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Magazine of The Quarterly rk Chapter rtists | New Yo A ic h p ra g to ho e American P
Supporting Photographers and the Business of Photography
Summer 2 0 1 7
proof shee t Summer 2017 â€˘ Vol. 2, No. 3 Cover photo by Bruce Byers
Bill Bernstein The Bowery Mission Menâ€™s Shelter
Board Profile: Ron Jautz
Martha Graham Dance Company
First Nations People
Vanessa Lenz Echoing Green
The APA|NY Proof Sheet is a quarterly magazine, published by the New York Chapter of the American Photographic Artists. Copyright 2017 APA|NY; all rights reserved, collectively and individually. Content, either images or text, may not be copied or reproduced in any form, in whole or in part, without prior written consent from the photographer, writer and APA|NY.
Supporting Photographers and the Business of Photography
About APA|New York APA|NY is the Northeast regional chapter of American Photographic Artists (APA), covering the entire area from Pennsylvania and Ohio up through Maine. As part of the country’s leading nonprofit organization for professional photographers, we organize events, negotiate benefits for our members, hold seminars, promote our members’ work, organize photo contests, and much more. Our mission is successful photographers; our goal is to establish, endorse and promote professional practices, standards and ethics in the photographic community, as well as provide valuable information on business and operational resources needed by all photographers. We seek to motivate, mentor, educate and inspire in the pursuit of excellence and to speak as one common voice for the rights of creators. APA|NY is a 501(c)6 not-for-profit organization run by and for professional photographers. Our all-volunteer Board works hard to promote, within our creative community, the spirit of mutual cooperation, encouragement, sharing and support. APA and APA|NY continue to expand benefits for its members and work to champion the rights of photographers and image-makers worldwide. APA Members include professional photographers, photo assistants, educators, and students. We also welcome professionals engaged in fields associated with photography, advertising, or visual arts but who themselves are not professional photographers. Membership categories can be found at http://apanational.org/join. We welcome you to join and get involved.
Reach us at: ofﬁce@apany.com 217 E. 70th Street, #1514, New York, NY 10021
Twitter: @apanewyork • www.twitter.com/apanewyork Facebook: @apanewyork1 • www.facebook.com/apanewyork1
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publisher & editor copy editor
Bruce Byers Deborah Patton
photo assistant list rental studio list
Alley Maher Tony Falcone
contributing photographers Bill Bernstein, Bruce Byers, Kristofer Dan-Bergman, John Deane, Ron Jautz, Robert Johnson, Andrew Kim, Vanessa Lenz, Debbie Raisel, Mat Rick, Liam Sharp contributing writers Ron Jautz, Richard Liebowitz, Frank Meo, Deborah Patton advertising | email or call for a media kit Bruce Byers
letters to the editor: please email comments and suggestions to email@example.com proof sheet design: daniel carmin www.rtwerk.net
APA|NY Board of Directors Michael Seto Co-Chairman Ron Jautz Co-Chairman Bruce Byers Treasurer
www.michaelseto.com www.jautzphoto.com www.brucebyers.com
Scott Nidermaier Sponsor Liaison
Lisa Saltzman Membership
Alley Maher Assistant Liaison Tony Falcone Studio Liaison Sharlene Morris Legal Affairs Dhrumil Desai
www.alleymaher.com www.tonyfalconephoto.com www.sharlenemorris.com www.dhrumildesai.com
Jessica Foley APA|NY Regional Director
Thank You to our Volunteers Summer 2017
National Executive Director Juliette Wolf-Robin Membership Representative Jeff Kausch â€˘ firstname.lastname@example.org
APA | National
Glenn Batkin, Angela Krass, Alessandro Casagli, Paul B Goode, Ron Amato, Liam Sharp, Danielle Maczynski
APA National Office 5042 Wilshire Blvd, Suite 321, Los Angeles, CA 90036
Letter from the Chairmen A Harvard study demonstrated that a key element of overall happiness and life satisfaction comes from the act of helping others. This holds true for photographers as well, as this summer issue of proof sheet highlights. Whether you serve meals at your church soup kitchen, donate money for medical research, or just help the proverbial little old lady cross the street, the act itself makes you feel good and can benefit your business as well. With our unique talents, photographers can give more than just time or money; we can donate our expertise to a cause or organization we believe in. Most nonprofits would welcome the ideas and images from volunteers, yet it doesn’t always mean working for free (after all, we’re are not non-profits). While the fees you make from nonprofit groups is often below your normal rate, there can be an increased latitude for creativity and freedom to shoot your subject the way you want to, not the way an art director wants. Another benefit of shooting for non-profit organizations is the chance to hone your skill set in new areas of photography. If you are expanding your motion portfolio and need both practice and footage for your reel, volunteering your services gives you real-world experience without the normal shoot day pressure. We all have to make a living, but you can still answer that yearning to give back to a cause. Why not turn volunteering into an adventure where you can travel to far off lands while helping an orphanage in India or famine victims in Africa. How about raising awareness of environmental problems in a South American rain forest or documenting the plight of an endangered species in Indonesia. Or just stay close to home with a group like the Taproot Foundation, which brings photographers, copywriters, and designers together to work on annual reports, brochures, and websites for small nonprofits that would not be able to afford these services. And don’t forget, APA is an all-volunteer organization so you may choose to get involved directly in your own industry. Consider this an invitation.
