LUCY BRYDON: WRITER AND FILMMAKER

So It Goes: even though the title could be the one for a contemporary bestseller with a happy ending for bored teenagers to read on the beach, Lucy Brydon’s short film is not one that can be associated to cheap drama. Her work tackles psychological issues and focuses on complex characters that are completely laid bare by her uncluttered style. In this nine minute clip, she exposes the paradox of art, which can be both overwhelmingly oppressive and liberating, through the character of a young woman who is struggling to free herself from the psychological domination of an artist who believes that she is his muse.

You just take from meis her final cry before she turns away from him, and is one of the rare spoken parts of the film. So It Goes is indeed largely speechless and there is not much dialogue or music to fill in the empty silences of the protagonists’ lives. A train passing, a phone ringing, a shower running: the sounds of real life become more powerful and build up a tense atmosphere that explodes at the end. In that way, Brydon’s scenario is extremely close to reality and it is almost as if her camera was stuck to the skin of her characters to reveal entirely their thoughts, their questions, and their emotional identities.

It is clear by the maturity of her style that Lucy Brydon already has experience in film making. She graduated in English Literature and Creative Writing from the University of Warwick, and then completed a Master’s degree in Film Directing at Columbia University, after expanding her experience in the field in Shanghai, where she worked for five years in journalism, film production and art shows. Today, she has an impressive list of contributions to films, festivals and exhibitions, and even publications (she was a contributor to the 2014 Introduction to Scottish Documentary Film). Her work has received international awards, including the Dewar Arts Award and the Panavision New Filmmaker Award, and she now runs Shy Film Productions in London. The icing on the cake? She is originally from Edinburgh…

 

Find out more on her official website or follow her on Twitter.

Amy Fletcher

We have always had a complex relationship with technology: the dictionary defines the term as the application of scientific knowledge for practical purposes, but technology in its most abstract form could simply be defined as an apparatus or thing that aids us – a functional tool or a way of being. In that sense, we could argue that we have been intertwined with technology since the dawn of man. Artist and filmmaker Amy Fletcher explores these intricate ideas as part of her ongoing practice at Chelsea College of Art and Design.

In her most recent work Let’s Play, Fletcher creates a playful, whimsical space that seems to invite the viewer to interact with the screen even though there’s no viable form of participation. Amy notes that her work “has a childish sensibility to it […] most recently I have been examining the subject of technology within my practice; looking at its constantly evolving presence within society and our innate desire for the next slickest gadget and gizmo.”

As in popular culture, art itself is increasingly enmeshed by and within technology. Using the film medium, a high-tech camera and stop-frame animation, the artist appears in her own work through the form of disembodied limbs: poppy music accompanies a set of magical hands that conjure and play with a set of objects set against a flat backdrop.

As an audience, we know that it is not “real” and that the objects on screen are not really changing from 2D to 3D from one frame to another. Rather than trying to hide its fabricated nature, however, the video actually tries to emphasise this quality through the loud camera clicks that accompany each shot.

There’s something clever in the film’s careful positioning and flickering frames that captures the eye: like a deft magician, Amy uses the stop-frame animation genre to create an illusion the viewer is willing to invest in – despite, and perhaps because, of its honest and effective duplicity.

Take a look at Amy Fletcher’s online behance portfolio to see more of her past, current and ongoing work.

INTERVIEW: GHAZALEH GOLPIRA, FILMMAKER

My good friend Benjamin Franklin once said: “If passion drives you, let reason hold the reins”. To me, this perfectly sums up the personality of Ghazaleh Golpira. It is crystal clear when she talks about her work that she is driven by an immense passion for filmmaking, but this does not mean that her decision to make a career in cinema was not a down-to-earth one. 100% aware of the fact that, as she puts it, “you can’t start right at the top and you need rejections to succeed”, Ghazaleh has a genuine maturity of thought that strongly appears in her work and in the themes she tackles. Today, Ghazaleh is adding the final touches to the first short film that she entirely wrote, directed and produced herself. Ángel Viajera is an eight-minute film set in Spain that portrays the relationship between a young schoolgirl and a negligent adult going through an emotional crisis. Find out more about it in the following interview!

Can you tell me more about your academic background and professional path?

