Wildlife Photographer Of The Year Shortlisted Pics You Can Vote For

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Between a polar bear cub basking in a sea of flowers, a pair of red foxes sharing an intimate nuzzle, the portrait of a pregnant male pygmy seahorse and many other breathtaking images of creatures of all shapes, sizes and colors, you have the chance to choose the winning portrait for this competition.

Rather than have them selected by a panel of jurors, the Natural History Museum of London, organizer of the prestigious Wildlife Photographer of the Year, has now placed this phase of the contest in the hands of the public.

MORE FROM FORBES20 Stunning Winning Images Of Wildlife Photographer Of The Year Awards

Twenty-five amazing photographs chosen from 38,575 entries across 93 countries are now the candidates for the People’s Choice Award 2022 and you can vote online until 14.00pm (GMT) on February 2, 2023.

The shortlisted photos spotlighting important stories of nature from across the globe, such as the one above of a pair of red foxes greeting one another affectionately on a chilly day in North Shore, Prince Edward Island, Canada, can also, for the first time, be voted by the public using interactive screens at the newly-designed Wildlife Photographer of the Year exhibition at the Natural History Museum.

“Voters will have a challenge to choose from this stunning range of photographs which tell vital stories and connect people to issues across the planet. We are looking forward to finding out which of these images emerges as the favourite,” said Dr Douglas Gurr, Director of the Natural History Museum.

The Wildlife Photographer of the Year contest offers a global platform for amateur and professional nature photographers.

MORE FROM FORBESWildlife Photographer Of The Year 2022: 15 Stunning Shortlisted Images

“Using photography’s unique emotive power to engage and inspire audiences, the exhibition shines a light on stories and species around the world and supports the Museum in its mission of creating advocates for the planet,” the museum states.

Vote online for your favorite here.

Against a backdrop of the spectacular mountains of Ladakh in northern India, a snow leopard has been caught in a perfect pose by Fonseca’s carefully positioned camera trap. Thick snow blankets the ground, but the big cat’s dense coat and furry footpads keep it warm.

Fonseca captured this image during a three-year, bait-free camera-trap project high up in the Indian Himalayas. He has always been fascinated by snow leopards, not only because of their incredible stealth but also because of their remote environment, making them one of the most difficult large cats to photograph in the wild.

Contreras was lying in the mud a safe distance from a breeding colony of flamingos in Ría Lagartos Biosphere Reserve, on Mexico’s Yucatán Peninsula. It was June and the flamingo chicks had already left their nests and were in crèches.

These crèches are always guarded by adult birds, so when the chicks began to approach Contreras, the adults surrounded them and gently headed them back into the colony. Although flamingo population numbers are stable, they’re highly sensitive to changes in the environment, such as flooding of their nesting sites, and it’s unclear how they will cope with the effects of climate change.

It was late afternoon when Marina found Olobor resting. He’s one of the famous five-strong coalition of males in the Black Rock pride in Kenya’s Maasai Mara National Reserve.

All the ground around the lion was black, having been burnt by local Maasai herdsmen to stimulate a new flush of grass. Cano wanted to capture his majestic and defiant look against the dark background and lowered her camera to get an eye-level portrait.

Gregus watched this polar bear cub playing in a mass of fireweed flowers on the coast of Hudson Bay, Canada. Occasionally, the cub would take a break from its fun, stand on its hind legs and poke its head up to look for its mother.

Wanting to capture the world from the cub’s angle, Gregus placed his camera – in an underwater housing for protection against investigating bears – at ground level among the fireweed. He then waited patiently a safe distance with a remote trigger. Not being able to see exactly what was happening, he had to judge the right moment when the bear would pop up in the camera frame.

Near Rausu port, on the Japanese island of Hokkaido, several hundred glaucous-winged gulls waited for the return of fishermen. It was the beginning of March and freezing, and the air was full of the raucous calls of the gulls overhead.

Some of the birds began to settle, keeping their eyes on the horizon. Focusing on one bird, Bes composed a minimalist portrait, highlighting the eye and the beak. The red spot on the beak develops when gulls are adult and is in part a reflection of their health.

It’s also an essential aid for the young: when chicks peck the spot, it triggers a regurgitation reaction from the parent.

This leopardess had killed a Kinda baboon in Zambia’s South Luangwa National Park. The baboon’s baby was still alive and clinging to its mother.

Igor watched as the predator walked calmly back to her own baby. Her cub played with the baby baboon for more than an hour before killing it, almost as if it had been given live prey as a hunting lesson.

Two females and a male golden snub-nosed monkey huddle together to keep warm in the extreme winter cold. Threatened mainly by forest loss and fragmentation, this endangered species is confined to central China.

Restricted to living high in the temperate forests, these monkeys – here in the Qinling Mountains in Shaanxi province – feed mostly in the trees on leaves, bark, buds and lichen.

Lu knew the area where a troop of monkeys often rested and, in heavy wind and snow, walked up the mountain for almost an hour carrying his equipment. Photographing from a slope opposite the tree in which the group was huddled, he stayed put for half an hour in temperatures of -10°C (14°F) before he was able to achieve this eye-level composition.

This male Bargibant’s seahorse, gripping tightly with his prehensile tail to a pink sea fan, looks almost ready to pop.

He will gestate for a period of approximately two weeks before giving birth to miniature live young. More had the help of a guide who knew where off the coast of Bali and on which sea to find these pigmy seahorses. This individual was one of three on the same sea-fan.

Bargibant’s seahorses are barely visible due to their tiny size (1–2 centimetres tall – ¼ to ¾ inch) and tend to stay very still. Their ability to mimic their host’s colours and knobby texture is only revealed in detail under high magnification.

The spectacle of two female muskoxen attacking each other surprised Illana. For four days, he had been following a muskox family in Norway’s Dovrefjell-Sunndalsfjella National Park – a male, a female and three calves.

On a beautiful high plateau, another similar-sized family of muskox appeared. Expecting a male head-to-head — it was September and the females were in heat — he was disappointed when the two males came to an immediate understanding and the weaker one backed off. It was then that the two females began their short but intense fight, the action of which he caught on camera.

Sveinsson was snowshoeing deep in the forests of Colorado’s Rocky Mountain National Park hoping to find some winter wildlife to photograph. Frozen, she reluctantly headed home. Only then did something catch her eye – a snowshoe hare resting, surrounded by clean, white snow. It seemed to be sleeping.

