Global Snapshots

The Plight of the Elephant Turned Me Inside Out

Louise Lakier — Thu, 23 May 2013 03:44:15 +0000

Photo @2003 JBLakier Photography

“...we are just a vehicle used by the public to shed light upon issues that they hold dear.” ~The Inside Out Project

Many many years ago, when I was just a wee thing living in South Africa, if my father found himself with a work or school or rugby break, my sister and I were bundled up and snuggled up in the backseat of the car. At 4 in the morning we left the lights of Johannesburg behind us and drove until dawn to the Kruger National Park. Just as the sun rose, and the long veld grasses lit up with gold, we passed through the gate and into a vast landscape of my favorite childhood memories.

Photo @2008 JBLakier Photography

I used to know the names of every species of bird, the name and markings of every type of antelope. We, the humans, would spend the day enclosed in the car, while the animals roamed freely. The best and only truly humane kind of zoo. I was spoiled with these experiences. We watched outside the window as the car crawled slowly along dusty roads, alert, with eyes peeled, searching the thorn bushes, the boughs of the boabab trees, and the long grass, for the best of the days’ sightings. The magic was in the revealing.

Photo @2008 JBLakier Photography

For me, nothing was more majestic than an encounter with the mighty, gentle elephant. Not unlike most animals, I can watch them for hours, the way they socialize and communicate and care for their young is so touching, tender, and…human. There were numerous occasions when my father was so focused on capturing a photograph while we kids in the backseat screamed with terror, as an agitated solitary bull elephant charged. We had gotten a little too close. Dad knew all their names, many of them were identified by the size and the shape of their tusks.

Photo @2008 JBL Photography

I first learned about the devastation from an article in National Geographic from October 2012. I was horrified. I was crushed. I noticed postings on a Facebook page called Elephant Voices and started following. I started to think about what I could do to help raise awareness and put an end to the poaching and the Ivory trade. I submitted an idea to one of my favorite art movements the Inside Out Project.

Photo @2005 JBL Photography

Here is my pitch and this is what they said:

Me:
Is the Inside Out project limited to faces of people? There is a genocide taking place in Africa of Elephants and Rhinos for their tusks for the Ivory Trade. I had the thought that an Inside Out project sharing the faces of these beautiful creatures would help spread the word and educate the masses not to buy it. I have a number of people I could organize a collaboration with to see this happen. Thoughts?

Team JR:
This sounds like a great project, yet we do not allow for animals to participate. However, if you would like to highlight the people who fight on the behalf of these magnificent animals we would love to have you participate in our project. If this option doesn’t suffice for you then we suggest that you feel free to utilize the theme of our project to create the action yourself, as we are just a vehicle used by the public to shed light upon issues that they hold dear.

My Inside Out Project begins now!

As I track down the angels who are working so hard to stop the genocide of our animal friends. And I start to consider a site with the greatest visibility and impact to honor the angels and understand the plight. A second project will be taking shape. This one for the faces that I hold so dear.

Photo @2008 JBL Photography

Is there a cause you feel passionate about? Submit to the Inside Out Project here.

Coming up Soon, Inside Out in Action: On Mother’s Day, May 30th in Nicaragua, I will be documenting the pasting of an Inside Out Project in Granada, Nicaragua. Here is a preview.

Inspired on the Streets of Asia: Street Photography with Jim Karsh

Louise Lakier — Mon, 20 May 2013 15:53:06 +0000

Photo credit @2010 Bradley Olson

I met Jim Karsh at the Rocky Mountain School of Photography. He was the loud mouth in class always giving us a good laugh. He also sold me my very first DSLR. His final project had most of our class in tears. We both share a love of broken down disintegrating buildings and things. His sports photography is pretty slick too. Over the past few years, he has been a constant source of inspiration. I have already tried out a few of these tips and I hope they will inspire you to hit the streets with your camera. You can find more of his images at jimkarshphotography.com

I’m a pilot for a U.S. airline and for the past 17 years I have flown international flights exclusively, mostly in Asia. Going overseas every month has given me the opportunity to satisfy my photography addiction by wandering in cities I might have never visited if not for my job. In doing that I have found that I most enjoy street photography, capturing the faces and ways of living that are quite different than what we are used to in America.

