I had the absolute pleasure of being able to send the talented Sara Culler some questions about her photography.
1. Tell us a bit about yourself and how you became a photographer…. What inspires you to create?
My name is Sara Culler, and I live in Santa Fe, New Mexico together with my husband, color pencil artist David Fridlund (@jdfridlund) and our two pet cats, Max and Neko, and two dogs, Nina-Lou and Abigail.
I was born a US citizen in Malmö, Sweden, in 1978. My father being American, and my mother being Swedish, I grew up between Malmö, Sweden and Dallas, Texas as a child.
In my mid, to late teens, I was living in Malmö, Sweden. I became interested in learning to shoot. In secondary school, I enrolled in a few classes of analog photography, and darkroom technique. A relative let me borrow her Pentax mockup. It did its job. Back then I mostly shot black and white. I dropped photographing after leaving school, as my access to darkroom disappeared.
Fast forward to 2014. When I developed a complex health issue, I got my first smartphone. I was embarking on what would be a gruelling lesson in the United States healthcare systems assault on their civilians. A treatment for a chronic, potentially terminal medical condition that we had to fundraise several hundreds of thousands of US dollars for, in order to maintain. I got a deal on an Iphone 5s. My urge to shoot was instantly re-awoken.
Photography re-entry has become something to stimulate my mind, and keep it away from the negative thought patterns that a life with a chronic illness inevitably creates. Finding beauty in the seemingly mundane becomes a coping mechanism, a tool. And on the plus side, it makes our world more interesting and beautiful, when you can see the details. Blinded by bitterness, unprocessed grief, and resentment won’t provide that platform.
2. Did you study photography or are you self taught? What are your thoughts on creative education and do you think that it’s important for photographers to have a degree of some kind?
So, like I mentioned above. I took some courses/classes. Those courses merely taught you the camera, and technique surrounding the mechanisms of the camera, and darkroom. It didn’t train us in actual shooting. That practice was on us, and we were graded by continuous projects we worked on. My graduation consisted of abstract night time photography. I was thinking about those graduation shots the other day. I was proud of them as I got the highest grade! Too bad I didn’t choose an actual photography school, like I wanted to..
3. What is the most surprising or challenging aspect of being a photographer? What is the biggest photography misconception you’ve come across?
Honestly, it’s still kind of hard for me to call myself a photographer. Since I deal with this health condition, my finances are f_cked. I only shoot with an iPhone these days. The Pentax mockup I once had, is lost somewhere across the Atlantic, in Sweden, maybe in an attic, maybe somewhere else… And there is a slight condescending tone towards iPhone photography. As if it is a lesser art to photograph with an iPhone. So many people ask me, why I choose to shoot with an iPhone. They also state that it would be fun to see what I could accomplish with a “real camera”… It’s not that I choose to work this way. It’s the only way I can afford to work. I would also love to see what I would do with a “real camera” these days. I haven’t shot a “real camera” since the early 2000’s.
For me, The most challenging aspect is the lack of technology. Up until last year, I didn’t have a functioning computer. My website, for instance, was built on my iPhone. I was gifted a Mac and it’s wonderful, but even then, I can’t afford editing tools for it, so I simply shoot on my iPhone. I alternate between iPhone and a filterless Hipstamatic app., with a basic lens/film, and only edit planes/adjust contrast when needed. Because of my camera being an iPhone, I have to be cautious as to how much I edit. The harder the edit, the more it takes away from the image quality, and in regards to print work, this is of utter most importance. I always try to shoot as close to perfect as possible, whatever perfect means. In this sense, perfect means to take as good a picture as possible, in order to have to edit as little as possible, in order to maintain as much image quality as possible.
The biggest misconception I’ve heard is that photography is a “lesser art”, and that photography is hard to sell. I don’t have a clear, self experienced story to argue those statements, but I don’t feel I need to. I think the internet is readily available for the average Joe or Jane who thinks so, to search and see for themselves. I have a couple of relatives who expressed this more than once…
4. We live in a society that is oversaturated with images. Do you think this overabundance of images affects the way that people react to photography? Do people still value the time and effort it takes to create something?
