The Memory Observatory: A KODAK MOMENTS Experience at SXSW

Memory… is the diary that we all carry about with us. – Oscar Wilde

What is your first memory? Most likely it’s hazy around the edges… vague. If you have a photo of that memory it is probably sharper and easier to remember. Because what is a photo, but a memory frozen in time?

Now what if you could experience a memory, in a physical way, outside of your own mind? This is what Kodak Alaris is offering at this year’s SXSW. Kodak Alaris partnered with Marco Lutyens to build The Memory Observatory, an interactive installation that explores memories through the senses and what Moments mean.

Why SXSW for this one-of-a-kind experience? SXSW Interactive has become known as the launch pad for creative and emerging technologies. SXSW attendees are hungry for new ideas, such as ways to digitally connect and share their stories, but are faced with the challenge of cutting through the clutter. The Memory Observatory, inspired by the new KODAK MOMENTS App, turns photos into a memory journey. It’s a reminder that in this digital age, your most precious memories and their stories need a special place of their own.

The Memory Observatory opens at SXSW on March 12. Our team has been busy preparing for that day. Every experience begins with a plan and the hands to build it from the ground up. Construction on The Memory Observatory began last month. Here are some sneak peeks at the bones of the installation that will be bringing memories to life.

If you are going to SXSW be sure to visit The Memory Observatory in Ballroom B of the Austin Convention Center. If you aren’t traveling to SXSW, stay tuned for the stories and experiences we will be sharing for you to follow along with at home.

The Memory Observatory: A KODAK MOMENTS Experience.





Make More Money with your Camera

Today’s blog post comes from Doug Box Master Photographer.

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Why should today’s photographer print their work on photographic paper? I believe there are several of reasons. Here is my top three:

More Profit

First, images printed on traditional photographic paper can be the most profitable products you can sell. Remember, profit is always an important factor when determining product line. The cost is so low for photographic paper products.

When I am selling to my clients, I always start with the photographic paper products. It sure helps on the bottom line. I find I can mark up these products several times more than some of the nontraditional products like metal prints, canvas wraps, or novelty products. Sell the paper products first, and then sell the less profitable products. That way, if the client were to run out of money, you have your best profit margin products sold. You can always sell frames and other products when they return to pick up their prints!

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Perfectly Match Image to Paper Surface

Second, because of the variety of papers in the Kodak Professional line, you will be available to offer the perfect paper for each image. You will be able to show your expertise to your client by matching your photographs to the right surface to bring out the best in each image!

I believe the new canvas papers look more like the old style of canvas prints -where the emulsion is removed from the backing and bonded to canvas.

Longevity of the Prints

Third, we should not forget about the archival properties of the Kodak Professional Endura papers! This subject may not be talked about as much as it was a dozen or more years ago, but this feature is still a very important benefit for our clients. I believe it is something we should use in our sales presentation.


Where have the Print Sales Gone

One of the things that seems to have changed in the industry, and not for the good, is that we as photographic professionals, have forgotten the print! We put so much energy into creating the file, Photoshopping the file, and protecting the file from falling into the hands of the client. I am convinced that the more we focus on the files and not on the print is like saying to yourself, “Don’t miss the ball” when standing at home plate with bat in your hand. Your mind hears, “miss”.

When a prospective client calls and quickly asks, “Can we buy the files?” I say “Yes” and move on to more important information like, “Who do you want to have photographed?” or “How did you happen to call me?” I start talking about them, what type of photograph do they want – do they want indoor or outdoor photographs, casual or formal, or where do they want to display their portraits? I will get back to talking about the files with the client later. Right now, let’s talk about what they want in the photography and the prints they need!

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Files are for sharing, Prints are for preserving!

As we know, this is the most photographed generation ever, but the least printed. Many of today’s young people will ask when they get older, “Where are the pictures of me when I was young?” I remember as a young boy, sitting with my grandmother having her show me her collection of old family photos telling me about the people in the photographs. I am afraid the vast majority of photos taken in this time in our history will not survive for future generations to enjoy. So many photos taken today are either not stored permanently or are stored on media that will not be viable in a few short years. I did early videos of my first son on Sony Betamax. When is the last time you saw a Betamax machine? Think about all the different media products that have gone the way of the dodo bird.

