Janelle Brown is moving forward in every way! Several months after her split from Kody Brown, the Sister Wives mama, 49, took to Instagram to show off her “authentic” self as she works towards fitness goals. In the March 30 photo post, she rocked black leggings and a gray long sleeved top as she stretched out on a Pilates machine. She wore her blonde hair in a laid-back ponytail and accessorized with a smart watch, finishing the workout look with a dark red pedicure.
“Posting this unfiltered photo of me from Pilates today was a scary proposition,” the mom of six admitted in the caption. “I have worked for years on my physical strength and stamina and only now am I consciously working on my core and flexibility.”
She then went on to address the “brutal” nature of social media. “I am less than perfect and let’s be honest with each other, social media can be pretty brutal,” she continued. “Usually there is a lot of judgement and umm… ‘helpful tips’. But there is power in being authentic. In showing the small steps towards crafting your own life – even if progress isn’t always obvious or perfect.”
Many of Janelle’s 1 million followers on the platform took to the comments section to commend the reality star. “Working hard to improve ourselves should always be applauded no matter what stage of the journey we’re in. well done,” wrote a fan, while another quipped, “You are my Shero! You inspire me to take care of myself.”
Justin Stephens/TLC
“Pilates is the best,” remarked a third. “I started in my late 70s and have done them for years. At 87 I know my mobility that I have would not have been without them. Good for you and keep it up, you’ll never regret it!” Janelle herself reacted to the comment. “Wow! What an amazing thing! Thank you for sharing that. 87! You are my role model!” she wrote.
Janelle and Kody nixed their nearly three decade long “spiritual” marriage last year, with a December clip from the show confirming what many had already grown to suspect. “Kody and I have separated,” she said in the clip. A source told In Touch at the time that she simply “outgrew him.”
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Helen Lehndorf has written the new book A Forager’s Life: Finding my heart and home in nature. Photo / Anthony Behrens
Helen Lehndorf’s earliest memory of being alone in nature, was at 4 years old, on a motorbike trip with her dad, near their home in rural Taranaki. Keen to head off with his mates further up a hill, he left her to play in a valley, reassuring her she would always be able to hear the motorbikes in the distance. After a few hours, the sun started moving across the valley floor and the engine sounds disappeared. Alone, apart from a menacing-looking magpie, she clenched her fists and bundled her jacket against the cold, before turning to a familiar friend – a blackberry bush.
Although it ended well (her dad returned shortly after, grateful for the blackberries she had thoughtfully picked for him), I’ll admit to an urbanite like me, reading the opening scene in Lehndorf’s memoir, A Forager’s Life, made my breath shallow and a little panicky, dredging up a memory as a toddler of briefly losing my parents on a crowded beach. Yet, for Lehndorf, it encapsulates something elemental about her life and her memoir: a beautiful story about creativity and belonging, marriage and motherhood, that also speaks to how we lose and return to ourselves over the course of a life, and how our relationship with nature can be a way back in.
Speaking to Canvas from her home in New Plymouth, Lehndorf recalls feeling frightened that day “mostly because of the magpie” but regards it as her most potent early memory of the wilderness being a reassuring place. “There’s the mosaic of family and you’re just a little tile in that mosaic, aren’t you?” she says, “It was my first really intense memory of feeling like an individual person, and that first tangible feeling of the elemental support of nature.”
In a post-pandemic world, growing your own food and living a simpler life, usually rurally, is the new luxury. The hashtag #foragingtiktok has 14 million views and on YouTube there are hundreds of young men and women wandering around in cottage-core outfits picking fruit for the camera. Yet Lehndorf ’s memoir of her wild food beginnings sits well outside of a trend, recounting memories from rural Waitara in the 1960s, of her father hunting for dinner and her mother foraging for mushrooms; the neighbours dropping around surplus crops, and endless cups of community tea. It recalls a way of life we used to honour in New Zealand, before “sustainability” was in vogue, and “community” meant the local Facebook page.
I sense, in the cities at least, that many people’s plant identification skills might stretch as far as the basil you can buy in a pot from Countdown, and I tell Lehndorf I think I have the plant equivalent of prosopagnosia (an inability to recognise familiar faces). Standing in the middle of the native bush behind our house it all just looks, well, green. So where does one begin? She tells me there is a common phrase in nature writing called the “green wall”, where all the plants look the same.
