A Long Arc - Photography and the American South

May 26, 2024

When I was studying photography at Arizona State, I became aware of the FSA photographers, the photographers who documented the Civil Rights Movement, Matthew Brady, and William Christenberry. The images these photographers captured impacted how I see today. I remember installing Christenberry’s photographs for an exhibition at the Northlight Gallery in Matthews Hall on campus, and being in awe of how beautiful the prints were. Christenberry’s work probably was the most obvious in documenting the American South, he captured scenes that only exist there. At that time in my life when I was looking at the work of other photographers working in the South I was focused more on the specific subject matter and the craftsmanship of the images. Over time, from revisiting my own images, I have gained a better understanding of how many layers of meaning an image can actually have. Some images may have an obvious singular message, but many images have multiple layers of meaning and information once you learn how to look at photographs. I also remember Bill Jay stressing to us in class that every viewer brings their own experiences to each image and what is important to one viewer may not be important to another.

One of the people I follow on social media is Gregory Harris who is the is the High Museum of Art’s Donald and Marilyn Keough Family Curator of Photography. I have had the opportunity to meet Greg and I greatly respect his knowledge of Contemporary and Documentary Photography. At the end of last year, I saw him announce the release of the catalogue / book titled A long Arc Southern Photography which accompanied the exhibition at the High Museum. I was immediately interested in the book, so I contacted the High Museum gift shop to arrange a purchase. The book is the subject of this blog post, a post that is woefully overdue.

Weighing in at over 4 lbs. this 304 page Aperture book with over 275 photographs was published last November to accompany the exhibition which opened at the High Museum and is now currently on display at The Addison Gallery of Art at the Phillips Academy in Andover, Massachusetts until July 31st. From there it moves to the Virginia Museum of Fine Arts for an exhibition opening October 5th, 2024. The book is a beast, but it must be to properly cover the subject matter otherwise they would have omitted important photographers. I love the layout of the book and the content; it is an amazing documentation of the history of photography in the American South. The printing is good, and I like the fact the image descriptions and titles accompany the images. The dimensions of the book are unique, but it works well, allowing creativity with the image placement on the pages. The amount of information in this book, written and actual images, is incredible. The only complaint I have about the book is the font size and text padding are smaller than I prefer, it isn’t an easy read, but I understand why that is because it would probably add another twenty-five plus pages to an already big book.

This book really brought in to focus how important the American South has been to the history of photography. As I stated above, early on in my career I was aware of many of the notable photographers who had photographed in the South, but I hadn’t given any thought to how much the region was actually documented. When I started going through this book I was immediately impressed by how many great photographers had photographed in the South. I also was surprised to learn that some images I knew well, but had not considered the location, had actually been photographed in the South; the cover image of Robert Frank’s The Americans book is an example of one of those images.

A Long Arc - Photography and the American South - Page Examples:

Much of America is changing today because of ideological influences, migration, and a host of other factors that are too complex to get in to here. Many of our major cities have quality of life issues with things like the high cost of living, overcrowding, and criminal justice failures. Having visited Atlanta a couple years ago I felt the region seemed less affected by the problems in other parts of the country. I am not naïve to problems of the South’s past, but I didn’t feel the same racial tension in Atlanta that I have felt recently in Los Angeles (which has increased dramatically from when I was younger). The small portion of the South I have seen seems to be more like the America of the 20th Century than a lot of other parts of the country are today and I appreciate that. It is important to retain our American identity as a society while still appreciating and respecting the diversity within the whole. I think the residents in the South may be doing a better job of this than other regions of our country. So, with all this said, I think this book also has value documenting the community of the South which is separate from the history of photography element of the book. Another thing to appreciate is how many images in the book also document important historic and transformative moments in American history.

I have reviewed several books here on my blog and with each the goal is to give a fair evaluation of the book along with my personal taste opinions. One thing I always try to identify is who the book is best suited for, since photography interests and tastes are so varied and photography books can be expensive. This is one of the few recent books that I believe would be a good addition to anyone’s photography library. This book is as complete a document as you can author for the subject. The reader will definitely learn something new about the medium and probably rediscover some images they had not thought about in a while. The book is well worth the price, Amazon now has it for $47. It is important for photographers to understand the history of the medium to be good at their craft. I know most of us think New York is the center of the photographic universe but the photographs from the American South are some of the most important images ever made.