I graduated in French and Spanish but I always made sure during my time at university that I incorporated courses focusing on cinema and filmmaking. After university, I did internships with independent production companies for five or six months, which allowed me to try different arenas of work within the cinema industry. I also built up my skills, my portfolio, and just my general knowledge of the industry. Now, I am considering an MA in film schools for film studies.

Was your decision to make a career in cinema a difficult one? Was it natural for you or were you drawn back by the competitiveness of the milieu?

It was natural in the sense that I chose it purely out of passion. I realized that at the end of the day, nothing makes me more enthusiastic than the perspective of creating films. And I think it is important to see it as a passion more than a career. It can become so corrupt if you do it for no other reason than the money. But I do realize that you can’t start right at the top, you need rejections to succeed and it requires a lot of discipline. Filmmaking is a collaborative process and I think it’s important that you see every position. People are not going to invest in your talent if they don’t see you as capable of doing different things. You have to persist and persist, but in the end it all comes down to “I do this because it is my passion”.

What is it exactly that you want to show in your films?

I realized over the years that I love writing about social realism and things that we can identify with. When it comes to me, I like watching films because I take a lot of meaning from them.  I identify with films that take on society, that have to do with family, politics, ageing or relationships. I really think that getting as close to reality as possible is essential in filmmaking.

Can you tell me more about Ángel Viajera?

It is an eight-minute film about a young girl who has a turbulent relationship with her mother. As she is walking in a park, the daughter encounters a man in his mid-thirties who is going through an emotional crisis. Gradually the man recognizes the wisdom of the young girl and he opens up to her. At the same time, he becomes the father figure that she never had. I wanted to show that wisdom doesn’t depend necessarily on age but on life experience, and that connecting with someone can bring chemistry and identification.

How long did it take to produce? How many people were involved? What were the challenges?

I had the idea back at the end of April and I wrote the script, knowing that I was going to get a break from work during which I could make the film. It was tricky! We had to do it in a week-end because the cast were working or studying. So we originally planned to shoot the film over the course of one weekend but due to some technical issues, we overran a few days. Luckily we shot it in six days or so. The main challenges were the lighting and the temperature (34°C in Valencia,). I was also concerned with the fact that the young girl is only 9 years old, so I didn’t want to overwork her. I’d like to praise her for her hard work, I am really proud of her and of all the actors! All of them are Spanish, I met the main actor, José, when I went on an exchange to Valencia, and the little girl is his niece. Even though they are not related in the film, I think that it is important that they are family because it means that they were comfortable acting together. It was a very intimate project, for example I had friends collaborating to help me out with technical and equipment challenges. It was more of an experimental project to see how far I could go with minimal equipment in a foreign country. I wanted to focus more on the creative process than the commercial process.

Why did you choose to set it in Spain?

I think it is because the story is quite an intimate, sweet, nurtured, warm one. It’s a nestled story, a cute, romantic one and I thought that the openness of the culture and of the people in Spain was perfectly adapted. And the weather of course!  London is too much of an urban, metropolitan, crowded place, it’s too big, too grand to capture the intimacy of their relationship. And also, very importantly, Spain is the natural habitat of my actors and I wanted them to feel comfortable.

Finally, a difficult question: if you were to describe your work in one word, what would it be?

That’s tricky! I would probably go for existential impetus. I focus on the idea that life has its ups and downs. It reminds me of the film Gravity, which is all about existentialism: when the characters are about to die, they find the strength to try to survive. They can’t give up because there are people waiting for them and needing them. I think existentialist ideas are always going to be beyond my mind and existentialism is very central to my work.

DANIEL NICKSON: FILMMAKER

In the exotic world of cinema, some like to create another world that couldn’t be more remote from what we humans are familiar with. Randomly speaking, this can be a world where it is fine for parents to transform into pigs and for little girls to work for faceless divinities that eat their employees to calm their nerves – yes, the trauma caused by Hayao Miyazaki’s Spirited Away on eight year-old me WAS great. Others, like Daniel Nickson, prefer to focus on the everyday. In Foxes in the Underground , his very impressive graduation film for the University of Westminster, he depicts the coming together of entirely different men to save their jobs at a British news broadcasting station. With this short film, Nickson surpassed academic expectations and reached international recognition as he was nominated for a number of foreign festivals like the Cannes Court Métrage or the Shanghai International Film Festival.

