52 Photographers

Brooks Salzwedel

I've been a fan of Brooks Salzwedel ever since I hear his interview on the Art for Your Ear podcast. He uses graphite, resin, and colored pencils to create scenes of a desolate world.

To me, his work has a vaguely photographic quality. I think I saw his work before I heard the interview and learned about his process, and I first thought they were manipulated or collaged photographs, coated with encaustic wax. But I was wrong, and I think I love his work more for that.

His work has so much depth!

You can listen to his interview on the Art for Your Ear podcast, and see more of his work on his website.

Brooks currently has a show up at Johansson Projects in Oakland, CA.

Charles Petillon

Whimsical is what comes to mind when I look at Charles Petillon's photographs.

He takes bunches of white balloons and arranges and places them in the landscape. These bunches of balloons have the feel of a cloud that has descended to hover just feet above the ground, and the luminance they add to the land is really quite beautiful.

Mutation 2

33 KM 1

Igloo 2

You can check out more of Charles' work on his website, and follow him on Instagram.

Andrea Dale

Andrea Dale has some really lovely pieces that she titles Ash Paintings. She gathers ashes from recent wildfires and suspends them in resin, which results in an image that has the appearance of rising smoke and ash and fire. Her work falls right into that category I'm such a fan of: beautiful and yet ugly at the same time. Beautiful, because the Art of the work is beautiful, and/or well crafted, but ugly because of the content. In this case, something had to burn to ash in order for the pieces that Andrea creates to exist. She even mentions this in her artist statement:

Destructive wildfires provide the art material, while the ma, or vast empty vertical space, represent the absence of the ash's original form. The alchemy of transforming this base material into art with an emotional weight and presence, portrays a dance between grace and gravitas. My work lures the viewer in by relying on humanity’s love of beauty, but delivers a statement about the danger of living life in a state of disconnect from nature, the self, and empathy. 

Check out more of Andrea's work on her website.

Jeff Frost

If you like time lapse photography, night photography, and video, you'll enjoy Jeff Frost's work. He even crosses over into Earth Art a bit. I've been looking at Jeff's work for a while mainly through his Instagram feed, but also through his website, and his videos hosted on Vimeo.

Jeff was kind enough to answer a few questions about his work that you can read below:

Would you mind telling me a bit about your background as a photographer? 

My background is really as a musician. So I tend to think of photography and contemporary art in terms of rhythm, texture, and mood. The timing of a video edit is as delicate as the fixing I used to have to do to for one of my shitty ex-drummers. If you're getting it right, you're 'in the pocket' in both mediums, and that can come down to mere milliseconds of difference. Time lapse itself is as mechanical and precise as a Roland 808, which can make it difficult to humanize, but also prevents an invigorating challenge. 

I never imagined myself being a photographer or a film maker. When I realized the music thing wasn't going to work out, I went to a school that essentially taught me the basics of commercial photography: how to shoot headshots and weddings, studio lighting, product photography, etc. All of which I did as student to scrape by. As I was shooting weddings I'd find my thoughts wandering. I'd make estimates on how long a couple would last before the divorce. Then I'd feel guilty and think, 'Well this can't be healthy.' In class I was rebelling by creating fine art instead of commercial work. The weirder and more complex I could make it, the better. This lead to painting optical illusions in abandoned houses, which I think of as some sort of minimalist-maximalist paradox in motion, and weaved into a non-linear film narrative. 

Who are some of your influences as a photographer, and who is your favorite photographer? 

My influences are also more towards the music and painting side, but I'll get to a few photographers as well. Musicians who influenced me early on were a lot of the alternative rock stuff like REM, Wire, the Cure, but when I heard Nine Inch Nails "ruining" sounds it really changed how I think. Right now my influences are becoming more abstract on that front: John Cage, Autechre, Aphex Twin, Kim Cascone, Christina Kubisch. All of this filters into how I shoot photography, make soundtracks, and work on sound design. 

I love the minimalist painters (Frank Stella, Ellsworth Kelly, Barnett Newman, Mark Rothko, Piet Mondrian, etc), but really I love every era of painting. Classical painters such as Caravaggio and Bosch are examples of wild innovation within their time, and also examples of how to get away with it. I adore Andy Warhol and pop art. Street art has had a huge influence on me as well, and that's where my paintings of abandoned buildings stems from. 

