Close-Up Shot – Tunali Fotograf http://tunalifotograf.com/ Sat, 27 Nov 2021 07:40:25 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://tunalifotograf.com/wp-content/uploads/2021/07/icon-1-150x150.png Close-Up Shot – Tunali Fotograf http://tunalifotograf.com/ 32 32 Social media chefs demystify cooking for a new generation https://tunalifotograf.com/social-media-chefs-demystify-cooking-for-a-new-generation/ Sat, 27 Nov 2021 06:00:00 +0000 https://tunalifotograf.com/social-media-chefs-demystify-cooking-for-a-new-generation/ If you’ve ever felt an urgent need to make candied potatoes or fold a tortilla clockwise, then you’ve been swayed. It can creep in from anywhere, a conversation overheard on the bus about three-ingredient brownies (I was responsible for this one) or a quick conversation at the start of a Zoom call about that feta […]]]>

If you’ve ever felt an urgent need to make candied potatoes or fold a tortilla clockwise, then you’ve been swayed. It can creep in from anywhere, a conversation overheard on the bus about three-ingredient brownies (I was responsible for this one) or a quick conversation at the start of a Zoom call about that feta pasta. For dinner.

The coronavirus wasn’t the only thing going viral in 2020. There were the dalgona coffee and banana bread recipes, then the frozen honey. Many viral food trends come from TikTok and Instagram. TikTok, once known primarily for its lip-syncing videos and trendy dance routines, has really evolved during blocks.

We were at home most of the time, twiddling our thumbs and thinking about our next meal. We had more time to cook creatively and experiment in the kitchen, trying to recreate our favorite restaurant dishes. Brunch recipes have also taken off, and the perfect hollandaise sauce for those poached eggs has become a frequent topic of research online. A study commissioned by Samsung showed that 71% of 2,000 adults turned to social media instead of traditional cookbooks.

The winning social media formula seems to start with an easy recipe, using accessible and widely available ingredients and simple assembly. The point is that you want to do it when you see how easy and delicious it is, or for fun, then you hit that button like, or better yet, save it.

Although I wrote a feta recipe in a national newspaper in 2013, it took me a 30-second video to go viral last year. The TikTok platform has made it easy to share and distribute, creating a worldwide increase in sales of feta cheese. Being shown how easy this delicious dish is to prepare has been key to its popularity, as well as the visual element of these vibrant, soft cheese giving tomatoes that make it so appetizing.

There are different styles of food video that do well on social media. Neat shots that come close and personal with the ingredients are always a winner. A matrix style slow motion revolves around the sweet topping of a cruffin, now worth watching a few times. You can almost taste the maple syrup as it slowly pours onto hot pancakes or smell the crispy sourdough when it is sliced, the camera right at the edge of the cutting board for maximum impact.

While it might sound easy, creating great food content is hard work.

Our sight is not the only meaning covered here, as some eschew the use of trendy songs in favor of the natural sounds of the food being prepared. With ASMR (Autonomous Sensory Meridian Response) food videos, we hear the paper skin of the peeled onion, the flames licking the steak, the crushed peppercorns. Euphoric videos from food blogger and Belfast content creator Jim Moore, aka Only slag, show close-ups of thinly sliced ​​onions, crushed garlic and fried eggs. It’s fast, inspiring and appetizing.

Emilie Mariko, a 29-year-old Californian, created a bowl of salmon rice with seaweed, mayonnaise and sriracha and the way she did it has garnered over 76 million views. His avocado and egg on toast also have nearly 50 million views. These are staggering numbers. Each recipe is extremely simple and comes with the sound of clicking ice cubes, flowing sriracha sauce and mashed salmon. Its food is very accessible, without measures or directives. It’s just Mariko in her kitchen making lunch and sharing her ideas with us.

Storytime is big on TikTok: Melanie in Texas bakes brownies, with her glittery acrylic nails, recounting how her cousin’s best friend’s brother boss cheated on her husband. It’s very difficult to look away. Its southern accent, the gossip, the rich chocolate paste poured into the tray. After 10 seconds, the ganache is swirled and spread with a palette knife as it carefully completes the cautionary tale, taking a big bite out of the oversized brownie at the end. Boom.

While it might sound easy, creating great food content is hard work. So much time and effort goes into planning, researching, testing recipes, and buying food. You need to wear multiple hats and have different skills, unless there is a production team behind you. In addition to having an in-depth knowledge of the subject, food and cooking, you must be able to direct, film, light and assemble each piece yourself. Editing is essential when every second counts.

There is a new generation of cooks who have learned to cook from a 30 second video, and that’s a good thing.

IGTV Instagram videos can be up to an hour long, but viewers decide within three seconds whether or not to continue watching. Instagram reels and catchy short videos on TikTok are also popular. The reels were introduced by Instagram in August 2020 and have become an essential tool for content creators hoping to go viral. Smooth transitions make for successful videos. One minute, the person on camera breaks the eggs, then whips up the sauce and so on. A hectic pace is not pleasant to watch, so smooth transition skills are essential to reassure the viewer that they are in good hands and to enjoy the 30 second trip from pan to plate.

Good technical skills are one of the elements of a successful food social network account, but there are also content creators who are successful based on their personality and screen presence. It is their sympathy that has the viewers supporting them. Based in london Poppy O’Toole is the perfect example. She opened her TikTok account when she was fired from her job as a chef at the start of the pandemic. She is a Michelin trained chef, and she is also bubbly, chatty, relaxed and knowledgeable. In the past year, she has increased her subscribers to 1.9 million, with 28 million likes, and has just published her first book, Poppy Cooks: The Food You Need, with a rave review by Nigella Lawson. .

