daria tuminas – ivan and the moon

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EPF 2011 Finalist

Daria Tuminas

Ivan and the Moon

play this essay

Ivan is the elder, he is 16. Andrey, nicknamed Moon, is the younger, 14 by now. The two brothers live in a distant village in the northern part of Russia. They are not like regular teenagers, and live in a fairy tale world, yet deeply connected to nature: they go hunting and fishing, can use a joiner’s chisel, play with ghosts at abandoned places, do not want to move to a city, and love nature. Mature and childish. Naive and enigmatic. In this ongoing project I want to show the mysteriousness of the world of these brothers.

The narrative in ‘Ivan and the Moon’ is neither chronological nor event related. It does not have a strict and one-way-to-read plot. All the images are connected to each other on the level of correlated motives and on the level of hypothetical story interpretations. Each picture is supposed to provoke some inquiry about ‘What is going on?’

Moreover, the two brothers are reflections of each other. Many people might even think that they are twins. The main corpus of works contains their individual portraits, so that it is no longer clear who is who. It was also important to show that the world around the boys is itself magical and their games and fantasies are consequences of being a part of this world.

My aim is to follow the brothers through their life (I met them at a folklore expedition) and ‘document’ things that are impossible to document: the world of a boy’s fantasies, ghosts, gods, spirits of specific places, magic itself. Such things usually can not be literally depicted. As J. Szarkowski stated in his famous work ‘Mirrors and Windows': ‘most issues of importance cannot be photographed’. My goal is to try to photograph the ‘unphotographable’ side of the matter and challenge some formal criteria of ‘classical’ documentary.

Works from this series were published in several magazines (GUP, DigitalPhoto etc.); awarded with the first prize documentary at the Viewbook Photostory Competition, exhibited at several Amsterdam and St-Petersburg’s galleries, at Lodz Fotofestival etc.


I was born in 1984 in St.-Petersburg, Russia. I have always been interested in approaching photography in several ways. First of all, I am doing academic researches. I wrote an MA thesis about amateur photography at St.-Petersburg State University and for now I am a student at Leiden University’s MA program ‘Film and Photographic Studies’. I am also practicing writing critical essays on photography; and used to be the coordinator and curator of an International Summer School in Photography focused on the new language of documentary and journalistic photography. Currently, I am an intern at Foam magazine (Amsterdam), working in the editorial team. Finally, I also take pictures. ‘Ivan and the Moon’ is my first project.

96 Responses to “daria tuminas – ivan and the moon”

  • so beautiful and poetic. i am absolutely crazy about this.

  • a civilian-mass audience

    When you reach the top, keep climbing.”


  • geeeeeeeeeeeeeezus!!!!!!!!!!!!!!
    this is aweeeeeeeesome!

  • Looks like six nine of a tripod.
    thought out planned and very deliberate
    Very MFA…even slipped an unmade[ish] bed in there…points for that
    But ultimately dull and staid.
    I got the fairy tale angle angle without reading the text, but you would have to be Stevie Wonder not to.

    And I would disagree that these are NOT sequenced. Clearly they have been.

    Two photo based Masters studies and this is the first project???
    Maybe want to think about that less.

  • My aim is to follow the brothers through their life (I met them at a folklore expedition) and ‘document’ things that are impossible to document: the world of a boy’s fantasies, ghosts, gods, spirits of specific places, magic itself. …………………. It would be a lot more interesting to see how the photographer matures and further loses touch with his own fantasy based mentality.


    sorry, but do not understand meaning of “six nine of a tripod” ? few mins later….oh now see you must have intended six nine ON a tripod…that makes sense of course..i woulda shoulda just fixed it, but now too late…


    the photographer here is a woman

  • O K a mental slip, come hmmn it is about boys thinking ……….It would be a lot more interesting to see how the photographer matures and further loses touch with HER own fantasy based mentality.

  • …….yea looking at my mistake on the comment …….. in hindsight it makes little sense as a 27 year old male photographer would have more than likely outgrown timid fantasies.