Sveinsson waited. Finally, the hare sensed something, turned its ears forward and looked right at the camera.

The calls of the male Mindo glass frogs could be heard all around this female, who was sitting quietly on a leaf. These frogs are confident around humans, and if the photographer doesn’t disturb them, equipment can be set up nearby.

Culebras thought this frog had the most beautiful ‘ruby’ eyes, so he carefully moved his camera, tripod and flashes to be close enough to capture a portrait that would highlight them.

Only found in northwest Ecuador, in the Río Manduriacu Reserve in the foothills of the Andes, these frogs are endangered by habitat loss associated with mining and logging.

The unusually clear, flat sea in Monterey Bay, California, provided a beautiful turquoise backdrop for the glossy bodies of three northern right whale dolphins.

But it was only thanks to a thoughtful stranger that Frediani got her special shot of two adult heads and the silvery tail of a juvenile. Seeing her interest and camera, the young stranger gave up her place at the bow of the boat below which the dolphins were enjoying riding the bow wave.

These dolphins are atypical in appearance, with short, pointy beaks, sloping foreheads and no dorsal fins. They are quick and extremely athletic, often flying high out of the water in graceful leaps.

The frenzied combat between the pompilid wasp and the ornate Ctenus spider suddenly stopped. An intense calm invaded the scene, said Garcia-Roa, who had been watching the battle unfold in the Peruvian jungle of Tambopata.

The image shows the wasp checking the spider to confirm if its sting has paralyzed the dangerous prey before dragging it back to its brood nest. Wasps of the Pompilidae family are called spider wasps because the females specialize in hunting spiders, which are used as living food for their offspring.

Michlewicz had noticed many animals visiting this abandoned barn in Radolinek, a small village in western Poland, probably following the scent of rodent prey.

With the use of his trail cam, he logged a badger, a fox and a marten, but also considerable cat activity. Setting up a camera trap just inside the barn, facing the entrance, he waited to see what would trigger it.

Luckily, though not for this chaffinch, a domestic cat arrived with its fresh kill. Michlewicz is keen his image is used to illustrate the impact domestic cats can have on a local ecosystem.

In the vicinity of a rest camp in South Africa’s Kruger National Park, Flack discovered a flock of crested guineafowl that were not as flighty as normal and allowed him to follow them as they foraged.

One of the guineafowl started to scratch another’s head and ear, and the recipient stood there motionless for a few moments with its mouth open and eyes wide, as if to say ‘that’s the spot, keep going’. Flack muses that “it’s not often you get to capture emotion in the faces of birds . . . but there was no doubt – that was one satisfied guineafowl!’

While out in his dinghy looking for black bears, Gregory spotted this female grey wolf trotting along the shoreline on the west coast of Vancouver Island, British Columbia, Canada.

He then set up his remote camera. The wolf was patrolling her eel-grass-covered mudflat territory at low tide, and walked right past the camera, allowing Bertie to take this shot with the remote trigger. Sadly, this Vancouver Island wolf was later killed by a man who claimed to be protecting people’s pets.

Fernandez set out to highlight the plight of the endangered American eel.

Caught in its juvenile stage, as glass eels, it’s exported by the millions each year to fulfill an insatiable Asian, particularly Japanese, demand.

On the coast of the Dominican Republic, over five months hundreds of fishermen gather around the estuaries from dawn to dusk to catch the little eels. These larvae have migrated from the Sargasso Sea, where the adult eels spawn. With the species in steep decline, the U.S. fishery is now tightly controlled, leaving the Caribbean to take over as the major exporter, but without regulations.

The image took Fernandez many nights of trial and error, using a long exposure to catch the precise moment that the fishermen raised their nets out of the incoming waves.

Spotted hyenas are intelligent and opportunistic animals. On the outskirts of cities such as Harar in Ethiopia, they take advantage of what humans leave behind, including bones and rotting meat.

In so doing, the hyenas keep disease at bay, and in exchange the Harar locals tolerate them, even leaving them butcher’s scraps. These hyenas are from the family group known as the Highway Clan.

To photograph them, Sam set up a remote camera by a roadkill carcass. He captured the lowest-ranking member of the clan after the dominant members, visible in the background, had sauntered off.

Walking down a street in his hometown of Corella in northern Spain, Mendizabal came across a wall with a grafitti cat, complete with shadow.

Knowing that common wall geckos emerge on hot summer nights to look for mosquitoes and other insects, Mendizabal came back with his camera and waited patiently for the perfect picture – the hunter becoming prey to the trompe l’oeil cat.

Before this image was captured, Kennerknecht and his biologist friend, David Mills, were almost trampled by a charging forest elephant in the dense rainforest of Kibale National Park in Uganda.

Returning to the same area, they set up a camera trap with the goal of photographing the rare and elusive African golden cat.

About twice the size of a domestic cat, it’s one of the world’s least-studied felids. To date, there are still less than five high-resolution photographs of this cat in the wild.

Withyman wanted this photograph to raise awareness of the harm humans can inadvertently cause to wildlife.

In the English city of Bristol, a young red fox sustained a serious injury trying to free herself from plastic barrier netting commonly used as fencing on building sites. The remains were still embedded in her body when this image was taken, hindering her ability to hunt.

Local residents left out food for the vixen – here, a chicken leg. After five months, she was caught, treated and released. But tragically, six months later, she was hit by a car and died.

Hanging in a shed, this stuffed cat skin may at first appear as inconsequential as the other objectss. But the colorful yarns tied to it reveal it’s not merely a disused item.

The relationship between the Andean cat and its human neighbors is complex. Though the cats are celebrated as mountain guardians, they’re also considered good luck for the fertility of livestock. For this, they’re killed and sometimes worn during ceremonies to trigger an abundant year.

This stuffed specimen turned out to be the closest Kennerknecht would come to South America’s most endangered wild cat.

It was late in the evening in August, and the air had a magical feel when Vartiainen spotted this badger close to its sett in a forest near Helsinki, Finland. He watched it for 45 minutes.

The badger didn’t seem to be perturbed, even though Vartiainen was only about 7 metres (23 feet) away. It sniffed the air, lay on the ground and scratched or walked a short distance away, and a few times went into its sett, always turning to look back in the photographer’s direction. Finally, when it was virtually dark, the badger headed into the night in search of food.

