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Hannele Lahti


Flash Powder Retreat #9: I Just Love Photographers

...and working with photographers

...and being inspired by photographers

...and looking at the images made by photographers

Photographers are awesome.

Leading the Flash Powder Retreats (with David Bram) is easily one of the most gratifying things I do. We spend four days and five nights in a house with four photographers and work sun-up to sun-down on their photographic projects. The retreats aren't for making work - they are for taking an existing body of work, tightening it (edit, sequence, project statement), and creating a plan to launch it. It's intense and exhausting, but it is incredibly exciting to be able to immerse myself in someone's project and overall photographic goals and work collaboratively to move the work forward.

The 9th Flash Powder Retreat just ended (this one was in Highlands, NC), and as usual, the goodbye pulled on the heartstrings. Another great group, both talented and fun. I encourage you to check out these photographers' portfolios and keep tabs on them. I'm sure you'll be hearing a lot more from them soon.

Leon Alesi

Victoria Crayhon

Eugene Ellenberg

Hannele Lahti

And just so you know how much fun we had. . .

Flashers: Gene Ellenberg, Hannele Lahti, Leon Alesi, Victoria Crayhon
Flashers: Gene Ellenberg, Hannele Lahti, Leon Alesi, Victoria Crayhon
a rowdy game of Dirty UNO
a rowdy game of Dirty UNO
Sunset Rock
Sunset Rock
photo 4
photo 4
photo 5-1
photo 5-1
showing work
showing work
beautiful weather, working outside
beautiful weather, working outside
David on Impossible film
David on Impossible film
in town, at the Ugly Dog Pub
in town, at the Ugly Dog Pub
photo by Victoria Crayhon

photo by Victoria Crayhon



Crusade Tour Featured on FStoppers

The awesome Joseph Gamble interviewed me for this article on FStoppers. Love the Joseph, love the FStoppers.A Crusade for Collecting: Jennifer Schwartz’s Photo Road Tripby Joseph Gamble, published on FStoppers on September 3, 2013

Ten thousand miles, ten cities on a coast to coast ramble in a 1977 vintage VW bus all for the sake of promoting photographic art. From April to June of this year, gallerist Jennifer Schwartz was behind the wheel of her microbus on a two-fold mission: to promote photographers and create collectors. Working with five photographers in each city on the tour, she orchestrated pop-up events and curbside photo exhibits designed to educate and engage communities regarding photographic art and the value of starting a collection.

An avid photographer and collector, she launched the Jennifer Schwartz gallery in March 2009 in Atlanta with the hope of reaching collectors and providing an immersive art buying experience. One of the cornerstones of her early success was placing photographers in front of an audience of interested collectors. As she explained, her role was not just to sell work but also to foster a community of collectors.

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Lady Blue replica model in Brooklyn, New York when the van was under repair.

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The Map of the trip.

“In my Atlanta gallery, I discovered the most successful programs to get new people interested in art involve meeting the artist and making a personal connection,” said Schwartz. “They lure people who have had only a limited relationship with art to have a unique, fun experience where they engage with photography and the artists in a thoughtful way. They look, and in a lot of cases, they start to believe in art.”

While the gallery experience created a local nexus for artists and enthusiasts to gather and view work, the space felt limiting as she was only reaching people in Atlanta. Thus, she came up with the idea of a mobile arts promotion traveling across the country in a wide loop from Atlanta to Los Angeles and up the West Coast to Seattle before heading east to Chicago and New York and then down the East Coast.

The trip wasn’t an unplanned, off-the-cuff road show. Schwartz staged pre-trip events in 2012, one at the High Museum of Art and the other in December at PhotoNOLA in New Orleans. These initial stops were instrumental in preparing for the three-month journey that began in April, which she named the Crusade for Collecting.

