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Editor's Picks

Here we have a varied selection of images chosen by our editors which we hope you'll find interesting

Choose a picture from our Editor's Picks collection for your Wall Art or Photo Gift. Popular choices include Framed Prints, Canvas Prints, Posters and Jigsaw Puzzles. All professionally made for quick delivery.


Featured Print

Pale Blue Dot Revisited

For the 30th anniversary of one of the most iconic images taken by NASA's Voyager mission, a new version of the image known as "the Pale Blue Dot." Planet Earth is visible as a bright speck within the sunbeam just right of center and appears softly blue, as in the original version published in 1990 (see PIA00452). This updated version uses modern image-processing software and techniques to revisit the well-known Voyager view while attempting to respect the original data and intent of those who planned the images. In 1990, the Voyager project planned to shut off the Voyager 1 spacecraft's imaging cameras to conserve power and because the probe, along with its sibling Voyager 2, would not fly close enough to any other objects to take pictures. Before the shutdown, the mission commanded the probe to take a series of 60 images designed to produce what they termed the "Family Portrait of the Solar System." Executed on Valentine's Day 1990, this sequence returned images for making color views of six of the solar system's planets and also imaged the Sun in monochrome. The popular name of this view is traced to the title of the 1994 book by Voyager imaging scientist Carl Sagan, who originated the idea of using Voyager's cameras to image the distant Earth and played a critical role in enabling the family portrait images to be taken. The image of Earth was originally published by NASA in 1990. It is republished here to commemorate the 30th anniversary of the Family Portrait of the Solar System (see PIA00451) and the Pale Blue Dot image in particular. The planet occupies less than a single pixel in the image and thus is not fully resolved. (The actual width of the planet on the sky was less than one pixel in Voyager's camera.) By contrast, Jupiter and Saturn were large enough to fill a full pixel in their family portrait images. The direction of the Sun is toward the bottom of the view (where the image is brightest). Rays of sunlight scattered within the camera optics stretch across the scene. One of those light rays happens to have intersected dramatically with Earth. From Voyager 1's vantage point — a distance of approximately 3.8 billion miles (6 billion kilometers) — Earth was separated from the Sun by only a few degrees. The close proximity of the inner planets to the Sun was a key factor preventing these images from being taken earlier in the mission, as our star was still close and bright enough to damage the cameras with its blinding glare. The view is a color composite created by combining images taken using green, blue and violet spectral filters by the Voyager 1 Narrow-Angle Camera. They were taken at 4:48 GMT on Feb. 14, 1990, just 34 minutes before Voyager 1 powered off its cameras forever. Like the original version, this is technically a "false-color" view, as the color-filter images used were mapped to red, green and blue, respectively. The brightness of each color channel was balanced relative to the others, which is likely why the scene appears brighter but less grainy than the original. In addition, the color was balanced so that the main sunbeam (which overlays Earth) appears white, like the white light of the Sun. At its original resolution, the newly processed color image is 666 by 659 pixels in size; this is Figure A. The main image is an enlarged version. The image was processed by JPL engineer and image processing enthusiast Kevin M. Gill with input from two of the image's original planners, Candy Hansen and William Kosmann. https://photojournal.jpl.nasa.gov/catalog/PIA23645

Featured Print

Metropolitan Music Hall, Edgware Road

The Metropolitan Music Hall, 207 Edgware Road London - a very fine Music Hall which was sadly demolished in 1963 to allow the building of a flyover for the A40. Formerly an inn called the White Lion public house, the theatre was re-built in 1862 and opened under the new name of the Metropolitan Music Hall two years later. Re-built again in 1897 by Frank Matcham. Photograph by Heinz Zinram

© Mary Evans Picture Library 2015 - https://copyrighthub.org/s0/hub1/creation/maryevans/MaryEvansPictureID/10283546

Featured Print

Queen Elizabeth II by Pietro Annigoni in the ILN

Portrait of Queen Elizabeth II, Queen of the United Kingdom and Head of the Commonwealth (born 1926), by Pietro Annigoni 1953.
Pietro Annigoni (7 June 1910 to 28 October 1988) was an Italian portrait and fresco painter, who became world famous after painting Queen Elizabeth II in 1956.
His work bore the influence of Italian Renaissance portraiture, and was in contrast to the modernist and post-modernist artistic styles that dominated the middle and late twentieth century. He was known for his romantic portrayal of the young Queen Elizabeth II in 1956, as well as for his portraits of Pope John XXIII, US Presidents John F. Kennedy and Lyndon B. Johnson, the Shah and Empress of Iran, Princess Margaret and several other members of the British royal family.
Pietro Annigoni was chosen by TIME magazine to paint President of the United States John F. Kennedy for the (January 5) 1962 Person of the Year cover. The result was perhaps his worst portrait as Kennedy would not sit still and Annigoni had no time or inclination to satisfy Time magazine. Other TIME magazine covers that featured portraits by Annigoni were the issues of October 5, 1962 (Pope John XXIII), November 1, 1963 (Ludwig Erhard), and April 12, 1968 (Lyndon B. Johnson).
Other subjects around the world that Annigoni painted include HRH Prince Phillip and several other members of the House of Windsor as well as the shoemaker Salvatore Ferragamo, Florentine author Luigi Ugolini, ballet legend Dame Margot Fonteyn, British actress Julie Andrews, Russian ballet star Rudolf Nureyev, American actress and poet Vanna Bonta as a girl, and the Maharani Gayatri Devi of Jaipur. An outspoken artist who did not refrain from iconoclasm toward his perception of passing or superficial social trends, Annigoni wrote essays challenging modern art that disregarded the basic ability to draw. He alienated critics, who claimed his art was too representational, discounting the unique dramatic signature the artist brought to Renaissance tradition.

© Mary Evans Picture Library 2015 - https://copyrighthub.org/s0/hub1/creation/maryevans/MaryEvansPictureID/10511403