A young perch was found trapped in the thumb of this surgical glove discarded in a canal in The Netherlands. Since the onslaught of Covid-19, gloves and face masks litter land and sea. This perch was found by citizen scientists on a weekly canal clean-up in Leiden.

The spines on its back prevented the fish from escaping by backing out – the torn thumb probably the sign of its final struggle. The glove formed the basis of a scientific study that has documented the range of animals impacted by Covid-19 waste during the pandemic. In this case, the material that helped protect people has proved to be a danger to wildlife.

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Watch the moon pass in front of Uranus today (Dec. 5)

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On Monday (Dec. 5), Uranus will briefly disappear from the night sky when the moon passes in front of the faint planet in an arrangement called a lunar occultation. 

The lunar occultation will start at 12:30 p.m. EST (1730 GMT) when Uranus which will be in the constellation of Aries, begins to vanish behind the moon. At the start of the lunar occultation, Uranus will have a right ascension of 02h52m40s and be around 16 degrees above the horizon, according to In the Sky (opens in new tab). (If you hold out your fist at arm’s length, its width equals around ten degrees in the sky.)



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Enhanced night photography, other notable improvements tipped

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Apple is reportedly planning to widen the gap between its Pro and non-Pro iPhone models. Now, it looks like Samsung will be following in the footsteps of the Cupertino-based tech giant.

Samsung is prepping to unveil the Galaxy S23 series smartphones. While nothing is set in stone yet, some reports claim the Korean smartphone behemoth will launch the S22 series successors early next year.

In line with this, the highest-end Galaxy S23 Ultra model will be able to capture photos even in a low-lit environment. This unique ability will separate the Ultra model from the rest of the Galaxy S23 series phones, as well as its predecessor.

This piece of information comes from the noted leaker Ice Universe. As expected, Samsung fans took to the comments section to express their dismay.

However, IC begs to differ. He suggests this is the “most evident step forward” by the company’s flagships in the past five years.

So, it is safe to assume that the Galaxy S23 Ultra will take relatively better photos at night than the Galaxy S22 Ultra. Moreover, Samsung has reportedly improved the configuration of the cameras. These improvements include:

  • A 200MP camera that captures “natural details and less noise.”
  • Enhanced night mode photos.
  • The 12MP photos in daily mode will be enhanced.
  • The 10x telephoto lens will provide better sharpness.
  • There are some minor changes to 20x, 30x, and 100x zoom.
  • AI will be used more efficiently to improve telephoto shots.

The 200MP main camera will have superior analytical power. Moreover, the Galaxy S23 Ultra will adopt pixel-binning technology to minimize the negative effects created by the smaller pixels of the sensor.

Meanwhile, a report by SamMobile suggests Samsung might ditch the iconic Galaxy S series following the launch of the next foldable phones.

According to some reports, Samsung is prepping to launch the Galaxy Z Fold 5 and Galaxy Z Flip 5 by the end of 2023. With the company’s focus on foldable devices, it is likely to stop launching phones under the Galaxy S lineup.

Samsung Galaxy S23
Wikimedia Commons



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The Strange Surrealist Magic of Dora Maar | History

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Few artists boast a style and subject matter so singular that three separate specialists would use the same word to describe them: “strange.” Yet that’s exactly what happened when Smithsonian magazine asked a trio of scholars about Dora Maar, a 20th-century French photographer and painter whose oeuvre in many ways defies explanation. Almost all of her artworks capture a certain uncanniness in their surroundings, bringing to light the strange in the mundane.

Dora Maar, Père Ubu​​​​​​​, 1936

Dora Maar, Père Ubu, 1936

© 2022 Artists Rights Society (ARS), New York / ADAGP, Paris

One of Maar’s most famous works—the 1936 photograph Père Ubu—is a perfect example of this phenomenon. It’s the kind of art that requires repeat viewings, all of which yield something new. There’s something inscrutable about the subject’s scaly body, its one slightly open eye, its barely outstretched claws and its ear flaps clouded by shadows. The viewer is left to question whether the figure is alien or something found in nature; they want to know more, but at the same time, they’re slightly disgusted, says Andrea Nelson, an associate curator at the National Gallery of Art (NGA) in Washington, D.C. Donors gifted a print of the Surrealist image to the museum in 2021.

“It’s compelling but repellent at the same time,” Nelson says. “You don’t quite know what it is, and you’re trying to figure it out. It’s surprising, it’s mysterious, it’s completely bizarre and it’s grotesque. It still maintains that power.”


The same could be said of Maar herself. Born Henrietta Théodora Markovitch in Paris in 1907, the artist split her childhood between Argentina and France. From a young age, she was determined to be an artist, studying everything from decorative arts to painting to photography and attending prominent Paris schools like the Académie Julian and the École Technique de Photographie et de Cinématographie (Technical School for Photography and Cinematography). At one point, Maar even trained with French Cubist painter André Lhote.

As her abilities grew, Maar began a career as a commercial photographer and later a painter, winning renown in her own right. Today, however, most mentions of the artist reference her mainly in relation to her most famous lover: Pablo Picasso, who featured her in the 1937 portrait series Weeping Woman. Her “career and accomplishments were overshadowed during her lifetime by the details of her affair” with Picasso, notes Encyclopedia Britannica.

Weeping Woman portrait of Maar by Pablo Picasso

Weeping Woman portrait of Maar by Pablo Picasso, on view at the National Gallery of Victoria in Melbourne, Australia, in 2006

Photo by William West / AFP via Getty Images

Maar’s own work was both influenced by and had a real influence on Surrealism, a cultural movement that rejected rationalism in favor of art and literature informed by dreams and the unconscious mind. In fact, Père Ubu is “one of the most iconic artworks of the movement,” Nelson says. But it doesn’t really resemble prominent Surrealist works, nor does it look like Maar’s other art. The artist’s photographs tend to be either beautiful in an almost supernatural way or heartbreakingly realistic, capturing the realities of poverty. As the Morgan Library and Museum points out, Père Ubu stands out from the rest of Maar’s work precisely because of its “repellent qualities.”

Even when the portrait was displayed at the “London International Surrealist Exhibition” in 1936, it stood out from the stylized world of Maar’s fellow Surrealists.

