The PhotoBook Journal

September 12, 2018

Introduction to PhotoBook Design – October LACP workshop

Introduction to Photo Book Design with Douglas Stockdale (Two sessions)

Introduction to Photo Book Design workshop

Los Angeles Center for Photography

Next month, October 7th and 14th, I will be repeating my popular two-day workshop in conjunction with the Los Angeles Center for Photograph (LACP). This workshop focuses on the fundamental development of a book; understanding the artists intent and how that then translates into a book object in the editing, sequencing and layout of the book supported by the book’s design attributes.

The two-day goal of the workshop is for each person to leave with a first rough draft of their book dummy of their personal photographic project. I will provide both creative and practical book design options and project critiques to help those attending to move their book publication forward.

After a morning of studying limited edition artists’ books, trade books and zines, the remainder of the first morning will be spent understanding each artist/photographers publishing objectives. Subsequently I will include discussions on the elements of book design, essence of project editing, image editing and sequencing, the purpose of a physical book-dummy, concluding with a hands-on fabrication of a saddle-stitch dummy book/zine.

The second session delves further into the book dummy development and includes discussions about the business elements of (self/indie) publishing a book, critical book production elements and making a publisher submission. The remainder of the day students will continue working on the development of their dummy book as a collaborative project as well as some one-on-one time with each participant.

The feedback I have received over the years is this workshop has been critical to many artist and photographers for their publishing success; helping provide clarity on their project and providing creative book design options. So whether you are developing your very first book or your book project is one of many, I think you will find our time together to be really inspiring.

I hope you can join me for this fun and yet intense workshop.

This workshop is being held at the LACP facilities: 1515 Wilcox Ave, Los Angeles, CA

Let me know if you have any questions,

Cheers!

Douglas, one of our favorite photobook editors

 

September 9, 2018

Julia Borissova – Let Me Fall Again

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Let Me Fall Again, Julia Borissova, Copyright 2018

Artist: Julia Borissova (born Talinn, Estonia, resides St. Petersburg, RU)

Self-Published: St Petersburg, Russia

Essay, Julia Borissova

Text: Russian, English

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Stiffcover book, handsewn binding, stitching, inserts, gate-folds, First edition of 239, hand-made in Russia

Photobook designer: Julia Borissova

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Notes: It was not until I had a chance to spend time with Julia Borissova’s latest photobook, Let Me Fall Again, did I reflect on the act of what constitutes “failure” for an artist, versus the perspective of the corporate/business person. For a business venture failure is the worst possible event. I will have to admit as a person who has been involved in the development of countless pharmaceutical drugs that researchers are probably more in alignment with artist in that a “failure” can considered to be on a path to success.

She states in her artist statement, which is complexly folded and partially hidden within the book, …this word (failure) means something else in the art world. The gap between the initial intention and realization of artwork can be seen as an artistic failure. However, if unsuccessful attempts are not regarded as the final result, it encourages artist to work more and gives them opportunities to grow.

The subject of her book is Charles Leroux who was an early (1890’s) adapter in the act of parachuting, which eventually led to his early demise in Estonia (Russia). The book is complex and lots of parts are mashed together, a continuous series of small and large gatefolds that reveal text, posters, images and illustrations. I will have to say, I wonder if all of these page folds are a bit overdone, but I sense the reason behind the complexity and sculptural qualities; an attempt to create an interaction by the reader for more engagement with the contents.

Second regarding her layered narrative; on the surface it would appear to be about her subject, but lurking below the surface, I sense it’s about the lives of creative persons. Granted most artist do not jump out of high-flying balloons on makeshift ropes, but figuratively most artist are constantly taking chances with their creative endeavors while they put at great risk a chance at making a sustaining livelihood.

In an interview with Julia, she states Regarding the collages in my book, I used the wire to create three-dimensional objects, I have been inspired by the works of Miró and Calder. These works do not illustrate the history of the balloonist, I just wanted to visualize a sense of lightness & fragility – I tried to draw in the air.

