Tag Archives: photography

TIME OUT: The world as seen through my lens | News | Instant News

I will reveal the character I have had over the years. Heck, it may still “bother” me at times, even though I am well aware of how I have lived with this nagging problem for most of my life. I have a short example to solve this problem.

Modern gadgets; more specifically the cell phone, and more specifically, the built-in camera for cell phones, tends to keep me away from the latest technology. My dilemma of being too luxurious is as much too complex for my taste!

I have told you, readers in Kota Kita and its surroundings, several times when I got inspiration to write, sometimes I then followed up on the “bolt of ideas” by typing the Saturday installments. I recently told you our oldest son, Allan, 44, of course unconscious, gave me some ideas for a topic that is now being written in 2021. Well, this year’s tribute goes to our “cherished” daughter (and one only) and oldest child, Michelle, 46. We were having one of our frequent phone conversations, when I told her a shortened version (ie, Reader’s Digest / Cliff Notes) about me getting a new iPhone a few summers ago. Now I’m going to recreate the same event with you, my friends.

My bride, Lady Deborah, and I, took an extended, guided road trip, avoiding beautiful Switzerland, a few summers ago, traveling with the seller, Insight Gold. We had used it several years before, when we had avoided Iceland, and had enjoyed the trip. So, our Switzerland trip starts / ends in beautiful Zurich, and our traveling guests come from several international countries. The majority, however, were American, and since the group was only about 35 travelers, my wife and I became friends with most of our fellow adventure seekers in just a few days. One American colleague we met, early on, was Buddy. Over the years, Buddy and his wife, once lived in New York City, and he owes a successful camera shop, which is located in downtown Manhattan. He told us that his shop sells all kinds of photographic equipment, including a wide variety of cameras. Many of his clients are repeaters, and they buy expensive equipment from his shop. Buddy is very welcoming and extremely knowledgeable about all phases of photography, traits that are absolutely necessary for his successful NYC business. He had sold his business, and they retired to Southern California to be with their children. They just love their new home, the West Coast weather and the laid-back lifestyle.

Since Switzerland is possibly the most beautiful country my wife and I have ever been to, it is truly a photographer’s dream. While we were there, I could have closed my eyes, rolled my body, opened my eyes and then took amazing pictures that were different from the breathtaking scenery. Now you may understand how nice it is to me to have Buddy, the cameraman, as one of our traveling companions for those special Swiss vacation days!

Now, for the gist of this week’s post.

Since I have been passionate about photography all my life, a few days on this particular trip, I noticed Buddy just taking photos with his cellphone camera. Remember, for reference, this is a former Big Apple camera dealer who’s been in the photography business forever! So, as someone who is always asking questions, I wonder why there was no camera brought along? I thought he would pack a camera with a big lens, so he could capture a picture of a fly from a mile away? Buddy gave me the simplest possible answer. “I don’t need it.” “These modern phones produce excellent images,” he said. To prove his point, several times every day, he shows or I ask to see, many shots of his cell phone. With every look, I can hardly believe how beautiful the pictures are!

Plus, the ease of carrying the small and relatively light device, the situation caused me to talk endlessly with my bride about Mr. Buddy’s magnificent cell phone picture!

Being my sweet bride for over 40 years, she helped calm me down after we returned to Our City from beautiful Switzerland. She pulled the magic rabbit out of her witch hat, and literally surprised me with an unexpected gift.

New phone, with its amazing camera, just in case you’re still wondering what I received?

Thank you, Michelle, for, unexpectedly, reminding me to relive the memory of my inner eye of this most special moment.

Robert Breedlove is a graduate of Oklahoma State University news editorial journalism. He lives and has lived in Stillwater, most of his life. He has been a contributing writer for various media outlets, including Stillwater News Press, over the years. Comments are welcomed at [email protected].


