A Lifetime of Leather with Duluth Pack

In the year 1870, a man named Camille Poirier came to Duluth, Minnesota with a dream of opening a leather and canvas good's store. Over 130 years later, this dream is still alive and growing. 

Duluth Pack is the is oldest canvas and leather bag and pack company in the USA. Still located in Duluth, they have not ceased manufacturing high quality, built-to-last canvas and leather bags, packs, and outdoor gear in their century-old factory.

Their quality and values have not wavered or waned since their beginning. Duluth Pack continues to embrace their American made heritage. Not once have they compromised quality for quantity, instead they continue on in the one-customer-at-a-time way of doing business that they have always valued.

Duluth Pack sticks to tradition well as their craftsmen and women have been using the same reliable, timeless artisanal techniques since the beginning of the company. Not only do they cherish their customers, but also their employees. The talented sewers are actually able to sew their name with pride into the high quality product that they have thoroughly hand crafted with skill and precision. 

Typical products found other places are built to fall apart and be thrown away. One of the many amazing things about this company is the life time warranty that they offer. It is a guarantee of the longlasting quality of their products.  

 

As they honor tradition, they also have been cutting edge in their designs and keeping up with the times while maintaining the beautiful essence their company carries. There are 15 canvas colors available, along with wool, American bison leather, and an assortment of other American leather products to choose from. No matter the product you are interested in, you can be reassured of the highest quality.

Duluth Pack is special for a myriad of reasons. Their packs carry the power of storytelling and so many memories are made with the packs. Adventure calls when you get your hands on one of these packs. 

Their humble beginnings back in 1882 has grown and amassed into a worldwide organization. Products are sold to a global consumer through their flagship retail store in Duluth, MN, their online retail store, and a global network of dealers.

Duluth Pack has extended a 15% discount in the online store for all of those apart of the Folk Family. Go pick out a pack perfectly suited for your next adventure. With so many styles and colors to choose from it is going to be a hard decision. (Personally leaning towards a Burgundy Scout Pack myself) 

CODE: FOLK15

Click here to view their website and online store

Follow them on Instagram to share some love with the Duluth Pack team for their generosity and commitment to their customers! 

Instagram: @DULUTHPACK 

America The Great: A Roadtrip with Alexander Miles

These last few days have been incredible stressful and emotional for many Americans, so to hear what Alexander Miles, an Australian, had to say about this country was balm to my soul. To see the beauty of the land that this nation was built on and to hear the affirming insights from a foreign traveler was a refresher for the love and hope I hold for America. 

Enjoy a glimpse of Alexander and Lana's Great American Roadtrip where these two  traveled, explored, and photographed the grand natural landscapes of the West.

---

Where are you from:

I was born in Sydney, Australia.

I've spent just as much time in Melbourne, Australia.

Age:

Depressing

Where do you live:

I live in East London.

---

From someone on the outside what is the appeal of visiting America? 

 As a kid, I always thought the USA was like the wild-west. Fame, fortune, wild people and wild nature. Most of the media we consumed in Australia - especially growing up - has been centred on America. We are spoon-fed doses of Americana all our lives. As an adult, and having spent a lot of time in the USA, I realise that its part true and part fallacy. America is stunningly beautiful, complex and surprising. Anyone i've ever spoken to that've taken a trip in the states comes out of it enlightened and humbled by the people and the beauty of the nature. 

What are the most iconic ideas/places/landmarks/narratives of "America" to the foreigner?

The great American Road Trip is something that almost every person I ever speak to states as the thing that they want to do. A rolling landscape of the road, dotted with weird and wonderful Americana. A lashing of the kitsch and miles of tired, weather-beaten signs advertising cheap gas or rooms. 

I keep going back to the desert. There is a bleakness, a tiredness which I find really compelling. You can drive for days and at the end of your journey you can end up somewhere like Zion and you feel like you've landed on another planet. Incredibly rewarding as a foreigner to have the interplay of bleakness and the grand scale of the natural sights.

Also, not to be discounted are the people and places - those roadside truck stops with funny 'attractions' and museums. Diners always about the diners.

@lanadelporto

Where did you go on this trip?

We flew from NYC straight to Vegas. Picked up a convertible Mustang and hit the road - it is totally cliched, but we're from Australia, so we figured we had to do it. From there we drove through the deserts to Grand Canyon, Monument Valley and Moab, finishing in the refreshingly green Colorado Rockies for a week.  

Where all have you visited in the past?

Lots of California, highlights being Yosemite, Death Valley. Nevada, Utah, Colorado. A little bit of the east coast, NYC and Boston, basically. For me it seems like the bigger attractions are always more in the west. 

@lanadelporto

What are some tips for navigating America if you aren't American?

Hire a car. There is no other way to see the USA other than by using a car. We were intimidated by the idea of driving on the 'wrong side' of the road, but it's a cinch and having the mobility meant we saw so much more.
Get out of the cities. For me the charm of the USA is in the nature, the small towns and the people who live out there.
Plan your trip and give yourself more time than you think you need. The place is damn big, and most great landmarks, national parks etc would need more than a single night to do it justice. We didn't do that last time. Lesson learned.
Try pretty much everything you can get your hands on - the variety of food you've got is staggering. S'mores! What a thing!

@lanadelporto

---

Biggest pet peeve about America: 

Honestly? There isn't much. I'm trying to think of something? 

Oh! Ah! I've got it! Outside of NYC more often than not you'll find the worst coffee in the universe. It's totally butchered. For the record, to be fair, any coffee is better than no coffee, but for an Australian it's always a bit of an adjustment to get used to the heavily filtered coffee. Or, worse yet, Starbucks! 

Let's just chalk that down to cultural differences. 

Biggest thrill of America:

The feeling of anticipation when arriving somewhere extremely grand like Yosemite, Death Valley or Monument Valley knowing that it's going to be good and then it's so much better (and bigger) than you expected. When you sit there, looking at these amazing sights, jaw hanging, quietly just taking it in. It's probably not the thrill you'd expect, but it is the one that sticks with you.

---

What makes America, America? 

America has had a bad wrap for a long time and a lot of people still judge it harshly and unfairly today. It's a beautiful country, full of great people who are just finding their place in the world. It's far from perfect, but nowhere is. 

I always think about a very sarcastic quote from a good friend of mine in LA who said when I mocked him and the USA prior to ever having visited: "You only hate us because we're number one!" I never really had much of a comeback for that and after having travelled through much of the USA, it was really apparent to me what he meant. 

It's a damn good country. 

To me, America being a country of 'more'. You want something? Well you can have more of whatever that thing is. You want a canyon? Well here's the biggest damn canyon in the world. You like steak? Well how about a huge, table sized t-bone? You want to buy absolutely everything organic shop in a vegan-friendly packaging with a soy latte and a kale salad? Welcome to WholeFoods! 

You guys live large in pretty much every way, and it's pretty hard to fault the pleasure and charm of that way of life.

I'm inclined to agree with Alexander. America is a damn good country. Let's continue to uphold, appreciate, and fight for the beauty & values of America the Great.

You can catch more of Alexander and Lana's travels on Instagram.

Alexander: @bethebravest                 Lana: @lanadelporto

Sit in awe as you watch their breathtaking timelapse of their journey through the desert.

A couple of wayward travellers hit the road and enjoy some of the greatest sights the US Wild West have to offer. Shot on a Panasonic GH4, and using a Rhino Slider to caption motion time lapses. We hired the Mustang from Alamo car hire in Las Vegas - absolutely the right car for the job!

Beautiful Masculinity: An Interview with Ricardo Rico

Ricardo Rico is a 28 year old Brazilian living in São Paulo. His passion and career is photographing people. The photos he takes are very intimate and they portray a beautiful side to man's masculinity and beauty.

---

Christophe: When did you first become interested in photography?

Ricardo: I remember the first picture that I saw and I thought, "Wow how beautiful is it!" I wondered how that picture was created. I was a child and the picture was of Naomi Campell, from Playboy Magazine by David LaChapelle.
Ever since then, everytime that I saw a beautiful picture, I wondered how and why it was made. When I was a teenager I met a photographer and he invited me to help him during a photoshoot of a new upcoming model. That moment was my first real contact with photography and I fell in love.

C: Were you self-taught or did you learn in school/from a mentor?

R: Self-taught.  My first exposure with photography was through a professional, however I did not have them as a mentor.
I researched and read about photography back then, and nowadays I continue do to do the same. I never stopped seeking more information.
Knowledge is an endless cycle, never stop seeking.
 

C: How did you develop your style?

R: So difficult, I have many doubts if I developed a style.
Hehehe "I love making new experiences"
Nowadays, my experience with 'The Lonely Project' has made me happy

C: What themes do you explore through your work?

R: Masculine beauty in physical and emotional forms is my current theme. I try to portray another man by mixing and molding a little of my subjects and a little of myself together. 

C: How do you find and choose you subjects or locations?

R: The intimate/nude theme is a set for 'The Lonely'.
Normally the first contact with the candidate is online, and I explain my job and they tell me the reason that motivated them to seek being photographed by me. I get to personally know them,  and we  start a building a strong connection based on confidence. After all nudity is still a taboo and it is not easy to get naked in front of someone.
Usually, I photograph in their house. I see this place only on the day of the photoshoot.

 Sometimes the place is amazing with a lot of light and I can explore the place many ways, while other times it is a patient game where I fight against the darkness to explore the maximum that I am able to do. However, the place is not very important, the focus is the human.  The pictures I take and conversations we have are the most important objective.
 

C: What inspires your work?

R: The people are my inspiration. I loving walk on the street and observing the people near me. It’s fascinating to observe someone that have no idea they are being observed. Mainly lonely people, seated in the park, in the square, public transport, waiting for someone or something. 
And movies, TV series, songs, and some photographers that I like so much are João Guedes, Wong Sim and Haris Nukem.

 
C: How do you compose an image? Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?

R: All is an experiment. First, I need to get a harmonious atmosphere to feel free and confident. After that the experimenting starts. I continue to study and search what will be visually pleasing for the photoshoot throughout this entire process. 
 

C: What has been your biggest lesson learned through creating your art?

R: I have learned to listen. 
I have gained the opportunity to meet a lot of different people with culture and histories totally different and this has enriched me a lot as a human.
 

C: What do you hope your art says to people?

R: The interpretation is free and totally personal. In my opinion, the body is art and can be interpreted to many ways; it depends on the way that you see. 

C: Why did you choose your craft? How hard was it to become profitable at it?  

R: It is necessary for me and I cannot see myself doing anything different than photography in my future. Just like any other self-employment, this is a battle with ups and downs.
 

