Badwater. Death Valley. 2003. BetterLight Scanning Back.


Moonset. Death Valley. 2003.

Stephen is a great teacher... continually attentive to student needs, always ready with suggestions for improvement, he is quite a presence. A week after the workshop my head was still spinning with ideas. I am deeply grateful to Stephen and my fellow participants for having made this trip so memorable.

-Andrew Stern
Professor Emeritus, UC Berkeley

yosemite oaks

Demo in the Hands-on Lab. Fine Art Printing Workshop. 2006.
Photographers and Photoshop Series workshop begins January 16.


Welcome to the January 2010 Edition of the Stephen Johnson Photography Newsletter.

As we move into our second decade of the 21st Century, we are planning a very ambitious year of workshops, education, publications, and travel that will be filled with great opportunities and experiences for all involved.

This month's column is an excerpt of Chapter 15 from my book Stephen Johnson on Digital Photography dealing with how to get your photographs out there to be seen.

On our workshops, coming right up is the new Photographers and Photoshop Series starting January 16. This class is specifically designed to get people up to speed on finishing a digital photograph, skills I clearly see that need addressing.

Our first field workshop of 2010 includes a full moon adding to our experience in magnificent Death Valley. Our Death Valley in Winter Workshop runs from January 28-31 and is currently low on enrollment which means you will likely get even more attention and one-on-one time.

Our Winter schedule continues with a Yosemite in Winter Workshop in early February and our most popular workshop, Fine Art Digital Printing Hands-on February 25-28.

Our studio and field workshop concentrating on Highway One San Francisco South is coming up in March.

For the Spring, we have added a rare 3 days at Pt. Reyes National Seashore in Marin County. I hope some of you can join us this winter and spring for some of these offerings.

Our Summer Travel Adventure Workshops include:


Workshop Testimonials


Photographers and Photoshop Series. Last chance to Register!

Printers Available for Donation!

Intern and Scholarship Programs

Video of Steve's Maine Media Workshops Artist's Lecture. Thanks to Patrick Durante. Needs Apple QuickTime plug-in.

DVD: Matting and Framing

January 2010


Dune at Dawn. Death Valley. 2008.
9x14 Pigment Inkjet Print on Cotton paper
$195 each

After decades of dawns at Death Valley, it seem remarkable to me that I continue to be drawn in, amazed at the from, abstraction, grace and sensuality. But I am, and every year I see many scenes I care to photograph. This one from a few years ago that has stuck around.

We're offering an 9x14 inch print, matted to 16x20 and ready to frame for $195, framed in silver for an additional $75, wood for $150. This print at this price is offered through January 31. We'll be taking orders until then, and shipping them out by February 15th.

About the Program
Each month we offer a signed, original print, at a special price. This is a great opportunity to own a very affordable fine-art photograph. Orders are taken for a 30-day period, then printed and shipped within two weeks after the close. When it's over, it's over, these prints won't be available again at this price.


Benham Gallery, Seattle.

Make it Seen

Making Art is one thing, making it seen is another. Realizing an image into a print is often our unintentional final step. That same print then sitting in drawers, or in stacks, becoming anonymous over time, surprising when the stack are explored. This is not our notion of the prints being experienced when we make the effort to create them. Making them seen is no small task.

The web is great with galleries easily built and notice given of new postings. We now have new options even beyond the web with print on demand books that your fans, friends and family can order at will.

None of these however replace the old effort of getting the prints into the hands of people with public spaces that will put them on display and allow an audience to see the original hard fought for prints with their own eyes.

So, I thought I would feature part of Chapter 15 What To Do with Your Images from my book Stephen Johnson on Digital Photography:

Galleries: Real and Virtual
Displaying your photographs for others to see is the name of the game. Getting people to come and look is another challenge. The impulse to have your work appreciated has not changed with the digital age. Getting the attention has become harder and easier at the same time. We certainly have more tools to distribute our work, but everybody seems to have a gallery online, and standing out remains hard.

Vision and Style
Work from the heart almost has to be unique, but it may require a lot of thinking and trying to give visual vent to those unique feelings. It is one thing to feel things deeply, and another to express them with eloquence. Years of work, hard self-questioning, and showing the work to others all help.