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Claudia Skoda knitwear revolutionized fashion in 70s Berlin | Instant News

Claudia Skoda on the fabrikneu roof in knitwear from the “Shake your Hips” collection, 1976 © Claudia Skoda

At the beginning 1970’s, Germany mode designer Claudia Skoda join the experiment Berlin collective. Based in the abandoned Kreuzberg factory, their studio space, ‘fabrikneu’, is very similar to Andy Warhol, with the turnstiles of cool beginner freaks: the models who pose for Helmut Newton, an artist who went on to gain international acclaim and percussion for the bands Tangerine Dream and Iggy Pop, to name a few. However, Claudia’s specialty is something one might find less anarchist: knitwear.

Completely self-taught, Claudia has recently started playing with flatbed knitting machines 1960’s, when she couldn’t find the kind of clothes she wanted to wear anywhere else. Although knitting was not always the medium associated with counter-culture, Claudia designed smoothly and freely, creating clothes that were synonymous with the times and would earn her a reputation as the “queen of textures” (PAPER, 1985). Dress for Sensation, a new exhibition at Kunstbibliothek in Berlin, check out these striking fashion releases throughout the 70s and 80s – lots of graphic bodycon pieces with slouches that are immodest – and West Berlin’s lush creative scene.

“Knitting is often associated in a clichéd way with housewives and eco hippies,” co-curator of the event Marie Arleth Skov show in the exhibition catalog, “[but it can] making statements about oddities, or pushing gender stereotypes to the point of absurdity. ” Designating artists such as Rosemarie Trockel, Louise Bourgeois, Tracey Emin, and Mike Kelley, Marie asserts that, on the right hand, knitting can invalidate “certain notions of household / female existence. Elsewhere in her design, Claudia makes front trousers and wide-collared jackets for men, and women’s tights in latex and Lurex. She staged elaborate and disruptive fashion shows to showcase this progressive outfit; the kind that models will see. hatch from a giant egg, for example.

With the exhibition opening this week, we called Claudia to discuss the pros and cons of Germany’s previous isolation, the allure New York City and the art of translating moods inward music.

The portrait series of Claudia Skoda, Tabea Blumenschein, and Jenny Capitain ca. 1977/78

** What state is your archive located in? Did you feel the story you wanted to tell for the exhibition, or did you find it along the way?
** Two years ago, the curator and I discussed it all. I want to do a [full] retrospective but once we started we realized I had too much material – so we stick with the 70s and 80s. At first, I worked with different materials and styles; it wasn’t until the mid 80’s that I developed a knit that I still work on to this day.

** How is your brand formed by fabrikneu? Sounds very collaborative.
** I try to include all creative and energizing contacts [from the studio] in my presentations, fashion shows and photos. We were like the center of a scene in Berlin; most of the artists living in this abandoned factory are with us. There’s a lot of stuff going in and out, and New York people will stop by for a music session. I make short films, and I catalog my creations. In Berlin, there aren’t many brands: just a few designers, mostly haute couture. It’s an open world: we do shows in our factories, and clients come from all over Europe. In the beginning, we made a lot of things; then we chose something. It’s not very economical! We went to fashion fairs – in Dusseldorf, Milan, Paris – and then took orders in advance.

Silke Grossmann, drawing for Claudia Skoda, collaboration with Cynthia Beatt, antique silver gelatin mold, 1983, © Silke Grossmann

Silke Grossmann, photo for Claudia Skoda, in collaboration with Cynthia Beatt, 1983, © Silke Grossmann

** Some pop culture icons put on your clothes: David Bowie wore your trousers in the 1980 music video “Ashes to ashes, “and clients at your New York boutique include Cher and Donna Summer. How do celebrities sign you up as a designer?
** We live on some sort of island – Berlin is closed, and we’re having a hard time connecting. That’s why I decided to open my shop in New York [on Thompson Street in SoHo]. David Bowie is our friend, and he said: “You have to go to New York or London or Paris.” That was in 1981; in 1982, we opened a shop. The Vivienne Westwood shop is across my street, so I can always see what he is doing. I love the way he displays his own style and the way he works in the industry. I travel between Berlin and New York all the time. In New York, I met people and realized what my position was – I couldn’t find out in Berlin!

** What is your position?
**Good, [seeing] how other designers work, that’s a completely different way of doing business in America. It also completely changed my style. It became a more international influence: American showbiz, but also Japanese designers [Comme des Garçons opened a store in the neighbourhood]. New York is about high sophistication – it’s also about streetwear. And it makes me think not only about evening gowns or ball gowns, but clothes that can be worn for the day that are also awesome. It was a new ‘measure’: that an item of clothing had to be special, international, wearable. I transferred that influence to Berlin.

