Harper’s Bazaar
How the Studio Museum of Harlem Transformed the Art World Forever
John Edmonds
Feb 2021

John Edmonds: How the Studio Museum of Harlem Transformed the Art World Forever Harper’s Bazaar, Feb 2021

John Edmonds: From How the Studio Museum of Harlem Transformed the Art World Forever Harper’s Bazaar, Feb 2021
L: E. Jane
R: Zaviera Simmons

John Edmonds: Steffani Jemison from How the Studio Museum of Harlem Transformed the Art World Forever Harper’s Bazaar, Feb 2021

All images shot on 8 x 10 C41 film processed, contacted and hi-res scanned at LTI-Lightside. This is our first project with John Edmonds.

Tags: 8 x 10, C-41 Film, Editorial, Film Processing, Scanning

New York Times
Opinion “A Photographer’s American Road Trip”
An-My Lê
October 27, 2020

An-My Lê: Family Under the Presidio-Ojinaga International Bridge, Texas-Mexico Border, 2019. New York Times, October 27, 2020.

Reprinted from the New York Times:

These past four years, I’ve been on a photographic road trip of the United States. It often seems that there are two Americas, left and right, looking at the same place from radically different and irreconcilable perspectives.

An-My Lê:  New York Times, October 27, 2020.
L: St. John’s Church, Lafayette Square, Washington D.C., 2020
R: Oval Office Set, ‘Saturday Night Live,’ NBC Studios, New York, N.Y., 2018

This week I found myself on the grounds of the White House. It was a drizzly, dreary morning. Dug up sections of the lawn adjacent to a lineup of broadcast tents appeared like graves. A theater of the real. I photographed Senator Dick Durbin of Illinois, who is all about work, in his Capitol office. On his coffee table lay a biography of the “Silent General,” Ulysses S. Grant.

An-My Lê:  New York Times, October 27, 2020.
L: Sugar Cane Field, November 5, Houma, Louisiana, 2016
R: Cars along the Rio Grande, U.S.-Mexico border, Ojinaga, Mexico, 2019.

There are many types of power and means of taking measure of the powerful. Many of my photographs are made out of a profound sense of powerlessness but also out of a desire to locate power and authority in unexpected places: in the natural world, in a solitary border patrol officer or in the intimacy and strength of a family under a bridge that connects the United States to Mexico. These images are reminders to me that our American landscape and the communities within it transcend this cultural and political moment.

An-My Lê:  New York Times, October 27, 2020.
L: U.S. Customs and Border Protection Officer, Presidio-Ojinaga International Bridge.
R: Mexico Customs and Border Protection Officer, Presidio-Ojinaga International Bridge. Ojinaga, Mexico.
Both 2019

An-My Lê was a 2012 MacArthur fellow, and a survey of her work is at the Carnegie Museum of Art, in Pittsburgh, through January. She teaches photography at Bard College. You can see the entire “A Photographer’s American Road Trip” on the New York Times website by clicking here.

LTI_Lightside has been working with An-My Lê since 2018.

Tags: Editorial, Film Processing

Re-Edition AW19
Re-Edition SS19
Covers and stories
Spring/Summer, Autumn/Winter 2019

Talia Chetrit: Re-Edition Magazine, Spring/Summer, Autumn/Winter 2019

Tags: Editorial, Film Processing, Retouching, Scanning, Talia Chetrit

New York Times Magazine
The Disappearing Schools of Puerto Rico
Diana Zeyneb Alhindawi
September 15

Diana Zeyneb Alhindawi: from The Disappearing Schools of Puerto Rico, New York Times Magazine, September 15, 2019

The New York Times invited Diana Zeyneb Alhindawi to shoot a photo essay on the crumbling school system in Puerto Rico this past summer. Of course, she chose to drag an 8 x 10 along to capture all the excruciating detail. It’s a hard read from Jonathan M. Katz — and Diana’s images don’t pull any punches, either.

You can scroll a few pics here – though we certainly recommend reading the full story here .

Diana Zeyneb Alhindawi: from The Disappearing Schools of Puerto Rico, New York Times Magazine, September 15, 2019

Diana Zeyneb Alhindawi: from The Disappearing Schools of Puerto Rico, New York Times Magazine, September 15, 2019

Diana Zeyneb Alhindawi: from The Disappearing Schools of Puerto Rico, New York Times Magazine, September 15, 2019

Tags: 8 x 10, Diana Zeyneb Alhindawi, Editorial, Film Processing, Imaging, Scanning, The New York Times

Departures Fashion Issue
Cover & Feature: Back to St Barth’s
Ben Grieme
March / April 2019