The first task I undertake when going to a foreign place with my camera is research. Bangkok, for example, is a huge city. I may be able to get good shots just by leaving my hotel and wandering at random, but with only one day to shoot on most layovers, I don’t want to waste time on a fishing expedition. The internet is a great resource for information on places to photograph and I make liberal use of Google Earth to scope out areas that may produce good photos.

The other preparation I recommend is to be familiar with your camera. Opportunities in street photography are sometimes fleeting, here one moment and gone the next, so you want to make use of all your tools to get the shot before it goes away. Know your autofocus modes, how to shoot in aperture and manual modes, and how to use autobracketing and auto ISO.

When you’re in the area where you want to shoot, be patient. If you find a compelling background, stick around for awhile and see who or what happens by. When you move, move slowly and pay attention. A compelling image may be a few steps down an alley or just inside an open door.

Of course, most of the best street photos include people, a fact which raises the question, what is the best way to approach a person and get a great photo? Should I ask or not? Even after shooting in a number of Asian cities, this is a question I don’t have a definitive answer for and I go with what seems right at the time. One thing I have learned is as a foreigner in a local area, you have already more than your share of attention and when you bring a camera to your face, every eye in the vicinity will turn to you. So I’ve learned to shoot from my hip or chest or with the camera on a table or other surface and I’ve gotten excellent pictures that way.

If there is a subject whose attention is fully trained on me, trying to sneak a shot is pretty futile and may bring anger instead of acceptance, so I find the best approach for me is to learn “hello” and “thank you” in the local language and approach with a smile. Pantomiming a shot always gets your request across and if I get a no, I walk away. More often than not, I get a yes if I approach with a hello, a smile and a compliment with hand signals on how interesting the person’s face looks, and I often get a thank you if I show the resulting image on my camera’s LCD.

There is a famous photographic axiom, “f/8 and be there,” and in street photography you’ve got to get out and shoot. The images won’t come to you as they would as if you owned a studio. You’ve got to go out and get them. One of the best shooting experiences of my photographic life happened because I overcame a huge desire to stay in a warm hotel room instead of going out in a cold windy Shanghai with sore feet to shoot. I forced myself to go and had a magical day and got some of the best images I had ever taken.

The last bit of advice is if you want unique images, get out of the normal tourist spots and go into areas where the locals are and where “real life” in that city is happening. Be safe, but a local market or artisan working on the street is much more interesting to me than the gazillionth photo of the Eiffel Tower.

To sum up, know your camera, research the city you want to shoot, learn a few local phrases, wear a smile and a positive attitude, take your time, be patient and most of all, BE THERE.

About the Images

1. While walking through a crowded market on the street by Wat Mahathat in Bangkok, I stepped into a restaurant because it was an open front and the inside looked interesting to me. This man came over waving his arms and talking animatedly and with a big smile, welcoming to the restaurant. When he realized that I was there only for a photograph his attitude changed completely, but he allowed the photo and stayed still while I took it, but it was apparent he wasn’t happy about it.

2. This was also in Shanghai and this man was reading the paper in front of his store. I loved the way his face was lit and started taking pictures. He looked up at me briefly but didn’t seem to mind that I was taking pictures and went on reading his paper.

3. On a trip to Manila I visited Payatas, this girl sat behind the bars on the front of her house and looked at me impassively while I photographed her. She never moved anything other than her eyes and never said anything to me.

4. I was wandering in the alleyways in an old neighborhood of Shanghai and passed this gent sitting in a doorway. I had the camera down by my side and snapped a few pictures as I stood near him. The light is very diffused and soft in these alleys making for good conditions for this kind of photography.

5. In Payatas, the mother of all garbage dumps, I walked through a neighborhood where squatters make their living by sorting through garbage from the dump. This little boy stood frozen against the wall of a small store while I took his picture several times. Shortly after I took this he burst into tears and ran down the street to his mother, crying at the top of his lungs.

6. In a Shanghai street market, this man was chopping up fish on a board on the ground. I took several shots of him doing that but didn’t like them much. Then he stood up and with the camera at my chest I took one shot, which I liked much better than the other ones.