Nasim Lahbichi is another personality that I like to see on my thread. He has over 400,000 followers on TikTok and 200,000 on Instagram. His friendly and chatty nature makes his recipes shine even more. Born and raised in a Puerto Rican / Moroccan family in Brooklyn, his recipes are a beautiful fusion of those cultures, from tangy harissa tahini mashed potatoes to za’atar crusted maduros.

The body coach, Joe Wicks, is known for his personal training and fitness programs, and his live online videos have exploded his brand over the past year. In his Lean In 15 book series and online videos, he takes recipes down to the most basic steps. Everything is incredibly simple and straightforward. It’s food to keep you slim and nourished and it seems really achievable. His carefree cooking methods and zesty approach are so encouraging to novice home cooks.

Thanks to various different approaches, styles and platforms, there is a new generation of cooks who have learned how to make a grilled cheese wrap on their own from a 30 second video, and that’s a good thing. Demystifying cooking is extremely positive because cooking is an essential skill in life. Hopefully, this culinary content creation boom will lead more people to satisfy their cravings for good food by cooking more at home.



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Classic Macy’s Thanksgiving Parade Photos https://tunalifotograf.com/classic-macys-thanksgiving-parade-photos/ Thu, 25 Nov 2021 09:56:15 +0000 https://tunalifotograf.com/classic-macys-thanksgiving-parade-photos/ Posted on November 24, 2021 at 2:34 p.m. by Carol Tannenhauser By Stephen Harmon I started photographing the Thanksgiving parades when I moved to the Upper West Side in 1978. At that time and for many years afterwards, long before Covid, terrorists and other dangers, I could walk directly on the parade route and take […]]]>

Posted on November 24, 2021 at 2:34 p.m. by Carol Tannenhauser

By Stephen Harmon

I started photographing the Thanksgiving parades when I moved to the Upper West Side in 1978. At that time and for many years afterwards, long before Covid, terrorists and other dangers, I could walk directly on the parade route and take close-up photos of the fabulous balloons. Here are some of my favorites since 1978.

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    1. Carlos said:

      Thanks for sharing. That’s great ! I wish there were more classics like these.

      To respond

    2. Ellen said:

      Steven: These photos are beautiful. Thank you very much for posting them.

      To respond

      • JeffS of West 90th Street said:

        Wonderful photos from Thanksgiving past. Thanks for posting.

        To respond

    3. Amanda said:

      I like these. Thank you.

      To respond

    4. Judy G. said:

      Brings you back to another era …
      Magnificent photos and memories.

      To respond

    5. Harriet said:

      Wonderful memories …. thank you

      To respond

    6. san said:

      It was the time… so happy that I lived this period in New York… Certainly epic!

      To respond

    7. Kiki said:

      Oh, they are absolutely WONDERFUL! thank you so much
      a lot, Mr. Harmon.

      To respond

    8. Jay said:

      Snoopy’s Image: Shades of the famous Stay Puff Marshmallow Man ™ ‘thought form’, though about 12 blocks north.

      Is the photo of a parade before the film?

      To respond

    9. Elijah said:

      Thank you for these wonderful photos. So poignant to see them again. I wish I could teleport there. . .

      To respond

    10. Arlene erb said:

      These are wonderful..what a delightful way to view these amazing works of art… thank you Happy Thank you for giving…

      To respond


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Man driving on I-75 says road rage bullet misses his head by inches – WSB-TV Channel 2 https://tunalifotograf.com/man-driving-on-i-75-says-road-rage-bullet-misses-his-head-by-inches-wsb-tv-channel-2/ Tue, 23 Nov 2021 22:59:17 +0000 https://tunalifotograf.com/man-driving-on-i-75-says-road-rage-bullet-misses-his-head-by-inches-wsb-tv-channel-2/ CLAYTON COUNTY, GA – A father says flashing his high beams almost killed him and his 11-year-old daughter in a road rage incident. Antjuan Grimes can’t believe they almost lost their lives for something so small. He said he was really on the verge of losing his life. “Probably about as much,” he said, holding […]]]>

CLAYTON COUNTY, GA – A father says flashing his high beams almost killed him and his 11-year-old daughter in a road rage incident.

Antjuan Grimes can’t believe they almost lost their lives for something so small. He said he was really on the verge of losing his life.

“Probably about as much,” he said, holding his fingers a few inches apart.

Grimes says if a bullet that hit his headrest landed a few inches away it would be over for him and maybe his daughter as well.

“My daughter and I could be gone now,” he explained. Grimes says he picked up his daughter from a hair salon Thursday night and was driving home on Interstate-75 South near Mount Zion Boulevard.

He said a slow car, maybe a brown Chevrolet Impala, was in front of him. He wanted to let the slower car know he was behind.

“I turned on my high beams,” he said. Grimes says he turned on his high beams a second time and the car moved into the right lane.

He noticed movement in the car as it passed.

“I just took a look and just saw the gun come out,” Grimes said.

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He accelerated and all of a sudden, “He shot,” Grimes pointed out, referring to the driver he had just seen pull out a gun.

The bullet went through his back window, then hit his headrest. It struck its front windshield and then landed on its dashboard. “And that’s the bullet,” he said, pointing to the bullet fragment.

Surprisingly, Grimes was not concerned with his life in the midst of the gunfire.