Something Special
Uniqueness is both intangible and highly sought after. It cannot easily be described, but we think we know it when we see it. The work itself is what really counts. Try to understand artists whose work has inspired you, as you toward an understanding of what you want to do. We all engage in art-making because of inspiration; one of the real tasks is to take that inspiration and work it into a new vision.

Oftentimes, people get caught up in the mechanics of putting the work together. While this is important, and can sometimes make a critical difference, it should come after accomplishing strong work. In today’s digital world, rough hand-coated emulsion-look edges, photo-frames, drop shadows, and similar decoration rarely strengthen the work, and mostly look like the window dressing that they are. The presentation matters, and good work that is poorly presented often gets overlooked. The work is primary and the affectations transparent.

It is now possible to carefully match your prints to the display lighting that they will be viewed under. This can be dangerous and powerful. Galleries are often lit terribly, with low intensity (to protect fragile materials) yellow light (from ordinary flood lamps that are also run at low voltage). Your prints can be balanced for these dismal conditions and look better in those particular circumstances, but then they might look downright awful on the mixed daylight/indoor lighting of a collector’s wall.

I still am inclined to choose daylight (5000K–6500K) as my viewing light condition and print to that white point. In many situations, my prints have suffered from this decision, going very warm and losing most of the subtlety I try so hard to achieve. I do encourage artificial light that is closer to daylight, and as I said earlier in this book, the Solux 4700K quartz halogen bulbs do help. That is exactly what I’ve put in the track lights of my gallery.

Selling Your Work
Price your photographs so that it is worth your time in making prints. It should go beyond the mere satisfaction of exchanging income for your art. Figure out if your time seems financially well spent as well. I know that most of us make our photographs for the pleasure of the experience, but selling the work is different. The emotional satisfaction needs fiscal encouragement as well, and making the same print over and over is a drag.

Most photographers seem to have a matrix of income, including print sales, commercial work, stock photography, and teaching. Ultimately, you need to calculate the physical cost of materials, your time, your generalized costs of doing business, and a profit margin. It is the formula for continuing to be able to make the work.

Image Permanence and Storage
If you are going to sell your work, the prints need to last. Pigment inks in inkjet printers and Fuji’s development of their Cristal Archive Type C chromogenic color photo paper has now given us unprecedented longevity in our color photographic print work. Be up-front with your galleries and potential collectors’ as to the type of printing technology used to make your prints and the accelerated aging tests of how long the prints should last without visible change (see Appendix: Wilhelm Imaging Studies).

Label your prints with all of the provenance information you can. Such information will be great value to future archivists as they seek to preserve the work from this interesting but improvisational period in photographic history. Avoid marketing terms like “gliceé,” which have no precise meaning.

Many protective sprays are now available to inhibit UV damage and provide some surface protection against scuffing. Bag the prints in polyethylene storage for long-term protection.

Silver to Silicon. Center for Photographic Art. Carmel CA 1996.
OuickTime VR View of Exhibition
View 1 QTVR controls: hold mouse button down and drag, zoom in=shift key, zoom out=control key

Outreach, Ownership, and Sharing
You own your photographs from the moment light strikes the recording media. A buyer has the right to display, enjoy, resell, but not to publish your work or use it for commercial purposes. Under most state laws, you also have the right to know who purchased your work and be supplied that information on request from anyone selling your photographs.

It doesn’t hurt to explicitly spell out those basic rights on the print label itself. It makes for an informed process from the very beginning.

Image Sharing and Publishing
Internet picture sharing, TV picture sharing, and Print Package print sharing are all very viable methods of getting your images out to friends and family. If it were only for fulfilling family obligations, Print Package might be worth the cost of Photoshop. It saves so much time by making sets of prints from your files.

Gallery, Clients, and Magazine Submissions
Custom-built websites can be amazingly quick ways of communicating photographic options to potential clients and art directors/magazine editors. More and more people are willing to take a quick look at a website as an initial conversation starting point. This usually works best if they have contacted you first.

When you are making the overture, your best bet for drawing attention to your work is to discover their preferred method of submission and follow the procedure. It demonstrates respect for their process and empathy for the flood of work that might have caused the review process to be set up. That doesn’t mean that you don’t adopt other methods if the normal procedures don’t result in a reaction.