7. This lady was working in a ticket window that also sold gifts at a shrine in Nagoya, Japan. I don’t speak much Japanese and she didn’t speak much English but she sat in the shadows of the office and held out the little rabbit doll and managed to make me understand that it was for luck.

My Number One Travel Tip & The Day I met the Sapote Fruit

Louise Lakier — Fri, 17 May 2013 03:17:18 +0000

Stay with the locals. It is sort of obvious. You traveled a long distance to go somewhere else. You wanted a change of pace and a new experience. Stay with the locals. The people that look like you that come from the same place, lead similar lifestyles and create microcosms of where they come from here, the things you were wanting to get away from, won’t share the magic with you. Not because they are holding out, but because they don’t know it. There will be shared experiences of course, of travel, of frustrations, of challenges, of life in paradise. But the magic, the windows into a different way of life, won’t be opened for you. Language barriers needn’t stop you. If you are learning the language, immersion is the best way to practice. If you aren’t, it is the perfect place to start.

Today I was introduced to the Mamey Sapote Fruit. I was sitting down to lunch and noticed a vibrant smooth fruit with a hard shell on Dona Gloria’s plate. What is that? I asked. And so she shared a slice or two. I wasn’t prepared for such heavenliness. The sweet smooth flavors melted on my tongue. I swore I just ate pudding made from condensed milk, apricots, and peaches, whipped smooth and chilled for a few hours. And the shell, while easy enough to slice, is a naturally built in bowl. Mother nature just continues to floor me with her ingenuity. I am grateful to Dona Gloria for introducing me to the Sapote Fruit, another delight amongst the bountiful bounty for tasting here in Nicaragua.

How much happier could my taste buds be? Living in a country where Cacao, Coffee, and the Mamey Sapote fruit does grow.

Inspired in San Francisco: Do you knit? Then KNIT BIG with Julie Weatherston

Louise Lakier — Tue, 14 May 2013 03:16:59 +0000

I know Julie Weatherston from back in the day in Detroit, meaning….... High School. I would say we reconnected via Facebook and found a common thread, so to speak, by ‘loving’ and ‘liking’ and appreciating knitted inanimate objects in public spaces, like this one in Seattle. When I visited her a year ago now in the Bay Area, I learned about her love of weaving and knitting. Then more recently, I enjoyed her posts about the evolution and creation of her BIG knitting needles. It was quite impressive to see the outcome.

How long have you been knitting/weaving and which came first?

I’ve been knitting for 38 years ever since my grandmother taught me the basics of knitting when I was six years old. I took up weaving much more recently though I had been intrigued by it for years. I was first introduced to SAORI style weaving (weaving without intention or weaving from the heart) in my twenties when I was working as an intern for Very Special Arts in DC. The beautiful colors and freedom of this weaving philosophy (no mistakes) stuck with me over the years and for my fortieth birthday I treated myself to a solo trip to Japan to the SAORI no-mori studio where I studied with the founder and her son. I came home with a loom and have been weaving ever since.

Where did you learn about BIG knitting?

I am not sure where I found out about BIG knitting but my life has become increasingly busy with two children and work. When I finally had time to knit at night, I found knitting on anything smaller than a size 8 was tedious and following any kind of complicated pattern or color work felt like work. So I guess I just found myself more relaxed with larger needles. Eventually I was knitting mostly on what I
call “salad tossers” (size 50/25mm) and then I graduated to the bad boys I made myself (size VERY BIG).

What inspired you to start creating BIGGER woven fabrics?

I live in northern California where we use blankets year round. I have throw blankets in our bedrooms and in the living room. So there’s the practicality of this type of fabric (it makes great blankets) but I also love the yummy texture of the fabric you get with big needles. My kids especially like that you can poke your fingers and toes through it and massage them. And there’s no complicated pattern to follow with a garter stitch (knit every row) blanket. I know how to do pattern and color work. I certainly admire people who can stick with it. But at this point in my life I really appreciate simplicity.

How did you make the dowels and where do you find the ‘yarn’?

