Greetings once again. We hope this letter finds you enjoying health and happiness in this New Year. We have become ever more aware of the importance of assuring our good health so that we can continue working and making new photographs. We have no intention of slowing down, although once a week we do get enticing notices from travelzoo.com with remarkable rates that encourage us to think of taking a few days off to somewhere exotic, something that could be described perhaps as "vacation." One of these days . . .
Though it is mid-March, we still have snow on the ground. It allows us, however, to be in the warm darkroom every day printing the photographs we made in Iceland last year without wishing we were outside enjoying beautiful spring weather instead. We each have many negatives from that trip, so there is at least another month of darkroom work ahead.
This newsletter will bring you up to date on the trip we made to Iceland and inform you of our other activities in the world of photography. Again, the addendum in the back lists prices and availability for our photographs, books, portfolios, and other items.
It has been a wonderful year, even busier than usual.
Photographs and Photographing
Iceland: In each of our newsletters since 2000, we had announced that we were planning to photograph in Iceland. We finally made it, and it was a most successful journey. But launching the trip was harrowing.
We learned, a few days too late, that our vehicles needed to be at the port 72 hours before being loaded onto the ship. This would allow time for Customs to inspect the container if they chose to do so. Because of the July 4th weekend we had only 48 "official" hours remaining—the ship was scheduled to sail on July 7th. On Thursday, July 1st, one day before the container was scheduled for loading, Michael went to customs in Philadelphia and asked if they would allow the container to be loaded onto the ship even if it was a day late. He also asked that it not be x-rayed because the heavy-duty x-rays used for containers would ruin our film. They replied, "You are late and you want special treatment, too?" They said that they may or may not permit the container to be loaded, but added, "get your paperwork in here as soon as possible tomorrow." They were not friendly.
We stayed up all night packing the old Land Rover and the SUV. We were hoping things would go smoothly and we would get the container to the port early Friday morning. The truck bringing the container to our loading site was due at 9:00 a.m. It arrived at 8:20—a good start. Michael proceeded to drive the Land Rover onto a roll-back which was then driven up to the container door. "Hold it," someone yelled, "it's not going to fit." We looked, and indeed it would not fit. The Rover was several inches higher than the opening. The shipping company had given the wrong container to the trucking company; it clearly was not the one we had requested. A bit of panic ensued as our whole trip passed before our eyes. What to do? Michael decided to drive to the port anyway while Paula located a towing service with a roll-back so that we could load both vehicles near the port. We asked the trucking company to take this truck to the port and exchange the container so we could quickly load the vehicles into the proper one. They refused—it didn't fit their regulations (or mood). Michael and Richard Boutwell, our assistant, began driving both vehicles to the port, hoping to locate another trucking company when they got there.
We were frantic. Now we would be starting over, and at best would not get our paperwork to customs until late in the day. It was questionable whether we would get our container onto the ship. If we missed this one, another ship wouldn't be departing for two more weeks. Disaster. We would miss conducting the photography workshop we had scheduled in Iceland, one we couldn't cancel since participants had already bought their plane tickets, and we had already bought our own plane tickets to coincide with the arrival of the container ship—and—we would not have nearly enough time for our own photographing in Iceland.
On my way to the port, I (Michael) spoke with our customs broker who suggested we call the steamship line. I had the bright idea that if the container could be on the ground we could drive right into it and not need a rollback after all, thereby saving precious time. I was informed that, "no, the container must be on a chassis." Gloom. But then I was told that the routing of the ship had been changed and departure would be delayed; we could deliver the truck to the port on the following Tuesday, since Monday the 5th was a holiday. We were saved. We would have our 72 hours after all. And since we had not finished packing and arranging the Rover to our satisfaction, the extra few days would give us the needed time to get it right. When I got home Paula reminded me, "things always happen for a reason." It took us both a full day to recover.