For photographers the ones I admire and am influenced by have little to do with my work aesthetically (in most cases). The fearless, tireless, tenacity of Diane Arbus has always blown me away. Richard Avedon honing his portraiture craft to include interactions designed specifically to illicit emotional responses from specific people is an example, for me, of how productive it can be for a photographer to step away from passivity and jump into the thick of things as well as the importance of brilliant planning. Lee Friedlander is one example where you can at least somewhat draw aesthetic parallels. The way he composes and plays with the psychological reaction of the viewer has always had a huge impact on me; same goes for Edward Burtynsky in a much different arena.

I can't say that I have a single favorite. Too hard to choose. 

Three years ago I set out to show, rather than talk about, an effect of climate change that is happening right now. One of these effects is the intensification of natural weather systems everywhere. In California this manifests most frequently in drought, which leads to dehydrated ground fuels and is the reason fires start with more ease and burn both faster and longer than they have in the past. I trained as a firefighter for this body of work, and have traveled to over 40 large fires in California since 2014. Credits: MUSIC: Ashes in the Sky by The Flaming Lips, used with permission from Wayne Coyne All other sound by Jeff Frost All else: by Jeff Frost

I love when artists make work that is interactive and collaborative with the landscape, and there is a lot of that in Jeff's work, and my favorite examples are found in his Flawed Symmetry of Prediction body of work.

An experimental short film that captures the transmutation of dead Joshua Trees into works of art as a way to explore change and renewal. Created for “Hello, Again,” an initiative by Lincoln Motor Company that asks filmmakers to reimagine the familiar into something fresh and new. Set in the magical high desert of Southern California, “War Paint for Trees” takes a surreal and unexpected journey that is deeply personal and intensely cosmic. No motion graphics were used in the creation of this film. Watch the "War Paint for Trees" behind-the-scenes film: vimeo.com/channels/helloagain/64641391 More at http://vimeo.com/channels/helloagain For steave Created by Jeff Frost Credits: Assistance - Stephanie Alva Music - "Transmutation of Death II" by Jeff Frost Thank You: Jordan McGarry Hana Newman Chris Diken Cain Motter Brooke Degraw Michael Lee Dynamic Perception My Amazing Parents Produced by The Lincoln Motor Company
As the shadow of night falls across the American West a lone man begins his work. Far from the confines, calamity, and culture of society, multimedia artist and storyteller Jeff Frost sifts through the visual dregs of places and people who once were. Combining still and time-lapse photography with motion, music, and art, Frost reveals a world rarely seen. Rooted in science and the exploration of space, Frost’s work explodes with light, fire, and sound, utilizing 2D and 3D perspective, leading the viewer on a unique visual journey through worlds both real and imagined. - written by the amazing photographer and human being, Daniel Milnor Knockout Quotes from the free eBook: store.blurb.com/ebooks/327392-flawed-symmetry-of-prediction "Frost's video footage of the desert and abandoned houses in the American Southwest is certainly stunning in its own right, but it was his incorporation of three perspective-bending optical illusions — and his use of time-lapse as a medium to expose the reality behind those illusions — that really sold us." - io9.com "...a glimpse of a world without limits." - Brooklyn Street Art, Steven P. Harrington "[Flawed Symmetry of Prediction] is a monumental thing." - Jeff Dunas, Palm Springs Photo Festival co-founder "Impressive." - Vandalog.com "Very creative and sick." - Tom Lowe, Astronomy Photographer of the Year "Jeff Frost shows us the future of the 21st century book in his audio and visual feast, "Flawed Symmetry." - Eileen Gittins, Blurb Books CEO "Jeff Frost is the author of this new video made frame called Flawed Prediction of Symmetry. She asked him several months of work plans, and melds contemplative and discrete graphics interventions." - allcityblog.fr, translated from French by Google "A breathtaking combination of time lapse and 3D optical illusion." - Coilhouse Magazine + Blog "Go away!" - Allison Nazzareno, Hater

Check out more of Jeff's work on his website, and follow him on Instagram.


Alexander Davis

I've been following Alexander Davis on Instagram for a while now, and I've really loved his work.

I asked him a few questions about himself and his photography. You can read about him below:

Would you mind telling me a bit about your background as a photographer? How long have you been making photographs?

