The Best Medicine Show

In January, 2020, we sent out a call for photography:

We need to laugh now, more than ever, so Dickerman Prints is announcing a call for humorous entries that will lift our spirits and tickle our funny bones.

Who knew that just a few short months later, our need to laugh would be so amplified. To help celebrate humor in the midst of challenge, we present the selected entries from The Best Medicine Show.

Gary Beeber - Jimmy on a Float
Ellen Rosenthal - Sorry, We're Open
Ken Walton - San Francisco, 2018
Erica Martin - Adult Cabaret
Marky Kauffmann - Betty's Bread

“Against the assault of laughter, nothing can stand.”

~ Mark Twain

“Always laugh when you can. It is cheap medicine.”

~ Lord Byron

  Photograph by Jock McDonald


  • Best of Show – Gary Beeber
  • Honorable mentions – Erica Martin, Marky Kauffman, Ken Walton, Ellen Rosenthal


  • Ann Jastrab, executive director of the Center for Photographic Art, Carmel
  • Stuart Kogod, owner and founder of Rayko Photo Center
  • Seth Dickerman, owner and founder of Dickerman Prints

“Keep laughing. As long as you’re laughing you still have hope.”

~ Moe Howard

Some parting laughs

Stop by

1141 Howard Street
San Francisco, CA 94103

Our friendly staff loves to share their expertise and experience. Come in, load up your photos on a Mac workstation, sip on an organic espresso or tea, and let us help you create the perfect print.

We’re always here to help
(415) 252-1300
[email protected]

Monday: 10 – 6
Tuesday: 10 -7
Wednesday: 10 – 6

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Your Local San Francisco
Photo Lab

Fist Running - Jock McDonald

The Best Medicine Show

The Best Medicine Show

A Juried Exhibition of Funny Photographs

Opening Reception:
April 1 (April Fool’s Day), 6-8pm

  Photograph by Jock McDonald


We need to laugh now, more than ever, so Dickerman Prints is announcing a call for humorous entries that will lift our spirits and tickle our funny bones.

All genres and styles of photography are welcome, but remember: photographs will be judged primarily on how funny they are!

  Photograph by Jock McDonald


  • Best of Show will receive a $500 gift certificate to Dickerman Prints.
  • 4 honorable mention prizes of $150 gift certificates to Dickerman prints will also be awarded.
  • Winning pictures will be exhibited at Dickerman Prints in the SOMA Arts District of San Francisco.
  • Selections from the show will be featured in a special article in


  • Ann Jastrab, executive director of the Center for Photographic Art, Carmel
  • Stuart Kogod, owner and founder of Rayko Photo Center
  • Seth Dickerman, owner and founder of Dickerman Prints

“Always laugh when you can. It is cheap medicine.”

~ Lord Byron

  Photograph by Jock McDonald

Entry Guidelines

The Best Medicine Show is open to all living photographers, worldwide, over the age of 18, working in all still photographic media. Works must be original.

  • Deadline for submissions: March 8, 2020
  • Entry Fee (non-refundable): $30/up to 3 images. $5/additional image up to 10 images.
  • Limit 10 images per person:
  • All entries must be jpegs or tiffs, not bigger than 2MB, longest side 1280 pixels
  • Save files with artist’s last name, first name and title of image (Example: Marx-Groucho-Animal Crackers-1930.jpeg)
  • For those submitting by mail or hand-delivering to Dickerman Prints, please download our submission form.

  Photograph by Jock McDonald

Submission of Accepted Work

Accepted artists will be invited to send or deliver actual work.  Artists may also choose to have Dickerman Prints, San Francisco’s premier photo lab, print your images.

For $20 per print, Dickerman Prints will make beautiful prints of your photographs that you will get to keep after the exhibition. 8×10″ or 8.5×11″ paper.

All works will be hung unframed.

“Keep laughing. As long as you’re laughing you still have hope.”