The book’s official description is as follows:

Collects over 175 years of key moments in the visual history of the Southern United States, with over two hundred and fifty photographs taken from 1845 to present. The South is perhaps the most mythologized region in the United States and also one of the most depicted. Since the dawn of photography in the nineteenth century, photographers have articulated the distinct and evolving character of the South’s people, landscape, and culture and reckoned with its fraught history. Indeed, many of the urgent questions we face today about what defines the American experience—from racism, poverty, and the legacy of slavery to environmental disaster, immigration, and the changes wrought by a modern, global economy—appear as key themes in the photography of the South. The visual history of the South is inextricably intertwined with the history of photography and also the history of America, and is therefore an apt lens through which to examine American identity. A Long Arc: Photography and the American South accompanies a major exhibition at the High Museum of Art in Atlanta, with more than one hundred photographers represented, including Walker Evans, Robert Frank, Gordon Parks, William Eggleston, Sally Mann, Carrie Mae Weems, Dawoud Bey, Alec Soth, and An-My Lê. Insightful texts by Imani Perry, Sarah Kennel, Makeda Best, and Rahim Fortune, among others, illuminate this broad survey of photographs of the Southern United States as an essential American story. Copublished by Aperture and High Museum of Art, Atlanta

Details

Format: Hardback

Number of pages: 304

Number of images: 275

Publication date: 2023-11-21

Measurements: 8.07 x 11.42 inches

ISBN: 9781597115513

Contributors

Imani Perry is the Hughes-Rogers Professor of African American Studies at Princeton University and a faculty associate with the programs in law and public affairs, gender and sexuality studies, and jazz studies.

Sarah Kennel is the Aaron Siskind Curator of Photography and Director of the Raysor Center for Works on Paper at Virginia Museum of Fine Arts, Richmond.

Gregory J. Harris is the Donald and Marilyn Keough Family Curator of Photography at the High Museum of Art.

Makeda Best is the Richard L. Menschel Curator of Photography at the Harvard Art Museums.

LeRonn P. Brooks is associate curator for modern and contemporary collections at the Getty Research Institute in Los Angeles.

Rahim Fortune is a photographer living and working between Austin and Brooklyn.

Grace Elizabeth Hale is commonwealth professor of American studies and history at the University of Virginia.

Maria L. Kelly is assistant curator of photography at the High Museum of Art.

Scott L. Matthews is assistant professor of history at Florida State College at Jacksonville.

Brian Piper is Andrew W. Mellon Foundation Assistant Curator of Photographs at the New Orleans Museum of Art.

Press Quotes:

“The magnificence of a retrospective like this is not just the accounting offered by its historical sweep, but the way it conveys the immense complexity of this region, to inspire a renewed attention to the cruel radiance of what is. Suffering does not always lead to compassion and change, but photographs like these remind us that standing in witness to suffering surely should.”—Margaret Renkl, The New York Times

“…these photographs demonstrate how essential the South has been not only to American history and identity, but to American photography—from Mathew Brady’s battlefield images of the Civil War (1861–65) to the intimate interiors of Carrie Mae Weems.”—Andrew Durbin, Frieze magazine

Additional Information about the Exhibition:

You Tube Video of the Installation at the High Museum (11 mins)

Winogrand Color & Friedlander's The People's Pictures

March 9, 2024

This blog post is a review of several new photography books I recently added to my library.

The release of Winogrand Color was my motivation to go book shopping online. I have mentioned this time and again I love Winogrand’s photographs, and I am always interested books about his work. While ordering the Winogrand book I also came across The People’s Pictures by Lee Friedlander and two other books which were on sale and looked interesting, so I added them to the cart as well.

Twin Palms publishers describes Winogrand Color as follows

Winogrand Color presents 150 photographs selected from the archives at the Center for Creative Photography by the American film director, Michael Almereyda and former Museum of Modern Art curator, Susan Kismaric. It is the first monograph dedicated to the artist's rarely seen color work.

Images were selected from the 45,000 color slides that Winogrand photographed in the 1950’s and 1960’s.

Published November 2023, 12” x 12”, 176 pages, 150 four color plates.

The retail price is $85. Twin Palms produced two slipcase editions of 50 which are already sold out at ($300 ea) and they produced a limited edition of 750 books with an alternative cover image ($85) which is still available. The first edition printing is 7,000 books.

