THE PICTURE PROFESSIONAL, Winter 2014 by American Society of Picture Professionals

PICTURE

ISSUE 4/2014

THE

QUARTERLY MAGAZINE OF THE AMERICAN SOCIETY OF PICTURE PROFESSIONALS

PROFESSIONAL

TABLE OF CONTENTS ISSUE 4 / 2014 THE PICTURE PROFESSIONAL

COVER: © Carolina Amoretti, Fish 3.

PORTFOLIO: TWO STATES Lauren Westerfield

PRESIDENT’S MESSAGE

EDITOR’S LETTER

WHAT’S HANGING

THE BURGEONING ECONOMY OF INSTAGRAM INFLUENCERS 36 Brooke Hodess

PORTFOLIO: CAROLINA AMORETTI John W. W. Zeiser

PORTFOLIO: SEAN PROCTOR John W.W. Zeiser & Katie Buntsma

Q/A: DAN LAVOIE, FREELANCERS UNION A Wolfe

THE LAW Eric L. Register

DOUBLE VISIONS Simon Herbert

IN MEMORY OF LAURA WYSS Jessica Moon

THE PICTURE PROFESSIONAL OF THE YEAR Cathy Sachs

CHAPTER CAPTURE

BOOK REVIEWS

CONTRIBUTORS

LIFE IN FOCUS Jon Damaschke

American Society of Picture Professionals

Since first forming as a small, dedicated group of picture professionals in 1966, ASPP has grown into a large community of image experts committed to sharing our experience and knowledge throughout the industry. We provide professional networking and educational opportunities for our members and the visual arts industry. If you create, edit, research, license, distribute, manage or publish visual content, ASPP is the place for you. Join us at www.aspp.com.

LIST OF ADVERTISERS age fotostock akg images Art Resource Association Health Programs Bridgeman Images Curt Teich Postcard Archives Custom Medical Stock Photo

MASTHEAD

Dan Suzio Photography Da nita Delimont Stock Photography Debra P. Hershkowitz Disability Images Everett Collection Fundamental Photographs

Global Image Works Minden Pictures MPTV images North Wind Picture Archive Robert Harding World Imagery ScienceSource Sovfoto/Eastfoto

The Picture Professional quarterly magazine of the American Society of Picture Professionals, Inc. 2014-2015 NATIONAL BOARD OF DIRECTORS

2014-2015 CHAPTER PRESIDENTS

PRESIDENT Cecilia de Querol

West Christopher DiNenna

EDITORIAL STAFF

VICE PRESIDENT Anna Fey

Midwest Christopher K. Sandberg

Publisher Sam Merrell

SECRETARY Ellen C. Herbert

Editor-in-Chief April Wolfe

TREASURER Mary Fran Loftus

New England Jennifer Riley Debra Lakind

Art Director Mariana Ochs

MEMBERSHIP Doug Brooks

Copy Editor Debra P. Hershkowitz

EDUCATION Susan Rosenberg Jones

ASPP EXECUTIVE OFFICES 201 East 25th Street #11c New York, NY 10010 Tel: 516-500-3686 director@aspp.com

CONTRIBUTING WRITERS Paul H. Henning John W. W. Zeiser Lauren Westerfield Jessica Moon Eric L. Register Brooke Hodess Jain Lemos Katie Buntsma Angela Yonke Cathy Sachs Simon Herbert

TECHNOLOGY Mayo Van Dyck MARKETING & COMMUNICATIONS Lisa Vazquez Roper

The American Society of Picture Professionals (ASPP) is a non-profit, non-partisan association of image experts committed to sharing their experience and knowledge throughout the industry. The Picture Professional (ISSN 1084-3701) is published spring, summer, fall and winter as a forum for distribution of information about use, purchase and sale of imagery. ASPP is dedicated to promoting and maintaining high professional standards and ethics, and cooperates with organizations that have similar or allied interests. We welcome the submission of articles and news from all sources, on all aspects of the imagery profession. Contact editor@aspp.com Advertising is also desired and welcomed. We offer a specific readership of professionals in positions of responsibility for image purchase decision making. For our media kit and rate sheet, contact Sam Merrell, director@aspp.com (or 516-500-3686). Space reservation deadlines: February 10, May 10, August 10, November 10. Subscription rates: Free to mem-

The Image Works Travel Stock USA Vir eo/Academy of Natural Sciences

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New York Darrell Perry DC/South Jeff Mauritzen 2014 SUB-CHAPTER VICE PRESIDENTS Minnesota Julie Caruso Missouri Sid Hastings

ADVERTISING & EXECUTIVE OFFICES Sam Merrell Executive Director director@aspp.com EDITORIAL April Wolfe editor@aspp.com NATIONAL PRESIDENT Cecilia de Querol president@aspp.com MEMBERSHIP Doug Brooks membership@aspp.com WEBSITE Sam Merrell director@aspp.com Tel: 602-561-9535 eNEWS BLOG newsletter@aspp.com

Ohio Mandy Groszko Wisconsin Paul H. Henning

bers, $40.00 per year to non-members. Back issues: $20.00 when available. Non-members are invited to consider membership in ASPP. POSTMASTER: Send old and new address changes to ASPP, Inc., Attn: Merrell, 201 East 25th Street #11c, New York, NY 10010. Members can update contact information and mailing addresses in the Member Area of our website at www.aspp.com. © 2014 American Society of Picture Professionals, Inc. Single photocopies of materials protected by this copyright may be made for noncommercial pursuit of scholarship or research. For permission to republish any part of this publication, contact the Editor-inChief. ASPP assumes no responsibility for the statements and opinions advanced by the contributors to the Society’s publications. Editorial views do not necessarily represent the official position of ASPP. Acceptance of an advertisement does not imply endorsement by ASPP of any product or service.

PRESIDENT’S MESSAGE CECILIA DE QUEROL

GREETINGS, MEMBERS AND FRIENDS OF ASPP! It seemed like everyone in New York City was a picture professional this past fall, as our colleagues from all over the world gathered for PACA/DMLA’s Annual Conference, Visual Connections, PhotoPlus Expo, Footage Marketplace NY, and parties, parties, parties. It began for me on October 19, with the International Association Leader’s Meeting, hosted by PACA/DMLA, and attended by the leaders of many of our sister organizations from the US and Europe, including ASMP, CEPIC, APA, GAG, BAPLA, and ASCIL. Everyone shared their reports about their association’s achievements and challenges. Even though each has its special focus, based on demographics, the common thread expressed by all was the passion to support their members and keep their organizations lively and strong. One of our common challenges is that many potential members don’t realize the benefits of belonging to a community like ASPP—opportunities for face-to-face networking, specialized education, and exclusive job postings available on our website. PACA/DMLA’s two-day conference was the best place to drive this message home. The conference was rich with presentations and panel discussions on industry trends, technology, copyright law in the EU and the US. I was fascinated by the panel on deep-learning technology and image recognition. New tools are on the horizon that will transform our workflow for cataloging and retrieving digital image files. The closing party was held at ICP. Even after two days together, it didn’t seem like enough, and lively conversation continued until the museum staff had to gently kick us out! The following day, the agencies presented their wares to the picture researchers, buyers, and editors attending Visual Connections. From behind the ASPP table, we

were happy to see many of our fellow members and colleagues, and meet potential new members. There were more parties that evening, but I had to pass and prepare for our annual board meeting the next day. The annual national board meeting was held on October 24 at the offices of our generous host, Getty Images. This is our most important day of planning each year, and we devoted the entire afternoon to reflection, analysis, and brainstorming about ASPP’s core values, what makes us unique, and how we can best focus our efforts to bring that value to our members. As we step into the new year, ASPP intends to up its game and contribute more to those who buy, sell, make, and use commercial imagery. Our accredited members are vetted professionals who bring years of knowledge and experience to bear on image-based projects. We intend to demonstrate that. Our local chapter events create a space where we spread that knowledge, share our experience, and learn from each other. As valuable as social media is, face-toface contact and discussion offers a richer experience. Online networking can augment, but never replace, that. So the national board will work harder to help chapters produce timely and useful education—more webinars and more local events. I hope all of you have had a wonderful and warm holiday season. I send you my very best wishes for a prosperous and happy new year, and offer my deep gratitude to all our national and local board members for volunteering their time, creativity, and hard work to our community. We couldn’t do anything without you!

CECILIA DE QUEROL president@aspp.com ASPP.COM

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mptvimages From top: © Chester Maydole; © Bob Willoughby

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EDITOR’S LETTER APRIL WOLFE

This issue marks the closing of my third year as editor for The Picture Professional. My first issue (1/2012) had a gorgeous cover photograph by Lane Collins of a bunny and a “snake” on a New Zealand beach. Legendary architectural photographer Leland Lee agreed to be interviewed in exchange for Ophelia Chong pulling favors to get his valuable photo collection scanned and digitized. We selected promising students from the Art Center College of Design for a portfolio and juggled a million tasks and ideas to make it all happen by our upload deadline. In a word, the process was: painful. Jain Lemos and I had only communicated by phone and email, and ASPP was taking a chance on me; none of us knew what would happen. Niki Barrie had been guiding this magazine for so long that some contributors just didn’t want to work with a new editor. I couldn’t blame them. Everyone has their own process, and mine wasn’t likely to be the same as Niki’s. I had to recruit new writers with that rare combination of photography knowledge and sentence sensibility. We’re still recruiting and refining our little team that has thankfully grown from three to four with Debra Hershkowitz’s detailed work on copy. Running this magazine is a difficult feat, one where you are always throwing spaghetti at the wall to see what sticks, and relighting the pilot to boil another pot. Yet, I can hold my 1/2012 copy in one hand and my 3/2014 copy in the other and immediately see the evolution therein. With this issue, we continue to evolve. Our portfolio offerings include Carolina Amoretti’s now-iconic Totems series, Two States’s otherworldly Civil War reenactment images from Devil’s Den, and Sean Proctor’s photo documentation of contemporary middle-American life. Simon Herbert writes on Ophelia Chong’s popular diptychs, we talk to the Freelancers Union’s Dan Lavoie, and Eric Register helps you help yourself with copyrights. With chapters talking about utilizing social media better, you will want to peruse Brooke Hodess’s feature on the photo industry’s use of Instagram influencers. And as we do with every winter issue, ASPP honors our 2014 Picture Professional of the Year, the remarkable Wendy Zieger.

