John Sexton.com

Time 2020-09-22 01:04:30

Web Name: John Sexton.com

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ORIGINAL SILVER GELATIN PRINT BY JOHN AVAILABLE ONLINE AT DISCOUNTED PRICE NEGATIVE TO BE RETIRED Since we have not been on a photography trip since last October Anne and I have been frequently reminiscing about the wonderful photographic adventures we have shared together over the past twenty-six years. A few weeks ago we were talking about a 2003 trip which took us to Yellowstone National Park among many other fascinating locations. As we started sharing our memories from the trip, we both recalled the same highlights like breakfast at Old Faithful Lodge after many cold nights of camping, the many herds of bison, the moose, the grizzly kill and of course the geologic wonders of the park. The hydrothermal feature that stood out to us both was the Grand Prismatic Spring. Our discussion led me to decide to print my favorite image from that trip one last time before retiring the negative. I am pleased to offer this handmade silver gelatin print of my image Tree Trunks, Grand Prismatic Pool, Yellowstone National Park, Wyoming at a special reduced price at the Ventana Editions online store. The normal gallery retail price for this 11x14 print is $1,000. From now through September 30, 2020 I am offering this 11x14 print for $700 - a 30% discount from the retail price. Once I have fulfilled all of the orders for this special print offer the negative will be retired, and will never be printed in any size as a silver gelatin print in the future. On October 1, 2020 the retail price for any remaining prints will increase to $2,000. Tree Trunks, Grand Prismatic Pool, Yellowstone National Park, Wyoming 2003 2003 John Sexton. All rights reserved. To learn more about the print, Tree Trunks, Grand Prismatic Pool, or to place an order, follow this link: https://ventanaeditions.stores.yahoo.net/asqulineasco.html Following my two-week long hands-on large format photography and darkroom-printing workshop at Anderson Ranch Arts Center in Colorado, Anne and I decided to head north toward Wyoming. We did not have a specific agenda or plan. We thought we would just follow the light and our interests, and be directed by the weather, as is the way we generally like to explore on our photographic journeys. In mid-September we found ourselves in spectacular Yellowstone National Park. Aside from the anticipated crowds of tourists at Old Faithful and other nearby geysers, as well as Mammoth Hot Springs, the rest of the park was rather quiet at that time of year and the weather was brisk. One afternoon we pulled into the parking lot for the Grand Prismatic Spring. We walked around the pool on the wooden boardwalk and made a few photographs. The sheer size of the pool and it s incredible colors were mind-blowing. We wondered what the view would be like from the hillside to the north of the pool. The next morning it was COLD! The inside temperature in the van was 25?F. It was tempting to remain in our sleeping bags, but we got up and headed out. On our drive back to the Grand Prismatic Spring we encountered interesting heavy fog wafting back and forth, which made for fascinating photographic possibilities. An hour later we reached the trailhead that would take us to the hillside north of the pool. We started the leisurely stroll of a little over a half mile to this hill. The hill, at one point, had been densely covered with lodgepole pines. These had all burned during the massive Yellowstone wildfire of 1988. The climb up the hillside would have been quite easy except for the fact that we constantly had to climb over fallen lodge pole pine trunks. As we gained elevation, working with my viewing frame I began to get an idea of a photograph I wanted to make. It would require the use of my longest lens a 450mm Fujinon-CS on my 4x5 Linhof Technika camera. I carefully determined where I thought the camera should go with the use of my viewing frame and set it up. I then decided I wanted to move position. This would have been easy except I had to go over three or four intertwined fallen tree trunks, some of which were two or three feet above the ground, lying on top of others. It took quite a while to move just a few feet, but the new vantage point was indeed better. I have since learned that in 2017 a viewing platform for the Grand Prismatic Spring has been built on the hillside. I was interested in the two bare lodgepole pine trunks in contrast with the vividly colorful mineral flows and the steam coming off the thermal pool on this chilly morning. I looked through a few different filters and settled on the Wratten No. 23A light-red filter. It was not easy to meter the scene from such a great distance with my spot meter. When I first determined the contrast range in the scene I was surprised at how low the contrast was, as it was now a crystal clear blue sky above. After double-checking my meter readings, I decided that I would utilize a N+2 development to achieve the contrast range I desired in this abstract image. I used