Photographer Jan Erik Waider is known for his exploration of Iceland's magnificent landscape. From incredible icebergs to mysterious waterways, Waider brings out the best of his subjects. In his newest exploration of Iceland, he only builds on his experience to produce a fresh look at the country's glacial rivers.

According to Waider, Iceland's winding waterways are called “braided river systems” due to the intricate patterns that they produce. The photographer's Glacier River Blues is a look at the abstract patterns created by these waterways. At first glance, it's not immediately clear what we're looking at. The rivers almost appear as inky markings along a canvas. But as we learn more about Iceland's rivers, their pathways become clear.

“Most rivers have their source at one of the numerous glaciers and flow towards the sea,” Waider tells My Modern Met. “Along the way, they transport vital nutrients for the ecosystem in the form of sediment. As the flow of the rivers declines, the sediment is deposited within the riverbed, temporarily leaving small islands of sand which cause the river channels to further divide and branch.”

Waider has been exploring these fascinating rivers using drones and small planes for several years. His expertise in seeking out compositions in abstract shapes is evident. The combination of the hypnotic forms and the rivers' cool colors produces a tranquil atmosphere that is part of what inspires the photographer. “I find their ephemeral and dynamic nature very captivating and inspiring, and I am always fascinated by how different the rivers look,” he admits. “Sometimes, even the same river a few kilometers downstream.”

While the images are calming, there is a lot of hard work that goes into producing them. Though Waider used to use fate to guide him, he's now moved to looking at satellite imagery to scout locations. Once he finds something interesting, the challenge is making his way there, as many locations are quite remote. He often needs to go off-road or even fly a small plane to get what he's after. But judging from the results, all of the effort is well worth it.

Shortly, Waider will be spreading his wings and traveling to Alaska for the first time, where he's looking forward to viewing a new glacial landscape. Follow his adventures on Instagram, and scroll down to see more aerial views of Iceland's rivers.

Photographer Jan Erik Waider is fascinated by Iceland's landscape.

He often takes aerial photos that follow the abstract shapes produced by Iceland's glacier rivers.

“I find their ephemeral and dynamic nature very captivating and inspiring.”

Jan Erik Waider: Website | Facebook | Instagram | Behance

My Modern Met granted permission to feature photos by Jan Erik Waider.

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READ: Stunning Aerial Photos Capture the Abstract Beauty of Iceland’s Glacier Rivers

Photographer Fares Micue uses her artistic self-portraits to encourage and empower others. Her conceptual imagery often features natural elements, such as flowers, which she uses to cover her face. In this way, the photographer uses her body to help her portray a character rather than simply document herself.

As Micue's work has evolved, she's aimed to become more honest and sincere in her photography. Though she considers the characters that she portrays to be separate from herself, she still imbues a bit of herself into each image. Moving forward, she hopes to feel comfortable enough to reveal even more of her personal feelings through her photography. Her imagery is emotionally charged and enhanced by the natural materials used in the photos. Flowers are a recurring theme, with Micue deftly using their shape and color to steer the viewer in her intended direction.

“For me, flowers are the perfect element to transmit resilience, the changing nature of life, and the beauty of its diversity,” she tells My Modern Met. “Flowers are an element that can transmit so many emotions, from happiness to sadness to all the ones in between. They can mean hello as well as goodbye, making them perfect to convey the message in my artwork.”

Overall, Micue hopes that her work encourages self-reflection and a positive mindset. “The act of living is already the greatest present anyone can have; therefore, why not make it even more magical by choosing happiness every day?”

Artist Fares Micue is known for her conceptual photography.

Using her body as a character in the images, she often surrounds herself with colorful flowers.

“Flowers are the perfect element to transmit resilience, the changing nature of life, and the beauty of its diversity.”

Her work is intended to empower and uplift others, encouraging them to strive for happiness.

Fares Micue: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by Fares Micue.

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In the 30 years that have passed since Kurt Cobain's death, the myth around him has only grown. Regarded as a genius musician and a misunderstood artist, many forget about the real man behind the success of Nirvana. One of the most revealing displays of this was a 1992 photoshoot by husband-and-wife photography duo Russell Peacock and Constance Hansen—together known as Guzman—who captured Cobain, his wife Courtney Love, and their daughter, Frances Bean, in the intimacy of their home. Now, powerHouse Books will publish a new book featuring never-before-seen images from this shoot.

In 1992, Kurt Cobain and Courtney Love were at the height of their fame. They were the leads in two of the biggest rock bands in the world; he was in Nirvana, while she was in Hole. Hoping to share a different, more domestic side to them, Spin magazine tasked Guzman with shooting a cover story. And so, the couple made their way to the musicians' home in Hollywood.

However, the shoot didn't go according to plan. The hair and make-up team were asked to leave for bringing up the negative press, and Cobain just wouldn't get ready or leave the bed. Rather than call it off, the photographers made their way to the bedroom, and took the images there. The photographers later admitted this was what they were hoping for. By capturing them in their pajamas while playing with their daughter, they showed an opposite perspective to the rockstar lifestyle they both led.

Five images taken that day were published in the December edition of Spin, which celebrated the year in music. The now-iconic cover sees Cobain in bed, carrying his daughter in one arm while Love rests on his other shoulder. The story was titled “Family Values”—a name shared with the new photography book that will include all 90 images from the shoot; as well as two essays from Michael Azerrad, author of Come As You Are: The Story of Nirvana and a friend of Cobain; and Guzman, who tells the story behind these images.

