Photography

Magnolia Acres: Transforming Farm Property into Premier Event and …

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Magnolia Acres: Transforming Farm Property into Premier Event and …
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Magnolia Acres officially opens its doors in Magnolia, marking a new chapter for a property that has been a farm for nearly three decades. Announced by owner Sherri Stephens on Valentine’s Day, this innovative venue aims to fill a niche in the local market, offering a unique setting for photography and small events. The transformation of the farm into Magnolia Acres is a testament to Stephens’ vision of creating a space that caters specifically to photographers, event planners, and those in search of a distinctive farmhouse ambiance for their gatherings.

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Spotlight on Magnolia Acres

With its official opening, Magnolia Acres introduces a range of services tailored to the needs of its clientele. The venue offers small-event venue rentals, hourly photography rentals, and memberships, providing flexible options for various occasions. Central to its appeal are three main areas available for rent: the front porch, the barn, and the chapel studio. These spaces offer versatility, allowing clients to choose specific sections or opt for the entire farm, depending on their event requirements. Read more about the venue’s offerings.

Meeting Market Demand

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The inception of Magnolia Acres was driven by a clear gap in the local market for farm-based event spaces that cater specifically to photographers and small events. Recognizing this need, Sherri Stephens envisioned a venue that would not only leverage the natural beauty and rustic charm of the farm but also provide a much-needed platform for photographers and event planners. This strategic positioning is expected to attract a diverse clientele, ranging from those seeking a picturesque backdrop for photography sessions to those planning intimate gatherings in a unique setting.

A Vision for the Future

Magnolia Acres represents more than just a new business venture; it signifies a growing trend towards personalized and intimate event spaces. As the venue embarks on its journey, the potential for growth and expansion is evident. The unique proposition of offering a farmhouse setting, combined with flexible rental options, positions Magnolia Acres as a premier choice for those seeking an exceptional venue. The vision of creating a community-centric space that supports local photographers and event planners is at the heart of Magnolia Acres’ mission.

The opening of Magnolia Acres is a significant development for the local community, offering a new venue that blends the charm of farmhouse living with the practical needs of event planning and photography. As it grows, Magnolia Acres is poised to become a key player in the event venue market, offering a unique experience that stands out in today’s competitive landscape.

Valley Youth Orchestra, photographer present ‘ Dark Skies & Bright Stars’

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Valley Youth Orchestra, photographer present ‘ Dark Skies & Bright Stars’
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The Valley Youth Orchestra celebrates western Colorado’s beautiful and inspiring “Dark Skies” performed by VYO “Bright Stars” at 4 p.m. Saturday, March 9, at the Montrose Pavilion, 1800 Pavilion Drive. Tickets are $20 for adults (13+) and $10 for children (12 and under) and can be purchased online at ValleyYouthOrchestra.org or from a VYO member.

Dark Skies & Bright Stars will feature music from Star Wars, The Planets, Moondance, Eine Kleine Nachtmusik, Follow the Drinking Gourd, Starcraft, and original compositions that celebrate the night sky.

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Alessandra Sanguinetti on documenting over two decades of friendship

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Alessandra Sanguinetti on documenting over two decades of friendship

We talk to the acclaimed photographer about The Adventures of Guille and Belinda, which traces the lives of two young Argentinian women as they move through adolescence into adulthood

28February 2024

In 1999, photographer Alessandra Sanguinetti was driving down a dirt road in rural Buenos Aires, Argentina, when she spotted “no more than two small points on the horizon”. These were, in fact, two young girls, and cousins, about ten years old, named Guillermina Aranciaga and Belinda Stutz. Those “two small points” would later become larger-than-life presences orbiting Sanguinetti’s life and work for the next two decades, and counting. At once documentary and fantasy, Sanguinetti mythologises the girls, like the Gauchos who roam the land on horseback.

