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The Icon is the premiere destination in photographic imaging. Through the seamless integration of traditional and digital photography, The Icon bridges the gap to meet the needs of today's photography professionals.
Since its formation in 1998, CEO and founder Ramesh Venugopal has sought to create an environment that nurtures three core ideals: quality, service, and integrity. Dedication to these principles quickly led to a loyal following by the industry's leading commercial and fine art photographers.
From the beginning, The Icon professional photo lab has offered traditional services, specializing in E-6 processing, color and black-and-white film processing, and museum-quality custom darkroom printing services. The Icon was on the forefront of scanning and digital printing in the humble beginnings of the digital revolution and continues to expand through the ever-changing climate of photography, incorporating the finest in cutting-edge technology to deliver museum quality images.
Located in the venerable Miracle Mile district of Los Angeles, adjacent to the famous Los Angeles County Museum of Art and other renowned museums and galleries, The Icon is a landmark in its own right in the Los Angeles professional photography community. When it comes to professional photo lab services, including custom color and black and white film processing and printing, digital capture, digital imaging, book printing, film scanning, photo retouching and restoration, museum-quality lightjet C-prints and Epson pigment prints, LVT, digital prints, and archival digital storage services, The Icon is unbeatable.
5450 Wilshire Blvd Los Angeles, CA 90036
Free Parking available on Cochran Ave behind The Icon
New summer hours:
Hours: Mon - Fri 8AM - 7PM, Sat 12PM - 5PM, Sunday by appointment.
Dennis McGrath checking over the proofs before we printed the larger version for the Virgin Lounge in Terminal 3 @ LAX.
Photos from our Finding Home exhibition reception held on Friday Nov. 16, 2012. Thanks everyone for coming out !
( photo : Kim Kremer )
The environment which we inhabit as children molds us into the shape we become, and despite our best efforts, continue to become as adults. Within the domestic space the narratives that occur regarding dependency and independence, nurture and neglect, loss and the cataloguing of memories. embed a cognitive weight to one of the most significant spaces we encounter in our lives. This show features work by 11 artists each representing a specific relationship between artwork and the familial.
Jen Berger takes a performative examination of her family archive in the series You Are Here. She recreates family snapshots of her childhood. Dressed in similar or the same clothing from years ago, her family members pose in positions reminiscent of the original photographs. Arranging a comparison between my adult and child self, Jen appears at once as two distinct identities and a single individual. Likewise, while repeated, the same familial relationships and gestures become inappropriate when acted out in the present.
Theresa Edmonds tenderly captures her pregnant 15 year old relative going on a walk through a garden on the family’s rural property at dawn. The picture is antagonizing, forlorn, seductive, and sweet.
Glenna Jennings created the Inheritance series shortly after her father passed away, exploring the archive of her inheritance – a collection of odd and largely useless items that magically become invested with personal sentiment – even aura. This particular image is of an old clipboard that her father had likely kept from his days in AA, evidence of his struggle with selfhood.
Joe Johnson and Jennie Ross’s Still life with Lemons, Dirty Dishes, and a Bong is modeled after Francisco de Zurbaran’s Still Life with Lemons, Oranges, and a Rose. Johnson and Ross fashion still lifes out of paper mache and apply color according to the traditional painting techniques appropriate for each piece. The finished product is a photograph of the painted paper sculpture. These are the objects of a domestic sphere that celebrates and also suffers. It may be subjected to dysfunction or even devastation. However, reshaped by the context of this show “Still life with Lemons, dirty dishes, and a Bong” depicts the space of the young adult possibly living away from home and family for the first time and not yet starting a family of their own.
Kim Kremer deals with the family archive. Her Grandmother and Grandfather meticulously labeled everything in their house with post-it notes and mailing labels for the day they passed it all on to heirs; a blue vase, “Boedrum, Turkey, 1982,” a ceramic wine pitcher, “Fracia Ristorante, Capri, Italy, 1968.” When her Grandmother’s dementia landed her in a nursing home, Kim’s Grandfather followed to a different wing and left his entire house full of their stuff, collected over a 60- year marriage.