C: Any suggestions to newcomers to the field?

R: Make experiences, observe, make mistakes & correct them, do not give up, remake and try it again!

C: If you couldn’t be doing your craft, what would you do instead?

R: I cannot see myself doing something different than photography, however Graphic Designer is another option.

C: Any favorite moments of your career so far?

R: The gaze, of who I captured with my camera, this make me feels happy.

 
C: What would you do differently if you could start from scratch?

R: If I changed one thing that I did, I probably could lose good things that I won during this time.

---

Rico is currently working on a project that we can all support by clicking here on the Catarse website. (Brazilian Crowdfunding)

The second edition of Lonely Magazine is in the works and he needs our help to publish his fantastic work of art.  

ricardorico.com instagram.com/the.lonely.project catarse.me/thelonelymagazine2

You can also share some love and check out his website & Instagram:

Website: RicardoRico  Instagram: @the.lonely.project
 

Meet Michael the Maker

Michael Stricklin is a maker located in Opelika, Alabama. The business he founded, Loyal Stricklin, is a leather goods and accessories company. He shares with us the in's and out's of being a maker and tells his story of becoming the maker that he is today. 

 MICHAEL STRICKLIN
OWNER, FOUNDER, AND CREATIVE DIRECTOR OF LOYAL STRICKLIN

---

Christophe: Tell us about your process to becoming a maker. Did you go to college? Did you come from the corporate world? Or were you always a maker?

Michael: I took a serious interest in product development after returning from a study abroad trip in Italy. I realized I wanted to be able to create beautiful items on a smaller scale than the degree in Architecture I was pursuing would allow for. I started working with leather to make a phone case/wallet combo, mostly because I could make them at the desk in my living room. The material spoke to me and so I continued to develop my skills and products over the next year and a half. I launched Loyal Stricklin in the Fall of 2013 as I started my masters degree and went full-time once I graduated.

C: How did you decide you were finally ready to be a full-time maker?

M: I had my first mild success the Christmas season of 2013, and business never slowed down after that. By the time I graduated, I went full time with a few part-time employees helping me make everything. I haven’t looked back since.
 

C: Why are you a maker?

 M: I wanted to become an entrepreneur so I could have time to do the things I loved and not have to answer to a boss. Turns out, it’s not the days spent leisurely doing whatever that I had hoped they would be. It’s a full-time 9-5 job spent in the studio now. I’m never really “off” though, and am constantly thinking about ways to improve a design or how to run the business.

C: Why are you still a maker?

M: God willing, I’ll be one for as long as I can. Even if Loyal Stricklin could not pay the bills for some reason, I wouldn’t stop. Creating and working with my hands is my passion, and always has been.

C: As a child what did you want to be?

M: I was always drawing and creating as a kid, which is why I went into architecture. I knew I wanted to be in a creative field, but you have to make a living too. My childhood experiences spending time in the garage with my Dad on DIY projects and the skills I learned in Architecture school really lent themselves to making this business possible.

C: Tell us about your creative process and the evolution of that process as you've perfected your craft and as you've grown as a business.

M: I stay pretty passive on design for a long time while I think about the next product. I usually mull it over, sketch something out, and then it might be weeks before I look at it again. Because I am heavily involved in so many as parts of the business — from marketing to production and running the business and all that entails—  It can be hard to find time to set aside just for design. I keep a journal and pens in my bag at all times. Once I’ve fixated on the next product I want to create, then that’s when I get down to design, sketching slight variations until I have something I’m pleased with on paper. Then it’s onto the real design, which is creating samples and working the kinks out with the actual product. It’s important to me that our products are simple and cost and time effective, yet also beautiful and useful. One of the most important things to me is that our designs are coherent across our entire line. I don’t like to make something new just to fill up a void in our product line. I need it to fit into the overall aesthetic and design of our entire product range.

C: What inspires you?

M: For design itself, I’m inspired by anyone creating beautiful work. I love 2D design, but I really get excited about 3D design, from true craftsman in the leather world to furniture and building design. A lot of the time, inspiration has to take a backseat; I have employees and bills to pay, and I have to put product development on the back burner and instead go into production mode most of the time to make it all work. 

C: How have you grown your business?

M: We’ve been really blessed with this business. It’s hard to explain how we’ve gotten to where we are in a “do this and you’ll succeed" kind of way. I’ve found myself surrounded by wonderful people who really pushed this business forward. Friends like Folk helping us on social media when we got started. If I were still working alone, I don’t think that I’d be where I am at all today.  Our small town is cheap to live and work in, but beautiful with an incredibly supportive community; my wife has been my biggest supporter, pushing me to be a better husband, boss, designer, and businessman; My employees are hardworking and loyal, and really carry the weight of our better selling items, and Instagram has been an instrumental tool in our growth and presence online. We take careful consideration of our designs and how our products wear in, and don’t release a product we’re not completely happy with. All these things, plus our amazing customers and fans have really propelled us forward. I think we were also lucky that I started doing all of this before being a “maker” was a normal thing. Sometimes you just have to be in the right place at the right time, and I think that’s been huge for us as well in the relationships we’ve forward with our retail partners and customers as a whole. 

C: How have you perfected what you make?

M: I’m obsessive over the things I love. I always have been. My mother used to get mad at me because I’d find a hobby, get obsessed, and then drop it once I had had enough of it. I’m lucky to have that trait, as it’s allowed me to push forward with this business. I’ve matured at least a little since my younger days, and don’t plan on dropping this obsession anytime soon. I need to create to have a fulfilling life, and this has been the perfect outlet for my desire to create.
 

C: Has this growth been easy?

M: Nothing about running a business is easy, but it’s worth it to my wife and me. Even the toughest moments are something to be thankful for, as it’s the hardships that reveal and refine your character and allow for the most personal growth.
 

C: What has been the most successful way to get your product out there?

M: Instagram and trade shows by far. We’re starting to look into more traditional methods of advertising in the new year, but connecting with our customers directly online and with small business and store owners in person has worked well for us. Life is all about people, and connecting with them. You can’t do anything worthwhile without including someone else, and that has been a core belief in our business since the get-go.

                                                       C: What does the future hold for you?

M: We hope to continue to be able to do what we love, hire more people and create more jobs, and grow as big as we can while maintaining our values. We’re constantly improving and refining our current product line and coming up with new ideas. I didn’t put “leather” in our business name, because it was never just about that. We hope to move into many different forms of design and product development and will continue to expand our offerings as we continue to grow.

C: Give us three tips you've learned as a maker that can be applied to everyday life:

1. Whatever you do, work your ass off.
2. Refine, refine, refine.
3. Always continue learning something new.

C: What is the biggest lesson you've learned?

M: It all takes a lot more time than you think. Don’t compare yourself to someone that looks like they’re doing better than you. Keep your head down and worry about you, and you’ll get there.

C: Why should we support and buy maker and American made goods?

M: The maker movement is just so real, so tangible. You're not just buying a wallet, or a candle, or a mug; you're buying into someone's passions, their dream, their livelihood. It's as if you get a glimpse into a part of their day--through their eyes--where they spent hours looking over and shaping the same piece that you now hold in your hands.  That same care and attention will rest loyally in your hands, in your pocket, and in use for years to come. There's a beauty and a warmth to it that just isn't possible with your normal big box store purchase.  
Even if you decide not to purchase from us, we hope that you will purchase with a purpose from makers, from artists, and from average Joe's just chasing their dreams and living life by their own terms.

If something isn’t good enough, we redo it. If a stitch doesn’t look right, we redo it. If a piece of leather doesn’t look right, we don’t use it. Quality control happens throughout the process.We make sure to only use certain types of leathers, with certain thicknesses for certain things. If the material is too thick or thin, it won’t work.
 Since everything is made in-house, it isn’t too hard to maintain the quality we want. 

C: How do you ensure quality of your brand and your products?

M: We’re a small team- only four of us make all of our products. I make all of our bags, my wife makes all of our wallets, and our two production employees, Kelen Rylee and Seth Brown, make everything else. The team has been trained to really understand the quality that we’re going for, and I trust them to only let products that pass my standards go out the door. If they have any concerns, I’m right there everyday in the studio alongside them to guide them.

C: How do you live authentically?

M: I keep the same schedule and routine everyday. I speak my mind, but have learned when it’s important to remain silent. I do my best to treat others well and with respect, and I love what I do.

C:How do you find the divide between work and personal?

M: The actual work takes place between 9-5. Thinking about the business never stops, but when I’m home, I do my best to be at home. Rest and turning off the business mind makes your work far better than if you just think about it nonstop. Don’t be afraid to take a break. You probably need one.

C: What is the biggest question you've yet to find the answer to as a maker?
 
M: Why are there so many different taxes? It’s insane. As a small business owner, I’m taxed from all sides. I’d love to be able to put more money back into the economy by providing more jobs, and buying more supplies and materials and equipment to expand, but sadly, growth is often slower than I want because so much has to go to the government. 

                                 C: How/Where can we find your products?

M: The best place to find us is at our website at www.loyalstricklin.com, at our flagship retail store at 711 Avenue A in Opelika, AL, or at one of our many fine retailers across the globe. A complete list of stores carrying our goods can be found at www.loyalstricklin.com/pages/stockists

By humbly and passionately pursuing his dream, Michael plays an important and vital role in the maker movement. People like you and me have a part to play as well in supporting our local, small businesses. It is a privilege to see Michael and his incredible business continue to grow and prosper. You can continue to follow their journey on Instagram @loyalstricklin

Happy Birthday, National Parks!

"The beauty and charm of the wilderness are his for the asking, for the edges of the wilderness lie close beside the beaten roads of the present travel." — Theodore Roosevelt

PHOTO + ESSAY: PAIGE DENKIN

I was asked to write a quick piece about the National Parks and why they’re important. I spent a long time debating the rich and deep rhetoric I could create about our beautiful lands and how inviting and scared they are. But I couldn’t bring myself to write these words. At least not seriously, not whole-heartedly. After questioning why writers blocks would strike me on a topic I’m so fixated and passionate about, I realized the shallow facade of a piece I’d be creating if all I did was sugar coat our country and the way we treat our National Parks. So this isn’t a fluffy feel good piece about America, it’s a PSA in honor of our endangered land. A birthday wish that in another 100 years, we find the confidence and commitment to take a stand for the protection of our only planet and our beautiful country.

