By Elmira Tanatarova

Published: 12:33 EDT, 23 April 2024 | Updated: 12:41 EDT, 23 April 2024

The Princess of Wales‘s birthday portrait for her son is ‘very honest’ and ‘done really naturally’, an expert has revealed.

Speaking to FEMAIL, London based professional photographer Glenn Gratton explained how Prince Louis’s photo was not likely retouched at all, and shows a perfectly candid family snap.

‘If she has done any photoshop, it’s very subtle,’ he added. ‘She’s clearly more advanced with her photography. Her pictures have improved year by year on.’

The youngest child of Kate Middleton, 42, and Prince William, 41, celebrates turning six today, after returning to school following the Easter holidays.

Glenn pointed out that the young royal’s skin tone is natural, with his mother ‘keeping his skin blemishes’.

‘He’s only six,’ the photographer added. ‘She’s not tried to make him look like a wax work. Some parents over-filter their children’s pictures.’

He also remarked that you can tell the lighting is natural, as you can see it reflected in Louis’s eyes – meaning there was no ‘artificial’ set-up. 

Glenn said there are elements in the photo that would have stood out for someone experimenting with photoshop – ‘his feet are a little bit distracting… and his eyes are little bit dark, so you’d lighten them up’ – but the Princess chose to keep the details in.

‘It’s a straightforward, honest picture taken nicely,’ he concluded, positing that Kate likely used a portrait lens to create the blurred background effect. 

‘Her photography’s improving,’ the expert added. ‘She’s using better cameras.’ 

Prince Louis is beaming from ear to ear in the adorable photo released this afternoon.

Typically, Kensington Palace will release portraits of the Wales children early in the morning to mark their birthdays, however fans were left disappointed this morning when the social media accounts for Kate and William did not feature any photos of the cheeky six-year-old.

In a break with tradition, William and Kate shared a photo of their younger son this afternoon rather than at midnight on his birthday as is customary with new royal portraits. It is understood the photo was released later than usual because the family is going through an ‘unprecedented’ time.  

The photo was taken in the grounds of Adelaide Cottage by his mother, the Princess of Wales, who often photographs her children’s birthday portraits. It suggests that, as she recovers from chemotherapy, she is feeling well enough to get back behind the camera. 

The caption read: ‘Happy 6th Birthday, Prince Louis! Thank you for all the kind wishes today.’

As the beaming prince looks into the camera, he is lying on his front and looks all grown up with his brunette hair swept to the side, and a smart checked shirt.

He appears to be wearing dark shorts with bare feet and is lying on a fleeced blanket.

The picture is understood to have been unedited, following the furore that resulted over the Princess’ photoshopped Mother’s Day picture, which saw it withdrawn by international picture agencies. She later apologised for the confusion.

Normally the couple issue a photograph of each of their children to mark their birthdays in advance for use on the day itself.

This year the Wales’ had originally decided not to do so given that it is such an ‘unprecedented’ time for their family.

As he flashes his biggest smile, the young prince also appears to have lost a couple of his baby teeth since his last official appearance on Christmas Day 2023.

Louis’s sixth birthday comes as the Wales family takes time away from the spotlight while the Princess recovers from abdominal surgery and subsequent cancer treatment.

Mother-of-three Kate revealed in March that she was undergoing a course of preventative chemotherapy for a type of cancer that remains undisclosed.

In a heartbreaking video the Princess of Wales detailed how the cancerous cells were discovered, while she was undergoing surgery for a different condition in January.

She explained that she had not spoken out about it earlier because she wanted to have time to ‘explain everything’ to George, Charlotte and Louis and assure them ‘she’s going to be ok’.

This was also the reason the William was forced to pull out of a memorial service for his late godfather, King Constantine of Greece, as it is understood that this was when the family first found out about Kate’s condition.

In her emotive statement, Kate said: ‘The surgery was successful, however, tests after the operation found that cancer had been present.

‘As you can imagine, this has taken time. It has taken me time to recover from major surgery in order to start my treatment.’

The last time royal fans were given a glimpse of Prince Louis, the young prince appeared with his siblings, Prince George, 10, and Princess Charlotte, eight, as they smiled alongside their mother Kate on Mother’s Day.

The snap released by Kensington Palace, generated controversy when picture agencies around the world issued ‘kill notices’, over concerns it had been ‘manipulated’.