“Kurt Cobain and Courtney Love picked a heck of a time to have a baby,” writes Azerrad. “Their daughter Frances was born on August 18th, 1992, the day before the 1992 Republican National Convention's ‘family values night.' The Republican Party was hell-bent on denouncing heathen libertines, a.k.a. Democrats, and so ‘family values,' wrote The New York Times columnist William Safire, became ‘the G.O.P.'s political attack phrase.'”

But the conclusion hits closer to home. “There are many good ways to be a family,” reflects the author. “In 1992, that was a difficult thing for some people to get their heads around, and it still is. But, as these very moving photographs demonstrate, there is only one true family value, and that is love.”

Family Values: Kurt, Courtney & Frances Bean comes out June 4, 2024. You can preorder a copy on Bookshop and Amazon.

PowerHouse Books will publish a new book featuring never-before-seen images of Kurt Cobain and Courtney Love's family life.

The 1992 images were taken by husband-and-wife photography duo Guzman, who captured Cobain, Love, and their daughter, Frances Bean, in the intimacy of their home.

Five images taken that day were published in the December edition of Spin, but the new book will feature all 90 of them.

By capturing Cobain and Love in their pajamas while playing with their daughter, Guzman showed an opposite perspective to the rockstar lifestyle they both led.

powerHouse Books: Website

My Modern Met granted permission to feature photos by powerHouse Books.

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“Between the Stars” by Tibor Litauszki (Hungary). Overall Winner.
“‘In Germany, where I live, there are many clear and slow-flowing streams that provide excellent habitat for alpine newts. I have been following their lives for years, and last year was no exception. A few days after the frogs lay their eggs, at dusk, the newts appear and feast on the spawn all through the night. I wanted to capture this moment underwater. To do this, I placed my camera in an underwater housing, attached it with weights, and placed it under the frogs’ eggs. I was a bit nervous at first because I wasn't sure if the underwater housing was completely waterproof. But I figured that if no bubbles appeared, my camera would stay dry. I manually set the focus on the lens beforehand and hoped to get lucky. Waiting nearby until it got dark, I illuminated the first newt that appeared with an LED light and triggered the camera with a homemade wired remote release.”

In between its annual contest, the Close-up Photographer of the Year (CUPOTY) runs a special challenge for photographers. This year's theme, Water, sparked a set of inspiring entries, and now the winner has been revealed. Hungarian photographer Tibor Litauszki won for his fascinating photo of an alpine newt feasting on frog eggs.

To get the photo, Litauszki used underwater housing and weights to place his camera under the eggs. He then patiently waited until after dark, when the first newt appeared, and triggered the camera remotely. Considering that he wasn't completely sure that underwater housing would be waterproof, this was a bold move. But his faith in his creative vision paid off with the photo and the win.

“‘We asked photographers to show us work on a Water theme. Our callout was answered with images of seahorses swimming through kelp, flowers bejeweled with rain, and insects drying out their wings before taking flight, among so many other things,” shares CUPOTY co-founder Tracy Calder. “As usual, looking at all the entries was both educational and inspiring.”   

Ian Gilmour and Sebastien Blomme round out the winner's podium with their unique takes on the theme. In Gilmour's artistic image, which came in second place, frozen water is used to encase flowers, providing an interesting look at the blooms' details. Blomme's third-place image highlights water's importance to insects such as dragonflies. He patiently waited until he was able to capture one spreading its wings as it touched down at a pond near his home in France. The final image is notable for its use of reflection and natural light.

In addition to the winners, CUPOTY also published a list of exceptional finalists. The notable photos include an image of a snake emerging from a murky pond, a charming set of bonnet mushrooms under the rain, and a look at how barnacles are using ocean plastic as their homes. As a whole, the Water Challenge is an incredible platform to showcase the talents of these photographers as CUPOTY gears up to begin allowing entries to the annual competition in May.

The Close-up Photographer of the Year has announced the winners of its Water Challenge.

“Poppies Tiarella in Ice” by Ian Gilmour (UK). 2nd Place.
“I submerged some wild poppies in water with tiarella flowers and froze them overnight. I then placed the frozen block on a lightbox and photographed them using my Venus Laowa super macro lens. My first attempt was unsuccessful as the water was cloudy, so I boiled the water before re-freezing for the second attempt, which seemed to give a better result.”

“The Ice Skater” by Sebastien Blomme (France). 3rd Place.
“For a long time, the idea of ​​capturing the graceful ballet of dragonflies flying over the Garonne (the river that winds near my home) had been running through my head. It’s enchanting to observe hundreds of these creatures circling, skilfully capturing midges and other insects in mid-flight every summer. One day, I settled in the water at a spot where I had noticed a dragonfly regularly returned to rest. I waited patiently for its return. At each appearance I fired my camera in burst mode, hoping to capture the moment when its wings would be spread in all their glory. After a hundred attempts, I finally managed to obtain the image I desired.”

“Periscope” by Marco Maggesi (Italy). Finalist.
“This beautiful snake was looking for prey in a pond. I was really lucky because it stopped right in front of me to taste the air. The light was very soft because it was a cloudy day. I used a 300mm lens to capture this portrait. I will never forget this encounter.”