Do I need to include an quick explanation of how magnificent our country’s terrain is? Perhaps. As someone who wasn’t afforded the luxury of travel while growing up, I’m still humbled by the smallest of foothills and the biggest of skies. Now as I near 30 years old, I’m happy to say I’ve at least driven from one coast to the other and had the opportunity to see the differing atmospheres and topography. This country is massive, my friends. It is hearty, it is as diverse as the people who live here and it is drop dead gorgeous. And 100 years ago, Woodrow Wilson made the National Park Service a federally managed and funded bureau, allowing them to preserve and honor the magnificent sights and locations that make our country what it is.

Though encouraged for personal and cultural gain, please travel vast corners of the globe as much as this life affords you to. Many of us cannot. But I know you have a weekend coming up that’s completely free. Maybe some of you have travel points saved up or a car sitting in the drive way that only knows the route to work and a few pokestops along the way. You need to do yourself a favor and make an honest attempt to visit as many of our National Parks as you possibly can. Now. With nearly 60 national parks, ranging from the deserts of Arizona and the mountain peaks in Alaska to the sands of Hawaii and the caves of Kentucky… they’re out there. They’re begging to be loved, viewed and respected. The lands give way to more than 18,000 miles of trails and is home to multiple endangered species. I can’t stress to you enough the beauty that can be found in our own backyard. It doesn’t have to be a trip to Iceland or Australia, it can just be a road trip with your friends or a long weekend with your significant other. Or maybe just an over night camping trip with the dog and your fishing pole. It’s there. It’s accessible. And no excuse is worth missing these moments.

Now I can sit here all day and type out facts and show pretty photos of Yosemite and Yellowstone, but the unfortunate truths are never as pretty as we hope. Lately the ongoing trend of doing anything daring or risky for a photo, has literally begun the collapse of fragile ecosystems, preserved for centuries within the parks. The lack of respect for our own home land is concerning to say the least. Not only is it becoming more frequent for tourists to carve graffiti into trees and rock faces (and then post it through their social outlets) but visitors proudly take home fauna, debris and even living creatures as a collected prize, leaving the land a little more vacant and resulting in a less fulfilling experience for future generations. And if destruction and theft isn’t enough, the unnecessary death toll continues to rise. From falling off cliffs, to breaking through acidic springs.. The stories are abundant and more come out all the time. I mean, can we talk about the insanity that is dying in a national park from lack of respect for the land? My friends, it’s an old tried-and-true concept.. respect the land and the land will respect you. Before visiting one our truly sacred and gorgeous parks, understand that we are simply guests on mother earth and you will never win an argument with her so don’t even bother, darling.

It has been 100 years of preserving our land. 100 years of fighting and battling to keep Earth’s legacy alive and today, on the centennial of such a great accomplishment, I ask you to evaluate your relationship with the outdoors. Maybe you don’t see it enough, maybe you see it too often and take it for granted. Whatever the case may be, today is the day to pay your respects and toast a drink to our diverse, rich and magnificent country that is The United States and thank our stars there are people willing to continuously fight to protect those locations that make us all go “ooh” on Instagram. These places wouldn’t be around anymore if it wasn’t for them and wasn’t for the National Park Service. This entire country could easily have been fracked for resources and turned into a super mall by now, but for the time being.. we’re lucky enough to have soaring mountain peaks, seemingly infinite canyons and crystal blue waters. Please, never take it for granted. Offer your donations to help continue their efforts, take time to visit and appreciate the parks or just have a conversation with a friend about the importance of protecting the sights and locations our forefathers wrote about, traveled through and discovered. This ground is the exact same ground history was written on, and it’s our duty to continue the efforts of preservation.

Happy birthday, National Parks. You’ve always made America great.

Woolrich | American Made

STORY: HEATH STILTNER | PHOTOGRAPHY: BEN ASHBY | BOOTS: WOOLRICH

CAMERA: FUJI X100F

Just after the American revolution, but before the Civil War, the Great Depression, two world wars, and the Cold war, rural north-central Pennsylvania was little more than a largely spread out collection of family farms that collectively formed small communities. The United States was a small nation of only 24 states, only slightly developed, and surround by wilderness completely. It was in one of these small communities that one of America’s oldest heritage companies planted its roots. When John Rich II boarded a ship in Liverpool early in the nineteenth century, it’s doubtful he could’ve ever imagined that his voyage to the land of opportunity and entrepreneurship would allow him to build such a lasting legacy but today the family tradition and the mill still stand, a testament to the 183 year-old and oldest-running woolen mill in the U.S.

In 1830, When John Rich II moved from a small community near Philadelphia to the north-central community of Little Plum Run, Pennsylvania, the area was little more than the typical landscape of family farms and lumbering communities. The son of a wool carder – the process by which wool fibers are straightened – Rich had migrated to the U.S. years earlier with a great depth of knowledge about the wool industry. It was using this knowledge that he first began his career in operating woolen mills in Mill Hall before moving to Little Plum Run to join his business partner Daniel McCormick where they would begin the legacy that is Woolrich. Little Plum Run acted as the perfect beginning for the young upstart, so much so in fact that by the fourth year they had outgrown the small community. With a growing production demand, the limited access to water power for their growing factory operation forced Rich and McCormick to relocate the mill to a nearby community called Chatham Run in 1834.

The Pine Creek Township began development first with the establishment of a sawmill that would build three log homes for the Rich family and their mill employees, along with a three-story brick woolen mill factory measuring thirty-five feet by fifty-five feet. In 1843 Rich bought McCormick’s interest in the company, becoming the sole proprietor and going on to turn the township into Woolrich, PA, the home to eight generations of the Rich family who still own and operate the company today. From that point, the community around Woolrich sprang to life, with several generations of Rich’s starting community housing, the Woolrich Community United Methodist church in 1868, and the iconic mile-long drive into town lined with 50-foot pines planted by members of that church after the unfortunate passing of M. B. Rich in 1930. The Woolrich community is one that seems untouched by modern industry, still made up of the families who have worked the mills for generations, along with Rich and Brayton families.

The Rich family has always controlled the company in one way or another and the current president, Nick Brayton, and vice president Joshua Rich, are no exceptions as they represent the seventh and eighth generations of the Rich family. Nick’s father Roswell Brayton, Jr. was a sixth generation Rich whose parents, Roswell Brayton, Sr. and Catherine Rich, moved from Rhode Island back to Woolrich, PA. in 1953. Robert F. Rich, great-grandson to founder John Rich, had asked that his daughter Catherine move to Woolrich with two-year-old Brayton, Jr. so that Brayton, Sr. could help run the woolen mill and modernize the factory. Brayton, Jr. grew up in the community of Woolrich and recalled in his opening letter to Woolrich: 175 Years of Excellence that his childhood was filled with memories of sneaking into the woolen mill with his cousin John William Rich and jumping from one 500-pound bale of wool to another while sneaking by the factory watchman.

Brayton, Jr. passed unexpectedly in 2007, leaving the Woolrich legacy in the hands of his son and the 7th generation of the Rich family, Nick Brayton. In 2010, Nick and his cousin and 8th generation Rich, Joshua Rich, started to take up ownership of the Woolrich, Inc. company together. “Throughout my college career I never planned to be the President of Woolrich,” Nick admits. “I grew up in the factory like my father, but I remember how late he had to work and how frustrated it made him sometimes. I had boiled it down to just that thought, and like most kids in my situation I guess I thought that wasn’t what I wanted.” However, when Nick was asked to take up the position, he knew it was the right decision for him and for Woolrich. 

Since taking up control of Woolrich, Nick and his cousin Josh have started the transition into bringing some of Woolrich’s most popular items back to domestic manufacturers. “We’ve always woven our own wool here at the mill,” Josh says, “but in the late 80s and early 90s we had to start manufacturing some of our most popular items abroad to keep up with market demands. Now, we’re working to bring back some of those most classic items back, like the Woolrich Buffalo Plaid Shirt Jac.” Josh and Nick enlisted the help of their popular Italian branch and Executive Vice President Patrick Nebiolo to help bring back to light that iconic American heritage past the company is known for.

The last couple of years have seen tremendous growth for the company in finding a new younger audience in heritage-minded Generation Y. “We started taking our shirts and blankets to Penn State tailgating events and realized we had a whole new audience that was aware of our company history and standards, they’re now some of our best clients,” says Leah Dole, Woolrich’s marketing and advertising director. Leah has started collecting swatches of the company’s past through archiving customer’s antique and vintage Hunting Shirt Jacs. 

“We want to keep the stories of everyone’s history with Woolrich alive. Those stories are so much a part of our community here,” Nick explains, “we have families that have worked here for generations. That’s the great thing about our products too, not only can a grandson have the same style Shirt Jac that his grandfather wore hunting, but he can inherit it.” The Woolrich family and company are still very much alive in Woolrich, PA. With its iconic pine-tree-lined mile-drive into town and 1830s mill, the town stands as a gleaming example of American industry and its lasting quality.

A Focus on the Human Element | Jeyson Paez

When it comes to portrait photographers Texan Jeyson Paez is in a land of his own. To learn more about Jeyson and his work I asked Christophe to sit down with the man behind the portraits.

Christophe: When did you first become interested in photography?

Jeyson: I was really young, I can't remember the exact age. But I always knew that I wanted to express myself in a creative and interesting way. I was always captured by the beauty of images and the stories they could tell. That translated into my interest in being behind the camera as a photographer, so I could be the one behind the stories. 

C: Were you self-taught or did you learn in school/from a mentor?

J:I took a class at a community college covering the basics of photography. I was taught how to properly use a camera, but the imagination is inherent in me. I was ready to learn things on my own, and I knew that I needed more hands-on practice. 

C: How did you develop your style?

J: I'm not sure if I've locked down a style yet. My work is about the people, and they inspire me in a different way every time. 

C: What themes do you explore through your work?

J: There are two themes in all of my work: the personal and the professional. My personal is more visceral and candid; I like to put a focus on the human element. It's a little more free, and the story comes naturally. It's definitely more intimate and honest. Professional is more polished and stylized--I know the photo is for a specific purpose, and there's more structure to it. 

C: How do you find and choose your subjects or locations?

J: I find most of the models I work with on Instagram, and sometimes they find me. When choosing, I veer towards someone who (I think) can give me more of a personal connection to the photos I'm taking. I like to make my personal work feel as real as possible. For locations, I do this the old-fashioned way. I drive and bookmark the unusual or unique spots around my city! 

C: What inspires your work?

J:The people and their stories. That's where the appeal of an image comes from, and that's why I picked up a camera in the first place.

C: How do you compose an image? Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?

J: It always depends on the subject. I think not knowing how things will go in a shoot is the most exciting part because it creates this unique experience for me and the models I work with. We are walking into the unknown, and that's how I can capture emotion and vulnerability. With my current project, ROOMS, I sometimes don't even know what the actual room is going to look like until I'm with the model the day of the shoot.

