poppyslovingyou:

chesireclam:

arcanacat:

allthingshyper:

smallworldofbigal:

ashleymater:

Tippi Benjamine Okanti Degré, daughter of French wildlife photographers Alain Degré and Sylvie Robert, was born in Namibia. During her childhood she befriended many wild animals, including a 28-year old elephant called Abu and a leopard nicknamed J&B. She was embraced by the Bushmen and the Himba tribespeople of the Kalahari, who taught her how to survive on roots and berries, as well as how to speak their language.
Learn more

in before tumblr screams about cultural appropiation

This doesn’t even count as cultural appropriation
This isn’t a person robbing a culture, to hell with the others
This is a child born right next to that culture
Who was embraced by the people and taught how to do some of the things they do
Which is not the same as cultural appropriation

No cultural appropriation. Just something really beautiful.

I love the picture where she’s cuddling a frog.

Don’t send her to school when she is older.
Zoom Info
poppyslovingyou:

chesireclam:

arcanacat:

allthingshyper:

smallworldofbigal:

ashleymater:

Tippi Benjamine Okanti Degré, daughter of French wildlife photographers Alain Degré and Sylvie Robert, was born in Namibia. During her childhood she befriended many wild animals, including a 28-year old elephant called Abu and a leopard nicknamed J&B. She was embraced by the Bushmen and the Himba tribespeople of the Kalahari, who taught her how to survive on roots and berries, as well as how to speak their language.
Learn more

in before tumblr screams about cultural appropiation

This doesn’t even count as cultural appropriation
This isn’t a person robbing a culture, to hell with the others
This is a child born right next to that culture
Who was embraced by the people and taught how to do some of the things they do
Which is not the same as cultural appropriation

No cultural appropriation. Just something really beautiful.

I love the picture where she’s cuddling a frog.

Don’t send her to school when she is older.
Zoom Info
poppyslovingyou:

chesireclam:

arcanacat:

allthingshyper:

smallworldofbigal:

ashleymater:

Tippi Benjamine Okanti Degré, daughter of French wildlife photographers Alain Degré and Sylvie Robert, was born in Namibia. During her childhood she befriended many wild animals, including a 28-year old elephant called Abu and a leopard nicknamed J&B. She was embraced by the Bushmen and the Himba tribespeople of the Kalahari, who taught her how to survive on roots and berries, as well as how to speak their language.
Learn more

in before tumblr screams about cultural appropiation

This doesn’t even count as cultural appropriation
This isn’t a person robbing a culture, to hell with the others
This is a child born right next to that culture
Who was embraced by the people and taught how to do some of the things they do
Which is not the same as cultural appropriation

No cultural appropriation. Just something really beautiful.

I love the picture where she’s cuddling a frog.

Don’t send her to school when she is older.
Zoom Info
poppyslovingyou:

chesireclam:

arcanacat:

allthingshyper:

smallworldofbigal:

ashleymater:

Tippi Benjamine Okanti Degré, daughter of French wildlife photographers Alain Degré and Sylvie Robert, was born in Namibia. During her childhood she befriended many wild animals, including a 28-year old elephant called Abu and a leopard nicknamed J&B. She was embraced by the Bushmen and the Himba tribespeople of the Kalahari, who taught her how to survive on roots and berries, as well as how to speak their language.
Learn more

in before tumblr screams about cultural appropiation

This doesn’t even count as cultural appropriation
This isn’t a person robbing a culture, to hell with the others
This is a child born right next to that culture
Who was embraced by the people and taught how to do some of the things they do
Which is not the same as cultural appropriation

No cultural appropriation. Just something really beautiful.

I love the picture where she’s cuddling a frog.

