William James Warren Photoillustration 5342 Don Ricardo Drive Carlsbad, California 92010 760.213.9986 [email protected] November, 2008

R E S U M E

1942 Born in Los Angeles, the only child of an aircraft engineer, inventor & fine cabinetmaker. Mother was an office manager, inveterate reader & correspondent with a love of humor & classical music.

My career as a photojournalist began as a child, before TV, visualizing the world at large through the pages of Life Magazine and National Geographic. , et al, made heroic role models, with the ability to influence events through the power of their imagery. The empathy, drama, passion of the masters, (W. Eugene Smith foremost), I absorbed by osmosis. This was about the extent of my education in photography.

1960 My senior year in High School, a fellow nerd cohort was given a Leica by his folks; an instant ticket to social status and identity as an Official Photographer to the Year Book! I was envious. With a camera around my neck, I imagined, I would have a raison d'être; an identity, a means of expression, and means of looking cool to females.

I left some photography magazines around the house, in spoiled reliance on the gift giving patterns of my parents. In the fullness of time (next Christmas), I became the proud owner of a 35mm 'Petri' range finder camera!

The Leica would follow, after I had demonstrated that my interest was other than mercurial as I vacillated between careers in Art and Rocket Science. I set about learning how it worked in my preferred fashion, by experimentation.

1962 Santa Monica College, Journalism & Drawing, Coed Studies.

1963 Enlisted: U.S. Army, Special Forces, 101st Airborne Division, Paratrooper, Expert Marksman, Clandestine Radio Operator, Clerk/Typist, Reporter and Photographer.

1964 At less than a roll of film per subject, Sports, Architecture, Industry, Family Portraiture, Military Training and Women, yielded a modest portfolio of scratched, blurred, flat, pedestrian but serviceable snapshots. Despite the shortcomings, this portfolio came in handy when word reached me of an opening for a photographer/writer in the Public Information Office of the 101st Airborne Division, then based in Kentucky, preparing for the , even as none yet knew it.

When the officer in charge learned that I owned both a camera and a dictionary, (another of my mother’s gifts) the job was mine. I ran down to the PX (Post Exchange) Library and loaded up on photo magazines, (the technical component to my education). These guided - 1 - me through basic darkroom voodoo in another PX facility, the only darkroom on the post. I was soon producing usable images with the minimum of scratches.

I was able to stay one step ahead of my employer's expectations and hang onto the job, shooting & reporting on 'The Best Mess of the Month' Grip & Grin Presentations, the Officer's Wives' Club Monthly Receptions, (Women without first names, only 'Mrs. Joe W. Blow'), Guest Speakers on 'The Importance of Basic Black', etc.).

Also shot the more mundane military activities of paratroop training, 'jumping from perfectly good airplanes', VIP Visits from Taiwanese military tourists, fondling our tactical nuclear toys.

1965 July 29, I landed in Vietnam with the first major buildup of US troops. I spent the next seven months carrying both camera and rifle, earning the CIB (Combat Infantryman's Badge) for being shot at continuously for a month, wearing the same socks for a month, or some such.

My original range-finder camera was stolen en-route from Oakland, so I went for a short period making do with a 'dinky-dow' (Mickey Mouse) little half-frame 'Dial' 35mm point & shoot, before buying my first (of what would be nearly two dozen) Nikon F cameras.

Where I had operated as a one-man band stateside, writing & photographing self- assigned; in Vietnam I became one of a half dozen soldiers seeking out, reporting & photographing 'Good News' stories, about Winning the Hearts & Minds of the Viets, Capturing & Destroyed Rice & Villages, Body Counts, whatever would help prove that we were winning the war. We were the spear point of the U.S. Army PR Machine.

In visiting Saigon I dropped in on Dirck Halstead, then Bureau Chief for UPI (United Press International). He was encouraging, based on a scant portfolio of contact sheets, made me a house-guest on several occasions, introduced me to paella and geckos on the ceiling, welcome relief from romping through the swamp.

1966 February. Offered a stringer relationship if I cared to stay in Vietnam after my military tour ended. Seven months in-country had convinced me of the un-win-ability, delusional insanity of the war, and that there would be plenty to photograph at home, back in 'The Real World.’