Rejection is another issue entirely. It must be handled with a thick skin, attention to any comments that were made, and a re-evaluation if the rejecting entity was a good fit for your work. The book Art and Fear tackles many of these issues with humor and perspective. (See Chapter 18 and the Appendix.)

It is critical that your presentation is superb. Track and number any portfolio you send out. Make sure it is understood that it has value, that it is being given on loan, and that it is expected to be returned. It is often useful to include return shipping forms to make this clear and convenient. Anyone looking at lots of work will appreciate that their job has been made easier.

Exhibitions that Live On
Don’t let temporary installations of your work ever disappear. Make panoramic VR files of the installations and post them to your website as an ongoing record of your exhibition history. It keeps a visual record of the exhibition, allows visitors to explore the space, and substantiates the validity of your exhibition record.

The PhotoMerge command within Photoshop’s Automate menu is a built-in panoramic VR stitcher to make a panoramic file from individual frames (see Chapter 7).

Web Galleries
Photoshop’s Web Gallery function allows easy creation of custom image web pages with very little trouble. The feature comes with a variety of styles and layouts. Simple HTML editing on the supplied styles (kept in Photoshop’s Presets folder under Web Galleries) can further customize their appearance with your logos and navigation features. Many other packages are available, including Webpics, which also lays your copyright information on top on the photo. These packages give you a nearly instant photo-posting capability that can be handsome. Don’t underestimate the power of having the ability to respond to photo requests with quick custom galleries. It’s a way of showing your work with minimum effort.

Portfolios as Books and on DVD
Providing galleries and potential buyers a Custom portfolios of your work are now a must. It is now too easy to produce prints and buy handsome display folios for you not to go to this effort on behalf of your work. Work can be printed in sheets with multiple images and custom-bound at a book bindery house, which can usually be found in any urban area. Allowance must be made on the left side of the sheets for the binding. Consult with the bindery regarding needed specifications before printing your sheets.

DVD portfolios are also growing in popularity now and proving extremely useful. Try the software that comes with your computer (like Apple’s iDVD); it can do most of what is minimally required for video slide shows and more.

Take advantage of any technology you can that gets your work seen and the emotional content communicated. Pay particular attention to those technologies that don’t put your work at great risk for theft. There are clearly good possibilities for getting your work out there now.

Again, make sure it is understood that you expect the material returned. Never let it seem as if it’s disposable or unvalued by it creator.



Stephen Johnson on Digital Photography

There is something for everyone in this beautiful and definitive guide for digital photography enthusiasts, from cutting edge camera and software techniques to engaging discourse on the history and future of digital photography. Published by O'Reilly, 2006. 320 pages, over 700 color and duotone illustrations.




Order Now for a signed copy!

Professional Photographers of America 2007 Hot One Awards

Stephen Johnson on Digital Photography

Book Reviews
Book Comments online

* Upcoming Workshops
We trust you find our selection of classes interesting and useful for your needs. We take the imparting of information and the empowerment of our students quite seriously. The digital age has considerably enhanced our ability to teach, and we believe, your ability to capture what you see. This program is designed to help you benefit from both of these advances.

We hope you can join us on a workshop.

Referral Discounts

As we are always trying to enlarge our reach out to people to let them know about the workshops, we have instituted a discount policy that can be earned by referring people to the program. It is simply, if they list you as having referred them, and they take a workshop, you get 10% off the next workshop you take from us within one year. These referrals are cumulative and can even bring a you a free workshop. Again, they do have to be redeemed within one year. Deal? Deal.

iCal Calendar of Our Workshop Program

-View our Workshop Calendar.
-Subscribe to our Workshop Calendar.
-Learn more about iCal or to download a copy.

Request a Workshop

We are also starting a new program of letting people request the workshops they want. Check out the Workshops Currently Building List and help us build a list of workshops and people so we can then determine dates. See the workshops page for a list of previously offered classes that we would be happy to teach when we have enough people.

Workshop Scholarship Program

We're restarting our photography workshop scholarship program. We will try to reserve a spot in every class we can, particularly field workshops. To start, we will be gathering applications from qualifying college photography students who would like to join us on a workshop.

We will be developing an application page, hold received applications, then choose awards as spots become available. Let people know who you think might be interested.