Today, Nickson is studying in Columbia University Film School but his life in the Big Apple does not keep him from staying true to his mother-country. He was born in Manchester, studied in Westminster and now claims that he is working from both New York and from London. Focusing on masculinity and ordinary episodes from the everyday lives of the British people is central to his work. He is successful in rendering his stories touching without over-dramatizing them. From Shadowboxer, the story of a father pressuring his son into being a boxer, toThe File, which portrays the absolute alienation of an employee because of his bureaucratic job, Daniel Nickson impresses by his technical skills and by the maturity of the themes he develops. There is almost a James Joycan spirit to his short films as they highlight the tragedy of the protagonists’ lives like Joyce did with his Dubliners. Fine with me, as long as Nickson doesn’t start getting his inspiration from Ulysses.

His next project, Ferry, is a short film about migration and trafficking in Eastern Europe, that he is making in collaboration with Reka Posta and that should be released by May 2014. It focuses on how car trafficking is changing the lives of migrants in Hungary, and was funded entirely by donations. To find out more about this project or to donate, you can visit the project’s fiscal sponsor’s website. To be kept updated of Daniel Nickson’s latest news, you can also visit Brainwash , a cultural blog that he co-directs and that organizes film events every month. Or follow him on Twitter. Or visit his official website. Your call!

Diogo Guerner

Diogo Guerner caused rather a stir recently among the press at my university after winning the prize for best fiction in the Yorkshire Region for his film Snapshot at the 2013 Royal Television Society Awards.

Diogo is now a third year student on the BSc in Film and Television Production course at the University of York and directed his winning film in his second year. The judges said Snapshot stood out because of the way “a simple story was so effectively told with assurance and real skill, with the quality of the script matched by the quality of the camera work”. They also commented on the great use of special effects and overall high standard of direction.

When asked, Diogo said: “It was a great honour to receive the prize for best fiction film at the RTS Yorkshire Television awards. I’m really proud and excited to have Snapshot representing Yorkshire but also the University of York at the RTS national competition.”

He also wanted to thank everyone involved in the project and thanked his department and fellow students for their hard work and commitment to the cause.

The head of the Department of Theatre, Film and Television at York, Andrew Higson, commented on his pride in his student. The aims of the course are to create world-class film-makers of every kind, and he commented that he was happy his students were rising to the challenge.

To check out Diogo’s other work, check him out on Vimeo. http://vimeo.com/user4403019

Luke Tristram Malkin

A talking squirrel isn’t what everyone looks for in a friend, but ‘Gary the Party Squirrel’ and his African adventure is what Luke Malkin is currently shooting in Tanzania. Luke; a film-maker originally from Stoke is currently living in Tanzania and working as a teacher. Some people just have all the fun!

The film he’s currently working on is a spin-off from a show that was performed at the Edinburgh Fringe Festival in 2011 called “Squirrel Party”. It was an extremely successful show parodying Saturday morning children’s television, and Luke’s puppet, Gary, has since taken on a life of his own. Luke is the fictional children’s entertainer and Gary is, well, Gary, and they are struggling through the jungle in a futile search for the non-existent ‘Dark Green Squirrel’. Sounds a riot!

Luke did an MA in Digital Film Production at the University of York, and his final project, “Shed” (see production still far left) was a stunning and very moving piece of cinema. The 30 minute film was an adaptation of a play by his friend Tom Crowley, and followed the lives of a group of friends who had grown up visiting a shed in the woods in a small dead-end town. It was about growing up, getting out and letting go, and was a fantastic production. The whole film was shot inside a wooden shack they built within one of the York production studios and the logistics of the build were incredible.

Since that project, Luke has worked in Spain, making virtual learning films with the Virtual School as well as advertising films for a large independent Seville hotel. His portfolio is building and is set to be a big name in the film industry in a few years time.

If you want to check out more of Luke’s work, including his digital show reels, visit his website: lukemalkin.wordpress.com. There’s links to a lot of his films on youtube as well as an up-to-date blog of what he’s up to at the moment.

Dan Ojari

Animators exist and work in a pocket of time quite different from that of other filmmakers – a dimension where time wheezes and slows down to miniscule second by second, frame by frame. Take the words of award-winning animator and director Dan Ojari, who graduated from the Royal College of Art in 2011:

“What a second is… Brief? Insignificant? Short? Most people don’t really pay too much attention to one.”

