Suspect Photography

words and images from david george brommer

Tag: deardorff

Death Becomes Her – A Paradox Portrait Shot with an 8×10 Camera

Portrait of Paradox, from 10 Hours Walking as a Goth in NYC viral video.

Portrait of Paradox, from 10 Hours Walking as a Goth in NYC viral video.

I have one fear, and that is to shoot my beloved portraits with an 8×10 camera. I fear being able to focus, I fear not be able to see as I do with a reflex view, I fear the time it takes to focus, pull the dark cloth, load the film, pull the dark slide, and finally make the exposure. What if the model moves in that time and the focus is so shallow that I miss the mark?

“First world 8×10 Film Shooter’s problems”

So I played it safe and stuck to landscapes. But when I set up my 10 Hours Walking as a Goth photoshoot I decided to face my fears and start the video shoot with a still shot. Camera of choice being a 8×10 Deardorff loaded with Ilford FP4. We started the shoot late, and the sun was setting early in mid November. I pushed the FP4 to 400 iso (two stops from its native 125) and opened up the Kodak Commercial 14 inch f6.8 all the way. Using a Pentax Digi Spot I arrived at 100th of a second wide open. My assistant held a 32″ Silver Reflector to try to direct the anemic light while giving a little fill to Paradox’s magnetic eyes.  I miss-placed the heavy duty cable release that is needed for that behemoth of a lens and had to hand trip the shutter. This photoshoot had all the hallmarks of a crappy outcome.

Detail of eyes. Yes, those are special double contacts.

Detail of eyes. Yes, those are special double contacts.

But an amazing thing happened, out of the two plates I made, one worked. I’d say I nailed the focus by a tight margin, but what really got me was the amazing bokeh. That huge herkin’ Kodak 14 inch lens wide open is smoother than a newborn babies but!

I scanned the Ilford FP4 negs on a Epson 3600 perfection using Silverfast AI software. Then using PS I retouched the image and applied Nik Silver EFX to fine tune the black and white. The detail when working with such a large negative is positively sick and allows for extreme cropping with little to no loss.

Detail of 10% of the 8x10 negative.

Detail of 10% of the 8×10 negative.


If you like Paradox, then check out the short viral video I produce with her shot in November of 2014.

I’m hooked on 8×10 Portraits and shall be shooting and posting more soon.


The Story Behind 10 Hours Walking in NYC as a Goth Viral Video

Portrait of Paradox shot with RX10 at 180mm 2.8 jpg and processed in Snapseed

Portrait of Paradox shot with RX10 at 180mm 2.8 jpg and processed in Snapseed

My first foray into video started off as a parody of sorts, but then it got serious as I delved deeper into the project and realized I could offer a commentary on what fringe persona have to deal with on a daily basis. I invite you to watch 10 Hours Walking in NYC as a Goth before reading the rest of this blog post, you’ll laugh and the whole thing will make more sense!

Click to watch video

sleep in a coffin

In early November a video was released on Youtube called, “10 Hours Walking in NYC as a Woman” which secretly video documented a simply dressed woman as she silently made her way about NYC and received catcalls left and right. The elements of the 10 Hours video are particular. The subject does not speak; they are “silent walking” and no matter how much they are intimidated they don’t respond. Subtitles are given for the catcalls they receive, and these subtitle float along at the bottom of the screen as the subject walks. A person also joins them and walks beside them for a prolonged period, and the subtitle keeps a tab on that time. The 10 Hours Walking as a Woman is actually quite a good piece of film making due to its stylistic choices. Proof of it being so good is the viral exposure it has garnered, over 36 million views!


Ten Hours Walking as a Woman was created Rob Bliss, who runs his own viral video marketing agency. Bliss partnered with Hollaback, an advocacy group dedicated to ending street harassment. If you are interested in more of the original story behind the video the Washington Post has a great article about it here.

