Annual Newsletters

Our newsletter.


Dear friends,

Greetings once again. This newsletter will bring you up to date on our activities in the world of photography. And once again, the addendum in the back lists prices and availability for our photographs, books, portfolios, and other items.

We wonder where the time goes. Every year seems to be more full than the one before. That is certainly a lot better than sitting around waiting for the phone to ring, but at times we do wish that life was not quite so full and fast paced (We were asked to teach a workshop in Guatemala. We checked our schedule and said, "We can do it in 2008.") But it is not only us. Everyone we know seems to feel the same way. A sign of the times . . .

This year will see us doing even more traveling than usual. From the beginning of January through April we'll be on the road here in the USA. While we will do some photographing, the main purpose of this trip is to visit friends and collectors of our work—something we did not do at all last year.

In late June and early July we will be in France. We met someone at Paris Photo who invited us to visit him and to stay at his home in Gascony, a region of France less developed than some others and one we are unfamiliar with. It is a kind and generous offer, and though we really do not have the time, we are always up for unexpected new adventures. And then we will be returning to photograph in Iceland for the rest of the summer. In the fall we will return to France for Paris Photo—our third time to participate.

Last year Kodak announced that they will no longer make black and white papers. Azo, the paper on which we print our photographs, is no longer being made. And thus, our prints are now truly in short supply. As a further consequence, our prices have gone up, particularly for our older work. We are striving to have a new silver chloride paper made. To finance its manufacture we are producing the "Azo Portfolio." The specifics follow on page 3.

Photographs and Photographing

Much of our photography time this year was spent in the darkroom printing our work from Iceland—and, rare for us, we still have not finished printing all of it. But we still have much to show you when we see you on our travels this year.

We also have some surprises for you. Although we are still committed to making 8x10 and 8x20 contact prints, there have been some changes in our photography—small changes and big ones. First the small changes. Two years ago, when we were printing books in Belgium, Paula borrowed a friend's Hasselblad (6x6cm negatives)—to have negatives from which to make small contact prints, not enlargements. She was so excited by the results that this year she purchased a 6x7cm camera, and on our trip to Belgium in the fall to print yet more books she used every spare minute to photograph. On trips like this we cannot take our large cameras and in the past did not make any photographs at all. There is a special quality to our silver contact prints on Azo paper (more about this later) and these small prints do draw one in. Paula printed some of these 6x6cm prints on Azo from 1919, and some on Azo from 1945. They have a very special quality.

And now the big changes: After we returned from Iceland, Paula commented that she thought some of the photographs she made would be excellent as large platinum prints. That sounded right to Michael and both of us are now in the process of having one-meter-wide platinum prints made by Georges Charlier of Salto (the printer of our books). Until now, no one could make platinum prints so large, and because Georges is as fanatical about fine quality as we are, and will always, to quote him, "push the limits of what is possible." No one else, in our opinion, has made platinum prints quite so beautiful. He developed a process in which he scans our negatives and then digitally enlarges them, separating each original into five negatives that are then printed in register. To begin, we will make platinum prints from ten of our negatives from Iceland, each in an edition of nine plus four artist's proofs. And we may have a few others made as well. Paula's prints will be printed on Gampi paper, an exquisite translucent paper, hand-made in Japan from the fibers of the rare Gampi bush, a plant that cannot be cultivated, thus making the paper very expensive. It is remarkably beautiful in its delicacy and luminescence.

In addition, Georges will be making some very large (over eight-feet long) digital prints from Michael's 8x20-inch negatives. He has an inkjet printer that uses twelve inks and he is perfecting the quality by finding better paper than is generally used for digital printing. And he will also be making large digital prints, approximately four-feet square, from a little-known aspect of Michael's work—his SX-70 photographs of clouds.

This year we will return to Iceland to photograph. We can't wait to get back to that beautiful country. Iceland, though the weather is fairly chilly, never gets really cold. A story to illustrate that: A favorite spot for us was Djupvík, a small village (nine residents in the summer, only two in the winter) on the northern edge of the West Fjörds. We met the lovely couple who own a small hotel there—the only two year-round residents. The previous year some guests at their hotel who were from Washington DC learned that this couple could build or repair anything (when you are the only people for miles around, you must be extremely self sufficient) and hired them for the winter season to help renovate houses in DC. Last winter, when they came to visit us for a weekend, they said the weather in Washington was the coldest they had ever experienced. Iceland never gets really warm in the summer, but never that cold in the winter, either.