“I was just trying to make sure my daughter was okay because I could feel I was okay,” he said.

He hit the gas and walked away from danger. Grimes says he looked in his rearview mirror and noticed the gunman descended on Mount Zion Boulevard. He said it was all so crazy.

He and his daughter could have died because of him flashing high beams.

“It’s just ridiculous. We just have no respect for life, ”said Grimes.

Clayton County Police are investigating. Grimes says her daughter is a very strong child and doesn’t seem fazed by the danger they face.

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5 dead, 40 injured after SUV goes to Wisconsin Christmas parade – NBC Chicago https://tunalifotograf.com/5-dead-40-injured-after-suv-goes-to-wisconsin-christmas-parade-nbc-chicago/ Mon, 22 Nov 2021 05:49:35 +0000 https://tunalifotograf.com/5-dead-40-injured-after-suv-goes-to-wisconsin-christmas-parade-nbc-chicago/ A cheerful scene of marching bands and children dancing in Santa hats and waving pom poms turned deadly in an instant, as an SUV drove through barricades and headed for a Christmas parade in suburban Milwaukee, killing at least five people and injuring more than 40 others. A “person of interest” was in custody and […]]]>

A cheerful scene of marching bands and children dancing in Santa hats and waving pom poms turned deadly in an instant, as an SUV drove through barricades and headed for a Christmas parade in suburban Milwaukee, killing at least five people and injuring more than 40 others.

A “person of interest” was in custody and the car was recovered, Waukesha Police Chief Daniel Thompson said, but gave no details of the person or any possible motive. The investigation was ongoing, with assistance from the Wisconsin Department of Justice.

The town of Waukesha posted on its social media accounts on Sunday evening that it could confirm at least five people had died and more than 40 had been injured, while noting that it was still collecting information. The city statement also noted that many people went to the hospital. The city did not disclose any additional information on those who died.

The event was broadcast live on Facebook, and part of the video showed a red SUV driving through the parade at what appeared to be high speed followed by gasps and sirens.

“What happened in Waukesha today is disgusting, and I have no doubts that those responsible will be brought to justice,” tweeted Attorney General Josh Kaul, the state’s top law enforcement official. .

The incident may have occurred during a knife fight or stabbing and then someone involved fled, according to four senior law enforcement officials who spoke to NBC News.

Police are not looking for anyone else in connection with the vehicle incident, but may be looking for other suspects in the knife fight, the sources said.

At around 4:39 p.m., an SUV drove through a barricade on Gasper Avenue and Main Street, then headed towards the crowd that had gathered for the parade, Thompson said.

Video shows the SUV hitting what appear to be members of a marching band and several others along the parade route before continuing. The sound of the fanfare heard before the approach of the SUV is replaced by screams.

Dan Thompson of the Waukesha Police Department and Chief Steve Howard of the Wauskeha Fire Department provided an update on Sunday evening after a car hit a crowd during the town’s Christmas parade.

Police said at one point an officer discharged his gun, shooting at the suspect’s vehicle in an attempt to stop him. No passerby was injured by the gunfire, and Thompson said he was unsure whether the driver was hit by the officer’s bullets. They do not believe that shots were fired from inside the car.

The scene would have been safe and secure within hours of the incident, police said at an 8 p.m. press conference.

Main Street will remain closed from Barstow and Main in Wisconsin and the Main until at least noon Monday, the city said, and businesses in that area are expected to remain closed.

The city said that once the area is reopened, space for a temporary memorial will be made at the veterans park.

“The community mourns the loss of its members and the injured,” the statement from Waukesha said. “We ask the community to come together during this time and keep the families in your prayers.”

Waukesha town leaders spoke at a press conference on Sunday following an incident in which several people were killed and at least 28 others were injured when a vehicle crashed into a Christmas parade.

Earlier in the evening, two hospitals reported treating 28 people, while police and local hospitals said at least 11 adults and 15 children were injured. Information on the severity of the injuries was not immediately known, authorities said. “Some” deaths were reported at the time, but police refused to provide a number of those who died, citing the privacy of the families of the victims.

As of 8 p.m., the Wisconsin Children’s Hospital said it had received 15 patients from the incident, with no deaths reported at the time.

Summit Aurora Medical Center was treating a total of 13 patients on Sunday night: three in critical condition, four in serious condition and six in fair condition, according to a statement.

The Roman Catholic Archdiocese of Milwaukee said one of its priests, as well as several Catholic parishioners and schoolchildren in Waukesha, were injured in the incident.

Angelito Tenorio, a West Allis city councilor who is running as Wisconsin state treasurer, told The Associated Press he was watching the parade with his family when they saw the SUV rush into the region.

“Then we heard a loud bang,” Tenorio said. “And after that, we just heard deafening screams and screams from the crowd, from the people in the parade. And people started to rush, to run away with tears in their eyes, crying.

Tenorio said he saw around ten people on the ground, children and adults, who appeared to have been hit by the vehicle.

“It happened so fast,” he said. “It was pretty awful.”

The Waukesha School District canceled classes on Monday, saying they will have “additional counselors available” for students and staff.

The city has also advised anyone who may need to speak to someone experiencing the scene to call 211.

An FBI spokesperson said his Milwaukee field office was aware of the incident and local and state authorities were leading the response. The White House is also monitoring the situation, according to a statement.

At Twitter, Wisconsin Gov. Tony Evers said he and his wife “are praying for Waukesha tonight and for all the children, families and community members affected by this senseless act.”