Dirck provided introductions to the UPI staff in Los Angeles, who were welcoming and bought my first (paid) press images, ($15.00! Don't spend it all in one place!). After some months Glen Wagner, then Bureau Chief, in appraisal of the growing portfolio, stated, approximately: "I see in your work the makings of a great photographer, one capable of becoming anything he sets his mind on."

Heady stuff, for someone who still felt as if he were 'faking it'; and influential in the decision not to return to college, which I didn't care for anyway. I didn't have time, between assignments, anyway.

The Los Angeles Free Press (LAFP), (the Freep), was in need of pictures of the Anti-War, Civil Rights & Counter Cultural Movements and I needed Press Credentials (#003), along with a regular supply of $15.00 sales.

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1967 As more work appeared in the LAFP I became associated with events on the West Coast and began to receive calls from national and international publications with requests for coverage. First sales were made to Newsweek, Time, Life, Look, Stern; Paris Match, Psychology Today, UPI, AP, L.A. Times/West Magazine, et al. (A more complete Client List follows.)

Other shooters began approaching me at assignments, with complements and introductions. One Life guy, (Bernard Boston?) said: "All day, I'd look around and decide where I wanted to be, and there you were."

Gene Daniels with Black Star, was the first to refer me to Howard Chapnick, who was willing to have me, and represented me a couple years later.

1968 Someone else sent me to see Dick DeNeut at Globe Photos' Los Angeles office and they were enthusiastically welcoming. I signed a contract with Globe which remained in force through about 1969. They began actively selling my talents, placing work with publications, advancing funds, (especially helpful if you are hand-loading 35mm rolls of film from 100' rolls and sleeping on the floor).

- In January I provided a portfolio of 26 images for Pacifica KPFK in collaboration with the Beat poet William J. Margolis.

- In April, following Martin Luther King, Jr.’s assassination, I undertook a three month self-assignment and traveled with the Poor People's Campaign, from Memphis and Atlanta to Mississippi and Washington, D.C., the tail end of the Civil Rights Movement.

- July, Benedict J. Fernandez, one photographer who had befriended me in Memphis, gave me my first show, at the Brooklyn Children's Museum; printed in his basement, sleeping on his couch.

- Rangefinder Magazine published a two page layout of the same material and said:

"Warren, although only 26 years of age and in photography on a full-time basis only two years, has shown a phenomenal rate of growth, and if he continues at the same pace, he undoubtedly will become one of the country's leading photojournalists. "He has a particular talent for getting into impossible areas by talking his way in, but in addition, he produces sparkling, dynamic results." I'm afraid I still owe the nice publisher a lunch.

1969 Provided 21 photos of police (the only art) to a book titled: Law Enforcement: The Matter of Redress, published by the ACLU.

- Shot a cover story for Newsweek on the subject of Abortion. The New York legislature was deliberating the issue at the time, and ordered up a copy for each member. I understand that my essay was instrumental in the decision to legalize abortion on demand. (This was the apogee of my faith in the power of the camera as weapon).

- I had a strong interest in Frederick Weismann style documentary film and succeeded in selling a half-hour vérité film entitled 'The Case For Legal Abortion,' to the Canadian Broadcasting Corporation program Weekend. The film stirred a hornet's nest of national

- 3 - debate and a storm of critical mail, to the glee of my Executive Producer, Dick Nielsen, who judged the success of a film by the volume of negative mail. "If you piss them off enough to write, then you know you have made them think."

1970 The success of the Abortion project led directly to a second half-hour film: 'Thank You Jesus', about Christian Pentecostal cults then harvesting troubled, stoned youths from the streets of Hollywood. This too attracted a large volume of mail. The film foretold the events of Jonestown, Waco & Rancho Santa Fe (the Heavenly Gators).

1971 A third film, 'God Bless Mickey Mouse', was about the World's First Walk-in/Drive- in Church and the Rev. Robert Schuler’s Good News Capitalist Theology. A contract dispute ended my relationship with CBC and brought my return to Los Angeles and still photography.

