ESSENCE Festival™ Photo Booth Powered by Kodak

EF2013_Official 4COLOR

The ESSENCE Festival™ kicks off starting on the Fourth of July running unti Sunday, July 7 in New Orleans. Kodak will be adding to the fun at the Festival by powering a photo book where guests can get a photo on an ESSENCE cover or with other cool backgrounds.

Kodak_Family Day_4x6

Look for the ESSENCE Festival™ Photo Booth Powered by Kodak  in the Fan Zone and other high-traffic locations in the Convention Center as well as Woldenberg Park during Family Reunion Day and the Superdome for each night of concerts. Photos are $20 each.

KODAK_Essence cover2_6x8

Wedding season and Kodak Picture Kiosk


It’s wedding season and I was fortunate to attend two so far. The first one was my little sister’s. Of course I show up with my camera. Now both of the weddings had a professional photographer. You don’t want to leave the pictures of an event like this to your sister who might get distracted by the cake *ahem* and miss the big shot. Always invest in a pro photographer who will make sure every moment is captured beautifully for you to remember for years to come.


I like to take pictures myself so I have something to post to Facebook and make prints for the fridge right away.


This past weekend I went to the lake-side nuptuals of my friends Taylor and Andrew. What a great backdrop for photos of the bride and groom!


I especially like taking photos of the wedding details… flowers, table settings, cake, dresses… even the bride’s nails and shoes! I think it’s because I know how much work goes into making those elements of the big day special.


Again with the flowers. I like to get close ups of these beauties.


Sometimes I can’t wait to get home and look at the pictures I captured of the happy couple! I pick the best for Facebook and then I start printing! Kodak Picture Kiosk has lots of choices for creative ways to use those wedding photos.


I made a collage of pictures I took at my sister’s bridal shower. You can choose to let the Kiosk auto fill all the spots or fill them yourself. Either way you can still move them around and edit each picture until it is just right. I love these for framing or hanging on the fridge or at the office. It looks much tidier than nine separate photos.


Our grandmother couldn’t make the wedding so I made prints in order for to see all the activity. You have the option to add a border to your prints which make them frame-ready or just add a little extra something to where ever you might display them. There are plenty of borders to choose from so it can compliment the photo.


Naturally photo books are great for remembering a wedding. My sister is moving overseas and has a lot to pack so I made her a wee little photo book that won’t take up much room.


Here is something you can make the newlyweds that they will really love. Use photos of their wedding to make a calendar. I made this one page calendar which is nice for pinning to a corkboard message center. A twelve page monthly calendar would be really nice too. Fun for the couple to look at throughout their first year of marriage!


This is one of the coolest things I think you can make at a Kodak Picture Kiosk… a canvas print! These turn out super cute and ready to hang, no need for a frame. It has a painterly aspect to it. I can’t wait to give this one to the newlyweds!

To make any of these photo gifts check here to find a Kiosk near you that makes that particular product.

I have also pinned lots of great wedding photo projects on Pinterest that you can repin too!

Cole Barash, Iceland and Kodak Film

On the very first portrait Cole Barash went to shoot for his feature on Iceland, “64.133 ºN/21.9333 ºW” in this month’s Relapse Magazine, one of his lights blew up.  Blew. Up.

“Yeah, it’s not like you’re able to run to Adorama and pick up a new light,” said Barash. “So I just stripped my kit to basically a one-light set up with a fill option. It pushed me a little bit to use just that and not have so many options. OK.”


At 25, Barash has photographed campaigns for Adidas, Nike, Rag and Bone, Brixton and Burton. A die-hard film user, Barash’s laid-back persona belies the strength of his creative vision, his disciplined approach to photography and respect for the medium and its history. That drew Relapse Editor Ian Frisch to his work.

“The concept of film in relationship to his photography even furthers my view of him as a true photographer,” said Frisch. “Rather than picking up the newest and flashiest equipment, Cole utilizes the history and foundations of photography, in a physical sense, to capture moments in a way that people have been doing for decades that, in some instances, the younger generation has lost touch with. His passion for photography, across the board, is something that is very rare now-a-days, and something that I hold in the highest respect.”


Barash headed to Iceland with 100 rolls of film to shoot a personal project. When Frisch heard about Barash’s trip, he asked him to do a shoot for Relapse featuring the increasingly influential arts and fashion scene in Iceland. Relapse, founded in 2012, showcases edgy, progressive fashion photography and provocative culture journalism.