~ Moe Howard

  Photograph by Jock McDonald

Delivery & Return Schedule

  • March 8, 2020 – Deadline for submissions. Late submissions will not be reviewed.
  • March 10, 2020 – Notification sent by
  • March 14, 2020 – Deadline for receipt of digital files if Dickerman Prints is printing your image(s) for the show
  • March 25, 2020 – Deadline for receipt of works (late submissions or substitute images will not be hung)
  • April 1 – June 1 – Exhibition on view
  • April 1, 2020 – Opening reception at Dickerman Prints, 5:30-7:30pm (yes, April Fool’s Day!)
  • June 10, 2020 – Pick-up hand-delivered work
  • July 1, 2020 – Works shipped by

Enter Now

Artists will be notified by email on March 8, 2020

Stop by

1141 Howard Street
San Francisco, CA 94103

Our friendly staff loves to share their expertise and experience. Come in, load up your photos on a Mac workstation, sip on an organic espresso or tea, and let us help you create the perfect print.

We’re always here to help
(415) 252-1300
[email protected]

Monday: 10 – 6
Tuesday: 10 -7
Wednesday: 10 – 6

Follow Us

We share local artist profiles, photo resources, interviews, exclusive discounts and a behind-the-scenes look at a modern photo lab.

Get our awesome newsletter

  • This field is for validation purposes and should be left unchanged.

Your Local San Francisco
Photo Lab

CURRENCY: by Seth Dickerman

a pop-up exhibition

Large-format photographic prints by Seth Dickerman


1141 Howard Street, SF

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

About the Work

The coins and bills from which these portraits were photographed are history books in disguise.  They bear witness to change: physical, historical and philosophical.  Our perception of these presidents has changed over time, as have these artifacts which carry their images.

These images have traveled a circuitous path.  Each began as a portrait drawn, painted, or photographed directly from their living subject.  These portraits were then rendered, as line drawings for bills, or as sculptural reliefs for coins.

These renderings were then greatly reduced, and used to make printing plates or minting dyes, which were subsequently used to produce the bills and coins.  They were endowed with monetary value, and sent out into the world.

They have been passed from person to person, place to place, past to present. Spent and saved, gained and lost, each has been marked by its own unfathomable journey.

Currency was featured in the SF Chronicle


Technical Information - a Journey Continued

The coins and bills were photographed at extremely high magnification with a 4x5” view camera and black and white film (the coin an inch or two in front of the camera lens, and the film as much as 16” behind the lens).  A miniature spotlight was positioned with the sharply focused filament of the bulb grazing the surface of the coin.  The slight ridge on the edge of the coin created the initial shadow, allowing the features of the portrait to be lit in bright relief.  The portraits on the bills were made the same way, with the light source less sharply focused.

The resulting 4x5” negatives were then projected by means of a photographic enlarger to make 20x24” silver gelatin prints.  These prints were subsequently scanned digitally and enlarged again to make the archival pigment prints in this exhibition.  In the case of the 40x50” prints, the bills have been enlarged by 3,500%, and the coins have been enlarged by ratios from 6000% to 10,000%.  At this scale the coins would average 6 feet in diameter,  and the bills would be nearly 8 feet tall by 18 feet wide.

Artist’s Statement

My interest in images of presidents began in childhood.  In the early 1960’s, iconic images of  American presidents were ubiquitous.  We didn’t have the constant stream of dramatic imagery then that we have now - there were fewer idols, fewer heroes.

The Presidency was generally respected and celebrated. It was a simpler and more optimistic time in America.  By the 1960's much changed.  The Viet Nam war raged on, and Richard Nixon was president.  I began photographing Nixon from television and newspapers and have been exploring presidential imagery ever since.

The seed of this particular project was planted on a spring day in 1986, when I was struck by the dignity of Franklin Delano Roosevelt’s portrait on a silver dime.

This was during the administration of Ronald Reagan, whose cheerful portraits seemed to me to be those of a fictional character, at best. I decided then to photograph FDR on his dime, in part to illustrate the contrast with Reagan.

The tainted election of a smirking George W. Bush in 2000 brought what one might have thought to be the ultimate insult to the institution of the presidency.  I began to look more deeply at the presidents on our currency - a rather obvious link between money and power.  I made the 10 photographs in this series, printing them as 20x24” silver-gelatin prints.

