One of these 19 amazing night sky images will win 2023 Astronomy Photo of the Year

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A white-bricked trench lays recessed in the pale green grass of a World War I memorial in France. Above, the night sky is diagonally streaked with a rainbow of stars.

A white-bricked trench lays recessed in the pale green grass of a World War I memorial in France. Above, the night sky is diagonally streaked with a rainbow of stars.

The largest astrophotography competition in the world is wrapping up its 15th year. The contest’s officiating organization, the Royal Observatory of Greenwich, has released nineteen photographs officially in the running, one of which will be announced as the overall winner during a September 14 award ceremony.

In addition to the overall winner, the competition awards top photographers from nine different categories, and two “special prizes.” The categories include Skyscapes, Aurorae, People and Space, Our Sun, Our Moon, Galaxies, Stars and Nebulae, Planets, Comets and Asteroids, and also an award for Young Astronomy Photographer of the Year. The special prize awards include the Sir Patrick Moore Prize for Best Newcomer, and the Annie Maunder Prize for Image Innovation.

Each year, the Royal Observatory of Greenwich assembles a panel of art and astronomy experts as judges for the competition. This year, they received over 4,000 entires from 64 different countries. The nineteen photographs below are the official shortlist of final contenders.

Related: Stunning image of Comet Leonard breakup wins top astronomy photography prize of 2022

Sperrgebiet by Vikas Chander

An abandoned mining structure in the desert stands, dimly illuminated under the streak of the Milky way, centered in the starry night sky.

An abandoned mining structure in the desert stands, dimly illuminated under the streak of the Milky way, centered in the starry night sky.

Vikas Chanser took this photograph at an old diamond mine in the Namibian desert. “Sperrgebiet” is German for “restricted area”. In Chander’s entry, he explains the German diamond-mining settlements in Namibia during the early 1900s. “When the Germans eventually left ghost towns remained, which are still preserved in their natural state although in an advanced state of neglect and rot,” Chander says. His photo features a decayed processing plant from that era.

Ball of Rock by Rich Addis

A double-stacked image of the full moon accentuates its spherical nature.

A double-stacked image of the full moon accentuates its spherical nature.

That’s no moon…it’s two moons! Rich Addis’s “Ball of Rock” photograph features two images of the moon blended together. One of the lunar shots is during one of the moon’s partial phases, and is only 78 percent illuminated. That image is blended with a shot of the full moon, creating a dynamic shadow effect that gives the moon a more spherical, 3D appearance. “There are many images similar to this out there, but upon closer inspection, they often have duplicated features and are not as well matched,” Addis says, adding, “the image is a 22-panel mosaic. Each panel is 400 frames stacked and manually stitched together.”

The Great Solar Flare by Mehmet Ergün

A bright orange sun fill the image. A large solar flare streaks like a scar across the star’s left side

A bright orange sun fill the image. A large solar flare streaks like a scar across the star’s left side

Mehmet Ergün captured this stunning view of the sun using an H-alpha solar telescope. In it, a large solar flare streaks like a scar across the star’s left side, Solar flares are common, and occur as eruptions of magnetic energy shooting from the sun’s surface. According to Ergün, the large solar flare pictured here measures over 430,000 miles (700,000 kilometers). That more than fifty times larger than Earth.

RCW58: Wolf Rayet Bubble by Mark Hanson and Mike Selby

A bright white star sits in the center of a nebula of multi-layered red gasses. Bright spots of distant stars and galaxies surround the red, circular burst.

A bright white star sits in the center of a nebula of multi-layered red gasses. Bright spots of distant stars and galaxies surround the red, circular burst.

This ultra-crisp starburst from astrophotographers Mark Hanson and Mike Selby is what’s known as a Wolf Rayet (WR) Bubble. These rare phenomena form around WR stars, which are low in hydrogen and contain a heavy element presence on their surface higher than most stars. The star photographed here, WR 40, is seen in the center of its surrounding nebula, formed by its own ejecta. “This just looks like you can hear it sizzling,” the astrophotographers said.

C/2021 A1 (Leonard) In Sky of Israel by Alex Savenok

The shadowing layers of overlapping mountains in the rocky Israeli desert sit below a sunset painted sky blotted with stars. Above the mountains, a bright comet with a long, fading tail floats amongst the star splattering.

The shadowing layers of overlapping mountains in the rocky Israeli desert sit below a sunset painted sky blotted with stars. Above the mountains, a bright comet with a long, fading tail floats amongst the star splattering.

Alex Savenok’s photograph captures a comet in the skies above Israel’s Negev desert. The comet, C/2021 A1 (Leonard), made a close approach to Earth in 2021 and 2022, and captivated stargazers as it graced the night sky. Savenok’s shot of Comet Leonard shows it hanging above the rocky mountain terrain of the Negev, just as the sun sets. The faint glow of the stars in the background adds to the sense of awe and wonder, creating a truly breathtaking, peaceful, otherworldly scene,” Savenok said.

NGC 3521: Marquise in the Sky by Mark Hanson and Mike Selby

A dusty spiral galaxy hued in shades of yellow, purple and red floats in the darkness of space, surrounded by other, far distant galaxies and stars.

A dusty spiral galaxy hued in shades of yellow, purple and red floats in the darkness of space, surrounded by other, far distant galaxies and stars.

Another stunning photo from Hanson and Selby, the NGC 3521 spiral galaxy is shown shining from 35 million lightyears away. It is unique among its galaxy family for having less defined arms, typically observed with spiral galaxies. NGC 3521 can be found in the constellation Leo. In the photographers’ own words, ”surrounded by dust, the galaxy has numerous star-forming areas and a luminous centre. The dust bubbles are likely to be from encounters and mergers long ago with satellite galaxies. There are also rarely seen Hydrogen Alpha jets emanating from this galaxy.”

Green Snakes by Filip Hrebenda

Green waves of aurora borealis streak the sky above a pointed, rocky mountain, rooted to the valley in the foreground with flowing streams that reflect the green auroras above.

Green waves of aurora borealis streak the sky above a pointed, rocky mountain, rooted to the valley in the foreground with flowing streams that reflect the green auroras above.