Both the agencies and eagle-eyed internet sleuths noticed several inconsistencies in the photo, including in the alignment of Princess Charlotte’s skirt, her hair, and the zip on Kate’s khaki jacket. 

Following the social media storm, the Princess of Wales was forced to issue a statement admitting she had ‘edited’ the image – which had initially been hoped would quell wild conspiracy theories that had circulated about her health.

In a post on Instagram and X/Twitter, the Princess said: ‘Like many amateur photographers, I do occasionally experiment with editing. 

‘I wanted to express my apologies for any confusion the family photograph we shared yesterday caused. I hope everyone celebrating had a very happy Mother’s Day. C.’

Prince Louis was born on April 23, 2018 in the Lindo Wing of St Mary’s Hospital, like his older siblings Charlotte and George. 

A statement from Kensington Palace at the time read: ‘Her Royal Highness The Duchess of Cambridge was safely delivered of a son at 1101hrs. 

‘The baby weighs 8lbs 7oz. The Duke of Cambridge was present for the birth. Her Royal Highness and her child are both doing well.’ 

Since then, he’s become known for his flair in front of the camera and has previously delighted royal fans with his expressive performances at royal events.

At Queen Elizabeth’s Platinum Jubilee celebrations, the young royal, then four-years-old, took centre stage as the royal family appeared on the balcony.

Alarmed by the noise caused by the Red Arrows circling overhead, he covered his ears and winced.

Similarly, the youngster charmed audiences around the world with his antics at the concert held in honour of his ‘Gan Gan’ and her 70-year reign.

During the concert, Louis was seen larking about as he played with his mother and sat on his grandfather King Charles’s lap. 

Last year at Trooping the Colour, he once again stole the show with his funny antics, and delighted fans once again on the balcony of Buckingham Palace as he got into the spirit of the Red Arrows and pretended to be a pilot. 

He also made viewers chuckle as he arrived in a carriage with his siblings at Horse Guards Parade – and seemed put off by an unpleasant smell.

The prince scrunched up his face and held his nose as the carriage moved along, while his older siblings seemed unfazed by the smell. 

As Kensington Palace celebrated Louis’s fifth birthday last year, Kate and William released a snap showing their youngest son’s playful side and his strong bond with his mother, as the Princess of Wales was seen pushing him in a wheelbarrow while he gleefully beamed. 

The previous year, another photo of the Prince, taken by Kate, was shared by Kensington Palace which showed him playing on the beach in Norfolk.

During Louis’s last public appearance on Christmas Day 2023 at Sandringham, he put on another heart-warming display as he held hands with his second cousin, Mia Tindall, on the way to St Mary Magdalene Church.

Mia, nine, is the eldest daughter of Zara and Mike Tindall, and has two younger siblings herself, Lena and Lucas.

Christmas 2023 was Louis’s second time joining his family for the annual trip to St Mary Magdalene Church as he is now deemed old enough to attend.

Sharing the image on Instagram and X, the royal couple wrote: ‘Happy 6th Birthday, Prince Louis! Thank you for all the kind wishes today.’ 

Bill Draper is arguably Richmond’s leading outdoor photographer. His renowned photos of landscapes and wildlife in the James River Park System have garnered widespread admiration. He’s celebrated citywide for his exceptional ability to capture Richmond’s beauty and the enchanting natural surroundings.

Several years ago, he released a book titled A Photographic Journey Through the James River Park System, with proceeds benefiting the Friends of the James River Park. He also created a 2024 calendar for the organization. Draper is renowned for his extensive collection of photographs of the Hollywood Cemetery buck, which he captured over several years before the animal was tragically poached in December.

He answered some questions for us on his approach and how he gets those beautiful images of life on the James.

Terry Hurley: Don’t want to get too personal here but how old are you and where do you live?

Bill Draper: I’m 72. My wife and I live in Richmond after moving from Short Pump almost five years ago. We are now downtown overlooking the river as we wanted to be closer to the 600-plus acre James River Park System.

TH: How did you get started in photography?

BD: I studied photography in college but worked in healthcare sales and marketing for 40 years. After retiring in 2016, I began carrying a camera on my runs and while biking and kayaking. 

TH: What made you focus on outdoor photography in Richmond and especially, the James River Park System?

BD: I grew up in Richmond close to Pony Pasture and spent my summers fishing, swimming and canoeing on the James. It is part of my DNA. I have a passion for viewing and photographing wildlife and landscapes especially in the light of early morning and late evening.

