Larissa Leclair

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Mark Dungan, Matt Billings, Matt Dunn, Elizabeth Fleming, and Adam Cruces.

11-noon: Mark Dungan

Describe the photograph selected for One Hour Photo in three words:
abstract, unidentifiable, metal

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I selected something that represents the work I like to create without giving up too good of a cherry.

What are your thoughts on letting go of this image?
I have several images that I really like that few people have seen so it’s okay. I’ll get up in the morning and make another one.

Website: -

12-1pm: Matt Billings

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1-2pm: Matt Dunn

Describe the photograph selected for One Hour Photo in three words:
A Memento Mori

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I photograph every day and contribute at least one photo daily to the Washington City Paper/City Desk. I am always looking forward to the next photograph.

What are your thoughts on letting go of this image?
Roland Barthes, a philosopher and photo critic said that sometimes what is interesting about a photograph is “revealed only after the fact, when the photograph is no longer in front of me and I think back on it”. That is, a photograph is better remembered than viewed directly. He goes on to say in Camera Lucida that “ultimately, or at the limit, in order to see a photograph well, it is best to look away or close your eyes.” For me this is what the exhibit is about. You never let go of the memory of a photograph.

Website: www.mattdunn.us/

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2-3pm: Elizabeth Fleming

Describe the photograph selected for One Hour Photo in three words:
Hiding on stairs

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
It was difficult–I wanted an image that would do justice to my work, but I knew it would be impossible to give up an absolute favorite, so it was a delicate balance. I chose one that had particular staying power for me mentally–I can envision it now, so in that way I’m able to hold on to it. And because it’s a picture that feels a bit lonely I think it resonated for me with the theme of loss, which seems to be largely what the concept of “giving up” a photograph is about.

What are your thoughts on letting go of this image?
In many ways it echoes the experience of being a parent–I am constantly having to let go in the sense that my children are speedily leaving their babyhoods behind. I’m watching change happen before my eyes, and so am in a sometimes almost constant state of wistfulness. As a result letting go of my image felt like a poignant symbol of how I relate to my daughters growth.

Website/Blog:http://www.elizabethfleming.com; http://elizabethflemingphotography.blogspot.com

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3-4pm: Adam Cruces

 

Describe the photograph selected for One Hour Photo in three words:
wet splash cannonball

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
Pick an image that you wouldn’t mind sharing with a relatively small amount of people, while hoping it’s substantial enough to share.

What are your thoughts on letting go of this image?
It’s refreshing not too feel so attached to something that I enjoyed making.

Website:  http://www.adamcruces.com

 

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Hee Jin Kang, Gregory Halpern, Lindsay Page, Alexander Heilner, and Nigel Shafran.

11-noon: Hee Jin Kang

Describe the photograph selected for One Hour Photo in three words:
Empire – riffed, abbreviated.

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I made a photograph specifically in response to the show’s themes.

What are your thoughts on letting go of this image?
It feels liberating.

Website/Blog: www.heejinkang.com; heejinkang.wordpress.com

12-1pm: Gregory Halpern

Describe the photograph selected for One Hour Photo in three words:
I really don’t think I can describe the picture in three words.

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
It’s just a first draft of a new idea. I will likely reshoot the idea.

What are your thoughts on letting go of this image?
I have mixed feelings.

Website: http://gregoryhalpern.com/

1-2pm: Lindsay Page

2-3pm: Alexander Heilner

Describe the photograph selected for One Hour Photo in three words:
Aerial Development Glut

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
In my case, I was thinking about images that are very representative of my current artwork. I considered several one-off photos that are not part of my current aerial project, but it seemed like a bit of a cop-out. I decided it had to be an image I was currently excited about, and which would be potentially significant in its absence from the group. Having said that, I also ruled out a few of my very favorites, because I think they are important enough to the project that they need to be seen in future iterations.

This group of images consists of aerial views of Cape Coral, Florida, where there are more canals than any other city in the world, and where the housing bubble burst so dramatically in 2008, that there are huge swaths of and that are only partially developed, and will no doubt stay that way for some time to come. Most of the images I’ve been showing are either fairly low vantage points, so that details in the houses are clearly visible, or they are taken from very high, so that the vast extent of the crisis can be seen in geographic terms. The image I am giving up for One Hour Photo is precisely between these extremes. It is the one that tells the whole story at once – the investment of the individual families as well as the societal breadth of the problem. I’m hoping that a viewer will see all of this in the single image.