Don’t send her to school when she is older.
Zoom Info
poppyslovingyou:

chesireclam:

arcanacat:

allthingshyper:

smallworldofbigal:

ashleymater:

Tippi Benjamine Okanti Degré, daughter of French wildlife photographers Alain Degré and Sylvie Robert, was born in Namibia. During her childhood she befriended many wild animals, including a 28-year old elephant called Abu and a leopard nicknamed J&B. She was embraced by the Bushmen and the Himba tribespeople of the Kalahari, who taught her how to survive on roots and berries, as well as how to speak their language.
Learn more

in before tumblr screams about cultural appropiation

This doesn’t even count as cultural appropriation
This isn’t a person robbing a culture, to hell with the others
This is a child born right next to that culture
Who was embraced by the people and taught how to do some of the things they do
Which is not the same as cultural appropriation

No cultural appropriation. Just something really beautiful.

I love the picture where she’s cuddling a frog.

Don’t send her to school when she is older.
Zoom Info
poppyslovingyou:

chesireclam:

arcanacat:

allthingshyper:

smallworldofbigal:

ashleymater:

Tippi Benjamine Okanti Degré, daughter of French wildlife photographers Alain Degré and Sylvie Robert, was born in Namibia. During her childhood she befriended many wild animals, including a 28-year old elephant called Abu and a leopard nicknamed J&B. She was embraced by the Bushmen and the Himba tribespeople of the Kalahari, who taught her how to survive on roots and berries, as well as how to speak their language.
Learn more

in before tumblr screams about cultural appropiation

This doesn’t even count as cultural appropriation
This isn’t a person robbing a culture, to hell with the others
This is a child born right next to that culture
Who was embraced by the people and taught how to do some of the things they do
Which is not the same as cultural appropriation

No cultural appropriation. Just something really beautiful.

I love the picture where she’s cuddling a frog.

Don’t send her to school when she is older.
Zoom Info
poppyslovingyou:

chesireclam:

arcanacat:

allthingshyper:

smallworldofbigal:

ashleymater:

Tippi Benjamine Okanti Degré, daughter of French wildlife photographers Alain Degré and Sylvie Robert, was born in Namibia. During her childhood she befriended many wild animals, including a 28-year old elephant called Abu and a leopard nicknamed J&B. She was embraced by the Bushmen and the Himba tribespeople of the Kalahari, who taught her how to survive on roots and berries, as well as how to speak their language.
Learn more

in before tumblr screams about cultural appropiation

This doesn’t even count as cultural appropriation
This isn’t a person robbing a culture, to hell with the others
This is a child born right next to that culture
Who was embraced by the people and taught how to do some of the things they do
Which is not the same as cultural appropriation

No cultural appropriation. Just something really beautiful.

I love the picture where she’s cuddling a frog.

Don’t send her to school when she is older.
Zoom Info
poppyslovingyou:

chesireclam:

arcanacat:

allthingshyper:

smallworldofbigal:

ashleymater:

Tippi Benjamine Okanti Degré, daughter of French wildlife photographers Alain Degré and Sylvie Robert, was born in Namibia. During her childhood she befriended many wild animals, including a 28-year old elephant called Abu and a leopard nicknamed J&B. She was embraced by the Bushmen and the Himba tribespeople of the Kalahari, who taught her how to survive on roots and berries, as well as how to speak their language.
Learn more

in before tumblr screams about cultural appropiation

This doesn’t even count as cultural appropriation
This isn’t a person robbing a culture, to hell with the others
This is a child born right next to that culture
Who was embraced by the people and taught how to do some of the things they do
Which is not the same as cultural appropriation

No cultural appropriation. Just something really beautiful.

I love the picture where she’s cuddling a frog.

Don’t send her to school when she is older.
Zoom Info
poppyslovingyou:

chesireclam:

arcanacat:

allthingshyper:

smallworldofbigal:

ashleymater:

Tippi Benjamine Okanti Degré, daughter of French wildlife photographers Alain Degré and Sylvie Robert, was born in Namibia. During her childhood she befriended many wild animals, including a 28-year old elephant called Abu and a leopard nicknamed J&B. She was embraced by the Bushmen and the Himba tribespeople of the Kalahari, who taught her how to survive on roots and berries, as well as how to speak their language.
Learn more

in before tumblr screams about cultural appropiation

This doesn’t even count as cultural appropriation
This isn’t a person robbing a culture, to hell with the others
This is a child born right next to that culture
Who was embraced by the people and taught how to do some of the things they do
Which is not the same as cultural appropriation

No cultural appropriation. Just something really beautiful.