To answer your first question – I absolutely think so. As long as people have eyes that can see. We may go through times where more or less seeing is done, when our brains are occupied with other things. I experienced that a lot in the beginning of my photography re-start. My photography went through waves of creativity, and the low periods produced real shitty work, because I was forcing it. I wasn’t feeling it, and my eyes weren’t “seeing it”. So if my eyes work that way for me, I’m sure other people’s eyes work the same way. But when the brain is available, there is no doubt in my mind, that people would react to a quality visual. That being said, with all the junk culture we are fed, the junkier mainstream art will become, so… Don’t cut back on the arts!
To answer your second question – I believe that is a two sided question, that will require a two sided answer. I think an increasingly larger segment of people are beginning to realize the value in sustainable, and ethical production. Correlating this to all the revelations our societal models have thrown at us the last few decades, and the constant access to news, to visuals, both video and photography, hopefully will drive an awakening of compassion. However, it’s going to take a lot of work for everyone to have access to this type of consumerism. Structural global, political system changes, and also working through the mindset of a global population. A collaborative effort in solidarity with all peoples, and our earth.
As someone who has been politically active since very young age, even though I am cynical AF, I can say I have hope that the political systems will change, but in order for them to change, we need people power. And in order for people to become powered, we need awareness. Far too many people are too comfortable with box stores, and mass produced, “affordable” goods, even when those goods mean lower quality, unsustainability, toxicity, sweatshop labor, etc. There is also the issue with the ever increasing income and wealth inequality. Not many poor can get the chance to try organically, sustainably farmed coffee, buy sustainable, fair trade designer furniture, wear italian leather soled shoes, or even work on a decent computer. If they did know quality, they would vote more powerfully. All of our world’s political, and financial systems are by design…
I have always wondered how the elite, who is always getting richer, and richer, plan on making money once the working class is broke, and starved? Robots, and the elite will remain. When it comes to art, however, many don’t want to put money towards the labor required to create it. Many inquire with my husband, who is a color pencil artist, how much his pieces are to buy, or commission. When he states the price, in relation to the one or two months of work it takes for him to produce a decent size drawing, they constantly back out. Pretty much every single artist I know, save one, either struggles, or has struggled immensely with sales, no matter the medium.
There too, mindset comes to play. If you enjoy someone’s work, support them. There are always more or less affordable ways to help an artist.
5. Your work is incredible and although your work lies with the landscape genre of photography, you have a diverse portfolio. Can you talk a little bit about the types of themes and questions you like to explore within your work?
Additionally, what compels you to create images of your environment and why is photography a good medium to capture this?
Thank you dearest Aaron for complimenting my work so kindly. It’s hard for me to put words to this question. I focus on mainly three categories of work – Contemporary, urban, and minimal nature.
My contemporary work is my abstract work, both emotionally, and visually. It focuses on the detail in my world as I see it. It is sometimes simply minimalist, many times graphic, or abstract in style, and rarely with a subliminal message. Focusing on objects, or surfaces with bold, or soft colors, shadows, contrasts, snippets, textures, from what my eye finds anywhere around. Places that usually don’t attract the view of spectators, become beautiful pieces of art.
Differing from my urban photography by way of being less inclusive of wholeness, where I rather zoom in on the detail in pictures than displaying them in their entirety. Abstract instead of concrete is my contemporary.
My urban work is seemingly similar to my contemporary work. Differences lie in displaying the bigger picture rather than focusing on a specific detail or abstract, as in my contemporary work. Additionally – The shots will have a whole different thought behind them. Many times there will be a more or less subliminal political message behind the shot… Sometimes though, it is merely about documenting the beauty of light hitting an object, a sunset over a cityscape, or the changing of seasons, and how each season gives the world a different makeup.
My minimal landscape photography is inspired by the scenery that gives me the breathtaking, deep inhale, releasing moments. The sighs of awe, the sighs of relief, the sighs of space, the natural beauty around that becomes minimalist in the greatness and grandness of our planet. The unexplainable, magical feelings of connection, a sense of belonging. That instant relief of being on the road and experiencing, being on a hike and experiencing, traveling by any means through the vastness of our country, or elsewhere, and experiencing… You see openness, grandness, bold, or matted tones, or both together in stark contrasts to each other. Single isolate, or masses surrounded by void. Just passing by, or hours spent. All are equally, yet differently appreciated.
Initially I started typing that my objective in photography is due to the fact that I walk for transportation. I then erased it, because my mind rapidly interfered with that statement. I hadn’t needed to erase the statement, I would have rather needed to rephrase it.