I had thought the project finished - until the shocking and tainted election of Donald Trump in 2016 induced me to revisit the project.

I have used digital tools to go deeper into the work, by exposing greater detail, by increasing scale, and by further manipulating light and shadow in ways that I could not do in the darkroom.

When the 20x24’s were first shown in San Francisco, in 2000, it did not strike me as especially significant that these images of presidents were all of white men.  Today, 19 years later, the significance of this is painfully apparent. Despite setbacks, much progress has been made since then - and we clearly have good reason to believe that a female presidency is at last in sight.

May we recover from this benighted administration, and learn from our past!

Seth Dickerman
January, 2019


Nicholas Korkos & Communicating Truth

artist resident – Nicholas Korkos – opens up about his photography.

" I don't hold back. My one goal is to communicate truth, the subject's and my own." 

Working on exposing the side less seen, Nick Korkos' inspiration lies within everyday occurrences and details ... the moon, streetlights, dancers gliding across the stage, a woman walking with her dog ... even a man staring into the lens.

Trying to dig deeper than just surface value, Nick communicates that what they all have in common is that there is more to them than is being shown.

As a member of the Dickerman Prints Artist-in-Residence program, Nick developed his Dance in Motion series, which explores the intimate and abstract world of dance studios across North America. 

Be sure to stop by the gallery before October 28 to see Nick's work in person.


NICK KORKOS: "One night at the Esalen Institute, I went outside to photograph the incredible moon. I increased the shutter speed on the camera, and as  I went to take the photo, the camera slipped out of my hand.

The slip created a blur, and from that accident a whole series was born. Another side of my brain opened up and I thought, "This is my golden ticket!" Although that may have been a bit of a stretch, to a certain extent it was true; I started to see how a camera can be manipulated and how interesting it is to created the unrecognizable."

 From Moon Series From Moon Series


NK: "Always! As a kid I would buy disposable cameras like they were packs of gum. There's something about documenting moments, recording the look on someone's face or the colors in the sky, and then to always be able to look back and remember, that feels really powerful. "

 From Aszure Barton & Artists From Aszure Barton & Artists

DPG: Out of your three categories on your website (lifestyle, performance, and abstract) which would you say is your favorite, if you have one?

NK: "I don't think I have one. Performance is thrilling and keeps you on your feet because it's collaborative and about showcasing every aspect - the characters/performers, costume, lighting, and set design and the intention of the piece. I love the pressure.

My abstract photos are the most freeing and personal, but portraiture is perhaps what sparks me most. There isn't anything more truthful than someone's face. Words are able to be twisted but the physical is hard to misinterpret."

 From Portraits From Portraits

DPG: Can you speak a little bit about your photographic relationship with your subjects? We’re interested in learning more about how photographers use different methods or techniques to get the images they want.

NK: "I try not to ask people to change. Someone's eyes or lips or jaw can tell us everything we ever needed to know. This of course ties in to keep your subject comfortable and light, even if it's a heavier time.

I find it helpful to talk subjects through their feelings. Not asking someone to change for a photograph is the same as not asking someone to change for any other reason. It's a hard concept to grasp but once you do, trusts abounds. "

 From Portraits From Portraits

To learn more about Nicolas Korkos' work and for contact information, please visit his website. 

Sumeet Banerji & The Shroomscapes Series

By examining our world from the viewpoint of a Portobello Mushroom, Sumeet Banerji's Shroomscapes strives to challenge how we see and interpret beauty.

Each photograph begins with Sumeet zooming in on his fungal subjects, giving the viewer a new awareness of its structure and design.

Using only a cylindrical pinhole camera with 120mm film, Sumeet produces his images using a 2 hour exposure time. The result – beautiful, detailed photographs that leave you wanting more.

. . .

After spending the summer working on Shroomscapes during his residency at Dickerman Prints, Sumeet sat down with us to chat about photography, pinhole cameras, life, and mushrooms.

To experience Sumeet's work, please join us on Thursday, September 28, 2017, at Dickerman Prints Gallery for an opening night reception for The Residents. (RSVP HERE)

DICKERMAN PRINTS GALLERYHow did you get started in photography?

