Through the Lens of Nicolee Drake: Rome

Interview with photographer Nicolee Drake 
This past summer I started a series of collaborations with photographers to bring you exclusive stories behind the lens. Titled One Day That Summer, the project was designed to be a celebration of summer, an invitation to discovery, to open your mind and eyes, to live life like you stole it. Given the great response I had from the wonderful photographers I have approached, for which I am very grateful, and having let summer (unwillingly) go in the meanwhile, I am extending the series year-long and will call it Through the Lens of… .

My guest today is photographer Nicolee Drake, a California girl living in Rome, the city that I love the most. The glowing light and the entire feel of Nicolee’s photograph shown above stir up memories from the time I spent in Rome in a way that does not often happen when I view images of the Eternal City, not even my own. It encompasses Rome’s magnificence and history, its intangible and timeless atmosphere, but also its living-in-the-moment attitude and approachable charm – there is no other place where ancient and contemporary work together in such perfect harmony. Therein lies the beauty of Nicolee’s photography: her visual stories go beyond the big picture, and remind us that the soul of a photograph is in the details, in the subtle meanings it is infused with, and in the emotions that go into making it. I talked to Nicolee about the place she has come to call home, the magical light of Rome, and the city’s creative force.

“I think it’s important to remember
to be in-the-moment sometimes
as not to miss out on the human experience.”

Why Rome? What inspired you to move to Rome? Would you do it all over again?
It all happened very fast. I bumped into a guy on a street corner and next thing I knew, I was living in Rome. Yes, I would do it all over again, only next time I’d ask for directions.

You are a California girl who has been living in Rome since 2009. Where have you felt most at home? Do you think it’s important to feel that you belong to one particular place?
I’ve considered many places home at one time or another, but I feel most content wherever I’ve planted my roots. I grew up traveling, so I’m comfortable being on the road and finding a sense of home wherever I am at a particular moment. Constant travel and moving around is equal parts exhilarating and disorienting, so I think it’s important to give a place significance. I can’t say that Rome is the one place above all others, but by now, it’s part of my DNA and where I belong. It’s home.

How has Rome influenced you creatively?
Rome is a collage of ancient and contemporary against a cinematic backdrop. Its meandering streets and alleyways lead you from one dramatic scene to another; from ruined fragments in hidden piazzas to the maelstrom of scooter traffic, to scenes of everyday life amid imposing architecture. It has a rhythm in which every element works together in aesthetic harmony to form an exquisite, timeless beauty. It’s hard not to find inspiration here.

If you could capture the essence of Rome in one sentence, how would you describe it?
Rome is unpredictable; it’s where beauty and tradition meet chaos and contradiction.

What led you to photography?
I’ve had a lifelong interest in photography. My first camera was an old Nikkormat FT film camera that I used to carry around with me everywhere, documenting everything. I can vividly picture my first photographs with that camera. I eventually came back to photography when I moved to Rome, using it as a way of exploring and learning about my new city, and I’ve been photographing full-time ever since.

Do you always carry a camera with you?
I always have my iPhone handy, so when I don’t have my camera with me, I still seldom miss a moment.

Take or make a photograph? Do you wait for a good photo? Are there times when you simply witness the moment without taking/making any picture?
Make. As the saying goes, “good things come to those who wait.” Sometimes a photograph comes to you, and sometimes you just have to be patient and wait for it. And, yes, I think it’s important to remember to be in-the-moment sometimes as not to miss out on the human experience.

Does Italy have the best light? What is your favourite moment of the day for shooting? Do you swear by the golden hour?
Italy has beautiful light, but Rome’s light, in particular, is magical. I am especially fond of the light just before sunset, but I also enjoy the gaining light just after sunrise. Golden hour is, of course, ideal, but I don’t think one should be limited to photographing during a particular time of day. I believe that it’s important to be creative with any available light for any given scenario.

What do you never get tired of photographing in Rome?
By now, I’ve covered a lot of Rome, so I try to take new routes to see things from different perspectives. The frenetic pace of life keeps me on my toes anticipating new situations, but I also love visiting quiet familiar places like the bridge at Castel Sant’Angelo at sunset. Its splendor never gets old.

If you could be anywhere in the world right now (old or new location), preparing to shoot, where would you want to be?
Antarctica, Siberia, and Lapland. Can I pick all three? It might be worth mentioning that I dislike the cold.

