New voluptuous Zeelander 5 yacht shines bright in fresh photography

by Zeelander 25 Jun 08:10 PDT

Zeelander Yachts has just released the first full photoshoot of its voluptuous Zeelander 5. The 48ft (14.7m) yacht joins its larger sisters with Zeelander’s new curvier styling and a host of small design improvements that help to elevate the exclusive experience of owning one of these yachts.

• Next evolution of Zeelander’s popular model
• Famous Zeelander curves and new mullion-less windows
• Two cabins and a flawless saloon
• Breathtaking 40-knot-plus performance
• Extraordinarily quiet operation

Admirers of the famous Zeelander line, which runs up to 79ft (24m), will instantly recognise the new S-shaped sheerline of the Zeelander 5. It is a natural evolution of the now legendary Z44, which began the Zeelander story back in 2000s. This small but important tweak also completes the updating of the brand’s design language, giving the yacht even more presence on the water.

The Zeelander 5 offers a very sophisticated interior beyond the gleaming topsides and flawless lines. Her deck saloon offers lounging in comfortable sofas that also allow six to dine with sweeping 360-degree views. Zeelander’s design team has found a way to eliminate the window mullions that would otherwise interrupt sightlines.

Sophisticated design

Gently curving stairs lead below to two exquisite cabins. The owner’s cabin positions a bed midship, where it makes the most of the views and natural light that stream in through the hull lights. A broad vanity desk dominates the port side of the cabin, which is otherwise lined with fine cabinetry that offers copious storage.

More storage is built into the walls of the lobby that divides the master cabin from the shower room and head, which are tastefully separated.

The Zeelander 5 is designed as much for outdoor living as indoor, suiting the yacht to the Florida Keys, Nantucket Island, and the Mediterranean every bit as much as the Norwegian fjords. A deep cockpit with sofas and a high-low table cocoons guests in its elegant embrace, providing shelter from sun or wind, as required. In fine weather, the door and window to the saloon can be opened for smooth communication from the helm to the cockpit. Another more open lounge on the foredeck makes an ideal spot for sun worship or simply soaking up the view in comfort.

As with every Zeelander yacht, the transom is both a thing of beauty and a key feature. Its complex curves span the whole width and depth of the stern, completing a sense of voluptuous perfection when viewing the boat as a whole. But it also folds smoothly down to offer a large bathing platform with comfortable sunbeds that eclipses everything else in its class. The platform becomes a private beach area at the water’s edge, large enough to place loungers or chairs and a table. Or use it to launch a water sports session by deploying the hidden hydraulic element of the platform to provide steps down into the water. You can also use it to step up onto the dock when moored alongside.

Although long experience has taught Zeelander that its select pool of passionate owners tend to dine out, the Zeelander 5 still offers a fully functional galley. A fridge, basin, wine cooler and induction hob are discretely installed in the curved counter that runs along the starboard side of the saloon.

There is nothing superfluous on a Zeelander, and the Zeelander 5 is no exception. The yard has brought engineering and design together into an art form that turns every piece of equipment into an item of ornamentation. That’s why the custom built, mirror-polished cleats that adorn the toerail have been described as ‘stainless steel jewellery’. And why Zeelander chooses to hand paint its exterior handrails to resemble wood, so that there is never the risk of flaking varnish.

Fast and seaworthy

Performance is a given with the Zeelander 5. Choose between twin or triple Volvo Penta IPS 650 drives, providing intuitive joystick handling at close quarters and exhilarating top speeds up to 40 knots. With a cruising range of over 450 nautical miles, and a meticulously designed hull that keeps the boat comfortable in any conditions, it’s easy to spend all day reaching a new cruising ground.

Obsessive noise management on the part of Zeelander’s engineers means that even at full throttle, it is possible to hold a normal conversation anywhere on board. It was one of founder and owner Sietse Koopmans’ design priorities, and his commitment has translated into a suite of proprietary noise and vibration reduction systems that are the envy of the boatbuilding world.

“The Zeelander 5 is the natural evolution of the original Z44 and, like that very first yacht from Zeelander, has become an instant design icon,” said Zeelander Yachts founder Sietse Koopmans. “Quiet and comfortable, huge fun to drive and seductively styled, she is every bit the equal of our larger yachts. Little wonder that the world’s most discerning yachtsmen consider that they collect Zeelanders rather than simply buying them.”