The idea was grassroots and simple — take the gallery experience on the road, interface with local photographers in each of the tour stops and then bring the photographers and their work directly to people on the street. In essence, breaking down the gallery walls and the exclusivity that exists in the art world. Photographers seeking exposure would give away ten of their photographic prints (between 6 x 9” and 8.5 x 11”) signed copies of an image freely in exchange for the exposure and opportunity of sharing their work and being a part of the tour.

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Pop-Up Event in Cleveland, Ohio.

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Los Angeles, California Pop-Up event.

“I felt that if I could give people a fun, disarming art experience in an unexpected way – that if they had an opportunity to meet artists, learn about their work and connect to an original piece that became theirs – it may be transformative and put them on a path to loving, supporting and collecting original art,” said Schwartz. “And what could be more fun than walking by a turquoise 1977 VW bus with photographers standing in front giving away original, signed photographs to someone who wanted to chat about them?”

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San Francisco Pop-Up Event

To fund the purchase and outfitting of her bus, nicknamed Lady Blue, Schwartz, like many project-driven photographers profiled on Fstoppers, launched a Kickstarter campaign. It wasn’t an easy prospect so her efforts were buoyed by additional sources including sponsorships, a local fundraiser, private donations, and the Collectors Building Collectors program that she developed with an Atlanta collector.

“When I launched my Kickstarter campaign, it still seemed fun and new and I had only known a couple of people who had run a Kickstarter campaign but I did have a difficult time explaining to my non-art friends that ‘yes, they were giving me money to buy a bus, and no, there were not any starving children or sick animals that would benefit from it,’” said Schwartz. “Now that the concept is more mainstream and people trust it, I think it is easier to fund a project, because the pool of potential supporters is deeper.  On the flip side, there is a significant amount of Kickstarter fatigue.  If you are going to do it, I think you have to be very strategic about it.  I wrote a blog post offering tips to launch a successful Kickstarter campaign, based on my experiences.”

Lady Blue, like many Volkswagen microbuses from the past, wasn’t the most reliable choice of vehicle considering she would be subjected to a bi-coastal odyssey. Once on the road, Jen quickly learned to speak ‘conversational mechanic’ and now counts several mechanics around the country as good friends. “Fewer breakdowns would’ve been nice…” she said.

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Mechanics and Sean Dana (photographer who traveled with the tour from San Francisco to Portland) diagnosing Lady Blue. Photo by Kurt Simonson.

There were some detractors who felt that the concept of giving away work was devaluing the photographic medium and the work of the artists. Participating photographers were given an opportunity to showcase their work and reach out to new people who might take an interest in their future work. “But the goal was to give people an opportunity to connect with a piece of art, own it, hang it, to recognize value in that experience, and to want to replicate it going forward,” said Schwartz. “The hope was that the engagement would be transformative.”

Overall, the three-month saga was “a blur of awesomeness.” Photographers often came aboard and drove sections of the trip and kept her company. Social media resources including facebooktwitterinstagramand youtube proved to be immeasurable as she documented the entire experience with blog posts and video updates. It was an organic way of keeping up with new contacts from cities past and to forecast and prepare for her arrival in a new city. A few highlights of the trip include: an unplanned stopover in Cleveland with assistance from the Cleveland Print Room, a private tour by Fred Bidwell of the Todd Hido show at Transformer Station and presenting to a sold-out crowd at FotoWeek DC, the final stop on the tour.

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DC pop up with photographers Frank H. Day, Hannele Lahti, E. Brady Robinson, Jennifer Schwartz, Alexandra Silverthorne, James Campbell.

DC bus A Crusade for Collecting: Jennifer Schwartzs Photo Road Trip

Lady Blue in front of the White House. 

Although the Crusade tour is over, she is developing Crusade for Art, a non-profit organization with a mission to educate, inspire, and support artists to create unique, approachable programs that engage new audiences with art in meaningful ways. She has a variety of opportunities for photographers that are in the works and will be announced at the end of the year.

“This tour was not about a road trip, it was about starting a conversation about art,” said Schwartz. “It is nice to know the conversation not only started, but also continues.”