I love the picture where she’s cuddling a frog.

Don’t send her to school when she is older.
Zoom Info
poppyslovingyou:

chesireclam:

arcanacat:

allthingshyper:

smallworldofbigal:

ashleymater:

Tippi Benjamine Okanti Degré, daughter of French wildlife photographers Alain Degré and Sylvie Robert, was born in Namibia. During her childhood she befriended many wild animals, including a 28-year old elephant called Abu and a leopard nicknamed J&B. She was embraced by the Bushmen and the Himba tribespeople of the Kalahari, who taught her how to survive on roots and berries, as well as how to speak their language.
Learn more

in before tumblr screams about cultural appropiation

This doesn’t even count as cultural appropriation
This isn’t a person robbing a culture, to hell with the others
This is a child born right next to that culture
Who was embraced by the people and taught how to do some of the things they do
Which is not the same as cultural appropriation

No cultural appropriation. Just something really beautiful.

I love the picture where she’s cuddling a frog.

Don’t send her to school when she is older.
Zoom Info

poppyslovingyou:

chesireclam:

arcanacat:

allthingshyper:

smallworldofbigal:

ashleymater:

Tippi Benjamine Okanti Degré, daughter of French wildlife photographers Alain Degré and Sylvie Robert, was born in Namibia. During her childhood she befriended many wild animals, including a 28-year old elephant called Abu and a leopard nicknamed J&B. She was embraced by the Bushmen and the Himba tribespeople of the Kalahari, who taught her how to survive on roots and berries, as well as how to speak their language.

Learn more

in before tumblr screams about cultural appropiation

This doesn’t even count as cultural appropriation

This isn’t a person robbing a culture, to hell with the others

This is a child born right next to that culture

Who was embraced by the people and taught how to do some of the things they do

Which is not the same as cultural appropriation

No cultural appropriation. Just something really beautiful.

I love the picture where she’s cuddling a frog.

Don’t send her to school when she is older.

museumuesum:

Richard Learoyd
Unique Ilfochrome photographs from Camera Obscura 
Flamingo, 2012, 58 x 48 inches (147.5 x 122 cm)
Shade green my picture, 2009, 48 x 48 inches (122 x 122 cm)

Harmony White Shirt, 2011, 48 x 48 inches (122 x 122 cm)
Hare II, 48 x 48 inches (122 x 122 cm)
Horse Head, 2012, 48 x 58 inches (122 x 147.5 cm)
Headless Woman, 2010, 58 x 48 inches (147.5 x 122 cm)
Long Black, 58 x 49 1/2 inches (147.5 x 125.7 cm)
Tatiana in her Red Shirt (1), 2013, 48 x 48 inches (122 x 122 cm)

Fish Heart, 2009, 48 x 48 inches (122 x 122 cm)
Learoyd’s minutely detailed, large-scale color portraits do not look like other photographs. Made with a giant camera comprised of two rooms, Learoyd’s subject occupies one room containing a powerful light source, while the photographic paper occupies the adjacent camera obscura. Connecting the two rooms is a lens set within a bellows—an accordion-like contraption dating from the medium’s first century.
Learoyd’s pictures are unique direct-positive images produced without a negative. The photographs on view are images made by the direct record of light reflecting from the subject to the photographic paper, yielding portraits of unsettling psychological intensity
Zoom Info
museumuesum:

Richard Learoyd
Unique Ilfochrome photographs from Camera Obscura 
Flamingo, 2012, 58 x 48 inches (147.5 x 122 cm)
Shade green my picture, 2009, 48 x 48 inches (122 x 122 cm)