My first impression of Winogrand Color was good. I like the page layouts; I think the image sizes and book size are appropriate and the design is clean and simple, which I really like. The printing is very good, many images have deep shadow areas, and the printer was able to keep shadow details while still achieving solid blacks where appropriate. In reading the book detail I saw it was printed in Turkey and that several people were involved in the image restoration process, this suggested the Winogrand’s transparencies may not have been properly processed or stored.

As a document the book is good. First it documents an era in color well that most of us remember primarily in black and white. Second, and most importantly, the book allows us to see more Winogrand photographs, most of these images we have not seen before, and that allows the viewer to gain deeper knowledge about one of the greatest documentary photographers of all time. The photographs in this book also reaffirm that Winogrand was not wedded solely to Black and White photography. I remember in the 2018 documentary film on him, “All things are Photographable”, where Winogrand spoke about photographing with color film but had reservations about it because, at the time, he could not produce archival prints of color images. It showed the choice was at least partially a business decision not just an artistic one. So, as a photographer myself, the photographs in this book gave me a lot of clues about how Garry Winogrand photographed.

Many of Winogrand’s most famous images were made with a 28mm lens on a Leica M4. A number of the color images in the book seem to be made with longer legnth lenses. Winogrand is at his best when there are layers of information in his image. Winogrand was quoted numerous times talking about how he liked his photographs to be more interesting than the subject matter and how he photographed to see what something looked like photographed. With a wide-angle lens, you tend to have more content in the frame which lends itself to what Winogrand was after. You can still achieve images with deep meaning using longer focal lengths, Max Yavno is someone who photographed that way, but it did not seem to be Winogran’s typical approach. Thinking of Winogrand’s Women are Beautiful, when I saw the entire portfolio displayed at Pier 24’s exhibition “The Grain of the Present” in 2017, I really became aware of how rarely he used a longer lens.

This book begins with a number of longer focal length images at Coney Island I assume. They seemed more voyeuristic than insightful and I questioned if these were images that Winogrand really would have included in a portfolio or if he was just exploring with his camera. Was the color film and the focal lengths a careful creative decision or was it more spontaneous. I don’t know how Garry set up his cameras related to film type or if he carried similar focal length lenses. I have seen video of Winogrand photographing in the 1980’s and he had a single camera in hand and camera bag, but he didn’t seem to be transitioning to a second camera body. I wonder if Winogrand had his primary Lieca M4 with the 28mm lens loaded with black and white film and then had a telephoto lens on another Leica loaded with color slide film? Having photographed in the pre-digital era I remember having to carry two camera bodies if I wanted to photograph in color and black and white. It would also make sense logistically if he had a telephoto lens on the camera with color film too, because if he wanted to use a telephoto lens for a black and white image, he could just trade the lenses between bodies. (It is unfortunate that so many photographers today have never worked with analog cameras because it would give them a greater appreciation of what photographers in the past accomplished.)

Several images in the book looked to me as if Winogrand saw something that interested him, and he used the color film camera to just see the difference of how the image would be in color. One example is his famous image of a couple in Central Park Zoo with the baby monkeys. The famous black and white image is framed so much better than the color image in this book. Interestingly when examining and comparing the color and the black and white imagers of the couple it is obvious the color image was photographed with a wide angel lens and that the black and white image may have been photographed with a slightly longer length lens but still not a telephoto lens. The black and white image is the better composed and the lack of color helps the viewer focus on the details within the frame. There are a few images in the book that seem just okay like he was making an exposure to see the difference but not with the intent to ever exhibit the image. The photo in the book of a boxing match where you basically just see the ceiling looks like an absolute mistake, like it was an accidental exposure (Like most photographers I have captured many mistakes in my time). There are a number of images in this book that seem to fall short. This book is not an example of Winogrand’s best work, and I question the curator’s selections and wonder if Winogrand would have showcased the same images; I also can’t imagine if the editors had 45,000 color images that this collection was the best of that lot. I have not been able to find a concise statement about this book from either Tod Papageorge or Joel Meyerowitz who photographed with Winogrand during this time and know his process better than most people; I would love to hear their review of it. I think Arthur Lubow from the New York Times wrote a solid article reviewing the book and comparing Winogrand’s color work with other noted photographers working with color film at the time. The only thing in Lubow’s article I would question is when he said this about the couple in the Central Park Zoo: “It is a biting and unsettling comment on the era’s prevailing slurs about interracial marriage.”. I completely understand interpreting this image this way with today’s viewpoints, and I am sure some viewers now, and through the years, share Lubbow’’s opinion. But I specifically remember Tod Papageorge discussing this image in the documentary film on Winogrand “All Things Are Photographable” and dispelling that intent. Papageorge was there with Winogrand when he photographed the couple and in fact Papageorge photographed Winogrand with the couple. In 2014 Tod Papageorge wrote an article about the image for Transatlantica that explains everything about it. I have authored a separate blog with more detail on this subject.

