KEH Blog


Focal Length Designs

We recently stumbled upon the work of Isaac Watson, and his line Focal Length Designs. His cuff bracelets are made from recycled camera lens parts, so this was naturally intriguing. Isaac was kind enough to answer some questions for us.

KEH: What's your profession?

IW: I wouldn't call myself a designer, or an entrepreneur, or a marketer. Just a creative, I guess. It's been a topic of hot, self-reflective debate lately. Some years ago I started a degree in graphic design, taking a few photography courses along the way, but burnt myself out physically, emotionally and financially after several years. I decided to take a break from school and regroup.

KEH: How did you come up with the idea to make the bracelets?

IW: In early 2008 I stumbled across a website featuring an artist that made jewelry from old camera parts. Encouraged to try making my own version of what I saw, I armed myself with a concept and some rudimentary tools and set to work.

I spent a sweltering May afternoon in a borrowed workshop grinding, filing and sanding away at a little piece of metal from a broken SLR camera lens I had found at a thrift shop. Two hours later I emerged from the shop with grime-covered hands and several minor lacerations, but I also had a couple shiny new bracelets. They were comparatively crude—scratched from a few too many slips of the metal file and dinged by a few too many mis-strikes of the hammer—but I had accomplished my goal, and I had a ball of a time in the process!

A single experiment in mimicry opened the door to a passion I never knew I had. I couldn't wait to take another stab at them!

KEH: What has the response been like?

IW: I find that I usually get one of three responses from people when they see my work.
  •  Response 1: "Oh, how clever!" This usually comes from the people who don't really get it. Suburban craft show moms and such.
  •  Response 2: "Oh, sweet! Those are bad-ass!" This is my favorite response (naturally). I get this from designers, fashionistas, the hip photographers.
  • Response 3: "OMG how could you?!" This always makes me laugh. It's usually the old school photographers that still have their AE-1 or K1000 in their closets and would never dream of getting rid of it. They're the ones that took the longest to convert to digital (not that there's anything wrong with that) and think I'm destroying their history. I can usually calm them down by assuring them that the lenses were broken to begin with or that they were obsolete parts. But really I understand that the shock stems from emotional connection to the "death of analog".
KEH: Have you thought about making other items based on the same idea, or using other camera equipment parts?

IW: In dismantling at least 30 lenses since I started, I've amassed quite the collection of optics, brackets, screws, springs, rings, aperture flaps, and all kinds of other parts. Part of my goal over the winter has been to expand my work beyond cuff bracelets. I'm currently brainstorming and collaborating with my good friend and mentor, Betsy Cross of Betsy & Iya. She's a wicked talented jewelry designer and we'll be launching our collaboration at the Crafty Wonderland Super-Colossal Spring Sale, May 1-2 at the Oregon Convention Center.

KEH: How long does your process take to make these?

IW: If I spent a good solid day in my workshop, I could emerge with ten bracelets. But that's assuming the lenses are already in pieces and I've got a good solid flow to my work. I also put a lot of time into photographing, naming and writing a "story" for each one. They are one-of-a-kind pieces, and I like giving them some kind of personality or history. I enjoy being able to connect to my customers that way, and it's a great outlet for my writing hobby.

KEH: Whats your process? What do you do with the other lens parts that aren't used for the bracelets?

IW: I'd like to say that it's as easy as slice, bend, and file, but there is so much more art that goes into it. Each piece has its own style that takes form as I work with it, and I've developed my own special techniques to add complexity to their minimalistic nature. My techniques have developed along with the bracelets, too, considering I have no formal training in jewelry-making or metal-smithing. I still do a lot of work by hand, even though I got a fancy Dremel tool for Christmas. Files and sandpaper are my friends! All the leftovers go into tubs and boxes and baggies and await brilliant ideas and collaboration as mentioned previously!

KEH: Can you size them to fit specific size wrists?

IW: Sizing depends greatly on the original diameter of the cuff and the thickness of the aluminum. Some of the metal is more flexible or more brittle than others. Most of my bracelets can be fine-tuned, but the big adjustments have to happen in the shop if the metal will accommodate it. I love doing custom work, too! Finding a raw piece and making it specifically with someone's wrist in mind is exciting, especially when I get to see their face at the unveiling! If anyone's interested in custom work, I'm happy to get in touch and discuss details!

KEH: Anything else you'd like to tell us?