A vehicle drove through a Christmas parade in the Milwaukee suburb of Waukesha on Sunday evening.

The parade is sponsored by the city’s Chamber of Commerce. This year’s edition was the 59th of the event which takes place each year on the Sunday before Thanksgiving.

Waukesha is a western suburb of Milwaukee, and about 55 miles (90 kilometers) north of Kenosha, where Kyle Rittenhouse was acquitted on Friday of charges resulting from the shooting of three men during the unrest in that city in August 2020.



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Preston North End 1-2 Cardiff City: James Collins scores his first goal with the Bluebirds to complete comeback victory https://tunalifotograf.com/preston-north-end-1-2-cardiff-city-james-collins-scores-his-first-goal-with-the-bluebirds-to-complete-comeback-victory/ Sat, 20 Nov 2021 16:52:30 +0000 https://tunalifotograf.com/preston-north-end-1-2-cardiff-city-james-collins-scores-his-first-goal-with-the-bluebirds-to-complete-comeback-victory/ Steve Morison marked his first game as permanent Cardiff City boss with a stunning comeback victory over Preston North End at Deepdale. An early goal from Sean Maguire put a damper on the proceedings, but Cardiff showed huge hearts and fought to come back and win 2-1. Mark McGuinness sent a header home right after […]]]>

Steve Morison marked his first game as permanent Cardiff City boss with a stunning comeback victory over Preston North End at Deepdale.

An early goal from Sean Maguire put a damper on the proceedings, but Cardiff showed huge hearts and fought to come back and win 2-1.

Mark McGuinness sent a header home right after the break to grab the first in a Bluebirds shirt, before impact sub James Collins, who was brilliant after his introduction, did the exact same when opening his count dramatically by scoring the winner.

This gives City three much-needed points and gives fans real reason to be optimistic.

The big news before kick-off was that Kieffer Moore was out. The Welsh striker returned from international service with a small problem, although it wasn’t too bad.

But with that door closed, one has certainly opened for the two young Cardiff guns upstairs. Isaak Davies, 20, and Chanka Zimba, 19, both got their first starts for the club and a young strike force ahead of 19-year-old Rubin Colwill.

Fat? Yes. But Cardiff’s strike force has hardly been in full swing this season and it was heartwarming to see Steve Morison throw some caution to the wind.

Joe Ralls missed the game due to illness, so with Sean Morrison nominated again on the bench, it was Marlon Pack who took the armband.

The Bluebirds’ early struggles continued, however, and they fell behind early.

Early pressure from the PNE resulted in an early corner for the hosts. The ball was whipped and was not processed enough at the front post, it went to back batting and Maguire regrouped it to give the hosts the advantage within 90 seconds.

The bubble has indeed burst over the early optimism of Steve Morison’s reign and the excitement surrounding the selection of the young team.

The young people really struggled to get into the game. The ball hit Chanka Zimba, who struggled early in this role of target. Isaak Davies and Rubin Colwill also struggled to impact the game.

Marlon Pack and Will Vaulks couldn’t control things in the middle either, and Preston dominated the opening rally.

Alex Smithies behaved superbly to keep Cardiff level, making saves from Andrew Hughes and Emil Riis before acrobatically denying a hoarse effort from Ali McCann just outside the zone.

Cardiff weren’t getting anything from the referee and it escalated into frustration. The traveling Bluebirds fans cheered as if they had scored a goal when Lee Doughty awarded them a free kick late in the half.

At the break, however, Cardiff could have few complaints about the score.

They must have had a rocket at halftime because they got out of the tunnel after the break.

First, Will Vaulks punched a sharp, whistling shot through the upright to give traveling supporters a huge lift behind the goal. Then McGuinness really made them roar.

Vaulks raised a free kick in the box and the center-back stood up well and buried his header past Iversen to restore parity and give the visitors some life.

Suddenly Cardiff found pockets of space. Colwill was ghost in the box, Mark Harris, having been brought in, made an impact.

But it was replacement James Collins who made his mark.

Ryan Giles sent a nice corner and the Republic of Ireland international sent a guided header to the far corner and subsequently sent the end outside into ecstasy.

Cardiff came close to the third when Perry Ng burst into the box and found Colwill a few yards away, but the playmaker’s shot was kept on the line by a sprawling leg from Preston.

Luckily for Cardiff, they didn’t need this cushion. The Bluebirds held on and collected three valuable points on the road.

There has to be more of where this came from, but at the very least that’s a positive starting point.

Cardiff City XI: Smithies; Ng, McGuinness, Flint, Nelson, Giles; Vaults, Pack; Colwill (Bacuna 86); Zimba (Collins 45), Davies (Harris 62).

Subtitles: Phillips, Morrison, Brown, Sang.

Preston North End XI: Iversen; Van den Berg, Bauer, Hughes, Cunningham (Earl 68); Barkhuizen, Ledson (Sinclair 68), Browne, McCann; Riis, Maguire (Johnson 75).

Subtitles: Hudson, Lindsay, Storey, Potts.