As a book artist, I find Borissova’s book to be very inspirational for my creativity; especially if after working for a year on a new book for it to be greeted with a luke-warm response. Thus, like Borissova, every time I feel I might fail in my work, I now think about Charles, who not being able to fall would have meant great failure.

Btw, I will not divulge the little hidden secret found at the end of each book concealed in a very complex folded insert glued into the ending pages. Perhaps an Icarus metaphor. And to say I am a big fan of Borissova’s artistic work is an understatement. Very inspirational!

Other artist books by Julia Borissova on TPBJ; J. B. About Men Floating in the AirDimitryDOM, address, Running to the Edge

Cheers,

Douglas

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August 28, 2018

Todd Weaver – 36

Filed under: Book Publications, Book Reviews, Photo Books, Photographers — Tags: , , — Gerhard Clausing @ 5:56 pm

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Photographer:  Todd Weaver (born in Kansas City, Missouri; lives in Los Angeles, California)

Publisher:  Self-published; © 2018

Essays:  Devendra Banhart; Rodrigo Amarante

Text:  English

Hardcover book, sewn, cloth-bound, debossed cover with tipped-in illustration; 212 paginated pages; 9 ¼ x 11 ¾ inches; printed in the USA by Dual Graphics

Photobook designer:  Todd Weaver

 

Notes: 

What would happen if people portrayed by photographers were given more freedom and control over the process than is usually the case? Who would really be in control?

The title of this innovative book refers to the 36 persons who appeared in a specific space, to be photographed by Todd Weaver as THEY might like, moving at will for three minutes for a total of 36 exposures, taken every 5 seconds, while the camera location remained the same. If ever there was true collaboration between photographer and person portrayed, this is it – unprecedented and most intriguing! This project reminded me a bit of the work of Canadian photographer Arnaud Maggs, who photographed individuals from various angles to arrive at a more complete depiction of each person, but Weaver’s approach goes even further.

Here the individuals photographed externalized and structured their appearance and movements and bared their insides as well. We can see a most eclectic series of self-portrayals, produced in collaboration with the photographer as uber-visualizer. The fact that the 36 individuals are artists helps a bit, I think, since their self-concepts and their understanding of self-presentation may be somewhat more developed than in others. This also presented major challenges to the photographer to capture the appearances authentically and with technical dexterity in the short amount of time and with physical restrictions. We see a gamut of emotions and degrees of physicality – some made use of objects that are meaningful to them, some appearing with clothes and some without or fewer than usual. The photographic techniques employed by Weaver also encompass the range of possibilities – from close-ups to full-body renderings, from sharply defined specifics to somewhat longer exposures that are able to trace movement or quick gestures that the eye might not register sharply either.

The volume is a pleasure to view and peruse; the design is attractive and varied, full of surprises. It is as if you are sitting in a theater and 36 characters that will appear in the play briefly introduce themselves to the audience, both as actors and also in the roles they are playing. The volume constitutes a refreshingly different visual record of thirty-six creative individuals captured by their innovative artistic photographer. The process of baring their souls is well described in the impressions written by Rodrigo Amarante. The volume concludes with notes on the 36 artists who participated in this project. A most impressive and creative work!

Gerhard Clausing

 

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May 31, 2018

Douglas Stockdale – Middle Ground / En Medio Tierra

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Photographer:  Douglas Stockdale (born in Butler, PA; living in Rancho Santa Margarita, CA)

Self-published artist book of 31 images hand-bound by the artist in an accordion (leporello) presentation, yielding 66 pages (blank verso), attached to stiff covers with flip-over French fold; 8.5×6.75 inches; printed in four-color lithography by Dual Graphics, Brea, California; edition of 99 plus 5 artist proofs; © 2018

Text:  English and Spanish

Photobook Designer:  Douglas Stockdale

Notes:  This innovative artist book by Douglas Stockdale brings to mind the parable “Before the Law” by Franz Kafka, in which a man is confronted by what seems to be an overwhelming obstacle and fails to overcome it, even though he could have, as we who are the readers readily understand. How often in life are we confronted by small barriers that can easily become seemingly overwhelming …