Ubu … would have acted as a small, sharp puncture in the exhibition’s exuberant display of the Surrealist imaginary, asserting its connection with the world beyond the gallery,” writes photographic historian Ian Walker in the catalog for a 2019 Maar retrospective co-organized by Paris’ Centre Pompidou, London’s Tate Modern and Los Angeles’ J. Paul Getty Museum. “For these images were based in the documentary nature of photography while also exploiting the medium’s Surrealist potential.”

Selection of photographs by Dora Maar

Selection of photographs by Dora Maar

Courtesy of Artcurial

What adds meaning to the snapshot is its title, which references Alfred Jarry’s 1896 Absurdist play, Ubu Roi. The drama’s main character, Père Ubu, is a greedy figure who does whatever it takes—including killing members of the Polish royal family—to achieve his goals. But Maar’s Père Ubu is hard to reconcile with that description. Is this an innocent creature or one primed to commit harm? With a “sagging belly and bulbous nose” that mirror the distasteful appearance of the play’s title character, the portrait conveys the “vulgarity and slothfulness” of its namesake, according to Walker.

Jarry’s creation is “savage and malicious, truly threatening as well as ridiculous,” the historian adds. “Maar’s Ubu lacks that overt savagery, but in its place is an ominous stillness, as we are pitilessly observed by the creature’s black, depthless eye, like that of a shark or reptile, while its claws … might also be about to metamorphose into Ubu’s sinister ‘nearole-incisors.’”

The photograph raises a more pressing surface-level question, too: What exactly does it depict? The subject is hypothesized to be an armadillo fetus, but definitive proof is hard to come by, as Maar would never confirm its identity.

Interestingly, the catalog for a Paris Surrealist exhibition where the image was displayed classifies it as an “interpreted found object.”

“It is evidently the thing that is depicted in the photograph that is the [‘object’]: a neutral term that serves to disguise whatever was its original nature,” Walker writes. “It is also significant that it is described not simply as ‘found’ but also ‘interpreted’—an acknowledgment perhaps that Maar’s photograph not only documents the thing but also re-presents and transforms it.”

Installation view of "Dora Maar" at Tate Modern, 2019, featuring Père Ubu ​​​​​​​at left

Installation view of “Dora Maar” at Tate Modern, 2019, featuring Père Ubu at left

Tate Modern / Andrew Dunkley

Emma Lewis, a former assistant curator at Tate Modern, offers a more concrete answer, citing a visitor to the major Maar retrospective, which she co-curated. The individual was so interested in the photo that they asked a senior veterinarian from the London Zoo about the creature. The vet identified the subject as an infant or fetal armadillo based on its claws and underdeveloped osteoderms, or bony deposits. Exactly where the artist would have encountered this animal is unknown.


From Ubu’s otherworldly likeness to 29 rue d’Astorg, in which a glamorously dressed, nearly headless figure sits in a cavernous room, to a snapshot of a model with a cutout star covering her head, Maar’s art evokes a sense of uneasiness, strangeness even, amid beauty.

Yet the word “strange” carries a certain connotation that doesn’t fully reflect the scope of Maar’s work. Rather than being whimsical or fanciful, the artist’s photographs are tinged with darkness, Lewis says, a Gothic quality often characterized by stylistic experimentation.

“She contributed to making the everyday strange,” the curator adds.

Dora Maar, Mendiant London, 1934

Dora Maar, Mendiant London, 1934

Courtesy of Artcurial

Dora Maar, Couple sur la fontaine de Trafalgar Square, London, 1934

Dora Maar, Couple sur la fontaine de Trafalgar Square, London, 1934

Courtesy of Artcurial

Maar’s commercial work helped her craft this unusual style. In 1931, she opened a photography studio with set designer Pierre Kéfer, working on commission for fashion houses like Chanel and designers such as Elsa Schiaparelli and Jeanne Lanvin. She often employed a collage technique, overlaying images “from her own work, including both street and landscape photography,” instead of using newspapers or magazines, per Tate Modern.

“These commissions had good budgets a lot of the time. They had good circulation, and they reached interesting audiences,” Lewis says. “Every image that we see by Maar is either about her pushing what she can do with staging, light and composition or her taking the components of the image and cutting and pasting and reworking that within her studio.”

A key example of Maar’s collage technique is a 1935 photo titled The Years Lie in Wait for You. In it, a woman clasps the bottom half of her face with her manicured hands, which are visible but almost hidden behind a superimposed image of a spiderweb. Thought to be a face cream advertisement, the work was never published, notes Lewis in Photography, A Feminist History: Gender Rights and Gender Roles on Both Sides of the Camera.

Installation view of "Dora Maar" at Tate Modern, 2019, featuring The Years Lie in Wait for You ​​​​​​​(1935)

Installation view of “Dora Maar” at Tate Modern, 2019, featuring The Years Lie in Wait for You (1935)

Tate Modern / Andrew Dunkley

Maar enjoyed great commercial success with her studio, adding an experimental lens to many of her commissions. She could, “at roughly the same time, produce high-end fashion photographs, artful advertising pictures, flattering studio portraits, figure studies, soft-core pornography, … gritty street scenes, documentary shots, politically inflected images, rigorous formal compositions, and the complex, disturbing, and beautifully crafted Surrealist photomontages that are her most memorable creations,” wrote art critic Richard Kalina for Art in America in 2020.

Though the vision of independent womanhood conveyed by 1920s and ’30s advertisements was “largely an alluring commercial fiction … Maar and her friends actually lived such lives,” Kalina added. “And they put their exceptional autonomy to use” by documenting social inequality and advocating for political reform. Maar was a left-wing political activist involved with revolutionary groups, and her politics were “inextricable from her work as an artist,” Lewis says.


Today, Maar’s work is often referenced only or primarily in connection with Picasso, whom she met in the mid-1930s, when she was in her late 20s and the famed Cubist painter was in his mid-50s.

“So often the first sentence you read about [muses] is that they were the muse of Pablo Picasso” or a similarly prominent man, says Nelson. “But in the case of Dora Maar, she was a really successful and interesting photographer for years and years before she … even met Pablo Picasso.”