Website: Cucina Digitale | Instagram: @cucinadigitale

Posted by classiq in Interviews, Photography, Through the lens of... | | Leave a comment

Autumn on Screen

Far from the Madding Crowd 

The show of the changing leaves, the preppy look,
the back-to-school atmosphere

There is no other time like autumn for travelling, especially by car. The weather cools, the roads are empty, and the spectacle of the fall foliage makes any drive even more attractive. But there is also the calmness and comfort of settling into a routine, the back-to-school feeling, and the long, quiet evenings spent at home as the days are drawing in that I love just as much in the fall. With its scenery blanketed in changing leaves, the musky smell of rain, the golden afternoon glow and the tweed jackets, autumn is a season that also lends itself to captivating storytelling, timeless style and gorgeous cinematography. So here are some of fall’s greatest on-screen moments (these are all examples of movies when I prefer colour to black and white).
Far from the Madding Crowd (1967)
Directed by: John Schlesinger
Cinematography: Nicolas Roeg

Cinematography is a key storytelling tool in John Schlesinger’s film adaptation of Thomas Hardy’s 19th century romantic novel. The forces of nature are used to echo the emotional state of the characters, as the narration unfolds under the English autumn sky, on the backdrop of the picturesque rural countryside and an earthy, rusty palate. But however beautiful a visual depiction of life on the farm the film may be, I wish it depicted the real significance of the characters, not just show them as romantic lovers. And there is also that movie still of Julie Christie, as seen above, which, if it were a painting it would have been entitled to be named “Autumn”, so I had to include the film here.
The Trouble with Harry 1955 
The Trouble with Harry (1955)
Directed by: Alfred Hitchcock
Cinematography: Robert Burks

“With Harry, I took the melodrama out of the pitch-black night and brought in out in the sunshine,” said Hitchcock. I am very fond of this black comedy of his. In the rural countryside of Vermont, on a fall day, three shots are heard. A little boy playing in the woods discovers the body of a man, who, upon investigation, turns out to be Harry. Several people in the community believe they may be responsible for his accidental death, and adding to the confusion, Harry keeps showing up in all the splendour of rigor mortis at the most embarrassing moments. Alfred Hitchcock’s jet black humour plays out beautifully against the fleeting leaves. They say New England leaf viewing is at its finest in Vermont – in fact, Hitchcock’s crew arrived too late to catch autumnal Vermont in its prime, so they were forced to glue fallen leaves back onto the branches.

One of the best lines, according to Hitch himself, is when old Edmund Gwen is dragging the body along for the first time and a woman comes up to him on the hill and says: “What seems to be the trouble, Captain?”
Rushmore 1998 
Rushmore (1998)
Directed by: Wes Anderson
Cinematography: Robert Yeoman

Rushmore is “at once arch and earnest, knowing and innocent,” says Matt Zoller Seitz in the book The Wes Anderson Collection. I think therein lies its beauty. Rushmore may be my favourite Anderson film. As soon as that opening scene rolled in (you watch Max Fischer completing “probably the hardest geometry equation in the world”, but soon realise he’s only dreaming), I just knew I was going to love it. Jason Schwartzman’s Max Fisher adds an edge to prep school sites. His grades are the worst in school, but he excels at extracurricular activities. Wes Anderson said in an interview in the aforementioned book that the idea of Max putting on the plays was from his own experience, but that the character is a combination of things from Owen Wilson’s (the movie’s co-screenwriter) life and his, though mostly it was from their imagination. “They don’t start out demanding that we adore Max simply because he’s the main character, nor do they indulge in the usual feel-good Hollywood mechanics capped by an eleventh-hour conversion of Max into a boring saint,” says Zoller Seitz. But what is most important is that Jason Schwartzman truly owns his Max Fischer. Max owns that school uniform, too, by the way. He rocks the formal blazer even when he is banished to the public school across the street, and through the humiliation that follows.