For applications, please email:



Photographers & Photoshop Series
Selections, Adjustment Layers, Tone and Color

January 16-17, 2010

This workshop births a new series concentrating on the tools within Photoshop critical to Photographers. It is a great chance to explore digital photographic editing with Steve. Hands-on help and demonstrations of his use of editing tools with restraint and finesse will benefit all of your digital photography work. This class is designed to break down the steps to really understand the processes, and to work through difficult images..

death valley

Death Valley in Winter
January 28-31, 2010

Transformed from a searing 120 degree desert in summer to January's mild 60-70 degree weather, Death Valley is filled with intriguing landforms, delicate flora, strange mineral deposits and expansive views. Mile high Dante's View overlooks the patterned salt flats of Badwater and the Amargosa River below (the lowest point in the United States). Badwater's still water in turn mirrors the blue and white Panamint Mountains to the West. The lunar landscape of Ubehebe Crater's black volcanic fields rise from the rolling desert at the valley's north end with the steep gorge of Titus Canyon and Red Pass to the southeast



Yosemite in Winter
February 13-15, 2010


Winter in Yosemite Valley is a transformed world. Trees are wet and dark, the oaks are bare. The cliffs are blanketed with snow. Weather moves through in waves of clouds and mist. Ponds and river edges are frozen. There is usually snow on the valley floor. Visitors are dramatically fewer in number.

Our four days together will likely be cold, but we will no doubt be warmed by the special beauty that winter brings to this grand valley. Although we will drive to basic locations, I hope our basic mode of transportation through the valley will be our feet. There is really no other way to come to know a place.




Fine-Art Digital Printing Hands-On
February 25-28, 2010
Stephen Johnson Studios & Gallery
Pacifica, California.

This workshop focuses exclusively on improving your fine-art digital printing in our new Digital Lab, primarily using Epson inkjet printers. Concentration will be on inkjet printing with color pigments and black/gray ink combinations on coated and rag papers. Learn from the digital pioneer how he obtains his impressive results during four days of lectures, printing, and feedback in the studio.

We will cover workflow issues, color management, correcting color casts, adjustment layers, custom profile generation, editing and inspection. There being no magic bullet to making good prints, the workshop will also explore old fashioned testing, careful color judgments and interactive honing in on the best print possible.



Highway One and the San Mateo Coast
March 13-14, 2010

The coastline of San Mateo County is one of the most beautiful stretches of land and sea anywhere. From eroded, rocky shorelines, to cliffs, long beaches, redwood forests and small towns, this coast is complex and varied. We'll spend the day roaming the coast and mountain roads, stopping at state parks, county parks and checking out the lunch options along the way.

The workshop will be a dynamic combination of a traditional landscape photography workshop while diving deep into the digital age. Technical and aesthetic considerations will be discussed in detail. Our concentration will be on controlling your camera's operation to achieve your desired technical results, while building composition and visual skills to make the photograph what you want it to be. Digital exposure and dynamic range, composition, emotion and amazement-all will be part of our 2-day excursion into the evolving world of digital photography.


Pt. Reyes National Seashore
May 15-17, 2010

This three-day workshop includes field instruction, critiques, and discussion of composition, digital camera characteristics and exposure. Individualized instruction is designed to accommodate beginning and advanced students. The weekend will mix walking and driving, exploring the trails, beaches and rural countryside of the park. We will visit the windblown Point Reyes headlands that juts miles out into the Pacific, offering ocean views found nowhere else. Time will also be spent in the forest, looking for form and design in the rich flora.

A beautiful coastal forest, isolated undeveloped beaches and views encompassing hundreds of square miles of land and sea will be the rewards of this weekend at Point Reyes. This dynamic landscape promises an intensive and interesting three days on northern California’s rugged coastline.

ireland pano

Ireland’s Spectacular West Coast
July 3-13, 2010

Join Stephen Johnson and Anthony Hobbs for an unforgettable journey along the rustic West Coast of Ireland. This workshop will include hotel stays in several towns along our route from County Clare towards Achill Island. Along the way, participants will explore western Ireland's landscape with its rugged coast, lush greens, rocky islands, lake-filled valleys and remote castles.

Irish culture and history will also be part of this trip as we visit key locations and provide natural and human history discussions along the way. Some Gaelic language lessons and Irish folk arts performances might also be picked up on our travels along with the warmth and friendliness of the Irish people.

