New images

The above were taken this weekend in Philadelphia on a visit to see my family. I've had many thoughts over the past week about posts I'd like to write, particularly in relation to the fragility of childhood. Once I have more time I'll say more.


Aline Smithson reviews reviewees

© Ferit Kuyas
© Jonathan Blaustein
© Stefanie Motta
© Amy Eckert

Aline Smithson of the excellent blog Lenscratch and Review Santa Fe participant has been doing a great series of posts on various photographers who were also in New Mexico. So far she has written about: Janet Pritchard, Lucia Ganieva, Stefanie Motta, Rebecca Martinez, Pamela Pecchio, Ferit Kuyas, Amy Eckert, Benjamin Lowy, Meggan Gould, Jonathan Blaustein, and Jennifer Ray. Take a look.


Daniel Cooney opening tonight

© Juliana Beasley
© Bradley Peters
© Rebecca Schrock
© Felix Cid

I wanted to quickly put the word out about Daniel Cooney Fine Art's opening tonight of its Summer Salon of Emerging Photographers from 6:00-8:00pm. The artists are: Bradley Peters, Felix Cid, Juliana Beasley and Rebecca Schrock. It's a very talented group of photographers, so though I can't go to the opening I'll try my best to get into the city soon to see this one. The gallery is located at 511 West 25 Street, #506 and the show will be up until July 30th.



I reworked this image today--I think it looks much better now. Ready to submit.

And if you're also ready to submit here are some upcoming deadlines:

En Foco: People/Places/Things--early bird deadline June 24th; final deadline July 1st
A.I.R. Gallery: Mother/mother--July 1st
The Aldrich--July 9th
Blurb's Photography Book Now Competition--July 16th
The Aperture Portfolio Prize--July 16th



I've been feeling the difficulty of adjusting to being back more so this past week than when I first got home. For a bit I was still going off of the crazy energy I felt in Santa Fe, but after having difficulty falling asleep for days, and with my mind really still wanting to think about photography and work and being intellectual, everything caught up with me. I find myself feeling extremely distracted--I want to hunker down in front of the computer, get lost in imagery, daydream, fuel my thoughts, and the girls are demanding my time and attention, and then the guilt sets in. They're out of school and camp hasn't started, and I think this is part of my issue--we're out of our routine, they're being more needy than usual and I have very little patience left.

I always come back to that line Colin Pantall wrote a while back on his blog about the "relentless physicality of motherhood," and I've been feeling that bone-tired sense all this last week. Still, I'm hoping it's lifting a bit--all of us went into the city to the Natural History Museum for a lovely Father's Day, and I felt like I was truly enjoying them again. I remembered why I was sad to leave them when I boarded the plane for the Review, and how enjoyable motherhood can be when I let myself get lost in it. Plus, there's nothing like holding two little hands while walking down a city street. Now if I can just pull my brain out of its constant thinking, churning mode and let myself focus on the girls more, I think the balance will come back.


Shot last weekend at our friends Nell and Ken's house. (Was that grammatically correct?)

Jesse Burke

© Jesse Burke

In the coming weeks I'm going to highlight some of my favorite work from Review Santa Fe, and I thought I'd start with Jesse Burke, who I had the pleasure of meeting and spending a good amount of time with during my stay in New Mexico (along with his lovely wife Kerry). Our paths crossed during the open portfolio night when he came by to show me a book he had put together of pictures he took of his daughter Clover--his shots really spoke to me, as they were very similar to the way I see the world through Edie and June, and yet they also had a completely "Jesse" stamp on them. Unfortunately none of this series is up on his website for your viewing pleasure (though that is a self portrait of him holding Clover above), but there's plenty of other amazing work to take a look at (go here). I was also really struck by his artist statement, which I find highly eloquent, so I wanted to share it in full:

"Jesse Burke's photographs and installations are an autobiographically driven investigation into the psychology of masculine identity. He is drawn to moments where a rupture or wound is physically, emotionally or metaphorically inflicted. There is a presence of vulnerability and sensitivity which acts as a force against the mythology of male dominance and power. He is currently working on a project about demons and misplaced persons." Great, isn't it?

Next up, Graham Miller.