  • We´ll, It´s my very first time writting here so let´s introducing myself before nothing:

    (I´m a spanish guy so I would like to apologise for my awful English)

    A friend of mine, recommended me Burn some years ago. At that moment I was really busy but when I had a quick look, I realized it was one of the coolest photography sites I´d found so I bookmarked it for coming back ASAP.
    Time passed and I didn´t find time enough to get as involved as I would like. From the begining, I found Burn and all the people behind it as a great meeting point for the photography and the pleasure of sharing knowlege, photography, points of view or projects.
    Each time I came back, I hardly had time for reading all the replies for each post. So here is the reason that had made me being “invisible” all this time.
    Nowadays something it´s sure: every time I came back to Burn I found a bigger community, lots of great projects and the warmth of everyone here. So nice…

    Ok, after this boring introduction:


    Congratulations for your project, as aliciavera said, love its poetry! also love its aesthetics and the atmosphere it shows!

    Good luck!

    JOHN GLADDY, (with all due respect):

    “I got the fairy tale angle angle without reading the text”
    Isn´t what photography is about?

    “Two photo based Masters studies and this is the first project???”
    Well, I´ve been working on commercial photography for a living for some years and I´ve also submitted for the EPF 2011 with my first documentary project. The fact is that while I was shooting comercials, I hadn´t found time enough for developing my own projects. Now, as a result of the crisis, I have time but no money…

    By the way, I don´t understand the meaning of “six nine of a tripod”

  • You know you are going to get “art” when you see a line in the artist’s statement like this: ” All the images are connected to each other on the level of correlated motives and on the level of hypothetical story interpretations.”

    What the heck does that mean. Modern times.

  • I’ve no idea what it means either, Jim.

    As a 27 year old female photographer, I’ll just “ouch” and leave it at that… ;-)

    I’m new to photography. I’ve been studying and practicing it informally for less than a year now. Yet, looking at this essay I see visual tropes that seem present in so many contemporary “art” and “documentary” photographs. This is surprising and undermines the potential of the essay for me – being primarily psychological and subjective in its nature, I would expect a strong personal vision from the photographer, but I’m feeling more that a lot of these images and the manner of sequencing falls into a checkbox criteria of visual referents. It feels cliched when set in a wider contemporary photography landscape. So it doesn’t feel like a strong personal vision at all. There is a sense of superficiality to the construct. And it is a superficiality that nods to fitting in with contemporary practice – this is at odds with the personal unique vision supposedly being presented.

    That said, there are some strong images here. I particularly like frames 1 and 6. But, overall, I’m left wanting the strong poetics of Parke’s Minutes To Midnight, while looking at the grammatically correct but senseless sentences of Chomsky. http://en.wikipedia.org/wiki/Colorless_green_ideas_sleep_furiously

    I think some conflate poeticism and incoherence. Conceptually, a structure such as used here demands a stronger commitment to a personal vision, and a stronger commitment to balancing stretching the limits of structure with a desire to communicate something substantive.

    This feels obtuse for the sake of being obtuse. Rather than obtuse to make a salient point. I think it fails within the terms of its own structure.

  • No matter Jim …Framers Intent has explained it all in the same terms …………… And it is a superficiality that nods to fitting in with contemporary practice – this is at odds with the personal unique vision supposedly being presented.

  • Hahaha, I’m just saying that I get the impression that the photographer started out from the premise “I want to make some arty looking photographs” rather than starting out from the premise “I really want to communicate X”. I also think that’s why there is a pretty tenuous artist statement that many a theoretician would look at and call BS on.

    There is a massive difference between “trying to be profound” and “trying to communicate about something that is profound”. The profundity in Parke’s M2M comes from his subject matter and flows through his response to it and his method of describing it visually. It isn’t something intrinsic to Parke. The essay above feels like the work of someone who wants to have that profundity ascribed to themselves at an intrinsic level. That enterprise is completely moribund.

    I actually feel I’m being a bit harsh here, because I’m attacking the photographer’s intentions. But I also suspect it may be valid. And I don’t believe that the arts exist primarily to propagate a convoluted sense of self for those who seek to build such. Seeing a work as naive in intention as this shortlisted for the EPF makes me question what the other submissions were.

  • Will someone hand me over a white stick because I’m sorry I can’t see the elements of magic and fairy tale in this essay. I’m sorry this essay does nothing at all to me and that is quite hard feat it’s usually very easy to satisfy my tastes. Have to agree with John it’s ultimately a pretty dull essay I was expecting so much more after reading the intro…


    She has not yet been born:
    she is music and word,
    and therefore the untorn,
    fabric of what is stirred.