C: What has been your biggest lesson learned through creating your art?

J: Whatever you create or do, always make sure you're doing it for yourself. I sometimes push the limit and it may not be the popular choice, but I know what images matter the most to me. I'll always focus on that. 

C: What do you hope your art says to people?

J: That life is a beautiful mess.

C: Why did you choose your craft(photography)

J: I've always gravitated towards photography since I was very young, and it felt like the only option for me to express myself creatively. 

C: How hard was it to become profitable at it?

J: I'll let you know once I find out! 

C: Any suggestions to newcomers to the field?

J: Find what gives you the fire, and go for it. It's not going to be an easy journey but if you truly want it, the result will be fulfilling. 

C: If you couldn’t be doing your craft, what would you do instead?

J: While I can't imagine what life would be like without photography, I know I'd be working with people in some way. Anything I think about has to do with helping people, with inspiring them to be their best self.

C: Any favorite moments of your career so far?

J: My glitter project, Glitter That Portrait, took me places I never could have imagined. It was something so personal to me, and the reception was widely positive. I ended up being featured on Instagram, OUT Magazine and Cosmopolitan. It gave me a platform to expand my photography business. 

C: What would you do differently if you could start from scratch?

J: Honestly, nothing. I am where I am because of what I have gone through, and I can't imagine a different outcome than where I am right now. 

C: Is there a defining moment in your career so far?

J: My current project ROOMS. I've always wanted to explore the internal battle between good and evil, and it was something deeply personal for me. I was afraid to take things too far or make someone uncomfortable, but I took a chance. When the reception was positive, it was the best feeling. I put something so personal and gritty out there, and found that it made so many people feel something.

C: Is there anything you really enjoy in your craft vs another line of work?

J: The connection I can foster with people. The behind-the-scenes conversations make people feel relaxed and comfortable, and I don't think I would find opportunities to get to know people like this with any other job.

C: Biggest pet peeve about the industry?

J: The unrealistic idea of what pretty and perfect looks like. We are all different in how we look, how we act and what we want. That keeps the stories behind the photos unique instead of blending in with each other.

C: Is flannel really always appropriate?

J: It REALLY isn't.

Thriving Photography: An Interview with Bronson Farr

California raised, New York living, Bronson Farr is a phenomenal photographer whose love and passion for people is evidently displayed through his work. His very presence lights up a room with his radiating optimism & positivity, which is a pretty useful skill to possess being in a profession dependent on light.  We had the privilege to hear about his journey and career as a photographer.

Christophe: When did you first become interested in photography?

Bronson: Growing up, I though photos were really only to commemorate the happy stuff in life. When I was a child, I went to a wake for my Gramps. My uncle was taking photos of Gramps in his coffin and I super confused by it. I asked my Uncle why he was photographing this particular moment. He replied with something along the lines of "all aspects of life are important to document, even death". For me, this was a total and complete revelation. Photos aren't only for the happy moments, but photos are for ALL moments. Moments that we will all look back on and pensively reminisce over and moments that our posterity will look upon and know that we all existed and lived good lives. There is something magical and romantic about that, this is when the idea of photography became something meaningful to me. 

C: Were you self-taught or did you learn in school/from a mentor?

B: Self, Friends, Youtube tutorials.
 

C: How did you develop your style?

B: Practice and Collaboration.

 

B: Natural light is my absolute jam! I like to work with interesting locations in the city where there is a good mix of direct sunlight and shadowed back drops. Most times, my subjects choose me. For my art series, @bronson.skin a lot of subjects reach out via instgram, but if I think you look interesting I have no problem being that creep asking to take your photo. When it comes to clients, I always have a consultation to make sure the vibe is right. Nothing is worst than working for a client you can't stand or truly collab with. 

C: How do you find and choose you subjects or locations?

 

C: What inspires your work?

B: My absolute favorite part of my work is working with people. People inspire me and my work. 

C: How do you compose an image?

B: One thing that is always on my mind is the rule of 3rds. 

C: Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?

B: A bit of both. You need to know what you want to accomplish in any given shoot. Location, tone of voice, lighting etc should be worked out before your shoot, but if you aren't open to inspiration in the midst of creating- then what's the point? If you are looking at the model and your set and get a great idea that you are enthused about- the best advice I can ever give is to try it! You'll hate yourself if you don't.

C: What do you hope your art says to people?

B: I really just hope it makes people happy and make them want to work with me or try to execute what they've seen me do. 

C: Why did you choose photography as your craft?

B: It's the best mix of working with my hands, working directly with people, and actively trying to be creative and thoughtful. It just works for me.
 

C: How hard was it to become profitable at it? 

B: Thankfully I didn't struggle too much to get in the green. One of the first projects I worked on was a fundraiser for my friend's dad who had throat cancer. I shot loads of family sessions and gave all of the proceeds to my friends family. A few days after the project was done one of my roommates handed me an envelope with all of the money I had made and donated. He said someone dropped it off for me and said to not mention who it was from. To this day, that person is the reason why my equipment is paid for. 

C: Any suggestions to newcomers to the field?

B: Just show up. Take every opportunity to shoot and learn.
Be with other creatives. Train your eye and your hands.
Cloud based storage will be your friend.
Shoot RAW and in manual mode.
Practice with prime lenses.
Stop if you don't love it. Thrive if you do.

C: If you couldn’t be doing your craft, what would you do instead?

B: You know how Uber partners with hella companies to do cool stuff? I wanna be the guy to set up those partnerships...

Puppies would be in every car.
 

C: Any favorite moments of your career so far?

B: Shooting an huge Indian wedding in San Francisco. The groom's family blocked off part of Union Square and the family danced and sang while the groom rode in on a white horse. It was the most magical display of tradition I'd ever seen. 

 

C: What would you do differently if you could start from scratch?

B: I was transfering data from one hard drive to another. I got a bit too stoned and ended up deleting every.single.photo. If I could start from scratch, I would get that cloud based storage off the bat, for sure.

C: Is there a defining moment in your career so far?

B: I was shooting a fashion show for Marc Bouwer and got to meet some of the cast of Orange is the New Black and some of those Housewives from BRAVO, that was pretty cool.

Ben: Is flannel really always appropriate? 

Bronson: Obviously.

C: Biggest pet peeve about the industry?

B:I don't think I've been around long enough to have too big of complaints. 

To capture all the moments of life as Bronson does really causes him to stand out. That to me is authenticity at its finest. He captures the good times, the hard times, and everything else in between. To follow his journey or even be a part of his shoots, check out his Instagram and Website below!

Bronson Farr's Website 

Instagram @Bronson.photo

Capturing Coffee Culture : One Cortado at a Time

No better way to start a Monday than doing it with a cup of coffee in your hand. Coffee isn't just a bitter brown liquid with caffeine, rather coffee has its own culture and ability to gather community.  Grab yourself a cup however you like it and join me and Laurie Unger as she talks about coffee and photography. 

Christophe: What is your favorite coffee shop?

Laurie: My favorite coffee shop is Zoka @zokacoffeein Kirkland, Washington.  The high ceilings and the light and airy atmosphere is what originally drew me in, but the coffee and sense of community keeps me coming back.

C: What Is your favorite coffee shop drink?

L: A Cortado or a triple espresso is my drink of choice.  I occasionally will drink both if my energy level needs a boost. I really enjoy tasting the flavors of strong coffee so I don’t usually drink coffees that have lots of milk in them.  

C: What makes a good coffee shop?

L: A coffee shop that is flooded with natural light and a good design sense (especially if it has lots of black and white) is always my first choice.  Of course, great coffee is the most obvious, but without good lighting it is a no go.  I live in the Pacific Northwest and there are a lot of grey days and rain. Light and bright is important to me.

C: Why do you love coffee/coffee culture?

L: The coffee culture has brought in a modern sense of community/gathering place. It is more than just drinking coffee; it is an experience wherein in you can enjoy meeting up with friends, conducting business, or just relaxing and taking time to enjoy a cup of coffee any way you might like it.

C: Your favorite coffee culture photo tip?

L: Paying attention to natural light is perhaps the single most important step in taking a good photo. I always try to be aware of what time of day it is, weather conditions and the direction of the light.  Walls, tables and floors are always good backdrops to be aware of so that the picture is interesting.

Laurie captures everyday bright moments that adds a special light to the day. She finds the adventure in the simplicity and joys of everyday life. To follow more of her creative journey, you can find her on Instagram here: @:LAURIEUNGER

It is now time to pour ourselves another cup.

Happy Monday everyone!

Designs from Upstate: Meet Wolf Jaw Press

We love upstate New York! between Earth Angels, Upstate Stock, and now Wolf Jaw Press we are itching for a visit! Recently we sat down with Alicia Burnett, the owner of Wolf Jaw Press for a brief chat about what she does, why she is a maker and why you should support American made. 

FOLK: Hi! Please introduce yourself.

WOLF JAW PRESS: I’m Alicia Burnett, and I am a designer, artist, and all around maker. I’m also the sole proprietor of Wolf Jaw Press, a small independent printmaking studio that produces fine art screen prints inspired by the beauty of the natural world.

Where in the world are you located? 

Right now my studio and I are located in the northern Hudson Valley region of New York State. I’m really happy living and working here. I think it’s a great location for makers like me that love nature and feel more comfortable living in the country versus living in a city. The countryside and farmlands of Upstate New York are a beautiful place to live; it can be quite rural, but it’s not so rural that I feel isolated and disconnected to the surrounding makers and local arts communities. I love the fact I’m surrounded by serene farmland and plenty of open space while still being close enough to New York City, Hudson, and Albany to be physically involved the art communities of those cities. 

Why are you a maker?

I am a maker because it feels like the most authentic and natural way for me to live my life and make a living for myself. I am a maker because for as long as I can remember, I have had an insatiable compulsion to create. It’s just something that is in my DNA I guess. 

What do you make?

Through my studio, Wolf Jaw Press, I make limited edition screen prints. 

How long have you been a maker?

While I’ve always identified as being a creative, artistic individual with a strong desire to make and create, professionally, I haven’t been a maker for that long. I graduated with my MFA from Pratt Institute in 2015, and shorty afterwards I established Wolf Jaw Press. I’ve been a professional maker for less than year! Establishing my own studio and business has been quite the process, but putting in the long hours and hard work has been so worth it. Everyday I learn something new, and seeing my studio slowly but surely grow and flourish gives me an indescribable sense of satisfaction. 

Why did you decide on what you do?