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Adam Pendleton’s frenzied cacophony https://tunalifotograf.com/adam-pendletons-frenzied-cacophony/ Thu, 18 Nov 2021 22:30:27 +0000 https://tunalifotograf.com/adam-pendletons-frenzied-cacophony/ that of Adam Pendleton Who is queen? bristles with colossal agitation. Covering the central atrium of the Museum of Modern Art (MoMA), the installation’s imposing presence is enhanced by a five-story black scaffolding, a skeleton-shaped container that contains a DIY of two-dimensional works on screen printing as well as sculptural works in wood. The centerpiece […]]]>


that of Adam Pendleton Who is queen? bristles with colossal agitation. Covering the central atrium of the Museum of Modern Art (MoMA), the installation’s imposing presence is enhanced by a five-story black scaffolding, a skeleton-shaped container that contains a DIY of two-dimensional works on screen printing as well as sculptural works in wood. The centerpiece of the installation is a dialogue between two films: “Notes on the Robert E. Lee Monument Richmond, VA (figure)” (2021) and “City of the Resurrection Film Notes” (2021). A third film, “So We Moved: A Portrait of Jack Halberstam” (2021), intervenes intermittently in the story, screened daily at 12:30 p.m. and 4:30 p.m. Projected in dazzling, theatrical white light, Pendleton’s installation transforms the atrium into a stage for the tumultuous unfolding of a total work of art; a stormy assemblage of films, sculptures and sounds that plunges visitors into the unstable throes of protest and struggle.

The thesis of the installation revolves around a collision between two sites of protest and resistance. “Notes on the Robert E. Lee monument in Richmond, Virginia (figure)” (2021) studies one of today’s most recognizable icons of Confederate violence, which 2020 Black Lives Matter protests turned into a visual archive of dissent. Meanwhile, “Resurrection City Film Notes” (2021) turns to another site of contestation, the holder City of the resurrection, a popular tent town and anti-poverty protest erected at DC’s National Mall in 1968 after the assassination of Martin Luther King.

But on the MoMA screen, these two moments of history slip together into a picture of the long duration of the struggle. In fact, after entering the exhibit relatively unconsciously, it wasn’t until I looked closely at the museum’s wall text that I realized I had watched two separate films. But rather than seeing this lack of firm distinction between the two films as a curatorial or artistic failure, I approached it as a generative osmosis. As they slide and slide together, the films reveal an honest picture of the story and the struggle that is muddled and impure rather than crisp or easy to follow. The camera seamlessly shifts from archival footage of the Resurrection City to contemporary footage of the Robert E. Lee monument. The gaps between space and time that are supposed to separate the two films are filled by their visual congruence: both films are shot in black and white, suggesting nostalgia for a time gone by. Although grayscale is endemic to images from “Film Notes on Resurrection City, ” the lack of color in “Film Notes on the Robert E. Lee Monument” diminishes its contemporaneity, inaugurating a blur between the two historical moments that Pendleton takes as a starting point.

installation photos of Adam Pendleton: Who is the queen? (author’s photos for Hyperallergic)

In fact, monochrome – a staple of Pendleton’s work – structure the entire installation. In the textual serigraphs that decorate the scaffolding, the monochrome obscures and makes sense at the same time. In a writing disaster, dense layers of black and white graffiti-like lettering clutter the panels, stacked successively on top of each other. We are left with the textual equivalent of screaming: words and sentences are cut into letters that compete in visibility, layers and layers of text seem to cry out at us, denying the ease of readability that our eye craves. Buried in that thick buzz of calligraphy, I remembered the graffiti that came over the base of the Robert E. Lee monument that Pendleton recalls in his film – that restless display of words that has become one of the rebellion’s many signifiers. against white supremacist command logic.

Called from Richmond to Washington to the galleries of MoMA, swinging between those distinct but indistinct moments in history, I also found myself wheeling through multiple experiences of time, a speeding up and a slowing down that left me in. a whirlwind of movement and stillness. Through the editing of active video sequences and still photographs – most often portraits of people in the camp – the story becomes both massive and immediate. Time passes before our eyes as images of civil rights marches pass between images of Freedom Riders. Next, the film delves into the graceful speed of intimacy as the camera relies on neat portraits of Resurrection City residents and protesters. Sometimes the camera dares to interfere in the stone face of Robert E. Lee, lingering for several close-ups. This intimacy seemed almost disturbing: made vulnerable by this fixed and perceptive gaze, the monument seemed for a moment almost stripped of its power.

The rambling temporality affected by these visual arrangements explodes in Pendleton’s accompanying sound collage, a contrapuntal cacophony of wrestling that engulfs the audience in layers of music, lyrics, song, and speech. A contemporary musical arrangement by Hahn Rowe entitled “Yellow smile”(1994) spans both films, taking with it the tense lyricism of violins and electronic sound. In “Film Notes on Robert E. Lee, Rowe’s piece is superimposed on a clash of two decidedly distinct sounds: a 1980 recording of the poet and the revolutionary Amiri Baraka and a 2014 iPhone recording of a Black Lives Matter Demonstration in Manhattan, which brought me back to my own memories of various protests. Baraka’s controversial cadence intersects and is cut off by a crowd tide, and poetry erupts in the sound of mass protest. We are immersed in a sound tidal wave of today and yesterday like history crescendos et decrescendos. In the frenzy of Pendleton’s rhythm, history doesn’t just repeat itself. On the contrary, he leaps forward, stammers, stops to catch his breath, sneaks up on himself. It is a time that refuses regulation or order. As I initially struggled to follow, I eventually surrendered to disorder, allowing the facility to overwhelm me in all its chaos.

