Tag: #entrepreneurship

The Future of the Space Industry: Gallium Nitride Semiconductors

On Episode 72 of The Edge of Innovation, we’re talking with entrepreneur Simon Wainwright, president of Freebird Semiconductor, about Gallium Nitride technology and the future of the space industry.

Show Notes

Freebird Semiconductor’s Website
Contact Freebird Semiconductor
Find Simon Wainwright on LinkedIn
What is GaN?
What is Moore’s Law?
How2 Cut The Power Cord: Wireless Power Is Ready For Prime Time
SPWG — Space Parts Working Group Conference 2018
Freebird Semiconductor to attend and present at 2018 Space Parts Working Group
The Aerospace Corporation
Link to SaviorLabs Assessment

Sections

What is Gallium Nitride?
How To Build Gallium Nitride
Computing Technology
The Future of Gallium Nitride Technology
The Space World Today
The Beginning of Freebird Semiconductors
How To Convince the Space Industry to Adopt New Technologies
How to Do Accelerated Life Testing

Gallium Nitride Semiconductors: The Future of the Space Industry

What is Gallium Nitride?

Paul: So now it’s gallium nitride.

Simon: That’s correct.

Paul: From my science in school, I’ve seen gallium, and nitride is…what is nitride?

Simon: It’s nitrogen. Basically, it’s gallium and nitrogen.

Paul: So you put them together.

Simon: Yeah. Put them together. One of each.

How To Build Gallium Nitride

Paul: So what do you do? Go to the store and buy a bucket of gallium? Or what is it? Is it a metal?

Simon: Well, no. They exhibit semiconductor properties when you join them together. So essentially you would still use a silicon handle wafer, which is basically just the base. Consider you’re building a house, let’s say. So you would use silicon wafer as the foundation, which basically does nothing, but it makes everything strong. So it has no functional role as you build onto that. And you gradually grow it. So you have a reactor, and you grow by atomic layer by atomic layer, and you grow the structure.

Paul: You do this with tweezers?

Simon: We do this at very high temperatures. So we basically grow it and we insert different gases into this chamber, and they react, and their natural state is to form gallium nitride. We put in dopants of different kinds to make, to change…

Paul: So you’ve figured out the process.

Simon: No. But we’ve figured out how to modify the process. So the process was figured out by EPC. So we’ve figured out how to modify that process.

Paul: People have all seen the sort of semiconductor circles with all the chips not cut out. So you take a wafer like that, and you’re collecting this by using gas. Is it diffusion?

Simon: Well, you basically grow different layers. So, if you can imagine, you’re building your house onto your silicon foundation.

Paul: Atomic layers.

Simon: Yeah, layer by layer.

Paul: So, one atom thick of gallium or nitride or is it together?

Simon: You start introducing different concentrations. And you gradually go from a pure silicon wafer to like a pure gallium nitride layer. So you gradually introduce it. There’s obviously a transition, a buffer region. But the real gallium nitride, pure gallium nitride layer, which where all the action of the transistor, is a couple of layers of atoms thick.

Paul: Wow. So it’s more like a peanut butter sandwich.

Simon: Absolutely.

Paul: I mean, the house is good, but it’s got to have no basement.

Simon: There you go.

Paul: So we got the bread, and we start putting peanut butter on. But we’re really putting peanut butter and jelly. And by the time we get to a certain thickness, it’s perfect mixture of peanut butter and jelly. So you’re really in the sandwich-making business.

Simon: They wouldn’t fill you up. They’re very thin.

Paul: They’re very thin. But how can something so thin switch electrons. Do you do any other things to them?

Simon: Well basically, this gets really technical. We confine the layer of gallium nitride to be so thin that you form what’s called a quantum well.

Paul: Sounds cool.

Simon: Sounds really good. So if you go into atom-sized dimensions of everything, then you get quantum physics starts kicking in and you confine a load of carriers into a very very small space, and you increase the mobility of those carriers. So that way, they can travel through the semiconductor a lot quicker. And our components are actually called HEMTs — high electron mobility transistors because of that.

Paul: Alright. And so then what’s the next step? So you’ve got these wafers, and you’ve succeeded in putting how many atomic layers are there?

Simon: I couldn’t really say that.

Paul: Okay, so that’s a secret.