What got me were the parody videos that appeared after the original. Three in particular inspired me to make my own, the first was 10 Hours Walking in NYC as Jew, which is super hilarious. If you don’t get the joke, let me explain- Jews normally aren’t missionary, but a particular sect, the Lubavitch, or Chabab Jews get extra points for bringing a way ward Jew back into the fold. So in NYC, if you look even remotely Jewish, they accost you and try to get you to pray. It’s pretty indimic and I have been accosted by these particular jews many times over the years. Blame it on my big nose I guess. The other funny ones are; 10 Hours Walking in NYC as Princess Leia, as a white male, as a jets fan…  it goes on. They got to me and I figured it would be great subject matter to make a short video with. I had to try! (Note: the Princess Leia one is extremely funny in a nerdy way)


For the gear, I was currently testing a Sony RX10 for a B&H project and this camera, aside from an awesome still camera, shoots incredible video as well. Now I’m so not a video guy but I like a good challenge so I figured this was the opportunity to test the camera. I slapped on a Rode Video Mic ‘cause the built in mic is lame. The stabilizer in the Sony RX10 is superb, so no need for steady cam was called for, and also, I wanted a little bump and jump to give it that renegade look. I had my lifelong friend and Suspect assistant Joe Asaro guide me as I walked backwards in front of Paradox. The excellent Rode mic picked up her footsteps perfect, and since it was facing forward, didn’t pick up my steps (which I was worried about, walking backwards gives you a heavy step).

The opening scene starts with the walker adjusting the lens. I love Paradox's "Marilyn Manson" eyes in this scene.

The opening scene starts with the walker adjusting the lens. I love Paradox’s “Marilyn Manson” eyes in this scene.


While the original was spontaneous I knew Paradox would get little attention in the East Village where I wanted to film. So I went on line to the facebook group, “Goth after 30” and polled the elder Goths catcalls they have heard over the years. I edited together these comments and built a script. To parody the guy who walks beside the woman in the original 10 Hours vid (Shoshanna Roberts) I wanted something sort of outrageous so I bought a Priest shirt at the Halloween Adventure Store for $15 bux and caste the perfect “Priest”, NYC underground actor Joe Freedom. The idea for the “Jesus Saves” comment was made up on the spot, but I feel it worked out perfect. Notice the (13 minutes) line, the whole video has small subtexts that fit goth humor perfectly. Event the last title states, “666 comments were made”, that’s goth humor at its best.


One of the stars for sure is my Mother-in-law Elvira. She is a sweet little lady from Milan and needed a bit of coaxing to be the freak with the crucifix. I figured with her diminutive size and black clad look she could pull off the scene comically and with aplomb. In the editing phase I had to make her appearance with a fast cut because she looked to Barbara, her daughter and my wife right after “accosting” Paradox. I think the fast cut is hilarious and gets the point across perfectly. Almost all of the scenes were done in one take.


Speaking of comedy I wanted to interject something very goth culture like, and the dominant factor that brings all gothdom together is music and dance. Paradox had asked if she could bring a some friends along, and I immediately conceived of the scene outside of the Gothic Renaissance (notice the gargoyle?) store. It would be a fast dance scene complete with old skool boom box. Joe A. schlepped in his boom box and I recruited the one and only William of New Goth City fame to be the boom box operator during the scene. The music is a youtube approved goth sound track that really worked. I only wanted them to dance for a few seconds but what got me was Paradox’s perfect sashay. She sums it up in haste, and as fast as it begins, an unscripted pedestrian walks through the scene, then it’s over and Paradox continues her silent walk.

dance scene

The video took about 3 hours to shoot. It was cold, I was layered up, and Paradox was a super trooper for enduring the scenes only wearing a skirt, corset and light top. William stood vigilant over the gear as we shot, and I trusted Joe to guide me as I walked backwards and faced Paradox as she strolled along, umbrella in hand and getting harassed left and right. Albeit a scripted harassment, half of the harassers were recruited right on the street, the other half I arranged to meet up at points along 2nd Avenue. We ticked off the best comments and gave the lines out the strangers that we recruited. The shoot went off perfect. It was tons of fun and Paradox really rocked it. All that was left was to edit the footage and that was the part I feared most.

BTS shot by Joe Asaro with iPhone

BTS shot by Joe Asaro with iPhone

I started off working with Apple’s iMovie but it turned out that soft ware was not up to the task. You couldn’t add the text in the live video, and I needed that to pay proper homage to the original with the subtitling of the catcalls. I downloaded the trial of Adobe Premier and rolled up my sleeves and had at it. I haven’t learnt new software in ages but with in 5 hours, had it cut and ready to go. After spending 5 hours looking pretty much at Paradox’s face and those eyes (double contacts if you were wondering) to say I didn’t have a bit of a goth crush would be a lie. Premier was easier to figure out than I feared and dare I say, I kinda like editing now. I look forward to my next project to edit.