Flak Photo giveaway/feature

© Kevin Miyazaki
© Jennifer Ray
© John Mann

If you're on Facebook and live in London or Chicago Flak Photo has a great giveaway--you can win a free pass to Blurb's Photography Book Workshops. One fan from each city will be randomly selected from the submitted comments to attend a complimentary review and workshop session. The call for entries closes this Friday, June 17 at 12 PM CST. Go here for more juicy details, and while you're at it become a Flak fan at www.facebook.com/flakphoto.

Another thing of note is that Flak has teamed up with Center to showcase 45 portfolios from photographers who attended Review Santa Fe; you can see three of the images already included above. The feature will run weekdays from May 27 - July 28, 2009. There's lots of great work, so be sure to check it out.


Review Santa Fe, part three: Extras

© David Bram's iPhone: me, David, Darius Himes, and Susan Worsham at the opening reception, hosted by photo-eye
©David Bram: open portfolio night

In addition to the reviews themselves and hobnobbing with photographers, Center also rounded out the long weekend by including a few extras--some excellent, some not as good in my opinion. Here's a roundup:

The night we arrived there was a private opening at photo-eye Gallery, showcasing Debbie Fleming Caffery's The Spirit and The Flesh. I had the opportunity to briefly meet Melanie McWhorter and Darius Himes, and then was treated to an amazing buffet of food, set up for the Review artists by the gallery. We were all starving, and the meal was delicious--it really was a great way to kick off the start of the trip, and I was able to sit in the courtyard, eat, and chat. I won't comment on the show as I really breezed through just as they were closing shop, but I did visit the photo-eye bookstore briefly and it's a great space--if you're ever in Santa Fe I'd highly recommend making this one of your go-to places. I wish I'd had the chance to go back and spend more time with the many editions they have available.

The next afternoon/evening was an open portfolio viewing at the Center for Contemporary Arts, which I mentioned before was perhaps the weakest part of my experience. I had to take the provided shuttle over to the space at 3:45 (they had us go in shifts so the artists wouldn't crowd in all at once), but the actual viewing didn't start until 5:00. I was thus able to look at some people's work, which was the best part of the evening. I then returned to my table when the public showed up.

One of the biggest problems for me was the length of time--we were there until 9:00 pm and by the end I think everyone was exhausted. Being on our feet on a concrete floor for over five hours did feel a bit grueling. Another problem was a lack of dinner--volunteers came by with granola bars and apples, but I don't think many people felt comfortable chomping on fruit with the possibility of greeting someone important with a mouthful of food. OK, so I'm being a bit wimpy, but it was a long night--perhaps if I'd had a lot of feedback and a better experience overall the discomfort would have felt worth it, but instead it was a bit like being at a dance where you're hoping someone will come over but trying not to look desperate.

I don't know if it was where I was located but I have to admit I had long dry patches. I did have the pleasure of meeting Mary Virginia Swanson, who kindly introduced herself, had a look at my prints and offered some recommendations on what avenues to pursue. I heard across the board that she was a fantastic reviewer (she had been high on my list but I wasn't paired with her) and she had an energetic, enthusiastic demeanor that I really appreciated. I also appreciated a few of my reviewers coming by to say they enjoyed seeing my work that day, and was admittedly pleased when Darius Himes took one of my magazines, though whether it was for the images or the object itself is hard to say (insert smiley face emoticon here). I do think I roped poor Brian Paul Clamp into looking at my images inadvertently, but he was gracious about it, and it was nice to interact with the general public a bit too. In the interest of full disclosure, I'll admit that I did leave my station to meet David Bram's cute-as-all-heck baby Elizabeth (nice name, ahem) aka Jelly Bean, and his lovely wife Amelia. So maybe it was right at a point where if I'd only been by my work someone would have offered me a solo show on the spot (just kidding of course.) I can't think of any brilliant way to improve on the experience, except perhaps to do it in shifts. That way we artists would have a chance to go around, and perhaps the reviewers would have been able to see more work. That's my two cents plus change.

There was also an auction at CCA on Saturday night, but the issues with that gathering I see as CCA's doing rather than Center's. All in all it was pretty lackluster. I had donated a print, so I got a comp ticket, but if you hadn't given work you had to pay $25 to get in, a pretty hefty sum for people who travelled out to Santa Fe for the review. The bids were low, the energy was fairly low, the crowd was thin; the food was good at least, and the auctioneer was quite entertaining. I think they could have really upped the attendance if they'd allowed all of the photographers in for free, along with the reviewers--there's something to be said for a full room of people at an event. Center did issue an apology to the artists via email, which which I think was a good move on their part, though I hold no resentment--I was happy to donate the work as a way to support the community and the CCA, and if they didn't generate much money I consider that to be on the back end, and I felt my contribution was on the front end. I did give a small image with a cheap frame, I will admit, so I can see how some of the photographers who donated limited edition, large, beautifully framed works would have much more to gripe about.

