Tampa photography company helping customers preserve important memories
By Admin in Photography
By Admin in Photography
Nestled within the breathtaking beauty of Custer State Park, lies the Cathedral Spires cabin, a remarkable haven not only renowned for its grandeur but also for the captivating art installations that adorn its walls. The masterminds behind these captivating creations are Shawn and William Schilling, the talented duo behind Steel Reflections. Combining Shawn’s metalwork expertise and William’s photography prowess, the two have transformed the cabin into an immersive canvas that seamlessly blends art with nature.
From a young age, Shawn Schilling exhibited a profound passion for art. With a knack for drawing and an affinity for detailed craftsmanship, she embarked on her artistic journey.
Shawn’s early exposure to metalwork alongside her father provided her with invaluable skills in welding and metal manipulation. Inspired by the concept of using walls as canvas, Shawn’s work encompasses intricate designs that harmoniously merge with their surroundings, creating scenes that seem to leap out of the walls.
CWU Steel Reflections
Steel Reflections is more than just an artistic endeavor for the Schillings; it’s a way of life. With their business aptly named, their art reflects their shared vision and creative synergy. Shawn’s custom metalwork pieces typically require 100 to 200 hours of meticulous hand-drawing, cutting with a handheld plasma torch and welding. Her attention to detail and craftsmanship is unrivaled, ensuring that every piece not only captivates but endures.
William Schilling, on the other hand, brings his keen eye for photography to Steel Reflections. Having wielded a camera since 1978, William’s passion for capturing moments is undeniable. His vast experience, coupled with an unwavering dedication to his craft, has resulted in stunning visual narratives that complement Shawn’s metalwork seamlessly. Their collaboration creates a harmonious fusion of two art forms, bringing the walls of the Cathedral Spires cabin to life.
When the opportunity arose to work on the Cathedral Spires cabin in Custer State Park, the Schillings were elated. The natural beauty of the surroundings inspired their creative process, and the collaboration with park management became a harmonious partnership. The project coordinator encouraged the two to unleash their imagination, providing them with the freedom to bring their ideas to life.
The art within the cabin showcases the collective genius of Steel Reflections. Shawn’s metalwork brings depth and dimension to each piece and the minerals infused into the metal create reflective surfaces, enhancing the interplay between light and art.
Meanwhile, William’s awe-inspiring photography, showcased in expansive prints, immerses visitors in the wonders of the natural world.
Steel Reflections owes its success not only to the creative prowess of the Schillings but also to the unwavering support of Sylvan and Custer State Parks Resorts. Their partnership has allowed Shawn and William to share their art with a wider audience, establishing a connection between visitors and the captivating beauty of their surroundings. The two are immensely grateful for this opportunity and look forward to continuing their artistic journey.
By Admin in Photography
PROVIDENCE — In a sense, the title of “The Performative Self-Portrait” is redundant. Any self-portrait, in any medium, is a performance. A self-portrait presents a certain aspect of the maker’s self and in emphasizing that aspect makes the image a version of performing.
“The Performative Self-Portrait” runs at the RISD Museum through Nov. 5.
The show’s curators, Conor Moynihan and Matthew Kluk, are well aware of this and have something more specific in mind with the title. Here performativeness is a stylization of presentation, often for larger ends (ideological, thematic, even art historical). A fair number of the 50 or so images qualify as transgressive — those faces are in your face — kicking performativeness into overdrive.
The earliest self-portrait, from 1930, is a photomontage collaboration between Claude Cahun and Marcel Moore. The most recent are a pair of Jess T. Dugan self-portraits from 2020 and 2021. The lion’s share come from the ‘70s, ‘80s, ‘90s, and this century.
Hanging above the Cahun/Moore is a Cindy Sherman self-portrait from 1975 done in homage to Cahun. The image is doubly notable, Sherman having long ago forged a vital and influential career based on highly performative self-portraiture — “disguised” might be as accurate as “performative” — and this one is from the very beginning of that career. It’s one of a set of seeds that led to a grove of wildly differentiated trees.