T-Max 100 film, and the exposure time was 1/4 second at f/32. After processing the negative, and making a contact sheet, I could see that I really wanted a higher contrast rendering. So then I selenium intensified the negative to add additional contrast. This image is included as Plate 4 in my book Recollections. Even with the N+2 development and the additional contrast produced by the selenium intensification of the negative, I still had to print it on a rather high contrast grade 3-1/2 paper. The making of this image was a good reminder that the contrast of a particular lighting situation can sometimes actually be different than what we anticipate. Even though the sun was bright and intense, I needed to utilize a variety of techniques to increase the contrast to match the visualized image in my mind s eye. Sometimes soft lighting can require a reduction of contrast to achieve the image you desire, while in this instance seemingly harsh light needed even more contrast to achieve what I desired. This is part of seeing photographically, and it is an ongoing learning experience. This silver gelatin, selenium toned, print is approximately 13-3/8 x 9-3/4 , personally printed by me (as are all my prints), processed to current archival standards, signed, mounted, and matted to 16x20 on 100 percent rag museum board. Prints will begin shipping on September 7, 2020. All prints are carefully prepared and packaged in specially designed protective shipping boxes, and shipped fully insured via UPS ground. If you have any questions about the print, please feel free to contact Anne at 831-659-3130, or email: info@johnsexton.com. Our office hours are Monday through Thursday from 10:00 am to 1:00 pm, Pacific Time. You can see the image and place a secure online order for the print at the Ventana Editions web store: https://ventanaeditions.stores.yahoo.net/asqulineasco.html ALL 2020 WORKSHOPS CANCELLED DUE TO COVID-19 PANDEMIC I am pleased to announce my new workshop schedule for 2020. I continue to be amazed at the intense interest in the workshops we offer, and in traditional analog photography. It is particularly rewarding to note the increase in international interest in our traditional printmaking workshops, The Expressive Black and White Print, having been offered for more than thirty-five years! By popular demand we are yet once again offering the Fine Tuning the Expressive Print workshop in March 2020. This workshop is open only to individuals who have previously taken one of my printing workshops. I am sorry to say that the Expressive Black and White Print and theFine Tuning the Expressive Print workshops in March 2020 have long been filled and each has a waiting list. You are welcome to apply to the waiting list no deposit is necessary simply submit a completed and signed application form, which can be downloadedhere. You can access the complete schedule, get detailed information about the workshops, and download an illustrated PDF of the new workshop brochure here: http://www.johnsexton.com/schedule.html. ANSEL'S PORTRAITS OF PRESIDENT JIMMY CARTER AND VICE PRESIDENT WALTER MONDALE FORTY YEARS LATER - BEHIND THE SCENES I started work as Ansel Adams Photographic and Technical Assistant in July 1979 - just over 40 years ago. A few months after that, Ansel received communications from the White House indicating that Joan Mondale - Vice President Mondale s wife, who had a keen interest in the arts - wanted the official portraits of the Carter Administration to be photographs, rather than paintings as had always previously been the case. Ansel received a special request to make the official portraits of both President Jimmy Carter and Vice President Walter Mondale. Though Ansel is best known for his dramatic black and white landscapes of the American West, he had done many portraits over the years. Ansel graciously accepted the challenging assignment (receiving no fee), and we began to prepare for the journey East to undertake this project. Ansel wanted to approach the making of the portraits in a bigger than life fashion. He contacted John McCann at Polaroid Corporation and asked if he could use the massive Polaroid 20x24 Land camera for the project. John McCann thought this was a splendid idea and agreed to provide not only camera and film, but also a team of skilled individuals to assist with the operation of the camera. In addition to the large Polaroid camera, we packed up Ansel s 4x5 Horseman view camera along with the necessary lenses and other equipment he would need. Vice President Walter Mondale - President Jimmy Carter Official Portraits by Ansel Adams - National Portrait Gallery 20x24 Polaroid Land Photographs Ansel Adams Publishing Rights Trust As the 40th anniversary of this project approached I began to review my notes, documents, and memorabilia related to our trip to Washington D.C. In addition, I re-read relevant sections from Ansel s Book of Letters as well as his Autobiography. I had completely forgotten about a passage in his Autobiography where Ansel had kind words to share about my involvement in this