    Silent the ocean breathes.
    Madly day’s glitter roams.
    Spray of pale lilac foams,
    in a bowl of grey-blue leaves.

    May my lips rehearse
    the primordial silence,
    like a note of crystal clearness,
    sounding, pure from birth!

    Stay as foam Aphrodite – Art –
    and return, Word, where music begins:
    and, fused with life’s origins,
    be ashamed heart, of heart!

    Очень, очень красивый!!! :)) Обе работы является мощным, щедрым и определяется воображение человека, живущего среди тумана и тишины.:)))

    Beautiful, imaginative, maturely-realized work. In truth, I am a bit shocked by some of the reaction, particularly by Imants, considering the allusions here or the connection here to the great work being done by the brilliant Russian Conceptual Artist Leonid Tshkov…..

    To begin, each of us builds and constructs a world that is born upon the well=spring of our imaginations. This is no truer than with regard to children and teens, particularly those who’ve been caught off by both distance and information overload, instead finding nourishment upon the scale and architecture of their way to fit their own growing selves against the shelves of life.

    This is beautifully photographed, intimately observed, richly imaginative cinematic work. It is clear that Daria is linking her work to that of the great tradition of Russian cinema and documentary photography. What some here may not understand is that tradition within Russian art, and Russian photography to have a lively and interconnected relationship with Russian cinema. Pudovkin, Vertov, Eisenstein, Kalotozov, Tarkovsky, Paradjanov, German, Sokurov (to name of few) have had profound influences on the visual language of Russian photography (particularly post Soviet Union). I see clear visual connections here between some of them (Tarkovsky for sure who enacts the strongest influence on most young photographers/visual story tellers) but I see connection to to such Russian contemporary filmmakers as Andrey Zvyagintsev and Pavel Lungin. But more than Russian cinema, a very quintessential iconography is at play here that is mined both from the life of these two boys but also from much of Russian Literature.

    If there is a lyrical sense of the fairy tale here, and there is, it is also because russian literature is steeped in that nomenclature and particularly as it applies to the countryside, life at dacha/village, it is a pressing ripeness. Beyond the visual power and strength of Daria’s images, is something too more fundamental. I did not at all see this as a ‘contrivance’, an art student’s project to create, a la anna gaskell, a photographic interpretation of fairy tells (which would have work alone for me) but this is observational, lyrical work that begins and ends in the versmilitude of the life of both these boys and THEIR imaginative recreations of life….

    For in the end, we construct the world not through observation but through creation and reinvention. For some, like these brothers, that recreation comes in the manifest stories and roles, deaths and rebirthds, that they have given themselves…..for Daria, that comes from the discovery, photographic, emotional, of their inventions as prisms through which to investigate not only their life but her own.

    And then there is Tshkov…whose magnificent conceptual projects are a source of great great inspiration to me….and I see his own brilliance and poetry within the life of Daria’s story…remarkably different of course, but both are at the center of what it means to negotiate this far-flung and quickly disappearing life….and that is the luminous point of departure for each of us: imagination….


    “Ivan and Moon” is a beautiful, meditative and truthful work that gets at the life of two young men recreating from the stories inside them and around them a life far past the addled and jaded life of the grid….beautiful, luminous work.

    from one former finalist to another: Поздравляю вас! :)))



  • I forgot, this story reminds me of the beautiful Spanish Film, ‘spirit of the beehive’…only Russian version :)))

  • Frames like 8, 11, 13, and 14 strike me as being what I’d call “stock arty photographs”. The series overall strikes me as being a bit meh, and when someone pursues a less strongly descriptive or linear approach (as is done here), then I think it is reasonable to expect a more powerful essay. When I see something shown in this way, I want to see something that requires being shown in this way to fully capture it or express it. I don’t get that in this essay at all.

    Mystery, non-linearity, hypothesis, and enigma shouldn’t be used to cover up for photographic/intellectual weakness. They should be used to show something that couldn’t be shown/shown better without those elements. This essay is a ‘cool and lo-fi’ title and a collection of mildly quirky pictures. Nothing more.

    And I should put my own name to this, given how critical I’m being. I look forward to anyone who wants to challenge my opinion, I’m willing to stand corrected if there is a persuasive counter-argument. I just don’t see it. It’s too easy to look at a series like this and call it “poetic” when what we mean is “fails to communicate intelligently”. The term poetic deserves to avoid that abuse, it’s too useful to us in describing things that actually are poetic to be lost to the vagaries of being polite.