The first step is to be curious about the plant world and to start small. Often, new foragers have a “beginner’s mind” and a passion to learn a hundred plants right away, but if you start with one, you may find it suddenly starts appearing to you, or as she puts it, “stepping forward”.
“Obviously, I don’t mean literally, because they’re rooted in place,” she laughs, “but metaphorically plants can step forward into your life in some way. Sometimes they appear when you need their medicine or you’ll read about them in a book or see them in a piece of art, and think, ‘I’ve never seen that around here.’ And then the very next time you go for a walk, it will pop up to you.”
Lehndorf credits the community she grew up in, with the marae (Ōwae Whaitara marae, Te Atiawa) at its heart, and her dad, “a wonderful storyteller, with a wild imagination – one who could spin a yarn into an almost mythological event” – for her relational view of the natural world. She recounts a time he went down to the river with some Māori friends and an albino eel popped its head out of the water, giving him a pointed stare. His friends said it was “tohu” and sped off on their bikes. When he got home, he said that the eel had a message for him (although never revealed what it was). “He has this way of making the world seem like it’s full of mystery and things can happen – connections can be made,” she says.
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Photo / Anthony Behrens
This respect for intuition is something Lehndorf and I keep circling back to in our conversation because it’s threaded throughout her book, and because it’s connected to foraging: both require trusting our instincts and our senses. Yet when Lehndorf’s second son, Magnus, was diagnosed with autism at the age of 2, she writes that the feeling of being “fundamentally held by life and supported” faded. In a time before autism was a well-known diagnosis, his erratic behaviour meant seeing friends and family became challenging and she found herself in a season of isolation.
“I feel like they were lost years for me where I was just overwhelmed,” she says. “They sort of sucked the magic out of life for me a bit because we got very socially isolated and I’m very much a community-minded person.”
She hopes that an autism diagnosis today may be less intense for parents, because public awareness around neurodivergence is so much better, but she shares candidly the initial grief she felt in letting go of preconceptions of what her parenting life might be. For any parent in a similar situation, she would tell them not to hesitate to seek help, especially if, like her, they are used to being the “giver” and not the receiver of it.
It was only when she joined a local permaculture class a few years later and was reminded of the supportive power of “radical reciprocity”, that she remembered a way back to herself. This was how she had grown up in rural Taranaki – taking the time to look after the natural world and one another, which yields a sense of belonging to oneself and to a community.
She’s not on the autism spectrum herself but, when her son was diagnosed, she recognised that she was a sensory seeker too. “I think I am wired a bit differently because of how I experience the natural world. And mostly, it’s wonderful, but I do feel quite out of kilter with the overculture at times,” she laughs.
She couldn’t pick a favourite plant to forage, but she points toward the blackberry, not just for her early memories of it in the wild but also because of its dual nature – a pest with delicious fruit, a blight on the landscape for some and conjuring memories of a sunny day for others. A plant that can only be accessed by those willing to approach it slowly and with respect. But most of all, she writes: “It taught me about boundaries, and the strength required to live on the margins, out on the edge”.
A Forager’s Life: Finding my heart and home in nature, by Helen Lehndorf (HarperCollins, $39.99), is out now.
Helen Lehndorf is at the Auckland Writers Festival May 16-21.
A Forager’s Life: Finding my heart and home in nature, by Helen Lehndorf.
CHARLOTTESVILLE, Va. (WVIR) – The Rivanna Conservation Alliance is encouraging nature lovers enjoying the Rivanna Watershed to snap a picture or two.
Once a year, the alliance holds a photo contest for adults and children.
“We hope that people that already enjoy the Riviana will be able to show other people what they love most about it, and we hope that this will be another opportunity for people to fall in love with the Rivanna River, RCA Development and Communications Coordinator Sophie Elliott said.
The deadline to submit an entry is Monday, May 1. Winners will be featured at the Rivanna Riverfest.
Do you have a story idea? Send us your news tip here.
I’ve written recently about groups of birds that are doing well, such as waterfowl and woodpeckers. On the other end of the spectrum, from a Connecticut standpoint, are species known as grassland birds.
In a state naturally cloaked in forest, grassland is essentially farmland. Our farmland has been disappearing and along with it birds such as vesper sparrows and bobolinks. Near the top of the list of birds severely reduced in numbers is the eastern meadowlark.