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APA|NY GUEST EDITOR
I started taking pictures as soon as I could hold a camera. And ever since then, professional photography has been a satisfying and enriching career. I have traveled the world and mentored dozens of nextgen photographers, helping to launch their careers. As my commercial career continued, I was introduced to the world of exotic travel documentary photography for nonprofits and NGOs. It was a life changing moment, and ever since 1995 I have been able to apply my professional photography skills to medical missions that cure children and their families. The self-esteem of an entire extended family rises along with the successful healing of its children. And the self-esteem of the medical professionals who volunteer their time and resources to perform these missions is transformational. Working with NGOs is not a great way to make a fortune, but it pays enormous dividends for your soul. But I don’t want to come across as a Pollyanna about this. NGO work is hard; it’s frustrating to work with limited resources; it’s scary when you are embedded in war zones and political conflicts; it’s unpredictable and it’s exhausting. And you have to become a great fundraiser, generating the money you need to pay for the trips. But there is nothing more rewarding for any professional photographer than the knowledge that you have told an honest story, touched the subject and the observer, and have had a hand in changing public and private awareness and policies affecting the people in our world who don’t have a voice or a place at the geo-political table. My advice is to approach a mission assignment as a job, as a professional and with the technical and empathetic skills you have to capture the moment and tell the story authentically with truth and compassion. This summer issue of “proof sheet” features a range of NGO and nonprofit work that runs the gamut from arts and culture and capturing the human dignity of the homeless to revealing the inequities of indigenous class distinctions. We invite you to observe, learn and be inspired by the courage and passion of our community of photographers.
Editor • Summer issue proof sheet, August 2017
UPCOMING EVENTS September 19th • Fine Art Salon APA New York is starting a new series of events aimed at our members who shoot fine-art work. This first event will be a classic photo salon where four members will show their “works in progress” and attendees can make observations, comments, critiques and suggestions. This is a way to support each other in our personal work and learn more about the fine art market.
September 13th – 24th • Photoville Visit the APA|NY table at Photoville; we will be there with various partners providing informal programming. Check our website for more information. Photoville will be held in Brooklyn Bridge Park; get all the info here: www.photoville.com
October 10th We are planning an instructional event centered around the importance of copyright and social media. In these days of posting your images on the internet, you need to hear this advice. Check the website for updated info.
October 25th – 28th • Photo Plus Expo 2017 APA will be at PPE; stop by our booth to meet National and local Chapter leaders; bring your friends and have them join APA, too! Want to get in free? Get a Free 3-Day Expo Pass - type in APA as your code when registering. The Free Pass is available to everyone! APA Members receive a discount to attend keynote speakers, seminars, and classes.
Bill Bernstein The Bowery Mission Menâ€™s Shelter
The Face of Homelessness
Background I am a New York commercial â€œpeople shooterâ€? and work in the editorial, advertising, education and entertainment fields. For many years I would volunteer to help serve food at The Bowery Mission Menâ€™s Shelter in the Lower East Side of New York, run by the Christian Herald Association. It felt good to give something back to the community where I live. Over the years while serving food to the shelter residents, I got to know many of the people in charge of the mission as well as the transients who came by for a hot meal and a sermon. I felt that media attention had fallen off the homeless population in New York as we became more involved with other issues like ISIS and the financial crisis. It bothered me personally that as I witnessed the steady growth of the homeless population, I was not hearing or seeing much about it in the local press.
The Mission As a result, in 2010 I decided to get in touch with my contacts at The Bowery Mission to propose a photographic project to promote the compassionate, human face of homelessness. We all tend to ignore the homeless as we pass them on the street. We want to look the other direction. I wanted us to see that they were, in fact, just like us. They are our neighbors and part of our New York family. Many of them have had good jobs, families, homes and money. But at some point in their lives, for a variety of reasons, they fell through the cracks and went into their own personal downward spirals. Many times drugs and alcohol played a part in their downfall. But they are people like us who need attention, care to be â€œseen,â€? and want a chance to rejoin society.
The Exhibit I believe that as a photographer, I have the opportunity to use my camera to help bring certain important social issues to light. The camera is a very powerful tool, as is the pen. We all have this power, as photographers, to help bring about social change. For the Mission project, I set up a makeshift studio above the dining room and invited the men and women to come up to have their photographs taken. My concept was to shoot close-up face shots of these individuals to force the viewer to have a very confrontational experience with my subjects. I wanted the viewer to look them in the eye and experience their humanity.
The Outcome I presented the finished images to the director of The Bowery Mission and he was very excited and impressed with the work. They made 60” X 40” pigment prints (at their own expense) and created an exhibition entitled “About Face” at their main headquarters in midtown Manhattan. I worked with a writer who interviewed many of my subjects, as well as other homeless men and women at the mission. The exhibition was mounted and remained up for several years; thousands of people saw the images and read the stories. When the exhibition first launched I was interviewed several times on local news stations and newspapers. This gave me an opportunity to not only further the cause of homelessness awareness but also raise my own public profile as a photographer. I suggest finding something that is important to you personally and explore the subject with your camera. Even if you don’t have a clear idea of what you are planning to do with this work in the beginning (as I did with The Bowery Mission work), it will become clear as you move ahead with your project. I believe that the images I shot ended up having a dramatic effect on the people who saw the exhibit and how they viewed the homeless situation in New York. Honestly, I can’t say that any photographic assignments came directly from this project, but many of the powerful images were posted on my website which caught the attention of many clients. n
Bill Bernstein New York, NY 917.653.7746 www.billbernstein.com
Bruce Byers Medical Missions
Messages of Mercy
Background I am a commercial photographer working in New York with 30-plus year’s experience in fashion, travel advertising and commercial work. I got involved in documenting children’s medical missions in 1995 and got hooked on bringing the compelling stories of these children to others, providing a window into their world to give them hope and promise.
I photograph nonstop on every mission. I shoot in the operating room, the waiting room and the recovery room. When the children are finished, I follow them home to capture their lives. I find myself unable to relax as I keep running into moments to photograph that I know I will never see again. I capture all of this on video, digital color stills and B/W film.