What are your thoughts on letting go of this image?
I feel a connection between the evaporation of wealth that so many people have experienced recently, and the disappearance of this photograph. When this image disappears after its one hour in the spotlight, the 176 homes visible in the picture will go with it. The photograph will cease to be a viable representation of my work, or of Cape Coral, and I will let it go lightly, knowing that many of those 176 homeowners had to give up much more when they were forced to give their keys back to the bank, and start anew on their American dreams.

Website:  http://www.heilner.net

3-4pm: Nigel Shafran

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Emilia Harned, Kelly Mulligan, Louis Jacinto, Andreas Vesterlund, and Rosalyn Song.

11-noon: Emilia Harned

12-1pm: Kelly Mulligan

1-2pm: Louis Jacinto

Describe the photograph selected for One Hour Photo in three words:
1977, Finally, Over

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I searched through my vast volume of images, looking for one that I’ve always enjoyed seeing through the years, but had not ever shown it to anyone else. I felt that the image chosen for the One Hour Photo show, “1977 Is Finally Over” would be greatly admired during the one hour allotted for exhibition, bringing joy as well as questions – the story behind the image.

What are your thoughts on letting go of this image?
During the last half decade I had being reviewing, printing and exhibiting and publishing my work, including images that were made more than 30 years ago. In my mind’s eye, I still feel like that teenage kid taking all those pictures. By choosing “1977 Is Finally Over” as the image for the One Hour Photo show, I am giving my mind’s eye a good, strong new set of eyeglasses.

Website: www.louisjacinto.com

2-3pm: Andreas Vesterlund

Describe the photograph selected for One Hour Photo in three words:
Hazy little girl

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I knew I had to make a photograph specifically for the exhibition. My work deals with transitory places and the passing of time, so the one-hour theme fit me perfectly. This photograph is connected to an ongoing project in which I use several different photos to construct new images. Since this is a scene that never actually happened, in some sense showing it for even an hour in gives the image more of an existence than it had in real life.

What are your thoughts on letting go of this image?
Since I made my image only to be shown like this, in this specific exhibition, letting go is a part of its lifespan. The girl in the photograph enters the space, dwelling there for a short moment, not unlike the way my image briefly enters the exhibition space and then disappears. This quality of moment-in-the-moment only enhances my original intention.

Website: www.andreasvesterlund.com

3-4pm: Rosalyn Song

Describe the photograph selected for One Hour Photo in three words:
instant, vanish, unexpected.

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I would select a photograph that would best represent the ideology of the One Hour Photo project, that photographs are snapshots of fleeting moments in time.

What are your thoughts on letting go of this image?
A little sad, but overall happy to be part of this project.

Website: http://rosalynsong.tistory.com

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Jared Ragland, Sam D. Rivers, Carly Gaebe, F. Lennox Campello, and Michael Vincent Manalo.

11-noon: Jared Ragland

Describe the photograph selected for One Hour Photo in three words:
Angel of Grief

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
That the image would be projected and never seen again distinctly led to the choosing of this specific picture, one that could conceptually address the idea of transience and make for a unique visual experience. Then one hopes for those other inexpressible, uncontrollable qualities to find their way in somehow, so that fate and beauty and story can give the work life. This photograph was made in a New Orleans cemetery, and on the very day it will be shown and consequently disappear forever, May 22, I will be in New Orleans to attend a memorial celebration of an artist who very much lived a life continually in search of the ineffable. He has been a great inspiration to me for many years, and how fitting it is that this image will flicker and fade as a tribute to a life that ended much too early.

What are your thoughts on letting go of this image?
Grief and despair are meant to be let go.

Website: www.jaredragland.com

12-1pm: Sam D. Rivers

Describe the photograph selected for One Hour Photo in three words:
Temporal, Instant, ironic

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
In my process I decided to use a photograph from one of my side series that would be able to hold its own as a conceptual piece, something I would not have to be regretful for leaving behind in the dust of the past.

What are your thoughts on letting go of this image?
Letting go of this image is a metaphor for life and memory and the way that we perceive it. In the image a man is gambling on horses and that in and of itself is very much a metaphor of the temporal nature of the work and the way it is being presented.

Website: http://www.samdrivers.com

1-2pm: Carly Gaebe

Describe the photograph selected for One Hour Photo in three words:
Consistent, familial, adaptation.

