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FOCAL POINT Q3.15 Interview: Sara Macel

FOCAL POINT surveys the landscape of emerging photographers and selects three talented, driven, and noteworthy artists to highlight each quarter.  Each FOCAL POINT photographer receives mentoring from Crusade for Art to think about their work, their target audience, and how to best engage them.  In this interview series, every FOCAL POINT photographer gets asked the same three questions, and their answers become a jumping off point for the mentorship.

Describe the arc of your photography career so far.  

I took my first photography class when I was 15, and from that moment on I knew I wanted to be a photographer. In high school, I exhausted every possible outlet to learn more about photography that I could find in my school and town of Spring, Texas to the point of writing the Houston Chronicle and pitching photo stories to them (it worked!). At eighteen, I moved to New York to study photo at NYU's Tisch School of the Arts. It was a wonderful program full of talented students and great teachers like Tom Drysdale, Deb Willis, and Phil Perkis. I loved being surrounded by people who liked to talk about images.

After graduation, I lucked into a job as Bruce Davidson's studio manager. Working for Bruce taught me what the life of a working artist looks like. He taught me his method of darkroom printing and gifted me my Mamiya 7II, which is still my favorite camera. Almost as soon as he gave me that camera, I left to go make my own work for a few months. That began my on-going series "Rodeo Texas" about my home state. Upon returning to New York, I got a job working under photo agent David Maloney at Art Department. There I learned all areas of production (bidding on jobs, budgets, building crews, on-set production, travel, billing, contracts, etc.) and worked my way up to being one of his two head producers for his roster of photographers. When I wasn't head producer, I had time to work on my own fine art photography on nights and weekends. Slowly, I started getting into shows and winning small awards like Jen Bekman's Hey Hot Shot. I was using all my vacation days to travel for shooting personal work. But it wasn't enough. I knew I needed to shake things up if I wanted to get to where I wanted to be with my own photography. 

So, I applied to grad school and decided to quit my job and attend SVA for my photo MFA. That decision changed my life in incredible ways. While in school, I began what became "May the Road Rise to Meet You," a road trip photo series about my dad's life as a traveling telephone pole salesman. Grad school also changed my relationship to images and how I view myself as an imagemaker. After graduation, "May the Road..." started getting a lot of exciting attention. I was awarded the Aaron Siskind Individual Photographer's Fellowship and signed with Daylight Books to publish "May the Road Rise to Meet You" which was released in 2013. I was very fortunate to be asked to join a Flash Powder Projects retreat right before my book came out, and there worked on ideas for pushing the book and taking my photo career to the next step. And since then, I've had a traveling exhibition of that work shown all over the country and in some international photo festivals, my collector base has grown, and I was selected as one of PDN's 30 Emerging Photographers to Watch for 2015. And just two months ago, I self-published a small edition of my older series "Kiss & Tell" that sold out in 2 months, so now, in addition to my latest work-in-progress, I want to revisit that series and see how it has evolved since I started it over 10 years ago.

I've also been teaching photography for 3 and half years now at SUNY Rockland Community College and am starting this fall to teach at CUNY Kingsborough Community College. And I've been shooting more and more commercial and editorial work, which has been great and something I'm looking to push more in the coming year.

I feel really fortunate for all the good things that have come my way and grateful for all the experiences that helped inform my skill set and creativity. The advice I tell my students is: be humble, be grateful, be hungry and just don't stop.

If you were exactly where you wanted to be in your fine art photography career, what would that look like?

That's hard to answer. I don't know that I'll ever be EXACTLY where I want to be, because each new wonderful achievement opens new doors and leads to new goals. But it sure would be nice to sell out of the editions of a series!  And a definite new goal of mine is to partner with a gallery for representation.

What are your goals for the next 12 months?

In addition to gallery representation, my goals for the year are to create a "Kiss & Tell: Volume II", make a significant amount of progress with my newest series, explore more exhibition opportunities for "May the Road Rise to Meet You," and seek out more editorial and advertising clients. And get a dog. I'd really like to get a dog.

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Flash Powder Projects Retreat #11

I often talk about Flash Powder - the project David Bram and I started just over two years ago - because although it is not part of Crusade for Art, it is all about taking photographers to the next level with their work. Flash Powder hosts invite-only retreats for groups of four photographers to help them get a project ready to launch and to develop a 12-month plan.

