Photography

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Photography Science

Nature’s Diversity is Captured in Minuscule Detail in the 2022 Close-Up Photographer of the Year Competition

Among the winning images of the Close-Up Photographer of the Year contest, a frilly slime mold stems from leaves, elegant insects splay colorful wings, and microscopic patterns create vivid abstractions. Now in its fourth year, the competition attracted more than 9,000 entries from 54 countries.

The overall winner of this year’s competition was captured by Samantha Stephens and glimpses two tiny amphibians trapped inside a carnivorous plant. She explains, “typically, these plants feast on invertebrates such as moths and flies, but recently, researchers at the Algonquin Wildlife Research Station discovered a surprising new item on the plant’s menu: juvenile Spotted Salamanders (Ambystoma maculatum).” It was a timely capture; by the following day, the creatures had sunk to the bottom of the pitcher.

See some of our favorite captures below, and visit the contest’s website to view the Top 100 photographs of the year.

 

 

History Photography Science

A Scientific Paint-By-Number Pastel Drawing Was Our First Closeup Image of Mars

Let’s rewind to 1965. Around ten years before the personal computer was invented and twenty years before the first cell phones were released to the public, this was the year that saw the first color television released to the mass market. Families would gather around the set to catch up on daily news broadcasts on one of three channels. On July 15, when NASA’s Mariner 4 probe flew within 6,118 miles of Mars as it passed the planet, it was big news, but when the image data was transmitted back to Earth, scientists didn’t have the technology to quickly render a photograph that could be televised. Taking a queue from a popular mid-century pastime, the very first representation of another planet viewed from a vantage point in space was a data-driven paint-by-number drawing.

The Mariner 4 probe was NASA’s second attempt to capture an image of the surface of Mars after a camera shroud malfunctioned on Mariner 3. Dan Goods, who presently leads a team called The Studio at NASA’s Jet Propulsion Laboratory, describes how the scientists troubleshot and devised their next steps when faced with technical anomalies and errors:

After the flyby of the planet, it would take several hours for computers to process a real image. So while they were waiting, the engineers thought of different ways of taking the 1’s and 0’s from the actual data and create an image. After a few variations, it seemed most efficient to print out the digits and color over them based upon how bright each pixel was.

 

We now turn our focus to a scientist named Richard Grumm, who chose a more analog means of visualizing data as a failsafe if the intended image failed to transmit. He went to a local art supplies shop and requested gray chalk; the shop sent him with back to the lab with a pack of Rembrandt pastels. He and his team used the crayons to color in the 1’s and 0’s data, printed on 3-inch wide ticker tape, and determined the brightness level of the image using a key in shades of orange, brown, and yellow.

In spite of Mars’ nickname the “Red Planet,” the color scheme was coincidental. Grumm was concerned primarily with gradients and how it would appear in grayscale, since televisions were still in black-and-white. He justified the drawing to the Jet Propulsion Lab’s wary PR department—which thought the pastel drawing would be a distraction and preferred the public saw the real image—as a means to record the data in case Mariner 4’s equipment also failed. Eventually, the media found out anyway, and the pastel drawing was the first image of Mars to be broadcast on television.

In time, Mariner 4’s black-and-white photograph did come through successfully, and in comparison, Grumm’s drawing appears widened due to the width of the ticker tape. You can read more about this historic moment on Dan Goods’ blog and on the NASA website. (via Kottke)

 

Photography

Hapless Hangups and Silly Spoofs Abound in the 2022 Comedy Wildlife Photography Awards

Since its inception in 2015, submissions to the Comedy Wildlife Photography Awards (previously) have captured some of nature’s most hapless and humorous moments. In this year’s contest, the overall winner was Jennifer Hadley’s timely snap of a 3-month old lion cub tumbling down a tree, taken in the Serengeti, Tanzania. Hadley shared that she and her travel companions had been watching the cub in the tree for some time. “It didn’t even occur to me that he would make a go of getting down by himself in the most un-cat like fashion. I mean, how often do cats fall out of trees?” she says.

In this year’s juried contest, 5,000 entries from 85 countries amounted to fierce competition, showcasing “seriously funny” images in an effort to highlight the diversity of the world’s wildlife and raise awareness of the need for conservation. In partnership with the Whitley Fund for Nature, the contest contributes 10% of revenue toward conservation efforts in countries across the Global South.

See a gallery of all winning images on the competition website, and if you would like to enter your own images for consideration in the 2023 contest, applications are now open.

 

Photography

Mikko Lagerstedt Photographs the Quiet Grandeur of Snowy Nordic Landscapes

Underneath soft light from the moon or the early morning sun, Finnish photographer Mikko Lagerstedt (previously) captures the quiet magic and mystery of Nordic landscapes. Ice clings to tree branches, an aurora streaks through the sky, and vast fields of snow cover the ground in scenes that are both serene and full of grandeur.

Part of the In The Solitude series, many of the images shown here are single-exposure photos edited in Lightroom, although a few utilize multiple shots to convey the majestic nature of the region. Lagerstedt tends to focus on the unique colors and textures of the area, including stars dotting a deep blue sky, lines etched into the earth’s surface by the wind, and strips of pastel light.

The photographer plans to offer prints of the collection this year, and you can find news about that release, in addition to an archive of his work, on his site and Instagram.

 

Photography

In Tom Hegen’s Aerial Photos, Swimmers and Loungers Texture Two Florida Beaches with Colorful Patterns

As much of the northern hemisphere braces for gray, wintery weather, photographer Tom Hegen (previously) highlights the warm, vibrant oceanside of Florida’s Siesta Key and Miami beaches. Swimmers and sunbathers escaping the rays under colorful umbrellas line the coast and appear as textured, geometric shapes dotting the water and white sandy expanses. The Beach Series juxtaposes the haphazard with the organized, documenting both neat rows of uniform loungers and clusters of people as they congregate along the shoreline.

See all of the sun-soaked photos in Hegen’s collection on Behance, and find prints, posters, and books of his aerial works on his site.

 

Animation Photography

Thousands of Leaves Transition from Summer to Fall in a Hypnotic Stop-Motion Short

Bay Area-animator Brett Foxwell is drawn to the vast array of colors and textures within the natural world. His 2017 short film “WoodSwimmer” zeroed in on the unique grain of cross-cut trees, and his latest project similarly centers on organic diversity by highlighting thousands of leaves as they change from their summer to autumn hues.

In the mesmerizing stop-motion short, rapid flashes of foliage dance on the black backdrop and illuminate the unique bend of a stem, variances in veins, and the way verdant pigments drain from each specimen in inconsistent patterns. “While collecting leaves, I conceived that the leaf shape of every single plant type I could find would fit somewhere into a continuous animated sequence of leaves if that sequence were expansive enough. If I didn’t have the perfect shape, it meant I just had to collect more leaves,” he shares about the project.

“The Book of Leaves” accompanies Foxwell’s larger project “Leaf Presser,” a trippier animation of the same nature, which you can find along with his other works on Vimeo. (via The Kids Should See This)