“Julie Blackmon’s photographs are a flawless combination of the spontaneous and the skillfully orchestrated.. simultaneously real and surreal, awesome, while at the same time comforting.”

Editor Paul Schranz interviews Jule Blackmon, whose Domestic Vacations portfolio depicts family life with an enchanting twist. She reveals some of the methods she employs to light her amazing group portraits.

“Antelope Canyon, to my eye and mind, was totally unbelievable, unquestionably cosmic and absolutely perfect.”

Bruce Barnbaum narrates his discovery and capture of pristine black & white images found in his Stone: the Slit Canyons portfolio of Arizona’s Antelope Canyon. He also explains his two solution compensating process for developing black & white film.

“A tablet can be many things: a message, a slate that has writing to be erased, a blank surface awaiting words or symbols or drawings, an accounting, a poem, a gravestone, proof of identity, or an undecipherable message from another time.”

Olivia Parker’s Books, Pages and Tablets portfolio offers illuminating glimpses of the relationship of the visual and the verbal. Also illuminating is her text, which offers insights into the photographer’s use of light and shadow within compositions of found objects from the realms of history and science.

“I had to throw everything I knew about platinum out the window and begin again to see with new eyes and work with new hands.”

Tom Millea relates the journey of exploration that took him from platinum printing to a new photographic vision. When the process he had known and perfected became impossible to continue, he met the challenge of learning to see and work digitally.

“It is a new day for chemical experimentation in the wet darkroom.”

A portfolio of “Nolangrams” introduces Nolan Preece’s beautiful experiments in cameraless photography. His text expounds upon their philosophy and methodology.

“Kodachrome was a beautiful film – bright vivid colors, low grain and images that jumped out of the screen and filled the projection room with the awe of mountain landscapes, close-up portraits, and children playing on backyard swings.”

Abhay Sharma and Paul Sergeant give readers a photographic milestone, as our Kodachrome is taken away… The writers present a capsule of the history and science of the film, its inventors, and its manufacturer, Eastman Kodak.

“… if you find color correction an occasionally frustrating business, that does not reflect ill upon you. It only makes you part of a very large community that really cares about the quality of its work and is always looking to improve.”

In Color Correction Made Easier, Ctein gives answers to some pressing questions about digital Color Balance. His expanded technical article offers step-by-step procedures and software suggestions.

The issue also includes:

-Transitions, a cutting and challenging commentary on change by David Vestal

-Photo News, a column by Jerry O’Neill

-Calls for Submission for juried photography shows

-Innovations, introducing products that mght not show up in full-page ads, but will significantly improve your photographic workflow