    Sara T’Rula

  • a very poetic essay. I like the pictures and the high standard theses pictures are following.
    good work, keep it up.
    could imagine a book with poems, or a novel with the pictures side by side.

  • love all the different textures in the photos!

  • Wow
    I am utterly taken aback by this. I felt this from the first photograph.

    As well as taken aback, I was taken back to my own childhood. So much of what is going on here feels familiar. I can feel again the child mindset, and the ability I had then to loose myself in my imagination, and in nature. I can remmember acting out stories, make-believe with sticks as swords, letting my mind almost believe. I remmeber times with my great-grandparents in their tiny home with the hiss of the kerosene lantern. My great-grandfather was a hero to me, and taught me how to carve wooden spoons and make whistles from aspen branches in the spring when the sap was running. I remmember visiting city cousins, and being surpised that they did not seem to share the same sensibilities. I felt sorry for them and thought their lives were excruciatingly boring.

    These photographs feel particularly familiar to me, as the northern Russian landscape looks very much like northern central Alberta where I grew up. I can smell the poplar and aspen, the grass, the mud, I can recognise the light, and in the absence of city noise, hear the insects and birds, and see the stars at night.

    These photographs are wonderfully poetic. From my perspective, Daria has gone a long way toward achieving what she is hoping to do. These are beautiful, powerful images. 9 and 15 are the only two which do not work as well for me. I love this, am very moved by it, and would buy a book in an instant.

    This seems to be one of those essays that people either love or hate. Probably a good thing.

    Congratulations Daria and good luck.

  • Daria,

    congratulations for your work and thanks for taking us in this vast land of Elves and symbolism.
    reminds me of the Grimm brothers fairy tales, a time well before W/Disney world dominance…


  • David. Yes sorry. Meant ‘off of’, which you yanks call ‘on’.
    Sara. very robust.

  • Every three to five years I consider going back to school to earn an MFA so that I can teach, but the thought of an art curriculum holds about as much appeal to me as unlocking the mysteries of proctology. Ergo, I am happily churlish and blissfully ignorant of some of the visual tropes and art school clichés that may have kept me from being completely mesmerized by this essay. The subjects are real: two somewhat feral characters suspended in a strange limbo between boyhood and adolescence wandering a forest world of their own creation with a mix of childlike innocence and an awakening blood lust. The photographer did not make these two boys up. She could have taken a straight-forward approach and given us a series of deadpan medium to large format portraits. She could have followed a linear trajectory by documenting every waking moment of their lives. Instead, she gives us this collection of eerie vignettes that allow us a small window into the inner lives of these boys. It’s fascinating – luminous and wondrously creepy at the same time. It reminded me of The Wasp Factory by Iain M Banks. I say, bravo!

  • kateelizabethfowler

    There’s something so fantastic about trying to document a state of mind or imagination. In your photographs, the relationship between what is staged and what is candid really enhances the feeling of a created world. REALLY truly beautiful, wonderful and inspiring, Daria! Congratulations and I can’t wait to see how you develop! I adore this photo essay.

  • The physical boys are real. But the photos seem posed and contrived. I’d really like to hear from the photographer about this. Are these scenes from the boy’s lives or creations of the photographer? Since it’s “ART,” it really doesn’t matter. But it would be interesting to know.

  • I think this is a very good work with a few weak points that can be easily fixed. Although it may not seem so, it is an ambitious project, it would be very interesting to see how it evolves. My guess is it cannot hold strong for a very long run, the point has been made already. In fact, I think it has a problem frequently found in young photographers, lack of more rigorous editing, several images could or should have been edited out because it becomes a little repetitive.
    I know every image has a story and a lot of work has been put into it so it is hard to let them out. But believe me, less is more.
    I think there are many very powerful and beautiful images here and the world of the young boys is very well portrayed, the real and the fantasy alike. It is a great mix of straight forward and poetic language, something not frequently found. As a photographer, editor and printer, I get to see a lot of work by young and old artists and I’m always on the look for good surprises from the young people, this is one I like very much.

