Friday, November 30, 2012

Tuesday, August 3, 2010

Farewell, Kodachrome

This article makes me very sad. Kodachrome has been discontinued. The last lab which process it will stop doing so later on this year. I've got to go through my stuff and make sure there are no stray rolls in a camera bag or a box.

Kodachrome is a beautiful film. I love being able to open a box of slides that is older than I am and look at the spectacular color. I know that I won't be able to retrieve images I've made since going digital unless I make a concerted effort to migrate files to new storage devices and the newest operating systems. With Kodachrome, I simply open the box.

Some of my favorite images were made on Kodachrome, with its rich reds and deep saturation. And, unlike many of my Ektachrome images, it doesn't fade easily. I look forward to having my files of photographs easily accessible to me very soon, after years of being in storage. But I know that the slides I made in 1974 and 1975 when camping across the United States and Canada are likely to be in need of restoration.

I processed those E-6 images myself, improvising a dark room in a bathroom. Each tank took an hour, with temperatures that could vary from bath to bath by only half a degree. It was magic, but it wasn't Kodachrome, with its exacting standards and (reportedly) toxic chemicals which could not be processed at home.

I interviewed for a job at the Kodak lab in Palo Alto back in 1974. I needed a job, but working assembly-line style for minimum wage would not have suited me at all. That lab, if it is still around, no longer processes Kodachrome. I think there was a Kodak lab in Gaithersburg, when I lived in the D.C. area. No more. A & I on Highland was my lab here in L.A., but it hasn't processed Kodachrome for a very long time.

It is sad that Paul Simon refused the invitation to be immortalized on the last roll of Kodachrome film. But I still think that his song "Kodachrome" did a great job of capturing what the film was all about.

Thursday, May 20, 2010

APA-LA Seminar, May 20, 2010

I received the following information about a seminar that APA-LA is sponsoring tonight:

"Video: The Next Step" with Fernando Escovar

Video: The Next Step

Photographers are more than just photographers. They are directors and producers and often are asked if they can shoot and edit video along with the current shoot or even asked to direct or shoot video content. The question usually is "Can you do it"?

Fernando discusses the "The Next Step" as a photographer grows and starts to explore and shoot SD video or HD. Whether its YouTube, or a clients video this is the new area that photographers need to get into to develop the language and skills to go next level.
Fernando will touch on various editing software, cameras, editing and out-put as well as encoding and formats. The arrival of Canon's new 7D camera and the FLIP video HD, they both have sparked the film maker in all of us. This is a great time to get on board and blend your photography with your video productions.

Fernando Escovar, photographer turned director producer with clientele like E! Networks, NASCAR, and Discovery Channel. Fernando also produced two DVD's sponsored by Photoflex on Photographing Cars & Swimsuits. You can view Fernando's photography at

Fernando will have intructional DVD's available.

Fernando studied at Otis Parson Los Angeles and for the last 5 years produced seminars for Samy's & Helix camera.

May 20, 2010


1201 S. La Brea Ave.
Los Angeles

APA members: FREE

$20 fee for non-members
Dinner and networking included
Valet Service is Available

APA Members RSVP
Non-Members please make payment by visiting Events Page

Tuesday, February 10, 2009

APA-LA Digital Workshop on February 28, 2009

APA/LA Digital Event: Photoshop Pen, Path and Brush Magic with Dennis Dunbar
Saturday February 28, 2009

9:30am registration
10:00am - 1:00pm presentation

Helms Daylight Studio
3221 Hutchison Ave, LA CA 90034 *Please Note: Parking is Located on the North Side of Venice Ave and Helms

Clipping Paths, Vector Masks, Scattering controls, Shape Dynamics, Color Dynamics and More! APA-LA's Digital Workshops series continues on Saturday, February 28th as Dennis Dunbar joins us to discuss Photoshop's Pen and Brush tools.

In this session Dennis will talk about creating clean paths with the Pen Tool, he'll show you what a compound path is and what those "Control Handles" are all about. He'll cover Clipping Paths (including an easy way to make several variations) and how to move paths back and forth from Adobe Illustrator to Photoshop and the power you gain in doing so.

Then Dennis will demonstrate some Photoshop Brush Magic and show you what all those Scattering and Dynamics settings do and how to use them to create your own magic.

