FRAMES Photography Podcast
FRAMES Photography Podcast
Elizabeth Sanjuan
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In today's episode, W. Scott Olsen talks to Elizabeth Sanjuan, a visual artist whose passion is to discover, through travel, the vast mosaic of people, lands, and cultures that the world offers and to record, as faithfully as she can, the incredible panorama of color, pattern, and energy that greets the receptive, intuitive eye. Elizabeth is also a member of the Board of Directors of the International Photography Hall of Fame and Museum.
This podcast is brought to you by FRAMES, a high-quality quarterly printed photography magazine. You can find out more about FRAMES at www.readframes.com.
So sh this is a woman in 19, let's see, she was born in 08. So in 1932, more or less, had you know two PhDs. She used to wear pants. I mean, she was she was crazy, and and it was she's such a contradiction, also, because you know, this is a woman that was very open-minded but a devout Catholic. So when she married, she married my grandfather, which was 15 years her junior. Oh, heavens. Yes, and proceeded to have three children and then divorced them.
SPEAKER_01This photography podcast is brought to you by Frames, quarterly printed photography magazine. Here is your today's host, W. Scott Olson, with another fascinating conversation.
SPEAKER_02Well, hello everyone, and welcome to another podcast from Frames Magazine. My name is Scott Olson, and today we're gonna go talk about something that is absolutely fascinating and important. We're talking about history, we're talking about preservation, we are talking about keeping photography, the history of photography, current and accessible to just about everybody. And we're doing it with one of the most interesting photographers that I know. We're talking with Elizabeth San Juan. Now, you may remember, it was almost two years ago, but you may remember in the reading frame series, I had the good fortune to write about one of Elizabeth's photographs called Scalene, which is a beautiful desert image of a tree, one of the most elegantly framed and composed and exposed images in terms of tone and terms of color that I've ever seen. It's one that I still is close to my heart. It's been two years. There's an awful lot that she's been doing since then, and especially with this move now to joining the board of the International Photography Hall of Fame and Museum. Elizabeth, how are you doing? How's life out in Florida today?
SPEAKER_03I'm great. Thanks. It finally stopped raining, so we are doing wonderful. And it's actually cooling off, which is another extra bonus of uh Florida this time of year.
SPEAKER_02Oh my. Well, it it is a beautiful place to be. That much is certain. Elizabeth, like I said, it's been two years since you and I've had an opportunity to correspond. I was looking through your website. You have just got an absolute rock and roll life with all of the work that you're doing. I'm looking through all of your galleries. And by the way, just so you know, uh the South Georgia Island um uh is is one that I'm really upset about. You know, that that's on my list. Those are supposed to be my pictures. I can't wait to. I hope my life gets me there someday, but those are beautiful, beautiful images. Um, but you've got Norway, you've got Namibia, you've got just about everything in there. Um, and a couple really interesting current projects. Um, so bring us up to speed in the in the last two years, and we'll get up to you know the memories of your grandmother and the small towns project. In the last two years, tell me what the highlights have been.
SPEAKER_03Um, well, for me, always traveling to places that I haven't been and revisiting places like Hokkaido. I've been working on a project there, traveled there three times during the dead winter. So uh it's always a minus something degrees out there when we're uh photographing, when I'm photographing. Also, just really working on my projects when I'm not traveling and trying to come up with new ideas and juggling the current current projects that I have. The one thing I think that all photographers have is that there's this deep passion for the craft. And and how do you for me it's time management and and how do I keep my excitement from different new projects and the balance of moving the older ones along?
SPEAKER_02Well, well, tell me about the two that you list as current at the moment, the memories of your grandmother and the small towns of Colorado.
SPEAKER_03Right. So small towns of Colorado started when my husband and I would travel from Florida to Colorado, and we would always take the back roads. And for me, it's always so fascinating to go through ghosts, what what we call ghost towns, but they're living ghost towns with very few in population. And I'm always asking what happened to that town, why doesn't somebody invest to bring it back? Because some of them have such incredible architecture or just a beautiful natural setting that surrounds them, and they're completely forgotten. And when we got to Colorado, it was more or less the same thing. My husband's a native of Colorado, and we were really interested in what small towns were like in Colorado, from the mountain towns where the mining was to agricultural down in the southeast and uh just all different kinds of um things that brought communities to Colorado for different reasons. So we decided to work on a project called Small, and it is three, there's about 165 that we've photographed so far, 300 and less in population. So we've photographed towns from eight people to 300, 301, depending if there was a baby born that year. But and it's incredible to see how these people, you know, towns have survived for different reasons.
