Guests at Tokyo DisneySea are reporting that the ban on photography during the preshows of Soaring: Fantastic Flight has been lifted after four years.

From its opening on July 23, 2019 until yesterday, guests riding Soaring: Fantastic Flight at Tokyo DisneySea were strictly forbidden from any sort of photography after the merge between Standby and FastPass/Disney Premier Access. This includes the Camelia Falco living portrait preshow as well as the Renaissance sketch-style safety video once guests are split into their rows.

Twitter user @Kou231D initially reported the change, which was later confirmed by reports from other guests at the park.

Photography does remain prohibited while aboard the attraction. Guests were always able to take photos and video while waiting in the queue prior to the preshows, including the rather stunning cupola room.

Soaring: Fantastic Flight

The newest addition to the Tokyo DisneySea repertoire, Soaring: Fantastic Flight opened on July 23, 2019 as the fourth iteration of Disney’s classic flying IMAX attraction, having previously been installed at Disney California Adventure, EPCOT, and Shanghai Disneyland.

As with other attractions at Tokyo DisneySea imported from other parks, this version was given a unique setting and backstory to fit Tokyo DisneySea. Guests step into the Museum of Fantastic Flight in 1901, holding an exhibition to celebrate the 100th Anniversary of the birth of Camelia Falco, a Society of Explorers and Adventurers member who dedicated her life to the study of aviation and the museum’s second director after her father. In 1851, she became the first female member of S.E.A., and passed away at the age of 74 in 1875. Falco is portrayed by frequent Imagineering collaborator Stasha Surdyke.

From an early age, Falco dreamed of flight. She believed that the power of imagination and dreams could take you beyond time and space, to anywhere you want to go. And preparing for the future, she designed the Dream Flyer, the vehicle on which guests embark to soar around the world.

The ride’s video features mostly the same scenes from Soarin’ Around the World/Over the Horizon attraction at the three other locations, but there are some changes. This version boasts two new scenes, with Paris removed and replaced with scenes of Tokyo (featuring the Tokyo Tower), followed by a finale at Tokyo DisneySea. Emmy-winning composer Bruce Broughton, who’s created the scores for other Disney attractions such as Ellen’s Energy Adventure and the 2007 Spaceship Earth arranged and composed the score for Soarin’ Around the World based on motifs from Jerry Goldsmith’s original score. In fact, Broughton re-recorded the film’s score for the Tokyo version as well as original music for the queue and preshow.

You can watch our full queue tour and ride POV from opening day courtesy of our YouTube channel above.

For the latest Disney Parks news and info, follow WDW News Today on Twitter, Facebook, and Instagram.

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Posted: 12th June, 2023 by The Editor

One of the most exciting U.S. tours of the year so far wrapped up last Saturday at House of Blues in Anaheim. I’m talking about The Interrupters headliner (or co-headliner, if you had the opportunity to catch them with Frank Turner earlier on the tour).

The L.A. based ska punk band has had a busy few months playing shows in support of their latest album, In The Wild. Although Frank Turner didn’t play on the last few days of the tour, the lineup was still a great one! Anaheim was graced with the presence of Canadian ska/reggae band, Bedouin Soundclash. The band played nine tunes during their 30 minute set. One of those songs was “Walk Through Fire.” The actual recording of the song features The Interrupters’ very own Aimee interrupter. The band played the song and were joined by Aimee plus Kevin Bivona, guitarist and backup vocalist for The Interrupters. Following the performance of Bedouin Soundclash was the Southern California ska/reggae band, Hepcat.

As Hepcat took the stage and performed, fans that knew their music couldn’t help it, but sing and dance along. Even if you’re not familiar with the band’s discography, seeing how much fun the band had on stage was contagious. It was noticeable for fans of Hepcat however, that Greg Lee (one of the lead vocalists) and Greg Narvas (drums) weren’t present at the show so Jesse Wagner and Krees Borbon of L.A. based band, The Aggrolites filled in. As Hepcat wrapped up their 45 minute set, fans were more than ready to see The Interrupters take the stage.

As has been a tradition for a number of years now, The Interrupters took the stage to the tune of “Ghost Town” by The Specials. The band did not hesitate and as soon as they dropped the first note of their first song and fan favorite, “Take Back The Power,” there were happy faces everywhere you looked. Following “Take Back The Power” was “Title Holder” and “White Noise.” Throughout the night, The Interrupters mixed up their setlist and although they played a significant amount of songs off In The Wild, they still played fan favorites and deep cuts off their other three records. Some songs off the new record they played were “Kiss The Ground,” “Let ‘em Go,” “Anything Was Better,” plus the singles, “In The Mirror” and “Raised By Wolves.” Another track they played off In The Wildwas the closing track, “Alien” followed by the first verse and chorus of Leonard Cohen’s “Hallelujah.”