- Began shooting for institutional clients; Los Angeles Philharmonic Orchestra, Constitutional Rights Foundation, Los Angeles Suicide Prevention Center, Martin Luther King/Drew Medical Center, etc.

1974 Art Kunkin, publisher of the defunct LA Free Press, started up a daily newspaper: The Hollywood Daily News, and invited me to become the Director of Photography, shooting, recruiting & assigning stringers, editing & designing photo-essay layouts. The position lasted the several month life of the paper.

1977 I attended an Aperture Photojournalism Conference at UC, Chico. The accompanying 'Witness to Our Times' exhibit was juried by Mary Ellen Mark, Michelle Vignes, Paul Fusco & Monica Suder, then w/Magnum. They awarded Best of Show to my essay titled 'In Case of My Demise' and First Place to 'Kennedy & Chavez'.

1978 Given an exhibit of about one hundred framed prints by the George Sand Gallery, then in Westwood, California. The show, 'Reflections on Nonviolence', was sponsored by the SCLC (Southern Christian Leadership Conference). Actor Roscoe Lee Browne read a selection of Dr. King's speeches to accompany a multi-projector slide show of Quitman County, Mississippi.

- The ARCO Corporate Art Department ordered a portfolio of 12 Mississippi portraits, alas unfulfilled due to a fire shortly after the exhibit.

1979 Marked a turning point, beyond the trauma of a fire which cleaned out my residence. Look Magazine, for whom I had started working almost continually, died for the last time. A full time shooter had been hired at Newsweek, L.A. while I was off at CBC, in Toronto; so that work had dried up. Psychology Today had moved to New York. New Times committed Hara-Kiri. I disliked working for Time; and Life was in the walking-dead phase.

It was as though the entire profession of press photography was being liquefied like wet sand in an earthquake. No longer weight-bearing. I had worked incessantly for fifteen years, refining my craft, training myself to shoot instinctively, without conscious thought and now was being made obsolete.

- 4 - (The same thing is now happening to newspaper folk, and the very trade of journalism itself. Very frightening for the future of the culture, what passes for 'civilization'.)

At that moment I had the good fortune to meet the great graphic designers John Grissom Divers, James Cross, Robert Miles Runyan, Jim Berte and Ron Jefferies. All began hiring me, (and paying a great deal more than editorial ever had or would).

John Divers had given me my first major corporate assignment, the year before, based on a humanistic/editorial portfolio. The project was a 24-projector multi-media extravaganza for Jet Propulsion Laboratory, available-light of people working; Hog Heaven to me, boy rocketeer, engineer's son, devout science groupie.

1980 My first round-the-world assignment, for Castle & Cooke (1979), won a Certificate of Merit from The Communication Arts Society, 35th Annual Exhibition.

- My first major Annual Report assignment, for Fluor Corporation (1979), won three awards:

- Communication Arts, 1980 Art Annual, "for a series of annual report photographs".

- Art Direction Magazine, Creativity Eighty Exhibit, Certificate of Distinction.

- Financial World Magazine, 1980 Annual Awards, Best Annual Report.

So began the Corporate Phase of my career. As I continued to do occasional editorial assignments, the thrust of my self-promotion shifted to Corporate & Advertising.

1983 John Grissom Divers wrote (in an introductory letter to a CEO client):

"Here are some examples of the caliber of photography necessary for executive and people pictures. These Annual Reports are photographed by William James Warren, a photographer here in Los Angeles. He shoots mostly available light and likes to follow people into meetings and at work to get his wonderful images. . . .

Give this guy some range of your usual activity and he will make you look fantastic! He charges a minimum of $750.00 a day rate + expenses. I would highly recommend you invest in this man's talent to bring you outstanding photographs you can use over and over again."

VISUAL PHILOSOPHY

I strive to distill the essence of what I see, feel and imagine into compelling visual form, with the greatest possible depth and economy. I seek images with a narrative, which invite curiosity and reward contemplation.

- 5 - EDITORIAL 1965-1985

SUBJECTS include: the Vietnam War, the Anti-War, Civil Rights & Counter-Cultural Movements.