Gertrude Goroncy, Untitled (Deep Dive for the Whales, Deutsche Guggenheim), C-Print, 1997, © Gertrude Goroncy

Gertrude Goroncy, Untitled (Deep Dive for the Whales, Deutsche Guggenheim), C-Print, 1997, © Gertrude Goroncy

** How did you get into fashion design? You worked in publishing at first, but your father was a tailor, and you grew up in a relationship with textiles.
** My dad was a “real” tailor – like the Savile Row style. As a child, I would sit in his workshop and think how difficult it was to work in a coat or overcoat jacket. I can’t imagine doing that. In the mid 60’s, young people came to Berlin, but there was nothing they could buy. I go to London, or Paris, or Amsterdam for clothes. I go to thrift store, and my inspiration is fashion from the 20s. I thought, ‘it’s hard to find good clothes in Berlin’ so I started making them, using a knitting machine. I love knitting as a medium because I can play around with color, shape, and transparency. That’s how I found my way forward. And vintage inspiration [confirmed] my aesthetic – whatever I make looks like it comes from a department store.

Rich Richter, Untitled (New Game Fashion Show, new), antique silver gelatin mold, 1976, © Rich Richter

Rich Richter, Untitled (New Game Fashion Show, new), antique silver gelatin mold, 1976, © Rich Richter

** How has your relationship with music developed? You do your own electronic experiments, and make friends with the people who make up the world of music. How many people can say that the guys from Kraftwerk created the visuals for their first record!
** Music is always at the factory. There is a girl who lives there [Esther Friedman] who is dating Iggy Pop. When I play music, I don’t dare consult a big star like Iggy or David – it’s just for fun. All around electronic music started in Germany. America first pop culture, but in Berlin, musicians found their own style. I do a lot of things with my friends; I started my own label. I recorded an EP with Manuel Göttsching, “Ich bin a Domina” (I Am a Dominatrix).

I worked on it for three years and then felt like I had to decide between fashion and music. I decided that I was a music consumer and not a music maker. My fashion shows always feature live music. I have friends “translate” the vibrations I imagine, and they will interpret it in their own way.

Rich Richter, untitled (Jenny Capitain in Claudia Skoda, Pablo Picasso fashion show, new), antique silver gelatin print, 1977, © Rich Richter

Rich Richter, untitled (Jenny Capitain in Claudia Skoda, Pablo Picasso fashion show, new), antique silver gelatin print, 1977, © Rich Richter

** Which other designers have you attracted to?
**Eckhaus Latta – I see a lot of similarities to how I was when I started. And they also do a lot of crocheting. I used to like Pierre Cardin; he put modernism into vogue at the time. And Rudi Gernreich. Today, I like it JW Anderson for what he did for Loewe. Big brands don’t really appeal to me. Big houses work with young designers and envelop them. I mostly see what other designers are for not to do – because it’s already out there. My biggest challenge has always been doing something that has never been done that way before.

** Having been in the business for decades, how do you feel about a certain aesthetic revival? Is it part of a natural cycle or is it an easy reference?
** I am a modernist. I wanted a modern style, one that doesn’t look back in a nostalgic way. As a consumer, I prefer real vintage as opposed to vintage remakes done by big brands. I am very inspired by the architecture and artists working now and the materials they use. There are changes in terms of knowledge of how to make fashion, such as the approach Iris Van Herpen, which I really like. But I am too old to think of new discoveries. Me, I still use my hands.

Claudia Skoda on the roof of the fabrikneu in knitwear from the collection

Claudia Skoda on the fabrikneu roof in knitwear from the “Shake your Hips” collection, 1976 © Claudia Skoda

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Dress for the gods: how alt-fashion became orthodox | Instant News

Cottagecore, dark academics, New Age Guidance, Soviet potpourri… Over the past year, we have seen the emergence of alternative fashion and cultural trends that have completely changed what it means to be ‘traditional’. Though stylistically different, the essence of each is a call to, well … reject modernity, embrace tradition. Or even institutional religion, as is evident in the case cool-girl-go-quasi-catholic which has dominated our passes of late. Granted, alt frameworks have always had the habit of reviving an anachronistic style, but today’s execution feels more like an earnest homage to source material than subversion. So, how does being ‘trad’ become an alt?