DEAR PICTURE PROS,

On a sadder note, we also pay our respects to Laura Wyss, and later to George Sinclair, who passed more recently. As difficult as it is to lose any member, to lose two such vital ones like Laura and George, one right after the other, strikes a hard blow. We must carry on in their memories. I know as well as any of you do how painful change can be. I can look at every issue of The Picture Professional that I’ve produced and name at least twenty times when something definitely did not turn out as I had planned, times when I had to reinvent—out of necessity—what we could be. Our industry has changed far more than this magazine has, and I know all of you are in the same boat, struggling to evolve—out of necessity. But if I can leave you with any one idea to start 2015, it would be to suggest that now might be the time to change not out of necessity but out of desire and creativity. Ask yourself, as we at TPP do: Where and what do you want to be, and how can you make that happen? We hope you all spend some valuable time with your friends and family this winter. Take a moment to breathe and regroup, to get on the offensive instead of the defensive. We can tackle the industry as we always have—together. As we move into 2015, think about how you, as a knowledgeable professional, can become a thought leader. What special skills do you have that set you apart, and how can ASPP facilitate further growth? Then send us a letter when you come up with the answer, because we’re dying to know. Sincerely,

A WOLFE

editor@aspp.com ASPP.COM

WHAT’S HANGING MASSACHUSETTS DECORDOVA SCULPTURE PARK AND MUSEUM 51 Sandy Pond Road Lincoln The Social Medium October 31, 2014–April 19, 2015 Andy Warhol documented his artistic and social milieu with Polaroid snapshots of parties, friends, and the mundane. He catalogued his selects into hundreds of small red Holson albums, which became known as Little Red Books. Inspired by a recent gift of one of these—Little Red Book 128—the work in The Social Medium embodies the evolution of social photography brought about by increasingly capable portable

cameras. The Warhol Foundation’s gift of Book 128 to the deCordova spawned an examination of other works in their permanent collection by other artists who also photograph social experience. From the tangible to the ephemeral, The Social Medium includes photography made with everything from the early portable film cameras right up through the latest technology. The works in this exhibition prefigure and inform current digital compulsion trends in social photography, as well as other recent work by contemporary artists. Look for Jules Aarons, Elsa Dorfman, Larry Fink, Charles “Teenie” Harris, Lotte Jacobi, Rodger Kingston, Phillip Maisel, Nicholas Nixon, Tod Papageorge, Bill Ravanesi, Eugene Richards, Michal Ronnen

Andy Warhol, Little Red Book 128. Photo by Tony Luong. 8

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Photo exhibitions near you

Safdie, Neal Slavin, Greg Schmigel, and, of course, Andy Warhol. As a group, these artists give us a fresh perspective on the camera’s role, both as a memory extender, and as a tool that is a witness to, and a participant in, our social culture.

ÂŠ Daniel Gordon, Ladies and Pears.

CALIFORNIA PIER 24 PHOTOGRAPHY The Embarcadero San Francisco Secondhand August 4, 2014â&#x20AC;&#x201C;May 31, 2015 The digital age has ushered in a culture of curating. Websites like Instagram, Facebook, Pinterest, Flickr, and PhotoShelter enable us to produce, store, and disseminate unique content. Online platforms have become a way of digesting and understanding the overabundance of visual information circulating daily. Secondhand features artists who do the same thing in their work: build repositories of found images from which they appropriate, construct, edit, and sequence in order to create something entirely new. Call it curating or sampling, it is no surprise that the impulse shows itself in the practices of many contemporary artists. Among those included are John Baldessari, Richard Prince, Larry Sultan, and Mike Mandel, who all began sourcing images from popular culture and government archives in the 1970s and 1980s. Removed from their original contexts, these pictures offer new insight, encouraging viewers to re-examine their relationship to commonplace imagery, while also considering the notion of authorship.

WHAT’S HANGING Left: Fig Leaves (Fox Film Corporation, 1926). Courtesy of Karl Thiede. Below: For her role in Red Hair (Paramount Famous Lasky Corp., 1928), Clara Bow’s hair was bleached and then hennaed to render it redder for the Technicolor process. 35mm nitrate Technicolor dyetransfer print. Courtesy of Library of Congress.

NEW YORK GEORGE EASTMAN HOUSE 900 East Avenue Rochester In Glorious Technicolor January 24–April 26, 2015 In celebration of the one hundredth anniversary of Technicolor’s incorporation, George Eastman House is curating a blockbuster exhibition, creating an online exhibition, and publishing a landmark book. The revolutionary Technicolor Motion Picture Corporation’s color process enabled numerous Hollywood masterpieces such as The Wizard of Oz (1939), Gone With the Wind (1939), and Singin’ In the Rain (1952). This celebration recognizes one of the most revered names in the American film industry. The show draws heavily from the vast Technicolor Corporate Archive now held at George Eastman House, 10

and features original artifacts and projected video clips that explore Technicolor’s wide-ranging impact on the form and content of cinema. In addition to the super-vivid Technicolor imagery itself, expect to see

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camera technologies from 1916 to the 1950s; original costumes, production designs, posters, and photographs; actual film dyes that produced Technicolor’s distinct visuals; the work of Academy Award–winning cinematographers Ray Rennahan and Jack Cardiff, as well as Technicolor’s often overlooked engineers. There are two installations by contemporary British artist Aura Satz, and lots, lots more. An international retrospective of films from the museum’s collection, jointly curated by Deutsche Kinemathek, the Museum of Modern Art, and the Austrian Film Museum, will premiere at the 65th Berlin International Film Festival in February. A 488-page book—The Dawn of Technicolor, 1915–1935, written by James Layton and David Pierce and edited by Paolo Cherchi Usai and Catherine A. Surowiec—will accompany all of this. On Twitter, keep your eye on #Technicolor100 for even more offerings online.

CROSSFIRE

CULTURE © TWO STATES

A TRIP TO DEVIL’S DEN

A smoke-fogged battlefield; a spectator on horseback, plastic ear buds in place to dull the pounding of cannon fire; a weary Confederate sucking down a post-ceasefire McCafé: welcome to Devil’s Den, a gorgeous documentation of the Battle of Gettysburg’s 150th anniversary re-enactment.

Above: Battlefield Mini Mart, 2013. Right: Monocle, 2013.

AMERICAN SOCIETY OF PICTURE PROFESSIONALS

BY LAUREN WESTERFIELD

ASPP.COM

AMERICAN SOCIETY OF PICTURE PROFESSIONALS

PORTFOLIO: TWO STATES

Left: Pillories Boy, 2013. Above: Cowboy, 2013.

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Above: Diorama, 2013. Right: Young Soldier, 2013.

AMERICAN SOCIETY OF PICTURE PROFESSIONALS

PORTFOLIO: TWO STATES

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PORTFOLIO: TWO STATES

Top: Walmart Shoppers, 2013. Bottom: Photographers, 2013.

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O’LEARY AND GRIFFIN WITNESSED 300,000 VISITORS, 15,000 ACTORS, AND WHAT O’LEARY DESCRIBES AS THE SUBSEQUENT “EMOTIONAL SCALE AND INTENSITY” THAT COMES FROM RELIVING A BLOODY, SEMINAL CHAPTER

IN OUR NATION’S HISTORY.

again to hit the supermarket—Two States’ ability to focus their energy AND HARRY GRIFFIN (Two States) and narrow their vision into a coheset out to photograph this surreal sive and thoughtful series is all the visual playground where Civil War more impressive. nostalgia meets the consumer age. In the world of Devil’s Den, The result is a series that inhabthere’s a Battlefield Mini Mart its the gray area between fact and with window signs reading, “Hot commentary, a provocative space Coffee,” “Lottery Tickets,” and “Be characterized by the blend of two Proud To Be American.” There are distinct photographic styles. stocks and pillories for the kids to O’Leary and Griffin met at Caliplay in, and scraps of uniforms in fornia College of the Arts and kept trash piles overflowing with Gatoin touch after moving to New York. rade bottles and Coke cans. There There, each artist began to carve are portraits of the re-enactors, out an individual aesthetic, relying shot with flash and set against on the other for feedback. “People neon backdrops as if to reinforce react to us differently,” O’Leary extheir contemporary context. And plains, “which we tend to acknowlResident, 2013. then there are the spectators, like edge and use to our advantage.” the woman wearing shorts with “Gettysburg” stamped In the small town of Gettysburg, Pennsylvania—popuacross the back, or the Union solider and ball cap–wearlation less than 8,000 and an economy built on tourism— ing tourist side by side, iPhones raised to catch the perO’Leary and Griffin witnessed 300,000 visitors, 15,000 fect shot. When it comes to the desired effect of these actors, and what O’Leary describes as the subsequent images, O’Leary explains that she and Griffin “wanted “emotional scale and intensity” that comes from reliving to avoid any reading of documentary” or factual rea bloody, seminal chapter in our nation’s history. Devil’s porting. Rather, Two States were after something more Den reflects this scale and intensity alike, tempered with ethereal, an evocation of telling juxtapositions. a healthy dose of Two States’ signature humor. So far, In Gettysburg, American history butts up against O’Leary’s obtuse portraiture and Griffin’s amusing conthe power of advertising. Staged fights for unity paraltexts appear to be a winning formula. The series snagged lel a new divided America. Devil’s Den encourages us to a Foam Magazine Talent award earlier this year, and has consider this strange American tradition, and to analyze since been shown in Paris, Amsterdam, and Dubai. This what it means to participate in consumer culture…all is no small feat considering the scope of the Gettysburg while watching death recreated on a grand scale, Grande event. Faced with tchotchkes and photo ops galore—todLatte in hand. ● dlers sporting stars and stripes, fallen soldiers who rise PHOTOGRAPHERS EVA O’LEARY