It’s in the nature of self-portraits to be direct, identity being placed front and center. Several examples here are nicely oblique. Photographs from Ray Metzker, Erik Gould, and Barbara Norfleet aren’t portraiture, per se. Instead, each includes the photographer’s shadow within a photograph about something else. Norfleet, who in addition to her own photography did so much as a curator to further the medium at Harvard in the ‘70s, ‘80s, and ‘90s, turned 97 in February. Long may she flourish.
The title color in Renée Stout’s “Red Room at Five” series so dominates the images that that’s what’s being portrayed. Red conveys the emotional temperature of the artist, a self-portrait more telling than any detail of physical appearance. Or for a different sort of obliqueness, there’s a Providence cityscape by Harry Callahan, with his easy-to-miss reflection visible in a display window in the background.
Another form of indirection is employing art history. John O’Reilly’s nude image seen from behind in a mirror shares “Large Studio 10-6-86″ with paintings by Velázquez and Picasso, as well as a wondrous assortment of sculptor’s forms, stuffed animals, and what would appear to be an oversized Oscar statuette. It’s seen from behind — its bare bottom chiming with O’Reilly’s.
John Kelly’s “Hands Out Self-Portrait” is like an Egon Schiele come to life — or inkjet print, as the case might be. Two of Slava Mogutin’s four self-portraits show him in leather, which calls to mind the work of Robert Mapplethorpe . As it happens, there’s a Mapplethorpe in the show, though there’s nothing provocative about it. The photographer stares at the camera with such innocence he could be an angel who’s wandered into a mug shot.
Francesca Woodman’s three self-portraits don’t refer to art history. Yet they evoke Surrealism in how they play with appearance, provide unexpected juxtapositions, and display the inexplicable specificity of dreams. Not yet 23, Woodman committed suicide in 1981. Even without knowing that awful fact, a viewer can’t help but notice how unsettling these images are, with their sense of the evanescent and otherworldly.
Photography and painting interact to startling effect in Andre Bradley’s “I Learned About Race Today” and Yasumasa Morimura’s “Brothers (slaughter I).” Bradley offers an arresting spill of black paint on wood. Only on closer inspection does the viewer note a small photocopy of Bradley’s yearbook photo, high up amid the blackness. As for Morimura, he takes as a point of departure one of the most famous paintings in the canon, Goya’s “The Third of May.” The twist is Morimura substitutes his own photographed face for that of the man in white being executed at the center of the work. The result is at once very grim, the grimness diluted by art-historical familiarity, and very funny.
Other instances of wit are fairly rare. Perhaps the self is too serious a subject to make light of — especially when the self in question is yours. The title of Sol LeWitt’s “The Area of Manhattan Between the Places Where Sol LeWitt Has Lived! 115 E. 34th St., 185 Ave. C, 42 Montgomery St. and 117 Hester St.” is hilariously self-explanatory, as well as indicating just how unconventional it is as a view of the artist. Unconventional in a very different way is Ann Hamilton’s use of her mouth as a pinhole camera. The result is a view of herself that’s very up close and very personal.
THE PERFORMATIVE SELF-PORTRAIT
At RISD Museum, 20 N. Main St., Providence, through Nov. 5. 401-454-6500, risdmuseum.org
Mark Feeney can be reached at mark.feeney@globe.com.
By Admin in Photography
Brighton-based photographer Duncan Raban has moved through life with the grace of a butterfly, allowing the winds to take him where they please. The only thing Raban will insist on is that his camera and joyful spirit come along too. Whether flying out to New York to meet Pelé, sneaking into Live Aid, or visiting children at Great Ormond Street Hospital, Raban arrives with a smile on his face, a lens at the ready and one word on the tip of his tongue: “Hello!”
Being a fellow Brightonian, I was lucky enough to meet up with Raban last week in a Kemp Town café to discuss his extraordinary photography career and sift through some of his proudest material. The most prolific and financially rewarding chapter of Raban’s career stretched through the late 1980s and ’90s. After years of sneaking into gigs to take photographs of musicians on stage, he was lucky enough to spend some time in private shoots with the likes of Tina Turner, The Rolling Stones, Lionel Richie and Bobby Womack.