Installation view of "Dora Maar" at Tate Modern, 2019, featuring some of the artist's collage works

Installation view of “Dora Maar” at Tate Modern, 2019, featuring some of the artist’s collage works

Tate Modern / Andrew Dunkley

Aside from her collage work, Maar was known for using the camera to document reality and capture street life. Through her style and gaze, she was able to transform what she saw into something altogether different.

Many of Maar’s snapshots have never or rarely been seen by the public. The 2019 retrospective, which featured more than 200 works by the artist, highlighted some of these little-known photographs. And earlier this year, Paris auction house Artcurial placed roughly 750 photographs from Maar’s estate, the majority of which had previously been unpublished, up for sale.

Spanning the late 1920s to the end of the 1940s, the images included uncharacteristically informal photos of Picasso, a behind-the-scenes look at the creation of his 1937 painting Guernica and self-portraits of Maar, as well as vignettes from major European cities, like a bookseller in Paris, a series of blind musicians in Barcelona and beggars in London.

Dora Maar, Guernica en cours de réalisation dans l’atelier de la rue des Grands Augustins, Paris, mai-juin 1937​​​​​​​, 1937

Dora Maar, Guernica en cours de réalisation dans l’atelier de la rue des Grands Augustins, Paris, mai-juin 1937

Courtesy of Artcurial

“We have essentially retained from [Maar] to this day the strangeness of some of her compositions or collages, which bring their own score to the Surrealist movement,” says Bruno Jaubert, director of Artcurial’s Impressionist and Modern Art Department. “But it is also, to another extent, her way of capturing reality that goes beyond Surrealist aesthetics.”

While Maar’s work did not experience a major stylistic shift in the collection’s roughly 30-year span, Jaubert says her eye became more trained and refined.

“[The cache] shows a maturity in the look that immediately reveals a scene, a presence without seeking decorative effect,” he notes.


Throughout her life, Maar found herself caught between painting and photography, never able to choose just one. For years, particularly during her relationship with Picasso, she focused on painting, in love with the art form she had first taken up as a teenager. It was only toward the end of her life that she inhabited fully once more the world of photography.

“We don’t know that she ever stopped photographing, per se, but certainly in her later years, she returned to darkroom experimentation,” Lewis says. Maar died in 1997 at age 89.

Dora Maar, Las Ramblas Barcelona, circa 1933

Dora Maar, Las Ramblas Barcelona, circa 1933

Courtesy of Artcurial

Dora Maar, La Sagrada Familia Barcelone, circa 1933

Dora Maar, La Sagrada Familia Barcelone, circa 1933

Courtesy of Artcurial

The artist’s shift from painting to photography and back again wasn’t unusual for the time. As Nelson argued in the 2021 NGA exhibition “The New Woman Behind the Camera,” photography became a way for women to make money and express themselves creatively during the 20th century. Many followed a path like Maar’s, studying art in a traditional setting before pursuing photography in the 1920s and ’30s, as the medium was growing and changing.

For Maar, photography was a way to carve her own path in a business sense. She certainly wasn’t alone in that.

“For some women, photography was a very viable career where you could actually see yourself making your own money, earning your own income and becoming independent,” Nelson says.

When Nelson curated the NGA exhibition, she knew she wanted to include Père Ubu. Yet she had a difficult time determining where to place the photograph. It was such a strong composition, so different from the other pieces in the exhibition’s “Avant-Garde Experiments” room, that it didn’t quite work next to anything else.

Eventually, Nelson came up with a compromise: putting the photograph next to the room’s wall text. There, it wouldn’t overshadow other works but rather help start a conversation. It could only exist as Maar likely intended it to—on its own.

Installation view of "Dora Maar" at Tate Modern, 2019

Installation view of “Dora Maar” at Tate Modern, 2019

Tate Modern / Andrew Dunkley

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How to photograph Mars at opposition

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The excitement is increasing as Mars approaches opposition on 8 December. This is because Mars oppositions are a big deal.

The term opposition describes when a planet appears on the other side of the sky to the Sun.

Geometrically, this also means we’re closer to a planet at opposition than at any other time.

For more distant worlds, the difference that makes to its appearance isn’t so significant.

Positioned on the opposite side of the Earth to the Sun, here Jupiter is shown at opposition. Credit: Steve Marsh

An exception is Saturn, but only because of the ‘opposition effect’, a phenomenon that makes Saturn’s rings glow brighter at opposition than at other times.

However, Mars is a nearer world and its opposition appearance is considerably better than at other times.

When are Mars oppositions? 

The difference in the apparent size of Mars when it’s at its most favourable opposition and when at its most distant from Earth. Credit: Pete Lawrence

Mars oppositions occur every 2.1 years. At optimal oppositions it appears to have an apparent diameter over 20 arcseconds across.

As well as appearing to expand in size through the eyepiece, to the naked eye Mars also brightens impressively around opposition.

Less favourable oppositions may present the planet with an apparent arcsecond diameter in the low-teens.

The 2022 Mars opposition has the Red Planet reaching a maximum apparent diameter of 17.2 arcseconds on 1 December, when Mars is closest to Earth. At this time it’ll appear to shine at mag. –1.8.

Photographing Mars at opposition

A comparison of Mars’s apparent diameter when at opposition from 2016–35. Credit: Pete Lawrence

If you’re wondering what the best way is to image Mars around opposition, the answer depends on what kit you have available.

Smartphone

Mars, three ways: captured with (left to right) a smartphone, a DSLR and then a high-frame-rate camera with a large telescope. Credit: Pete Lawrence

The planet’s impressive orange-hued, star-like dot should be relatively easy to photograph with a modern smartphone, even if it doesn’t pick up many surrounding stars.

Here, a good strategy is to catch Mars low in the sky, bringing foreground objects into the view to give the planet context.

A bright Moon can be used to set the scene too. Grab a show of the full Moon near bright Mars, low above a visible horizon and you’ll have a winning shot.

Dates when this will happen are 10 and 11 November, and the nights of 7 and 8 December.

Mars is occulted by the Moon early on 8 December, so prepare to extend the evening session on 7 December into the early hours of the following morning for some real Moon–Mars drama.

For more advice, read our guide on how to photograph the night sky with a smartphone.

DSLR camera

Mars and the Pleiades, photographed by Gábor Szendrői, Hungary, 30 March 2019. Equipment: Canon EOS 700D DSLR camera, Leica APO-Telyt-R 3.4 / 180mm lens.