In 1993, Tee A Corinne wrote that she was “close to being finished with sexual imagery”. Corinne was a prolific multimedia artist, activist, photographer and writer of erotica and autobiography. Much of her work involved what she called “labia imagery and … images of women making love with other women or with themselves”. After three decades of this, however, she was thinking about moving on. “I have thought this before but changed my mind,” she wrote. “Why? Because no one else was making the images I wanted to see.”

The images Corinne made, in part because nobody else was doing it, remain extraordinary, invigorating and quietly radical. Her Artist’s Statement: On Sexual Art is just one of many documents, posters, essays and letters gathered together by Charlotte Flint, editor of A Forest Fire Between Us, a new book collecting some of Corinne’s considerable body of work and the ephemera surrounding it.

Many of the photographs were taken during the early 1980s at a lesbian commune in Oregon, to which Corinne had decamped from San Francisco during a period of severe depression. There, she helped to facilitate retreats called feminist photography ovulars (“ovular” instead of “seminar”, which shares an etymological root with the word “semen”). The results depict women naked, clothed or semi-clothed, working, dancing, building, making art, having sex and being in nature. They capture a unique moment: the intersection of back-to-the-land communities, second-wave feminism and the women’s movement, and early gay rights activism.

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Remarkably, this is the first book to have been published about Corinne, who died in 2006 of liver cancer, aged 62. “I had never heard of Tee Corinne,” says Flint, who spent years researching it, and has written an extensive essay about the artist. A chance encounter with an image brought her into Corinne’s charismatic orbit. She was at the Feminist Library in London when she came across an otherworldly photograph in which women’s bodies form an abstract, kaleidoscopic, solarised motif.

“You know when you see an image and you just can’t place it?” she says. “There was no way I could have told you if it was from the 30s, or if it was brand new.” It turned out to be from Corinne’s self-published 1982 collection, Yantras of Womanlove. Flint shows me a ragged copy. “It was so hard to get hold of. It just felt like people were waiting for a book on her.”

It wasn’t long before Flint was going “down the wormhole” of research, having discovered that the University of Oregon holds a substantial archive. “I was completely captivated,” she says. When she discovered that first photograph, five years ago, Flint was a curator, first at the Barbican, later at the Hayward, both galleries in London. She originally conceived of an exhibition, but the pandemic arrived. “I kept thinking, ‘Something will come of it’ – because she’s too amazing a person, the work is too incredible.” So she carried on with her research. A Forest Fire Between Us is the result of this labour of love.

Corinne was born Linda Tee Athelston Cutchin in Florida in 1943. Raised by her mother and stepfather, she later documented her difficult upbringing in the mixed-media work Family: Growing Up in an Alcoholic Family. She married a male folk musician in the 1960s, but moved to San Francisco and began coming out in 1973. Much of her work celebrates sex and intimacy between women.

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Like Flint, I thought I had not heard of Corinne, but when I looked again, I realised I had seen her work before. The cover of Suede’s debut album, which features two androgynous figures kissing, is a Corinne photograph. She was also the author of the Cunt Coloring Book, a collection of drawings of female genitalia that became a minor feminist classic when it was first published in 1975. In 1981, the publisher changed its title to Labiaflowers, which caused sales to drop. The original title was eventually restored. “She would joke that she was the pin-up lesbian artist,” says Flint, “but that no one actually knew who she was.”

There are a number of explanations for this relative obscurity. For one, Corinne was rarely exhibited in her lifetime. “In the 1970s,” says Flint, “it was still very dangerous for people to make sexually explicit work depicting same-sex relationships. Queer women were totally outlawed in a heteronormative society.” Flint suggests the work, which often fell foul of US and sometimes international laws prohibiting sexually explicit imagery, was “maybe a bit too radical. People weren’t comfortable with it. Places wouldn’t show it.”

Corinne turned to self-publishing. “She described books as portable galleries with paper walls,” says Flint. Even then, it was hard for her to get the books printed. “Presses wouldn’t publish the material. It was a real uphill battle.” Corinne once submitted an image to a magazine, which accepted it for publication. “The magazine went to the printer, and they refused to print it. It was a woman going down on her partner and they called it ‘the lunchbox special’. So derogatory!”

The criticisms levelled at second-wave feminism are typically aimed at its focus on white, heterosexual, middle-class women. What is remarkable about Corinne’s work is that it seems instinctively intersectional, long before such a concept became more widely understood. The photographs depict, says Flint, “women of colour, bigger bodies, women with disabilities, women of all ages. She really wanted it to be the reality of what being a queer woman making love to another woman would be.”