At the time she encountered them, Sanguinetti was shooting her critically acclaimed On The Sixth Day, an exploration of the complexities of human-animal relationships in rural America. The girls, watching from the edge of her frames, would soon become a fascination of their own. Through Sanguinetti’s lens, we have watched them grow from girls to women, women into mothers, collecting the baggage that accumulates during a life lived.

Sanguinetti has published two books of their time together. The Adventures of Guille and Belinda and The Enigmatic Meaning of Their Dreams, shot over five years, follows the girls as they transition from pre-teens to adolescence, capturing the reverie of innocence. The second, The Adventures of Guille and Belinda and the Illusion of an Everlasting Summer, followed as they moved from adolescence to adulthood. Yet, while their likeness became world-renowned, the girls, now women, had yet to physically travel beyond the confines of Buenos Aires. Until recently, for the opening of Sanguinetti’s exhibition at the Fondation Henri Cartier-Bresson in Paris. 

Featuring 52 photographs and three films, The Adventures of Guille and Belinda, is a poignant meditation on time and space, seen through the experiences of two women.

How have you seen the girls change in terms of the process of making these photographs – how their agency has grown?

Alessandra Sanguinetti: Sometimes there’s a seriousness when we talk about collaborations, they always had agency. I was just taking photographs. I was 28, I was there, I loved them, and their parents were really happy because it got them out of their hair while they were with me. They loved the attention and the chance to be able to play and pretend. It was a game.

When they got older, they became more withdrawn, and I had to get to know them again. Then they had children, so their openness has really changed through time. Like, I changed how I’d connect to them at different times, depending on what was going on in my life. It’s not a tidy progression. Now I think we’re in a good place.

Have you photographed your daughter in this way?

Alessandra Sanguinetti: She doesn’t let me. I photographed her a lot when she was little, and she didn’t really understand that she could say no [laughs]. But at one point, she said she didn’t want me photographing her. She said, ‘You ruin the moment.’ When she said that, she was 11. I never tried again.

“I’m close enough and also far away enough that I can see patterns: things that they said or did when they were little that reappear throughout their life” – Alessandra Sanguinetti

You’ve spoken previously about how the story you’re telling through Guille and Belinda sits in the context of Argentine history. How so?

Alessandra Sanguinetti: They’re in The Pampas, which is a very mythologised place in Argentina, like the American West. The Gaucho is like the cowboy figure in the States. In the beginning, they were free, heroes, and all that, and they’re still represented a little that way, but in reality, it’s a feudal system and they could never earn enough to get land, etcetera.

In Argentine history, the folklore, music, paintings, and literature have always been male-centred. When there’s a special event, the men have this really classy clothing: beautiful pants and charming hats. There’s nothing for women – they’re not really celebrated. They work just as hard alongside men. While I didn’t do the work because of that, I was conscious of it while doing it – filling a gap of young women who would never be represented in that space. In the late 90s, there weren’t as many stories about women, period.

There is something very beautiful about committing ordinary people to a book or photograph in this way. Do they ever feel overwhelmed by this dedication?

Alessandra Sanguinetti: They grew up with me taking pictures of them, and when they were teenagers, I started to have shows or reviews in Argentina, and slowly they saw that people knew them. Then with social media, Belinda doesn’t have Instagram and she’s not interested at all but Guille loves the attention. She really appreciates it. She’s interested in people outside of her place. So it’s normal for them. I think in Paris, they were amused that people were so interested in them. They thought it was fun. It takes them out of their life for a while, but it’s not the centre of their world.

Like you’ve said, it’s a game.

Alessandra Sanguinetti: It’s fun now, but it wasn’t always. The middle period wasn’t fun. Figuring out how to be a part of their lives when they were going through real stuff without being a pain in the arse. And then knowing when it’s too private, all of that. I was set limits many times. There are more moments when I couldn’t take pictures than moments when I did. I know they would appreciate [the photographs] later on but, in the moment, it wouldn’t be appreciated.