SPEAKER_02I'm looking, I'm looking at the pictures on your website now, and and and by the way, I thought I was gonna have you beat because a town near here that has 11 people in it, but with eight, you you got us beat. Are are these mostly eastern Colorado towns? Because, you know, eastern Colorado, for those of you that don't that are not familiar with the United States, eastern Colorado is very different than western. Eastern is high desert, it's it's um relatively flat compared to the western part of the state. Once you get to the front range, though, everything then becomes super mountains. So it looks like you're dealing mostly with eastern Colorado.
SPEAKER_03Um most of them are in eastern, but we have done mountain towns, mining towns in the mountains, and uh it really has taken us across the state from corner to corner. Um and we try to do it in different times of the year, but of course, winter in the mountainous areas does become a little bit difficult to travel. And um, you know, there's not that many hotels or motels or inns that you could stay when you're visiting these remote um little towns. So it is a little challenging to get around and photograph maybe five or six towns a day if they're in a certain geographical area.
SPEAKER_02Why are you focusing on architecture? Because I mean I'm not seeing people in these pictures.
SPEAKER_03Not yet. What we initially wanted to do is visit each town, get a feel for the town. We have interviewed some folks, and that will be the second part of the project is to revisit the ones that we really love and then get the word out that we would love to speak to somebody that's been in the community for a long time or somebody that had some great uh legacy or history uh with the town, and then interview them and get more photographs of people and interviews. That's the second part that's coming up.
SPEAKER_02Tell me the story of this one image of it. Looks like an old schoolhouse. It's it's brown, centered in the frame, doors have been blown in. Um it's it's a beautiful, poignant, sad, gorgeous image.
SPEAKER_03Well, you know, the the the interesting thing is that most of these schools were built by, I think it was, I don't want to misquote because my father, my husband is the historian, but it's uh I think it was like Roosevelt with the W, now I'm trying to think of it, was uh was the world, it was um it was an initiative to get really school and educations and great buildings and facilities across Colorado for education. And funny enough, in these small towns, most of these schools have been bought and converted into private residences. Oh my. Yeah, which is interesting to me. But when you go, the the architecture, especially of that time period, it's it's very identifiable. And I wish I could remember the word right now, maybe it'll come back to me. But it is very identifiable, and it's the for me, the curiosity is why would somebody live in a town of, let's say, eight or thirty or forty with no resource, there's no medical facilities to speak of, or major grocery stores, or um, some don't even all of them have a post office. That's curious enough. But uh some of the kids have to be bused to a school maybe 20 or 30 miles away. So what's the attraction of of living in a place like this where it's it's somewhat difficult for for the average person?
SPEAKER_02You know, that but there is eastern Colorado, eastern Wyoming, eastern Montana, that whole high desert corridor uh in the United States. But when you're standing there, there's a sense of scale that just changes in in the back of your head. Suddenly you you can almost get a grasp on the size of the planet. Um, it's a very different atmosphere uh to be up there, at least for me. Is that for you?
SPEAKER_03Oh, absolutely. And especially with the, you know, the big after the dust bolt that you know, most of this has become just unfertile land. So you have this vast, incredible sky, and it's almost as you could look through to infinity. There is just nut, it's never ending. And it's quite sad that you go through there and you see that just the dust without any trees and and really the devastation that's been done to the environment in that part of Colorado. Is I think somebody, something that somebody should really uh witness because we take so many things for granted, like water. Uh, most of the people in those towns have now been selling their water rights, which is unfortunate because they've been selling them to big big companies that are just coming in and buying these people's water rights. And and you know, they're gonna be in a pickle not too far down the road.
SPEAKER_02This is true. A very different stream of a very different style uh in your work is, of course, the the other current project you're listing, memories of your grandmother. What a cool story. I mean, born in Havana in 1908. I mean, tell me how this project came along.