Here is a volume of innovatively presented and artfully sequenced freeway observations. The 31 photographs that Douglas Stockdale has arranged in leporello (accordion) fashion constitute a panorama of barriers. We sense the static moments of being stuck in stop-and-go traffic, repeated moments sufficient to take photographs of dividers put up for traffic purposes, with ‘beautification’ planters placed behind them. There is the aggravation of heavy traffic along the Interstate 5 route toward the border in San Diego; there is the annoyance and challenge of being separated from that which lies beyond the barriers. And we observe details: some houses, some palm trees, the national flag almost beyond reach, and other structures to which we can’t immediately relate. And yet there must be other people there … who and where might they be? And some of the barriers are much less than perfect, they show damage or are surrounded by debris. It is a less than perfect, seemingly endless constructed landscape.

So we can consider this project, which is a typology of barriers, a metaphor for the barriers and separators of all kinds that people wish to throw between and among us. Especially in our current moment in time there are many whose main task is to foment social, racial, and/or economic anger and pin it on the “others,” whether we are talking about ethnic, social, economic, or other groups.

Can we overcome these barriers? Of course we can. Look at Stockdale’s images: there are gaps one can squeeze through, there are small boards or a bit of sand to help us take the first step beyond, to let the middle ground lead us toward reaching a better understanding of those that may be different, yet almost within reach. In every country there are many ethnic, economic,  religious groups or segments of the population with somewhat different belief systems, individual preferences, or somewhat different shades of skin color that some wish to marginalize or not give the full respect they deserve. It is important to overcome such barriers and to take the all-important steps toward others. Truly united societies require respectful collaboration rather than splintering into subgroups, and Stockdale’s visual compendium can be an impetus toward overcoming barriers and obstacles.

This project invites each viewer to engage with the presentation and to find individual meanings. It is my guess that this volume, which has been given a bilingual slant but no artist admonition as to its interpretation, will become quite a collector’s item. I would advise you to get your copy while you can, as the edition is very small. For those of you who can make it to L.A. this weekend, Stockdale will give an artist presentation about this work at the closing reception of the exhibition on Saturday, June 2, at 4-7 p.m., Fabrik Projects Gallery, 2636 South La Cienega Boulevard, Los Angeles, CA (near Culver City).

The PhotoBook Journal has previously featured or reviewed the following other books by Douglas Stockdale:  Ciociaria, In Passing, Pine Lake, Bluewater Shore, and Guide to Self-Publishing an Indie Artist Book.

Gerhard Clausing

 

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May 14, 2018

LA Pages – Book Fair for Independent West Coast Publishers

LA Pages – Book Fair for Independent West Coast Publishers

Dates: May 18-19-20th

Times: 11am – 8pm

Location: Mayra’s Banquet Hall, 6075 Normandie Ave, Los Angeles (yes, believe it or not, just below South Park)

This event is produced by 8-Ball Community, Bunny Jr and Ooga Booga, and it’s a one time only, not for profit and in memory of Shannon Michael Cane. Everyone is welcome, & FREE entry!

With 80+ exhibitors.

THU 5/17 – FUNDRAISER EVENT
Food by Familia Romero
Music performance by Yanga (8pm)

FRI 5/18
Music curated by 8-Ball Radio
Food by Natural Soul Food
Music performance by Black Congress (7pm)
Future Preservation / Short film festival curated by 8-Ball TV & Symposium (8pm)

SAT 5/19
Music curated by Bunny Jr.
Food by Mai Downs
Music performance by É Arenas (7pm)

SUN 5/20
Music curated by Kchung Radio
Food by Natural Soul Food
Music performance by Jazzy Romero (7pm)

May 5, 2018

Nuno Moreira – She Looks Into Me

Filed under: Book Publications, Book Reviews, Photo Book Discussions, Photo Books — Tags: , , — Gerhard Clausing @ 4:56 pm

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Photographer:  Nuno Moreira (born and lives in Lisbon, Portugal)

Texts:  Poem by Paul Éluard; prose by Adolfo Luxúria Canibal; foreword by M. F. Sullivan; afterword by Jesse Freeman