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I chose this photograph because it represents some of the things that are closest to me — family, temporality, emotion through an aesthetic experience, and the ability to remember and realize that with every remembrance the memory changes. These characteristics are possible in many images – and will exist after this particular image is gone.

What are your thoughts on letting go of this image?
It will still exist in my memory.

Website:  www.carlygaebe.com

2-3pm: F. Lennox Campello

Describe the photograph selected for One Hour Photo in three words:
Courage, Time, Age

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
Just like the idea of the show, it is a very novel experience, one that I hope all artists take seriously. The photograph ceases to be a permanent record and becomes a fleeting reminder of the second that it caught on film.

What are your thoughts on letting go of this image?
Very similar to letting go of my mother when her time arrives to depart this life. But in a quantum physics way, both her and the photograph live in endless versions in an infinite number of Universes.

Website/Blog:  http://dcartnews.blogspot.com

3-4pm: Michael Vincent Manalo

Describe the photograph selected for One Hour Photo in three words:
Nostalgic, Memorable, Sentimental

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
The process is not that easy. First you have to choose images that you deem fit for the exhibit, and then you’d have to reflect on the feelings and the atmosphere that these photos yield and once you’ve collected these, the difficult part begins: choosing the best photo. Now, it takes a lot of courage to surrender the chosen image but doing this won’t be in vain, since it will serve a huge purpose in the project. May it have a lot of viewers or not, it would still be a part of the memory of those who have seen it.

What are your thoughts on letting go of this image?
It was difficult to surrender this image but I believe that it is worth it. Now that image is part of my memory and will be within me for a long time.

Website: http://www.wix.com/theflickerees/michaelVmanalo

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Thomas Michael Corcoran, Gelare Khoshgozaran, Zac Willis, Linda Plaisted, and Susannah Slocum.

11-noon: Thomas Michael Corcoran

Describe the photograph selected for One Hour Photo in three words:
Time Standing Still

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I selected a recent photo that I thought was most relevant to the concept of this opening. It is a night shot of a crosswalk signal in Jangandong; a neighborhood of the Dongdaemun district of Seoul. Behind the cross walk sign is a sign for one of the literally tens of thousands of ??? (no rae bahng), or karaoke clubs, that are open 24 hours a day there. The presence of the ??? adds some meaningful dimension to this photo, in that these singing rooms are rented by the hour. It is a place where children go to sing and hangout for an hour between school and private lessons, but it is also the place friends most often find themselves in the last hour of a night of eating and drinking. It is a symbolic hour. It is a defining hour. It is a forgotten hour.

What are your thoughts on letting go of this image?
I think if one person sees it and understands it in the hour that it is displayed, it will have served it’s purpose well.

Website/Blog: http://blog.thomasmichaelcorcoran.com/

12-1pm: Gelare Khoshgozaran

Describe the photograph selected for One Hour Photo in three words:
\?j? – m – p\

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
Being “good”, if a “good and compelling image” is what you mean by that, does not necessarily mean it has to be “eternally accessible”. It happens a lot in life when you see something, a place, a moment, a person, a situation that you wish you could take a picture of. But just as you are thinking, it is already gone. And that is when a desire, a certain kind of longing makes you try to “remember”.

What are your thoughts on letting go of this image?
I have already let go of that “jump”; letting go of its image is not an issue.a

Website:  -

1-2pm: Zac Willis

2-3pm: Linda Plaisted

Describe the photograph selected for One Hour Photo in three words:
dreamlike, narrative, journey

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I created my piece “Traveler” for the One Hour Photo Project in honor of my father who passed away recently and who also can never be seen again. In going back through my archived body of work considering images for this project, I also glanced through folders of faded family photographs. Attempting to layer past and present, I placed a boyhood image of my father into the context of one of my existing landscape pieces, fusing context and subtext, past and present. Now the young boy who my father once was and the woman I have become can somehow still go on together toward a future horizon; existing along parallel lines in this constructed, hybrid world.

What are your thoughts on letting go of this image?
Letting go of an image seems a small thing in comparison to letting go of the people you love.

Website: http://lindaplaisted.com

3-4pm: Susannah Slocum

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Diedra Krieger, Sam Jury, Kate MacDonnell, Brian Ulrich, and Ken Ashton.

