Kodachrome
Sep. 11th, 2016 12:17 pmWhen I think back
On all the crap I learned in high school,
It’s a wonder
I can think at all
And though my lack of education
Hasn’t hurt me none,
I can read the writing on the wall.
Kodachrome –
They give us those nice bright colors
They give us the greens of summer
Makes you think the world’s a sunny day.
I got a Nikon camera
I love to take a photograph
So mama, don’t take my Kodachrome away.
(Kodachrome: Paul Simon – 1973)
I started hating cameras after my father joined Camhi/Bardovi Photography as their “opaque specialist”. This was a new commercial photography studio established in Culver City in 1956 or 57. He was offered this entry-level position by one of the partners, a friend from their Fred Archer Photography School days after the war. At first the job consisted of part-time work after his day job at Foix Bakery, and I imagined him as a budding disciple of Ansel Adams, and a real-life version of Man With a Camera, a 1950’s television series starring Charles Bronson. I suffered my first disillusionment with the profession when I learned what his job really consisted of. Opaque photography was the “old fashioned” method of “photo-shopping” one item of a photograph out of and on to a different background. It was done by hand, and required his sitting at a specially lit desk, and painting out, or masking, one figure or object from one photographic negative (or transparency) so it could be mounted on another photo. This painstaking work required a steady hand and a calm and patient demeanor (two characteristic which my dad demonstrated to us throughout his life), and it gave me my first insight into what photography was really all about.



Photography became incredibly popular in the 1940’s and 50’s after Eastman Kodak simplified the once cumbersome process into the slogan, “you press the button, we do the rest”. With the Kodak Brownie, the company made photography available to the masses, convincing them that it was a “snap and shoot” process. Unfortunately, by having a professional in the family, I learned otherwise. Photography was actually a time-consuming practice that required hard work and concentration in the darkroom before a final “positive” print, or photograph was produced. Most people never saw this part of the work. They simply pointed cameras, pushed buttons, deposited the completed rolls of film at a drug store, and picked up their prints the following week. This was the glamorous, consumer side of photography that I imagined when I received my first Brownie. It was magic, and I didn’t mind too much the delay of seeing the prints of photos I’d forgot I’d taken. However, when dad joined the Camhi/Bardovi Studio, I was finally exposed to the business side of the profession, and quickly lost my appreciation of its art and creativity.


You see, even though my father was a “professional”, working as a salaried photographer for a very reputable studio, it was more than a 9 to 5 job. In order to buy homes and raise families, photographers had to work well beyond those hours and function as laborers, craftsmen, artists, salesmen, and businessmen in order to live. This was hard, time-consuming work. My dad did favors and picked up extra money by photographing children, family and community events, weddings, and sports. He joined clubs, community organizations, and professional associations, and attended all their meetings and events. I became aware of this side of the business because, as the oldest child in my family, I was given the honor of being his assistant at many of these functions. I will admit that the responsibility was exciting at first, but after the second or third time, it became WORK. At family events and weddings, I wanted to join my brothers and sisters playing with cousins and uncles, not following my father around, carrying his extra cameras and flash bulbs. I wanted to watch the baseball and football games we attended in the stands, not moving from sideline to sideline, lugging equipment. The worst was joining him on Friday nights when he developed the film he shot, and printing the negatives to produce photos. This was a long, long process, which usually found me fast asleep, sitting in his desk chair, waiting for prints to dry. By the time I graduated high school, I had two ironclad opinions about photography: I would never become a professional, or adopt it as a hobby. This last opinion really confused Kathy after we married. She was completely befuddled by my total aversion to cameras. She had to assume that responsibility, and happily, she loved it and did a great job. Our photo albums are filled with her pictures of both our families and our children. If it hadn’t been for Kathy there would be no photographic evidence of our marriage, life, or children. I bring up these obscure pieces of family history because I’ve lately gotten involved in a new project that has resurrected some of these old feelings about a time-consuming aspect of digital photography.


Despite my long-held prejudices about photography, I have to confess that I have spent the last 16 years taking tons of pictures on ever-improving digital cameras. I started taking pictures while a principal at Van Nuys Middle School and discovered the ease and simplicity of the process on small, pocket-sized cameras. Gone was the intrusive camera with bulky equipment case and accessories, or the need for flash bulbs or batteries. Gone was the need to develop film in a darkroom, or even dropping it off at a store for processing. All I needed was my Canon Sureshot, a computer, and a printer, and I had instant photos. It was a miracle! Not only was it a functional and practical piece of equipment at school, where I could use it to record incidents, events, and people, but it was a way of interacting with people and recording family events. Of course, eventually the iPhone and other modern cell phones would match and overtake these early pocket-sized cameras, but they were my first, practical enticement back into my dad’s world of photography. I became so confident and visible in using my ubiquitous pocket camera at school, that when I retired from Sun Valley Middle School in 2009, I was given a high-quality Canon camera as my departing gift. Suddenly, and for the first time, I truly appreciated that part of my dad’s art that I never allowed in. I discovered that I loved taking pictures!