I made my first BIG needles out of a 1.5” X 8’ PVC piping that I had in my garage. I sawed it in half and then used candles to shape the tips that I then covered in duct tape. I like the challenge of figuring out how to make things work with what you have. They sound crazy but they actually worked well. My only complaint was they didn’t feel so good in my hands. I like wooden needles. Eventually I made my own out of wooden dowels. Again, I sawed a 1.25” X 8’ dowel in half and then used a disc sander to make the tips. Actually my friend,
Julia Turner, helped me with that part. She’s a jewelry designer in SF and a pro with the disc sander. She finished them in her studio.

For yarn, I “upcycle” cotton sheets. I dye them, then rip them into strips, connect them together and wind them into a ball. I’ve also
used jersey fabric as yarn. You have to cut jersey with scissors though which is time consuming but meditative too, as is ripping the cotton sheets into strips. Jersey makes for a much heavier fabric that becomes more difficult to knit as the blanket gets bigger. My son affectionately calls my first jersey blanket (the green one in the photos) the “Three thousand pound” blanket. A friend suggested it could be a good therapeutic blanket. The weight of it and it’s soft texture immediately calms your body.

Do you have plans for this project to get BIGGER?

I’d love to do something more public with the knitting but I haven’t decided what yet. Maybe get a few other folks to knit BIG with me somewhere unexpected. I think when people see you doing something that stretches their idea of what is “normal” it helps make the world more interesting. People might not think about knitting like this unless they see it. Unfortunately the size of the needles isn’t conducive to sitting in a coffee shop where you’d be more visible. We’d need to be in a park or something.And I’d like to teach more people how to knit in general not only on BIG needles. I’ve taught many many people over the years to knit, many of whom are much better knitters than I am and who still enjoy the satisfaction of complicated pattern and color work! It seems like with all the electronic options today, people aren’t always exposed to making things with their hands but when they get a chance to try it they become mesmerized. Personally I can’t imagine life without knowing how to knit! I’m so grateful to my grandmother who showed me how all those years ago.

Thanks to Joyce Oudkerk Pool Photography for providing the beautiful imagery.

What would you make if you took up BIG knitting? I personally love the idea of a public art piece with a group of ladies (and why not men?) gathered outside enjoying the weather, the company, and the meditative motion of creating. And then donating the BIG, warm, cuddly, outcomes to a homeless shelter.

On Trusting and Traveling and Treasure Making

Louise Lakier — Thu, 09 May 2013 00:51:54 +0000

I thought about trust a lot the other day. I was heading off to take some photographs of a house in the Isletas for a friend. There are 300+ islands in Lake Nicaragua close to Granada and it is my favorite place to immerse myself in nature and retreat from the heat and noise of the city. I thought I would rustle up a group to join me but soon realized with schedules and distances and timelines we were not going to connect. I am always a bit wary when I am out and about alone with my gear especially in isolated places. The gear I have with me now is my second round after losing my first traveling office to a home invasion. I hope to eventually get back to the confidence I had before that happening. I was on another adventure, sola, on my own, and there were no English speakers nearby.

I was aware of being the only gringa, of being the only woman in an isolated area surrounded by men. I chatted casually in Spanish to the Plancha (boat) operators and called the caretaker of the house to check in every so often. The boat arrived, Pedro and I had a lovely tour and a pleasant chat. I focused my camera on the abundance of perfectly proportioned white apparitions. They stood silently watching, posing, protecting? I’ll never know for certain…

I returned to the boat launch in time to stay within the boundaries of the light, because it isn’t s safe in isolated spots at night. The tourist season is a bit slow and the taxis just weren’t coming. I decided to walk back to town around the same time a man with a spring in his step and a smile headed in the same direction. We chatted and walked and talked and he offered to carry my tripod and of course I let him. We came to a crossroads. He was bigger than I. He now carried my only weapon and wanted to walk away from the road closer to the lake and inside the park where we would be hidden. I hesitated and he saw it.

I went with trust. It was 50-50. There were spots along the way that were out of view. There were other spots with families and children playing. How do you know? How do you ever know? We chatted about his children, he walked with a bounce and a smile, and a kind twinkle in his eye. When we strolled by groups of drunk men joking with him, he told me that if I was alone they would be bothering. We reached the end of the road, he handed me my tripod and said good-bye. He had walked a mile past his house to make sure I was safe. I went with trust. I made a friend. And the walk sped by.