So, to wrap up my opinion of the book, it does have value for me since I get to see more examples of Winogrand’s work and continue to better understand him. This book is not a priority add for a photography library and it isn’t something everyone should buy. 1964 and Figments from the Real World are much better books that showcase Winogrand at his best. This book is for people wanting to learn more about Winogrand and how he photographed. I am happy I added it to my library, and I know other Winogrand fans will feel the same way.

Other Reviews of Winogrand Color:

The New Yorker What Garry Winogrand Saw in Color - by Vince Aletti January 29, 2024

The New York Times - When Master Photographers Spin the Color Wheel - by Arthur Lubow January 25, 2024

I had not taken notice of The People’s Pictures by Lee Friedlander until I saw it listed at a sale price. The book was produced in 2021 by Ekins Press Foundation and was printed in East Greenwich, Rhode Island.

I like this book a lot. The design and printing are good as is the edit and image sequencing. It is impressive that there are images from five different decades in this book, the combination of the images makes a great documentation of our world. I love the first section of the book where Friedlander photographs people with cameras, I like to take those kinds of photographs myself. The second section where he is taking pictures of things with actual photographs in the frame is stylistically different than the documentary street style of the first section, and I see how that could be slightly confusing to someone. But I understand the connection and I think it works well. The only frustration I have with the book is the lack of written information. There isn’t an artist statement or much guidance about the collection other than two vague quotes from books that aren’t specifically about the work. I always think less is more with artist statements and I think it is best for viewers to see photographs and experience them without being influenced by a complex artist statement. Good images stand on their own and people should have their own unbiased experience with a photograph. But after that the viewer should be able to compare their experience with the artist statement to see if their experience was similar to what the artist was projecting with the image. I think I understand well what this catalogue is saying but I still would like confirmation and in some cases more information. In reading reviews of the book on line I saw some images had more detailed titles than in the book. For example plate #31 is of a photographer in New York City in 1975 photographing with a Leica. You can’t see the photographer’s face well, but I think it might be Garry Winogrand. If it is I would like to know it. The opposite image in the book is of a pig roast in Cold Spring, NY in 2013, a great photograph. I want to know why this pairing was made, what deeper statement was being made here. There are several other images where I know more information about the image exits but its not included in the book because I expect they wanted to keep a simple clean design throughout the book. I am fine with it; I just wish there was a detailed description in the back of the book that I could reference to learn more. I paid under $40 for the book which was a great value. This is a book I would suggest for anyone who likes documentary and street photography. You will learn something just by looking at the images and even though I mentioned I wanted a little more text information with it, I am fine without it and I think I understand why this book was designed this way. A fun addition to the library.

Cape Cod 1965

Paris, France 1964

New York City 1972

Gallup, New Mexico 1983

New York City 2012

Kentucky 1965

Chicago 1966

Florida 1963

The two other books I had in this order were Los Angeles Portrait of a City (572 pages, 2009) and Dark City: The Real Los Angeles Noir (478 pages, 2018) both published by Taschen America. These are not fine art photography books but there are good photographs in both books and with my interest in documenting Los Angeles now, there was valuable information in both. Dark City also interested me because of the law enforcement and evidence photographs it had. If these books had not been on sale, I would have passed on them but their prices were reasonable, so I went for it. Jim Heimann authored both books and there is some overlap of content. These are not fine art photography books but both books contain some outstanding photographs and are interesting, especially since I have been documenting Los Angeles more.

Julie Blackmon signing a copy of her book Midwest Materials (Radius Books - 2022) Fahey/Klein Gallery

Los Angeles Openings - Leica Gallery & Fahey/Klein Gallery - May 4th, 2023

May 16, 2023

I had a great night gallery hopping in Los Angeles earlier this moth. Started out at the Leica Gallery and then went over to Fahey/Klein Gallery to meet my favorite contemporary photographer, Julie Blackmon.