“It doesn’t matter how many times I see the aurora, it fascinates me as if I were seeing it for the first time,” says FIlip Hrebenda. Hi photograph of the green-shaded aurora borealis is aptly named. The shade paints the sky with curvy serpents of light, reflected in the streams in the foreground. Hrebenda captured this picture at Vikten beach, Loften Islands, Norway. The image is a composite featuring six stacked foreground shots and the aurora photo.

Pandora’s Box by Derek Horlock

A mural of the Greek myth Pandora painted on a stone slab sits in the foreground of an image of the milk way, shooting up diagonally from the murals corner.

A mural of the Greek myth Pandora painted on a stone slab sits in the foreground of an image of the milk way, shooting up diagonally from the murals corner.

The mural in the foreground of Derek Horlock’s photo is by a Balinese artist ‘Wild Drawing,’ and features a painting of Pandora, of ancient Greek myth. Horlock’s juxtaposition of Pandora, seemingly peaking out at the Milky Way serves as a hat-tip to an upcoming satellite, also named Pandora. When it launches, Pandora’s mission is to search for signs of life in other solar systems. “The moral of Pandora’s Box suggests that curiosity could be dangerous, and some things are best left alone. However,” Horlock says,  “[NASA] are not going to be dissuaded by the myth.”

Jellyfish Nebula by Peter Larkin

A vividly colored swirl of gasses and plasma concentrate on a near-spherical nebula cloud that resembles a jellyfish.

A vividly colored swirl of gasses and plasma concentrate on a near-spherical nebula cloud that resembles a jellyfish.

This photograph of the Jellyfish Nebula from Peter Larkin was created using a stack of images taken with different filters to capture the nebula using a variety of spectral perspectives. The technique highlights details otherwise invisible to the human eye. Larkin told the Royal Observatory of Greenwich, “I had a stretch of clear skies and started with H-alpha, then OIII (Oxygen III narrowband filter) and finally SII (sulfur II emission filter) from my garden close to Geneva, Switzerland. Once I had enough data, I went through each sub individually and removed any which weren’t visually perfect.”

Radio Polaris by João Yordanov Serralheiro

A deactivated radio telescope array sits beneath a circular swirl of stars, exposed to show the motion in the sky as the Earth rotates.

A deactivated radio telescope array sits beneath a circular swirl of stars, exposed to show the motion in the sky as the Earth rotates.

A deactivated radio telescope antenna sits in a field in front of a swirl of stars at Millard Radio Astronomy Observatory, in Cambridge, photographed using a remote shutter in 30-second intervals, and stacked by João Yordanov Serralheiro. This was Serralheiro’s first successful attempt at creating a star-trail image.

Dune by Burak Esenbey

A wavy desert sand dune sits beneath a bright Venus, hung low in the sky with the arch of the Milky Way curved overhead.

A wavy desert sand dune sits beneath a bright Venus, hung low in the sky with the arch of the Milky Way curved overhead.

Burak Esenbey shot this photo in Egypt’s White Desert. The edge of the sandy dune stretches to the center of the image and ends just below the photo’s brightest point: Venus. The arch of the Milky Way hangs above. “Dunes are the reason I love to shoot in the desert. Leading lines and structures are what you need, as well as an excellent sky quality,” Esenbey says.

A Rocky Rise by Carl Evans

A large, sharp rock just out of the sea as gulls fly around on either side. Above it, an orange full moon hangs peering between hazy blue/gray clouds.

A large, sharp rock just out of the sea as gulls fly around on either side. Above it, an orange full moon hangs peering between hazy blue/gray clouds.

Carl Evans shot this full moon photo from Broadhaven, Pembrokeshire. The outcropping in the middle is known as Church Rock. The image consists of two photos stacked to show the moo through the clouds and the birds in flight around Church Rock. “I stood on the beach at Broadhaven for a couple of hours waiting for the Moon to rise. The clouds initially hid the Moon and as I was walking away it appeared among the clouds, adding a nice effect over it,” Evans said of the photoshoot.

Solar Flare X1 from AR2994 in ‘Motion’ by Miguel Claro

A corner of the sun sits in the bottom left of the image, as the tight loops of a solar flare jut out from just over the solar horizon.

A corner of the sun sits in the bottom left of the image, as the tight loops of a solar flare jut out from just over the solar horizon.

A good photography app comes in handy, and Miguel Claro cites a notification he received from SpaceWeatherLive for alerting him to the solar flare he was able to capture. X-class solar flares are the largest, and as its name suggests, Solar Flare X1 from AR2994 was a whopper. Claro shot this image from the Dark Sky Alqueva region, Évora district, Portugal while testing out a new camera. “I had to immediately change my initial plans and pointed the telescope as quickly as possible to the limb where the flare departed from sunspot AR2994, already hidden behind the edge of the sun,” Claro said. His quick framing paying off, Claro was able to shoot a 27-minute time-lapse of the event.

Celestial Equator Above First World War Trench Memorial

A white-bricked trench lays recessed in the pale green grass of a World War I memorial in France. Above, the night sky is diagonally streaked with a rainbow of stars.

A white-bricked trench lays recessed in the pale green grass of a World War I memorial in France. Above, the night sky is diagonally streaked with a rainbow of stars.

To capture this image, Louis Leroux-Gere slept overnight in the recessed trenches of the Canadian National Vimy Memorial, in France. The memorial remember World War I service members from Canada. Leroux-Gere says, “I slept in those trenches while my camera captured the rotation of the sky and was absolutely amazed by the stars.”

Crescent Moon in a Magical Sunset by Eduardo Schaberger Poupeau

A large crescent moon hangs in the top right, wistfully obscured by the flow of passing clouds, illuminated orange from the rays of an unseen setting sun.

A large crescent moon hangs in the top right, wistfully obscured by the flow of passing clouds, illuminated orange from the rays of an unseen setting sun.

