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Ashley Van Buren  I deal in dreamers and telephone screamers. Twitter: @avb

Miss laughing so hard with these two that we can't keep our eyes open. And maybe the 🥂didn't hurt either.

Today we say goodbye to our baby actor-intern #twanbaker, who heads down to @ashleyparklady and @cristalzheat in Dallas to replace an especially creepy looking baby in HOOD. Happy trails, Twan! 👋 And thanks again, @brynnomalley!

Happy 🏳️‍🌈, friends #Realtimephotoofmystreetrightnow

Fuzzy morning view. 🐶

Cute parents going out on a date to see @kiltyreidy in Mamma Mia! ❤️

Train graffiti is the coolest.

Wrong side of the tracks.

Back in 2012 I walked into the @stevenkashergallery to see the first New York exhibition of Vivian Maier's work. I walked past the Weegee photographs and into the corner where Maier’s work was displayed. I took my time in front of each image. There was humor, life, and sadness in them. I stood there alone for a long time before an older gentleman came into the gallery and joined my viewing party. He also took his time examining each photograph. I sensed something different about the way he looked, with an intense personal connection. We struck up a conversation and I learned his name was Ron Gordon and he was the person responsible for printing Vivian’s images. He got to see what she did not, that magical moment when chemicals react and an image begins to appear, ghost-like at first, and then solid and sharp in the chemical bath. Ron toured me through each image, talking about the framing, shading, and how he decided on the printing process, as each print was unique. He told me the trick to Vivian’s style of capturing her subjects: “She was out so much, the moments started to find her. She wore her camera around her neck like jewelry.” It struck me just how intimately he knew this artist without ever having met her. We stood in front of the last image, one I kept coming back to, lingering over. I felt like I could have a conversation with the photograph forever. Endless stories were housed in this 20 x 20 frame and I wanted to know them all. Because Maier wasn't well known at the time (there weren't yet published books of her photographs nor a documentary of her story) I was able to buy that photograph I fell in love with. I still marvel at the fact that this image hangs on my wall. That, in a sense, I became a part of Vivian Maier’s story, and of this moment she captured with her Rolleiflex, of a street hustler gazing directly at her with a face as storied as they come.

Try as Limelight might, it cannot seem to figure out what it should be. It went from a church to a club, to a location where we shot an AA meeting on 28 Days, back to a club, to a boutique mall, to a...gym?

The nice thing about my tiny kitchen is that while I wait for the kettle to boil, I get to look at one of my favorite props from Julie & Julia.

Street walkers.

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