January 2007

Dear friends,

Greetings once again. This newsletter will bring you up to date on our activities in the world of photography and provides a record of some of our activities in 2006 and those planned for 2007. Again, the addendum in the back lists prices and availability for our photographs, books, portfolios, and other items.

This coming year promises to be more full than ever. Since we were away from home in 2006 more than any year in recent memory, we had been looking forward to spending more time at home in 2007. While at Paris Photo last year, however, we received invitations that were hard to refuse and that will take us to Paris (June), China (September), Tuscany and England (October). Between these trips and our travels throughout the United States from January through April to see friends, collectors, and curators, we will be traveling to Australia in March to have an exhibition and teach a workshop, to Denver in June for an exhibition and workshop, and to Paris again in November for Paris Photo. And so we find we may be away from home even more than last year.

Photographs and Photographing

Seven weeks in Iceland: Once again we shipped our Land Rover and SUV to Iceland by container ship, fortunately without the trauma we experienced in 2004 when the shipping line sent the wrong size container for these vehicles. (Details of this hair-raising story can be found in our 2005 newsletter, posted on our web site under “newsletters.”) Again we traveled throughout Iceland, and this time thoroughly explored the West Fjords, a relatively remote area that we had barely explored in 2004. While in the West Fjords we saw Dynjandi, a spectacular waterfall for which the guidebooks had not sufficiently prepared us. Michael felt that it was the most spectacular single thing in the natural landscape he had ever seen. Although it is cold, rainy, and windy much of the time in Iceland, we feel a special affinity for that spectacular country and find that we miss being there in a way we do not miss being in other places.

In addition to the negatives we made in our usual way—8x10s for Paula and 8x20s for Michael, we each did something different: Michael worked in color for the first time in forty years of photographing, and Paula worked with her new HD video camera and shot endless hours of image capture for her first film.

The photographs Michael made in Iceland in black and white are primarily of the natural landscape, as they were in 2004. His color photographs are different in more ways than just being in color. They were made with 8x10-inch negatives rather than 8x20, and except for one, they are not of the natural landscape, but are of manmade things. When we were in Iceland in 2004, he was attracted to the bright colors of some of the houses and barns that are found in the countryside and these comprised the subject matter for much of this work.

While in Iceland in 2004, Paula found herself attracted to the unusually vibrant manifestations of life energy found in the primordial landscape—in the water, ice, clouds, land, and the swirls of frozen energy seen in the rocks. She was determined not to return without a movie camera to make a film that evokes these life-energetic processes. She has a lot of editing yet to do on this film and may want to return for more capture. Though her film will not be complete for some time, she hopes to have a few fragmentary clips available for viewing before long.

France: After photographing in Iceland we traveled to France where we stayed at Mazères, a château in Gascony near Auch that was formerly the summer residence of the Archbishop of Auch. We were guests of our wonderful friends, the family de Margerie from Paris, who have restored, and are continuing to restore, what was essentially a ruin. (In places there was no roof when they purchased the château twenty-five years ago.) Restoration will probably need to continue for several generations. How different that is from the way things are done in this country. The house, gardens, and the location are beautiful and peaceful with soft rolling hills, fields and tree lines that are similar to much of the landscape in Tuscany. Paula photographed extensively there with her 6x7cm. camera (we could not take our larger cameras with us as we were flying) and made a one-of-a-kind book (plus one artist’s proof) of her original photographs from Mazères.

Mazères was also a base from which to explore new places for us—many in Gascony, and also Dordogne and the Basque country of the Pyrénées. We even drove over the border into Spain (our first time there) when we crossed the Pyrénées and visited Estación Internacional de Canfranc (www.canfranc.com/salvalaestacion.phtml), an old stately and gigantic train station, essentially in the middle of nowhere, built to facilitate travel between Spain and France. We were told it was in use for only two years because the train tracks in Spain and France were of different widths. Nothing like advance planning! The station had fallen into disrepair and is now undergoing restoration. We hope to return to all of these places with our big cameras.