For his submission, Eduardo Schaberger Poupeau describes the sunset on the day he shot his photograph. “The sky gave us an impressive spectacle: the clouds seemed to turn into flames with a very intense red colour. This magical moment was enhanced by the presence of the crescent Moon with 16% of its surface illuminated.” The image was created from the separate exposures, and stacked in photoshop to increase the photo’s dynamic range.

Starless Pillars by Jason Guenzel

A starless view of the Eagle Nebular, where plasma storms lightyears' long birth new stars. Wisps of gas cover the image in deep shades of yellow, orange, red and purple

A starless view of the Eagle Nebular, where plasma storms lightyears’ long birth new stars. Wisps of gas cover the image in deep shades of yellow, orange, red and purple

The Eagle Nebula, home to the famous ‘Pillars of Creation’, from the Hubble Space Telescope, is nearly 7,000 lightyears away, and measures 70 light years across. This image of the giant stellar nursery was captured by Jason Gunnel, who used narrowband filters to accentuate layers of ionized gasses within the nebula. Noticeably absent from this stellar nursery image are the stars themselves. Guenzel removed the stars during photo post-processing in order to “let the eye wander unimpeded through the layers of nebulosity.” He calls the finished piece “abstract art of the Cosmos.”

The Milky Way by Kush Chandaria

A starry view of the milky way streaks across the night sky, filling the image diagonally from the top left corner

A starry view of the milky way streaks across the night sky, filling the image diagonally from the top left corner

A brilliantly vivid image of our galaxy, the Milky Way, shot by Kush Chandaria from the Okavango Delta, in Botswana. In his submission, Chandaria talks about being able to see the Milky Way with his own eyes for the first time, and the tragedy of increasing light pollution. There are many locations throughout the world untouched by light pollution, called Dark Sky zones. Unfortunately, the lights of growing cities make these areas fewer and fewer. “I can only hope that in capturing this image I can share the same feeling of amazement that I felt when I looked up at the sky that night,” Chandaria said.

Cassinified Pluto by Sergio Díaz Ruiz

A dull colored, stylized image of the New Horizons Pluto image.

A dull colored, stylized image of the New Horizons Pluto image.

Sergio Diaz Ruiz took inspiration for his submission from “Carte de la Lune,” a depiction of the moon from Jean-Dominique Cassini, the seventeenth century Italian astronomer for whom the Cassini probe is named after. With his image, Díaz Ruiz says he tried to answer the question, “what if Cassini could see this remote new world with his own eyes?” Díaz Ruiz used images of Pluto provided by the New Horizons probe, and rendered it in the likeness of Cassini’s Carte de la Lune, and enhanced to emulate engraving textures. Díaz Ruiz went so far as to apply the exact color pallet from Cassini’s work to his image, which was provided by the Library of the Utrecht University.

Emerald Roots by Lorenzo Ranieri Tenti

A mountain rises from a beach's wavy black sands, glowing in greens and pale yellows beneath the blazing aurora arched in the sky.

A mountain rises from a beach’s wavy black sands, glowing in greens and pale yellows beneath the blazing aurora arched in the sky.

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— Astrophoto of the month: New supernova SN 2023ixf in the Pinwheel Galaxy

Iceland’s famous Vestrahorn Mountain rises from the wavy black sands of a Stokksnes peninsula beach, in Iceland, glowing in greens and pale yellows beneath the blazing aurora arched in the sky beyond the mountain. Lorenzo Ranieri Tenti has captured the rising moon, to the right of Vestrahorn, in his vertical panoramic photo, which he stacked to draw focus to the mountain and foreground. “I love how the ‘Green Lady’ lights up the frost with green while the rising moon makes ripples in the sand shine like gold,” he said.

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Editing Techniques For Every Photographer And Videographer

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The post-production world may seem labyrinthine, shrouded in technical terms and unfamiliar techniques. Yet, once you understand the tools at your disposal and the creative potential they unlock, the fog begins to clear. For every photographer and videographer, mastering the art of editing is essential in creating compelling and visually stunning work.

Demystifying The Post-Production Process

Turning raw footage into a polished final product involves much more than ‘cut and paste.’ Among the resources available to aid in this endeavor is a production company. They provide tools and expertise to help bring a creative vision to life. Their offerings can ease the post-production process and elevate the end product.

Another helpful resource is this video that showcases their comprehensive services, providing unique insights into the post-production process:

Master the Essentials of Editing

Understanding the basic editing process is like understanding the language of filmmaking. It involves selecting the best visual and audio materials, arranging them in a meaningful sequence, and refining them to tell a compelling story.

This process commences with a thorough review of the footage. Every second of the material shot during production must be examined to identify the best takes and shots. You can move on to the rough cut once you’ve marked memorable scenes and potential B-roll footage.

The rough cut is an initial assembly of your story, piecing together various shots to form a narrative. It’s not the final version; it’s a work in progress. It gets refined further into the final cut. The rough cut is polished during the final cut by trimming excess footage, smoothing out transitions, and tweaking the sequence for optimal storytelling.

Dive into Advanced Techniques

There’s an array of advanced techniques you can employ to elevate your final output. These techniques add depth to your story and enhance the overall viewing experience.

Color grading is one such technique. It involves adjusting the colors in your footage to set the right mood and ensure continuity across different scenes. It’s a powerful tool to guide your viewers’ emotions subtly.

Sound design is another critical aspect. It selects and manipulates audio elements to create an immersive soundscape that perfectly complements your visuals. The right sound can augment the impact of a scene manifold.

Finally, Visual Effects (VFX) enable you to achieve visuals that couldn’t be captured during production. These are digitally created environments or effects that enhance your storytelling.

Harness the Power of Software Tools

Your choice of software can make a significant difference in your post-production process. Several tools are designed to simplify and streamline editing.

Adobe Premiere Pro is a timeline-based video editing software, ideal for editing video clips. It offers a range of tools and options to refine your footage and audio.

Final Cut Pro, an Apple product, is renowned for its high-resolution video editing capabilities. It provides comprehensive tools for importing, editing and exporting videos.

Avid Media Composer is a professional film and video editing software offering advanced post-production features.