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Universal Truths 20

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OF CAROLINA AMORETTI BY JOHN W. W. ZEISER ASPP.COM

PORTFOLIO: CAROLINA AMORETTI

FOOD IS A UNIVERSAL TOTEM. It may look, smell, or

taste different depending on where in the world you are, but its power remains constant. Food represents health, life, excess, colors, fertility, seasons, and its absence is no less potent. Photographer and fashion designer Carolina Amoretti has taken this power of food and turned it into something that gazes back at us, primitive masks of plenty: her Totem series. Working with fellow artist Matteo Abbo, Amoretti’s totems are startling bursts of colors staring out from a sea of black. They have an otherworldly quality, as if some ancient god is peering out from the ether. The bold, colorful visages have a striking symmetry; she and Abbo planned out each totem by creating a half face. Thanks to digital photography, they could test many looks quickly. When they found one they liked, they split and replicated the face, mirroring it symmetrically to give each a weirdly perfect balance. The faces’ eeriness can be explained psychologically, a conscious touchstone for Amoretti when conceiving the project. Gestalt principles describe the human need to order things symmetrically, as Amoretti’s totems do. The human mind creates perceptual order out of stimuli it encounters every moment. Ordering things symmetrically not only aids in perception but also provides aesthetic satisfaction. We please our minds by perceiving things symmetrically—this explains our concepts of beauty. Faces are funny things, however, and perfectly symmetrical ones are actually considered less pleasing, or even disconcerting. Too much symmetry and we recoil. This helps explain the strange ghostliness of these to-

tems; their compositions are too perfect. Amoretti heightened this by making the faces fascinating. We recoil, but we can’t stop looking at the intricacies she represents with objects like bananas, pomegranates, cabbages, and even waffles. Beyond psychology, a more obvious source of Amoretti’s inspiration is the Renaissance Italian painter Giuseppe Arcimboldo. As court portraitist for the Habsburgs in the sixteenth century, Arcimboldo painted innovative, Mannerist portraits in which people’s faces were composed of flora and fauna. At a distance, an Arcimboldo portrait looks like any other, but up close it dissolves into foods, plants, or objects. Amoretti’s photographs, however, do not try to play tricks on the viewer. They are so bold, their makeups so clearly food. As commercial artists, Amoretti and Abbo straddle the line between pure art and something marketable. While making these totems, they also taught themselves to print graphics on fabric. They parlayed this newfound skill into becoming the creative directors for fashion house ToThem. Their first collection, Roots Man, used the totems as prints, filling entire t-shirts and the backs of jackets. They also specially designed totems made out of pasta for a photo competition by Barilla. The result is a pre-cooked Italian feast staring at you from the void. Amoretti jokes that her commercial work helps her put a meal on the table, but she is also very proud of her totems. Just as Michelin-starred dinners or a homecooked meal can both please the palate, Amorreti’s totems can be enjoyed equally in a gallery or hanging in the family kitchen. ●

“Faces are funny things, however, and perfectly symmetrical ones are actually considered less pleasing, or even disconcerting. Too much symmetry and we recoil. This helps explain the strange ghostliness of these totems; their compositions are too perfect.” Opposite: Wood. 2013. Page 26: Fish 1.

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ÂŠ SEAN PROCTOR

Fans wait and watch as a participant smokes his tires out while competing in the burnout competition at the Figure 8 Derby/Burnout, Midland County Fair, Midland, Michigan.

NOSTALGIA NOT NECESSARY SEAN PROCTOR’S MIDDLE AMERICA BY JOHN W.W. ZEISER WITH REPORTING FROM KATIE BUNTSMA

Amanda LeBaron stares deadpan as fellow Chemical City Roller Derby Girl Heidi Manthei holds her mouth open. She’s making a dental impression of LeBaron’s upper teeth to make a custom mouthguard for their next bout, Midland, Michigan.

Inside the home of taxidermist and hunting consultant Fernando Neves, one of his many cats looks down from the rafters during breakfast, Bethel, New York. 30

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Carl Williams, 19, adjusts his mask and looks down the aisle as he prepares to fight Scott Comer in a WalMart. The pair were afraid they were going to get kicked out, but after they started dueling, some employees watched and recorded the fight, Midland, Michigan.

Carl Williams takes a break from walking around downtown Midland dressed as Yoda and drinks a smoothie at Journey’s Coffee Shop. Williams was joined by other members of The Reformed Jedi Order to celebrate Star Wars Day, Midland, Michigan. ASPP.COM

ÂŠ SEAN PROCTOR

Tyler Sauve, left, and Terrence Thomas make their way out of the locker room after halftime, playing against the Dow High School team, Midland, Michigan.

PORTFOLIO: SEAN PROCTOR

SINCE THE HALCYON DAYS OF THE LEICA and the Nikon,

photojournalists have often been the ones to show us lesser-known worlds. But just as writers have had to contend with the shuttering of newspapers, photojournalists have had to accept similar cutbacks as well as battle the rise of smartphone photography. If you look closely, though, there is still a strong desire for quality long-form journalism, be it print or image. One of the new practitioners of this necessary and compelling form of storytelling is Michigan-based photojournalist Sean Proctor. Proctor started messing around with cameras when he was twelve. In high school he was “part of that ‘photographer’ friend group.” He took “random pictures here and there, usually nature, flowers, and pretty stuff like that” and admits that the photos weren’t anything to write home about. But after bouncing around majors in college, he eventually settled on photojournalism, something of an odd decision for Proctor, who considers himself an introvert who didn’t like photographing people. But when looking at his work, you get the sense that he is more like a short-story writer than a photographer. There are no images from conflict zones or politicians on the trail. Instead, he trains his eye on the small town, the high school football game, the oddball characters who live beyond the confines of the big city. Of his first-ever project, Proctor says, “I photographed an Amish family on their dairy farm. The story wasn’t that great, but I enjoyed spending time with them in the mornings for breakfast, or a discussion about faith over coffee. That was the turning point for me. I love connecting with people I’d never connect with otherwise.” This is often the heart of journalism—not to create ex-

citement, but to open the audience’s eyes to how interesting and different people are. Proctor’s most well known series, Way of the Jedi, is of a local Star Wars role-playing group (The Reformed Jedi Order), people who dress as Jedi and wield lightsabers in imagined battles in the park. For some photojournalists, a story like this would be a quick laugh at the role-players’ expense, but for Proctor, it was an immersion experience that paid off. “We got some pretty good real estate in the paper, three inside color pages and A1,” Proctor says. “I went the next week to join in the fighting, and they had bought me my own lightsaber! Red, because I always joined the dark side. Not only that, but they knighted me as an official member of The Reformed Jedi Order. Carl, the guy who started it all, said I was the first officially knighted member. That meant a lot.” Proctor’s inquisitive nature has served him well, as has his ability to keep his ear to the ground—often the best way to catch interesting stories in small communities. His photos drip with emotion and evoke desire to connect with their subjects. He says, “My favorite part about working on the projects that I do is how I can shed some light on these people who are absolutely unique in their own way. To allow someone who will probably never meet them to form a connection and, hopefully, feel something.” It could be easy to fall into the snare of being patronizing about his subjects, but Proctor imbues them with a humanity that allows the viewer to think beyond or completely ignore words like “small town,” “bygone,” or “fading.” There is no nostalgia or judgment in his pieces, just the stories of people and places. ●

“MY FAVORITE PART ABOUT WORKING ON THE PROJECTS THAT I DO IS HOW I CAN SHED SOME LIGHT ON THESE PEOPLE WHO ARE ABSOLUTELY UNIQUE IN THEIR OWN WAY. TO ALLOW SOMEONE WHO WILL PROBABLY NEVER MEET THEM TO FORM A CONNECTION AND, HOPEFULLY, FEEL SOMETHING.”

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Rust, Ashley, Michigan.