SUMEET BANERJI: "As a child, I practiced drawing in an obsessive way. I was a little nuts. I felt it was foundational to establishing a visual language, like if I could learn how to draw, I would be able to speak through pictures. Drawing trains you how to communicate where things are in space. It makes you understand how to make something look large or small. When you study drawing, you are really learning how the human brain processes the visual field.

Drawing was my start in photography. I think that my photographic work now is often a deliberate manipulation of the perceived scale and viewpoints of things. These trends in my photographs are in large part due to my drawing practice."

DPG: What does photography mean to you?

SB: "For me, it’s a kind of puzzle, a way to challenge the mind. You have to be able to look at a three dimensional visual field and have an intuition about how it is going to flatten visually.

Using a pinhole camera with film, the way I shot the Shroomscapes, there was no viewfinder so I couldn’t see what I was doing at all. I calculated and visualized what I could–after that it was a complete mystery until I developed the film."

DPGWhat has your biggest challenge been as a photographer?

SB: "I want people to come back to my pictures many times and always find new things. That’s the basic aim: to make a picture that doesn’t lose its impact over time. I’ve found the best way to do this is through my editing process.

Often, I won't look at the pictures I've taken for a long time, creating the possibility of an emotional disconnection. It has to feel like someone else’s work before I can be objective. In the case of The Shroomscapes, I didn’t look at them for five years. If I look at work I’ve made after a long time and still feel an emotional connection to it, I put it out."

DPGWith your shroomscape series- what was your process with the pinhole camera? What were some of the challenges of this project for you?

SB"The Shroomscapes are made with extremely low tech items. There is no post processing/manipulation. The prints show exactly what was captured on film. The images were made with a cylindrical box (pinhole camera), a portobello mushroom and 120mm film. The warping (in this case straightening) effect is from how the film was wound. The pinhole camera was put right inside the portobello mushroom, within an inch of the stalk so there was very little light. The film had to be exposed for two to three hours.

It is a photographic take on the very old tradition of still life painting. The long exposures made it like oil painting where the image could be manipulated slowly and deliberately.

There is an essay called 'In Praise of Shadows' by the novelist Junichiro Tanizaki that talks about the beauty of shadows and dark spaces. I wanted to capture an image that was in almost total darkness, showing us something from the real world that we can only see through the photographic process–darkness and shadows.

The images that resulted were tonally delicate. Small shifts and inconsistencies in the printing dramatically change the impact of the images. Gabriel, Seth and Garnell at the studio were able to bring the pictures to life in the real world in a very special way."

DPG: What is the future of this body of work?

SB: "I want to expand the series, take more Shroomscapes. Possibly a survey of different species of mushrooms taken with pinhole cameras. I also want to create a series of Cabbagescapes, Avocadoscapes, and maybe even Flowerscapes."

DPGDo you have any new projects you’d like to tell us about?

SB: "I am starting to release my pictures in a series of volumes. It's going to be a collection of my photographic work in books with small pigment prints inserted into the books. It's a good way to see and own all the work in physical form.

Volume 1 contains four series (including the Shroomscapes) with essays and is coming out this month."

To see more of Sumeet Banerji's work and for contact information, please visit his website.

Igniting A Revolution: An interview with Kelly Johnson

For fifteen years, Kelly Johnson has been documenting progressive movements. 

From the climate movement, to Black Lives Matter, the fight to increase minimum wage, Kelly Johnson aims to show humans healing the sick systems and institutions we ourselves created.

We recently sat down with Kelly to discuss her time as an artist-in-residence at Dickerman Prints, as well as her thoughts on photography, life, and the revolution. To experience Kelly's work, please join us for the opening night reception of The Residents.

Thursday, September 28, 2017
6:00 - 9:00pm

DICKERMAN PRINTS GALLERY: What portfolio or project are you currently working on during your residency at Dickerman Prints?

KELLY JOHNSON: "I am working on a project called Direct Action, depicting activists working for various issues by stopping business as usual."

DPg: Can you tell us one of your favorite stories from your life as a photographer?

KJ"One of my favorite times I experienced as an activist/documentary photographer was my time at #Occupy SF. I slept in a tent in downtown SF for 3 months and built relationships with activists all over the bay."

