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Some of the replies on an online professional archivist forum on Reddit said that they don't care if Epson discontinued their flagship flatbed V600 and V850 scanners. Many said their Phase One camera or DSLR's and copy stands did better. A copy stand is not the same as a flatbed scanner when it comes to archival work. A copy stand provides more harsh results when it comes to defects and silvering. It offers no options for weighted scans on warped material like stereo cards. This is why you see subpar digitization from most archives even with their $90,000 Phase One digitization setups. If a vacuum frame is used, then you could possibly flatten out some of this material. I used vacuum frames extensively in the 1970s, but we used them on thin paper and sheet film, not on thick, warped mounting boards. Even so, vacuum frames are not mainstream or easy to acquire as they once were in the days of graphic arts and process cameras. Within the archive I use camera / copy stand combos as well as various scanners of all sorts. They each have their purpose. But the bottom line is...a copy stand is not a replacement for a flatbed scanner; they produce different results. When it comes to weighted scans, I found that an Epson V600 scanner starts to break with 22 pounds of weight put on the lid. The part that breaks is the film scanning component in the lid. I limit the weight I put on the lid to 18 pounds. You figure out the weight limits for your scanner. Don't go by what I tell you, weight your scanner lid at your own risk. And if you do weight the lid, you will need a thick hard foam backer under the lid to contact the original. The lid alone will not do a good job on heavily warped material. No post processing was done on the copy stand vs flatbed scan photos. Copy stand photo. Flatbed scan of the same photo. Copy stand photo. Flatbed scan of the same photo. An example of a flatbed scanner. An example of a 3-D photo taken with a flatbed scanner. Examples of flatbed scanned photos weighted and unweighted. An example of a nuArc dual vacuum frame platemaker c.1974. Photos from: NSFW SHOOTOUT…Flatbed Scanner vs. Sheetfed Scanner vs. Copy Stand Photography – Daniel D. Teoli Jr. Archival Collection – II <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

I see some panoramic photos made with pieced together photos. Did they have a special camera for that as well as single shot panoramic photos? Looks like train was moving, yet a pieced together pano. Some of the pan photos had uneven exposure, like they were made with a swing lens camera. Although this is not the best example, it gives you an idea. Did they have swing lens cameras in the early 1900s? What kind of cameras did they use for panoramic photos in the early 1900s? Photos: LoC <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

DDTJRAC https://archive.org/details/trichrome-printing-autotype-carbro-d.-d.-teoli-jr.-a.-c.-22 Carbro was the predecessor of the dye transfer process. I don't have any video on carbro, but here is an old VHS video on the dye transfer process. (In 2 parts) https://archive.org/search?query=bo...er-process-parts-1-5-vhs-d.-d.-teoli-jr.-a.-c. https://archive.org/search?query=bo...r-process-parts-6-11-vhs-d.-d.-teoli-jr.-a.-c. I did some fade tests on a c1940s -1950s carbro print for a year in the sun. But I can't find the other half of the test print. I lost it in the cine' film room. Maybe it will turn up when I clean up the room. From what I recall, carbro didn't fade. But I need the other half to compare the results. Dye transfer prints will fade, but the Kodak dyes got better, albeit slightly with fade resistance, with every decade that went bye. I've sun tested Kodak dye transfer prints from the 1950's to 1980s. Don't have them handy, but here is a 6-month Agfa C print test. <><><>> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

One of the areas of collection in my archive is back yards. When I looked closely, I found this row of boulders. Screenshot 01-06-2026 08.40.061076×868 98.1 KB Screenshot 01-06-2026 08.39.081494×525 129 KB Photos: LoC I guess if you like climbing you got your own bouldering gym right there. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