Up next will be a post about the final day's lecture Words Without Pictures: Considering Contemporary Photography at the New Mexico Museum of Art, given by Darius Himes, Charlotte Cotton, and Katherine Ware, curator of photographs at the museum. It was an excellent talk and I think warrants its own write-up, so I'll say more about it later.

I should have called this post Review Santa Fe: More than you ever wanted to know...


Boston Phoenix article/Exposure Project Book

I'm going to throw some shameless self-promotion into the mix while I'm at it. First, there was a write-up in the Boston Phoenix about the PRC show here with a brief mention of my image Pink Shoes, as well as a slide show of all of the work here.

The other announcement is The Exposure Project Book is slated to be released in July. Here are the details:

The Exposure Project Book - Issue 4

Includes photographs by Chris Bentley, Rona Chang, Daniel Farnum, Elizabeth Fleming, Lee Gainer, Matthew Genitempo, Inka LindergÄrd & Niclas Holmström, Natascha Libbert, Bradley Peters, Carlo Van de Roer, Daniel Shea, Manuel Vazquez, Jens Windolf, Susan Worsham and Bahar Yurukoglu

With an essay by Brian Ulrich

Regular Edition
70 pages, Softcover
Edition of 100
8 x 10 in.

Special Edition
70 pages, Hardcover
Edition of 25
8 x 10 in.

The special edition will also include two signed and numbered 8.5 x 11" prints. See the photographs available here and you can also download an abridged PDF of the issue and the press release by scrolling down at this link. Stay tuned for an exact release date.

Other reviews

I wanted to quickly direct you to other posts about Review Santa Fe around the blogosphere:

Elizabeth Avedon
A Photo Editor
Deborah Hamon
David Bram (scroll through his posts on this search result page, and also see pictures of some of the photographers who attended).
Emily Shur (scroll down for more posts written while she was in Santa Fe).
Kurt Tong (also see his thoughts on fellow photographers Jeffrey Aaronson and Susan Worsham).
Aline Smithson
Sonja Thomsen
Jane Rosemont (again, scroll through the various posts).
Kevin Miyazaki
Melissa Kaseman
Stephen Gelb (who I forgot to mention in my last post of thanks, my apologies. He was a volunteer and joined me and some others for dinner and drinks--thanks for the conversation and the rides!)

If I've missed anyone please let me know and I'll add them to the list.


Review Santa Fe, part two: Photographers

I apologize in advance--this post will be a bit like watching an acceptance speech. A lot of mushiness and thank-yous, along with a list of names that go on and on. With that said let's get to it:

My last post talked about the reviewers, and now I'd like to give a nod to the photographers, who were truly amazing. I spent a good amount of time with a handful of people, and then it spread out from there to everything from a single lunch with some, to passing conversations with others, to simply shaking hands. I would have to say that almost every person I met was intelligent, pleasant, and refreshingly un self-centered. Because of this I found that the conversations were really about photography and conceptual issues; it might then turn to families or schools attended and such, but rarely were talks primarily about where one had shown or self-promotion. It certainly came up in conversation, but it wasn't the focus, and this made the discussions very intellectual. In addition, a lot of time was spent on looking at other photographer's work, as well as showing my portfolio. I got feedback that was as helpful from the people in attendance as the advice I got from the reviewers in some cases. I was struck repeatedly by how thoughtful people were when considering images, and how supportive. I felt the same way--it was extremely exciting to see so many prints in person, in many cases from people whose series I had admired online but had never viewed in the flesh. Without the other 50 or so people I had interactions with, it wouldn't have been such a seminal experience.

I have to say too, I think part of my giddiness was in having more freedom than I ordinarily do. As you know I love my kids more than anything, and was thrilled to get home and see them, but there was something freeing about having this designated time to really use my brain in a way that I don't in my ordinary life socially. I'm used to having these sorts of intellectual talks with James and a few choice friends, but to be immersed in a continuous discussion was downright invigorating. I probably averaged a maximum of five hours of sleep a night (staying up until 4am on Saturday, and not feeling particularly tired when I went to bed). Of course now I'm exhausted, but I'm glad I used every minute I had while I was there to squeeze all I could out of each moment.