Lauren Silberman reaches out of he typical family construct in Gold Dust, which explored New Orleans, the “inevitable city on an impossible site,” lush with plant life that is not native to the City, and rich with many non-native people that thrive there. The wildlife that flourishes mirrors the human wildlife that flourishes. The photos are a collection of these metaphors – weeds push through the cement, vines crawl through fences, and friends’ and acquaintances’ characters shine through the dust and sweat that makes up the City.
Charchi Stinson takes the landscape as a point of departure in this particular body of work. She explores individual soldiers’ notions of war and finds their romanticized views embedded in the surrounding landscape. Married to Stinson’s cousin, Jeremy provided access to ROTC training and the Ranger Challenge competition, enabling a look at the early stages of a soldier’s life as they prepare for potential tours of duty.
Yana Tutunik’s video Falls From Grace deals with an e-mail sent to her by her father, using the structure of the original material to structure a performance. The circumstance brings to light issues surrounding patriarchy and representation within the context of a father-daughter relationship. In the context of this exhibition, this video explores the family as a set of relationships that evolve through members who need to hold one another accountable.
Katie Watson acknowledges the blurry, transitional state of separation in a relationship with T(W)O NEW LIVES!, a banner constructed of hand-cut personal documents. Familiar relationships constantly change and evolve, and T(W)O NEW LIVES! simultaneously embraces the challenge, struggle, and heartache while celebrating the unknown and the new.
Beth Chucker presents Telling of a Story with Darkened Snapshots to create a conversation surrounding memory and family history (the archive). In Telling of a Story Beth collaborated with her father to tell the story of her father’s blind date with her mother and explore his memory of the event. What became Darkened Snapshots were the rejected images from Beth’s family album. They were the images her parents kept private from her. She shines a spotlight on them to examine notions of independence and family memory.
Please join us on Friday Nov 16th for our opening reception from 7 - 9 pm. The exhibit will be up until Dec. 31st.
Join The Icon this Saturday for the Miracle Mile Art Walk !
Located in the largest arts district west of the Mississippi, the MMAW is a FREE self-guided art-tour spanning approximately 10 square miles including more than 50 galleries, artist, print and photography studios; blue chip to low-brow; and everything in between. Many of the galleries are independently owned and operated, and represent and exhibit world renowned artists, with works that attract collectors from all over the globe. The area also includes world-class museums such as Los Angeles County Museum of Art (LACMA), Craft And Folk Art Museum (CAFAM), A+D Museum, Los Angeles Museum of the Holocaust, among others, in addition to many murals and public art installations, including the Berlin Wall Monument, located at 5900 Wilshire
Our doors will be open for you to check out our latest exhibition from Joe Schmelzer and David VIncent Wolf who will be here. The Art Walk runs from 2 to 10 pm. More details here.
The Icon is located at 5450 WIlshire Blvd. Los Angeles, CA 90036. See y'all there !
Catalogs were available for sale and happily signed by the artist themselves.
Alan Cumming and Joe Schmelzer
In our lounge, we have a slideshow featuring more work from Joe Schmelzer & David Vincent Wolf
Our Production Coordinator is looking for a raise :)
This week APA/LA presented a panel discussion titled "Why We Hire You" over at TBWA/CHIAT/DAY with three creatives : Jennifer Lamping (executive art producer for TBWA/CHIAT/DAY), Peter Stark (BLT, Creative Director) and Amy Feitelberg (photo editor, Los Angeles magazine). This was an exciting opportunity for photographers to hear straight about how the panel's thought process and how they work. Photo rep Andrea Stern moderated the event.
Yup, the event was held on a basketball court ! Find out more about APA/LA here
Last Saturday, APA/LA held their bi-annual Portfolio Review over at Strauss Studios in Hollywood, CA. The event was held for APA members to get a chance to meet with industry folks such as art buyers, in-house creatives and photo editors.
Heidi (APA/LA director) getting down to business !
Each photographer gets three 20 minute sessions with the reviewer of their choice.