With not a lot of time or pre-planning, Barash moved quickly to find and create compelling portraits of designers and artists who make up this community and culture.  That same creative vision and work ethic he uses in the back bowls of Canada worked in the studios of Reykjavík.

“Shooting snowboarding out in the back country has taught me a lot. You can’t exactly run 200 feet through waist deep snow to go check an angle,” said Barash. “You really start to put yourself in that 200 foot position and how it’s going to frame up and what it’s going to look at. You need to go find the best angle quick.”


In Iceland, when shooting designers, “as soon as I got into their studio, I made some quick decisions on how their brand and how they as a person would be interpreted to me – light and flashy, dark and moody, vibrant and atrocious.”

For the bands, Barash wanted to create photographs that conveyed the feeling of Iceland, as well as the band members themselves.


In all cases, Barash moved fast – deciding how he wanted to shoot, the tools he would use to shoot and the need to focus his energy on making a connection with the subjects.

“I knew the tools I had and what I could do with them. I kind of quickly made decisions about the environment – where I wanted to shoot them and how I wanted to light it. Then I just started shooting.”


Barash shot mostly with KODAK PROFESSIONAL PORTRA 160, with a bit of  KODAK PROFESSIONAL TRI-X thrown in.

“I love the tones on PORTRA, especially on the skin – I haven’t found anything better,” said Barash. “It’s very soft and fairly muted, but not so muted it feels desaturated; very good contrast.”

“TRI-X – generally the contrast and the grain is pretty spot on for what I like to shoot. Especially when you start developing different filters and process,” said Barash. “I think I’ve been shooting it for so long that I know how something’s going to look on a negative.”

The latest issue of Relapse Magazine is available now in New York at Barnes and Noble Union Square, Soho International News, McNally Jackson Bookstore, Lafayette Smokeshop, Bouwerie Iconic, and Bedford Exotics in Williamsburg, Brooklyn. It is also available through the iTunes Store on all participating mobile devices.

For more on Cole Barash, visit

Instagram: @nomadda.

And for more on Relapse Magazine, visit

Instagram: @relapsemagazine

Film’s Not Dead Store and Film Photography Gallery


Back in 2010, three friends and lovers of film photography, Charlie Abiss, Tori Khambhaita and Jamie Rothwell got together and formed the Film’s not Dead (FND) group. They intended to bring together like-minded photographers who enjoy the benefits that film photography offers and to provide information on film availability within the UK, while sharing imaginative, thought provoking images.

Today FND has nearly 5000 followers on Facebook and has a regular stall in London’s famous Brick Lane market. Due to that success, FND has yesterday opened a permanent store and film photography gallery in the West End of London.

Fans and followers of the Film’s not Dead page enjoy discussions, take part in exciting competitions – such as ones from Kodak ourselves, and locate nearby venues where people can buy film or have film developed.

Now with the opening of a new store and gallery, FND will offer film photographers and fans so much more. Each month, on the upper floor, the gallery will host a collection of images shot on film by professional and amateur photographers. To launch the new space, Film’s not Dead is proud to open its new store and gallery with a collection from one of its own, Tori Khambhaita, with her unique “Printers” exhibition, which was shot using Kodak’s Tri-X film.

Tori’s ‘Printers’ project gained national press and won her the coveted title of Young Black and White photographer of the year 2012.  This isn’t only a photographic show; it’s an awe-inspiring exhibition of skills and the unseen faces that have powered London’s photographic printing industry for decades.

Dennis Watson - ® Tori Khambhaita

Dennis Watson – ® Tori Khambhaita

Tori has created something truly original, which bridges the gap between the prints and the printers. The prints are truly one off’s, as each printer in the shots has illustrated their creativity and style, which can never be duplicated. This exhibition not only shows you the faces behind the London print industry, it also shows the skills behind those faces.

Klaus Kalde - ® Tori Khambhaita

Klaus Kalde – ® Tori Khambhaita

Tori, who works with some of the featured printers, gained exclusive access to the darkrooms of her subjects. After photographing either inside or outside of the darkroom, she herself would return to Klaus Kalde’s, where she would develop her own rolls of film.

Lee Williams - Raipd Eye - ® Tori Khambhaita

Lee Williams – Raipd Eye – ® Tori Khambhaita

Upon developing the negatives, Tori returned to the printers themselves and asked them to reflect their personal styles and preferences in the final image, again making each photograph unique.  Some have chosen to stay safe whilst others have gone all out, which will leave the viewer wide eyed and open mouthed asking ‘how?’.