Platinum Prints: We have had a series of fourteen large platinum prints made from a selection of our photographs from Iceland. They are made at the Salto Platinum Atelier in Belgium. We have never before seen platinum prints as rich as these. Paula’s are printed on translucent handmade Japanese Taizan paper 23" x 29". Michael’s are printed on Arches Platine paper and are one meter wide—15" x 39". The prints are stunning. Many contemporary platinum prints are “soft” and lack rich blacks and a full tonal range, and many people mistakenly believe that this is the way platinum prints should look, but platinum prints can be as rich as silver prints (those by Irving Penn are a good example). To make these prints our original negatives are scanned; then five enlarged digital negatives made from each one are printed in register with multiple exposures—a lengthy and arduous process. All of our platinum prints are limited to an edition of ten with two artists’ proofs. Notes on the pricing of these prints are in the addendum. We are now actively looking for galleries to sell these platinum prints, although they will also be available directly from us.

The Azo Portfolio is now complete; only a few remain. (See page 3 for more information.)

The platinum prints and the Azo Portfolio can be seen on our web site at www.michaelandpaula.com. Please keep in mind that seeing photographs on the Internet is nothing like seeing them “in the flesh,” especially with Paula’s platinum prints on the thin Taizan paper, where the delicacy and luminescence does not translate well, but we hope you can get at least some idea of their quality and appearance.

Plans are still pending for Georges Charlier (Salto Digital Atelier) to make some very large (over eight-feet long) digital prints from Michael’s 8x20-inch negatives. Georges uses an inkjet printer with twelve inks and is perfecting the quality by finding better paper than is generally used for digital printing. He feels he does not yet have the system and the process perfected, but hopes to have things ready to go in a few months. It is always exciting to work with someone as innovative and daring as Georges.

Azo Paper: In a newsletter several years ago we wrote:

Our photographic paper, Azo, made by Kodak, is the last of the silver-chloride contact printing papers. One can achieve a longer and smoother tonal scale from the old silver-chloride formulas, and Azo has the longest tonal scale of any photographic paper in use today. We dearly hope this paper will continue to be manufactured, as we would rather not have a virtual repeat of the discontinued film purchase. With Azo, we are able to make prints that have a distinguishing
and strong presence to them, and we believe that the combination of this paper and the now-discontinued Super XX film yields prints that are as fine as we can possibly make them.

To save Azo from extinction we had to establish a limited dealership with Kodak to help sell it. But in 2005, Kodak announced they were discontinuing the manufacture of all black and white photographic papers, including Azo.

We are determined to have a new silver chloride paper made, not only for ourselves, but also for the hundreds of photographers who have come to appreciate and depend on this most special type of paper. We had hoped to have the paper in hand by now, but after several rounds of testing we find that the new paper is not as luminous as Azo, and so the testing continues. In last year’s newsletter (www.michaelandpaula.com/mp/html/newsletter2006.html) we mentioned that making photographic paper is not a simple thing—that it is an art as much as it is a science. Here is a story we heard this year from a well-known photographic film and paper manufacturer: One batch of emulsion had required that a small vial of a certain chemical be added as it was being mixed in the kettle. The timing and rate of dropping this chemical (drop by drop) into the emulsion was crucial. The “old guy” who did this had retired. He had made precise notes about his procedures, but the person who came after him could not get it right and after two years the company abandoned attempts to make the paper. Unbelievable. How difficult can it be—dropping a chemical from a vial into a large kettle of emulsion? These are some of the things we are trying to overcome.

Right now we still have to raise more money to pay for this new paper. A staggering amount is required. To finance the purchase of this paper, we are doing two things: We are asking users of Azo paper to place advance orders, and we are producing a limited edition portfolio of ten photographs—the “Azo Portfolio”—for sale at a very favorable price. And to those of you who have done one or both of these things we are immensely grateful. There are still a few Azo portfolios that remain, and here are the details:

The Azo Portfolio is presented in a custom-made portfolio box bound in heavy linen, and contains five photographs by Michael and five by Paula and two sheets printed letterpress on deckle-edged BFK Rives paper. It is produced in an edition of ten plus two artists’ proofs. The current retail value of the ten photographs is over $28,000. To encourage sales at this time we are making an offer we hope you will not want to refuse: we are offering them for only $10,750. (Each portfolio will cost approximately $750 to produce, leaving us with $10,000 to put toward the purchase of the new paper.) We have selected a variety of photographs that we love and that we think have broad appeal. We hope you will want to own one of these portfolios.