Wayne Jeffery poses for a portrait outside of Jack’s Take Out Party Store on the corner of Francis and Mason. Jeffery was waiting with his mother for the bus, Jackson, Michigan. ASPP.COM

THE BURGEONING ECONOMY OF

INSTAGRAM INFLUENCERS BY BROOKE HODESS

“M

Y DAD PUT A CAMERA in my hands

when I was still in college, but I didn’t start taking it seriously until I picked up a mobile device and started shooting and sharing on Instagram,” said Ravi Vora, an influencer with more than 280,000 followers, who’s done work for major brands like Nike, Jeep, Ducati, and Red Bull. Using both DSLR cameras as well as a smartphone, Vora (@ravivora) is among the many social media influencers who have discovered a new revenue stream through Instagram. Advertisers and marketers look to influencers like Vora as “eyes for hire” for brand-sponsored content in order to boost engagement within a global community. “Social influencers are not just of the time,” says Jess Phillips, founder of the Social Standard, a talent management agency for Instagram influencers. “They’re part of a whole movement and transition away from our more standard advertising channels and the way in which we tell stories.” Founded in 2010 by Stanford graduates Kevin Systrom and Mike Krieger, Instagram today has 200 million active monthly users. According to L2, a subscription-based business intelligence service that benchmarks the social competence of brands, Instagram leads other social platforms in both growth and engagement, registering fifteen times more engagement than Facebook, which bought Instagram in 2012 for $1 billion in cash and stocks. Alex Dahan, founder of InstaBrand, an influencerbased marketing network with thousands of influential content creators, points out the appeal of Instagram to brands is its access to “the hard-to-reach millennial de36

AMERICAN SOCIETY OF PICTURE PROFESSIONALS

mographic, 18- to 35-year-olds, that occupies more than 90 percent of Instagram’s entire user base.” Couple that with the fact that 60 percent of Instagram users live outside the United States, and you have global engagement that, with pictures, breaks any language barrier. Where monetizing blog posts were at the start of the new social economy, platforms like Facebook and Twitter extended reach and engagement. Pinterest and Instagram then gave birth to image-centric content, but Instagram far surpasses the online pinboard in number of users and amount of time spent on the platform. In turn, this has given rise to the Instagram influencer who has either used Instagram as a career launch or to further expose an already impressive portfolio. “I think social media is a great way to be seen and I feel that all photographers should be able to speak to it when they are showing their work,” says ad agency Innocean’s senior art producer Chrissy Liuzzi. “In the grand scheme of things, [social media] is the perfect forum to take a chance on a new, up-and-coming photographer. The size of the images are rather small, and there are little-to-no production costs.” With agencies having to be more nimble and do more for less, influencers can fill that void with general low risk for a brand. That doesn’t mean advertisers shouldn’t be cautious. Says J Barbush, director of social media for RPA on the Honda account, “You never know what’s in someone’s background or if there are associations that could be bad for the brand. There’s a certain amount of risk in that, but we do our best to vet them as much as possible.” Barbush adds that the reach of Instagram helps Honda,

THE APPEAL OF

the deciding factor. “I look at their a Southern California–focused cliINSTAGRAM TO BRANDS IS work like I do with any photograent, expand its geographical influITS ACCESS TO “THE HARDpher: their style, tone, humor, the ence with little or no setup on their TO-REACH MILLENNIAL way they perceive the world.” Enend. “Instead of pulling together a DEMOGRAPHIC, 18TO gagement, too, is a key factor in an crew of twenty to try and chase snow, 35-YEAR-OLDS, THAT influencer’s appeal. for example, we look to Instagram“When we talk about engagement, mers whose content we can use.” OCCUPIES MORE THAN 90 it’s, how do you converse with your Likewise, given the change in PERCENT OF INSTAGRAM’S audience?” says Phillips. “Are you marketing dollars, photographers, ENTIRE USER BASE.” talking with them all the time, are when working on a brand, may be Above: An iPhone Instagram pic by influencer you simply responding to questions, asked to cover a shot list of thirty in @denisebovee for @joesjeans. In four weeks, it or are you posting and walking away? one day, where, years ago, the same garnered more than 4.87K likes. That will dictate whether or not you amount of money was used to get can command certain responses and one perfect shot. Thirty shots can certain engagement levels that a brand may need.” seem daunting, but influencers can help fill the void. And When it comes to Instagram photographers, Honda’s while some photogs may raise concerns about influencagency, RPA, tends to seek out up-and-comers and more ers swiping their work, Barbush says, “The whole content grassroots people. Or, it may look at an influencer who’s world needs to be less precious in the social front.” The simply a fan of the brand. Claudia Sanchez, former direcbiggest issue is finding an Instagram shooter who gels tor of marketing and PR for Joe’s Jeans, sometimes finds with the project. Instagram influencers “because we have followed their Luizzi says that when searching for the “right one,” blogs for a while and they were fashion influencers first.” the number of followers matters, but that’s not always ASPP.COM

Southwest Florida wilderness. (16k likes on Instagram)

Market Street, San Francisco. (17.3k likes on Instagram)

But she points out, “There is a new wave of influencers specific to Instagram, and for them it is better for brands to find their lists through an agency such as InstaBrand.” It’s through InstaBrand that Joe’s has worked with iPhoneographer Denise Bovee (@denisebovee). Bovee’s Instagram profile notes that she’s “iPhone only,” so while more and more of today’s Instagram influencers use DSLR cameras, Bovee uses only her iPhone 5s. She shoots, edits, and uploads on the spot. With more than 93 thousand followers and a client roster that includes Zara, Gap, Minnetonka, Toyota, and Disney, she’s all about maintaining a sense of authenticity. “I’ve found that the more open I’ve been, the more people respond,” says Bovee. And the more response, the more engagement, which can lead to more money, since the price schedule and contracts vary widely and are often packaged like any other media buy. “There are many different factors that fall into play when determining an influencer’s price per post,” says InstaBrand’s Dahan. “On the more obvious side, reach and engagement can be a standard form of measurement to find out what an influencer post price might be. Another crucial factor is content quality.” One influencer with four times fewer followers than another may make the same price per post if her content has better quality.

On the advertiser’s end, it could be as simple as paying $500 a day to an up-and-comer to shoot images for a social asset library for an auto account. A more experienced social photographer may garner more than $1,000 a day. “The agents are really pushing for full marketing packages,” says Innocean’s Liuzzi. “When you hire an Instagram influencer to post on their feed on behalf of a brand, you have to think of it as purchasing media space.” But right now, an A-list photographer still might make $7 to 10 thousand a day, Luizzi notes, but “newer Instagrammers hired to shoot a library of images that we are going to post to our own feed will be paid a lot less.” At Izea, a Florida-based social sponsorship marketplace that manages talent and connects content providers with brands, creators can sign up for one of three tiers of membership to bid on jobs and receive cash compensation via PayPal. With any brand-sponsored content, the photographers have to disclose they are getting paid or have been hired to post and shoot for a particular brand. The photographer may upload an image to their own feed with the brand’s handle, or they may send the images to the agency for a social media archive to be pushed out from the brand account and @-mention of the photographer. When it comes to creative control, outside some basic parameters agreed upon by the agency or brand and influencer (wheth-

AMERICAN SOCIETY OF PICTURE PROFESSIONALS

Angeles National Forest, California. (12.4k likes on Instagram)

Chinatown, Los Angeles. (13.5k likes on Instagram)

social photography. “Apps will come and er through a rep or independently), “WHEN YOU HIRE go, but digital and mobile trends will coninfluencers have a lot of leeway. AN INSTAGRAM tinue to grow and a steady demand for so“We don’t give them shot lists,” INFLUENCER TO POST cial photography will follow.” Vora is part says RPA’s Barbush. “For the InstaON THEIR FEED of Sproket’s LA team. “Team” and “comgrammers, we think it’s important ON BEHALF OF A BRAND, munity” are essential words to use when that they have creative input. That’s YOU HAVE TO THINK discussing the efficacy of Instagrammers, half the fun. We like to give them as OF IT AS PURCHASING because outside of monetization and camuch creative freedom as possible.” reer boosting, part of the love story for InLike a traditional shoot, the MEDIA SPACE.” stagram and photographers is the strong equipment used can vary, dependcommunity that has emerged. Facebook ing on what is needed. “An ideal and Twitter have user-generated communities, but Instasetup for any shoot is whatever the shoot calls for,” says gram itself has people whose job it is to go out, chat with the Vora “Is it action? Maybe I’ll run and gun with a Canon community, go on shoots, and connect. 1DX, firing twelve frames a second for the perfect moEven if you’re a critic of Instagram and the use of inment. Is there a hole in the fence too small for a DSLR fluencers for brands, it’s tough to deny the power of an lens? Perfect time to use an iPhone. I have and use organic community millions-strong. The main goal of a strobes, but I also enjoy finding unique natural light and brand is to connect with potential customers. Utilizing letting the environment help craft the story.” these storytellers who hone their skills with direct conAs far as the future goes for visual-centric influencnection to their fan bases just cuts out the middleman ers—whether via Instagram or the next big thing—the and speaks on a global level we’ve never seen before. It consensus is what Phillips spoke of early regarding a remains to be seen how the use of influencers will all movement toward a new way of storytelling. shake out, but at this present moment of perfect har“Photography has and will continue to evolve quickly,” mony, both influencers and traditional photographers says 5 Grant Bridges, co-founder and head of business develare all welcome to the party. ● opment of Sproket, a production company specializing in ASPP.COM

Q/A DAN LAVOIE

DIRECTOR OF STRATEGY, FREELANCERS UNION BY A WOLFE WHILE MANY ORGANIZATIONS STRUGGLE to under-

stand the changing worker economy, the Freelancers Union has been the go-to spot to find innovation in connecting people to people. When the Freelancers Union began about twenty years ago, being a freelancer was either a joke or a luxury afforded only to the chosen few, depending on how you looked at it. Now, according to their stats, nearly 53 million American workers are freelance in some capacity. We sat down with the FU director of strategy, Dan Lavoie, to glean some insight into the changes to come and how we can all stay connected.

and you want to talk to other freelancers in your area? Yesterday, we started an in-person national networking series, called After Hours. These are clusters in twelve cities meeting up to talk about the same topic. By next month, we’re expecting twenty-five cities. They’re all member-led and member-organized.