The best piece of advice I received before I left came from Colleen Plumb, who attended last year--she told me never to go to my room, to hang around as much as possible, and talk to the other artists. I took this to heart and it meant that I was able to meet some great people who are as passionate about their creativity as I am.

I'd also like to particularly thank reviewer David Bram for welcoming me as soon as I arrived, for showing me the town and giving me rides, for sharing drinks and meals, and generally being one of the all-around nicest guys during my stay. I appreciated how he made an effort to spend time with the artists, and I'd also like to single out Kevin Miller again, who I had the pleasure of spending time with outside of my review, as well as Andy Adams, Jon Feinstein and Whitney Johnson. (Other reviewers will be mentioned when I post about the open portfolio night.)

Finally, the following artists really helped make my time in Santa Fe unforgettable, thanks. In no particular order:

Kevin Miyazaki, Mark Menjivar, Deborah Hamon, Graham Miller, Sonja Thomsen, Curtis Wehrfritz, Jesse Burke, Amy Eckert, Polly Gaillard, John Mann, Susan Worsham, Jonathan Blaustein, Rick Ashley, Dave Jordano, Kurt Tong, Brad Moore, Ian van Coller, Kerry Mansfield, Shayok Mukhopadhyay, Jeff Hutchens, Scott Dalton, Melissa Kaseman, Ferit Kuyas, Brian Buckley, Cori Chandler-Pepelnjak, Margaret Wright, Leslie Alsheimer, Kelly Neal, Kaycie Roberts, Ari Salomon, Meggan Gould, Aline Smithson, Georg Kuettinger, Angela Bacon-Kidwell, Brad Wilson, Claire Beckett, Lori Waselchuck, Sarah Faust, Damion Berger, Sophie Jacobson, Janelle Lynch, Billie Mandle, Latoya Ruby Frazier, Yoichi Nagata, Rebecca Martinez and John Charbonneau; and fantastic volunteer (and talented photographer) Lane Collins.

In the coming weeks I'll be posting work from individual photographers whose work I admire, along with some of my thoughts. Stay tuned.

I may not post for a couple of days as I'm feeling a bit funky--whether it's a cold, exhaustion, or Swine Flu only time will tell...


Review Santa Fe, part one: Reviewers

Me at Review Santa Fe, photograph © David Bram

Wooh boy, am I tired. Today I think I've finally come down a bit off my high. I know some of you (maybe) are awaiting an update from me on my Santa Fe experience--I still feel like I'm processing everything, but as I mentioned before I had an amazing time. I've decided the best way to approach writing about the review is to split my posts up into bite-sized categories. I may not keep up the format, but let's have a go with this first entry. I'll start with the reviewers, who gave so much of their time and energy in order to make this event as productive and fulfilling as it was.

Without further ado I'd like to thank (in the order in which I met them): Kate Bussard, Debra Klomp Ching, Kevin Miller, Susan Spiritus, Erin O'Toole, Laura Valenti, Paula Gillen, Joanna Hurley, Charlotte Cotton, Darren Ching and Maarten Schilt for looking at my work and offering their critiques.

One excellent thing about the review is how we as photographers were able to go about choosing who we wanted to meet with. It wasn't on a first-come, first-served basis but rather you had to rank your preferences from #1 all the way down to #43. According to their system you then would get 9 out of your top 15--I was lucky enough to get my first four choices, and then a pretty even ratio of people below that (I heard of one person who got all nine of his top choices, not bad at all). In addition, each reviewer had a bio you could look at, in some cases tailored toward the review itself. For example, some people noted they weren't interested in heavily photoshopped images, or would like to see social documentary. In this way the reviewees could narrow the field, shifting the list around until the order was just right.

I believe this is one of the main reasons I felt my reviews went so well--I was very careful to read all of the bios, as well as doing further research on my own, and I think as a result most of the people I met with seemed generally open to my work, and in a few cases downright enthusiastic. Did I have anyone offer me a solo show or to publish my next book? No, but for me that wasn't the purpose of being there. I think if you attend a review you have to have realistic expectations--as we were told at the orientation, it's like a first date, and people rarely elope the day they meet. It was enough for me to feel that even if a reviewer didn't straight-out love my work, they at least felt it was a strong body as a whole, and each of them was able to offer constructive criticism on how to improve the series, as well as conceptual advice on my project as well. I feel like I've come away with some really great tips on how to make my work stronger.