Exhibitions

Paula’s High Plains Farm exhibition will be at the Bob Bullock Texas State History Museum in Austin, Texas from March 3–April 15.

Exhibitions of photographs from both of us are currently scheduled at Point Light Gallery in Sydney, Australia from March 7, when there will be an opening, through April 15, and at Camera Obscura Gallery in Denver, June 15, when there will be an opening and book signing, to July 29.

Several years ago we met and became friends with James and Vicky Chen from China who sold photographic equipment and supplies, provided darkroom rental, and established a photography gallery—the first, and to date the only one, in Beijing. We learned that they are at the center of fine art photography in China. Their gallery, 798 Photo Gallery, has expanded, has been enormously successful, and has become the focus of their activities (they had a booth at Paris Photo in 2006 and will be at FotoFest in Houston in March, 2007), and we have been invited to have an exhibition at their gallery in Beijing in September. It will be our first trip to China.

In late 2007 or in 2008 (no exact date yet) we will be having an exhibition in Paris at the newly opened (late January 2007) Frederic Moisan Gallery at 72, rue Mazarin.

And we will have a long-running exhibition in Paris at a charming Italian restaurant, Olio Pane Vino, at 44, rue Coguillière in the first arrondissement. We had dinner there with some friends who had a VIP pass to Paris Photo the night before the closing. Since they would not be returning to Paris Photo the next day, they offered their pass to the friendly owner of the restaurant who is keenly interested in photography. He came to the show, loved our photographs—and invited us to have a small show in the restaurant, featuring our photographs from Tuscany. The photographs should be up on the walls under his newly installed gallery lights beginning the last week in June.

At this time we doubt that Paula’s exhibition of her photographs from Madonnina at The New Orleans Museum of Art (originally scheduled for spring of 2007) is still on. Although NOMA survived the hurricane rather well, many things are still “on hold” in New Orleans.

Book Publishing: Lodima Press

By the time you receive this newsletter, or soon after, we hope to have the next edition of our Lodima Press catalogue available as a downloadable PDF (my, how the language has changed in the last decade) on our web site at www.lodimapress.com. We have decided not to print it in hard copy right away, but to hold off for a bit, allowing for additional books to be added.

In 2005 we inaugurated our two major multi-year publishing projects (listed below). Each series is being published more slowly than anticipated, partly due to our inability to get to Europe more often to be on press for the printing. As good as our printer (Salto) is, we find it is important to be there. We work hard at making sure everything is as perfect as it can be. George Tice (who had done press checks for fourteen of his own books as well as numerous books for others) was on press with Paula when we printed his book. He commented that he had never seen anyone do press checks as carefully as Paula was doing them.

The books in these series are being printed only in small editions, and we urge you to subscribe to them before they are out of print. These books will not be around for long.

The Portfolios of Brett Weston—a nineteen-volume series: In 2006 we published White Sands, the book from Weston’s second portfolio. The original White Sands portfolio, produced in 1949, contained twelve photographs and was printed in an edition of fifty. In 1975 Weston printed a second edition of the portfolio in an edition of seventeen. It included eight of the original ten photographs made in the 1940s (negatives from two of the photographs in the original portfolio were damaged and unprintable), two others from the 1940s that had not been included in the first portfolio, and two from 1975, for a total of twelve prints. Our book, White Sands, contains the original ten photographs plus the four new pictures from Weston’s 1975 edition. As a bonus, we have included an additional photograph along with a facsimile reproduction of Brett’s letter describing the picture as “Edward’s favorite.” Although this photograph was not included in either of the original portfolios, Brett included it as a gift with the portfolio from which this book has been reproduced. The original 1949 title page and the introduction by Nancy Newhall, perhaps the best writing ever about Weston, are reproduced in facsimile. Also included is an afterword by art historian Roger Aikin.