“Milking Bonnets” by Tony North (UK). Finalist.
“‘I found this clump of mushrooms with an almost perfect shape and number in Marbury Country Park, UK. I lit the scene from behind with an LED panel, both to fill the bonnets with light and to illuminate the droplets, which I created with a fine mist spray. My aim was to enhance the natural beauty of the fungi by adding more light and atmosphere. I focus bracketed 40 frames of the bonnets, then took one shot with the fungi and the “rain.” I combined the files later in Photoshop.”

The photography challenge runs in between CUPOTY's annual contest, which is opening for entries in May.

“Long Over Dew” by Pete Burford (UK). Finalist.
“At Mousecroft pool, Shrewsbury, I photographed this damselfly covered in dew during the early morning hours, at around 3 am, in May. Given that insects are cold-blooded and need warmth to move, they typically rest at night. The sudden drop in temperature causes dew to cling to them. This moment is ideal for portraits as they cannot move or fly. As they warm up with the rising sun in the morning, they wipe away the moisture and fly off. To enhance the visual appeal, I used a colored background card to add contrast and additional hues to the image. Afterward, I stacked the frames in Helicon Focus, edited in Lightroom and Photoshop, and then finished off with Topaz DeNoise.”

“Slime Molds and Raindrops” by Barry Webb (British).
“Following overnight rain, I came across a colony of 2mm tall Physarum album slime mold fruiting bodies on a short section of beech branch, lying in leaf litter on the woodland floor. On closer inspection, I spotted this little group encased in raindrops. Carefully positioning the branch in a suitable position, taking care not to disturb the droplets, I shot 101 focus bracketed images to capture the full depth of the subjects. The resulting images were focus stacked using Zerene Stacker software.”

“Sparkling Crown” by Claudia Gaupp (Germany). Finalist.
“Love-in-the-Mist (Nigella damascena) is the epitome of early summer for me. I have always been fascinated by the variety of nigella flowers. From the bud to the dried seed capsule – each phase holds its own secret. In this case, I was intrigued by the details of the stamens and petals, which are surrounded by net-like leaves. Shortly after a rain shower, the tiny drops of water caught in the leaves made me think of a sparkling crown on the bloom. I took the picture in my garden in natural evening light and converted it in post-processing to a very cool blue-green background to match the blue of the flower.”

“Moss Springtail” by Alexis Tinker-Tsavalas (Greece / Canada). Finalist.
“While searching for macro subjects on dead wood in winter, I came across this springtail (Neanura muscorum) covered in dew droplets. Normally, this species is quite active, which makes focus stacking almost impossible, but this individual stayed quite still, giving me the opportunity to get a high-magnification focus stack. I used Zerene Stacker to combine the frames and sharpened the final image with Topaz DeNoise AI.”

“Pond Geometry” by Abby Raeder (United States). Finalist.
“The earliest signs of a changing season are captivating to me. By mid-November, nights become bitingly cold. At morning’s light, I visited a pond in Vermont to find the first ice of the season. For me, this scene is thrilling beyond words. Seeing the physical change of water into a striking geometric marvel is an experience that makes me appreciate the glories of life.”

“Last Flight” by Harald Cederlund (Sweden). Finalist.
“‘In early autumn, large quantities of moths were swarming in the mountain birch forest of Grövelsjön, Sweden—giving the hike through it a certain dream-like quality. My hiking buddy wasn’t feeling great, so we had to stay and rest in a mountain station, allowing me time to explore the immediate surroundings with my camera. I followed the trail down to Linnés källa—a spring that was supposedly discovered by the botanist Carl Linnaeus. Its surface was littered with large quantities of dead moths, along with some autumn leaves, grasses, and algae. It looked to me as if the moths were still dancing over a meadow somewhere, taking one last flight. Later on, I combined five frames in Zerene Stacker to give a greater depth of field.”

“Plastic Sailors” by Sandra Stalker (UK). Finalist.
“Hundreds of items covered in gooseneck barnacles wash up on Chesil Beach, in the UK, every year, carried there by winter storms. These are non-native to the UK and have usually traveled across the Atlantic. This particular item was a plastic bottle with a colony of goose barnacles and some fishing net I found on the beach. To tell the story of ocean litter becoming a habitat for wildlife, I took them to the sheltered side of Chesil in Portland harbor and re-floated them there. The water was about 8°C, I was in a wetsuit, and the water was incredibly choppy from the wind, which kept blowing the bottle away from me. I shot upwards as I loved the reflection on the surface of the water while keeping the bottle and barnacles as the main focus of the image.”

“You See Better With Four Eyes” by Gabi Swart (Germany). Finalist.
“This picture was taken in a pond near Ladenburg, Germany. It was shot from a low angle so that the reflection of the frog’s eyes are just visible. I then decided to turn it upside down to confuse the viewer and encourage him/her to look more closely.”

CUPOTY: Website | Facebook | Instagram

My Modern Met is granted permission to feature photos by CUPOTY.