Leica Gallery - Los Angeles is incredible. The bottom floor is a camera store with a selection of books by photographers who use Leica cameras. Upstairs is one of the most beautiful private gallery spaces I have ever seen, 8,000 square feet. It has a balcony lounge, an insane amount of liner wall space, plenty of room to move about and a grand stairway leading up to it. Located in West Hollywood near the Beverly Hills city limits it definitely brings in the West Side crowd. The work on the walls was great and the people in the gallery equally interesting. I went to support Nick Ut who had a few prints up on the walls including his Pulitzer Prize winning image “Napalm Girl” shown below.

AP’s Nick Ut’s Pulitzer Prize winning photograph: Nine-year-old Kim Phuc, center, runs near Trang Bang, Vietnam, after an aerial napalm attack on June 8, 1972.

Fahey/Klein Gallery - Julie Blackmon: Midwest Materials and Geof Kern: Midtown Exit - ends June 10th

Julie Blackmon and William Karl Valentine at Fahey/Klein Gallery - Los Angeles

I first saw Julie Blackmon’s prints at Robert Mann Gallery in New York about six years ago and immediately loved her work. The prints are beautiful and have so many layers of information to them. Every time I see them there is always something new and interesting, I take away from the images. This was the first time I had seen Geof Kern’s work and I liked it. Interesting content and well-crafted prints.

Fahey/Klein’s flat file room is amazing.

I picked up two more books at the openings, Brad Mirman’s “Street Life” (Drago Publishing 2021) and Julie Blackmon’s “Midwest Materials” (Radius Books 2022). This is the second Blackmon book now in my library, I had purchased “Homegrown” (Radius Books 2014) at Robert Mann Gallery in NYC. I had Julie sign this book for my daughter Alyssa, Brad’s book came already signed. Julie’s work is so detailed it works best in large prints, but Radius does justice to her work with the size of these books and good print quality. I was not familiar with Brad Mirman’s work but bought the book because some of the subject matter, specifically the portraits of LA area gang members. In preparing this post I looked up Brad and found he is an established writer, producer, and director in the film industry. He is almost 70 years old now and splits his time between Paris and Los Angeles. His portraits are well crafted, and he obviously is willing to go to the hard areas to photograph some dangerous people, I totally respect that ability. He is not shy about putting on a wide-angle lens and getting close to those people and that really makes his images powerful. The images work better individually or in different groupings than they do in the editing of the book though. There seems to be several portfolios in this book, and they aren’t tied together well. I think there are also a few poorer images, where he tries to photograph on the street but misses, most the photographs of LAPD are weak. I feel if he would have done one book with portraits of LA gangsters and a second book on LA women it would have worked better or divide this book like that and edit out the other photographs that don’t tie in to those two groups. The images are also printed too dark. I know it is for a powerful visual effect, but they lose shadow details with that, with the ability of today’s presses that shouldn’t happen. Brad is a decent photographer and individually there are lots of valuable images in this book still.

New Avedon, Cunningham, and Friedlander books I bought in March while at the Phoenix Art Museum.

New Library Additions - Avedon, Cunningham, and Friedlander

May 9, 2023

When I visited the Phoenix Art Museum in March, I decided to buy a membership instead of just a single admission. I like to have memberships at museums I want to support even if they aren’t local. One benefit of that is a discount in the Museum Shop which I used to add three more titles to my library. I encourage anyone interested in these titles to purchase from the museum shop to help support the Phoenix Art Museum.

Richard Avedon - Relationships

Released in conjunction with Avedon’s 2022 retrospective exhibition in Milan, this book was published by Skira Publishers in Italy and edited by the Center for Creative Photography’s Rebecca Senf. The book is beautiful, it was printed and bound in Italy and the edit is outstanding. It was nice to finally get a signed copy of one of Becky’s books, I still need to get my copy of her Ansel Adams book, Making a Photographer: The Early Work of Ansel Adams autographed. The Center for Creative Photography houses Avedon’s archives and Becky was also involved with curating the exhibition as well as editing this book. You can see examples of the images in the book on Avedon's website.

