Wednesday, April 28, 2010

IMPOSSIBLE PROJECT Grand Opening Party! New York, USA


The Impossible Project - March 22, 2010 - NYC
425 Broadway, NY, NY
Polaroid 600 Image © Michael Raso

The spectacular venture that recently started production of a new instant film for old Polaroid cameras - The Impossible Project - is opening a unique retail and exhibition space in New York City on April 30.

Impossible Gallery, New York USA
Image used with permission from The Impossible Project / Image © 2010 Ben Syverson
Ben on Flickr!

This will be the first Impossible Project Store in the USA, exclusively dedicated to special products and unique artworks of analog instant photography. Further Impossible Project Stores are located in Vienna (Austria) and Berlin (Germany).

In the spacious 5th floor loft of a SoHo landmark building, Impossible will not only offer the last stock of original Polaroid films and cameras, but also the brand new Impossible film materials: PX 100 and PX 600 Silver Shade.

The Impossible Project / Florian Kaps
pictured: Florian Kaps
Image used with permission from The Impossible Project / Image © 2010 The Impossible Project

These totally new, monochrome instant films are for use in Polaroid SX-70 and 600 cameras. Furthermore the Impossible Project Store is hosting the first exhibition of The Impossible Collection (March 22 – August 22).

PX-100 Silver Shade Instant Film
Image © 2010 Michael Raso

The Impossible Collection follows in the footsteps of the world-famous Polaroid Collection and features work created on Impossible's new film materials from an eclectic mix of international artists.

The current exhibition features works from artists like Grant Hamilton, Jake Chessum, Laura Watt, Heather Champ, and more than 20 others. To celebrate the opening of the Impossible's Broadway Space and the magic of instant photography we will be offering weekly in-store-only specials through the end of May.

Also, guests at the Grand Opening Party will enjoy free wine from City Winery, have the chance to have their photos taken with our new PX100 and PX600 films - and be entered to win a fantastic prize package with 5 packs of PX600 film, a Polaroid One600 camera kit and a limited Freitag bag!

Impossible Project Space 425 Broadway, 5th Floor New York, NY 10013

Grand Opening Party: April 30, 3 - 8 pm

Regular Hours: Mon-Fri: 10am – 7pm / Sat: 2noon – 5pm Phone:

(+1) 212.219.3254 or (+1) 888.250.6020


The Impossible Project was featured on the April 15th edition of The Film Photography Podcast.

Tuesday, April 27, 2010

Joe Sarno 1921 - 2010

I received a call late last night that friend and filmmaker, Joe Sarno had passed away. All of us at the studio were very close to Joe the last twelve years, archiving and re-releasing his films around the globe, allowing fans of old and new to enjoy the wonderful films that Joe wrote and directed.

Our deepest sympathy goes to Joe’s wife, Peggy and family.

We are all devastated by the news. Joe was a great man and loved by everyone at Pop Cinema Studios who had the wonderful opportunity to work with him.

Michael Raso
Pop Cinema

Joe Sarno / Portrait by Pazsint

Film historian and Joe Sarno biographer Michael Bowen released the following message this morning.

Joe Sarno
1921 - 2010

One of the Titans of the American erotic cinema, Joe Sarno, has died at the age of 89.

I loved him dearly and commend his spirit to the cinematic firmament.

His achievements will far outlive the frailty of the human body and the ephemeral prejudices of taste and morality. For me, he was the consummate filmmaker, a man who drank deeply of the medium’s essence and dared to trade in its most profound truths: simplicity, directness, and an insuperable faith in the power of human presence.

His death last night, Monday, April 26, marks the passage of a robust and innocent genius.

Godspeed, dear friend. The ravages of war can no longer touch you; your long afternoon of creative idleness has come to an end. The runway is once again clear for take-off.

My deepest condolences to Joe’s beloved wife, Peggy Steffans Sarno, to his children, and to the legion of actors and technicians who had the good fortune to work with him. His visionary gifts will not be forgotten.

