“We
must
tell girls their voices
are
important.� Malala Yousafzai
Issue 20
The women’s issuE Editors Genea Bailey Daisy Ware-Jarrett Design Daisy Ware-Jarrett Writers Chloe Parker Emily Valentine Cover Artist Edvina Meta
6
InĂŠs Vidart
16
MitikaFe
24
Katie Lovecraft
30
Natasha Wilson
36
Ashley MariĂŠ
40
Elodie Milan
50
Alexandra Farias Moeller
60
Alanna Airitam
72
Priyanka Ghetia
78
Elizabete Ezergaile
86
Yvonne McClement
92
Corpus Vertebrae
98
Sergey Melnitchenko
112
Jen Dollface
120
Jordan Davis
124
Mare Veen
132
@WomenInStreet
136
Edvina Meta
144
Sophie Mayanne
158
Rachael Yates
166
Madiha Abdo
172
INDEX
Inés Vidart Fresh Dressed/ Le Deuxième Sexe
6
I’m an editorial design student from Buenos Aires, Argentina. I work on colour-fuelled series, mostly Fashion photography and Portraiture. I love the idea of empowering, celebrating and representing all kinds of women. I believe in portraying and validating the imperfect and unconventional, the strong, determined and relentless. The “Fresh dressed” series is about this attutide and strength, while “Le Deuxième Sexe” explores and questions the different aspects of femininity and gender identity.
Fresh Dressed
Fresh Dressed
Fresh Dressed
Fresh Dressed
Fresh Dressed
Le Deuxième Sexe
Le Deuxième Sexe Fresh Dressed
Le Deuxième Sexe
Le Deuxième Sexe
MitikaFe
Body / Akamanakakusamana
16
I’m a self-taught photographer from Italy. I usually works with the perception of the body , the relationship with ourselves and identity. My two projects are very different but they are both about being a woman. As a girl I think it’s very important to show my body and the real way it is.
Katie Lovecraft Groove Generation
I’m a photographer based in Oakland, CA. I’m a frequent traveller who shoots with an eye for street fashion and youth culture. I sometimes find myself working in the studio, hopefully taking pictures of butts. Groove Generation is an all female hip hop and urban dance team based in Oakland, CA. This diverse group of babes parties hard and wants their audience to know that they can get nasty on stage and still smash the patriarchy.
24
Natasha Wilson RISE
30
White washing in Hollywood and all other forms of media have been prominent to me ever since I was a little girl. I would see rows of magazines at the bookstores and instantly get bored at the lack of diversity and color throughout. I can not even imagine what it’s like for POC to be constantly reminded that their hair, skin color, and culture is not “in fashion” or likable. I have always tried to diversify my portfolio of work but unless you blatantly say you are MAD about something, no one will get what you are trying to say. We can talk about how much it pisses us off but we can’t get anywhere without action. By creating this series and opening this topic, I hope to inspire not only Hollywood but other photographers and creatives that refuse to show diversity in their media. With this series I hope to bring the topic of white washing to light and the effect it has on women of color specifically. These images represent the literal ‘tearing down’ of POC and roles that should be played by POC but are replaced by a white person. The images show that the model is ‘rising’ out of the conflict; She is strong, confident, and unbroken.
Ashley MariĂŠ Flower Portraits
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Lily
I’m a fine art portrait, beauty, and fashion photographer from South Africa. I graduated in 2008 with a Bachelor of Arts in Fine Art from the Michaelis School of Art, University of Cape Town. I divide my time between shooting and retouching stock photography and portraits, beauty, fashion, and my own personal fine art projects. We live in a world obsessed with youth and beauty. Beauty (by industry definition anyhow) is a form of worth and those women who possess it stand to gain more from life. Or so we’re lead to believe and act out. But it’s fickle and fleeting, and as it withers so does the self worth and importance of its bearer. Like a vase of beautiful, freshly picked flowers, it’s admired for a time until it wilts and is discarded. Its purposed having now been served and it’s remnants of no use to anyone anymore. Although these days there are many campaigns and other works of art that try and combat this idea of beauty being the sole worth of a woman, the feelings are hard to overcome at times when you’ve grown up in a world that has placed so much importance on it. Only now are things looking to start to change, but emotional scars run deep.
