Proof…… The Photographers on Photography

Recently, one of my mentors from the United States Navy posted this on her Facebook. Chief Jennifer Villalovos was one of the first female photographers I met at U.S. Navy Fleet Combat Camera Pacific (FLTCOMCAMPAC). I was in the reserve unit training with … Continue reading

Princess Problems

This gallery contains 11 photos.

As most of you know, in our home, we don’t do the standard annual sit and pose photos, we create our own! Enjoy a sneak peak of Savannah dress up themed photos!!! Savannah has been my little muse since the … Continue reading

Getting real in LA

This gallery contains 27 photos.

Over the holiday weekend, I was able to have some new adventures with my kiddo and friends. I brought along my two friends from the Navy, Tony Coffield and Arthur Marquez, along with my two graduating students, Esteban Robinson and Adriana … Continue reading

2015 DC Shoot Off Visual Media Workshop

Over the weekend, (March 20-22) I participated in the DC Shoot Off, hosted by Visual Media Workshop. Whats the Shoot Off?? Shoot Off Visual Media Workshops is a not for profit program for our military and civil service photographers.  The … Continue reading

Photo Booth Projects from 2014

Photo Booth Projects from 2014

Since I started teaching as lecturer, one of my favorite assignments is the PhotoBooth Project. This project was introduced to me when I was looking into Grad Schools. A few years ago while applying to Grad school I met a wonderful young lady who was attending LSU. Her name is Mercedes Jelinek!! See her website here: mercedesjelinekphotography

She is an amazing photographer and I was so fortunate to meet her. I have been following her for quite sometime and I was fascinated by her Photo Booth Project! Check out what she had to say about the project on my blog: MERCEDES JELINEK Photo Booth Project.

The Photo Project allows my students to really engage with the community, push their comfort zones and work on there photography skills.

Here are the rules:

You pick a high volume location of people, Beach, neighborhood, campus, outdoor mall, parks, skate park, etc. You must set up a Photo Booth like area. Backdrops, camera on tripod with sign. You must record your process and the different people. You can do with with your cellular phone or videocamera and upload to the blog.  Each photo that is taken must be given to the person. (ie email or give them the link to your blog) I suggest getting a quote or some saying from the person that you photograph. You must have at least 20- 30 images.

Last semester, all the students did an exceptional job and exceeded all my expectations!!! I was so proud of my students. Check out their work! And if you have time, give them feed back!!! Thanks!


























Edward Weston’s Lost years in Los Angeles

Recently, this article was sent to me by a good friend. It was an article featured in the LA Times.  I wanted to share it those who like reading about other photographers.

Here is the link:

The Sunday Conversation: Beth Gates Warren

The author of ‘Artful Lives: Edward Weston, Margrethe Mather and the Bohemians of Los Angeles’ discusses the artist, his muse and his early years in L.A.

December 04, 2011|By Irene Lacher, Special to the Los Angeles Times

Beth Gates Warren, a former director of Sotheby’s photographs department, exhumes details about Edward Weston’s lost years in Los Angeles from 1906 to 1923 and his relationship with a highly influential model, muse, photographer and lover in her new book, “Artful Lives: Edward Weston, Margrethe Mather and the Bohemians of Los Angeles” (J. Paul Getty Museum).

Why was so little known about Edward Weston’s early years in Los Angeles?

He basically wanted it that way. He destroyed virtually all of his autobiographical writing prior to 1923 when he departed L.A. for Mexico. And most historians took their cue from him and began writing about his career as though he really began working in Mexico. And that was not the case at all. He actually spent a decade here in Los Angeles building his early career.

What piqued your interest in this?

I had read his daybook, which is what unpublished journals were called, and I learned that they had been heavily edited and that he’d destroyed a portion of them. And I became curious about why he had done that. And I also learned that a woman named Margrethe Mather had been his model in many of his early photographs, and yet he barely mentioned her in his journal. And I just found that strange. There was only one important mention of her in his journal and that was that she was the most important person in his life. And yet he made no effort to explain what he meant by that. And so that statement in combination with the fact that she appeared in so many of his photographs and the fact that he had destroyed so much of his own writing made me curious. I wanted to know why.

Who was Margrethe Mather?