We just printed New York, the third book in the series, and we are now binding the books in Europe. We will be shipping New York as soon as it is delivered to us here in the USA. Later this year we will print the next two portfolios: Fifteen Photographs, and Ten Photographs.

Lodima Press Portfolio Books: We have continued this series of small, elegant books by many leading photographers with Opera Nuda by Keith Carter, Heaven/Earth by Linda Connor, and Primal Elegance by Larry Fink. The next books in the series, already printed, but awaiting binding, are Planets by Arthur Tress, Flights Through Time by Marilyn Bridges and Stone Churches of Ireland by Paul Caponigro. And those will be followed by Still by Douglas Mellor, The Studios of Pietrasanta by Hans Bol, a Dutch photographer, and Close at Hand by Robert Adams.

For further details about these series or to subscribe to either (or both!), or to order books individually, give us a call at 610-847-2007 or go to www.lodimapress.com.

Other Books: This year we will be working on a book of our photographs from Iceland and a book of Michael’s photographs from New Orleans. See the PDF of the catalogue on the web site for details. For both books we will be offering for a short time a pre-publication offer at a reduced price for a signed, numbered, slipcased edition with your choice of any print in the book(s).

We still think about a book from our first collaboration, The Bonsai of Longwood Gardens, although no work has been done on it yet. It will be published in a very small and elegant edition with accordion-fold (leporelo) pages and with a beautiful Japanese-style binding. One of these days . . .

Publishing: B&W Magazine

Paula’s abstract photographs of windows in Iceland and her writing about the experience of making them are featured in the December issue (#47). There is a downloadable PDF of it on our web site.

And the 24-page article about us from issue #29 is also now on our website as a PDF.

Due to doubling of the ad rates, our B&W ads will be reduced to one page beginning with issue #50.

Publishing: Other

Last year we announced that Michael would inaugurate a series of articles in Camera Arts magazine about how to make a photography book. The year was too busy for him to get to it, but it is now planned for this year.

Also currently in the works, Michael is co-authoring a book with Sandy King on the technical aspects of photography. Sandy King is a photographer who makes fine platinum prints.

Publishing: Paris Photo

In mid-November we had a publisher’s booth for the third year at Paris Photo—the European counterpart to New York’s Association of International Photography Art Dealers (AIPAD) “Photography Show.” Paris Photo, however, has many more participants and larger crowds. Once again Paris Photo was a wonderful and successful experience and we plan to have a booth there again this year, if they will have us. Each year, the participants are juried in, so we have no guarantees, but we hope we will be accepted. Paris Photo 2007 will be from November 14–17.

www.michaelandpaula.com and www.lodimapress.com

Major revision is underway on both of these web sites. There is still much to do—mainly, getting more of our photographs up on the site. Somehow, we will do it this year. Somehow.

If you haven’t been to our web site and registered on the sign-up page, please do so. We can then notify you of special offers, exhibitions, books, and generally keep you informed of what we are doing in the world of photography. We have some special things planned for the site that will be available only to those who have signed up.

Workshops in 2007

We will have no time this year to schedule our Vision and Technique Workshop at our home/studio in Bucks County, but we will be conducting a few at various places, both in the USA and around the world. Information about each of the workshops listed below can be found on our web site at www.michaelandpaula.com/mp/Workshop.html

•Vision and Technique Workshop in Sedona, Arizona, through the Sedona Arts Center: January 25–28. There are still two places remaining. To sign up, contact Debbie Winslow at the Sedona Arts Center, 928-282-3809.

•Vision and Technique Workshop at Black Mountain, Australia (near Oberon, three hours west of Sydney): March 9–11 and March 16–18. The first of these workshops is full, but there are two or three places remaining for the second one. Contact Bob and Mary Kersey, Black Mountain Photographic Workshops, blackmountain@bigpond.com.au or 61-(0)2-6336-0290.