I look at the serpentine necks of these beautiful white birds and think about the snake in the jungle book, ‘trust in me’, Kaa croons, ‘trust in me…...’.

How do you know? How do you ever know? The answer is simple. You don’t. But you know yourself. Sometimes the people you love and believe in and know inside out surprisingly lose sight of your best interests. Sometimes, someone you meet in an instant reveals their innocence and good intentions. Trust yourself. Trust yourself. Be aware and listen.

The stork stands still and solitary. Waiting and watching. A white vision against the dark unknown. A treasure in its confidence and contrast, and comforting presence.

Inspired in Nashville, Tennessee: Beth Berger Photography

Louise Lakier — Tue, 30 Apr 2013 17:48:06 +0000

It was the Summer of 2010, and my job at the University of Montana was ending. What to do now? Why follow my heart and my dreams. The Rocky Mountain School of Photography was just about to begin it’s Summer Intensive Program so I dove right in. It was there I met Beth Berger, class-mate and all around talented and quality person. It has been a delight seeing her images continue to evolve over the past few years from portraits, to road trips, to documentary style captures and artistic diptychs. I asked Beth to share some of her thoughts on Photography and Film and some of her image editing tips:

You are a wonderful photographer. Your creativity inspires me.

You are so sweet, and the same to you! I love seeing all your travels, hopefully that’s coming up very soon for me!

What is it about the process of photography that captivates you?

For me it becomes the calm in my ADD storm. It slows me down, allows me to organize thoughts in a way that I can construct an image and I never tire of it. It’s the only thing I’ve found that truly fits like a glove in my life. I think I’ve always felt like I was looking through a lens, I would compose images continuously throughout my day although I wasn’t taking pictures& through the outlet of photography, that composition process finally made sense, when before I found it a bit crazy. . Once I attended RMSP I realized I wasn’t alone with this experience and the possibilities of photography as a medium were vast. It’s such an amazing world to be a part of.

After attending RMSP you went onto film school, where did you go?

I had dreamed of living in Nashville since I was little. If there was one thing consistent in my life, it was my obsession with music videos from a young age so I packed up and headed for school in Music City. The school turned out to be different from what I was hoping for and expecting. RMSP really sets a high bar and finding that quality in other schools is incredibly challenging. Although this wasn’t the outcome I had prepared for, it did give me the opportunity to gain exposure to the many different careers within the film world. I’m exploring a more specialized program with a curriculum approach very similar to RMSP & anticipating my participation summer 2014. *Fingers Crossed!

And now which medium is your preference?

I think the hermit within me will always prefer photography and it’s my foundation so I’m at home in it. I like the solitude of me and my camera, like a team, we learn the environment together, we problem solve together and I can create something that feels right to me before I have to collaborate and expose. Film is such a collaborative venture and it has to be, it’s truly remarkable how much goes into even small productions. The life of your story/project is ever evolving in the film world as you start to bring in all your key players. You gain inspiration from costume to set design and by the end you have this not so little package of so many artists vision. I find it invigorating, inspiring but sometimes very overwhelming. There are so many things that you could compare and contrast with photography and cinematography but for me at the end of the day it’s just light, and how you use it to tell your story.

I have seen your portraits and your documentary shots and all are fabulous. What genre of photography do your prefer?

The impossible question. I love the expression of someone’s personal story. Documentary photography probably has my soul while beautiful conceptual portraiture has my heart. They both have a different kind of vulnerability that really fascinates me. Anytime someone is willing to let me into their world and photograph them I’m in awe, I can’t say that I would do the same. I hope in the years to come my passport becomes frayed from overuse. I dream of getting to travel this world and document unseen beauty, whether that be an artisan making drums in some tiny village in South America or helping a women feel beautiful and empowered in the Middle East. Any genre that cuts at these walls we put up from what we don’t know or shines light on people who possess greater beauty than what we see photo-shopped on glossy covers, that will always be my preference.

Where did you learn to master photoshop?

I’m far from a master. Photoshop is still very intimidating for me and I have a lot of basics left to learn. RMSP gave me the familiarity with it that allows to me to problem solve and not get too overwhelmed. It’s a beast of a program, so much so that if you can dream it you can probably do it. Photoshop makes me just want to learn as much as possible.