As a music fanatic, I was naturally eager to hear about his day spent photographing The Rolling Stones at an Irish pub over several pints of Guinness. However, before visiting the topic, I was intrigued to hear that Raban was never particularly passionate about music; performers just happen to be alluring subjects. It would appear that photography and people are Raban’s two principal passions.
After early experimentation with long lenses at Brands Hatch Racing Circuit in Kent, Raban began his career in earnest in sports journalism. “I don’t talk about music,” he told me. “I know nothing about music. Nothing. I’m an odd person. I went to art college, and to cut it short, I got a job in a little football magazine doing layouts. I was a junior designer, but I wanted to be a football photographer.”
When Raban continued to explain how he became a football photographer, it was apparent why he’s been so impactful throughout his career. “I suppose what it is… I think outside the box quite a lot,” Raban continued. “So I said, ‘I could get a photograph of Pelé?’ And they said, ‘Well, how are you going to get to Pelé?’ I said, ‘Well, I don’t know, I guess I’ll just go out and find him.’”
“So I took a week off and flew to New York [where Pelé played for the Cosmos], and I got 40 minutes with Pelé,” he beamed. Above, you can see a photograph of Raban greeting the legendary Brazillian footballer on the day of the shoot.
In 2003, after 25 years of photographing celebrities on stages and football pitches, Raban encountered what he deemed a pivotal moment or a new “chapter” in his life. Raban explained that opportunities have often presented themselves to him through divine intervention, and rather than fly into the wind, he likes to make the most out of every situation.
On that fateful day in 2003, Raban received a phone call that would change his outlook and ultimately trigger his now-famous ‘Just Say Hello’ movement. “I had a phone call from the boss of the children’s hospital on London Great Ormond Street. He said, ‘I really like your stuff, [photography style] making people laugh.’ So I went up to meet him, and he said, ‘I’m going to show you something that’s going to shock you.’ He took me into the hospital, took me upstairs and left me in intensive care for children with heart issues. I saw about 15 children in the queue for a new heart; it really threw me.”
“So the universe completely changed my path and photography,” Raban opined. “It’s almost like the universe went, ‘Right, we’ve trained about with football. We’re gonna take him out of that, drop him into a concert without a pass. Leave him in there for ten years of rock and roll showbiz. Take him out of that, and we’re gonna drop him into Children’s Hospital, and we’re gonna make him a photographer of people laughing.’ So I went in the hospital, saw the children, and I came up with an idea.”
Having spent some time photographing celebrities at high-profile events like the Oscars, Raban felt it was about time he gave ordinary people some red carpet exposure. “I’m thinking, ‘Wouldn’t your mum like to be on that red carpet? Or Mrs. Tompkins down in Eastbourne?’ So I thought, ‘Why don’t we put the cleaners and the nurses on a carpet and turn celebrity on its head?’”
Some of the photographs from Raban’s pioneering work at Great Ormond Street Hospital can be seen in the collection below, but as you can see, this was just the beginning of a movement. With an admirable sense of humanity and a natural talent to extract a smile from the most afflicted souls, Raban has, over the past 20 years, gathered a large portfolio of photographs and videos documenting the lives of those around him.
As the dictum suggests, Raban challenges himself to get out in public and say hello to at least one stranger every day. “I’m a passionate photographer hoping to inspire you to just say hello,” his blog bio reads.
Judging by the many thousands of likes and comments his ‘Just Say Hello’ posts garner, it’s safe to say Raban’s idea has caught on. The movement continues to inspire Raban’s followers and unsuspecting street navigators daily, and it’s our hope these photos can inspire you too. You can see more of Raban’s photography on his website here.


































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By Admin in Art World News
MONTAUK, N.Y.– Premium non-alcoholic canned cocktail brand Jeng announces Nicole Bray as co-founder and chief marketing officer. Bray has been instrumental in Jeng’s success since its formation in 2021, and now joins the company full-time to prime Jeng for organic growth as it expands its line of ready-to-drink cocktails with new products, flavors, and distribution in 2023.