Simon: Somebody would kill me. I’m not sure who. But somebody would kill me if I said that.

Paul: So it’s more than one and less than a billion or whatever.

Simon: There you go.

Paul: I don’t know. A billion wouldn’t probably even show up. But it’s an atomic layer, so you’ve got this sandwich. So then what do you do? Slice these up and put them in packages?

Simon: Basically, you need to put the third electrodes. So at either end of this very thin layer, you have a source and drain. That’s where the current flows between, in and out. And then you have to have a control contact, which, in this case, is called a gate. When you open the gate, you allow the electrons to flow from in to out. And essentially that is a transistor. So the Jell-O, if you like, on the top, is the gate. The technology with that is, there’s a lot of physics involved. There’s a lot of technology involved to enable that to work correctly, so to speak.

Paul: Sort of make it all happen. So then the application of power to that gate can be faster, switched faster. So and we’re talking very small amounts of time here, even in a regular transistor. So if you take a silicon transistor and you apply power to the gate, what’s the switching time?

Simon: I mean, it varies. There’s lot of different configurations but I’ll give you the limitations of the switching time. So the switching time is determined by charge. You have charge on the gate and charge on the drain and the source. So the more charge you have to move during your switching operation. So the lower the gate charge or the drain charge or whatever, the better, the faster you can move it, because you have less things to move. So that’s basically what determines the switching time of a transistor, any transistor. So if we can compare apples with apples, a radiation-hardened silicon MOSFET, which is the silicon way of implementing this, to an enhancement-mode GaN, HEMT, our gate charge is an order of magnitude lower. An order of magnitude lower.

Computing Technology

Paul: So now does this have any application in actually computing technology?

Simon: Absolutely.

Paul: Because that’s the point, we’ve got to get things to switch quickly. So that’s cool. Is there a projection in somebody’s mind out there for the impact of computers being faster because of this?

Simon: Absolutely. I mean, you’ve heard of Moore’s Law, where I think it’s every 18 months the size of electronics reduces by half. So this will actually permit that to continue because silicon has really gotten to…

Paul: We’ve squeezed as much as we can out of it.

The Future of Gallium Nitride Technology

Simon: Yeah, to its fundamental limits. On this is more on the commercial side, not related as much to our product. But certainly more on the commercial side, the founder of EPC, Dr. Alex Lidow, has predicted that Moore’s Law will continue. Some of us like to now call it Lidow’s Law.

Paul: Interesting. So does that mean, and again, I am not holding you to this. Is this five years from now I’ll see computers doing this? When am I going to go to the store and buy a computer that’s a magnitude faster because of this technology?

Simon: At this point, I’m not able to tell you that because my world is the power world rather than the digital world. So, I don’t really know how fast it’s going to be adopted in the digital world.

Paul: How about in the power supply world?

Simon: The power supply world, it’s here already. You’ll see new products coming out, to put it directly into people’s lives. You’ll see that you can actually cut the cord. You can throw away wires because you can remote charge most things. You will be able to remote charge most things.

Paul: So it’s not wishful thinking.

Simon: Oh, no. It’s actually happening.

Paul: Because we’ve heard a lot about wireless charging and all that, but it doesn’t work all that well, and it’s sort of working, but it’s not. So you’re saying it’s prime for market betterment.

Simon: Absolutely. I mean, I have a Samsung. I have the pad. I replaced the Samsung. So gallium nitride is not actually used in the Samsung or even the Apple remote charging things at the moment. But it will be in the future. It will have to be incorporated.

Paul: And what does that make it? Does it make it charge faster?

Simon: Makes it charge faster.

Paul: Further away?

Simon: I’m not sure about that. I’m not as familiar with that technology to give you stats and distances and things like that. But it’s certainly faster. It’s more efficient, and, you know, it would enable you to charge higher powers rather than just a phone. You can actually run a laptop on a desk. You’d have a charger pad underneath it. You just put the laptop or whatever.

The Space World Today

Paul: Alright. So now in the space world, there’s all these people putting satellites. Is it just satellites? I mean, there’s a few missions outside of our planet, I would imagine. But the majority of it is satellites, or is there other stuff in the space world?

Simon: I would say there’s satellites. There’s space exploration vehicles, the ones that go to different planets.

Paul: Have you made it into any space exploration vehicles yet that you can talk about?