Best line: “I saved Latin. What did you ever do?” (Max Fischer)
Days of Heaven 1978 
Days of Heaven (1978)
Directed by: Terrence Malick
Cinematography: Nestor Almendros/Haskell Wexler

Terrence Malick has created some of the most visually arresting films in the history of cinema. Days of Heaven is one of the most beautiful films ever made, having set a new standard in cinema aesthetics. The collision of loneliness, human suffering or violence with natural beauty is one of the distinctive elements of Malick’s film-making style. He chose the endless Texas prairies as the natural backdrop for Days of Heaven. In the first hour, there is scarcely an indoor scene, and the film was frequently shot at the “golden hour”, that magical time for photography, near dawn and dusk. The credit for cinematography goes to Nestor Almendros, who won an Oscar for the film. But there is also a small credit at the end of the movie to Haskell Wexler for additional photography.
Harry Potter and the Pridoner of Azkaban  
Harry Potter and the Prisoner of Azkaban (2004)
Directed by: Alfonso Cuarón
Cinematography: Michael Seresin

Like all the films in the series, Harry Potter and the Prisoner of Azkaban covers one full school year – it’s one of the reasons why I love the Harry Potter films. And I love Hogwarts – during a Q&A with Ethan Hawke at the American Independent Film Festival which I recently attended, the actor mentioned that there is nothing else that he’d rather do instead of film, but added that he loves the Harry Potter series, which he watches with his daughter, and that if a place like Hogwarts existed, he wished he were cool enough to go there. That about sums it up for me, too. But what I particularly love about this third film in the franchise is that it is quite possibly the bleakest, most visually striking, and, yes, the best of them all. Harry’s world has grown darker and more menacing – The Prisoner of Azkaban is pivotal in Rowling’s cycle, as it’s the turning point when the existence of a darker side is acknowledged.

Not only does Cuarón’s Harry Potter world do justice to J.K. Rowling’s vision, but he rises up to her soaring imagination, too – the film pulls you in; you can feel this fantastic world, and that’s also thanks to the beautiful cinematography of Michael Seresin. I could watch this any time of the year, but I think it should be saved for those dark November evenings foretelling even darker winter nights to come. Just as The Prisoner of Azkaban foretells even darker things to come for Harry Potter.

Best line: “A child’s voice, however honest and true, is meaningless to those who’ve forgotten how to listen.” (Dumbledore)
Hannah and Her Sisters 1986 
Hannah and Her Sisters (1986)
Directed by: Woody Allen
Cinematography: Carlo Di Palma

In Woody Allen’s own words, the film has a simple plot about a man falling in love with his wife’s sister. The director described it as one of his “novels on film” – he had reread Anna Karenina and wanted to experiment with a novelistic style, intertwining various characters and stories. “I have a tremendous attraction to movies or plays or books that explore the psyches of women, particularly intelligent ones. I rarely think in terms of male characters,” Allen said. He likened Hannah’s (the most complex and enigmatic of the sisters) silent strength to that of Al Pacino’s Michael in The Godfather.

The filmmaker collaborated for the first time with Antonioni’s cinematographer, Carlo Di Palma, on this project, and began shooting in the fall of 1984 in New York City, using Farrow’s real-life apartment as Hannah’s home in the film. Di Palma’s ravishing autumn colours of Manhattan (the narrative goes throughout the course of two years and three Thanksgivings) are a highlight of the film and the movie itself is another one of Woody Allen’s love letters to the city of his heart (however realistic or unrealistic his view of NYC may be). That image of Hannah, Lee and Holly, on the poster of the film (one of those very rare occasions when the picture of the actors on the poster of the film has a lasting impression on the viewer), all dressed in camel and other shades of browns, I always associate with fall. On a side note, Hannah and Her Sisters is one of my favourite Allen movies from his early period (Match Point is my favourite from his recent filmography).

Best line: “For all my education, accomplishments, and so-called wisdom, I can’t fathom my own heart.” (Elliot)
Hitchcock Truffaut , by François Truffaut

The Wes Anderson Collection , by Matt Zoller Seitz

Woody Allen: A Retrospective, by Tom Shone
photos: screenstills from “Far from the Madding Crowd”, 1967 (MGM) / “The Trouble with Harry”, 1955 (Alfred J. Hitchcock Productions) / “Rushmore”, 1998 (American Empirical Pictures/Touchstone Pictures) / “Days of Heaven”, 1978 (Paramount Pictures) / “Harry Potter and the Prisoner of Azkaban”, 2004 (Warner Brothers) / “Hannah and Her Sisters”, 1986 (Orion Pictures, Jack Rollins & Charles H. Joffe Productions)