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The Event Horizon Telescope (EHT) collaboration, who produced the first ever image of our Milky Way black hole released in 2022, has captured a new view of the massive object at the center of our Galaxy: how it looks in polarized light. This is the first time astronomers have been able to measure polarization, a signature of magnetic fields, this close to the edge of Sagittarius A*. This image shows the polarized view of the Milky Way black hole. The lines mark the orientation of polarization, which is related to the magnetic field around the shadow of the black hole. Image (Photo: EHT Collaboration, CC BY-NC-SA)

Black holes are points in space where gravity is so strong that nothing can escape, not even light. They are intriguing mysteries to astronomers and science-fiction fans alike. Thanks to the work of an international collaboration, we're one step closer to better understanding exactly how black holes work. And the more we know about them, the more we can unravel about the history of our own little galaxy, the Milky Way.

While black holes were predicted by Albert Einstein's theory of general relativity in 1915, our first images of black holes only came to be this century. In 2019, the Event Horizon Telescope (EHT) Collaboration published an image that was made from direct observations of the Messier 87 galaxy's black hole, M 87*, made in 2017. In 2022, they released their first images of our local black hole Sagittarius A* (aka Sgr A*, which is read as Sagittarius A star). Those images were both produced by observing radio waves around the edge, or event horizon, of the black holes. However, each year brings technological advances to the EHT Collaboration. Last month, the first polarized image of our black hole was released in The Astrophysical Journal Letters, revealing a mesmerizing magnetic field that appears to spiral out.

Observing the polarized light waves of Sgr A* lets scientists chart the magnetic fields close to the black hole. This step forward unlocks new understanding of how black holes work. Astronomers happened upon a surprise because this polarized image is similar to an earlier polarized image of the M 87* black hole. Both black holes appear to have magnetic fields that are similarly organized and have comparable behaviors. This is telling, because M 87* and Sgr A* are very different black holes in term of size and surroundings. While Sgr A* is 4.3 million times as big as our Sun, M 87* is 6.5 billion times as big. This size difference is part of the reason why it was much harder to capture an image of Sgr A* despite it being only 27,000 light-years away from Earth, compared to M 87* which is 53.5 million light-years away. While particles on their edges move at similar speeds, it take exponentially longer for particles to finish whipping around M 87*. Also notable, M 87* is surrounded by more gas and dust.

Despite these differences, the similar magnetic fields suggest that all black holes are governed by the same physical processes. It also suggests that the Milky Way's black hole contains a jet, which is a powerful outflow of energy. A jet is the most energetic mechanism in the entire universe, and its clearing out of gas and dust helps give way to stars and galaxies. Indeed, learning that Sgr A* likely has a jet alters scientists' understanding of how the Milky Way came to be.

Of course, there is still much more to learn about our home galaxy and the universe itself. Each year, technological advances help the EHT Collaboration deepen their understanding of black holes. For the EHT Collaboration—an international consortium of astronomy programs and telescopes ranging from the Atacama desert to the South Pole—each telescope contributes to their “very long baseline interferometry.” This interferometry uses data taken from across the planet at different angles and times to create a fuller image and essentially act as an Earth-sized telescope. Each year, the Collaboration is adding telescopes and bandwidth, providing astronomers with more data. It will once again be observing Sgr A* this month.

In the decade to come, there are hopes  to have multicolored views of event horizons, as well as high-fidelity footage. There is even potential to add telescopes in outer space to add to the EHT data. It is fitting that we can only understand our place in the universe by coming together as a planet. After all, even national borders cannot escape a black hole.

New images of the magnetic fields of the Milky Way's black hole, Sagittarius A* were released by the Event Horizon Telescope Collaboration.

Seen here in polarized light, this side-by-side image of the supermassive black holes M87* and Sagittarius A* indicates to scientists that these beasts have similar magnetic field structures. This is significant because it suggests that the physical processes that govern how a black hole feeds and launches a jet may be universal features amongst supermassive black holes. (Photo: EHT Collaboration, CC BY-NC-SA)

The image demonstrates that Sagittarius A*  acts similarly to a much bigger black hole, the M87*.

At left, the supermassive black hole at the center of the Milky Way Galaxy, Sagittarius A*, is seen in polarized light, the visible lines indicating the orientation of polarization, which is related to the magnetic field around the shadow of the black hole. At center, the polarized emission from the center of the Milky Way, as captured by SOFIA. At back right, the Planck Collaboration mapped polarized emission from dust across the Milky Way. (Photo: S. Issaoun/EHT Collaboration, CC BY-NC-SA)

Using polarized light, astronomers now have a better understanding of Sagittarius A* and our home galaxy, the Milky Way.

This is the first image of Sgr A*, the supermassive black hole at the centre of our galaxy, with an added black background to fit wider screens. It’s the first direct visual evidence of the presence of this black hole. It was captured by the Event Horizon Telescope (EHT), an array which linked together eight existing radio observatories across the planet to form a single “Earth-sized” virtual telescope. The telescope is named after the event horizon, the boundary of the black hole beyond which no light can escape. Although we cannot see the event horizon itself, because it cannot emit light, glowing gas orbiting around the black hole reveals a telltale signature: a dark central region (called a shadow) surrounded by a bright ring-like structure. The new view captures light bent by the powerful gravity of the black hole, which is four million times more massive than our Sun. The image of the Sgr A* black hole is an average of the different images the EHT Collaboration has extracted from its 2017 observations.  In addition to other facilities, the EHT network of radio observatories that made this image possible includes the Atacama Large Millimeter/submillimeter Array (ALMA) and the Atacama Pathfinder EXperiment (APEX) in the Atacama Desert in Chile, co-owned and co-operated by ESO is a partner on behalf of its member states in Europe. (Photo: EHT collaboration/European Southern Observatory, CC BY-NC-SA)

The Event Horizon Telescope collaboration is a worldwide effort made up of telescopes across the entire Earth.