Bray joins the team with a breadth of marketing, advertising, and business development expertise. She accrued years of executive-level leadership experience at J. Walter Thompson, TBWAChiatDay, and McCann Erickson, where she led accounts including Diageo, Apple, Visa, Nescafe, and Nissan. She later went on to start Manhattan-based Mercer Contemporary, an art advisory, appraisal, and legacy planning firm for private art collectors.
She will drive the company’s organic growth strategy by targeting key demographic groups that are increasingly more interested in alcohol-free products, namely women. She drew inspiration from her personal experience when she was pregnant and became frustrated with the extremely limited and unappetizing alcohol-free options available to her. This led her to co-found Jeng and develop flavorful non-alcoholic cocktails for drinkers, non-drinkers, sober-curious and mindful drinkers alike.
“Women in particular are seriously changing the way they drink,” says Bray. “With Jeng, we’ve set out to give them, and others, a portfolio of upscale alternatives that promote relaxation without the constraints of alcohol.”
“Nicole has been instrumental in Jeng’s success since our company was formed in 2021,” shares Co-Founder John Enghauser. “We’re thrilled to have her officially join the team and prime us for our next chapter as the non-alcoholic sector skyrockets.”
Bray sets out to propel Jeng as the leading non-alcoholic beverage company in 2023.
About Jeng, LLC
Jeng makes alcohol-free beverages for the world to enjoy. Available throughout the country and online at sipjeng.com, Jeng creates mixologist-inspired soft cocktails that celebrate mindful drinking. Jeng is available with or without hemp extract/CBD. Jeng’s premium, alcohol-free, ready-to-drink cocktails include classic flavors like Moscow mule, Paloma, and gin & tonic. Jeng can be found in alcohol-free bottle shops, restaurants, liquor and grocery stores in New York City, Los Angeles, San Francisco, Chicago, and throughout the country.
For More Information:
https://sipjeng.com
By Admin in New Mexico Art
3rd Place People, Shannon Stevens,
Two Laguna Pueblo girls, being girls.
This photo was taken at Laguna Pueblo this summer. I was photographing the young sisters and gave them some bubble gum. As they got comfortable, the stoic went away and the silliness showed up. The joy of kids being kids.
By Admin in Photography
The Boca Raton Public Library presents a new photography exhibit, “Through Our Eyes: Boca Raton Community High School Student Photography.” Visitors to the front lobby area of the Downtown Library will be able to view a variety of photographs taken by the students in Boca High’s esteemed photography program.
Boca Raton Community High School has more than 500 students taking up to 4 photography and digital media courses for college credit through the College Board in the United States and Cambridge University in England. Students learn the elements and principles of art; how to properly use cameras and photographic techniques; and how to create and process their images using Adobe Illustrator and Photoshop. The students compete in—and frequently win—numerous photo contests. They also serve the school’s yearbook, newspaper and athletic programs.
“Visitors will be impressed with the high standard of artistic merit, creativity, and expression in the diverse collection of photos from the Boca High School photography students,” notes Lisa Testa, Program Services Librarian. “Congratulations to photography teacher Rob Sweeten for his ability to bring out the best in his students to produce exceptional photos for our community.”
“Through Our Eyes: Boca Raton Community High School Student Photography” will run from June 7–July 31 at the Downtown Library, 400 NW 2nd Avenue, during regular library hours.



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The loon traveled from Los Angeles to its permanent home in the Twin Cities.
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Silversea, a premier brand in experiential luxury and expedition travel, recently concluded the inaugural season of its first Nova-class ship, Silver Nova,
Silversea, a premier brand in experiential luxury and expedition travel, recently concluded the inaugural season of its first Nova-class ship, Silver Nova,
The Desert Foothills Land Trust (DFLT) is proud to announce a special presentation event featuring acclaimed botanical photographer Jimmy Fike on Saturday, Oct. 12 at 6:30 p.m. at the Sanderson