When I moved here in the early 1990s, there were still a few places within minutes of Waterbury where I could go out after mid-March to listen for the sweet song of males returning to territories in hayfields. Now some of those hayfields are gone and some others no longer support a nesting population of these handsome birds.
A meadowlark stirred a lot of birder excitement this week, but not because of good news about our eastern species. A western meadowlark, a real rarity here, was found at Hammonasset Beach State Park in Madison. In keeping with meadowlark habits, it was easy to find, because it favored the wide-open short turf of the park’s Meigs Point parking field.
As sometimes happens these days, the bird’s true identity was figured on a computer screen rather than in person. A photo was posted on Facebook by someone who not surprisingly assumed it was an eastern meadowlark. The two species are very similar and there had only been about four previous records of western meadowlark in Connecticut.
Aidan Kiley, a sharp young birder from Fairfield, saw the photos, suspected it was a western and got the word out. Since then many photos and close observations have confirmed the subtle plumage differences pinning down the identification. The vocalizations of the two species are also quite different, but as far as I know this bird has been silent.
Western meadowlarks are widespread in their normal range, and are state birds of Kansas, Nebraska, Montana, Wyoming, North Dakota and Oregon. Like some other species widely shared as state birds, such as the cardinal and mockingbird, it is a conspicuous singer on its home range.
This one is a long way from home right now, but it will most likely find its way back to a more appropriate home territory.
Greg Hanisek writes “Nature.” Email him at ctgregh@gmail.com.
Steve Strack begs for Anna Strack’s forgiveness outside a Chicago divorce courtroom in 1948.The Chicago Tribune/Public Domain
A 1948 photo shows a groveling husband begging for his wife’s forgiveness outside divorce court.
Insider spoke with a Chicago historian about the subjects of the photo and divorce norms at the time.
Despite the husband’s public pleas, this wife was ultimately unmoved.
This decades-old photo is worth more than 1,000 words.
The black and white image, which made the rounds on social media and Reddit in recent years, features a suited man on his literal knees, begging for the forgiveness of his fur-clad, soon-to-be ex-wife outside a Chicago divorce court.
The looks on their faces seem to say it all: The scorned husband appears desperate, mouth slightly agape as he looks up at his one-time lover; the woman, meanwhile, appears utterly unbothered.
“It’s a powerful photo today because you can sort of imagine your own story behind it,” said Jeff Nichols, a Chicago historian who acquired a copy of the 1948 newspaper photo via an eBay listing of the image.
But thanks to Nichols’ sleuthing, as well as the digitization of old newspaper records, we don’t have to merely imagine who this couple is.
The image depicts one of the final moments in the marriage of Steve and Anna Strack, who were 37 and 33 at the time, according to Nichols’ research. The photo was a one-off picture published in the Chicago Tribune, unattached to any particular story, and seemingly printed due to its evocative nature.
“It’s just one of those dramatic photos,” Nichols told Insider. “I’m sure it was just a photographer who was roaming the halls of the courthouse looking for a picture.”
Prior to the camera flash, Anna Strack had filed for divorce from her husband on the grounds of habitual drunkenness, Nichols told Insider. In Illinois at the time, a spouse seeking divorce had to provide the court with a reason for the split, often choosing from maladies like abandonment, mental cruelty, or adultery.
If the suing spouse could successfully prove the destructive behavior, the plaintiff spouse was found to be at fault and could be punished by the courts with a smaller share of marital assets or alimony.
It wasn’t until 2016 that Illinois became a no-fault state and residents were able to officially end their marriages without giving a reason for the failed union.
Nichols, whose previous historical work includes the discovery of lost footage of the aftermath of the SS Eastland disaster, posted the Strack photo to his Twitter account earlier this year and said it was a particularly popular post among his followers and fellow history devotees, whom he believed got a kick out of seeing such an obvious display of a 20th-century woman in “the driver’s seat” of her relationship.
Anna Strack was unconvinced by her husband’s public display
The young wife, who shared a then-4-year-old son with her husband, told The Tribune at the time of the photo that she would think over her decision, according to Nichols’ research.
