YRB Magazine

By Chad Ghiron
Photography by Jonathan Mannion

With more than a decade’s worth of experience, photographer Jonathan Mannion has captured some of the most iconic images in hip-hop and has acquired a celebrated career to show for it.

In 1996, a kid named Jonathan Mannion popped onto the hip-hop photography scene with a shot featured on the cover of Jay-Z’s debut, Reasonable Doubt. With a credit like that on his rèsumè, people started taking notice and he began to grab up every album cover he could, contributing his shutter skills to artists including DMX, Outkast and Chamillionaire. As his career progressed, the covers turned to music videos (Game’s “One Blood,” Ray Cash’s “Bumpin’ My Music,” J. Holiday’s “Bed”), proving he was able to do more than just snap a photo – he could show off his storytelling skills, too.

Today, the 39-year-old has a career that boasts some of the most outlandish and legendary stories of hip-hop, including Ol Dirty Bastard’s last shoot before rehab, rolling around H-town with Devin the Dude and standing by Game as he prepared for war on Compton’s Brazil Street. Needless to say, there are more stories than time available to cover them all, but if his goal was to have the most comprehensive documentation of hip-hop photography, he’s already accomplished it.

YRB: How was it coming up as a white boy in hip-hop?

Jonathan: I don’t know. It’s never been about that to me – it’s how you carry yourself. Growing up in the suburbs of Cleveland and England, I was encouraged to understand people.

YRB: Did you visit NYC before moving here?

Jonathan: I didn’t come to NYC often. My father grew up in Brooklyn and had his best friend we’d visit, but I spent most time away in London or traveling.

YRB: When you moved to NYC did you ever question if you’d make it?

Jonathan: Sure, but man, I worked hard. I came into the game assisting Richard Avedon, Mark Holm, Steven Kline and Ben Watts from ‘93 until ‘96. After, I broke off and started shooting for myself.

YRB: How’d the assistant jobs influence your work?

Jonathan: Any time you walk into a brand new arena, you’re gonna latch onto the first person who’ll show you how it’s done. For me, that was Avedon, and at the moment, he was doing every big job and a retrospective at the Whitney, so I got to study his entire body of work. That was the biggest gift – being able to absorb everything like a sponge and look through every shot to see why he picked what he did. It’s funny though, I’d watch people beg Avedon to shoot for $100,000 a day and once I finished with him, I’d be in the club with my own money documenting hip-hop.

YRB: When was your first cover?

Jonathan: Twenty-five. I’d shot D’Angelo for the cover of Touch Magazine, also I’d shot a cover for Ill Mentality and Tyra Banks for two magazines, but what I wanted to do was album covers. These were some of the most lasting images in music. Look back at Marvin Gaye’s or even The Beatles’ career. You’re gonna see the albums. Think of Abbey Road – it was simple, but it’ll last forever and that was always my goal, to do the defining picture of every artist.

YRB: What was the breaking point in your career?

Jonathan: Jay-Z’s Reasonable Doubt cover.

YRB: How’d you land that job?

Jonathan: I had a friend who worked for a company, Blow Up Media Relations, who hired me to cover events. One day, after moving to Roc-A-Fella’s press department, she goes, ‘You gotta get over here today. There’s Dame, Biggs and Jay. Bring your book, bring your best shit and come.’ So I showed up and had a meeting with Jay. He said, ‘I love your ideas, your work is dope, go talk to Dame.’ So I went into Dame’s office, he flipped through the book, looked at maybe eight pictures, then closed it and handed it back. ‘Dope stuff, how much you gonna charge me?’ Panic buttons went off, I was like, “You know what? I’m gonna shoot this for $300 less than your lowest bid.” And he’s like, ‘The fuck you talking ‘bout, man?’ I said, “Dude, I am so hungry and I so believe in what I can do for you that I’m gonna shoot it for $300 [less], so if you got Ray Ray here in the office who’ll shoot it for $600, I’ll do it for three. You got someone shooting it for $2,000, I’ll shoot it for $1,700. You got someone shooting it for free, I’ll give you $300.”

That Saturday I shot it on my rooftop on 72nd and Riverside and down by the water where Trump has his little empire. It was funny ‘cause at the same moment I felt I’d made it, I was in the lab and there was this photographer, Ruven Afanador, who had done a personal project in these catacombs. His prints were laid out along the shop and I walked down the thing passing each one like, “Fuck, fuck, ah man, fuck. Yo, I’m never gonna be this good. I should give it up.” And meanwhile Reasonable Doubt is like under my arm.