What percentage of final images are edited only using Lightroom versus both LR and PS?

I would say 90 percent of the images I export to be seen by the public have hit Lightroom and Photoshop. Lightroom helps me sort and organize then fix the technical but I usually take the few images I’ve deemed good enough into Photoshop. Lightroom is like your corner store, I can get a lot of my craft supplies and things are neat and organized to save me time but having Photoshop is having free run in your favorite art store.

A few images by Beth Berger Photography including tips and techniques for her editing and creative process:

Girl Looking Down
My favorite model so far, as she was also my first. Stunning girl, beautiful empty fields just outside of Billings Montana, I loved this impromptu shoot! This Photograph was one of those lucky shots. It was my first frame just testing light and it just worked. In Photoshop I worked primarily with a “curve” layer to bring the contrast way down and then muted the color just a little.

Green Pathway
My favorite place to explore in Nashville is definitely the Natchez Trace Parkway. For my birthday we took a little road trip and I shot a few frames of Tennessee in January. This photograph is that 10 percent that only was in Lightroom. I brought the saturation up and then the vibrance to really get the most out of moss, leaves and sky.

Truck and his Mechanic
These images are from my very first Documentary Class at RMSP taught by the amazing Billy Howard. I love creating diptychs in Lightroom’s “Print” Module. I believe the majority of this was done in Lightroom, bringing it into Black & White and then really adding contrast. Photoshop only helped clean up a few areas and sharpen.

Before and After of a Mountain Pass
Last fall my best friend and I drove from Anchorage Alaska to Nashville Tennessee. We had a pretty tight driving schedule so I decided not to pack all of camera equipment for fear that the temptation to stop every 10 feet would really drag out those 4000 miles. I used my old point and shoot and then decided to use the Filter Gallery in Photoshop to create photo paintings. This image also had another shot from the road composited on to it, we saw a lot landscapes over the course of 8 days.

Before and After of Girl in Field
This image was a stunning senior I photographed a year after school. She is beautiful and I had to bring this into Photoshop to correct some of the illusions that can be created from the angle of the camera or the lens. I knew I wanted to cool the color down and give it a little more honesty as the light wasn’t quite that yellow. Her sweater had bunched towards the front and because of the forward position of her left leg I needed to use the Liquify tool to bring things back to how we were actually seeing her. Fun shoot with gorgeous a Missoula Montana sunset!

You can see more of Beth’s work by following Beth Berger Photography on Facebook, Twitter @bethbphoto, or visiting her Website.

Tips for Night Photography with Starlight, Waves & a Pro Surfer

Louise Lakier — Thu, 25 Apr 2013 21:54:48 +0000

Have you ever played around with long exposures and ghosted imagery? It is really fun on your own with a timer and jumping in and out of the frame but even more fun with a willing model and a surfboard for added geometry and color.

The shape of a surfboard is so sensual and pretty especially when complimented with the curves of the human body. I thought about the shapes I wanted to create and the way the board would overlap.

Equipment needed:

1. Your camera

2. A wide angle lens.

3. A tripod.

4. A flashlight.

5. Depending on where you are, a bodyguard (A model can serve this purpose as well!)

6. A shutter release extension chord.

How to:

1. First take a few practice shots to determine the length of time the shutter will be open. I usually use the widest aperture but this depends on how many segments or ghosts I want to include.

2. Think about composition and how the ghosts will fit into the frame. Divide up the amount of time accordingly.

3. Play.

4. Try different poses.

5. Vary the time in each pose, longer will look more solid, less time will look more ghost like.

6. Use a flashlight to enhance the subject. Beam light up and down the areas you want to highlight for 5-8 seconds or more.

A big thanks to Olivier Soliz for modeling. Olivier owns and operates the Monkey House Surf Hostel. It sits on a point with incredible views of Playa Gigante to the left and popular surf spot, Playa Amarillo on your right. You can enjoy the views from one of the many hammocks, or the food down the hill at Mama Linn’s Restaurant. You can take a surf lesson with your host, or play with long exposures on the beach at night. I opted for all of the above.

More images from this photo session are posted here.