Harmony White Shirt, 2011, 48 x 48 inches (122 x 122 cm)
Hare II, 48 x 48 inches (122 x 122 cm)
Horse Head, 2012, 48 x 58 inches (122 x 147.5 cm)
Headless Woman, 2010, 58 x 48 inches (147.5 x 122 cm)
Long Black, 58 x 49 1/2 inches (147.5 x 125.7 cm)
Tatiana in her Red Shirt (1), 2013, 48 x 48 inches (122 x 122 cm)

Fish Heart, 2009, 48 x 48 inches (122 x 122 cm)
Learoyd’s minutely detailed, large-scale color portraits do not look like other photographs. Made with a giant camera comprised of two rooms, Learoyd’s subject occupies one room containing a powerful light source, while the photographic paper occupies the adjacent camera obscura. Connecting the two rooms is a lens set within a bellows—an accordion-like contraption dating from the medium’s first century.
Learoyd’s pictures are unique direct-positive images produced without a negative. The photographs on view are images made by the direct record of light reflecting from the subject to the photographic paper, yielding portraits of unsettling psychological intensity
Zoom Info
museumuesum:

Richard Learoyd
Unique Ilfochrome photographs from Camera Obscura 
Flamingo, 2012, 58 x 48 inches (147.5 x 122 cm)
Shade green my picture, 2009, 48 x 48 inches (122 x 122 cm)

Harmony White Shirt, 2011, 48 x 48 inches (122 x 122 cm)
Hare II, 48 x 48 inches (122 x 122 cm)
Horse Head, 2012, 48 x 58 inches (122 x 147.5 cm)
Headless Woman, 2010, 58 x 48 inches (147.5 x 122 cm)
Long Black, 58 x 49 1/2 inches (147.5 x 125.7 cm)
Tatiana in her Red Shirt (1), 2013, 48 x 48 inches (122 x 122 cm)

Fish Heart, 2009, 48 x 48 inches (122 x 122 cm)
Learoyd’s minutely detailed, large-scale color portraits do not look like other photographs. Made with a giant camera comprised of two rooms, Learoyd’s subject occupies one room containing a powerful light source, while the photographic paper occupies the adjacent camera obscura. Connecting the two rooms is a lens set within a bellows—an accordion-like contraption dating from the medium’s first century.
Learoyd’s pictures are unique direct-positive images produced without a negative. The photographs on view are images made by the direct record of light reflecting from the subject to the photographic paper, yielding portraits of unsettling psychological intensity
Zoom Info
museumuesum:

Richard Learoyd
Unique Ilfochrome photographs from Camera Obscura 
Flamingo, 2012, 58 x 48 inches (147.5 x 122 cm)
Shade green my picture, 2009, 48 x 48 inches (122 x 122 cm)

Harmony White Shirt, 2011, 48 x 48 inches (122 x 122 cm)
Hare II, 48 x 48 inches (122 x 122 cm)
Horse Head, 2012, 48 x 58 inches (122 x 147.5 cm)
Headless Woman, 2010, 58 x 48 inches (147.5 x 122 cm)
Long Black, 58 x 49 1/2 inches (147.5 x 125.7 cm)
Tatiana in her Red Shirt (1), 2013, 48 x 48 inches (122 x 122 cm)

Fish Heart, 2009, 48 x 48 inches (122 x 122 cm)
Learoyd’s minutely detailed, large-scale color portraits do not look like other photographs. Made with a giant camera comprised of two rooms, Learoyd’s subject occupies one room containing a powerful light source, while the photographic paper occupies the adjacent camera obscura. Connecting the two rooms is a lens set within a bellows—an accordion-like contraption dating from the medium’s first century.
Learoyd’s pictures are unique direct-positive images produced without a negative. The photographs on view are images made by the direct record of light reflecting from the subject to the photographic paper, yielding portraits of unsettling psychological intensity
Zoom Info
museumuesum:

Richard Learoyd
Unique Ilfochrome photographs from Camera Obscura 
Flamingo, 2012, 58 x 48 inches (147.5 x 122 cm)
Shade green my picture, 2009, 48 x 48 inches (122 x 122 cm)