The Tuscan Landscape with Stephen Johnson
September 23-30, 2010

Spend a week in Italy with renowned landscape photographer/educator Stephen Johnson. Centered in a 12th Century Tuscan monastery, this photography workshop promises to be an extraordinary opportunity to explore the Tuscan landscape and learn from one of the most dynamic educators and talented photographers working today.

Workshop headquarters will be San Fedele, an ex-monastery dating back to the 12th century.  It is situated in the Chianti hills, 12 km north of Siena and 45 km south of Florence.  The nearest towns are the medieval city of Radda-in-Chianti and the village of Vagliagli. San Fedele was completely restored beginning in 2001 and today has 17 guest rooms and several classrooms and studios.

Personal Workshops and Art Consulting

Arrangements can be made to work with Steve individually at his studio or at custom locations. Call for a discussion of the possibilities. 650 355-7507


Steve and Tom
Olympic Peninsula, 2002.

* Check out our workshop web page for information on all of our workshops, including both our field and studio workshops.

UPCOMING EVENTS with Stephen Johnson

mmw logo

Maine Media Workshops


Iceland: Mastery of Landscape
July 25-31, 2010

Tthe wondrous and raw volcanic landscape, geothermal features and sheer remoteness are the settings for this Icelandic experience. Water and sea, weather and mountains, reflection and growth...come spend the week with us. We will work in the field and in the lab. We will interact with what has been done. We will look, ask much of our work and press on to make it as strong and sensitive as possible.


Canon's Explorer of Light Photographer - Stephen Johnson
Photographer Lecture Series

The New Landscape: Stephen Johnson

The University of the Arts
CBS Auditorium, 320 South Broad Street, Philadelphia, PA
Wednesday January 20. 1pm

Rutgers University
Markeim Art Center
104 Walnut Street, Haddonfield, NJ 08033
Thursday January 21, 7-9pm

School of Visual Arts, New York City
SVA Theatre, 333 West 23 Street, New York City
Friday January 22, 2010, 7-10pm

Fresno State University
Friday February 5, 2010

At The Studio Gallery

Galleries open by appointment. 650 355-7507.

Class Visits

Many of my fellow photography instructors have brought their classes by the gallery and studios for talks over the years. I realized I had never made this aspect of our activities here public, so here it is:

We welcome photography classes to visit our studios and galleries.



Feature Story in the last issue of Studio and Location Photography. April 2009

7 Photography Questions
Interviews with top photographers to improve YOUR photographs

Podcast #37: Witnessing and Holding the Beauty in Landscape Photography -- An Interview with Stephen Johnson

Guest appearances on Bert Monroy's Pixel Perfect Web TV Series.
Episode 103

Episode 104

O'REILLY podcast
MacVoices Podcast
MacEdtion Radio
DIMA Podcast
Photoshop World Podcast

tsj interview pix

Photoshop World: March 2008 Interview


Parks Book Interview with Dianne Pitman. May 2008


Inside Digital Photo by Scott Sheppard: Stephen Johnson. Sept. 2008


Book Reviews

Barnes & Noble Review: From Our Editors
This is a passionate, deeply personal guide to digital photography by a true legend in the field. If you've been fortunate enough to participate in one of Stephen Johnson's seminars or to view his breathtaking national parks landscapes, you know his book has the potential to be truly extraordinary. And so it is.Johnson teaches sophisticated technique without ever losing track of art. You will learn powerfully important things about digital sensors and high dynamic range photography; about multi-exposure panoramas and scanning; about tone, layers, and Photoshop curves; about Camera RAW Workflow and honest restoration.He roots digital photography deeply in its historical context without ever losing sight of the present -- or the future. He also captures the deep importance of digital photography -- and its ethical implications -- without ever becoming pretentious. And the images? No words suffice.

-Bill Camarda, from the November 2006 Read Only

Book Comments online

"Steve Johnson, one of the true visionaries of the digital photography era, offers us a technical tour de force and passionate artistic overview of the possibilities inherent in this new medium. On Digital Photography should be required reading for every aspiring photographic artist."

-Ted Orland, photographer & writer

...As Johnson says at the books very beginning in a Note from the Author: “I have often also been frustrated at the concentration on the technical aspect of digital photography with so little discussion of the aesthetics and the heart behind the imagery.” Indeed and at the book’s end he uses this frustration to deliver hugely enlightening home run. The book itself is an artistic treasure with a very meaningful subtitle: Text, Photography and Design by Stephen Johnson. Johnson obviously demanded freedom to create. Tim O’Reilly did well when he granted Johnson’s wish. Quite simple the best photography book I have ever seen.