Michael Bowen
New York City
April 27, 2010

About Joe Sarno
A pioneer of sexploitation cinema, American film director and screenwriter Joseph Sarno’s prolific career spans the evolution of the genre, beginning with Nude in Charcoal in 1961 and culminating in his 2004 feature Suburban Secrets. His early black and white films are praised for their chiaroscuro lighting and their complex psycho-sexual plots; but it was his more explicit art-house film, Inga, shot in Sweden in 1968, that brought him international attention and catapulted its young star, Marie Liljedahl, to fame. Joe continued to write and direct adult films through the 1970s and 80s, often working under a pseudonym or offering his director’s credit to the film’s female lead (A Touch of Genie, Inside Jennifer Welles). Among his most noted films are Sin in the Suburbs, Inga, Abigail Leslie Is Back in Town, Confessions of a Young American Housewife and Butterflies.

Recently, his work has been the subject of retrospectives at the New York Underground Film Festival, the Lake Placid Film Festival, The Vienna Filmmuseum, The Cinemateque Francais, The Turin Film Festival, The Alamo Draft House, the British Film Institute and the Warhol Museum.

Monday, April 26, 2010

The camera has arrived!!! YES!!!!!

On the April 15th The Film Photography Podcast (Internet Radio Show) gave away a Polaroid 600 Camera. Chris Nielsen from New Zealand was the lucky winner!

Today, I received the following correspondence from Chris:

4/26/2010 (via FlickrMail)


The camera has arrived!!! YES!!!!!

It's very exciting to have my first Polaroid camera, and the photos look awesome!!! I took it with me over the weekend on a couple of trips and took some photos which I've posted.

Raglan bridge
Raglan, New Zealand / Polaroid 600 image by Chris

Too early for autumn colour...
Taitua Arboretum, Hamilton NZ / Polaroid 600 image by Chris

I also found out the fun of giving Polaroids away! There was a group of loud guys at the kids soccer game that thought a Polaroid of them was just the best thing ever!!! I also gave a photo I took of my friend's 10 year old to him after our flight in the weekend (I took him and his mum to the beach for lunch in a small plane). I think he took the photo with him to school to show all his friends !!!!

Anyway, thanks again! I'm so excited about this I'm like a little kid :-)

Thanks guys!

Chris’ Polaroid set can be seen on Flickr:

The Polaroid Giveaway happened on the April 15, 2010 Film Photography Podcast. Listen here or go to

About the Film Photography Podcast
Launched in October of 2009 by Michael Raso, the Film Photography Podcast is an hour-long, monthly Internet radio program exploring a wide range of topics relevant to the experienced and aspiring photographer using film as a medium. Hosts Michael Raso and Duane Polcou enthusiastically dissect and debate the pros-and-cons of film formats, do-it-yourself techniques, digital technologies, and vintage and contemporary cameras and accessories in a thorough, informative and casual manner. Regular features include “Book of the Month”, interviews, a listener-generated Q&A, and film/camera give-aways. Produced in the United States, the Film Photography Podcast is broadcast around the globe via iTunes and podbean.

Friday, April 23, 2010

Color Balance - Scanning Kodachrome

Although I discuss, write, blog, shout, jump up-and-down “Ad Nauseam” about shooting on film as a medium, I am thankful for the amazing amounts of digital tools available to all photographers and filmmakers (regardless of what medium is being shot). I rely so heavily on the Epson v700 scanner and Adobe Photoshop that they’re the equivalent of running water and the automobile – things that you have and use every day that you take for granted.

I produce and host a monthly internet radio show called The Film Photography Podcast ( iTunes or ) A listener named Rob sent me an e-mail expressing his frustrations of “color balance” from his Kodachrome slide scans. He wrote:

“I listen to your podcast every month and just looked at your blog and noticed the Kodachrome picture you recently posted.

By the equipment, I noticed you used what I assume is a flatbed scanner. I have a decent model scanner (Umax Powerlook 1100) and it takes me forever in Photoshop to get the original color of the slide.

How did you do your scans and what settings do you use? Do you have any specifications for scanning?”

I e-mailed him the following letter that I’d like to share here.

Hi Rob,

I’m using an Epson V700 scanner - scanning slides (including Kodachrome) using the Epson software that came with the scanner. I scan at 2400 or 3400 dpi, not making any adjustments (or corrections) in the Epson software.

Epson v700 scanner

I then open the image in Adobe Photoshop (I'm using Photoshop version 7).

I (almost always) have to make a color adjustment (Kodachrome images that I have shot and scanned always leane toward Magenta on the Epson v700)

Erin Russ - Kodachrome Scan / Adobe Photoshop
Erin Russ Kodachrome image in Photoshop 7.0 (scanned using the Epson v700). Upon scanning, expired Kodochrome film tends to lean to Magenta in the Epson v700

I select Image > Adjustment > Color Balance from the drop down pallet. Photoshop 7, gives me sliders that allow to adjust colors (Cyan to Blue) - (Magenta to Green) - (Yellow to Blue).