Blink, and another second has past that you will likely never miss. It may be argued in reality that sequential time is fabricated, but that’s exactly what an animation is: a sequence of events flickering by, capturing moments in time.

Perhaps Ojari’s keen insight as cinematic keeper of time is why his RCA graduate short film Slow Derek was a tale about the quintessential everyman: an office worker going through the gestures of every banal second of the day even as he begins to suspect that Earth is, slowly, leaving him behind. Slow Derek has garnered numerous awards and critical acclaim, from the Visual Science Award at the UCD Imagine Science Film Satellite Festival to the Grand Prix of Animayo and Animated Encounters.

As Derek rides his scheduled train or sits at his desk, we feel a sense of complacency that is suddenly interjected with uncanny visions of a spinning void. Ojari comments that the film is “very much about relativity and the contrast between the mundane and the colossal. The starting point was after I became particularly fascinated with how fast the earth is travelling, especially because we don’t feel this speed. We are literally hurtling through space at hundreds of thousands of miles per hour and yet don’t feel a thing. I felt this was, aside from being an amazing actual fact, also was an interesting metaphor for modern day life.”

We feel aligned with the protagonist specifically because he is a vessel for our contemporary fears and suspicions that the world is somehow not what it seems. As we lead what philosopher Henry David Thoreau might call “lives of quiet desperation”, we believe there is a “true” reality slinking amongst us, just out of our grasp. Ojari’s character takes his destiny into his own hands by climbing out of the literal and metaphorical train window and plunging fearlessly into the void.

Red pill or blue pill? In a short eight-minute film, Ojari bundles all of these philosophical questions into a cinematic feast of modeling-clay beauty that mirrors our world and our contemporary neuroses.

To see more of Dan Ojari’s work, visit his website or follow him on Vimeo.

Joe Cole

In Matt Smith’s haunting directorial debut, Cargese, the perpetual grin of Joe Cole provides a portrait of skewed morality that most actors take a lifetime to successfully evoke. That it came so early in his career is testament to the talent of an actor whose recent run of performances have established him as “One to Watch”

That particular tagline doesn’t really do him justice though, especially as his recent activity includes work on the Emmy-winning The Hour and the elegant and gruesome Peaky Blinders.

Cole isn’t just “One to Watch”, he’s one to admire, one about to explode.

Despite piercing eyes and cheekbones that cut could glass, Cole’s propensity to opt for uncomfortable and uncompromising roles render him as anything but a typical star. His sited admiration for fellow Brit Tom Hardy might give an indication of the potential trajectory of the young actor.

That is to say that there is a ruthless streak evident in his current dramatic output that sees Cole consistently involved in innovative or original projects.

One of those projects is Peaky Blinders.

On Peaky Blinders, Cole, 24, plays John, the youngest member of Birmingham’s foremost feared family, The Shelbys, with a wild blend of sharp-suited bluster and dangerous doe-eyes. Widowed and weary but still laced with the cold malice that the Peaky Blinders built their reputation on, it’s an enormously mature performance that holds up against Hollywood heavyweights Sam Neil and Cilian Murphy and comes to represent a crucial part of the narrative arc.

Working alongside the likes of Smith, Neil and Murphy will only enhance the credibility afforded to Joe with the next co-megastar on the horizon Breaking Bad’s Aaron Paul, in a film adaptation of Nick Hornby’s A Long Way Down. As well as this Cole has just completed filming Pressure, a film about a group of divers who get stuck under water in their diving bell when a storm on the ocean surface sinks their mother ship. Another genre, and a genuine thriller for Cole to sink his teeth into then, but for Cole pressure is only the title, not an overriding concern.

The time to print out pictures of him, declaring the rising star as your new favourite actor, is probably now.

Waitress–The Film

Waitress, the film, is Stephen Sheriffs directorial debut. Originally studying Law, and then moving to New York to look into acting, Sheriff has now returned to Glasgow, armed to the teeth and hell-bent on creating something magical.

This film has been causing a lot of talk throughout Glasgow’s creative environment, and is much anticipated. What is impressive, is not only the fact that this is Sheriffs first-ever film and it is generating so much attention, but that it is doing so because he is aiming to show a different side of cinematic Scotland. He states in an interview with Mel Bestel, that so much of Scottish cinema has a history as being bleak, dark, and tackling a heavy reality. Though he does not dismiss this, he simply wishes to shed a little light on gloomy Scotland, and has therefore set out to make a film speckled with magical realism and elegance.