A DSLR or equivalent camera with a mid- to wide-angle lens will be able to capture some serious shots of Mars, with or without the Moon.

The planet is currently moving fairly slowly through Taurus, a feature-rich part of the sky.

Mid-angle lenses should capture the planet and most, if not all, of the stars surrounding it.

This includes the beautiful Pleiades and Hyades open clusters, as well as bright Aldebaran (Alpha (α) Tauri) which conveniently, for comparison purposes, also appears orange.

A wide-angle lens could extend the sky coverage to include the Orion constellation too.

A DSLR or equivalent allows you to get a great shot of the general star-scene with Mars, using relatively short exposures on a fixed tripod.

From a dark-sky site, consider using a tracking mount to extend exposure time.

This will allow you to reduce ISO, producing better colour tone and less noise in your images.

It will also allow you to go deeper in terms of the stars and nebulosity that are revealed.   

Photograph Mars at opposition: step-by-step

Equipment

  • Camera
  • Fixed or tracking mount

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Vital Impacts: stunning photography inspires wonder and curiosity for our natural world

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By AG STAFF

December 5, 2022

Photography has the unique ability to transcend all languages and help us understand our deep connections to life.

The brainchild of legendary wildlife and endangered species photographer Ami Vitale, and supported by conservation hero Jane Goodall, Vital Impacts sells prints by the world’s most lauded nature photographers to raise money for grassroots conservation and humanitarian projects. The photographs from all the artists are diverse but have in common a shared commitment to the environment.

This year’s collection features six Australian photographers who use their visual storytelling talents to shine a light on the fragility of our region:

‘Loss of Sea Ice’ by Michaela Skovranova

This work has been chosen from Michaela’s ongoing documentary project ‘End of the World’ investigating the impacts of climate change in Antaractica. “I see climate change in a similar way to an illness that takes hold of your body. It starts silently, unnoticed. By the time it’s deeply visible the entire ecosystem is in a cytokine storm almost impossible to control. Perhaps it starts underground after years and years of droughts draining the life out of the soil much like in Australia. Or perhaps the changing winds and warmer currents rot away the core of the glaciers.

“On 6 February 2020, weather stations recorded the hottest temperature on record for Antarctica. Thermometers at the Esperanza Base on the northern tip of the Antarctic Peninsula reached 18.3°C (64.9°F) The warm weather caused widespread melting on nearby glaciers. I imagine all the tiny snowflakes that had fallen over many lifetimes to build this masterpiece and all the life that depends on it. With the loss of sea ice, we face mass extinctions of wildlife and sea-level rise, which will ripple all across the globe.”

@mishkusk mishku.com/tedxsydney-2020-/-end-of-the-world

Michaela Skovranova/Courtesy Vital Impacts

‘Nature’s Lungs’ by Stephen Dupont

These grand eucalypts are the famous Bennelong Twins near the Sydney Opera House, dating back to Sydney’s 1788 settlement when the trees would have been saplings. The huge red gums on Bennelong lawn are the only surviving eucalypts from the natural forest in area. Stephen reflects that these trees would have seen Cadigal men brandishing spears as the First Fleet dropped anchor, then the convict parties landing, tents erected, metal axes ringing and surrounding trees falling.

Stephen says he chose to photograph the giant gums simply for their national heritage, historical and environmental significance. When he was framing the scene he noticed that the foliage of the trees looked like lungs if he pointed his camera upwards. He was able to show the power of nature by making the trees appear almost colossal, ending with the appearance of a set of lungs above.

This images is taken from Stephen’s series ‘Are We Dead Yet?’ He says the work is “centered around our planet’s climate crisis focused on recent disasters and events in my own country Australia. From one of the worst droughts in living memory, to the recent catastrophic black summer bushfires and floods to the destruction of native forests. I want my photographs to reflect both the consequences of our current path as well as signal the urgency to find new ones, while motivating viewers to question their roles and responsibilities in this real-time catastrophe. I’m looking at this as an artistic kind of canvas, a way to view the tragedies and the trauma of the Earth, but to find some sort of beauty in it as well, in the colour palette and patterns of the landscape. I’m highlighting the catastrophe to agitate viewers to gaze deeper. These photographs might be beautiful, but if you look at them really closely, there’s a very deep message in all of them and there’s a real sense of urgency in what I’ve captured.”

@stephenmdupont.

Stephen Dupont/Courtesy Vital Impacts

‘Bubble Lion’ by Matt Bagley

Photographed in Port Lincoln, South Australia, between lockdowns.

“I have felt a deep connection with the ocean for as long as I can remember,” Matt says. “Saltwater is in my blood, and when submerged I find peace and wonder. With a camera in hand I follow light paths, diving down into cold free-flowing waters. A handheld torch accompanies my single-breath dives, illuminating instances that captivate and connect. Whether it be the morning light bouncing off the ocean’s surface or the darkness that comes before the moon. There is so much beauty that it’s hard to look past, I’m drawn to them. Not only to capture but to experience them.”

@petrichor.mb.

Matt Bagley/Courtesy Vital Impacts

Ascension’ from Tamara Dean‘s series ‘Palace of Dreams’

Tamara Dean makes large-scale fine art photography exploring our connection to nature.

“In the gardens of memory, in the palace of dreams, that is where you and I shall meet” – (The Mad Hatter) Lewis Carroll, Alice Through the Looking Glass, 1871.

“Like Alice through the looking glass, the world is turned on its head,” Tamara says. “Ordinary objects defy gravity, the compass is both physically and figuratively out of whack. Each night I watch the news, taking in images of daily disasters happening across the planet. My mind is filled with moments and snapshots, personal belongings washing away in floods, homes broken, humans in dire need. We are often reminded that we are living on the precipice of a tipping point. A point of no return. Then images from my garden float through my mind, my hands in the earth, flowers that disappear and reappear each year. The certainty of change and of cycles.”

@tamaradean

Tamara Dean/Courtesy Vital Impacts

‘Meeting Place’ from Morganna Magee‘s series ‘Extraordinary Experiences’

“Created in the streets near where I live, on the traditional lands of the Woi Wurrung, Bunurong and Boon Wurrung people, the images are made on places of traditional significance that are now open bushland,” Morganna says. “The resulting images come from an intuitive response to my surroundings, the images interplay with photography’s ability to make eternal what is fleeting. Through in-camera and in-scanner manipulations these images exist through intervention, sometimes by the artist, others by the unseen atmosphere that surrounds what is photographed.”