challenging undertaking. I telephoned my good friend John McCann at Polaroid and inquired if they would be interested in cooperating with me in this complicated job. If so, I would at least have immediate feedback in terms of acceptable likeness on sheets of Polaroid material. They enthusiastically agreed; the 20x24-inch camera would be at my disposal with all the lighting equipment required and a staff of four to assist! Fortified with those happy answers and knowing I would have my own very capable assistant John Sexton with me, I accepted the assignment. Ansel photographed Vice President Mondale on November 5th, 1979 and President Jimmy Carter, along with First Lady Rosalynn Carter, the following day. Ansel, Andrea Gray Stillman (Ansel s Administrative Assistant at the time), the team from Polaroid, and I spent a few days scouting at the White House and the Vice President s residence. According to the notes I made it was during those days of scouting that Ansel came up with the following unexpected quip. Over hill and Mondale, we will drag out Carter drawn by the Horseman on the road to Olympus. How Ansel spontaneously conjured up this witty phrase is beyond my comprehension. For those that may not be photographers, Horseman was the brand of the 4x5 view camera that Ansel was using at the time, and Ansel also had a small Olympus 35mm camera that he used on occasion for happy snap images. This is a classic example of Ansel s unique wit and sense of humor. Ansel loved to laugh, and truly enjoyed making others laugh. I have feel that Ansel often used humor as a relief valve for the pressure he often encountered because of his amazingly intense work ethic. Tom Zito of the Washington Post accompanied us on the photography sessions. Tom s article in the November 6, 1979 edition of the Post vividly describes some of the memorable communications between the Vice President and Ansel during the portrait session. Here are a few excerpts: Strolling into the vice presidential mansion yesterday afternoon, Fritz Mondale encountered a 4-by-3.5 foot camera occupying much of his reception room. Well, I guess this is a big enough camera to capture the egos in this town, he said. Perched on a step ladder, the grand old man of American photography, Ansel Adams, was fine-tuning the composition for the first of two official portraits he is making here this week. Yesterday it was Mondale's. Today he will photograph President Jimmy Carter at the White House. He is doing it for free. I want you to move just a little bit this way, he said to Mondale, who was standing on the main stairway of his house. I hate to move to the right, came the response. Do you think you can capture my beauty, Ansel? If not, we'll bring in a bigger camera. Adams gently ordered Mondale about: Stand a little straighter, but lean forward. Move the hands up just an inch on the railing. A little bit over now so that painting doesn't slip under your arm. My office is good for this kind of work, he said. I stand where I'm told. Prepare for an Armageddon of light, Adams cautioned Mondale, just before a huge bank of strobes fired off for the first shot. You can read Tom s colorful commentary about our time with Vice President Mondale in his full Washington Post article here: https://www.washingtonpost.com/archive/lifestyle/1979/11/06/snapping-the-big-shots-the-cabinet-and-the-clock/6dba7455-bb77-44fe-a08c-062dda4e9555/?noredirect=on In preparation for the photography sessions with the President and the Vice President we did countless test photographs with the gigantic 20x24 Polaroid camera, as well as smaller Polaroid tests with the Ansel s 4x5 camera. The process involved many refinements as Ansel studied the test images. We would have limited time with the Vice President as well as the President, so I made careful notes of all of the details so that we could set the images us quickly, efficiently, and accurately. Ansel decided, because of the prominent visibility Rosalynn Carter had during President Carter s tenure, he wanted to do a portrait of the two of them together. Andrea was the stand-in for Mrs. Carter, while Polaroid truck driver Dominic Sawicki served as substitute for President Carter. A have included a 4x5 Polaroid Land test print of Dominic and Andrea below. Dominic Sawicki and Andrea Gray Stillman Stand-ins for President Jimmy Carter and First Lady Rosalynn Carter 4x5 Polaroid Land Test Photograph by Ansel Adams Ansel Adams Publishing Rights Trust Ansel had approximately one hour with the President that day. This was a much longer period of time than other well-known photographers had been granted in the past for Presidential portraits. Ansel made multiple photographs during both sessions with the Polaroid 20x24 as well has his 4x5 camera. During our scouting times we had been given a briefing on the proper protocol and behavior when around the President. We were informed that, if President Carter referred to us as Mr. McCann or Mr. Sexton, we were to refer to him as Mr. President. The first photograph of the session was made in the President s personal