It took me a long time to find myself artistically. I attended the Rhode Island School of Design where I spent most of my time as an undergraduate student trying to find a medium that felt comfortable for me. I watched so many of my friends as freshman and sophomores immediately gravitate towards a specific major, and then to a specific medium or process. Meanwhile, I felt like I was interested in too many things. I wanted to do any try everything, but nothing I artistically experimented with felt right. 

It wasn’t until the tail end of my junior year that I had a moment of clarity. On a whim, I decided to take a screen printing class with RISD’s printmaking department during the spring semester of my junior year. Within weeks I was completely in love with the screen printing process, but it still took me a few years to find the courage to establish my own screen printing studio and business.

The catalyst that finally pushed me to take the leap of faith and start my own studio were the repeated failures I had at trying to break into the corporate world of design. After my graduation from RISD with my BFA, and then from Pratt my MFA, I had interview after interview with companies and design firms, but it seemed that no one wanted to hire me. In hindsight, these “failures” in getting hired, while discouraging and frustrating at the time, pushed me to realize that maybe I should try to open my own studio and be self employed.

Favorite part about being a maker?

There is so much I love about being a maker! In short, I love the freedom and control it gives me in my personal and professional life. While being self employed undoubtedly comes with an expected level of uncertainly and stress, I have been able to experience a level of freedom that is both liberating and exhilarating. By being a maker, I get to do what I love everyday and I get to be my own boss. I decided what I want to make and when I want to make it, I create my own hours, I decide what projects and collaborations I want to work on, and I get to decide how and in what direction I want my business to grow. 

I also love that each day always hold something new and different. I could never have a job where I do the same thing everyday sitting at a desk. As a maker and a self employed artist, I get to first and foremost create the art that I love to make, but I also get to explore and learn about financial management, business strategies, legal procedures, accounting, and marketing. I’m learning and exploring so much. I find that my days bouncing between slinging ink in the studio, compiling and analyzing finical reports hunched over my laptop, or researching small business growth strategies are engaging and deeply rewarding. 

Why support makers?

When you shop for items made by artisans and makers, you can expect receive high quality goods crated with care while your dollars contribute to and strengthening a local economy. By supporting makers, you are also helping support someone’s passion. We makers care so deeply and passionately about what we do, and through buying our goods you enable us to make a living off of our authentic passion for creating. 

— Wolf Jaw Press

Beautiful Vulnerability: An Interview with Ann Marie Amick

Ann Marie Amick is a photographer and painter based in Brooklyn. Her curls are full of secrets and she was able to share a few about her craft with us. This brilliant artist takes photographs that each one of us can relate with. While you read about her development and exploration as a photographer, ponder on her art and see the ways in which you can connect with her photos. 

Christophe: When did you first become interested in photography?

Ann Marie: I have found myself interested in photography throughout my entire life. I grew up around cameras and photography, due to my father's love of both. The sound of a Polaroid camera shutter is a constant memory-stirrer for me. However, when I was 19 I found myself more curious about photography and sought out my father's advice regarding how to get started. He pulled out his 1976 Olympus OM-10, ran me through the basics of exposure, aperture, and the rule of thirds, and sent me on my way. That's where my love affair with film began, which eventually led to me pursuing photography more passionately.  

She always conveyed the importance that regardless of if someone else has conveyed this story via camera, no one has told it in my own voice, and it's a voice worth being heard. Over time I have learned different aspects from photography from fellow photographers, and I consider photography to be an ongoing creative adventure where I'm constantly learning new things. 

C: Were you self-taught or did you learn in school/from a mentor?

A: A collection of people assisted me with my photography knowledge. My father led me through my first year of learning 35mm film, understanding the basics of photography and finding what inspired me. A very dear friend, whom I consider to be my mentor, led me into my next stage of learning, which included understanding what I wanted to convey with photography. She taught me the importance of telling a story, but making the story my own.

C: How did you develop your style?

A: I developed my style through a great amount of trial and error. If I was curious about something, I would attempt to photograph it. I essentially hold the majority of my creative ideas with an open hand, i.e., I don't get too attached to ideas. If I have a plan for a shoot but I find my creativity leading me in another direction, I'll go with it. This is how I finally found myself working on form studies and photographing the nude form. Curiosity led me to something that I developed a great passion for photographing. I am continually seeking to challenge myself with different aspects of learning photography and how to push myself forward, so I feel that my style will continue to grow and change as time goes on.

C: What themes do you explore through your work?

A: I'm passionate about exploring connections, vulnerability and sexuality within my work. I choose to photograph nudes because it inherently either connects a person to an image or offends a person.

Either way, I have found that it causes a person to think about the image set before them. I have always said that if you hate the work I create, I've at least made you think enough to decide that you dislike it. In thinking about it, you've connected to it in some way, whether it is a positive or negative connection. I always enjoy exploring both subtle and overt sexuality within my work. Within the last year I have had the opportunity to study and photograph the male form more than previously in my photography career, which has brought about a great deal of learning and challenges.

I've seen an array of different responses to my work now that I've included the male form as well, and it's been interesting to see the change in people's approach to my work. 

C: How do you find and choose you subjects or locations?

A: When I initially began to photograph the nude form, I would ask any friend that was willing to sit for me. As I began to study the human form more and more, I began to search for different types of bodies and different physical qualities that would stand out within a photograph. The majority of subjects I photograph I've met through fellow artists or models, however recently I've been working with a number of models whom have reached out to me upon discovering my work via my website or Instagram. 

C: What inspires your work?

A: I have always said that individuals and their stories inspire the work that I create. I prefer portraits that subjects along with the general public can relate to. I prefer a casual atmosphere where I'm working alongside my subjects and models and the whole process feels more like a collaboration than anything else. I like to create portraits where the subject sees themselves within the photo, rather than the portrayal of something outside of themselves. The human form in and of itself is my biggest inspiration. Every single human body is different, moves different and has a different story to tell. The male form is wildly different from the female form in the realm of muscle structures, movement and lines. The challenge of using the human body to tell a story through movement that is both relatable and inspiring continues to be one of my main goals for creating. 

C: How do you compose an image? Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?

A: When I initially meet with a model in order to discuss a shoot, I always say that I hold all of my shoots with an "open hand." I approach the majority of my shoots with an outline and an idea of specifics shots that I would like to get. However, if the vibe of the shoot moves in a different direction or I'm feeling inspired, I really enjoy following any creative leads that I feel. I find that this kind of organic yet still organized creativity is both wildly enjoyable and creates magical things.

C: What has been your biggest lesson learned through creating your art?

A: The most important lesson that I've learned through creating so far is to trust my intuition and take chances. I've learned that even when I take a chance creatively and it doesn't work out the way I hoped it would, something was learned from the experience. I've had a few shoots which I've considered failures - even the negative emotions associated with it were a healthy reminder that things don't always work out, but it should not deter me from continuing to create. On the other hand, I've taken creative chances and created images that were not even something I intended to, and in these situations I've found even more inspiration.   

C: What do you hope your art says to people?

A: I want to create photography that people can relate to. I choose to continue to photograph the nude form because I've found that no matter what people can always relate to the nude form on some level, even if it happens to be in a negative capacity. I want people to be intrigued by the human form, to take a second glance and to ask questions. My favorite portraits continue to be the ones of a slightly ambiguous nature, where people have stated that they're not quite sure what they're looking at. I want to continually create art that people can both relate to and question over time. 

It is easy to simply like or dislike something without ever figuring out your reasoning. Ann Marie's art allows for an inner dialogue to meditate emotions and thoughts, whether positive or negative. Humans either connect with vulnerability or push it away; art creates a safe place for exploring the depths of ourselves.  

See more of Ann Marie's curls and art at her website and Instagram: @am_amick

Propelled by Passion: An Interview with Ricardo Bouyett

'Live Authentic' rings true in the life of Ricardo Bouyett. We had the absolute privilege and honor of having a raw, honest interview with him. Embracing vulnerability, Ricardo shares his painful, yet hope-filled journey with us. His career as a photographer & filmmaker go hand in hand with the trauma that he has gone through and his quest for healing. Read below with an open heart and mind; there is a lesson to be learned for all of us. 

Christophe: When did you first become interested in photography?

Ricardo: I first got into photography when I was in high school and my parents gave me a Canon Rebel as a gift. I only ever played around with it a handful of times. It wasn’t until my second semester as a freshman in college that I started taking photography seriously. I had just figured out that I was gay and I was in this weird semi-romantic relationship with a straight boy who lived in my dorm and he had called me the devil for seducing him into cuddling with me for several weeks and he dropped out of school. I was trying to process this situation along with a lot of my own questions in regards to my sexuality and identity and photography seemed like such an easy way to both distract myself and find myself. After class I would go out and shoot with friends, practice, teach myself certain things I didn’t really know.

C: Were you self-taught or did you learn in school/from a mentor?

R: I started trying out different digital techniques, coloring, and ideas to emulate some of my favorite artists. I decided to transfer to Columbia College Chicago so I could have a more stimulating environment as well as the opportunity to make some worthwhile connections and elevate my education in the arts. From the time that I applied for the transfer to my first semester at Columbia, I started my 365 project and began learning through trial and error. By the time I got to Columbia, I had been a little under halfway finished with my first major body of work. But once I was in that academic environment I started questioning more, challenging myself more and really trying to figure out what my visual voice was trying to say and what I wanted my images to be about. 

C: How did you develop your style?

R: My 365 project played a huge role in my development as a photographer. It helped shape my technique, my attention to detail, and make sense of my emotional palette. Unfortunately, in January of 2014 I was raped and that event alone took my art and flipped it on its head and blasted it into an inferno of rage, misery, and ambiguity. I didn’t know how to handle what had happened, I was in denial for a while and I could only make sense of my nightmares and of that persistent sensation of having someone inside me through creating more colorful yet pain stricken imagery. Between 2014-2015 my imagery became much more surreal as I kept dissociating from reality just to sort of survive myself and my everyday social obligations. I didn’t understand what happened to me, how it could’ve happened to me, and why it happened to me. I kept blaming myself and during my senior year of college I found the strength and courage to talk about what happened to me in a more direct way in my work. With my series, Dame De Feu, I finally started to openly explore the visual dialogue about rape survivors, but being still new to this social arena, I didn’t quite have the tools to communicate that story effectively. At the same time I was also struggling with my desire to be a photographer. During my last semester of college I realized my true voice and my true passion was in filmmaking. I crowdfunded, directed, wrote, and filmed a short film series called “Lionheart” which helped me explore issues of homophobia, domestic abuse, and rape for the first time. After having created this body of work I started to step away from post-manipulation and surrealist imagery. I felt confident in my nakedness, in the rawness of photography, and saw it fit to move on from the constructed image and onto the raw image. I will never give up coloring the way I do, so I kept that fluently going throughout my work as my style kept changing. Mama doesn’t mess around with her colors. 