Last month we held our 11th retreat, followed by a small reunion for all of the flashers (as we call retreat participants). The four participating photographers had very diverse backgrounds and aesthetics, which is something we aim for to get different perspectives and make the collaboration more powerful. David and I are continually blown away by the talent, dedication and energy of the photographers we work with, and this group was no exception. This group. Wow.

Justin Cook

Rod Fincannon

Honey Lazar

Audra Melton

Honey Lazar, Audra Melton, Rod Fincanon, Justin Cook

Honey Lazar, Audra Melton, Rod Fincanon, Justin Cook



Flash Powder Retreat #9: I Just Love Photographers

...and working with photographers

...and being inspired by photographers

...and looking at the images made by photographers

Photographers are awesome.

Leading the Flash Powder Retreats (with David Bram) is easily one of the most gratifying things I do. We spend four days and five nights in a house with four photographers and work sun-up to sun-down on their photographic projects. The retreats aren't for making work - they are for taking an existing body of work, tightening it (edit, sequence, project statement), and creating a plan to launch it. It's intense and exhausting, but it is incredibly exciting to be able to immerse myself in someone's project and overall photographic goals and work collaboratively to move the work forward.

The 9th Flash Powder Retreat just ended (this one was in Highlands, NC), and as usual, the goodbye pulled on the heartstrings. Another great group, both talented and fun. I encourage you to check out these photographers' portfolios and keep tabs on them. I'm sure you'll be hearing a lot more from them soon.

Leon Alesi

Victoria Crayhon

Eugene Ellenberg

Hannele Lahti

And just so you know how much fun we had. . .

Flashers: Gene Ellenberg, Hannele Lahti, Leon Alesi, Victoria Crayhon
Flashers: Gene Ellenberg, Hannele Lahti, Leon Alesi, Victoria Crayhon
a rowdy game of Dirty UNO
a rowdy game of Dirty UNO
Sunset Rock
Sunset Rock
photo 4
photo 4
photo 5-1
photo 5-1
showing work
showing work
beautiful weather, working outside
beautiful weather, working outside
David on Impossible film
David on Impossible film
in town, at the Ugly Dog Pub
in town, at the Ugly Dog Pub
photo by Victoria Crayhon

photo by Victoria Crayhon



Flash Powder Projects Workshop in Orlando, March 2 & 3

Flash Powder lrThe Flash Powder Projects retreats are invite-only and limited to just four photographers, but there has been so much interest from photographers at all levels, that we have created the Flash Powder Workshop. The workshop is a one-day program to give fine art photographers valuable knowledge and guidance on how to move their careers forward, establish goals for their work, and develop plans to launch photographic projects.

We will be hosting the workshop in Orlando on March 2 and again on March 3.  Space is limited, and the fee to participate is $175.  Come to Orlando, and ignite your potential!

More information and registration here:




Flash Powder Projects Retreat #8!

from left:  Jared Soares, Sarah Pfohl, Sean Carroll, Joshua Meier
from left: Jared Soares, Sarah Pfohl, Sean Carroll, Joshua Meier

THIS group.  Whoa.  David and I just continue to be blown away by the photographers we work with.  Sure, we select them, so we know their work is strong.  But they are passionate and driven and creative, and when they come together, sparks fly.

We spent five days holed up in our cozy house and rode out the Polar Vortex by the fire.  It was kind of blissful.  We worked hard and well into the night, but we managed to squeeze in some rowdy fun too, especially if the ‘90s tunes were spinning.

We strongly encourage you to check out these flashers websites (redone as a result of the retreat or well on their way to being redone).  But if you don’t, we’re sure you’ll be seeing plenty of them soon.

Sean Carroll

Joshua Meier

Sarah Pfohl

Jared Soares



Flash Powder Explosion

Mark my words - these photographers are going to set the world on fire.

A year and a half ago, David Bram and I had an idea.  What if we invited a few photographers we felt had a lot of potential to a five day, four night retreat and worked with them to take their work to the next level?  We would all stay together in the same house, and everyone would bring their photographic project.  By the end, they would each have a solid edit, sequence, artist statement, a 12-month plan, and the knowledge to make it happen.  They would also have the two of us, as well as the rest of the group, as a resource going forward.  It was a big idea, but then again, I love those.

So we created Flash Powder Projects, and we haven't looked back.  Seven retreats in three different locations and 33 photographers later, we are constantly hearing from our retreaters with amazing news and successes. This is one of the best and more rewarding things I do, and the relationships I've made with these photographers have added so much to my life.  And luckily, they all seem to feel the same way about the value of this experience.