You'll learn how to create your own custom brushes and how to use the various controls to make tough jobs easy. Painting fog, smoke and clouds will be a breeze. Creating rough borders will be easy as will adding in extra grass and leaves.

Come join us on Saturday, February 28th for this session on Photoshop Pen, Path and Brush Magic. Doors open at 9:30 am and the class begins at 10 am and will end at 1 pm. See you there.


$25 APA/LA members
$35 ASMP, LADig, Student members
$45 non-members

Day of:
$35 APA/LA members
$45 ASMP, LADig, Student members
$55 non-members

APA/LA Upcoming Events

March 26, 2009 - Photography Awards and Competitions: Which one to enter and why?

April 30, 2009 - Production Panel

May 2, 2009 - APA/LA's Assistant Bootcamp

May 3, 2009 - APA/LA's Assistant Training 101

Thursday, January 29, 2009

APA-LA Seminar on January 29, 2009

APA-LA is holding a seminar on Putting Together a Successful Business Team for a Successful Career this evening from 7-9 p.m. at the Helms DayLight Studio, 3221 Hutchison Avenue, Los Angeles 90034.

Helms DayLight Studio
3221 Hutchison Ave., Los Angeles 90034

Register Now!

$20 APA/LA members, $35 ASMP, LADig, Students, $40 non-members

Consultants, Agents, Producers, Studio Managers, Marketing Assistants - there are plenty of options for a professional photographer to choose from when seeking a team to enhance your business. These partnerships have the potential to change your career - it's important to make an informed choice and know what to expect from the relationship.

Learn how to build your business with the help of a successful team that is right for you. Join APA|LA for an evening with top consultants, reps and producers who will discuss candidly the role they play in helping photographers to achieve success.

Meet our panelist:

Susan Baraz - Consultant, Phototherapy
Susan Baraz was a founding member of Focus on AIDS, the largest global fine art photography benefit, which, since 1987, has donated over 3 million dollars to AIDS organizations. She serves as the Co-Chair of The Lucie Awards, and as the Head of Judges for the International Photography Awards -- the most prestigious award honoring masters in photography. Baraz is an active panelist and portfolio reviewer for APA, ASMP, Palm Springs Photo Festival, Art Center College of Design, Academy of Art University, Otis Art Institute at Parsons School of Design, and the Arles and Perpignan photography festivals. Additionally, she has served as an exhibition curator and book editor at The Museum of Tolerance, Washington DC, the Los Angeles Holocaust Museum, the International Photography Awards and on various fine art galleries nationwide

Rhoni Epstein - Artist Representative. Phototherapy
Rhoni Epstein and Susan Baraz are partners in The name of their company resonates with both commercial and fine art photographers who have profited from their vast historical and visual knowledge of photography and their deep understanding of the creative process. Rhoni established Rhoni Epstein Associates, Photographers' Representative and has successfully represented renowned photographers since 1975. An Associate Professor at Art Center College of Design, Pasadena, CA, Rhoni is considered an expert in marketing and for the past twelve years has taught a required branding and marketing course for all graduating Photography + Imaging students. Rhoni is an instructor, portfolio reviewer, judge and moderator for photography events including: International Photography Awards, Palm Springs Photography Festival, Art Center College of Design, Academy of Art University, Otis Art Institute of Parsons School of Design, UCLA, Brooks Institute of Photography, PhotoExpo, Advertising Photographer of America, Art Directors Clubs, Graphic Designers Guild, Society of Media Photographers. She is a member of the Adbase Advisory Panel.

Scott Pratt - Producer, Q.A.S. Productions
Scott Pratt is a print producer of 18 years and owner QAS Productions, Inc. in Venice, CA. Clients include Stephen Wilkes, Gregory Heisler, Jeff Dunas, Ron Eshel, Daniela Stallinger, Michael Schnabel, Russ Quackenbush and more! You can view Scott's portfolio of work at

Russ Quackenbush - Photographer, Russ Qackenbush Photography
Russ Quackenbush creates visual images of humanity that reflect the qualities we cherish most in each other. In his portraiture, he gently documents the relics of a subject's life experiences as they unfold and present themselves in the emotions of their face, the language of their body, and the energy of their being. Russ' photography gives us license to laugh, play, rejoice, or to mourn. It is through his images that we are led respectfully and thoughtfully into the life of another.