She came to Los Angeles around the same time he did. She later told a friend of hers that she’d been a child prostitute and that she had to leave Salt Lake City because there were people who’d found out about her activities. In later years, she was a prostitute, but I doubt that’s why she left Salt Lake City. A friend of hers tried to find out more about her early life and couldn’t, but that was because Margrethe Mather wasn’t her real name, and I was able to track down several of her distant relatives and they told me her name was actually Emma Caroline Youngren.

When she came to Los Angeles, she became a member of the Los Angeles Camera Club and an amateur photographer. And she had an inherent talent for design and composition, so she very quickly became known because she showed some of her photographs in photographic salons, which were the only way photographers could get their work seen because photography wasn’t exhibited in museums in those days.

And so she met Edward Weston in 1913 through a friend and they very quickly became involved romantically, although Weston was already married and had two children. And she worked with him for an entire decade until he left for Mexico in 1923.

I had the sense from your book that you were at times more impressed with Mather because she was more focused on advancing her artistry and he his career.

Yes, that’s true. She was not a self-promoter. She did not need the kind of attention that Weston seemed to need, and of course he was trying to support a family and needed to build his reputation. She was on her own, but she was also less interested in fame and more interested in the art itself. And I think she was responsible for changing Weston’s attitude, because when she walked into his studio in what is now Glendale — it was an area called Tropico then — he was a very conventional photographer. And once he became more involved with Mather, he began to become an artist.

Did she influence his work more specifically?

I think her eye was in some ways more critical than his. She introduced him to the concept of arranging sitters in less conventional poses, and she encouraged him to utilize composition and line and texture to create a mood — in short, to think like an artist rather than a commercial photographer. And she was an excellent printer herself. And she influenced the way he looked at the world. She brought people from the literary world onto Weston’s horizons, and she was also a friend of Charlie Chaplin’s. She introduced him to dancers and actors.

Can you talk a little more about their circle of artists and bohemians?

There was a fairly large group of creative people who lived in Los Angeles in the teens and ’20s for a variety of reasons, and one of the key reasons was the movie industry, which attracted writers and designers and photographers. They came to California because they could actually make a living here. So the people who came here were after fame and fortune, and some of them succeeded, like Charlie Chaplin; others were not so lucky, like Florence Deshon, who was a reasonably well-known stage actress and model in New York. Samuel Goldwyn brought her out to become one of the premier actresses at Goldwyn Studio, but she did not persevere and she couldn’t make a living. She was involved with Charlie Chaplin for a while. But as soon as that relationship ended, publicity about her career also ended. And she wound up going back to New York City and committing suicide.

But some of the people who traveled to Los Angeles weren’t involved in the entertainment business. They were coming out here for political reasons. Emma Goldman came out to California on a regular basis. So did Max Eastman, who was the editor of two socialist publications.

Rudolph Valentino lived for a short time right across the street from Margrethe Mather. Boris Karloff lived up the block. There was an amazing array of talent descending on Los Angeles because of all the opportunities here. In a way, the area around Bunker Hill and Silver Lake and Echo Park was the Montparnasse of Los Angeles.

For a year Weston and Mather were equal partners in a photography studio. Why did their relationship end?

Their relationship came to an end because [actress] Tina Modotti walked into his life. Tina was then married — quote unquote, she wasn’t really — to Roubaix [“Robo”] de l’Abrie Richey. In spite of that, Weston never let a marriage license come between him and a romance. So he started a relationship with her. Robo went to Mexico and died there from smallpox. So now all of a sudden Tina wasn’t married or attached to anyone, and Weston thought Mexico was so appealing. Glendale he thought was dull and boring, and Mexico offered lots of artistic opportunity. So he thought that would be a good way to escape from Glendale and family responsibilities, and he and Tina went to Mexico in 1923.

Los Angeles Times Articles

Mercedes Jelinek Photographer

PhotoBooth Project A few years ago while applying through grade school I met a wonderful young lady who was attending LSU. Her name is Mercedes Jelinek!! See her website here: mercedesjelinekphotography She is an amazing photographer and I was so fortunate … Continue reading

The Portrait

Broad Lighting: the main/key/dominant light illuminates fully the side of the face turned toward the camera

Short Lighting: the main lighting illuminates fully the side of the ace turned away from the camera

Side Lighting: aka the hatchet lighting: only half of the face is fully illuminated, the other half is in the shawdow.