“Australians have long one of the western world’s most immediate understandings of the environment. Nature is where we play and where many of us live. Because of this the affects of climate change, habitat loss and wildlife extinction are relevant to every Australian regardless of if they live in the city or country- you simply cannot live here without understanding the environment’s health is paramount to all our comfort. For this reason, I think imagery of conservation in Australia can be more nuanced than straight reportage- we understand this land, we understand what is at risk. The beauty of Australia, to me, is unapparelled, as is the access to first nation knowledge of country and what existed pre colonisation. As photographers, this is exciting, we can make images of this ancient landscape with an informed knowledge of what is  does, should, and can look like.”

@morgannamagee

Morganna Magee/Courtesy Vital Impacts

‘To Dance with Shadows: Flight’ by Aletheia Casey

“This work explores the silent and fragile places of the post-pandemic landscape,” says Aletheia. “The images physically depict the aftermath of disconnection and isolation.”

@aletheiacasey

Aletheia Casey/Courtesy Vital Impacts

Vital Impacts is a non-profit platform and is hosting its 2022 print sale to support environmental documentary projects and fund the next generation of environmentalists. Visit vitalimpacts.org/collections/prints-for-sale

Related: Winners: Australian Geographic Nature Photographer of the Year 2022



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Hamilton Premiere Of Wildlife Photographer Of The Year Exhibition

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The
right look © Richard Robinson, Wildlife Photographer of the
Year. Shot under New Zealand Department of Conservation
permit #84845-MAR.

An award-winning
New Zealand photographer is the guest of honour for the
opening of theworld-renowned Wildlife Photographer of the
Year exhibition at Hamilton’s Waikato Museum Te Whare
Taonga o Waikato.

On tour from the Natural History
Museum in London,Wildlife Photographer of the Year will
open on Friday 9 December and marks the first time Hamilton
has been home to this exhibition of the world’s most
exceptional nature
photography.

“Wildlife Photographer of
the Yearis the most prestigious photography award of its
kind, and the competition has provided a global platform to
showcase the best of photography talent formore than55
years,” said Liz Cotton, Director of Museum and Arts,
Waikato Museum.

“It’s an honour to be
the first New Zealand hosts for this year’s exhibition,
particularly as the award-winners include stunning images by
New Zealander photographer Richard Robinson, highlighting
the work being done to protect our population of tohoraa
[southern right whales].”

“We look forward to
welcoming visitors from around the country to Waikato Museum
to see these incredible images over the summer, including
those with a passion for photography, the environment, and
our natural world.”

Speaking from London, the
Director of the Natural History Museum, Doug Gurr,
said:

“We are thrilled to see our prestigious
Wildlife Photographer of the Year exhibition reaching
audiences in this part of New Zealand for the first time.
What could be more fitting than the setting of the Waikato
Museum, on the banks of the biodiverse Waikato River? We
hope every visitor leaves the exhibition feeling inspired to
protect and celebrate the natural world.”

Launched
in 1965, todaythe annual Wildlife Photographer of the
Year competition receives entries frommore than 90
different countries,highlighting its enduring appeal.
This year’s award-winning images are on an international
tour thatwill allowthem to be seen bymillions of
people all over the world, including here in
Hamilton.

An international panel of industry
experts selected underwater photojournalist Richard
Robertson as the winner of the category, Oceans – The Bigger
Picture. His award-winning image ‘New life for the
tohorā’
captures a hopeful moment for a population of
New Zealand native whales that has survived against all
odds. Another of his photographs, ‘The right
look’
was also Highly Commended in the Animal
Portraits category.

Another New Zealand photographer
was also recognised by the judging panel, with D’Artagnan
Sprengel’s photograph ‘Frost daisy’ receiving a
Highly Commended award in the 11-14 Years Old category for
Young Wildlife Photographer of the Year.

Winner of the
Grand Title award was ‘The big buzz’ by Karine
Aigner, shot with a macro lens to show the frenzy of Texan
cactus bees competing to mate. This captivating image, and
all other prize winners, will be among the 100 photographs
on display at Waikato Museum until 23 April
2023.

© Scoop Media







 

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UCA senior’s hobby yields stunning images

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When Erik Stinnett is not in class or studying, he is spending time researching, teaching and mastering the art of astrophotography. 

Stinnet, a senior computer science major, has been interested in astronomy for as long as he can remember. When he was in elementary school, Stinnett’s grandparents gifted him a motorized telescope, but it wasn’t until he was a freshman in college that he really started to learn about all its functions. One night he decided he wanted to take a photo of the moon using the camera on his mobile phone.  

“I got my telescope out and put my phone up to the eyepiece and took a few pictures,” Stinnett said. “It wasn’t a very good image. It was blurry and out of focus, but I thought it was cool that I was able to do that. My interest grew from there.” 

Erik Stinnett

Erik Stinnett

Stinnet and his father began researching the kind of equipment they would need to capture images for both deep-sky and wide-field astrophotography. Deep-sky astrophotography involves capturing images beyond the Solar System like star clusters, nebulae and galaxies. It requires a special astronomy camera that connects to a telescope and computer. Wide-field astrophotography generally refers to images inside our solar system and can be shot using a digital single-lens reflex (DSLR) camera and a tripod.

“It was a long process of learning and figuring out how everything works together,” he said.

After a lot of trial and error, Stinnett captured a clear deep-sky image of the Orion Nebula one January night.  

“It wasn’t as clear as some of my work now, but it was the first time I could make out something. I was super excited because it was the first time it worked,” he said. 

A photo of a barn with the night sky

Photo credit: Erik Stinnett

Stinnett kept shooting and improving. In 2020, one of his images placed 2nd in the 2020 Jewel Moore Nature Reserve Photo Contest. He won the 2022 contest with a panorama image of the Milky Way at Steel Creek.

This year, Stinnett and his classmates took an overnight trip to the Buffalo National River as a part of a Schedler Honors College course called “Nature’s Nation: Stewardship and Sustainability in Public Lands.” During a conversation with one of the park rangers, Stinnett mentioned his interest in astrophotography. 