You can keep up with Jennifer Schwartz by sign up for the email newsletter and following her online at Crusade for Art or check in on her gallery work at Jennifer Schwartz Gallery.



LPS Spotlight: Hannele Lahti

Since the photographers featured in the Local Photographer Showcases in each city are supremely talented and excited about reaching new audiences with their work, we will be regularly featuring them to give you more insight into their work and their experience Crusading. Next up is Hannele Lahti from the DC pop-up:

Tell us a little about your background as a photographer and where you are now with your work.

I studied photography at RIT (Rochester Institute of Technology) after being introduced to the medium by my father while on family road trips. I started out assisting other photographers and doing editorial, commercial and event-based photography. I still work with a variety of commercial clients but am currently transitioning my business to clients a with an environmental and animal focus. Growing up in a rural part of Maine, I find much of my inspiration to create photographs within the natural world, and I'd like my business to represent that theme more fully. I've begun exhibiting my work in group shows throughout the eastern US and am looking to work with galleries more in the future. I'm constantly working on personal projects and normally have 2 or 3 in the works at all times.

Over the past few years, I’ve learned audio and video which I’m incorporating with my still photography to create mini-documentaries about people and events I find interesting. My stock photography has been represented by National Geographic Creative since 2009 and I launched an online print store for my fine art work last year. (

How did you hear about the Crusade, and what were your initial impressions?

I’m not sure where I came accross the project, probably somewhere on social media. I really liked the idea because it was such a different way to think about cultivating an audience. The act of taking art out of the gallery scene to create a positive experience around collecting for people on the street sounded appealing.

Were you excited to participate in the Local Photographer Showcase?  Why or why not?

Yes, I was excited to meet my fellow Crusaders, to engage people about art and to try something new. Sometimes I feel like I spend way too much time on my computer ,so I thought this would be a fun way to get out and make some new connections.

How did the event go for you?  Was it like you expected or different?  Better or worse?  

I figured the event would be pretty organic and it was. We ended up having a nice mix of tourists and locals which made engagement fun. The people who stopped asked a lot of questions and seemed really interested in learning about all of the artwork being presented. This made the event really enjoyable and lively.

It would have been nice to have an easy method to record contact info from the new collectors. A table with sign up sheets & info for each artist might have been a good way to accomplish that.

What do you hope will come out of the experience for you - personally and professionally?  Do you think those are realistic expectations?

I looked at this experiment as a good way to practice talking about my work, to be part of something bigger than myself, and to meet new people. The idea behind the Crusade resonated with me, and I hope that by participating I was able to create a positive art experience for the people who stopped. Maybe the next time they need something to hang in their home, they’ll consider purchasing an artwork from their local arts community instead of a large box store. To me, that would be a successful outcome.

Tell us about the image you gave away at the event and how to see more of your work.

The image, Tuckamore Forest, Newfoundland was shot last year in Gros Morne National Park. For me, the image captures the essence of the forests in that region which are stunted and shaped by strong coastal winds and spraying salt water.

My main website is, from there you can link to my online print shop, blog, social media, and stock photography. My Instagram stream is @hannelelahti.



The Crux of the Crusade

I am sitting in my childhood room in Richmond, Virginia, thinking back on the crazy adventure called the Crusade for Collecting Tour.  Now that it is over, I feel a jumbled mix of emotions, but mostly I feel proud.  That may be a weird thing to say, but after traveling to ten cities and meeting so many new people, I know that this wild ride has made a difference.  At some level, to some people, this tour made an impact, and that's all I could have hoped for. In my gallery in Atlanta, I found the most successful programs to get new people interested in art involved meeting the artist and making a personal connection.  The Crusade just took that idea on the road, bringing artists onto the streets to meet people and talk about their work.  I felt that if I could give people a fun, engaging arts experience in an unexpected way – that if they had an opportunity to meet artists, learn about their work and connect to an original piece that became theirs – it may be transformative and put them on a path to loving, supporting and collecting original art.