private dining room in the White House. As you can imagine, all of us involved in this project were extremely nervous. The large 20x24 camera was set up and everything was arranged. Suddenly out of nowhere appeared President Carter. The Head Usher gave introductions. When President Carter extended a warm handshake, he greeted me with nice to meet you Mr. Sexton. This was the regimen with all of the individuals within the room until finally he extended a warm greeting to Ansel. President Carter wanted Ansel to refer to him as Jimmy. This was a great sign of respect for Ansel. After making that photograph, we made a photograph on the Truman Balcony. We then headed down the ground floor for the final photograph of the day with President and Mrs. Carter standing in the entrance to the magnificent East Room. Everything was all set. Everyone had a job to do before the photograph was made. I had assisted Ansel with the focusing of the camera and had the film holders ready to go. The photograph included here, made with Ansel s 4x5 view camera ended up being the favorite of the Carters from among all of the images Ansel made that day. President Jimmy Carter and First Lady Rosalynn Carter Photography by Ansel Adams Ansel Adams Publishing Rights Trust As most readers of this newsletter know, Ansel had two passions that dominated his life - photography and the preservation of the planet. During the fifty-five minutes allotted for the portrait he and his former business manager, William Turnage, who at that point was Executive Director of the Wilderness Society, spent every available moment talking to President Carter about the importance of preserving the Alaskan Wilderness. At the conclusion of the visit, Ansel gave a 20x24 print of his striking image Mount McKinley and Wonder Lake, Denali National Park, Alaska to President and Mrs. Carter, as a personal token of friendship. I recently saw a photograph of President Carter being interviewed in his home office. Ansel s Mount McKinley print had a prominent place on his office wall. It is no coincidence that a few months later in his administration President Carter signed the Alaska National Interest Lands Conservation Act. The following June President Carter bestowed the Presidential Medal of Freedom upon Ansel. This is the highest honor the United States Government can grant a United States civilian. Ansel did a wonderful job on all of the portraits that day. At the end of the day we were all exhausted, and Ansel was relieved that things had gone so well. In my notebook I wrote down Ansel s exact words - expressed with a great sense of satisfaction, We did OK! It was wonderful to be able to assist Ansel on this project. It certainly is an adventure I will never forget. My memories today are as vivid as they were forty years ago! CAUTION - NEW 3D X-RAY AIRPORT SCANNERS WILL DAMAGE UNPROCESSED FILM I recently read a distressing article at PetaPixel.com indicating that new 3D X-ray airport scanners are being installed in various airports around the United States. These new Computed Tomography X-Ray scanners will provide TSA security personnel an instant 3D view of our carry-on luggage contents. However, according to the article, these new CT scanners will completely fog your photographic film with a single scan! This means that anyone traveling with unprocessed photographic film of any ISO must request hand inspection of that film to avoid having the film ruined. Here is a link to the PetaPixel article: https://petapixel.com/2019/10/21/beware-new-3d-airport-scanners-will-destroy-your-camera-film/ Over 145 of these scanning machines have now been deployed around the country. While older properly calibrated X-ray machines used for carry-on luggage produced fairly low dose radiation levels, and the risk was low for most films up to ISO 800. These new 3D machines have upped the radiation level dramatically, and even a single exposure will completely ruin unprocessed film. I have always been suspect of the lead lined bags that purported protection from X-ray exposure. The published information at this point is that such bags do NOT offer any protection from the new generation of X-ray scanners. Analogic 'Film Fryer' 3D Computed Tomography X-ray Scanner Here s a link to the official TSA page with additional information about the 3D Computed Tomography X-ray scanning equipment, including a list of the airports where the scanners are installed. https://www.tsa.gov/computed-tomography?fbclid=IwAR1JBaOvlInAVZYQ0RucrwtNd8xgx2E9OUplLAy2iiisXX-XzRaHn8LG_7Q Instagram post from our Workshop Corporate Partner Freestyle Photographic Supplies Here is information our longtime friend Bob Shanebrook - author of the book Making Kodak Film recently received directly from the TSA: If you are traveling with the following types of film, please pack it in a clear plastic bag, remove it from your carry-on bag at the checkpoint, and ask for a hand inspection: Film with an ASA\ISO 800 or higher Highly sensitive X-ray or scientific films Film that is or will be underexposed Film that you intend to push