Inspired in NYC, India, Sudan, and Cuba by 100Cameras: The Power of Photography

Louise Lakier — Wed, 24 Apr 2013 00:32:46 +0000

Photo Credit Staff Photographer 100 Cameras

Every time I see this image I have to chuckle, I just imagine these three sitting together on a front stoop one day sharing stories.

Tell me: Which of these images captivates you and why?

Photo Credit Christeena, India, Age 26

Photography gave me a way to capture my import moments with family and friends. ~Anthony, Cuba 11 years old

Photo Credit Eduardo, Cuba, Age 11

Photography preserves moments. The things and feelings and objects that I would otherwise forget. ~ Amiris, Cuba, 14 years old

Photo Credit Kaban, Sudan, Age 14

Photography is important for the growth of imagination. ~Alexander, Cuba 13, years old

Photo Credit Buba, Sudan, Age 14

Life is beautiful. ~Bala, India, 12 years old

Photo Credit Bala, India, 12 years old

Photography gives newness to things. Because when seen through a camera, all things seem different. ~Gustavo, Cuba, 15 years old

100 Cameras is in the midst of a fundraising campaign to expand their project sites. They currently provide children in New York, India, Sudan, and Cuba with the tools for photography. The images captured by the children are sold and profits go back to the community. Empowerment, creativity, confidence, expression and a sense of purpose are just a few of the powerful outcomes that develop. For a pledge of $25 or more you will receive a photography webinar on how to take amazing street photographs. For a pledge of $50 on their WEDIDIT fundraising page, you will receive a set of 6 greeting cards with the beautiful ‘tots on pots’ image. Click the links to learn more and browse additional gifts for your donations!

Visit their WEBSITE to learn more

And their WEDIDIT campaign

Tell me: Which of these images captivates you and why?

A Poem for Runners and People Everywhere

Louise Lakier — Wed, 17 Apr 2013 19:22:22 +0000

Run. Run away. Run towards. Run.

Run because you can’t sit still.

Run because it is free. Run free.

Run to get there. Run to return.

Run to measure. The distance. The increase.

Run for the rewards. The awards. The achievements.

Run for the scenery and the experience.

Run to be in the trees.

Run to move with the city.

Run because you can.

Run to reach it. To touch it. To feel it.

Run to make your heart beat faster.

Run to slow down. Run to breathe.

Run to follow the footprints.

Run to forge new paths. And new friendships.

Run to touch the earth.

Run to reach the sky and the moon and the stars.

Run until you realize it.

Run until it is solved.

Run to reflect and to ponder upon while you run.

Run to dodge.

Run wild. Run around it.

Run like the wind. In the wind. And against it.

Run strong.

Run to keep moving. And flowing. And going.

Run because there are places and spaces. And challenges. Ahead. Unseen.

Run because it comes naturally.

Run until the end. And then again. And again.

Run because you can reach it.

Run because there is. No. Finish line.

Run. Because there is no stopping. You.

Run. Because.

Imbetween the breathes and the footsteps.

There is peace.

Run.

My beautiful & FAST models include Beth Lakier, Beth Engel Chenoweth, Kristin Horvat

Photographing Runners? Pick a breathtaking backdrop and let them lose!

Inspired in Granada: Peta Kaplan and The Dogs of Nicaragua

Louise Lakier — Thu, 11 Apr 2013 01:00:21 +0000

Peta Kaplan sits beside a painting from her ‘Dogs of Nicaragua’ series

Anyone who knows me knows my love of animals, my habit of taking in homeless creatures and my 18 year friendship with the love of my life Noie, a beautiful border collie lab rescue from the LA animal shelter. I was warned before coming to Nicaragua, “the street dogs are going to break your heart”.

I lived in Playa Gigante before coming to Granada and the dogs there were well fed by the local restaurants. There seemed to be plenty of excess fish parts about in this fisher village for the dogs to eat. For the most part, on my runs or photo safaris, the dogs would follow me happy and excited and I always appreciated such joyful company. I quickly learned the language when a dog behaved aggressively and pretended to bend down to pick up a stone causing them to run in the opposite direction. Here in Granada, the weight of the dogs varies and it is clearly survival of the fittest. For the most part, they represent another life force that make up the hustling bustling fabric of Granada, weaving around and between the carts and horses, bicycles, cars and motorcycles on the street, just like the rest of us. Scuttles don’t last long and I have not seen street dogs behaving aggressively, for the most part they cower and move along. When interviewing Peta she shared a common conversation she has had with sympathetic art and animal lovers attending openings in Chicago, that goes a bit like this:

Art Admirer: These paintings make me so sad.