In a newsletter several years ago we wrote:

Our photographic paper, Azo, made by Kodak, is the last of the silver-chloride contact printing papers. One can achieve a longer and smoother tonal scale from the old silver-chloride formulas, and Azo has the longest tonal scale of any photographic paper in use today. We dearly hope this paper will continue to be manufactured, as we would rather not have a virtual repeat of the discontinued film purchase. With Azo, we are able to make prints that have a distinguishing and strong presence to them, and we believe that the combination of this paper and the now discontinued Super XX film yields prints that are as fine as we can possibly make them.

To save the paper from extinction we had to become Azo dealers. But in 2005, Kodak announced they were discontinuing the manufacture of all black and white photographic papers, including Azo. We have purchased all of the paper that remained. Although there was not as much Grade 3 on hand as we had been told, there is plenty of Grade 2. If you are a photographer and print on Azo paper, we suggest you stock up on grade 2 at this time.

But all is not lost. We have been in touch with the current manufacturers of photographic films and papers and we will be having a new silver chloride paper made. Learning about this has been quite an education—making paper is not a simple thing. When it was announced that Kodak was discontinuing papers, several people (in a thread on the Azo Forum on our web site) suggested going to the Patent Office and finding the formula. Though it might be possible to get the formula, we learned that having the formula was only the slightest of beginnings. We learned, for example, that the formulas are specific to particular coating machines and that when a new machine is used, the formula must be modified. One company estimated that just to get to that point could take years and would cost between $90,000 and $160,000. And that would not get us any paper, just an adjustment of the formula for a particular machine. And that is only one preparatory test. We were told there were many others. Another example: The Kodak engineer who mixed the Azo emulsion for twenty-five years told us that if the emulsion is made in a different shaped kettle (same exact formula) the results would be different. In short, we learned that making an emulsion, even a relatively simple emulsion such as a silver chloride emulsion, is an art as well as a science, and the stories we have heard for years—that such-and-such product is no longer the same because the old guys that worked on it retired—were true. Absolutely.

We have enough paper to last us for many years, if not for a lifetime. We certainly want to have a new paper made for our own prints, but we also want to have it made for the hundreds of others who have come to use and rely on this paper.

The only problem right now is that having this new paper made requires a staggering amount of money. To finance the purchase of this paper, we are doing two things: We are asking users of Azo paper to place advance orders, and we are producing a limited edition portfolio of ten prints—the "Azo Portfolio"—for sale at a very favorable price.

The Azo Portfolio

The Azo Portfolio will contain five photographs by Michael and five by Paula and will be produced in an edition of 50. The current retail value of the ten photographs is close to $28,000, but to encourage sales at this time we are making an offer we hope you will find hard to refuse: we are offering the first 25 for only $10,750. (Each portfolio will cost approximately $750 to produce and then we will have $10,000 left to put toward the purchase of the paper.) When Super XX film was discontinued we purchased all that remained and spent $85,000 with Visa cards. It took us five years to pay them off. We cannot go through that again. We have selected a variety of photographs that we love and that we think will have broad appeal. We hope that you will want to buy one. The photographs in the Azo Portfolio may be seen on our web site at

Exhibitions, Lectures, Interviews

The aftermath of Hurricane Katrina prompted Bruce Katsiff, Director of the James A. Michener Art Museum here in Bucks County, to quickly put together an exhibition from the 405 photographs that Michael made in New Orleans from 1984–1986 on commission from The Historic New Orleans Collection. The exhibition is currently on display and will be up through February 19. A traveling exhibition and a book of this work is also planned. We learned from John Lawrence, Director of Museum Programs at The Historic New Orleans Collection, that the archive of the 405 photographs safely survived the hurricane.

At this time we are not sure if Paula's scheduled exhibition of the photographs from Madonnina, at The New Orleans Museum of Art in spring of 2007 is still on. Though NOMA also survived the hurricane rather well, many things, as you can imagine, are "on hold" in New Orleans.

Lectures: Last year we once again gave a number of talks at the Large Format Conference, which was held in Springfield, Massachusetts. We also gave talks at Messiah College, to the George Eastman House Collector's Group. And Michael was on a publishing panel at Pro Photo Plus—the photography industry trade show in New York City.