YRB: So when you shoot it’s pretty organic?

Jonathan: I always walk in with a wish list of 20 shots and I end up with six or eight of them, but yeah.

YRB: You like to shoot people in their hometown, right?

Jonathan: Yeah, well I was a psychology and art major in college so I start a conversation and get in their heads. Going to their hometowns helps with that and when you’re establishing an artist, they wanna rep where they’re from cause most of the time they’re huge stars within that community.

YRB: You went out to Compton to shoot Game’s “One Blood” video?

Jonathan: Man, Game’s one of my favorite people to shoot. We were out in Compton a day before the official shoot with the label began, and I was like, “Yo I want to shoot you without the label there.” Not that I wanted to disrespect them – I just wanted to get a real set of imagery, you know, pit bulls, guns and the house that he grew up in on Brazil Street.

YRB: How’d the cover with DMX covered in blood come to be?

Jonathan: Man, I had to beg him to get into that tub. It was a 60-gallon, old raw-iron tub and as soon as X saw it he was like, ‘I’m not getting in that shit, dawg. I got these pants, I’mma ruin my pants.’ I dropped my pants, handed them to him and told him to get in the fucking thing. We took a chance, but it worked, it turned out to be one of the most iconic images in hip-hop.

YRB: Is that your favorite shoot so far?

Jonathan: No, the Aaliyah one is because it was the last one before her passing. She was an angel, so sweet. Also, ODB was crazy. He showed up seven hours late and tried to have sex with the assistant stylist. He was walking around with his pants off and I was like, “Dawg, we been waiting for your ass all day and you come in and disrobe down to your junk.” That was magical too, but look, I’ve been able to be part of some incredible moments.

YRB: Where do you see hip-hop going?

Jonathan: It’s tricky. I’m trying to figure that out. There was such a beautiful run, this Def Jam reign, and now things are changing and it’s helped me take a step back so I can see everything clearly. Before, there was camaraderie with everyone working together for a common goal, [to] elevate our industry. Now, it’s hard to tell.

YRB: You think this has been caused by illegal downloads?

Jonathan: Yeah, it’s a vicious cycle given our current economy. There are budget cuts everywhere – 2009 was horrible. Survival’s the new success. If you’re afloat, you’re winning.

YRB: With newer work, what was it like shooting the Bushmills Whiskey campaign?

Jonathan: Bushmills was crazy. I shot it in my studio and we had 30 people in here – most getting toasty off the Bushmills, but it was such a beautiful experience. Doing album covers, there’s a certain formula, even though there is no formula. It was great to break out of the mold and react to new temperaments.

YRB: So what’s next?

Jonathan: I’m doing a lot of reviewing of where I’ve been so I can know where to go. I’m editing old shoots as I prepare a Polaroid Book via Atria, part of Simon Schuster, that has been in the works for a minute. But, really, the goal for me is moving into different arenas, and for me, it’s less commerce and more art.

Hollywood newcomer, Léa Seydoux, is heating up the big screen in one of this year’s most anticipated films – and it’s just the beginning of her promising career.

by Nancy Dunham Photography by Blaise Reutersward/trunkarchive.com

Five years ago, Léa Seydoux was just another teenager who was graduating from school and unsure of what to do with her life. Then, the France native befriended a few other actors and her life was forever changed. At 24 years old, the former American Apparel model most recently appeared in Quentin Tarantino’s Oscar-nominated Inglourious Basterds and has a role in Ridley Scott's  Robin Hood as Isabella of Angoulême. Now, Léa talks about how she found her life's work, why filming with Brad Pitt and Russell Crowe isn't really all that and just where exactly she hopes her up-and-coming career is headed.

YRB: When did you decide to become an actor?

Léa: When I was in exams in school, it was during that period I was lost in my life as many people are when they are teenagers. I wasn't very good in school. At that time, I made some friends who were actors. I began to think to myself it would be good to be an actor. I thought, “I want to have the same life they have.”

YRB: What attracted you to that life? 

Léa: I liked that you live many lives when you are an actor. You live many characters' lives. I also liked that the work allows you to work three or four months and then have a very long time free. I also like meeting all the people from different cultures and I find out everything I can about them. It is a very different life, and you can also travel all of the time.