Ben Grieme: Departures Magazine, March / April, 2019

Ben Grieme: Departures Magazine, March / April, 2019

Ben Grieme: Departures Magazine, March / April, 2019

Ben Grieme: Departures Magazine, March / April, 2019

Tags: Ben Grieme, Editorial, Film Processing, Scanning

The Cut
Eva O’Leary
New York Magazine
April, 2018

Eva O’Leary: for New York Magazine, April 2018

Here’s what happens when one of your super-cool customers shoots some of your other super-cool customers for New York Magazine (https://www.thecut.com/2018/04/the-mirror-face-of-17-new-york-women.html)

Eva O’Leary: for New York Magazine, April 2018

 

Eva O’Leary: for New York Magazine, April 2018

Tags: 8 x 10, Cati Borruso, Editorial, Elinor Carucci, Eva O'Leary, Film Processing, Scanning

The Domestic Kingdom: and Terror and Beauty
Tina Barney
W Magazine
Volume Two 2018

Tina Barney: W Magazine: The Domestic Kingdom … Volume Two, 2018

Tags: Editorial, Film Processing, Imaging, Retouching, Scanning, Tina Barney

For those of you who thought film was dead, we’re happy to report that sentiment is clearly an exaggeration. First of all, a quick hashtag search on Instagram shows nearly 6 million users of #filmisnotdead vs a mere 6,816 tags with #filmisdead (!) Heck, that should settle it right there … but hey, don’t just take I/G’s word for it — go ahead and scroll down to see no less than five (5!) editorial stories and current ad campaigns that have run though the lab recently … and we’ve got more, believe us!

From the New Yorker to Nordstrom and Sonia Rikel to Nike — Zoe Ghertner, Max Farago, Ben Grieme, David Banjamin Sherry and Stefan Ruiz shot every format from 35mm to 8 x 10 this past season to deliver a stunning array of well …  really cool stuff.

Ben Grieme: Nike AF-1 campaign, Fall 2017, click here

Top: Stefan Ruiz: William Eggelston, New Yorker, October, 2017
Bottom: David Benjamin Sherry, Laura Owens, New Yorker, October, 2017

Max Farago: Nordstrom: Fall 2017 click here

Zoe Ghertner: Sonia Rykiel, Fall 2017 click here

Tags: Advertising, Ben Grieme, David Benjamin Sherry, Editorial, Film Processing, Max Farago, Scanning, Stefan Ruiz, Zoe Ghertner

Correspondance New-Yorkaise 2017
Raymond Depardon
Libéacion and French Institute Alliance Française (FIAF)
May 12–July 1, 2017

Raymond Depardon for Libération and FIAF, 2017
40 x 50 archival pigment print

From the FIAF Press Release:

Raymond Depardon revisits his landmark Correspondance New-Yorkaise in a special new commission for the FIAF Gallery.

New photos taken daily from May 1-11, 2017 will be displayed alongside his 1981 series, creating a unique portrait of the city across decades.

In 1981, Raymond Depardon’s La correspondance New-Yorkaise was published in the Libération newspaper in France. Composed of humorous, observational, photographic notes—and no topical news—the newspaper dedicated a full page to this correspondence every day for a month. It was a pivotal moment both in French photography and in Depardon’s career. La correspondance New-Yorkaise marked a turn toward the “new journalism” of the era, which fed on daily life and featured first-person, subjective writing.

36 years later, this major French photographer and filmmaker takes a new look at New York, continuing his rare portrait of one city’s unexpected spaces. This exhibition takes place during the cycle of events celebrating 70 years of the Magnum Photos agency.

Raymond Depardon at FIAF, 2017

Earlier this Spring, our good friends at Picto introduced us to Raymond Depardon thereby offering a unique opportunity to participate in his iconic Correspondance New-Yorkaise 2017 project, now spanning some 30 + years since it’s inception.

Now, it’s not as if the expedited processing of Raymond’s 8 x 10 negatives each morning and the subsequent scanning of selections and final file prep for Libéracion for seven days straight wasn’t enough — but before we knew it (and who knows really (?) maybe it was the language barrier) we found ourselves producing a full blown exhibition of 40 x 50 archival pigment prints for the French Institute Alliance Française as well!

Bravo Raymond (!) it seems, is about all that’s left to say  …

Raymond Depardon for Libération and FIAF, 2017
40 x 50 archival pigment print

Tags: Archival Pigment Printing (Inkjet), Editorial, Exhibitions, Film Processing, Imaging, Picto, Raymond Depardon, Scanning

Alexander McQueen: Take Romance and Scratch its Eyes Out
Blair Getz Mezibov
Heroine
Spring/Summer 16

12 pages / 9 images: film processing, scanning

Tags: Blair Getz Mezibov, Editorial, Film Processing, Scanning