Photoshop 7 also allows you to select a drop down called Hue/Saturation. I've found the Hue adjustment in this drop down to be fairly ineffective in adjusting color. I have, however, found that the saturation slider quite useful of you want more color "punch" in your image.

Lastly, minor adjustment in the white/black levels (drop down Image > Adjustments > Levels)

Erin Russ - Kodachrome Scan

Final images after making minor adjustments in Photoshop 7

Erin Russ - Kodachrome

If you are not using Adobe Photoshop, snoop around in the software you are using to see if there is a similar function. If not, you might be able to download a trial version of Adobe Photoshop to try it out.

Note that many scanners come bundled with Photoshop Elements

Hope this was helpful

Michael Raso

Images © 2010 Michael Raso

Film Photography Blog

The Film Photography Internet Radio Show

Film Photography Podcast Flickr Group

Thanks to the super Erin Russ.

Friday, April 16, 2010

Impossible? No way! Impossible Project releases PX-600 Instant Film for Polaroid 600 Cameras

After the announcement by The Impossible Project on March 22nd about the release of their new film (PX-100) for Polaroid SX-70 Cameras, I’ve been a bit “Polaroid Crazy” – traveling through my days with my 1977 Polaroid One Step around my neck.

Polaroid One Step 1000

PX-100 Silver Shade Film - April 2010 Film Photography Podcast

pictured: My 1977 Polaroid One Step 1000 camera / PX-100 shot of me (during the April FFP Podcast)

It’s been a fun month shooting Polaroids…asking folks I shoot, “Sign my Polaroid of you?”

“Hey, sign my Polaroid of you?”

“Hey, sign my Polaroid of you?”

Rob DeSaro, Dave Northrop and many others were kind enough to add autographs to their Polaroid likenesses.

The previously released PX-100 film was heartily covered in the April 15th Film Photography Podcast:

PX-100 Siver Shade Instant Film

Impossible PX 100 Silver Shade - Film Test

PX-100 Silver Shade Film - April 2010 Film Photography Podcast

above: images I shot on Impossible's PX-100 Instant Film
pictured: Ruby LaRocca from Faces of Schlock photo shoot, Film Photography Podcast co-host Duane Polcou

Well, today the kind folks at The Impossible Project released a new monochrome film for Polaroid 600 cameras called PX-600.

They were nice enough to send me an e-mail with sample images and details.

16 APRIL 2010

Impossible releases new PX 600 film for Polaroid 600 cameras

PX 600 film for Polaroid 600 cameras
Image © The Impossible Project (used with permission)

Enschede, The Netherlands, April 16, 2010. Just four weeks ago, The Impossible Project announced the successful outcome of its mission to re-produce a new instant film for traditional Polaroid cameras and presented the PX 100 Silver Shade film for Polaroid SX70 cameras.

Today Impossible is already releasing its next new film material: the PX 600 Silver Shade. „This is another major step into the bright future of analog Instant Photography“, says the founder of The Impossible Project, Florian Kaps. The PX 600 is a high definition integral film featuring beautifully detailed monochrome characteristics. It is astonishingly precise and sharp, and exactly what millions of hungry Polaroid 600 cameras worldwide are waiting for.

Impossible releases new PX 600 film for Polaroid 600 cameras
Image © The Impossible Project (used with permission)

While the previously released PX 100 Silver Shade may be considered to be more of an artistic material for the professional user, the new PX 600 Silver Shade film prooves to be a much more convenient product for everyday use. "The new masterpiece of the Impossible labs in Enschede is a highly astonishing material that will zoom all the lovers of Polaroid cameras back into the good old days when every single shot was a wonderful exciting instant adventure", Kaps describes the potential of the new monochrome material.

Impossible releases new PX 600 film for Polaroid 600 cameras
Image © The Impossible Project (used with permission)

The PX 600 Silver Shade film will be available on as well as at selected retail partners. Launch events will be held on April 22 at Chandal in Barcelona, on April 24 at The Photographers' Gallery in London and on April 30 in the SofortBildShop Berlin. April 30 will also mark the opening day of The Impossible Project's Space in New York City.

