April 14, 2016

Interview with DeShaun A. Craddock

April 14, 2016

by Flemming Bo Jensen

DeShaun is a photographer and writer based in New York. I first connected online with DeShaun years ago through a comment he left on my blog. I went to his websites and was blown away first by an incredible image he made of Alicia Keys and then by his street photography and last but not least, I read his - highly recommended - photography blog. Since then I have followed his work closely, and with our new KAGE interview series I was very keen to feature DeShaun and learn more about him.

The following interview is a conversation between DeShaun and I via email. Thank you DeShaun for devoting the time to answer my many questions. - Flemming.

Tell us how you came to be a photographer?

It was a lot of trial and error, honestly! When I was a child, I loved cameras, but had no idea how to use them—I just ran around aimlessly with one of the family cameras. I picked up my first SLR in 2008, but I didn't feel comfortable with one in my hands until 2012. I think that's when I became a photographer. I had put so much of myself into learning and honing my skills, and I had a pretty good feeling about the kinds of things I wanted to photograph.

What do you love about photography?

Everything. After decades and decades of photography, it's still such a strong method of expression. I love that it is a wordless conversation I can have with anyone, or no one, if I choose.

And what do you mainly photograph?

I've lived in New York City all my life, so it is in most of my work. Street scenes and music performances are my absolute favorite things to photograph.

Is there a connection for you between shooting street and music?

The skill set is similar. When I walk the streets, I scan for a setting and try to catch things as they happen, or as they align just right. Music photography is experiencing a performance and extracting moments of excitement or wonder from that show. Both types of photography require a sensitivity to serendipity.

What does music photography give you and mean for you?

It's a lot of things. I think everyone has that moment where they go to see their favorite performer, and even though they are surrounded by hundreds of people, they feel like they are the only person in the room at the time. I feel like that when I raise my camera to my eye during a performance. It's a way for me to bottle that energy and share it with others. When I'm photographing someone I'm a big fan of (like Alicia Keys), then that intimate feeling is amplified, and I feel like I'm showing my appreciation to those artists, even though most of them never see what I create.

Do you secretly wish to be the artist playing when you shoot concert gigs (I ask because I am curious, as I not so secretly want to be a DJ!)?

I'm very comfortable just being the photographer, and I don't think could face those big crowds every day! I always wish that I had a better connection to the artists. There are some people I'd just love to work with more closely, so I just want more of that. I only want to be on the stage if there's a camera in my hand.

What are the main challenges you have faced in music photography?

There are always technical challenges like difficult lighting, but you often learn to think on your feet and make things work when you can. I'd have to say that my biggest obstacle has been actually getting the jobs I want, and the visibility I'd like. I email people, I pitch ideas, and I share my portfolio with tons of people, but it's really rare for me to actually get hired. A lot of my work comes through one or two outlets, and getting your name out there can be difficult. I'll end up being confident one moment and really down on myself the next, so I guess my own attitude is a challenge too! It's so hard not to take the rejection personally when you put so much of yourself into it. There are times when, after a series of unanswered emails or hitting yet another dead end, I start to wonder if these people like my work, or if they like me.

What would be your dream music gig?

Ideally, I'd want to tour with an artist whose work I admire, and hopefully, an artist who also admires my work. I'd want to be able to go wherever I want and really tell a story, instead of just capturing the first 15 minutes of a performance. I don't think I can even narrow it down to a specific artist at the moment, because there are just too many, but I'd want all access. As much as I love performance photos, I want to get the story leading up to the moments on stage. I want to be able to capture the types of isolated scenes that I capture in my street work. I want to make work that doesn't just make you feel like you were in the front row, but a member of the crew. That's the dream gig.

A year ago you wrote a great blog post about Race and Photography and the problems with racism and lack of diversity in the photography business - what has the reactions been to this post since ?

They have been surprisingly positive. A lot of people approached me and said that they didn't realize it was like that in photography too. Getting that kind of response makes me think that there really are a lot of people who are ready to talk about the topic and work towards establishing a balance that hasn't existed before.

I see the problems of race and gender in photography through my partner far too often. I also see it constantly in the music industry. How do we battle these problems which are far too often ignored or denied?