Rembrandt Lighting: the main light is at 45-degree angle to the subject, 2 to 4 feet above the subjects face ( on the shadow side of the face, there is a triangle of light, created by the nose shadow meeting the cheek shadow)

Butterfly Lighting: aka paramount lighting, front lighting. The main light is placed directly in front of the subjects face and cast a symmetrical nose shadow directly underneath and in line with the nose. The shadow from the jaw falls directly downward, covering the neck.

Basic Photography Lessons

Hello Everyone!

Thanks for Checking this out. These are just a few sheets of Basic Photography Skills and some suggestions on shooting assignments. I suggest that everyone try to shoot any of these assignments, as well as learn the terms of your camera.

Click on the link below and it will take you to a PDF file slide show. Any questions, please feel free to email me anytime. If I don’t know the answer, I will be sure to find out!

CLICK HERE: Basic Photography Lecture

Finding the Creativity


“I am not afraid…I was born to do this.” – Joan of Arc

We all have a point in our lives, where we decide to stop facing our fears and realize what we are truly born to do. No matter how much I try to turn away, something always draws me back to my camera. It awakens me. It helps me to see who I am. No matter how long I have been away from it, some how it always helps me to keep moving forward. Maybe because it mainly helps for me to really take a look at myself and start to overcome my struggles. Mainly because it forces me to deal with the things I don’t want to or maybe the things I don’t want to see.

There is something about letting the creativity take over and helps me to keep moving forward. I am truly fascinated with the body and its transformation that it can take. Right now, I don’t think I seek the fascination with my own body, but my mind emotionally. Trying to learn more about myself. But I figured it was time to pick up the camera and really begin to look at myself again. Here goes.

I may be taking a break from Grad school because I was truly stuck. But my creativity has not left me just yet. I was scared for the year I was in Grad school because I didn’t feel like I was truly born to be an artist. But like Joan of Arc…. I was born to do this…

Its always nice to be Featured.

I worked with Karen Scaffman as an undergrad. Karen Scaffman is an amazing art performer. I had the privilege of working with her and her partners Eric Geiger and Liam Clancy. They are absolutely amazing to watch! AMAZING! I look forward to working with them again. She recently started her performance of BARK again. BARK investigates chance in its violent disguise and begs the question:  how ready are we? BARK is a production of PADL West (Karen Schaffman and Eric Geiger, Co-Artistic Directors).  The work is made possible with support from PADL West, CSUSM, and Bill T. Jones/Arnie Zane Company.

If you get the chance, please check this out! Something different, but worth it!

It was nice to be featured on different websites and I appreciate the credit!

New York Public Library Digitizing More Than 1,000 Unseen Farm Security Administration Photographs

Recently, a friend of mine ( Leah D’Ambrosia) sent me this reading. I was so excited to hear about this and more amazed that they had these photos and they have never been seen!! The most recent stash comes in the form of 1,000 photographs from the Farm Security Administration photo project that have been rediscovered at the New York Public Library.

For those of you who know me pretty well, the FSA photographers have been a huge inspiration to foundation of how I begun my documentary work on social issues. They were truly some of the best photographers around and really influenced the start of American documentary photographers.

The new discovered prints include work by Dorothea Lange, Walker Evans and Russell Lee. The original mission of the Farm Security Administration project was to photographically combat American poverty, but today the work is considered an important documentation of American life.

About 1,000 of the images have been digitized and will soon be revealed on The New York Public Library digital gallery.

Steven Chruchill, Producer of The Art of Photography Show

Steven Churchill is the producer of the international show “ The Art of a Photography Show.” Steven Churchill is one of the most amazing people in the photographic community that I had the privilege of meeting. He comes from the same place and high school where I   grew up in Orange, California.  Which always gives me hope that I will succeed as an artist too 🙂

In 2004 Steven Churchill organized, curated and judged the first Art of Photography Show, which was exhibited at the La Jolla Art Association Gallery in November of that year. 525 images were received to be considered, submitted by local photographers – though the gallery space could only accommodate 55 framed prints. There were over 400 people at the opening reception and 25% of the work was sold during the two-week exhibition of the show. So, the show was a success in all respects.

Now in its 8th year, the Art of Photography Show is an established and critical force in the world of contemporary photography. The show provides tangible benefits to artists trying to break into the public eye. This well thought out international exhibition provides value to artists at every turn, from first-rate viewing in the judging process to exhibition and publication opportunities, photo industry connections and monetary awards.