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The Lost Generation

ATLANTA, GA (November 12, 2015) – According to a nationwide survey conducted by Professional Photographers of America (PPA), 42% of people (ages 30-44) will likely look back and wonder where photos of their childhood, holiday get-togethers, relatives and friends have gone decades from now. Why? They are no longer printing photographs or creating photo albums. In fact, 67% store their photos solely in digital form on a computer or phone.

I read recently that more photographs were taken in the last five years than all photographs taken since that famous first photograph taken in an English courtyard. However, it is estimated that less than 0.00001 % of all images taken will ever be printed. Phones will die, hard drives will crash, cloud services will fail or go out of business and the majority of these images will be gone for good.

The survey polled more than 1,500 consumers nationwide about their photography habits and revealed eye-opening statistics about the lack of printing tangible photographs and non-digital image storage that could prove devastating to the chronicling of our lives.

Additional highlights from the survey include:

  • 8% of people no longer create photo albums, and an additional 27% say they have the desire but it’s too time consuming. Translation: nearly 70% of people no longer have photo albums.
  • 53% of people said they haven’t printed a photo in 12 months or longer.
  • 46% of people use their SmartPhone or tablet to take family photos
  • 57% of people store their photos on their phone or computer

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To Sell the Files or Not

Not everyone agrees with me, but I have sold files since I started shooting digital. In fact, I have sold files before digital, in the form of transparencies and negatives. All my commercial clients want the files in some form, and I made lots of extra money selling the negatives and the files. I always used a sliding scale: the more photography (prints) they bought, the less the files cost, the less they bought, the more the files cost. I found out this about most clients, it’s about right now. For the most part, people don’t buy from old files.

I believe our job is to guide the client through the sales process, and the selling starts from the first phone call. I sell during the portrait planning session during the photo session and during the “sales session.” If I have done my job right, we just pick our poses and purchase accessories like frames, non-photographic paper products and of course the files!

I was teaching a class recently, and one of the students was frustrated that most of her clients only wanted files. After talking with her she said most of her clients came from Facebook. It finally came to me, how can you be surprised if people only want to buy files when they come from Facebook where all they are seeing is FILES? If you want to sell more prints, show more prints. Have displays where people can see prints and use large prints.

How Fast Things Change

Just think, at the turn of this century, no one had iPods or a camera in our phone, the first camera phone was introduced in late 2000, a 0.35 megapixel by Sharp. The iPod did not appear until Oct 2001. There also was no Google, GPS, social media, texting, Amazon or iTunes! How fast things change. I believe it up to professional photographers to carry the banner for the print! We know prints, we love prints and we should be the group that make sure memories are saved for future generations via the print!

I would love to talk about this with some more at the WPPI! Meet me in the Kodak Alaris booth #1235 at 1:30 PM on 3/7 & 10:30 AM on 3/8

Film Is Not Dead. Why I Shoot Film in 2016!

Today’s Film Friday post comes from Jonathan Canlas .

Why film in 2016? It seems every quarter companies are coming out with bigger and better digital cameras that leave the technology of film in the dust. There are even presets that can replicate the look of film to the point that I can’t tell which is which when compared side to side! Also, if you look at the film stock offerings in 2016, it is pretty slim pickings compared to say a decade ago, or even 2 years ago. So you might ask yourself why would one choose to shoot film in 2016 or like me, shoot 100% film like myself?

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Two words: The experience. There is a magic found in shooting film that is uniquely its own.

Nothing slows you down more and causes you to think about exactly what is going to be in your frame than the idea that every time you hit the shutter it is going to cost you money. This may be seen as a limitation to some but personally I find it the most freeing. When I hit the shutter on my camera, it challenges me to make sure I’ve got it right the first time. I need to carefully think about everything in my frame – the lighting, the subject matter, and the story being told. I’m never taking a countless number of photos of one thing.  And, because of choice number of frames, shooting film doesn’t force me to sit later in the editing chair-of-death for hours trying to figure out which one is the best even though they all look the same.

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Shooting film really forces you to think about what you are doing.  Having only really shot film my whole career, I’m not sure I could ever take 5000+ photos at an event unless I literally was not thinking. Call me simple minded, but I don’t have 5000+ ideas, let alone 5000+ good ideas in any given day. So taking that many photos would literally equate to pushing a button without thinking. I find the more I think about what it is that I am going to photograph, the better my photos are versus the “off the hip” random shots or those taken without thinking (on digital). It would be quite a feat if someone invented an SD card that charged you for every actuation. Gone would be the spray and pray mentality and the hours spent behind a computer editing/culling. In exchange, you gain all those hours/days/weeks and this time could be turned into simply anything you wanted.  