SPEAKER_03So, my grandmother, like you said, she was born in Cuba in 1908, and she was really a fascinating person. And I really didn't discover what an amazing woman she was until after she passed, unfortunately, because I would have loved to pepper her with all the questions that I have now that I that will forever go unanswered. But she uh had a passion to write, and her mother said to her, um, writing is not going to get you anywhere. You need a real degree. And so my grandmother has a PhD, well, had a PhD in pharmacology. And and then she got another one in art, arts, what they call artes y letras, uh, arts and letters. So this is a woman in 19, let's see, she was born in 08, so 1932, more or less, had you know, two PhDs. She used to wear pants. I mean, she was she was crazy, and and it was she's such a contradiction, also, because you know, this is a woman that was very open-minded, but a devout Catholic. So when she married, she married my grandfather, which was 15 years her junior. Oh, heavens. Yes, and proceeded to have three children and then divorced my grandfather. And now being a devout Catholic, that was a huge contradiction. And being Cuban, just on top of it. So, since her passion was writing, when she moved to the US, she wrote incredible poetry. And it was, it's this poetry of love and lost and longing. And it's really, I have to catch myself if I read them over, trying to select which images I want to combine with her photography. And it's really heart-wrenching to see that maybe she never fulfilled her love after my grandfather. Um, so it's just pairing images to her words and honoring her writing, really.
SPEAKER_02Well, it's it's a beautiful, beautiful project. And so, you know, I'm wondering here, you've got stellar work coming out. You're being incredibly prolific. And you've you've taken on another yet another absolutely huge project. You are now involved with the International Photography Hall of Fame and Museum, uh, which has been going along in one form or another since 1965. Used to be brick and mortar in St. Louis. It's now moving on uh to a different kind of definition. Before we get into the whole um Hall of Fame and Museum, tell me how it came into your radar. Tell me what got you involved with this whole organization.
SPEAKER_03Insanity. Um, I didn't have enough on my plate, right? I needed one more thing to dub on.
SPEAKER_02Okay, that's that answer.
SPEAKER_03Uh, but truthfully, a friend of mine introduced me to the current chair and then asked me if I had heard of this organization. And I quite frankly said no. Um, as I think most people um have not heard or maybe don't recall the organization since it's been around since 1950, uh, 65, but it's taken many different um a few different names and has moved across the country. So uh when I looked at the website, I thought, well, there's no women on the board. There's no minorities on the board. I checked two of those boxes, which I don't really like checking because I don't believe in uh checking those little boxes, but I thought I had to make some kind of moving the needle, sort of speak, towards uh, I would say, inclusion of women and uh minorities. And really, if you're gonna be an international hall of fame, we really wanted to spread our wings. And I thought, okay, how do I make it not a US-centered institution, really? And how do we, there's so many incredible photographers across the world. And I thought, well, for me, um, just my exposure through frames, even really, just discovering new names and seeing the work is just absolutely incredible. And these people should be highlighted. Um, and that was one of the things when I well regress a little bit. I had an art gallery that was a nonprofit art gallery. And the purpose of that gallery was to develop young and emerging artists, and not necessarily young in age, but maybe talent and exposure. And I think we need to do the same thing with IPHF is really highlight people that are contemporary, they're still alive. Um, not that we don't want to honor the people that have passed, also, but I think there's a lot of institutions that do recognize uh those folks. Um, and we certainly have done a good job of that. But how do we really get on this level where we're gonna recognize people that are really hitting the pavement hard, that are bringing us incredible photography, good stories, educating children and new generations about the the um medium. I always feel like photography is a the stepchild of the arts.
SPEAKER_02It's not um everybody thinks they could take a photograph and it's not given as much importance, even though everybody thinks they could paint a Pollock, also, but and and manage a baseball team and run a restaurant and open a bookstore, and it's amazing how talented every single one of us are so walk me through the history of the organization because like you said, it's been around for a long time, but it's not on a lot of people's radar. W tell me about its mission, tell me about its history, and and bring me up to speed.
SPEAKER_03So it it did. It started in 1965, it's as old as I am, my goodness. Um, and then it was started in California and it was part of the photographic arts and the Brooks Institute, and then it spent about 11 years there, um, and where it transitioned to IPHF. Um, and then in 1983 it moved from California to Oklahoma City, lived there a few years, and then in 2013 it moved to uh St. Louis, and there we had uh a physical space which was closed since the um the inception of COVID. Um so it's it's it's transitioned through names, location, and I think vision now that we're we no longer have a brick and mortar for the time being. You know, how do we bring awareness to this institution? Because I think the that it has a good mission statement, right? So we want to educate, we want to honor, and we really want to um cultivate people uh to learn about photography and the and really pure when I say pure photography, right? So not AI, not um, you know, the whole the process of going into a dark room to digital to all the the evolution of photography, right? And I find it for me fascinating that like my daughter's 30 years old, but now she shoots film, which I didn't, I haven't shot film for how many years, and she's using Polaroids to to so I think it's nice to see these make a resurgence in the younger population, right?