Back in the day, when I started photographing black and white analog, I often took pictures in a similar theme. Back when I was taking classes, the Malmö shipyard , and the world renowned Kockums ship crane was getting demolished. I spent a lot of time documenting mostly abstract, but also more big picture shots of the location.
I returned to the site often, but was, for some reason, not able to document the crane coming down. The crane was sold to Hyundai in South Korea. The area now holds mostly luxury condos… So – Long story short, I think it is a combination of three things. First that walking plays a huge role in what I see. Two, my eyes seem to see certain things, that even separated by an ocean of time, are similar to things I also see today, but hopefully taken with better execution. Three, because my attention span is fluid, I tend to see stuff like this constantly… That has both pros and cons…
6. Unlike a lot of landscape photographers, you have a very broad range of images, focusing on aspects such as minimalism and graphic shapes. Do you think that you have a particular style and are there any advantages or disadvantages of creating such a diverse portfolio?
I really have no clue as to how others see me, and my work, but I want to believe it’s clearly visible that I am a photographer that focuses foremost on abstract, minimalist, graphic details in my surroundings. In my contemporary theme, I explore such details, because it is in the cityscape I’m in. I’m also a person who walks as her main form of transportation, so what I see is greatly influenced by my surroundings. I have contemplated if my not as frequently posted urban, and minimal landscape shots take away from, or make my contemporary/abstract work of lesser integrity because they don’t perform as well as my main… But whatever the answer, I won’t compromise that.
I work hard on not caring about stuff like that. Instagram is pretty much my only platform, and it’s nerve wrecking getting attached to the algorithm controlled flow of interest there. Georgia O’keeffe explored many, and more themes in her incredibly broad range of work. Citiscapes, landscapes, flowers, abstracts, skies, rocks and bones, anything, and everything, literally. I’m not sure if that ever posed a problem for her, but judging it today, it certainly doesn’t seem so. Her New York images hold some of my personal favorites. I really don’t feel that I have to, or want to choose.
If one thing outperforms another, fine, but I enjoy urban, and minimal nature photography so much, as all the locations where these images are created, are all equally strong features, essence if you will, of who I am, and what I love to depict.
7. One of the series I’m curious about is your Unintentional Art series. Can you talk a little bit about this series and how it differs from the rest of your work? How did the idea come about and what do you hope people will get from viewing this particular series?
That series once existed on my website, but has since retired from there, as I felt that the work didn’t really represent current status.
The series came to be in an alleyway close to a place I used to live here in Santa Fe. The alley is lined with white adobe walls, and I guess taggers frequent the alley, but the people who did the cosmetic paint “repair” chose the basic adobe brown paint instead. I started photographing them, and they turned out looking like abstract pieces of art. Therefore the name. None of the creators had planned on this becoming an art piece. Not the tagger, and not the painter who painted over the tag. Therefore “Unintentional Art”.
As with all my abstract work, I hope people can start enjoying using their eyes other than looking at their way forward, or on their screens. Instead, partake in the treasure hunt it actually is, to find the motifs.
8. Which series of work has been your favourite to produce and which took the longest?
Additionally, what inspires the start of a new body of work and how do you know when a series is complete?
Technically, I’m still working on my Storage Series. Not actively, rather continuously. If I run into a storage scene, it gets added in. And it’s been fun. I would have to say that The Storage Series, The UNM Series, Zia Land series, and the work I did at a secret location here in town, that technically isn’t a series, but could be, and may be turned into one, at some point. The magnetic draw in starts my urge to create. It’s abstract. A sense. A drive. It’s almost primal. Emptiness, feeling less, or content ends a project.
9. What is your typical photo shoot process like? Do you know what you want to shoot before you go out or do you prefer to be more spontaneous? How many images do you usually shoot and how many do you edit and show online? What happens to all of the images that you don’t post online?
It’s totally mixed. Sometimes I know, and plan what I am going to shoot, but other times shooting happens as soon as I venture out for a walk, or errand. In regards to how many I shoot, it also totally depends on. Since my re-start, I have gotten better at shooting less pictures, but getting more quality frames. That is a HUGE relief, as I have a digital photo hoarding problem, which was founded on my early mistakes… Approximately 50% of my work is edited, and posted online. All the other images are on standby, or procrastinated to be thrown away…
10. Your work feels very genuine, and reflective of real life. Do you think that photography should reflect the world we live in or can it be used to create a new form of reality?