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No one who fell in love with art of photography did it with the idea of constantly sitting behind a computer. Yes, we must learn to edit and cull our own work but there is a certain magic found being behind a camera and creating/capturing moments/things/people. This magic, or the fire and drive to create images, I feel, is being snuffed out by the editing chair-of-death. How? The thought of sitting behind a computer causes people to choose to NOT bring their camera with them when they walk out the door.  The thought of picking up said camera makes them cringe – because it only requires more time in said chair-of-death. I have seen that spark of excitement rekindled countless times when photographers put film back in their hands.

When teamed with the right lab, you literally pass that time in a chair onto people whose sole job is to keep you out of it.  They know your preferences, they know your color, they know your contrast and density levels, they are literally your own editing team.  Shooting film and trusting the right lab gives you your life back.  That desire to go out and create grows bigger and bigger with each batch of film back from the lab.

I’ve found that one of the greatest things about shooting film is that regardless of the statement of “everything has been done before” in terms of photography, there is always room for learning, even if it is through mistakes. In the last year alone, I’ve found new ways to expose/develop Kodak Professional Ektar100 Film (rated and metered at a true 400 iso then pushed 2 stops in development) and Kodak Professional Portra 800 Film (rated at 400, metered for the shadows, then pushed 1 stop in the development for extra contrast and pop of color) to achieve a look that I have not been previously been able to achieve. Both methods were actually experiments where I thought the results I’d get were a completely different look from the one I achieved. I’ve been shooting film for almost 20 years and the thought that there is still a ton of room to learn makes it very exciting. I can’t wait to see what I will find.

Capturing images on film is nothing short of magic from the actual act of being limited to 12 to 36 exposures, to exposing celluloid to light and creating a latent image. And, there is something to be said about creating something that is not made of 1’s and 0’s. I’m no doomsday person, but I often get cold sweats thinking about when my hard drives will inevitably go out on me.  I take a lot of comfort in the fact that even as technology changes (how long will flash drives be around until the next new thing comes out?), the over 100-year technology of printing from a negative will continue for decades to come.

Have you lost the capture magic or spark when shooting? Take up your film camera, load up some Kodak Professional film and see how shooting film might change your life. Also, make sure you stop by to hear my presentation “Shooting Film in 2016” at WPPI in the Kodak Alaris booth #1235 on March 7 at 10:30 AM!

On March 1st, I’m releasing FIND in a BOX ( which is the online version of the workshop FILM IS NOT DEAD available on your computer or smart device. For more information, please visit

Jonathan Canlas

Maximize Your Work by Presenting It On the Right Paper.

Today’s guest blog post comes from professional photographer Levi Sim.

The Mona Lisa was made with oil paints on a wood panel made of poplar, and it’s the most viewed painting on Earth, and it’s survived for more than 500 years. What if it had been painted in watercolor or acrylic? What if it had been made on canvas…or a napkin? Each of these media lend a different effect to the finished picture. Oil is workable for a long time, and colors can blend well. Watercolors can be ultra soft, and water color paper can be highly textured, and strokes dry very quickly. Acrylic paints can be vibrant and wood is durable. Other great paintings, like the Last Supper, also by DaVinci, have not survived well because they were created on materials that couldn’t last. Can you imagine if they were made on something as disposable as a paper napkin?

If you’re like me, you want your work to be viewable for ages, and your clients want their photographs to survive as heirlooms they can share through generations. Furthermore, you want to present your photographs on suitable media, on the paper that best presents the character and mood of the image.

If that’s what you want, then why would you ever print on materials equivalent to a paper napkin?

Let me show you how to maximize your work by presenting it on the right paper.  Kodak Professional Endura papers will survive for hundreds of years, so that takes care of my longevity concerns. (Be advised that the big box stores I’ve been to recently are not printing on Kodak Professional Endura papers, and I’ve personally experienced their short life spans, not to mention their inconsistency.) Not only will they last well, but there are six types of paper surfaces available and their characteristics can enhance (or hinder) the impact of your photographs.