Practice Makes Perfect

There’s no substitute for practice when it comes to mastering these techniques. Experimenting with different techniques and software tools is a great way to discover what works best for your style.

You should also invest time in studying the work of professionals. Analyzing their work can provide valuable insights into how they apply different techniques.

Lastly, seeking feedback is crucial. Share your work with others, be open to criticism, and learn from it.

The realm of post-production may seem daunting at first, but once you learn to navigate it, it’s a world teeming with creative possibilities. With understanding, the right tools, and relentless practice, you can bring your vision to life, creating a final product that’s visually appealing and emotionally engaging.

Incorporate Storytelling Elements in Your Edit

One aspect of post-production often overlooked is storytelling. Editing isn’t just about creating clean cuts or transitions; it’s about weaving a coherent and compelling narrative from your footage.

You achieve this through pacing – controlling your film’s or video’s rhythm. Pacing can affect the mood, build suspense, or bring focus to important details. You can also use cross-cutting or match cuts to create a more dynamic narrative flow.

Utilize Sound to Enhance Your Narrative

Sound is an influential component in post-production that, when used effectively, adds depth and enhances the viewing experience. Sound is divided into two categories: diegetic and non-diegetic.

Diegetic sounds are those characters in the film that can hear, like dialogues or sounds made by objects in the scene. Non-diegetic sounds, like background music or voiceovers, are audible to the audience but not to the characters.

Striking a balance between these sounds can create an immersive and emotionally resonant experience for the audience. They can complement the visuals and heighten the overall impact of your project.

Embrace Collaboration for a Superior Final Product

Post-production isn’t a solitary endeavor. It requires the collaboration of different artists, each contributing their unique skill set. Working with a sound designer, colorist, or visual effects artist can greatly improve the quality of your final product.

By effectively communicating your vision to your collaborators, you can ensure that every element of your project is aligned with your creative goals. Don’t hesitate to seek their input; they can provide valuable insights and innovative solutions to any challenges you may encounter.

Demystifying The Post-Production Process

Conclusion

The realm of post-production may seem daunting at first, but once you learn to navigate it, it’s a world teeming with creative possibilities. With understanding, the right tools, and relentless practice, you can bring your vision to life, creating a final product that’s visually appealing and emotionally engaging.

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Politeness matters when photographing nature – Estes Park Trail-Gazette

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There really is nothing more exhilarating than being witness to two bull elk brawling with antlers intertwined during the fall rut or having the clouds light up in dramatic fashion at the perfect alpine lake at sunrise or watching an osprey as its talons break the surface of the water as it dives for a fish.

As a photographer, capturing these moments in pixels extends that experience into a lifelong memory through a photograph for your wall or into a winning image in a nature photo contest.

But at what expense do you need to go while in the field when considering your fellow photographers or your subjects?

There used to be a time, before the invention of cameras in cell phones and the accessibility of digital cameras, that if a photographer was already at a location photographing a special sunset or a coyote curled up in the snow, the etiquette was to allow that photographer to have that moment.

Today, it isn’t unusual to have dozens of people with a camera set up on tripods photographing the exact same scene. Those images may be different depending upon what equipment you use and your own creative vision but more and more, having 20 people take the same photo has me thinking, how do I maintain my own style if I am photographing the same subject at the same time as 19 other people?

And beyond just questioning why I should take the same or similar photo, there are several other questions to consider when in the field:

  • Am I blocking anyone else’s view of the scene?
  • Is there an opportunity to teach someone about how to share the space?
  • Can I take a different view without damaging the habitat or disturbing the animal?
  • Is all of this attention stressing my subject?
  • Is my safety or the safety of my subject worth this photo?

There are many situations that happen in the field that can cause stress to a photographer or to a subject:

  • The person who insists on sitting in their car while not allowing anyone else outside of theirs to see the same scene. (Again, I have to ask myself, “Is there a reason they cannot be outside of the car, and should I even be outside of my own car because of safety or impact?”)
  • The photographer with the longest lens insisting on being in front of everyone else with shorter lenses or cell phones.
  • The aggressive photographer or cell phone user (they are different types of situations and therefore the terms should not be used interchangeably) who ruin a situation for everyone because of their single-minded desire for their own photo.
  • The photographer who blocks wildlife from moving where they want to go so they can get the shot they envision.
  • And my favorite, the person who stops to ask what you are photographing, causing the subject you are waiting for or already photographing to flee.

The last one in particular ties back to the original comment about etiquette before cell phones and digital cameras. On more than one occasion I have lost wonderful photo opportunities of birds feeding, porcupines eating, bull elk crossing a river and more because of unintentional requests for information. I really am not a curmudgeon, and I do like to share information, but when stopping at a location where there is already a photographer, assess the scene. Look at the situation and see if your actions might impact the subject they are photographing or what the photographer, who may be trying to put food on the table, hopes to capture.

For example, would walking up at the edge of the water or allowing a child to throw sticks into the water cause a ripple through the surface ruining the reflection in the lake? Would stopping where a photographer is using their vehicle as a blind to ask what they are photographing cause the subject to flee, potentially harming you, the photographer or the animal?

When out in the field, whether you are on vacation, working as a professional or fall anywhere in the myriad of situations in between, consider these things:

  • Please don’t yell when out in nature. If someone is blocking your view, move over to them and politely explain that your view is obstructed and ask if they could move a little to the left or right. Politeness always goes farther than aggressiveness and understand that maybe they have an obstructed view as well or may not have seen you behind them. See if you can find a solution that works for both of you.
  • Don’t move branches, snap off twigs or cut down grasses just to have a better view of your subject, especially nesting or bedded animals. In most situations, animals have selected those areas for exactly what is in the way of your photo. Having cover protects the animals from predators, wind, rain and hot sunshine, camouflages their location, and if the nest is no longer a viable location, may prevent future generations from nesting in the area. Trimming branches and grasses in a landscape image may cause the plant to not produce seeds for the next generation of growth.
  • Learn about your subject before you head out into the field. The more you know about your subject — endangered status, nesting behavior, what they eat, when they mate, challenges the area already faces — will not only improve your photographs but can reduce the impacts on your subject.
  • When joining another person or group that is already photographing, ask if it is okay to join them. Remember that they may be on a workshop or have a sensitive situation. They may be recording video and do not want unnecessary audio recorded in their content. Maybe they spent four, five or more hours waiting for a particular situation that may be changed or damaged by new movement and noise.