•Vision and Technique Workshop in Denver, through “Working with Artists”: June 14–17. To sign up, contact Greg Cradick, gregc@workingwithartists.com or 303-837-1341.

•Vision and Technique Workshop in Paris, France, June 28–July 1. Contact us for details.

•Vision and Technique Workshop, Beijing, China, through 798 Photo Gallery, September. Dates to be announced. Contact us for details.

•Vision and Technique Workshop in Tuscany at Castello di Lamole in the Chianti country near Panzano and Greve in Chianti: October 14–16. The setting is spectacular. See www.castellodilamole.it. To sign up, contact us or contact Francesco Arese Visconti in Firenze, aresevisconti@web.de or 39-055-2001-574 or 39-0328-17-666-73.

•At Paris Photo we met an instructor from Blackpool and Flyde College in Blackpool, England. We learned that the College has a huge photography program and that there is a real interest in teaching the students to make photographs using a traditional darkroom. Those students making digital prints who have never worked in a darkroom (and there are many) often do not know what a good print is because they have no experience upon which to determine standards. We were asked if we would be willing to come to Blackpool to teach for a week. We’re always up for something different, and we will be teaching at the College from October 22–26.

Our Building Project continues, but slowly. Last year we wrote that “we finally have windows—and doors are next.” The doors will be installed in the next few months. We designed them ourselves—three-inch solid doors, some of which are four feet wide—and with door handles of our own design. One of the buildings will be mostly finished by spring—only seven years after we began. We would like to have everything finished by the fall of 2008, and hope that we are not being too optimistic. Last year we wrote the same last sentence, but with “2007.”

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As many of you know or as you might have learned from the feature article on us in B&W, our livelihood as full-time artists is always difficult and uncertain. We would be most grateful to receive the names of anyone whom you think would be interested in our photographs so that we might contact them by phone or mail to introduce them to our work.

As always, we are deeply grateful for your interest in and support of our work. As part of our audience, you complete a vital circle and make a valuable contribution to the creative process and to the making of our art.

Whenever possible during our travels, we hope we can see you for a visit. And do remember that you are always welcome to visit us here at our home/studio in Bucks County, Pennsylvania.

We send you our warmest regards and best wishes for a happy and healthy New Year,

Addendum

Many of you have requested updates on our print prices for your records and for appraisal. This addendum contains those updates and also provides information about our books, exhibition catalogues, portfolios, note cards, posters, and (singular) video. Please note that there have been some changes and additions. These are designated with an asterisk.

Photographs: Silver Chloride Contact Prints

Now that we are not printing from older negatives (except in a very few instances), prints from these negatives are now editioned. The edition number is different for every image: for some photographs it may be as few as 4 or 5; for others it could be 12, or 17, 26, or 33, or some other “odd” number. Although we have never before editioned our photographs, we have always assigned each print a unique number and have kept exact records of how many prints of each image we have made.

Each year we expect the photographs that fall into the “older” category to change by one year, although that is not rigidly fixed. We may consider certain work “current” for more than two years or we may consider it to be current for only one year. Here are prices as of January 1, 2007.

*Current photographs (2004, 2005, 2006):

Michael:       8 x 20  $2,500.           Paula:        8 x 10     $1,500.
  Color         8 x 10  $1,500.                             5 x 7    $900.
                                                                         4 x 5    $900.
                                                                         6x6/6x7  $750.–$1,500.

*Older photographs (pre-2004):

Michael:       8 x 10  $1,500.–$10,000.       Paula:       8 x 10  $1,500.–$5,000.

                    8 x 20  $2,500.–$10,000.                        5 x 7   $1,000.–$2,500.

                   18 x 22  $4,500.–$10,000.                       4 x 5   $1,000.–$2,500.

The price for Michael’s 2' x 5' enlargements, made directly from his 8" x 20" negatives is $6,000 except for the two prints from which half the edition has sold. Those are priced at $7,500.