When you print a picture, you won’t be wrong choosing Lustre paper. Like all the Endura papers, colors on Lustre are true and smooth with excellent gradients skin tones always look great. It’s a bright paper, and the finish is excellent for viewing both in the hand or on the wall. It’s kinda shiny, but it doesn’t hold on to finger prints as much as glossy might, and the pebbly texture is subtle but gives some body and serves to randomize and soften the sheen. It’s really a good way to go, and it’s my default for print orders through my website.

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Both color and black and whites look great on Lustre


There’s a reason good magazines use a glossy finish. It’s eye catching and looks extremely high quality. It’s like acrylic paint, and it’s shiny sheen makes colors explode off the page. The sheen gives an upper class feel—Ferrari’s and jewels should always be printed on Glossy. However, it’s not always the right choice, for both practical and aesthetic reasons. For instance, if I’m making small prints that will be handled by people, like those for a holiday card, then glossy may not be right because the fingerprints will show in the sheen. If I plan to mount the photograph behind glass, then I usually don’t choose Glossy, either, because I’ll have a shiny surface on the glass and the shine of the photo, which will make it hard to view. I love it for display without glass, though—make a big poster on Glossy and it’ll make your work look like a million bucks.

The subject of the picture is important when considering Glossy. Soft subjects with pastel colors that we want to dwell on and consider may not be well served by the shiny sheen on Glossy paper. However, if it’s a richly colored image, or a commercial photograph, and you want color dripping off the paper, then Glossy is a great idea. Shiny subjects, like cars, and products, and fruit, always look good on glossy.

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These pictures are full of color and the subjects themselves have a shiny texture. Glossy would compliment them on the walls of the cafe, or in the menu, or marketing materials, or as posters.

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These are both landscapes, but they are very different. The bold contrasting colors in the Tetons would be enhanced by the Glossy paper. The soft, nearly monochrome pastels of Garden of the Gods would be good on Glossy, but I think a matte finish and possibly something texture would be ideal.

Metallic: Color

Since we’ve just talked about Glossy, this is a good time to discuss it’s spunky, slightly rebellious brother, Metallic. It’s got a shiny finish like Glossy, but there’s an underlying excitement revealed in the sheen that always surprises me and makes my viewers gasp.

If you can imagine printing a photograph on the finish of a luxury roadster, that’s what Metallic is like. The sheen is deep and truly metal-like. Rich colors appear richer and there’s liveliness—a vitreous quality that you really need to experience.

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This moving bus looks great on Metallic. The rich colors are vibrant, and the highlights let the paper’s metallic sheen through and the impact of the movement is doubled by the metallic sheen.

While rich colors appear brighter and more vibrant, lighter colors, like Caucasian skin, appear less saturated and you may feel they are a bit gray (it’s like metal, after all). Your clients will say, “Wow, that looks so cool,” which is appropriate for striking scenes full of color and hard impact, but it’s probably not quite the right idea for most newborn photography. It’d look cool, but it wouldn’t have the timeless emotional impact we’re after in newborn pictures. I’d use it for marketing, but I suspect moms will prefer something softer on their walls.

The yellow flowers and mountains above would be striking on Metallic, but the pastel rocks may not be as powerful. Like Glossy, if the subject matter is shiny, or hard, or vibrant, or moving, or impactful, then Metallic is a good choice. Sports, action, movement, color, fast: if these words fit your picture, use Metallic.

Furthermore, when I have rich colors with small highlight areas, like the bus above, or a nightscape, or this street portrait in Tampa, then it’s perfect because the colors are enriched, and the metallic sheen comes through the desaturated highlight areas and the impact is incredible.

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The dark areas and the rich colors here are enhanced by Metallic paper, and the lighter colored areas allow the sheen to show through and it’s cool. It’s a crazy expression, with lots of movement, and Metallic enhances those properties.

Metallic: Monochrome

This is such an important (and profitable) idea, that I think it needs it’s own discussion. Black and white photos printed on Metallic paper are incredible. That’s all you need to know, and you should just print it and see. Here are some examples.

I’d be hesitant to print an entire album of this couple on Metallic paper. I feel the sheen of the paper would distract from the connection between the people. If the medium detracts from the idea I’m trying to communicate, then I’ve made a bad choice. I think people would look and say, “That’s cool,” instead of, “That’s beautiful, what a great moment, how touching,” etc. Their skin tones here would be desaturated with the metallic sheen showing through.