The Icon's founder & CEO Ramesh Venugopal with APA/LA co-chair Anthony Nex
Ramesh & Oscar manning the Icon Books table.
Some examples of the books made by Icon Books
May 11, 2012
Lisa Leone has been busy spending time with us at The Icon recently as we help her with her latest exhibition, THEN. This new solo show from photographer Lisa Leone, is a deeply personal portrayal of the last days of hip-hop’s innocence, of a culture caught between an intimate past and a global future. Opening reception is this Friday night, May 11, 2012 from 7-10 pm @ HVW8 Gallery 661 N. Spaulding Ave. / Los Angeles, CA 90036
I went to HS of Art + Design, majoring in photography...that was in the 80's. That's where I met Mare, Fabel, Wiggles, etc. It was more like HS of graffiti + breakdancing. I remember walking down the hall and a big puma clyde would fly around the corner, then Doze would appear looking for his money green sneaker. Breaking and Graffiti weren't a world wide commodity yet...it was just for us. Every Friday night the last car of the 1 train would be packed, radio's playing, dancing, tagging... everyone would get off at 18th St. to head to the Roxy. That was a special place...b-boy meets punk, meets downtown artist, Red Alert spinning...it was the seed to this world wide phenomenon.
The show is very personnel...growing up in NY, it reflects a time that is gone now. A new NY has emerged. There was a sense of community, rawness and creative spirit that I miss deeply. When I look at the photos, they bring me back to that time...
It all started when I decided to scan my negs which have been sitting in my closet for the past 20 years. I was sitting at my friend Edon Gottlieb's house scanning and suddenly he turned to see what I was doing...being a photographer and huge hip-hop fan himself, he turned and said, "what are these? Are you kidding...you've had these pictures all along". At that moment it registered what those photos meant now.
August 6th – October 1st , 2011
5450 Wilshire Blvd
Los Angeles CA, 90036
Susanne Melanie Berry, Class of 2012
Elaine Shengya Hu, Class of 2010
Jossi “boyz” Bieber, Class of 2011
Emily Marchand, Class of 2012
Pat Blocher, Class of 2012
Elizabeth Preger, Class of 2010
Erin Desmond, Class of 2010
Steve Rosa, Class of 2011
"What happens when a new work of art is created is something that happens simultaneously to all the works of art that preceded it." - T.S. Eliot
The idea of contemporary photography has exploded in recent years. So much so that the once clearly defined partitions within the media have become largely indistinguishable. The world is so inundated with imagery, that the ability to critically examine the pictures around us is slowly but surely deteriorating. Most cell phones boast an impressive built-in camera, and the plethora of photography applications on the market allow for anyone with an Iphone to capture distinctive pictures. The work of the eight photographers featured in this exhibition represent what it takes to be successful in the contemporary art world – the understanding that the digital age is not the death of fine art photography, but rather it represents a new set of skills that must be added to the old toolbox.
For more information contact us: email@example.com, or 323-933-1666For the full press release, please download here.
The Icon is proud to support longtime client Aurelia D'Amore in her benefit "2VIE - One Day Art Auction, Benefit and Exhibit" on July 9th from 6-9 during the NELA artwalk at Leanna Lin’s Wonderland Gallery
The Icon has donated printing for photographers, Beth Coller, Lawrence Cassel, Aurelia D'Amore, Peter Bohler and Timothy Bailey. In addition, we have also donated (3) of our new 8x8 hardcover books which you can use for a portfolio presentation, a personal project, or anything you want to show and remember.
Bid on works from over 60 artists including the late renowned American photographer, James Fee (1949-2006), Robert Macpherson (1811-1872), an Albumen print titled "Sicily" circa 1870 by Giovani Grupa, and print from photographer Felipe Dupouy's series, Portrait LA.
Please go to: http://www.vartmuse.wordpress.com to see a preview of all the art and services that will be available to bid on. Many talented artist and people have come together for this benifit and The Icon is proud to be a part of such a generous creative community.