Harmony White Shirt, 2011, 48 x 48 inches (122 x 122 cm)
Hare II, 48 x 48 inches (122 x 122 cm)
Horse Head, 2012, 48 x 58 inches (122 x 147.5 cm)
Headless Woman, 2010, 58 x 48 inches (147.5 x 122 cm)
Long Black, 58 x 49 1/2 inches (147.5 x 125.7 cm)
Tatiana in her Red Shirt (1), 2013, 48 x 48 inches (122 x 122 cm)

Fish Heart, 2009, 48 x 48 inches (122 x 122 cm)
Learoyd’s minutely detailed, large-scale color portraits do not look like other photographs. Made with a giant camera comprised of two rooms, Learoyd’s subject occupies one room containing a powerful light source, while the photographic paper occupies the adjacent camera obscura. Connecting the two rooms is a lens set within a bellows—an accordion-like contraption dating from the medium’s first century.
Learoyd’s pictures are unique direct-positive images produced without a negative. The photographs on view are images made by the direct record of light reflecting from the subject to the photographic paper, yielding portraits of unsettling psychological intensity
Zoom Info
museumuesum:

Richard Learoyd
Unique Ilfochrome photographs from Camera Obscura 
Flamingo, 2012, 58 x 48 inches (147.5 x 122 cm)
Shade green my picture, 2009, 48 x 48 inches (122 x 122 cm)

Harmony White Shirt, 2011, 48 x 48 inches (122 x 122 cm)
Hare II, 48 x 48 inches (122 x 122 cm)
Horse Head, 2012, 48 x 58 inches (122 x 147.5 cm)
Headless Woman, 2010, 58 x 48 inches (147.5 x 122 cm)
Long Black, 58 x 49 1/2 inches (147.5 x 125.7 cm)
Tatiana in her Red Shirt (1), 2013, 48 x 48 inches (122 x 122 cm)

Fish Heart, 2009, 48 x 48 inches (122 x 122 cm)
Learoyd’s minutely detailed, large-scale color portraits do not look like other photographs. Made with a giant camera comprised of two rooms, Learoyd’s subject occupies one room containing a powerful light source, while the photographic paper occupies the adjacent camera obscura. Connecting the two rooms is a lens set within a bellows—an accordion-like contraption dating from the medium’s first century.
Learoyd’s pictures are unique direct-positive images produced without a negative. The photographs on view are images made by the direct record of light reflecting from the subject to the photographic paper, yielding portraits of unsettling psychological intensity
Zoom Info
museumuesum:

Richard Learoyd
Unique Ilfochrome photographs from Camera Obscura 
Flamingo, 2012, 58 x 48 inches (147.5 x 122 cm)
Shade green my picture, 2009, 48 x 48 inches (122 x 122 cm)

Harmony White Shirt, 2011, 48 x 48 inches (122 x 122 cm)
Hare II, 48 x 48 inches (122 x 122 cm)
Horse Head, 2012, 48 x 58 inches (122 x 147.5 cm)
Headless Woman, 2010, 58 x 48 inches (147.5 x 122 cm)
Long Black, 58 x 49 1/2 inches (147.5 x 125.7 cm)
Tatiana in her Red Shirt (1), 2013, 48 x 48 inches (122 x 122 cm)

Fish Heart, 2009, 48 x 48 inches (122 x 122 cm)
Learoyd’s minutely detailed, large-scale color portraits do not look like other photographs. Made with a giant camera comprised of two rooms, Learoyd’s subject occupies one room containing a powerful light source, while the photographic paper occupies the adjacent camera obscura. Connecting the two rooms is a lens set within a bellows—an accordion-like contraption dating from the medium’s first century.
Learoyd’s pictures are unique direct-positive images produced without a negative. The photographs on view are images made by the direct record of light reflecting from the subject to the photographic paper, yielding portraits of unsettling psychological intensity
Zoom Info
museumuesum:

Richard Learoyd
Unique Ilfochrome photographs from Camera Obscura 
Flamingo, 2012, 58 x 48 inches (147.5 x 122 cm)
Shade green my picture, 2009, 48 x 48 inches (122 x 122 cm)

Harmony White Shirt, 2011, 48 x 48 inches (122 x 122 cm)
Hare II, 48 x 48 inches (122 x 122 cm)
Horse Head, 2012, 48 x 58 inches (122 x 147.5 cm)
Headless Woman, 2010, 58 x 48 inches (147.5 x 122 cm)
Long Black, 58 x 49 1/2 inches (147.5 x 125.7 cm)
Tatiana in her Red Shirt (1), 2013, 48 x 48 inches (122 x 122 cm)

Fish Heart, 2009, 48 x 48 inches (122 x 122 cm)
Learoyd’s minutely detailed, large-scale color portraits do not look like other photographs. Made with a giant camera comprised of two rooms, Learoyd’s subject occupies one room containing a powerful light source, while the photographic paper occupies the adjacent camera obscura. Connecting the two rooms is a lens set within a bellows—an accordion-like contraption dating from the medium’s first century.
Learoyd’s pictures are unique direct-positive images produced without a negative. The photographs on view are images made by the direct record of light reflecting from the subject to the photographic paper, yielding portraits of unsettling psychological intensity
Zoom Info
museumuesum:

Richard Learoyd
Unique Ilfochrome photographs from Camera Obscura 
Flamingo, 2012, 58 x 48 inches (147.5 x 122 cm)
Shade green my picture, 2009, 48 x 48 inches (122 x 122 cm)

Harmony White Shirt, 2011, 48 x 48 inches (122 x 122 cm)
Hare II, 48 x 48 inches (122 x 122 cm)
Horse Head, 2012, 48 x 58 inches (122 x 147.5 cm)
Headless Woman, 2010, 58 x 48 inches (147.5 x 122 cm)
Long Black, 58 x 49 1/2 inches (147.5 x 125.7 cm)
Tatiana in her Red Shirt (1), 2013, 48 x 48 inches (122 x 122 cm)

Fish Heart, 2009, 48 x 48 inches (122 x 122 cm)
Learoyd’s minutely detailed, large-scale color portraits do not look like other photographs. Made with a giant camera comprised of two rooms, Learoyd’s subject occupies one room containing a powerful light source, while the photographic paper occupies the adjacent camera obscura. Connecting the two rooms is a lens set within a bellows—an accordion-like contraption dating from the medium’s first century.
Learoyd’s pictures are unique direct-positive images produced without a negative. The photographs on view are images made by the direct record of light reflecting from the subject to the photographic paper, yielding portraits of unsettling psychological intensity
Zoom Info

museumuesum:

Richard Learoyd

Unique Ilfochrome photographs from Camera Obscura 

Flamingo, 2012, 58 x 48 inches (147.5 x 122 cm)

Shade green my picture, 2009, 48 x 48 inches (122 x 122 cm)
Harmony White Shirt, 2011, 48 x 48 inches (122 x 122 cm)

Hare II, 48 x 48 inches (122 x 122 cm)

Horse Head, 2012, 48 x 58 inches (122 x 147.5 cm)

Headless Woman, 2010, 58 x 48 inches (147.5 x 122 cm)

Long Black, 58 x 49 1/2 inches (147.5 x 125.7 cm)

Tatiana in her Red Shirt (1), 2013, 48 x 48 inches (122 x 122 cm)
Fish Heart, 2009, 48 x 48 inches (122 x 122 cm)

Learoyd’s minutely detailed, large-scale color portraits do not look like other photographs. Made with a giant camera comprised of two rooms, Learoyd’s subject occupies one room containing a powerful light source, while the photographic paper occupies the adjacent camera obscura. Connecting the two rooms is a lens set within a bellows—an accordion-like contraption dating from the medium’s first century.

Learoyd’s pictures are unique direct-positive images produced without a negative. The photographs on view are images made by the direct record of light reflecting from the subject to the photographic paper, yielding portraits of unsettling psychological intensity