Well, if I knew the answer to that, I'd be a genius! Acknowledging that a problem exists in the first place is a huge step, and then making a conscious effort to correct it is another. That's a really deep problem, so staying visible and having a sense of community makes us all visible. There are groups like The Photo Ladies that showcase work from a ton of talented women, and I think those kinds of groups are necessary in a system that really seeks to divide those who are already marginalized. Even if it isn't going to be a formal group, sticking together and cooperating with one another is so crucial to individual success.

Your stories and images from NYC really makes me want to live there for a while. How has your love for New York evolved since you began photographing the city ?

You should definitely stop by for a while! My love for the city has definitely become deeper. There have been rough patches, because New York City is always becoming more expensive, more demanding, and in some ways, less inclusive. Going out and photographing the city reminds me of the little subtleties that make me love living here. There are times that I will travel on vacation, and I swear that I've had my fill of New York. Then I'll return home and see a certain scene, and I feel welcome again. It's a hard thing to describe, but photography in the city is always rekindling my love for it.

There is a solitude to a lot of your street photography and you wrote about it in The Solitude of 8 Million, where you mention the camera also gives you solitude. Why is this important to you?

I am, among many things, an introvert. There are so many people in New York that trying to find total absence of people is nearly impossible. Any tool that I can use to give myself some time to think or relax is always welcome. With a camera, I can quietly observe, and no one will question why. I also spend a lot of time thinking, so walking around with my camera is a great way to unwind after a long day.

How do you approach your street photography in NY - Do you have a favourite time or place to shoot?

I really like strong shadows and night, so I tend to choose times of day that cast long shadows down the narrow streets, or nighttime, because the city changes so much once the lights go on. Much of lower Manhattan is fun to shoot, because there's interesting architecture and some narrow streets that look amazing at certain times of day.

What attitude do you meet in the streets of NY towards candid street photography?

People are very aware of cameras these days, but I've never been the type of person to invade someone else's space when shooting. I tend to photograph people as they are walking away or from an unassuming distance. Usually, if I encounter someone who is trying really hard to avoid my camera, it turns out that they are not even the subject! I've been questioned by police a few times, usually someone being a little too suspicious about me photographing an ordinary looking parking lot or street corner. As difficult as it may be at times, I just try approaching scenes with confidence. If someone sees me take their picture, they see me.

You are also a writer for Huffington Post. How did this come about?

To clarify, I am not actually employed by Huffington Post. HuffPo has a blogging platform where you can post work and possibly give it some extra visibility through their audience. I got access after going to a portfolio review and sitting with someone who was an editor at Huffington Post. We really hit it off, and she put me in touch with someone who granted me access.

Which gear do you use and do you use the same on the street and at a concert?

I am a Nikon shooter. I have two digital cameras: a Nikon D750 and a Nikon D610. I have a 50mm f/1.4, a 24-70mm f/2.8, and a 105mm f/2 for lenses. I use the same gear out on the street and at a concert venue. I also have a few film cameras, but I don't use those at concerts. They're just for fun.

You recently finished your Abstract.NYC project. It is quite a departure from your street and music work. What made you start this project and what did it give you?

The project came from a magazine that had some photo project ideas. One of them involved panning the camera during a long exposure. When I looked at photos using this technique, they all looked the same. They were all taken at the beach or in a forest, and always used motion in one direction. After trying the technique in a few locations around the city and being really excited by the results, I decided to make that a series and explore many more neighborhoods. The concepts involving time and missed moments came to me after my 10th image or so. It felt so good to be able to express something in such a unique way, and it felt even better when people actually liked it.

Do you have a new project in the making?

Nothing in particular, no. I have recurring themes in my work, like shadows, reflections, geometry, and solitude, but I haven't actually fleshed any of them out into a project.

You mention in your review of 2015 that you are still searching for that big break and the struggles with getting the breakthrough. How has your 2016 been so far ?

Well, getting a photo featured in PDN has been wonderful! I'm still reaching out feverishly to try and get more access and get some interesting jobs, but so far the music photography has been slow. The abstract project is over, and I haven't really found it an offline home yet. The year is still young and these kinds of things take time, so I'm not discouraged just yet.

Can I get you to share 5 of your favourite images and talk about each of them ?

New York Chinatown

This is my favorite street shot. I took it back in 2012 following a Lunar New Year parade in New York's Chinatown. All the festivities were over and the cleaning crews were out to clear away all the confetti. I originally wanted to capture the confetti being blown by the leafblower, but then this man walked right through the confetti and that was a much better scene. The decision to make it black and white came 2 years later.