Beyond that the Impossible team of the factory in Enschede has more good news: development of the color material is making great progress and the first color film material with 100 ASA will presumably be released in June 2010.

The Impossible Project - Press Conference 3/22/10

For updates stay tuned to

Tune in often to The Film Photography Podcast!

Wednesday, April 14, 2010

The Film Photography Podcast Episode 7 - April 15, 2010

PX-100 Silver Shade Film - April 2010 Film Photography Podcast

Duane Polcou and I shoot with the Polaroid 1000 camera using The Impossible Projects's PX-100 Silver Shade Instant Film

PX-100 Silver Shade Film - April 2010 Film Photography Podcast

The BIG April 2010 show topics include Polaroid, The Impossible Project, PX-100 Silver Shade Instant Film, Developing Black & White film at home, Camera Giveaways and much MORE! Hosted by Michael Raso, Duane Polcou and special guest John Fedele.

The Impossible Project - March 22, 2010 - NYC

Polaroid 600 images from The Impossible Project Press Conference, NYC, March 2010

The Impossible Project - March 22, 2010 - NYC

Show also features Interview with Impossible USA’s Dave Bias (pictured above), Yashica-A 120 Film Camera Giveaway, Minolta X-700 35mm Camera Giveaway and so much more!

Yashica-A 120 Film Camera

Episode 7 – April 15, 2010 available now!

Friday, April 9, 2010

Death meets Kodachrome

Last fall Erin Russ asked me to shoot photos of her for the Spring 2010 issues of “Girls and Corpses” magazine.

Erin Russ - Fall '09

Girls and Corpses magazine - Issue 10

After my ear-to-ear grin subsided, I said a hearty “yes.” I love a photo challenge and I looked forward to picking and packing my favorite vintage camera gear for this sinister assignment. Another Grinch-like smirk appeared on my face, knowing that I’d shoot this project on the defunct Kodak Kodachrome film stock.

Kodachrome 64

Erin Russ - Graveyard Lolita

Invented in 1935 and discontinued in 2009, Kodachrome film is unlike any other film on the planet. The image shot on this amazing stock creates an image with “ridges.” Color is systematically added in the processing - producing an amazing color (known for its brilliantly warm skin tones).

Spooky Face

The film is also amazingly archival. Surviving Kodachrome slides from the 1930s remain as vividly brilliant as the day they were shot. Simply amazing.

Erin Russ - Kodachrome Tomb

Kodachrome is gone but I have a special stash hidden away for special projects this year. On December 31, 2010 the last processing batch will occur.

Erin Russ - Fall 2009

Eight more months of Kodachrome joy.

Images © 2010 Michael Raso

Gear used:
Canon AE-1 Program
Canon FD 50mm f/1.4 S.S.C. Lens
Canon FD 24mm f/2.8 Lens
Kodachrome 64 film
Epson V700 scanner

Thanks to Erin Russ and William Hellfire for thinking of me for this fun project.

Girls and Corpses Magazine - Issue 10, Spring 2010 (featuring Erin Russ)

Film Photography Internet Radio
Hosted by "Yours Truly" and Duane Polcou

Thursday, April 8, 2010


Stefan Elnabli of the NYU Moving Image Archiving and Preservation Program interviewed me this month about my ongoing film preservation work. I'm happy to share it here.

Interview by
Stefan Elnabli,
NYU - Moving Image Archiving and Preservation Program

Motion picture producer, filmmaker and photographer Michael Raso has been working professionally in the visual arts for over 20 years. In 1994 he launched his filmmaking studio and distribution companies, Seduction Cinema, Shock-O-Rama and Camp Motion Pictures. In 1998, Michael began his retro line, finding, restoring and releasing lost and forgotten horror and exploitation films to home video - a passion that continues to this day.

Q. Your companies Pop Cinema and Alternative Cinema distributes new films as well as films of the past. Your "Retro 80s Horror Collection" offers some pretty wild titles in independent exploitation horror. What is the process like when you are producing a DVD for distribution in a collection like that, from the acquisition phase to final release?

I’ll use the movie “Video Violence” as an example: shot in 1987 and released as part of the “Retro 80s Horror Collection” series from my home DVD company, CAMP MOTION PICTURES, it embodies all of the characteristics of this era and style of “film”: shot on video, micro-budget, and originally distributed Direct-To-VHS.