A global map showing the radio observatories that form the Event Horizon Telescope (EHT) network used to image the Milky Way’s central black hole, Sagittarius A*. The telescopes highlighted in yellow were part of the EHT network during the observations of Sagittarius A* in 2017. These include the Atacama Large Millimeter/submillimeter Array (ALMA), the Atacama Pathfinder EXperiment (APEX), IRAM 30-meter telescope, James Clark Maxwell Telescope (JCMT), Large Millimeter Telescope (LMT), Submillimeter Array (SMA), Submillimetere Telescope (SMT) and South Pole Telescope (SPT). Highlighted in blue are the three telescopes added to the EHT Collaboration after 2018: the Greenland Telescope, the NOrthern Extended Millimeter Array (NOEMA) in France, and the UArizona ARO 12-meter Telescope at Kitt Peak. (Photo: M. Kornmesser/European Southern Observatory, CC BY-NC-SA)

h/t: [PetaPixel]

All Images via Event Horizon Telescope Collaboration and European Southern Observatory.

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“A Palestinian Woman Embraces the Body of Her Niece” © Mohammed Salem, Reuters. World Press Photo of the Year.
“Inas Abu Maamar (36) cradles the body of her niece Saly (5) who was killed, along with four other family members, when an Israeli missile struck their home. Khan Younis, Gaza, 17 October 2023”
Story: At the outset of the Israel-Hamas war, Israel instructed Gazans to evacuate to the south for their safety. Yet, according to reports from The Guardian and Al Jazeera, Israeli airstrikes heavily bombarded Khan Younis and Rafah in southern Gaza on 17 October. Many of those killed were families who had left Gaza City days earlier. By the end of 2023, Palestinian women and children accounted for more than two-thirds of the death toll in Gaza, according to OHCHR. The photographer describes this photo, taken just days after his own wife gave birth, as a “powerful and sad moment that sums up the broader sense of what was happening in the Gaza Strip.”

A haunting look at the human toll of the Israel-Hamas war has been named the 2024 World Press Photo of the Year. Taken by Palestinian photojournalist Mohammed Salem for Reuters, it shows a woman cradling the body of her 5-year-old niece, who was killed when an Israeli missile struck their home.

Based in the Gaza Strip, Salem has a first-hand view of the horrors of war and took the image at a hospital morgue. “I felt the picture sums up the broader sense of what was happening in the Gaza Strip,” he said. “People were confused, running from one place to another, anxious to know the fate of their loved ones, and this woman caught my eye as she was holding the body of the little girl and refused to let go.”

For the 67th edition of the contest, the awarded photographs were selected from 61,062 entries by 3,851 photographers from 130 countries. Salem is joined by three other photographers, who were also singled out for the Story of the Year, Long-Term Project Award, and Open Format Award. The global winners were selected from the regional winners, which were announced two weeks ago. This year, the global winners are a true reflection of the world, coming from Asia, Africa, Europe, and South America.

Julia Kochetova, who won the Open Format Award, also gave her personal take on war with War is Personal. Mixing still photography, audio, sketches, and other multimedia, the Ukrainian photographer paints a portrait of what it's like to live in a warzone.

From Alejandro Cegarra‘s black-and-white look at migrants and their journey to the Mexico-U.S. border to Lee-Ann Olwage‘s moving tale of an African country's struggle to accept dementia, the winners are unforgettable.

All of the winners will see their work included in the World Press Photo Annual Exhibition, which will travel to 70 cities in 30 countries.

Alejandro Cegarra won the Long-Term Project Award for his look at Mexico's toughened stance on migrants and asylum seekers.

“The Two Walls” © Alejandro Cegarra, The New York Times/Bloomberg. World Press Photo Long-Term Project Award.
“The De Coto family poses for a portrait aboard “The Beast” while heading to Ciudad Juarez. This photo was taken three days before the expiration of Title 42, a US COVID-19 prevention measure that in effect allowed deportation of migrants without reviewing asylum claims. Since 2020, there have been over two million expulsions of migrants by US Customs and Border Protection under Title 42. Samalayuca, Mexico, 8 May 2023.”
Story: Since 2019, Mexico has transformed from a country that welcomed migrants and asylum seekers at its southern border to one that enforces strict immigration policies very similar to those of the United States. Immigration and foreign policies implemented by different US administrations, COVID-19 protocols, and political and economic turmoil across Central and South America contribute to the ongoing crisis at Mexico’s borders. These factors expose migrant families to violence, corruption, and precarious conditions in border towns. Informed by his own experience of migrating from his home in Venezuela to Mexico in 2017, photographer Alejandro Cegarra initiated this project in 2018 to document the plight of these deeply vulnerable migrant communities and highlight, with respect and sensitivity, their resilience.