This rare event is a great opportunity for any art lover or a serious collector, so join us for an evening of art, wine, truffles and raffles and spice it up with Bloody Mary Shelley Cocktails served by Mary Shelly (aka Ophelia Chong)!
To RSVP to go: http://www.facebook.com
Art Preview: http://vartmuse.wordpress.com
April 27 2011
Opening reception Wednesday, April 27 at the Clark | Oshin Gallery at The Icon, 6-9 p.m.
Photo District News magazine’s "PDN’s 30, Our Choice of New and Emerging Photographers to Watch," is a look at up-and-coming photographers from around the world and is published annually in PDN.
MOPLA and Clark Oshin Gallery at The Icon present the works of Adam Dean, Bartholomew Cooke, Daro Sulakauri, David Black, DIma Gavrysh, Dyad Photography, Erik Madigan Heck, Giulio di Sturco, Ivor Prickett, Jody Rogac, Joel Micah Miller, Judith Stenneken, Justin Fantl, Justine Reyes, Katrina d'Autremont, Liz Hingley, Matthew Kristall, Nicholas Alan Cope, Nick Hall, Nicolo Degiorgis, Pari Dukovic, Philip Cheung, Rachel Barrett, Rebecca Drobis, Ryan Heffernan, Silja Magg, Spencer Lowell, Susan Worsham, Therese + Joel, Will Steacy.
PDN’s 30 is sponsored by Kodak, Sony, Canson Infinity, ASMP, and graciously hosted by Clark | Oshin Gallery at The Icon.
Have a peek at the new film Bill Cunningham New York, a documentary about the New York Times fashion photographer now playing in Los Angeles http://ht.ly/4p21M
Check out http://iconla.tumblr.com for your daily photo inspiration!
April 2 at Bergamot Station
Los Angeles, kicks off with an opening party on Saturday, April 2 at Bergamot Station. The series continues with over 50 events, exhibitions, discussions, and projections in April! http://ht.ly/4pVOo
LACMA's Ahmanson Building through June 12
Firooz Zahedi's exhibition “Elizabeth Taylor in Iran” continues in LACMA's Ahmanson Building through June 12. We're proud to have worked with Firooz on the printing of his stunning images of the late screen legend. http://ht.ly/4qPAp
The Icon strives to produce quality work in the shortest possible time. If an order is placed before 11:30 a.m. on a weekday, the order day will count as the first turnaround day. All jobs received after this cut-off time are treated as if they were ordered on the following day. Weekend days will not count as turnaround days for digital jobs.
A job with two-day turnaround received at the lab before 11:30 a.m. on Monday would be ready between 4:00 p.m. and 8:00 p.m. on Tuesday. A job with three-day turnaround received at the lab after 6:00pm on Friday would be ready between 4:00 p.m. And 8:00 p.m. on Wednesday. The digital department currently operates between the hours of 8:00 a.m. And 7:00 p.m., Monday through Friday. Although digital services are not typically offered during the weekend, we can work with you, upon request, to complete a job at any time. Please speak to one of our customer service representatives to make special arrangements.
This chart provides the file sizes for prints at 300 dpi, 200 dpi and 150 dpi. You can use these sizes to determine appropriate scan sizes for printing. Files of 300 dpi are recommended for standard sized prints while large prints can be made from 150 dpi files in order to save money and disk space.
|Print Size||300 dpi||200 dpi||150 dpi|
|4 x 6||6 MB||3 MB||2 MB|
|5 x 7||9 MB||4 MB||3 MB|
|8 x 10||20 MB||10 MB||6 MB|
|11 x 14||40 MB||18 MB||10 MB|
|16 x 20||83 MB||37 MB||21 MB|
|20 x 24||124 MB||55 MB||31 MB|
|20 x 30||155 MB||69 MB||39 MB|
|24 x 30||185 MB||82 MB||46 MB|
|30 x 30||232 MB||103 MB||58 MB|
|30 x 40||309 MB||137 MB||77 MB|
|40 x 40||412 MB||183 MB||103 MB|
|40 x 48||495 MB||220 MB||124 MB|
|48 x 48||593 MB||264 MB||148 MB|
|48 x 60||741 MB||330 MB||185 MB|
|48 x 72||890 MB||395 MB||222 MB|
|48 x 84||1 GB||462 MB||260 MB|
|48 x 96||1.2 GB||527 MB||297 MB|
|48 x 108||NR||593 MB||334 MB|
|48 x 120||NR||660 MB||371 MB|
This chart provides the files size for prints using pixel dimensions.