Posted by classiq in Film | | Leave a comment

Fashion On My Own Terms

Autumn fashion moodboard 
It’s becoming a pattern. The beginning of autumn is about the only time of the year when I seem to write about fashion, except for my designer interviews and for the one regular style series on the blog, which are about expressing my love for fashion through featuring real women wearing real clothes. Long gone are the days when I was blogging, quite religiously I may add, about fashion. But despite my total lack of interest in the fashion shows (I think I have not viewed one single runway collection in almost two years, nor have I felt the desire to) and in penning my thoughts on anything much related to fashion, I still love it. I think it’s just that my interest has shifted towards a different kind of approach to it, more mature, more balanced, more lived-in (hello, motherhood and mid-thirties!).

You know what I mean? I may go to the playground in the park in the morning, but still enjoy dressing up for the evening. I still love a good pair of heels, but don’t take myself too seriously (and usually go for flats – honestly, I hadn’t worn heels in almost a year when I finally put them on again last week when I attended a few screenings during the American Independent Film Festival here in town). The bottom line is, I like to look lovely and cool and not need to apologize for it. And I think every woman that I admire (many of them not working in fashion; and those who happen to work in fashion, I admire for making fashion on their own terms) will admit to that. Because you know what? “Looking good isn’t self-importance, it’s self-respect,” said Charles Hix. These are some of the words I live by. And, yes, feeling put together and elegant does wonders to the psyche, too.
Fashion on my own terms

Handmade Greek bracelet 
That said, I don’t need to know the trends to know what looks good and what looks good on me. And if I am to seek inspiration, I’d rather take it from the daily life (and maybe try to please my two-year-old son, too, along the way – he makes me change my t-shirt if he doesn’t like it, and does not stand me wearing sunglasses, so he makes me take them off, takes my face in his little hands and makes me look him in the eyes for a few seconds and then runs off happily), from the movies I watch, or turn to old fashion magazines (how is it that I find old editorials much more relatable than the latest ones?) and fashion books. Because any person with a decent amount of common sense and a little sense of style will manage to put this kind of inspiration into practice, and look modern, put-together, effortless,… herself.

So I’ll get myself some fine tailoring, a menswear inspired trench and a smattering of herringbone tweed for good measure, seek pleasure in the comfort of my most priceless and comfortable sweater on the cloudiest of days, overdose on wearing grey (my favourite colour) head-to-toe, and not give up looking for that perfect camel shawl. And if we are to talk trends, let’s invent our own: wear clothes that make us feel good. That is something worth cheering every single day.
Autumn fashion moodboard 
It’s about writing your own story. And speaking of stories, I am going to tell you one about my favourite jewellery store in the world. I am not much of a jewellery person, but: 1) for a few years I have been developing a thing for bracelets; and, 2) if there is still a part of shopping that I enjoy, it’s bracelet hunting everywhere I go. My encounter with KIPKH store (the name means Life with A Path in Greek) took place three years ago, during my vacation in Syvota, Greece. Among the multitude of more or less kitschy souvenir shops, this concept store stood alone. I was immediately taken with its charm and beautiful selection of genuine art, from jewellery to ceramics, hand-made by Greek artists.

This year, on our way back from Corfu island, we specially took a detour to Syvota to pay another visit to the shop. Not only did I find another bracelet which I fell in love with (see second and third photos above)(actually, I wish I could have bought the dozen of different bracelets I fell for) and which I will most probably not take off for a long time, but the owners, mother and daughter, also remembered me and vividly recounted my first visit there and the bracelet engraved with a poem that I last bought. It is the kind of personal touch, customer care and passionate work that can make me embark on a 1,000 km car drive just for visiting this fantastic little store tucked in the picturesque village by the Ionian Sea. And, in case you are wondering, they have no online store, no Facebook page and no Instagram account. They just exist there – they chose not to open another shop, not even in Athens, where the owners reside off-season, in order to preserve the authenticity of their store, and they do it so beautifully that their decision makes perfect sense. It’s also the reason why I simply could not bring myself to take photos of the shop: I want to keep part of the secret to myself. This place is special like that.

photos by me

Posted by classiq in Style | | Leave a comment

Crisp Precision: Lindsay Crouse in House of Games

Style in film-Lindsay Crouse House of Games 
Her outfits are mannish; her words are enunciated with cold, distant, crisp precision; her presence is uptight and cautious; her sculpted face never crumples. Some have criticized Lindsay Crouse’s performance in House of Games as robotic, a total absence of appeal, even unsettling. I beg to differ.

