Category Archives: Publications

Printed Matter’s LA Art Book Fair

2014 LA Art Book Fair 2014 LA Art Book Fair 2014 LA Art Book Fair

Printed Matter’s LA Art Book Fair was held January 31st to February 2nd at The Geffen Contemporary at MOCA. I attended on February 1st and spent five hours perusing the books presented by 250+ vendors. I concentrated my search on photography books only, which cut out at least half of the vendors.

At Conveyor Editions I picked up a signed copy of Strange Paradise by Charlie Rubin, which also came with a small paper bag containing two postcards, a sticker and a poem. Conveyor Editions were also showing Visible Spectrum, a set of books by Penelope Umbrico, Hannah Whitaker, Brea Souders, Andrey Bogush, Robert Canali, Inka & Niclas, Dillon DeWaters, and Nicholas Gottlund.

At Pau Wau Publications I picked up Muses Volume 3 with work by Francesco Nazardo & Chiara Clarke Siravo, Fryd Frydendahl, Jen Davis, Jim Mangan, and Jordan Sullivan. This is a set of five booklets, each containing eight pages which unfold into a poster, all enclosed in an envelope with a slip sheet. This is one of the more unique handmade books I saw at the fair. I would’ve liked to have seen more books like this.

I picked up a signed copy of Todd Hido’s Excerpts From Silver Meadows at the Ampersand Gallery and Fine Books space. The book is a whopping 14″x17″x1″. Heading to the airport the next morning, I wondered if the book would count as my small personal carry on item. Luckily, the flight wasn’t full so I was able to carry it and my bag onto the plane after TSA searched my bag, which is a fairly common occurrence when I travel with cameras. This time, a Holga and six rolls of film, a Canon PowerShot, and a GoPro. On the flight to L.A., the bag made it through okay, but TSA had to swab my hands for residue. I guess they need to do something.

Bought a copy of Printed Web #1 at the Library of the Printed Web table. Printed on newsprint, almost the size of the Hido book, it contains the work of Hito Steyerl, Joachim Schmid, Penelope Umbrico, Christian Bok, Clement Valla, Kenneth Goldsmith, David Horvitz, Chris Alexander, Mishka Henner, &, and Benjamin Shaykin. It’ll be interesting to see what comes in the second edition.

And finally, I purchased a copy of Supermarket by Rudy VanderLans from Gallery 16 for less than half price. I like the design and page layout of this book.

lenZless @ Plates to Pixels

My pinhole image, The Sun’s Arc Overhead, has been selected for lenZless at Plates to Pixels by Zeb Andrews.

Pinhole photograph of the sun's path across the sky on July 30, 2013.

See my previous post for information on how the image was made.

Selected images will be posted on the Plates to Pixels site. The online show will go live on the site this weekend and will run until January 2014.

An exhibition catalog will be available for purchase — proceeds from sales of the catalog go straight to website operating costs and advertising for

The selected photographers are:


Iron Horse by Robb Johnson [Juror’s Award]
Camouflage 03 by Romulo Peña [Founder’s Award]
Year of Sunrises by Buzzy Sullivan [Juror’s honorable mention]
It Becomes Clear That You Are Planning Your Escape by Gray Lyons [Juror’s honorable mention]
Cosmos Voyager by Jan Kapoor [Juror’s honorable mention]
Waiting by Jen Kiaba [Juror’s honorable mention]
Soaring by Marydorsey Wanless [Founder’s honorable mention]