Shortly before the trip, Michael had some misgivings. The more we learned about Iceland the more we realized that the weather there can be truly awful as well as spectacular—it can rain for a month straight and there are often high winds. For photographers like us who use view cameras, that combination can be deadly. Since it was costing almost twice as much to ship our vehicles to Iceland as it had cost to ship them to Continental Europe, and since Iceland may be the most expensive country in the world, would the trip be worth it? Happily, we were surprised. Iceland exceeded our expectations in every way. We loved this beautiful country—and the weather was just fine for most of our time there. Almost anywhere we looked there were photographs to be made. The people, generally, are friendly and very helpful, and almost all spoke English. And it is the easiest country in which to travel that we have ever experienced—including the United States. There is virtually no traffic anywhere on the island except in Reykjavík, and even there we experienced nothing remotely like a traffic jam. There were campgrounds everywhere we needed them—and even in relatively remote places, most had hot showers (hot water is rather cheap on this island where there is an abundance of thermal energy), and the air and water are the cleanest we have ever experienced. It is the only country in the world where we would drink, and did drink, the tap water. And one night in late August, when it finally got dark enough to be called "nighttime" we saw the Northern Lights shimmering and pulsating in the Northern sky—surely a highlight of the trip.
Oh yes, we made many photographs—many more than expected—and we look forward to showing them to you at the earliest opportunity. And we are eager to return—plans now are for summer of 2006.
This year, we plan to photograph in Maine in the summer and perhaps get as far north as the Maritime Provinces of Canada.
Some excerpts from Paula's journal:
Friday, July 23:
"I could scarcely sleep for the first several nights—I kept getting up and going outside to savor that warm gorgeous light that filled the nighttime hours before full daylight. I even photographed on one of our first days in Reykjavík until 11 p.m. Being so near the Arctic Circle, Iceland gave us our first experience with the beautiful all-night glow—though by late July and early August it was more like bright dusk and dawn through the nighttime hours, rather than full-out daylight as it is in late June. I have always loved long hours of daylight, and suffer from sun deprivation during the short days of winter, so this perpetual glow was just too good for me to miss. The days of rain and overcast atmosphere were at times almost a relief."
The atmospheric conditions at this latitude—and on a continent so clean—left indelible memories of freshness and remarkable colors. We felt as if there was always a vibrant energy in the air. And we have rarely seen clouds with colors so clear and rich—even the soft colors seemed deeply saturated. We often remarked how certain things looked "color enhanced." And it was always surprising how very quickly the weather could change—a sky full of gray storm clouds would shift to sun and fluffy white clouds in fifteen minutes or less. After one particularly bad day/night of rain and wind, we asked one Icelander what he thought tomorrow's weather conditions held in store, and he responded, "Now, how do you think I could tell you that? This is Iceland. We can have four seasons in one hour!" We found he was exactly right. Our good friend, Icelandic photographer Gudmundur Ingolfsson, had also warned and advised us, "You can only follow the weather; if it's bad in one spot, go to another. It will be entirely different." So—we learned to pace ourselves differently and to just enjoy the amazing land, sea, and sky without worry. If the weather had been perfect the whole time, we'd have run out of film before the trip was half over.
It seems that one of the most absorbing things I (Paula) wrote about while on this green, lush, yet nearly treeless island, was—the ice.
Tuesday, August 3:
"We arrived at Jökulsárlón [glacier lagoon on the southeastern coast] before 7 p.m.—sunny all day, yet the lagoon itself was completely shrouded in fog. No wind—just mysterious and soft and lovely. Magically, rainbow colors were before our eyes whenever we looked into the glowing fog. I made several negatives in this beautiful and strange light, finishing around 10 p.m.—sharply focussed bergs in thick fog—surreal. We had dinner at midnight, re-loaded film holders, and fell into our sleeping tent at 2 a.m."
Wednesday, August 4:
". . . water surface disturbances are coming from giant pieces of ice calving from Vatnajökull, the mother glacier, or breaking off of smaller bergs already in the lagoon. [I was preparing to make a photograph of ice in perfectly calm water when something like a small tidal wave greatly altered the composition.] Depending on their size, the sounds range from crashing to thundering to exploding—some are well over a mile away. Their colors seem multi-dimensional and unreal—colors that would seem impossible to replicate. Many are striated with various shades of aqua and deep blue, many have streaks and layers of black lava mixed in from previous eruptions—thousands-year-old pieces of ice letting us have a look at all they've held over their frozen time, some small enough to hold in your hand, others the size of large buildings ten or more stories high."
Thursday, August 5:
"It is sunny and warm—in the 50s today—and the bergs are creaking and cracking as they constantly drip and shed large crystals. We walked along the shore of the lagoon to examine the bergs near the edge—I broke off some clear crystals to taste—as sweet and pure as I can imagine water to be."