I am no feminist, but why are female characters, unlike male characters, expected to be read for signs of sympathy and vulnerability? Because I think Lindsay Crouse is great in the film; her role is intentional, her manner of speaking, deliberate and practiced. It makes for a fascinating character study. Besides the film’s spectacular set-up (“The true joy of watching this film is in savoring its fine appreciation of a good game,” Jörn Hetebrügge describes it in the book Film Noir: 100 All-Time Favorites ), it’s her character that engages the viewer’s rooting interest. What will she do next, what is she looking for, how far is she willing to go, is it revenge she’s after, is it a deep-down repressed satisfaction, or both? Even after the night she spends in the hotel room with Mike (Joe Montegna), there is nothing to give away her true feelings. Wouldn’t it have been a cliché if she had?
Style in film Lindsay Crouse House of Games

Style in film Lindsay Crouse House of Games-21 

“It’s called a confidence game. Why? Because you give me your confidence?
No. Because I give you mine.”

House of Games marked David Mamet’s directorial debut. He had already earned his reputation as a playwright (winning the Pulitzer Prize in 1984 for Glengary Glenn Ross) and screenwriter (The Verdict (1982), The Postman Always Rings Twice (1981), The Untouchables (1987)). Mamet has a distinctive, pragmatic style of dialogue, dubbed “Mamet Speak”: poignantly stylised, cynical, abrupt, reminding of film noir dialogue. That’s probably what I liked the most about the film, the overall neo-noir feel. Only it gets even better: the male and female characters are reversed. It’s not the morally ambiguous male anti-hero alientated from society who falls in the traps of the femme fatale, but a successful woman psychiatrist who falls into the traps of a con artist. It’s her who turns you into a willing accomplice.
Style in film Lindsay Crouse House of Games-3

Style in film Lindsay Crouse House of Games-2

Style in film Lindsay Crouse House of Games-4 
Crouse’ Dr. Margaret Ford is a successful psychologist who sees her career as more than just a profession – it’s her calling. Ford’s best-selling book, Driven: Obsession and Compulsion in Everyday Life, is a treatise on compulsive behavior, and it is her drive for her chosen profession that draws Margaret into an unfamiliar, underground world of professional grifters. As she continues to venture with the swindlers, it becomes clear that she herself has some unsolved issues of her own. Though, even prior to her involvement with them, she makes a couple of occasional-but-noticeable Freudian slips, something which later plays a significant role during a pivotal scene in the film. It’s also worthy of note that she doesn’t reveal her name to any of the con men until that very scene. That should tell us something about who’s playing whom.

Because, besides the behavioral hints I mention above, there is also one visual element that I do not believe is coincidental: the colour red that first appears in the outfit of the admirer who is nervously approaching dr. Ford asking for an autograph (she’s all dressed in red), then the red taxi cab that Margaret takes after her first visit to the House of Games, and, finally, the red convertible car she has to steal to get away after she is made to believe she has killed a man. Take it as an alarm signal for everyone, from the grifters, to yourself, the viewer: You have to pay attention!
Style in film Lindsay Crouse House of Games-5

Style in film Lindsay Crouse House of Games-6

Lindsay Crouse House of Games 
Slant Magazine was referencing an interview in which Lindsay Crouse made a compelling analysis of House of Games as a dream film – a non-representational narrative built from bits of Margaret’s personality. The costumes are part of that personality. So let’t pay attention to them, too – Nan Cibula was the costume designer. Margaret Ford scarcely wears jewellery. Just a classic leather-strap watch, and delicate, barely-there earrings. She wears her hair cut short. Her shirts, completely buttoned up, vary from white to white with blue stripes, and blue. Her suits are sober, wide shouldered, and navy, grey or light blue coloured.
Style in film Lindsay Crouse House of Games-7 
I’d like to elaborate on that remark about the unattractiveness and masculinity of Margaret’s outfits. It was the eighties, the decade of power dressing. Women’s clothes were inspired by men’s wear. The power suit is the term coined in the 1980s to describe a skirt suit worn by career women, with the jacket resembling a man’s suit jacket in cut, but having the shoulders heavily padded and exaggerated. Women embraced the sober suit in pursuit of an image that would convey self-confidence, decidedness, affluence and success in the business and social world. “The simple tailored wool suit in neutral navy or slate blue gray, worn with non-sexual blouses, imitated uniform at rank, which, by design, was authoritative,” argued John Malloy in his book, Women Dress for Success. To label Margaret Ford’s clothes as unappealing and leave it at that, is to miss part of the point. Her clothes may be indicative of stunted sexuality, but they are just as much indicative of professional objectivity.
Style in film Lindsay Crouse House of Games-10