In the late 19th and early 20th centuries, Chicago was the subject of frequent jokes about its apparently lax divorce laws, Nichols said, describing the perception as a sort of regional joke that people instinctively understood: “Oh, people in Chicago just get divorced as a problem to have,” Nichols said as an example of the kind of jabs the city suffered.
As a result of the culture of divorce, it’s entirely possible that Steve Strack had an ally on the bench in Judge Julius H. Miner. The longtime Illinois justice believed divorce to be an inherently destructive process and usually preventable, according to Nichols, who cited old newspaper stories and profiles on Miner.
“Judge Miner, in particular, believed in the power of his court to mend relationships,” Nichols said.
Miner was a strong proponent of changing the law to make quick divorces tougher to acquire in Illinois, according to Nichols, who said the judge blamed World War II for undermining women’s values and their responsibilities as wives and mothers. Miner was particularly concerned about divorce’s impact on children.
In a Tribune profile on Miner published a couple of months after the Strack photo appeared in the paper, the judge discussed his efforts to keep couples together, Nichols said, essentially turning his courtroom into a sort of couple’s therapy session as he tried to secure reconciliations.
Miner, however, failed to keep Anna and Steve Strack together. The 1950 census shows the couple as divorced, according to Nichols’ research, with Anna Strack working as a packer at a gum factory, living with her parents and son. Steve went on to work as a railroad mechanic and lived as a boarder, Nichols said.
Steve Strack remarried in 1953, but died just over a decade later in 1964, according to Nichols. Records suggest that Anna Strack never remarried. When she died in 1983, she was buried under her ex-husband’s name, Nichols said.
Miner, meanwhile, was elevated to the federal bench in 1958 by President Dwight Eisenhower.
Fri Mar 31, 2023 10:15 AM Last update on: Fri Mar 31, 2023 10:44 PM
Photography, regardless of gender, is a tough profession. In the photo: Naila Noor (left), Sabina Yesmin (right). Photos: Naila Noor (left), Sabina Yesmin (right)
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Photography, regardless of gender, is a tough profession. In the photo: Naila Noor (left), Sabina Yesmin (right). Photos: Naila Noor (left), Sabina Yesmin (right)
Photography is at the core of our modern lives. It is well embedded in our daily activities through news, memories and content. However, the gender gap in this accelerating profession is truly staggering. Women are often sought on the opposite side of the camera. How is it that in a country outnumbered by women (according to the census 2022), we consume content largely from a male perspective? While many may argue there is a lesser percentage of women in the sector due to the profession’s demanding nature, there are also other aspects that restrict a woman’s participation and contribution in the world of professional photography.
Photo: Fabeha Monir
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Photo: Fabeha Monir
Before everything else – photography is a very hard profession. “Being in the field, waking up in different locations is a different experience for any woman photographer,” says photojournalist, filmmaker and documentary photographer Fabeha Monir. Even though both men and women photographers have trouble navigating these struggles, women have an extra burden of societal and familial expectations. It is not easy for young female photographers to negotiate these issues of time and travelling with their families.
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Photo: Naila Noor
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Photo: Naila Noor
“My family members and friends often try to dissuade me from going to certain places for my shoots due to safety reasons,” says freelance photographer Naila Noor. Even though these concerns are legitimate, when you see it from their perspective, it is a setback in terms of productivity and work. While going to shoots in different outdoor locations, women photographers have to plan their attire and equipment accordingly. Naila laments that a male photographer doesn’t have to go through this extra hassle. While it may seem like these are small adjustments to be made, it can take a toll on the person facing it constantly.
In terms of work assignments, women are often singled out with assignments that don’t require much ‘trouble’ for the employer. When Sabina Yesmin started her work as a photojournalist in Prothom Alo, she was often given only cultural assignments or women-children-related issues. But, with time, as she proved herself, she started covering leads. In a career spanning over 12 years, Sabina Yesmin covered many important issues including natural disasters and protests in our country. Her photographs are widely distributed and recognised, even in a world where men are currently dominating.
Photo: Sabina Yesmin
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Photo: Sabina Yesmin
“It is difficult for a woman to separate her personal and professional life. Whenever a woman comes to work in this field, they fight and challenge the familial and societal expectations set upon them,” says Sabina. According to her, photography, particularly photojournalism, is still not seen as a viable career for women. On top, the constant discriminatory and sexist behaviour at work often affects their mental health. Sabina adds that women often quit this field on their own, unable to deal with these constant challenges along with societal and familial pressures.