*Platinum prints: Our large platinum prints, in editions of ten with two artists’ proofs, begin at $6,500 and will go up $1,000 with the sale of each print.

  Books and Catalogues:

   Tuscany: Wandering the Back Roads, Vol. I: Published in 2004, Paula’s book of photographs of the countryside and small towns and villages of Tuscany. Essay by Robert Sobieszek, Curator of Photography at the Los Angeles County Museum of Art, Foreword by Ferenc Máté, author of The Hills of Tuscany, Preface by Michael and Paula. 70 reproductions printed in 600-line screen quadtone. $75 (plus $7 S&H). Signed and numbered, slipcased limited edition: $200 (plus $7 S&H).

   Tuscany: Wandering the Back Roads, Vol. II: Published in 2004, Michael’s book of 8x20-inch photographs of the countryside and small towns and villages of Tuscany. 59 reproductions printed in 600-line screen quadtone. $95 (plus $10 S&H). Signed and numbered, slipcased limited edition: $250 (plus $10 S&H).

   Madonnina: Paula’s book of photographs of the small shrines to the Madonna that can be found throughout the countryside in Tuscany. Foreword by Steven Maklansky, Assistant Director for Art and Curator of Photographs at the New Orleans Museum of Art, Essay by Giuliana Bianchi Caleri, Italian scholar, Preface by Paula. 50 reproductions printed in 600-line screen quadtone. $60 (plus $7 S&H). Signed and numbered, slipcased limited edition: $200 (plus $7 S&H).

*Landscapes 1975–1979: This award-winning set of books is sold out.

  Michael A. Smith: A Visual Journey: Photographs From Twenty-Five Years:Published in 1992, this book accompanied Michael’s twenty-five year retrospective exhibition at the International Museum of Photography at George Eastman House. Foreword by Marianne Fulton, Essay by John Bratnober. 176 duotone reproductions. $95 (plus $7 S&H). Signed and numbered, slipcased limited edition: $250 (plus $7 S&H).

*Princeton: An exhibition catalogue of Michael’s with five reproductions and an essay by Richard Trenner. Published in 1985. Rare; fewer than thirty copies remain. $25 (plus $4 S&H).

*Natural Connections: Photographs by Paula Chamlee:Published in 1994, a book of Paula’s photographs of the natural landscape accompanied by selected writings from her journals with an essay by Estelle Jussim. Printed in Laser Silver-Lit Tones™, 42 tritone reproductions. $75 (plus $7 S&H). Signed and numbered, slipcased limited edition: $200 (plus $7 S&H).

  High Plains Farm: Published in 1996, a book of Paula’s photographs and writing about the farm where she grew up on the High Plains of the Texas Panhandle. Foreword by George F. Thompson. 81 duotone reproductions. $75 (plus $7 S&H). Signed and numbered, slipcased limited edition: $200 (plus $7 S&H).

  San Francisco: Twenty Corner Markets and One in the Middle of the Block: Paula’s third book, published in 1997. Sold out.

  The Students of Deep Springs College:Michael’s book about the most unusual college in America, published in 2000. Essay by L. Jackson Newell, Afterword by William T. Vollmann, Preface by Michael. 53 reproductions printed in 600-line screen quadtone. $50 (plus $7 S&H). Signed and numbered, slipcased limited edition: $200 (plus $7 S&H).

Portfolios: Paula

*A Field in Tuscany: An edition of ten portfolios self-published in 2000 containing eight 8" x 10" photographs archivally mounted and overmatted, and two sheets of deckle edged Arches paper printed letterpress. The portfolio comes in a handmade box covered in heavy linen. $10,500.

*San Francisco: Twenty Corner Markets and One in the Middle of the Block: An edition of three portfolios self-published in 1997 containing twenty-one 8" x 10" photographs archivally mounted and overmatted, and three sheets of deckle edged Arches paper printed letterpress. The portfolio comes in a handmade box covered in heavy Italian linen. $23,000.

  High Plains Farm: A Unique Portfolio: An edition of fifteen portfolios self-published in 1996. Sold out.