SPEAKER_00Let's take just a quick break. We hope very much that you are enjoying today's episode. The very fact that you are listening to this podcast suggests that photography means a lot to you. And if that's the case, you might want to have a look at Frames, quarterly printed photography magazine. We truly believe that excellent photography belongs on paper. Visit readframes.com to find out more about our publication. And now, back to today's conversation.
SPEAKER_02Well, there's no doubt that retro is very cool for a lot of the people just getting into photography right now. Um, you know, a lot of camera makers are even coming out with new new camera body styles that aren't any different, just a sort of a retro style. But that's that's not really the call of history there. So so tell me, I mean, there are other organizations out there that are museums that have you know um curated collections that are doing outreach. Why, why is your approach to it somehow you know additive or better or different or whatever?
SPEAKER_03And that's my question, right? So what makes us unique? I mean, there's a thousand organizations that you know honor, that do competitions, and and and for me, with this now re-strategizing, reenvisioning what IPHF is, for me, the importance is how do we set ourselves aside and how do we give back to this community? And that's where I need input from the community, you know, from the photographic world, from the educational world, for them to say, this is you know what is important to us as educators, or how do we move the dial for a deeper conversation on the, you know, maybe the integrity of photography and how do we give back to young and upcoming photographers that want to uh have this as a profession or contribute somehow in saving the environment. I mean, there's a million things that we could tackle and see how we're gonna separate ourselves from other entities, but we do have like other institutions, a collection. We have five of them that are created and ready to be shown. We would love to partner with galleries and different museums and institutions to show these bodies of work and create conversation workshops, you know, work with children, get them excited about the arts and about photography.
SPEAKER_02I mean, one of the cool things about what you're saying, you are in an active building phase, you know, in that in terms of defining the organization and reaching out to others. This this is not a you know old tweed stuck in the wood organization. You're you're looking to really make this thing exciting and new.
SPEAKER_03Absolutely. And that's you know, that's if there's one thing today is my call to action is to educators, uh people in the community, um sponsors that want to say, hey, listen, we believe in your work. How do we help you move forward? I mean, it's it's has several tentacles, and we just don't we don't want to be another institution that has a one-year event, you know, uh honoring people and not really giving much else. It's we really, for me also, when I was a kid in high school, the arts is really my I had a four-hour honors art class, which really saved my rear end since I was, you know, one of these street kids and slightly opinionated and uh maybe a little too mouthy at times, but it was my art class that saved me. And I and I know so many people that have you know thrived and survived life just by being creative. And I think it's uh a sad thing when arts programs are not available, they're not in schools anymore. They all you know, the arts have been cut out, and it's such an important part of brain development and how we see the world. Tell me why a hall of fame. What why the hall of fame? Because I think. We need to know where we came from to know where we're going in life. And that applies to everything, really. And if we can honor and learn from those that came before us, and hopefully we can, then it will give us a better idea of who's present and future and what we can look for in the future as far as you know, technologies and advancements. And the one thing about photography and the written word, they are the keepers of time. It doesn't matter if how much technology. I mean, I have floppy disks that I have to convert, I have VHS that I have to convert, I have a million things that I can't even plug into anymore to access anything because it technology advances so quickly and is so fluid. So written word and photographs are really the they're they're invaluable as long as you print your photographs. I mean, they're the they're the timekeepers and storytellers of civilization. So how important is that?
SPEAKER_02I'm looking at the website right now, and I'm looking at the 2023 uh inductees. And several of them, there's four, I shouldn't say several. Three of them I had known before. I had known their work before, but there's one, uh Matika Wilbur, I had never heard of before. And you know, what what extraordinary work? Is this one of the goals of a Hall of Fame is to grab people who are doing extraordinary stuff and make them a little bit more visible? Or is this more of a you know, you know, icing on the cake for somebody who's already changed the world or both?