Languages:  English and Portuguese

Self-published softcover with flaps; naked-bound and glued to the rear board; 22×28 cm (8.7×11 inches); 84 unnumbered pages with 42 black-and-white photographs; first limited edition of 200 copies, printed in Portugal by Guide; © 2018

Photobook designer:  NM Design

 

Notes:

This photographic project by Nuno Moreira, as presented in this volume, creates a very puzzling and potentially moving experience for the viewer. Relationships and all that they engender – genesis, growth, possibly also decline, and the specter of cessation – are ever-present themes in this book, which provides both visual depth and tactile pleasure. This is a volume that can have a strong effect on the viewer: it is a journey to the interior via the exterior.

The images are presented in three sections:  I. Being; II. Becoming; III. Unbecoming. This choice of headings suggests a process, and, indeed, the sections show a progression of  dreamlike appearances of figures oscillating and interacting between light and shadow. This is definitely the work of a photographer’s photographer. Canibal in the prose piece writes: “She knows that time swallows life and drains the light away, leaving the faces with the infinite sadness of primordial grief.” And: “The whispering figures represent the fleeting expression of this unspeakable disturbance that consumes her.” We get impressions of bodies and souls interacting and parting, the carousel of life, dancing in a circle, as it goes round and round to its beginnings, over and over. Thus you can traverse the book from front to end and back again. The double meaning of the word unbecoming also supports the idea that loss is always harder to take, not only personally, but also in a social context.

The individuals shown are of different ages and genders, in a variety of combinations, with females constituting the central figure “She.” We can surmise the possibilities or the existence of one or a variety of relationships, to be projected into the pictures by each viewer, depending on his or her life experiences and preferences. We see individuals touching each other or not, partly clothed or not, tastefully presented. There are also moments of being alone. The ambiguity of who belongs to whom, for what purpose, and for how long (if at all!) is where the mystery of the book comes into play. There is also a large bone-like structure in some of the images, perhaps a tusk or other part that seems to have once belonged to a large animal. In the shape of a boomerang, it perhaps reminds us about the mutuality and universality of interactions and of the circularity of life itself. Perhaps it is a reminder of loss, or of death as the ultimate loss; wilted flowers are also shown at the end of the book. Ambiguity consistently drives the visuals, and the untangling of the interplay between fantasy and reality becomes the viewer’s personal task.

The literary pieces and the essays – poem, foreword, afterword, prose (the latter presented in a separate, attractive bilingual booklet) – are also interesting, as they support the wholistic approach of Nuno Moreira, and also shed light on his previous work. I am also very pleased that the author chose naked stitched binding as a tool for the pages of the volume, as it allows the double-page spreads to lie flat, giving the viewer a closer viewing experience, as if glancing at an album, rather than a more tightly bound conventional book.

An important work of fine art photography that engages the viewer/reader in a variety of ways – visually, textually, and viscerally.

Gerhard Clausing

 

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April 4, 2018

Gary Ng – 1 + 1 = 3

Filed under: Book Publications, Book Reviews, Photo Book Discussions, Photo Books — Tags: , , — Gerhard Clausing @ 7:45 pm

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Photographer:  Gary Ng (born and resides in Hong Kong)

Self-published, © 2017

Stiff cover, machine-sewn; 15×21 cm; 49 pages in full color; edition of 50 signed and numbered copies

 

Notes:

Several years ago, there was a series of books by Fred Hüning, published by Peperoni Books, Berlin, entitled Einer/Zwei/Drei (2010-2011), subsequently reissued in a single volume, entitled One Circle (2013). Those volumes recounted a personal history, tracing the photographer’s journey from being single, finding a partner, all the way to establishing and nurturing a family unit. That project constituted a three-part mini-saga accompanied by poetry and other texts.

In the present volume by Gary Ng, which has as its title a cute equation that is not mathematically correct but definitely points to natural expansion, we are also confronted with what can be a universal narrative, and all of that in a slim volume of 49 pages, without any text or titles for the images. This allows the viewers to project themselves into the narrative even more readily.

