually radiates from the northeast corner of the constellation of Bootes, the Herdsman, so we might expect them to be called the “Bootids,” and they will peak in 2023 overnight on Jan. 3 and Jan. 4. But back in the late-18th century there was a constellation here called Quadrans Muralis, the “Mural or Wall Quadrant” (an astronomical instrument). It is long-obsolete star pattern, invented in 1795 by J.J. Lalande to commemorate the instrument used to observe the stars in his catalogue.  



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