Before we began, I busted out my Deardorff 8x10 with Kodak 14" lens and made two exposures with Berrger BPF200. Yup, I'm the kind of guy who shows up to shoot film still with a wooden 8x10 camera. Truth is, the Paul Strand retrospective at the Philly Museum of Art I had just scene inspired me and with a great model at your disposal such as Paradox, you gotta make the most of the collaboration.

Before we began, I busted out my Deardorff 8×10 with Kodak 14″ lens and made two exposures with Berrger BPF200. Yup, I’m the kind of guy who shows up to shoot film stills with a wooden 8×10 camera. Truth is, the Paul Strand retrospective at the Philly Museum of Art I had just seen inspired me and with a great model at your disposal such as Paradox, you gotta make the most of the collaboration. I hope to print these in cyanotype soon.

One thing that surprisingly manifested itself as this project unfolded, while the whole film was scripted and started as a parody, it rang true. Paradox and her ilk do indeed endure catcalls. So while it is funny, and was inspired by a straight up girl doing the silent walk, there is a substantial statement about society and those who walk the margins have to endure. This video does make a statement, and while catcalling any woman is un-gentleman like, the same applies to woman, boys or anyone who expresses themselves in a flashy, punk, drag, or gothic manner. Regarding the original, it has also caused some controversy. The video states that she was catcalled by all ethnic backgrounds, however the video seems to show only latinos and blacks. Where are the white men? I’m not going to comment further, but would like the viewers question this aspect and draw their own conclusions. Also, Shoshana B. Roberts is now receiving rape threats as a response to the original video. Humanity can be disappointing in all its forms.

Please help the cause and share the video! Thank you,



Keep Calm and Carry Cameras II

What the Garbage Truck Sees

This is a short and sweet post, it’s about something I have said in this recent post, “always carry a camera”. You just never know when the photography gods will throw you a good image to capture. On the street, or just coming out of your bathroom. Carry that camera.

So here’s the story, on Sunday mornings I head out to La Bergamote bakery to pick up some croissants to bring back for breakfast. This trip takes me down 9th ave, and sometimes, I head east to 8th ave if I’m in the mood for bagels and lox from Brooklyn Bagel Company. Mostly though, it’s all about the croissant. I always grab my camera, because La Bergamote is in the heart of Chelsea and the architecture and tree lined streets is just perfect in so many ways. It was early on this particular Sunday morning, and cloudless. On the Corner of 22nd and 9th Avenue a Garbage truck had pulled in the corner diagonally so that its front pointed across the street instead of down the street. While a normal site on the streets of NYC, as I crossed it I noticed the windows reflected the buildings across in an interesting composition. Standing almost in the middle of the street I took some time to compose the image, falling into that tantric composition photo seeing trance through the viewfinder that only ones who love photography can understand. Time stands still, traffic matters not and in a 250th of a second it’s done. Exposure made, for better or worse or most likely, for nothing really because only a small percentage of images actually has any guts to it- destined to fall deeply into a folder on the hard drive.

Later during breakfast I did a chimping session and thought, “you know what David, you got something here…” so I downloaded the image onto my iPad and started to do my new workflow with snapseed and was quite surprised at the final edited image. I posted it on my Facebook and got loads of Likes. I’m so happy I brought the Fujifilm Xpro1 with 18mm f2.0 on that croissant mission.

before and after


Fast forward a week later, and I visited the bathroom early this morning. Of course I had the requisite iPad with me, and I was sitting there, through the door I spied the rising sun pouring through the windows and shedding light on my wife Barbara’s cabinet. Click.

 Heads greeting the morning sun.

Photography is about so much, and sometimes I just blush with happiness, when all that matters is making the image. I friend of mine recently posted a shot of her under the darkcloth of a Deardorff on Facebook, as I was writing this post I had spotted it on my feed, We had a short exchange and Kendra gets it, she said, “love it”.


Check out Kendra’s work, she shoots Tin Types and brings a wonderful aesthetic to her work. When I first met her she was shooting with a 4×5 Speed Graphic, now she’s rolling big time with a 8×10 Deardorff!  Look at those TinTypes, thats LOVE!

That’s all there is to this I guess. Carry a camera, keep calm, and love it.