process Sheet film Large format film Medical film Scientific film Motion picture film Professional grade film Film of any speed that is subjected to x-ray screening more than five times The x-ray equipment used for screening CHECKED baggage will damage undeveloped film; therefore, please place undeveloped film in carry-on bags. Some readers may recall that Anne and I had a significant amount of Kodak T-Max 400 film damaged on one of our photographic trips to Venice a few years ago when returning home through the Venice airport. We had our film organized in clear Ziploc plastic bags, but the security staff would not allow us to get hand-inspection on the film. Obviously that particular X-ray machine was out of calibration or not operating properly. At least that was the opinion of the experts at Eastman Kodak when they inspected the damage. Fortunately we have never had difficulty obtaining hand inspection of our roll films unexposed or exposed at a USA airport. We always try to arrive super early and have the film in clear Ziploc bags, making it as easy as possible for the TSA agents to do their hand inspection. We greatly appreciate their efforts, and always make sure to thank them profusely for their assistance. It appears as if hand inspection will be a necessity for those of us traveling with photographic film from this point forward. JOHN INDUCTED INTO THE INTERNATIONAL PHOTOGRAPHY HALL OF FAME AND MUSEUM - ST. LOUIS, MISSOURI INDUCTEE EXHIBTION RUNS THROUGH JANUARY 10, 2019 Anne and I had a wonderful trip to St. Louis, Missouri to attend the gala awards ceremony and other related events at the International Photography Hall of Fame and Museum. The festivities took place on Friday, October 26, 2018. I've included a few happy snaps below from the induction events. In addition, by popular request, we have created a ' PHOTO ALBUM PAGE on my web site with many more pics of the festivities, along with a brief video of Dr. Michael Adams introducing me during the induction ceremony, followed by my acceptance remarks. Susan Meiselas, John Sexton, Walter Iooss, Joel Bernstein, John Loengard, Cynthia Russell (Cynthia Russell on behalf of her late father, Willard S. Boyle) 2018 Diane Anderson. All rights reserved. It is an understatement to say how privileged, and humbled, I feel to receive the distinguished honor of being inducted into the International Photography Hall of Fame. It was particularly exciting for Anne and me to meet the legendary photographers that were inducted and honored by the IPHF. This year's other inductees are Willard S. Boyle, Walter Iooss, John Loengard, and Susan Meiselas along with Lifetime Achievement Award recipient Joel Bernstein. Dick Miles, John Sexton, and Bob Bishop Presenting John with his IPHF Inductee Medallion 2018 Diane Anderson. All rights reserved. A highlight of our evening was my introduction by Ansel's son, Dr. Michael Adams. His most generous and thoughtful words, as well his presence along with his lovely wife Jeanne, (they traveled all the way from Carmel, California to be a part of the event!) made this memorable evening even more special. The IPHF treated all of the honorees, and their guests, wonderfully. They took care of everything for us during the celebratory events. When we arrived at the IPHF Museum building there was a red carpet for us as was also the case that evening at the sold-out gala awards event venue. The exhibition featuring photographs by all of the honorees was handsomely presented with excellent lighting. The exhibit runs through January 10, 2019. Each of the honorees received a solid bronze medallion, custom-designed by noted St. Louis artist Adam Foster. When I was awarded my medal on stage, following my acceptance speech, I was stunned by the weight of the object. I soon learned that this response was universal among all of the honorees that evening. When we returned home I decided to weigh the solid bronze object and found it weighed 1lb to 5oz (580 grams)! It's not an object I anticipate wearing around my neck without risking some type of neck injury but we are looking for just the right place to display it among the other honors and awards I have been fortunate to receive over my photographic career. A portion of John's photographs included in the 2018 Hall of Fame Induction and Awards Exhibition On display through January 10, 2019 I want to thank Patty Wente, CEO and President, of the International Photography Hall of Fame and Museum - along with her dedicated staff - especially Elizabeth Eikmann and Stephen Bruns - as well as the many volunteers, along with the IPHF Board of Directors for the great honor and hospitality extended toward Anne and me during our visit. I again want to express my special appreciation to Michael and Jeanne Adams, who made this honor and event something that neither Anne or I will ever forget. Anne Larsen, John Sexton, Patty Wente, Michael Adams, Jeanne Adams 2018 Diane Anderson. All rights reserved. 