During the 80 minutes of music we got to hear The Interrupters play, we were treated to “Judge Not,” “Easy On You,” “A Friend Like Me,” and “Family” off their self-titled album. From their second album, Say It Out Loud, the band played “On A Turntable,” “She Got Arrested,” “By My Side,” and “The Valley.” With Fight The Good Fight being the album that led the band to having their music constantly played on the radio, there was no way the night could end without hearing songs from that album. We were treated to songs such as “Got Each Other,” “Gave You Everything,” and the last song of the night, “She’s Kerosene.”

Before the night ended, Kevin shared some thoughts with the fans. “You really have changed our lives,” he said. “Selling out the House of Blues is something we could’ve only dreamed of. The only reason that that happened is because of all of you beautiful souls.”

This show has been one of my favorites of the year. If you’re still wondering what the big deal is about The Interrupters, please don’t wonder any longer and get to the gig the next time they play your town. Whether it’s been at a festival or as a supporting act or as a headliner, they only continue to dominate while the rest of us continue to dance.

Photos by Jazmin Lemus

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Looking for an event that celebrates both local artists and Pride Month? Kansas City Kansas Community College [7250 State Ave] is hosting “The Skin I’m In: A Visual Narrative of Self,” a multi-artist photography exhibition. The exhibition will be free and open to the public June 6-12. 

The photography and autobiographical visual narratives in the exhibit are created by LGBTQIA+ artists. The exhibition’s theme focuses on the role that gender related language plays, as well as the dynamic between difference and otherness. 

“The Skin I’m in: A Visual Narrative of Self” features work from 21 different artists, all of whom have unique experiences relating to race, gender, and sexuality. It is an opportunity to hear new voices and stories through visual communication.  

The exhibition will take place in the KCKCC Art Gallery, located in the Jewell Student Center.

What does shutter speed do on your camera? And, why should you care?

Shutter speed

Shutter speed is the time which the shutter is open allowing in light to your film plane or sensor. Part of the triangle of exposure you’ll want to use and understand once you move past the automatic settings on your camera. “But Bob, I get good photos with the auto setting, why would I want to change?”

Automatic settings get a ‘good exposure’ meaning there will be a readable image when you push the button. Creative images happen when you control specific settings on your camera.

Exposure triangle

We need to poke around in three settings to make a usable photo. What settings? ISO, aperture and shutter speed combine to allow a certain amount of light to be recorded. The aperture is the opening in the lens. ISO is the sensitivity. The wider the aperture opening the faster light can enter. The higher the ISO the more sensitive to light the film or sensor becomes. Shutter speed controls the amount of time the light is allowed to enter.

Change any one of these three settings and another will need to be changed to allow the ‘correct’ amount of light to be recorded. For example, if you make the aperture half as large going from f/5.6 to f/8, you will need to double the amount of time the shutter is open to attain the same exposure if the ISO remains the same.

Let’s be creative

Being in total control of the shutter speed allows for lots of creative control. Look at your control Mode dial. When you choose S on most cameras, or TV (meaning Time Value) on Canon the shutter speed becomes the priority and the other settings work around it.

Fast shutter

Let’s think about some examples of putting shutter speed to work with our vision. Faster shutter speeds in relation to the amount of movement of our subject will give sharp results. Shooting at a fast shutter speed of 1/1600th of a second or faster will freeze large birds wings in flight. 1/125th sec with flash will ensure there is no camera shake when photographing people.

Slow shutter

Slower shutter speeds under a 1/30th of a second can lead to blurry images if the camera is not mounted on a tripod. Changing the shutter to a 1/15th of a second and following the same bird in flight will lead to and artistic rendition with some blur and some in slight focus.

A slow shutter can give wonderful images with intentional camera movement also known as ICM. When attempting ICM it helps to have the camera in motion before the shutter is depressed. Lots of experimentation is called for with subjects, shutter speed and speed with which you move the camera.

Final thoughts

Break away from the automatic settings on your camera. Open up tremendous possibilities for creativity in your photographs. Using shutter priority is only one possibility. Once you have figured out the ways to utilize the shutter priority, it will be time to try aperture priority and manual settings as well.

Yours in creative photography, Bob

Wearing a pink polo shirt tucked into his chinos, it was not Hu Jiyong, a Chinese construction executive with the look of a man born to wear a business suit, who caught the street photographer’s eye, but the younger woman he was holding hands with.

Xiao Mi, who makes a living taking pictures of the fashionable crowds in Chengdu, a city in southwest China, said he had been drawn to photograph the woman in a figure-hugging pink floral dress — who also happened to be Hu’s employee and mistress. “They didn’t refuse, and many photographers were taking their pictures,” he said.