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I started in Cambodia with Healing the ChildrenNE. The Smile Bangladesh project, one year later, was a cleft mission. I learned firsthand that the Bangladesh culture was very different from Cambodia because they had fewer resources and the need for medical help was greater. The cleft rate in Bangladesh is one in 500, nutrition being a big factor. I was photographing in the operating rooms of these small clinics, and we had to bring everything with us. There were always more children than we could help. I came back with 8000 images. The next mission was in New York with St. Baldrick’s, an organization that raises money for children with cancer. I photographed the donors getting their heads shaved so they could be just like the kids. The kids looked up to these donors because they were role models for them: cops and firemen.
proof sheet Summer 2017
Then it was off to Bangladesh again for two back-to-back missions. It was a tough trip but an eye opener. The head doctor’s uncle, whom he had not seen in 30 years, met us at the airport with the entire extended family. He planned a reunion party for the next Friday with 250 people. That Wednesday he died and we went to his funeral with 350 people. Since I was with the nephew’s party, I was allowed to photograph the whole service. I was getting an indelible, life-changing world education.
The next mission was to Nablus on the West Bank. This was the first time since I had been fundraising that I got pushback. My answer to the naysayers was always, â€œThink of it this way, I am helping children in need.â€? The kids on the West Bank are suffering just like other kids all over the world. ICMC, that vets refugees from the Middle East into the USA, had me come to Istanbul, Beirut and Mafraq Jordan. This was my first war area work; Beirut with bombing in the streets, to Jordan with the start of the Syrian camps. I kept my head down and produced a book, and ICMC purchased 750 copies. Then I traveled into China documenting cleft repair and the plight of orphans. In the spring of 2017, I raised the money to go into Pakistan to do a research mission to bring the Bangladesh doctors into Pakistan to repair clefts. This challenge opened my eyes even wider to the social and political problems of the world. I started an organization called Smile Pakistan to fund raise for future missions.
In Fall 2017, I am scheduled to go to Sri Lanka with a group of photographers to be embedded with Smile Bangladesh on their 21st mission. I plan to share my experience and show these photographers firsthand what is involved in documenting a mission and how they can help by creating a photographic narrative.
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Outcome I have learned that there is great need in the world to communicate the plights of children and their families, and the camera can bring home the stories. A powerful communications tool is showing people who will never get to see a mission firsthand such evocative images. My advice for anyone who wants to get involved is go for it, but approach it like a job. Plan it out before you go and be ready to have things change every minute. My mission work has been used in ads, videos, fundraising, websites, Instagram and magazines. The best use was in Times Square on the Nasdaq seven-story building where my photos ran as a video on on the front of the building. There are many other missions, such as Teach the World, Aging Out of Foster Care, different homeless missions. Once you get involved it seems to snowball. The work has elevated the quality of my commercial work. It has given me great joy to produce stories that document the needs of children who would never get attention without these NGO missions. n
Bruce Byers New York, NY 917.992.1453 instagram: brucebyers www.brucebyers.com/documenting-missions organizations www.smilebangladesh.org www.teachtheworldfoundation.com ICMC book proof sheet
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S TUD IO REN TAL S
20/20 Kre8tivHauS StuDiOs
Hudson River Studios
Union City, NJ
Long Island City
30th Street Studios
Hudson Yards Loft
Hudson Yards/Hell’s Kitchen
Michelson studio I
Michelson studio II
Photo and Video Studio
Shade Studio NYC
Ten Ton Studio
Lancaster City, PA
Photo by Member Andrew H. Kim | www.andrewhkim.com | New York, NY
John Deane Martha Graham Dance Company
Moments in Time proof sheet Summer 2017 37
Background I am a professional photographer with a focus on fine arts. In 2002 the Martha Graham Dance Company, which had been embroiled in a legal dispute over the rights to the Graham dances, was given court permission to perform some of them for the first time in two years. Realizing that the financially distressed company would need to have current photographs of the dancers and dances, I offered my services through a good friend and principal dancer with the company, Miki Orihara. Soon the dancers were at my midtown studio performing excerpts from some of the most iconic Graham ballets.
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The Shoot Martha Graham liked to remind her dancers of the necessity â€œto be born to the instant.â€? This was now certainly required of me as well, as I had to quickly grasp the form and essence of movement that unfolded exclusively for me and my camera as I worked with these world class performers at the height of their abilities. In those days, high-end digital photography was in its very earliest stages, and I believe it was the first time the dancers were able to instantly see and critique their efforts on a computer monitor. This enabled us to work together quickly, with an intensity and sense of urgency and creative collaboration I had never before experienced.
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The dancers patiently described each dance to me, which helped me decide on the style of lighting to be used, and we sat side-by-side reviewing the unfolding shots and then deciding together on the shots that captured not only the apex of movement but the key moment of psychological import as well. This in of itself was a rich artistic experience, and I learned something of the nuances of the Graham techniques through these discussions.