POLITICS: Ralph Abernathy, Jerry Brown, Rap Brown, Cesar Chavez, Angela Davis, Jane Fonda, Dolores Huerta, Hubert Humphry, General Hersheybar, Jesse Jackson, Maulana Ron Karenga, Robert F. Kennedy, Ted Kennedy, Martin Luther King, Jr., Coretta Scott King, Gene McCarthy, Huey P. Newton, , Bishop James Pike, Ronald Reagan, Walter Reuther, Reyes Tijirina, Andrew Young, George Wallace,

CULTURE, ARTS & SCIENCE: Muhammad Ali, Mose Allison, Joan Baez, Richard Beebe, Milton Berle, Alfred Brendel, Antonia Brico, Pierre Boulez, Eric Burdon, Credibility Gap, Stephen Czerkas, Van Cliburn, Alicia de Larrocha, Hugh Downs, Lukas Foss, Virginia Graham, Theodor Seuss Giesel, Dizzy Gillespie, Sidney Harth, Jimi Hendrix, Earl Fatha Hines, Mick Jagger, Janis Joplin, B.B. King, Timothy Leary, Jim Morrison, Paul MacCready, Bruce Murray, Zubin Mehta, Babatunde Olatunji, Christopher Parkening, Peter, Paul & Mary, Arthur Rubinstein, Carl Sagan, John Savage, John Sebastian, Eugene Shoemaker, Morton Sobotnick, Edward Stone, Donald Sutherland.

CLIENT PUBLICATIONS & ORGANIZATIONS include: ACLU, Associated Press, CBC (Canadian Broadcasting Corporation), Car & Driver, Center Magazine, (Center for the Study of Democratic Institutions), Charles R. Drew Medical School, Benziger Bruce & Glencoe, Bill of Rights Newsletter, (Constitutional Rights Foundation), Columbia Pictures, Cycle-World, Dot Records, Gladstone Medical Institutes, High Technology, Human Behavior, Life, Look, Los Angeles Free Press, L.A. Herald Examiner, L.A. Philharmonic Orchestra, Messenger Magazine, (Santa Monica Medical Center), Newsweek, New Times, Outside, Paris Match, Psychology Today, Rolling Stone, Science '86, Stars & Stripes, Stern, Suicide Prevention Center, Time, UUANOW, (Unitarian Universalist Association, UPI (United Press International), West Magazine, (Los Angeles Times), U.S. Army, U.S. Office of Economic Opportunity, Warner Brothers Records, David L. Wolper.

CORPORATE & ADVERTISING 1975-1995

In the late seventies, my humanistic work caught the attention of graphic designers John Grissom Divers, James Cross & Robert Miles Runyan, who gave me my first corporate assignments.

The range of styles in my bag, from 8x10 view-camera to electron microscopy, meant that I have been able to hold onto some Class A Annual Reports for several years running, uncommon in a profession where one generally assumes that in order to change styles, one has to change artists. I begin every assignment by asking to read the typescript and/or specifications, to inform my imagination and recommendations.

CORPORATE CLIENTS include: Agrigenetics, Allergan Pharmaceuticals, Ambac Indemnities, American Airlines, AMI Rancho Encino Hospital, AiResearch, Beckman, Bell Industries, Bergen Brunswig, Carnation, Castle & Cooke, Champion Paper, Cigna Insurance, Distributed Logic, Ethyl, Fisher Scientific, Flo-General, Fluor, Foothill Group, Garden Grove Medical Center, General Electric, Gladstone Medical Institutes (UCSF), Henkel Research, Honda, Hughes Electronics, Monogram Industries, Lutheran Hospital

- 6 - Society, Lockheed, Mobay Chemical, NASA-JPL, National Semiconductor, NYSE, NY & NJ Port Authority, (World Trade Center), Nolex, Northrop, Optical Coating Labs, Pacific Lighting, Photographic Rental Service, Plantronics, Redken Labs, Rockwell, Sega, Shell, Shield Health Care, Simpson Paper, Soutwest Bell, Spacelabs, Sundstrand Data Control, Syntex Pharmaceuticals, TEAC, Telecredit,Tiger International, Torrance Memorial Hospital, Toyota, TRW, Twyford Plant Laboratory, Varian, VSI, Yamaha Audio.