I'm also genuinely grateful for the passion each of the reviewers seemed to put into our meetings, and I'm not just saying this--trust me, if I'd had a not so good review you'd hear about it (as you did with my PowerHouse experience). This review versus PowerHouse was like night and day, and I'm sure that was largely due to having a good amount of control over who I got to see. Perhaps I'm lucky I didn't get raked over the coals, but this seemed rare--I only heard third-hand of two reviews that were downright brutal, and the rest of the photographers seemed to feel that at the very least their reviewers were respectful, even if some of their comments missed the mark. Granted, I did a count when I got home and I had met just about exactly half of the photographers who attended, and spent the majority of my time with a handful of those people. So this isn't a scientific sample, and I'd be interested to know what the people who I didn't have a chance to meet in Santa Fe thought of their experience.

One note, I had nine scheduled reviews, and then was able to sign up for an extra "green room" meeting, as well as having a publisher be kind enough to look at my work after hours, so to speak. So there are other opportunities to round out who sees your portfolio, in addition to an open portfolio night that I'll write more about later (to me the weakest part of the experience).

This may be more information than the average reader of my blog might want to know, but I thought for those considering submitting for 2010 that it might be helpful to map out, from an insider's point of view, how some of the process worked.

That's it for tonight, more tomorrow.


WIPNYC is one year old

Wow, it's been an entire year since Amy Elkins and Cara Phillips began Women in Photography. It feels very symbolic, as these past 365 days have been a period of exponential growth for me, and last year's WIP launch party feels like the inception of that growth. One year ago today there had been a huge thunderstorm, and our power was out for two days. Regardless, I trekked into Manhattan to attend the opening, really my first outing of that kind in a good long while. I had just started to get back into submitting and showing my work, my blog was new, and I was extremely nervous. I arrived and felt out of place, that no one knew who I was, that I was an impostor, that I had no idea how to balance motherhood with this creative world I was just entering back into. Granted, this was all based on my own insecurities, as everyone I met at the party was welcoming and gracious, particularly Justin James Reed and Will Steacy. So overall the evening was enjoyable, but I left feeling fragile, entering my house where all of the windows were open, my family asleep, no lights glowing in our town. I remember I sat for a long time looking out at the dark street, wondering if I had any real place in photography, if I fit in as a mother, where my work was headed.

And here I am, back from one of the most wonderful trips of my life, where I felt completely at home, more fully part of a supportive community, leaving with a confirmation that photography is just what I need to keep me grounded. The depth of the passion I feel for my work has really intensified; the confusion and sense of being out of place have been replaced by even more energy and purpose. This isn't to say that I don't still have my struggles, and moments where I feel uninspired or spread thin, but I no longer question whether combining motherhood with my creative pursuits is worth it. I feel such gratitude that it is June 10th 2009 and not June 10th 2008.

Cara and Amy have also done an incredible amount this past year--it's quite amazing how much press and interest their site has gotten in such a short time. Unfortunately I won't be able to mark this milestone by attending the grant award gathering this evening, but if you'd like to go tonight here are the details:

"WIPNYC would like to invite you to celebrate its one-year anniversary and its first ever WIP-Lightside Individual Project Grant Recipient at the National Arts Club Grand Gallery on June 10th, 2009 (address: 15 Gramercy Park South). The event will include a reception for the artist and a slideshow presentation of their work, which will also be featured in a wipnyc.org online solo showcase opening on June 16, 2009.

The reception begins at 6:00pm, and the grant award celebration will begin at 7:00pm. RSVP is required for the event. Please RSVP at rsvp@wipnyc.org.

Women in Photography launched in June of 2008 as an outlet for women photographers to exhibit work outside of the traditional commercial art world. Showcasing emerging photographers in addition to mid-career and established artists, it is designed as a resource for photographers, editors, curators, gallery owners, and the general public to discover and enjoy the work of women artists. As an internet-based project, the site reaches a global audience. Exhibitions are co-curated by Amy Elkins and Cara Philips. Women in Photography is a Humble Arts Foundation project."