11-noon: Diedra Krieger 

12-1pm: Sam Jury

Describe the photograph selected for One Hour Photo in three words:
Suspend future event

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
Within a series of works I make differing versions. This version of ‘Between Here or There’ never quite conformed to being a physical printed image or photograph. Because the depicted event appears to be internally lit and takes place within a large oppressive space it seemed appropriate for it to be reproduced by light and projected on a scale that comes close to describing the original space. The depiction of a suspended act trapped in a moment of time made it a perfect choice for a show about momentary windows of existence.

What are your thoughts on letting go of this image?
It is better to have loved and lost….

Website: www.samjury.com

1-2pm: Kate MacDonnell

Describe the photograph selected for One Hour Photo in three words:
Sun silhouetted airplane

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
With detachment. I took into consideration that the image would be projected, and thought an image that was about light flying through air would be supported by the medium of light flying through air in the gallery. I also wanted to use a simple image -one that is striking, but evocative. I wanted to use an image that I would like to look at for an hour. The experience of seeing this image, and photographing it -that moment I would have liked to expand: standing in the snow, staring at the sun. But here is a safe way to stare at the sun for an hour.

What are your thoughts on letting go of this image?
Letting go of things that we are attached to is a great practice, for everything in life, for death. We all have to let go of everything eventually. In other time-based art forms, such as dance, this letting go is the norm. No one will ever see the same dance performance again, and no one will ever hear the same live music concert again. That is part of the beauty of those experiences. That is usually not the case with photography. The truth about the image is that the viewer is always left with the residue or the memory which is not the image itself. So getting rid of the object and entrusting the image to be carried probably briefly and in few memories is a very intimate connection with those few that have burned the image on their retina.

Website:  www.katemacdonnell.com 

2-3pm: Brian Ulrich

Describe the photograph selected for One Hour Photo in three words:
Failure, Late Capitalism

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
My most recent project is based on the idea of photographing the nostalgia for retail culture which in many ways is an odd thing to be nostalgic about. We lament the passing of our favorite store or brand, whereas the brand or store has little or not connection to us other than to make attempts to lure us in, wallets in hand. This photograph is of a Penny’s in Manitowoc, WI. The lone display of a long out-of-date sign beacons through the night air. The photograph attempts to be romantic but it’s a fleeting as the many similar spaces are in our periphery. All the more reason to glance once during this exhibition and then cast it away.

What are your thoughts on letting go of this image?
It epitomizes my project, Dark Stores, Ghostboxes and Dead Malls. Our culture places too much emphasis and gives too much power to retail economy.

Website: www.notifbutwhen.com

3-4pm: Ken Ashton

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Bryan Ewsichek, Lynley Bernstein, John Vanderslice, Ramon Vega, and Zev Schmitz.

11-noon: Bryan Ewsichek

Describe the photograph selected for One Hour Photo in three words:
colorful, tradition, deflated

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
While I appreciate the concept of the show, and I submitted a photograph that I am proud of… I also realize that the world will not end if no one sees my photo ever again. That said, it elevates the importance of seeing my photo within the hour that it will be projected.

What are your thoughts on letting go of this image?
The particular subject matter of my photograph illustrates the fleeting nature of American traditions and instinctual consumer nature… So it seems appropriate to essentially discard the image.

Website: http://www.ewsichek.com

12-1pm: Lynley Bernstein

1-2pm: John Vanderslice

Describe the photograph selected for One Hour Photo in three words:
Blonde on bronze

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
Ignore the “never be seen again” part.

What are your thoughts on letting go of this image?
C’est la vie.

Website: http://johnvanderslice.com

2-3pm: Ramon Vega

3-4pm: Zev Schmitz

Describe the photograph selected for One Hour Photo in three words:
The salted inversion

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I find it strange when artists become protective and nostalgic about their work. Anyone who photographs daily or even weekly has amassed an incredible amount of images by years end and should be happy to display the strong images in any occurrence, if only once.

What are your thoughts on letting go of this image?
I hope it is well enjoyed.

Website: http://zevschmitz.com

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Michelle Repiso, Liz Gorman, Danny Treacy, Tyler McPhee, and Anna Reich.

11-noon: Michelle Repiso

 Describe the photograph selected for One Hour Photo in three words:
16mm, water, women

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I just finished working on this image and figured it was the right time and place for this to be shown; even if for just one hour.

What are your thoughts on letting go of this image?
We let go of so many things, why shouldn’t this be one of them.