He is inspired by the likes of David Lynch and Gabriel Garcia Marquez, whom are masters at the craft of distorting a story into a slightly askew reality, however always maintaining a polish and elegance. This bit of elegance, as shared by Sheriff in his filmmaking, has seen him collaborate with much of Glasgow’s underground creative lot; incorporating local actors, artists, costume designers, venues, and the like. Waitress has been crowd-funded and sponsored all across Scotland, involving the community and opening up for collaboration.

This makes the film such an honest inspiration for anyone with drive and a DIY mentality; it is testament to the positive abilities of incorporating and accepting that social networking is a massive part of our daily life. Sheriff has utilised this very effectively in his filmmaking, by being active on these platforms to facilitate his filmmaking process. Currently halfway through the filming process, Sheriff hopes to finalise the project by next year. Set to be thirty minutes long, many are already waiting with bated breath for the release of what will most likely be a little bit of sparkle in Scotland’s cinema history.

 

Keep an eye on their facebook and website for further information and tasty preview morsels.

UNKN

Alper Dostal & Sylvia Moritz, a dynamic Austrian duo working under the pen name ‘UNKN‘ have teamed up again after previously collaborating on projects with the release of a short film discussing the idea of abstraction, focusing on the movement of ink on the human body. Having been featured for their previous work ‘Disappear’ on online art communities, which involved large scale psychedelic black and white pen drawings that filled an entire white room. Receiving praise from arts writer Sally O’Reilly, the pair are ‘sticking’ together with this messy but engaging performance art. 

“follow the track. step back. wear black. turn white by light. go dark if you like. transform by night. we pour. you take. you move. we pace. what once was black has now come back. you fear while hear. we shape we rape. we rinse we spin. you lose you win. you can’t deny. we identify.”

The ‘slick’ editing and contemporary production skill is immediately clear from Alper, incorporating a dramatised soundtrack that does the interesting footage justice – black and white ink, trickling over a professional model, performing under the watchful eye of Creative Director Sylvia Moritz. “Making a video like this it is important to have outgoing and like-minded collaborators to make it a reality”.

Alistair Macdonald

I was lucky enough to speak to the new and upcoming film maker Alistair Macdonald and ask him some questions on what inspires his unique films. His films not only stand out from the conventional “artistry” films but take your senses on a journey and creates you to pay attention to every enjoyable detail.

What inspired you become a film maker?

For twelve years I was a lawyer but I didn’t really like my job and I felt trapped by it.  I spent a long time thinking about what else I could do. I wanted to do something creative. I write music and I wanted to carry on doing that but in the context of something bigger.

I decided to become a film maker when I was staying in a log cabin in Norway, in winter a year ago. Once the idea came to me, I realised it was obvious because I love film, all sorts of film. I decided there and then I was going to do it. I didn’t really know how, though, so when I got home, I made a couple of really short films using a simple stills camera, some tangerines, a table top and iMovie. They made people laugh and then I knew I could do it.

For me, freedom is important and that is one reason I was unhappy as a lawyer. Film making, at the moment anyway, enables me to do pretty much what I want, when I want and how I want. It’s great to just let my imagination go and then follow it. It’s important, though, that what I do entertains other people – I don’t just want to make films for my own sake.

Do you have anyone or anything that inspires your films?

There’s no one answer to this. Before I was a lawyer I studied European philosophy for seven years. That has been a massive influence on how I think about things and is behind everything I do, even if it’s not obvious in the final result.

In film, sound is just as important as image and so certain types of music have been important inspirations, especially music that makes me smile by subverting rules, like Neu or Can, or stuff by the Beta Band.

I have been directly inspired by specific filmmakers though, and in some cases their influence is probably more or less obvious. Visually, the obvious ones would be Jan Svankmajer, Andrew Kötting, Chris Marker, Ben Rivers, Patrick Keiller and Gideon Koppel.

The biggest inspiration, though, has been the French director, Eric Rohmer. He started making films, seriously, in his forties. He worked on a shoestring and yet made the most wonderful films that nobody else has managed to match.

How did it feel to have your work shown at Holmfirth Film Festival?