“The Two Walls” © Alejandro Cegarra, The New York Times/Bloomberg. World Press Photo Long-Term Project Award.
“Ruben Soto (right), a migrant from Venezuela, sits with Rosa Bello, a Honduran migrant, on top of “The Beast.” Ruben and Rosa met in Mexico and fell in love on their way to the United States. Samalayuca, Mexico, 8 May 2023”

“The Two Walls” © Alejandro Cegarra, The New York Times/Bloomberg. World Press Photo Long-Term Project Award.
“Migrants use a homemade ladder to climb a section of the border wall with the help of a smuggler. Ciudad Juárez, Mexico, 1 April 2021.”

Lee-Ann Olwage's touching story about Madagascar's lack of understanding of dementia was named World Press Photo Story of the Year.

“Valim-babena” © Lee-Ann Olwage, for GEO. World Press Photo Story of the Year.
“Dada Paul and his granddaughter Odliatemix get ready for church. He has lived with dementia for 11 years. For much of that time his family assumed he had “gone mad” or attributed the symptoms to alcohol consumption. Only his daughter Fara noticed something different and continued caring for him. Antananarivo, Madagascar, 12 March 2023”
Story: In Madagascar, lack of public awareness surrounding dementia means that people displaying symptoms of memory loss are often stigmatized. For years, Paul Rakotozandriny, “Dada Paul”, (91), who lives with dementia, has been cared for by his daughter Fara Rafaraniriana (41). Their story illustrates the Malagasy principle of valim-babena – the duty of grown children to help their parents. With its dignified, intimate approach, this project presents another perspective on the issue, resonating with families across the world, while at the same time challenging conflict-focused stereotypes of Africa.

“Valim-babena” © Lee-Ann Olwage, for GEO. World Press Photo Story of the Year.
“Fara looks on as Dada Paul cleans a fish, as he does every Sunday afternoon. His fingers tremble as he does so, but he can still manage the task and finds it calming. Antananarivo, Madagascar, 12 March 2023”

“Valim-babena” © Lee-Ann Olwage, for GEO. World Press Photo Story of the Year.
“Fara and her daughter Odliatemix lie together on the bed they share with Dada Paul. Fara is the sole provider for the family of three. Only one organization in Madagascar, Masoandro Mody, provides support and training to family members of people living with dementia. Antananarivo, Madagascar, 12 March 2023”

Ukrainian photographer Julia Kochetova won the Open Format Award for War is Personal, which is her look at what it's like to live in a war zone.

“War Is Personal” © Julia Kochetova. World Press Photo Open Format Award.
“Photograph from ‘War Is Personal.'”
Story: Amidst tens of thousands of civilian and military casualties and an effective stalemate that has lasted for months, there are no signs of peace on the horizon for Russia’s war in Ukraine. While news media updates its audience with statistics and maps, and international attention drifts elsewhere, the photographer has created a personal website that brings together photojournalism with the personal documentary style of a diary to show the world what it is like to live with war as an everyday reality.

“War Is Personal” © Julia Kochetova. World Press Photo Open Format Award.
“Photograph from ‘War Is Personal.'”

“War Is Personal” © Julia Kochetova. World Press Photo Open Format Award.
“Photograph from ‘War Is Personal.'”

World Press Photo: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by World Press Photo.

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In March, Egyptian travel photographer Yasser Alaa Mobarak traveled to Kathmandu's Pashupatinath Temple during the sacred Hindu festival of Maha Shivaratri. While there, he executed a wonderful portrait series that captures the souls of the religious ascetics who were celebrating at the temple.

Maha Shivaratri is an annual festival honoring the deity Shiva. In Nepal, it is considered a national holiday and is celebrated at all of the country's temples. Pashupatinath Temple has a particularly rich tradition with the holiday, as this temple is dedicated to an incarnation of Shiva known as Pashupati. Pilgrims flock to the temple during the celebrations to recite prayers, leave offerings of fruit and flowers, meditate, and perform rituals to help purify their minds, bodies, and souls.

Amid these celebrations, Mobarak successfully mixed with the crowd, noting that many believed him to be Nepalese and were shocked when he couldn't speak the language. He used this error to his advantage; it made people feel comfortable with him, and he was able to easily engage with them to get his desired portraits.

Many of the portraits are of sadhus—holy people who live a life of spiritual discipline. Sadhus often paint their faces to represent the deities they devote themselves to. Mobarak's portraits show us this incredible body art and also call attention to this important tradition, which may be lesser known in the Western world.

Mobarak, who was struck by the friendly and open disposition of the people he met in Nepal, hopes that this series will make more people aware of the holiday and its importance in Hindu culture.

Egyptian photographer Yasser Alaa Mobarak spent time in Kathmandu for Maha Shivaratri.

This important Hindu festival is a national holiday in Nepal and honors the deity Shiva.

It is particularly celebrated at Pashupatinath Temple, with worshipers flocking to the festivities.

Many are sadhus who paint their faces to show the deity they are devoted to.

Yasser Alaa Mobarak: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Yasser Alaa Mobarak.

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“Fifi and Faustino” by Jane Goodall. Courtesy of Vital Impacts.

On April 3, renowned primatologist Jane Goodall turned 90 years old. Dr. Goodall has inspired generations of people who are passionate about wildlife conservation and our planet. From her groundbreaking studies of chimpanzees to her philanthropic work and activism related to animals, Dr. Goodall is a force of nature.