SPEAKER_03I think it's both. And as you, you know, as you mentioned her name, I get goosebumps. My I have goosebumps all over me because she's a Native American woman that is doing incredible work, that is the fabric of our country. And and there's so much history there that hasn't been told. And if it has, it's been just to a certain few. So that is a perfect example of where we would love for IAPHF to go, is highlight people like Matika that are doing this incredible work that hasn't really gotten much recognition. And and how do you tell her story and how do you help her tell her story? And because through storytelling is understanding, and if we don't communicate, there's really never going to be any kind of dialogue or conservation uh conversation or resolution to things.
SPEAKER_02I was gonna tell everybody, you know, you you need to go to the IPHF uh website, iPhf.org, because not only you know are there um the work of the current inductees, there are wonderful YouTube videos of the um award ceremonies for the last several years. Wonderful speeches, wonderful um explications of what's going on in photography. An awards ceremony is a way to say out loud uh the kind of stuff that we normally reserve for critical essays or or stuff like that. Fantastic celebration. But you guys are without a front door these days.
SPEAKER_03We are, and that's that's the other trick, right? So, how do we for next year, what do we do? I wouldn't I would love to see after we compile our list of inductees if there's a central location or if there's an institution that would like to host one of these inductees that for next year and and create an event. I think, you know, online has been a wonderful tool for everybody, especially since COVID. I mean, you know, it saved so many hours in my day. I took a MoMA course in art history. I attended a lecture every Monday on photography. I mean, it's just been a lifeline for so many during those two and a half years. But I think there's something about being present, looking at images, listening to the person that's being inducted, listening to their stories. It's quite a different experience, and it's one that's really fulfilling uh on so many levels.
SPEAKER_02I'm looking at, again, the website, and you have all of these virtual exhibitions. Is that simply because you haven't got the walls at the moment? Or is this a trend that you're going trend? Is this a a way of presenting that you think is going to stick?
SPEAKER_03Well, I think it it may be a way of presenting that's gonna stick. And really, I think as we put ourselves out there more and ask ourselves more questions in the community questions as to what that they feel is missing in this kind of institution and what they would like to see. It could be a combination of giving lectures in different places, it could be online streaming, different forums, uh, different kinds of think tanks. There are lectures that are coming up in December and uh January of next year, and there'll be some competitions. But again, with the competition, there's a million competitions out there. And how do we set ourselves aside? And what is the added value that we're gonna give the people that are entering this competition? Because we don't want to just take people's money. Obviously, we're a nonprofit and we welcome any kind of funds, but that's not the main purpose of this, right? So uh it should be independent of how we give back to the community and and find new creative talent.
SPEAKER_02Okay, you know, it at the moment that we are recording this, you do have the 2023 open photography competition exhibition. It's open, you know, or I should, it's on uh from October 20th till January 31st of 24. Uh, what am I gonna see there? Hopefully a little bit of everything.
SPEAKER_03Um I I'm not sure what we're gonna see. Uh since I'm uh new to the board, this will be my first one, and I'm very excited. So I will be as surprised as you, Scott, to see what we're gonna see there.
SPEAKER_02Well, I mean, I mean I I am absolutely in love with this kind of effort because I I am not opposed to the uh proliferation of images on social media. Um but I am, having spent uh more than two decades in an editor's chair myself, firmly in favor of the ability to curate, of somebody to say we have not perhaps the focus, but we have a focus. Um, and hey kids, you know, come look at the world we do, or the way the way we do, not exclusion of everything else, but but let me provide a kind of idea. Your celebration of photography worldwide and of these people who are both well known and not well enough known, I think is really, really important. Let's go, let's go back to the, you know, in your statement about uh why you joined the board and stuff, you basically hit the notes of inclusion and expanding our understanding of who is a photographer and who photography is for. Do you think in 2023, 2024 that idea's landed pretty soundly, or do you think we're still suffering from a kind of uh biased inertia?
SPEAKER_03You know, it's it I think there's this biased inertia. And I think the thing also with photography, it's so singular. You just go out by yourself and photograph, or if you're not working in a studio, and it's difficult to build a sense of community, and you're people are vying for more or less the same piece of the pie in many uh instances. So, how do you create community in in the world of photography? What brings you together and what holds you together and what moves you forward? And these are questions that I have.