Simon: We’re working on one. Let’s leave it at that.

Paul: And do you work with any aliens yet?

Simon: No. Some of the guys back at the office.

The Beginning of Freebird Semiconductors

Paul: The market there is huge, I tell you. That’s just incredible! So you guys started this and you’re on the North Shore here in Massachusetts. What does that look like over the next three years? How does your company grow? Are you commercialized? Are you shipping? What are the next sort of milestones?

Simon: Okay. So let me go back to when we founded it. So we spent a year basically developing our product portfolio to making sure. We had to do a bunch of testing, do radiation testing. We do electrical testing. We do temperature testing. We do a plethora of different kinds of tests. So we spent a year, 18 months getting to that point. And that never ends. We have to continue to test, continue to push the boundaries of the technology so that we know where it fails, why it fails, how it fails.

Paul: And then how to fix it.

Simon: And how to fix it. If you know that, then you can determine the lifetime of that. But the bulk of that work was done in the first 18 months. Then we sort of came out of the closet, so to speak, and we went public. We came out, out of hiding, so to speak, after year one, essentially. At the end of year one. And we presented to the industry at a conference called SPWG — Space Parts Working Group over in California. This is sponsored by the aerospace corporation, which is one of the, I would say, like a regulatory body sort of thing. And people there were NASA, the European Space Agency, the Japanese Space Agency, and then all of the guys that build satellites — so Boeing, Lockheed Martin, Northrop, all of the prime contractors are there. So we came out at that.

Paul: Was it a surprise to them?

Simon: There was a lot of interest. Let’s just put it that way. There was a lot of interest at that point.

Paul: So I’m a designer in the satellite world. You’ve just given me new tools.

Simon: I’ve just given you a new solution.

Paul: So this is like, “Okay. I’ve got to redesign all my power supplies.”

How To Convince the Space Industry to Adopt New Technologies

Simon: Well firstly, there’s a lot more work that has to be done before anybody that is remotely involved in space will actually adopt your technology. Firstly, you have to convince them. Bear in mind that the technology for space has not changed in 30 years, since the lunar landings and all the Apollo missions. So you have to break down resistance to change first in a lot of these companies. And the only way to do that in this space industry, which is an extremely cautious industry, the only way to do that is with data.

So we had to go through our portfolio, and we had to test everything. Every single device that we ship goes through an individual screening program. Some parts get tested for 2,000 hours, for instance.

Paul: This is a part you’re going to ship.

Simon: Oh, yeah.

Paul: So it’s not just one sample.

Simon: Oh, no, no. Everything that we ship has been tested, 100%, at various different levels of stringency. So our second major goal was to break down the barriers of acceptance on this new technology into a world that had been dominated by silicon.

Paul: So it’s really marketing. I mean, it’s marketing with backup.

Simon: It’s marketing and engineering. Yeah.

Paul: But you’re talking to an engineer, and an engineer isn’t going to take that risk without compelling evidence.

Simon: Yeah. Absolutely.

Paul: Just like you’re not going to buy the car unless you like it. So you’re breaking down those barriers to entry or barriers to integration, I guess.

Simon: And essentially, you, you go through all of the data that they would require, and then you show them, once they’re satisfied that you’ve gotten to a point of reliability that they need, then you have to show them that the performance is worth it. So they’re not going to put anything in there that’s going to break after five years. So then you’ve got to show them. Then the sales end starts. Then you have to differentiate your product with switching performance or the losses or whatever somebody is specifically interested in for their specific design.

So at that point, then the sales effort starts to communicate all of those differences. So you have to have in your back pocket, one, a bunch of radiation testing, two, a bunch of life testing, reliability testing, and then — only then — once they’ve seen that data and believed that data can you then start trying to sell the product. So there’s a lot of upfront work, and there’s a lot of barriers to entry into this market.

Paul: Yeah, I could imagine. So do you give them samples?

Simon: Wherever we can, we try to sell them samples.

Paul: Well, okay. Alright.

Simon: But yes. We’ve been known to give a few away.

Paul: So they’re actually trying it and, and playing with it. It’s not like just a piece of paper.

Simon: No, no, no. Most, most of the major satellite companies in the world have Freebird parts that they are testing at this point.