I've been working on organizing a digital archive I acquired. The collection consisted of nearly 7,000 photos and was about 150gb in size. Originally it was near a terabyte and was all TIFF files. First thing I did was convert to JPEG. Too much godlike qualities are put into TIFF as opposed to JPEG. Here... 31 Generation JPEG Degradation Test D.D. Teoli Jr. A.C. : D.D. Teoli Jr. : Free Download, Borrow, and Streaming : Internet Archive Same thing with 8 bit vs 16 bit. JPEG vs TIFF / 8 bit vs 16 bit Tests D.D. Teoli Jr. A.C. : D.D. Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive I've done tons of testing in this area. If I do any photography I still shoot in RAW for important things. But generally speaking, I'm all JPEG now. I looked through the collection a few times and just started to make folders for breaking it down. As I filed photos, I made more folders or combined folders as they seemed fit. And so forth and so on. As shown in the photo, eventually I had enough folders for the material to be sorted. As I sorted the material I made Blu-ray disc backups. This is time consuming work and don't need any f'ups. Cheap Blu-ray discs for temporary backup are only .40 cents each. Just let me stress for .40 cents they are not archival grade Blu-ray. But they don't need to be, being for temporary back up while the work is in progress. There is no magic bullet to getting it done, you just chip away at it every day. One piece of advice... If you decide to use lots of the photos in multiple categories and you plan on extensive post processing. Do the post work first and the sorting second. If you keep the same file name, then you can replace them easily with a search. But if the names are changed it can be a lot of work that could have been avoided. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

I like their silver safe. Must have been one of many. The Home Of Kodak 1929 D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive The I.A. has a low-res PDF copy of it if you prefer a PDF. I like individual, decent res scans for my archive. Plus, I don't have any PDF software. Download JPEGs at link to view without moiré pattern. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Breckenridge, TX Poultry Plant 1927 Photographer: Basil Clemons Source: U.T. Arlington Special Collections Post Processing: D.D.Teoli Jr. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Source: LoC Post Processing: D.D.Teoli Jr. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

La Habra, California 1920s RPPC DDTJRAC <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

I am wondering if anyone here has any knowledge of where I could send some 35mm photographic stills if I wanted to get them scanned as cinefilm. I shoot both a lot of photographic film as well as a lot of motion picture film, and have wanted to have my photos scanned in the DPX, HDR, Cineon format for some time now to be able to color grade them in the same workflow and with the same latitude as my motion picture work—particularly my Ektachrome positives. Obviously large scanners such as the LaserGraphics and ARRISCANNER are built to handle hundreds of feet of film, and not many studios or labs will accept bundles of 36 exposure photo reels for big machine scanning. Let me know if there is anyone in the U.S. that offer a cinefilm like scan for photo film, specifically with the DPX, 16-bit, HDR, cinefilm output format in mind.

I own a few Arriflex Standard mount cine lenses which I know will cover the full frame format. I want to start using them in my 35mm photographic work. What are some of the most common mounts found on 35mm SLR cameras which can be adapted to take a ARRI S lenses? I am not too aware of many people using those type of lenses for photo work so I haven't been able to find much information on it. I am also going to have to invest in a good adapter too, so hopefully there are enough options of mounts to choose from.

This is Pacific Coast Highway showing Huntington Beach oil wells. Back in the day, California used to be #2 in oil production in the USA, just behind Texas. CA does not even rate in the top 5 now. The top five crude oil-producing states and their percentage shares of total U.S. crude oil production in 2022 were: Texas 42.5% New Mexico 13.3% North Dakota 8.9% Colorado 3.7% Alaska 3.7% https://www.eia.gov/energyexplained/oil-and-petroleum-products/where-our-oil-comes-from.php It is always hard to date things for the archivist when no dates are marked on the originals. Cars can help date things. The cars shown here are from mid 1920s. I saw another photo that was being sold from this collection of the Brea oil fields in CA that was dated 1927. So that gives some time frame. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Amazing stuff they are doing nowadays with AI. If you use stock photos, you have to check to see the origin of the photo. I gather they got stock video as well, but have not looked into it. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