As Dr. Stephen Covey said in his book, The Seven Habits of Highly Effective People, “seek first to understand, then to be understood.” It works in nature too.

For more information about ethical field practices and photography etiquette, visit the North American Nature Photography Association (NANPA) at https://nanpa.org/why-nanpa/ethics/, Nature First at https://naturefirst.org/en/ and Leave No Trace at https://lnt.org/why/7-principles/.

Dawn Wilson is the outdoor reporter for the Estes Park Trail-Gazette. She also guides in Rocky Mountain National Park, leads photo workshops throughout North and South America, sells prints of her photographs, and recently published 100 Things to Do in Estes Park Before You Die. To learn more about her work, visit www.DawnWilsonPhotography.com.

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Photography exhibition marking 75th anniversary of Windrush opens in Clapham 

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With June 22 marking 75 years since Empire Windrush arrived in the UK, commemorative events are happening all over London and beyond. Close to home, ‘social documentary photographer’ Jim Grover, who has been photo-documenting the community since 2016, has a new, free exhibition Windrush: A Voyage through the Generations running all summer at Clapham Library. 

We spoke to Jim about his inspiration and intentions for the exhibition, which features 70 colour photos, loosely based around the theme of preserving and passing down Caribbean traditions… 

What originally inspired you to photo-document members of the Windrush generation living in south London? 

I have huge respect and admiration for the ‘Windrush Generation’, many of whom I got to know well through my local church, St James’ in Clapham.  Their contribution to this country has been immense and an inspiration.  They also brought a distinctive culture to these shores, along with strong family values, new foods and flavours, unique styles of music, domino clubs, and traditions such as the Jamaican funeral rites of ‘Nine Night’.

My 70th anniversary exhibition in 2018, Windrush: A Portrait of a Generation attracted visitors from all backgrounds – but 63% of the 13,000 who came to see it over the three-week run were of Caribbean heritage, so I felt I had to do something to mark 75 years. 

The challenge was to find a new story to tell. My 2023 exhibition Windrush: A Voyage through the Generations focuses on the generations that have followed those who arrived on Empire Windrush. (We are now on the cusp of a 5th generation, with some great, great grandchildren!) I was keen to explore what the culture and traditions of the first generation mean to the subsequent generations. It also shines a light on inspiring individuals, mostly women, who are seeking to keep the culture and traditions alive for subsequent generations.

Brixton Windrush Day parade in June 2022. The parade, which spans all generations and is organised by the West Indian Association of Service Personnel which is based in Clapham, marches up Brixton Road before assembling in front of the African and Caribbean War Memorial in Windrush Square.

It’s been a turbulent five years for the Windrush generation since your 2018 exhibition. The scandal over missing immigration papers that could have led to people being forcibly removed from the country became a leading news story. Has there been a noticeable shift in the community in the last five years?

The ‘Windrush scandal’ has clearly had a devastating impact on the lives of those affected by it.  It’s also raised the general awareness of the immense and invaluable contribution to this country by those early migrants and, as a result, has given the community a deserved sense of pride.  The huge number of public events around the country to mark the 75th anniversary speaks volumes, I feel, for the strong desire to publicly and loudly celebrate this remarkable community and its story. 

Tell us about some of the people you’ve captured in the exhibition. Are there any familiar faces from your 2018 show? 

There are over 70 photographs in my new exhibition, accompanied by compelling narratives. Visitors will see photos and hear stories about 10 inspiring individuals who are doing so much to pass down their culture, traditions and memories. 

Highlights include Brixton’s remembrance ceremonies at the African Caribbean War Memorial, a moving reminder of the communities’ contribution to the war effort and ‘The Mother Country’; The Diamonds, an all-female dominoes team in action in south London; and the Brixton Immortals Domino Club, introducing the game to young children in a collaboration with Lambeth Libraries. 

Additionally, the exhibition features 12 portraits, comprising both photo and personal stories, of inspiring individuals who are, in one way or another, holding on to their Caribbean culture, safeguarding them for current and future generations.

Alford Gardner, 97, is one of just two known remaining adult passengers from that landmark 1948 voyage and his photo story led my 2018 exhibition. I took a new portrait of Alford at his home in Leeds especially for this exhibition. Just like last time his updated story will open the exhibition.

The Diamonds, a recently-formed women’s dominoes team in south London get ready for an evening fixture in The Golden Anchor pub in Peckham

The passing down of Caribbean traditions through generations is something you’re especially keen to capture with your work. Can you tell us more about the types of activities you were keen to document? 

There are many examples of family traditions which are portrayed in the exhibition, be it through food, gathering, ritual and activities. For example there is a wonderful moment with a grandmother crocheting with her granddaughter. Ingrid Munroe, who arrived in Britain from Guyana in 1972, is second generation; she has four daughters, including Stacey, six grandchildren, including Carlicia, and four ‘greats’.

Another shows Anne Daley, who is first generation. Born in the parish of St Catherine in Jamaica, Anne arrived in London in 1960. She has taught her grandchildren and ‘great grands’ how to cook traditional Jamaican food. I visited Anne in her flat in Brixton and watched her cook an evening meal with her grandson Nathan, 23 (3rd generation), and great granddaughter Melika, 18 (4th generation). Nathan cooked ackee and saltfish, the Jamaican national dish, whilst Melika made from scratch fried dumplings and plantain.

Why was it important to you to have the younger generations involved in this exhibition?  

The Windrush story is as much about the generations who have followed and I really wanted to find a way to get their voices into my story. Collaborating with schools in Brixton, Clapham and Croydon, I invited children of Caribbean heritage to choose an artefact that is important to their family history and to photograph it with a mobile phone, telling me the story that goes with it. These images and stories form part of the exhibition.

What do you hope visitors take away from seeing your 75th anniversary exhibition? 