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The Outcome The City Center performance was a great success, as was the company’s legal battle, and I continued to photograph the company each season over the ensuing three years up to 2005 while the company’s tenuous financial situation gradually improved. My photographs appeared in the New York Times advertisements each performance season and were used around the country and all over the world to promote their tours. Eventually the company and I built quite a large body of work together, and in 2006 I published a critically acclaimed book of our collaborations, Acts of Light, Martha Graham in the 21st Century. n
Martha Graham Dance Company’s photo credits: Page 36: Heidi Stoeckley as The Chorus in Cave of the Heart Page 38: Christine Dakin as Jocasta in Night Journey Page 40: Terese Capucilli as Medea in Cave of the Heart Page 42: Gary Galbraith as the Minotaur and Elizabeth Auclair as Ariadne in Errand into the Maze Page 44: Fang-Yi Sheu as Herodias in Herodiade Page 46: Miki Orihara in Satyric Festival Song
John Deane New York, NY email@example.com www.johndeane.com
Acts of Light, Martha Graham in the 21st Century, University Press of Florida (Amazon, Barnes & Noble)
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ASSISTANTS Alessandro Casagli 5 years, 1st-3rd Assistant 646.881.4793 • firstname.lastname@example.org www.casagli.com Specialities: Lifestyle, Editorial, Fashion, Still Life, Product, Portraits, Location
Adam Coppola 203.415.9851 • email@example.com www.coppolaphotography.com Specialities: Lifestyle, Editorial, Fashion, Still Life, Product, Portraits, Location, Video
Dhrumil Desai 213.255.5145 • firstname.lastname@example.org www.dhrumildesai.me Specialities: Lifestyle, Editorial, Fashion, Portraits, Location
Tony Falcone 1 year, 1st Assistant 718.702.5563 • email@example.com http://tonyfalconephoto.com Specialities: Portraiture, Location, Event, Lifestyle, Architecture & Interiors
Rebecca Grant 2 year, 1st-3rd Assistant 917.710.2570 • firstname.lastname@example.org www.rebeccagrantphoto.com Specialites: Editorial, Fashion, Portraits, Beauty
Giovanna Grueiro 2nd Assistant 917.226.3733 • email@example.com www.giovannagrueiro.com Specialities: Editorial, Fashion, Portraits, Location
Dan Lidon 6 years, 1st Assistant 610.905.0208 • firstname.lastname@example.org www.danlidon.com Specialities: Lifestyle, Portraits, Location, Video
All assistants are APA Members in good standing and have the work experiences listed. If you are an assistant and would like to be listed, join APA and request our assistant form by emailing email@example.com
Alley Maher 5 years, 1st-3rd Assistant 203.733.7981 • firstname.lastname@example.org www.alleymaher.com Specialities: Lifestyle, Fashion, Portraits, Location
Jeffrey Morgan 1 year, 1st-3rd Assistant 404.333.2941 • email@example.com www.jeffwmorgan.com
Specialities: Lifestyle, Editorial, Still Life, Product, Portraits, Food
Sharlene Morris 1 year assisting 949.929.9509 • firstname.lastname@example.org www.facebook.com/smorrisphoto
Specialities: Lifestyle, Editorial, Portraits, Location
Danielle Maczynski 1st Assistant 908.268.6142 • email@example.com www.daniellemaczynski.com Specialities: Lifestyle, Editorial, Portraits, Location
Alyssa Meadows 1st Assistant 484.788.5534 • firstname.lastname@example.org www.ameadowsphoto.com Specialities: Lifestyle, Editorial, Fashion, Portraits, Location
Dan Orlow 19 years, 1st-3rd Assistant 617.460.5773 • dan@danoassists www.danoassists.com Specialities: Lifestyle, Editorial, Fashion, Still Life, Product, Portraits, Location, Video, PA
8 years, 1st-2nd Assistant 206.914.7406 www.darrenjsabino.com
Specialities: Lifestyle, Editorial, Fashion, Portraits, Location, Video
Specialities: Editorial, Fashion, Still Life, Portraits, Location
Rocio Segura 1st Assistant 917.993.1021 • email@example.com
Liam Sharp First Nations People
I come from a photographic family. My father was a photographer and now my daughter is a photographer in London. I started my career in Toronto and I have been shooting for over 25 years. I am currently based in NYC. Having worked under the constraints of communicating corporate messages, I started shooting for some of the top magazines in Canada. I was awarded one of the first regular photo columns in Canadaâ€™s national business magazine which I shot for over seven years. My passion has always been photographing real people with real stories. I particularly enjoy working with nonprofits that offer me full access. Being from Canada and seeing some of the early pictures of First Nations peopleâ€™s and their culture. I realized the importance of documenting indigenous cultures before they disappear. This became the focus of my personal work capturing tribal peoples in Ethiopia, and Papua New Guinea and in South America.
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I first met Cindy Blackstock in 2009 when I was asked to photograph her for the University of Toronto Annual Report. At the time, Cindy was a UT graduate and a social worker who ran The First Nations Child & Family Caring Society. It is the only national organization serving and promoting the rights of Aboriginal children and families. Cindy told me about me about the injustices that First Nations people face in Canada. Canadiansâ€™ taxes help fund universal healthcare and education across the country, but I was shocked to hear that First Nations people living in the north on reserves were funded at 25 percent less for healthcare and education. On the spot I offered my services in helping other Canadians like myself see the true stories about the living conditions that First Nations people have on reserves â€“ far out of pubic view.
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I travelled to the First Nations community of Attawapiskat, Ontario to visit the Carrier-Sekani Family Services, a branch society of the Carrier-Sekani Tribal Council in British Columbia. The following summer I visited the Tobique First Nation in New Brunswick. I charged no fee and promised that I would not sell the photography. If it were licensed, any deal would go through Cindy and all fees would go directly to helping First Nations peoples. Even though there were different tribes from different parts of the country, the same problems existed. The tribes were restricted by the Indian Act, which meant they could live on the reserves but they couldnâ€™t own their own land. So there was no incentive to better themselves. There were no jobs and they were dependent on government support without being able to leave their reserves because of the cost.
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The Project The first stop was to Attawapiskat, a Cree First Nation town on James Bay about a 1000 kilometers north of Toronto. This community is very isolated, even though they have a landing strip that only the government can afford to use. I photographed kids who were promised a new school 10 years ago by the federal government. It was a broken promise and students were schooled in portables with winter temperatures often minus-50 Celcius. I also documented overcrowded housing where sometimes more than 30 people lived in a three bedroom house. The following year, this community was declared a state of emergency because of the lack of housing in the extreme winter weather. When I went back to Attiwapskat in the summer, there were two funerals in one week and I was asked to photograph them so the families would have a record to show family who was away in prison to the south. The suicide rate in these northern communities is much higher than the rest of the country.
The initial goal was to have a show in Toronto at Canada’s oldest bank, the Bank of Montreal headquarters. Right from the start we ran in to resistance. We wanted the exhibition title to be “Is This Our Canada?” But the funders insisted we change the name to “Caring Across Boundaries.”