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Since your events are member-led, are you finding it difficult to keep track of your brand when others take the reins? We have tremendous faith in our members because they’ve shown they’re extraordinary. The folks who organize these, by virtue of Who are your members? being freelancers, are able to pull Our members come from evmagic out of their hats. They’re ery industry, every age, every able to organize themselves in state. We have 250,000 memvery smart ways and know evbers nationwide, and what ery detail is very important. The we’re finding is freelancers are most successful freelancers are everywhere and doing everythe ones with the best networks. thing. Folks who self-identified It’s as simple as that. Seasoned as freelancers were photografreelancers are natural connecphers, journalists, designers— tors, naturally dynamic, and have cutting-edge people who saw their fingers on a lot of different how you could live an indepulses, because they have to. pendent life successfully. We’re Logo from a subway poster—”Now freelancers can have We have one [event] tomorbroadening out, and now we benefits. Just like normal people.” row: “What’s your city’s freehave accountants, actors, dog lance motto?” It’s not so much walkers, everything. to get to the idea of a sharp, catchy freelancer’s model. For some, getting benefits is a huge driver of joining The people start to see how they’re part of a group, and the union, but we’re able to connect freelancers with it’s how their group is different and special and interestother things the rest of the workforce takes for granted. ing. Our industry operates across multiple industries. They are joining to connect with other freelancers and It’s important to get people to see the connection in the something bigger than themselves. Then there are the broader workforce. The life is just much more similar resources we offer on our blog—client scorecard and confreelancer-to-freelancer than it is within an industry betract generator. We have a new online platform called tween a freelancer and a traditional 9-to-5’er. Hives. Are you a freelance photographer in rural Iowa,

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Q/A DAN LAVOIE

Freelancers Union now runs a Freelancers Medical space in Manhattan, where members have access to traditional physicians as well as wellness programs, like yoga.

How are you seeing these events organized? All of our After Hours events are in co-working spaces, because we very quickly realized in each city who would have put the thought into where freelancers like to be and where it would be easier for freelancers to go. If you’re trying to get a new event started up, a back room in a bar somewhere might not be the best place to find a freelancer, but for someone who’s put a lot of thought into it, co-working spaces are the leading edge of this whole new infrastructure. With co-working spaces, even start-up accelerators, one of the interesting things we’re seeing is people coming together to form their own collectives and cooperatives. If you’re a great developer, and you know a great designer and marketing person, all of a sudden you’ve got your own creative firm. Over the next two years, that’s going to be the thing you’re seeing from more businesses. As a union, what kind of larger protections can you offer your members? That’s always been part of our DNA. One of the biggest roles we play is making sure that people understand this is a real constituency. It’s a real group with needs and desires and hopes, and the louder we can make our collective voice, the more it’ll be heard. One of the spaces we see for a lot of progress is at that city level, where mayors and city councils are much closer to this new 42

AMERICAN SOCIETY OF PICTURE PROFESSIONALS

workforce; they really see it in a way that’s meaningful. You’ll start to see some mayors and city council members who really get how powerful and strong and important this new workforce is and how much they bring to the city. You’ll see people competing to be the most freelancer friendly. A mayor who can figure out how to tap into that intelligence and insight, and the amazingness that is the freelancer community, is really going to be working. Where are you going now? Where are we going? We’re going where our members need us to go. We talk to our members, listen to our members, to hear the underlying concerns that they understand better than anybody, to take advantage of those questions or solutions. We actually, just a month ago, did the first full accounting of how many freelancers there are in America. The last time the workforce was counted at all was in 2005 by the federal government, before the recession. Now, 53% of the workforce is doing some sort of freelance work, which is pretty astounding. When we started twenty years ago, being a freelancer was not well understood. It’s certainly not a thing a lot of people would have stood on their desks and shouted. But now, they’re proud of it. They’re proud there are a lot more people out there like them. There’s a well-trod path to learn from, and they’re not alone anymore. ●

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Fine Art | History | Photography

THE LAW

HELP ME HELP YOU Copyright Infringement from a Lawyer’s Perspective

BY ERIC L. REGISTER

I face as a trial lawyer who represents photographers in copyright disputes is having to tell a prospective client that, while her invaluable image has clearly been infringed, there is little or nothing I can do for her. The harsh reality is that we copyright attorneys who represent plaintiffs in infringement disputes must choose our cases very carefully. Understanding the way plaintiffs’ attorneys evaluate cases may be very instructive to the professional photographer. The major premise is that there are no guaranteed paydays or “open-and-shut” cases with infringement. Every successful case requires the investment of time and energy, regardless of the magnitude or value of the infringement. There are several crucial elements to an attractive infringement case, but the most important variables a plaintiff ’s infringement attorney considers in deciding whether to take one on are: Whether the image was timely registered: The Copyright Act helps mitigate the risks that attorneys assume with each new case, but it is designed to help those who help themselves by registering their images within ninety days after the first “publication” of the work. What exactly constitutes “publication” is still not completely resolved by the courts, so the best practice is to avoid the argument altogether and register your images very soon after they are shot, preferably on a monthly basis. If you do that, you are empowered with: (1) the option to seek statutory damages in lieu of having to prove actual harm, and (2) the possibility of 44

AMERICAN SOCIETY OF PICTURE PROFESSIONALS

being awarded attorney’s fees if you are successful before the court. Unless the work is pro bono, the attorney’s first consideration is whether and how she will be paid for her services. Plaintiffs’ attorneys are typically paid either on a contingency basis or by the hour. Under the contingency scenario, the lawyer is paid a percentage of the proceeds she succeeds in obtaining for the client. Usually, it is 33 1/3 percent if the matter is resolved before having to file suit, 40 percent if suit is filed, and up to 45 percent if the dispute goes to trial. The percentages may seem high, but keep in mind the attorney is taking a risk on the case. Moreover, she is postponing any payment, perhaps for years. Under the alternative scenario, plaintiffs’ attorneys charge their clients an hourly rate. Lawyers’ hourly rates vary across the country, but a range of $150 to $500 would be expected. This arrangement can be expensive for the client, but it’s often favored by the attorney, because it assures she’ll be paid something for her time. Also, most attorneys will require at least a $2,500 to $5,000 retainer at the outset of even the smallest disputes—even those which she suspects may be resolved with a single demand letter. If that proves to be the case, the unused portion of the retainer is returned to the client. The clear import here is that your case is immediately more attractive to an attorney if there has been a timely registration, so the right to seek attorney’s fees from the court is secure. This variable also adds considerable weight to demand letters and increases the chances of resolving a case without filing suit. © NIKKI ESTES

NE OF THE MOST FRUSTRATING CHALLENGES

THE LAW

Whether suit may be filed immediately: The Copyright Act has been interpreted by many courts as demanding that a plaintiff have a certificate of registration for the infringed work in hand before he can even file a lawsuit for infringement. Plainly stated, if the plaintiff does not have the certificate, the federal court does not have jurisdiction to hear the case. For the attorney considering taking a case, the lack of a certificate is a red flag, as it immediately indicates that the recoverable damages are going to be limited to those infringing actions that occur only after the registration of the image is finally accomplished. By then, the infringer may have ceased his infringing conduct altogether.

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American Society of Picture Professionals

Whether the statute of limitations has run: The Copyright Act dictates that a party has three years from the time his claim accrued to initiate a lawsuit for infringement. There are two schools of thought as to when the clock starts—from the date the liability arises (the “injury rule”), or from the date that the copyright holder discovers, or with diligence should have discovered, the infringement (the “discovery rule”). No matter how egregious the infringement or how high the expected damages would be, a claim is dead on arrival if a lawsuit is not filed within this allimportant three-year period. Whether you can prove it is indeed your work: While it may seem too obvious to mention, a photographer needs to be able to demonstrate to an attorney that she actually owns the image she is claiming was infringed. Ideally, she can produce a copy of the image in original form and a certificate of registration (raising the presumption of a valid copyright). She should also be able to present a compelling narrative as to how and when she captured the image. If you, the photographer, are unsure that it’s your image, there is little an attorney can do for you. Again, this may seem obvious, but considering the thousands of images a professional photographer captures in a year, being able to clearly demonstrate ownership of just one may prove challenging if workflow management has been sloppy.

THE MAJOR PREMISE IS THAT THERE ARE NO GUARANTEED PAYDAYS OR “OPEN-AND-SHUT” CASES WITH INFRINGEMENT. EVERY SUCCESSFUL CASE REQUIRES THE INVESTMENT OF TIME AND ENERGY, REGARDLESS OF THE MAGNITUDE OR VALUE OF THE INFRINGEMENT.

Whether the infringer is worth suing and magnitude of infringement: Before initiating any demand or litigation, an attorney must assess the infringer’s financial status and the magnitude of the infringement to see if it’s truly worth suing. Unless the goal is simply to block an infringer’s conduct to maximize the photographer’s exploitation of his own image, there is no real purpose in suing an individual or company that you know cannot afford to pay any judgment the court may render. You really can’t get blood out of a turnip. Under this scenario, an attorney will only undertake representation on a by-hour basis, even if all of the previously mentioned elements are in place. Likewise, a single instance of infringement by a small-time infringer will most likely warrant an hourly representation. But even if the infringer is solvent, many attorneys will not consider filing suit in federal court if the damages evaluation does not exceed $40,000, excluding attorney’s fees. There must be some modicum of harm that has been committed before an attorney can invest time and effort into seeking recourse for an infringement. To be sure, litigation is a very costly process, both in terms of time and money. There are several important elements to a good case from an attorney’s perspective—many of which you cannot control. It is safe to say, however, that finding an attorney to accept your case and achieving the best possible outcome begins with proper registration of your images. So ask yourself, “Have I done all that I can to help my attorney help me?” ●

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I Had a Dream About You, Ophelia Chong

Take Wing, Ophelia Chong

DOUBLE VISIONS BY SIMON HERBERT If a picture is worth a thousand words, then are two pictures worth a thousand-thousand words? Do associations amplify and resonate between disparate sources, beyond the original material, or do these resonances overpower the original and render them inert?