    • From Orange,California
    • Started drawing and painting until freshmen year at El Modena high school and discovered photography
    • Studied at UC Santa Barbra in photography, film animation and motion picture effects
    • Key mentors and Self-motivated, self exploration and learning are how he became a photographer
    • Digital shooter


    • Currently working on series called “ San Diego at Night”
    • Decides on locations by finding interaction at night in downtown San Diego, venues, dive bars, night clubs, concerts, and various events.
    • Downloads off CF cards Downloads off CF cards and post work in Lightroom.
    • Looks for images with a story, some perceptible narrative content.


    • Why is photography important to you?
    • “Well, the bigger question is “Why is creating art important to you, why is image making important to you, why is visual story telling important to you?” Like most visual artists, I feel I was born with this desire to create visual images. And my family and other key people inspired and encouraged me to seriously pursue these interests. I discovered photography at a young age and fell in love with it as an art form and communication medium.


    • Concerning my own art, I desire to explore and grow as an artist, becoming more skilled and accomplished at visually communicating ideas, stories, and feelings. Concerning the Art of Photography Show, I desire to truly help photographers to grow and improve their own art, provide a means for them to connect with museum curators, get their work exhibited and viewed by serious collectors, and to help generate income through sales of their art. “


Julian Cox – Curator of Photography at the de Young Museum, San Francisco
Anne Lyden – Associate Curator of Photography at the J. Paul Getty Museum
Natasha Egan – Curator at the Museum of Contemporary Photography in Chicago
Charlotte Cotton – Curator of Photography at LACMA
Hugh Davies – Director of the Museum of Contemporary Art San Diego
Carol McCusker – Curator of Photography at the Museum of Photographic Arts
Neal Benezra – Director of the San Francisco Museum of Modern Art
Tim Wride – Curator of Photography at LACMA
Arthur Ollman – Director of the Museum of Photographic Arts


    • “You didn’t ask me what it takes to succeed in an “arts oriented” career. I think it’s an important question. My short answer to this question is: It takes a very diligent, tenacious, goal oriented mind-set and a very disciplined hard-working consistent effort. There are very few arts oriented jobs or career opportunities, so one must be very focused and dedicated in order to succeed in the arts. Pursue avidly every opportunity to grow in relevant skills, accept any opportunity to gain relevant experience, practice your personal art expression as often as possible. Develop an awesome and extraordinary portfolio, both online and physical. Read arts books, arts websites and arts trade journals in your spare time.”


Well, I’ve lived here in San Diego a long time, this is my home. Actually, San Diego is a prominent “arts & culture destination”, particularly for photographic art. One of the most important museums for photographic art is located here, MoPA. And actually, San Diego is ahead of Los Angeles in terms of urban downtown renewal. Our downtown redevelopment started in the mid 80s and really took off in the 90s, whereas that just started about ten years ago in LA. Several of us here in San Diego are working hard to enhance and add to the draw of San Diego as an arts destination, including Ann Berchtold of the Art San Diego Contemporary Art Fair ( And spearheaded by Ann Berchtold, several of us started Arts Month San Diego (, which now includes quite a broad collection of arts organizations. When I hear someone complain about “how little Art exposure there is here”, I wonder if they have their eyes open and if they get out much!  There are arts events happening almost every night of the week, every week of the year here in San Diego County. There are “arts districts” in numerous areas of the county. Check out the all of the areas listed in this publication: So, I think there are tons of good gallery venues, arts events and opportunities for artists to exhibit their work here in San Diego. My choice is to stay and contribute to the continued growth of San Diego as a major arts destination.


SILVER & LIGHT by Ian Ruther


Ian Ruther is a photographer I came across from people using facebook and vimeo to show his work. He has been photographing by using the old process of wet plates, but onto huge images of silver sheet metal. It is probably one of the most amazing processes I have ever come across. Since I have been experimenting with my own process about etching cooper and zinc with Ferrier chloride, I can’t help to take notice to this! I have become so intrigued with going back to traditional techniques of photography and hope that I will continue to keep motivated. Its people like this in the field that keep me motivated.

Here is what I found out!

Ian Ruther has taken the 19th century photographic process wet plate collodion a complex hands on craft of using silver nitrate to produce insanely enormous photos to the next level. Known for innovative snowboard photography across the globe, Ruther has succeed in capturing riders in mid-air, becoming the only person in history to suspend motion with this process using artificial light.

