Latest news with #photography
Yahoo
an hour ago
- Entertainment
- Yahoo
Getting hitched? Here are some of Pueblo's best wedding venues to consider for the big day
Pueblo lovebirds who have decided to tie the knot have hundreds of choices to make before the big day, from where to get hitched to what to wear, who to invite, what to eat, what kind of flowers to use for decorating, and who to hire for photography. When it comes to choosing the site, considerations often include whether the ceremony will be indoors or outdoors (or a little of both), as well as atmosphere, accommodations, staff, accessibility, and even parking. Josh and Kristan Lepik of Lepik Photography have been capturing memorable moments of Puebloans' wedding events for the past 12 years. They've spent a lot of time gauging the pros and cons of wedding venues they've worked at and have shared blog posts on their website that help newlyweds-to-be decide where they want to hold their big event. "We are trying to be that premier place to help choose venues. We started with a blog on the Abriendo Inn and the Union Depot and we are currently working on the convention center," Josh Lepik told the Chieftain. The photographers' website also lists considerations to take into account for several different photography locations and sample pictures at each site. They even get into details like whether there is a parking fee. When it comes to making the choice, sometimes multiple options get the nod. "We had one couple that got married at a very tiny church and then the reception was in a backyard so neither place was great for photos," he explained. It turned out that Lake Pueblo was between the church and the reception, "so we went to the north entrance of the reservoir and there is a road off to the right with a half-circle parking lot and that's right by the water so that's where we took the photos." "The good thing about Pueblo is that you can get anywhere in 20 minutes. We try to find unique places around Pueblo that can make it epic," Lepik explained. The former passenger train station, built in 1889, is a red-brick marvel harkening back to the Romanesque era. A large banquet hall can accommodate up to 500 guests and is used for more than 200 events yearly, from wedding receptions to private parties. "It is a great location, has a bridal loft for getting ready and plenty of photo opportunities," Lepik said. Find out more at This circa 1906 blonde-brick four-story mansion offers a fairy-tale-like setting for weddings. The Abriendo Inn is owned by Jeff and Cindy Baily. Cindy Baily has three decades of experience as a wedding planner and the couple hosts 10 to 12 weddings and receptions each year, ranging from 30 people inside to up to 325 people outside. The inn has "obvious beauty both inside, with stunning woodwork, stained glass windows, and chandeliers, and outside with beautiful lawn, trees and a water fountain," Cindy Bailey said. "There are plenty of rooms for all guests to get ready, and it's a beautiful property for taking lots of pictures," Lepik said. "We offer clients a one-stop shop for their special day. Couples and guests can attend the ceremony and reception all in one place, eliminating the need to travel to a new location for each part of the event," Cindy Bailey explained. Find out more at Surrounded by green meadows, aspen and pine trees, and breathtaking views of the Wet Mountain Range, Brush Canyon Ranch is a private, quiet mountain location that specializes in outdoor weddings. The facility is highlighted by a ceremony gazebo, a reception pavilion and cabin lodging. "It is a great location with suites for both the bride and groom to get ready, plus it is great for photos," Lepik said. Find out more at The 1997 convention center received major upgrades in 2019. The center can accommodate almost any budget and weddings ranging from 25 to 1,000 guests With an in-house culinary team, the center staff can also handle the reception and feeding guests. "It is one of the top places in Pueblo. They can accommodate any size of wedding with multiple rooms that can expand. It is in the heart of downtown with lots of parking and is easily accessible," Lepik said. He pointed out the convention center has limited photo opportunities, "unless you drive a short distance or walk to the riverwalk." Some other popular wedding venues in Pueblo include the , which is centrally located in the heart of downtown and provides nice shade; the , which has Industrial vibes, an outdoor patio and inside space; and the , which is a "wonderful riverwalk venue with plenty of parking where there are lots of photo opportunities," Lepik said. Both and can be good outdoor-only wedding venues with "plenty of space for everyone, which makes them great for the ceremony and reception," Lepik said. "The only downside is they are fully outdoors, so weather will be the biggest factor." Pueblo is also home to several other smaller event and reception halls and there are several other ranches that also host weddings in the county. The Lepiks have worked to build up their business and that effort has won them Best of Pueblo Community Choice Awards for photography businesses for the past few years. They said one thing they've learned is that there are many great choices for photos in the community. The old jailhouse, the Station at the Riverwalk, a public sidewalk with beautiful blooming trees in the background, the dome in Mineral Palace Park, and many other places can be ideal to capture memories of the big day. "We got married at the top of the (Rawlings) library on Abriendo. You can rent out the whole rooftop of the library and it was insanely cheap," Lepik said. "We felt like we were on top of the city, on top of the library on top of the hill on Abriendo. We had half indoor and half outdoor accomodations and it was truly cool," he explained. More: How the Pueblo Convention Center set a new gross revenue record in 2024 Chieftain reporter Tracy Harmon covers business news. She can be reached by email at tharmon@ or via X at Support local news, subscribe to The Pueblo Chieftain at This article originally appeared on The Pueblo Chieftain: Here are the best wedding venues in Pueblo, Colorado
The Verge
2 hours ago
- Entertainment
- The Verge
How Texas' hands-off approach to autonomous vehicles gave Tesla an opening
Fujifilm's new X Half camera is quirky, limited, and kind of fascinating. It ditches modern features like RAW, EVF and stabilization in favor of film-like charm, a small 1-inch sensor, built-in filters, and a digital 'film advance' lever. It's not for everyone — (mainly because of its price) but if you love capturing scrappy, spontaneous moments, this might be your new favorite camera. Here's what it's like to use.