YRB: Was it difficult to learn to act? 

Léa: I went to school in Paris. There are good actors [teaching at] the school and that's how I started to learn. I was very shy when I started. But you learn as you work and you develop more technique. Then you can prove that you can act. Every actor is not the same, but no actor is 100 percent sure of himself. You feel so vulnerable when you are on the stage. I feel very vulnerable – too vulnerable, too often.

YRB: Did your family object to your acting goals? 

Léa: They didn't mind. The reaction of my parents was very open-minded. My mother did a lot of different jobs; she wrote books, she traveled a lot, she lived in Africa for a while. My father is a journalist. When I was younger I traveled a lot. It was my choice. 

It is true that when I told my father I was considering acting, he said, ‘Oh my God. That is a very bad job. That is not a job for an intelligent person. Are you sure you want to do that?’ But I wanted it. I decided to do it even though it wasn't my passion when I was younger. When I was younger I wanted to sing. I wanted to dance.

YRB: So you always enjoyed the arts. What was it that led you toward success in acting in such a relatively short time? 

Léa: I had a very good agent and a manager who was great. She was very instructive and was always sending me [on auditions]. She believed I could do it. Then I started to believe I could do it.

YRB: Are auditions difficult? 

Léa: I find them very difficult because people are always judging you on your appearance, the way you look. You have almost no control. Casting directors even use your emotions against you. It's almost like you can't have any secrets. The casting director comes out and says you have too much of this or not enough of that. You feel like you are not human. You are an object. But it is also very exciting because you want to prove something.

YRB: What do you do to prepare for roles? 

Léa: I sit in my house and I write down all [my lines] on paper. If I know the name of the director I look for information on him on the Internet. If I [am playing a well-known character] I read all I can about her.

YRB: How did you get the role in Robin Hood? 

Léa: I really wanted that role, and maybe because I have a face that allows me to do many different periods [that allows me to work more frequently than some actors]. I did a movie in France where I was [supposed to be] 17, and then I did one right after [where my character] was married to a lawyer and was almost 30 years old. I can change in that way.

YRB: Did working with so many A-list actors, such as Russell Crowe and Brad Pitt, impact your acting?

Léa: They are very famous, but you have to realize it's very easy to be impressed. You find it very exciting to work with them. Because I am French, yes, I [tell friends] I am working with Russell Crowe and they are amazed. I have a lot of admiration for them, but that is all… They are very good actors, and they are big stars, but I am not so impressed by big stars. I am more impressed by some actors that aren't famous actors or are older. [Whenever I watch actors] I learn every time. I am only 24. I started acting when I was 19. It has not been that long. I am very new and I'm always watching everything every day, every scene something is different. The sets are huge, the costumes are [bold]. You can feel a little lost.

YRB: Were there techniques or ideas you found working with them that will help your career? 

Léa: Not that much. With Russell, I worked with him on one scene and I can say that French actors are more like themselves than the characters they play. Russell has his own little secrets to acting. They all have them.

YRB: What about Brad Pitt? 

Léa: I didn’t have any scenes with him. I don't have any opinion.

YRB: Was Quentin Tarantino as complex as many say he is?  

Léa: He is amazing. He is a director that is one of the best from America. He really, really knows what he wants. He has his own vision. He is very complicated. He is really funny and really passionate about cinema. He speaks very fast; he moves fast, everything is very fast with him. It is almost like he sees the movie in his head; he knows exactly how it should be. That is incredible. All the big directors aren't like that. He has so much passion for his art. He knows everything about the cinema. He gave his life to cinema. He is married to the cinema. Also, he is a storyteller.

YRB: What do you like most about acting? 

Léa: When I play roles, I am very present. I try to do the scene where you have to be something very different and you feel very alive. It is very demanding. You give everything you have to that role. Afterward, you are very tired. I just did three movies where I had to study [parts] and I have to say, I am really, really tired. When you are there and doing it you don't feel it, but after, you are so tired you feel like you have used drugs. It's very difficult.  It is also exciting.

YRB: What is it that you want more than anything out of acting? 

Léa: I want everything out of life. Not just acting. I want to meet people like Tarantino and Russell Crowe and people who have big personalities, who live life in a very [exciting way]. That is what I really like.