IW: While I play around with my old AE-1 when I have the time and money for developing film, I don't consider myself a photographer. Most of the good photos I take are pure chance—my skills are not that greatly developed. So I would call myself more of a photographile instead.

Up until this year I had been selling my work solely through my Etsy storefront. In February, a new retail shop opened up inside an art gallery here in Portland, called Small Victories Shop. Erin, the shop owner and curator, focuses on artful and functional handmade goods for the home and body. She approached me about adding my bracelets to her collection, and is now the first brick-and-mortar shop to carry them! It's a fabulous little space and if anyone is in the Portland area, they should drop by and check it out.

I'm also the Co-Chair of a pilot project called I Heart Art: Portland. It's an art advocacy group that represents a new relationship between and PNCA. We're starting some really great programming here in Portland.

Below are a few bracelets from the line:

"Subtle Scratch"
"Large Threads 1"
"Micro-Bandonomics 1"
"Slice n Dice 1"
"Come to Grips 1"
"75mm Brilliance Plus 1"

For more on Focal Length Designs, visit the shop on Etsy.

Employee Interview: Chris Brooks

Today's behind the scenes post is an interview with one of our tech support managers, Chris Brooks...

Interview by: Christina Hodgen

Chris, front and center. Pregnant and holding a Brooks Veriwide camera. c.1989

Chris Brooks is a staple at KEH with her welcoming smile and infectious positive attitude. Who am I kidding? The best thing about working with Chris is the cakes she bakes almost every month for people having birthdays! She graciously took the time out of her busy schedule to answer a few questions about her job.

How long have you worked for KEH? Since February of 1988, 22 years. I was just a baby when I started...

I'm sure many aspects of KEH have changed in that time period. We now use a computer system but what kind of system was used when you first started working here? Believe it or not, we had a computer system when I started! It was completely custom, so any time the system went down there was only one person on the planet who'd be able to fix it, and since legally we couldn't chain him to the building, we went looking for something a little more mainstream.

You have worked in various departments in the company before landing in tech support. What is your favorite part of working in tech support? I really like that tech support gets to see all the equipment that comes in the building. In sales and purchasing you talk about the equipment a lot but in tech support you play with it, and we have had some incredible items come to us.

You are now the manager of the consumer side of tech support. What does a typical day look like for you? It varies. Some days I sit at my desk and do the same thing everyone else does-write up the equipment. Other days I might be helping out with a cycle count which keeps the inventory correct, or I might do some returns-it's always good to know why people are returning items and if there is anything we need further training in. And of course, some days I bring in cakes for a birthday-which means there must also be balloons blown up (thank God for air hoses)!

The digital age of photography has come to be during your career at KEH. How has this changed the company/your job? Back in the day, we didn't know if dust or a small scratch or a cleaning mark would really affect picture quality or not, so we tended to grade based on what we thought might happen, since we just couldn't run a roll of film for every lens. With the advent of digital, we can see exactly how the lens will perform instantly. I thought the digital would completely replace film cameras, but that hasn't happened. It's true that more and more of our sales are coming from digital, but there remains a dedicated group of film enthusiasts and collectors out there. Our warehouse shelves are still full of 35mm, medium format and large format cameras. Something similar happened when the first auto focus cameras came out- yes I was here for that as well! While more equipment switched over to auto focus, sales of manual focus lenses stayed strong.

What is the most notable piece of equipment you have encountered working at KEH? There have been a lot! We once had an original Nikon 1 that was worth so much we kept it locked up. One of the more interesting, although not valuable, was an Army issue camera that came complete with instructions for destroying it so that it wouldn't fall into enemy hands! Most of the technicians have favorite types of equipment to test.

And what is yours? Hasselblad is my favorite. It's still the classiest, even after all these years.

You trained me almost seven years ago and I noticed you training our newest technician last week. What are some of the difficulties and challenges of training someone to work in tech support? Remembering that someone new isn't going to be trained in a week or two. There are about fifty thousand different pieces of equipment (give or take) in our warehouse. Nobody knows everything about each and every piece. Everyone who works as a technician has a background in photography-most have degrees in it, but everyone shoots with only one or two different cameras, so they still have to learn about other brands and their quirks. All in all, it takes about 2 years to fully train someone.