My history as a photographer is rather limited, I’m really no expert. Professionally, my background is in advertising and film post-production, commercial music mainly, and my education is in Philosophy and Audio Engineering. I picked up a Fujifilm X100-T in 2015, looking for a new personal creative outlet as music had really become “work" and I needed something else just for me. I was living in New York at the time and would go on long walks around the city, taking photos, experimenting with editing them. I didn’t realize how meditative this practice can be, but it quickly become an important part of my life. Later in 2015 I moved to Los Angeles and had a brief stint working at an editorial/post shop in Santa Monica. Ultimately I had to get out of "the industry" for the sake of my mental health and a desire, at the age of 30, to focus on my own creative work instead of producing other people’s. I spent the next year driving all over California and taking loads of photos, then last summer I felt it was time to get out of the city altogether and moved back home to Colorado. My long-term goal is to have a physical gallery space at some point, transition to medium-format to start producing much larger prints and hand-build the frames. I want to create real things of value for people to put in their homes, keep it local and off the internet as much as possible. 

Who are your influences? Who is your favorite photographer?

Oh man, pedestrian opinion maybe but I love Slim Aarons. It’s not what I do at all but I’m a sucker for that 60s jet-set joie de vivre stuff. In terms of inspiration, I’ve always admired the work of cinematographers and colorists since working in post and try to apply those types of grading techniques to my stills. I love everything Roger Deakins ever did, particularly Sicario. The look of that film and the setting are amazing. It’s similar but much more vivid than No Country for Old Men, which is pretty universally loved by photographers. I like to look at a lot of Americana, being a Colorado native, have got some Joel Sternfeld and Bill Owens books around the house. I saw Christopher Williams’ The Production Line of Happiness retrospective in NYC around the time I first started shooting. I think I was really consciously turned on by the look of film for the first time then. Lately I’ve been spending less time browsing Instagram than I used to. There’s so much great work out there, but I feel like I’ve just been looking at too much photography, perhaps feeling overwhelmed with influence and finding it difficult to really connect with people's work due to the cursed algorithm and the nature of the platform itself. On top of that I’ve now lost any desire to go to Iceland. Ever. Truly, though, I have met some absolutely wonderful, immensely talented people through Instagram and I am endlessly appreciative for all the kind words. It’s been amazing to find a place in the community and I do love how enthusiastic many of us are about each other’s work, discussing techniques and locations and just messaging to say hello. That’s been a real joy.

Against The Modern World No. 3

About Against the Modern World, he says:

This series was taken at the end of April in Eldorado Canyon, a small town and state park just south of Boulder, Colorado. It was snowing with dense clouds moving between and around the jagged rocky features of the canyon, subtle spots of light coming through every so often which made for very dramatic atmosphere.

Against the Modern World No. 6

“The Organ” from The Great American West

My morning in Arches National Park last July was flat grey overcast, which was actually a nice change from all the other days I’ve had there when the light was typically very harsh. The Organ is an impressive edifice, roughly 500ft tall, and I really like how its stature came through in the image. I did a vertical composition as well, which can be seen in my 4x5 editions.

“Mt. Lincoln” from The Great American West

This was taken last November above Hoosier Pass, south of Breckenridge in the Mosquito Range. It’s a fairly low-key 4x4 trail up above timberline. Mt Lincoln is 14,295ft at its peak, which is seen here scraping moisture out of the atmosphere.

“Morning Light” from The Great American West

I take my morning coffee in the car and just drive around nearby rural areas a few days a week. The early light against the foothills makes for beautiful views and subtle contrasts, just nice quiet moments.

Subtlety No. 4

A morning drive through a particularly dense fog in Niwot, Colorado. Left Hand Creek is seen winding through layers of trees.

Subtlety No. 5

A panorama looking south toward Boulder over Left Hand Reservoir, taken from Neva Road. 

Subtlety No. 10

A foggy morning somewhere along Buckhorn Road, west of Masonville, Colorado. 

Check out more of Alexander's work on his website, and follow him on Instagram.

Nancy Holt

Back in 2008 I wrote about Robert Smithson, and how influential he and his writings were becoming on my art then. Through all that reading I learned about Nancy Holt, who was married to Smithson. I really only remember getting familiar with only one of her works, Sun Tunnels in north-western Utah.