However, this last year, I’ve gotten into a panic about preserving my photos. At about the time I left Van Nuys Middle School in 2005, I purchased an external hard drive to save my expanding digital photo library and reduce the storage space on my computer. Up until then I’d been saving and backing up my photos on separate disks and flash drives. By the time I retired in 2009, I had managed to transfer all the photos on these disks and drives onto the external, hoping to consolidate. So from 2009, year-by-year, I was blissfully moving iPhoto albums from computer to the external hard drive, believing they were safe and secure. Well last year when Kathy went to retrieve an early photo from the external drive, she was shocked to discover that some files were unreadable and some were empty of photos. We could only conclude that the external had corrupted with time and many of my photos were lost. So began my search for a new method of storing and preserving all my photos. It was while researching the various “digital cloud” methods of storing photos, videos, and files, that I discovered that by virtue of our Amazon Prime membership we already had unlimited storage capability on the Amazon Cloud.

I’ve gotten myself stuck in long-term projects before, and I’ve learned that my initial enthusiasm doesn’t always survive long hours of monotonous, boring work involved. My one exception was the Vinyl Music Project that I started in August of 2010 (see The Vinyl Music Project) and finished on December 29, 2012 (see A Good Day For Me). It was not an easy 2-year process, and there were countless delays, frustrations, and interruptions, but I got it done. What drove me, I suppose, was my love of music. Music has a mystical ability to transport me through time, emotions, memories, and dreams. It is lovely to hear and experience on many levels. Well, I’m finally beginning to think of photography and photographs in the same way. Of course, most people immediately recognize the historical significance of photographs and their ability to document events, but since 2009, I think I’ve begun to see the art of photography in the way my father did, so many years ago. I think photography was music for my dad, and he knew how to play, compose, and arrange it in many, many ways. The hard work was simply part of the creative effort, and he didn’t dwell on that aspect. He kept his eyes on the final product.


My dad was not the only Delgado who became a hardworking artist and craftsman in the creative field of photography. He helped hire his younger brother, Ricardo (Kado) Delgado, who joined him at Camhi/Bardovi Photography for a few years before starting his own studio. And although my dad died much to soon to see his children marry, his grandson, Carlos Delgado, joined the profession in 2006 as a photo/journalist. My dad helped me appreciate the hardships of his chosen career, and I have unbounded admiration for the work of Kado, who ventured into color photography, and Carlos, who graduated into the digital age. I am a dilettante in comparison to these professionals, so the least I can do is put forward the effort to insure that the photos I’ve taken, and the old photos I’ve copied, are preserved in a place that is safe and accessible. So I’ll let you know how this new project proceeds.


On all the crap I learned in high school,
It’s a wonder
I can think at all
And though my lack of education
Hasn’t hurt me none,
I can read the writing on the wall.
Kodachrome –
They give us those nice bright colors
They give us the greens of summer
Makes you think the world’s a sunny day.
I got a Nikon camera
I love to take a photograph
So mama, don’t take my Kodachrome away.
(Kodachrome: Paul Simon – 1973)
I started hating cameras after my father joined Camhi/Bardovi Photography as their “opaque specialist”. This was a new commercial photography studio established in Culver City in 1956 or 57. He was offered this entry-level position by one of the partners, a friend from their Fred Archer Photography School days after the war. At first the job consisted of part-time work after his day job at Foix Bakery, and I imagined him as a budding disciple of Ansel Adams, and a real-life version of Man With a Camera, a 1950’s television series starring Charles Bronson. I suffered my first disillusionment with the profession when I learned what his job really consisted of. Opaque photography was the “old fashioned” method of “photo-shopping” one item of a photograph out of and on to a different background. It was done by hand, and required his sitting at a specially lit desk, and painting out, or masking, one figure or object from one photographic negative (or transparency) so it could be mounted on another photo. This painstaking work required a steady hand and a calm and patient demeanor (two characteristic which my dad demonstrated to us throughout his life), and it gave me my first insight into what photography was really all about.



Photography became incredibly popular in the 1940’s and 50’s after Eastman Kodak simplified the once cumbersome process into the slogan, “you press the button, we do the rest”. With the Kodak Brownie, the company made photography available to the masses, convincing them that it was a “snap and shoot” process. Unfortunately, by having a professional in the family, I learned otherwise. Photography was actually a time-consuming practice that required hard work and concentration in the darkroom before a final “positive” print, or photograph was produced. Most people never saw this part of the work. They simply pointed cameras, pushed buttons, deposited the completed rolls of film at a drug store, and picked up their prints the following week. This was the glamorous, consumer side of photography that I imagined when I received my first Brownie. It was magic, and I didn’t mind too much the delay of seeing the prints of photos I’d forgot I’d taken. However, when dad joined the Camhi/Bardovi Studio, I was finally exposed to the business side of the profession, and quickly lost my appreciation of its art and creativity.


