November 21, 2014

Hey, Jose! Jose Villa Mexico Workshop 2014

Richard just got back from not one, but TWO amazing weeks in Mexico. Leading the pack, Jose Villa, and his incredible team, Joel Serrato, Nancy Villa, and Lacie Hansen, ignited the quaint town of El Carmen with industry leaders Laurie Arons, Mar from Team Hair and Makeup, Summer of Grey Likes Weddings/the Mrs. Box, Shira of Martha Stewart Weddings, Melissa of Style Me Pretty, Amber Moon of Pitbulls and Posies, artist Karina Puentes, Diana of Casa de Perrin, world-renown floral designers Sarah Winard (week 1) and Sarah of Saipua (week 2) as well as local floral curator and designer Gabriella of La Musa de las Flores, and all the photographers who came from around the world for a once-in-a-lifetime experience. 

The Jose Villa Workshop team made the already beautiful Hacidenda El Carmen its photography studio, classroom, and home for two back-to-back unforgettable workshops, with fully styled shoots at neighboring Hacienda La Labor. Each session had a unique theme and style, and was jam-packed with creativity, talent, and inspiration. Beyond the beauty, the workshop was bursting with photog know-how, from expert techniques in the field and one-on-one portfolio reviews to personalized business and marketing consulting. The roars of laughs, tears of happiness, and flares of inspiration emoted from all the attendees and staff were captured, one frame after the other. #clickclickclick

But, to be honest, we don’t really think telling you is the best way to get across how spectacularly mind-blowing this year’s workshops really were… That’s why we’re letting the images speak for themselves! So, go behind the scenes and see some of the incredible images from the Jose Villa Mexico Workshop 2014.

 

WEEK 1

 

WEEK 2

 

ROLL CREDITS

Jose Villa – Jose Villa Workshops
Joel Serrato
Nancy Villa
Lacie Hansen
Laurie Arons – Overall Design and Execution
Amber Moon of Pit Bulls and Posies – Graphic Design and Collateral Pieces
Diana Perrin of Casa de Perrin – Food Styling and Tabletop Rentals & Design
Shira SavadaMartha Stewart Weddings
Sarah Winward - Floral Design
Saipua – Floral Design
La Musa de las Flores – Local Floral Sourcing
Mar of Team Hair and Makeup – Bridal Beauty Stylist
Karina Puente Arts – Custom Artwork
Summer of Grey Likes Weddings – Fashion Styling
Fuji Film – Film
Cypress Albums – Photo Albums
Melissa of Style Me Pretty – Speaker and Editor
The Mrs. Box – Ring Boxes
Anne Robin Calligraphy – Calligraphy
Vanesa Rey – Leather Phone Case
Moore and Giles Leather – Leather Placemats
Found Rentals – Dress Form
Sweet and Saucy Shop – Cake
Creative Candles – Candles
Lihi Hod – Attire
Galia Lahav – Attire
Emily Riggs Bridal – Attire
Bel and Beau – Attire
Trumpet and Horn – Engagement Rings
Jimmy Choo – Shoes
Hacienda El Carmen – Workshop Styled Shoots/Classrooms/Lodging
Hacienda La Labor – Styled Shoot Location

 

ATTENDEES

Week 1
Almond Leaf Studios
Jana Morgan
Valentina Glidden
Tamara Gruner
Jesse Leake
Whitney Heard
Mariela Care (Bob Care Photography)
Justine Milton
Ana Lui Golebiewska
Michael Ferire
Veronica Lane

 

Week 2
Greg Finck
Jody Savage
Andy Barnhart
Olivia Leigh
Kina Wicks
Audra Wrisley
Lucy Cuneo
Blenda Montoro
Brooke Merrill
Maria Lamb (Anthem Photography)
Heather Hawkins
Erika Parker
Hannah Duffy (Wedding Belles)
Kristin la Voie
Sarah Hannam
Amelia Johnson
Bonnie Sen
Jennifer Johnson (J and J Photography)

 

November 12, 2014

5 Reasons to Choose Press Books as Album Alternatives

So, it’s time to turn that collection of images into something tangible. Have you considered press printed books to offer your clients as memories they can hold? Here are Richard’s five reasons why you should consider these bad boys as an album alternative.

Softcover photo books made with Richard by Tec Petaja.

 

LESS MEANS MORE

A major distinction between albums and press books are the pages—album pages are thick, rigid, and quite heavy. The ripple effect is that albums can be cumbersome and take up more space than press printed photo books without being able to hold the same amount of images per cubic inch.