Style in film Lindsay Crouse House of Games-8

Style in film Lindsay Crouse House of Games-13

Fashion on Film Lindsay Crouse House of Games 
And then there is the trousers look (my favourite). Tailored, pleated trousers in a shade of beige, a powder pink waist-long jacket, and heels. Still masculine inspired, but there is something new to it. She’s put on a coloured necklace. It is not ostentatious, I wouldn’t have noticed it if she hadn’t played with it (see first image in the set above) in that scene when she returns to the House of Games. But there has been a change. “Is it something that gives you joy? Good.”, says her friend approvingly when Margaret refuses her dinner invitation saying that she has other plans. And I think this joy she feels hints more at the fact that she is beginning to like the game than that she’s becoming attracted to Mike.
Style in film Lindsay Crouse House of Games-16

Style in film Lindsay Crouse House of Games-15

Style in film Lindsay Crouse House of Games-17 
In the final scene, Mamet first shows Margaret from behind. She is wearing a floral dress in vibrant colors, perfectly blending in the setting of luscious vegetation. She turns around and we see her red-rimmed sunglasses, red clutch and white oversized earrings – the kind that don’t go unnoticed anymore. She has the same calm and calculated manner of speaking when approached by a reader asking her to sign his copy of her book. But something is different. She has taken a trip and “forgiven herself”, she tells her friend who had given her this exact piece of advice without her knowing what Margaret had done. Ford steals a gold cigarette lighter from a purse, and her smug smile of self-satisfaction afterwards, as she lits her cigarette with it, reveals that she has fallen into the addictive lure of being a con artist herself. That is what brings her joy.
Style in film Lindsay Crouse House of Games-18

Style in film Lindsay Crouse House of Games-20

Note: This article has also appeared on The Big Picture magazine

Discover our movie stories shop – inspired by the fascinating world of cinema
and by the never-fading beauty of the tangible


photos: film stills captured by me | Filmhaus

Posted by classiq in Style in film | | Leave a comment

On the Trails of 007

On the Trails of James Bond Issos beach Corfu 
This time last week I was still basking in the sun of Corfu island. I would be lying if I said that the fact that the James Bond movie For Your Eyes Only was partly filmed there didn’t play a part in my choice of our latest vacation in Greece. When we arrived at Issos beach, on the southwest coast of Corfu (the Achillion Palace and the Old Fortress in Corfu Town, Paleokastritsa Bay and Pagi village were also among the filming locations – we didn’t get to visit the latter one, because hopping on the island with a two-year-old is quite an adventure in itself), on our second day on the island and casually mentioned it to my husband (I had kept it to myself), he gave me a you-are-definitely-a-bigger-film-fanatic-than-I-am kind of look. Although, I had been known to check out filming locations before for holiday destinations.

And, to be 100% honest, this little 007 fact is also the reason why I am sharing a few images today. It was our son’s first seaside holiday (we have a sea lover!) and it was special. I want it to remain special, so I will be keeping the most beautiful photographs (you can see a few more on my Instagram), views and memories to myself and my family. More wild and golden sand beaches were visited, spectacular sunrises and sunsets were witnessed every single day, unstoppable laughs happened. And it felt so damn good to go remote for more than a week. As one should. Because life is lived in the undocumented. For your eyes and your loved ones’ only.
Issos beach Corfu


On the Trails of James Bond Issos beach Corfu

On the Trails of 007 Issos beach Corfu island

On the Trails of James Bond Issos beach Corfu  
PS: I may have hunted Bond on Issos beach, but everyone in my family agreed on contiguous Marathiá and Agía Varvára (aka Santa Barbara, Maltás, Martás) as our favourites on the island.
On the Trails of 007 Corfu island

Santa Barbara Beach Corfu

photos by me

Posted by classiq in Photography, Travel | | Leave a comment