I found this while cleaning out my mom's garden shed after she died in 2010. I must have forgotten it at her house when I moved out. The shed was pretty old and rickety and leaked. Consequently, the magazine got mold damage and stunk pretty bad. I was going to trash it, but it had sentimental value to me. It was the oldest surviving photo mag I had bought since getting into photography in 1969. I recall buying it on one of the families regular Friday night food shopping trips. I think it was either a Ralph's or Von's near National and Overland in L.A. When the family went shopping, I would head for the magazine rack and read everything I could on photography. This mag impressed me with all the portfolios of the photographers of the day, so I bought it. But usually, I would just read magazines at newsstands and get books from the library to save my $ for film and chemicals. I had wrapped it in 4 layers of plastic sleeving and kept it that way until last week. (You could still smell the mold with 2 or 3 sleeves.) A couple weeks ago I started to give it some microwave radiation to prepare it for scanning. After 6 microwave treatments it still stunk, but it was doable to handle for scanning. I didn't need it perfect; I just wanted to scan and trash. No telling how much microwaving it would need to make it perfect. It tells you; you don't tell it when it is ready. But eventually the microwave wins if you got the patience. And you can't rush it, or you scorch the paper. Here you go... Popular Photography Annual 1972 D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Every January I back up the low-res archive to M-Disc. I have years of screenshots and photos I've saved from the internet that need filing and stumbled upon these today. Don't know if I will get them all filed, I never do, as they number into the many thousands of files that need organizing...but I'm trying to make a dent. Both of these examples are from the eBay archive. Before I had screen recorder software, I'd just save the photos and not have the listing info on eBay. This was way before eBay changed their photos to troublesome WEBP files and you could still download JPEGs. Picnic with Queen Victoria eBay Tons of great stuff for sale in the UK. But the shipping generally kills it unless you got deep pockets. Some snobby curators look down on acquisitions from eBay. A good curator finds material wherever it may be and checks their ego at the door. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Children playing 1900 L.O.C. Screen shots of crops JPEG TIFF 16 bit TIFF 8 bit JPEG vs TIFF / 8 bit vs 16 bit Tests D.D. Teoli Jr. A.C. : D.D. Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

I posted this photo years ago on a photo forum. It was the cover photo from a maquette of 'Shadows in Time' which was an artist's book I was working on. I chanced upon the old thread years later. I don't always have the time to get back to all the threads I start. I'm on many forums and just too busy outside of the forums. I started with online forums way back in the BBS days. Even before that, we had snail mail forums, where someone printed out the forum contributions on a dot matrix printer, Xeroxed them and snail mailed them to all the members. Anyway, the forum person said they didn't like the shadow and liked the deer scene only. The subject of the thread was photographers' shadows in photos. I thought, goddamn, this was a photo forum, the shadow is what makes the photo, why don't they see it? But zir is entitled to their opinion. My opinion is; you can't force talent or an 'eye' on anyone. Some may be able to improve, but generally speaking, either you got an eye for this stuff or you don't. The genius produces outstanding work with little or no effort, whereas the non-genius may struggle to produce something mediocre. If we could all be geniuses at what we aspire to be by going to class or cracking a book open...we would. In the early 1970's I had a friend that went to Art Center College in L.A. (Old location) He studied photography. I would sometimes go to class with him to sit in on classes. I could not afford to go there, so that was as close as I got to Art Center. (I would also sneak in to use their dry mount press until they caught me and kicked me out.) Anyway, I noticed in the critique sessions for weekly assignments the same students would produce more or less outstanding photos for each assignment. Some would produce OK photos and maybe a great one once in a while and some would produce low end stuff as their general output. Later on with my work as an art director I noticed a similar thing with artists I would hire or do portfolio reviews on. Some had good technical abilities, but poor creativity. Others had creativity but poor technique. Others had both technique and creativity, but were flakes. Back in the 1980's I interviewed a gal for an art job. She was in her 40's and had retired from business. She was well off selling her business for millions and lived in a mini-mansion in San Marino, CA. Her new 'hobby' was she wanted to be an artist. She said she had taken some art classes and showed me her portfolio. The draftsmanship was poor and creativity was poor. And her prices to do jobs were very high. Her background as a successful business owner tainted her realistic conception of what is paid for art jobs. Her work smacked of someone with little art talent that struggled to put it down on paper or canvas. It wasn't in her, she had little talent and just studying art in school did not do much for her...she had no natural talent for art. Now someone with natural talent bangs it out with little or no effort, whereas she struggled just to produce sub-par work. That is what separates the genius from the non-genius. In my own case I tried to learn some creativity with book cover design. I used to produce lots of artist's books. Designing the cover has always been hard for me. I am not a creative person in that area. I bought a number of books on cover design. I studied and studied them over and over again. The best I could do with my creativity for cover design would be to try and copy off of other people's covers I liked in the book. It just wasn't in me. When I first started with photography in 1969 / 1970 I wanted to be a fashion / studio photographer. After a few years it sunk in I had no talent for that type of work. Eventually I stopped forcing things and moved to another area of work that I do have talent in...but it was just by chance. I could have dedicated my life to forcing myself to work in an area I was not suited for. We all have different abilities; we each have to decide how much of us we want to spend on areas we work in. Sometimes a thing clicks in the mind and you are ready to go. That is what happened to me after working on infrared flash for 4+ years and failing. Something clicked. But I could have easily given up after 4 years of failure. Sometimes it is just a crapshoot! Staten Island Ferry NYC, 2016 (Candid) Selection from The American's...60 years after Frank artist's book. by Daniel D. Teoli Jr. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