How to Do Accelerated Life Testing

Paul: So now, you talked about radiation testing and life testing. So how do you do life testing? Just for the average person, you’re not going to be alive in 90 years or 100 years, how do you tell if this is going to—

Simon: So we do accelerated testing. So basically, what we do is, we increase temperatures or increase voltages — whatever is sensitive during the lifetime of a component — and we put more of that than it would normally see. So we try and accelerate the aging process. So, for instance, a very easy example to understand is temperature. So we would test our parts for a thousand hours at the temperature of 150 degrees. Okay?

Paul: Fahrenheit or Celsius?

Simon: Celsius.

Paul: Okay. So that’s pretty warm.

Simon: You’re going to have to convert that into F.

Paul: Yeah, sorry. Okay.

Simon: It’s been a while since I did that. So, you’d leave that on with a bias, or you have your in and your out, your source and your drain, so you bias the drain at 80% of its rated voltage, and you leave it on test, continuously energized for a thousand hours, which is eight weeks, more or less. But the fact that you’ve done that at temperature, allows you, with statistics, to predict an accelerated aging, so to speak. So you get a lot into statistics.

Paul: It’s burning. You’d burn your fingers.

Simon: It’s 320 maybe.

Paul: Okay. So you’d burn your fingers. But isn’t space cold?

Simon: Space is cold, but we’re not trying to simulate space. We’re trying to accelerate the aging process.

Paul: I see. So basically, you’re stressing the technology. What about freezing tests?

Simon: Well, when you say, “Is space cold?” it depends where you are in space. If you have a direct line to the sun or, so are you on the bright side or the dark side of the moon, so to speak. When you’re in the dark side, you’re at minus 50-something C. If you’re on the bright side, you may be at 80 degrees C.

So we also go through thermal cycles. We have a chamber which has an elevator, basically a small elevator. It goes between an oven and a fridge.

Paul: Oh really? Oh, that’s cool.

Simon: It’s great.

Paul: You can put a soda in there, and you can cool it off really fast.

Simon: When we have office parties, we put the pizza in the warmness and the beer in the cold.

Paul: There you go. So you’re doing this, and you’re doing it from, I guess, a compliance level where you’re actually testing it and certifying it and making sure that it’s true so that people can track that all back.

More Episodes:

You’ve been listening to Part 2 of our conversation with Simon Wainwright! If you missed Part 1, you can find it here! To listen to Part 3, you can find it here!


Also published on Medium.

Freelance Photography & Entrepreneurship with Al Pereira

On episode 68 of The Edge of Innovation, we’re talking with freelance photographer Al Pereira, about being an entrepreneur and running Advanced Photo, a photography store in North Reading, Massachusetts.

Show Notes

Advanced Photo’s Website
Contact Al Pereira
Find Al Pereira on Facebook
Find Al Pereira on LinkedIn
Gear Review: Yashica FX-3 35mm Film SLR
UPI – United Press International
The Eagle Tribune
Link to SaviorLabs Assessment

Sections

Picking Up A Camera – The Start of a Career
Working as a Freelance Photographer
A Hands On Experience – Working for United Press International
Darkrooms Before Computers
When Color Printing Became Popular
Camera Equipment Back In The Day
Al’s Photography Work
A Freelance Photographer is an Entrepreneur
The Danger of Being a News Photographer
Starting a Photography Business

Freelance Photography and Entrepreneurship with Al Pereira

Paul: Welcome to the Edge of Innovation. I’m here with Al Pereira, president, founder, chief photographer of Advanced Photo in North Reading, Massachusetts.

Al: Thank you very much for having me, Paul.

Paul: So, Al, we’ve known each other for a long time, and I’ve been following your career as a photographer and I thought it’d be interesting for our listeners to talk with somebody that is really good behind the camera.

Al: Ah, thanks for the compliment.

Paul: Well, we’ll see if we can find somebody after this. Right?

Al: There you go.

Picking Up A Camera – The Start of a Career

Paul: So, what, what made you pick up a camera?

Al: Well, it’s kind of a funny story. I was kind of laid up from work for a while due to an injury. And, I got bored, and I bought a camera. Not even a week later, I was driving down the street, and there was a fire. It happened to be in Malden, and I took pictures, and I actually had a black and white darkroom that I had started in my basement a couple of days after I bought it. So it was actually about a week after I bought the camera, I had a black and white darkroom, had somebody show me how to process the film. Anyway, I processed the film, and I printed a couple of pictures, showed them to a couple of friends. They said, “You should have taken that to the paper.”