|Print Size||300 dpi||200 dpi||150 dpi|
|4 x 6||1200 x 1800||800 x 1200||600 x 900|
|5 x 7||1500 x 2100||1000 x 1400||750 x 1050|
|8 x 10||2400 x 3000||1600 x 2000||1200 x 1500|
|11 x 14||3300 x 4200||2200 x 2800||1650 x 2100|
|16 x 20||4800 x 6000||3200 x 4000||2400 x 3000|
|20 x 24||6000 x 7200||3000 x 3600||3000 x 3600|
|20 x 30||6000 x 9000||4000 x 6000||3000 x 4500|
|24 x 30||7200 x 9000||4800 x 6000||3600 x 4500|
|30 x 40||9000 x 12000||6000 x 8000||4500 x 6000|
Megapixels = total number of pixels in millions. Thus, 12 megapixels = 12 million pixels
The following chart shows common digital camera file sizes in megapixels, approximate pixel dimensions, file size in megabytes and safe print sizes.
|Megapixels||Pixel Dimensions||File Size||Print at 150 dpi||Print at 300 dpi|
|6 megapixels||2000 x 3000||17 megs||11" x 14"||6.6" x 10"|
|8 megapixels||2500 x 3200||23 megs||16" x 20"||8.5" x 11"|
|10 megapixels||2800 x 3600||28 megs||20" x 24"||9" x 12"|
|12 megapixels||3000 x 4000||34 megs||22" x 28"||10" x 13"|
|16 megapixels||3600 x 4500||46 megs||24" x 30"||12" x 15"|
|20 megapixels||4000 x 5000||57 megs||26" x 33"||13" x 16.5"|
|22 megapixels||4000 x 5300||60 megs||26" x 35"||13" x 18"|
|28 megapixels||4600 x 6100||80 megs||30" x 40"||15" x 20"|
|33 megapixels||5000 x 6700||96 megs||35" x 48"||16.5" x 22"|
The Icon is pleased to offer special pricing for "ready-to-print" files. This service is known as "Direct to Print." We take your digital file and send it directly to the printer with no further intervention. This allows us to cut the cost to our clients and still deliver very high-quality photographic prints. To utilize this service your print job must adhere to the following guidelines:
* You must set up the files at the desired printing size at 300 dpi, including any borders (borders count toward the final print size and are included in the pricing)
* Files must be saved as flat tiffs or jpegs with no alpha channels or masks
* All color adjustments must be done in advance and files must have an embedded RGB profile (sRGB or Adobe 98)
* You should maintain good monitor calibration to have the best results
* Prints are "rough trimmed" and are NOT trimmed to crop or bleed. Clean trimming is available for an additional charge
Direct to Print service does NOT include testing, color correction, sizing, adding borders, revisions, spotting, retouching, or reprints (unless there is a printing defect). Image files that do not fit these parameters or require our intervention in any way (resizing, clean trimming, etc.) cannot be handled as a "Direct to Print" and must be printed using one of our other custom printing services. If you have any questions please feel free to contact the Icon for assistance.
Remember that for the very best quality printing we offer a wide range of custom printing and digital services including: retouching, scanning, archival pigment printing, lightjet printing, custom type-C and traditional B+W printing
Direct to Print checklist:
* Setup file to actual print size at 300 dpi, include desired borders in the image.
* Flatten file, remove alpha channels, masks and paths. Save as tiff or jpeg.
* Make sure you have a profile embedded in the file.
* Decide on matte, luster, or glossy surface - let us know.