I hope visitors enjoy it, feel moved by some of the inspiring stories, and discover more about the Caribbean community, which now totals 1.1 million people in this country. I also hope that it triggers some conversations around topics like how we understand our family’s past, and what we want to keep alive and why. What is important to us and what do we want to tell our children? These are universal concerns and relevant to us all.

 

Windrush: A Voyage through the Generations is showing at Clapham Library, Mary Seacole Centre, 91 Clapham High Street, London SW4 7DB.

June 1 – September 2, opening times on website.

www.windrushvoyagethroughthegenerations.com  

 

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Photography club turns its focus on nature and wildlife

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Nature photography is a term covering all types of living-world photography – from wildlife, birds and insects to trees, flowers and fungi – and many of the club’s members have a passion for spending hours stalking bugs in the countryside or including safaris and rainforest treks in their holiday plans.

Capturing a great nature photograph doesn’t necessarily mean journeying far – once a photographer learns about the birds and creatures living around them, these visitors not only make a garden come alive but our photographs too.

Sidmouth Herald: Lavender Bee

Flowers and plants are a perfect place to start, with leaves, buds and vegetables also making interesting subjects. Summer is a great season for plant photography but conditions can be key –  early mornings reward with dewy water droplets on leaves and petals and shooting in evening light before sunset gives a soft hue, avoiding harsh shadows from bright sunlight. 

Sidmouth Herald: Dandelion and Wild Garlic

Animals and insects can be tricky to locate, but with patience, practice and a little insight into their reactions and behaviours – such as knowing insects are generally most active around midday – a great image is within easy reach.

Sidmouth Herald: The Song of the Gull

A keen garden photographer with a mirrorless or DSLR camera would invest in a close-up macro lens, while for wildlife a zoom or telephoto lens will cope with longer distances often involved and allow the shot to be taken without disturbing the subject.  However, nature photography is very accessible and doesn’t necessarily need expensive kit. Modern smartphones can create superb results, with multiple lenses/apertures and zooming now common features. Try experimenting with your mobile phone’s camera settings – High Dynamic Range (HDR) will enhance detail, while shooting in burst mode can help capture anything that moves fast. Always make the most of natural light available and to avoid blurring, find something to rest your phone on for stability. Importantly, as mobile phones live in our bags and pockets, it’s worth remembering to clean the lens periodically to avoid smudged photos.

Sidmouth Herald: Fox in Clover

The wonderful images featured on these pages are from recent Sidmouth Photographic Club competitions. Members are always keen to share skills and expertise with each other and the friendly club welcomes photographers with all abilities and cameras. More information can be found at www.sidmouthphotoclub.co.uk

Sidmouth Herald: Crestie's Snack



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Stars in eyes, sky is limit for this astrophotographer | Lucknow News

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When astrophotography began as a hobby for Harshwardhan Pathak three years ago, he had never dreamt that it would get him international recognition.
According to great philosopher Plato, “Astronomy compels the soul to look upward and leads us from this world to another. ” The same rollercoaster journey happened to Harshwardhan (21), who out of curiosity went to the Indira Gandhi Planetarium to have a look at the celestial events using a telescope under the guidance of senior scientific officer Sumit Srivastava. He developed an instant passion and soon became an ace astrophotographer.
Today, this Lucknow lad is making his presence felt in the world of astrophotography as one of his images was recently selected by the National Aeronautics and Space Administration (NASA) as the picture of the day.
Harshwardhan, who is a science graduate (physics, mathematics, astronomy) student at the Lucknow University and also an amateur astrophotographer associated with the Uttar Pradesh Amateur Astronomers Club(UPAAC), featured as ‘India’s Astrophotographer of the Year 2022′ at APOD, Astronomica, Italy. He also won the HOYS (Hunting Out Bursting Young Stars) citizen science astrophotography competition conducted by Kent University, Australia, and participated in various citizen science projects like ‘NASA asteroid search campaign’ and others.
“My astrophotography journey began at Indira Gandhi Planetarium where workshops on astrophotography were held. I would often visit the planetarium and gradually I picked up an interest in deep-sky objects (DSO) which is an astronomical object that is not an individual star or solar system object (such as the sun, moon, planet, comet and others),” said Harshwardhan.
“Soon, I learnt space image processing on my own through articles on the internet and various videos on YouTube of various astrophotographers around the globe. Indira Gandhi Planetarium supported me a lot by providing the equipment and helping me with image processing which is the main aspect of astrophotography. It reveals the dust and ionized gases after capturing them in different filters, and helps in revealing the beauty of various celestial objects in space,” he adds.
Harshwardhan says that in deep sky, the main issue that he faced was he couldn’t do deep sky imaging from Lucknow’s main city without proper narrowband filters, due to light pollution (emitted from streetlights) which hides the beauty of the night sky.
“We can’t even see stars from the main city. So, what I did was to use a remote astronomical telescope that can be controlled offsite by an observer over the Internet, and is housed in an observatory with an automated system for opening and closing the roof. Allsystems are mechanical and controlled by computer. It’s made available by various astronomical organizations at nominal rates. This helped me a lot to continue my hobby and reveal the beauty of space which is hidden and cannot be viewed by humans on earth,” Harshwardhan adds.
“It was like a dream come true when my image was selected as NASA’s ‘Astronomical Picture of the Day’, where images are sent by astrophotographers from across the globe. It is a very prestigious recognition and a dream of every astrophotographer of every tier. Another image selected in APOD Astronomical, Italy, was the second big success for me in this field,” he says.
After graduation, he plans to pursue post-graduation in physics and conduct research in astrophysics. Buoyed over the achievements of Pathak, Indira Gandhi Planetarium has shared that soon the planetarium will be revamped with hi-tech facilities to nurture young astro-enthusiasts.
“On May 12, 2023, an astronomical photo of Harshwardhan: NGC 7000 (North America Nebula) was awarded Astronomy Picture of the Day by NASA. His second astronomical photo NGC 3372 (Carina Nebula) was also featured in APOD Astronomica, which publishes astronomy photos globally. We are proud of his achievements,” says senior scientific officer Sumit Srivastava of the Indira Gandhi Planetarium.