We had come full circle around the island by the time we reached Jökulsárlón again—
On Saturday and Sunday, August 28 and 29, I wrote:
". . . . We camped by the lagoon and were up early to see how it had changed or remained the same. Many big bergs had moved, many new ones had arrived, and of course, many had changed their shapes, colors, and volume. Still there are many with the brilliant aqua color—just magnificent. Nothing compares to 'glacier blue.' Only ten per cent of a berg is visible above water—but when they flip over, they often reveal crystal clear bases—natural sculptures of finest design and proportion. With fresh water rushing out of the lagoon at low tide and salt water pouring in at high tide, the bergs that are not soundly fastened to the bottom find their way out to sea through the channel. As high tide approaches, the water and bergs are flowing in both directions at once. The towering sculptural protrusions slowly dissolve in the sun and fall with cracks, booms, and splashes throughout the day and night.
"Ken Choat, [a friend who had joined us for part of the trip] and Richard came rushing to find us and show us a great discovery—a most amazing berg had beached at the ocean's edge at low tide around 10 p.m. In the dim light of late dusk and full moonlight we hurried to see the clearest and loveliest giant piece of ice we'd ever seen—about seven feet high and several feet in diameter, with finely sculpted facets and water-smoothed edges. Tiny channels of air bubbles and clean fractures ran through it, trapping millennia of activity during its lifetime. How crystal clear and gem-like its body was throughout!"
Monday, August 30:
"I was out on the beach at 5:45 and watched the rising sun emit rose-colored light onto the black mountains and then redden the white cap of Vatnajökull. A fishing boat to the south was bathed in deep purple fog—the clouds were arrayed in gold, orange, blue and violet—clean and intense—I hope I can remember them exactly."
Exhibitions and Lectures:
In 2003 we had nine solo or joint exhibitions between us, and our photographs were also included in a number of group exhibitions. Last year we had fewer. Putting together an exhibition is incredibly time consuming and expensive. And generally speaking, unless one's exhibition is a blockbuster at a major museum, relatively few people will ever see it. So we tend to focus more of our time, energy, and resources into publishing books of our work—and though they do not provide the same experience as an exhibition of original prints, books are seen by far more people, and also provide a permanent record.
Exhibitions in 2004 included joint exhibitions of our photographs from Tuscany at the De Santos Gallery in Houston, and a show titled, after Magritte, "This is not a Pipe," at Messiah College, a small college near Harrisburg, Pennsylvania that has a surprisingly large and fine art department and a wonderful permanent collection.
Paula will have a major exhibition of the photographs from her new book, Madonnina, at The New Orleans Museum of Art in spring of 2007.
We are currently sending exhibition prospectuses to museums for two framed and crated traveling exhibitions we have put together—Madonnina and Tuscany: Wandering the Back Roads. We've done this in the past with our traveling shows with great success. If you think the museum you are associated with would have an interest in either or both of these exhibitions, please let us know and we will send a prospectus to the director or curator. Both exhibitions have accompanying books.
We gave talks about our work to the Large Format Photography Collective in Connecticut, at Clemson University in South Carolina, and at Messiah College. And we both gave a number of talks at the Large Format Conference in Monterey, California. In addition, Michael was on a publishing panel at Photo New York that was sponsored by the George Eastman House New York Collector's Group.
Book Publishing: Lodima Press
It seems that we are semi-big-time publishers now. Last year saw the publication of five new books: Tuscany: Wandering the Back Roads, Volume I (by Paula) and Volume II (by Michael), Madonnina by Paula, Stones and Marks by the Australian photographer Peter Elliston, and Edward Weston: Life Work.
"The most beautiful books I have seen in decades."
—Béla Kalman, photographer and book collector
So, after far too many delays (the books were not ready until a week before we left for Iceland), we think it has all been worth it.
And last year also saw the publication of our first Lodima Press Catalog. It was sent to you via bulk mail, but if you did not receive it, let us know and we will mail one to you.
New Books for 2005:
Last year we announced the inauguration of two major multi-year publishing projects. Due to unforeseen delays, the first books in each of these series did not come out last year, but will be ready in early May. As we write this letter, the books are "on press" at Salto in Belgium where they are being printed in 600-line screen quadtone, as has become our standard.