Dann Gallucci

This is Dann Gallucci, guitarist in the band Cold War Kids. When shooting a concert, there is only so much you can prepare for ahead of time. Sometimes, you are just standing in the right spot. While a few other photographers were focused on the rest of the band, Dann was playing his hardest right in front of me. This was easily the best shot I took of that performance, and one of my favorite of 2015. Through some really crazy circumstances, Dann's father ended up asking for a print, so that was a really amazing highlight.

Abstract.NYC

It's hard to choose a favorite abstract, but this is one of the last ones I made before completing the project. My favorite pieces in the project always have colors that overlap and blend in interesting ways, and this shot really surprised me. It was later considered by Apple for a project (but was not chosen).

Gabrielle Wortman

This is Gabrielle Wortman. She's in a band called Smoke Season. This is one of my favorite performance photos ever. The colors are really deep, and it's just so close. I think it really reflects the intimacy of the venue, which was a small hotel penthouse overlooking the New York City skyline.

New York - Manhattan Bridge

I think one of the best things about NYC is how it looks under different weather conditions. The city in the snow and rain is really magical and should be experienced first hand. This was taken during our blizzard early this year—the second largest in the city's history! I went out during the storm and found this pile of shoveled snow, and lined up my shot so the Manhattan Bridge would appear to be buried. Forced perspective isn't just for looking like you're pushing the Leaning Tower of Pisa, you know!

Connect with DeShaun A. Craddock

Websites

Main, street photography and blog:
http://www.deshaunic.us/

Music photography:
http://dac.photography/

Social media

January 14, 2016

Charlene Winfred

Interview

Interview With Lynn Gail

January 14, 2016

Charlene Winfred

Interview

I first met Lynn during the blur of my life as a corporate monkey in Perth, Western Australia; I think we might have attended a photowalk organized by a local photographer who is a mutual friend. Dry humored, diminutive and sporting a pair of tellingly worn shoes, I was only slightly jealous when I found out that she traveled for a living, shooting for the likes of Lonely Planet and Getty Images. I interviewed Lynn over the (email) wire, keen to know how she came to do what she does. Many pots of Earl Grey were consumed during the course of this interview by us both. - Charlene

How did you come to be a photographer?

I left home at 16 after failing badly at secretarial college (uni was never mentioned at home). Boredom had seeped in very quickly – the typewriter keys never bounced in the right direction and after several bottles of white-out I left the UK to live in New Zealand, where I stayed for two years.

On returning to the UK I joined The Hastings (a local newspaper) and St-Leonards-On-Sea Observer where I became an apprentice typesetter. Unfulfilled in this typist/compositor role, I’d easily get distracted by the bushy tailed squirrels running around outside my window; I day-dreamed of something more meaningful than pressing small squares of letters on the black keyboard.

The darkroom, initially off limits, became a room of magical little moments as the editorial photographers allowed me to watch them develop their negatives. I wanted to know why parts of an image were soft while others parts were sharp. The aperture ring helped me focus on my life and I began studying the old masters, Henri Cartier-Bresson, Andre Kertesz, Helmut Newton, Elliot Erwitt etc. With a Canon AE-1, I began photographing everything that did and didn’t move, writing down each setting to match to each print. People fascinated me though – I wanted to get beneath a person’s veneer and capture their essence – and travel photography seemed the perfect fit.

What sort of work do you do / have you done?

I’ve had no formal education apart from a six week black and white darkroom course when I first came to Australia. For several years I photographed day-care centres, T-Ball teams, built a rustic out-door studio set up for family portraiture, photographed people in commissioned shoots for For Me Magazine (no longer in print) and photographed weddings while raising two very special young men.

Having a restless, wandering mind, travel has always been part of my thought process. When I met Richard I’Anson, founder of the Lonely Planet stock library, I asked him to look over my travel images. I wanted to know how cultures worked, what made them so diverse. I didn’t just want to observe; I wanted to make a connection. I’Anson generously helped me with an initial 500 image submission that was necessary for acceptance into Lonely Planet Images. I also became a contributor of the UK stock library, Robert Harding World Imagery.