TH: Your images, especially of the wildlife, are amazing. I’m sure it’s not easy to capture some of those shots and it must take some time to get what you want. They don’t pose for you, do they?

BD: Getting the best landscape and wildlife photos does take a commitment, getting out early, many times starting in the dark, walking a mile or more to be at a certain spot at sunrise. The other challenge is to be ready for the unexpected opportunity. I am always watching the lighting conditions and making changes to camera settings to be ready to quickly get that special photo. Many times it is a matter of seconds, especially when it comes to wildlife. I compare it to the wild west, you have to be quick on the draw. 

TH: What do you most enjoy photographing?

BD: Capturing a beautiful sunrise or sunset on the James River, mountains, or seashore. A favorite with wildlife is photographing running or flying animals and birds.You see them from a totally different perspective.

TH: What are the most difficult shots for you?

BD: My most difficult shots are those flying birds and running or walking wildlife, especially with marginal light. 

TH: What times of day work best for you?

BD: Morning is by far the best time of day for me with evening being second. Wildlife tends to be more active in the morning and late afternoon. This kind of light makes photos look more pleasing in most cases. 

TH: Do you have any favorite locations along the river? By now you must know where to find your subjects.

BD: Favorite locations change based on time of year, wildlife migration and other activities. It is interesting that some of the best wildlife can be accessed easily by almost anyone. I have photographed deer, wild turkeys, eagles and waterfowl from the Huguenot Bridge. Downtown bridges including Potterfield, Mayo, Manchester and Belvidere are great for flying ducks, eagles, ospreys and other birds. I spend a lot of time walking along the river, in many cases finding unexpected photo opportunities. In other words, I don’t always find wildlife I originally expected to see. Beautiful river sunrises and sunsets are always potential opportunities when photographing wildlife along the riverbanks.

TH: How many photos do you normally take in a day and how many hours are you out with your camera?

BD: The number of photos I take on a normal day has changed quite a bit over the years. Not too long ago 100 photos a day was normal. Today with the newer technology cameras that take 20 to 30 photos per second, one to three thousand photos per day is very common, especially with moving wildlife. As an example, many times people ask me how did I get that flying bird photo with the wings in the perfect position. The answer is that at 30 photos per second, I got all the wing positions and picked the best one. I delete 95 percent or more of my photos each day, keeping the best ones.

TH: Do people stop and talk to you when they see you out and about with your camera? I assume some probably recognize you from your social media presence as well as your book and calendar.

BD: I do talk to people along the river every day. The number one comment, “wow that is a really big lens.” Surprisingly enough, many people do ask “are you Bill Draper” followed by “I really like following your photos on social media.”

TH: If you don’t mind, how expensive is the equipment you use?

BD: I will just say that I started with a basic camera and lens combination for less than $500 and over the years have continued to upgrade my equipment to the top mirrorless cameras with good quality lenses. The photo book that I did on the James River Park was almost completely done with a $400 camera and an iPhone. 

TH: Do you have any simple tips for us amateurs on taking nature photographs on our smart phone?

BD: The quality of smartphone cameras improves each year. There is a significant improvement in the camera phones from just a few years ago. They have improved to a level that in my daily travels I carry a 600mm lens for wildlife and my iPhone 15 Pro Max for landscape photos. Newer Android phones also have great cameras for landscape and people photos. 

TH: Lastly, is there anything else would you like us to know about your work photographing the landscape and wildlife in the Richmond area?

BD: I have a passion for being outdoors and viewing wildlife. I enjoy hiking, running, bicycling and kayaking. I always have a camera with me during these activities. I push myself to get out on a regular basis for several reasons. One is just being outdoors and having a desire to take the best photos I’m capable of taking. However, the most important reason, at age 72, is to keep my body moving and staying in good physical condition and maintaining a healthy lifestyle. 

In 2015 I developed a very painful back problem that made doing any physical activity almost impossible. I was told by numerous surgeons that I needed a three-level spinal fusion. I talked with a trainer and she asked me to give her three months and if that did not help then have the surgery. I continued to slowly improve and years later the back pain is gone. My biggest motivation in getting out each day is to stay in shape and keep the back pain from coming back. I call it my extreme moderation program.

You can follow Draper’s work on social media and his website: billdraperphotography.com.

Running April 25–28, 2024, the Photography Show presented by the renowned Association of International Photography Art Dealers (AIPAD)—the oldest fair devoted exclusively to the medium of photography—will return to its historic home at New York’s Park Avenue Armory. Bringing together 77 international exhibitors, the fair offers visitors the opportunity to explore and discover the myriad facets of photography, both historic and contemporary.