Christina
Janet
Phoebe
Elodie Milan La belle
This project is about taking pictures of people around me, that inspire me every day, and that allow me to express myself. It is about immortalize the youth. It is question of identity, of origins, of self-expression by your own style. Women who are part of this serie are creative, strong, friends who are not afraid to show who they are. I also want to show their differences, diversity and how much beauty is not a color of skin or the clothes we wear in particular. I also like to bring out femininity among my male friends. Human being who themselves assume that part that exists at all. The title of my project (La belle bande), breaks the codes of masculine or feminine. For me we are all a mixture of both genders.
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Alexandra Farias Moeller 15 Candles
50
My photographic work tends to touch on universal subjects such as life and death, family, community, and women. I try to look for subtle and delicate tensions in body language when I photograph people and situations. Looking through the lens and waiting for the scene that best captures what sparks the most energy in me. Currently living in Mexico City, I have been working for 5 years on projects to do with women’s issues. 15 Candles is a project which showcases girls from Latin American descent who are celebrating their ¨Quinceañera¨ in San Francisco, California, USA. The quinceañera is a traditional celebration of a girl’s passage into womanhood when she turns fifteen years old. It is interesting to see how truly bicultural these girls are, very rooted to their cultures and yet trying to adapt to the American society. After interviewing and spending time with these girls, they said they wanted to feel and look very pretty for their Quinceañera celebration. It is interesting to see the behavior and the subtle body language that they are going through as teenagers and as society expects young woman to be. I am trying to show the vulnerability that lies in young women and the social pressures they sometimes have to go through.
Karina
Gladys
Yulisa
tanya
Angelica
Alanna Airitam Being Heard: Between the Margins
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Afrodita
As a portrait photographer, I investigate the dualistic nature of our emotions that often centre around identity. I strive to create stories that confront the viewer with parts of themselves they may not recognize or want to keep hidden. My current project Gratitude is about longing for more when you have the sweetness of life right in front of you.
Heather
Being Heard: Between the Margins is very different from my usual work. It’s more journalistic, but I wanted to give a platform to marginalized groups and for them to speak in their own words. It was an experiment of sorts. But I am planning on adding three more stories to the Being Heard series. I mostly do fine art portraiture and just finished The Golden Age series created in 17th Century Dutch chiaroscuro style that look like paintings but featuring people of colour. Being Heard: Between the Margins was created to give women of colour, differently-abled, and refugees a chance to speak about their hopes, fears, and the challenges they’ve had to overcome to find peace while being bombarded with increasingly aggressive behaviours toward marginalized groups.
Sherrill
Tiffany
Ana
Bhavna
Aurea
Destinie
Reina
Keli
Mae
Nikki
Graduate spotlight:
Priyanka Ghetia The Female Costume
Interview by Chloe Parker Fashion photographer and recent Coventry University graduate, Priyanka Ghetia, investigates the 21st century medias expectations of femininity and the social constructs of being a woman in her current series ‘The Female Costume’.
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Hey Priyanka! Can you tell us more about yourself as an artist and your relationship with photography? I started photography from young, for me photography is a powerful tool and is a way to express myself and my views to the world. I am passionate about the power of photography and its ability to change one’s perspective on several modern day issues. How did you come up with the concept for ‘The Female Costume’? ‘The Female Costume’, was influenced by Simone de Beau theory, ‘One is not born, but rather becomes, a woman.’ I wanted to explore what it
is to be a woman in society by using conceptual theories as elements, this series explores how a woman’s attitude towards her body and bodily functions changes over the years and how society influences this attitude. The work explores boundaries between media and notions of femininity by responding to pressures women face in the modern society of social media dominance. To question the unusual expectations around the real and surreal social construct of being female and unrealistic beauty ideals. We live in a generation where we face a high amount of pressure, caused by the digital age. So why did you chose to photograph models that range in age from being a toddler to a pensioner?
Throughout my studies I have continually taken a personal interest into topics such as beauty and the representation of women as this was something I was passionate about and wanted to explore further in a creative way. Growing up I have always been insecure about the way I look, as I was seen as a tomboy and never felt pretty enough. I was always told by society how I should look and act as a woman. This was a personal project to reach out to woman such as myself by conducting primary and secondary research and using theories to create a visual piece. I wanted to explore how the pressures change as you grow up into adulthood, and explore whether women still feel pressured to be perfect by false beauty ideals or if one can grow out of social pressures.