Tuesday, January 27, 2009

Photography Business Seminar on February 14


ASMP presents two seminars in one program, so get prepared to pack your head with an incredible amount of useful information about the photography business.

Hang out in a historic L.A. house in the historic West Adams District (convenient to downtown and the 10 Freeway), and chow down on some (non-historic) snacks, as well.


Susan Carr presents a candid discussion on licensing and pricing your work. Take the mystery out of determining your fees and setting licensing terms. Get real world strategies for pricing in this tough business climate. Learn how to sell your prices with confidence.

Are your clients asking for more and paying less? Are your costs increasing? Are you struggling with how to determine your fees? And, what about talking to clients about price?


— What you need to know about copyright. — A real world look at how to license photography. — Why are copyright, licensing and pricing connected? — Pricing models. — Learn the steps to determining what to charge. — Selling your price.


Join Blake Discher for his highly acclaimed Strictly Business 2 lecture on how to win jobs. Blake will teach you the steps to become a top negotiator. This critical skill can change your business in the most profound way--more and better work! Blake will walk you through real world scenarios, show you how to listen and talk to prospects turning them into loyal clients.

Do you panic when you have to discuss money with a client? Do you talk too fast, ramble or sound indignant? Do you give in too fast to a lower price or broad licensing terms?

Seminar Topics:

— Learn how to prepare for a negotiation. — Researching the client. — Increasing your clout. — Listening skills. — When is it time to walk away. — The follow-up is critical.


9:00 AM - 1:00 PM - Doors open at 8:30.


The Wilshire House (built for Mrs. Wilshire),

2501 Fourth Ave, Los Angeles, CA 90018


$50 - ASMP Member

$75 - Professional Association Member

$85 - Non-Member

$35 - Students


Two copies of Microsoft Expression Media (a $299 value)

A copy of Photo Price Guide from Hindsight (a $99 value)

A copy of METAmachine from Hindsight (a $49 value)

Two copies of The ASMP Professional Business Practices in Photography book

This program is sponsored by MICROSOFT

Susan Carr is a professional and fine art photographer based in Chicago. She specializes in architectural photography and has been in business for over twenty years. Her photographs are included in corporate and private collections, most notably the Pfizer Corporation and the Museum of Contemporary Photography.

A past president of ASMP, Susan has long been dedicated to the advocacy and education of fellow photographers. Susan organized and managed the highly successful ASMP Strictly Business 2 conferences and currently oversees ASMP's educational seminars. Susan is the editor of the latest ASMP Professional Business Practices in Photography (2008), published by Allworth Press.

Detroit photographer Blake Discher specializes in people photography for leading editorial publications and Fortune 500 corporations for advertising and annual reports throughout the world.

It's Blake's keen ability to make subjects feel at ease in front of the camera that takes him around the world to produce award-winning photographs for clients such as General Motors, DaimlerChrysler, American Airlines and Oracle. A professional photographer for 20 years, his work can be seen at In addition, Blake's other company,, consults for small businesses in search engine optimization.

Thursday, October 16, 2008

Did the Camera Lie?

I've been looking for an explanation of this photograph since my son got home from work last night and told me about it. My first reaction was "Photoshop," but others have said no, it actually happened. I erased the overrun on the debate, so I couldn't check it. I also don't think that I saw anything from this angle during the debate.

Josh Olson had it up on his Facebook page and The Huffington Post had a slide show which included John McCain with his tongue equally far out of his mouth in several shots. I found this copy on a British news site. Josh assured me it was real, but he's in the fiction and entertainment industry. I used to be a journalist.

McCain appears to be slightly closer to the camera than Barack Obama is, which would account for the difference in focus. I suspect a VERY long lens was used and the point of focus was on McCain. It might also account for the distortion/fall-off in the out-of-focus script to McCain's right in the background and why the exposure for Barack Obama is soft and a little dark.

While John McCain is not my candidate of choice, I think that going with this image is rather sad. But who am I to talk? I once went out of my way to make the odious Phyllis Schafly look as arrogant and imperious as she came across when I photographed her for the Stanford Daily. I was uncomfortable when the paper went with that image, but I didn't loose sleep over it because it didn't turn her into a laughing stock. It just made her look dangerous, which, of course, she was.

If anyone hears anything about this photograph, I'd sure like to get the story.