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Nikon’s Slow and Steady Approach in the Mirrorless Era: A Strategic Move?

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As the dust of the Canon vs Nikon debate settles, we find ourselves at the dawn of a new era, one dominated by the mirrorless revolution. This shift in photographic technology has seen brands such as Sony, Fujifilm, and Canon leap forward, leaving some to ask the question: Where is Nikon in this revolution? Has its decidedly slower transition to mirrorless been a strategic move, or has it been a reluctance to leave the comfort of its DSLR legacy?

From the outset, Nikon’s entry into the mirrorless market was notably more cautious than some of its competitors. While Sony was busily extending its A7 series cameras and Fujifilm was charming the market with its retro-styled APS-C models, Nikon was just dipping its toes in the mirrorless waters. In 2018, the company introduced its full-frame Z series with two models: the Nikon Z7 and Z6. It wasn’t until 2020 that they launched the Z5, a more affordable option, and later in 2021, the high-resolution Z7 II and versatile Z6 II.

Nikon’s step-by-step approach has seemed almost pedestrian compared to the rapid-fire launches from Sony and Canon. But to dismiss Nikon’s strategy as purely reactive or conservative would be to miss some key points.

Firstly, Nikon has always been meticulous about quality. They haven’t rushed to release multiple models, instead taking the time to perfect the ones they have. With each model released in the Z series, Nikon demonstrated a commitment to maintaining the standard of excellence for which they’re renowned. The Z7, for example, was praised for its exceptional image quality and solid build, with many users stating it was worth the wait.

Secondly, Nikon had an established and loyal DSLR user base. The slower transition allowed these customers to move to mirrorless at their own pace, without feeling pressured or left behind. Nikon continued to support its DSLR lineup with new lenses and updates, ensuring that those who wanted to stick with DSLRs still had state-of-the-art equipment.

Lastly, the slow approach gave Nikon the opportunity to learn from the successes and failures of their competitors. For instance, Sony’s initial lack of lens options and Canon’s stumbling blocks with early mirrorless autofocus systems highlighted areas that Nikon could focus on from the outset. Today, the Nikon Z series boasts impressive autofocus performance and a rapidly growing lens lineup.

The question remains: has this approach worked? The answer, of course, is nuanced. On one hand, Nikon has been able to retain a significant portion of its user base, while ensuring their products are of high quality and reliable. Their mirrorless cameras have generally received positive reviews, with users lauding their build, image quality and ergonomics.

However, Nikon has undeniably lost some market share to more aggressive brands. The explosion of Sony’s A7 series and Canon’s recent surge in the mirrorless market has put pressure on Nikon to accelerate its pace.

Nikon’s slower approach to the mirrorless era has been both a strength and a limitation. It has allowed the company to maintain a commitment to quality and customer loyalty while also learning from the market. However, this strategy may need to evolve to keep up with the rapid pace of innovation. Only time will tell if Nikon’s slow and steady strategy wins the race in the mirrorless era.

Looking forward, we should not underestimate Nikon. With a history of producing some of the finest cameras and lenses in the world, Nikon’s ability to compete in this new era should not be overlooked. It may be that the tortoise, in this case, still has a chance to win the race.

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Capture the essence of the region: Submit your nature photographs for 2024 calendar

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However, individuals interested in participating should hurry, as the window for submitting photographs for the 2024 Goulburn Broken Catchment calendar is scheduled to close next month.

The calendar is known for its collection of local images and information on flora, fauna and natural landscapes.

GBCMA project co-ordinator Janice Mentiplay-Smith said the photo competition was a great way for local people to showcase their skills by photographing plants, animals and the environment.

“Each year we produce and distribute the calendars across the region,” Ms Mentiplay-Smith said.

“The competition has been running for more than a decade now and entering it has become quite a tradition for keen photographers and nature lovers.

“The images in this year’s calendar were chosen from more than 300 entries.”

Preference is given to photographs depicting local plants or animals in their natural state, insects, waterways or other natural features that narrate stories about the Goulburn Broken Catchment.

“We always receive extremely positive feedback on the quality of the calendar and the fact it contains amazing images of the local environment, taken by local people,” Ms Mentiplay-Smith said.

“I encourage everyone to grab their camera and get out into the natural environment and see what they can find.”

To participate, submit colour photographs between 2MB and 10MB in a landscape format as JPEG images.

Email entries to [email protected]

Please include your name and address in the email with a subject line.

Each email should not exceed a 10MB limit.

The deadline for entries is August 14.

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Expert Tips for Wedding Photographers to Avoid Costly Mistakes

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Your wedding day is a tapestry of priceless moments woven with love, laughter, and cherished memories. As a wedding photographer, you are responsible for capturing these extraordinary moments for eternity. However, the path to creating picture-perfect memories is riddled with potential pitfalls that can turn into costly mistakes.

In this article, you will find tips to help you navigate the challenges and capture the essence of love without falling prey to costly blunders.

Expert Tips for Wedding Photographers

#1. Preparing for the Shoot

Suppose the location has an amazing environment like Lake Tahoe, which is surrounded by pristine waterways, imposing mountains, and breathtaking scenery. Then, scout the location beforehand to familiarize yourself with the surroundings. Identify potential backdrops, lighting conditions, and angles that can enhance your compositions.

According to Charleton Churchill, Lake Tahoe is a fantastic location for wedding photos due to its amazing beauty and distinctive qualities. The lake’s cobalt-blue water, the majestic mountains, and the thick trees surrounding it make for a stunning backdrop for wedding photography. Thus, scouting is essential for such destinations due to their complex yet beautiful landscape.

Check their favorite or preferred picturesque locations, allowing you to use your knowledge and abilities to enhance the attractiveness of the surroundings. It not only builds rapport but also allows you to align your creative approach with their desires.

Expert Tips for Wedding Photographers

#2. Gear and Equipment

Having the right gear can make all the difference between capturing stunning images and missing out on priceless moments. Before embarking on any wedding shoot, it’s crucial to ensure that your equipment, like a camera and the right lens, is up to the task.