Holt, who passed away in 2014, really was quite a prolific artist. Many of her works no longer exist, due either to their intentional ephemerality, or to their being destroyed, as in the case of her Missoula Ranch Locators (1972), which was destroyed so that the owners of the property could build a home.

Her work was made to be an interactive experience. At Sun Tunnels, the viewer stands in one of four concrete tubes and looks through holes cut into walls that line up with certain constellations. Or, the viewer might look through two tunnels to see the sun rise and set at the winter solstice, or the other two tunnels to see the sun rise and set at the summer solstice. Through this interaction, or participation, Holt views her pieces are fully complete.

I have a strong desire to make people conscious of the cyclical time of the universe

If you feel like making the trek to the Sun Tunnels, you can find some info here: Sun Tunnels info from Utah Museum Fine Arts

And you check out the Sun Tunnels on Google Earth

You can read more about Holt here.


Joe Rudko

I've been a fan of Joe Rudko for a while now, and I'm real excited to share his work here!

Joe reenvisions other people's memories using torn, or cut found photographs, drawing, and mixed media. The results are quite intriguing, and his imaginations seems to be boundless in the way he rearranges and reinterprets these old photographs.

Color Wheel


Out of Frame

Grab yourself a cup of your favorite hot beverage, and check out his work on his website

You can also follow him on Instagram.

Bryon Darby

In the fall of 2016 I felt I needed to seek out other photographers and artists in my area, and either create or join a community of artists that had as a goal to help each other in our creative endeavors. Part of that search lead me to a series of lectures done at Utah State University by artists who came to give a presentation to students about their profession, and how they got to where they are now, and work they've done, etc...

One of those presenters was Bryon Darby.

9 hours in 9 panels

Distant Aircraft No. 3

My biggest take away from his presentation was what he said about making work:

Make work first and figure things out later...Just make! The only sin is not making!

Bryon is an ASU alum, where he studied under one of my favorite photographers, Mark Klett, and his influence shows. Not directly in his work, but more so in his ideas and concepts, and never in a derivative way.

Entire 101 Freeway Loop, 91.2 Miles in 82 Minutes

Walking the Barracks Fence

Munitions Bunkers

Old Barracks Site

Seventy Flights in Ninety Minutes

His most recent work is his New Farmers project. It is a collaboration between himself, a sociologist, and designer, and documents a new generation of farmers in the American Mid-West.

Offset Newsprint, 11 x 21.5 inches, 24 pages (with Hossler & Stock)

Amy Saunders, Jefferson County, Kansas

Natayla Lowther, Douglass County, Kansas

Sweet Love Farm, Jefferson County, Kansas

Go look at more of Bryon's great photography on his website.

Diane Meyer

Diane Meyer has some really great photographs mixed with embroidery.

Former Guard Tower Off Puschkinallee, Hand Sewn Archival Ink Jet Print, 2013

By having the embroidery take the form of digital pixels, I am making a connection between forgetting and digital file corruption. I am interested in the porous nature of memory as well the means by which photography transforms history into nostalgic objects that obscure objective understandings of the past.

Erna-Berger Strasse, Hand Sewn Archival Ink Jet Print, 2013

Former Wall Area Between Rudow And Altglienicke, Hand Sewn Archival Ink Jet Print, 2013

View more of her work on her website.

Carleton Watkins

Carleton Watkins (American, 1829 - 1916)
[Piwayac - Vernal Fall - 300 ft. Yo Semite], 1861, Albumen silver print
40.2 × 52.1 cm (15 13/16 × 20 1/2 in.)
The J. Paul Getty Museum, Los Angeles

Carleton Watkins (American, 1829 - 1916)
El Capitan, 3600 ft., Yo Semite, negative 1861; print about 1866, Albumen silver print
39.1 × 51.3 cm (15 3/8 × 20 3/16 in.)
The J. Paul Getty Museum, Los Angeles

Carleton Watkins (American, 1829 - 1916)
View from Camp Grove down the Valley - Yo Semite, 1861, Albumen silver print
39.1 × 52.5 cm (15 3/8 × 20 11/16 in.)
The J. Paul Getty Museum, Los Angeles

[Stream with trees and mountains in background, Yosemite Valley, Calif.]

Carleton Watkins (American, 1829 - 1916)
[The Devil's Slide, Utah], 1873 - 1874, Albumen silver print
52.1 × 39.1 cm (20 1/2 × 15 3/8 in.)
The J. Paul Getty Museum, Los Angeles


Seung Hoon Park

I really love the work of Korean photographer Seung Hoon Park (or Park Seung Hoon).