Nick Jones - Photofusion - ® Tori Khambhaita

Nick Jones – Photofusion – ® Tori Khambhaita

Aside from the prints Tori also asked these highly skilled craftsmen to state the story that preceded them. These handwritten anecdotes beautifully entwine to create an absolutely fabulous narrative of life within London’s photographic printing industry.

Robin Bell - ® Tori Khambhaita

Robin Bell – ® Tori Khambhaita

This show is a testament to all that support traditional photography and recognise the years of acquired skill it takes to call yourself a darkroom printer. Tori’s exhibition and images celebrates the master craftsmanship and style of these artists committed to traditional photographic printing. The knowledge of the featured men and women in the photographs have acquired on their journey is invaluable! Tori’s ‘Printers’ exhibition will run from 3rd May 2013 – 28th May 2013 at the new Film’s not Dead gallery and store.

Film’s not Dead
13 Mount Pleasant

Opening Times: Mon – Fri: 11.00 – 6.00


People Vs. Places (2 of 6)

Last fall, on Twitter, we came across Stephanie Bassos and Timothy Burkhart collaborators on People vs Places. In this double exposure project, Stephanie exposes a full roll of 35mm film of only “people,” and Timothy reloads the film again into the same camera, to imprint only “places” and locations to the same roll. These images are all the end result of their ongoing series and are unedited negatives straight from the camera. After seeing their project on Tumblr, we wanted to know more.

People Vs. Places (3 of 6)

What prompted your project?  

Stephanie Bassos: We both meet at our full time job, where we both work on various photographic projects at an online-based startup. We do a range of things from basic photo editing to smaller studio shoots. Our friendship sparked from casual conversation about our love for photography and the projects we were both currently working on outside of work, as well as other artists we were into at the moment.  Our styles seemed to come from opposite ends of the photographic spectrum, and we had an admiration for what the other was doing.

I prefer working with people and shooting portraits, while Tim shoots mostly landscapes and places that don’t directly include people. We had entertained the idea of collaborating on a photo shoot or project, but we couldn’t really nail down how to make it happen. Tim had been shooting with some older film cameras at the time and had an instance where he unknowingly double exposed a roll of film resulting in double exposures. He then realized that his camera wasn’t rewinding film all the way and allowed the same roll to be loaded again fairly easily. This occurrence seemed to be the perfect vehicle for us to bring our two styles together into one image as well as series. We have been shooting for around nine months now and sticking to the formula of me shooting only people and Tim shooting only places, although we each don’t know the specifics outside of that.

People Vs. Places (4 of 6)

How do you choose your subjects and the order in which you shoot?

SB: The order we shoot is completely random.  We don’t have a specific way (people first, or places first.)  We were originally passing the same camera back and forth after we finished shooting our respective subject, but that slowed the process significantly.  If we both had a trip planned at the same time and only one had the camera, it seemed counter productive. To solve the issue we bought another one of the cameras we were using and tested it to find that it had the same rewind issue as the original. This allowed us both to shoot simultaneously.  Now we both have a roll in our cameras at all times, and whoever finishes first gives it to the other to re-load.

Timothy Burkhart: We choose our subjects by observing our surroundings and just going about our daily lives. The people Stephanie shoots are mostly her friends, or candid strangers. The places I shoot are in transit or traveling.  The project definitely has a point and shoot aesthetic and vibe to it.  It’s rare that we go out to a specific place or find a specific person to shoot with-shoots aren’t premeditated.  The camera is always on us, so we just constantly have it in the back of our minds and we shoot our life as it happens.

People Vs. Places (5 of 6)

Why did you choose Kodak film for this project?

TB: When we first started shooting we used what was most available. Lots of camera shops have been closing up around us in Chicago, so we were picking up Kodak Gold 200 at the local pharmacy or corner store, which fit our needs of availability.  Kodak films in general always have a bit more saturation and warmer color tones than other manufacturers and this was something we both liked aesthetically. After we shot on Kodak Gold for a bit to get a feel for the project we switched to Portra 400, which gave us a little less grain and even better tones.  Now we go back and forth between those two and shoot whatever we have available. People Vs. Places (6 of 6)

 How does this fit in with your overall photography work/style? 

SB: It’s a pretty perfect project for both of us to do outside of our own freelance. It gives us a chance to focus on what we love shooting most, and also comes with an element of surprise when the film is finally developed. It keeps us constantly creating and observing and thinking about photography in a different way.  Rather than focusing on composition and style to create the photo we want constantly, we surrender some of those decisions and leave it up to fate and cross our fingers hoping the great “people” shot was overlaid by a perfect “places” shot.