She may be a self-proclaimed “alien from outer space,” but Janelle Monáe is ready to prove why she’s also one of R&B’s most creative minds. 

by Steven J. Horowitz

Photography by Fredric Reshew

The line between fantasy and reality is stretched so thin for Kansas City native Janelle Monáe that when she sings from the perspective of her alter ego, alien android Cindi Mayweather, it’s hard not to believe it’s an authentic reveal of our future. But with her ambitious debut project Metropolis, the 24-year-old sprite is doing more than just taking contemporary R&B to a galaxy far, far away – she’s using music, dance and art to hold up a mirror to society and confront the imposed limitations of self-expression, romance and freedom.

Her music may be ripe with ruminations on oppression and conformity, but beneath all the robot talk there’s true artistry at play. Monáe conceptualized Metropolis as a project broken into four EPs referred to as “suites,” with the Metropolis Suite I of IV: The Chase introducing listeners to Mayweather, a droid who becomes a governmental target after falling in love with a human. And after its release in 2007, The Chase arned Monáe a joint record deal between her imprint Wondaland Arts Society and Sean “Diddy” Combs’ Bad Boy Records, a partnership that many feared would undermine the sanctity of her movement.

But that didn’t deter her from losing her focus. Monáe may have compromised her initial plan of attack by folding Suites II and III into her first full-length release The Arch Android, but the resulting work is richer and more musically potent than anything she’s previously released. With her Big Boi-assisted single “Tightrope,” a strong candidate for the official 2010 summer anthem, the bouffant-sporting singer is ready to show the world why the future is now.

YRB: You merged Metropolis Suites II & III into The Arch Android. What was the reason behind that?

Janelle: Well, because I had a story that needed to be told in the way that it was. My initial idea changed because it was supposed to. In terms of telling the story, this is the best way because it deals with the Arch Android, which is fighting against the great divide. The arch android is very similar to the Archangel or Neo from The Matrix. We're chosen. The arch android is that for the android community. A lot of people think that the arch android didn't exist and it's just mythical, figuring nobody knew about it. So it's really one of the things that made me feel like I had to tell a story of Cindi Mayweather because she was indeed the arch android. And so it started off with her from The Chase, and now it's moving to her being the arch android. And it's a story of self-realization. I realized a lot about myself in creating this project as well.

YRB: What inspired you during the creation of The Arch Android?

Janelle: We were inspired by surrealism and Stevie Wonder's Music of My Mind, from John Williams to Walter Disney to Pink Floyd's The Wall, David Bowie's Ziggy Stardust, Octavia Butler – I mean, the list can go on and on, but it just took time for all those things to come to us.

YRB: Are there ever any problems distinguishing between Janelle Monáe and Cindi Mayweather? What sort of similarities do you see that exist between you two?

Janelle: I see us as growing individuals and both recognizing and finding our superpowers and being comfortable with the things that make us unique and realizing that we have to be the ones to lead and have a responsibility. I see us as just growing and searching and asking questions and provoking thoughts. Thought leaders. Not going to be victims of our environment and vice versa.

YRB: Diddy executive produced The Arch Android. Did he have any creative input into the project?

Janelle: Executive producer means the one who helps fund the album. But creatively, no. He's in love with what the Wondaland Arts Society has already been doing and is doing. He doesn't even want to throw the energy off. So everything comes from Wondaland. It's a partnership, not a direct signing. It's a self-contained label [with] the Wondaland Arts Society being endorsed and supported by Sean Combs.

YRB: Listening to the album, it's very evident that you have your own sound, a Janelle Monáe sound. This might be pedantic, but how would you describe that sound?

Janelle: Going into The Arch Android, I like to look at this music as transformative, also as an emotion picture for the mind, as different sounds and the way that I use my voice, my instrument. I think it all evokes different emotions, and I think you can visually imagine what is going on. The music that I create, we create as a team. We always want people to see the drama in it or feel and see the colors in it, and we want them to visualize that, and we have to use the music to the voice to the lyrics to the concept – all of that goes into creating this emotion picture for the mind and the heart and the soul.

YRB: Being that the music is so plot-driven and theatrical, are you entertaining the idea of putting visuals to most of The Arch Android?