It is important to first understand how alternative fashions have changed over the past decade. Ten years ago, alternative fashions were largely informed by (and sold back to) the subcultural figures of the day, hipsters. Hipsters, usually white and upper middle class, were very popular “Playing India” – They wear ambiguous Monday-Friday tribal sweaters and furry headdresses for special occasions (Coachella, warehouse party, Burning Man). But by the time the 2010s rolled around and the brand started off Urban Outfitters to Victoria’s secret receiving a backlash over the insensitive use of traditional Indigenous motifs, hipsters slowly wake up, hang up their headdresses, and turn to less controversial pastures.

“The habit of tasting food has become a magnet for forms of deprivation with no clear racial ties.” – Samuel marion

The appropriation of minority cultures is not simply a reflection of the hipster rights of the aughts era – it is built into how subcultures, timeless suppliers of alternative fashions, have worked historically. Even the original hipsters of the ’40s, one of the first modern youth subcultures, were a bunch of white kids who literally stole their swag from Black jazz scene. However, in reaction to cultural deprivation swelled in the late 2010sThe days when whites wore bindis and box braids to music festivals were officially canceled. But being an alt, or at least seeing it, didn’t come out – in fact, it became more lucrative and status-worthy than ever. While avant-garde designers have been turning subcultures into couture over the decades, this process has accelerated and is becoming more and more ubiquitous throughout the fashion industry – especially as the locus of the underground movement moves online and symbols become easier to obtain. Just see how the designers like it Hedi Slimane in Celine and Ludovic de Saint Sernin was immediately included e-girl/ e-boy fashion in recent years into their collection.

Effectively, alt whites must adapt and find new ways to differentiate themselves from the sea of ​​norms and basics. Trendssetter began to avoid ripping off the styles of people of color (lest they end up being humiliated by Diet Prada) and a new reservoir of ‘unproblematic exotics’ was fostered and added to the alt lexicon. Their pursuit of Strangeness now takes place within the tight confines of the familiar and ancient horizon. “The habit of tasting tastes has become a magnet for forms of appropriation that have no open racial ties,” said Samuel Marion, an artist who is drawn to online culture, from contemporary alt fashion, “hence Dickies blue collar charms, normcore, LARPing Cowboy, Cosplay Walden, ”and now, a new genre of alt girls posting merchant memes while listening to Bladee.

One of the most interesting characters to emerge from the alt-trad ether is the postmodern Catholic schoolgirl, who is especially popular with young people, the super-online fashion crowd and designers they worship as much as they memes (including Rick Owens, Whose latest collection inspired by biblical stories). Her slip dress and cross necklace are in the “Like a Virgin / Prayer” -era lineage Madonna and the pleated skirt and rosary closely resemble the uniform of the heretical Catholic schoolgirl, as defined in the 90s through cult classics such as Craft. But the approach is softer, and reads more like saving innocence than that iconoclastic subversion. Of course, people always seek God in times of crisis, whether in the stars above or now, in the possibility of personal branding tinged with orthodoxy below. Liberty McAnena, a fashion researcher and archivist based in London, believes that the rise of alt-trad fashion reflects this Gen Z and Millennials’ search for the meaning of “given the clarity experienced by many young adults, [which is] arguably linked to the astrological boom of the last few years, and even the popularity of philosophy [and] meme account theory. “

It is easy to see how a girl getting her star tattoo tattooed on her wrist in 2019 could turn into a trade signal in 2021 – under the often spiritually saturated aesthetics of is the sideline longing for the sensible divine order of the existing world. cruel and unpredictable. And while playing with Catholic imagery may be controversial, it is less problematic than doing it with non-western religious symbols. Such signals can also serve as signs of mystical virtue in a world where more emphasis is placed on how we represent our values ​​online. “Perhaps religious iconography shows a certain ‘kindness’,” says Liberty, “which may appeal to young people who feel they hold increasingly high standards on public-facing platforms.”