In all seriousness, my style matured after this significant milestone. I mean, I raised over 2 thousand dollars and made a film series that altogether lasts about an hour. I felt unstoppable, like I could make any project I could think of. So with that in mind, I created a series called “Color Me” that more directly explored my relationship with depression over the years which later led me to make my short stories collection. That collection had about 18 short photo stories that were about domestic abuse, love, sexuality, and body image. After creating this body of work I was thirsty for another film project and set out to make “Silver Screens”.

 Moving on from the short stories collection to “Silver Screens”, I finally figured out I wanted to talk about the problematic rhetoric in rape culture. “Silver Screens” is a film that focuses on an unstable relationship where sex is used as a weapon and the main character doesn’t ever come to realize that because his therapy session is less than helpful and he finds himself constantly recycling his memories and getting nowhere. While creating this project I got the inspiration to make my most important work to date, “Oh, Bouy”. The project is a collection of volumes that help me navigate and explore rape culture through different art mediums.

While creating this project I got the inspiration to make my most important work to date, “Oh, Bouy”. The project is a collection of volumes that help me navigate and explore rape culture through different art mediums. 

My main focus with “Oh, Bouy” is to talk about the need to hold men accountable for how we sustain a culture that objectifies women, humiliates and ostracizes effeminate men, and blames victims of abuse instead of reprimanding the abusers. My style has definitely changed between 2013 to 2016 in that it’s much more direct now and carries an emotional weight that is rooted in reality as opposed to fantasy. 

C: What themes do you explore through your work?

R: In my work I explore sexuality, spirituality, and identity and how those correlate and fluctuate under certain given circumstances. My main focus in my work currently is creating stories that talk about rape survivors and navigates the complexity and fragility of the male psyche. 

C: How do you find and choose you subjects or locations?

R:When I was a student at Columbia, I relied heavily on word of mouth to find models and actors to work with. I had a website ever since I started going to school there so it was easy for other students to google me and find out if I was worth working with or not. As far as locations go, I’m very lucky in how I stumble onto special locations, especially back in Illinois. Normally I would go adventuring with friends in the suburbs or in the city and I’d always start with one point of interest and from there I’d make it up as I went along. 

C: What inspires your work?

R: Emotions drive my work to its core. Put me in a room with speakers blasting emotional, sexual, or neurotic music and I’ll have a full body of work ready on your desk the next morning. I can’t explain it, sometimes I lose myself to this other voice in my head that takes over and when I’m shooting, directing, writing, or editing, I almost always lose myself to my surroundings and to the people around me and I’ll find myself waking up hours later not remembering how I made what I made. Other times I have a moodboard, a concept, and then an emotion and then I go off script once I get there. 

C: How do you compose an image? Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?

R: It honestly depends on the shoot and it depends on the project. If I’m just exploring with friends or new models, I follow my instincts and let my personal relationship with the subject inform my creative decisions. If it’s a film project, I have a script, a storyboard, and 20 pages of notes on my phone with different scenarios to explore. I almost never shoot something without first brainstorming 100 different ways it could turn out. If I’m not set on making something, I don’t make it. I always think to myself, “Someone else somewhere in the world has already made this image or is making this image right now, why do I have to make it? Why would I want to make it? How does it fit to my mission as an artist?” 
If I can’t answer those questions and convince myself then I don’t take the shot. 

C:What has been your biggest lesson learned through creating your art?   

R: I think the biggest lesson I’ve learned is to stop comparing myself to other people and other artists. Everyone is on their own path. 

C: What do you hope your art says to people?

R: I hope it says “love yourself, love others, and most of all, don’t be rude to people just because you don’t understand what they’ve been through.”

C: Why did you choose your craft?

R: I chose it, along with filmmaking, because it was the best and most effective way for me to heal from traumatic events as well as create and share stories that I’m passionate about. 

C: How hard was it to become profitable at it? 

R: Not a lot of platforms or galleries want to pay an artist who in their eyes doesn’t make the kind of work that fits their audience reach. Do people love the work on social media? Yeah, I’ve gotten a lot of positive responses, but a lot of the time I still get ignored, rejected, and pushed to the side by art institutions and major art publications because my work makes them uncomfortable. Rape survivor stories aren’t the most popular in the photo and film world. Especially if they don’t depict the graphic violence of rape. My work talks about male violence, how damaging male sexuality has been in an overtly patriarchal society, and that just doesn’t sit well with a lot of people. And I understand that, but the unwillingness for art platforms of any kind to get involved in issues about domestic violence and rape makes it that much harder for conversations about the ramifications of men’s violence to even take place. Everyone jumps on reporting on the drama of rape and the graphic nature of the violence, but hardly anyone furthers the conversation about the life of survivors after the fact. I’m not profitable at making my photos, I’m only passionate and starving. 

C: Any suggestions to newcomers to the field?

R: Do what you want to do and don’t take no for answer. It can be very discouraging coming into a field that is so saturated with talent but that shouldn’t deter you from doing what you want to do. Everyone has something distinct they bring to the table, so why can’t you? 

C: What would you do differently if you could start from scratch?

R: I would’ve gone to school for filmmaking, not photography. 

C: If you couldn’t be doing your craft, what would you do instead?

R: I would be a singer, or maybe a vocal performance instructor. But I prefer doing this so I’m glad I can still do it.

C: Any favorite moments of your career so far?

R: My favorite moment was when I made “Lionheart”. The rush of crowdfunding and the success of finishing the project changed my life drastically. Nothing has ever made me so confident and newly passionate. 

C: Is there a defining moment in your career?

R: The most defining moment in my career so far has been creating the different iterations of “Oh, Bouy” . While “Lionheart” may have given me a new found confidence in filmmaking, “Oh, Bouy” has catapulted me into a new framework of thinking and execution and for that I’m grateful to everyone on the creative teams. But aside from artistry, the project has definitely made me less afraid to stand up and advocate for social issues that I care about deeply.

C: Biggest pet peeve about the industry?

R: The industry only cares about who you know not how much you know, and I think that’s the reason why a lot of mediocre publications, production companies, and photographers have an unfair advantage over underdogs who are climbing up a steep hill without any lifelines to help them up. I think it’s a shame, I’ve met a lot of capable artists who deserve a lot more than what they’re given. I don’t think popularity is a proper measure of someone’s ability.  

R: I like that I don’t have to answer to anyone, that I can collaborate with people who respect my opinion and want to work with me and I like that I get to involve other people who can work out their own therapeutic needs with my work.

C: Is there anything you really enjoy in your craft vs another line of work?

---

Ricardo's work is more than mere photos and videos. His art has a message that needs to be heard and talked about. Let art open the door for dialogue and a greater level of honesty in our lives.  No matter the outlet, we all have a creative voice with a message that can create such a difference in our world. 

You can find more of his work on his website and Instagram. 

Shenandoah Skyline Road Trip

As the Summer of '16 winded down, one thing from my to-do list had yet to be fulfilled - a road trip. To where, though? I had been north to Canada; I had been west to the mountains. However, one segment of America I had not yet explored - the South. I have family down in Atlanta and with some free time on my hands, the perfect opportunity lay before me to take a road trip.

I devised a plan to spend about four days and three nights along one of America's most scenic byways - The Shenandoah Skyline drive and the Blue Ridge Parkway, which connect in central Virginia. The first day I spent driving about five hours to stay with a friend near Washington D.C., which was close enough to the real starting point of the journey that I could simply wake up the next morning and begin.

At dawn, I hopped on I-66 West, which was a quick hour ride to Front Royal, VA - the gateway to Shenandoah National Park's north entrance. After receiving a tip from someone familiar with the area, I grabbed a juicy burger at local sensation, Spelunker's. Finally, I was ready to begin.

The Skyline Drive is one of the most amazing roads one can experience. It gently winds back and forth through 105 miles of stunning Virginia wilderness with 75 pull-offs to take in the view (about 65 of which I stopped at.) The 35 MPH speed limit ensures that you're here to take it slow and be in the present. There's simply no rushing through such a beautiful place.

I spent the first day riding along, taking in the pull-out views and photographing the curves and stretches of road. It was pleasantly quiet in the park so I took my time soaking in everything. While there are plenty of hikes and outdoor activities to do in Shenandoah, the Skyline Drive is more or less the park itself. Many national parks are reserved spaces of land that have plenty of loops for circling and exploring. Shenandoah is unique in that the park is linear - only a few state routes intersect the park with options to exit. Otherwise, you're entering on one end and you're coming out on the other end, which encourages one to see its entirety.

I'm generally all for roughing it, but it was a particularly humid week and I desperately needed a shower after driving for so many hours. I made my way to Big Meadows campground, which is a beautiful campground and one of the few I've experienced that have a full range of facilities. The ranger at the registration booth gave me a short list of her favorite campsites at the Big Meadows loop and I took her up on the spacious, yet secluded, A103.

The weather was expected to deteriorate in the coming days, so I wanted to take advantage of what might be the last clear night on my trip. I made my way over to the Lodge to watch a spectacular Virginia sunset and converse with the travelers staying overnight.

When they sky finished its show, I went back to A103 to cook a ravioli dinner on the camp stove. Solo camping can get a bit lonely at times but a meal by a campfire was incredibly calming. Night fell and as the surrounding campers ended their day, mine was just getting started. I grabbed my camera and headed down to the entrance of the campgrounds where its namesake lies - literally a big meadow. I set up my tripod under a moonlit sky and just started shooting. Per usual, the end product was far beyond my initial intentions or expectations...

The next morning, the fog rolled in and I wouldn't see sunlight for days to come. However, that wasn't gonna stop me from continuing my journey and taking advantage of the photo op. I packed up camp, said goodbye to A103 and meandered my way down the rest of the Skyline Drive. I had many days to go and 500 miles of Blue Ridge Parkway to experience. The road trip was just beginning...

To see the rest of Jack Tumen's roadtrip of a life time, check out @jacktumen on Instagram.

Our Favorite Special Apple Cider Recipes

CROCKPOT HOT SPICED APPLE CIDER By Superheroes and teacups

Most of the time crockpots are used for stew and pot roasts, yet this holiday season we wanted to spice it up with some hot apple cider. This recipe is so simple, you throw everything into the pot and just wait. The smell of spiced cider will fill your house as you allow for this sweet drink to simmer. 