DPgI’m sure, like most of us, you have a point in time where photography caught a hold of you. When did you become a photographer in earnest?

KJ"As a child I moved 18 times by the time I was 18 so I was always saying goodbye to friends and family so I was always taking photos. When I was 21 I started working at a lab and getting shooting gigs and started my own business and one day I realized omg I’m a photographer. I was 25 at the time and have been shooting professionally ever since."

DPg: Out of your movement portfolio, do you have one in particular that was your favorite to shoot?

KJ: "The bay bridge image is my most popular and famous image and I was very honored to be invited to that action. I will say I was so excited that I did not shoot that much that day so I was lucky to get such an iconic image."

DPG: You do abstract painting as well. Which medium do you prefer and why? 

KJ"My abstract work is photoshop collage of images that I do various things to in photoshop. I have worked in oils and acrylic with collage but photoshop is so fun and unlimited."

DPGDo you have any suggestions for those who want to get involved with shooting movements?

KJ"The reason I document the progressive movement is because it is the single most important movement in human history. The life and health of the species is resting on the success or failure of the humans who stand up to save us all. If we fail we are done here. So my advice is care."

DPG: Any new projects that you have in the works? 

KJ"After being in the bay for 5 years now, I have decided to restart my portrait business here in the bay. I am very interested in working with local artists and doing editorial portraits that are interesting and unique, that the artist and I build in collaboration. I have already started working with a couple artists but have yet to start shooting."

To see more of Kelly Johnson's work and for contact information, please visit her website.






An Interview with Jordan Reznick

Meet Jordan Reznick (pronoun: they) — photographer, scholar, activist, educator, and artist-in-residence at Dickerman Prints.

Jordan's passion is photographing communities of people with whom they are intimate: exploring both the agency and vulnerability of their subjects.

Jordan Reznick's Queer Babes series — which is the centerpiece of their residency at Dickerman Prints — was recently exhibited at Aperture Foundation in New York and Romer Young Gallery in San Francisco, as well as being honored with a feature in Vice i-D Magazine.

Some of Jordan's other work includes a series documenting a cooperative community in Oregon — where they lived — and an in-depth exploration of their immediate and extended family.

Jordan received a BFA in Photography from New York University, and an MFA in Photography and an MA in Visual & Critical Studies from California College of the Arts. Currently, Jordan is a PhD Candidate in Visual Studies at UC Santa Cruz.

To experience Jordan's work, please join us on Thursday, September 28, 2017, at Dickerman Prints Gallery for an opening night reception for The Residents. (RSVP HERE)


Jordan Reznick: "My father was a photographer. I grew up admiring his strange photographs and smelling darkroom chemicals. He taught me to use a manual camera when I was ten. I’ve been photographing ever since. "

 Oriah twists (2011),  from We Wish That We All Have a Wonderful Life Oriah twists (2011),  from We Wish That We All Have a Wonderful Life


JR: "I take photographs of people. For years I avoided photographing people because of the power relationship involved and my own discomfort with the interaction—I’m pretty shy. However, over the years, I realized that all of my favorite photographs are photographs of people. In a photograph you can stare at some one in the face at length in a way you rarely can in person. Photographs of people captivate me in a way that landscapes never do.

However, because of the power relationship involved and the politics of representation, I choose to only photograph people with whom I am intimate or have a shared sense of vulnerability. I want my images to be honest and vulnerable, and I also want my subjects to feel that they have power over how they’re represented."

 Rhae, San Francisco, California (2017), from Queer Babes Rhae, San Francisco, California (2017), from Queer Babes


JR: "I’m working on the Queer Babes project. It’s a portrait series that explores the complexity of gender identity and beauty within the queer and trans community today."

 Christiaan, Rosemead, California (2016), from Queer Babes Christiaan, Rosemead, California (2016), from Queer Babes


JR: "I began the project by photographing my friends and lovers, but since then the project has expanded to include new people I meet and people that I had not met until approaching them about the project. Many people that I did not know before, I now count as my friends. I feel really lucky in that way.