Before committing to a large direct to print, order we recommend that you print some test files. This will help you to become familiar with the process and judge the quality of your monitor calibration.
TIFF (Tagged Image File Format) is a flexible image format that normally saves 16-bit per color (red, green and blue for a total of 48-bits) or 8-bit per color (red, green and blue for a total of 24-bits) and uses a filename extension of TIFF or TIF. TIFF is generally lossless (all image information is retained) even when saved in the TIFF format using LZW or Packbits compression to reduce file size.
TIFF is widely accepted as a photograph file standard in the printing industry. TIFF is capable of handling device-specific color spaces, such as a CMYK color space defined by a specific combination of printing press and inks.
JPEG images (Joint Photographic Experts Group, the name of the committee that created the standard) is a compressed image format that sacrifices some image quality in order to achieve smaller file sizes with the amount of image quality loss directly related to the reduction in file size. JPEG images that are highly compressed look blocky and fuzzy. The amount of JPEG compression is typically measured by a quality number (0-12) in Photoshop which is proportional to the file size. For example, a quality level 12 file should look nearly identical to the uncompressed image, but has the least reduction in file size. A quality level of 2 will reduce the file size significantly, but the quality of the image will be noticeably degraded. Also, JPEG images cannot include layers. The advantage of a JPEG is that due to its smaller size, it can be sent and received more easily (e.g., via email) and it requires less space for storage. A high-quality JPEG can produce excellent prints.
The Icon maintains multiple backups of all data in our care. While we are working on your job, and for 14 days after the job is completed, we keep all data on a RAID storage system to minimize potential data loss due to hardware failure. Each night all data is backed up to a secondary location where every copy of every version of every file is stored for 14 days. After 14 days the files are erased from our servers permanently.
If you require long-term storage of your data, we offer protected data-space on the IconBox for indefinite periods of time.
While we make every effort to protect your media (hard drives, CD's, DVD's, memory cards, etc.), all media are subject to failures and data loss at any time. As such, drives, media, art and other items are accepted by The Icon without any liability, guarantee or warranty of any kind to either the media itself or the data contained thereon. Please be sure to keep a backup copy of your data before sending it to The Icon. We pride ourselves on our ability to handle negatives, transparencies and other materials with utmost care. In the event of unforeseeable damage or loss within our lab, reimbursement amounts are limited to the actual price of the materials provided, e.g., the price of film and the price of services rendered. Submitting your film to us constitutes your agreement that any damage or loss caused by The Icon, even through the negligence or fault of our company, will entitle you to replacement with a like amount of unexposed film and processing services. Except for such replacement, the acceptance of the film is without other warranty or liability, expressed or implied and recovery for incidental or consequential damages is excluded. By submitting your film to us, you declare the value of your film to be no more than its replacement cost as stated above. In the event of loss by the U.S. Postal Service, Fedex or other carrier, we will hold no liability (hard drives, flash cards, CD's / DVD's included).
By bringing negatives, transparencies, flat art, or digital files to us, all customers warrant that they have the right to reproduce and/or modify the materials in question. We hold no liability of a customer's failure to secure appropriate usage rights or for copyright infringement.
All unclaimed materials will be destroyed after six months.
Often you will have an existing print or contact sheet that should be used as a reference when we make scans. When matching color to contact sheets or machine prints we will have good success matching your sample with all of our services (except ICC).
If your sample has been custom printed (including dodging and burning), was printed from a manipulated file, or printed on an inkjet printer, it will only be possible to get a match using our premiere service. If you order a standard or custom scan, we will make every effort to match the general color and exposure of your sample, but will not replicate dodging/burning, individual colors, or other localized changes to your image.
In some cases digital files have been heavily manipulated, or printed on an inkjet printer that has unusual color characteristics. In these cases it may require additional computer time to achieve a match to your sample. We will be sure to discuss the potential difficulties of custom matching your non-photographic samples before taking you order.
It is very important to remember that unless you have a professionally-calibrated and color-managed workflow, the results from your inkjet printer may be different than the results of printing the exact same file on our photographic digital printers.