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The Outcome I helped create a major shift in government policy towards the First Nations people of Canada through my work. In a landmark ruling in January 2016, the Canadian Human Rights Tribunal found that the Canadian government was racially discriminating against First Nations children and their families by providing inequitable child welfare services and access to other government services available to other children in the rest of Canada . â€œCaring Across Boundariesâ€? continues its exhibit across Canada, from small communities to the house of Parliament. It helps educate Canadians about the funding disparities and living conditions of First Nations people. The work is also on display in the Human Rights Museum in Winnipeg and is part of a permanent exhibition at the Dutch museum for culture and science in The Hague. The initial First Nations project led to a feature in Canadian Geographic Magazine. They sent me back to the same communities to shoot for them, and I made a deal with the publisher that any licensing fees would go back to the people. On a personal note I believe this project made the difference in getting my green card, which requires that you demonstrate an extraordinary ability as an artist. n
Liam Sharp 347.604.0072 www.liamsharp.com instagram: liamrobertsharp http://liamsharp.com/first-nations-of-canada proof sheet Summer 2017 65
The Phone Rang, You’re Up For a Job! Savvy Questions to Ask Buyers By Frank Meo, thephotocloser.com
In our business, every interaction is an opportunity. Art buyer, art director or creative director –- every instance of contact with any one of these individuals represents a unique chance to be remembered and hired for an important job. When I estimate and negotiate on behalf of a photographer, I always try to find common ground with the person I’m speaking to. Whether it’s business or pleasure, having that background knowledge is invaluable. Today there are so many tools to research potential clients, but before you call, do a bit of background checking. We’re in the people communications business. Yeah, I know about email and that nobody picks up the phone… blah, blah, blah. All true! However, you must be able to capitalize on every opportunity when it’s presented to you. Realize, also, that when a potential client contacts you, it means your marketing efforts have proven to be successful. That alone should give you a sense of accomplishment.
1. Ask The Right Questions Before hiring a photographer for a project, art buyers and creative directors like to narrow down the list of candidates by first checking out websites, then talking to a select few by telephone. Sometimes they know exactly whom they want for the job; other times, the client requires that more than two or three photographers be considered. Usually, the candidates are equally qualified and a get-to-knowyou phone call is the deciding factor in who gets the job. What you say during such a conversation can make or break your chances of winning the assignment. How do you know if you’re being seriously considered for the project? Early on, who knows? The fact is they called you. So, yes, they like your work and, more importantly, you’re now on their radar. First question to ask is, how did they come to you? This is a great starting point because they like what they saw in on your website and it gives you a chance to start a positive conversation about your work.
Foremost, be a good listener. Tell them a little bit about yourself and learn what you have in common –- kids, sports, travel etc. For example, during a conversation with the top art buyer at McCann, New York, we discovered we share the same birthday. (August 20th if you’re sending cards) Pretend you’re the person on the other end of the phone and it’s a blind date. That art director or art buyer wants to award the project to a person they can really like. They’re going to be spending lots of time with the one who gets the job, and nobody wants to be around an arrogant bore. The same goes for your rep, studio manager and assistants. Their behavior is an extension of your overall branding. Be personable, be attentive and create a pleasurable experience during that initial phone conversation. Make them want a second date.
2. Give An Accurate Estimate It’s important to ask the right questions during your conversation so that you can accurately estimate the cost of the project. Keep in mind that the art buyer is likely talking to three or four other photographers. You must portray unquestionable competency. You’re toast if you ask questions that are off target. The same goes for an incomplete estimate. The reason is simple: Nobody wants to take a chance on a photographer who doesn’t get it. I once won a job for one of my freelance photographer’s clients because a competing rep didn’t budget for a Winnebago motorhome required for an outdoor location shoot and I did. As an advocate for the photographer, I try to get a clear idea of what the operating budget is and simply say, “I’ll make the numbers work; I really want this job.” Or, “If my photographer is first choice, I will work with the numbers.” If you feel like you’re in over your head, call someone who can represent you in a professional way and will cover every little detail. It’s also easier for a rep to ask whether their photographer client is the first choice for the job, whereas you, as the artist, may feel a bit uncomfortable being so blunt. Seeking help is the competent thing to do and you’ll be respected for it. Do a tight estimate and leave a good impression.
3. Where Do You Stand? Let’s say you had a great phone conversation and you followed up with an estimate for the project. What else can you do to improve your chances? Try writing a creative brief detailing your vision and creative approach to the project. Yes, it does take time to do this, however it leaves another positive impression about you and should be considered part of your marketing efforts. It might separate you from the competition just enough to land the job. If you don’t get the job, don’t play the second-guessing game and don’t be bitter. Sometimes the buyer will have already made up their mind before they even talked to you. The client may have liked someone else’s style. Ask yourself what more you could have done or what you could have done differently. And be truthful so that you can improve for when the next opportunity comes along. Now that you’re on speaking terms with the buyer, art director or creative director, continue marketing to this contact. If one of your images prompted them to contact you in the first place, send them a signed print. I’ve had my photographers do that, and it’s been successful in landing future assignments. Above all, realize that you were one of the lucky few to be contacted directly about the potential assignment. Now you are on the art buyer’s radar for the next project. n
More info https://thephotocloser.com/workshops
Note: I conduct a Photographer Business Workshop that delves into this issue and many more business-related topics that are extremely valuable to photographers.
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Kristofer Dan-Bergman Spark MicroGrants
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Background I am a professional photographer, living in NYC and specializing in people lifestyle. I began working with Spark MicroGrants in 2015 through an organization called Global Good Fund (GGF), which helps smaller NGOs with leadership development. I have worked with GGF on still photography and am helping the smaller NGOs find a voice. Spark is an interesting NGO working in East Africa. Founded in 2010, it has partnered with over 150 villages to “enable communities to design and launch their own social impact projects” funded by microgrants.