It was great. I was really lucky because it got shown twice. Some friends of mine run the Ginger Bread House film and food nights in Marsden and they showed it before their main feature. I hid at the back. People laughed in all the right places and I got some lovely feedback afterwards. It’s impossible to look at something you’ve made objectively or afresh so seeing how a film is received is vital if you want to know whether it has succeeded.

How long did it take you to make “Island Going?”

Not long at all. I spent four days filming in the Western Isles and Outer Hebrides but had to learn how to use the camera whilst I was doing it. I worked on the script in my head as I drove back to Yorkshire then wrote it in a week. The guy I asked to do the voiceover for me is an academic in Nuremberg and he recorded it in his brother’s studio in two days. It took another couple of weeks to edit and produce a final version. I had to teach myself a lot during that month!

What inspired “Island Going”?

Well, the film is a response to the landscape of the Outer Hebrides. I went out there to research another film with a friend and spent a few days driving around filming whatever I could with the idea of making a quite different film. The islands are remarkable and barren and you’re surrounded by the ruins from the Bronze age right through to the 21st Century. In some places it looked like there’d been a civil war and once I got that idea it wormed away at me and became the basis for the film.

We went to the Outer Hebrides because of a book called “Island Going” by the naturalist Robert Atkinson but the only point of contact with the book is the title of the film. There are no real similarities. I wanted to use the title because the book had been important in getting me there. More of an influence was Louis MacNeice’s book, “I Crossed the Minch”, about his travels around the Hebrides. We deliberately walked a few of the routes that MacNeice had taken.

When we were in the Hebrides we kept bumping into this German tourist who’d hired a camper van and was just traveling round aimlessly, in winter. He’s the direct inspiration for the narrator of the film.

I was also influenced by something Guy Debord wrote about a friend who deliberately used a map of London to navigate around part of Germany. That kind of displacement really appealed to me and clearly pops up in Island Going.

Do you have a current project on the go? and can you give us any clues as to what its about? 🙂

Right now I’m finishing a short film about a kid who keeps trying to watch TV but isn’t allowed. He goes to greater and greater lengths to get away with it. It’s deliberately completely different to Island Going and has enabled me to learn a lot more.

When that’s done I want to start work on a film that will be a lot more like Island Going. I want to go back to the same kind of landscape shots that I used there but the story will be very different. It’s based around a spoof philosophy article I wrote a long time ago and is about a man who has an intense phobia of waiting so who spends his life trying to overcome it. Think about how many hours are taken up with waiting for things in your life. I bet it’s a lot, but nobody really thinks very much about waiting. That’s what I do in my next film, but in a way that hopefully will also make people laugh.

 

For a further look at Alistairs’ inspiring work on his facebook page and youtube channel.

Leon Eckert

Munich born Photographer Leon Eckert is studying design at Goldsmiths College London, a place where thought and intention is exalted over simple cosmetic. At sea on the east coast of Spain one moment, witnessing riots with fire bombers the next, wherever or whatever Leon always has his trusty camera on hand ready to capture. He has travelled through China, worked in advertising production in Barcelona, flown into Tokyo and strolled the harbour of Hong Kong to name but a few; It’s this awareness, an understanding of the culture he has experienced, that permeates the very purpose of his work. Leon believes that every time he puts his finger down to press the shutter, he is advancing his “eye” for imagery, whilst fulfilling his need to document his endeavours.

For one of his enquiries, Leon explored the notion of public transportation, questioning the experience gained in return for the price of a ticket. In this instance a day ticket was purchased, which enables the purchaser to a full 24 hours of transport, yet rarely is this ever fully exploited. Riding 60 different buses continuously over 1460 minutes, Leon nearing exhaustion managed to capture a couple embracing in front of the bus during the latter of his journey. This couples stolen moment of affection suddenly becomes a public event, much like the transport itself.

Leon’s photographs are determinedly direct; a gritty state that comes from examining the root of a situation. They’re hearty intention is tied with a vastness and stillness that becomes vibrant in its celebration. The focus on the events impact over their visual state is beauteous in design and admirable in content. Leon’s work emphasises the relevance of communal experience in the advent of social media living.

 

You can also check out Leon’s Website, Blog and Facebook page at the links below!

http://www.leoneckert.com/

http://leoneckert.blogspot.co.uk/

https://www.facebook.com/leoneckertphotographer