The larger trade-off of alternative aesthetics can also be understood as a reaction to the liberal stance’s unique brand change, which was largely catalyzed during the Trump era. Once upon a time, looking weird could act as a visual counter to hegemony, but now we have “Bushwick First Princess” and the Democratic Senate candidate skateboard on television, having a lot of prickles and bright green hair is not the subversive move it used to be. “As ‘wokeness’ as an ideology shifts from marginal ‘Tumblr politics’ to teleprompter texts for mainstream liberalism,” suggests Samuel, “the visual identity synonymous with the doctrine suffers from disengagement from subcultural associations.”

“[The] the dialectic of irony and sincerity makes the culmination of alt-trades difficult to predict. “

The label that appears Pray – famous for their bikini strings imprinted with the words ‘Father’, ‘Son’ and ‘Holy Spirit’ – gives us an idea of ​​what alt-trades look like when formulated into a brand. Despite the simple design, the bikini’s explicit reference to the Holy Trinity makes it more provocative than even the most minimalistic influencer-engineered swimsuit. But Praying is not about disrespectful blasphemy; they also make various streetwear with semi-genuine motifs an important verse from the book of Corinth. This dialectic of irony and sincerity is what makes the top of the alt-trade difficult to predict. Its origins, however, are easier to find: the success of such a brand Clothes and Pale white in the mid-2010s created a taste for a kind of Dadaist street fashion – one playfully evasive meaning to everyone except the rough-and-tumble. There are ghosts Virgil AblohThe trademark use of text in Praying’s serif-font print, but the absence of the signature quotes adds a layer of solemnity that invites further reflection. So, should we expect an evangelization of prayer in the near future? Maybe they’ll learn some catechisms, but they probably won’t stand in line to join the monastery. Jason Steidl, a Catholic theologian and lecturer at St. Joseph’s College New York tells me he doesn’t see “a lot of embracing young people [Catholicism], except maybe as aesthetic, or ironically, or maybe because it gives them a sense of familiarity or comfort. “

“Pluralism and a society that encourages everyone to choose their own spiritual path can help here,” explained Jason, “If anything works, then Catholicism, too, can be accepted as a path or part of the path.” Postmodern spirituality is like a trip to an old candy shop, where you get your bag and fill it with whatever sweet mix you want – the taste doesn’t have to make sense to anyone else as long as it tastes. good for you. The same is true of alt-trad fashion – things that were once sacred and things that were once subcultural turn into free floating markers mingling with one another.

A dose of Christian iconography (or other trade signal) on immodest clothing may be a good faith exercise, a call for comfort, or a series of subcultural cultural references turning into fantastic pop. “Certain rosary wearers may not think much of Christianity at all, referring instead to Lana del Rey or Sarah Michelle Gellar in Cruel intentions, “Liberty reminds us, and others may choose to supplement with holiness for the sense of serenity it offers. That is of course valuable, but so is awareness of the fact that gaining metaphysics through matter will not change the conditions that lead to such a state of spiritual loneliness. Wrapping ourselves in clothes that are considered relics is unlikely to get us on the path to a holy future; at best, it offers a moisturizer for life in a world that too often feels like hell.

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Voices of silence: The wisdom of New Zealand-based POW Studios and how they escalated the horror of Coming Home in the Dark | Instant News

When a horror film made in New Zealand Come home in the dark premiered on Sundance earlier this year, the use of its voice is perhaps its most deceptive feature. Breaking off the usual jump scare queues and the obvious musical impulse to lure the audience into reaction, the film takes a more refined approach, using naturalistic sound to give a higher premise a more organic feel, essentially putting the audience in the midst of terror.

Not paying attention to the noises enveloping the film is testament to the responsible design team. The sound of a gun, the gravel under someone’s feet, the bells of a convenience store entrance – an excellent final example of film use – all sounds that are often taken for granted in the grand scheme of film showtimes.