One to one interactions, opportunities to learn first-hand about the story behind a piece of art – that’s not intimidating, that’s interesting.  Over and over, city after city, the same lesson emerged:  People value connection. A lot of established collectors buy art because of the artist’s reputation or the proven value of the piece – the art world as we know it is driven by trends and price tags, not experiences. But the status quo is not cultivating new audiences for art.  To attract people who are not already connected to art, we need to provide opportunities to facilitate a personal connection between the artist, the collector, and the image.

If you make art or love art or buy art, you have had that magic moment when a piece speaks to you.  You have had that "aha" experience of looking at an image that made your head (or heart) want to explode (at least, that's how I feel it).  The goal of the Crusade was to create an opportunity for people who had not been moved by art in this way to experience that lightening bolt moment. . . and want to have more.

The artists and I both received great feedback in person and through follow-ups from people who really connected.  There were hugs and amazing moments on the street, and also emails and phone calls and photos of the newly framed pieces hanging on the new collectors walls. These were powerful and eye-opening moments for everyone involved.

The best description of witnessing this "aha" moment happened at the last pop-up event in Washington, D.C. A young woman was talking to us after selecting Hannele Lahti's photograph.  She said this was her first piece of art to own, and when I asked her why she selected that image over the others, she said it was Hannele's description of what the image was about that really moved her - when she heard Hannele describe the photograph, she realized this art was about an experience she was having at that exact moment.  It was so powerful to watch someone realize that art could be so dynamic and have layers of meaning that resonate on a very personal level.

Every interaction makes a difference.  I feel so fortunate to have had the opportunity to be a part of so many. Let's keep it rolling. . .



DC: The Perfect Finish Line

Washington, D.C. was the last official stop on the Crusade for Collecting tour, and it could not have been a better place to wrap up this amazing journey.  There was a great interview in the DC Examiner, the pop-up was listed in Southern Living's Daily South blog as the number one thing to know about that week, and social media was on fire like it had not been in any of the other cities.  DC was ready for their art! As usual, our first order of the day was to drive around the city, get the lay of the land (for pop-up locations) and get some b-roll video footage.  Washington is not the easiest city to drive around in, and when we finally got to a spot where we could get a great shot of Lady Blue in front of the White House, it felt like winning the lottery.  Until I saw police lights behind me.  Apparently parking "this vehicle" in front of the White House during a time of high national security was a problem.  Fair enough.

The first night there I met up with E. Brady Robinson (a phenomenal photographer, photo professor, and force of nature when it comes to organizing art-related community programming) and Theo Adamstein (founder and executive director of FotoDC and all-around amazing doer) for drinks and dinner.  Foto DC is an incredible organization, and I loved hearing more about their mission and programming.  You know, arts engagement stuff I geek out on. . .

But the real highlight was the final pop-up of the tour.  The weather was beautiful, the photographers were pumped, and the parking spot was primo.  Seriously, Lady Blue was proud as a peacock, with the Capitol on one side and the Washington Monument on the other.  We had great foot traffic on the National Mall from both people who worked in the area and tourists.  As usual, we had to make a real effort to get people to stop (Brady's technique was unparalleled across the tour - approaching someone unassumingly and in a regular, non-salesy voice saying, "you look like a collector. . ." - worked every time), but the people who did seemed to really connect to the artists and their work.

It was a sunny day, and the art was moving.  People were excited, photographers were smiling, the bus was purring. . . I could not have asked for a better experience to end the tour on.

After the pop-up, I was surprised by how emotional I felt.  A lot of blood, sweat, tears and sheer will went into making this tour a reality, and it's hard to believe this part of the journey has ended.  The photographers, friends, family and supporters who have helped push this forward are way too many to name, but each of you made a difference.  Art wins!

The day and DC stop ended with a sold-out lecture at the Goethe-Institut, sponsored by FotoDC. I love speaking about audience engagement and the importance of facilitating opportunities to create connections between a person, an artist and an image.  Great crowd, great questions.  Ah, this just gets better and better!