This year we will both be panel members at the "Silver" Conference in Pasadena during the first week in March. This is a conference about the future of traditional photography sponsored by Ilford and Calumet. Full details can be found at

Paula is currently being featured in Kodak's on-line magazine for professional photographers— ProPass, Volume 8—with an extensive interview that also features a few of her photographs. To read the article, go to, then click on "ProPass" and "In this Issue" (under the heading "Pro Photographer/Lab." There you will see "The Products" with the subheading "That Old 8x10... Paula Chamlee's Classic Method...")
Book Publishing: Lodima Press

Edward Weston: Life Work was awarded one of the "Academic Books of the Year" by Choice magazine. While we do not think of Life Work as an "academic" book, we have learned the award is an important one and books so honored do find favor with librarians.

It is amazing what happens to the price of photography books that go out of print, especially those printed in limited editions. Paula's book, San Francisco: Twenty Corner Markets and One in the Middle of the Block, sold out at the end of 2004. Originally offered at $50, we sold the last 25 copies for $100 each. We have seen this book for sale on the Internet for prices ranging from $300 to $591. (Currently it is listed at from $300 to $400.)

Our two new book series:

Last year we finally inaugurated our two major multi-year publishing projects (listed below). Due to unforeseen delays (we rejected the first printing of the books), both series were not released until October. All books in both series are printed in 600-line screen quadtone in Belgium by Salto and they are exquisite. Since the books in these series are being printed only in small editions, we urge you to subscribe to the entire series before they are out of print. These books will not be around for long.

The Portfolios of Brett Weston—a nineteen-volume series: Books of all of the portfolios Brett produced will be published over a four-year period, each as a separate volume. The first volume, San Francisco, has been well received. One comment by a major collector: "A friend of mine who is also a photography collector saw the Brett Weston book and was in awe of the quality of the printing. He had his mouth open at every page!" The numbered hardbound edition of only 100 copies sold out early last year. Because of the demand for the hardbound edition we decided to do a second printing of 150 numbered hardbound copies, so for those who missed it, know that once again hardcover copies are available. We do not expect them to last long. There are only 1,000 softbound copies and they are going fast, too. The hardbound copies are $100 and are available by subscription only. The softbound copies are $29.95 to $44.95 (only $29.95 for San Francisco) by subscription, slightly higher if purchased as a non-subscriber. See or our Lodima Press catalog for further details.

We just printed White Sands, the second portfolio in the series. Later this year we will publish the next three portfolios: New York, Fifteen Photographs, and Ten Photographs.

Lodima Press Portfolio Books: This series of small, elegant, yet inexpensive books by many leading photographers led off with Home by Nicholas Nixon. Solitudes by Carl Chiarenza shipped just after Christmas as we did not want to send it during the Christmas-mail season. Common Mementos by George Tice will ship in late February. The next three books in the series are, Opera Nuda by Keith Carter, Heaven/Earth by Linda Connor, and Primal Elegance by Larry Fink. We expect the next books in the series will be by Paul Caponigro, Marilyn Bridges, and Arthur Tress. We will publish each book in this series in a signed and numbered hardbound edition of only 100 copies and a softbound edition of only 1,000 copies. Both editions are available by subscription or individually. The hardbound edition is $100 by subscription, and the softbound edition is only $19.95 by subscription, slightly higher if purchased as a non-subscriber. The hardbound edition of one of the books has already sold out, and we expect the same with the other books in the series, so we urge you to get your subscriptions in as soon as possible. Again, see www.lodimapress.comor our Lodima Press catalog for further details.

Other Books: We published a small and elegant book, Los Crepúsculos de la Imaginación by the Venezuelan photographer, Alejandro López de Haro R. This book of fourteen small platinum prints of Paris was published in a signed and numbered edition of only 300 copies, plus fourteen slipcased copies that come with an original platinum print from the book, and three copies that come in a clamshell box along with a portfolio of all fourteen platinum prints. The platinum prints were made by Salto and are exquisite. Again, see for details.

Our own books: Because we are so busy, the publication dates are now indeterminate for our two books in the works, our first collaboration, The Bonsai of Longwood Gardens, and Trees, 8x20 photographs by Michael.
Publishing: BackStreetBooks

Under our second imprint we published Crash Burn Love: Demolition Derby, by Bill Lowenburg. This book, printed not by Salto, but in China, came out beautifully. Full details about the book can be found at And more information can be found at, Bill Lowenburg's web site.