To celebrate her birthday and her place as a woman-inspired change, the female-led non-profit Vital Impacts is holding a special photography sale—The Nature of Hope: 90 Women Photographers for Jane Goodall. For the next three months, Vital Impacts is selling fine-art photography from female photographers inspired by Dr. Goodall's legacy. According to the organization, “60% of proceeds will directly support the Jane Goodall Institute's global efforts, continuing Dr. Goodall's mission of science-based conservation and youth empowerment within communities worldwide.” The remaining proceeds will go directly toward the artists.

Among the 90 prints available are photographs by Dr. Goodall herself. Two of the images focus on the familial relationships of chimpanzees and speak to her ability to make these primates feel comfortable with her presence. The other is a stunning self-portrait taken around 1962, early in research at Tanzania's Gombe Stream National Park. Viewed now, it's a beautiful documentation of a young woman diving into her professional passion and getting ready to take on the world.

But Dr. Goodall's photographs aren't the only spectacular images available. This incredible collection of conservation and landscape photography is a feast for the eyes, with work by well-known names such as Cristina Mittermeier, Ami Vitale, Beth Moon, and Karine Aigner.

So, if you are looking for a piece of art to add to your collection and want to know that doing so will also help the environment, the sale—which runs until July 2—is worth a look.

Non-profit Vital Impacts is holding a special sale to celebrate the 90th birthday of renowned primatologist and conservation activist Dr. Jane Goodall.

“Jou Jou and Dr. Jane Goodall, Brazzaville Zoo, Republic of Congo, 1990” by Michael “Nick” Nichols. Courtesy of Vital Impacts.

The photography sale will benefit the Jane Goodall Institute and include images from Dr. Goodall herself.

“Self Portrait” by Jane Goodall. Courtesy of Vital Impacts.

Inspired by Dr. Goodall's legacy, the female photographers featured in the sale are incredible talents.

“Giraffes” by Marina Cano. Courtesy of Vital Impacts.

“The Hug” by Daisy Gilardini. Courtesy of Vital Impacts.

“Back to the Wild” by Ami Vitale. Courtesy of Vital Impacts.

“Submergence” by Michaela Skovranova. Courtesy of Vital Impacts.

The sale will run until July 2, 2024, so don't wait long to shop.

“King of the Arctic” by Melissa Schäfer. Courtesy of Vital Impacts.

“The Big Buzz Bee Ball” by Karine Aigner. Courtesy of Vital Impacts.

“The Feast” by Cristina Mittermeier. Courtesy of Vital Impacts.

“Barn Owl X” by Beth Moon. Courtesy of Vital Impacts.

“Love at South Georgia” by Malin Hanning. Courtesy of Vital Impacts.

“Balance” by Sapna Reddy. Courtesy of Vital Impacts.

“Snow Geese” by Melissa Groo. Courtesy of Vital Impacts.

“Caribou at Anaktuvuk Pass” by Katie Orlinsky. Courtesy of Vital Impacts.

“Princess of Tundra” by Evgenia Arbugaeva. Courtesy of Vital Impacts.

“Brenda and Her Mother” by Luisa Dörr. Courtesy of Vital Impacts.

“Dusk Bloom” by Tamara Dean. Courtesy of Vital Impacts.

“Aerial Battle” by Kathryn Cooper. Courtesy of Vital Impacts.

“Heinabergsjökull Glacier” by Deanne Fitzmaurice. Courtesy of Vital Impacts.

Vital Impacts: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by Vital Impacts.

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“Firecracker Symphony” by Victor Tan. Photo Essay Winner.

Once again, the Mobile Photography Awards is proving that good photography isn't limited to owning a DSLR. Since 2011, the contest has been showcasing the creative possibilities of mobile photography and the 13th annual contest is no different. Shanghai-based photographer Yajun Hu took home the top prize for his portfolio of street photography, all taken using a Xiaomi Ultra 13.

Hu's work focuses on the small coincidences of life, whether it's a person being framed by a reflection or a fountain cleverly covering part of someone's body. Daniel Berman, the founder of the Mobile Photography Awards, exudes enthusiasm for Hu's work, describing it as being “distinguished by a unique interplay of shadows, colors, and shapes, infusing the compositions with depth and emotion.” He adds, “Each photograph serves as a piece of a larger narrative, contributing to a rich tapestry of urban storytelling.”

In addition to Hu, other photographers were singled out in 12 different categories, ranging from Landscapes to Portraits to Architecture. Each category celebrates the distinctive qualities of mobile photography, highlighting its accessibility, immediacy, and portability.

This year, photographers from over 80 different countries entered the competition, which just shows how widespread the use of phone photography has become. Scroll down to view more winners and get inspired to use your camera's phone creatively.

Shanghai-based photographer Yajun Hu won the 2024 Mobile Photography Awards for his creative street photography.

“Broken Portrait” by Yajun Hu. MPA Photographer of the Year and Winner, Black & White. Shot on Xiaomi 13 Ultra.

Image by Yajun Hu. MPA Photographer of the Year. Shot on Xiaomi 13 Ultra.

Image by Yajun Hu. MPA Photographer of the Year. Shot on Xiaomi 13 Ultra.

Twelve category awards were also handed out to an array of talented photographers.