The Guardian
4 hours ago
- Entertainment
- The Guardian
Brian Shuel obituary
As the British folk revival expanded and developed through the 1960s and 70s, many of the leading performers were photographed by Brian Shuel, who has died aged 90. His early photographs were often taken indoors, in darkened folk clubs held in upstairs rooms in pubs, which required him to push the film to its limits, resulting in grainy but atmospheric images. He combined his artist's eye with often being in the right place at the right time. In December 1962, Brian was at the King & Queen folk club in central London to photograph Martin Carthy, but he also captured one of the floor singers – Bob Dylan on his first visit to Britain. Three days later, he photographed him again at the Singers' Club, with the folk revival founding fathers Ewan MacColl and AL Lloyd in the audience. In those early years, Brian photographed folk performers such as the Watersons, Fairport Convention, Shirley Collins and Pentangle, as well as visiting Americans including Pete Seeger and the Rev Gary Davis. In 1963, at the Edinburgh festival, he photographed the Dubliners when they were still known as the Ronnie Drew Ballad Group. He photographed performers both on and off stage, including those at the first Keele folk festivals in 1965 and 1966. Brian was born in Dublin, to Beatrice (nee Oulton) and Ronald Shuel, who served in the colonial police in Nigeria. Brian was brought up by his mother's two unmarried sisters in County Wicklow. He was educated at the Royal School Armagh in Northern Ireland, and then, from 1954, at the Central School of Arts and Crafts in London. After completing his graphic design course, he did national service as a cartographer in Singapore; it was there that he bought his first camera. On his return in 1958, Brian married Sally Boswell, whom he had met on his first day at college. His father-in-law, the illustrator and artist James Boswell, was editor of Sainsbury's in-house magazine and Brian became its designer, soon also photographing many aspects of Sainsbury's operations. Through his leftwing activism, James Boswell became a director of Topic Records, Britain's pre-eminent folk record label, which had its origins in the Workers' Music Association. Boswell had illustrated many of their early record sleeves and in 1962, to learn more about the music, he and Brian embarked on a nationwide tour of folk clubs, travelling as far as Aberdeen, Edinburgh, Newcastle and the Spinners' club in Liverpool. Brian's photographs featured on Topic record sleeves and the quality of his work spread his reputation among the still-developing folk scene. He told Nathan Joseph of Transatlantic Records that he did not think much of their sleeve designs and was challenged to prove he could do better. A hundred or so sleeves followed, including the early records of Ralph McTell, Billy Connolly (with Gerry Rafferty as the Humblebums) and Mike and Sally Oldfield as the Sallyangie. Many of the sleeves featured Brian's photographs; he also designed the label's logo, as well as sleeves for American reissues on Transatlantic's Xtra label. Brian's photographs brought him into contact with the English Folk Dance and Song Society, whose librarian, Ruth Noyes, encouraged him to photograph the Bampton Morris Dancers from west Oxfordshire on their traditional Whit Monday tour. The visual attraction of such seasonal customs was obvious, and Brian set about a nationwide pilgrimage to photograph them: the Abbots Bromley Horn Dancers, Padstow's Obby Oss, Ashbourne Shrovetide football – more than 200 in total. In 1972, he was the adviser for a BBC film by Barrie Gavin, The Passing of the Year. In the 80s, Brian revisited many of the customs for a book, The National Trust Guide to Traditional Customs of Britain, which was published to critical acclaim by Webb and Bower in 1985. He also wrote descriptions of the customs: unlike many similar books, Brian had actually visited all the events featured. His approach was to capture the fun, sheer enjoyment and pride of the participants, whose confidence he quickly gained. The full extent of Brian's archive of folk musicians and customs was revealed only when he digitised hundreds of images and uploaded them onto his Collections Picture Library and personal websites. His photographs continue to be admired and eagerly sought after. Brian's assessment that his pictures were 'simple, straightforward, honest and well designed' was typically modest. Although best known for his folk music and customs photographs, Brian also built considerable portfolios of images of bridges and London. His freelance photography work for Sainsbury's continued, and other commissions came from, among others, British Steel, Daily Mirror, the prison system (he photographed in more than 40 prisons), Kodak and the Central Office of Information. From 1985, Brian edited the journal of the British Association of Picture Libraries and Agencies (Bapla). His wife Sal was Bapla's administrator, as well as a freelance illustrator. Brian is survived by Sal, their two sons, Simon and Ben, and grandson, James. Brian Courtenay Oulton Shuel, photographer and designer, born 4 March 1935; died 12 June 2025