What is the most important thing you have learned working at KEH that you would not have known if you had not worked here? How to look at lens elements! You don't want to shine a flashlight through it because that shows ALL its' warts, but looking through the glass in office building light shows nothing. You have to find a good source that allows you to see any haze or fungus and scratches. I use a magnifying lamp with clean white light-not too harsh or too soft.

What is your favorite music to listen to while working? (ABBA has to be mentioned!!!) I admit that I'm partial to disco-it has a good beat and you can dance to it! It helps me keep a positive attitude-very important when I'm cleaning some moldy equipment!

More old photos of Chris can be found in the post "Brief History + Old Photos"

Interview: Chad Schaefer

You asked for interviews, so we're bringing you interviews! Welcome to our new series, debuting today. We're going to bring you at least one interview a month, with people from all over the photography world including pros, students, product designers, editors, teachers, and everyone in between. We're starting off with photographer Chad Schaefer...

Tell me a little about yourself and your work.
My name is Chad Schaefer, and my older brother and I have the dubious honor of being named after the British folk group, Chad and Jeremy. I've been living in Austin, Texas for the last six years, after spending most of my previous life in Chicago.

My formal education consists of way less than it should have, as I never really enjoyed school. I spent most of my time passing tests without studying, and passing time in class doodling on everything... all through school I wanted to either design cars or go into animation.
In fact, the only photography education I've had was 1/2 a semester in 7th grade, where film photography was part of our industrial arts class. At that point, I was just amazed that my dad let me even touch his 35mm camera...

Years later, I bought my first digital camera (a bulky 1.3 MP behemoth) to document the vintage Vespa scene I used to be heavily involved with. However, with the proliferation of cameras at the scooter rallies, I quickly got bored of taking the same pictures as everyone else. In the meantime, I was working my way through the older Nikon point and shoot Coolpix cameras, the ones with full manual settings, and learning all the stuff I forgot about like f stop, aperture, etc. I started playing in Photoshop, trying to take my photos and turn them into something different. I love old photographs, especially family snapshots, vacation slides, postcards, and the like. I
spent hours in Photoshop trying to make my digital pictures look like film pictures, and then one day, I decided to just go out and buy a film camera, which happened to be a Holga. I chose that camera mainly because it was inexpensive, and the Holga shots I had seen at that point were about what I was trying to achieve in Photoshop, and I knew nothing about film cameras at that time.

What do you shoot with?
Today, I carry more cameras than luggage when I go on vacation. Last fall, I took a road trip from Austin to Disneyland, and I had, I think, 10 cameras with me. I rotate a lot, and I DO use all the cameras I have. Lately I have been favoring my Yashica Mat EM, coupled with a Heiland 3 cell flashgun, but I also get a lot of work out of my three Vivitar SLRs, 2 220/SLs and a 250/SL (one loaded with color, one with black and white, and one with color infrared). I have two Universal Uniflex TLRs, from the 1940s, one loaded with b/w infrared and the other is usually loaded with b/w 120. I have a few Polaroid model 100 Land Cameras (again, one loaded with color, one loaded with b/w), as well as two Argus C3s (one 40's model that is M synced for flashbulbs, and one later model that is X synced for electronic flash). I have a Brownie Target Six-20 that comes with me all the time, and a Brownie Starflash that I have experimentally loaded with 35mm. I finally got some of the Impossible Project's SX-70 film, and I'm playing with that in my SX-70 Sonar OneStep. Sitting around at the moment are an Instamatic 500, a Brownie Hawkeye Flash, and few other bits and pieces.
What type of film do you use and where do you buy it?
I used to use anything I could get my hands on, especially expired stuff. That habit left me with a really underwhelming experience with color film until I started using Kodachrome. On that Disneyland road trip, I went through 8 rolls of Kodachrome, and have been using that almost exclusively in my 35mm cameras, until, obviously, the inevitable end last December. I am still seeking a nice alternative for that. On the 120 cameras, I have really enjoyed the vivid and bright results I have been getting from Ektachrome. Almost all the color film I buy is expired... Since this is essentially an expensive hobby until I can get consistently paid, I have to budget myself in a way to get maximum results with as little expenditure as I can. However, when I shoot black and white, I do buy new, but I don't have a preference. I get most of my new film from Freestyle photo in California. Their house-branded black and white film is extremely inexpensive, and sourced from, I believe, the Czech Republic, which gives the results a vintage feel without really trying. They also sell Fuji's pack film for the older Polaroid Land Cameras, as well as infrared films and 127 format.How are you getting your film developed and printed?