-Gordon Cook's Collaborative Edge
September 9, 2006


Printers I'm no longer using are being Donated to educational/charitable or government organizations. Send an email. All working when last used. Must pick up.

  • Epson 9000 (dye inks and Lyson grayscale set included)
  • Epson 9500
  • Epson 10000


Printers being replaced:

  • Epson 2200 $300
  • HP 5500 Color Laser $1500

Featured Products


GrayCapsTM Digital gray card. The Digital gray card you will always have with you, even among 10,000 penguins.

graycap penguin

Matting and Framing DVD

A one-hour video demonstrating how to prepare, measure, cut your matts, label and frame photographic prints.

To order

gray cap


gray acr

A Photographer's Journey DVD

A Photographer's Journey is an 8 minute mini-documentary on landscape photographer Stephen Johnson's ground-breaking all digital photography in America's National Parks, With a New Eye. Produced by Apple Computer in 1998.

Additional Features

  • Parks Project Gallery

More info

To order


Visit Our Online Store

We continue to offer a wide variety of Steve's posters, books, notecards and a video or two from our Products page.

There is also a new page devoted just to books and one devoted just to products from our national parks project, With a New Eye.

Please take a look and browse. There are many one of a kind items there, available nowhere else.


The Bookstore  

Stephen Johnson on Digital Photography

There is something for everyone in this beautiful and definitive guide for digital photography enthusiasts, from cutting edge camera and software techniques to engaging discourse on the history and future of digital photography. Published by O'Reilly, 2006. 320 pages, over 700 color and duotone illustrations.


Art and Fear
by Ted Orland and David Bayles
1993. $12.95

A terrific book. A must read for every artist who has struggled with working, creating, reaching out and hanging in there.


Ted Orland's New Photographic Truths Poster.
24x36 inches. $20.

An underground classic, gracing the walls of university darkrooms and professional studios alike. But now (finally!) it’s available again in a new edition — still illustrated with the same friendly picture of Ansel Adams, but with a text that now includes many newly-discovered and critical digital truths.


Advice for Photographers: The Next Step
by Al Weber
2007. $12

Based on decades of teaching, Weber has collected and organized ideas and suggestions to aid those who would be photographers. A 72-page field manual.


We are now offering rental time in our new lab on an hourly basis during our normal business hours.

By appointment only.
$25 per hour, plus a per print charge

Includes full access to calibrated monitors, fast G5 Macs, Epson pigment inkjet printers, 5000°k viewing lights and color profile creation hardware and software.

Appointments can be made by calling 650 355-7507.
Familiarity with Mac OSX and Photoshop CS4 or Adobe Lightroom 2 recommended. Staff tutorials available for additional charge.

A Great Opportunity!
  • Fully equipped lab
  • Make your own printer profiles
  • Finally have access to the equipment you need


Digital Portraits by
The Studios of Stephen Johnson Photography

  • Instant Feedback
  • Special prices
  • Satisfaction or no fees


Stephen Johnson Editions

  • Artwork Copying
  • Custom Printing
  • Custom Profiles




watercolor by Ralph Putzker



To purchase original prints, see:

11x14 pigment on rag paper $450 from existing prints

•Information on Stephen Johnson's Original Prints

With a New Eye: The Digital National Parks Project


Please come visit us at our gallery and see our original prints in person. The subtle detail of the prints and the beautiful texture of the fine art paper have to be seen to be understood. And while you're here, browse through our books, cards, posters, and specially priced prints.

We're happy to mail you a copy of our product catalog, just send a note to or call us.

We're located at:

Stephen Johnson Photography at the Pacifica Center for the Arts
1220-C Linda Mar Boulevard, Creekside Suites, 5-7
Pacifica, CA 94044
(650) 355-7507


Pacifica Center for the Arts from Linda Mar Boulevard


We're open by appointment. To find us, use our map online at:

Map to studio
Studio directions and site layout.


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Last updated on January 14, 2010 . Mail comments to:
Photographs and Text Copyright ©2010, Stephen Johnson. All Rights Reserved Worldwide.