And I said, “Okay. Maybe next time.” And then low and behold, something else happens, I get it, and I sold it to the paper, and here I am 35 years later.

Paul: Wow. So what is it? It’s 2017. So that would be…’83? Yeah. About ’83.

Al: Yeah. A little before ’83. Yeah.

Paul: So, alright. What in the world made you think, “Okay. I’m going to get a camera”?

Al: I’ve always been the photographer in the house, and the Polaroid Instant Cameras that we had and the little point-and-shoots. So everybody else would always cut everybody’s head off, and I always seemed to do it the right way. And I’ve always kind of been interested in cameras and taking pictures. So I’ve always been one for capturing that moment because it’s all about family and back then, it was about family. It should be all today too.

Paul: Okay, so it’s 1982, ’83, and you’re going to go out and buy a camera. What did you buy?

Al: A Yashica FX3.

Paul: Wow. See, now whenever you talk to photographers — just so you know. So if you’re out there listening, and you talk to a photographer, they know their equipment. They’ll always remember your first camera and so it was Yashica.

Al: FX3.

Paul: FX3. Did you buy a lot of lenses or just the one that came with it?

Al: I bought two lenses, a zoom, and a regular 50 millimeter.

Paul: So you were in… You were like, “Alright, I’m going to go and become a photographer.” At least a hobby. Right?

Al: Well, I intended it to be a hobby, but then after that first print got published, I had the bug, Basically, what I ended up doing was getting a scanner and putting it in my car. I had a portable scanner.

Paul: Oh, a police scanner.

Al: Police scanner.

Paul: Not a, not a photo scanner.

Al: Right, no. Well, we didn’t have them back then.

Paul: No, I know. I was just like, wow. That was early for a scanner. Okay. Go ahead.

Al: And, I’d go to sleep with it on. Something would happen, and I’d get up at 3:00 in the morning, 4:00 in the morning, and I’d get there, a bad accident or a fire or something. And the next day, I’d have the film processed and prints, and I’d take it down to the local paper.

Paul: Wow. So you were…I think the technical term was a stringer.

Working as a Freelance Photographer

Al: Well, I was a freelance photographer.

Paul: Freelance. Okay.

Al: Stringer came later on when I actually got picked up by United Press International.

Paul: Okay. So now you’re doing this. How many years were you doing it before you started…? You know, so you were freelance. Then you got picked up by UPI, and was there something between those?

Al: I was freelancing for a bunch of local papers. I actually expanded. I did the Summerville Journal, Medford This Week, Medford…what else? Cambridge Paper. And at times, depending on what I covered, The Globe and The Herald would buy my stuff. UPI picked me up after an incident in Melrose where there was a drowning of a young child, and he fell through the ice. And I happened to get there as they were bringing out two of the four and then they went looking for another one that actually ran home. And they didn’t know there was someone else in there. And then they basically said, “Let’s put the boat in,” and they found him, like about two minutes later. And I captured everything from them putting the boat in to finding him, putting him in the boat, and doing the CPR. The whole bit. And I happened to just take my film. I didn’t even process it. I took it down to The Herald, and then I believe, if I remember correctly, The Globe. And I went home.

And all of a sudden, I got a call from this guy from UPI saying, “We understand you have some photos of an incident.”

And I said, “Yeah.”

“Well, can you come in?”

And I did. And I started stringing for them ever since.

Paul: Oh, wow.

A Hands On Experience – Working for United Press International

Al: Yeah, and it was interesting because I felt like I was going to college but not going to college. I was getting the hands-on experience. I mean, I covered presidential races, the Jackson-Mondale races for president. I covered movie stars going to the Hasty Pudding, Sean Connery, Joan Rivers. I had spectacular photos of that. I covered the Celtics, the Bruins, the Red Sox, the Patriots. Every sporting event in Boston I did. You know, it was a lot of fun.

Paul: So now you did that for how long? I mean, you probably still do it occasionally, but when that was the main bread and butter of your business.