Moreover, lighting is crucial in wedding photography, especially in dimly lit indoor venues or during evening receptions. Invest in a powerful external flash or a set of portable studio lights to ensure you have sufficient illumination.

Familiarize yourself with different lighting techniques and modifiers to create dramatic and flattering lighting effects. For instance, you can use backlighting techniques to enhance the photograph further. The use of backlighting enhances portraiture and creates a sort of halo appearance, states CreativeLive.

The subject becomes a shadowy silhouette because all of the light’s shadows fall in front of it when the light is shining on it from behind. As a result, by utilizing manual settings and positioning a flash or a reflector in front of the subject, you may get some stunning and balanced shots with a backlit glow.

Expert Tips for Wedding Photographers

#3. Managing the Wedding Day

As a photographer, effectively managing the chaos and time constraints is essential. First and foremost, arrive early at the venue to familiarize yourself with the layout. Establish a rapport with the key individuals involved, such as the wedding planner, coordinator, or family members. It will ensure smooth coordination and allow you to seamlessly integrate into the flow of the day.

Communication is paramount. Be clear and concise when directing the couple and their families for posed shots. Provide gentle guidance and make them feel comfortable in front of the camera, capturing their genuine expressions and emotions.

Expert Tips for Wedding Photographers

#4. Composition and Posing

Mastering the art of composition and posing is essential in wedding photography. Select backgrounds that enhance the overall aesthetic and complement the subject. Seek textures, architectural elements, or natural landscapes for added depth and visual interest. Avoid cluttered or distracting backgrounds that detract from the main focus.

Moreover, to ensure you capture all the important moments during the ceremony, it’s helpful to create a shot list that you can refer to, according to MasterClass. This list can include key shots such as the groom’s first look at the bride in her wedding dress and the bridal party getting ready.
Additionally, capture precious family moments such as the adorable flower girl making her way down the aisle, the cherished cake-cutting ceremony, and the unforgettable first kiss between the newlyweds.

Additionally, cherish the heartfelt family moments, such as the flower girl gracefully walking down the aisle, the joyous cake-cutting ceremony, and the magical first kiss of the newlyweds. Additionally, don’t forget to ask your clients and their families if there are any specific shots they would like to have captured.

Utilize the rule of thirds to create visually balanced and engaging compositions. Divide your frame into three equal parts, both horizontally and vertically, and position your main subjects or key elements along these lines. This technique adds visual interest and allows for a more dynamic composition that captures the viewer’s attention.

Expert Tips for Wedding Photographers

#5. Lighting and Exposure

Mastering lighting and exposure are essential for capturing breathtaking photographs. Understand the available lighting conditions at the venue. Whether it’s natural light, indoor lighting, or a combination of both, familiarize yourself with the characteristics and color temperature of the lighting sources. Adjust your white balance accordingly to maintain accurate color representation.

According to the New York Institute of Photography, authenticity has become increasingly well-known in photography as a form currently. It captures a subject’s true personality, feelings, and story in a wedding ceremony. This approach is, therefore, well-suited for wedding photography, as it captures the candid moments and the emotion in action, making the picture more surreal.

For the best advantage, focus on utilizing natural lighting and capturing candid situations. Patience is key, allowing your subjects to become comfortable and familiar with you. Opt for a prime lens to achieve a shallow depth of field and create a separation between the subject and the background. It will help draw attention to the subject and create a visually appealing composition.

Expert Tips for Wedding Photographers

#6. Post-Processing and Editing

The wedding day may come to an end, but the process of creating stunning images continues during post-processing and editing. It is where you can add the final touches, enhance the visual impact, and ensure a consistent and polished look across your wedding portfolio.

Create a structured system to categorize and sort your files, making it easier to locate specific moments and streamline your workflow. Utilize software like Lightroom or Capture One for efficient organization and batch editing.

Maintain a consistent editing style throughout your wedding portfolio. Establish a signature look that reflects your artistic vision and the couple’s preferences. This cohesive editing style not only enhances your brand but also provides a cohesive storytelling experience for your clients.

Expert Tips for Wedding Photographers

It Is Both an Opportunity and a Responsibility to Capture the Spirit of a Wedding Day

Capturing the essence of a wedding day is a privilege and a responsibility that rests on the shoulders of wedding photographers. By implementing expert tips and techniques, you can navigate the potential pitfalls and avoid costly mistakes that could compromise the memories you capture.

Remember that honing your skills, staying adaptable, and connecting with your clients are the keys to creating a seamless and unforgettable photography experience. By embracing the beauty, the emotions, and the joy that weddings bring, you’ll create a treasure trove of memories that will be cherished for generations to come.

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Jayaram: K Jayaram, Pioneer Of Macro Photography, Dies At 74 In City | Coimbatore News

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Coimbatore: K Jayaram, 74, a noted nature photographer with several national and international awards to his credit passed away after a prolonged illness in the city on Sunday.
Jayaram, considered a pioneer in macro photography, had a species of frog (Raorchestes jayarami) found in Valparai, and a spider (Myrmarachne jayaramani), named after him. His five-decade long work in nature photography had been documented in a film titled ‘Insects to infinity.’
Jayaram, a bachelor and a native of Coimbatore, dedicated his life, from the age of 14 when he first got a camera, to photography and nature.
A relative of Jayaram said he was fighting Hodgkin lymphoma, a type of cancer, and was under treatment for the past few months. As his condition deteriorated, he was admitted to a hospital a week ago. On Sunday, multiple organs failed resulting in his demise.
Environmentalists and photographers alike said Jayaram’s demise was a great loss to the fields of nature as well as photography. If his first passion of photography drove him to develop his own techniques in developing negatives used in the film roll cameras and even design lenses, he chose nature as his favourite subject for photographing.
The twin passions led him to take some of the breathtaking photos published in acclaimed journals across the world including National Geographic. He was awarded the distinction of excellence from Federation Internationale de l’Art Photographique (FIAP), an international organisation of national associations of photography, twice. He also wrote two books, one on butterflies and the other on Silent Valley.



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