Ng’s photography is full of symbolism, which allows us easy extrapolation to our own lives: where there is pleasure, there is also pain, or: The path to a new life can also be full of strife. We see moments of loneliness in a large city, we see signs of vulnerability such as bandaged wounds and marks left by tight clothing, and broken glass or container pieces. Contrast that with images presenting symbols of vigorous life, primarily represented by the color red (ladybugs, lipstick, fruit), and symbols of fertility, such as eggs or the peeled apple held in the woman’s hand. There are also many other images that present ambiguity, just the way we like it in a volume of fine art photography. Intertwined body parts add to the mysterious and quirky presentation, at times with a measure of humor.  Alas, the offspring does arrive near the end of the volume, and I leave the discovery of that image to those who obtain the book. Many moments of waiting, gestures of supplication and thanks, and visual surprises lead up to that point.

A compactly articulated, intriguing narrative, well thought out, informally presented, yet formally sequenced. A most enjoyable volume!

Gerhard Clausing

 

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November 3, 2017

Douglas Stockdale – Guide to Self-Publishing an Indie Artist Book

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Author and Principal Photographer:  Douglas Stockdale (born Butler, PA; resides Rancho Santa Margarita, CA)

Publisher: Self-published; first edition, first printing of 400; copyright © 2017

Text: English

Stiff-cover saddle-stitched book of 40 numbered pages with 14 images on several types of paper; 7.5×9 inches; full-color digital lithography, printed by Dual Graphics, Brea, California; $19.95 plus shipping ($4.50 in US & $15.00 USD other countries)

Book Design: Douglas Stockdale and Craig Evans – Text Editor: Gerhard Clausing – Cover Photograph: Scott Mathews

 

Notes: 

This book had its debut at the Medium Festival of Photography in San Diego, California, on October 26, 2017, and was received with great enthusiasm. It is a detailed guide to help the artist through all the steps and considerations to keep in mind when thinking about and executing an independently published artist book.

Douglas Stockdale, editorial founder of and prolific contributor to The PhotoBook Journal and SoCal PhotoExchange, who has been our guide through many artistic and publishing intricacies which he has discussed in hundreds of book reviews and articles, really gets to the point in this publication. Fortunately, his collaborator and sponsor in this venture is the renowned printing and communications company Dual Graphics in Brea, California, which already assisted Ansel Adams in artfully transferring his photography to print many years ago.

Doug certainly practices what he preaches. As a successful mentor and leader of workshops dealing with planning, producing, and marketing photo books, and as an author of a number of them himself (In Passing, Ciociaria, Pine Lake, Bluewater Shore), he is able to lay out logical and creative patterns for planning and doing artist books that are designed to help artists avoid many possible pitfalls that he has observed over time. The discussion is divided into five stages, which also constitute the chapters of this book:

  1. Book Pre-Visualization
  2. Marketing (including funding and fundraising)
  3. Book Development (including editing, sequencing the images, and making a book “dummy”)
  4. Book Design (and options)
  5. Book Production

Just to name one very important consideration, this Guide introduces marketing issues early in the process, rather than at the end, as others have done, since marketing information and decisions are integral to all other considerations that follow. Doug also devotes important space to the topics of selecting and sequencing the images to be included in an artist book, a topic that is sketchy in other guides on publishing your own artist book. There are many other planning considerations that he discusses to help the reader untangle potential difficulties.

Another fascinating feature of this book, extremely useful and exclusive, is the addition of sample pages of several different types of paper on which the same color and monochrome images are printed, so that the effect of printing on papers with different surfaces and characteristics can be seen. While the images below are no substitute for getting the actual book and studying the printing on the actual paper, they allow you to begin to see some differences. This feature alone is worth more than the cost of the book, as it is the best demonstration for working closely with a top-notch printing company, and to alert the potential maker of an artist book to all the details that can make a huge difference. There are also detailed descriptions of the papers included, as well as definitions of many terms that make the artist more knowledgeable when dealing with the printing and binding options. Needless to say, the author’s style is to the point, easy to read, and not filled with unnecessary technical jargon.