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Metallic would be a poor choice for an album of this wedding in color. The medium would detract from the subject, and that’s bad communication.

A black and white album or wall portrait printed on Metallic, however, would be wonderful. The tones grade so nicely, and the sheen gives us a photograph that’s like a flexible tintype. It ends up being a timeless look that’s also cool. Now we have an album that exudes quality. I love Metallic for black and whites.

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As monotones, Metallic is totally appropriate for these portraits. The sheen and shine accentuate the impact and emotion of each image. Perfect for an album or a wall portrait.

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This color portrait is warm and earthy. Printed on Metallic, the skin would be desaturated, and we’d see lots of sheen on his face and shirt, and it’d detract from the image; let’s save it for Silk. In Black and white, this is a perfect candidate for Metallic.


Reflections on the surface of a photograph may detract from it’s content, mood, and view-ability. When I print a photograph, I consider where the picture will be viewed. For instance, in a gallery or home with opposite a bank of windows would make it hard to see a photo with a glossy finish. In a case like that, Matte paper would be a good choice. Matte also shows well behind glass.

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This photo is terrific on Matte because I don’t want any sheen to distract from the intensity in the eyes. Just a little glare could ruin the experience. The true whites of the Endura paper are marvelous, too.

Besides that, Matte paper is excellent for all photographs. Colors are true and blacks and whites are clean, looking classic with great depth. Like Lustre, it’s hard to go wrong with Matte. If I’m printing holiday cards or other handled products, Matte is ideal because the no glare finish won’t make fingerprints stand out. Albums on Matte paper are ideal as well. I love that Kodak Professional Endura Matte paper, unlike ink jet papers, is still tough and enduring. Ink jet papers I’ve used are very delicate and can be easily damaged, even just by framing, but Endura papers are all much more robust.

Silk and Canvas

Silk and Canvas papers are just as fine and luxurious as they sound. The subtle texture is both visible and tactile and it becomes an experience to view and handle it. Colors are as great as the other Endura papers, but, like the Mona Lisa, there’s something just right about printing on these papers.

Silk has a fine texture, and if you’re thinking of printing small pictures on an ink jet canvas, or on Canvas paper, you should consider Silk instead. We view small pictures up close, and the large texture of canvas can obscure fine details, whereas Silk’s finer weave leaves details clear. Both Silk and Canvas papers have a gentle sheen that looks like fine fabric and may be just the finish you need for your fine works. Try it for holiday cards that really stand out. Another advantage, too, is that the texture helps relieve the impact of noise and soft focus.

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This image is both slightly out of focus and very noisy, but Canvas and Silk papers’ texture helps relive the impact noise would otherwise make. Both Color and BW are ideal.

Regarding mood, these papers are aptly named. Silk is gentle and luxurious and smooth. If any of those words fit your photograph, try it on Silk. Printed large, the picture appears to have a smoothness that texture less papers cannot imply. My picture above of Garden of the Gods is ideal for Silk, as are any of the portraits, especially close ups. Skin looks amazing with the Silk texture.

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The soft color palette and the gentle smoothness of the sky are ideal for Silk or Canvas

Just about any picture I’ve printed large looks good on Canvas. There’s a sturdiness to the texture, and also a timeless quality. Printing on canvas has a connotation of quality these days, but ink jet canvases lack the colors, gradient, and real photographic qualities we get with photographic papers, not to mention the display options (there are only so many places one can change a 2” thick canvas). While the texture appears durable, it’s also soft and works marvelously with emotive images. A Canvas paper print looks like a memory. I love Canvas paper for any large print and I know you’ll have good success with it for your clients, too.


As artists have done for millennia, you ought to choose the best media for your photographs with consideration for their final use and display. Using Endura papers, you’ll get the best colors and durability, and choosing the right finish will augment the emotive impact you can make with your photos. Mothers will cry, clients will gasp, and generations of people will enjoy your work.

My Love Affair with Film

Today’s Film Friday blog post comes from pro photographer Caroline Tran. You can follow her on Facebook or visit her website.

Caroline will be presenting at Imaging USA 2016 in the Kodak Alaris booth #1820.  Join her on January 10  & 11 @ 4:00 PM! We look forward to seeing you there.