SILVER AND LIGHT (click on to see film) 

This project was created with the same spirit that america was founded on. Our intentions are to connect everyone in america through the lens of this camera and social networking sites. We can’t do this without you. We want to tell your story and show your city or town through photographs of you, and people you know. As we travel around america looking for people and places to shoot you will be able to keep track of where we are going and help us decide where we go next. Join us in our journey by liking our facebook to get yourself photographed by us.

Watch the film and spread the word. comments are always appreciated!

Eddie Adams Workshop

The time is HERE!!! Apply Apply Apply! I can’t emphasize enough! Here is the link EDDIE ADAMS WORKSHOP

Celebrate Twenty-Five Incredible Years


Application process is now open through May 25th, 2012 for this TUITION-FREE Workshop. Read further for more information regarding eligibility.
The Eddie Adams Workshop is an intense four-day gathering of the top photography professionals, along with 100 carefully selected students. The photography workshop is tuition-free, and the 100 students are chosen based on the merit of their portfolios.
 Nikon is the Official Sponsor of Barnstorm: The Eddie Adams Workshop

Who is Eddie Adams?

About Eddie Adams (1933 – 2004)

With his signature hat, ponytail and unassuming disposition, one might not realize that photographer Eddie Adams covered 13 wars, beginning with a stint as a Marine Corps combat photographer in Korea in the early 1950s and ending in Kuwait in 1991. He did three tours of Vietnam with the Associated Press and won the Pulitzer Prize for photography for his shot of a Viet Cong lieutenant being executed at close range on a Saigon street by a South Vietnamese general. In his more than five decades as a working photographer, Adams received more than 500 awards honoring his work, including World Press, New York Press, National Headliners and Sigma Delta Chi Awards. He said he likes getting them; that they’re nice. But he didn’t display them. He didn’t display that famous photo from Vietnam, either. If he’d had his way, that photo would never be released for publication again.

Adams photographed some of the most celebrated people in the world: Ronald Reagan, Fidel Castro, whom he liked, and Pope John Paul II; Jerry Lewis, Clint Eastwood and Bette Davis; Big Bird and Mickey Mouse. All of them, and many more, have looked into Adams’ lens. He remains one of the most published photographers in the U.S., with his work gracing the pages of newspapers and magazines like TIME, VOGUE, VANITY FAIR and PARADE. His career spanned journalism, corporate, editorial, fashion, entertainment and advertising photography. He photographed leaders in all fields, from politics to the superstars of film, television, sports and high fashion. His portfolio includes one-on-one sessions with seven U.S. Presidents and sixty-five Heads of State. “Eddie’s genius is his talent for capturing tension in every photo, whether it be the still of a murder or the animation in the eyes of a movie star,” says PARADE Chairman Walter Anderson. “He is eclectic, incomparable and cantankerous. He is unyielding in the pursuit of excellence.”

It’s not the war photos or the celebrity photos or the awards that define what’s most important about Adams’ work. It’s the photos that have moved and inspired people to do good; the photos that have led to important change in government policy and people’s lives. He was proud of his 1979 shot “Boat of No Smiles,” depicting 50 Vietnamese on a 30-foot fishing boat fleeing their homeland. It was such a dire time for them, not even the children on board could find pleasure in a boat ride. It was Adams’ photo of these “boat people” that ultimately led Congress and President Jimmy Carter to open the door to the U.S. to more than 200,000 Vietnamese refugees.

In 1995, Adams created a photo essay for PARADE of some of “the most amazing, most beautiful children in America.” One image — that of a 3-year-old with leukemia, who was photographed with her security blanket — moved one woman so much that she started an organization. Project Linus, founded by Karen Loucks, is a non-profit that provides security blankets to children who are seriously ill, traumatized or otherwise in need through the gifts of blankets and Afghans created by volunteers. Today, there are more than 300 chapters of Project Linus in the U.S. and abroad.

Adams began his photography career as a high school student in Kensington, Pa., shooting weddings and other events for $20. He eventually got a job with the New Kensington Daily Dispatch. From there, he went to the Enquirer & News in Battle Creek, Mich., and the Philadelphia Evening Bulletin. In 1962, he joined the Associated Press. After a decade, Adams left the AP for TIME magazine and freelance work. He rejoined the AP in 1976, where he was the first and only photographer to hold the title of special correspondent. In 1980, Adams became a PARADE magazine photographer and, from 1982-2004, was a special correspondent to PARADE, which has featured more than 350 of Adams’ photos on its cover over the years.