Website: http://www.michellerepiso.com

12-1pm: Liz Gorman

1-2pm: Danny Treacy

Describe the photograph selected for One Hour Photo in three words:
Fertile Ground photogram.

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
It’s good practice to kill your babies every now and then.

What are your thoughts on letting go of this image?
See above.

Website: www.dannytreacy.com

2-3pm: Tyler McPhee

Describe the photograph selected for One Hour Photo in three words:
Playful, Curious, Iconic

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
The images from this series are a set of Bigfoot sightings recontextualized to the former No Man’s Land area between East and West Berlin Germany. I think there’s actually something pretty poetic about the fact that they’ll never be seen again. It’s a fleeting moment, a Bigfoot sighting. Sometimes they’re documented and sometimes they’re just told through a story that substantiates the creatures existence.

What are your thoughts on letting go of this image?
I’m really happy that I could share the project with an audience, however anonymous that relationship may be.

Website: http://www.tylermcphee.com

3-4pm: Anna Reich

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Nicola Kast, Joseph Moore, Lynn Palewicz, Chajana denHarder, and Ahndraya Parlato.

11-noon: Nicola Kast

12-1pm: Joseph  Moore

1-2pm: Lynn Palewicz

2-3pm: Chajana denHarder

Describe the photograph selected for One Hour Photo in three words:
time’s relentless melt

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
You make one with the end in mind.

What are your thoughts on letting go of this image?
“All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt.” – Susan Sontag

Website: www.chajana.com

3-4pm: Ahndraya Parlato

Describe the photograph selected for One Hour Photo in three words:
fleeting

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
outtake

What are your thoughts on letting go of this image?
resolved

Website: www.ahndrayaparlato.com

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Edith Maybin, Robert Vizzini, Alisha Kerlin, Wesley Schauble, and Nicholas Knight.

11-noon: Edith Maybin

Describe the photograph selected for One Hour Photo in three words:
Naked, Blood, Eden

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I love the idea of the photograph, the image which is left in someone’s mind. So choosing to give an image which will never be seen again but in someone’s mind was seductive and I wanted to give one I loved.

What are your thoughts on letting go of this image?
I like being related to you even just by a secret.

Website: http://www.edithmaybin.com

12-1pm: Robert Vizzini

Describe the photograph selected for One Hour Photo in three words:
Mysterious, strong, eternal

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
That is just the situation, I wanted the image to be a good one and one that could represent my body of work but one that I am willing to give up to the ages. I must say that it was just an intuitive response to this image when I was going through images to possible use. You can kind of say it chose itself, this image just seemed to jump out at me to be the one.

What are your thoughts on letting go of this image?
In fact it wasn’t that difficult to pick this image. I respect the idea of this project and felt that this was an image that could represent the idea of the fleeting moment of each photograph. Each photo taken is a moment in time recorded that will never appear again. With many of my images being shot at night and low light it is actually a period of time compressed in one image due to the long exposures.

Website: http://www.robertvizzini.com

1-2pm: Alisha Kerlin

Describe the photograph selected for One Hour Photo in three words:
Discreet, Stalemate, Unplanned

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I’ve played a lot of solitaire and I lose about 60% of the time. Not every game can be turned into a painting, and some look great in photographs.

What are your thoughts on letting go of this image?
I think it fits the project. I thinking that looking at a game of solitaire is very different than playing it yourself. Do you look at it for aesthetic reasons like it is a flower arrangement or do you continue to play and check if there is any moves. Letting it go is like realizing you’ve lost the game. Play another.

Website: www.alishakerlin.com

2-3pm: Wesley Schauble

3-4pm: Nicholas Knight

Describe the photograph selected for One Hour Photo in three words:
“Wall between frames.”

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
It’s easy enough to get over if (a) you have other similar images, (b) you’re convinced that the sacrifice to the concept of the show is worth it, and (c) your practice doesn’t depend on the future availability of any single image.

What are your thoughts on letting go of this image?
The concept of the show is fun and insightful, first of all.  But more importantly, it introduces an ethical dimension to this “social contract” (artist and exhibition production) that generally locates its ethics in a very different way. The “promise not to show again” is something that the artist has complete control over fulfilling, and that ethical autonomy is highly welcome, in direct proportion to its sense of loss. Sort of like asking, “Does One Hour Photo have Buddha Nature?”

Website: www.nicholasknight.net