Additionally, what are your thoughts on the idea of editing images? Do you think that post production can ruin the veracity of the photograph and is there a line between edited photography and digital art?
Thanks for saying that, Aaron. Genuine is a strong compliment. I totally believe that it can be both. And I personally enjoy both, even though I don’t have the ability to create both at the moment. But I want to mention some photographers that do.
On the contemporary theme, one photographer that I enjoy, and that does both, is LA resident and Australian George Byrne, instagram handle @george_byrne. He does photography, and sometimes cuts up his work, makes digital photo collages, other times allowing a second collaborator to animate a moving collage. Work that forms colorful, sometimes abstract, make believe places, which I really enjoy.
On the urban theme, I would have to mention Arizonian Seattle dwelling Darren Ellis, instagram handles @backwardsdrifting for nocturnal, and @visibledistance for daytime, whose magically dreamy, nocturnals, and heartfelt, nostalgic daytime shots, display sublimely edited work, strongly influenced by memory, and music, two themes that connect, and lay the groundwork for his work, that I love spending time with.
On the nature theme, Bristol, UK’s Sam Brown, instagram handle @__sam_brown__ conveys lovely, nostalgic, sometimes romantic, sometimes mellow moods, unique in the way they intertwine with her objects, themes, and environments, always tastefully edited.
When it comes to editing, I think that it is up to oneself to decide. I enjoy both raw, unedited works, but also get fired up about massively edited work. If a person does it well, the execution doesn’t matter. Personally, like I wrote a few answers above, I don’t do much editing, but that is because I don’t have any programs to do so in. I like it in a way, because it has forced me to take better pictures from the get go. And knowing myself, had I had editing tools, I would have leant on them more, and maybe in the beginning, too heavily. The road I’ve taken hasn’t been easy by far, but it has been educating. And just to clarify. I am not saying that people who have access to editing programs are lousy at shooting without the editing programs. I am NOT saying that. I am merely discussing myself on that topic.
11. One thing that I’ve noticed about your work, especially the way you present it on your website, is your use of captions. I really like the fact that you give us a bit more insight into each image with some accompanying text.
How important it is for you to explain your work and how do you try and maintain some form of context to your work when it is viewed outside of your website or social media pages?
It’s not that important to me, but if you are present I love to converse about it. And I like to start that conversation on my website, or Instagram. A home should be a personal space. And my website is a home on the web. I like to write about what my mind was thinking about when I took the pictures. I like to give sometimes given statements, sometimes poetical pondering. Similarly, I like to be more personal in my stories on Instagram, but more short and concise in posts.
12. Do you think that an artist’s work should evolve or should they create what sells? How has your own work evolved since you first started photography and has your subject matter become more honed, or more extensive over the years?
I think it is essential that we create what we want to create. Any time things are done per automatic, it falls flat. Dead. Soulless. That being said. I do sometimes get the feel of needing to shoot more of my abstract shots. Mostly because I like shooting them, and fortunately, simply coincidentally, people like them. Otherwise I am not a good industry person in any area of the arts. Same when I was in the music industry back in the day. I didn’t write songs in another way than I wanted to write them, just as now, I don’t photograph for others, I photograph what I want to convey. Hopefully there will be positive receivers.
My work has absolutely changed. Almost to the extent, I feel repelled looking at old work! Haha! My eye has evolved, and my hand is more stable. This is going to sound cheesy, and hippie, but yoga has actually helped me become a better photographer. The gaze, the focus, the static strength, holding, aligning the camera, arm, shoulder, neck issues are better, squatting, laying down, anything really, is improved. I broke both wrists three weeks apart in the winter of 2018/2019. I had to have surgery on both, and didn’t get enough PT for the wrists. They still bother me, but if I stay in practice, I can do my job with the camera better. I feel this has led me to evolve as a photographer.
13. What is the most challenging image you have ever created and why?
There are many different types of difficulties in my world.
Physical/legal/luck based: Once I hiked 10 miles, trespassed, dodged security cars, and shot some lovely scenery. Now I don’t want to post them, because I have notoriously bad luck with things, and it wouldn’t surprise me with the stupid scenario of that something could happen retroactively…
Technical/financial: Other times it can mean a great shot, that has a flaw that I could fix, had I only had proper software.