PK: Why?

AA: At least in the States we have animal shelters.

PK: Yes, but this is basically jail and they are separated from their pack mates.

AA: But many of them are starving

PK: Yes this is true, but here they roam freely running in packs like wolves.

In 2006, while living in Chicago, Peta Kaplan, her partner Ben Sandzer-Bell and their four sons came to Nicaragua for a vacation. They felt so comfortable here, they purchased a piece of property seeing the potential in a long term lifestyle change and a lifestyle investment. Six months after purchasing, they designed and built a new h0me and started making the trip to Nicaragua from Chicago more and more frequently. Granada is now their full time home, the base for their sustainable building business CO2 Bambu, the source of inspiration for Peta’s 3 year project painting portraits of dogs, and the recipient of their many philanthropic ventures including the adoption of one street dog and seven content cats.

LL: How did the Dog’s of Nicaragua project come about?

PK: When we first came to Nicaragua, one of the things that really struck me and touched my heart was the street dogs. I started taking photographs and drawing them. To me, they are such unique dogs, they have so much character and personality. They were so captivating. Every time we came to Nicaragua I would take more pictures and I became very attached to some of them. I started painting them as a way to raise awareness. This became my work for three years.

LL: What is the name of the painting in the photograph shown above and when was it completed?

PK: The name of the painting is ‘Scratching dog’ and was completed in 2009.

LL: Are all of the paintings of dogs in Granada or other areas as well?

PK: The dog paintings are of dogs all over Nicaragua. They were all painted in Chicago.

LL: Are the paintings roughly life size? What is the medium?

PK: They are all painted using OILS and are often life size. The canvas measures about 52”x58”.

LL: Do you have a background in painting?

PK: I have painted since I could hold a paintbrush in my hand and have studied at both the Evanston Art Center in Chicago and the Art Institute of Chicago.

LL: You mentioned The Dogs of Nicaragua project took place before you moved here permanently and now that you are here, you have a pack of dogs that have found you and visit you at your door for good eats. Do you recognize any of these dogs from your photographs/paintings?

PK: A few of the dogs that I painted I had ongoing relationships with, especially Teddy, who was featured in quite a few of my works. Currently there are many that come to my door that remind me of ones that I have painted but whether they are the exact dog in my paintings, I could not say for sure.

LL: Describe the character and personality of some of your favorite dogs of Nicaragua?

PK: Scarface is one of my current favorites. He is an extremely old dog, can barely make it to my door and has a very beat up and scarred face. When I first met him, he was walking with his face almost in the gutter and barely looked up at anything. He was defeated and “down and out”. I dont think anyone has touched him or spoken to him in years. He is extremely responsive and very gentle. He is definitely enjoying the attention and care, at the end of his rather hard life.

Princessa is the street dog that adopted us. She pushed her way into the house, and once in, refused to go out. When we tried to get her back out, she lay on her back, put her paws in the air and it was impossible to return her to the street. Now she comes and goes, but spends most of her time and her nights with us. She is extremely protective of us, her new family and when we walk in the street, she leads the way and clears the road by barking at everyone and everything that comes by.

LL: Do you sell more paintings here or in other locations?

PK: When people see them here they have a much bigger reaction because they can relate to them, “hey I know that dog I’ve seen that dog”. I have sold far more here because it becomes a memento from their trip.

LL: If someone would like to purchase a painting, how do they contact you, and will you ship anywhere?

PK: Anyone can email me directly and yes I will ship to them. The paintings are on canvas which rolls up and can be put into a tube and mailed.

To see more of the images from the Dogs of Nicaragua Series

click here and here.

Peta uses the profits from her painting sales to feed the daily group of street dogs convening at her front door as well as others in need she encounters. If you are interested in contacting Peta about purchasing a painting, she can be reached here: petakaplan@hotmail.com