The Project The photo shoot project was based on passion, no pay: I was not reimbursed for my expenses although I later got a grant from GGF of $1,000. My budget for the entire project was about $6,500. I agreed to take on the project under the condition that I could do my personal work while helping Spark with their stills and videos.
The project was to travel for a month to East Africa, visiting 15 villages where Spark was operating. Spark’s mission is to help the villages with strategies to start strengthen community foundations to help people believe in themselves and envision their future. This is a real challenge for village leaders in East Africa who been plagued with wars and genocide over a long period. As a result, much of the population suffers from Post Traumatic Stress Syndrome. Spark helps the villages by consulting with them and helping them explore a range of projects to increase community income. Spark has a microgrant fund available of about $3,000 for each project.
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Field Notes It was a grueling month-long road trip through the African countryside with bikes and cars. We were up at dawn, visiting the villages and scouting locations for the portrait shoots. The Spark reps recruited members of the village to have their pictures taken. It all happened very quickly, making snap decisions without much time to second guess my own decisions. I used two Lumedyne lights for the portraits and shot only five to 10 frames per person. After the portrait sessions, I worked on my own documentary photos, video and interviews. I used a separate Sennheiser microphone on a boom, recorded onto a H4N zoom, with the help of anyone around to hold the boom. I used two cameras from two different angles on stands (Canon mark 2 and 3). After quick briefings, village people volunteered as my assistants. It was a high-risk project with long hours. With so much intense travel, I had to make sure every evening that I hadnâ€™t lost any equipment, and then clean it as well as upload all the material and organize my files. There were lots of long nights.
The Outcome Even with all the challenges, it was still an amazing experience and I was very happy with the results. It was personally fulfilling to do such an ambitious personal project with the portraits. At the time, I had no idea if I was going to succeed or not. At the end of the trip I was totally exhausted but emotionally happy. I was also relieved that no equipment was lost or broken. The only down side was that, with a trip like this, you are so focused in accomplishing your goals that you have very little time to experience where you were. n
Kristofer Dan-Bergman 212.533.5383 kdb@KristoferDanBergman.com www.kristoferdanbergman.com
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BOARD MEMBER PROFILE
Photography to me is a way of getting glimpses into other worlds, experiencing new things and meeting new people. I’ve been a professional photographer for over 30 years and have been shooting pictures since I was a kid. I’ve been blessed to work with many clients, some of whom have used me for over 25 years and even more who have become good friends
As a corporate/editorial photographer, many of my jobs are done alone or with my assistant; it can be a very isolating life. APA provides a wonderful community where I meet all sorts of creative types and can engage in a freeflow of ideas, thoughts and opinions, all of which help me be more creative and productive. If I need help with something, I have a ready resource of knowledgeable and experienced peers to contact.
This photo was for a renewable fuels company and was shot on top of the world’s largest landﬁll – Freshkills on Staten Island. You would never know from that shot that you were inside the boundaries of New York City
For years I’ve noticed how beautiful the light was on the wall of a building around the corner from where I live; I always thought it would make a great background for natural-light portraits. I ﬁnally decided to shoot my idea and now stop random strangers on the sidewalk and ask them to help with my new project, which is called “Corner Portraits”.
As an individual, it’s next to impossible to affect change in Washington DC, but as a member of APA and through their advocacy efforts on Capitol Hill, I have been able to make my
voice heard. Real progress is being made in the fight for our rights as an individual creators and every content producer should be supporting these efforts by joining APA.
Mr. Porczynski escaped Poland before WWII. He developed patents for unleaded Gasoline and became very wealthy. He started collecting major works of art around a religious theme then bought the old Communist Party indoctrination center in Warsaw and turned it into a museum. He donated it all to the Catholic Church and today it’s known as the Museum of John Paul II.
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One of my favorite ways to shoot portraits is what I call “orchestrated candids”. I set up a situation and then let the subject forget I’m even there – the results are very real and genuine.
I learned a long time ago that the way to get the most out of life is to be involved, so after joining APA, I volunteered on the Events Committee and helped plan the events for which our Chapter has become known. Iâ€™m still involved, only now at a higher level as co-Chairman of the NY Chapter with Michael Seto. If you want to get the most out of APA, volunteer and get involved. n
Ron Jautz is a corporate/editorial photographer specializing in shooting people on location. Besides people, Ron loves to shoot natural and urban landscapes and scenic images. You can see more of Ronâ€™s work at www.jautzphoto.com and at www.beautifulNYC.com. Follow Ron on Instagram @jautzphoto
The iceberg is from a trip to Antarctica I did a few years ago. Being in such a remote and beautiful place is life changing. I photographed mostly icebergs, glaciers, and penguins. The work later became a gallery show.
WORKING WITH NOT-FOR-PROFITS How does this assignment differ from for-proﬁt entities? Or, does it? By Richard Liebowitz, Esq.
Professional photographers often straddle two seemingly irreconcilable worlds – one creative and other commercial. While this dichotomy may explain the many misunderstandings that arise between photographers and their clients, it is largely a fiction. In our legal practice we urge our clients, consisting almost entirely of professional photographers and photojournalists, to think of their profession as serving an important societal function for which they deserve adequate compensation. This is not a revolutionary thought. Regardless of the kind of photography you do, if there is a demand for your work then you are fulfilling a particular need and are entitled to be compensated for your work.