Technical/aesthetic/architectural: Or the alignment of brick, on an abstract shot. Brick walls are notoriously difficult to get right. Especially if the foundation of the building is affected. Similarly, Santa Fe’s old architecture has a lot of alignment issues. These are issues I love, but it makes it all the more difficult to get angles right. Especially if you’re an alignment freak like I am…
14. Social media has revolutionised the way that people view and interact with art. What are your thoughts on social media and how has it impacted your practice?
Additionally, do you think that sites such as Instagram and Facebook are an adequate bridge between photographers and the public or does the fact that there are no gatekeepers make it harder for creatives to disseminate high quality work on such public sites?
Social media is a two edged sword to me. I rely heavily on it. Instagram has been my most important platform in order to reach out. I have met INCREDIBLE people on there, that I really hold dear. I have gotten art shows, invitations to rewards, and other photo/word related work. It has provided a gateway for me, since my social life isn’t where it should be, after having dealt with a chronic illness for so long. I deeply love so many aspects of Instagram, although it is easy to get lost, or drown in it. You have to find your network, and keep it steady, or grow it. And that is where my main major complaint comes in. For someone like me, with a very limited de jure network, I rely heavily on the Instagram algorithms to cooperate. Sadly, and sometimes during longer periods, they don’t. Overtime, I have been giving less and less of a damn in regards to that, but it is still tremendously frustrating when you are attempting to launch something. There is nothing more uncreative than obsessing over lost attention… Whatever attention that may be…
15. One of the most important parts of being a creative is marketing your work. How do you develop a connection with people so that they are invested in your work beyond “liking” it and how do you go about building up an audience? Can you talk a bit about what it is like to be an artist in this contemporary age in regards to marketing and selling your work? What are the biggest challenges you’ve faced in regards to this aspect of photography?
It’s really hard for me to say. I haven’t really been active for that long, and have only pursued selling my work the past year and a half, which has been a really crazy year both on a personal, and global level. I don’t really market/push people into buying my work that much. I want people to want my work, so I let people know where I am, and if they look there, they can see that I sell prints. Due to past personal experience, I am careful marketing myself too much. I don’t want to lose people who enjoy my work, just because I am nagging them to buy. However, back in the day, I was in the music industry. When things got serious, I felt I needed to know more about things, to not get taken advantage of, so I decided to enroll in a university program in Music Management.
The rules of marketing we studied back then still apply, save the channels, the everchanging jungle of the digital era. I use those acquired skills when I need to plug something – A sale offer, an art show, a feature, or reward, etc. I want to believe that success is not only about sales. I believe that if I have the exposure, sales will come. Just like your question about social media above, I feel that staring myself blind on sales, will only weaken my urge to create more. Nothing will kill creativity faster.
16. What does it mean to be a successful photographer, and has your idea of success changed since you first started making images?
Additionally, how do you measure the success of an image and keep motivated to keep creating new work?
Since I didn’t start photographing with the motivation to “become a photographer”, I was pretty relaxed, easing into the concept of success. I remember how I accidentally stumbled upon my first featured shot on Instagram, a week after it was posted, and that garnered 400 likes. That to me was shocking, and out of the blue, but along that line it was. I was suddenly aware that other people actually could like my work. I was inspired to shoot more, and actually start thinking about how I shoot. I think an internal sense, trusted sources, mixed with shared opinion on social media, is a good way to measure, and suss out opinion, but down the line, it’s the internal sense that has to become prioritized. There is one major negative thing on social media as a tool for measuring success… People come to you for a certain look, and genre. Just like some TV series’ go on forever, the public can continue liking your stuff for equally long. When we embark on new frontiers, they may not necessarily follow, and that resistance can be hard for the new soul of a project…
I believe in avoiding measuring success in the sense that such measures can consume your creativity, because the cliché is true, good work always finds a way. That being said, ambition should never be lacking. It’s important to always continue striving. You don’t have to be a crowd pleaser, you just need to be honest towards yourself in order to create authentic work that combines the worth of your own, and others’ satisfaction.
17. In this contemporary age, what do you think the role of the photographer is and can anyone be a photographer?
The role of a photographer is to tell stories, and most people can do that. However, in order to be a successful photographer, one’s senses must be in tune with the abstract concepts of artistic rule, and in order to sell, one’s work must rhyme with what a large enough segment/audience is drawn too. It’s the icecube effect. Like icing a drink. Enough ice sustains the chill, and preserves the drink longer, but if there are too few ice cubes, the drink becomes diluted, and nobody will drink it.