SPEAKER_02Okay. You can purchase lectures from you guys.
SPEAKER_03You can, yes. And hopefully we'll have more lectures. And the thing also is that it aside from the lectures, yes, we're gonna have lectures, we're gonna have hopefully more creative conversations. We would love to add, you know, a tab where people can submit essays on photography, and and it could be from an educational standpoint, from a photographer's perspective. Um, so it's really an open box. And what we want to do is just people throw ideas. And with their thought process, it would be great if they could, you know, say, this is how we envision or I envision this coming to fruition. I think there's a lot of great ideas, there's a lot of creativity, and and and I think that's a good way to start building community.
SPEAKER_02Well, you guys have got the Hall of Fame, you've got competitions, you've got the programming with lectures and stuff like that, you have your own collections and stuff. And really you're you're at a moment, you know, sort of a phoenix moment here, of being reborn and redefined and starting to grow. If somebody wants to get in touch with you, I mean they can go to the website certainly and help support it. But it's how else can people get involved these days?
SPEAKER_03Uh, well, that's an excellent question because I am looking for committee members. Um, we have several committees where you don't necessarily have to be on the board, but there's futures committees, there's development committees, there's a competition committee, there's you know, financial development committees. So really you don't have to be an artist if you have uh, you know, if you're great at finances, you there's a place for you. Um, and then we're looking for board members. And ideally, I would love to have international board members and female board members, and again, I dislike this word, but minority bed members would be absolutely fabulous. That would be my wish list. And really, through the website, we we have an Instagram page, we have, of course, Facebook, any kind of media. Um, and I'm there also with all my they could reach out to me or any of the board members. I mean, trying to welcome everybody and make this really a unique place for everybody.
SPEAKER_02I think that's fantastic because so many of us, you know, we're we're taking our images, we're getting them out there as best we can. Um, but we want that little bit of extra. We want that professional involvement. And, you know, our jobs may or may not allow us, you know, to have photography be part of our work life. So to get involved with an organization like you guys would be a really, I think, fulfilling way to participate in the in the uh, I hate to say professional community because that make that makes it sound you know too business-like. Um, but in in the professional community of uh photography and photographers, and you know, I'm looking again, you know, you guys are doing so many cool things. You know, if you're listening out there and you've got some connections with a gallery or a school, they've got traveling exhibitions, you know, that are looking for homes. Um, you know, they go place to place to place. There's a million ways to get involved. Elizabeth, what am I not asking about this very cool organization? What kind of news do you want to get out there as a takeaway for people that are saying, this sounds really cool? What's the next step?
SPEAKER_03I think the next step is to reach out, give us your ideas, join a committee, submit an application for the board, highlight photographers that you know in your community that are doing great work, uh, unique work. It doesn't matter where in the world it is. I think also we would love to know about those unsung hero educators that we would love to highlight and maybe partner with. Uh, there was a woman that I was um that teaches high school here, and she has a great arts program. And we were talking about maybe having a photo contest with her students and seeing how we involve and what the theme would be. Maybe it's going to be environmental or um something like that. So we want to focus on issues that we face in our community every day, but through photography being the center theme. I think there's uh, like you said, there's so many different arms to this organization. And um really we're looking how to move it forward in in this modern world, so to speak, that I'm trying to still catch up with, and really become a community staple, if sort of speak, I would say.
SPEAKER_02I think that's fantastic. Uh, folks, it's the International Photography Hall of Fame and Museum, iPhf.org. And like I said, so many ways to get involved with an organization that's been around for a long time, that is rock solid, uh, but is also in an active state of outreach and expansion and redefinition. Um, if if you've got you know the bug in the back of your head, please give them a call. I think this is a fantastic organization. Uh Elizabeth, thank you very much. It's been great to get caught up. It's been great to learn more about uh the International Photography Hall of Fame and Museum. I I've enjoyed every minute of this.
SPEAKER_03Thank you so much. I appreciate your time and and the opportunity to speak about IPHF to the community. And I look forward to future conversations with you.
SPEAKER_02I look forward to them too. And with any luck, I'll run into you somewhere in eastern Colorado or South Georgia Island if I ever get there.
SPEAKER_03Oh, wonderful. That sounds great. Take care. Talk to you later. Thanks so much.
SPEAKER_00Because excellent photography belongs on paper. Visit us at www.readframes.com.