Congratulations to WIP!

And yes, I know I owe all of you some posts about the Review, which I'll get to soon, it just felt pressing and pertinent to write about this important anniversary first.


I'm back!

© Emma Wilcox
© Debora Mittelstaedt
© Ben Huff
© Jennifer Boomer

I had the most incredible time at Review Santa Fe. I'm still wrapping my brain around the whole experience, and will write some posts soon about my time there and the amazing people I met. Until then, I just wanted to remind everyone about Daniel Cooney's Emerging Artist Auction on iGavel--only a few more hours left! You can bid on my piece here, and see all of the other lots here. Some of my favorites are above, click on the artist's name to be taken to their bidding section. Thanks.



Hammock, 2009

All has been quiet on the blog front as of late as I'm madly prepping for Review Santa Fe. Hard to believe I head out on Thursday. I was looking over what I wrote about attending reviews a year ago--here's what I said on July 2nd, 2008:

"[I had] the desire to apply to the Review, but I'm not at a point yet in my role as a mother where I feel comfortable getting on a plane and leaving Edie and June. It's not that I can't ever be apart from them--a night here or there to get some alone time with James is, trust me, fantastic. I'm just not ready for that physical distance, not yet. And I admit that it's intimidating to think about the amount of time and effort that would be involved in printing out large amounts of work. My focus is still on creating, and on not losing the passion for shooting and editing to the process of submitting.

But here's where I worry that I'm limiting myself, or that things are passing me by: I have yet to apply to or attend any portfolio reviews because of this fear of putting the work together in a tangible physical sense. This is not to say I haven't already printed many of the images, and know that they translate cohesively into a palpable photographic form, it's more the entire chain of editing, arranging, final printing and end presentation makes me freeze up. I do carry a fair amount of anxiety wondering whether I'm getting myself out there enough, and trying to find where the balance lies, as always, between motherhood and my photography. It really can be a struggle to keep on top of the multitude of submissions, and lately I've been giving myself a bit of a break by not applying to much. In general I've found that online venues are the most comfortable place for me currently because of their immediacy; if a show requires a CD to be mailed in I'm much less likely to get around to sending the work."

It's quite surreal for me to read those words and be here a year later having gotten into the review. Things have happened organically with my work, in the same manner that things unfold organically in many ways in parenting. It's akin to how you one day realize that you've become more comfortable letting others watch the kids for extended periods, or that you don't need to hold their hands as they come down the stairs anymore. It's not as if it takes place all at once--it just seems that I personally tend to notice it all at once, like, "OK, I applied because this year it's alright, this year I can get on that plane." And in a small way it does make me ache, to realize that Edie and June are that much older, and especially that June, as little as she still is, is no longer as much of a baby. It also feels a bit uncanny to be in a place that I longed to be in last year. To have continued moving forward with my practice of photography, to feel that I've grown within my work and within my mothering, to be closer to a comfortable point in that elusive balance. Last year was difficult; this year I feel more settled. Certainly I'm nervous about taking this journey--I'll miss my family and I'm psyching myself up for presenting my work--but I'm also very excited about having this opportunity to interact with the reviewers and other artists.

On a related note, my big errand today was heading to Target to buy Edie a backpack. I'll sadly be missing her little graduation ceremony from preschool because I leave that morning. I decided to get her a new bag that she can use for kindergarten in the fall, as a way to celebrate this milestone of hers. I wish I could see her sing her little preschool song and tell her I'm proud of her, but James will take lots of pictures I'm sure. I'm feeling very wistful today...

This may be my last blog post for a bit; I don't have a laptop (or an iPhone for that matter) so won't be writing from the road--honestly it will be nice to have a bit of a break from staring at a screen. I'll be back late Monday night and will be sure to share my experience soon after I get home.

In the meantime I'll leave you with the image above, and these links: Be sure to check out Mary Virginia Swanson's write-up on Review events open to the public here; Kevin Miyazaki's latest tinytinygroupshow; the newest issues of Fraction and f-stop magazines; and read this conversation with Will Steacy on Conscientious. I'd also like to officially congratulate Colleen Plumb here on the blog for being a Hey, Hot Shot! Ne Plus Ultra, and to thank her for taking the time to offer advice and support on the phone this morning. I love this photography community that I'm a part of.