TB: It throws us both out of our comfort zones a little because we are not able control the frame in it’s entirety… but that’s good for us because it forces us to not think too much about one specific shot. The project looks a lot different than anything we both do.  We both shoot in our own ways and have a cleaner shooting style, so doing this project is a way to break away from our own personal process and have some fun with an old camera and some film.

People v Places image 1

The Majestic Oak

Today’s blog post comes from Kyle Ford. Kyle Ford is an artist and educator currently residing in the Adirondack Mountains of Upstate, NY. He holds a Master of Fine Arts from Savannah College of Art and Design and has been published an exhibited worldwide. Kyle’s work investigates ideas of perception, representation, and interaction surrounding the natural world. For more information and insight into his work please visit:

Portrait of Kyle with 8x10

It was a hazy Monday morning in early May 2007. A forest fire had been burning in the Okefenokee Swamp since the weekend and thick smoke had begun to descend upon the coastal city of Savannah, Georgia. That morning I had set out to make a portrait of one of the oldest living things east of the Mississippi: The Majestic Oak.

I first came in contact with the tree a week before. Back then, my friend Jarrid Spicer – a great photographer in his own right – and I would often take trips to seek out these ancient sentinels of our country. Our expeditions, more often than not, would end up in forest preserves or state-run parks. Because of their strict environmental regulations and separation from the hustle and bustle of everyday life, these sanctuaries proved to harbor many beautiful old specimens. But this time was different. We found ourselves smack in the middle of a suburban housing development just a few miles southeast of Savannah proper. The development, aptly named Majestic Oaks, was somewhat of an over blown cul-de-sac. At the center of the giant turnaround stood our living relic.

The Majestic Oak, Majestic Oaks Housing Development

With a branch span of over 165 feet and a base girth of 27 feet 8 inches, this 300-plus- year-old tree was enormous. Its trunk alone was wider than I was tall. Its symmetrically shaped branches hung effortlessly, like a cloud descending upon the surrounding landscape. Strands of soft gray Spanish moss draped evenly throughout the tree, while patches of red and green lichen modeled the branches with splashes of texture and color. I instantly thought to myself, “I’m going to need a bigger camera.” Somehow, the prosumer DSLR that I traveled with (mostly for note taking) just wasn’t going to cut it. So much texture, gradation, and detail would be lost to the APS-C sized sensor. I knew to do it justice I would need to capture it in large format on Kodak film.

I returned the following week with my 4×5 K.B. Canham field camera and twelve sheets of Kodak Portra 160NC. This was before the marrying of VC and NC film types. As luck would have it, the haze of smoke from the fire burning in Okenfenokee Swamp had created a beautiful warm diffusion of the morning light. As I stood there setting up my camera, I heard a voice. About 200 feet behind me, a person emerged from a screen door on the back porch of a townhouse. It was the owner of the home on her way to work. She stood behind a waste high stonewall, waving a piece of paper. As I approached her she said, “This is the Majestic Oak,” indicating the paper in her hand. On the paper was an artist’s rendering of the tree. In pen and ink, the tree floated there, isolated on the soft white base of the paper. Absent of background and surrounding context, this “tree” she presented me with looked more like a symbol or an icon of the majestic tree.

We had a short chat about the artist, the history of the ancient oak, and the neighborhood. Before the owner left, she informed me that I was standing right where the artist made the illustration. As I turned to face the tree, from where I stood, I could almost take it all in in one glance. From that distance, The Majestic Oak seemed more like a perfect sculpture than a tree. As I looked around at the surrounding houses I began to realize that similar to the artist’s drawing, this tree itself was an icon.

Separated from the forests that once surrounded it, this tree stands isolated in the center of the cul-de-sac. Akin to a great work of art, it adds value to all the surrounding homes that gaze uponit. A plaque to the left of the tree indicates its title and estimated age. The neighborhood even installed lights to illuminate the treasure year round. At that time, I realized the artist’s rendering hadn’t done something new by isolating and iconizing the tree; that happened long ago, when a decision was made to preserve it.

Its intrepid strength as a living organism aside, The Majestic Oak still stands today for one reason: its aesthetic characteristics. Without those traits, the tree might have fallen the way of the forest that once surrounded it. The Majestic Oak survives as a reminder of a decision made long ago to preserve an aesthetic. Somehow, by photographing the tree, I feel a connection to the countless others who along the way chose to preserve its beauty, iconizing it in one form or another – be it pen and ink, poetry, photography, or even the seemingly small, yet lasting decision, not to let the tree fall subject to human development.