Associated Press
5 hours ago
- Science
- Associated Press
An AP photographer is heartily rewarded for having a ‘spiritual' connection with the birds he made his subject
JAMMU, India (AP) — Channi Anand is a Pulitzer Prize-wining photographer for The Associated Press in northern India's Jammu and Kashmir region since 2000. He says about his work, 'I approach every frame with care and intention, especially when it comes to wildlife. Nature always has a story to tell - you just need to wait long enough to hear it.' Here's what he had to say about this extraordinary this photo? I was out searching for images that captured the intensity of the heat wave when I spotted a group of vultures gathered near the decomposed body of an animal. I thought, 'Why not photograph them today?' Later, as I reviewed the shots, this particular image stood out. I hadn't planned it - it simply revealed itself during the editing process. I noticed that together, the vultures formed a heart-like shape. That moment felt powerful enough to keep - and file to photo editors. How I made this photo You can't plan for a photo like this. You get it with patience and luck - and knowing your equipment. For this shoot, I used my Sony ILCE-1and a 70-200mm lens at 1/2500 sec to stop the action. Why this photo works Whenever I manage to capture a bird in a way that feels just right, I believe it's because the bird allowed me to. There's a kind of grace in that moment -almost spiritual. To me, it's a blessing. This image carries that same essence. It's quiet, unplanned, yet it speaks its own language. That's why it works. For more extraordinary AP photography, click here.
New York Times
5 hours ago
- New York Times
On the Silk Road, Traces of Once Bustling Intercontinental Trade
Lahore, Pakistan, is more visibly armed than Alabama, choked by Kafka-grade bureaucracy and pollution so thick you spit gray into the sink when you brush your teeth. These realities do not mar Lahore's five spreads in THE SILK ROAD: A Living History (Hemeria, $55), a sometimes beautiful travelogue of landscapes, buildings and faces along the route that once conveyed untold wealth between Europe and China, before the 16th century took trade out to sea. What the photographer Christopher Wilton-Steer does catch is the odd potential for solitude in a city so populous, as well as its architectural dignity and the benevolent pride with which Pakistanis regard outsiders. Wilton-Steer is a Londoner. In his overland trek spanning thousands of miles and 170 photographs, taken from both drone and ground vantages, his goal is feel-good: to prove that the Silk Road's 'legacy of interconnectivity and exchange' lives today, he writes, even if the literal goods now go by boat. The photos deliver. Because they flow west to east in the book, and because Wilton-Steer's favorite angles emerge as patterns throughout, they braid a telling human gradient: from onion domes in Venice to the pitched facades of Uzbekistan, from a Christian stele in Turkey to a Buddhist one in South Asia, from Uyghur faces to Han ones across China. And much to his credit, he doesn't falsely rusticate. His natives drive trucks past ruined Soviet airstrips. They wear cheugy leopard-print sweaters when they spin wool. That's life. But revelation isn't the endgame of the picturesque. Wilton-Steer's crinkled peaks and tender children of Tajikistan are prettily shot, but does it matter that the new schools, infrastructures, marketplaces and tourist centers that he depicts have been funded by the Aga Khan IV, the late billionaire developer and Muslim leader whose foundation also financed the photographer's voyage? (Wilton-Steer is the organization's head of communications.) This welcome if partisan book optimistically suggests that although container ships do the carrying now, cultural traders are alive and well on the Silk Road.