This book is highly recommended, especially if you are not quite sure about doing an artist book. The overview and the details provided here will help you understand and appreciate the process and will serve as a checklist to guide you through the entire process when you have made the decision to take the plunge, which will be greatly facilitated when consulting this publication during the sojourn.

Gerhard Clausing

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October 24, 2017

Chris Mottalini – Land of Smiles

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Photographer: Chris Mottalini (born Buffalo, NY & resides Brooklyn NY, USA)

Self-Published: Corgi Editions (E: 350): Brooklyn, NY copyright 2017

Text: English & Thai

Stiff cover with French folds, Japanese folded pages and cold-glue binding, four-color lithography, printed in Belgium by Die Keure

Photobook designer: Remake Design (Mike Dyer)

Notes:

Chris Mottalini’s recently self-published photobook Land of Smiles is a visual rhapsody in three distinct movement in the way it is episodic yet strangely integrated. The photographs of each of the three movement are free-flowing in structure and overall has a range of moods, color and tonality.

This book project coincides with three of his recent visits to Thailand in which Mottalini investigated three attributes of the Thai landscape, one aspect on each journey. He first noted of the use of florescent tubes as night lights in the countryside, which creates surreal night landscapes. Subsequently Mottalini investigated the myriad of narrow streets and alleyways of the large city of Bangkok and then on a return to the country side during his next visit to explore the nighttime dense fauna within the limitations of an artificial light. The two dark movements then create endcaps to the brilliantly colors and complex cityscapes.

The book’s design with the use of the Japanese folded pages and textured papers is a brilliant choice as this book object has what be best described as an oriental experience. A classic case of form following function.

Mottalini has stated (discussions with Michael Adno for Aint-Bad and Jon Feinstein for Humble Arts) that “Land of Smiles is intended to be a dreamlike experience, a collection of blurred memories, a wandering, distracted meditation….Land of Smiles is a nickname for Thailand which was invented by the tourism industry, it’s a bit tongue in cheek, I thought it was a perfect title for the book, though, in part because my photographs are so opposite of anything related to tourism and the Western world’s perception of Thailand.”

Previous Chris Mottalini photobook reviewed: After you Left, They took it Apart

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September 16, 2017

Open call – The Anamorphosis Prize

Filed under: Artist Books, Photo Book NEWS, Photo Books — Tags: , , — Doug Stockdale @ 11:31 am

Bluewarter Shore artist book

Bluewater Shore, copyright 2017 Douglas Stockdale

Open call: The Anamorphosis Prize for self-published photo-based books.

The Anamorphosis Prize was established to promote excellence, dialogue and excitement in the field of self-published photobooks and photo-based artist books.

The word anamorphosis is derived from the Greek, ana meaning again and morphe meaning form. Anamorphosis is a distortion that demands a change in perspective from the viewer in order to be properly and completely viewed. This can be interpreted today as a whole new way of looking at things.

Self-publishing is creatively liberating. The most interesting and daring developments often occur on the margins. Allowing greater control over a creative vision and expression, self-publishing drives revolutionary change within the orbit of the photobook culture and enables the artist to autonomously sculpt a vocation.

The Anamorphosis Prize will be held 3 years in a row starting in 2015 and the winner will be chosen from a shortlist of 20 books, 3 of which will receive special jury mention. All submitted books will be donated to Franklin Furnace and the shortlist of 20 books will also be included in the MoMA library.

The winner will receive $10,000. Best part: No strings attached!

Requirements for a self-published book to be submitted:

Book must be self-published in an edition of 50 or greater

Self-published means just that: self-published!

No collaboration with any publisher, no matter the size, is allowed

There is NO entry fee (but a copy of the book will be required as part of the submission)

In order to be considered, the (book) entries must be received by November 1st, 2017.

The shortlist of 20 books will be announced by end of November (then you will need to submit two more books; one for display at a pending exhibition and one for the MoMA library).

Winner will be announced January 1st, 2018 (great way to start the year for some lucky person!)

Expect some stiff competition (yes, my submission of Bluewater Shore is #45), but if you have self-published a photo-based book, there is no reason not to enter. So check it out.

Cheers & Best of Luck!

Douglas Stockdale

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