    Congratulations for what you have achieved here, yet, keep looking, keep finding and exercise a little on what one of the greatest Mexican essayists used to tell his students “write with both ends of the pencil”

    On a note to Burn. I would leave the artist statement after the images, I prefer to let the photographs do the talking first, is they are successful at telling the story, they are winners. Contemporary supports itself to much in the written statement and I think we should not need so much explanation, very often it ruins or determines the experience of looking at photographs because it limits the reading of them and how the viewer relates to then from his/her point of view and personal iconography.

    Thanks to Dave and all at burn, I follow, share and enjoy the publication all the time.

  • Hello!

    It is Daria Tuminas writing.
    First of all, millions of thanks to Burn and to everybody!!!!!

    I have just seen the news and I am glad to comment.
    I am not sure that I can reply to everybody personally but really – THANKS TO EVERYBODY, for good words and for critique.
    Bob, отдельное спасибо ))) Вы очень точно все почувствовали, это невероятно радует и вдохновляет. Indeed, literature is of the great importance for me – I graduated from Russian literature department and was majoring in folklore studies )))

    Just several notes for the points of critique:
    I do not have any master education in photography. I studied at St-Petersburg School of Photojournalism for two years but it was just local courses, though they gave me a lot. There I was working on some assignments but they were extremely educational, study ones – I was really beginning and none of the works produced there could be called a solid project.
    Now I am studying at Leiden University at an MA programme Film and Photographic Studies which is completely theoretical (it means we do not shoot at all but study history, theory of photography and film). For the moment I am working on a theoretical thesis.
    Before that I had an MA and was writing my thesis (within the frameworks of folklore studies) on vernacular photography collages made by people from villages where I collected material and interviews in multiple field trips.
    Regarding the text – well, it is more descriptive indeed, just telling what one can see basically without words. As it is just a proposal for the project I consider myself having a right not to make this text the ‘last version.’ The pictures were made within a limited period of time, I am looking forward to continuing shooting and developing everything – the images, the text, the concept. It is obvious that it will not stay frozen through time. My perspective will change, the idea will change, everything will change, is not that the point of a long term project?

    All the best,

  • Good reply Daria! As stated before, keep the good work and stand by it strong.

  • There are a couple of nice images here, but I do not see a story. Looks like art for arts’s sake.


    “but the thought of an art curriculum holds about as much appeal to me as unlocking the mysteries of proctology” — Now that is funny.

  • ” My perspective will change, the idea will change, everything will change, is not that the point of a long term project?”

    I agree with that entirely, and as a general rule for living.

  • On second thoughts, not entirely, but generally yes. At the very least, continuous development is what we should be aiming for, imho.

    Still, I do fail to see this essay as a rigorously framed idea.

  • DARIA,

    Congatulations on being the first finalist….Very much enjoy your work…. its poetry.. the soft color palette… intriguing…. I absolutely love images 1, 10, 17…. wonderful shots that capture tne environment of these distant villages in Russia… As you imply this is just the beginning of your long term project, I look forward to see it develop here… Again, congrats….

    Can’t wait to see all the finalists… exciting start….


    PS: DAVID/ANTON, despite Jim’s comment, I find that the soft color palette of Daria’s work goes particularly well with the new Burn “light” color design :):)….

  • Daria :)))

    Спасибо за теплые привет. Да, я люблю свою историю. Мой русский язык ограничен, но жизнь моя глубокая связь с Россией. Моя жена является русской. Я сделал два фотографических проектах о России. Я прочитал много русских книг. У меня есть много русских друзей, и я не побывал в России много. В thruth, ваши истории напоминает мне о Гоголе. В частности: Вечера на хуторе близ Диканьки! :)))….Красивые и грамотные (и литературного) работы. Я покажу мою жену, которая также является сильным фотографом. :))

    Framer’s Intent….

    well, i don’t wish to pick a fight for you indeed should stand beside your perspective, but I do find your reaction a bit anemic (if my own is overblown). Again, I don’t want to offer too many ‘clues’ (or rather meanings that i see), but as I jsut told Daria, i think this story can be see, very clearly, within the tradition of literary and cinematic, russian stories. It feels very very much (and looks) very much like Gogol story, in particular his Evenings on a Farm Near Dikanka….which contain some of his greatest stories (the pre-St. Petersburg ones)…and those stories (mileposts in Russian literature) contain just what this story accomplishes: the relationship between folklore, imagination and life away from the city: the inner life….Have a read, and you may be surprised….for one things about most russians, that i know, they know their literature…and this piece is straight out of Gogol…and as a poet, I do not use the word poetic superfluously….it fits here….as for the ‘rigorously framed idea’…if i suggest that ‘Ivan and the Moon’ can be read as just a sublime and powerful story as one from Gogol’s story about Dikanka, …..the funny thing is that, while admitting to having only studied photography for 1 year, your see Daria’s work thin in it both its rigorousness and it’s conception….i might suggest that maybe, just maybe, the mechanism by which she has studied and become a photographer, haven’t intersected yet with your own pursuits…a question of more rigorous study?….i wonder…..

