Hubble Space Telescope, “A horseshoe Einstein ring from Hubble, 2011” Favorite Photographs 2013, #4

Figure 1 - Einstein Ring due to gravitational lensing (lower left) due to LRG 3-757, 2011 from ESA/Hubble & NASA via the Wikipedia and in the public domain.

Figure 1 – Einstein Ring due to gravitational lensing (lower left) due to LRG 3-757, 2011 from ESA/Hubble & NASA via the Wikipedia and in the public domain.

I’m going to shock many of you today by choosing as my Favorite Photograph 2013, #4 an image from NASA’s Hubble Space Telescope entitled “A horseshoe Einstein ring from Hubble, 2011.”  I’ve chosen the full field version that shows the surrounding star field (see Figure 1), because it is well so beautiful.  A robot eyes photograph, Wolf? Really?  Yes that’s right and I use it to illustrate an important point.  What is the purpose of photography? It can be many faceted.  To create something beautiful? To create emotion. To inform.  So here we have something that is both beautiful and informs.  It is a scientific triumph that proves something really important, namely Einstein’s General Theory of Relativity.

Let’s not get into the middle of a scientific controversy here. Although Orest Chwolson (1924), Frantisek Klin (1936), and Albert Einstein (1936) all postulated the existence of gravitational lenses.  Einstein’s work is the most famous and it is really a key element of his general theory, according to which light is bent by gravity.

So if there is a massive object such as a galaxy or cluster of galaxies between a very distant galaxy it’s light is bent my the massive object so that its image is distorted.  It can be distorted in many ways since the massive object typically acts as a very bad lens; it can be like looking through a soda bottle.

Figure 1 is a particularly perfect example. Here we look at the blue light from a distant galaxy warped by the gravitational field of a luminous red galaxy.  The alignment is essentially perfect so that the distant galaxy is warped into a huge blue horse shoe that surrounds the luminous red galaxy.

I was amazed when I first saw these beautiful images – and they are beautiful, because they show something that I only imagined but never thought that I would see.  This is a wonderful example of the magic of photography, of the gift of expanded vision that robotic eyes can give us.

Julia Margaret Cameron, “King Lear allotting his kingdom to his three daughters, 1872.” Favorite Phototographs 2013, #3

And speaking of Alice Liddell… I keep finding myself hypnotically drawn to the images of photographic pioneer Julia Margaret Cameron (1815-1879).  Despite her overwrought religious images, which really don’t speak to my tastes or sensibilities, I just love both her skills as a photographer and all the allegory in her pictures.  This was a continuation through the new medium of photography of the metaphorical and mystical pictoralism then dominant in painting.  We may consider, as an example, yesterday’s image by Charles Dodgson “Alice Liddell (1852-1934) as a beggar-maid from the story of Cophetua, 1858″ with “King Cophetua and the Beggar Maid, 1884” by Edward Burne-Jones, from the Tate Gallery, in London. How few today can recite the story of Cophetua, and yet to educated Victorians it was well-known.

Today’s image, Cameron’s “King Lear Allotting his Kingdom to his Three Daughters, 1872 ” shows a mature Alice with her sisters in another allegorical pose.  This time the story is from Shakespeare story, a choice that was rare for Cameron.  The three Liddell sisters pose as Lear’s daughters.  Cameron’s husband poses as Lear.  On the left, daughters Regan (Lorina Liddell) and Goneril (Elizabeth Liddell) whisper flatteries in their father’s ear.  Note the brilliant gesture of Lorina’s pointed finger.  While Alice as Cordelia stands with demure resignation on the right enduring her father’s wrath.

I discussed this photograph on December 1 ago in the context of a current exhibition of Cameron’s works at the Metopolitan Museum of Art in New York City.  At the time I commented that to my mind Lear among Shakespeare’s tragedies comes closest to a pure tragedy in the Greek tradition.  Let me explain this in a bit more detail, and at the risk, I am sure, of inflaming Shakespearean  scholars everywhere.  The other tragedies tend to fall into the category of the “tragic flaw.” Macbeth suffers from ambition, and perhaps from paying too much attention to his wife, who has even more ambition than he. Othello is insecure and too prone to jealousy.  Romeo and Juliet are, well I’m sorry, just plain stupid. Hamlet, well, as Lawrence Olivier tells us in the prelude to his 1948 movie version of Hamlet: “This is the story of a man who could not make up his mind.” I think it a bit more complicated than that.  As a Catholic, living when he did, Hamlet was taught that there were no ghosts since people were not resurrected until the time of the Last Judgment.  So if not a ghost, then his father’s “ghost” must be a demon sent from hell to trick him.  Still Hamlet fails to act and avenge his father’s murder.  In the end he winds up killing King Claudius not because Claudius murdered his father but because he murdered his mother.