I trust my developing to either Holland Photo or Precision Camera, here in Austin. My rationale behind this is: I am kind of the Ed Wood of photography. I don't bracket my shots
and I rarely take more than one or two photos of the same thing. I will go to a concert and take two photos all night. Some of my cameras go months before I finish a roll of film. Each of those shots is highly unique, and I don't want to risk a step that I may screw up.
How do you feel about the new digital apps that try to recreate the look of old film?

I have an Android phone, and I use the retro camera app more than I thought I would... I enjoy the personality it gives a bland photo, and
it’s fun for Facebook and stuff like that.
Part of me feels like I should hate it, but it’s just another toy, and the effects don't really come close to looking like what it is supposed to simulate, so I don't feel like it's a bad thing. Besides, it might steer some people into probing beyond the app and delving into film.
Who are your favorite photographers?

My self-education created a surprising lack of knowledge of historically significant photographers, although much of their work is vivid in my mind. Jack Delano's FSA/OWI work was really an eye-opener on both the use of color and the sheer awesomeness of Kodachrome, and if I had been born earlier, my ultimate goal would have been to be a photographer for LIFE.
What are your top 2 photography pet peeves?

I'm sure this could wind up a list, but the top two? People who believe that they can be better
photographers by buying the most expensive equipment they can get; the latest lenses, the newest equipment, all those gadgets aren't going to help if you don't have an eye.

That, and digital photographers who are afraid of film.
What are your favorite things to photograph and why?

Austin has a legendary music reputation, and I follow the smaller, traditional honky tonk scene, which is a perfect complement to my style and medium. I love getting candid images of "regular" people, which goes back to my love of the timeless snapshots you see in junk stores and attics. I really enjoy tourist traps, old motels, abandoned buildings and the like, but
it’s not a particular THING that I like as much as a feeling that I like to capture.

Whats your favorite tourist trap, destination, and/or roadside attraction?

Disneyland. That is my number one spot. It has to be. It's the pinnacle of the roadside attraction. I grew up going to Walt Disney World in Florida, but only recently had the pleasure of going to the older, smaller, California park. Disneyland is a time machine. Whereas “the World” promptly and completely updates its attractions in a race to stay relevant, Disneyland is a veritable archive of the 1960s.
On the opposite side of the spectrum, I love the mom and pop places, and especially ones that are either labors of love, or just holdovers from another time. Bedrock City, the Thing? (AZ), The Buckhorn Museum (TX), Spongearama, The Burt Reynolds Museum (FL), The Black Hole (Los Alamos, NM)... As a post script, I'm a huge fan of space travel, so Kennedy Space Center, Houston Space Center, Stennis Space Center, Griffith Observatory, and even SpaceX's testing facility in Texas (where I got chased away by a security guard) have all been on my itinerary.

Whats on your agenda/ what do you want to accomplish next?
I came to Texas with a mythical vision of what Austin should be, and although my imagination and willpower is vivid enough to live as if that myth were true, Austin is a small place, and its almost time to move on. I figure the next myth to live is California. I am working out the logistics of relocating to Los Angeles. I feel I can spend a few years enjoying and photographing its vast beauty and history. After that, who knows?

Cardinal Cyn

What band/musical artist is currently in constant rotation?

I currently have an unnatural obsession with Annette Funicello. She has a kind of imperfect perfection that embodies a lot of what I love. I mean, honestly, she wasn't the world's greatest singer, but I can't stop listening to her.
Anything else you'd like to add?
I have hinted, but I have not really hit directly on the real question: Why do I insist on film? The ephemeral vs the eternal. We live in a throwaway culture, and I refuse to be part of that. Film is tangible, and archival. A well-preserved Kodachrome slide will still be viewable 100, maybe 200 years from now or longer, but who knows if we will be able to read a jpeg file even fifty years from now.

For more of Chad's work, check out his website:

- JF

Interview: Elizabeth Clark

In our second interview in our new series, we have asked industrial design student Elizabeth Clark a few questions about her work, and more specifically about her Leica concept design camera. I stumbled upon Clark's work through a recent scholarship contest on Design*Sponge and thought it would be interesting to hear from someone who is about to venture out into the working world, and not as a photographer, but as a product designer. Liz is currently in her last semester studying industrial design at the California College of the Arts.