A week ago we finished our seventh retreat, this one in New Mexico. Even after all this time, David and I still get nervous about the group. We are really selective about the photographers we invite, because so much of the experience hinges on collaboration and each person bringing a unique and informed perspective.  The photographers need to be at similar levels and have a similar drive to move forward in their photographic careers.  And then the personalities need to mesh, which is the truly stressful part, because that is impossible to predict.  Luckily we have nailed it each time, and the bonding that happens is insane.

This group was no exception. The retreat was at a ranch in southern New Mexico, 90 miles from the nearest grocery store.  These four!  When the photos come out and we dig deep, the barriers just naturally come down.  We all left not only inspired, but closer than I thought was possible.

But enough of the sappy stuff, and let's get down to their incredible work:

Dustin Chambers

Steven Ford

Maggie Meiners

Lexey Swall



How to Nail a Portfolio Review

Wally Mason from the Haggerty Museum of Art reviews Jonathan Michael Johnson’s portfolio
Wally Mason from the Haggerty Museum of Art reviews Jonathan Michael Johnson’s portfolio

This past weekend I was honored to attend Filter Photo Festival in Chicago as a portfolio reviewer (I was also part of a panel about collecting, which was awesome).  Filter is a really solid festival, and definitely a great portfolio review to consider attending as a photographer.

Over the course of three days, I met with 35 photographers in 20 minute sessions each.  While I saw many photographers who were seasoned reviewees, a lot of the people who sat across from me were new to presenting their work in this format.  It's hard.  Really hard.  You have twenty minutes to show me your work, sell it to me, ask questions, absorb feedback, and smile.


You want to nail it.  Of course you do.  Here's what I suggest:

  • Develop an elevator pitch and practice it.  Over and over.  "My project is about . . ."  Distill it down to one or two sentences that you can say as I start looking at your images.  Not a dissertation, just some context.
  • Listen more than you talk.  If you run a continuous monologue for twenty minutes, I don't have an opportunity to give you feedback or ask questions.
  • Pay attention to sequence and edit.  The images should have a flow.  Do not include images you don't feel good about.
  • Breathe.  Be open.  Be gracious.

In April, David Bram and I worked with Matt Crowther over five days at the Flash Powder Retreat on. . . everything (you can read more about the retreats here).  Matt is a super talented photographer, and at Filter his portfolio won "best in show".  Now I'm not saying it was a direct result of dedicating time and energy to tighten his work, but he might. . .

I had been to a couple of review events before, but the recent Filter Photo Festival in Chicago was my first since attending the Flash Powder retreat in Astoria last April. While previous reviews have been decent experiences, this one was like a whole new world. I was showing my most tightly edited portfolio yet, having worked on the editing and sequencing at the retreat. Also, having worked so hard on my artist statement helped me talk about my work much more clearly and concisely, which helped the conversations flow better and meant I could get more out of the limited time with each reviewer. And perhaps most importantly for me, all that preparation plus having talked through goals and strategies with Jennifer, David, and my fellow Flashers meant I was more focused and confident than I've been in quite a while. In the end I came away with some great new connections, some concrete opportunities, and my portfolio was the voted best in show. --Matthew Crowther

Spending time and energy working out the kinks in your portfolio, getting comfortable talking about it, and being beyond prepared - that's how you nail a portfolio review.



Flash Powder Retreat #6 - Explosive!

August 6-11 marked the sixth Flash Powder Projects retreat.  Five photographers were invited to participate based on the quality of their work and their ability and willingness to contribute to the group.  And these guys? Home run. The five day, four night retreats are designed to help photographers tighten a body of work and develop a strategic plan to release it.  But that's just the tip of the iceberg.  We all leave exhausted, inspired, and ready to rock.  I am so fortunate to get to do what I do.

Take a minute to check out the work of this talented and diverse group:

David Kressler

Shannon Leith

Emma Powell

Nick Shepard

Tristan Spinski

Are you a photographer interested in getting a project ready to launch? Check out Flash Powder Projects here.



LPS Spotlight: Sara Macel

Since the photographers featured in the Local Photographer Showcases in each city are supremely talented and excited about reaching new audiences with their work, we will be regularly featuring them to give you more insight into their work and their experience Crusading. Next up is Sara Macel from the Brooklyn pop-up:

Tell us a little about your background as a photographer and where you are now with your work.