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Another reason Corinne’s work feels so vibrant today is that, with its depictions of women who lived on the fringes, it captures a period of social history that has so often been forgotten. Flint argues that, in refusing to print her work, the printers contributed to the suppression of this history. She returns again to her copy of Yantras of Womanlove. “Part of the reason it’s such poor quality is that it was originally going to be printed at one printing house. Tee signed it off and then they decided they wouldn’t print it because of the content. It was sent to a different printing house and they didn’t print it properly.” Clearly, the pages are falling apart. “It’s just astonishing, that the decision – or not – to print something is literally woven into the fabric of that book.”

A revival of interest in Corinne seems timely. Curators and publishers are starting to recognise these previously hidden or ignored artists and communities. In 2021, the Rebel Dykes archive produced an exhibition and a documentary about lesbian activists living in London during the 1980s. Flint mentions the Women In Revolt! exhibition, now in Edinburgh and heading to Manchester next year, which explored feminist art and activism in Britain from 1970 to 1990. “There have been these histories of incredible artists,” says Flint, “with legacies of political activism, that have been completely overlooked. But it feels like people are being recognised after such a long period.”

I wonder if she was able to identify many of the women in the photographs, the ones who, in the early 1980s, went off to a photography retreat in the Oregon wilderness to document their lives. “I don’t know who a lot of them are, unfortunately,” Flint says, adding that this is one of the difficulties with an artist who is no longer living. But she has heard that some of the women who lived in the community are excited about the project, and there is a note at the back of the book asking for more information.

“I’m hoping it will become an exercise in getting to know more about that history,” she says, “and that people maybe recognise themselves and write in.” Flint says that Corinne would get her models to sign release forms, which were worded to thank them for their contribution to the history of lesbian photography. “So I just think of that,” she says, “and I think of this as a continuation of what she was always anticipating.”

The 2024 Audubon Photography Awards is a visual feast for bird lovers and photography enthusiasts alike. Marking its 15th anniversary, the 2024 Audubon Photography Awards attracted over 2,300 participants from all 50 states, Washington D.C., and 10 regions in Canada.

This prestigious event celebrates the unique beauty of avian life, showcasing a wide range of talent from budding youth photographers to seasoned professionals. This year’s grand prize went to Mathew Malwitz for his stunning shot, “Blackburnian Warbler.” The photograph captures two Blackburnian Warblers facing each other in profile, their striking yellow heads and orange necks contrasted beautifully against a blurred gray backdrop.

Their entangled bills and feet create a mesmerizing, intricate scene. Other highlights included a dramatic shot of a Forster Tern spiraling through the air and a Sedge Wren balancing on two long stems like a tightrope walker, each image rendered in stunning detail.

This year introduced the Birds in Landscapes Prize, emphasizing the harmonious relationship between birds and their natural habitats. Kevin Lohman won this special category with his “California Quail,” depicting the bird elegantly perched on a bush amidst a verdant West Coast field.

The winning photographs will be prominently featured in the Summer 2024 edition of Audubon magazine. For those eager to explore these captivating images, a selection of our favorites is showcased below, and the entire collection is available on the Audubon website.

Photographers from around the world will have their works on display in front of millions of passengers this summer as Tampa International Airport features the winners of the Florida Museum of Photographic Arts (FMoPA) 2024 International Photography Competition. Now in its 13^th year, the annual competition receives submissions from across the globe and this year received an impressive 2,557 submissions from nearly 600 photographers in 59 countries. The collection of winning entries showcases the diversity and creativity of contemporary photography and will be on display in TPA’s Main Terminal beginning this week through August 25.

“The Florida Museum of Photographic Arts is delighted to be able to provide a platform for sharing compelling visual works from around the world,” says Director of Operations, Sara Canon. “How fitting that this year’s competition will be exhibited at the Tampa International Airport, where travelers from around the globe will be able to enjoy them as well.”

Passengers at TPA can find the photography exhibit on the Ticketing Level of the Main Terminal (Level 2) across from the USO Office and Travels Aid booth. An Opening Reception will be held at the Airport on Wednesday, June 26, from 5:30 p.m. to 7:00 p.m.

“Tampa International Airport has long supported the arts and the enrichment public art brings to our community and travelers,” said TPA Marketing Manager Kelly Figley, who manages the Airport’s public art program. “Congratulations to these incredibly talented photographers and thank you for letting us share your work with the millions of passengers, guests and employees who will enjoy the exhibition throughout the summer.”