Portfolios: Michael and Paula

*The Azo Portfolio: An edition of ten portfolios plus two artists’ proofs self-published in 2006 containing a selection of ten photographs, five 8x20s by Michael and five 8x10s by Paula, archivally mounted and overmatted with two sheets of deckle-edged BFK Rives paper printed letterpress. The portfolio comes in a handmade box bound in heavy linen. This portfolio is produced for the purpose of helping finance the production of a new silver chloride paper. $10,750.

  Portfolios: Michael

  The Stones of Monteriggioni: A suite of six 8" x 20" photographs archivally mounted and overmatted. Printed in an edition of five. $12,000.

  Eight Landscape Photographs: An edition of twenty portfolios plus two artist’s proofs published by Regnis Press in 1983 containing eight 8" x 20" photographs archivally mounted and overmatted, and two sheets of deckle edged Arches paper printed letterpress. The portfolio comes in a handmade box covered in heavy linen. Upon completion of this portfolio, the negatives were retired; no further prints were made from them. $24,000. Only one remains.

*Twelve Photographs 1967–1969: An edition of twenty-five portfolios self-published in 1970, this portfolio contains a representative selection of twelve photographs from this period. The 8" x 10" archivally mounted and overmatted photographs and two sheets of Arches paper printed letterpress come in a custom-made portfolio case covered in heavy linen. $48,000.

  Note Cards:

  Michael A. Smith: Note Card Set OneandPaula Chamlee: Note Card Set One:Two boxed sets of note cards, one set from each of us. Printed in Belgium by Salto in 600-line screen quadtone. Each set has twelve cards and envelopes—three cards each of four photographs of the natural landscape. In our fanaticism to make these cards as finely as we could, we found a card stock that is coated on the outside for optimum reproduction and uncoated on the inside for quick-dry, non-smear writing. Both sets are limited to an edition of only 1,000. $19.95 for the first set, and $16.95 for each additional set. $4.00 S&H for one set plus $2 for each additional set.

Posters:

  The fourHigh Plains Farm posters are exquisitely printed in 300 line-screen duotone on heavy cover stock and were run through the press an additional and fourth time for extra luster and brilliance. Size: 19" x 26" for three of the posters and 19" x 27" for the fourth (a vertical photograph), $25 each or $75 for all four. A limited edition of signed and numbered posters is also available at $50 each or $150 for all four. For posters, add $6 S&H.

Video:

The PBS half-hour documentary film, High Plains Farm: Paula Chamlee, produced by KACV-TV is available from us for only $25 (plus $4.00 S&H).

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Other Books from Lodima Press and BackStreetBooks

*Edward Weston: Life Work is now priced at $195. We are running out of these books and if you have thought about getting one, but have not acted yet, we urge you to do so sooner rather than later. See details at www.lodimapress.com for pricing, ordering, and other information or give us a call at 610-847-2007.

*The Portfolios of Brett Weston     San Francisco
                         White Sands
                         New York (coming in 2007)
                         Fifteen Photographs (coming in 2007)
                         Ten Photographs (coming in 2008)

*Lodima Press Portfolio Books:

Home by Nicholas Nixon            Planets by Arthur Tress (coming in 2007)
Solitudes by Carl Chiarenza            Flights Through Time by Marilyn Bridges (coming in 2007)
Common Mementos by George Tice               Stone Churches of Ireland by Paul Caponigro (coming in 2007)
Opera Nuda by Keith Carter              Still by Douglas Mellor (coming in 2007)
Heaven/Earth by Linda Connor                    The Studios of Pietrasanta by Hans Bol (coming in 2007)
Primal Elegance by Larry Fink                Close at Hand by Robert Adams (coming in 2008)
                         
Los Crepúsculos de la Imaginación by Alejandro López de Haro R.

Stones and Marks by Peter Elliston

Passage: Europe by Richard Copeland Miller

Crash, Burn, Love: Demolition Derby by Bill Lowenburg (www.backstreetbooks.com)