Eddie Adams passed away on September 19, 2004. His legacy continues in the annual photojournalism workshop, Barnstorm: The Eddie Adams Workshop, which he created in 1988, and is still running strong today.

Eddie Adams is a great photographer and I have taken a huge interest in his photography. He has definitely been a huge interest of mine and I have always enjoyed his work.I really hope to attend the workshop one day.

Street Photography

Street Photography captures people, places and locations within a public domain. It is defined as unposed, upstaged, photography that captures and explores all different avenues of society in their surroundings. One aspect of street photography is that it does not need to necessarily include people. Street photography is capturing an unplanned scene, with an absence of prior arrangement. Most photographers have to be very engaging in their surroundings. The thought capturing the most rarest moments with the quick click of the shutter. In a sense, you truly have to be quick and noticeable about everything. One of my favorite quotes that sums it up for me “Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long,” Walker Evans.

Street photography developed with different processing techniques. Street photography uses the techniques of straight photography in that it shows a pure vision of  a scene. Its therefore up to the photographers to place emphasis on what certain selections it wants to include in their composition which can happen in a split second. Street Photography has been around just as long since cameras became portable and practical enough to leave the studio. ( around the 1870s) Photographers began to document the world around them and then they moved about into more urban areas were life moved quickly. Different techniques used are by using different rangefinder, like digital SLR’s or 35 mm. ( Nowadays, there is point and shoot cameras) Composition can range from shooting at a focal distance, or shooting from a close distance. You can shoot high and low, from the hip, from up top and even getting down to the ground.

Photographers began to quickly record and document the change and progress around them. Street photographers often react to situations and usually have no specific subject matter in mind as they set out to make photographs. Street photography is very much about daily life and usually don’t involve the concept of visualizing photographs in advance of taking them. Early photographers made street photographs for their personal interest.

Street photography can show us a world like no other. Moments captured give the audience a more visual experience of the world that they might not ever get to see. It provides the audience with all walks of life that give us a recording of whats going on during that time, like a time in history. It provides the audience with a detailed route of different cultures in the world, but not necessarily documenting it. Now with technology, we can see Italy or American, by one click of a button. Street photographers provide a different perspective of world with such a simple portable camera.

This style of photography has been made famous by photographers like Henri Cartier Bresson, Walker Evans, Diane Arbus and one of my favorites, Robert Frank.

Robert Frank, who was from Switzerland, was an important street photographer in America. He is most known for his book called The Americans. He truly captured the essence of Americans during that time in a griddy way. His images capture more of the moment, by his way of composing. He not only captures the actions with the quick click of the shutter, but the architectural surroundings. He uses elements of leading lines and available light to emphasize certain aspects in the photographs. I have always been inspired by his technique and striking images.

The New Children’s Museum

Here are the two links to the New Exhibition at the Children’s Museum in Downtown San Diego. Twelve artist came together to make this wonderful exhibition. I think everyone should definitely check it out!

TRASH: 12 Artist, 1 mission, unlimited possibilities.


The artists in TRASH, each with differing prerogatives and intentions, share the common desire to draw attention to an invisible issue that increasingly dominates our lives.  Did you know that in the United States, annual production of waste has tripled since 1960? That the average American produces 4.5 pounds of trash every day?  In this exhibition, our mission is to change how we see trash, and changing perspective starts by asking more questions.

How do we decide what is trash?
How does your trash impact the lives of others?
How can we imagine new possibilities, and a new future for our trash?

For nearly 100 years, artists have chosen to work with trash to create a tangible connection to everyday life and to reject the idea that making art requires precious or expensive materials. Today artists are also passionately interested in the environmental impact of their materials.  Through their transformation of trash into art, our artists encourage you to envision trash as more than waste needing disposal.  They want you to see possibilities where others see waste.

The future starts here at NCM.  We want to empower kids to act as the agents of change at home, and we look to kids to find the new approaches, new ideas, and new solutions that will change our future.

TRASH is organized by The New Children’s Museum and is made possible by the generosity of Laurie Mitchell & Brent Woods, Farrell Family Foundation, SDG&E, Lynne & Glenn Carlson, Maryanne & Irwin Pfister and Fernanda & Ralph Whitworth. Support is also provided by The James Irvine Foundation, Nordstrom, the City of San Diego Commission for Arts and Culture, the County of San Diego’s Community Enhancement Program, and NCM members and Annual Fund donors.