Publishing: Lodima Press Catalog Number Two will be out in the early fall. Please let us know if you never received Catalog Number One. It had the Edward Weston nude on dunes photograph on the cover.
Publishing: B&W Magazine

We continue to publish our two-page spread in B&W, the magazine devoted to the collecting of black and white photography. Many of our photographs that appear in these ads have not been published, nor will be, elsewhere. Taken together, our ads in B&W comprise a fascinating and varied record of our photographs from over the years. We warmly recommend subscribing to this fine magazine.
Publishing: Camera Arts

Last year we announced that Michael would inaugurate a series of articles in Camera Arts magazine about how to make a photography book. The year was too busy for him to get to it, but this year it will happen.

Also currently in the works, Michael is co-authoring a book with Sandy King on the technical aspects of photography. Sandy is a photographer who makes fine platinum prints and who is a technical genius.

Publishing: Trade Shows

Lodima Press participated in Book Expo America (The BEA Show), the annual trade show for the book industry that was held at the beginning of June in New York. It was our second time to have a booth at BEA and again we made many good contacts. We would like to have a booth again this year, but find we simply do not have the time.

In mid-November we had a publisher's booth for the second year at Paris Photo—the European counterpart to New York's Association of International Photography Art Dealers (AIPAD) "Photography Show." Once again Paris Photo was a great experience. Although we scarcely have the time to do this again, we'll take any excuse to go to Paris and we plan to have a booth there again this year. Paris Photo 2006 will be from November 16–19.

We finally began revising our web site. There is still much to do, however—mainly, getting more of our photographs up. Somehow, we will do it this year. Somehow.

If you haven't been to our web site and registered on the sign-up page, please do so. We can then notify you of special offers, exhibitions, books, and generally keep you informed of what we are doing in the world of photography. We have some special things planned for the site that will be available only to those who signed up.

Workshops in 2006

Vision and Technique Workshops in Bucks County: We will be conducting only two workshops here at our studio this year: May 19–21 and May 27–29. We expect them to fill quickly, so if you are interested in signing up, we suggest you let us know as soon as possible.

Iceland: July 21–30.Our ten-day workshop in Iceland was very successful in 2004 and this year we are offering another. If you are interested, let us know and we will send details, or go to and click on "workshops."

Sedona, Arizona: January 26–29. This Vision and Technique Workshop has already filled. Since last-minute cancellations may occur, contact Debbie Winslow at the Sedona Arts Center (928-282-3809) and get on the waiting list if you are interested.

Future Workshops: New Zealand and Australia in 2007. Guatemala in 2008.


Our building expansion project continues and the pace of construction actually picked up this year. We finally have windows—and doors are next. When that is done the buildings will be closed in and we can begin the finishing touches. Since 98% of our furniture will be built-in, finishing touches could take well over a year. We would like to have everything finished by the fall of 2007, and hope that we are not being too optimistic.
In Memoriam

Many of you knew, or knew of, our dear friend, Robert Sobieszek, Assistant Director and Curator of Photography at the Los Angeles County Museum of Art, who passed away earlier this year, succumbing at far too early an age to cancer. Besides his duties at LACMA, he was the respected author of dozens of books and scores of essays on photography. One of his last essays was the beautiful one he wrote for us for our two-volume set of books: Tuscany: Wandering the Back Roads. It was a great joy and privilege to know him and we miss him.


As many of you know or as you might have learned from the feature article on us in B&W, our livelihood as full-time artists is always difficult and uncertain. We would be most grateful to receive the names of anyone whom you think would be interested in our photographs so that we might contact them by phone or mail to introduce them to our work.

As always, we are deeply grateful for your interest in and support of our work. As part of our audience, you complete a vital circle and make a valuable contribution to the creative process and to the making of our art.

Whenever possible during our travels, we hope we can see you for a visit. And do remember that you are always welcome to visit us here at our home/studio in Bucks County.

We send you our warmest regards and best wishes for a happy and healthy New Year,


Many of you have requested updates on our print prices for your records and for appraisal purposes. This addendum contains those updates and also provides information about our books, exhibition catalogues, portfolios, note cards, posters, and (singular) video. Please note that there have been some changes and additions. These are designated with an asterisk.