 Montmartre 1 (Textus #252)

Montmartre 1 (Textus #252)

Park works with an 8x10 camera, and 8mm and 16mm film strips. He makes two exposures, then weaves the strips of film together. I love the discontinuous and misaligned nature of his pieces.

 Textus #053-1

Textus #053-1

You can check out more of his work and read more about his process by following one of the links below:





Jeff Rich

Jeff Rich has been photographing the Mississippi River Watershed for several years now.

Rail Bridge, Smith Mill Creek, Asheville, North Carolina, 2006

Watermain for the City of Asheville, The Swannanoa River, Black Mountain, North Carolina, 2007

So many of his photographs give me a guilty pleasure: they're beautiful photographs, but what's depicted in the photographs of what has happened and/or is happening to the landscape is frustrating, infuriating or even horrifying.

The sorts of scenes like the one below are a great example of what I mean.

Campground, The French Broad River, Asheville, North Carolina, 2006

Brown family farm, North Fork of the Swannanoa River, Black Mountain, North Carolina, 2007

Hominy Creek, Asheville, North Carolina, 2006

Coal Fly Ash Spill, Harriman, Tennessee, 2009

Raccoon Mountain Pumped Storage Plant Outflow, Tennessee River, Chattanooga, Tennessee, 2010

Bonnet Carré Spillway, Mississippi River, St Charles Parish, Louisiana, 2012

Check more of Jeff's work on his website.

Cara Barer

Back in college, I took a book arts class, where we learned to make our own books, and learned several ways of stitching signatures together. One of the assignments was to alter a found book in a way that it changed the narrative of the story, or eliminated it altogether. Ever since, I've loved handcrafted books, and altered books as pieces of art. So when I saw a piece of Cara Barer's through Klompching Gallery, I was stunned. 

Cara mentions that a "chance encounter with a Houston Yellow Pages" served as the inspiration for her work. After that, she began searching out other books and how to recreate what she'd seen from that phone book. 

Visit Cara's website to view more of her work.

Eadweard Muybridge

After last month's post on Timothy O'Sullivan, I thought it might be fun to make that a pattern, and talk about some of my influences each month.

Eadweard Muybridge didn't immediately become one of my influences. I think in my History of Photography class we mainly discussed his motion studies and experimentation. But I could be wrong; I was in Seattle for half of that semester while I was prepared to donate bone marrow to my brother who was undergoing treatment for Leukemia. It wasn't until about three years after that class that I really began paying attention to his landscape work he did in Yosemite.

Today, Muybridge is most known for his motion studies, which began with him being hired to settle a bet between two men, one of whom was Leland Stanford. The bet was whether a horse, when galloping had all four hooves off the ground, or if an animal that size was always in contact with the ground. Muybridge was hired, and devised a system of 12 cameras set at intervals along a race track, which was all in white. A trip wire was attached to each camera so that when the horse passed in front of it, the shutter was tripped and the exposure was made. This was in the days of wet plate collodion, when exposures were seconds long, so it really is remarkable for Muybridge to have figured out how to reduce the exposure time enough to stop motion the way he did. This led him to perform many more studies of animals and humans in motion. These studies ultimately led to the invention of the motion picture.


Though most known for the motion studies, Muybridge started out his professional photographic career as a landscape and architectural photographer. He photographed San Francisco, and surrounding areas including Yosemite. Some of the scenes he photographed in Yosemite were made from the same point as photographs made by his contemporary and competitor, Carleton Watkins.


For an excellent biography on Muybridge, read Rebecca Solnit's book River of Shadows: Eadweard Muybridge and the Technological Wild West

Or if you don't want to buy a book, you can read this excellent bio over at Imaging-Resource.

Or you can just check out the Wikipedia article on Muybridge. 

Melinda Hurst Frye

Melinda Hurst Frye is a Seattle-based artist, who uses a scanner in her work to create fictional scenes of plants and their root systems, and the creepy crawly bugs that live under our feet.