The Portfolios of Brett Weston—a nineteen-volume series: Back in the late 1930s, Brett wanted his photographs to reach a wider audience, and since he was not satisfied with the reproduction quality then available in books, he began to produce portfolios of his original photographs. There is only one complete set of every portfolio—owned by collector and photography dealer Scott Nichols of the Scott Nichols Gallery in San Francisco, with whom we are co-publishing this series. The reproductions are being made from these portfolios. Instead of publishing one very large and expensive book of over 250 photographs, we will publish each portfolio in a separate volume. In this way they will be quite affordable. Many of the photographs included in these portfolios have never before been published. Art historian, Roger Aikin, will be writing introductory essays for the books.
We will publish these books in chronological order of the original portfolios. The first book in the series is San Francisco; the next two will be White Sands and New York. Each book is being published in a softcover edition of only 1,000 copies and a hardcover edition of only 100. The softcover edition is available by subscription or as individual copies. The hardcover edition, of which only 13 copies remain as we write this, is available only by subscription. We hope to publish three or four volumes a year.
Lodima Press Portfolio Books: This will be an ongoing series of small, elegant, yet inexpensive books by many leading photographers. The first three books, which will be ready in May, are: Home by Nick Nixon, Solitudes by Carl Chiarenza, and Common Mementos by George Tice. Later this year, we will be publishing books by Linda Connor, Larry Fink, and Jerry Uelsmann. Other photographers whose books will be in this series currently include: Robert Adams, Tom Baril, Linda Butler, Mark Citret, Keith Carter, Tillman Crane, Terry Evans, Frank Gohlke, Emmet Gowin, David Graham, Abelardo Morell, Philipp Scholz-Rittermann, as well as many others.
We will also publish each book in this series in a softcover edition of only 1,000 copies and a hardcover edition of only 100. Both editions are available by subscription or individually.
For pricing of the books for both of these series, see the last page of the addendum, or www.lodimapress.com, or our catalog.
For future publication, we have two other books in the works: our first collaboration, The Bonsai of Longwood Gardens, and Trees, 8x20 photographs by Michael, although the projected publication dates have now been pushed back.
We have formed a division of Lodima Press—BackStreetBooks—to publish books that do not need the superior 600-line screen quadtone quality for which Lodima Press has become known. The first book we will publish under this imprint, Crash Burn Love: Demolition Derby, by Bill Lowenburg, is now on press. Full details can be found at www.backstreetbooks.com, which should be up and running by the time you receive this.
Publishing: B&W Magazine
We continue to publish our two-page spread in B&W, the new magazine devoted to the collecting of black and white photography. Many of our photographs that appear in these ads have not been published, nor will be, elsewhere. Taken together, our ads in B&W comprise a fascinating and varied record of our photographs from over the years. We warmly recommend subscribing to this fine magazine.
Publishing: Camera Arts
This year Michael will inaugurate a series of articles in Camera Arts magazine about how to make a photography book.
Also currently in the works, Michael is co-authoring a book with Sandy King on the technical aspects of photography.
Publishing: Trade Shows
Lodima Press participated in Book Expo America (The BEA Show), the annual trade show for the book industry that was held at the beginning of June in Chicago. It was a wonderful experience—we found European distributors for our books—and we'll have a booth again this year. (New York, first weekend in June.)
In October we had a publisher's booth at Photo New York, which was also a time for us to display our photographs. The event was successful for us, and, time permitting, we're considering participating again this year.
In mid-November we had a publisher's booth at Paris Photo—the European counterpart to New York's Association of International Photography Art Dealers (AIPAD) "Photography Show" in February. Paris Photo was also a great experience. We sold many books, a few prints, and met many wonderful people. We can think of worse things than spending a couple of weeks in Paris, and we plan to have a booth there again this year. Paris Photo will be from the 17th to 20th of November.
We plan to do a semi-major overhaul of our web site this year and, finally, get our photographs up. Stay tuned.
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 and the Large Format Conference
Vision and Technique Workshops: We will be conducting four this year: May 13–15, May 27–29, September 23–25, and September 30–October 2. All will be held here at our studio in Bucks County. Some of them have already filled, so if you are interested in signing up, we suggest you let us know as soon as possible.
Iceland:Our ten-day workshop in Iceland was very successful last year. Most of those who attended are making plans to return to that wonderful country. In 2006, when we return, we will be offering another workshop. If you are interested, let us know and we will send you details and put you on the list to notify when we have firm dates.