HEN OPHELIA CHONG started to produce a

series of diptychs from editorial sources for Blended Images—rather than cleaving to more conventional page layouts and a jumble of associations across page spreads—the process was both instinctive and highly selective. Chong works through templates and many variations of image associations before settling on a final pairing. In her diptychs, a stunning new meaning can be produced from simple, primal association, be it aesthetic or thematic. Now, it seems that every marketing company from Suave to Nike has started to curate their own diptychs for inhouse marketing. We talked to Chong, who is also The Picture Professional’s former art director, to get a glimpse at her process.

AMERICAN SOCIETY OF PICTURE PROFESSIONALS

Have you been noticing that other companies are beginning to “co-opt” your visual aesthetic? If so, is imitation the sincerest form of flattery? I was working on a project a month ago at one of the largest VFX companies, and one of the creatives said: “Whoa, your work looks just like what Nike is thinking about, totally diptychs. It looks exactly like your work!” When I hear things like that, I just cringe a little, and wonder when agencies will actually hire the artist to do the work rather than just appropriate. My diptychs have been out in the social media sphere since April of this year. What is it about the duality that excites you? I started the diptychs as a way to express myself quickly. In my head I was creating Rorschach inkblots out of two images, images that create a story from the pairing.

Remembering Laura Wyss A letter from Jessica Moon, former ASPP NY co-president

THIS MUCH I DO REMEMBER: Laura Wyss answered

Diptychs are visual haikus, where a collage of images becomes a cacophony of sound that becomes just white noise—elevator music for the eyes. I am a visual haiku-ist. The definition of haiku is “cutting” in Japanese—where two images or ideas are juxtaposed with an interstitial slice in between. That slice in my diptychs is silence. Image selection is all intuitive. I have a template, I drag in images and look, I keep adding images until I see a mood. What attracted you to reconfiguring stock imagery to make such poetic evocations? We see photographs differently. Our perception of the story is layered with our own personal experiences. An image of a spider brings out shivers or adoration; a war photograph brings empathy, horror, grief, or a voyeuristic sensation. The diptychs I create are about telling a story with two diverse images. I have created diptychs for my own use, not for publication, that I share with my friends. And I have been fortunate to have Sarah Fix of Blend Images commission me to create the diptychs for Blend from their collections. ●

The Weather Report I Want, Ophelia Chong

my call as I walked home in the rain, and she cheered, as she so often would, “Hey, that was pretty great!” She was the first person I’d phone to recap our ASPP NY events; every chat about what we learned would swiftly dive into her ideas for future happenings. For anyone in NY who didn’t know this, it’s going on the record: 99% of the events produced by ASPP NY were the result of Laura’s ideas and contacts. From the Brooklyn Navy Yard to the Metropolitan Museum of Art and the New York Public Library behind-thescenes tours, along with our collaboration with Getty Images, these diverse, rewarding, educational events were made possible by Laura. So it is with a heavy heart that we say goodbye to Laura Wyss and remember her enduring spirit and enthusiasm. Laura’s ability to discover and live the life she imagined was truly inspiring. Her eye was clever, keen, and curious. Wyssphoto, Inc. is the visual research business she built upon those strengths. Her collabora-

To see more of Chong’s diptychs, visit the Blend Images blog: blog.blendimages.com.

Credits: I Had a Dream About You: BLM000785 Trinette Reed / BLM028746 Chris Clor; Take Wing: CAI003643 Caia Image / BLM029793 Vladimir Serov; The Weather Report I Want: BLD110563 Terry Vine / BLD124028 Aliyev Alexei Sergeevich ASPP.COM

REMEMBERING LAURA WYSS

tions with publishers to procure art and photography for trade and mass-market books—primarily covers—gave her great joy. She loved supporting and developing ideas with authors, art directors, and designers. She relished the realities of photo research—the hunt, the learning, and the respect for artist copyright. Wyssphoto clients include Grand Central Publishing, Little Brown, Picador, St. Martin’s Press, Simon & Schuster, Random House, HarperCollins, W. W. Norton, and Penguin Book Group. Some of you reading this right now were lucky recipients of her famed client-appreciation gift: homemade holiday cookies. Laura was also the NY chapter secretary for many years. One of my earliest impressions of her at a board meeting was shortly after she nearly severed her finger on a hand blender while making gazpacho from tomatoes she’d grown. When I ask myself now, “What would Laura do?” I recall her cheerful description of the scene: party

AMERICAN SOCIETY OF PICTURE PROFESSIONALS

guests arriving, gazpacho down the sink, an interlude with stitches, and the party went on. The intensity of the connection that so many people felt with Laura is unique and cause to rejoice. Those of us who worked, played, plotted, and planned with Laura mourn her passing. She was an inspiration, confidant, mentor, and friend to so many of us and she will be deeply missed. Laura’s friendship—and so many of us were touched by it—was a gift reminding us never to forfeit our dreams, to continue developing ideas, to trust in the unknown. The challenges along the way were always lessened after an encounter with her positive, analytical, bright, and creative energy. Let us never forget Laura’s spark. A celebration of Laura’s life is planned for 2015 in New York City. Donations in her memory may be made to Emma’s Place (emmasplacesi.com), a Staten Island grief center. ●

All the Iconic Movie Moments… And So Much More

Charlie Chaplin

BREAKFAST AT TIFFANY’S

SINGIN’ IN THE RAIN

ALL ABOUT EVE

RAIDERS OF THE LOST ARK

NORTH BY NORTHWEST

THE WIZARD OF OZ

OCEAN’S ELEVEN

THE GODFATHER

GONE WITH THE WIND

GENTLEMEN PREFER BLONDES

TITANIC

THE NIGHT OF THE HUNTER

Rudolph Valentino in THE SHEIK

You’ll also find History, TV, Celebrity and now Theatre

President Dwight Eisenhower with Prince Rainer and Princess Grace of Monaco

MAD MEN

Taylor Swift

THE SOUND OF MUSIC

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HONORS

Wendy Zieger  Jane Kinne Picture Professional of the Year BY CATHY SACHS

very year, the Jane Kinne Picture Professional of the Year award is presented to a vibrant ASPP member for their devotion and significant contribution to the image industry. This year, we are delighted to honor Wendy Zieger, Senior Account Manager of Bridgeman Images.  Zieger obtained her bachelor of arts degree in art history at Michigan State University, and later capped this off with a master’s degree in library science from Wayne State University. Both provided a unique combination of classroom and practical work experience, and Zieger feels this was key to her—indeed, any student’s—success. Without her art history background, she knows it would be very difficult to do what she does now, let alone get a foot in the door at Bridgeman.  So how did that journey with Bridgeman Images start? In 2006, Wendy accepted a three-month work experience at their London office, despite having to leave a family, including her eleven-year-old son Jack, back in Michigan. Bridgeman founder and executive chairman Harriet Bridgeman remembers, “She spoke to her son every night on Skype, while we gained from her enthusiasm and commitment to prove herself a professional.” It was a leap of faith for Wendy, and a considerable financial commitment, but one that would open up new doors for her. Pandora Mather-Lees, a colleague in those early years, immediately appreciated immediately how Wendy could pick up projects and run with them. When MatherLees later recommended to Ed Whitley, president of Bridgeman in the New York office, that he snap Wendy up, he was initially hesitant, given her limited experience in the stock photo world and her remote location in Grand Rapids, Michigan. But he is so glad that he listened to the recommendation. “From the first day, Wendy has been the perfect colleague—enthusiastic, bright, and engaging,” Whitley said. “Wendy is one of those people you always want standing next to you at your tradeshow booth. First turning her 52

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Wendy Zieger, Midwest Chapter Co-President at ASPP’s Midwest Chapter Education and Networking Day, April 29, 2011 at Harrington College of Design in Chicago.