The topic of salary or remuneration continues to be one of the biggest issues for female photographers. As they are given low-priority assignments, they tend to get paid less. Even in the case of freelance or independent work, female photographers are paid less. Many clients even (only) go with a female photographer when their budget is low. Moreover, there is a lack of precedent as the number of female photographers is less. Many leading media houses and newspapers in our country still don’t have female photographers or photojournalists.
The matter of security and surroundings transcends the work of a female photographer in every possible scenario. Men can go into the unknown and click their stories without having to worry about safety. However, women aren’t so lucky in that regard. Moreover, people in our country don’t normally respond well to a female photographer taking pictures. “During my outdoor shoots, I have been subjected to rude comments and stares by a passerby,” says Fouzia Jahan, owner of the local cinematography and visual styling brand Bowner Dighi. Moreover, there are certain stereotypes about women not being adept at technical details or messing up big responsibilities that overshadow a female photographer – adds Fouzia.
Photo: Fouzia Jahan
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Photo: Fouzia Jahan
When Naila Noor started her product photography brand, Aalo Productions, she saw the labels of a female photographer automatically attached to her brand. “Potential clients often doubt if I am capable of giving them what they want based on my gender,” adds Naila. This constant discrimination and sexist behaviour often demoralise female photographers. There is nothing more heartbreaking than getting dismissed without having a chance in the first place.
If you’re a female photographer, one of the major realisations that hit you is the underrepresentation of female photographers in the industry. Even though active female photographers are winning international recognition, they often don’t find their due place in the digital space. A recent article covered in a major newspaper about the current booming state of the photography industry of Bangladesh failed to include even one female photographer in the list. Makes you wonder!
However, rising above, female photographers are taking their moments of glory. Fouzia credits the rise of female entrepreneurship as a turning point for female photographers in our country. Even though discriminations and behaviours keep happening, Fabeha believes we need to focus on the art and the passion that brought us here. In the end, we have to let our work speak for ourselves.
She further adds that photographers need to look at things like art, literature, printmaking, design and illustration. “This way, they can broaden their perspective in regard to what is being done in the greater creative world,” she comments. All the photographers mentioned above believe young budding photographers should invest in courses and degrees related to their field of choice. There are schools and universities in our country offering great photography courses. Fabeha suggests photographers work under a mentor. This gives them perspective and experience of working as a photographer.
There are some glimmers of sunshine amidst all this darkness. Many clients prefer female photographers to suit their work. Fouzia believes women are more adept at concept development. This gives them an edge over their colleagues. Even though these instances are few, they are still there. The goal is to add more diversity to mainstream photography.
Sabina adds, “Photographs don’t see gender; we, the people, separate the art through these.” Female photographers are actively doing great work. The number has risen significantly in the past decade. Even though the discrimination, the setbacks are still there, female photographers need to work towards their passion and work it to their advantage. Sabina adds female photographers need to be patient and fearless to persist in this career.
With that, I am ending the article by manifesting a future where women photographers take their wins and capture their ceiling without any barriers and bias.
Photography is a powerful medium to tell stories, capture moments, freeze time, and showcase memories. And certain rules and techniques can help you make a good photo great.
Framing is one technique that uses either natural or artificial elements in the photograph to focus on a particular subject. It guides a viewer’s attention to your subject and tells a story through your image simultaneously. Let’s explore what framing is, and how and when to use it.
What Is Framing in Photography?
Framing in photography refers to the composition style of using natural or artificial elements to create a visual frame inside your image. The technique helps you focus viewers’ attention on your subject while adding depth, context, and a story to your image. There are different methods to use framing in a photograph.
Natural Frame
When shooting in a natural environment like a forest, lake, path, or river, you can use the naturally available elements as your frame. For instance, you can use trees, leaves, bushes, and rocks to create your frame.
In this situation, your subject will be the center of attention, and the natural elements like trees and rocks can block two or more edges of your image to create a frame. If you’d like to give this a shot, see our guide on how to get started with nature photography.
Architectural Frame
Using architectural elements to create a frame is very common among urban photographers. You can use a window, buildings, fences, and walls to create a frame for your photograph.
This type of frame is most commonly used when taking photos of cities. However, you can also use an architectural frame to capture images of humans, objects, or nature.