Janelle: Yes. We are actually creating a visual for every song on The Arch Android. So we've already shot “Cold War,” and we have “Tightrope.” The story takes place at the Palace of the Dogs, which I introduced you all to in the video for “Tightrope.” And it's a sanitarium where all the greats lived and were studied, from Jimi Hendrix to Charlie Parker to Miles Davis to a host of others – so many different people. And I got a chance to be one of the last artists to be studied there. I just wanted to document everything, and [my audience] will get a chance to go into that world.

YRB: Your music speaks to a diverse audience. What do you think draws people from all walks to your music?

Janelle: I think it's the music itself. I think that music can bring so many people together if you let it. I've always been about creating a purple state by combining a red state and a blue state, and not segregating and dividing. Music is supposed to unite, and I think that's what the audience, when they come to a Janelle Monáe show, sees. You see so many different shades and colors and it's very, very diverse. That's exactly what I wanted to happen, and I'm so thankful that it is that way. I can't wait until androids can join us.

YRB: What have you learned so far on your musical journey?

Janelle: I’ve learned a lot. I'm learning continuously, of course. But I would say it's a journey and life is about failing, if you will, and making errors and correcting mistakes and learning from the past and focusing on the future. I'm really just at a very peaceful place in my life to where I don't try to get too high or too low about anything. I think everything that has happened, good or bad, has been to prepare me for this journey, since the beginning of my career. Although, I've been prepared my whole life. I look at it as preparation, spiritual preparation, artistic preparation. I needed to get in contact with myself and accept myself for who I am and understand my superpowers a little more and build up that confidence and reassurance that I am a leader and there'll be good and bad days.

YRB: What do you hope people take away from listening to the new album?

Janelle: I hope that people will be transformed, and by that, I mean really empowered by the messages. That they get afraid of certain songs, and they cry to certain songs, and they find certain songs that change their lives. If it's an artist listening to the music and being inspired by the string arrangement or a writer listening to the lyrics and being more challenged as a writer, I want people to discover it and figure out how they can be the arch android in their communities and be a bigger agent of change. Music is supposed to inspire people to do something great, and I just hope this album does that.

Night after night, Michael Esper is taking part in a curtain call that’s making history as one of the first ever punk/rock musicals hits Broadway.

by Gina Ponce Photography by Carlos Arias

An acting career for native New Yorker Michael Esper may have been predestined with two acting teachers for parents, not to mention the multitude of Broadway opportunities in the big city. After acquiring several Off-Broadway credits that include Crazy Mary and The Four of Us, Michael made his debut on the Great White Way in 2008, starring in A Man for All Seasons, and is now making waves as Will, the depressed one in a trio of friends that gets left behind when he finds himself to be an expecting dad in the new musical based on Green Day’s epic American Idiot record. The raven-haired actor joined the production when it was first introduced at the Berkeley Repertory Theatre and then followed its success back to NYC for its Broadway premiere. Now, Michael speaks with YRB about the challenges of theatre and his first musical experience.

YRB: Being that you were born and raised in NY, did you grow up in the world of Broadway and theatre?

Michael: Well, my mom and dad are both acting teachers so I’d say I was around it a lot, inside and outside my house. I went to a lot of my father’s and mother’s productions, and we talked about the theatre a lot. So a lot of my earliest memories are of plays that I saw and conversations about acting…so it was always around. 

YRB: Is acting something that just came natural to you?

Michael: My interest in acting came natural to me. Some things that acting requires are easier for me than others, but I think that acting is really hard and I had a lot to overcome, and I’ve worked really hard to try and be as good at it as I can be and continue to do that. 

YRB: What’s the best advice your parents have given you about acting?

Michael: That’s really hard. I mean, I studied at their school and so I’ve learned from them my entire life and they told me so many things that it’s really hard to narrow it down to just one comment. I’ve been really fortunate that my mother and father have been so supportive my entire life and have always made themselves available to me and are so incredibly knowledgeable and generous with that knowledge. I definitely get to reap the benefits of that all the time.

YRB: What challenges do you face in theatre that you don’t see in films?

Michael: In theatre, you only get one pass; it’s all happening right there and there’s no going back. It’s part of what’s so thrilling about live theatre, that once the moment happens, it’s gone forever. It only exists in the memories of the audience and the performers. And also, imaginatively when you work on film a lot of things are given to you, the environment that you’re in, and a lot of times you’ll have to create those things for yourself using your imagination when you work on stage.  