Nonprofits are part of an ecosystem. Ideally, tax-exempt entities serve their own societal function by serving some need, working to fulfill their respective missions and contributing something of value. These organizations operate with the help of grants, donations and may even generate revenue as long as the profit goes to fulfilling their respective missions. In fact, the only salient difference between a for-profit and nonprofit company, besides the tax status, is that a for-profit’s goal is to always make money for its investors while a nonprofit’s goal is to fulfill its mission. So if a photographer is asked to do some work for a nonprofit, it is critical to keep in mind that it is, in fact, a business entity. As counsel to professional photographers, we are bombarded with questions about how to deal with nonprofits. From interpreting licensing agreements and contract terms to enforcing copyrights, we encounter a multitude of issues stemming from our clients’ struggle to see a nonprofit as simply another business. A typical problem occurs when a photographer is asked by the nonprofit to take some promotional photographs. The photographer, eager to get more
contacts and potentially paid work, obliges without any written agreement. He or she may have thought it was quite clear about the terms of the engagement: limited use of the photographs to promote an annual fundraiser is acceptable, but any additional use of the photographs would be negotiated upon demand. If there is one takeaway from this article, it is that what a photographer intends and assumes is seldom clear or expressed. The photographer must have a contract or written agreement specifying how the nonprofit may use the work Your agreement should have certain elements in order to be effective. The following is a non-exclusive list of key elements it must specify:
1. What you are going to do for the organization.
2. When you will do this. 3. Who, if any anyone, may edit your work. 4. How the organization may use your work. 5. You retain your copyright in the work. 6. What the organization has to do to use
your work outside of the parameters of the agreement.
7. How you will be compensated. To be sure, there are additional things to consider in contract formation, but if one is dealing with a small nonprofit, these seven items are a sound building block for a meaningful agreement. All organizations, for profit or not, strangely eschew obligations and costs. Some nonprofits may try to appeal to the photographer’s sense of good, morals, religion and empathy in order to secure a service without an agreement. Do not succumb to this guilt-inducing trick! It is merely an
attempt to curb your rights and enhance their gain. You should feel free to give as much as you can of your skill and talent; just don’t it without a written agreement. Another common issue that our clients face when dealing with nonprofits is infringement. There is a lot of misinformation about whether a nonprofit company is exempt from compliance with the Copyright Act. Let me be unequivocally clear – a nonprofit company is subject to the same laws that penalize copyright infringement as a for-profit company. The confusion stems from the much abused and maligned doctrine of Fair Use. Traditionally a refuge for creators, Fair Use has become a minefield for professional photographers in the digital era. The ease with which any organization can copy and paste photographs online has precipitated an infringement epidemic. There are basically no technological barriers to prevent mass infringement of creative works online. And while all organizations know or should know that the internet is not a buffet of content to be pillaged, some hide behind their nonprofit status as if it were a legitimate excuse. To be specific, the Fair Use doctrine does treat nonprofits somewhat differently from for-profits. The doctrine consists of four factors (enumerated in 17 U.S.C. §107).
The purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes.
2. The nature of the copyrighted work. 3. The amount and substantiality of the por-
not transformative. In other words, just being a nonprofit company does not exempt it from a claim for copyright infringement. The bottom line is there are two key issues our clients encounter when dealing with nonprofits. Legally speaking, one involves specifying respective rights and obligations of contracting parties in an informal setting in order to perform a service for a nonprofit. The second involves an unfortunate defense of Fair Use, raised by most nonprofit defendants. Our goal is always to prevent dealing with the latter by advising our clients to properly structure the former. Don’t ever underestimate the ability of a well-crafted contract to say what you intend. n Richard P. Liebowitz, Esq., is a New York attorney who focuses on intellectual property law, related to copyrights and trademarks, at Liebowitz Law Firm, PLLC. He is a 17-year member of the New York Press Photographers Association (NYPPA) and has produced award-winning photojournalism. A graduate of the University of Pennsylvania and Hofstra Law School, Richard now helps his fellow NYPPA members and other artists around the world resolve their intellectual property infringements and protect their work, on a contingency basis. As a fellow photographer, he understands where artists are coming from and is passionate about helping the creative community. Please feel free to visit our website at www.liebowitzlawfirm.com or call today at 516-233-1660 for a free legal consultation!
4. The effect of the use upon the potential market.
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The judge considers these factors on balance, and the first factor is considered the most important. Increasingly, analyzing the purpose and character of the use is becoming the salient factor of the Fair Use analysis. While nonprofit status is part of the analysis, it is by no means the heart of the inquiry. The critical question is whether the use is transformative. Without going into the specifics of what the courts consider transformative use, suffice it to say that the analysis hinges on whether a new meaning, aesthetic or message is conveyed by the use– and not the messenger’s tax-exempt status. The court only asks whether the use is commercial or nonprofit once it has determined that the use is
Debbie Rasiel Picturing Autism
Background I am a professional photographer in New York City, currently collaborating on a workshop with a non-profit in Vietnam, the Center for Creative Initiatives in Health and Population (CCHIP). CCIHP is a public health organization run by physicians and other experts. Autism research and programing is one of many services they provide. My collaboration with CCIHP and the CCIHP autism project, A365, has grown from photographing families affected by autism to developing workshops for photographers and siblings of children with autism.
Picturing Autism began as a personal project and has maintained its autonomy while I have collaborated with a range of NGO’s over time. In the last five years, Picturing Autism also collaborated with a public health organization, photographed in six countries, had two exhibitions, countless articles, interviews panels, lectures, has received funding from NGOs and grants. I had the opportunity to photograph autism in Peru and Indonesia for the Global Autism Project, a non-profit that promotes acceptance and integration of individuals with autism worldwide by training communities in culturally relevant, sustainable practices. Working with them inspired the international component of my work. My project deepened in its second phase, Picturing Autism/ Vietnam. After meeting and photographing families for my second exhibition, my collaboration with CCIHP continued to deepen. We recently collaborated on a photography project for siblings of children with autism which was awarded the National Engagement Prize from the Wellcome Trust.