Geometric Shapes
Squares, triangles, and circles are common shapes in our environment. You can either use the shapes available to you or artificially create one to give depth to your image.
For instance, you can use your hands to create a heart shape and use it as a frame for your photograph. Similarly, you can use a circular mirror and place your subject in the reflection to create a stunning photograph.
Light and Shadows
Light and shadows are the unconventional yet appreciable way of making frames in your photo. This method uses lights like streetlamps, candles, or torches to create a frame. It works best in night photography.
Similarly, you can click a portrait with a spotlight on the subject and darkness in the remaining part of the composition—the light will create a circular frame.
When to Use Framing in a Photo
There is no right or wrong way of using the framing composition style in your photographs. However, if done incorrectly, it can divert the viewers’ attention from the subject, rendering the technique ineffective. Therefore, it is essential to understand when to use the framing technique, and when not to.
One simple rule is that if the photograph looks good as it is, there is no need to add frames forcefully. It might suffocate the image, making it look bulky or cluttered. Similarly, if you are already using any other composition style, adding a frame to it might ruin the effect.
However, using two compositions in a single photo has always been a healthy debate among photographers—it all comes down to trusting your gut. Here are some sure ways to know that framing will make your photographs look better.
Telling a Story
The framing technique can be a game changer when you are keen on telling a story through your photograph. A story can be the portrayal of emotions, combining conflicting ideas, and many other similar concepts.
For example, the above image uses buildings as a frame, and the subject is an airplane. It might represent freedom from corporate life.
Eliminating Chaos
If there is chaos in the image, framing can effectively bring viewers’ attention to the subject. One example is clicking a photograph in a crowd. A crowdy place has too many environmental elements that can draw attention away from the subject. In such cases, you can use a frame in your photograph to bring attention to your subject.
Showing Perspective
The framing technique is the best composition style when it comes to showing perspective. It helps show the viewers your perspective of the environment. For instance, a landscape view from within a room where you can use a window or door as a frame shows your view of the world.
Another common way is using a phone or camera as a frame, and the subject appears on the screen. It shows the perspective of the person taking the photo.
How to Use Framing in Photography
To successfully use the framing technique, consider the following points.
Identify the subject: The elementary part of using the framing technique is always keeping your subject and not the frame in focus. Identify your subject as well as the less important parts of the photo.
Identify the framing elements: Look around you to identify which elements from the scene are a good fit to use as a frame. Some examples can be trees, arches, geometric shapes, or contrasting elements.
Positioning the frame: Once you have identified your framing element, position it at the edges of your picture to create a visual boundary, which in turn guides the viewer’s eyes toward the subject.
Don’t overpower the subject: The frame should complement the subject and not compete with it. Ensure the frame does not overpower your subject by being distractive.
Use extreme angles: Using a low-angle or high-angle shot combined with framing can add more depth to your image, creating a dramatic and engaging composition.
Keep experimenting: Sometimes, hitting gold on the first attempt is hard. Therefore, experiment with different frames and pick the one that best suits your subject and the context.
Use Framing Composition in Your Photos
Framing is one of the best composition styles you can use in your photos. The technique uses natural or artificial elements from the scene to create a visual boundary in the picture and guide viewers’ attention toward the subject.
You can use this technique to tell a story, show your perspective, eliminate unimportant parts from the scene, or use it as a creative choice to make extraordinary images. The key is to have clarity about the context of the image, identify the subject and frame, and experiment until you achieve your desired goal.
OCEANSIDE, CA — Patch reader and local photographer Jeff Prior captured this photo of Morning fog in Oceanside.
Jeff Prior is an Oceanside resident and owner of Water Wise Swim School. His swim school was closed for thirteen months due to Covid-19. It was during this time he really started to focus on his passion for photography…and documenting the beautiful scenery, landscape and wildlife (especially pelicans) of our coastal area. Jeff sells his photos at local events such as the Oceanside Artwalk and Vista Farmers Market as well as online at https://www.jeffpriorphotos.com/. His line of Jeff Prior Photos notecards can be found on Etsy.
Thanks for sharing!
If you have an awesome picture of nature, playful kids, a funny pet or something unusual you happen to catch with your camera, we’d love to feature it on Patch. We’re looking for high-resolution images that reflect the beauty that is Oceanside, and that show off your unique talents. Send your photos to [email protected]. Be sure to include photo credit information, when and where the shot was taken, and any other details about what was going on.