Lear on the other hand is very different theatre.  Lear himself suffers from a senile dementia.  It is not his fault.  It derives not from a flaw of character but from a twist of nature.  He is dependent and prone to the flattery of his two evil daughters Regan and Goneril.  But Cordelia recognizes that her duties must be split.  She must at the same time be filial to her husband and to her father.  At the end of the play like a true tragic Greek figure she goes knowingly to her death, because it is her duty and destiny to protect her father.  She is the true epitome of daughter-hood.

All of this is in Cameron’s picture.  And recognize also that it was Cameron’s stated goal to depict the nurturing, motherly, and daughterly role of women in society.  Her choice of Lear is not surprising.  Among Shakespeare’s plays it is the one that studies must closely the contrast between the vices and virtues of women.  The image is soft, masterly to the point, and I think brilliant!

Charles Dodgson “Alice Liddell as a beggar-maid from the story of Cophetua, 1858,” Favorite Photographs for 2013, #2

Figure 1 - Charles Dodgson's "

Figure 1 – Charles Dodgson’s “Charles Dodgson “Alice Liddell as a beggar-maid from the story of Cophetua, 1858,” from the Wikipedia and in the public domain.

 

 

Today’s favorite photograph is Charles Dodgson‘s (1832-1898) ” Alice Liddell (1852-1934) as a beggar-maid from the story of Cophetua, 1858.”  It contrasts, so similar yet so different, from the image of yesterday, Roman Vishniac’s “The only flowers of her youth, 1938.” One is imagined the other real.

Dodgson is, of course, the real name of Lewis Carroll the author of “Alice’s Adventures in Wonderland” and “Through the Looking Glass.”  And Alice Liddell is the namesake of the stories.  They were written for and dedicated to her.

It is difficult to look at one of Dodgson’s photographs of young girls without the more sordid aspects of these relationships coming to mind.  And, as I have said before, such too is the case for Dodgson’s contemporary Oscar Reijlander (1813-1875).  However, to my mind this is really a wonderfully playful and sensitive image.

It is an image of emergent beauty and coming of age into womanhood.  So what about this Cophetua person? Cophetua was a mythical  African king who lacked sexual attraction to women. One day he is looking out his palace window, when he sees a young beggar, named Penelophon, who is suffering for her lack of clothes.  It is “love at first sight!”   Oy! So Cophetua vows that he will have this beggar as his wife or he will commit suicide.  Cophetua scatters a path of coins to attract Penelophon and when she approaches he informs her that she is to be his wife.  Now how can she refuse this offer? Uhh! The details of this story, unfortunately, make it even harder to ignore the more sordid side of Dodgson’s attraction.  Did I mention that Alice Liddell was six at the time of this photograph?

Needless-to-say a key appealing element of this image is its historic association, who the photographer is and who the subject is.  Beyond that the enigmatic expression on Alice’s face is charming, as is the three quarter view with her eyes towards the camera.  The way in which her hand is cupped to tell the story of Penelophon is such a simple yet compelling gesture.  The smudges of dirt on her legs add detail, and finally the lighting is wonderfully dramatic.  This picture reaches out to us across time from what was only the second decade of photography.

 

 

Solstice Sunset at Malibu

Figure 1 -

Figure 1 – Solstice Sunset at Malibu, (c) John Unfried 2013, and used with permission.

Reader Marilyn has been kind enough to send in this beautiful sunset  image taken on the night of the Winter Solstice.  The photograph was taken at the Malibu property of Eric Wright, who is the grandson of Frank Loyd Wright.  The picture was taken by Jim Unfried with his cell phone and he has granted permission for its use here.

I think that it complements the photograph that I took of the winter sunrise in Tampa last week and has the same sense of pensive foreboding and of precious winter light.  I am grateful to Marilyn for sending this in.  But I am grateful to her as well for taking me to Berkeley, CA forty years ago, to watch the sunset over the Pacific.  These are brilliant special moments, when the sun seems for an instant to hover suspended above the ocean and then is sucked into the sea.  You can almost hear it. Ever since that moment I have held that beautiful sight in my mind’s eye and today’s picture reminds me so gloriously of sunset.

Roman Vishniac, “The only flowers of her youth, 1938″ Favorite Photographs for 2013, #1

I’d like to begin this year’s list of favorite photographs with Roman Vishniac’s (1897-1990) photograph “The Only Flowers of Her Youth, Warsaw, 1938.“  Vishniac photographically documented the lives of Jews in Eastern Europe on the verge of the holocaust.  Many of these were assembled in his 1983 book “A Vanished World.” The story associated with this picture is that the little girl depicted was confined to her bed all winter because she had no shoes. She was kept company only by the flowers on her wall, which were painted  painted by her father who was an artist.  And these flowers were the only ones that she had ever seen.  Today Roman Vishniac, a Russian American photographer is best known for his work on shtetl life.  However, he later in life turned, actually returned, his attention to his first great passion biology and photomicroscopy.

 

The archives of Vishniac’ work is at the International Center for Photography in New York City.  The archives are significant because they enable viewers to see not only the works that Vishniac chose to publish in his book but all of them.  The world of the Jews in Eastern Europe was complex. like that of all societies.