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The decisions and images are all mine. Having creative control is important in this project because the stakes are so high. People with autistic children, adults with autism, and their siblings trust me and invite inviting me and my cameras into their lives. It is an honor and a privilege, which I never take for granted. I maintain my own set of ethics in order to do this work, which means providing families/individuals with all files from the time I walk in to the house, including floor and feet pictures. And, absolutely no pictures are used until I have permission. This October will be the fifth time Iâ€™ve been to Vietnam in under two years. The sibling group and a collaboration with a public health organization led to a $50,000 grant. Although Iâ€™ve been working on autism for a long time, this is very much a new beginning
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The Outcome In 2014, the first Picturing Autism exhibition was in Chelsea, at Soho20 Gallery. The gallery had enough space to house the life-sized, and some larger than lifesized, photographs, including a space for a series of photographs, Breakfast with Lee, of my then 23-yearold son. The show was an interesting experience, and it brought gallery goers into the world of autism, both by visiting the exhibition and attending lectures and panels. As always, the most satisfying part of the project was immersing myself in other countries and connecting profoundly with other parents and caregivers across language barriers and cultural divides. If you’re lucky enough to get a good translator, there are moments when they disappear, and your connection with the other person is palpable. During this phase of the project I learned when to pick up my camera and when to put it down. In deeply personal projects there were moments so pure I needed to let them unfold. Then I was closer to the shot when I picked up my camera – there was nothing between us. My advice is that if you’re looking for a personal project, go with what’s familiar. Collaborate, but before you do, take the time to create your own vision statement. Collaborations are definitely worth it, but not easy. Vision statements help you keep a clear head. n
Debbie Rasiel New York, NY 718.233.4274
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Mat Rick Help USA
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I am a professional photographer, member of APANY, and live in Brooklyn, New York. I shoot commercial, lifestyle and travel work, plus I have been shooting the events that Help USA produces. Help USA is a leading national housing and homeless services organization that is dedicated to the premise that all people deserve safe, stable housing. Founded in 1986 as an organization focused on building transitional housing for families, Help has since grown in both breadth and depth. It currently operates 52 different programs and residences across five states, with interventions that cover the entire spectrum of housing issues. Help runs homelessness prevention programs, manages emergency and transitional shelters and builds and operates affordable permanent rental apartments. Help USA believes that creating and maintaining housing stability is the most important step towards a safer, happier, more productive life.
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The Project I had a working relationship with an agency called Obviously Social. We partnered with Help USA for a campaign to document their Culinary Arts Training Program. Chef David Burke was preparing a Thanksgiving meal for some 200 homeless men on Ward’s Island. Although I don’t typically shoot events and work with nonprofits, it fit my editorial style and I was hired to document the cooking, take portraits, and generally document the day. Special guest and chairman of the board, Maria Cuomo was also on hand for the event. I was working alongside a video crew, and dodging various news media outlets, which had also sent photographers and cameramen to document the experience. Overall, although it was a long day from start to finish, with a quick turnaround on photo edits. The work was rewarding and I met many wonderful individuals, both homeless men and the team of chefs working to provide a meal for them. I worked with available light and was flexible as to the timing and location. I was paid for my work, although this is not often the case for nonprofits. They used my work mostly for social media and web. They also used it for PR and also supplied it to news sources.
The Outcome The work was very rewarding for myself and I would readily work with them again. NGO work doesn’t have to be pro bono, but you have to be willing to take reduced rates. Because of this, you should definitely find NGO work you believe in passionately. n
Mat Rick Brooklyn, NY www.matrickphoto.com 415-608-7791 firstname.lastname@example.org
Vanessa Lenz Echoing Green
Profiles of Leadership
I am a commercial photographer based in NYC, specializing in cinematic portraiture and fashion. Over the past 10 years I have worked with the nonprofit group, Echoing Green, which identifies tomorrow’s transformational leaders working to change the world using their talents to support social impact across the globe. For 30 years Echoing Green has been supporting visionaries around the world who are transforming their communities, addressing economic development, racial and gender equity and environmental sustainability. Echoing Green’s community consists of more than 700 innovators who have launched Teach For America, City Year, One Acre Fund, SKS Microfinance, Public Allies, and more. The organization provides seed funding and leadership development to a new class of Fellows every year and welcomes them into its lifelong community of leaders.
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The Sittings Echoing Green originally came to me with a simple idea: create a library of portraits for their Social Entrepreneurship Fellowship and Leadership Development Finalists and Recipients. Both Echoing Green and their recipients use these photos across all platforms including web, social media and various promotional materials–all in perpetuity. By being able to visually document their community, I have been able to help them be better storytellers. In addition to being able to capture people in action, as an organization, my portraits of their community help capture the spirit of the bold, innovative, hopeful people they support. I typically shoot anywhere from 50-70 finalists a day, with as little as five to 10 minutes to work with each person. Coming from all over the world, most finalists have little to no experience in front of the camera. So it’s my job to make them feel comfortable quickly. In trying to make them relax, I ask them about themselves and their life’s work, which is mind-blowing. Their causes range anywhere from advocating for the beekeepers in Southwest China to helping end mass incarceration in the U.S. It’s inspiring to work with people that are doing such amazing work to positively impact humanity and our planet. For 15 minutes, I get to play with them and make them look strong and beautiful. They’re often stunned by the images because they are used to being knee deep in their causes and aren’t used to “glamour.” If I can contribute by creating an effective portrait for each of them, then I’ve done my part to give to their incredible platforms for positive social change. proof sheet Summer 2017 111
The Outcome While Echoing Green does pay competitively, it still feels like a way to give back and be part of this incredible organization’s mission. On the shoot days, the finalists are in the midst of the final selection round for Echoing Green’s Social Entrepreneurship Fellowship, so they are under a bit of pressure – to say the least. Our room is the “fun, safe room” with music and hair and makeup artists – the one place where the finalists are not being judged. n
Vanessa Lenz email@example.com www.vanessalenz.com
instagram: vanessalenzphotography www.echoinggreen.org/our-work proof sheet Summer 2017 113
By Professional Member Robert S Johnson • firstname.lastname@example.org • www.robertsjohnsonphotography.com
Published on Aug 26, 2017
APA New York invites you to enjoy our latest issue of "proof sheet", a quarterly magazine showcasing our members' work. This issue is all a...