Veteran’s Day Post – A Photographic Salute


The three landing sites of the American forces, Omaha Beach, Point Du Hoc, Utah Beach. Platinum Palladium print presented in triptych.

The heroic deeds of the landings at Normandy and the Allied triumphs of WW2 are the defining moment of a dying generation. I have a keen interest in what remains of these sacred locations, both in images & words. In April of 2011 I began the project “Battlefield Cant” and visited the Normandy D-Day landing beaches and battlefields photographing with my trusty wooden 8×10 Deardorff camera. Being deeply affected by reading the accounts of our soldiers, I was motivated to start a collection of quotations from American veterans who fought in these locations.


German Bunker overlooking Point Du Hoc

The project is called, “Battlefield Cant”. The project title was made from the following:

Battlefield n. the field or ground on which a battle is fought.

Cant n. the phraseology peculiar to a particular class, party, profession

“Battlefield Cant” is a series of photographs from the European battlefields of WW2 and prose from the soldiers who fought there.


Omaha Beach, Dog Green Sector

Omaha Beach, Dog Green Sector

Omaha Beach – Dog Green Sector

“I started out to cross the beach with 35 men,

and only 6 got to the top, that’s all”.

  ~Lt. Bob Edlin


This is the beach made famous in Saving Private Ryan. It is estimated that on D- Day, 3,000 American Forces were killed in action at or near this location. The honor of photographing on this hollowed ground is one of the finest moments I have ever spent behind a camera.


Point Du Hoc. Site of the Rangers assault on the cliffs.

Point Du Hoc. Site of the Rangers assault on the cliffs.

Pointe Du Hoc

“The Rangers looked up and saw the enemy soldiers, at the edge of the cliffs shooting down at them with machine guns and throwing grenades. And the American Rangers began to climb. When one Ranger fell, another would take his place. When one rope was cut, a Ranger would grab another and begin his climb again. They climbed, shot back, and held their footing. Soon, one by one, the Rangers pulled themselves over the top, and in seizing the firm land at the top of these cliffs, they began to seize back the continent of Europe. Two hundred and twenty-five came here. After two days of fighting, 90 could still bear arms.”

~President Ronald Reagan at the memorial dedication.


A brutal assault that was needed to silence the big guns that could range both Omaha and Utah beach, this was an essential target to nullify at the start of the battle. The Rangers were elite and were up to the job, but at a terrible loss.


Utah Beach was taken with minimal losses. Thankfully.

Utah Beach was taken with minimal losses. Thankfully.

Utah Beach

 “We’ll start the war from here”

~Brigadier General Theodore Roosevelt


When I went to photograph at Utah, I was greeted by a festive scene, horses on the beach, children playing. This site was now a recreation area and I could have been on Long Island for all it appeared. However, on D-Day this was an essential landing beach that saw artillery bombardment and the blood of Americans being spilled to secure it. I had to work to find these dunes to photograph, Utah was challenging to find the spirit of the place.


Bullet Hole from Paratroopers battle in a church in Sainte-Mère-Église

Bullet Hole from Paratroopers battle in a church in Sainte-Mère-Église

Excerpt from “A Paratroopers Prayer”

All mighty God, Our heavenly Father, who art above us, and beneath us, drive from the minds of our paratroopers any fear of space in which thou art ever present. Give them confidence in the strength of thine everlasting arms to uphold them. Endure them with clean minds and hearts that they may participate worthily in the victory which this nation must achieve. George B’Wood, Major Chaplain 82nd Airborne.


While I was scouting for locations in the middle of the day I entered the main church in the center of Sainte-Mere-Englise to find some respite from the hot June heat. At the entrance there was a info point telling the story of how a few Germans asked the priest of the church to hide them from the American Paratroopers that were scouring the area. The priest told them, “hide in the vestry, but don’t drink the wine”. The germans hid, and the priest went out side, found some Paratroopers and told them there were Germans hiding in the church. After a fast battle, the Americans cleared the church and killed the hiding germans. When I scouted the location I found evidence of the battle in the form of a hole in the glass that contained a Mary. This was left over from the fight, and the locals were putting their prayers on paper and inserting them in the bullet hole.