Retro 80s Collection - Distributor Ad Campaign
Video Violence 2007 DVD Ad Campaign

When acquiring a vintage film for distribution, the first step is to do an inventory of materials. Writer/director Gary Cohen’s office is a short distance from my studio and he was kind enough to deliver the materials personally. In the oversized box were dozens of Sony U-Matics (a broadcast tape format that was introduced in 1971). The Sony U-Matic was solid, durable and was heavily used for shooting news on video through the 1990s. Unfortunately, the box did not contain any edited master tapes. According to Gary they were lost during the “VHS distribution” days. Luckily, there was a VHS copy of the film in the box.

Once the materials were inventoried, I decided that the VHS master was not high quality enough to be released on DVD and the movie would have to be reassembled from the original U-Matic camera tapes. The VHS master served as the template for editing the raw footage on the U-Matics and thus the film was lovingly “restored” from the original elements.

Q. What about the retro-sexploitation film releases that you put out, where original film elements could possibly be up to 50 years old?

The same process applies for motion picture films – first, inventory of materials. With film materials, proper storage is usually the key to preserving the original materials. Unfortunately, climate-controlled storage is expensive, and many films are badly damaged or lost due to improper storage or neglect. Some films were abandoned by their producers in film labs, only to be thrown into a garbage dumpster when that lab moved or went out of business. Kudos to Chris Nebe (producer, Joe Sarno’s “Butterflies,” “Bibi,” “Veil of Blood”) and Sam Sherman (producer, Independent-International Pictures) - both men were scrupulous regarding proper storage of their negatives as well as the prints to the films they own.

Motion Picture Film Restoration / Telecine

pictured: well maintained motion picture elements

Motion Picture Film Restoration / Telecine

Q. When dealing with original film elements, do you perform inspection/repair and any other conservation actions to prep films for a video-transfer, and what kinds of tools does it take to perform this kind of film work?

With film elements, initial quality control is performed by hand: I inspect the print for any visible damage such as sprocket damage or rips. Then, I view the film on a telecine machine. The term telecine refers both to the film-to-tape transferring machine, as well as the process by which film is transferred to tape. A qualified film colorist sits in on this process with me. The colorist alters and enhances the image electronically, then the film is mastered to a hi-definition video format.

Q. During a film-to-video transfer, what kinds of restoration actions do you take when thinking about the final distribution product?

Most every time, a film negative or print that is 25 years or older has faded and lost some of its original color. First step before telecine is to clean the film. Film cleaner can remove grease, ink, adhesive, smoke stains, soot, fungus and other oils from the film negatives or prints.

Self - Endless Archiving

Motion Picture Film Restoration / Telecine

Electronic devices like the Da Vinci telecine machine make near miracles possible during telecine. The Da Vinci System is one of the manufacturers of high-end post-production color grading and film restoration systems. Many times, the original brilliant color can be restored.

Q. Do you work with any of the original filmmakers during this process?

Whenever possible, I work with the original film director. In the past I’ve been fortunate to have Joe Sarno (Swedish Wildcats, Inga), Carter Stevens (Punk Rock), Sam Sherman (Mean Mother, Dracula vs Frankenstein) and others to sit in during the telecine process.

Filmmaker Joe Sarno / Michael Raso
pictured: filmmaker Joe Sarno and Michael Raso at DuArt Film & Video, New York City 2009

Zarela's NYC December 16, 2008
pictured: Carter Stevens (right) laughing it up with film historian Michael Bowen and exploitation screen legend Jamie Gillis – December 2008

Q. Have you found that there is a limit to the amount of restoration that someone can do on a film, where going so far might betray the original experience of seeing a print of a film during the time of its exhibition?

I do feel it is important to keep the final product authentic to the original viewing experience. And frankly, it’s an amazing and time consuming challenge just to get a film to its original state.

Motion Picture Film Restoration / Telecine
Color correction process on Joe Sarno’s “Daddy Darling” (1970)

Film to HD Transfer - "Undying Love"
pictured: colorist Bruce Goldstein, Ascent Media East using the DaVinci film-to-tape machine.

Q. Are there any films that you've released that you've also done film preservation work on, whether that's making an inter-negative, a new print, or any other preservation related actions? If so, what is that process like, from securing funds either through grants or your own investment to working with film vendors and finally securing some kind of archival storage for the finished preservation work?