One thing invariably led to another. After completing two short on-line travel writing courses, I began contacting travel magazine editors with a view to supplying features articles. Having been published just twice in several years, getting a commission took many knocks on editors’ doors. Knock long enough though, and the door eventually creaks open. My initial articles had appeared in Australia Photography Magazine (now +Digital) and Better Photography. More recently, my work has appeared in Australian Traveller Magazine, Get Up and Go Magazine, Get Lost Magazine (Jan 2016) and Australian Photography +Digital (due out Feb 2016). Travel Directors, a specialist small group tour company based in West Leederville, also hosted me on one of their tours to Madagascar to shoot video/stills for their advertising material.

New journeys inspire new ideas. Through meeting some kindred and clever souls in the places I’ve been lucky enough to visit, I have recently started running small personalised photo tours with Seng Mah [a fellow professional in Perth, Western Australia]. Our website – Cultural Connections – has just been launched. In 2016 we visit Madagascar, return to the Yolngu people in Arnhem Land (one of the gentlest cultures on our planet), and we also visit Sardinia for a recce trip. Our bucket list is growing pretty fast! We want these tours to be immersive, where participants really connect with the people they visit and not just pass through without gaining any real sense of the journey they are on.

Through being focused firmly on travel, I’ve recently neglected the all-important creative process of personal work; as a photographer I feel one feeds the other. Business and personal paths don’t have to meet, but they should run a close parallel to one another.

As a travel photographer / writer, you come into contact with a lot of people. Making connections is obviously important for you... how do you get underneath someone's skin to understand what's under their veneer, in a short amount of time?

When I’m on the road it’s not always easy making a deep connection, especially in a fleeting moment. I often feel uncomfortable ‘grabbing’ the shot, but the reactive photographer in me struggles with not recording a slice that resonates. Essentially we are all the same, regardless of culture, skin colour and conditioning: our basic human instinct to be accepted and to accept the World around us is paramount to our survival.

So, how do I get beneath someone’s veneer in a short amount of time? I try to be open and honest and connect to their existence through my own existence, some people you can do this with instantly, and others take a little more time to build trust with. I want to learn about people’s rhythms, their daily routines and their belief systems. Understanding others helps us to understand ourselves and where we fit in. These chance or planned meetings, however brief help to shape the road ahead and make it a tiny bit straighter and sharper.

An occasion that put my life in perspective occurred in Cambodia. We had a driver for two weeks who took us off the tourist trail (the best place to be). We drove through an area called Battambang and stopped at a local village to stretch our legs. I always explore unplanned stops, so I walked into a brick-making factory where I met two young boys. One was 12, the other 15, around the same age as my youngest son, both were skinny and wearing tatty shorts, pushing a heavy load of newly made bricks up a steep incline into the factory. I found out that they worked every day with rare days off, and the money they earned went directly to their families, whom they saw once a month.

These hardship stories of children working to support their families are common, but what struck me was: grim their as situation would seem to many Western children who live far more comfortable lives, they found reasons to smile.

Also, there’s always laughter on the road.

“You want sex?” The dark haired man asked, sitting in his white panel-van at Phmon Phen’s airport in Cambodia when I handed over a wad of US dollars.

“For driving”, I said, as confused as he was. “You’re Sarat?”

At this point, I turned, and noticed the real Sarat sitting in an identical white van whilst my two companions were on their knees, doubled-over with laughter. I snatched the wad of cash back from the poor confused man, mumbled an apology and quickly walked away, head hung low. I’ve never quite lived that one down!

Images: Can you share some of your personal favourites made over the years, and tell us about them?

Girl In Tall Grass

We were just returning from an impromptu rodeo in a rural village in Madagascar. Watching angry cows buck against rum warmed men was not my idea of a good time, so I walked ahead of the group. This young girl was as interested in me as I was in her – her clothes matched the tall dry grass and her contrasting big round eyes just stared out at me. Fortunately I had a 70-200mm lens on the camera and quickly took two images as she looked right into the lens, then she was off running through the growth.

Girl Mothering Sister

This image of a young teenager looking after her sister was taken in a small hill-top village in Laos where they rarely have visitors. We shared no verbal communication, only wide open accepting smiles from this chance meeting of opposite worlds. After pointing to the camera she looked fixedly into the lens and I felt a connection for the briefest of moments as she shared a little of her soul.