Yet the image proved to be the couple’s undoing when it was shared on Douyin, the Chinese version of TikTok, where Hu, the general

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Long before taking a selfie was as easy as pulling your phone out of your pocket, capturing a portrait was a serious undertaking. 

A new exhibit at the Woodstock Museum gives a snapshot into the history of portrait photography as far back as 160 years ago — from the late 1800s to early 1900s — when smiles were a rare sight.

Don’t Smile opened Saturday and highlights about 100 vintage portraits collected in Oxford County, curated from the Museum’s collection of more than 13,000 images. 

“We don’t think anything of taking a photo now,” said Adam Pollard, curator of collection at the Woodstock Museum. “Back then…it would have been a big event.”

The exhibit goes back in time to when getting a portrait taken was an expensive endeavour, said Pollard.

It takes us back to an earlier time where this was an outing, an event — and even owning a photograph in early times was something special, he said. 

“You had to get dressed up, you have to go to a studio, you would be posed in positions. They would take a couple of photos, and hopefully they would get a good one.” 

The first commercial photography came around by 1849, but it didn’t get to places like Woodstock or London until the 1850s or 1860s. Back then, copper plates and chemical solutions were used to develop photos.

Smiles were rare in early portrait photography

“Don’t Smile comes out of the fact that in most early photography, you don’t see anyone smiling,” said Pollard.

While there are a lot of theories why, Pollard said it comes out of sitting for long periods of time for portrait paintings, as the next evolution of the portrait.

On top of that, the first portrait photography required long exposure times upwards of 20 seconds. “It was hard to hold a smile for that long,” he said, though as technology evolved, the time soon came down to a second or two. 

Back then, copper plates and chemical solutions were used to develop photos, but came at a high cost. When glass plates came around, the cost went down. Photos could printed into multiple copies on paper.

More smiles emerged when the Kodak Brownie camera was released in the early 1900s. People started taking their own candid snapshots with people smiling. That bled into the majority of photographic studios around that time.

The exhibit features some famous faces from history such as Alexander Graham Bell, John A. MacDonald and con artist Cassie Chadwick. 

For those looking to capture a bit of the past, a historic studio camera and portable studio camera from the late 1800s or early 1900s are on display. The cameras, on loan from Annandale National Historic Site and Museum, were once used in a Tillsonburg photography studio, Pollard said.

The photos used in the exhibit are all reproductions because light can be very damaging for old photographs, he said. It also allows them to do some enhancements to faded or damaged photos. 

 “It’s very important for us to keep the collection safe,” he said. 

Pollard will be giving a curator talk on how to care for photographic images on Saturday, June 10 at 2:30 p.m. at the City of Woodstock’s Cultural Canvas event.

WHERE TO FIND IT:

What: Don’t Smile: A selection of early photographic portraits exhibit.
Runs: June 10 to September 9.
Where: Woodstock Museum National Historical Site, 466 Dundas St. in Woodstock, Ont.

It’s the great summation of his Sixties and Seventies obsessions: pools and bathers, enigmatic double portraits, queer desire and longing, sardonic riffs on abstraction.

The split composition is daring: chlorine up close, chlorophyll beyond. The painting is also a marvellous exposition of the mechanics of its medium, from the glistering highlights on the stylised ripples in the pool, the subtly modulated colouring on the poolside tiles, and the inspired painterly shorthand for trees and mountains in the landscape.

Its significance in this show is its deep relationship with photography. Hockney conceived of the scene through a serendiptious spotting of a pair of unrelated photographs on the studio floor, which gave him the idea of the standing figure looking down on the swimmer. In the complex process of making the painting, he took hundreds of photographs that he then used in the two-week burst of activity that brought the painting to its completion.

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I was expecting much more from Hockney in this show. He’s spent decades expounding on his theories of the relationship between the camera and the brush, the human eye and the photographic lens (including some controversial statements about the limits of photography), so a show exploring what it calls “the dynamic relationship” between the two disciplines would seem an ideal stage on which to explore this in depth.

But Capturing the Moment is emphatically not that kind of show. I imagined something exhaustive and exhausting; the kind of dense, comprehensive survey that has defined Tate Modern’s programme – dozens of rooms, a 500-page catalogue, a whole world of theory about mediated images and mechanical eyes. But while the show begins with a great Susan Sontag quote – “The painter constructs, the photographer discloses” – it’s largely pretty lightweight intellectually, with no catalogue, and a meandering thematic structure.