attention to a rather drab booth that I have put together, she creates something so much more elaborate, enticing, and worthy of the name and brand. She then proceeds to lure in every single person that walks past, even those who clearly had no intention of stopping. Within two minutes, she makes them feel at home, engaged, and intrigued. Within two months, they become transacting clients, and within twelve, they’re her firm friends.”  Roger and Judy Feldman of Feldman & Associates, a photo research and licensing agency, said, “Over the years, Feldman has been the grateful benefactor of Wendy’s tremendous expertise and energy in finding just the right fine art images for our clients’ projects. We worked with Wendy extensively on the UNICEF 2014 Art Agenda, an annual desk diary which features fine art images of children of all genres, periods, and description. Wendy and Bridgeman provided invaluable assistance in identifying dozens of fresh, less-expected solutions, as well as iconic works from the 17th through the 21st centuries. Although there were more than a dozen suppliers of images, almost half of those selected were from Bridgeman.” Similarly, when Mandy Groszko, researching for an educational publication, was working with Zieger to acquire images for the ultimate compendium of fine art, Gardner’s Art Through the Ages (14th and 15th editions), Groszko

remembers Zieger always making sure they had the best color scan, the most current scan, or the best angle. Zieger had joined ASPP’s Midwest chapter in 2008, and in a couple of years was recruited by George Sinclair, Executive Director of VPD and Universal Images Group, to be his chapter co-president, operating from Michigan, which had never been done before. Sinclair, who passed recently, recalled his luck that Zieger accepted. “Wendy was a terrific co-president, giving me solid support and providing a wise sounding board for three years. With the Midwest board, she put on several great education days and networking events. Her ability to pull these events together showed both her professional expertise and charm.” Groszko, who also served on the Midwest board, added, “Wendy taught me how to run a smooth event, from single-speaker programs to full-day education  days, which were so popular with ASPP members. She would line up speakers, secure meeting space, work with George to find sponsors—even find door prizes—and she taught me how to feed all the people that showed up, while sticking to the budget!” Never one to seek the limelight, she was a real team player, always striving to come up with new ideas and speakers, and exploring new directions for both the local chapter and national board.  It has to be noted with a wry smile that when Ed Whitley knew Wendy was considering taking on this position with the Midwest chapter, he was skeptical that she could do it while simultaneously handling the demands of her full-time senior position at Bridgeman Images. He says now, “I was always impressed at the events she was pulling together whilst watching her sales revenue at Bridgeman soar. Underestimating Wendy is something people do at their extreme peril!” Wendy Zieger stands as a perfect example of a “picture professional.” She’s used her educational background and work experiences to rise to the top of her profession, while securing the admiration and affection of her colleagues. Groszko says, “Wendy is always happy to encourage and help me when I need it, or just be an ear to listen.” Kimberly Tidwell says, “Wendy was a joy to work with.” Pandora Mather-Lees says, “Wendy Zieger lights up the disposition of all those around her.” This sentiment sums up how we in the ASPP family and broader industry feel about Wendy Zieger and why it is such a pleasure to see her being awarded in this way. Congratulations, Wendy! ●

THE PICTURE PROFESSIONAL

DIGITAL EDITION 12 ISSUES ONLINE http://issuu.com/asppnational

Postcard Archives

Curt Teich

Historic Images that Capture Time & Place 847-968-3381 www.TeichArchives.org

CHAPTER CAPTURE

DC/SOUTH MIDWEST WEST

DC/SOUTH ASPP FOTOWEEKDC: BILL INGALLS, SENIOR PHOTOGRAPHER, NASA HEADQUARTERS By Cory Lawrence In conjunction with this year’s FotoWeekDC, ASPP DC/ South hosted a presentation on November 13 by Bill Ingalls, Senior Photographer at NASA Headquarters. Talk about a photographer’s dream: Could it really get any cooler than this? A professional photographer for twenty-seven years, Bill has traveled the world for NASA and has been everywhere from the Kennedy Space Center and the Oval Office to inside an active volcano. He’s flown through a hurricane, waded through marshy alligator-infested waters, and dangled from the open door of a helicopter. Ingalls described these stories with sincerity and humor. He spoke about Neil Armstrong’s burial at sea, as well as what it was like to feel earth and gravity for the first time in six months. Ingalls is the second photographer ever to receive the prestigious National Space Club, Press Award. ASPP was immensely grateful for and inspired by his talk, which was well attended and hosted at the National Geographic Staff Auditorium. 54

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Bill Ingalls speaking about his experiences as Senior Photographer at NASA Headquarters during ASPP DC/South’s FotoWeekDC event.

MIDWEST PEER2PEER By Mike Fisher, Todd Bannor, and Mary Fran Loftus At 5:30pm on Monday, October 8, members of the Midwest chapter gathered at the Irish Bistro on Lincoln Avenue for a Peer2Peer discussion group and event-planning meeting. We had several new folks in the room during the ninety minutes of open discussions, which included copyrights, a success story about the Copyright Defense League (and explanation of how their service works), and the future of ASPP and the Midwest chapter. The group then moved downstairs to join the Irish Bistro’s trivia game and grab some refreshments. We broke up around 9pm.

Midwest chapter gathering for a photo at the October Peer2Peer event. L to r: Deborah Van Kirk, Doug Brooks, Mary Ellen Jensen, Michael Bacino, Mike Fisher, Henry Schleichkorn, Lieutenant Norals IV, Todd Bannor, Don Smetzer, Barbara Smetzer, Brian Boerner, Mary Fran Loftus, and Leigh Armstrong.

A unique collection of images representing the history of Russia, Soviet Union, and the entire Communist Bloc including Eastern Europe and China. research@sovfoto.com (212) 727-8170

L to r: Chris Reed, Chris DiNenna, Michael Masterson, Beate Chelette.

WEST LOS ANGELES TOWN HALL By Chris DiNenna

A small group of West chapter members from the Los

Angeles area gathered on September 22 for a Town Hall meeting led by NY chapter president Darrell Perry, who was in the area on business. Darrell led us through a frank and in-depth discussion regarding the past, present, and future of the photography industry. Copyright, sales, production, and doing business—the Town Hall gave us an opportunity to reflect on the dynamic landscape and share new ideas on how to handle constant changes. The need for imagery is at an all-time high. Many larger stock agencies give away images in bundles. The “right click” disruptors have played a huge role in declining online sales, with limited copyright protection and better methods to remove watermarks and to increase resolution to repro standards. Photography business models are evolving. Our market has exploded with inexpensive cameras and smartphones, sophisticated photo apps, and higher quality digital capture. The DIY generation has demonstrated the personal and unique relationship with community and niche photography. The millennial generation has found exposure via the online world. Stock agencies used to publish large, beautiful books full of photography with simple trends, but eCommerce has changed how people shop,

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buy, and license content. Most agencies now find their consumers online. Social Media offers direct avenues to sales, new consumers, and new brands. An online digital profile is extremely important; it gives our market a glimpse of our identity and productivity. Every picture The chapter presidents: (l to r) professional should be Darrell Perry and Chris DiNenna reaching out constantly to new contacts in the photo industry, joining related groups, and keeping up with all contacts. This is the power of networking. Millennials are seeking new mentors to guide them through the updated photo landscape. The entire industry is wondering what the next disruption will look like in the coming decade and beyond. Networking and connecting with the industry online is the most important concept to keep in mind. Protecting your brand and keeping it relevant helps increase your foothold and educates others about best practices. Embrace the new tools to get your name out there; blogging and video use is commonplace. You will need to build a following of folks who can learn from you. Maintaining the brand will give you credibility and the followers will help increase your bottom line. ●

CHAPTER CAPTURE

BOOKSHELF

Best new books on photography

DANNY CLINCH: STILL MOVING Danny Clinch Harry N. Abrams Hardcover, 296 pages $50.00

RULES? FORGET EVERYTHING you

know about photography. When Danny shoots, it’s all about capturing that rock ’n’ roll feeling, not conforming to someone else’s definition of a “good” photograph. Within the pantheon of pop and rock photographers, you have your old-school all-stars (like the venerated Jim Marshall, Bob Gruen, and Michael Ochs), your rockers-as-celebrities shooters (Annie Leibovitz, Mark Seliger, and Norman Seeff), and those who have excelled at capturing both live performances and backstage life (Pennie Smith, Michael Putland, Henry Diltz). Clinch was too young to be part of the old-school group, capturing shooting stars like Jimi, Janis, and Jim Morrison, and too sponta-

neous for the stylists, wardrobe consultants, and studio backdrops of the second group. He is nonetheless the direct descendent of both. “Johnny Cash flipping the bird,” says Clinch, “Duane and Gregg Allman sleeping. These images were burned in my memory forever. So, I picked up a camera and joined in.” Still Moving gathers several hundred of Clinch’s images in an oversized (10 x 12”) format that doesn’t skimp on display. Many of the photos are reproduced on full-bleed or double-trucked pages. Plus, there are four gatefolds. This book is a visually intoxicating experience in which one is tempted to ask, “Who shot all these? They can’t all be by the same guy!” It’s a testament to Clinch’s “anything goes” approach. Thus, we have the blurred, highenergy, and double-trucked image of My Morning Jacket kicking it out in concert; the Lensbaby-ish, eyes-wideopen black-and-white portrait of Bob

Dylan in full Rhinestone Cowboy attire; the oh-so-soft and oh-so-sweet living room snapshot of Trey Anastasio strumming for his little girl; and even full contact sheets that transport viewers backstage. Danny Clinch’s work consistently oozes atmosphere. You don’t just look at the images in Still Moving; you feel them. This is the work of a man who is just as rock ’n’ roll as his subjects, who obviously wins their trust and is allowed to get close. He has pushed his creative limits right to the edge and expanded his talents to include directing both music videos and concert films, resulting in three Grammy nominations. But his prolific body of still imagery is how we know him best. Still Moving is his gift to anyone with even a passing interest in the great, the not-so-great, and the coulda-been rock and pop musicians of the past three decades. —PAUL H. HENNING

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BOOKSHELF MAGNUM CONTACT SHEETS Edited by Kristen Lubben Thames & Hudson Hardcover, 508 pages $75.00

THOSE OLD ENOUGH to remember

working with contact sheets, grease pencils, and colored-dot systems will marvel at the compilation of raw footage presented in Magnum Contact Sheets. For a new photojournalism generation, this book memorializes how master photographers and editors approached the practice of frame selection for some of history’s most compelling images. Chapters are organized by decades—spanning eighty years from 1930 to 2010—and chronicle the intimate editing and selection methods of Cartier-Bresson, Capa, Erwitt, Arnold, Meiselas, Harvey, Abbas and dozens of other Magnum stars. The volume also offers an account of how the advances in camera mechanics changed editing in 1935 (the Leica allowed for three successive shots in five seconds) and how using contacts became a solution for magazine publishing workflow when submitting war footage for government approval. 58

USA. Brooklyn, New York. September 11, 2001. Young people relax during their lunch break along the East River while a huge plume of smoke rises from lower Manhattan after the attack on the World Trade Center. © Thomas Hoepker/ Magnum Photos.