At 4:30 pm on the day of my first visit to the Pendleton facility, time again slowed down and gave way to “So We Moved: A Portrait of Jack Halberstam,Which follows the radical life and work of Columbia University Gender studies teacher. The film was placed between the two Cinema Notes, preceded by its own introductory text: a poem by TS Eliot from which the title is derived. The presence of Eliot at the opening of the film is enlightening: Halberstam is substantially engaged with the poet. In his book 2020 Wild things, Halberstam theorizes Eliot’s theory Four quartets as generating a “sense of a disorderly orientation to time and life”. This sensitivity comes to the fore in Pendleton’s film, who reveled in the slowness required to paint a portrait. At the same time, the film left me impatient, yearning for a new worldview that Halberstam demands is possible. “I believe in collapsing order,” remarks Halberstam. “Instead of refusing the label of monstrosity… embrace it.” The visual and sound tumult of Pendleton’s installation responds to this invitation. He insists on a monstrous politics and aesthetic of disorientation, the contortion of time, space, image and sound to offer what is perhaps a prelude to the destruction of order itself on which rests our world. Scaffolding climbs the interior walls of MoMA, devouring the museum and consuming the audience in a tumult of activity with it.

Adam Pendleton, “Untitled (WE ARE NOT)” (2021), silkscreen ink on canvas, 120 × 144 (image courtesy of the artist, via Museum of Modern Art)

The anarchic aesthetic of Pendelton’s work offers us a lot to savor. At the same time, I wondered if the installation had fully succeeded in its ambitions of being a “total work of art”. Although the premise of the exhibition favors the multitude in the singular, the chorus over the soloist, the installation seemed to me to prioritize the film over other relevant media. To some extent, the film has the unfair advantage of having more pictures, sounds and movement. But this distinction between the media is only accentuated in Who is queen?; while the film is brimming with sound and visual stimuli, the scaffolding seemed comparatively underutilized. As rich as Pendelton’s textual panels were, the scaffolding itself seemed full of negative space, a lack that became particularly evident given the vastness of the scaffolding and its contrast to the white walls of the gallery. The media problem was highlighted by what looked like a lack of integration between the film – which looms on one wall – and the rest of the installation. The chairs face the screen, encouraging viewers to sit and watch movies in a stationary position. But the installation requires an activity on the part of the spectator: to experience it fully has required me to navigate the room and pass through multiple perspectives of observation, to approach myself to lose myself in the details then to step back, craning your neck to see the highest registers of the scaffold. Sitting down to watch the films and then standing to face the rest of the installation, this tension between the active and participatory experience of the total installation and the more passive viewer of the film seemed unresolved.

Space itself comes with its own unresolved questions. It’s important to note that Pendleton’s exhibit is textured by a third protest site: MoMA itself. For months, coalitions of activists in New York have recently staged continued protests against the museum for its support for toxic philanthropy and the ties of many of its board members to the prison industrial complex and the Israeli occupation of Palestine. Pendleton’s project assumes a particularly strained relationship with these institutional policies. Not only did the project occupy a building – or perhaps more accurately, a monument – embroiled in the protest, but Pendelton also carried out extensive archival research in museums at MoMA and the Walker Art Center in Minneapolis to make the project possible. At the same time, the premise of the project is rooted in institutional criticism – its radical proposition depends on a contrast between the limits of the museum and the madly uncontrollable form of the installation. Faced with growing calls for a world beyond museums and monuments, Who is queen? is caught in the crosshairs. Yes, the project is destabilizing on its own terms, but also mired in the tensions of what it devours.

Adam Pendleton: Who is the queen? continues at the Museum of Modern Art (11 W 53rd Street, New York, NY) until February 21, 2022. It was organized by Stuart Comer, Danielle A. Jackson, Gee Wesley and Veronika Molnar.

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The work in The Travel Section points to the isolation of a lockdown, but it is not without moments of liberation.


The museum’s Open Call for Artist Banners winner Chemin Hsiao and finalists Woomin Kim and Mo Kong discuss their designs with Hyperallergic.


Conservative critic Gilbert T. Sewall wants to bring the Met back to life.



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HONOR 50: The best phone for vlogging from the iconic tech brand – News https://tunalifotograf.com/honor-50-the-best-phone-for-vlogging-from-the-iconic-tech-brand-news/ Wed, 17 Nov 2021 09:56:30 +0000 https://tunalifotograf.com/honor-50-the-best-phone-for-vlogging-from-the-iconic-tech-brand-news/ HONOR returns with the best phone for vlogging in 2021 Imagine everything you would need to create the perfect vlogging post – now imagine it all with one device. Hello and welcome to all. Today we take a look at the ultimate new take on HONOR, focused on providing content creators with the most powerful […]]]>

HONOR returns with the best phone for vlogging in 2021



Imagine everything you would need to create the perfect vlogging post – now imagine it all with one device. Hello and welcome to all. Today we take a look at the ultimate new take on HONOR, focused on providing content creators with the most powerful tools wrapped in a beautiful and exquisite design. With the most superior camera quality and interface, performance specs and battery life, this wonderful innovation is sure to become the best companion for vloggers around the world.

Professional-grade camera setup

Looking at the camera setup of HONOR 50, it’s clear that HONOR has followed its time and paid close attention to the rise of young vloggers and their needs. Equipped with an amazing 32 mega-pixel front camera and professional-grade quad rear camera setup that captures videos and photos with ultra-clarity, you will never waste a moment due to poor lighting or bad lighting. ‘unsettled video quality.

The front camera takes perfect photos in low light and with the MFNR algorithm, noise reduction and brightening are automatically applied to your photos. It also allows you to take wide-angle selfies to blend in better with the background or just for everyone on that memorable group outing with your friends.