Novice Monk In Robes

When eyes stare out at me, I get excited. At the New Moon Festival in Bagan, Myanmar, I spotted this novice monk peeking out at me through folds of dark maroon material. He was surrounded by a long line of older monks waiting to collect public donations under the intense sun. I’ve learned to wait, knowing that if someone looks once or twice they’ll invariably look again to see if you are still there – just as I took his picture I felt he looked safe yet vulnerable at the moment we made contact.

An Aboriginal elder – Djarlie

I had spent the day with Djarlie, a Yolngu elder, at Bawaka homeland in East Arnhem Land. I was there on assignment to write a feature article for Australian Traveller Magazine on the Top End outback. Initially Djarlie was reserved but after spending three hours riding alongside him in a battered 4WD on the most incredible coastline of Australia, he opened up once he discovered I had keen listening ears.

He took the time to show me what is involved in spear making, using the maluan and gutpa trees. Afterwards, demonstrated his prowess in fishing with the spear – once released from his hands, it always connected with its target, killing his prey immediately. He taught me there are six seasons, and each time the weather changes, the Yolngu people know which animal is ready to hunt, what plants are ready to use in their cooking/medicinal purposes and which can be used for the artefacts they make. The Yolngu people believe that rain is a recently departed Aboriginal elder’s spirit returning to land and country.

Djarlie is an exceptional character with a colourful past who is he is deeply connected to country. Once we had made an open connection his demeanour changed; I felt I was photographing the pages of his life, not just its cover.

Andrea

On a more recent visit to East Arnhem Land I met Andrea at Bukudal Homeland in East Arnhem Land. A talented young Yolngu girl, Andrea sang and danced as I photographed her on the beach – her zest for life was intoxicating, but her quietness was what I wanted to capture. She struck me as being an old soul, for her young years. As we gathered on the communal mat, she spoke of the land and her people with a connection that belied her years. She struck me as an old soul, with a connection to her community that I can only imagine as an outsider, and it was this facet of her that I wanted to capture.

Laughter in Lombok

As a stock photographer it’s part of my work to be aware of up-and-coming destinations that are becoming popular. While trekking through the Mount Rinjani region in northern Lombok, Indonesia, my companion (Elana) and I came across a tiny hut in the middle of the tobacco fields.

Initially, we didn’t see a soul. Right as we walked past the hut, a child peeped out at us from a wooden door, then its father and mother appeared. I never give up an opportunity to mix with the locals if they appear friendly, so we stopped, waved and asked if we could visit in sign language – pointing to ourselves and back towards them, smiling. They waved us over, inviting us in. People in this area are not used to seeing Caucasian women loaded with camera gear trekking through their fields, so I think it was as much a novelty to them as it was to us.

In the hut, they also served us think black strong coffee in plastic cups. I don’t drink coffee, but my companion, Elana sipped on hers, making a face at the taste of it. This sent our hosts into gales of laughter. They laughed the whole time we were there, and we didn’t really know what they were chortling about, but as we couldn’t help laughing ourselves, it seemed entirely natural! As we showed them images on the back of the camera this sent them into more raucous laughter – quite a memory in the middle of tobacco fields at the base of Mt Rinjani!

Being a travel photographer requires that you're away from home a lot. How do you and your family make this work?

I met my husband at an airport - he was on the way back to China where he lived at the time, and I was emigrating to Australia. After several ping pong trips I moved to China and from there we moved to Malaysia, with lots of travelling in between.

Travel has always been a part of our relationship. When my boys were old enough and the opportunity presented itself for further travel, to do what I love, he was very supportive, which he continues to be to this day. We’ve never had a conventional relationship with conventional husband and wife roles. When I’m away he keeps everything in check; he’s also worked away from home a fair amount of time and understands the need for change and discovery. Without his unconditional support much of what I’ve been able to achieve could not have happened. I am eternally grateful to him for this.

What are the challenges you've faced as a professional photographer?

The biggest challenge I’ve faced would be be bringing the inaugural tour to East Arnhem Land together.

I first had the idea for this tour when visiting East Arnhem Land in 2011 for the first time. There were no photographic tours running in the area and I could see the potential for the cultural and photographic aspect. Seng Mah invited me to be a part of Photo Expose in 2013. I got to see how skilful a teacher he was, and I invited him to join me in running my tour. That was the easy bit.

So many questions followed the idea: Could I teach? It’s easy knowing what you know, but imparting that knowledge is a different story, requiring a different set of skills. How do I keep a group of people engaged for a week? How do we fill the spots? Will everyone get along? All other photography jobs seemed a walk in the park compared to taking a small group of people on a personalised tour of Australia’s most remote territory.