Superheroes and Teacup's Website

Apple cider Mimosas by What the fork

Mimosas are a must for brunch year round, so why not customize them to fit the season? It only takes mixing two ingredients to get the holiday cheer flowing with these apple cider mimosas. The sweetness of cider pairs perfectly well with the smooth bubbliness of champagne. There is always a reason to celebrate during the holiday season, so let's do it with a mimosa in hand.

What The Fork's Website

Hot MuLLed Apple Cider Sangria By The Crumby Cupcake

This is a warm seasonal drink with rich flavors to get in a festive mood with friends or even just curl up with a good book near the fire. Clementines, apples, and honey add a distinct taste to this wonderful drink. The longer you let it sit, the sweeter and richer the flavors become, so don't drink it all at once!

The Crumby Cupcake's Website

Apple Cider Breakfast Smoothie By On Sugar Mountain

A smoothie in the morning is always a tasty way to start the day. Enjoy this cool refreshing drink in the warm confines of your home before venturing out in the cold of winter. This is one of the ways in which you can enjoy dessert for breakfast guilt free because you are basically drinking apple pie! But it's healthy because it is a smoothie, right?

On Sugar Mountain's Website

Spiked Apple Cider Rum By Simworks Family Blog

This adult beverage is a perfect way to help celebrate this Christmas season with good friends. It can even make for a tasty mocktail for all the kiddos. The spices of cider complement the spiced rum perfectly. You can taste the fullness of the seasons with this drink. It is guaranteed to fill you with cheer during the holidays. 

Simmwork's Website

All of these drinks are splendid as we leave Thanksgiving and Autumn behind to transition to Christmas and Winter. It is always delightful to have a delicious beverage in hand whether around a fire or a socializing at a holiday party. With all these apples a day, the doctor will be far away. Cheers to good health and tasty drinks this year!

Pursuit of Intimacy: An Interview with Dusty St. Amand

Dusty St. Amand is an incredibly talented photographer living in New York that we had the pleasure of interviewing. His work is absolutely beautiful and can definitely be described as sexy. Be prepared to have your breath taken away. 

---

Christophe: When did you first become interested in photography?

Dusty: I’ve had my eyes on erotic and/or pornographic media for a *long* time. I’ve always been inspired (whether it sent me towards good or ruin) by the way homosexual sex and intimacy was depicted in art and in the media. I’d venture to say that an obsession with intimacy has pushed it out of my personal life and into what is now my photography. The camera is how I choose to participate in conversations about the sexual and emotional lives of men. I’ve been playing with cameras for just under a decade but I’ve been more focused on shooting with intent for the past 3 years.

C: Were you self-taught or did you learn in school/from a mentor?

D: I’ve been fortunate enough to grab a lot of technical information from friends and from the photographers who used to photograph me (I “modeled” as, like, an "art-hobby"). From the shoot to the final photos, I was absorbing a lot know-how from the other side of the lens. I follow a lot photographers on Instagram who I see myself reflected in. With really open eyes, I take notes from them constantly. All the photo info in my head was entirely self-sought, but communally taught.

C: How did you develop your style?

D: I think limitations guide your style. I used to live in the Bronx with a tiny, narrow kitchen that I shot in. I had one tall blueish softbox light that barely fit in front of the models and I taped a grey curtain to the far wall. And I only had a fixed 85mm lens, so I’d have to press myself into the last inch of the opposite corner in order to fit the model in the frame. All of my images were coming out with extreme shadows and were often cropped into specific body parts. My obsessive nature started to thrive in that light scenario. It was moody and sensual and sexy and sad. And that’s the vibe I incorporate into everything now.

C: What themes do you explore through your work?

D: I play with identity. Sometimes I want the people in my images to have no discernible face or name so that more viewers can look on with empathy, less altered by bias or attraction.

When you boil an intimate and/or sexual experience with another person, so rarely are you absorbing all of the visual information they offer in one scope (as a photograph would). We take one another in through glimpses. Flashes of tone and motion. I like to see those vignettes that make you feel like you’re there. A neck, shiny from a kiss. The middle of the back where the muscles butterfly outward. The gap in the teeth. The belly, overgrown with fur. My work is occasionally lonesome. Occasionally manic and egotistical. To me, it’s delicate.

C: How do you find and choose your subjects or locations?

D: Many of the people I have photographed have not been purposeful models. A lot of them have been friends and lovers who I happened to have near my camera. But a lot of them have also been those dudes that twinkle to me. They’re either beautiful in some specific way or they’re fresh off a big achievement or they vibrate somewhere near the weird plane of thought I live on. Locations are so circumstantial. If terroir is important to whatever I’m trying to express, I do what I can to organically factor the surroundings into the work. I like to go walk and shoot too.

C: What inspires your work?

D: How delicate masculinity is. Taboo feelings towards sex. My pursuit of intimacy. Humorous men who are honest with themselves.
Sex workers.
Porn.
Dance.
The body compartmentalization and dehumanization of the people we fuck.

C: How do you compose an image? Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?

D: The latter. I try a ton of different settings throughout and see what sticks. If it’s a winning location, I take my time and compose things. Otherwise I’m just buzzing about, clicking.

C: What has been your biggest lesson learned through creating your art?
 

                                    D: How to balance performativity in work and life- learning to commit to things because I love them not because I want to be perceived as loving something.

C: Why did you choose your craft?

D: It’s my way of telling stories in a very digital image-centric cultural.

C: What do you hope your art says to people?

D: That intimacy is something everyone needs and deserves.

C: How hard was it to become profitable at it?

D: I’m still working on that but… if you can manage to find a good client or a good array of clients that pay you enough to keep yourself a float and maybe then some, reinvest into yourself while you have the money to do it. Freelance jobs often won’t have deductions in your pay, so a huge tax bill can hit you if you’re not managing and writing off expenses to balance that a bit. It’s kind of a feast or famine career (not photography in general, but this very unique career that I’m still in the process of starting).

C: Any suggestions to newcomers to the field?

D: I’m totally still a newcomer to photography, in a technical sense, but I’ve been an artist within some medium or another my whole life… so let’s say the field is “profitable art when you’re a person who finally reached their breaking point and vowed to stop working for other people in jobs that brought you misery”. Just do what you love.

Make work that’s you, through and through. Devote your time and resources (whenever possible) to getting better, networking, and promoting your work. All of the work that’s come my way is from clients who found me because they love what I’m already generating.

C: If you couldn’t be doing your craft, what would you do instead?

D: Singing
while gardening.

C: Any favorite moments of your career so far?

D: I’m currently shooting a large portion of the visual assets that Grindr uses to market themselves globally. Millions of people engage with my images every time they’re featured. Getting hired by them (and subsequently hired again and again) has been one of the most fulfilling and rewarding professional experiences I’ve had. Shooting HBO’s ‘Looking’ star, Raul Castillo, was pretty rad. And I got to photograph this kid that I was really mean to when I was like 11 years old and we became friends.

C: What would you do differently if you could start from scratch?

D: I’d fill more of my time with technical training (lighting and studio management) so that I’d have been able to utilize those skills to support myself during slow financial times.

C: Is there a defining moment in your career so far?

D: I had my own solo art show at The Leslie+Lohman Museum for Gay and Lesbian Arts, in Manhattan, during this past Pride. The show ran for three days and I sold three pieces into the museum’s collection. That was pretty fucking major.

C: Is there anything you really enjoy in your craft vs another line of work?

D: I like that I’m able to engage people in honest, emotional conversation as opposed to hiding my feelings for the sake of hospitality.

C: Biggest pet peeve about the industry?

D: There are so many industries attached to photography, so I definitely can’t speak to everyone’s experiences. But I can address concern within the social/artistic queer sphere that I find myself in- I just want people to maintain some level of clear-headedness when it comes to comparing oneself to the curated projection of people’s lives and personas. These flat, tiled images are rooted in reality but they aren’t reflective of the way things truly are. They aren’t full truths.

Ben: Is flannel really always appropriate?

D: I don’t think I own any, but I also don’t try to be appropriate.

---

I for one am very happy Dusty isn't just singing in a garden. His passion for photography and people is definitely displayed in his powerful and beautiful work. You can see more of his work on his website and Instagram.

Instagram: @Dusterzdeux

Website: SuchDustyPhotos

Our Favorite Holiday Fudge

Fudge isn't just a holiday dessert, it is a lifestyle. I normally advocate healthy eating and living, yet when it comes to fudge, just throw sugar intake and serving size out the window. I have always been mesmerized by the wide diversity of fudge flavors, so to discover some that embody the holiday season makes this year a whole lot sweeter. If you're a fan of fudge, Christmas, and all things delicious get ready for some mouthwatering delights. 

---

Hot Chocolate Fudge by Wonky Wonderful

Curling up with a cup of a hot chocolate is a holiday staple. The slightest chill in the air is a reason enough to break out the cocoa. This year you don't have to just enjoy the pleasure of drinking hot chocolate, but devouring it as well. You don't have to be a professional confectioner to make it either; it's 4 ingredients and made in the microwave!  The sweetness of milk chocolate combined with the creaminess of white chocolate topped with marshmallow goodness is reason enough to throw a holiday party.  

Recipe on Wonky Wonderful

Dark Chocolate Hazelnut fudge by The view from Great Island

Hazelnut isn't just a flavor for lattes or Nutella, it adds the perfect crunch to this silky smooth fudge. This is a rich, filling fudge that will leave you satisfied, yet always manages to convince you to take another nibble. Dark chocolate and nuts are a timeless combination that pair well with holiday season. Fudge always makes for a wonderful gift that is easy to make and even easier to eat. It may not be that easy to give away once you have a taste though!

Recipe on The View From Great Island

eggnog Fudge by baking beauty

Another favorite holiday drink has been transformed into edible satisfaction. This creamy eggnog fudge will have you singing Christmas carols in seconds. Quick and easy to make, this a must for your holiday parties. Topped with nutmeg, these delicious bites make for truly happy holidays. 

Recipe on Baking Beauty

Candy cane fudge by barefeet Kitchen

By the time the December rolls around, there always seems to be an abundance of candy canes to go around. Whether for decorating or eating, these peppermint treats seem to surround the holiday season. They definitely are a Christmas Classic, but it doesn't hurt to add a little something extra to the mix. Especially when that little something is scrumptious chocolate fudge. Oh, did I mention it only takes 5 minutes to make? Never again am I going to throw away perfectly good candy canes now that I have this simple and delicious recipe. 