I was alone in the church, and proceeded to set up the Deardorff and make an exposure. It was very dark, and the exposure long. About 7 minutes factoring in reciprocity and bellows extension. I was proud I nailed the exposure, and during the long time, next to the statue was a prayer book where I found the Cant for this image.

Here are a few more images from the Project Battle Field Cant.

German Batteries.

German Batteries.


Memorial at Point Du Hoc

Memorial at Point Du Hoc


Sherman Treads

Sherman Treads


I launched a Kickstarter Campaign to fund this project and help send me to the next two locations to complete the project. I need to travel to Belgium and shoot in the snow for the Battle of the Bulge and then to go to Holland to photograph the battlefields of Operation Market Garden.

My choice of gear to shoot this project is very specific. I don’t feel comfortable shooting with a digital camera, these locations and the deeds that were done by the finest men of the United States of American deserves more than zero’s and ones, they deserve large format photography! All the images were shot on Ilford FP4 that was donated by Ilford for the project. The primary lens was a Dagor 8 1/4″.

I look forward to completing this project and printing the work all on Platinum Palladium.

My deepest gratitude goes out to the Veterans who fought in WW2. For them we owe all our thanks.


Brecourt Manor

Brecourt Manor, the baptism for Easy Company 516 PIR 101st Infantry.




Adventures in Dripping Wet Photography, Wet Plate Collodion That Is.

Portrait of the Photographer Brenton Hamilton, 8×10 Tintype, 14″ Kodak Commercial Ektar 8 Seconds @ F 8

Late last June, I took a class on Wet Plate Collodion at the Maine Media Workshops with Jell Enfield. I had been wanting to take this class for a few years, but the schedules never seemed to coincide. However in 2012 the stars were in alignment and there I found myself in one of my favorite places in the world, the Hass Lab on the Maine Workshops homestead campus. Things were about to get wet and some interesting images were to be taken.

2012 Collodion Class at MMW shot at Rockport Harbor.
Fuji Xpro 1, 18mm Lens post process NIK Silver EFx Antique Plate II Filter.

Possibly one of the best aspects of this class were the other students and teacher assistants. Seems that Wet Plate attracts an odd lot of photographers so our group was always on the large size, which was great because a model (interesting, beautiful & cool at that) was easy to get in front of the camera. Also, the large number of T/A’s made it easy to get chemistry poured, cars loaded, darkroom tents set up, and advice. We had the assistance of a local who is a supplier for wet plate paraphernalia, Niles Lund. He would prove invaluable (he did a mod on one of my Fidelity 8×10 holders to a wet plate holder for $40) as a second to our fearless and silver stained instructor, the inimical Jill Enfield. Jill mixes passion, intuitiveness, and experience into her wet plate endeavors. It was an honor to spend the week with Jill and learn this technique. Check out Jill’s time lapse video of her shooting in NYC’s Tompkins Sq. Park to get a feel for Jill and the process.

Portrait of Kendra 8×10 Tintype Kodak 14″ Comercial Ektar Lens, 10 Seconds F8 Note: Kendra is covered in beautiful tattoos, however since Collodion is sensitive to UV light, tattoos don’t show up in the image.

I’m not going to get into the technical details of wet plate. My fellow student, uber geek and all around super cool photographer chick Sarah did a great job describing the technique on her tumblr blog. So if you aren’t familiar with wet plate I suggest you go, otherwise Ill summarize. Before there was digital there was film, and before there was film there was wet plate. Wet plate is primitive, you have to prepare, shoot and develop your plate all within 10 minutes. In the early days of photography back in 1850 it was state of the art, but now it is ranked as one the golden children of the alternative process movement. Wet plate is a slow speed black and white process with film speed rating ISO 6 to  ISO 10. Thus the long exposures compared to.. well… anything else! It’s also difficult to do, you have to possess manual dexterity to get the various chemistry to adhere, flow, coat, and develop. This process is not for the klutzy, you will have really sloppy plates. And the weird part? Sometimes that’s not bad.