I’m hoping more and more photographers, especially those focusing on fine art photography, but also those already pursuing documentary photography, start incorporating telling the many stories of our current state of the world. I feel it obligatory to never stay silent. We don’t have to have politics dominating the scene, but all scenes tell a story, and we can choose to engage more with certain stories, no matter how uncomfortable they can be. As a coexisting human, we need to take all opportunities presented to use our voice. Give the voiceless a voice. Whatever platform, whatever medium, whatever message, it all needs to be conveyed. Never silence.
18. In your opinion, what makes a good piece of art? What was the last image, or piece of media, that really captivated you and what was it about it that made an impact on you?
Art involves so many senses. On so many levels can we become influenced, so many emotions can be played, horizons broadened. What makes good art is such a subjective question. I believe there is art for everyone. But also, what is art? Is anything that has been created, art? On a personal level, it can be as simple as colors, space, and shadows. Alternatively, it can be cerebral, complex, political, emotional. I’m attracted to a broad range of very specific art, music, film. I can’t really say an artist specifically, because I change focus often, and citing sources, brands you in a way. At least for now. Maybe if you ask me tomorrow, my answer will be different. 😉
19. Is there anything you’d like to do with your work that you haven’t already done yet? What would be your dream photo shoot or project?
I haven’t really pursued any photography dreams yet. I have one project I would love to do. To follow in my father’s footsteps. He passed away in 2014, and at the time, we were living with a crazy, alcoholic/drug user as an upstairs neighbor, so I never found space to grieve him. An intelligent man, culturally well versed. He travelled the world, and learned 9 languages before his death. Taught english, and flight control in Saudi Arabia in the early 90’s. Taught english, and western history at the University of Nanjing, China for 8 years. He had a 2nd dan black belt in Karate, and taught me to respect, and take care of my body.
Together with his trainer, he owned two Dojo’s, one in Malmö, Sweden, and one in Copenhagen, Denmark. He also laid the foundation for my interest in music, and gave me my first guitar. He was intellectual, funny, and witty. Travelled throughout Asia, India, and the Himalayas, the Middle East, Europe, but I have no idea if he ever travelled to South America. At any rate. I would have loved to follow in his footsteps. Whatever footsteps I could find. An external and internal trip.
20. Copyright, especially in this digital age, can be a huge problem for artists.
What actions do you take to ensure that your work is not being used without your permission, and have you had any experiences with plagiarism? Is this an issue that you think about and what are your thoughts about intellectual property rights for artists?
I’ve had a couple of infringements on Instagram, where accounts start to take your pictures, adding them to their account. Not in the way of a feature. In the way of using the picture as theirs. Fortunately, knock on wood, I have not had any other situations that I know of. I think there isn’t too much you can do. Copyright, is copyright. I studied music law back in the 2000’s, and there is a lot that applies to any art form when it comes to copyright. I’m sure it can get negative, and stressful if it happens though. I would love to ask you what kind of stories you have heard of?
21. What are you currently working on and where can people find more about you and your work?
I’m currently working on a lot of administrative stuff. I just redid my website as a distraction to everything that is going on. Having social media as the sole way of interacting with other people is getting awfully old. Also my tolerance to everything on there. There is so much high energy, and content, it wires your brain in away that is strangling to the soul. The content has put a damper on my creativity, and I think I’m not the only one to feel that. I am trying to get a little work in instead, which has been really nice, and sometimes even relaxing.
This summer, New Mexico has been HOT, and now the monsoon has kicked in, and shooting abstracts have been put on hold to a large extent. I’ve been out walking dogs, doing errands when it’s not as hot out. That means it’s either been gray weather, or evening/night. I have a few local projects I have to do. I photograph for a hard kombucha brewery here in town, Honeymoon Brewery. The owner, Ayla, likes when I place her products in scenes similar to what I shoot anyway, so I may get some new work in this coming week, as I have a few new products to shoot for her.
I’ve also meant to go down to Albuquerque and get some projects lined up. Albuquerque is a fabulous town, with a broad range of scenery. I am also pondering a project in Espanola, NM. So, all in all… A little summer tempo. Slower. Laid back, as an antithesis to our strained world. At least that is my intention. I try. My best. At it.
Some remarkable photos. Fantastic colours. https://stackoverflow.com/users/story/14242195