If real estate on your shelves is scarce or portability is key, photo books are the lightweight and easy-to-display way to go.

 

TIDY UP

Albums are assembled by attaching photographic prints (made with light sensitive paper) to the pages, so there is a bit of clutter that’s just... inherent to the medium. Press printing rocks because it allows for double-sided, direct-to-page ink printing, keeping things sleek and modern for a pro-quality collection of images.

 

GOING PRO

Photography is an art form, and what better way to showcase your fine-art than print? Sure, an album is a beautiful heirloom for keeps. However, it's press printed books, both hardcover and softcover books, that serve as unique alternatives for photogs who need to showcase their body of work in a professional manner. Even if you're just looking for a photo display to be distinctly your own, there’s something #nextlevel and contemporary about the look and feel of a press book. Some examples of the versatility of press printed books:

  • portfolio/client meetings
  • gallery shows
  • coffee table art book
  • networking events
  • workshop giveaways
  • fine-art photography books to sell
  • personal chronology of #memoriesyoucanhold (for you or client offerings!)


PUMP UP THE PAGE COUNT

When you have a ton of images you’re in love with, making cuts to fit page limits is a bummer. While albums have a max of 30 pages/60 sides on Richard’s online print application, our press books max out at 40 pages/80 sides*. That’s 20 additional blank sides you can fill with memories!

*for higher page count books, contact Richard!

 

FISCALLY FRIENDLY

Press books can be significantly kinder to your wallet than albums, plain and simple. Plus, Richard’s books are handmade in Hollywood with love, so they still have all the personalization in them as a handcrafted album.

So, are you ready to make a press book with Richard? Peruse our hardcover and softcover press books, with lots of great options for making them your own. And don’t forget to check out Richard’s 6 design tips for a top-notch photo book!

 

Want to be the first to know when Richard’s press books are on sale? Add your name to our mailing list!

books, roes
November 04, 2014

A Peek Inside the Darkroom

Here at Richard, we are dedicated to the preservation of traditional black and white darkroom printing—c’mon, how can we resist something so amazing! For many photographers, the darkroom is where their love of photography came into being. It’s the motherland of photographic printing, and hands down the best black and white print you can get. Witnessing, holding, and touching true darkroom prints can be a life changing experience!

THE PROCESS
So, how does it work? Well, it’s all about exposure: darkroom prints utilize a paper that is coated in light-sensitive silver salts, meaning that (similarly to film) the paper must be exposed to light in order to record an image. First, a frame of film is placed into an enlarger, which shines light through the negative and on to the paper (it also allows you to adjust the size, focus, etc. of the image). Then a series of chemical bathes develop and fix the silver salts to reveal the image, and finally the paper is washed in water and dried.

THE “ARTIST” ELEMENT
You’re probably wondering what the big deal is… isn’t this just an archaic process that anyone could do with the right equipment? Nay nay, friends! Darkroom printing is an art, and our master printer, Ruth, is the bees knees when it comes to silver printing—she has over 30 years experience and is a craftsman in her field! In addition to all the rigorous testing Ruth does to get the perfect exposure, she’s a master of filters (which are used in the enlarger during exposure to affect overall contrast) as well as burning and dodging (a manual way to increase or decrease exposure of specific areas of the image during the printing process).

THE PAPER
Once you’re ready to take the plunge and try out our darkroom printing, you’ll need to figure out which paper you want to use. Richard has both resin-coated and fiber paper available. What’s the difference? Resin-coated paper is designed for fast processing while still providing great contrast; it’s best for high volume commercial prints and more casual print work. Fiber paper provides a fine-art-esque texture and its archival nature makes it best for prints you’re selling, gifting, etc.

Did you know? Black will always pack more punch on glossy paper compared to matte paper. For a softer look to your images use matte paper, and for strong graphic images choose glossy.

THE NITTY GRITTY
Richard is proud to offer this custom, hand-crafted process and it’s our hope to do so for a very long time. For all you film lovers, darkroom defenders, and darkroom virgins, here are the details you’ll want to know:

  • all our prints are hand processed, archival washed, air dried, pressed flat, and spotted
  • we use 4x5 Omega enlargers with Clayton developer and eco-pro (fish friendly!) stop bath and fixer
  • both resin-coated and fiber papers are available with standard surface options
  • download our darkroom pricing info here

If you shoot black and white, we encourage you to experience this timeless process for yourself. We know you’ll never look back. Now bust out that tri-x in your fridge and start shooting!

Tags

#film
#ROES
#print
#scan
#photoTradeShow
#promos
#press
#books

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