How did you get into product design?
I remember thinking about the design of objects as a kid when I redesigned toys to make them work better. I once took a wagon that I would pull a teddy bear in but the bear would fall out when I turned, so I added an extra seating area where I attached an elastic that worked as a seat belt to hold the bear in. Legos and making things out of clay always kept me interested. I remember drawing all the time and at one point my painting portfolio was full of paintings of chairs, so I thought why not actually make a chair instead of just painting it?
What made you decide to design a Leica?
In a design class we were assigned the task of designing a camera. I chose to brand mine under the Leica name because of their simple, efficient, and beautifully crafted cameras. I also found that the SLRs on the market all have similar forms. Leica however, stands out from this crowd. They have taken simple shapes and quality materials to construct beautifully crafted cameras. There is also an air of staying true to the older style cameras, which is the direction I pursued with my rendition of the SLR.
Did you have to do a lot of camera and/or Leica research when working on this project?
We had to do a lot of camera research, beginning with market research about what was out there, new technologies, as well as having to take 500 photographs with a digital SLR.
Tell me about your design and creation process for this camera.
In designing this camera I started out again doing research around what was on the market, how cameras function etc. From that and through the inspiration the Leica brand gave me, I started sketching. I wanted the form to be friendly and approachable for young and old alike.
In the design process many forms were explored in a variety of ways. Existing shapes were pieced together, photographed and new form designs were taken from there. Through this process the familiar shapes of the typical camera were given a modern twist that the user could still be comfortable with.
I explored how a product can appeal to several generations. A wiser consumer may be drawn to the form that is reminiscent of original film cameras and can feel a nostalgia for these older styles. While the younger vintage seeking generation would appreciate how the current technology is applied to a camera with a unique look. The use of natural materials, leather and wood, give it a feeling of quality as well as familiarity.
After the materials and form were settled upon, the creation of a model was the top priority. I cut out the rough form from a block of basswood and started the carving process. Cutting out the space for each of the parts using a Dremel and sander. Once that was all set, the model was painted and the leather stretched and attached. The screens were laser cut out of acrylic and fit into the model. In the end, the model came together just as I had imagined it, an exciting an relieving moment!
What’s your favorite design elements of the current or past Leica cameras?

I think I like the M-System the best for its classic styling and perfect mix of materials.

Have you submitted your design to Leica?
No I have not submitted my design to Leica, but it has crossed my mind.

Is photography a hobby for you?
Yes, I love taking photos and I would say it’s a hobby that I can’t escape. I always have a camera on me, from film to digital it’s a wonderful way to record moments in your life.

What influences and inspires you?
Traveling is a huge form of inspiration for me. I was raised in San Diego between two cultures. My mom being from Mexico and my dad from California created a sense that there is not just one way of doing things. I feel that through experiencing different cities and cultures I can better understand how people from all corners of the world interact with objects. I recently spent half a year studying and traveling in Barcelona, Spain. Which again revealed yet another world in which objects and products are used in.
How would you explain your design style?
The important part for me about designing products is to create something that can better someone’s life, be it by its function or by its sustainability or more simply by its relationship with that person. I hope that in creating simple, functional, and appealing objects I can get people to smile a little more. I also love objects, I love things that work well and look good doing it. I strive to create things that offer a simpler solution to an everyday task.
I enjoy the handmade quality of objects especially if that is captured on an industrial level. I look at the quality of material and how that material can make you feel. I am drawn to leather, wood, and warm colors, which add an inviting presence to my designs.
Whats on your agenda/ what do you want to accomplish next?
After gaining some work experience and hopefully doing some more traveling, I want to start a bag company. I am hoping this will happen within the next seven to ten years. I love objects that help you carry things. Bags, baskets, pockets are all things we use daily. The design process behind textile goods is engaging and different in that you have to design how a flat material will become three-dimensional. It is always exciting for me to think in this way.
Anything else you would like add?
Thanks for the opportunity to contribute to your blog!

For more of Clark's work and info., check out her websites-

PWD Labs Interview

Our interview today is with Jerry Weiner, Owner and CEO of PWD Labs. He weighs in about business, the photographic printing industry, offers some tips, and shares where he finds inspiration.

Tell me a little bit about your background.

I am an accountant by training, but I have an entrepreneurial urge. After spending the first 10 years of my career in accounting and banking, I started a bank accounting software business for PCs in 1982. That took off and was sold to a public company in 1997. In 2001, I retired at the ripe old age of 50. After 5 years of community volunteer work, I found myself back in business with PWD at the beginning of 2007.

