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homes for the Multiple Listing Service and a catalog for the Golden Crucible foundry in Carmel Valley. "We had to borrow a friend's 35mm Minolta camera at first," Moon says. They learned their craft on the fly and acquired equipment and film on credit. Their darkroom in those days was in a barn, and wasn't particularly lightproof. "We couldn't process film there during the day," Batista says. "That made it hard to make deadlines." Batista Moon's reputation for providing dis- tinctive, quality work grew and the duo were awarded increasingly high-profile work, includ- ing images for the official Monterey Jazz Festival posters in the early 1980s and work for Royal Viking. One day, a call came in from the Brooks Institute to inquire about using their work in a commercial photography exhibit. "I was blown away," Batista says. "They had been following our work." Another project they're particularly proud of is the work they did on "50 Years of Shake Family Traditions & Treasured Recipes," a cook- book commissioned by Monterey restaurateur Chris Shake. "That was one of our most memorable expe- riences," Moon recalls. The body of work Batista Moon has produced is vast, but its consistency is remarkable. This team has always brought a fine art sensibility to their commercial work. "Barbara was trained as a fine ar t photog- An outtake from a cookbook photo shoot: "We never pass up an opportunity to study light and create still life as an art form. This shot was one we did as a personal challenge." 166 C A R M E L M A G A Z I N E • S P R I N G / S U M M E R 2 0 1 6 (left) The 1980 Monterey Jazz Festival poster was the first to feature a photograph, based on the Festival's logo. (above) Batista and Moon; 1988 self-portrait. Photos: Batista Moon Photography

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