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My love affair with film began in college, when I first started taking art classes to balance out the heavy workload of my physics major. I ended up loving photography and one of my professors asked about my future plans; at the time I was set on continuing to get my master degree at UCLA and hadn’t considered photography as anything further than a hobby. He said, “I see so much potential in you,” and encouraged me to audit an extension class he was teaching there. It’s really funny to me now because back then I didn’t think as a grad student I’d have time for my “hobby,” but I loved it.

Caroline Tran

I loved the unique, nostalgic look of film and learned the ins and outs of working with it in my classes. While in grad school, I started planning my own wedding and fell right into the beautiful world of weddings and all the gorgeous details that come along with it. I loved the planning aspect so much that I just wanted to have a side business so I could keep my foot in that world. I had no idea that my little business would blossom into what it is today but I’m incredibly grateful to be able to work in a field I love and am passionate about.

When I started in the industry, many photographers were switching to digital photography, and that’s the age we live in. I wanted to go forward with the direction the industry was going, but found myself spending many hours behind the computer editing. Especially having started learning on film, I had a set standard for the look and feel of the colors that I fell in love with in college. I found myself spending an exorbitant amount of time on editing my photographs; I wanted a consistent look for my photos and would spend hours at the computer in post-process, getting all of my digital photos to look like film. The look is really important to me and it’s incredibly difficult to replicate. However, as my business started expanding and I had more opportunities to travel and shoot weddings abroad, I realized that the amount of time on editing wasn’t sustainable, especially if I wanted to be able to spend more time with my family.

I was pregnant with my first son, Cameron, when I made the decision to move to film. If I was spending so much time editing my photos to get that film quality aesthetic, why not just shoot film to begin with? Getting pregnant was the catalyst: I wanted to be able to spend more time with my family and less time behind the computer. I needed my business to be more efficient and wanted to work smarter.

I tried a few different photo labs before deciding to work with Richard Photo Lab. I immediately fell back in love with the process and I saved so much time on editing; it was absolutely worth it. Today with two kids and a thriving business I definitely think shooting with film is worth it to achieve both beautiful photographs and also so I can spend time where it’s important.

The best thing about shooting film is that it brought me back to capturing that look that I started with; I love the nostalgia of it, that unique style that stands out in a digital age.  My favorite film to shoot is (Kodak Professional) Portra 800.  Working with film for me is not just an art style, but an experience; you don’t get to see what you’re creating -you have to really know your craft.  I have to think through each shot, making sure everything is beautifully composed and being mindful about what’s within the frame. Each shot is time and money, and I find that taking that deliberate process for composing each shot creates a very distinct and special product for the client.

Film produces a distinct quality of photographs that is difficult to duplicate. I had come to appreciate this look when I learned how to develop film in college, but when I started my photography business I thought going completely digital would be following industry standard. However, in order to achieve the look of film, I spent copious hours editing my digital photographs during post-process. When my husband and I started a family, I realized this process was no longer sustainable if I wanted to have time to spend with them. I’d decided to switch to film in order to save time, but it also brought me close to an art form that I loved. Photographing with film is a special experience that has no parallel; it’s challenging and thrilling to work to create compelling photographs while working with the limits of film.

Autumn photo projects: bringing the outside in for fall

Fall is upon us and as the days get shorter and the temperature drops, we spend less time outside. The season is so pretty though, you don’t want to miss it. Here are some ways to bring the out of doors inside to compliment your own photos.
photo-leavesOther than some basic supplies, you can find what you need for these projects in your own backyard.

Cut some favorite photos into leaf shapes and tie them to a branch with some real fall leaves for this wall hanging.


Gather acorn tops while out for a walk to make this cute autumn picture frame. leaf-frame

You can do the same with leaves.


Even twigs. This rustic frame looks great with a fall photo in it.


We used faux pumpkins for this photo holders, (they will last longer that way), but you can use small real pumpkins or gourds too.

There are lots more fall photo projects over on the Kodak Moments Tips and Projects Center.

And you can use the Kodak Picture Kiosk or Kodak Moments app – for iOS or Android – to print your photos for these projects.

Kodak Moments app – out and about

The Kodak Alaris team has hit the road to get the word out on the new Kodak Moments app.


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More than 350 moms-to-be visited the Kodak Moments booth to download the new app, print photos and snap a picture in our fun photo booth to share on social media.