People don't think much of cleaning the photographs before they scan. But RC paper especially attracts a lot of dust. Here is a before and after scan of a RC photo showing how cleaning it affects the scan. Dirty photo Cleaned photo Beside cleaning the originals, the scanner glass has to be clean. But just cleaning it half-ass is not the answer. You have to scan the scanner glass to see how clean it is. Here are 2 scans of the scanner glass. You do it by scanning the open scanner in a pitch-black darkened room. The first scan shows a half-ass clean job, done by say your average jabroni. The second scan show a more thoughtful clean job...after the scanner glass was removed and cleaned. Don't get too anal with the cleaning, sure do a good job. But even if you got an ISO grade clean room...dust and dirt get into the scanner from the originals when you are dealing with archival material. And the scanner itself can make its own dirt from within as it operates. Point is...dirt will find your scanner...just clean the scanner every so often. And you find this out by scanning the scanner itself. Scanner glass after half-ass clean job. Scanner glass after removing the glass and a proper clean job. If you have an assistant, have them blow the glass off with compressed air before you reinstall it. I don't, so I make do with what I got. If you scan 3D materials with your scanner it is better to have a dedicated 3D scanner as well as a photo scanner. Sometimes the scanner glass can get scratched from scanning 3D materials. <>><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Greta Garbo I don't have firsthand knowledge about this photo, but I'm guessing it was a carbro print. Carbro prints were used before they came up with the dye transfer process. Carbro prints were similar to dye transfer prints in the fact that they both used color separation transfers in registration to form the final full color image. Source: Internet / Fair Use <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

I've got a few photography related 16mm films in the Archive. One is a fantastic 16mm salesman's reel on flash photography. (non-Kodak.) This one on paper looks interesting. Hopefully it has some of the paper coating production. It will be a long time before it ever gets scanned. You know the story with trying to get a scanner. Some samples from the Kodak paper film... photos: eBay <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Kodak (Mexico?) Inkjet Paper Deterioration See yellowing edge of paper compared to white paper. The entire sheet of Kodak paper has yellow blotchiness. The edge is the easiest way to see the yellowing in a photo. If you have a laptop or unbalanced monitor, you may not be able to see the yellowing. This was Kodak's cheapest paper at the time. From what I recall, the paper was made in Mexico. Paper shown here is 10 years old, stored under normal household conditions. It started to show yellowing about 3 to 4 years ago. All of the rest of this Kodak paper shows the same yellowing. It is hard to get a good photo or scan of the yellowing, but it is easily detected by looking at it under 5,000k lighting. A couple of other major photo paper makers also suffered from yellowing of their cheapest brand of inkjet paper. I didn't record the maker's names. I didn't purchase this paper to print on. I didn't purchase this paper to do archival testing. All these papers were purchased to use as interleaf while printing artist books with an inkjet printer. Unless interleaf was used while printing, the pages would transfer freshly printed ink to the page stacked on it. This was a big problem when using matte black ink, but not a problem with gloss black ink. RC gloss or RC semi-gloss inkjet paper worked best as interleaf as it did not accept any ink transference on the RC coated verso of the paper. <><><><> Daniel D. Teoli Jr. Archival CollectionDaniel D. Teoli Jr. Small Gauge Film ArchiveDaniel D. Teoli Jr. Advertising ArchiveDaniel D. Teoli Jr. VHS Video ArchiveDaniel D. Teoli Jr. Popular Culture ArchiveDaniel D. Teoli Jr. Audio ArchiveDaniel D. Teoli Jr. Social Documentary Photography

I slipped and fell into a river today and my Bronica SQ-A was briefly submerged in water, until I managed to drag myself up, anyway. Does anyone have any advice on what I should do to protect the camera from any further damage. And does anyone know if this kind of accident is fatal to SQ-A? More than letting the camera dry out is there anything else I should do? I only recently bought it, so I'd be gutted if that's the case. Any advice would be greatly appreciated thanks.