DESIGNERS & ART DIRECTORS include: Jim Berté , Rik Besser, Steve Stith, Al Briggs, Keith Bright, Kurt Brubaker, Jann Church, James Cross, Ed Cray, John Grissom Divers, Mark Divers, Tom Gould, Richard Hess, Gary Hinsche, Ron Jefferies, Joan Libera, Will Martin, Ken Parkhurst, Lauri Provencher, Joseph Rozon, Robert Miles Runyan, Mike Salisbury, Steve Sieler, G. Dean Smith, Dave Williamson, Tom Woodward.

AWARDS & EXHIBITS: Art Direction, Communication Arts, Graphis, Graphic Design: USA, Financial World, Print Magazines, New York, Western and Los Angeles Art Directors Clubs, Eastman Kodak, The American Institute of Graphic Arts (AIGA).

1968 Brooklyn Children's Museum. Show with Benedict J. Fernandez, "Poor People's Campaign".

1977 Aperture 77 "Witness to Our Times" Exhibition, juried by Mary Ellen Mark, Michelle Vignes, Paul Fusco. Awarded both Best of Show (for an essay on Aging) and First Place (for Kennedy & Chavez).

1978 George Sand Gallery, Los Angeles. One man show, "Reflections on Non Violence" on the 10th anniversary of Martin Luther King, Jr.'s death. Sponsored by SCLC (Southern Christian Leadership Conference).

1984 & 1985 Epcot Center, Florida. Kodak Showcase of Professional Photography, "Journey into the Imagination"

1991 25th Anniversary Poster, Underwritten by Fuji Film. Total Solar Eclipse, 7/11/91, La Paz, Mexico

2005 San Diego Natural History Museum. First Annual Wildlife Art Exhibit.

2008 J. Paul Getty Museum. Select prints added to the permanent collection.

2008 Fahey/Klein Gallery. Representation commenced.

SPECIAL ASSIGNMENT: After the 1993 bombing of the World Trade Center I was retained by the insurer, Cigna, to form a team of 20 assorted photographers and assistants to photograph the damage, to evidentiary standards. Over 6,000 photos were made of 230 some 20,000 square foot floors, precise records kept, in about ten days from the time of the first phone call. It was a challenge to my leadership ability along with computer, database, drafting, cartography & project management skillsets; not obtainable in New York to the satisfaction of the law firm.

- 7 - PROPRIETARY STOCK: 1980 - PRESENT

Until recently my work was represented by Corbis, since their acquisition of my former agency, West Light in 1998. In the early 1980s two great National Geographic shooters, Chuck O'Rear and Craig Aurness invited me to join West Light and I've never looked back. Between assignments I began creating images to solve problems for multiple designers and clients rather than one at a time, and rose to the upper 20% of earners with the agency. My library is currently represented by Science Faction Images, Jewel Box Images & Getty Images.

CLIENTS (who have licensed images in the last five years): A&E, American Banker, ABC, Addison Wesley, American Heritage Magazine, America Online, Barnes & Noble, BMW, Boston Magazine, Cambridge University Press, Daily Mail, (UK), Discovery Communications, Eastern Economic Review, (HK), Farmers Insurance, Financial Times, (UK), Fuji, Harcourt Education, Harper Collins, Herald Tribune, Holt Rinehart & Winston, Houghton Mifflin, Kodak, Loyola Press, Lucent Books, Macmillan, Marshall Editions, (UK), McGraw-Hill, Mercedes Benz, Microsoft, Random House, MIT, Mothers Against Drunk Driving, (MADD), National Geographic Books, National Science Resources Center, Norton, Oxford University Press, Pearson Education, Penguin, Prentice Hall, Salon Magazine, Sunday Herald, (UK), Time Inc., Time Magazine, Times Newspaper, (UK), TBWA, (Hong Kong), Wadsworth Publishing, Weekly Reader Corp., WW Watts Publishing, (UK).

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