The main camera is a 108-megapixel beast with a large 1 / 1.52 “sensor that lets you shoot in ultra-high resolution, supporting up to 10x digital zoom for photos and 6x zoom for videos without sacrificing quality The large aperture of the lens allows for stunning photos in low-light environments.

A second 8 MP rear camera equipped with a 112o viewing angle and f / 2.2 aperture allows you to take spectacular wide-angle photos, and with HONOR’s specialized correction technology, perspective distortions are reduced to an almost invisible minimum. This feature is perfect for adventurers on the go who love to capture landscapes in all their glory.

It doesn’t stop there. This phone has covered wide angles, perfect selfies, and high resolution zooms. But with the 2MP Bokeh camera, you can take stunning portraits that would normally be achieved through post-shot editing. The background is automatically blurred to create a shallow depth of field, putting the subject in the foreground of the composition.

Finally, a 2MP Macro camera lets you take close-up photos of subjects with such stunning detail that would normally not be visible to the naked eye. A whole new world is available for creative minds to capture with the “Super Macro” feature enabled on this device.

Ultimate versatility to unleash your creativity

Not only are the aforementioned hardware specs of the HONOR 50 cameras excellent for helping a vlogger, but the six amazing multi-video shooting modes that come with it allow you to mix and match recordings from its multiple cameras, minimizing limitations. imposed on your creativity. Standard switching from front to back while recording is present, however, you can also choose between dual view with front and rear as well as rear and rear! These modes allow you to record either with the front camera and rear camera, or with the main rear camera and wide-angle camera. The main rear camera can zoom up to 6x while recording, allowing you to take a closer look and draw attention to specific areas of the wider shot recorded by the wide-angle camera. Subsequently, the photos captured by the two cameras in any mode are displayed side by side.

Speaking more of focusing on a certain area, Picture-in-Picture mode allows you to overlay the recording from the front camera over the shot recorded by the rear camera or vice versa. It’s perfect for on-the-go vlogging to switch between the speaker and the displayed landscape.

Another feature that allows vloggers to forgo a long edit are the fast and slow motion recording modes. There is no creative limit to the unique and interesting video content that can be produced with this feature.

The HONOR 50 enables seamless switching between single and double shot shooting at any time during recording. Plus, with nine built-in story templates, beauty mode, wide-angle shots, and easy-to-follow on-screen directions, saving, editing and publishing has never been easier. videos in just a few clicks.

Audio quality when vlogging will also not be an issue as the HONOR 50 supports long-distance wireless stereo recording technology, allowing it to be used with most major brand TWS headsets and microphones. .

High performance and exquisite design to match

The HONOR 50 sports a beautiful 6.57-inch 75o curved OLED display that delivers 2340 x 1080 FHD + resolution. The screen’s color accuracy is unmatched, delivering 1.07 billion colors, generating spectacular colors for that users feast their eyes on. This, combined with its 120Hz refresh rate and 300Hz touch sample rate, users will have an immersive experience that can be compared to what they see on the screen, in the palms of their hands. . You would think all the color must be harmful to the eyes, however, HONOR 50 is TÜV Rheinland Low Blue Light certified providing flicker-free and reduced blue light emissions for a safe and comfortable viewing experience for users.

Although higher refresh rates consume much more power, HONOR has solved this problem with its intelligent dynamic refresh rate technology. This allows the phone to determine whether higher refresh rates are more suited to the activity for which it is used, such as gaming, or lower rates will do, such as browsing or reading a book. electronic. However, power shouldn’t be an issue with this device as it comes equipped with a 4,300mAh battery that can last a full day of use. And if you ever run out of battery, thanks to its 66W SuperCharge technology, your phone can be backed up by up to 70% in just 20 minutes.

The upgraded Qualcomm Snapdragon 778G 5G chipset with a maximum clock speed of 2.45 GHz of the HONOR 50 offers a 45% increase in performance and a 123% increase in AI processing power compared to its predecessors . This, combined with the exclusive GPU Turbo X graphics acceleration technology, allows this phone to deliver a smooth and enhanced experience for those of us who love gaming on the go.

The latest Magic UI 4.2 software provides a seamless experience for users and enables a fully personalized always-on display. We can even create an avatar with personalized clothing from shots extracted by the AI ​​algorithm to add a personal, unique and creative touch for the enjoyment of each user. This series will also be equipped with Google Mobile Services, exponentially expanding its list of available mobile applications and environments.

Wrapping these fantastic features in a beautifully crafted exterior, HONOR 50 comes with 2.5D polished glass edges and a stylish, shimmering diamond-shaped back cover that is both aesthetically pleasing and comfortable to hold. With a mind for the stylish and fashion-conscious, this phone is available in Emerald Green, Midnight Black, Frosted Crystal, and CODE OF HONOR options. This device is the combination of beauty, elegance, performance and innovation.


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Halo TV show live on Paramount Plus gets its first brief teaser https://tunalifotograf.com/halo-tv-show-live-on-paramount-plus-gets-its-first-brief-teaser/ Mon, 15 Nov 2021 18:39:19 +0000 https://tunalifotograf.com/halo-tv-show-live-on-paramount-plus-gets-its-first-brief-teaser/ Long-term work Halo TV shows finally has its first – very brief – trailer, revealed today at Microsoft’s 20th anniversary Xbox event, giving a first look at the live-action adaptation of the iconic games. The teaser is very Anyway, offering just a few close-ups of Master Chief’s Mjolnir armor (which must be completed by American […]]]>

Long-term work Halo TV shows finally has its first – very brief – trailer, revealed today at Microsoft’s 20th anniversary Xbox event, giving a first look at the live-action adaptation of the iconic games.