“There are those photographers, like Nan Golden, who photograph their friends and life. I’m like the opposite. People become intimate after I photograph them” – Alessandra Sanguinetti

Were there moments when you thought this would be the end?

Alessandra Sanguinetti: I felt that when they turned 14 or 15, it became really difficult to enter their space. I felt I was repeating myself doing the same images because I wouldn’t be allowed into their new space. That’s when I thought, okay, enough. But thankfully, I pushed through because I knew it would become really interesting if I went to the other side. Now I’m really into it.

It ebbs and flows like life. Your projects are quite time intensive in ways that time almost shows up as a character. Can you talk about that?

Alessandra Sanguinetti: The things you can learn through time about people and places, all the patterns start coming out. With Guille and Belinda, there’s stuff that’s not in the book, but I can see. It’s fascinating. I’m close enough and also far away enough that I can see patterns: things that they said or did when they were little that reappear throughout their life. With my daughter, I don’t know if I can see that, I’m too close.

Can you tell me about the films shown?

Alessandra Sanguinetti: I’m showing small vignettes. I have 70 hours of video since I started with them because I would photograph while filming. Now I’m editing a feature-length film with that footage.

How do you think the films affect the photographs? Because they come alive, in a way.

Alessandra Sanguinetti: The only time I showed a lot of video was at a group show at the ICP last year. I felt like they were competing with each other. You couldn’t really dive into the prints when you had the video next to them. I don’t think it works to have them simultaneous. The film isn’t going to be about the photographs, it’s not about the making of the work. That’s everything I don’t want it to be. So hopefully, there’ll be two different worlds.

So will it be more of a narrative film?

Alessandra Sanguinetti: Yeah. I filmed them a lot in the beginning because they were so much freer and happier, acting out for a video camera rather than a film camera where they had to stay still. Later on, I just filmed them to film them. It had nothing to do with the pictures, just because I felt that I was missing too much with the photographs. I didn’t have a plan, and that’s why it’s such a headache to edit now.

What have you learned about the photographer-subject relationship through working with Guille and Belinda for so long?

Alessandra Sanguinetti: It’s always complicated. There are times when it does feel weird, and sometimes the friendlier I am with them, the weirder it can seem to be photographing. I know I need a little distance to photograph people. I don’t find it easy to photograph people I’m very close to if the relationship was previous to the photographs. That’s much harder. There are those photographers, like Nan Goldin, who photograph their friends and life. I’m like the opposite. People become intimate after I photograph them.

Alessandra Sanguinetti: The Adventures of Guille and Belinda is running at Foundation Henri Cartier-Bresson, Paris, until May 19, 2024. 

Breaking Stereotypes: Wrestler & TV Host Empower Women Over 40 at Gala with Bad Ass Portrait Photography & Philanthropy

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Breaking Stereotypes: Wrestler & TV Host Empower Women Over 40 at Gala with Bad Ass Portrait Photography & Philanthropy
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The Factory Photography Celebrates 40 women over 40 in a 3/9/24 Gala

Join Wrestler/TV Host Goldy Locks at The Factory Photography’s Gala empowering women over 40 with portrait photography & philanthropy on 3/9/24, in Nashville.

I want EVERYONE to realize being over 40 doesn’t mean blowing cobwebs off! Women over 40, 50, 60, 70, and beyond are fit, fierce and FABULOUS!”

— Goldy Locks

OLD HICKORY, TN, UNITED STATES, February 28, 2024 /EINPresswire.com/ — March 9th Gala Event Breaks Stereotypes: Female Pro Wrestler & Reality TV Host Empowers Women Over 40 with Badass Portrait Photography.

The Factory Photography Presents: The 40 Over 40 Women’s Portrait Experience Gala March 9th 2024.