Living in the digital age, where social media plays a big role is society we often use the media to shape a form of our identity as we often compare ourselves to other woman and judge one another based on how many ‘likes’ we have on a photo. I feel that due to the pressures of the media there is always new ways for a woman to improve themselves not just physically but also as a woman there is so much pressure and expectations to be perfect from being a perfect mother, wife and all rounded perfect female figure. Advertisements are always marketing new ways a woman could self-enhance her beauty with anti wrinkle creams to surgery promoting false expectations of beauty yet we still inspire to look like the models we see on the media. The models all appear flawless and untouched. How do you want us to view the models, where did you get the idea from and how did you get this “perfect” aesthetic? I was inspired by the medias representation of beauty, as I wanted to use these highly attractive models and almost show them in a doll like manner to symbolize the false beauty ideals and expectations of women in society. If we all did become victims of the social pressures of being perfect, then we would all look the same and be objects to society. How do you personally see the 21st woman, and what message do you want your viewers to take away with them? In this generation where many women use social media to define and compare themselves to other women this often creates anxiety and depression in many women. Celebrities such Kardashians and Instagram models are often idealised, as they glamorise their lifestyle; where many females especially the younger generation idealise. The media promotes unrealistic beauty standards and in result leaves many women to become insecure. I want my viewers to embrace their own beauty and their imperfections and realise that what we see in the media is false, nobody is perfect. There is no definition of beauty and we should all embrace our natural forms.
To see more of Priyanka’s work, check out her Instagram @Priyankaphotography
Elizabete Ezergaile Grow a pair!
I’m a 23 years old photographer from Riga, Latvia. Through my work I often try to speak about awkwars themes and I love to provoke the viewer.
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Just like any other living creature, women have also evolved over the centuries and are continuing to adapt to the new environment. Woman has to adapt to today’s men and the new dating model. The old ways, when family has the right to select a husband for their offspring, no longer exist. Of course, someone else having the power to choose a life partner for other human being might seem absurd, but then again, nowadays it takes so much energy, time and
nerves trying to find “the one”, which often leads to wondering if something like that even exists. As a teenager you are naïve, you don’t really know what to expect from men and you don’t even know yourself. Throughout few years of dating you start to understand nowadays dating model and, naturally, you learn how to adapt the “rules of the game”. And by adapting, I mean that you become emotionally enclosed, otherwise you would end up devastated every time you date someone. On many occasions men don’t even allow you to get emotionally involved, because if you do, then it becomes “too serious” for them, whatever it even means. It may sound a bit exaggerated, but in many aspects woman has to become a “man” to survive nowadays dating experience. It may seem that man is the asshole in the relationships, I think
that the millennial woman has taken over the asshole role. She just simply has to become one to survive, still holding on to be able to charm, be tender and caring. All together – it’s a pretty dangerous combination. With this project I tried to portray the balance between brutal and soft in the millennial woman. The so-called color “millennial pink” is one of the main elements in all of the photos, which I used to represent this generation, the feminine side of the woman and also to contrast the brutal items that appear in many pictures. By connecting the seemingly unconnectable, my desire was to create a visual story that would play with the viewers mind a bit, to create a narrative on the way a girl deals with the issues mentioned above. The environment around me is what inspired me to create this project. I wasn’t aiming to
represent the entire women of the millennial generation as whole - that wouldn’t be appropriate to place us into a single group and suggest that we all think and feel in the same way! But still I would like to believe that the force majeure of the young woman out there will be able to identify themselves with this series! The idea to create this photo project emerged by thinking about the idea of dating as a woman of the millennial generation. Photo series “Grow a pair� explores how women has to evolved to survive nowdays dating model and how it has affected their emotional states.
Yvonne McClement Curvature
Between being a decorative painter and conservator my dual interests in fine art and illustration have inspired me to work in scanography to produce my current body of work. The nature of the process being both digital and analogue is a very intriguing starting point to an exploration of modern and classical imagery. These scanographs look at traditional ideas about female body norms. The project explores and experiments with the contortion of these mainstream dimensions and notions. This group evolved from my dual interests in photography and collage.
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Corpus Vertebrae
The Darkness
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In my self-portraits I’m talking about myself. I’m trying to show the torture of the soul that’s living in a darkness.