As an all rounder, Harry K. Shigeta was one of my favorite of the old school photogs. He could be depended on for taking a fresh approach to a subject and his work was always top notch technically and outstanding for content and art. Sadly, with the young camera fondlers, Shigeta is all but forgotten nowadays. Here is a piece from the May 1947 issue of Popular Photography showcasing some of Shigeta’s work and technique. <><><><>

That was a photogs question on a Reddit Photography thread. Here is my take on it... OP...maybe a little. Genius is something you are born with, generally speaking. Although sometimes a thing clicks in the mind and you are ready to go. That is what happened to me after working on infrared flash for 4+ years. Something clicked. But I could have easily given up after 4 years of failure. The genius produces outstanding work with little or no effort, whereas the non-genius may struggle to produce something mediocre. If we could all be geniuses at what we aspire to be going to class or cracking a book open...we would. In the 70's I had a friend that went to Art Center College in L.A. He studied photography. I used to go to class sometimes with him to sit in on classes. I could not afford to go there, so that was as close as I got to Art Center. Anyway, I noticed in the critique sessions for weekly assignments the same students would produce more or less outstanding photos on each assignment. Some would produce OK photos and maybe a great one once in a while and some would produce low end stuff as their general output. Later on with my work as an Art Director I noticed this with artists I would hire or do portfolio reviews on. Some had good technical abilities, but poor creativity. Others had creativity but poor technique. Others had both technique and creativity, but were flakes. Back in the 80's I met a gal in her 40's that retired from business and wanted to be an artist. She was well off selling her business for millions and lived in a mini-mansion in San Marino, CA. She said she had taken some art classes and showed me her portfolio. The draftsmanship was poor and creativity was poor. And her prices to do jobs were very high. Her background as a successful business owner tainted her realistic conception of what is paid for art jobs. Her work smacked of someone with little art talent that struggled to put it down on paper or canvas. It wasn't in her, she had little talent and classes did not do much for her apparently. Now someone with natural talent bangs it out with little or no effort whereas she struggled just to produce sub-par work. In my own case I tried to learn some creativity with book cover design. I produce lots of artist's books. Designing the cover has always been hard for me. I am not a creative person in that area. I bought a number of books on cover design. I studied and studied them over and over again. The best I could do with my creativity for cover design would be to try and copy off of covers I liked in the book. It wasn't in me. When I first started with photography in 1969 / 1970 I wanted to be a fashion / studio photographer. After a few years it sunk in I had no talent for that type of work. Eventually I found what I do have talent in and work in that area. We all have different abilities, so why not make the most of the talents you got? Sure, study all you like but if it is not you, don't waste your life on trying to be something you can't naturally be great at. Do what you are great at. Selection from Weekly World News Front Page Archive Daniel D. Teoli Jr. Archival Collection

Hi, everyone! Gonna be shooting a film with a look rooted in Jazz photography from the likes of William Claxton, Dennis Stock and others known for the marvelous images they created around that beautiful genre. Obviously, the film's aesthetic's going to borrow a hell of a lot from these great photographers... However, what I'm most interested in is the B&W film stocks that were around the time in which the most iconic artists were photographed: the 1950s. So, on the one hand, what I'm wondering is if there's anyone in the room with an idea about the the rolls of B&W film available at that time and their characteristics. But on the other hand, I'd like to know if anyone knows where can I find information on the way these photograpers worked, which is to say the lenses and equipment they used, the way they developed their film and created they final shot in the darkroom, etc. Also welcome is information on the film stocks used to shoot movies or documentaries around the 50s. My guess is even at that time Double-X was the real deal, but... You know. A guess is a guess.