Photographs: Silver Chloride Contact Prints

Now that we are not printing from older negatives (except in a very few instances), we are pricing all older work individually by image. Especially since the paper is no longer available we are no longer printing from these negatives. The edition size of the printing is fixed. It is different for every photograph: for some photographs it may be as few as 4 or 5; for others it could be 12, or 17, 26, or 33, or some other "odd" number. Although we have never before editioned our photographs, we have always assigned each print a unique number and have kept exact records of how many prints of each image we have made.

Each year we expect the photographs that fall into the "older" category to change by one year, although that is not rigidly fixed. We may consider certain work "current" for more than two years or we may consider it to be current for only one year. Here are prices as of January 1, 2006.

Current photographs (2004 and 2005):

Michael: 8 x 20 $2,500. Paula: 8 x 10 $1,250.
5 x 7 $750.
4 x 5 $750.
6x6/6x7 $750.–$1,000.

Older photographs (pre-2004):

Michael: 8 x 10 $1,500.–$10,000. Paula: 8 x 10 $1,500.–$5,000.

8 x 20 $2,500.–$10,000. 5 x 7 $1,000.–$2,500.

18 x 22 $4,500.–$10,000. 4 x 5 $1,000.–$2,500.

The price for Michael's 2' x 5' enlargements, made directly from his 8" x 20" negatives is $6,000 except for the two prints of which half the edition has sold. Those prints are priced at $7,500.

Platinum prints: Our one-meter long platinum prints, in editions of nine with four artist's proofs, begin at $5,000 and will go up $1,000 every time a print is sold.

Books and Catalogues:

Tuscany: Wandering the Back Roads, Vol. I: Published in 2004, Paula's book of photographs of the countryside and small towns and villages of Tuscany. Essay by Robert Sobieszek, Curator of Photography at the Los Angeles County Museum of Art, Foreword by Ferenc Máté, Author of The Hills of Tuscany, Preface by Michael and Paula. 70 reproductions printed in 600-line screen quadtone. $75 (plus $7 S&H). Signed and numbered, slipcased limited edition: $200 (plus $7 S&H).

Tuscany: Wandering the Back Roads, Vol. II: Published in 2004, Michael's book of photographs of the countryside and small towns and villages of Tuscany. 59 reproductions printed in 600-line screen quadtone. $95 (plus $10 S&H). Signed and numbered, slipcased limited edition: $250 (plus $10 S&H).

Madonnina: Paula's book of photographs of the small shrines to the Madonna that can be found throughout the countryside in Tuscany. Foreword by Steven Maklansky, Assistant Director for Art and Curator of Photographs at the New Orleans Museum of Art, Essay by Giuliana Bianchi Caleri, Italian scholar, Preface by Paula. 50 reproductions printed in 600-line screen quadtone. $60 (plus $7 S&H). Signed and numbered, slipcased limited edition: $200 (plus $7 S&H).

Landscapes 1975–1979: Last year only one set remained. This set of books is now sold out.

Michael A. Smith: A Visual Journey: Photographs From Twenty-Five Years:Published in 1992, this book accompanied Michael's twenty-five year retrospective exhibition at the International Museum of Photography at George Eastman House. Foreword by Marianne Fulton, essay by John Bratnober. 176 duotone reproductions. $95 (plus $7 S&H). Signed and numbered, slipcased limited edition: $250 (plus $7 S&H).

Princeton: An exhibition catalogue of Michael's with five reproductions and an essay by Richard Trenner. Published in 1985. Rare; fewer than thirty copies remain. $20 (plus $4 S&H).

Natural Connections: Photographs by Paula Chamlee:Published in 1994, a book of Paula's photographs of the natural landscape accompanied by selected writings from her journals with an essay by Estelle Jussim. Printed in Laser Silver-Lit Tones™, 42 tritone reproductions. $70 (plus $7 S&H). Signed and numbered, slipcased limited edition: $200 (plus $7 S&H).

High Plains Farm: Published in 1996, a book of Paula's photographs and writing about the farm where she grew up on the High Plains of the Texas Panhandle. Foreword by George Thompson. 81 duotone reproductions. $75 (plus $7 S&H). Signed and numbered, slipcased limited edition: $200 (plus $7 S&H).