The forthcoming edition of the event is marked by a surge in young galleries and first-time participants, including Marshall Gallery, Scottsdale; Olivier Waltman, Paris; and the Third Eye Gallery Aya, Osaka; , alongside returning exhibitors—such as Bruce Silverstein Gallery, New York; Catherine Couturier Gallery, Houston; and Galeria Vasari, Buenos Aires. Returning and new visitors can expect a comprehensive and dynamic range of photography will be presented; archival and vintage photography will be juxtaposed by the work of recent, experimental works, emerging photographers alongside canonic names from the history of the medium.

Peter Wegner, Buildings Made of Sky X (2021). Courtesy of Marshall Gallery, Santa Monica.

Accompanying the exhibitor presentations, AIPAD is hosting a full slate of programming geared towards visitors of all ages. Panels moderated by leaders within the field, guided fair walkthroughs, as well as other educational events lend themselves to dialogue and an overarching theme of discovery. Included in this are AIPAD Talks, taking place over the course of the weekend days, is organized by Chair of the Education Committee Andra Russek and will offer attendees insight into forthcoming exhibitions both in New York as well as across the East Coast.

Dakota Mace, Tséyi (Among the Canyons) (2023). Courtesy of Bruce Silverstein Gallery, New York.

The opening of the fair will also see critic, curator, and writer Vince Aletti awarded the prestigious annual AIPAD Award, which is dedicated to an individual identified as a pioneer within the medium and has contributed to new understandings of photography. Aletti in conversation with 2022 AIPAD Award winner Jeff Rosenheim will start off the AIPAD Talks series Friday, April 26.

Grete Stern, Glass with Paper (1931). Courtesy of Galeria Vesari, Buenos Aires.

Executive Director of AIPAD Lydia Melamed Johnson said, “It’s an honor to host this dynamic lineup of speakers onsite as they share new curatorial projects, speak on how to build thoughtful photography collections, and predict the future of the art market. Every year, we work diligently to create engaging programs that will ask challenging questions and dive into the rich history of the medium. Our goal with AIPAD Talks is always to bring together this community of artists, curators, and art enthusiasts, and the explore the ever-changing landscape of photography.”

The Photography Show presented by AIPAD will be held April 25–28, 2024.

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By Samantha Pak
NORTHWEST ASIAN WEEKLY

A self-portrait of Corky Lee during his earlier days as a photojournalist. (Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”)
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A self-portrait of Corky Lee during his earlier days as a photojournalist. (Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”)

For five decades, Corky Lee (1947-2021) dedicated his life to what he described as photographic justice for the Asian American and Pacific Islander (AAPI) community.

Starting out in social services, Lee shot his first photos (on a borrowed camera) in 1970 while working at Two Bridges Neighborhood Council just east of Chinatown in New York, where BIPOC residents lived in run-down tenements. His work included organizing rent strikes, and his photos were used to educate and document residents’ living conditions.

Before long, Lee could be seen at crime scenes, protests, demonstrations, and more, documenting AAPI history—which now could be seen in a new book, “Corky Lee’s Asian America: Fifty Years of Photographic Justice.” The book is a continuous record of the Asian American movement over five decades, featuring about 250 photos, distilled from the hundreds of thousands that Lee took throughout his career, right up until his death on Jan. 27, 2021, from COVID-19.

“This book we edited is a rare documentation of Asian American communities and social justice movements over this long arc of 50 years,” co-editor Mae Ngai said.

The book was published on April 9, and to celebrate its release, Lee’s estate and Asian American Journalists Association (AAJA) Seattle are teaming up to host an event from 6-7:30 p.m. on April 26 at the Wing Luke Museum. The event will include a conversation between Ngai and AAJA Seattle board member Celia Wu. There will also be a slideshow featuring Lee’s work, as well as the opportunity for audience members to ask questions, a book signing, and copies available for purchase.

“I think it’s going to be a really happy occasion,” said Ngai, who had met Lee in the early 1970s in New York’s Chinatown, just as the Asian American movement was beginning to explode and they were both radical activists looking to make “good trouble.”

A candlelight vigil in New York’s Central Park on Sept. 15, 2001.

Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”

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A candlelight vigil in New York’s Central Park on Sept. 15, 2001. (Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”)

Undisputed, unmatched, everywhere

According to the book, Lee’s business card declared him the “Undisputed, Unofficial Asian American Photographer Laureate,” as he aimed to break stereotypes that AAPIs are docile, passive, and foreign in this country. He told stories through his photos and Ngai said he saw storytelling as a way to change the historical narrative—specifically, one that had long erased Asian Americans. From community events of all sizes, to people going about their everyday lives, Lee’s work showcases both the “Asian” and “American” sides of the community.

“Corky’s dedication to telling our stories was unmatched, and the book shows how prolific, and diverse, his output was,” Wu said. “Corky was able to create this powerful body of work because he was everywhere.”

This was how Wu’s younger self ended up in the book. She had attended a protest against Michael Cimino’s film, “Year of the Dragon,” in 1985 in New York and “naturally, Corky was there to capture the moment.”

AAPIs’ place in American history

Throughout his career, Lee’s photos documented important moments and movements in AAPI history. When community members in New York gathered to protest the arrest and beating of Chinese American Peter Yew, Lee was there on May 12, 1975, with his camera, to photograph another Chinese American man being dragged away by law enforcement. It was one of Lee’s most well-known photos and was published that same day in the New York Post’s afternoon edition.

Two women protesting against police brutality in 1975. The sign in Chinese read, “Down with racist oppression/Justice for Peter Yew now/Unite and fight to victory.”

Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”

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Two women protesting against police brutality in 1975. The sign in Chinese read, “Down with racist oppression/Justice for Peter Yew now/Unite and fight to victory.” (Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”)

In 2014, Lee carried out his quintessential act of photographic justice.

He brought together about 250 Asian Americans at Golden Spike National Historical Park in Promontory Summit, Utah. The site marks where the transcontinental railroad was completed in the 19th Century. And while Chinese workers played a major role in building the western half of the railroad, they were intentionally excluded from the 1869 original photo marking the occasion because of anti-Chinese racism at the time. On the 145th anniversary of the railroad’s completion, Lee reenacted the original photo with Asian Americans—including direct descendants of railroad workers—to record their role in one of the greatest technological achievements at the time.

And while Lee occasionally sold his photos as a freelancer, his work was mostly a labor of love, which he did gratis, Ngai said. For his day job, he worked as an account executive at a minority-owned print shop, where he worked from 1983-2011.

“Although Corky never was paid as a photojournalist, he was the ‘undisputed’ documenter of the Asian American movement from the 1970s up until his untimely death in 2021,” Wu said, adding that Lee was also one of the founders of the AAJA New York chapter and is listed in the national organization’s honor roll as a pioneer in photojournalism.

Lee photographed the AAPI community until the very end, capturing New York’s Chinatown through the early days of COVID-19. Taking portraits of people standing in front of their favorite restaurants, which had been closed at the time, as well as people protesting the rising violence against the AAPI community, he wanted to show how AAPIs were victims of the pandemic, not the cause of it, Ngai said.

“That was his last work,” she said.

Some of the last photographs Corky Lee took were of Asian Americans in 2020, protesting against the racist attacks during the coronavirus pandemic.

Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”

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Some of the last photographs Corky Lee took were of Asian Americans in 2020, protesting against the racist attacks during the coronavirus pandemic. (Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”)

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The April 2024 edition of our sister publication South Sound Business is the Women Who Lead issue. The fourth feature is below; read the previous one here. 

Angela Kelly, founder of Kelly Design and Photography, loves to help companies shine. As a business owner and true artistic polymath, she now enjoys the freedom to choose her hours, workplace, and projects — but developing that flexibility took time.

In 2018, Kelly was working in a print shop, a restaurant, and as a freelance graphic designer. She knew she wanted a career in design and photography but didn’t know how to break into the industry or find a full-time position.

That all changed when Kelly landed her first major freelance project with Rainier Valley Hemp Co. She developed assets for the business that included a promotional video, photo shoot, packaging design, and Pacific Northwest-inspired branded merch. The project put her on the map.

“When that came my way, I began thinking that I should start taking this more seriously,” she told South Sound Business.

After the positive reception to her work with Rainier Valley Hemp, Kelly decided to take a leap of faith. Knowing she’d need to dedicate more time to the launch of her business, she left her other two jobs, and with them, the security of a consistent paycheck.

“Starting your own business can feel like a risky roller coaster,” Kelly said. “When you cut off other dependable sources of income, you have to tackle obstacles as they arise and stay flexible.”