Sergey Melnitchenko Behind the scenes
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Transvestites, girls bathing in tubs of beer, drunk actors and even more drunk visitors. All of this – club, the club where I’m working. One year ago I came to Asia to work as a dancer. For the last few months we’ve been performing in a Chinese club which is more like a huge bar with a stage because none of the visitors dance here. “Behind The Scenes” happened when I realised how many interesting things happen here. Behind the scenes is more burlesque than on stage, the concentration of sexual fluids are more powerful than oxygen. There’s no falsehood – it’s not a scene, it’s their everyday life, our life, or rather mine.
Jen Dollface Goddess
Like an incognito detective, I am fascinated by ambiguity. I desire equilibrium in this world of contradiction, but while I attempt to form a cohesive narrative, there is an overwhelming sense of displacement. I peek through cracks in windows, along walls, and beneath floors. The more questions I ask, the less answers I find, but not all who wander are lost.
112 Hmong Tribe
Goddess is a documentary series that celebrates the mothers and daughters of Southeast Asia. These incredible women exude immense strength and devotion in their contributions, despite facing massive amounts of oppression, while living in extreme levels of poverty. They support their families, create beautiful art, and devote time to prayer, efforts that often go unnoticed by those around them.
Hmong Tribe
Spiritual Traveler
Temple Guardian
Kayan Lahwi Tribe
Repairwoman
Farmer
About a Woman
Jordan Davis
I have always been a quiet observer and a mental collector of moments. While searching for a way to make these vignettes I was storing into something tangible, I stumbled across my own quiet style of narrative photography. I use simple narratives to tell stories of personal experience, family, loss, love and life. Every image I make is about my experience as a woman. Whether it be about a constant struggle with UTI’s, having weight issues, eating disorders, identity in society, family or the art world, my role in a relationship, or my life experiences in general. In my series “About a Woman� I am particularly interested in the certain experiences and nuances that I have as a Woman and are generally more specific to women than they are to our male counterparts.
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Mare Veen Free Fall
As an artist, I try to respond to locations that I carefully choose. I intervene using materials alien to the location. I direct my models thereby often challenging their physical abilities. I seek to find a relationship between a subject or an object and location that is interesting because it is surprising, in perfect harmony or in a way alienating. My work is about the norms and judgments we put upon ourselves (due to our social contexts, our education, our characters and our experiences from the past), and the desire to liberate myself from these limits, that is to be free and unprejudiced. Being a woman puts you in a frame of expectations and unconscious female behavior. We try to fit in, but it’s not always comfortable.
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@WomenInStreet Interview by Emily Valentine
Street photography has historically been an area of photography dominated by men, but all female collective @womeninstreet are on a mission for change. Founded by photographer Casey Meshbesher, @womeninstreet now represents a strong network of talented female photographers working to increase the visibility of women within street photography. Streets of Seoul by Ximena Echague @ximena_echague
Can you tell us a little bit about ‘Women in Street’ and your blog Her Side of the Street? @womeninstreet could be called a zeitgeist, a movement or a social media project. We are on many platforms to increase visibility of women street photographers and provide a network and community. The publication ‘Her Side of the Street’ is designed to showcase the work, and express the differing views of both emerging and seasoned artists in the genre. 132
Aside from showcasing this work, the project also supports women in the field with guest curators, collaborators and writers from various backgrounds. With this initiative it’s crucial to represent many approaches and styles. It shouldn’t be limited to any one voice. What was the catalyst that sparked the community? Involved with photography the past twenty years, I’ve been shooting street for over a decade, and checking out social media photography for as long. I became bored and frustrated that
the majority of what was out there was by men so I conducted some research, made counts, percentages, looked around everywhere, and began collecting names of women. That’s when I started my little list, the one that in some ways was the catalyst for it all. When I published an early version of the list in 2014, there was literally nothing out there in a Google search of “women street photographers,” except two articles in the NY Times (women “street photographers” who were models doing some “street style” photography). Spring 2016 was when my list went viral in the online street communities, and soon enough this list was now at the top of the same search result. This caused some conversation to come up in online forums. Women began contacting me, and soon after this I founded the Facebook group. The publication was founded by the end of that summer. I had been sharing many links and resources, - nearly anything I could find on women street photographers. I