Often the heroes of unsung films, sound design teams have a more influential presence on a production than most people realize. The special team behind Coming Home in the Dark’s expert vibe is POW Studios, a production studio located in the heart of Wellington, New Zealand, where their collaborative efforts have supported the production of films such as King Kong, District 9, What We Do In The Shadows, and Lord of the Rings.

While the big budget endeavors have undoubtedly proved attractive, POW CEO John McKay, Creative Director Matt Lambourn, and Artist Foley Carrie McLaughlin – covered the intricacies of Back home… from her Sundance screening – noting that it is small films that provide real joy in their field of profession; the smaller the set and the budget, the bigger the creative challenges and rewards.

A company born out of their desire to create a platform as a collective unit, rather than seeking individual projects, POW is looking towards a new era of New Zealand filmmaking, a booming movement that McKay himself championed following the early interest arising from the success of Peter Jackson Lord of the Rings.

As someone who loves all aspects of film, it has been quite an exciting experience for me personally to learn more details about the film industry. McLaughlin himself was more than gracious to open up to the role of a foley artist and what exactly was used to provide the voice for a film, although, as he readily admits, his role as a foley artist emerged accidentally, only requested by a colleague’s father. to assist in a project in which he was assigned to be the voiceover for an on-screen actor; “Influencing actors with voice”, he noted.

When dialogue and bigger-than-life voices are picked up by sound editors, McLaughlin prides itself on being the one on location to capture the finer voices; the lightest sound emanating from the movement of a piece of clothing or, as she enthusiastically recalled, the crunch of snow under the feet of Josh Hartnett, Melissa George, and Danny Houston on the 30 Days Night, a title he clearly held in his heart.

Noting their love for horror films, Back home… leaning on the mentality of creating suspense, making silence essentially its own character as we witness formidable victim Erik Thomson’s attempt to survive Daniel Gillies’ imposing executioner psychotic grip. And while cinematography and direction can be attributed to the boldness that the film gives, McKay – who has been in the industry for nearly 50 years now – is delighted by the fact that it is his studio work that is really behind the reasons why the film is just as tense. as it is. Silence, as Lambourn puts it, is the best compliment a person can give Back home…, raising awareness that the lack of a musical score might suggest silence, but it is the tiniest organic sound accompanying the frame that increases the discomfort the audience will experience; “Sound design is manipulative”.

Strongly adhering to the fact that music and dialogue alone were not enough to build a world of film, discussing the intricacies with the POW team only further confirms how much effort is put into productions beyond aesthetics that are more accessible to our immediate senses. . There are subconscious factors that we, as spectators, underestimate when watching movies. Eliminating atmospheric noise – cars passing by and crowd noise on a busy road or the rustling of trees in an open forest – would give the process an unnatural feel, even if we couldn’t pinpoint why such a void would be so noticeable.

While still a visual medium, sound and everything it includes are very important. An additive that is supposed to work with visuals rather than fighting, sound design is very much the unspoken champion of film, with POW Studios creating personalities for themselves where they’re in the pockets of choice where budget and excessive narrative are on the side of smaller, more many intimate productions that deserve a lot of attention and attention.

Come home in the dark originally reviewed as part of us Sundance Film Festival scope.


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Air New Zealand is planning a new service between Hobart and Auckland | Instant News

Once quarantine-free travel is up and running, Air New Zealand will introduce non-stop service between Auckland and Hobart as the tenth destination in Australia.

This route will provide a much-needed economic boost to both the city and the respective tourism industries, as well as open up the Kiwi to the absolute wonder of one of Australia’s best cities. Hopefully it will come in time for Dark Mofo, which will take place in the Tasmanian city from June 16 to 22.

In 2019, around 57,000 passengers traveled from New Zealand to Tasmania, so it is hoped this two-day-a-week, four-hour service will stimulate even greater demand between the two cities.

Flights will take place on Thursdays and Sundays to maximize the opportunities for long weekends for travelers.

The route between the two cities is Air New Zealand’s A320neo fleet service. Although prices are unconfirmed, tickets will go on sale once quarantine-free travel across Tasman has been confirmed.

Chris Singh

Chris Singh is Deputy Editor of AU reviews and freelance travel writer. You can reach him on Instagram by following @chrisdsingh.


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