What made you decide to start PWD Labs?

The digital revolution had created a great deal of disruption in the industry. Labs no longer processed images as they did in the film days and photographers were struggling to produce images that resulted in acceptable prints. By 2007, photographers found themselves spending seemingly endless hours processing images instead of building their businesses during a time of dramatic change. By providing complete image processing services we enable photographers to spend more time doing more important things while their images are professionally processed for them.

Who is your typical customer?

The majority of our customers shoot events and portraits (seniors, babies, families, schools, teams, etc.). They come from more than 40 states and a handful of foreign countries. They represent both full-time professionals as well as semi-pros. We are fortunate to serve some of the most respected photographers in the industry.

Why might a photographer want to use your services instead of doing it themselves?

Photographers have a passion for photography because they love to capture the light they see filtered by their own creativity. Our post-production services are designed to enable professional photographers to free themselves from endless hours in front of the computer so they can spend more time behind the camera pushing the limits of their art as well as building their business and spending time with family & friends.

Giving up control is a major concern for a lot of photographers; understandably so. But once they realize that they can control their image processing without actually having to do the work themselves, they can begin to bring some order and balance to their lives. This is especially true for younger photographers that have a family. Kids don’t wait to grow up.

Quality prints start with quality images. These become input to a process that has the technical discipline required to consistently produce outstanding prints. We pay attention to those details and provide photographers with quality products at a fraction of the cost of them doing it themselves. And we do it all – post-production and printing – with a smile. Why wouldn’t a photographer want to use our services?

Where is the printing industry headed?

Photo printing has shifted to where a great deal of it is now done in-home by consumers or in-studio by photographers. Traditional, silver halide prints produced by professional labs have plummeted in price from where they were 10 years ago making the lab business much more competitive – and difficult for smaller players. Finding a specialty niche is important. Most of the new technology continues to be focused on image capture, processing and management, but not on printing.

The market for post-production services is also still emerging and continuing to grow by leaps and bounds. We have released a number of new services to meet these emerging needs based on input from our customers and others in the market. We are excited about where the industry is going and the role that we are playing in the on-going evolution of digital image processing services.

What are some of the challenges you face in the current economy?

When a photographer’s income goes down, the first thing they think to cut is their post- production cost. In actuality, this does the photographer more harm than good because they return to spending hours-on-end editing their own work. This leads to burn out, family stress, and abandoned friends. But worse, it keeps a photographer from doing what they should be doing in a down economy: more aggressive marketing. Clients are now harder to get and photographers need to work harder to book them. That can’t be done by sitting in front of the computer working on images.

What is your best selling product?

Our best selling product is our Signature Color Correction service. Photographers like it because we tailor the work we do to their particular style by assigning them a team of editors that does each job they send us. This enables the photographer to develop a relationship with our editors which helps us provide services that more closely match their individual style.

What are some important tips to follow to get the best prints?

The most important thing is to capture an image that is technically correct (that has not changed since the days of film negatives). What has changed is the need to calibrate your monitor regularly and work in a controlled light environment with quality hardware and software tools that you are trained to use. Keep it simple. Shoot and work in sRGB. If you do, the prints you get back from your lab should match what you see on your screen.

I understand you personally like to shoot underwater photography as well. Tell me a little about that.

I average two trips a year where I do between 20-25 dives total. I can’t fathom ever satisfying my urge to shoot underwater. There is a whole world of fish, coral, sponge, landscapes and other creatures – large and small. I have been shooting underwater long enough now that I have a good assortment of the common things and a few uncommon ones. I try to improve my collection and fill in the gaps when I see species or variations that I don’t have. I have found it a great way to learn what all of these creatures are. They didn’t teach me any of this in the course of getting my accounting degree.

Where do you find inspiration?

My parents taught me to work hard, be nice to others and appreciate what we had, even though we didn’t have a lot of “things”. Growing up in America with a family rich in cultural traditions made me feel special. Also, growing up with a brother that is developmentally disabled, I got to see both how kind and how unkind people can be. My first business took me to six continents. I saw the finest and the poorest of places. I have a wife I love and two wonderful sons. I find inspiration everywhere, every day.


Bonus Reading/Link: How Long Will Your Photo Prints Last? Jerry Weiner and three other experts weigh in.

- Patrick Douglas


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