Born and raised in Houston, Texas, I left home to study photography in New York when I was eighteen.  I got my undergrad BFA in Photo & Imaging at NYU in 2003 and my MFA in Photography, Video, & Related Media from SVA in 2011. Between my undergrad and graduate degrees, I worked as Bruce Davidson's studio manager and as a still photo producer at Art Department while working on my personal projects and exhibiting my work around NYC and Brooklyn.  After getting my MFA in 2011, I began teaching photography at Rockland College upstate and shooting my own editorial and advertising shoots to help support my personal work.  My first monograph, "May the Road Rise to Meet You," is coming out in Sept 2013 from Daylight Books.  There's going to be a big launch party and panel talk on Sept. 21, 2013 at United Photo Industries, and I'm kicking off the exhibition and book tour with a show at Daylight's project space in Hillsborough, NC in late Sept-early Oct.

How did you hear about the Crusade, and what were your initial impressions?

I met Jennifer at Fotofest in 2012.  She wasn't on my list of reviewers, but I knew about her and her gallery and wanted to make that connection, so I emailed her before the event asking if she could make a little time for me, and she was so gracious and said yes.  During our meeting, she gave me some of the most helpful and honest advice I got the whole review and helped connect me with David Bram of Fraction Magazine who then featured my work in Issue 39.  In the months that followed, Jennifer and David invited me to their Flash Powder retreat in Astoria, which I attended earlier this year.  I knew about the Crusade from the beginning and followed its adventures, but it was at the retreat that I got to meet Lady Blue and become even more invested in supporting Jennifer and her vision.  I was so happy when Jennifer asked me to take part in the Brooklyn Crusade soon after getting home from Astoria.  I think it's a really creative way to get people into the idea of collecting art and meeting artists.  And most artists I know are eager to build an audience for their work but not really sure where to start.  I knew it might be a little awkward to walk up to a stranger on the street and say "Are you interested in collecting some art for free today?" And it was!  But it was also a great exercise in practicing my "elevator pitch" and hang out more with Jennifer, which is my definition of a win-win.

Were you excited to participate in the Local Photographer Showcase?  Why or why not?

Hell yeah! I love being part of Lady Blue's journey. It taught me a lot about creating your own buzz and finding ways to reach people so that they too become invested in your project.  With my book coming out in September, it was fun to tell random people on the street about it.  I brought a notebook and got names and emails of the folks I talked to about my work.  For the people who walked away with my print, that's just even more incentive for them to check out and hopefully buy the book when it comes out.

How did the event go for you?  Was it like you expected or different?  Better or worse?  

It was disappointing that the van couldn't join us in Brooklyn for mechanical reasons, but overall I was really excited about the people I met and who walked away with my prints.  The first couple I met and shared my work with already collect photography from local DUMBO photo gallery Klompching, so that was great!  And right after I talked with them for a few minutes, I met a female artist and we talked about making work and getting it out in the world.  Despite the heat, I met some great people and really enjoyed hanging out with my fellow artists and Jennifer. The post-Crusade drink with the gang was also a highlight.

What do you hope will come out of the experience for you - personally and professionally?  Do you think those are realistic expectations?

Jennifer is a powerhouse of great ideas, so it was worth it just to talk with her more about my book project and brainstorm ways of spreading the word about that.  By getting contact details for the people I met, I helped grow my audience for future events, books, and shows.  And if a print sale comes from this, that would just be the cherry on top of the sundae.  In the end, I just like being part the Crusade for Collecting family, and if any future collectors come out of it, great!

Tell us about the image you gave away at the event and how to see more of your work.

The image I contributed is from my series "May the Road Rise to Meet You." The project is about my father's life on the road selling telephone poles, and the image, titled "Recognition Lifts the Human Spirit, Spring, Texas," is a bird's-eye view of his desk at home.  The title of this image comes from an inspirational phrase he wrote to himself on his day planner. More info about the book can be found on my website and at The book launch party will be Sept. 21 in Brooklyn at United Photo Industries, and all summer until October you can see images from my series "Rodeo Texas" along The Fence at Brooklyn Bridge Park ( sponsored by Photoville and UPI. Please sign up for my mailing list on my website for more updates and follow me on Instagram and Twitter @saramacel.