Many, many times I have wished to take finished restored digital Hi-Definition masters to the next step, which would be the process of striking a new film print. Unfortunately, the cost involved was prohibitive when release on DVD was the end goal. Having said that, one of my dreams is to coordinate a program of important vintage sexploitation films for international film festival exposure, utilizing a combination of original film elements and new prints struck from my restorations – this would be a dream come true.

Q. Have you ever began working on a project that led to the discovery of a film thought to be lost, or the discovery of film elements that are in better condition or have more content than any of the other known film elements of a particular title? Can you comment about any of your experiences with these kinds of discoveries?

I’m thrilled to say, “yes”! I’m in the process of evaluating and releasing a vintage erotic film library stored on 9th Avenue in New York City. As part of this process, during the summer of 2008, I worked almost daily archiving and reviewing film elements from this library. One day while working, I was visited by film historian and colleague Michael Bowen. He was looking around the room and noticed the scribbling on the unassuming box on the shelf. “I don’t believe it, but I think that the box above your head reads All the Sins of Sodom,” he said. We pulled the big box down and opened it, and inside were the complete negative and sound elements for All the Sins of Sodom, a film previously thought to be lost (no film, no VHS, no screenings were ever documented since its original theatrical run). As I’ve worked closely with Joe Sarno for years (and own the rights to many of his films), this was a particularly amazing moment.

The Box Above My Head
“We pulled the big box down and opened it, and inside were the complete negative and sound elements for All the Sins of Sodom, a film previously thought to be lost!”

Motion Picture Film Restoration / Telecine

Motion Picture Film Restoration / Telecine
images from the film negative “All The Sins of Sodom”

Q. Do you work with film archives, collectors, or film historians during the production of a video release? If so, how do they contribute to your restoration/distribution projects, and how would you describe your contribution, if any, to them?

Yes, and working with film historians like Michael Bowen and Ed Grant has been particularly invaluable. Their historic perspective “rounds out” the work I do and adds value to the final release. Historians, filmmakers and fans are often in some way, shape or form emotionally connected to a particular film or series of films. While fans of Joe Sarno or Carter Stevens are overjoyed to see rare unreleased films restored and released, I firmly believe that the bonus features (interviews, historical data that places the film in context) are also an important part of the restoration and release process. Liner notes, interviews and audio commentaries are all an important part of the “magic” of the process.

Motion Picture Film Restoration / Telecine
pictured: film historian Michael Bowen during the 2010 commentary track for Joe Sarno’s “Abigail Lesley is Back” (1975)

I’m also very fortunate to have been technically trained as a cinematographer and editor before I started my first home entertainment companies (Pop Cinema / Camp Motion Pictures). This training provided me with a “global” view of all the media that my company handles. Meaning, I have the technical knowledge of what the media is, which is essential for getting to the marketing stages, and I don’t have to rely on third-party handlers to deal with film and tape elements.

Joe Sarno - New York City, January 2010
Preparing for the French release of “All The Sins of Sodom” (1968) – Michael Raso, French filmmaker Virgile Iscan, filmmaker Joe Sarno and producer Dave Copeland in New York City, January 2010

Many times a film is discovered only to then languish on a shelf. I spearhead the project by negotiating the deal with the film owner so that we can get the film off the shelf and back on the screen, be it the silver screen or the screen in one’s living room or laptop.

Q. Film archivists today use the term "orphan film" to describe any film that has been abandoned by its creator or copyright holder, neglected, or relegated to limited or no access. Do you consider independent exploitation horror and sexploitation as orphan genres, and what are your thoughts about the general state of archiving and preservation for titles in these genres?

I believe that exploitation or sexploitations films are as important to our culture as film classics like “Gone With The Wind.” It’s so fascinating that our “secret cinema” – the sex film - is not treated with the cultural respect that it deserves. I’m happy to say that this attitude seems to be changing: respected institutions like the British Film Institute, the Torino Film Festival, the Cinematheque Francais in Paris and the Warhol Museum recently honored the films of Joe Sarno by inviting Joe to events that showcase his work.

Filmmaker Joe Sarno - Torino Film Festival 2006
Joe Sarno at the Torino Film Festival 2006

It’s a thrill and an honor to continue to work with newly found and forgotten films. With the amount of films currently “earmarked” for restoration and release, I expect my work will continue for many, many years to come.


NYU - Moving Image Archiving and Preservation Program

Michael Raso’s Film Archiving Photo Gallery

Michael Raso’s Film Photography Internet Radio Show