    MonkeyPoint: Michelle, you are genius :))))))))))))))))))…..

  • goodness, i have opinions..

  • .. and for fear of my baggage effecting them – i will wait some.

  • Read the books as as a kid, drew the pictures dreamed the dreams, retold the stories…………. unfortunately this folkloric style essay has been filtered with a bit of “deviantART ” mentality.

  • although i think everyone so far is a little bit right

  • the freshness of conceptual work, and the sharp edge of the moment, is lost when there is a wooden element.. even one photograph where the subject appears to look at the camera as though to say,
    “am i doing this right”.

    fluidity and spontaneous evolution seems to be lost – and rewarded – to high ideals.. yet without that “thing”..
    leaving a dry riverbed, rather than a gushing torrent..

    i like some of the photos.. i think there is pretension and embellishment in the text.. and i would like to see what a true lifetime photographing these brothers looks like.. because this could possibly be just one weekend.

    onwards :o)

  • “writing about music is like dancing to architecture”

    .. i don;t like the statement.. with particular reference to documentary ways..

    seems familiar.. as do the photographs..
    with respect..

  • burning*michelle

    i love it…i love the narrative and the mystery. i love that it’s conceptual…and i love that it leads me into wonderland and wanting more.

  • hmm – yet – a work working towards what has worked for others rather than a work working towards a unique perspective.
    fashionable, for certain, yet dulled by repetition.. conceptual or not.. you know.. conceptual does not mean “landmark”.

    lovely individual photographs, yet few that are rare or unique.. more a selection mystified by text which can easily be unpicked within the context of contemporary practice – and how to “make a mark”..
    nice yet not staggering.. interesting yet fathomable..

    that’s not to say that easily read work is to be neglected.. just that in these days of the photographic industry supplying and informing itself with repetitive and pre-modeled imagery, it takes either a greater gimmick, a more idiosyncratic style or a particular urgent “issue” to win the grant.. and i don’t think that is here.

    art for arts sake, someone said..
    the next line is money for gods sake…


  • Thanks again for good words!!!

    And David,
    I hope the text did not sound with a pretension accent. The thing is that I met the boys and their family 3 years ago in one of my field research trips. It lasted a month. We became big friends. I cam back the second year. Another month. But I was busy with my field work and did not have an idea to shoot this story. Then I came back the third year. For two weeks only. Already having in mind this particular series. Pictures are mainly made then. These boys, their family and the village – they are already my bigbig friends, basically, the idea of shooting boys came very slowly and smoothly and naturally. It was not an artificial outer decision. I also wish to know – how much time the shooting will last. I sincerely hope for as much as possible. Because something tells me that it is not just a ‘project’ for me. I have some personal issues, though I realize someone can be irritated by the reference to such a word as ‘personal’ in this context.

    it is extremely interesting in many ways to read all more or less negative opinions.

    By the way, I am reading comments, if anybody wants to ask anything – please, feel free. I would be glad to share what I can say.
    At least, I would do so – ask the author – before stating something regarding the intentions of a photographer, the reactions of subjects in the pictures etc.

    All the best,

  • David,
    I am very happy for you!
    Because it seems you have plenty of free time and plenty of energy! )))

    Good luck!
    All the best for you,

  • daria
    i have very little free time time, yet plenty of energy.. :o)
    good luck

  • I enjoyed the pictures, which seemed to me to tell a work of fiction, more that of a short story vaguely written than a poem. The place looked familiar to me.

    I found #16 to be very jarring. I did not want to look at it at all, but I had to.

    Seeing as how, even now, following the various explanations, the tripod statement makes no sense to me at all, I will skip the philosophical discussions this go round and simply say,

    “Congratulations, Daria!”

  • Not sure which is more fascinating, the photographs or the comments.

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