Portrait of Sarah 8×10 Tintype Dagor 8 1/4″ 12 Seconds @ F 8

One thing that was going through my head lately as I embraced the Wet Plate technique, was how does it fit in the “big” picture of photography? Why would one do this whilst the look can be easily replicated in Photoshop? I’m sure the wet plate practinioner just gasped, but really, it’s a lot of work and commitment to make wet plate collodion photographs opposed to running CS6 loaded with a some NIK filters. There are many reasons to do Wet Plate all digital joking aside. For those of us who like to stain your fingers and dig into the process, it takes you back to a humble, hard and complicated era of photography. Think of it as a way to walk in your Great, Great Grand Daddy’s shoes. (I’m not implying my lineage includes a photographer, as far as I know, aside from Uncle Harold, I’m really the first to embrace it). I made it hard on my self, going for 8×10 instead of 4×5, my images took twice the dexterity and acumen to accomplish a good plate. I like to ride a bitch however; I made two 4×5 Ambrotypes and switched over to the Deardorff. Jill also shoots with a Deardorff, and it is a choice camera to work with. Darn thing is solid like a Sherman tank (and just as heavy).

Portrait of Bari, 8×10 Tintype, Kodak Commercial 14″ 10 Seconds @ F8 Note the bad pour of developer that caused the black splotch.

A small concern about Wet Plate is its look. It attracts and scares me at the same time. It’s a look that you can point your finger at and say, “ohh wet plate, cool”. Jill did mention the ability to use watercolor pigment and a few other tricks to own your image more than just executing a great plate. Niles was using an old Dallmeyer brass lens with out a shutter, just timing his shots the old fashioned way, removing the lens cap and counting “one one thousand, two one thousand, three one thousand”. Throw precision away with spent developer, because Jill’s count was different than Niles count and I used my handy timer from my view camera kit. See, I learned view camera from Gordon Hutchings who learned from Morley Bear who are F64’s at heart. I’m a bit of a zoney, for better or worse so I found some of the wet plate technique haphazard and random. The look however is ingenuous to the technique, and that is where I have a hard time swallowing the process. This may be the key, process. Wet Plate is thick with process, control of the chemistry, effects of contamination, and also long exposures. The portraits taken during the era of wet plate were all almost somber and dour expressions. You can’t hold an ear-to-ear grin of a smile for 20 seconds. As a wet plate subject and to record a sharp face you must relax your muscles and be very still. The results are a serious subject. Landscapes tend to take on a pictorialist feel, and again, slow shutters speeds make for odd bedfellows including foliage in the wind soft, water amorfourous and action blurry. Nature of the beast when you eat shoot at ISO 6.

Portrait of the Incredible Mya, 8×10 Tintype, 14″ Kodak Commercial Ektar 10 Seconds @ F 8

Would I switch to this workflow and shoot a project with it? I’m going to say the answer is no. My reason is that I need to concentrate on the subject and executing the project as a whole. My current project, Battlefield Cant has already begun with Ilford FP4 8×10 film, I can’t switch now. And even if I did, setting up portable darkrooms and maintaining the chemistry in the field is way too invested for the return. That all being said, would I shoot wet plate again? Yes, it is an honor to shoot wet plate as our photographic forefathers did. Wet plate is complicated and the results somewhat unpredictable, and that may be it’s joy.

JIll Enfield demonstrating coating technique. Note the portable tent darkroom.
Fuji Xpro 1, 18mm Lens post process NIK Silver EFx Antique Plate II Filter.

Aside from learning the wet plate technique I got to cover some new ground. Because the class attracted seemingly eccentric and cool devotees I got to practice 8×10 Portraiture. I really cannot take a photo of a mundane person; I need some style or something strong inside a person to capture. It had been bugging me, how do you capture a person with an 8×10 view? Doesn’t the camera and film holder come between you and your subject? Square up camera, focus, place subject, compose, focus again, hold really still, insert film holder, and make exposure. Daunting right? I worked through it, I asked my subjects some thing cheesy but effective, I asked them to hold really still and look into the lens while telling the camera a secret, using telepathy of course. The results on several were quite compelling. Brenton Hamilton’s portrait is a favorite of mine. Photographic opportunism presented itself when Joyce Tenneson paddled up in a kayak to where we were set up on Day 4. Once again, that creative cauldron of Maine Media Workshops tests you, makes you “go up levels”.

Portrait of Jesse 8×10 Ambrotype Dagor 8 1/4″ 8 seconds @ F 11

Life is but a dream with Joyce Tenneson kayaking in Rockport Maine. 8×10 Tintype, Dagor 8 1/4 lens 12 Seconds F6.3

I’d like to thank Maine Media Workshops, Jill Enfield and my classmates for wonderful week of photography.

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