We will be presenters at the Large Format Conference in Springfield, Massachusetts, May 20–22. Last year, at one of our talks at the LF Conference we had such a surprising response that they had to remove the partitions to an adjoining room to accommodate the overflow audience. For those who might be traveling to the Springfield Conference from a great distance, note that our May workshops are scheduled for the week preceding and for the week following the conference.
Our building expansion project continues—slowly, slowly—we might even get doors and windows in this year (we wrote that last year, but it did not happen), but it will really be something when it is finished.
As many of you know or as you might have learned from last year's 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.
We send you our warmest regards and best wishes,
Many of you have requested updates on our print prices for your records. 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), we are pricing all older work individually by image. Since we are no longer printing from these negatives, the edition size of the printing is fixed. It is different for every photograph: 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, 2005.
* Current photographs (those made in 2002, 2003, and 2004):
Michael: 8 x 20 $2,000. Paula: 8 x 10 $1,000.
5 x 7 $750.
4 x 5 $750.
* Older photographs (pre-2002, including our photographs from Tuscany):
Michael: 8 x 10 $1,500.–$10,000. Paula: 8 x 10 $1,500.–$3,000.
8 x 20 $2,000.–$5,000. 5 x 7 $1,000.–$1,500.
18 x 22 $3,500.–$6,000. 4 x 5 $1,000.–$1,500.
4x5 photographs from Madonnina are still $750.
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 of which half the edition has sold. Those prints are priced at $7,500.
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 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 collector's item is just about sold out. Only one set remains of Michael's first book (last year at this time there were five). It was printed in a signed and numbered, limited edition of 600 two-volume sets. Landscapes 1975–1979, with an original photograph as the frontispiece, letterpress text, and tipped-in plates, is a rare and beautiful set of books for fine book and photography collectors. Published in 1981, and with an essay by James Enyeart, it was awarded "Best Photography Book of the Year" at the International Festival of Photography in Arles, France, July 1981. This final set is now priced at $3,500 (plus $15 S&H).
Landscapes 1975–1979:An exhibition catalogue with the same title (and essay) as the book, but with different reproductions (12). Published in 1981. Very rare. Few copies remain. None are currently available.
* 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. $20 (plus $4 S&H).
* Natural Connections: Photographs by Paula Chamlee:Published in 1994—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. $70 (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 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. Printed in a signed and numbered limited edition of only 550 copies, 21 duotone reproductions and hand-tipped plate on the cover. This book is sold out, but we recently discovered one copy of The Collectors Edition, which comes with the purchaser's choice of any photograph in the book. This last copy is available with your choice of any print in the book, for $1,000. This is a substantial discount from ordering a print alone.
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. 53 reproductions printed in 600-line screen quadtone. $50 (plus $7 S&H). Signed and numbered, slipcased limited edition: $200 (plus $7 S&H).
A Field in Tuscany: An edition of ten portfolios self-published in 2000, each 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. $5,500.
San Francisco: Twenty Corner Markets and One in the Middle of the Block: An edition of three portfolios self-published in 1997, each 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. $21,000.
High Plains Farm: A Unique Portfolio: An edition of fifteen portfolios self-published in 1996. Sold out.
The Stones of Monteriggioni: A suite of six 8" x 20" photographs archivally mounted and overmatted. $6,000. Printed in an edition of five.
Eight Landscape Photographs: An edition of twenty portfolios plus two artist's proofs published by Regnis Press in 1983, each 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. $18,000.
Twelve Photographs 1967–1969: An edition of twenty-five 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. $25,000.
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 Salto2 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.
* 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. $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.
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).
New Books for 2005
The Portfolios of Brett Weston—Volume One: San Francisco
Hardcover Edition, limited to 100 numbered copies: $100. Available by subscription only.
Softcover Edition, limited to 1,000 copies. By subscription: $29.95. Single copy: $34.95.
Shipping: $7 for the first book, $3.50 for each additional book.
Lodima Press Portfolio Books: Home by Nicholas Nixon
Solitudes by Carl Chiarenza
Common Mementos by George Tice
Hardcover Edition of each book, limited to 100 signed and numbered copies: $100. Available by subscription or individually.
Softcover Edition, limited to 1,000 copies. By subscription: $19.95. Single copy: $24.95.
Shipping: $6 for the first book, $3 for each additional book.