A panel of internationally renowned photographers and art professionals (Beate Cegielska, Collier Brown, Elena Paraskeva, Eve Schillo, Hiromi Nakamura, Jessica Jarl, Kristen Roles, Martha Asencio-Rhine, Steven Benson, and John Collins) selected winners in seven categories: Abstract, Conceptual, Documentation/Photojournalism, Nature/Science/Animals, People/Portraits, Places/Landscape and Still Life.

The winners of the 2024 International Photography Competition are:

●        Best In Competition: Diana Sosnowska, Poland, Levitation Act #2

●        Abstract Category:

○        1st Place: Zsuzsanna Nagy, USA,  In Passing

○        2nd Place: Eden Calle, USA, Mis illusiones de nenúfar

○        3rd Place: Ann Hopta, USA, Equine Butts and Backs

●        Conceptual Category:

○        1st Place: Diana Sosnowska, Poland, Levitation Act #2

○        2nd Place: Alena Grom, Ukraine, Diana

○        3rd Place: Victoria Ruiz, Venezuela, based in USA, MIS FLORES PARA TU ALTAR (My Flowers for Your Altar)

○        Honorable Mention: Asafe Ghalib, Brazil, Queer Immigrants

●        Documentation/Photojournalism Category:

○        1st Place: Mauro De Bettio, Italy, VENICE OF AFRICA

○        2nd Place: Alain Schroeder, Belgium, Brick_Prison

○        3rd Place: Mouneb Taim, Syrian Arab Republic · based in Netherlands, 0M6A6896

●        Nature/Science/Animals Category:

○        1st Place: Andy Glogower, USA, Huey Dewey and Louie

○        2nd Place: Marcello Galleano, Italy, Reflections in the Night

○        3rd Place: Helga Madajova, Slovakia, Generalissimus Episoda

●        People/Portraits Category:

○        1st Place: Marijn Fidder, Netherlands, Inclusive Nation 008

○        2nd Place: Alejandra Lopez Zaballa, Spain,  Real Toys 1 (I dry my hair in the wind_Alejandra_LopezZaballa_10)

○        3rd Place: Bongani Tshabalala, South Africa, Montsho

●        Places/Landscape Category:

○        1st Place: Heather Crane, USA, Young Citrus

○        2nd Place: Renee Lynn, USA, Desert Blossom

○        3rd Place: Emily Neville Fisher, USA, Sand Sledders

●        Still Life Category:

○        1st Place: Sander Vos, Netherlands · based in United Kingdom of Great Britain and Northern Ireland, In Between the Shadows

○        2nd Place: Katy Otto, Germany, Golightly

○        3rd Place: Dina Belenko, USA, Other side of the sea (Little Tokyo)

 For more information on the exhibit’s opening reception at Tampa International Airport or to RSVP, click here.

BARRHEAD – As Frank Sinatra sings in his signature song, New York, New York, If you can make it there, you can make it anywhere.

Barrhead Composite High School (BCHS) portrait photography students are not sure about that, but they know the city is very photogenic and countless educational opportunities abound.

Starting on the Victoria Day long weekend in May, a 17-member contingent from the BCHS (15 students and two chaperones) departed for New York for a seven-day photography trip.

Com-Tech/Photography teacher Bruce Tyrrell noted that the trip marked the 13th excursion. Most of the trips have been to New York or Vancouver; however, the portrait photography students visited London, England, last year.

Students fund the trip primarily with the money the program raises through photography sales.

Unlike other schools that hire professional photographers to take the standard graduation photo in a mass one or two-day event, the portrait photography class takes grad photos during multiple sessions throughout the year. About half of the funds raised go towards the annual trip, while the other goes towards subsidizing the purchase of equipment for the Com-Tech program.

As part of the trip, Tyrrell often arranges to have the students talk to or participate in shoots with working professional photographers.

This year, the students met with Ben Norman, a freelance photographer most known for his work with the New York Times and a photography instructor at New York University.

Other photographers students have met and worked with include Pooya Nabei and Dave Brosha.

Nabei is a highly sought-after Canadian photographer known for his work in fashion, portraits, celebrity and advertising campaigns, while Brosha is a landscape and portrait photographer.

One of their first stops or excursions was to Yankee Stadium, where the students saw the hometown squad defeat the Chicago White Sox.

It also allowed students to photograph the stadium, replicating many of the original Yankee Stadium features.

“We were caught off guard by the sunshine,” said student Mitch McGarva, adding he got sunburn as part of the process.