Bill Cunningham -

Published by the New York Times in 2019 this retrospective of Bill Cunningham’s fifty-year career is a nice document of fashion during that time. Bill was a fashion columnist and photographer who worked for the New York Times. What I love about this book is all of these images were taken on the street, these photographs aren’t of models on a runway, they are all of people on the street. It is a better documentation of what fashion really was because it accurately shows what people were wearing during this period. Bill Cunningham referred to himself as a Fashion Historian more than a photographer. I agree with him 100% on his title but I also acknowledge he made interesting images and is more than worthy to also be called a photographer. Bill’s work is about the fashion not the frame or the interaction, but in this format it absolutely works. I wasn’t familiar with his work before seeing the exhibition Fashioning Self: The Photography of Everyday Expression at the Phoenix Art Museum but it was a perfect fit, and I purchased the book because I enjoyed how it was a different approach to document people on the street. If you are a fan of fashion photography you need to add this to your library.

Lee Friedlander - Prayer Pilgrimage for Freedom

This very unique book, published in 2015 by Eakins Press, only documents the events of one day, May 17th, 1957 when Dr. Martin Luther King spoke at the Lincoln Memorial in Washington DC during the Prayer Pilgrimage for Freedom. I wrongly first assumed this book documented the famed day when King gave his “I Have a Dream” speech but that would not occur until 1963. I researched the events and learned the Prayer Pilgrimage for Freedom was actually the first time Martin Luther King addressed a national audience. It makes sense now why photographs of Dr. King were not more prominent in the book since he was the last speaker of the day. The book is an outstanding document plus Friedlander’s photographic style is amazing, I always love looking at his images. I found it ironic I discovered this book a couple months before Fraenkel Gallery’s Friedlander exhibition opened this past weekend. The most incredible thing is Friedlander was 22 years old when he photographed the event. The book is a nice reference point to examine how Friedlander’s vision and career developed. He obviously knew early on how to be at the right place at the right time.

One more shout out to the wonderful people at the Phoenix Art Museum and their Museum Store, please purchase directly from them if you want any of these titles.

"Extinction Party" by Jonathan Blaustein

May 28, 2020

I have known Jonathan Blaustein for a few years now, we met at a Medium Festival portfolio review. He liked my work and I liked his insight into the medium of photography. He is an educator and writer (contributor to the New York Times Lens Blog and others) as well as being a photographer.

In November of 2019 I saw a Tweet by Jonathan about his Kickstarter campaign for a proposed book. The project was described as this: "Extinction Party" is a limited edition photo book about over-consumption, and its impact on the planet”.

I headed over to his Kickstarter campaign and checked it out. I liked the concept but was not exactly sure how the example images were congruent. I figured that seeing the finished product was the only way to fully understand it so I jumped in and supported Jonathan’s project.

With the current pandemic my copy arrived later that most folk’s copies because it was delivered to a closed office, where I used to ship all my packages to. A few weeks back I finally got my copy and now I am finally getting time to review the book with this blog post.

I wrote Jonathan after spending some time with the book and told him this: “You nailed it, I wasn’t quite sure what it would be like when I jumped in on the Kickstarter but figured it would be good. It’s very tight.” The concept was good when he went to press in 2019 and viewing it now during the COVID19 pandemic, the book’s value has multiplied, it is pretty incredible. There are so many parallels that can be drawn between the questions Jonathan asks about the over-consumption habits of our society and the priorities in life people have rediscovered after living in a COVID19 lockdown world. There are also some incredible ironies now in the book, like the image of a white cotton museum glove with the title “No one’s hands are clean” and image of a candy necklace titled “One dollar’s worth of candy necklace from China”.

My work is so different than Jonathan’s body of work (yes, diversity within the medium is a good thing) so when I was going through the book seeing his message so well, how the images all tied in together, I actually got fired up. I loved the fact that even though we see differently, I still found his message was clear and concise. This brings me to the images in the book, since it is a photography book, I need to talk about the images. I guess at first glance someone could describe many of his photographs as simplistic product portraits but I found when I spent time with them, and took in the entire project, his images have a lot of depth. The images are carefully constructed and do have a lot of value individually but then more value when viewed as a series.

The book was published by Yoffy Press and printed in Amsterdam. Solid build, nice paper stock & printing, and the layout and design are prefect for the project. I encourage folks to check it out.

Click here for a Link to Yoffy Press for more information and ordering