As expected, studying the unused and largely unseen frames is absorbing. “There is no removing or erasing the unsuccessful steps on the way to the final product,” writes Kristen Lubben in her introduction. She admits some photographers were apprehensive about publish-

AMERICAN SOCIETY OF PICTURE PROFESSIONALS

ing their entire takes. Among the reasons is the fear that seeing outtakes might shatter the myth that notable photographers produce masterpieces with every press of the shutter button. But overshooting is clearly understood by most laypeople today and the rewards of

compiling such archival jewels outweighed any objections—thankfully so, as there are gems galore. New Yorker Dennis Stock decided to crack the veneer of a new cultural wave being labeled an American transformation, by traveling to California in 1968. His widely circulated shot of a high-flying hippie dancing at a Venice Beach rock festival resulted in a symbol of the times. His picture is of her back, mostly exposed in her low-cut, flimsy sundress, with an ant-sized crowd splayed out below. The proceeding and following frames show her from the front, arms and tresses flailing in the air. Clearly these snaps aren’t as strong as the chosen one but seeing them here brings the entire scene together in a fresh way. They also exist to support the first aim of a photojournalist: say everything in one shot. Portraits are some of the hardest assignments to edit and Peter Marlow gives us a great example by providing the proof sheet from his 1981 session with Margaret Thatcher. There are forty-two frames, many nearly identical, but the marked frame is perfect and distinguishable from the others. Reproduced at full page opposite the contact sheet, his selected image is a beautiful reminder that magazines once published unretouched cover images of important people. Each case presented in Magnum Contact Sheets brings a deeper appreciation of the care and dedication the agency extends to photography. This book floods the reader with memories and insights and we come away with heartfelt admiration for its excellent presentation. You won’t experience a moment’s hesitation considering this exceptional book for your collection.

—JAIN LEMOS

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BOOKSHELF

CHEWING GUM AND CHOCOLATE Shomei Tomatsu Edited by Leo Rubenfein and John Junkerman Aperture Clothbound, 176 pages $80.00 THE ALLIED OCCUPATION OF JAPAN

on August 15, 1945, and the years following clearly stand out as the dominant theme in Shomei Tomatsu’s life. It is the filter through which he viewed the world, and from where he considered all of his work to stem. The new era brought about from the occupation would forever alter the values and culture of Japan. Chewing Gum and Chocolate is Tomatsu’s documentation of this shifting identity. As an observer, he struggled, as did his fellow countrymen, with this occupying force: to resent, expel, and protest, or to love and view them as liberators. At first, Tomatsu was fascinated and invigorated by the Americans’ new dress, bold attitudes, and boundless resources. How could images of cowboys walking Main Street and Black Panther soldiers hoisting fists in the air be ignored? Throughout the book, blurry images taken hurriedly in the moment capture a feeling of uneasiness, sickness, and dread, and 60

give pause to the reader. These chaotic shots echo the dizzying rate at which Japan’s culture and collective mental health was changing. The Japanese seemed poised with bated breath to explore this change and define their own social norms. Tomatsu’s image of a storefront window reflects this palpable readiness with traditional slippers and kimonos displayed alongside lacy lingerie, priced half-off. Women seemed to embrace their recent social status of equality, proclaiming their enjoyment of sex, simultaneously mirroring the sexual revolution back in the States. Tomatsu captures this spirit in a photograph of a woman with sunglasses looking mod-bohemian cool in all black, confidently leaning against a telephone pole in front of a jazz club billboard. Eventually, the viewer notices her baby bump just barely protruding. Chewing Gum and Chocolate, this book’s title, refers to the sweet treats soldiers would generously give to Japanese children during the oc-

cupation years. Giving food to hungry, war-torn youth can be interpreted as a kind gesture, but at the same time disingenuous, because of its nutritional and substantive emptiness. Just as addictive as candy was the way of life the soldiers brought to the island. Coca-Cola, for Tomatsu, became a symbol of the Western world’s ideals of mass production and consumption, blinding and infecting his fellow Japanese. Tomatsu’s photographs call into question whether American forces really were, in fact, emancipators of a restrictive state, allowing the Japanese to find their own voice and assume their newfound opportunities. The images reflect this complex contradiction of respect and disdain, fascination and nostalgia, persisting war trauma and friendship. American generosity and involvement were a double-edged sword, and this series forces the reader to contemplate the perils and benefits of what “Americanization” really meant. — ANGELA YONKE

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CONTRIBUTORS ISSUE 4 / 2014

Paul H. Henning was a professional location photographer for fifteen years. He co-founded and directed Third Coast Stock Source, and was manager of European operations for Comstock Picture Agency in London. He’s served as acting managing director at the Robert Harding Picture Library and is the founder of Stock Answers, a consultancy that works with stock picture agencies and photographers worldwide. Paul also serves as the director of business development for Tetra Images, a New Jersey–based royalty-free image production company. John W. W. Zeiser is a critic, poet, and occasional coffee roaster’s apprentice in Los Angeles. His earliest memory of writing was a poor imitation of Blake’s “The Tyger” that accompanied a finger painting assignment in elementary school. You can follow him @jwwz. Lauren Westerfield is a freelance writer in Los Angeles. Her reporting interests include health, literature, gender, and aesthetics. She is currently working on an anatomical memoir, and serves as an assistant essays editor at The Rumpus. laurenwesterfield.com Jessica Moon is the senior manager of strategy and compliance at Scholastic Publishers in New York. She’s focused on licensing compliance and strategic workflows for published images, video, and fonts. Jessica’s toolbox to get things done includes Habit Design, motivation, and data visualization. Jessica graduated from NYU and is an alumna of the ASPP NY executive board, serving terms as treasurer and co-president. Eric L. Register is a civil litigator and partner with Register | Lett LLP in Atlanta, Georgia. His practice is focused on defending trademark and copyright interests of businesses and artists, particularly photographers and musicians. A photography enthusiast himself, Eric takes every opportunity to speak with photographers about the importance of aggressively managing and defending their copyright interests. He obtained his JD from the University of North Carolina in Chapel Hill and is a Phi Beta Kappa graduate of Morehouse College in Atlanta. He is licensed to practice law in Georgia, North Carolina, and Louisiana.

Brooke Hodess is a freelance writer and editor living in Los Angeles. Her Instagram handle is @beedeebohemian. Jain Lemos has been deeply involved in photography publishing and licensing for more than twenty years. As an industry consultant she provides creative companies and artists with practical advice on moving forward with their projects and careers. She also shares her informed perspective about our visual industry as a writer and lecturer around the country and on her blog jainlemos.com. Katie Buntsma was born and raised in a small town in rural Iowa and moved to the big city of Los Angeles to pursue a career in food photography. She is currently an art producer at Team One and continues to document her adventures and food explorations when she’s not working with the monsters of 2K or the vehicles of Lexus. Angela Yonke is an artist and educator living in Bozeman, Montana. Yonke hails from Michigan, where she received a BFA in photography and art education from Western Michigan University. She’s taught art in Michigan and Chicago. Her own work focuses on humor, gesture, and non-verbal communication, through multimedia and sewn-photo objects. Cathy Sachs was executive director of the American Society of Picture Professionals from 1995 to 2010. In 2011, she was named Picture Professional of the Year for her long service to this association and its members. She continues her involvement in ASPP as chair of the board of trustees. During her thirty-five-year career in the photography industry, she has worked closely with many associations to foster communication and common best practices. Simon Herbert is a journalist. He has written for periodicals including Creative Camera, Art & Design, and Art Monthly, and has edited and published seventeen art monographs and written for catalogues like the São Paulo Biennial and Henry Moore Scultpure Trust. He is also an independent filmmaker whose latest feature Savagelands is currently on the festival circuit. ASPP.COM

LIFE IN FOCUS: JON DAMASCHKE

HE MAJORITY OF THE TIME I SHOOT, I move fast

and capture people as they are. Most of them do not notice me, and that is the way I prefer it. But, on occasion, I’ll stop and chat with somebody I feel has an interesting look. Sometimes, a person will stop me and tell me how they love my camera. It’s typically the older generations that are familiar with twin-lens reflex cameras. I’ve noticed that carrying a Rolleiflex seems to be less intrusive and more intriguing to the people I run into. In early January 2014, there was a blizzard that hit Chicago. It lasted for a few days, and I wanted to capture people continuing their lives in spite of the heavy snow. Normally, I walk the streets with no destination in mind, but this day, I needed shelter. I was especially anxious about getting my camera wet. Even though the cover wasn’t ideal, 64

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I hung out near the L tracks in the Loop, and after standing for a few minutes, I noticed this man pushing his delivery across the intersection. It was the only photograph of him I took. I’ve become really good at shooting one frame per scene, as medium-format film only allows for twelve images. I didn’t start shooting until I was thirty, but I have a strong background in computer art and motion graphics, and my understanding and extensive practice of composition helped put me where I am. Without that background, I think my work would suffer. ● Jon Damaschke is a documentary photographer based in Chicago. He still uses a Rolleiflex T1 camera and blackand-white film as he wanders the city streets to catch the citizens of the Midwest going about their daily business. See more of his work at jondamaschke.com.

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Raquel Welch in One Million Years B.C. Image courtesy of Studio Canal/Hammer/ the Kobal Collection

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