I often tell myself that everything will work out though, along with a quote by Mother Teresa: ‘doubt takes away your freedom.’ Challenge creates focus which ultimately creates gratification and that excites me – I believe it’s healthy to feel accomplished when we achieve our goals. When the journey of any idea comes to fruition, it is a wonderful thing!

Personally, I always struggle with leaving my family behind – they are the people who balance and support me – but the itch to travel, photograph and write about my journeys run deep. The challenges and opportunities that travel provides, teaches me to be a better human being. I think it’s a wonderful assurance to my two talented sons to follow their dreams and get totally immersed into whatever excites them.

When you believe in yourself, the road becomes a lot less bumpy. Creativity can be both rewarding and an enemy when things don’t pan out as expected – imagination is a powerful tool; it can work both ways. I’m a fighter though – what gets me down also propels me forward to improve my work both in my personal and business life. I believe in the old adage: ‘where there is a will, there is very definitely a way’.

Who's your hero / Who are your heroes?

The photographers that grace my coffee table are the obvious ones: Steve McCurry, Henri Cartier-Bresson, Andre Kertesz, Don George, Simon Reeve, Vivian Maier, Richard I’Asnson and the many other Magnum photographers – but are they my heroes?

These photographers certainly inspire my mind but it’s the unsung heroes who inspire my heart: My close friend Kaye, who fought cancer on and off for nearly 30 years, passed away last year at just 47. She never complained, even the day before she died she was still worrying about everyone else.

Special K, they called her.

This year I was involved in a volunteer project for the Australian Institute of Professional Photography – photographing the Anzacs to honour their lives. After getting to know these service men and women through their stories I realised what it really meant to be a hero – they fought for their country at the ages my sons are now.

I also volunteer for Heartfelt, an organisation that gives the gift of photographic memories when all else is lost – when people lose their babies and young children, often through a still birth, others through cot death, through disease and tragic accidents. When I am in the hospital room with those who have lost their children, I am always touched by the strength that they find to continue with their lives. They are heroes to me, the people who soldier on through their darkest hours. We give them a gift through Heartfelt, but they certainly gift us in return.

Photographically, are there any projects you haven't taken on, that you burn to?

I had to have a good think about this one. If there was absolutely nothing in my way and Nat Geo rang to offer me an assignment (yeah right!) documenting say, Tribes Untouched by Tourism, then I’d be packing my bags pretty damn fast. I have a fascination with untouched cultures – there are so few left in the world. To document tribal rituals so foreign to our own lives with no outside influence would be the ultimate career clincher.

But a little closer to home, in 2016 I’m continuing an on-going project: People Reading Print – Books, newspapers, anything printed has been taken over so quickly by technology. I love to see people engrossed in tactile print – there seems to be a more connected expression, and often their surroundings add to the story.

I’m starting another personal project this year: ‘Seen through Windows.’ As a people photographer it stands to reason that I’m a people watcher – photographing people through windows in restaurants, in shops, on public transport and wherever there is a window that separates us. It’s about recording something completely in the moment, a slice of undisturbed life.

What sort of equipment do you typically use on assignment, and for personal work?

I generally use the same equipment for both personal work and assignments. I try to keep my kit down to three or four lenses due to weight. In the bag: Canon EF 70-200 f/4L, Canon EF 16-35 f/2.8, Canon EF 50ml f/1.8, Canon EF 28-70 f/2.8, Canon Extender EF 1.4. My tripod is a combination of a Manfrotto ball head and a Gitzo traveller titanium base – total weight 1KG.

What is your guiding philosophy in life?

My guiding philosophy would be: When first inspired by a seemingly unachievable goal - one that excites and focuses you like a meditation - follow it, stay with it, play with it. Follow it to fruition; the view is incredible.

Where are you heading to in 2016?

My youngest son has his ATAR (Australian Tertiary Admission Rank) exams so I’m keeping the travelling to as much of a minimum as possible, while still covering three trips.

In May, Seng Mah and I are off the Sardinia, Italy to recce a possible tour we may be running in 2017. We have our inaugural photographic tour leaving for Madagasar/Mauritius on July 10th, and our East Arnhem Trip on September 10th.

If someone calls and the timing is right I’m sure I’ll squeeze it in ;)

Connect with Lynn