was tracking it down and posting to the group. The response was fantastic. These resources were finite though, so it wasn’t long before I had determined that there would be a publication, where I could generate new content. Now in 2017 there are tonnes of media links of all kinds about “women street photographers”. So it’s been an amazing evolution to note the distinct progress from one year to the next, over those three years. Street photography has historically been a male dominated area of photography, why do you think this is, and what challenges do you think female street photographers faced? It’s complicated. Does sexism have anything do with that? Why yes, most of it, but some of this is indirect. It isn’t because a group of men wake up every morning and say ”What can we do to keep women out of street photography today?!” Yes, some of this does happen and I’ve heard from women who’ve said that men tell them to their face that they don’t think women are as good at street, or just photography in general. However, this is a minority, and this small group of people is surely not causing all of the issues. Some of the indirect part of the cause is women having the internalized social programming to not actively assert and promote themselves, and then perhaps some lack self confidence. Perhaps a few could be intimidated by the male
dominated factor they see, or about the “rules” about what might be accepted as street. Then there are some people, and some women among them, who have said they believe the low numbers are because there are just so few women who do street photography! Even with ‘official” research, this could only tell us something about how many women submit or participate in something labeled street, not how many practice. I offer my own educated guess of 30% submissions by women, based on what statistical data is known to me and personal observation. There are many cases of women who pop up on the grid who have just been “out there” doing this for years or even decades, then suddenly one day they start putting their work online. Or, there are some women with low key web presence doing nothing to promote this for years, and not participating in any online forum. Then there are some women who, whether unknown or recognized, are publishing their work actively, but with no particular affinity to the street genre. It makes one wonder how many artists are out there but think “I do not do street photography,” they don’t identify with these clubs, and then they think they’re not doing the genre! So the only thing we can say here, is that women seem to be less likely to submit to competitions, apply for collectives, and to participate in social media photography communities labeled as street. I think many have recognized that street photography is in the process of redefinition. Do you think that women are now gaining more recognition and exposure within the field? @womeninstreet and related projects are having an impact, there is a lot more discussion and awareness now. Typical numbers are going up from 10% to 15-20%, and it must be understood that this is not enough, we are not done. There are more men now becoming a little more vocal or showing forms of public support, and we are going to need more of this. One important change needed is more women on judging and speaking panels. There is evidence to suggest that when the number of women judges on these goes up, so too do submissions from women artists.
Could you tell us about your future aspirations for ‘Women in Street’?
an international and interesting community we’ve got going here.
I can envision collaborations, collectives forming through this community. Individuals finding one another working on group projects. Beyond that, perhaps a book, an exhibition, maybe even an international festival one day. The ideas of what’s possible when you think of what
We have brought together so many photographers, encompassing every age group, so many diverse cultural backgrounds, and all the different levels of experience—we really have everyone, from the newbie to the well known who participate here. As far as the output of the
September - Valentina Martiradonna @valenonvale
blog is concerned, continuing to evolve, perhaps gradually opening up to invite more participation from more corners, and I believe multi-media and interactivity should part of this, or any social media endeavor—some things are in the works about that, stay tuned!
Casey Meshbesher. Editor - Her Side of the Street Instagram - @womeninstreet
Web - womeninstreet.com Interview by Emily Valentine - @emily_v_photos
Edvina Meta on the cover
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My name is Edvina Meta, a freelance Photographer and Retoucher with a master degree in Psychology. As a photographer my main aim is to break the intersection area between the people and the photographer, reaching the eye and the soul. Provoking and creating a feeling makes me hunt for the moment, the angle, the light and the spirit of what will be forever transcend in a single image. My main inspiration in photography are movies, books, places and paintings. But mostly movies from directors such as Kubrick, Kurosawa, Wes Anderson and many others, whose visual language is a vocabulary on framing, light and emotions.
The project “Pure White� was an editorial for Living Magazine with for the International Albinism Awareness Day. We wanted Albinos to embrace and love the rarity of their appearance. To make them see their different features not as weakness but as their most strong feature and be proud of their unique look.