Astoria Retreat (Season 4!): #flashersforlife

When David Bram and I started planning our first invite-only retreat for photographers over a year ago, we never could have imagined how powerful these experiences would be - for everyone.  David and I leave each and every one completely blown away by the talent, energy and drive of these artists.  And then there's the bonding. . . something about living all together in a house for five days, talking non-stop about your art and life. . . it easily makes the retreats one of the most special and rewarding things I do. I have often said that living in the house together is like The Real World without the hot tub, and when I started my tour, so many of the photographers who have participated on the retreats either came along on a leg of the trip or participated in a pop-up or just showed up in a city for an in-person high-five. It started to feel like The Real World-Road Rules Challenge, with photographers from one retreat meeting photographers from another and sharing stories from what they all knew was a completely unique experience.  "What retreat were you on?" sounded very much like "What Season were you on?".  

Sean Dana and Kurt Simonson (Season 1 - aka Astoria 7/12, aka #Astoria6) drove with me from San Francisco to Portland, where we met up with Bill Vaccaro, who was also Season 1 and participated in the New Orleans pop-up (so did Kurt!) and met up with the Crusade in Cleveland.  In Portland I saw Julia Vandenoever (Season 2, aka The Cat Cave) and Elizabeth Clark Libert (Season 3, aka The Bone Collectors) and Brandon Thibideaux (who was soon to be Season 4, aka Flashers).  Sarah Moore (Season 2) was my co-pilot from Chicago (where we met up with Matt Crowther - Season 4) to Cleveland (enter Bill Vaccaro and Matthew Conboy - on Sarah's season) to New York (where she reunited with Muema from Season 2 and met Sara Macel from Season 4 and Charlotte Strode, who will be Season 5 in July).  And to bring it all home, Heather Evans Smith (Season 3) met me in Richmond to celebrate the final Crusading days.  Whew.  Confused?

In all of the traveling excitement, I have not written up the last retreat (Season 4 - held in Astoria, Oregon in April).  This group bonded straight out of the gate.  It was almost alarming.  We always try to put together people from different places, photographic experiences, types of work, etc. so that the participants learn from each other as much as they learn from us.  And although this group had the usual amount of diversity, they were besties nearly instantaneously.

We had the usual agenda of intensive work on portfolios, sequencing, artist statements (my favorite!), and hours and hours of more, followed by after-hours bowls of Butterfinger ice cream and more photo talk.  We also explored Canon Beach (Goonies rock!), made friends with some locals, rocked the DQ,  and became flashers for life.

This crew. . . damn special.  They all are, honestly.  David and I say it constantly - we are so lucky to do what we do.

Make sure you check out the work from this talented group: Matt Crowther, Elizabeth Fleming, Sara Macel, Brandon Thibodeaux and Annick Sjobakken.

Are you a photographer interested in getting a project ready to launch? Check out Flash Powder Projects here.



A Tale from the Backseat by Kurt Simonson

I first met Jennifer Schwartz at the inaugural Flash Powder retreat in Astoria, Oregon last summer.  It wasn’t long before I was deeply impressed by her passion for art and for people, and her brilliant out-of-the-box thinking.   When she first told me about the upcoming Crusade for Collecting, I loved the idea, and I had the distinct premonition that I’d find myself involved in some way (ok, actually, I had visions of being broken down in the middle of Texas, having repeatedly told Jennifer that I did not drive stick...) Still, this all sounded strangely appealing, so with a teaching sabbatical on the horizon, I figured I’d jump in. I was fortunate enough to participate as one of the featured photographers in both New Orleans and my own home of Los Angeles before I actually joined Lady Blue on the road in San Francisco.  The experience of giving my work away to strangers in both of those cities was a whirlwind of energy.  Whether the people passing by were genuinely interested in my work, or whether they were just bewildered and took a photograph to get me to shut up, it didn’t matter—my work was making it’s way into the hands of new collectors.   Who knows, maybe they got home and threw it away, or maybe they put it on the wall and it’s their new favorite thing… either way that’s okay.  What I found so valuable was the interpersonal connection of artist to collector, giving artists a chance to forge a vibrant network of relationships in the community through their work.

The next week, I met up in San Francisco with Jennifer and our fellow Astoria mate Sean Dana, ready to begin my leg of this adventure on the road.  As promised by Jennifer, I was not allowed to drive Lady Blue, due to my aforementioned ignorance of manual transmission (yes, I’m a bad Minnesotan).   So instead, I took up residence on the backseat bench, where I could get lost in all the street noise and be left to shout “what?!” to Jennifer and Sean as they had their conversations in the front of the bus.   The first story I heard was about how Lady Blue had spent most of the weekend in the shop, being tenderly serviced by an amorous mechanic named Coby.  Sean seemed reassured by Coby (who wore a jumpsuit with the name Paul on it, so Jennifer called him Fake Paul from the start) that things were going to be in good shape for the drive to Portland.   After a leisurely morning of preparation and b-roll footage, we hit the road.