YRB: Do you find that doing theatre night after night ever gets repetitive?

Michael: Um, yeah I do, sometimes. You know, it comes in waves. You’ll have a little period of time where you’re feeling kind of stuck and then you’ll have another wave where you sort of rediscover the show all over again. But it’s definitely a challenge. That’s another challenge to theatre as opposed to film – is how to stay fresh and create those moments like they’re happening for the first time night after night. And, you know, that’s part of the fun of it too. 

YRB: Have you always been a Green Day fan?

Michael: Yeah, I’ve always loved them. I still remember when I saw them on MTV for the first time, and I couldn’t get over what I was seeing. There was something so distinct and so different about what they were doing and I just fell in love with them right away. Certainly, working on this show I’ve gained a whole new level of appreciation and admiration for them, for what they do. 

YRB: In your opinion, what was it about the American Idiot record in particular that made such an impact on rock music?

Michael: Well, I think it was a kind of perfect storm. First of all, the content – what those songs are about and what that record’s about, [Green Day was] so loudly and boldly and honestly singing about the state of our nation, their feelings of alienation and disenfranchisement and frustration with the direction the country was going in, feeling like our lives had been hijacked both politically and personally by, not only the government, but also the media. And [they were] just really trying to start their own identity in the face of all of that. So, I think sharing music on the radio that was dealing with those issues, which was ruthless honesty, was unbelievable potent. And, on top of that, it’s just incredible song craft. 

YRB: How accurately do you think American Idiot (the play) is in portraying the album?

Michael: I think it’s unbelievably faithful to the spirit of the record. And Billie Joe and Mike and Tre have been intimately involved with the project right from the very beginning, in building the show with Michael Mayer and Tom Kitt and all of us. And so it would have been difficult, given their level of involvement, for us to veer into any territory which they didn’t feel was appropriate for the record or was not [in sync] with what the record was about. 

YRB: Your character spends much of his timing sitting on stage. How do you approach that when everyone else is able to channel such high energy with their roles?

Michael: It’s certainly hard in that I lay on the couch since, like, the second number and stay there through almost the entire show while everybody else is having this incredibly active experience. And while I have a different kind of activity on the couch, trying to sort through all the problems that arise from being stuck, it’s definitely hard to not participate. But that’s what Will is experiencing, that’s what my character is feeling and he doesn’t get to do those things, and that’s the same problem that he’s facing. Even though I’m stuck on the couch, I try and make those moments as active as I possibly can so that I’m not just sitting back depressed the entire time.

YRB: What makes American Idiot different from other Broadway experiences you’ve had?

Michael: Well, I’ve never been in a musical before so right off the bat it’s completely different. The majority of what I’ve done on Broadway is [a play] called A Man for All Seasons with Frank Langella, and that was just a completely different experience; it’s a real period piece. The level of intensity [of American Idiot], the vibrancy, the size of the show, the scope of the show, the demands physically and vocally – I mean, I’ve never experienced anything like it. Even if I had done another musical, I think it would still be really different. I just don’t think there’s anything else like it; I don’t think there has been another show like this one.

YRB: Do you have any interest in getting more into big screen productions?

Michael: Yeah, I love working on film and I’d love to pursue that more. It has its own rewards and a level of intimacy that you can achieve on film. 

YRB: You also have a musical background, having had your own band. Is that something you see yourself ever revisiting in the future?

Michael: I had a band through high school and college called The Red and the Black, and we put out an EP on the independent label Self-Starter and toured around for awhile and played for a couple years in the city and around the country, and it was a blast. But it’s just too hard to try and keep it going, to try and get the band off the ground and also try to keep your career going. I couldn’t tour and work as an actor at the same time so I had to choose. I continue to record on my own and still write, and hopefully when the show settles in I’ll get back into that ‘cause I miss it a lot.

YRB: Do you have any other projects in the works?

Michael: I was in this movie called All Good Things (with Ryan Gosling and Kristen Wiig) that’s hopefully coming out in the fall. There’s a couple of other things maybe, but right now I’m just focused on the show and what’s happening here at American Idiot.

The distinction between art and pornography is often blurred, but erotic photographer Ellen Stagg 

pays no  mind to artistic boundaries with her scintillating shutter skills.

by Nancy Dunham Photography by Ellen Stagg