And while at the core of the show are a couple of rooms where photography is centre stage – including marvellous, vast pieces by Jeff Wall, key figures in the Düsseldorf School, Andreas Gursky, Thomas Struth and Candida Höfer, and the cool calm of Hiroshi Sugimoto’s seascapes – it’s mostly a show about painting that relates to photography. But even then, it doesn’t really analyse how. You could say it has a blurry focus.

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This is in part because it’s effectively an introduction to a private collection, that belonging to the YAGEO Foundation, founded by the collector Pierre Chen, who runs an electronic components company in Taiwan. Chen must have deep pockets – the Hockney was briefly the most expensive artwork by a living artist when it sold for more than $90m at Christie’s in 2018 – and he’s assembled a collection that’s clearly rich in both photography and painting. So it doesn’t take a huge leap of the imagination to picture how they arrived at the shape of this exhibition, which accompanies the YAGEO holdings with works from Tate’s collection.

What it lacks in intellectual rigour, though, it makes up for in stonkingly great works. Early on, there’s a rare pairing of photograph and painting of the kind I wish we could see more often – two images of mid-century humanitarian turmoil, which aptly illustrate Sontag’s maxim. Picasso’s Weeping Woman (1937), that devastating picture evoking the tragedy of the Spanish Civil War, turns to face Dorothea Lange’s defining image of the Great Depression, made a year before Picasso’s painting, Migrant Mother, Nipomo, California.

In both images, the woman’s hand is raised to her face, but Picasso can use the fractured forms of his post-cubist language to capture a shattering grief, while Lange had to find a precise moment in which to convey a similar depth of emotion. This pairing perhaps conveys a second meaning in the exhibition’s title most effectively – that of the different ways in which painting and photography represent the times in which they were made.

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Similarly mournful is Lucian Freud’s portrait of his mother nearby, one of 18 he made of her following his father’s death, and among his most moving works. Freud, ever a painter from life, is one of the more unfathomable inclusions in the show – one senses he’s here to support his old mate Francis Bacon, whose work is one of the most remarkable explorations of how paint can respond to the photographic image. Bacon’s portrait triptych of Freud from YAGEO’s collection here is a marker of what he called the “violence” he did to his sitters, using photographs – Freud’s face is all sinew and bruised flesh amid a blood-red ground.

There are marvellously productive conversations between painters all through the show: Bacon opposite Marwan, the Syrian painter, whose painting of the writer Bader Chaker al Sayyab pictures the poet’s head with a slab of meat above it, seemingly about to crush it. Opposite the Hockney there’s a fantastic wall of British and US pop art using photographs – Pauline Boty’s wry comment on pin-ups in which the writer and artist Derek Marlowe sits cheerily beneath four bluntly severed portraits of Marilyn-esque women; a magnificent Robert Rauschenberg silkscreen painting, Almanac (1962); and a thrillingly austere Andy Warhol Brando painting. Two artists that could have commanded entire exhibitions with their relentless interrogation of the photographic image, Gerhard Richter and Wilhelm Sasnal, share a transcendent space.

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A compelling subplot is Tate showing off its great collection of contemporary painters. Works by Michael Armitage, Lisa Brice, Christina Quarles, Laura Owens and Njideka Akunyili Crosby, among others – all acquired in the past decade – show how productively and distinctively artists are grappling with the photograph and the screen.

Tate should, at some point, do the great scholarly painting-meets-photography show I expected. If you want real insight into the tension between these two disciplines, you won’t get it here. But you will see dozens of out-and-out bangers, and that’s enough for now.

Tate Modern, to January 29, 2024; tate.org.uk

“The First Year” – a photography and artifact exhibit documenting the war in Ukraine – was held at CLARA Auditorium in midtown Saturday and Sunday.The exhibit featured more than 1,000 photographs taken by photographer Alina Tyulyu of Sacramento.Tyulyu was born in eastern Ukraine. Her family moved from Ukraine to Sacramento as refugees in 1999. With friends and family members still in the country when it was invaded by Russia, she planned a trip to the border to assist them however she could. The trip was supposed to be for three weeks.“It ended up being almost a year,” she said. “I was completely moved by everything I was seeing.”The photographs displayed Sunday show birthday parties and people cooking alongside images of the wreckage and of soldiers resting. Items from the front lines were also displayed.Tyulyu is an experienced photographer, however, her subject matter, she said, largely was within the hospitality industry. Wine and parties, as she described it. She said she started posting images on social media and quickly realized how important it was to her to share them with the world.“I want people to listen. I want people to see,” she said. “I want people to remember. I want people to remember what war looks like. What this is.”Profits from the event will be used towards humanitarian projects in central and eastern Ukraine.Tyulyu encouraged anyone who wants to learn more about the photo exhibition or about her efforts in supporting Ukraine to contact her via social media.