Despite the financial uncertainty inherent in entrepreneurship, Kelly remained steadfast in her dream of owning a company. In early 2019, she finally received her business license for Kelly Design and Photography.

Since then, she has helped multiple Olympia-based, women-owned businesses increase sales and develop their brand. Notable clients include the Fog & Fern Coffee House; Artväna, an acrylic painting club for adults; and Sucreabeille, an organic perfumery. She also has worked as an outside consultant with the city of Olympia’s marketing team.

Kelly’s future endeavors include growing her client base and expanding into a brick-and-mortar studio.

“I want to build a team of five to 10 other social-media experts, photographers, videographers, and graphic designers, and create an environment where they can pursue their professional goals and continue developing their craft,” she said.

Kelly believes that curiosity and a “better together” mindset are essential to producing high-quality, impactful assets.

“In school, you have this social aspect to learning. You’re surrounded by peers and can bounce ideas off each other,” she said. “I want to bring that collaboration into the professional space and develop opportunities to keep (my team) at the top of their game.”

For young entrepreneurs, Kelly encourages staying true to oneself. “When you’re starting out, focus on the things that make you uniquely you rather than transforming into your mind’s version of a ‘business owner,’” she said. “Don’t be afraid to let your weird show.”

Q&A 

What did you want to be when you were a kid?

A pilot. At 17, I even managed to take one solo flight from Olympia to Kelso.

How do you unplug?

Quality time with friends

What book are you reading?

I’m almost through a book of old Japanese folk tales. I enjoy fiction that teaches me something about culture, art, or history.

What/who motivates you?

I’m really motivated by “the grand reveal.” That moment of unveiling the logo, packaging design, or image I’ve been laboring over, and seeing my client’s reaction (not to brag, but I’ve pulled a happy tear or two).

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In photographer Chelsea Reeves’ art gallery, a white basketball enshrined in a clear display case symbolized the popular saying, “You miss 100% of the shots you don’t take.” White floral garlands embellished the artwork’s platform. With this piece, Reeves hopes to inspire people to give themselves their own flowers.

“There are many people who say they aspire to do something, there are few people who actually do it. I wanted to show the importance of creating our own opportunities for ourselves and not waiting for it to happen to us,” Reeves said to the crowd at the gallery.

On Sunday, Reeves organized and hosted her second art gallery, “Now It’s My Turn Part II,” in Syracuse University’s Shaffer Art Building. Over 80 Syracuse community members visited her gallery highlighting SU’s basketball teams, her time at CultureCon, her time spent in New York City and Syracuse events including this year’s Martin Luther King Jr. celebration and Pheelz and Leon Thomas III’s performance in Goldstein Auditorium.

“I loved how the gallery brought students from different walks of campus together under the common interest in photography. The audience was super engaged and clearly admired the variation in the art selection,” said Adam Baltaxe, one of the gallery’s organizers.

Last year in Shaffer, Reeves hosted her first gallery, “Now It’s My Turn,” which featured images of student models and different campus events. SU alumna and artist Adore Ellis, known for her work at Levi Strauss & Co., spray-painted shirts that were distributed to attendees.

This year, with the hopes of bringing the Syracuse community together to engage in philanthropy, Reeves partnered with Save A Child’s Heart (SACH) foundation, a new organization on SU’s campus. SACH has provided life-saving treatment to more than 6,600 children worldwide, particularly from regions like the Palestinian Authority, Gaza, Iraq, Morocco and Africa.

“The highlight of my experience was the incredible support from the Black community,” said SACH founder Ryann Washington. “It was amazing to see everyone come together to support (Reeves) and contribute to a great cause.”

Washington is a junior majoring in biology and forensic science. After spending time with children and witnessing SACH’s life-changing work during a visit to the organization’s base in Tel Aviv, Israel, Washington said she and a group of friends wanted to raise awareness and funds when they returned to campus.

Gallery attendees placed bids starting at $15 for some of Reeves’ work up for auction. Fifteen percent of all proceeds will be donated to SACH. Senior and fellow organizer Maram Ahmed said the gallery was much bigger than she expected. She said the highlight of her experience was pulling back the tape to reveal the finished look of the gallery sign and seeing everyone show love to her work.

“Getting to see the variety of images that Reeves captured, she has a special way of seeing the world and I felt that through her work,” senior Sonia Issa said.

Disclaimer: Chelsea Reeves is a contributing photographer for The Daily Orange. She did not influence the editorial content of this story.