I photograph each person in or around their home when possible. I don’t plan the photograph beforehand, but try out several settings once I arrive for the shoot. There is sometimes a sort of collaboration about outfits and backgrounds, but it really depends on the person. Every shoot is an entirely different experience. Sometimes making photographs is only a small fraction of what we do."

 Eric, San Francisco, California (2016), from Queer Babes Eric, San Francisco, California (2016), from Queer Babes


JR: "We Wish That We All Have a Wonderful Life is a project exploring my family. I photographed my immediate and extended family in different parts of the country, exploring what it was like to photograph while experiencing shared vulnerability with my photographic subjects. I photograph from a place that is embedded within my relationships with my subjects rather than as an outside observer. "

 Mom's orange tree (2012),  from We Wish That We All Have a Wonderful Life Mom's orange tree (2012),  from We Wish That We All Have a Wonderful Life


JR: "I am working on developing a new project and all that I will say about it is that it’s pornographic, dirty, and fun."

To see more of Jordan Reznick's work and for contact information, please visit their website.

Dickerman Prints Gallery Presents: Wanderlust

a juried exhibition

WANDERLUST is a juried photographic exhibition featuring the work of 33 talented photographers. This was the call for entry:

For some, wanderlust manifests itself as an unquenchable thirst to explore life beyond your comfort zone. For others, it’s as simple as reading a book, taking a walk at lunch or going left instead of a right on the way to work. Wherever your wanderlust takes you - by foot, pedal, engine or “other” - we want to see it!

Click here for photos from the opening night reception on June 15, 2017.

“Not all those who wander are lost”

— JRR Tolkien

wildLIFE - a Juried Photo Exhibition at Dickerman Prints Gallery

a juried exhibition

wildLIFE is a juried photographic exhibition featuring the work of 23 talented Bay Area photographers. Each artist was invited to interpret the word "wildLIFE" in any way that resonated with them ... from the natural world to our everyday lives and everything in between.

Click here for photos from the opening night reception on December 15, 2016.

Dickerman Prints Gallery Presents: 12,000 Years in the High Desert

Ancient and hidden petroglyphs, timeless landscapes, wild animals, indigenous tribes and North America’s oldest human settlements come together in Dennis Anderson’s latest photographic project.


Thursday, April 21, 2016   6-9pm
1141 Howard Street, SF

12,000 years ago, humans had a symbiotic relationship with our world. Nature was sacred, the cosmos untouched and mysticism a part of everyday life. While modern progress has paved over most traces of that existence, pockets of early civilization remain scattered across North America.

Hidden in the high desert plateaus of south-central Oregon, Native American tribes live in harmony with the same flora and fauna that sustained the region’s first paleo peoples. They gaze up at the Milky Way with the same reverence, and now keep the locations of their sacred sites secret from wandering visitors.

It took years of building relationships before Dennis Anderson learned the exact locations of certain ancient cave drawings and ceremonial rings. When asked about the inspiration behind this long-term project, Anderson explains,

“The sites are well out of cell phone range … but definitely in range of something bigger. Standing on that ancient and unpopulated land, one feels a powerful connection to the universe and to our planet. Even if it only provides a glimpse into that world, it’s worth seeking out.”

12,000 Years in the High Desert features more than 50 fine art prints, each transporting the viewer to a simpler time of prairies, indigenous rituals, bighorn sheep, pronghorn antelope and thousands of migratory waterfowl soaring across the sky.


Dickerman Prints Gallery will host a public opening reception on Thursday, April 21st from 6:00 – 9:00 p.m. at 1141 Howard Street, San Francisco.

The exhibition will remain open on weekdays through May 28, from 10:00 a.m. – 6:00 p.m, and on Saturdays from Noon – 6:00pm.

Click here to RSVP


Named one of the 10 great hospitality photographers by Hospitality Design Magazine, Dennis Anderson is an internationally published tribal art, commercial and architectural photographer whose fine art photography resides in the permanent collections of both the New York and San Francisco Museums of Modern Art. Today, Anderson is still exploring the world with his camera … just as his mentor, Imogene Cunningham, encouraged him to do.

You can visit Dennis Anderson's Web site by clicking here.