For her Underneath body of work, she started out in her front yard, where she would dig a hole big enough to fit her scanner, let the dirt settle for a few days, and then return and place the scanner in the hole, add any insects that she didn't want to add to the scene in post production and scan an image. She makes 5-30 scans of the scene, with lights aimed strategically, and sticks propping the scanner up to keep it still. Afterwards, she scans other insects, or visits Burke Museum of National History and Culture, and photographs taxidermy specimens of moles, or groundhogs in their labs.

This work evolved from an exploration of what was above the earth by scanning high resolution "portraits" of insects, and grubs, caterpillars, and larvae, but her interest in what is hidden led her to start digging into the ground and scanning the critters found below the surface. This play then brought her to her current process of placing the scanner in the holes she digs.

I love the playful and experimental nature and quality of Melinda's work!


I asked Melinda about her influences, and she responded with this:

My experience as a mother has had a big impact on my work. I mine my personal life for subject matter, and kids are pretty consuming. Their initial wonder and exploration of nature, watching insects and digging in the soil, have been a big influence on my work. I want each image to present or inspire curiosity in the viewer, the kind that echoes what we felt as kids when spotting a bug in a flower or under the leaves. Additionally, the general aesthetic (lighting, color palette, and tableaux-like compositions) of Dutch master still life paintings helps me make certain decisions when building an image. When I get stuck, I go to them.

I adore Louis Bourgeois and her spider series—specifically Maman* in Ottawa. First off, it is 30 feet high and when you stand under it you feel like prey, it is an experience rather than something you walk by. I connect with her nod to motherhood in the piece: motherhood that is less saccharine or huggy, and more raw and sharp. Still loving, however, packaged in a leggy spider that is not interested in our acceptance, but the survival of her babies.

Lori Nix and Julie Blackmon are big faves with their narrative photographs and unique approaches. I can stare at those images for days. Both Emmet Gowin and Harry Callahan made imagery of their family that are so tender and kind. Recently I saw an image by Gowin of his wife Edith with silhouettes of moths** all over the image and I just about
died. All of my worlds came together in that piece.

Head on over to Melinda's website to view more of her work, and then go follow her on Instagram!

*Maman Wikipedia entry

**Emmet Gowin's photograph at Pace/MacGill

Timothy O'Sullivan

This week, I thought I'd dig back into photography's past and look at one of my all time favorite photographers. Ansel Adams was my first influence as a photographer, but he was soon supplanted by Timothy O'Sullivan, Matthew Brady, Edward Muybridge, Carleton Watkins, and others (now that I've chosen to do a post on O'Sullivan, I'll likely do posts on the other afore mentioned photographers). I still remember thumbing through my History of Photography text book back in college at the beginning of the semester, and seeing the photograph below and thinking something along the lines of “Ah, an Ansel Adams photograph” and then looking at the caption and learning that it was actually made by O’Sullivan.

 Canyon de Chelly

Canyon de Chelly

After that, I dug a little deeper into O’Sullivan’s work. I don’t really remember my initial impressions, or how soon afterwards he became one of my favorite photographers. And I’m not really sure there is a photograph of his that I would call my favorite. I think what impressed me first about O’Sullivan, and the other 19th Century landscape photographers was the incredible effort that was put into making their photographs. I loved imagining myself alongside them, a portable darkroom pulled behind a horse with hundreds of pounds of glass plates, hoping they don’t break along the journey, rushing to make an exposure before the collodion dried.


O'Sullivan started his photographic career as a Civil War photographer, apprenticed under Matthew Brady, then after the war worked as the photographer for several Survey Expeditions in the West. 


I’ve always found the choices O’Sullivan made to be intriguing. He never made the obvious choice when making his compositions, even when working during the Civil War. He had a sensitivity to the landscape that I still envy.


You can read more about O'Sullivan and view more of his work at the Smithsonian American Art Museum's website.

Klea McKenna

I don’t remember exactly when or how I discovered the work of Klea McKenna, but I’ve been following her Instagram feed for a while now. She makes photograms of rubbings of photographic paper rubbed on cross sections of trees, and cracks in rock and cement. Think of the rubbings of tree bark and rocks you did as a kid with crayon, but done in the dark with light sensitive paper instead and then exposed to light. The resulting prints are really quite intriguing and beautiful, and the process involved is pretty impressive.


Other work involves her making photograms of raindrops that fell on her photo paper, or spider webs in a forest, or grass collected from the landscape.


Visit her website where you can see more of her work! Also check her out on Instagram!