I knew I had to take my photograph from the exact spot where I stood and where I’m sure so many have stood before me. I had to create an image that would consume the viewer the way the tree consumed me.

I set up my camera once more. Originally, I had intended to use a wide-angle 90mm lens (roughly equivalent to a 28mm lens in 35mm) but upon looking at the ground glass I realized that the aspect ratio and detail in texture still left a lot to be desired. I needed the final image to have a large enough native resolution to produce a print the size of the wall with tack sharp detail you could get lost in. So I decided to transfer a technique that was common in digital photography to my view camera practice. I would shoot several negatives and stitch them together digitally to make one seamless photograph. This is one of the many reasons why I religiously shoot Kodak. The Kodak Portra series has a phenomenal film grain that produces unparalleled depth in tonal gradation and texture when scanning. Shooting Kodak allows me to practice a kind of hybrid technique of shooting film and scanning for digital process and output.

I switched lenses and grabbed my Symmar-S 210mm. At that distance, distortion caused by rotating the angle of the camera would be minimized, and I could easily set my aperture to the middle (f22) and sharpest point of the lens, still obtaining the full depth of field I required in the shot. I then divided the tree into six different quadrants and made an identical exposure of each, leaving a small amount of overlap to line up the negatives in  post. I returned to the lab, processed the film, scanned each sheet in 16 bit at 2400 dpi resolution, and began the week long stitching process. I opted not use any automated stitching programs to minimize any distortion automation might create and instead used layer masks and blending modes to stitch the negatives.

In technical terms, the end result was a 4GB file that could produce a seamless mural sized print of up to 10ft x 5ft at a resolution of 300dpi. For me, the final image was a small tribute to the beauty of The Majestic Oak and the simple decision made long ago to preserve it.


Film Photography Day 2013

Tomorrow is Film Photography Day!

meetup banner

Lomo created Film Photography Day to celebrate analogue! My colleague, Lars Fiedler, over in Germany chatted with Lomo and we are happy to support the day with Kodak film!

April 12 will be filled with parties, events and workshops across the world. You can search for or start your own Film Photography Day celebration using Meetup. Lomo even provided a downloadable party kit! We have sent Kodak film to Lomo to include in their “Analogue Goodie Packs” they are sending out to events with more than 30 participants.

For those of you that can’t make it to a meetup, don’t worry! We have something planned!

Tomorrow, Friday, April 12 we have enlisted photographers around the world to give away Kodak film on Twitter for 12 hours!

Each photographer has one Kodak film goody bag to give away. It is an assortment of 12 different kinds and formats. Each person will have their own way to enter. You have one hour to enter for each photographer and they will announce the winner at the end of the hour.

Screen shot 2013-04-11 at 11.10.07 AM

Sorting through some of the Kodak film for prizes

Below are the photographer’s twitter links and the times (All Eastern Standard Time) they will be giving away their film goody bag.


6 am to 7 am – @jonaspeterson
Jonas Peterson – Brisbane, Australia |

7 am to 8 am – @micmojo
Jan Scholz – Brussels, Belgium |

8 am to 9 am- @filmsnotdead
Film’s Not Dead – London, UK |

9 am to 10 am- @stillshootfilm
Rachel Rebibo – Paris, France |

10 am to 11 am- @ctwphoto
Tim Massie – Albany, NY |

11 am to noon – @rnmphotography
Ryan Muirhead – Utah |

12 pm to 1 pm – @shawnhoke
Shawn Hoke – Brooklyn, NY, US |

1 pm to 2 pm – @kylebcool
Kyle Bromley – Jacksonville, FL |

2 pm to 3 pm – @JosephPrezioso
Joeseph Prezioso – New England/Las Vegas |

3 pm to 4 pm- @hanlonfiske
Hanlon Fiske Studio – Rochester, NY |

4 pm to 5 pm- @jonathancanlas
Jonathan Canlas – Lehi, UT |

5 pm to 6 pm- @juliagaldo
Julia Galdo – Los Angeles, CA |

6 pm to 7 pm- @erickimphoto
Eric Kim – Los Angeles, CA |


Be sure to follow all these awesome film photographers and watch their twitter feeds on April 12!

As for us here in Rochester, we are having a Film Photography Day meet-up too! Hosted by the fine folks at Hanlon Fiske Studio, we will get together to look at photos we have all taken and enjoy some analogue camaraderie.

I am taking prints of these photos I shot on Kodak film in the abandoned Rochester Subway.




I hope everyone has big plans for this year’s Film Photography Day!