“She thought that was cool and asked me if I had any pictures of the night sky at the park. She wanted to use them to promote an appreciation of the night sky,” Stinnett said. The Buffalo National River has been intentional about decreasing its light footprint. In 2019, the park became the first place in Arkansas to receive an International Dark Sky Park Designation. 

silhouette of two people looking at the night sky.

Photo Credit: Erik Stinnett

Stinnett sent some images and eventually became connected with Cassandra Johannson, a park ranger, who asked if he would do a wide-field photography workshop at Buffalo Point campground. About 20 people signed up for the first class. 

“I started out with a presentation on what astrophotography is and how to shoot. Then for about two hours after that – until about midnight – we were out by the river taking photos.” 

Stinnett has since gone back to the park to teach other workshops. Over fall break, he gave another presentation and led a workshop at Arkansas’ inaugural Dark Sky Festival at Tyler Bend campground.  He shares his images on his Instagram account and plans to keep up his hobby of capturing the night sky. 

“It is a challenging process to master, but it is certainly worth it,” Stinnett said.



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LoupeDeck Live S: Price, Specs, release date revealed

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Loupedeck has made a name for itself as an innovative manufacturer with an impressive range of products that aid many creative professionals and enthusiasts. The products that made Loupdeck name included the impressive range of customisable consoles for applications, such as Lightroom, now widely used by imaging professionals. 

Now the company has launched the Loupedeck Live S, a new console specifically designed as a simple and affordable way for streamers to control and manage their streams. The new console essentially provides a hardware interface for the Loupedeck software in a compact package. This means that with direct controls at the streamer’s fingertips, valuable screen space is freed. 

Loupedeck has also aimed the Live S pricing at an entry-level price enabling more streamers to access these powerful controls rather than just those already pulling in huge audiences and revenue.

The Live S features multiple integrations enabling streamers to interface directly with cameras, lighting, as well as the more standard software. Utilising applications such as OBS as well as physical lighting sources, including Philips Hue, the streamer can utilise preset functions and features pre-installed or set the control board buttons through custom functions and settings. 

This means that all controls for the application streams from the machine are quick to access, as are live video and audio feeds as well as the streamers scene lighting. A major advantage of this system is that the software and hardware solution enables you to isolate streams so notifications from applications such as chat can be muted. 

Along with the new hardware comes an update to the Loupedeck software. This features an updated action set text editor, icons and more, giving even more customisable controls over the use of the hardware. 

Customisation options through the software enable you to drag and drop actions to a touch button to create centre controls for actions. This function expands on other customisable features that enable streams to expand the dial functionality. 

“Designing products that add value to the online user experience is part of our DNA at Loupedeck,” says Mikko Kesti, CEO and founder of Loupedeck. “The Loupedeck Live S is a natural extension of this mission as we continue to create and bring to market affordable, intuitive, and efficient tools that equip streamers with everything they need to optimise their creative process.” 

Loupedeck Live S is for both Mac and PC

Loupedeck offers plenty of compatibility for Mac and Windows systems and shops with the same software as Liupedeck Live and CT. The hardware itself features a touch panel arranged in a three-by-five grid of buttons that can be expanded by up to 14 pages and activated with a swipe, as well as the touch interface; the Loudedeck Live S also features two dials and four analogue buttons.

Key Loupedeck Live S features include: 

  • Native software integrations support popular streaming tools like Twitch, OBS, Streamlabs, or Voicemod. Plus, optional plugins for creative programs like Adobe Photoshop, Premiere Pro and Final Cut Pro and integrations for additional creative work.
  • Full control over audio and lighting with freely assignable dials for precise adjustments to volume, backlighting and more, as well as a dial push function for mic muting. 
  • Loupedeck Marketplace to download profiles, plugins, icon & sound packs and more from external providers, partners and influencers from a constantly growing content library (currently more than 200 downloadable items). Some of the key Marketplace plugins and profiles include:
    • Microsoft Flight Simulator
    • Twitch Studio
    • Light control plugins for Philips Hue, Nanoleaf, Razer and Elgato 
    • Voicemeeter
    • Davinci Resolve Color Panel
    • Notion

“As a music streamer, I love the dials to control the different types of volumes like system volume for videos and Spotify volume for background music,” said Jayne Rio, Twitch Partner. I also love how slim the Live S is, which makes it easily packable.”

The Loupedeck Live S is available online and in stores today for $179. Learn more at https://loupedeck.com/us

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Bobby Joe Stamper

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Mr. Bobby Joe Stamper, age 82, of Olive Hill, Kentucky, passed from this life, Friday, December 2, 2022, at Harbor Healthcare of Ironton in Ironton, Ohio.

He was born Tuesday, May 21, 1940, in Grayson, Kentucky, the son of the late Roscoe and Mabel Adkins Stamper.

Joe was of the Christian Faith, a 1960 graduate of Olive Hill High School and a free spirit at heart with many interests in his lifetime. He pursued a career in radio as a disc jockey. He worked at several local radio stations and WSAZ TV Station. He later moved to San Francisco, California to further his career. He loved the outdoors, enjoyed hiking, camping, and nature photography. Joe was a rock climber and taught rock climbing at Yosemite National Park and was the first park naturalist at Carter Caves State Resort Park and developed an interest in the history of the area.

In addition to his parents, Joe was preceded in death by his twin brother, Billy Jack Stamper; one great nephew, Aaron Stamper.

Joe is survived by two brothers, Ray Stamper of Johnson City, Tennessee and Carl “Bud” Stamper and his wife Elva of Olive Hill, Kentucky; a special nephew, Terry Stamper of Olive Hill, Kentucky along with many other family members and friends who will sadly miss him.

Funeral service will be held 1 p.m., Tuesday, December 6, 2022 at Globe Funeral Chapel in Olive Hill, Kentucky with his nephew, Mike Stamper and Brother John Lambert officiating. Burial will follow in the Garvin Ridge Cemetery in Olive Hill, Kentucky.

Friends may visit after 11:30 a.m., Tuesday, December 6, 2022 and until the service hour at Globe Funeral Chapel.

Mike Stamper, Allen Stamper, Matt Moore, Terry Stamper, Derek Stamper and Greg Hay will serve as pallbearers.

Globe Funeral Chapel, 17277 US Hwy. 60 West, Olive Hill, Kentucky are caring for all arrangements for Mr. Bobby Joe Stamper.

(www.globefc.com)



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