Al: Right. I mean, I was actually working a lot of hours for UPI, which I didn’t mind because I was learning the trade, and, like I said, it was like going to college, but I was actually doing the actual work without the books. I did it till ’86 when I got picked up by The Eagle Tribune. That happened was I put in an application, and they called me in for an interview. And I was still stringing, of course, for UPI. And, if you remember correctly, the riots in Lawrence was happening at the time. And the day before my interview I went and covered the riots up in Lawrence. And I took some great photos of an arrest and so forth, went back to UPI, and I reprinted them, and we put them on the wire.

But The Eagle Tribune was not a customer of UPI, but I had inserted a bunch of those photos that we used, took it with me to the interview along with my other pictures in my portfolio. The gentleman that interviewed me noticed the photos. He didn’t recognize where they were, and he said, “Do you mind if we use them?”

I said, “Absolutely not.” And the next day, I was hired.

Paul: Wow.

Al: Yeah. It was a surprise.

Darkrooms Before Computers

Paul: Okay. So you went from being injured, thinking about photography, buying a camera, starting to set up a darkroom. I mean, this is just such a different world, because now everybody’s got a darkroom in their computer.

Al: Right. And that is today’s darkroom. It’s harder now, to be honest with you.

Paul: Oh, definitely. But I’m just saying that you had to go out and buy chemicals. You had to buy enough enlarger. You had to buy the trays. You had to learn all about it. You had to get a darkroom. You know, so you were really committed to it. And, so it’s sort of, I mean… You know, back in those days, it was a commitment. You really became a photographer, and you sort of learned all these different things.

Al: It was actually easier to learn to be a photographer, back then than it is now.

Paul: Yeah, that’s probably true.

Al: You can actually set your mind to do it even today, but, you know, like for example, mixing chemicals. It was easy because your heart was in it. But you could pick it up a lot faster than you can do like, for example, Photoshop, unless you have a really big brain, and you’re really smart. You know, you can pick it up faster. But I find that Photoshop, at the beginning, was very difficult to maneuver and so forth. Even today, there is so much to it that, where do you start?

Printing, for example, locations in the photograph and the dodging and the burning, that was art because you could put your hands together, and you’d have a little hole that the light would go through, and you make it wider or lighter. The smell of the chemicals when you mixed it. It was just amazing.

Paul: Yeah.

Al: It was a different world.

Paul: It was. It was.

Al: Simpler.

Paul: Well, it was very simple. It was simple. There was a lot of depth to it, though. You could get very complicated. And I think a lot of that is lost in the new digital photography because you don’t appreciate what’s really going on. You don’t learn the actual, don’t want to say the physics of the situation. But, when you see that paper develop in the pool of developer, you know, in the tray…

Al: The image coming before your eyes.

Paul: The image coming up, you’re sort of like, “Oh, okay.” And then the dodging and burning. And it sort of teaches itself to you. Whereas with Photoshop, you just open it, and there’s a picture on the screen. Oh, is that good, or is that bad? And you don’t really get sucked in as much.

Al: Right. And what’s interesting is, though, that if you go from one screen to another, you’re going to get a different color, a different tone. Actually, it could be lighter or darker, and that confuses a lot of people. Where, when you see that photo come up, it’s either you did it the right way or you didn’t. And there’s no in between.

Paul: And we’re talking about black and white.

When Color Printing Became Popular

Paul: Did you ever do developing color printing?

Al: No because—

Paul: Without a machine?

Al: No. It was actually… And I don’t know if it was even possible to do it in the trays because—

Paul: No, you had to do it in a drum. Remember? I mean, Cibachrome? I don’t know if you remember that, but that the “easiest,” but it was just so… I remember, being a black-and-white photographer in the darkroom and you being so involved in the process. Color, you couldn’t see what was happening. And that really disappointed me. And then you’d sort of put it in this jar, you know, this big tube with the cover on it. You’d rock it back and forth. You’d dump that out, put the other stuff in, rock it back and… Well, it was like developing film.

And then you pull it out, and it looks terrible. It was like…huh. I remembered many times where I’d shoot something on the enlarger, expose it, and then develop it, and then pull it out and stop it.

Al: I remember when I was stringing for UPI. We were strictly a black and white printing in black and white. And the color was starting to get popular. And the AP was doing it.

Paul: Right USA Today came out, and it was starting to print in color.