The teaser is very Anyway, offering just a few close-ups of Master Chief’s Mjolnir armor (which must be completed by American gods‘Pablo Schreiber on the live show), before a voice that looks a lot like Cortana (Jen Taylor, reprising her role from the games) says “Hello, Master Chief.”

Halo has had several live action attempts already, including Halo: Landing (a series of promotional short films produced as Halo 3 ads), Halo 4: Onward Until Dawn (a web series that served as a marketing campaign for Halo 4), and Halo: nightfall (a prequel series to Halo 5: Guardians). Halo on Paramount Plus, however, appears to be the most ambitious attempt yet to adapt the sci-fi franchise.

It is not yet clear what Halo will in fact be beyond the main features of the franchise or if it will be to adapt the games already released, to tell a new story or to exist in another space of the Halo universe.

It’s been a long road for live-action Halo series, which is slated to debut on Paramount Plus sometime in 2022. The show was first announced in 2018 as a Showtime series, before becoming a Paramount exclusive earlier this year following delays production linked to COVID.

But with the teaser released today, it looks like fans won’t have to wait too long.



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Two teens shot dead within 72 hours in Baton Rouge https://tunalifotograf.com/two-teens-shot-dead-within-72-hours-in-baton-rouge/ https://tunalifotograf.com/two-teens-shot-dead-within-72-hours-in-baton-rouge/#respond Thu, 11 Nov 2021 04:36:00 +0000 https://tunalifotograf.com/two-teens-shot-dead-within-72-hours-in-baton-rouge/ BATON ROUGE, Louisiana (WAFB) – It’s no secret that Baton Rouge has a problem with youth violence. But what about teens on the other side of the trigger? The latest teenage victim is 18-year-old Mikhi Spears. RELATED STORY: Teenager killed in Scotlandville shooting, police say He was shot several times on Tuesday evening, November 9, […]]]>

BATON ROUGE, Louisiana (WAFB) – It’s no secret that Baton Rouge has a problem with youth violence.

But what about teens on the other side of the trigger?

The latest teenage victim is 18-year-old Mikhi Spears.

RELATED STORY:

Teenager killed in Scotlandville shooting, police say

He was shot several times on Tuesday evening, November 9, around 7 a.m.

It happened at an apartment complex on L Avenue in Scotlandville.

Spears died at the scene.

RELATED STORY:

Alvin Dark Ave shooting kills one teenager, injures another

It happened around the afternoon.

Wright died on Monday from his injuries.

Member of the East Baton Rouge Parish School Board and CEO of the “100 black men” organization, Dadrius Lanus, says Wright was one of his former students.

“It hurt me deeply, it hurt me. Every time I hear about losing a student it hurts and I feel like I’m not doing enough.

You know, even though you feel like you’re doing enough to reach people, when you hear about someone you’ve lost who’s close to you, it makes you feel like you don’t. not do enough, and I must intervene and I must do more. I think the response to the community, they are ready and waiting to see what the leaders will do. They are waiting to see what all the organizations are going to do. They’re waiting to see who’s going to step up and that’s what we need to do, ”Lanus said.

A Baton Rouge police spokesperson told WAFB that there were no suspects or leads in any of the above cases.

As of November 10, Baton Rouge police had investigated a total of 102 homicides this year. (This does not include the number of homicides for East Baton Rouge Parish.

Call Crime stoppers at 3-4-4-STOP. to report an anonymous tip. There might even be a cash reward for information leading to an arrest.

Click here to report a typo.

Copyright 2021 WAFB. All rights reserved.


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Lakers-Hornets recap: Carmelo Anthony and Anthony Davis won’t let LA lose OT Thriller – All Lakers https://tunalifotograf.com/lakers-hornets-recap-carmelo-anthony-and-anthony-davis-wont-let-la-lose-ot-thriller-all-lakers/ https://tunalifotograf.com/lakers-hornets-recap-carmelo-anthony-and-anthony-davis-wont-let-la-lose-ot-thriller-all-lakers/#respond Tue, 09 Nov 2021 14:00:00 +0000 https://tunalifotograf.com/lakers-hornets-recap-carmelo-anthony-and-anthony-davis-wont-let-la-lose-ot-thriller-all-lakers/ Chino Hills Pride and Long Beach Pride both recorded double triples, but in the end everyone’s favorite Laker avoided a third straight loss to Los Angeles. First of all, we had Olympic Melo. Then we were treated to Hoodie Melo. Now … Staples Melo? 19-year-old NBA veteran Carmelo Anthony, 37, has experienced some sort of […]]]>

Chino Hills Pride and Long Beach Pride both recorded double triples, but in the end everyone’s favorite Laker avoided a third straight loss to Los Angeles.

First of all, we had Olympic Melo.

Then we were treated to Hoodie Melo.

Now … Staples Melo?

19-year-old NBA veteran Carmelo Anthony, 37, has experienced some sort of career rebirth as the Lakers’ scorer saver in the team’s home games.

He’s currently averaging 20.6 points per game over his eight games at Staples Center. He connects on 64.4% of his 7.4 home three-point attempts. In 11 NBA games (home and away), Anthony is averaging 17.6 points, 3.6 rebounds and 1.0 assists per game. Melo shoots 50% from the field (from 12.4 looks), 52% from long range (on a high volume of 6.8 attempts per game) and 82.6% from depth.


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