Pro Wrestler & TLC’s “Call In The Cheapskates” host, Goldy Locks, owner of The Factory Photography is thrilled to announce “The 40 Over 40 Women’s Portrait Experience,” a unique event celebrating the beauty and strength of women in the Nashville surrounding area. After years of celebrity photoshoots, she applies these tips & tricks to every woman who comes through her Nashville studio doors. Scheduled for March 9, 2024, from 5 pm to 8 pm, at the historic Two River’s Mansion, located at 3130 McGavock Pk, Nashville, TN 37214, this event promises to be an evening of empowerment, creativity, and philanthropy.

“I want EVERYONE to realize being over 40 doesn’t mean blowing cobwebs off! Everything mediawise is marketed toward a Kardashian age demographic. What about the rest of us? Women over 40, 50, 60, 70, and beyond are fit, fierce and FABULOUS! I’m taking what I learned about GLAMOUR & the world of PROFESSIONAL WRESTLING and sharing it with all of these hotties! They need to be shown this through celebrity-grade hair, makeup, and epic photographs. Just seeing their expressions when they see what I do through my camera lens makes my heart smile. These sessions are life-changing for some women giving them strength & newfound confidence. Some women are completely terrified at first but end the shoot wanting a nude or boudoir just for THEM to remember how beautiful they are. THIS is SELF POWER & gold!

The purpose of the event is twofold: to showcase 40 portraits of remarkable women, highlighting their individuality and resilience, and to raise funds for the YWCA in support of women overcoming domestic violence. Additionally, attendees will have the opportunity to indulge in a culinary experience as the event features photographs of recipes from the women’s best dishes, elegantly captured the evening of the Gala. These images, along with accompanying stories, will be published in The Factory Photography’s magazine, “40 Over 40 Fabulous Fare.”

Guests can look forward to an engaging atmosphere that combines networking, a cocktail reception, and a delectable meal comprised of the 40 women’s photographed dishes. With over 150 attendees expected, the event is open to the public, inviting individuals from all walks of life to come together in celebration of women’s strength and resilience.

Admission to the event is priced at $30.00, with proceeds from the door, magazine sales, and partial proceeds from portrait sessions directly benefiting the YWCA’s efforts to support women rebuilding their lives after escaping domestic violence.

Media outlets are encouraged to take note of several points of interest, including the celebration of a demographic of women often overlooked, the event’s connection to domestic violence awareness through the YWCA, and the overarching theme of self-love and appreciation at every age.

“We are excited to shine a spotlight on these remarkable women and support such a worthy cause,” says Goldy Locks owner of The Factory Photography. “The 40 Over 40 Women’s Portrait Experience is not only a celebration of beauty and resilience but also a testament to the strength of community coming together to make a difference.”

For more information about The Factory Photography’s 40 Over 40 Portrait Experience please visit https://thefactoryphotographybygoldy.co/ or contact Jamie Finster studio manager at The Factory Photography.

About The Factory Photography:
The Factory Photography is a renowned photography studio dedicated to capturing the essence and beauty of its subjects. With a commitment to creativity and excellence, The Factory Photography offers a range of services, from portraits to event photography, that exceed expectations and leave a lasting impression.

Contact:
Jamie Finster
Studio manager
The Factory Photography
Jamie.Finster@Gmail.com

Jamie Finster
The Factory Photography
+1 (615) 437-3373
email us here

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A funny old game and a crafty crow

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A funny old game and a crafty crow
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Lyon, France

‘This was taken at Lugdunum, the Gallo-Roman museum. The exhibits are great, but I really love the place because of its architecture.’

Photograph: Britta Burmester

Photographer Who Accused Taylor Swift’s Dad Scott of Assault Breaks Silence

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Photographer Who Accused Taylor Swift’s Dad Scott of Assault Breaks Silence
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Ben McDonald, an Australian photographer who recently claimed that he was assaulted by Scott Swift, is opening up about the alleged incident, telling TMZ he’s willing to let everything go if Papa Swift apologizes. 

The altercation reportedly happened around 2:30 a.m. local time on Tuesday, Feb. 27, in Sydney, Australia, at a ferry terminal where the father-daughter duo was seen disembarking a yacht in the hours following her final Eras Tour in the country. 