Al: And of remember we were trying to get a really good color print. And at the beginning, it was very, very difficult that we almost gave up, but we couldn’t because our competition was doing it. Eventually, we mastered it and so forth, but it was a whole different world.

Camera Equipment Back In The Day

Al: Let’s go back to, for example, the equipment that we used. It was a manual focuses lenses. There were not auto-focus lenses. I had a very hard time giving up my manual focus. It took me a while.

Paul: Have you? Have you given it up?

Al: Yeah. I had no choice. Yeah.

Paul: Well, you know, I mean, it does work really well.

Al: It does. But it takes a little longer to focus where you go to a wedding now, you tend to want to do the job quickly. And today’s equipment is fantastic.

Al’s Photography Work

Paul: Right. So you’re United Press International. You go to the Lawrence Eagle Tribune. And then what? What was the next step in your career?

Al: Well, while I was stringing at UPI, I was also doing what ends I actually hooked up with a photographer out of Medford College. And he and I ran into each other when I was on assignment for a local newspaper. And he said, “You know, I need help, so could you come over?”

So I did. He interviewed me, and he sort of basically hired me on a freelance basis, but he was willing to train me as a wedding photographer, a studio photographer. And that’s where I learned how to be a really good wedding photographer and portrait photographer. I also ended up doing all his black and white printing. Back then, it was all black and white, and head-and-shoulder shots for banks or any companies his would do.

I remember one time he got a job for a company called You First. And it was a uniform company. They would pick up your uniforms, and they would clean them and take them back. So they hired him to do a photo of someone wearing a uniform. Half of it was really spotless, really clean. The other half was torn, greasy, and so forth. And I got to end up being the model.

Paul: Oh, really. Oh, wow.

Al: And they used it for many years. And what’s funny is that that company now is one of my customers at Advanced Photo. And they actually remember that photo.

Paul: Interesting.

Al: Yeah, so I was always, when I was freelancing for UPI as, as a stringer, I always kind of had my own little business on the side, doing photos for banks doing photos for doctors, the weddings, portraits, the sports photography. Also, I would, on my spare time, which was very little, would still do work for the local weekly newspapers.

A Freelance Photographer is an Entrepreneur

Paul: So now would you characterize yourself as an entrepreneur?

Al: I would think so.

Paul: I would think so. I mean, from what I know of you and knowing you always have that entrepreneurial edge, always thinking, “Hey, what about this?” Or, “What about this?”

Al: I’m always thinking.

Paul: Right. So now you’ve expanded. You’re working for Lawrence Eagle. You’re doing wedding pictures. You’re doing freelancing, and then what happened?

The Danger of Being a News Photographer

Al: While I was on assignment for the Eagle Tribune, I was covering this spot news and long story short, it turned out to be somebody, took their own life. And if I had known that, we wouldn’t have been there. But because of the secrecy that the cops ended up having, and the way they talk on the radio made you think that it was something serious.

So I took a reporter with me, and we went to the location. And, I get there, and I’m doing a few shots of the area, and we’re just waiting for the cops to come out so we could find out what was going on. But right next door, a family, these people, came out of the house, and apparently, there were family members of this person. And they didn’t like us being there. And all of a sudden, they just beat the you know what out of me. They really did a number on me, and the reporter was trying to get them away. And she actually got pushed around also. By the time the police came over, I was really bleeding and my back was really sore. And I ended up going to the hospital. And I was actually out of work for a long time. And I ended up getting a back operation because of it.

And with that free time, I decided, “You know what? I’ve always wanted to start a business,” so I decided to start a business.

Paul: Okay. Well not the recommended path to it necessarily. But, so what was that business?

Starting a Photography Business

Al: You know, a friend of mine owned a photo store in Methuen called Advance Photo, and I liked what he did. I liked the way he printed the photos. He had a one-hour photo, so he printed photos for people. He really loved it. People really liked the results, and I was thinking, “You know what? This could be me, but I want to do a little bit more.”

So before I opened up, I actually had a little portrait studio in his place. I learned how to use the machines, and about a year later, I opened up Advanced Photo in North Reading.

Al: When was that?

Al: 1992. March 4th.

Paul: Wow!

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You’ve been listening to part 1 of our interview with Al Pereira! Be sure to listen to Part 2 here!


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