2018 International Photography Hall of Fame Induction and Award Exhibition International Photography Hall of Fame and Museum 3415 Olive Street Saint Louis, Missouri 63103 October 27th, 2018 - January 10th, 2019 The IPHF is proud to present the 2018 Hall of Fame Induction and Award Exhibition featuring photographs from 2018 Lifetime Achievement Award winner, Joel Bernstein, and the 2018 Class of Hall of Fame Inductees; Willard S. Boyle, Walter Iooss, John Loengard, Susan Meiselas, and John Sexton. More information is available HERE John's photographs included in the 2018 Hall of Fame Induction and Awards Exhibition ANNE LARSEN WINNER IN TWO CATEGORIES 12TH JULIA MARGARET CAMERON AWARD FOR WOMEN PHOTOGRAPHERS Anne recently learned the great news that she was the winner in two of the Professional categories of the 12th edition of the Julia Margaret Cameron Award for women photographers. Anne won in both the Still Life and Abstract professional categories of the competition. In addition she also received two Honorable Mentions in the Abstract category! The three images Anne submitted to the competition are included below. A total of 760 photographers from 72 countries submitted 5,800 photographs for consideration by the jurors; Julia Fullerton-Batten, Andrea Star-Reese, and Laura Pannack. The Julia Margaret Cameron Award Competition is open only to women photographers. Anne is honored and humbled by the recognition her photographs received as part of this award. You can see more of Anne's images at the Ventana Editions online store. IMPORTANT NEWS FOR KODAK 120 SIZE FILM USERS - NEW IMPROVED BACKING PAPER You may remember my eNewsletter of May of 2016, back when Kodak Alaris was experiencing incidents of frame numbers appearing on 120-format film negatives. At the time, Thomas J. Mooney, Film Capture Manager at Kodak Alaris told me we are taking this issue very seriously and have recently made modifications to the backing paper which we believe should minimize the potential for this type of blemish going forward. I am happy to report that since that time, Kodak Alaris has implemented additional backing paper upgrades and they are very confident that this issue is now behind them. The first product spooled with this improved paper was Kodak Professional T-Max 100 Film, which was brought back to market in November of last year. The balance of the 120-format film offerings transitioned to the new backing paper over the first half of this year, with all films having now been upgraded. The table above identifies the first emulsion to be shipped with the new backing paper for each specific product. The new backing paper is also easily recognized by its much glossier appearance than any previous Kodak backing paper - as can be easily seen in the image below. IMPORTANT INFORMATION FOR USERS OF 120 FORMAT KODAK PROFESSIONAL FILMS- PLEASE READ As many readers are likely aware, I have used Kodak Professional film continuously for more than four decades. Over the years I have found Kodak film to be of the highest possible quality and consistency. However, anomalies can occur from time to time. There have been recent reports that appear to be associated with certain batches of 120 format Kodak Professional film. The problem can easily be seen in the photograph below recently made by William Wetmore. I appreciate William allowing me to share this example with readers. You will notice the word Kodak clearly appears in the sky, along with frame number '13' multiple times. I first became aware of this situation a few months ago when a former workshop participant brought some online discussions on this topic to my attention. Unfortunately, as time has passed, I have encountered a number of students, colleagues, and friends who have experienced this exact problem. 2016 William Wetmore. All rights reserved. Follow this link for more detailed information: John Sexton May 2016 Newsletter ELEGANT BOOK BY JOHN SEXTON John Sexton s images in Recollections portray idyllic landscapes where the world becomes quiet, and if we are patient, the subtle whisperings of the land may be heard. Michael Kenna Foreword by Arthur Ollman Afterword by Ray McSavaney 55 Laser Fultone reproductions Hardcover, 140 pages, 12 x 12 inches ISBN: 0-9672188-8-8 Ventana Editions is pleased to present Recollections, John Sexton s highly anticipated fourth book. Marked by the same excellence in printing and design as Sexton s three previous award-winning books, Quiet Light, Listen to the Trees, and Places of Power, Recollections promises an equally memorable experience. Recollections wins awards Purchase autographed copies of Recollections from Ventana Editions online store Learn more about the Hardcover and Deluxe Limited Edition of Recollections and see images from the book Subscribe to John Sexton's mailing list and newsletter Learn about upcoming events, photographic projects, news, and receive special discount offers, along with John's popular e-mail newsletter. Please indicate if you would like to join John's postal mailing list, e-mail newsletter list, or both mailing lists. We do NOT share your information with others.

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