San Francisco: Twenty Corner Markets and One in the Middle of the Block: Paula's third book, published in 1997. Sold out.

The Students of Deep Springs College:Michael's book about the most unusual college in America, published in 2000. Essay by L. Jackson Newell, Afterword by William T. Vollmann. 53 reproductions printed in 600-line screen quadtone. $50 (plus $7 S&H). Signed and numbered, slipcased limited edition: $200 (plus $7 S&H).

Portfolios: Paula

A Field in Tuscany: An edition of ten portfolios self-published in 2000, each containing eight 8" x 10" photographs archivally mounted and overmatted, and two sheets of deckle edged Arches paper printed letterpress. The portfolio comes in a handmade box covered in heavy linen. $8,500.

San Francisco: Twenty Corner Markets and One in the Middle of the Block: An edition of three portfolios self-published in 1997, each containing twenty-one 8" x 10" photographs archivally mounted and overmatted, and three sheets of deckle edged Arches paper printed letterpress. The portfolio comes in a handmade box covered in heavy Italian linen. $21,000.

High Plains Farm: A Unique Portfolio: An edition of fifteen portfolios self-published in 1996. Sold out.

Portfolios: Michael

The Azo Portfolio: A selection of ten photographs, five by Michael and five by Paula, archivally mounted and overmatted with two sheets of deckle edged Arches paper printed letterpress. This portfolio is produced to enable us to have a new silver chloride paper made. $10,750. The portfolio comes in a handmade box covered in heavy linen.
The Stones of Monteriggioni: A suite of six 8" x 20" photographs archivally mounted and overmatted. $12,000. Printed in an edition of five.
Eight Landscape Photographs: An edition of twenty portfolios plus two artist's proofs published by Regnis Press in 1983, each containing eight 8" x 20" photographs archivally mounted and overmatted, and two sheets of deckle edged Arches paper printed letterpress. The portfolio comes in a handmade box covered in heavy linen. Upon completion of this portfolio, the negatives were retired; no further prints were made from them. $24,000.
Twelve Photographs 1967–1969: An edition of twenty-five self-published in 1970, this portfolio contains a representative selection of twelve photographs from this period. The 8" x 10" archivally mounted and overmatted photographs and two sheets of Arches paper printed letterpress come in a custom-made portfolio case covered in heavy linen. $48,000.

Note Cards:

Michael A. Smith: Note Card Set OneandPaula Chamlee: Note Card Set One:Two boxed sets of note cards, one set from each of us. Printed in Belgium by Salto in 600-line screen quadtone. Each set has twelve cards and envelopes—three cards each of four photographs of the natural landscape. In our fanaticism to make these cards as finely as we could, we found a card stock that is coated on the outside for optimum reproduction and uncoated on the inside for quick-dry, non-smear writing. Both sets are limited to an edition of only 1,000. $19.95 for the first set, and $16.95 for each additional set. $4.00 S&H for one set plus $2 for each additional set.


The fourHigh Plains Farm posters are exquisitely printed in 300 line-screen duotone on heavy cover stock and were run through the press an additional and fourth time for extra luster and brilliance. Size: 19" x 26" for three of the posters and 19" x 27" for the fourth (a vertical photograph), $25 each or $75 for all four. A limited edition of signed and numbered posters is also available at $50 each or $150 for all four. For posters, add $6 S&H.


The PBS half-hour documentary film, High Plains Farm: Paula Chamlee, produced by KACV-TV is available from us for only $25 (plus $4.00 S&H).
Other Books from Lodima Press and BackStreetBooks

Edward Weston: Life Work is currently priced at $150. Later this year we will be printing Catalog Two for Lodima Press. When we do, the price of this book will go to $195. We are running out of these books and if you have thought about getting one, but have not acted yet, we urge you to do so sooner rather than later.

The Portfolios of Brett Weston San Francisco
White Sands
New York
Fifteen Photographs
Ten Photographs

Lodima Press Portfolio Books: Home by Nicholas Nixon
Solitudes by Carl Chiarenza
Common Mementos by George Tice

Los Crepúsculos de la Imaginación by Alejandro López de Haro R.

Stones and Marks by Peter Elliston

Passage: Europe by Richard Copeland Miller

Crash, Burn, Love: Demolition Derby by Bill Lowenburg (
from Lodima Press

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