Recipe on Barefeet Kitchen

Gingerbread Fudge By DELISH

It's not Christmas without gingerbread, whether houses or little cookie men. I enjoy the flavor thoroughly, but they tend to be quite dry. Not anymore! Now we can enjoy the spiced goodness of gingerbread complemented with the smooth, silkiness of fudge. You're gingerbread house might may make for a festive decoration; this fudge will make a flavorful sweet feast for all your friends and family to enjoy. 

Recipe on Delish

---

Okay, enough waiting. Go put on some Christmas tunes and turn your kitchen into your own personal fudge factory. I'm sure your mouth is watering just as much as mine, so enough reading! Pick a recipe and start fudging! 

Our Favorite Gingerbread Recipes

Christmas is just over two weeks away from now, which basically means it'll be here before we know it. To make the holidays more festive we are compiling all of favorites of the Christmas season. You can make all these treats and crafts with friends and family or even to give out as presents. Lets spread love and joy (and sugar) this holiday season.

Soft Gingerbread Cookies by Made to Be Momma

You can never have enough cookies during the Christmas season. Whether you are leaving them for Santa or eating the whole cookie sheet yourself, these soft gingerbread cookies are scrumptious. Perfectly soft and spiced, this recipe makes cookies that will practically melt in your mouth. 

Made to Be Momma Website

Gingerbread Pancakes by Cooking Classy

Why not start your day off right by whipping up a batch of gingerbread pancakes? The spiced sweetness of gingerbread paired with the fluffiness of pancakes makes for a delicious breakfast. Chowing down on these pancakes while enjoying a nice cup of coffee is the perfect way to start the day filled with the holiday spirit. 

Cooking Classy's Website

Gingerbread Loaf by Taste's of Lizzy T's                     

For all of you loaf lovers, this is the perfect seasonal recipe for you. This gingerbread quick bread is a recipe that has been perfected. The soft, sliceable loaf has the perfect consistency. Aromas of molasses, nutmeg, and ginger filling the air are reason enough to give this delicious a try. This is simple recipe makes a tasty gift for friends, family, and neighbors! 

Tastes of Lizzy T's Website

Chewy Gingerbread Brownie by I Heart Eating

 

Brownies are my absolute favorite dessert, so to find a gingerbread brownie recipe was a Christmas dream come true! These brownies are soft and chewy and have the distinct gingerbread flavor perfectly partnered with chocolate. If you're looking for a way to spice up your brownies and make them more festive, this recipe is a definitely for you. 

I Heart Eating's Website

Gingerbread Cupcake with Cream Cheese Frosting by My Busy Family

Cupcakes are never a bad idea, especially when they are topped with cream cheese frosting. Throw gingerbread into the mix and you have an irresistible Christmas treat. These cupcakes are moist and wonderfully spiced. Perfect for parties, not only will they leave a yummy taste in your mouth but will fill the air with the scent of cinnamon, ginger,  allspice, and all things nice. 

My Busy Family's Website

These recipes are incredible and we hope you and your stomach enjoy following them. Baking is a wonderful opportunity to get together with family and friends and create something delicious all while spreading Christmas cheer. 

Queer Expression: An Interview with Kirk Lorenzo

Kirk Lorenzo, a queer Latino from New York City, shared with us his journey of discovering a passion for photography. His work gives voice and sheds light on topics such as identity and queerness.

Embrace yourself, Express yourself. Love yourself.

Christophe: When did you first become interested in photography?
Kirk: Ooof, ummm...I wanna say sometime in early high school. When I was super obsessed with having a very well curated tumblr blog! My blog consisted of photographs and illustrations I found to be beautiful and inspiring, so that interest has sort of been there for a while. I just never acted upon it till my first year of college; four years later when I finally picked up a camera!

---

C: Were you self-taught or did you learn in school/from a mentor?
 

K: I've been in an art specialized learning institution for the past eight years of my life, so all of it has been learned from teachers, professors and other practicing artists!

                                                      C: How did you develop your style?
 

K: Hahaha, definitely via tumblr! Who hasn't fallen in love with a beautiful VSCO film emulated photo on tumblr? However I don't use VSCO as often in my own work, but I do give my photos a film-y emulation I've put together myself on photoshop.

C: What themes do you explore through your work?
                                                                                                                                                                                                                                                                                              K: Being a queer man, sex, non-monagamy, queerness, bsdm, and politics such as race, class, age and gender.

C: How do you find and choose you subjects or locations?

K: Towards the beginning it was a lot of asking guys I hooked up with if I could photograph them, so I'd find these men via Grindr and Scruff ("Dating" Apps for queer men), though mainly Scruff. Then Instagram and now its a mix of those two plus Facebook and folks I've meet in night life/friends of friends! Locations? I tend to wander a lot by myself, I'm also constantly on google maps searching for the "green areas", and if it's not an outdoors location it's sometimes and indoor location that can be anywhere from a friends place I've visited, to a subjects home, to a bar, etc.

                                             C: What inspires your work?

                                  K: Sex, nature, sex!
Hahaha, but on a serious note yes sex, nature, but also night life, queerness, bsdm and the politics that surround our everyday lives!

C: How do you compose an image? Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?
 

K: I started composing my images for the purpose of how I curated them on Instagram, but now its just become second nature and I do it even with my images that I deem more "fine art." However it tends to be a mix of both, I do go into a shoot with a specific shot in mind but the inspiration also often strikes in the moment too!

C: What do you hope your art says to people?

K: These queer bodies existed, were resilient, and pushed through.

C: What has been your biggest lesson learned through creating your art?
 

K: Learning how to trust myself.

C: Why did you choose your craft(photography)?
K: I came out of high school certain that I was gonna be a painter but when I got into college I realized I was getting frustrated with not being able to articulate what I wanted to say as quick as I wanted to say it. Being a slow painter on top of how slow painting is as a medium, was getting to me. So I ended up picking up a camera, and became relieved at how in sync I was with the pace of the medium.

C: How hard was it to become profitable at it? 
K: Hahaha, it's still hard. I wouldn't say I'm anywhere near as profitable at what I'm doing as I'd like to be, but I don't doubt I will be soon. Currently finishing up school is consuming a lot of my time so I just need to finish up school so I can start filling up this wallet!

C: Any suggestions to newcomers to the field?
K:Trust yourself, remember that there's not one way to do things, be ethical, and stay humble!

C: If you couldn’t be doing your craft, what would you do instead?
K: Ooop, I don't like this question haha! I've always led myself to believe that art is the only thing I'm good at. I don't like following directions, I don't like being told what to do, and I DO NOT like 9-5s haha. But for the purpose of this question I'd have to say something along the lines of an outdoors instructor, flight attendant, night life stuff or like social work or something.

C: What would you do differently if you could start from scratch?
 

K: Not a single thing!

C: Any favorite moments of your career so far?
 

K: Oh oh oh! I'd have to say meeting the beautiful and inspirational people I use to see on my tumblr feed who I wouldn't have thought I'd ever meet and getting to befriend them as well as being able to photograph them. All the internal fan girling I've done throughout my career thus far is kinda humorous!

C: Is there a defining moment in your career so far?
K: Constant ones, moments like this where others want to interview me about my me or my work, the messages I get from others asking me that they want my work in their publication, as well as those messages I get from others wanting to shoot with me. We all have tons insecurities and it moments like those that remind you that you must be doing something right. Those are the most affirming moments during one's career! 

C: Is there anything you really enjoy in your craft vs another line of work?
K: Printing my photographs. As someone aspiring to be a fine artist when I get to print a photograph to display somewhere and get to see the image on paper and not just through as screen. It's a very blissful and magical moment.

C: Biggest pet peeve about the industry?
K: The politics surrounding accessibility; people who can just up and quickly purchase the latest gear and think that because they own expensive gear that It makes them a photographer. Along those same line, people who claim they're a photographer and take their access to resources for granted. There are some of us who have to work twice or even three times as hard to get access to the resources some of our "contemporaries" have. 

Ben: Is flannel really always appropriate? 
K: Depends are you aiming for some masc4masc foolishness? Or are you serving some butch queen looks?

Photography is a powerful form of expression that Kirk uses well. His art is barrier shattering, dialogue creating, and all around beautiful. To continue following Kirk's work you can click on the links below. Instagram: @kirk.lorenzo  Website: kirklorenzo

An Interview with Photographer Beau Simmons

Beau Simmons is a 26 year old photographer/cinematographer living in Laguna Niguel, CA. His fresh creative outlook provides amazing content that is never boring or repetitive. Whether it is landscapes or portraits, you can be sure his photography will be beautiful and the highest of quality. 

---

When did you first become interested in photography?
“I first became interested in photography at a pretty young age when my Father was a film photographer/sports journalist. It didn’t become a serious profession until about 2013 though.”

How did you develop your style?

“Lots of late nights spent on my computer and head banging to hard rock music.”

Were you self-taught or did you learn in school/from a mentor?
“Self-taught”

What themes do you explore through your work?
“I like to either capture old school 70’s/90’s looks or put the model in a very unique location/landscape.”

How do you find and choose you subjects or locations?
“I love to visit National Parks and find new places or I find random spots in neighborhoods with great lighting.”

What inspires your work?
“Always looking back at photos I’ve taken and thinking of new ways to recreate them.”

How do you compose an image? Do you go into the shoot with a specific shot in mind, or does the inspiration strike when you place your model in the setting?
“I tend to be pretty tedious with my shots. I usually put the outfits, poses, and locations in my notes and just shoot until I have everything I wanted.”

What has been your biggest lesson learned through creating your art?
“Don’t look at other photographer’s work. Stick to one style.”

What do you hope your art says to people?
“This shit is amazing.”

Check him out on Instagram @beausimmons to continue seeing moments of beautiful people in stunning places. We have enjoyed following Beau for a while now and it was a privilege to get together and hear more of his journey as a photographer. 

Meet Dylan Neuhaus

My Name is Dylan, I am a 22 year old student/retail manager/photographer who currently resides in Brooklyn, NY. Autumn is my favorite thing about living in the Northeast, to me there is no better subject on earth to photograph. There is something magical about throwing on your favorite boots and flannel, hopping in the car, and heading North towards New Paltz, stopping routinely to take photos of old rotten buildings, broken down rusted out cars, and of course for apple cider donuts. Spending a lot of my youth in Connecticut, I grew up exploring the state and finding some of my favorite spots that I continue to go back to year after year, and as of recent I have been spending a lot of time exploring the Hudson Valley, which has quickly found a special place in my heart. Autumn will most likely keep me living in the Northeast for the rest of my life, next year I hope to take all of October off from work, so I can travel the area, and shoot countless rolls of film throughout the entire month. 

Instagram @Dylanxneuhaus

---