The camera was rolling, the music was cranking…. and the oil was leaking.  Heavily.  We didn’t even make it over the Golden Gate before Lady Blue decided she missed Coby.  With only a couple miles under our belt, we had to go back to Valley WagonWorks to spend some more quality time with Fake Paul Coby.   I was beginning to wonder if we would spend more time crusading for mechanics to become collectors than anyone else.  This photo says it all to me:

The generous sponsorship of the “Impossible” project, written on a decal along the side of the bus, threatened to become an ominous prophesy of doom.  However, long story short, and a mediocre Mexican dinner later, Coby found what was wrong (or did he?) and sent us off on our way, just barely before sunset.

After spending the night in Willits, CA, Sean chugged ole’ Lady Blue out of the parking lot of our hotel and into the middle of the road, where she promptly decided that she was done … only two minutes into the day.  We forced her to chug along a side road to Ron’s Muffler, where we would meet our next batch of collectors mechanics.  This time, however, the experience and wisdom of Ron was on our side.  I had a good feeling about this and was optimistic: I grew up around repair shops and mechanics.  It’s the type of work my family has done for generations, and while I’ve always been a total misfit to that world, I still had a good feeling about Ron and his two guys, Cesar and Matthew.   Sure enough, within minutes, Ron could tell what was happening, and Matthew found a bolt that was loose, or broken, or something like that… I don’t know… Sean talked to them.  I was busy taking photos of junk piles.   Again, I’m a bad Minnesotan and I fell far from the mechanic tree in my family.  In any case, with a sense of great relief, we hit the road again, with our mechanical woes behind us.  Lady Blue was finally happy, it was a beautiful day, and the lush wooded landscape of the 101 northbound was ahead of us.

The day was marked by two epic stops:  first with John and then with the Giants.   Jennifer has already shared a bit about John, and his toilet in the middle of the field along the side of the 101.  (You can see some of Sean's photos here.) This was truly your quintessential road trip experience.  John’s roadside wunderkammern was a definitely a “cabinet of curiosities,” but it was John himself, and his hospitality and generosity, that left us feeling so much joy.  

Upon first getting out of the bus, I was led by John directly to the far back of his large shed where he opened a fridge packed full of beer and soda and proceeded to tell me all about his Chrysler New Yorker, his various collections, and all the different people he gets to meet when they stop to use his toilet in the field.  He pulled up chairs for us, offered us many gifts, and even sang along to some of his favorite songs (he would regularly grab the remote to his Bose speaker system and play whatever song he felt appropriate in the moment).  Eccentric, definitely, but crazy?  Not at all.  John struck me as a man who delights in simple pleasures, and loves to meet anyone who comes his way.  He is a collector of experiences, and a perfect person to meet on this Crusade adventure.

Our next stop was to see the redwoods in the Avenue of the Giants, a sight I have always wanted to see.  Needless to say, I found myself deeply in awe of the beauty of this place… but having been told by Sean that this is where they filmed Return of the Jedi, I was sorely disappointed that there were no Ewoks and speeder bikes.

Our second night was spent in Crescent City, which afforded us this beautiful view the next morning (see above). Day three would be spent driving up the Oregon coast, which is really beyond words in its beauty.  Much to our delight, Lady Blue behaved herself all day and managed to control her addictive desire to meet new mechanics in each major city.   That night we finally found ourselves in Portland, enjoying the warmth and hospitality of my friend Tom, slowly peeling off the layers of clothing that we wore to keep warm inside the bus.  Photolucida was the next day, and my adventures with Lady Blue were coming to a close.   I didn’t participate in the Portland pop-up, due to review appointments at Photolucida, and I have to admit, it felt a little strange to not be part of it.  It had been a total pleasure to be included on three legs of the Crusade and to be along for the ride between two of them (even if I never did get to drive the Lady). Jennifer and the Lady are headed to the Midwest and East Coast next.  If you’re in one of the remaining cities of the Crusade, don’t miss your chance to see what it’s all about, and even go home with some free art.

Kurt Simonson is a fine art photographer and professor based in Los Angeles.  He is also one of the best people on the planet.