2011-10-27 by Alejandra Marin
Unfulfilled Expectations by Allen Morris
Bouyancy by Anne Arden McDonald
Self Portrait by Armen Dolukhanyan
Walk in the Woods by Armen Dolukhanyan
Fire Water by Asher Katz
Light Eruptions by Becky Romotowski
Little White House by Becky Romotowski
Untitled 4 by Bertie Pearson
Round Sign by Bill DeLanney
On the Washougal by Bruce Couch
Rature by Bruce Couch
Canned Memories by Brut Carniollus
St. Johns by Buzzy Sullivan
Tent Rocks Slot Canyons by Caitlyn Soldan
Anamorph 3 by Cameron Young
Terrior I by C B Adams
Chlorophyll print 1 by Charlotte Thoemmes
Root 3 by Christa Bowden
Tent Time by Colby Perry
Up On Payne Road by Colton Allen
Pinhole s21 by Darius Kuzmickas
Icons Of Disposability 3 by Daryna Deineko-Kazmiruk
Peace Not War by David Morris Cunningham
Grapes by Denis Roussel
Auric Object 5b by DM Witman
Paris Vanves 2013 by Faulkner Short
They Come Out at Night by George L Smyth
Invasion by Gerald Figal
Salvage 124 by Heather F Wetzel
Havana Cuba Old Car by James Sparks
Slant of Light by Jane Alynn
Driving by Jeff McConnell
Order of Chaos by Jen Mitsuko
Tree Farm by Jim Hair
4 by Jim Leisy
To discover an ocean of stillness within by JM Golding
Dunstanburgh by John Grey
Ashland Alleyway by John Thomas
Number 19 by Joseph Deiss
Cretaceous Mist by Judith Hoffman
From The Earth by Katherine Clayton
The Fire Circle by Katt Janson
1074-10 St. Johns by Larry Bullis
Untitled 3 by Lena Källberg
Red Star Beach Blanket by Linda Wilson
Figure 26 by Lindsey Beal
Sun Prints Cockroach by Liz Lee
A RoseIs…2 by Mary Rezny
Self Portrait in a Hotel Room Mirror by Moni Smith
Maryland 2012 by Nancy Breslin
Utopia by Natasha Bacca
NOLA Termites Under the Stars by Natasha Sanchez
164 by Nate Matos
1 by Nicolas Turlai
2 by Nicolas Turlai
In the Shadow of a Wax Palm by Patrick O Reilly
Contemplating the noisy confusion by Paul Karabinis
Dead Man Walking by Peter Wiklund
Red Tree by Peter Wiklund
Ground Beef by Rachel Curtis
The Sun’s Arc Overhead by Ray Carns
Bench by the Sea by Robb Johnson
Moving On #1 by Suzanne Rochette
The Barometer by Sean Duggan
Nomad by Sharon Harris
Tripped and Fallen by Sharon Harris
Levitation Blues by Spiffy Tumbleweed
Scanner camera by Stephen Ballance
Satyr-Day Night Under the White House by Terry Kreiter
Porto Old Market Stairs by Tina Rowe
Looking Far by Ugo Marinelli
Snowy River Bend by Zach Hayes

Pinhole photograph of the sun's path across the sky on July 30, 2013.

Pinhole Photograph in The Hand Magazine


The Sun’s Arc Overhead – 30July, a pinhole photograph, can be seen on the top of page 2, Issue 2 (October) of The Hand Magazine .

This photograph is a 39 hour exposure made with a homemade pinhole camera and a paper negative.

The paper negative is Ilford MG Fiber-based paper which I’ve cut to about 4″x5″ from an 8″x10″ sheet. Once I’ve exposed the paper, I scan it into my computer and process it through Photoshop.

My “camera” is a cardboard box, which appears to have been at one point, a gift box. The lens is a pinhole in a piece of thin aluminum taped over a hole in the lid of the box with black electrical tape. The interior of the box is painted black. And, after paper is inserted inside the box, the edges are sealed with black electrical tape. I’ve found good tape must be used, or in the summer heat, especially here in Phoenix when it can reach into the 120s (Fahrenheit), that other tapes come unglued. The box is 6″ tall x 4.25″ wide x 4.25″ deep.

In Photoshop, I crop to size, then invert to make a positive image, then flip it horizontally or vertically, depending on the shot. At this point, the image, if exposed for a sufficient time, is murky shades of gray. Short exposures will look almost solid white when scanned, almost solid black when inverted. From there, I make adjustments, which vary from image to image, but generally, I make the following adjustments: brightness/contrast, levels, curves, exposure, vibrance, hue/saturation, and color balance.

I use Photoshop CS4, so earlier or later versions may have other adjustments available.

When making adjustments, I generally go through them in the order I listed above. I adjust the image to what appeals to me at the time. It’s not unusual for me to make multiple versions of the same image, each with different outcomes. I find the predominate colors are either in the blue or red spectrum. But, that may be partly due to my preferences as I adjust.

One of the aspects of my images is the “multiple exposure” look to some of them. That’s because I only put the paper inside the box. There’s nothing to hold it in place. So, in extreme heat it tends to curl. Some of my longer exposures are a week long. Also, because it’s a cardboard box with no weight, if it’s not weighted or tied down, the wind may move it. For one of the shots, I had wedged the camera in the V of two branches, but the wind blew it out, I’d put it back, it’d get blown down, etc., for a full week. It made an interesting image.

It’s a fun experiment and that’s what photography should be sometimes. Stop being so serious. So go out there and have some fun.

More of my pinhole images can be seen here.