Photo and Retouch @edvinameta For @Living_Albania Magazine Editor In Chief @Gentiminga Clothing @BoutiqueCocotirana
Behind The Scars
Sophie Mayanne 144
Isabella
“Our skin is the road map to our lives, from the intricate lines around our eyes to the age spots of the elderly, to the faded scars often long forgotten, gained from the rough and tumble in the school playground. Each scar tells it’s own story - a badge of victory in a fight, recovery from an accident or illness, a long awaited “fix”. “Scars” is a celebration of beauty, of flaws, of battles won and obstacles overcome. It is about survival, living beyond that and capturing the memories. It is a truly honest depiction of how our history, shown through these scars does not define us but compels us. A reaction to a scar is personal, and often very difficult. The adjustment and acceptance from what is deemed perfect to what is then judges as a disfigurement is not easy. The feeling is uncomfortable, breaking both self confidence and body image. The scar is raw, and infinite. It often takes time and courage to discuss, let alone display such changes to the outside world. To put this into a pictorial narrative shows such scars in a different light. The uninvited invasions of our bodies, each one unique, tells stories of pain and recovery. Like strokes from an artist’s brush, once removed from the harsh reality of an operating theatre. They take on a form, a beauty perhaps that is sometimes difficult to appreciate, but fascinating all the same. If these images help us to think differently about scarring, and for those that “wear” these scars, to look differently at not only the imperfections, but the individuality these marks might engender, then for me, I would deem the project a success.”
Beckie
Andrea
Clare
“I received this scar after being bitten by a spider while I was travelling in India. After the bite hap-pened, while asleep, there was only a feeling of tingling and numbness, but no apparent bite wound. The bite unfortunately developed into an abscess which required surgery when I returned to the UK a couple of weeks later. The wound ended up 6cm deep and 3cm wide. I caught a rare strain of MRSA whilst receiving treatment in the UK, which delayed my recovery for more than a year. To begin with I did not like the scar, but 8 years on I now very much like it, and enjoy having it as part of me.�
Christina
“I had a hydatid cyst on my liver, and had the surgery when I was 14. That year was definitely not my year. From what I know about it, it was a tapeworm that I probably got from playing with dogs and not washing my hands after. I read that it grows 2-3cm per year, and mine was 8-9cm when I had the surgery, so quite big. It did bother me in the beginning, but I remember one day my brother told me that it looks really cool and it makes my belly special. I think that’s when I started liking it. I wouldn’t change it, or the experience for nothing. It was hard going through it (hospital, eating yoghurts for two weeks, not being allowed to shower or getting out of bed by myself), but it made me stronger.”
Isabella
BeckiE
Natasha
Hebe
“I had surgery to correct my scoliosis last year. The process of being in hospital and the recovery process was incredibly humbling. I have a new found respect for my body. It’s a practical body, down to it’s functions. I can run, dance, jump and I’m no longer preoccupied by “problem areas” like I used to be. I feel so liberated and lucky to have realised how great and capable my body is.”
Matt
Rachael Yates Reiterated Iteration
In the series Reiterated Iteration, I project works of art onto my body, creating a barrier between the world and myself. By allowing myself to be trapped inside a frame for public view I am in turn free to insert and express myself underneath a thin veil of light.
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My work focuses on the exploration of human emotion through the therapeutic means of instant film self-portraiture. In a literal sense, I purge my anxieties and thoughts into a physical frame, creating a visualization of words I am unable to speak.
Madiha Abdo Dark passion
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When creating photographic images featuring female subjects I endeavour to create artworks, often with mystery touch, likely to attract the viewers’ attentions and curiosities, regardless of their gender. I particularly enjoy visualising the viewer’s looking at my works with some perplexities and perhaps making unspoken questions about my eventual intended messages. I leave viewers to indulge into their fervid speculations.
index Check out the sites for all photographers featured in this issue for more inspirational work.
Madiha Abdo
Sergey Melnitchenko
Alanna Airitam
Edvina Meta
Jordan Davis
Elodie Milan
Jen Dollface
MitikaFe
Ximena Echague
Alexandra Farias Moeller
Elizabete Ezergaile
Mare Veen
Priyanka Ghetia
Corpus Vertebrae
Katie Lovecraft
InĂŠs Vidart
Ashley MariĂŠ
Natasha Wilson
Valentina Martiradonn
womeninstreet
Sophie Mayanne
Rachael Yates
madiabdophotography.format.com alannaairitam.com jordavis.com jendollface.com ximenaechague.com facebook.com/elizabeteezergailephoto priyankaphotography.wixsite.com/priyanka katielovecraft.com instagram.com/ashleymariefoto instagram.com/valenonvale sophie-mayanne.com
Yvonne McClement
parkerandloulou.com 172
melnitchenko.com
facebook.com/EdvinaMetaPhotography ello.co/elodiemilan3 instagram.com/mitikafe/ alexandrafarias.com mareveen.nl corpus-vertebrae.tumblr.com flickr.com/photos/inevidart deanastaciaphoto.com womeninstreet.com yatesrl.com
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