You see, even though my father was a “professional”, working as a salaried photographer for a very reputable studio, it was more than a 9 to 5 job. In order to buy homes and raise families, photographers had to work well beyond those hours and function as laborers, craftsmen, artists, salesmen, and businessmen in order to live. This was hard, time-consuming work. My dad did favors and picked up extra money by photographing children, family and community events, weddings, and sports. He joined clubs, community organizations, and professional associations, and attended all their meetings and events. I became aware of this side of the business because, as the oldest child in my family, I was given the honor of being his assistant at many of these functions. I will admit that the responsibility was exciting at first, but after the second or third time, it became WORK. At family events and weddings, I wanted to join my brothers and sisters playing with cousins and uncles, not following my father around, carrying his extra cameras and flash bulbs. I wanted to watch the baseball and football games we attended in the stands, not moving from sideline to sideline, lugging equipment. The worst was joining him on Friday nights when he developed the film he shot, and printing the negatives to produce photos. This was a long, long process, which usually found me fast asleep, sitting in his desk chair, waiting for prints to dry. By the time I graduated high school, I had two ironclad opinions about photography: I would never become a professional, or adopt it as a hobby. This last opinion really confused Kathy after we married. She was completely befuddled by my total aversion to cameras. She had to assume that responsibility, and happily, she loved it and did a great job. Our photo albums are filled with her pictures of both our families and our children. If it hadn’t been for Kathy there would be no photographic evidence of our marriage, life, or children. I bring up these obscure pieces of family history because I’ve lately gotten involved in a new project that has resurrected some of these old feelings about a time-consuming aspect of digital photography.


Despite my long-held prejudices about photography, I have to confess that I have spent the last 16 years taking tons of pictures on ever-improving digital cameras. I started taking pictures while a principal at Van Nuys Middle School and discovered the ease and simplicity of the process on small, pocket-sized cameras. Gone was the intrusive camera with bulky equipment case and accessories, or the need for flash bulbs or batteries. Gone was the need to develop film in a darkroom, or even dropping it off at a store for processing. All I needed was my Canon Sureshot, a computer, and a printer, and I had instant photos. It was a miracle! Not only was it a functional and practical piece of equipment at school, where I could use it to record incidents, events, and people, but it was a way of interacting with people and recording family events. Of course, eventually the iPhone and other modern cell phones would match and overtake these early pocket-sized cameras, but they were my first, practical enticement back into my dad’s world of photography. I became so confident and visible in using my ubiquitous pocket camera at school, that when I retired from Sun Valley Middle School in 2009, I was given a high-quality Canon camera as my departing gift. Suddenly, and for the first time, I truly appreciated that part of my dad’s art that I never allowed in. I discovered that I loved taking pictures!



However, this last year, I’ve gotten into a panic about preserving my photos. At about the time I left Van Nuys Middle School in 2005, I purchased an external hard drive to save my expanding digital photo library and reduce the storage space on my computer. Up until then I’d been saving and backing up my photos on separate disks and flash drives. By the time I retired in 2009, I had managed to transfer all the photos on these disks and drives onto the external, hoping to consolidate. So from 2009, year-by-year, I was blissfully moving iPhoto albums from computer to the external hard drive, believing they were safe and secure. Well last year when Kathy went to retrieve an early photo from the external drive, she was shocked to discover that some files were unreadable and some were empty of photos. We could only conclude that the external had corrupted with time and many of my photos were lost. So began my search for a new method of storing and preserving all my photos. It was while researching the various “digital cloud” methods of storing photos, videos, and files, that I discovered that by virtue of our Amazon Prime membership we already had unlimited storage capability on the Amazon Cloud.

I’ve gotten myself stuck in long-term projects before, and I’ve learned that my initial enthusiasm doesn’t always survive long hours of monotonous, boring work involved. My one exception was the Vinyl Music Project that I started in August of 2010 (see The Vinyl Music Project) and finished on December 29, 2012 (see A Good Day For Me). It was not an easy 2-year process, and there were countless delays, frustrations, and interruptions, but I got it done. What drove me, I suppose, was my love of music. Music has a mystical ability to transport me through time, emotions, memories, and dreams. It is lovely to hear and experience on many levels. Well, I’m finally beginning to think of photography and photographs in the same way. Of course, most people immediately recognize the historical significance of photographs and their ability to document events, but since 2009, I think I’ve begun to see the art of photography in the way my father did, so many years ago. I think photography was music for my dad, and he knew how to play, compose, and arrange it in many, many ways. The hard work was simply part of the creative effort, and he didn’t dwell on that aspect. He kept his eyes on the final product.


My dad was not the only Delgado who became a hardworking artist and craftsman in the creative field of photography. He helped hire his younger brother, Ricardo (Kado) Delgado, who joined him at Camhi/Bardovi Photography for a few years before starting his own studio. And although my dad died much to soon to see his children marry, his grandson, Carlos Delgado, joined the profession in 2006 as a photo/journalist. My dad helped me appreciate the hardships of his chosen career, and I have unbounded admiration for the work of Kado, who ventured into color photography, and Carlos, who graduated into the digital age. I am a dilettante in comparison to these professionals, so the least I can do is put forward the effort to insure that the photos I’ve taken, and the old photos I’ve copied, are preserved in a place that is safe and accessible. So I’ll let you know how this new project proceeds.



































































































































