However, he noted that the sun also helped him capture one of his favourite photographs of the trip: a Yankee hitter at the plate, which he shot using a larger telephoto lens.

“[Security] allowed people to bring in their cameras, but they took away most people’s longer lenses. However, I was able to smuggle mine in,” McGarva said.

They then went to Hamilton Park in New Jersey and did a night shoot of Manhattan across the Hudson River.

The next day, the students walked through Central Park, taking a path that Tyrrell had never taken on previous trips, passing some waterfalls before going to the Metropolitan Museum of Art.

“I loved the Met,” McGarva said, saying his favourite area was the weapon section. “Especially their pistol collection. It was crazy because it was all artisanal. The ivory carved stuff was really impressive.”

His classmate, Keira Butler, said her favourite was the statues. 

“The Egyptian section was particularly cool,” she said.

Tyrrell agreed, noting Egypt donated the contents of an entire Egyptian temple to the museum.

A new addition to the section was a projection that overlayed hieroglyphs, which were difficult to see in colour, onto the temple walls.

“It was really beautiful,” Butler said.

The next day, they met with Norman, who told them what it was like to be a freelance professional photographer in New York before reviewing the students’ photographs.

“He was impressed by the quality of the photography,” Tyrrell said. “He said the kids’ photos were comparable to his students.”

Another one of Butler and McGarva’s favourite sites was the Rose Main Reading at the New York Public Library.

“It was very quiet, and the roof was stunning, with the painting of the clouds,” Butler said. 

Tyrrell said his favourite part of their visit to the library was seeing the original stuffed toys from Christopher Robin Milne, the son of A. A. Milne, the author of the Winnie the Pooh stories and the basis of the Christopher Robin character.

The BCHS contingent went to Brooklyn Bridge Park and the Brooklyn Bridge for another golden, blue hour and night shoot.

“We got some really good shots, “Tyrrell said, adding several students walked on the bridge and took photographs of the bridge’s towers.”

The next day, the students visited the 911 Memorial before taking the Staten Island Ferry and the Statue of Liberty.

Tyrrell said he and Barb Sabiston, also a BCHS teacher, spent a lot of time filling the students in about the significance of the 911 Memorial at the new World Trade Centre complex as they were not alive when acts of terrorism occurred.

He added that just to the west of the memorial is a piece of the Berlin Wall.

“We talked a lot about liberty and freedoms, what it means to certain people and what it means when taken away,” Tyrrell said.

Butler said it was her favourite day of the trip.

“We got to learn a lot of history and just being that close to the Statue of Liberty.

What struck McGarva the most was the scale.

“Everyone is so used to seeing the pictures, but when you are there in person, at the base, you realize the detail and how large it truly is,” he said.

Another favourite memory for Butler and McGarva was attending the Broadway show, Hamilton.

“I watched it when it first went on Disney, but it did not resonate. Seeing it in person was a totally different experience. Especially since it is set in New York, we had just discussed the history beforehand and visited Hamilton Park … where [Alexander Hamilton] was shot,” McGarva said.

Tyrrell added that although he did not mention it to the students, there was much more police presence in the city than on his previous trips, especially in the subway.

“There was a real increase in crime, so the mayor and the governor brought in the National Guard to supplement the police,” he said.

Tyrrell noted the group never felt unsafe during the trip but said that might be partly due to the size of the contingent.

“Which is a fairly formidable-looking group, especially if you are all carrying tripods,” he said. 

The students also had the opportunity to visit the Museum of Modern Art for what was supposed to be a private tour. However, it was after a torrential rain storm, and by the time they were able to dry off, they had to settle for a group tour.

The following day, they visited Rockefeller Centre and explored mid-town Manhattan before conducting another image review.

On the final day, they visited the American Museum of Natural History.

Butler’s favourite display was the animal section, while McGarva’s was Lucy—one of the most complete skeletons found from the early hominids that flourished between four and two million years ago. The skeleton consists of bones from a single individual, presumably female, who stood well under four feet tall. Discovered in 1974, she is named after the Beatles song Lucy in the Sky with Diamonds.

The students wrapped up their trip with a farewell dinner at an Italian restaurant on Amsterdam Avenue.

“We were really fortunate. Most of the places had been booked up for weeks. It was a Friday night, and getting a table for 17 people was difficult. I had to beg and plead with the owner to take us in,” Tyrrell said, adding the following day, they had a quick tour of Grande Central Station before returning to Barrhead.

Barry Kerton, TownandCountryToday.com