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Photographer Who Accused Taylor Swift’s Dad Scott of Assault Breaks Silence

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Photographer Who Accused Taylor Swift’s Dad Scott of Assault Breaks Silence
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Ben McDonald, an Australian photographer who recently claimed that he was assaulted by Scott Swift, is opening up about the alleged incident, telling TMZ he’s willing to let everything go if Papa Swift apologizes. 

The altercation reportedly happened around 2:30 a.m. local time on Tuesday, Feb. 27, in Sydney, Australia, at a ferry terminal where the father-daughter duo was seen disembarking a yacht in the hours following her final Eras Tour in the country. 

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“Seen & Unseen”: Photographs by Imogen Cunningham Opens this Friday at Reynolda

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“Seen & Unseen”: Photographs by Imogen Cunningham Opens this Friday at Reynolda

This Friday, March 1, Reynolda House Museum of American Art opens its spring exhibition, “Seen and Unseen: Photographs by Imogen Cunningham” in the Mary and Charlie Babcock Wing Gallery. On view through June 2, 2024, the exhibition showcases the works of Imogen Cunningham, one of the most experimental photographers of the 20th century. Museum-goers will discover some of her most unusual and rare images presented alongside iconic ones, revealing why this American artist is one of the most important pioneers of photography.

Embracing the times in which she lived, Cunningham (1883-1976) created images that reflect crucial movements and developments in art and photography during her 70-year career. Her photographs, seductive and dynamic, are inspired by a multitude of genres, including portraiture, family photographs, still lifes and street photography. 

Throughout the exhibition season, Reynolda House and Gardens hosts a variety of events related to the photography theme. You can find these event details and more at reynolda.org/cunningham.



WARU-Three Dancers, Mills College, 1929.jpg

Imogen Cunningham (1883–1976) “Three Dancers, Mills College,” 1930, silver gelatin print.


Photo courtesy of ©Imogen Cunningham Trust


March 6: Drinks @ Dusk | $25 

Explore the Seen & Unseen after hours while mixing and mingling in a historic setting. Participate in a scavenger hunt for a chance at winning a prize, vibe out to DJ-spun tunes, and sip on a specialty cocktail, beer, or wine. 

March 24: Reynolda on the House | Free Admission

All are welcome to visit Reynolda “on the house” and enjoy a self-guided tour of this historic house, feature exhibition, and dance along to the live music provided local swing band, Swingset.

March 27: Gallery Talk – Group f/64 | $10

Join Benita VanWinkle, High Point University associate professor of visual arts, in this gallery talk that introduces Group f/64, a collective of American west coast photographers that decided it was time for a change away from the pictorialist soft focus, or hand-manipulated movement of photography. Among the leaders of this movement were Imogen Cunningham, Edward Weston, Ansel Adams, and Willard Van Dyke.

April 6: Smartphone Photography Class with Elizabeth Larson | $60

Meet in Reynolda Gardens under the blossoming Cherry Trees and prepare to learn skills to better understand proper lighting, composition, exposure, and selecting go-to photo apps to enhance your photographs. All levels and devices are welcome. Rain date is April 13.

April 25: Imogen Cunningham The Light Within | $15 

In an era dominated by male photographers, Cunningham stood out as one of the few women who played a pivotal role in shaping early modernist photography in America. Despite her significant contributions, her stature has sometimes been overshadowed by her male peers. Guest speaker, Paul Martineau, curator of photographs at the J. Paul Getty Museum, aims to shed light on her rightful place in the annals of twentieth-Century photographic history.

May 25: Portrait of Imogen (Film) | $10

Meg Partridge, granddaughter of Cunningham and Director of the Imogen Cunningham Trust, worked alongside the photographer during her teenage years. Partridge directed and produced the Academy Award-nominated short documentary, Portrait of Imogen. A Q&A with Partridge will take place following the film. 

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