Gisele Bundchen took to Instagram on Thursday to share several scenic snaps of herself getting in tune with nature.
In her latest post, the 42-year-old supermodel was seen in her native country of Brazil to further participate in environmental efforts and show off the mesmerizing sights.
A couple of the photos in her carousel post also show the philanthropist posing with animals and planting trees with her two children — Benjamin, 13, and Vivian, 10.
The brunette beauty — who recently opened up about her divorce and revealed she still has a lot of love for her ex-husband Tom Brady — looked stunning on the beach.
And in her caption she explained what she was up to.
Stunning view: Gisele Bundchen, 42, took to Instagram to share several scenic snaps of herself getting in tune with nature on Thursday; the image is a throwback as she still has her wedding ring from Tom Brady on
She wrote a lengthy caption encouraging more people to participate in sustainability efforts to protect nature.
‘From planting trees, regenerating springs and depleted soils, and protecting turtles, jaguars … everything impacts nature. The power of nature comes from its diversity, and it depends on it for survival,’ she began.
‘Every form of life uniquely creates balance on Earth so all of life can flourish,’ said the star who has a home in Florida.
‘Like with people, our differences are also our strengths, and we get stronger when we work together.
‘Last year, I started a project called Biomes to help regenerate the biodiversity of Brazil,’ the Vogue model added.
‘From north to south, east to west, we selected seven projects in different regions of the country.
Planting seeds: She also shared a photo of her helping a child planting a tree and then a snap of her submerging seeds in soil with her son Benjamin and daughter Vivian — both of whom she shares with her former NFL partner
Cheerful: Bundchen looked radiant in the several snaps where she was helping out in regenerating and aiding the biosphere by planting greenery
Showing the love: In another photo, she showed off her trim model physique as she posed against and hugged the roots of a massive, towering tree
‘Each biome’s species have an important role in nature because everything is connected.
‘Now, together with The Luz Alliance Fund in partnership with @brazilfound on Saturday, May 20th in Miami, we are having a dinner to raise more funds to expand our efforts and have a more significant impact.’
The runway icon was smiling brightly up at the sky as she leaned out of a boat to touch the clear waters.
The mother-of-two was seen in a sports bra and biker shorts as she observed and gently pet a turtle that was traveling along the shore.
She also shared a photo of her helping a child planting a tree.
And there was a snap of her submerging seeds in soil with her son Benjamin and daughter Vivian — both of whom she shares with her former NFL partner.
Community: She also shared a sweet snap of herself holding hands and posing with the Indigenous people of Brazil wearing traditional accessories
Bundchen looked radiant in the several snaps where she was helping out in regenerating and aiding the biosphere by planting greenery.
In another photo, she showed off her trim model physique as she posed against and hugged the roots of a massive, towering tree.
She also shared a sweet snap of herself holding hands and posing with the Indigenous people of Brazil wearing traditional accessories.
At one point during her trip home, a colorful parrot appeared to have landed on her car and she took a quick snap of the perfect moment.
She also shared a before-and-after photo of a small corner in Brazil that was positively affected by planting more trees to regenerate the biodiversity and wildlife of Brazil.
Fleeting moments: At one point during her trip home, a colorful parrot appeared to have landed on her car and she took a quick snap of the perfect moment
After a decade: She also shared a before-and-after photo of a small corner in Brazil that was positively affected by planting more trees to regenerate the biodiversity and wildlife of Brazil
A Stewartry man is celebrating success in the Scottish Nature Photography Awards.
Duncan McNaught won the botanical category with his Autumn Beech image.
Delighted Duncan, who lives in New Galloway, said: “I am absolutely thrilled to have taken first place.
“Blessed where I live surrounded by trees, I’d ventured out early one morning into the grounds of Kenmure Castle.
“A light mist had formed overnight creating the most moody scene in front of me, some of the beech trees had hung onto their golden leaves.
“It was these and the soft light that drew me to take the image. I feel it showed the sense of calm I experienced that morning, no one around, just me and my camera which I love to do often.”
Two of Duncan’s other photographs were shortlisted in the award and these, along with his winning shot, will feature in the awards’ portfolio yearbook.
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