“Wonder Kelingking Beach” by Yuepeng Bao. Winner, Travel & Transportation. Shot on iPhone 14 Pro Max.

“The Void” by Wei Wei. Winner, Architecture & Design. Shot on Xiaomi 13 Ultra 1.

“Tetris” by Roy Pan. Winner, Silhouettes. Shot on iPhone 13 Pro.

“The Violinist Returning Home at Night” by Queenie Cheen. Winner, Portraits and Self-Portraits. Shot on Vivo X90 Pro Plus.

“Playground” by Chang Nianzu. Winner, Street Photography. Shot on Xiaomi 13 Pro.

“Golden Mountains” by Di Lu. Winner, Landscapes & Wildlife. Shot on Oppo S6 Pro.

The awards were started in 2011, making them the longest-running photo contest dedicated to mobile phone photography.

“Beyond the Green” by Hollyn Johnson. Winners, Macro & Details. Shot on Samsung S22 Ultra.

“Cadet Obstacle Course” by Elliot Ferguson. Winner, People. Shot on iPhone XR.

“Forge by Melissa Johnston. Winner, VisualFX & Digital Art. Shot on iPhone 14 Pro.

“Light Up” by Wai Ying Kwok. Winner, The Darkness/Noir. Shot on Samsung Galaxy S23.

“The Falls” by Ryan Cardone. Winner, Water/Snow/Ice. Shot on iPhone 12 Pro.

Mobile Photography Awards: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Mobile Phone Awards.

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Photo: Dustin Snipes and Mason Mashon

There are many memorable photos of the 2024 eclipse coming out, but two photographers really pushed themselves to the limit to create a unique take on the event. Dustin Snipes and Mason Mashon teamed up with Red Bull aerobatic pilots Kevin Coleman and Pete McLeod to create their vision of two planes flying under the eclipse during totality.

To make their dream come true, a team worked for months on all of the details. Given that the totality only lasts for about four minutes, there was no margin for error. Leading up to eclipse day, Snipes and Mashon conducted numerous rehearsals, shot dozens of flyovers, tested numerous illumination solutions, and built a capture plan through months of preparation. Even the wings of the planes were wrapped with special reflective material to ensure they would be visible.

All of the hard work came together as the crew gathered in Sulphur Springs, Texas, on April 8. At around 1:40 pm local time, totality began, and that's when everything was set into motion.

The pilots had to fly in a tight formation, flying at 1,500 feet in elevation and only 4 feet apart, in order to line up the Sun, the Moon, and both the planes within the same frame. On the ground, Red Bull Air Force team member Luke Aikins received instructions from the photographers that he then translated directly to the pilots to create a series of epic imagery.

Pilots Kevin Coleman and Pete McLeod (Photo: Dustin Snipes)

“Normally, this would be a manageable maneuver, but when you have the darkness from the eclipse, a flight angle that needs to be perfectly lined up with the Sun, and only four minutes to take the shot while moving 180 mph, it makes it incredibly challenging,” confessed Coleman.

Coleman and McLeod were able to perform three passes across the eclipse before totality ended, giving Snipes and Mashon a good chance to get the images they were after. In the end, the photographers couldn't have been more pleased.

“I loved being able to solve these ‘impossible shots' with our team and create something that no one has seen before,” shared Snipes. “To get the planes, the Sun, the Moon, and the lights all within one exposure was an extreme challenge, one I haven't faced yet.”

“This is one of the hardest photos that I’ve ever tried to capture,” added Mashon. “There are known settings to capture an eclipse, but when you need to figure out the height of the planes above ground level to frame and scale them perfectly with the eclipse, during totality, it’s a totally different game.”

Scroll down to see more of their shots from the 2024 Great North American Eclipse, as well as a behind-the-scenes look at the setup.

Photographers Dustin Snipes and Mason Mashon teamed up with Red Bull aerobatic pilots Kevin Coleman and Pete McLeod to create an epic eclipse photo.

Photo: Dustin Snipes, Mason Mashon, and Peter McKinnon

Photo: Dustin Snipes and Mason Mashon

Photo: Dustin Snipes and Mason Mashon

It took months of research and days of practice to ensure they'd get the flyover at totality just right.

Photographers Mason Mashon and Dustin Snipes work with Luke Aikins map out their plan for the Eclipse in Sulphur Springs, Texas, USA on April 7, 2024. (Photo: Colin Kerrigan)

Luke Aikins uses his homemade sundial to line up the planes during practice in Sulpher Springs, Texas, USA on April 6, 2024. (Photo: Colin Kerrigan)

Pete McLeod sits in the cockpit before a flight in Sulphur Springs, Texas, USA on April 7, 2024. (Photo: Mason Mashon)

Photographers Mason Mashon and Dustin Snipes focus during practice in Sulpher Springs, Texas, USA on April 6, 2024. (Photo: Colin Kerrigan)

It's a tribute to hard work and dedication that everyone involved was able to help pull off the incredible photo.

Dustin Snipes photographs Kevin Coleman and Pete McLeod flying during the Total Solar Eclipse. (Photo: Colin Kerrigan)

Mason Mashon photographs Kevin Coleman and Pete McLeod flying during the Total Solar Eclipse. (Photo: Colin Kerrigan)

My Modern Met granted permission to feature photos by Red Bull.

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