Edmond City Council votes to move forward with Uncommon Ground Sculpture Park
By Admin in Photography
29 May 2024
Sirui already produces a number of lenses for Micro Four Thirds, although these are primarily aimed at video shooters.
The company’s Night Walker T1.2 cinema lenses come in 16mm, 24mm, 35mm, 55mm, and 75mm focal lengths.
Additionally, the company also makes a series of 1.33x anamorphic lenses for Micro Four Thirds video cameras, but the move to join the alliance could be interpreted as a sign that Sirui is looking to expand its M43 lens-making capabilities towards stills.

Joining the alliance would give it access to research and development opportunities shared by other members.
Logitech is the most recent newest member after it joined the Micro Four Thirds System in March when it announced its new Mevo Core Micro Four Thirds streaming camera. Last year, Samyang and Blackmagic joined, with DJI joining in 2022.
By Admin in Photography

A royal photographer has opened up about what it was like to take the wedding photos for the Duke and Duchess of Sussex.
In a recent interview with The Sun, photographer Arthur Edwards explained that six years after Meghan Markle and Prince Harry’s wedding, he can now admit that the wedding was “miserable” for him.
“The day was a miserable day,” Edwards told the interviewer. “I can tell you now it was the worst royal wedding I ever did. Because Harry was determined to keep the newspapers away from it as much as possible.”
The couple’s wedding took place in 2018 at St George’s Chapel at Windsor Castle, where Edwards noted that all of the photos had to be taken at a distance, which didn’t allow for the best conditions to work with.
“Everything was done on long lenses. I had 800 millimeter lens photographing the guests arriving. The photographers they engaged for the job was five feet away. It was just hopeless,” he said.
Even the iconic shot of the couple leaving the wedding in their carriage didn’t work out from a camera and photography perspective. “And then the carriage shot where they went past me in the carriage they looked the other way,” he recalled. “So for me, it was a disaster.”
The interviewer went on to ask Edwards if some of these hindrances were done on purpose, saying: “Was that deliberate? You were made to feel unwelcome?”
“I felt so,” Edwards replied. “It wasn’t just me. It was the whole of the British press, in many ways were badly treated.”
The Independent has contacted a representative for the Sussexes for comment.
Prior to her royal wedding, Meghan was previously married to film producer Trevor Engleson from 2011 to 2014. Leading up to the wedding, many were curious about who would be designing the Suits actress’s dress.
“I had a very clear vision of what I wanted for the day, and what I wanted the dress to look like, and so what was amazing in working with Clare is that sometimes you’ll find designers try to push you in a different direction,” Meghan said about the dress designed by Clare Waight Keller for Givenchy in her Netflix docuseries Harry & Meghan, released in December 2022. “But she just completely respected what I wanted to see for the day, and she wanted to bring that to life for me.”
“So I knew at the onset I wanted a bateau neckline, I wanted a cropped sleeve, I wanted a very timeless, classic feeling,” she said. “Obviously with respect to the environment we were in and St George’s Chapel, being really modest in what it would look like, I knew that the tailoring was so key, because the dress itself would be so covered up.”
The gown ended up being designed in an off-shoulder style. Recently, it was revealed that the late Queen Elizabeth II didn’t approve of the dress at the time. According to royal biographer Ingrid Seward, the late monarch thought it was “too white” for a woman getting married for the second time.
“In the monarch’s view, it was not appropriate for a divorcée getting remarried in church to look quite so flamboyantly virginal,” Seward wrote in an extract of the book obtained by the Daily Mail.
By Admin in Photography
“Their bodies turn a beautiful brownish-pink. It’s really pretty,” said Amy Parsons, a water bird biologist at the San Francisco Bay Bird Observatory (SFBBO).

While many birds molt at various life stages, the avocets’s color change is a dramatic example.
“In the fall and winter, their heads are a dull gray, and they don’t really stand out,” Pourahmad said. “But starting about [mid-March] and lasting until mid-summer, their heads turn a vibrant orange, making them look really cool.”
The avocet mating ritual, often described as a dance, features the pair moving in unison with their bills intertwined after mating. “Their bills cross to look like a kiss,” Pourahmad said.

“It’s one of my favorite shots of the year,” Pourahmad said. “The Bay Area is full of amazing sights.”
If you want to spot these spectacular shorebirds for yourself, Pourahmad recommends locations like:
“A lot of people in the San Francisco Bay don’t realize the rich, beautiful environment we have,” Parsons said.

“You hear about old salt evaporation ponds and think they’re uninspiring, but they’re part of a vibrant ecosystem with many species passing through year-round.”
For a guide to birding in the Bay Area for beginners, check out KQED’s guide from 2020.

By Admin in Photography
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By Admin in Art World News
In her 2014 novel Department of Speculation, Jenny Offill coined the phrase “art monster,” writing: “My plan was to never get married. I was going to be an art monster instead. Women almost never become art monsters because art monsters only concern themselves with art, never mundane things,” those mundane things including motherhood and caring for a child.
The idea has since spawned numerous conversations about the intersection of art, gender, and parenthood, providing the foundation for recent books by Claire Dederer and Lauren Elkin who discuss the ways women are often asked to choose between being an artist and being a mother. Undergirding their arguments is the belief that there’s no need to leave one identity behind for the other. In a new short film, Sarah Detweiler exemplifies this point as she discusses how her daughter’s birth led to a new phase of her practice and helped her to find her voice.
Detweiler’s series Hidden Mother depicts women shrouded in fabrics in the style of Victorian-era portraits, and her children frequently appear in her multi-media works, sometimes similarly cloaked in a bedsheet. Directed by Jesse Brass for the Making Art film series, “Exist” visits Detweiler’s home near Philadelphia. As she squirts paint onto a palette and brushes it across the canvas, she discusses the bifurcated experience of being an artist and a parent, that for her, is always intertwined. “Artist Sarah is haunting mother Sarah during the day,” she jokes. “It’s like, I’m here! I’m here!”
Watch the film along with others in the Making Art series on Vimeo, and find more from Detweiler on Instagram.


Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Sarah Detweiler Unpacks the Connections Between Art and Motherhood in ‘Exist’ appeared first on Colossal.
By Admin in Photography
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