As the rest of the twentieth century unfolded and now the twenty-first begins to unfold, we are struck by a fundamental sadness.  We had hoped that the end of World War II would bring the end of world genocide.  But this was not the case. The little girl in the picture becomes a kind of “poster child” for all these victims.  She speaks to us of universal despair.

On a photographic level “The only flowers of her youth” resonates with to this despair.  We see her face, take note of her surroundings, and we know that there is something wrong.  By now we have seen enough images to immediately recognize and relate to them.  But, and I think this important, we need the title or caption to really and fully understand it.  I have come to realize that there are two types of great portraits: those that need no context and those that do.  This is a powerful and moving example of the second type.

 

Ten favorite photographs for 2013

Last year at this time I started to post a series of blogs and images that I entitled “Ten favorite photographs.”  I’d like to continue that tradition.  So starting today and then each day until the end of the year, I am going to present ten of my favorite photographs, one each day.  It is my holiday gift to you, or maybe to myself, because each time I revisit a crowning work by one of the great photographers it is a special and inspiring moment.  It is a moment to relearn the power of image.

So just a few rules of the game.

  1. I am only allowed one image per photographer.  I have to choose.
  2. I have to respect copyrights.  This means that most of the time you are going to have to click on the title to see the image.
  3. I’m allowed to talk about photographers that I have previously discussed in this blog, but I’m not allowed to repost a picture from last year’s list..
  4. I’m not going to try to order the images on a scale of one to ten, except perhaps the last.  They’re pretty much in random order.

There are two points that I find interesting about the process.  First, my list from last year stands.  These are still my top ten favorites.  But second, there is a world of fabulous images and these enrich our lives every day.  They make us laugh and they make us cry, but most of all “they give us pause.”This is because they evoke what is fundamentally common and therefore human inside us.  Such is truly the magic of photography.

I very much hope that you enjoy these photographs and I invite you to send a link to your favorites for possible inclusion on the blog.

Three wonderful pictures from this past week

As regular readers of this blog know, every week I scour the “Best Photos of the Week” features from various sources in search of cool images.  Sometimes I find one that really moves me and sometimes I don’t.  The latter is like the fantasy of the newscasters rather than giving you the grim and gruesome events of the past week simply going on the air and say: “absolutely nothing happened this week.” They always find something.  Don’t they?

Well this week on the NBC News site alone I found three really wonderful photographs.  Each is appealing for different reasons.

The first is from South Africa by Yannis Behrakis / Reuters an shows a boy named Anda, looking out from his window during the burial of Nelson Mandela in Quanu, SA on December 15.  What is striking here is the juxtaposition of the cloud at times giving him a chewbacca hairstyle and at other times appearing to eminate as a breath from his mouth, just like the old North Wind.  When I say at times, I am referring to the way your mind flips between the details and this gives a photograph a sense of motion a dynamic intensity.  So great composition kudos to Yannis Behrakis, and of course, there is also this wonderful sense of the present coming face-to-face with the reflection of the past which transcends the otherwise simple fun of the picture.

The second is by Omer Saleem / EPA and magnificently shows thick fog covering a highway in Lahore, Pakistan, on December 17.  Sadly at least 11 people were killed and 67 injured overnight in Punjab province due to highway accidents.  This fits in well with the London and Grand Canyon fog pictures that I spoke about last Sunday.

Finally, and just for the sheer delight of the image is Arnd Wiegmann / Reuters photograph of a couple skating on the crystalline, glistening surface of Lake St. Moritz in Switzerland on December 14.  From the looks of it the man has been spinning the woman in a circle.  The circle needless -to-say is symbolic of a love bond.  So in a sense this image also transcends itself – in this case its own simple beauty.

 

 

 

Love at the barricades

I was really struck and haunted this week by a moving image by Viktor Drachev from AFP/Getty Images showing a young couple in front of the barricades in Kiev, Ukraine.  The image evokes the story of Eponine and Marius in Victor Hugo Les Miserables, or more specifically the musical by that name.  I really think that the image speaks for itself on so many levels.  It could just as easily be from the 1848 Paris Insurrection as  today’s Ukrainian Protests.  And for that it is a highly successful photograph.

Adding dramatic effect to landscapes with fog

Figure 1 - The Grand Canyon filled with fog on November 29, 2013 by Erin Whitaker via the US NPS and in the public domain.

Figure 1 – The Grand Canyon filled with fog on November 29, 2013 by Erin Whitaker via the US NPS and in the public domain.

A lot of times a mundane or hackneyed landscape can be turned into a dramatic one with the addition of a little fog.  This week in pictures brought two absolutely stunning  examples.  The first comes from the London Metropolitan police via Reuters and shows the skyscrapers of London’s Canary Wharf district dramatically climbing above a fog enshrounded city on December 11, 2013. The second is taken on November 29, 2013 by Erin Whitaker via the United States National Park Service and shows the rare event due to a thermal inversion of a fog filled Grand Canyon.  It is shown here as Figure 1.